Selling Contemporary Art: How to Navigate the Evolving Market
Format: PDF / Kindle (mobi) / ePub
The rise of the art fair
The rise of the mega gallery
New online competition
Models of post-brick-and-mortar art dealing
Art dealers as art fair organizers
Collaboration in a new era
Coverage is also given to the specifics of contracts contemporary art dealers may need, including an examination of a variety of contracts for representation, consignment, and new forms of contemporary art. Exhibiting a wide range of interviews with international experts including dealers, collectors, art-fair directors, journalists, and online art entrepreneurs, Selling Contemporary Art is a must-read for gallery owners, dealers, and artists affected by the rapid innovations in the art-dealing industry.
Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
under the name “hit & run,” which took over empty storefronts or warehouses for a total of five pop-up galleries in New York and London. We promoted “hit & run” much the way rave parties had been promoted back in the day. Although its website showed the dates and other pertinent information about the event, you only knew where it was actually being held if you were on the email list and received the address just before the opening reception. This wasn’t entirely an attempt to seem exclusive—it
buying art from a museum or biennial works, Alain said simply, “You look at the little texts on the walls. If it says, ‘Courtesy of X Gallery,’ what does it mean? It’s for sale! So I call the gallery from the museum, I send them a little picture, and I say, ‘How much is this piece?’ And that’s why I want to go to the opening of the Biennale.” While it is hard to dispute that little texts on the wall do indeed usually mean the art is for sale through that gallery, my response to Mark Coetzee had
galleries lose even one of their better-selling artists (and the income for their business that artist would bring), it can have a huge impact on their plans, if not their ability to remain in business altogether. Even when it doesn’t involve a huge financial impact for mid-level galleries, having their top artists poached still involves a potential loss of prestige. The hole it can leave in their often carefully built curatorial context can also present a major new challenge in rebuilding. Most
representation only 84.9 percent did, which is understandable perhaps; why would artists who don’t have galleries feel any loyalty to them in general? Overall, though, these responses suggest that artists still consider loyalty an important part of the artist-gallery relationship. How many of these same artists had perhaps been “disloyal” by permitting themselves to be poached by another gallery is not something I asked, but the disparity in the percentages of artists who viewed loyalty as
anyone with an Internet connection, that smartly capitalized on the self-contained ecosystem its ranking reports permitted. Called “#buytoday,” and promoting only one work of art three times a week from the list of artists it tracks, its online sales pitch includes the type of information other online sales channels provide—concise bios of the artists, quality images and essential details, and the retail price—but ArtRank does two things no other online gallery/marketplace model has yet found a