Christina, very good overview on the gallery situation. I've been in a lot of different types, from the traditional to co-ops, to group shows in art clubs to little guilds of artists banding together to put on their shows. All have their pros and cons, as you discussed, but bottom-line is that you have to have time to make art to sell art, and the more you can get others to do "leg work" for you the better since it frees you to make more stuff for them to sell. You know that as an economist and a small business owner, the backbone of this country economically, that few others get who do not do it to survive. Yes, galleries are not "charities" and not everything is a "freebee" as so many seem to want today. Stuff costs, like rent, lights, ads, etc. that the galleries do, and they take their cut to pay for it. You did show that a good gallery will compensate for that by raising prices, doing your solo shows, attracting your collectors etc. Excellent presentation on the business of business, in your case selling art, it's to make money for you the businessperson!! It's called free enterprise, and it's our market-based system of economics in this country!! Cheers! :D
This was so incredibly helpful, will be saving as a resource for the future! ♥ Also love how thoughtful your responses are to the questions in the comments. I've loved following you on IG because your work is so stunning but it's so great you have this channel going. Thank you for all of it!
Thank you for the tip on vanity galleries. I thought I might submit my work to a certain gallery until they told me there was a monthly 'hanging fee' which was way out of my price range.
Do you find that galleries keep your work on display, or does it end up in storage much of the time? I noticed at a gallery that I've submitted to that there are a lot of works sitting on storerooms. Do they often take enough works to rotate them on and off display? You do excellent work, Christina.
I find they keep the work on display for the duration of the show, and then they put it in storage after. Usually I ask for the work back once the show is over, so it’s not in storage for too long. I think the longer it is in storage, the more likely it is to get lost or damaged :/ plus, if I get the painting back, I can put them in other shows.
Just wondering how framing is handled when working with galleries. Do you have to do and pay for the framing yourself and the gallery would still take 50% of the end price?
Great question. I usually don't frame my larger works on canvas, and the gallery is happy with them unframed. However for smaller works on panel, I frame them and pay for the framing myself. I think it might depend on the gallery, though.
Hi Christina! As always great video and such an interesting topic, I've learned so much, also with the following discussion here in the comments. I am wondering about the very start of a relationship with a gallery. Like, how did you start to be part of these small group exhibits? Was it through visiting galleries beforehand and get acquainted with the local scene or was more a matter of being found through social media or your website, or a combination of these things? Glad the combination of galleries and independent small business is working for you but Im really hoping you can be fully represented by only one bigger gallery soon, so you can paint more and more! Cheers :)
Thank you! Great question. I’ve been working with galleries that focus on emerging artists, and many of these galleries have open calls every once in a while that anyone can apply to. They often post these on social media and include them on their website. Some even accept artist submissions on a regular basis. That’s how I got into the first group show with my main gallery, and then they invited me into more selective shows after that. It seems like the higher-end galleries often don’t have any open calls, and to start working with them you really need to network. I’m still figuring that out, will share more videos as I progress :)
@@christinakentart thanks so much for sharing all this, really great tips! And best of luck going forward! Really excited with your achievements! Cheers :)
Great question! At the moment I work with several galleries in the Bay Area, around 4 or 5, usually providing them with one or two paintings each (they don't want more than that). However, I’d much rather work with just one gallery, as managing multiple galleries can be logistically complicated. Right now I can't find one gallery who will take all of my work, but it's what I'm working towards.
@@christinakentart thanks for the answer. Very helpful. I have about 15 pieces in my current body of work, and a boutique that wants me to make some small pieces. So knowing that number is helpful
Thank you for another very helpful video on a relevant topic. I'm like you - more of a solitary maker who would be more than willing to pay someone to market, sell, pack, ship, etcetera. I'm wondering: -- I know we're not supposed to undercut galleries. But I've also heard that we should have a newsletter, with the potential benefits to subscribers being that they can get our newest work at a lower price. Are these two concepts mutually exclusive? IE if you're working with a gallery, do you no longer offer these benefits to your subscribers? Or does your gallery owner subscribe to your newsletter and has "dibs" on the newest pieces, same as any other collector? Thank you in advance!
Thank you for your thoughtful question! It’s important to keep prices consistent, especially when working with galleries. I wanted to do a holiday sale once, so I asked the gallery if I could offer a 10% discount, and they agreed. Sometimes they also ask if they can offer a collector a 10% discount, so clear communication is key. Regarding the newsletter, I have one, and instead of offering discounts, I provide subscribers with first dibs on new pieces. This way, everyone feels valued, and it maintains a good relationship with the gallery.
I had a few very exploitative experiences with galleries in South Africa thadt almost destroyed my career and family. Be very cautious before signing any contract and if anything feels dodgy, run!
