Why the artist needs to work with the gallery and how to find "your" among thousands of others? To answer the second part of the material

In the first material series, "Create and conquer" we talked about the inclusion of the basics of independent business-становления and promotion of the artist in education program of most foreign art schools. Before proceeding to the description of this discipline and step-by-step guidance, it is important to answer the question asked by many young artists: so whether you need a gallery for the career growth of authors?

Answer: Yes. The reasons are the following:

1. In foreign practice (since we live in the era of globalization and we wish you successful sales, you initially have to be configured in the international market, regardless of the level of patriotism) galleries are taking responsibility for career management and promotion of the artist. By signing the contract, the galleries pay the artist to create works that are rented him the shop, sometimes allocate a personal account Manager. The galleries themselves are engaged in marketing the author: to arrange an interview media, preparing for printing catalogues and albums of the artist, control the activity of his presence in social networks. In fact, international galleries are simultaneously producers and investors of the artist.

2. In recent years, the main question that imposes collector the art market has changed from "What should I buy?" to "Where should I buy?". Collectors in the primary market want to buy brand: until you are a young artist, your personal brand will ensure the brand gallery, which you represent. Stories about how collectors EN masse to visit the studios of unknown artists and buying works you will find in books on the history of French impressionism.

3. To the artist's work came to auction, they must be initially where-то purchased. Contrary to popular belief, auctions don't work with artists directly, it's the secondary market where the sale occurs between the two collectors. However, when selecting works for the auction, the auction house looks at what the gallery is for artist to understand the number of its customers, which the artist will be interesting. If the author is moving independently, to assess its market, and the auction house will prefer the collector of the work of another artist.

4. The gallery will work with the artist within the his career only in one case: if it is not interesting galleries of a higher level. Otherwise, the first gallery to sell his contract for the second, and the artist will proceed to the next step — in a new price category corresponding to a circle of collectors of the more important galleries. Now to get to the pencil galleries of the high level of the artist will not work: his human qualities, professional skills and marketing efforts should be "run-in" in the gallery at the lower level. And a large gallery followed the development of the quarry. A similar mechanism works in the football club where there are top-команды, the middle command to "cut" talents and regional Championships where young talents come to Europe.

As a rule, the first contract foreign gallery entry-level sign not more than two years, that too large a dropout rateartists coming from other countries. Basic natural circumstances, terminates the cooperation of the first gallery with the artist, — visa problems, language problems, problems with motivation after moving (depression or premature star disease), problems with discipline or the law, problems with illicit substances, as well as the human factor (the signing of contracts with several galleries at the same time, a separate output on the collectors of the bases for the gallery, etc.). In short, everything that could get away with the artist in Russia and abroad severely repressed.

the majority of the Russian galleries, unfortunately, does not have integrated support artists, as well as contract system. The representation of the artist on a long term basis in the country lasts until both parties are satisfied with the process: the gallery — the quality of the work, the artist — the level of sales. Does this mean that the young Russian artist has to "jump over" the local gallery, immediately aiming at international? No, both markets can be successfully combined, but strive to get into the clip of the Russian galleries that I regularly visit art-ярмарки. This will give the artist a chance to be seen in foreign galleries and catch the eye of international collectors (to create a small but private, market). With the Russian gallery with the signed contract, which covers only inland and international fairs in which it participates. The main thing to remember: exclusive the contract is entitled to claim only those galleries that invest in you time and money.

in order to Patriotic young artist interested in foreign gallery, it is not enough to have membership in the local Union of artists and to exhibit in his country. The artist needs to go to the gallery on their own, offering her his portfolio containing elements which, in the opinion of the gallery, talking about his prospects. In addition to the basic things — of education and innovation in the creative, good portfolio of the author must contain the participation in international competitions, grant programs and residencies.

the portfolio and the importance of each of its elements we will tell you in next time.

Denys Belkevych, AI