Traditionally, we think of the gallery as having the following functions: providing an exhibition space that allows the public to view art; offering the artist and the curator exposure and access to their consumers; and acting as an intermediary between artists and the market, providing artists with the potential to earn an income as a professional. The first two functions, which connect cultural producers with their audiences, can be executed much more efficiently on the Internet. Artists have the ability to create vast social networks online, promote themselves and their artworks, and use social media platforms like Facebook, Instagram, and Tumblr to share images themselves. Further, while galleries restrict how, when, and where their represented artists show their work to keep demand high, the attention economy rewards artists who produce and share frequently, encouraging artists to be productive and prolific. The Internet allows the artist more autonomy, more agency over the dispersion and reception of their work. Artists can be more effectual than the gallery in cultivating attention and connecting with their audiences. Yet the gallery continues to have the upper hand in connoting value within the art market, and the white cube continues to be the quintessential marker of art-world status.Read the whole article in The New Inquiry here.
Sunday, August 25, 2013
Role of Galleries
Saturday, August 24, 2013
New Life on the Fair Circuit
Dealers worldwide earned about 36 percent of their sales on average through local or international art fairs in 2012, an increase of 6 percentage points from 2010, according to the European Fine Art Foundation’s Art Market Report by Arts Economics, which surveyed 6,000 dealers.For some, the share is even higher: according to Mr. VeneKlasen, 75 percent of his sales 10 years ago were made in his galleries, but now nearly two-thirds of revenues are earned on the road.
Friday, August 23, 2013
Thursday, August 22, 2013
Opportunity for Artists
DEADLINE: September 16, 2013
The Corcoran is pleased to announce a call for artworks benefiting the Human Rights Campaign at the 17th Annual Human Rights Campaign National Dinner and Silent Auction on Saturday, October 5, 2013.
This dinner brings together more than 3,000 HRC members, friends, family, and allies for an evening of celebration and inspiration and attracts the nation's top figures in entertainment and politics.
Work submitted must be wrapped and installation-ready and delivered to HRC. Each work will be labeled with the artist's name, work title, media, and price, and will be exhibited in a designated Corcoran Gallery auction area, as well as featured on the HRC auction website and in the digital auction program.
DEADLINE: September 16, 2013
WORK DROP-OFF: August 9-September 16, 9AM-6PM
UNSOLD WORK PICK-UP: October 14-18, 2013 9AM-6PM
Click here to register online.
The Corcoran is pleased to announce a call for artworks benefiting the Human Rights Campaign at the 17th Annual Human Rights Campaign National Dinner and Silent Auction on Saturday, October 5, 2013.
This dinner brings together more than 3,000 HRC members, friends, family, and allies for an evening of celebration and inspiration and attracts the nation's top figures in entertainment and politics.
Work submitted must be wrapped and installation-ready and delivered to HRC. Each work will be labeled with the artist's name, work title, media, and price, and will be exhibited in a designated Corcoran Gallery auction area, as well as featured on the HRC auction website and in the digital auction program.
DEADLINE: September 16, 2013
WORK DROP-OFF: August 9-September 16, 9AM-6PM
UNSOLD WORK PICK-UP: October 14-18, 2013 9AM-6PM
Click here to register online.
Email connect@corcoran.org for additional information.
Wednesday, August 21, 2013
Dali quotes...
Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad.
Interview with Jessica Naresh
This week, the WPA spoke with Jessica Naresh, Art Consultant with The Art Registry and WPA Board Member, about art advisors, their relationships with artists, and their potential to advance an artists career.
Washington Project for the Arts: Thanks for speaking with us today. So, what role do art advisors play in the art world, exactly? What do you do?
Jessica Naresh: It depends on the client’s needs – art advisors can play a large or small role in the acquisition of artwork. Often a collector doesn’t have the time to devote to studying the market of an artist, or to research the myriad options available when beginning to collect art. An advisor can help guide their search and seek out things that they may not have known about. Depending on the client’s knowledge base, the advisor can help educate the client so that they can make an informed decision. Through The Art Registry, I work with clients to find suitable pieces for their home or corporate collections. Often my clients don’t have time to go to galleries or artist studios on the weekends, so I do that for them and then bring a selection of work back to their space so they can see it in its intended location.
WPA: Does an art advisor act like an agent for artists?
Naresh: I wouldn’t say that advisors are like agents because ultimately the advisor’s goal is to find what is right for their client. I think galleries function more as agents for artists. That said, advisors can be another avenue through which artists can gain exposure for their work.
WPA: Why would an artist seek a relationship with an advisor? How can artists benefit from contacting advisors?