Thank you for sharing, and I'm very sorry to hear about your experiences with galleries. That is horrible. It's also a helpful warning to other artists here, hopefully we can all find reputable galleries and only work with those who will support our careers!
Genuinely curious about what happens if a Gallery loses your work. Are they financially responsible to pay the cut you would have received had the painting sold?? It seems wild that they can lose your work without consequence.
That's a great question! Generally, galleries should have insurance for lost or damaged artwork, which is outlined in the consignment agreement. If a piece is lost, the gallery is typically responsible for the artwork's value based on the sale price. However, if a gallery is poorly managed, it may be difficult for artists to receive compensation. That's why I try to only work with galleries that seem reputable (e.g. good communication, pay on time, etc).
This falls in line with any gallery taking a 50% cut. 1) They must carry insurance. 2) They must have expertise in catalog writing and overall presentation. Someone in the gallery should have published art writing experience. 3) They must promote their artists heavily and not just locally but throughout the country. I don't think expecting this is unreasonable given the high commission.
I would be totally happy with a gallery taking 50%, especially if they can provide buyers. The biggest problem I see is having to put the price up enough to make up for that 50% loss to the artist. I would be very happy if the gallery would give some idea what price is appropriate , or what they think they can sell it for.
Absolutely! When I first start working with a gallery, we discuss what price is appropriate. I share what I’ve sold paintings for in the past and through other galleries, and they provide insights based on their clientele. Together, we find a price that works for both of us. We also discuss when it is appropriate to raise prices, for example if my work is selling very quickly, we might raise prices 10%.
@@christinakentart Thanks so much for your video and your reply! I am a very new artist (but an older lady) so I am just in the dream stage of achieving a level of art where it might be saleable. Either way, still loving painting.
I hope you only have to report your 50% of the cut on your taxes because your total taxes could be that much or more of your income. In California, which is the state with the highest state income tax a top earner ( making $609,351 or more per year) has to pay 66.53% in taxes ( including state, FICA and federal) and that’s if they don’t have any employees, don’t invest and don’t sell internationally. It would be tear rendering to sell a painting at $1 million in SF only to find that not only can you not keep any of the money but that you still owe $165,300 in taxes.
From my research, I understand that I only pay income tax on the 50% cut that I receive. However, I'm not an accountant, so please consider consulting a tax professional for accurate advice.
Dear AW, I most likely know the answer to your question. While I’m not currently in the art gallery/artist business, I did spend 17 years in a related craft business with the same parameters, where the shop cut was 50%. So here’s my answer to your question. Firstly, I’m not going to use an example of a one million dollar work. If that applies to you, you should be asking your question to a high level accountant. But, if you’re like the rest of us, and you’re in the US, I can give you some answers. Let’s say the gallery sells your painting (sculpture, whatever) for $1,000 (scale the math up or down for your situation), they’ll cut you a check for $500. You will need to keep accurate records. Have a separate bank account so you’re not co-mingling funds. On your taxes, usually Schedule C, you will report $500 as your gross income. Then you will report your expenses. Say $100 for the frame, $100 for art supplies, $100 for your legitimate business expenses (website, bank fees, shipping, things like that.). You will need to save your receipts to prove those things. You’re now down to $200. But you can also ‘write off’ other expenses. Say business mileage, if you keep a mileage log. Perhaps a percentage of your home expenses if you have a home studio. You must save and document the bills and square footage in case of an IRS audit. And you must be reasonable. An artist grossing $500,000 annually gets more leeway than one with a gross income of $2,000. Anyway, in this example, your $200 gets whittled down to $100, say. That’s your net income, which you pay tax on. Perhaps you’re in the 24% marginal bracket, add 15.3% social security tax (you’re self employed so you have to pay the employee AND the employer share, though you can theoretically deduct the ‘employer’ share.) PLUS any state income tax. Depressed yet? Yeah. But if you can get your sales numbers up and watch your expenses carefully, you can make it work. Does that help anyone?
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Christina, very good overview on the gallery situation. I've been in a lot of different types, from the traditional to co-ops, to group shows in art clubs to little guilds of artists banding together to put on their shows. All have their pros and cons, as you discussed, but bottom-line is that you have to have time to make art to sell art, and the more you can get others to do "leg work" for you the better since it frees you to make more stuff for them to sell. You know that as an economist and a small business owner, the backbone of this country economically, that few others get who do not do it to survive. Yes, galleries are not "charities" and not everything is a "freebee" as so many seem to want today. Stuff costs, like rent, lights, ads, etc. that the galleries do, and they take their cut to pay for it. You did show that a good gallery will compensate for that by raising prices, doing your solo shows, attracting your collectors etc.
Excellent presentation on the business of business, in your case selling art, it's to make money for you the businessperson!! It's called free enterprise, and it's our market-based system of economics in this country!! Cheers! :D
So true! Thank you!
