Notes

Insights On How Galleries Help Their Artists
طراحی سربرگ

A routine reader of the news has likely seen headlines about a Damien Hirst program, a record price brought for a Jeff Koons sculpture, or a brand-new work of street art by Banksy. And there's some presence to the examples of an artist's trajectory: group and solo programs at galleries, price gratitude and a excellent showing at auctions, and ultimately an appearance in a museum program or collection.



What's less instantly noticeable to the wider world is the role that galleries play, and how a gallery itself ends up being established. There are a handful of so-called "mega-dealers" whose names may recognize even to those on the fringes of the art world, Gagosian, Hauser & Wirth, Speed, and David Zwirner amongst them. But galleries are still the beating heart of the art world, the mechanism through which lots of artists find their way to organizations, the world's great collections, or simply the houses of people who like their work.

Galleries have multiple functions, both noticeable and invisible: to nurture and support their artists, frequently by exceeding and beyond the normal work of putting on shows, promoting their artists, and offering the works; and to offering services such as financial management or book publishing, in order to help their artists focus more completely on their work.

"There's the important things that you see in our gallery that remain in front of the scenes, which are undoubtedly the exhibits, the publications that we make, then there are things that are behind the scenes, which could be everything from dealing with an artist on their archives or dealing with research for an exhibition for many years or perhaps researching artworks that passed through the gallery in terms of secondary market," states Julia Joern, a partner at David Zwirner.

Galleries can be found in all ages, shapes, and sizes too. Art Basel and UBS's Art Market | 2017 report estimated there were approximately 296,000 dealerships and gallery organizations in 2016. Simply under 40% of them had yearly sales of less than $500,000, while a similar share had sales amounting to in between $1 million and $10 million. Almost two thirds of all galleries utilized 5 or less people, and only 4% had 20 or more employees.

No matter size, at the core of a gallery's identity is its "program." The term typically describes the roster of artists a gallery represents, but can likewise describe a conceptual structure or area of focus that guides that roster, in addition to other activities such as cooperations with other galleries, efficiencies and lectures, or fair appearances. Most will stress that their primary function is to facilitate their artists' production of great work, in any way they can.

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