It is best to have a checklist when interviewing galleries to help you evaluate and compare services.
Ask; will the gallery give you a one-person show, or do they want to begin by taking a few pieces on consignment? If the gallery will take a few pieces at a time, find out where they will be kept. If the work is stored in drawers or the basement it is of no value to you.
Ask; if the work is damaged will the gallery reimburse you or if possible make needed repairs at their expense? Get the answer in writing.
Ask; does the gallery require an “exclusive” representation? If so, work out a schedule with the gallery where your work is displayed year around or perhaps a certain guaranteed amount of sales per month. Get this in writing. It is not to your advantage to give an exclusive and have your work off the market half of the year, in storage. If an exclusive is not required find out where else you can show that will not be in direct competition with the gallery and respect this.
Ask; will the gallery make some direct purchases? It is not to the artist’s advantage to have everything in the gallery on consignment. If the gallery does not have a financial stake in your career it will focus on selling those works that they have invested.
Ask; how long will the gallery represent you? If they do a show, will they continue afterward or are they just looking for something new to display for the short term? Is your representation contingent on sales? Find out how your agreement can be terminated?
Ask; what is the gallery’s commission? This is often negotiable. Each gallery charges a different amount, some take 35%, others 40% and 50% is becoming more common. Sometimes a commission is calculated on a sliding scale based on the selling price of the work. A very expensive work may be slightly less. Find out.
Ask; how long will it take to get paid? The best arrangement is to be paid as soon as the gallery is paid. Some will negotiate a lay-a-way and pay you as they collect, others will pay net 30, or every 30 days. I’ve had galleries take 90 days or longer to pay. Needless to say, this is not satisfactory. The artist is being used as a bank or lender, and being taken advantage.
Ask; if gallery objects to the artist selling from their studio while being under contract? Some will object, others will establish a geographic boundary. If a substantial distance exists between the artist studio and the gallery an agreement can usually be negotiated. Sometimes this can be a cause for disputes, so unless you have signed an exclusive agreement you should be able to sell from your studio. Get this understood in advance.
There are many more questions, and will be the subject of future posts.
Gail Niebrugge, artist