Very helpful. I'm also in SF and beginning to think about Gallery submissions. Cheers!❤
So glad you found it helpful, and best of luck!
I just love your channel. So insightful and informative- thank you! ❤
Thank you! So glad you found it helpful!
You cover the most comprehensive topics. Thanks as always.
So glad it was helpful!
Interesting and very valuable reasons. Clear & crisp information. Thank you for sharing!
Thanks, glad you liked it!
Your work is lovely!!
Thank you!
This was so incredibly helpful, will be saving as a resource for the future! ♥ Also love how thoughtful your responses are to the questions in the comments. I've loved following you on IG because your work is so stunning but it's so great you have this channel going. Thank you for all of it!
Thank you so much for the kind words! I'm really glad you found the video helpful and that you're enjoying my work on IG and here :)
Great tips and info, thanks! There are so many variables to consider.
I’m glad you found it helpful!
Thank you for the tip on vanity galleries. I thought I might submit my work to a certain gallery until they told me there was a monthly 'hanging fee' which was way out of my price range.
Exactly, it’s quite common and not worth it!
Thanks for all the info!
For sure, hope you found it helpful!
Solid advice. 👍
Thank you!
Do you find that galleries keep your work on display, or does it end up in storage much of the time? I noticed at a gallery that I've submitted to that there are a lot of works sitting on storerooms. Do they often take enough works to rotate them on and off display? You do excellent work, Christina.
I find they keep the work on display for the duration of the show, and then they put it in storage after. Usually I ask for the work back once the show is over, so it’s not in storage for too long. I think the longer it is in storage, the more likely it is to get lost or damaged :/ plus, if I get the painting back, I can put them in other shows.
Thanks, this was really helpful info! Nice landscape paintings behind you 👀
Glad you found it helpful! And thank you :)
Great points! Thanks!
For sure! :)
Woa ! great information. Thanks so much.
For sure, glad you found it helpful!
very helpful info! thanks and I love your work1
Thank you! Glad you found it helpful :)
Just wondering how framing is handled when working with galleries. Do you have to do and pay for the framing yourself and the gallery would still take 50% of the end price?
Great question. I usually don't frame my larger works on canvas, and the gallery is happy with them unframed. However for smaller works on panel, I frame them and pay for the framing myself. I think it might depend on the gallery, though.
@@christinakentart Thank you for your answer!
Hi Christina! As always great video and such an interesting topic, I've learned so much, also with the following discussion here in the comments. I am wondering about the very start of a relationship with a gallery. Like, how did you start to be part of these small group exhibits? Was it through visiting galleries beforehand and get acquainted with the local scene or was more a matter of being found through social media or your website, or a combination of these things? Glad the combination of galleries and independent small business is working for you but Im really hoping you can be fully represented by only one bigger gallery soon, so you can paint more and more! Cheers :)
Thank you! Great question. I’ve been working with galleries that focus on emerging artists, and many of these galleries have open calls every once in a while that anyone can apply to. They often post these on social media and include them on their website. Some even accept artist submissions on a regular basis. That’s how I got into the first group show with my main gallery, and then they invited me into more selective shows after that.
It seems like the higher-end galleries often don’t have any open calls, and to start working with them you really need to network. I’m still figuring that out, will share more videos as I progress :)
@@christinakentart thanks so much for sharing all this, really great tips! And best of luck going forward! Really excited with your achievements! Cheers :)
How’s many galleries are you in? What’s a good number to aim for?
Great question! At the moment I work with several galleries in the Bay Area, around 4 or 5, usually providing them with one or two paintings each (they don't want more than that). However, I’d much rather work with just one gallery, as managing multiple galleries can be logistically complicated. Right now I can't find one gallery who will take all of my work, but it's what I'm working towards.
@@christinakentart thanks for the answer. Very helpful. I have about 15 pieces in my current body of work, and a boutique that wants me to make some small pieces.
So knowing that number is helpful
Thank you for another very helpful video on a relevant topic. I'm like you - more of a solitary maker who would be more than willing to pay someone to market, sell, pack, ship, etcetera. I'm wondering: -- I know we're not supposed to undercut galleries. But I've also heard that we should have a newsletter, with the potential benefits to subscribers being that they can get our newest work at a lower price. Are these two concepts mutually exclusive? IE if you're working with a gallery, do you no longer offer these benefits to your subscribers? Or does your gallery owner subscribe to your newsletter and has "dibs" on the newest pieces, same as any other collector? Thank you in advance!
Thank you for your thoughtful question! It’s important to keep prices consistent, especially when working with galleries. I wanted to do a holiday sale once, so I asked the gallery if I could offer a 10% discount, and they agreed. Sometimes they also ask if they can offer a collector a 10% discount, so clear communication is key.