Naresh: Because advisors can have access to buyers who don’t visit traditional art venues and would not otherwise encounter your work. Basically, it is another avenue for your work to be seen, and ideally purchased, by more people. If an artist doesn’t have gallery representation an advisor can be especially helpful in getting your work in front of interested buyers. And if you do have gallery representation, it will still provide you the same benefits.
WPA: What are some ways that artists can broaden their potential for sales, or broaden their audience and collector base?
Naresh: Maintain a website that you keep up to date with new work. Join organizations like WPA that have active member exhibitions and programs as well as an online area for you to have images of your work. I’m always looking for new-to-me artists. Even if I don’t have a project that is right for their work at the moment, I hang onto the info in case a future need arises.
WPA: Is the market challenging? How has the economy impacted your industry?
Naresh: Over the past 5-7 years there have definitely been market fluctuations. DC is somewhat insulated from the extremes of this fluctuation, but it feels to me like things are currently on an upswing. There used to be big budgets with corporate clients, and that totally fell off in 2007 – 2008. But there has been a shift in the last 2 years and we have seen a return of some corporate clients, not to what it was, but it is encouraging nonetheless.
WPA: What do art advisors not do? What are some limitations or misconceptions about the profession?
Naresh: Not all art advisors promote your work to the greater public. The Art Registry is a bit unique in this area because we do host events a couple of times a year, which often include a pop-up exhibition. We have found that our clients enjoy coming out to these events, and it also give us the opportunity to work with artists who are new to us. But an advisor’s main goal is to serve their clients. Part of this includes maintaining good relationships with artists and staying current on the art market, so that they are able to locate the right piece for the right buyer.
To become a WPA member click here. For more information on WPA and resources for artist members, contact WPA Membership Manager Christopher Cunetto at ccunetto@wpadc.org or by calling 202.234.7103 x 2.
Washington Project for the Arts: Thanks for speaking with us today. So, what role do art advisors play in the art world, exactly? What do you do?
Jessica Naresh: It depends on the client’s needs – art advisors can play a large or small role in the acquisition of artwork. Often a collector doesn’t have the time to devote to studying the market of an artist, or to research the myriad options available when beginning to collect art. An advisor can help guide their search and seek out things that they may not have known about. Depending on the client’s knowledge base, the advisor can help educate the client so that they can make an informed decision. Through The Art Registry, I work with clients to find suitable pieces for their home or corporate collections. Often my clients don’t have time to go to galleries or artist studios on the weekends, so I do that for them and then bring a selection of work back to their space so they can see it in its intended location.
WPA: Does an art advisor act like an agent for artists?
Naresh: I wouldn’t say that advisors are like agents because ultimately the advisor’s goal is to find what is right for their client. I think galleries function more as agents for artists. That said, advisors can be another avenue through which artists can gain exposure for their work.
WPA: Why would an artist seek a relationship with an advisor? How can artists benefit from contacting advisors?
Naresh: Because advisors can have access to buyers who don’t visit traditional art venues and would not otherwise encounter your work. Basically, it is another avenue for your work to be seen, and ideally purchased, by more people. If an artist doesn’t have gallery representation an advisor can be especially helpful in getting your work in front of interested buyers. And if you do have gallery representation, it will still provide you the same benefits.
WPA: What are some ways that artists can broaden their potential for sales, or broaden their audience and collector base?
Naresh: Maintain a website that you keep up to date with new work. Join organizations like WPA that have active member exhibitions and programs as well as an online area for you to have images of your work. I’m always looking for new-to-me artists. Even if I don’t have a project that is right for their work at the moment, I hang onto the info in case a future need arises.
WPA: Is the market challenging? How has the economy impacted your industry?
Naresh: Over the past 5-7 years there have definitely been market fluctuations. DC is somewhat insulated from the extremes of this fluctuation, but it feels to me like things are currently on an upswing. There used to be big budgets with corporate clients, and that totally fell off in 2007 – 2008. But there has been a shift in the last 2 years and we have seen a return of some corporate clients, not to what it was, but it is encouraging nonetheless.
WPA: What do art advisors not do? What are some limitations or misconceptions about the profession?
Naresh: Not all art advisors promote your work to the greater public. The Art Registry is a bit unique in this area because we do host events a couple of times a year, which often include a pop-up exhibition. We have found that our clients enjoy coming out to these events, and it also give us the opportunity to work with artists who are new to us. But an advisor’s main goal is to serve their clients. Part of this includes maintaining good relationships with artists and staying current on the art market, so that they are able to locate the right piece for the right buyer.
To become a WPA member click here. For more information on WPA and resources for artist members, contact WPA Membership Manager Christopher Cunetto at ccunetto@wpadc.org or by calling 202.234.7103 x 2.
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