86 Artists Magazine April 2020
Outfit BUSINESS OF ART
GALLERIST CHALLENGES
Many artists imagine that interna-
tional top-of-the-line galleries have
the staff and support infrastructure
to be ever present. Max Teicher of
Gagosian, which has 17 gallery spaces
worldwide, says, “We at Gagosian
strive to use all our resources to bene-
fit artists and artists’ estates,” but he
also points out that there are, in addi-
tion, “the responsibilities of keeping
tabs on the secondary market, part-
nering with museums and promoting
artists to the public.” He describes
the careful management of the global
gallery spaces, as well as the constant
efforts of the research team and the
meticulous attention to detail of the
award-winning publications teams. In
other words, sustaining artists at the
highest levels still requires a slew of
tasks that may appear unrelated to the
labor of artists in their studios but are
integral to their continued success.
Stephanie Theodore, founder and
principal of Theodore:Art, in Brooklyn,
New York, explains that she’s wary of
artists’ unrealistic expectations. Young
artists who think representation will
lead to stratospheric attention pose
too many challenges, despite what-
ever talent they may offer. For that
reason, many of her artists are older,
with more experience in the art world.
They’ve shown a commitment to
producing art, even as they maintain
other careers. This consistent practice
helps her foster their artistic vision.
Such artists value steady growth and
awareness over immediate star status.
They respect the fact that Theodore
must support all the other artists on
her roster and appreciate the time and
effort she gives to everyone.ARTIST AND GALLERIST
COMMUNICATION
Anxiety over sales leads some artists
to put undue pressure on a gallery
with constant calls or emails seek-
ing reassurance. Such demands are
off-putting and create “diva” rep-
utations that harm artists in the
long term and degenerate business
relationships. Gallery operationsinclude all the typical workplace has-
sles, such as making sure the printer
works, while also being calm and
profressional when contacting col-
lectors, curators and the press about
current and forthcoming shows.
Galleries build relationships with
other galleries across the country
and around the world to expand their
respective artists’ reach. They curate
group shows and do studio visits.
They may help artists apply for grants
or residencies.
If you’re an artist who needs
contact and updates, then let your
gallerist know that you would appreci-
ate a regular check-in so that both you
and the gallerist can plan on it. Rather
than a steady barrage of emails, keep
a list of questions and desires to pres-
ent at that meeting. You can then also
share new studio developments, and
the gallerist can provide an update on
assorted opportunities.NONPROFIT GALLERIES
Many artists without representa-
tion now seek out spaces like Equity
Gallery, in New York—part of the
nonprofit Artists Equity Association,
which provides a variety of programs
for members as well as exhibition
opportunities for both members and
non-members. The director of Equity
Gallery, Michael Gormley, receives
many exhibition proposals, and he
notices when applicants don’t seem
to have read the mission statement of
the gallery. They appear unaware that
such spaces typically have an exhibi-
tion committee that selects proposals
based on their appropriateness for the
organization and venue. Equity Gallery
aims to situate its programming onJUST AS GOOD GALLERISTS TRY TO
SUPPORT THE STUDIO PRACTICE OF
THEIR ARTISTS, ARTISTS CAN HELP
GALLERIES BY RECOGNIZING THE
DEMANDS OF THAT WORK.
the emerging and experimental plane,
so shows often investigate the ideas
or practices of artists. “We look for
evidence of a strong aesthetic explo-
ration,” says Gormley. He goes on to
describe this exploration as one that
offers “a realized narrative or motive
that is compelling and worked through
in a body of discreet yet connected
works .... Exemplary works connecting
on an aesthetic and narrative level are
the hallmarks of a compelling curato-
rial project.” Equity Gallery supports
artists’ visions and developing prac-
tices, but it can’t create that narrative
for them.TIES OF MUTUALITY
Most gallerists select artists whose
aesthetics and values match those of
their gallery. Every gallery represen-
tative says that artists who attend
their openings and events show their
commitment to the gallery. Their
interest in what is happening con-
firms a connection that’s more likely
to lead to representation. After all, if
an artist doesn’t attend events, then
how does he or she know that the gal-
lery is a good fit? If an artist doesn’t
want to support the artists already
represented, then how will he or she
participate in the community? At the
heart of every gallery is a commu-
nity, and communities succeed when
everyone respects the challenges that
theothermembersface.C.J. Kent is a freelance writer and editor,
as well as a professor at Montclair State
University. She also founded Script and
Type (scriptandtype.com), which helps
people express themselves eff ectively in
writing and in person.