Regarding the newsletter, I have one, and instead of offering discounts, I provide subscribers with first dibs on new pieces. This way, everyone feels valued, and it maintains a good relationship with the gallery.
I had a few very exploitative experiences with galleries in South Africa thadt almost destroyed my career and family. Be very cautious before signing any contract and if anything feels dodgy, run!
Thank you for sharing, and I'm very sorry to hear about your experiences with galleries. That is horrible. It's also a helpful warning to other artists here, hopefully we can all find reputable galleries and only work with those who will support our careers!
👏✨
Genuinely curious about what happens if a Gallery loses your work. Are they financially responsible to pay the cut you would have received had the painting sold?? It seems wild that they can lose your work without consequence.
That's a great question! Generally, galleries should have insurance for lost or damaged artwork, which is outlined in the consignment agreement. If a piece is lost, the gallery is typically responsible for the artwork's value based on the sale price.
However, if a gallery is poorly managed, it may be difficult for artists to receive compensation. That's why I try to only work with galleries that seem reputable (e.g. good communication, pay on time, etc).
@@christinakentart thank you for the reply! I love your videos and your art is beautiful.
This falls in line with any gallery taking a 50% cut. 1) They must carry insurance. 2) They must have expertise in catalog writing and overall presentation. Someone in the gallery should have published art writing experience. 3) They must promote their artists heavily and not just locally but throughout the country. I don't think expecting this is unreasonable given the high commission.
I would be totally happy with a gallery taking 50%, especially if they can provide buyers. The biggest problem I see is having to put the price up enough to make up for that 50% loss to the artist. I would be very happy if the gallery would give some idea what price is appropriate , or what they think they can sell it for.
Absolutely! When I first start working with a gallery, we discuss what price is appropriate. I share what I’ve sold paintings for in the past and through other galleries, and they provide insights based on their clientele. Together, we find a price that works for both of us. We also discuss when it is appropriate to raise prices, for example if my work is selling very quickly, we might raise prices 10%.
@@christinakentart Thanks so much for your video and your reply! I am a very new artist (but an older lady) so I am just in the dream stage of achieving a level of art where it might be saleable. Either way, still loving painting.
For artist its better to get 50% from 100K that keep all from 10K sale. Gallery earn this fee and it motivate them to sell. 50% is quite OK.
So true!
I hope you only have to report your 50% of the cut on your taxes because your total taxes could be that much or more of your income. In California, which is the state with the highest state income tax a top earner ( making $609,351 or more per year) has to pay 66.53% in taxes ( including state, FICA and federal) and that’s if they don’t have any employees, don’t invest and don’t sell internationally. It would be tear rendering to sell a painting at $1 million in SF only to find that not only can you not keep any of the money but that you still owe $165,300 in taxes.
From my research, I understand that I only pay income tax on the 50% cut that I receive. However, I'm not an accountant, so please consider consulting a tax professional for accurate advice.
Dear AW, I most likely know the answer to your question. While I’m not currently in the art gallery/artist business, I did spend 17 years in a related craft business with the same parameters, where the shop cut was 50%. So here’s my answer to your question. Firstly, I’m not going to use an example of a one million dollar work. If that applies to you, you should be asking your question to a high level accountant. But, if you’re like the rest of us, and you’re in the US, I can give you some answers. Let’s say the gallery sells your painting (sculpture, whatever) for $1,000 (scale the math up or down for your situation), they’ll cut you a check for $500. You will need to keep accurate records. Have a separate bank account so you’re not co-mingling funds. On your taxes, usually Schedule C, you will report $500 as your gross income. Then you will report your expenses. Say $100 for the frame, $100 for art supplies, $100 for your legitimate business expenses (website, bank fees, shipping, things like that.). You will need to save your receipts to prove those things. You’re now down to $200. But you can also ‘write off’ other expenses. Say business mileage, if you keep a mileage log. Perhaps a percentage of your home expenses if you have a home studio. You must save and document the bills and square footage in case of an IRS audit. And you must be reasonable. An artist grossing $500,000 annually gets more leeway than one with a gross income of $2,000. Anyway, in this example, your $200 gets whittled down to $100, say. That’s your net income, which you pay tax on. Perhaps you’re in the 24% marginal bracket, add 15.3% social security tax (you’re self employed so you have to pay the employee AND the employer share, though you can theoretically deduct the ‘employer’ share.) PLUS any state income tax. Depressed yet? Yeah. But if you can get your sales numbers up and watch your expenses carefully, you can make it work. Does that help anyone?
Vanity galleries sadly, are often utilized by art instructors who are required by their employers to have regularly scheduled gallery exhibitions.
I didn’t realize that, thanks for the info!