Choosing The Right Art Gallery: What Kinds Of Galleries Are There?

Art Gallery Types: Which Is Right For You?

by Daric Gill

Choosing the right gallery is much like picking a relationship partner. Finding a compatible match that complements your existing assets is paramount. Also like other life-relationships, there’s no one-type-fits-all answer. Each artist has their own needs. While this article is admittedly a broad generalization of gallery types, I’m using years of personal experience, professional interpretations, and colloquially agreed terms regarding the most common gallery types. The goal of this article is to provide a diving-off point for those who need a little clarification into the major types of physical gallery models. This also happens to be Part One in a 2-part companion article. Its sister article,  “Advice For Approaching Galleries” can be found here.  Or you can read below for more.

 

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Introduction
These days, artists have plenty of platforms regarding the sales of their work. In this article, I will outline the basic differences between gallery types as well as include some pros and cons of each option. As with much of the art world, trying to nail down a totally rigid definition proves elusive. You should expect that there are plenty of overlaps among the many gallery types in the real world. Hopefully, the following explanation and its corresponding infographic will aid in grounding a few of the more elusive definitions. And of course, you and I should both welcome the liquid nature of these terms.

Commercial, Consignment, & Blue Chip Galleries

Commercial Gallery
-A professionally run business with income generated exclusively by the exhibition and sales of artwork. Geared to a range of expertise from emerging, mid-career, and late-career artists (with a few exceptions).

Typically, this type of gallery is fairly choosy when it comes to its artists. In many cases, a partnership is created between the artists and the gallery where the gallery offers to carefully market the artist to the public; and more specifically to their collectors. Called “artist representation”, this agreement may require that the artist sells exclusively through the gallery in a set mile radius, city-wide, state-wide, or nationally.

In the past, commercial galleries carefully selected only a handful of artists to include in their roster. This is a strategy that is decreasing as the potential of internet sales and interest pertaining to group exhibitions grows. They generally have agents who dedicate business time to pursue and secure clients, promote shows in quality exhibition spaces, become knowledgeable about the artist’s work, curate cohesive exhibitions, are trained in sales practices, carry gallery insurance, and handle the exchange of artwork/money. A gallery commission is paid for these services and can be 20%-60% of the retail price of sold items. It’s not uncommon for a reputable gallery to carry a 50% commission rate.

Blue Chip Gallery
-A very high-end commercial gallery or museum gallery that represents and resells a limited group of established and/or historically important artists.

Their commission rates, sales prices, clientele lists, exhibition partnerships, guest curators, and in-house artists reflect this premier title.

Consignment Gallery / Consignment Shop
-A spin-off of the commercial gallery with income generated by retail sales of many types of work that may come from many types of artists.

While a high-end commercial gallery may include a select handful of artists, the consignment gallery has many.

Examples of this: frame shop/gallery, galleries that have rotating or invitational exhibitions, galleries that include many in-house artists, or spaces that sell large production runs of artwork like prints, jewelry, and/or pottery. Most galleries fall into this category.

Co-Op, Artist-Run Initiatives, Rental, & Vanity Galleries

Co-Op Gallery & Artist-Run Initiatives
-Group of artists who help run, exhibit, and operate a gallery from within. Many times these galleries offer community-involved workshops and rent studio spaces in conjunction with the gallery.

Often there is a membership fee, studio rental fee, and/or commission fee for respective opportunities. Artists actively participate in the communal growth of the gallery.

Rental Galleries
-Like a co-op, this is a gallery that has internal support from artists to help set up gallery spaces. The main difference is that rental galleries may charge a rental fee for a duration of time to exhibit in their space and isn’t necessarily a place where the art is also made.

The gallery may operate on the artist’s behalf regarding sales, but the artist is in charge of the setup and content of their space. Flat rental rates and sales commission rates may apply. This gallery doesn’t have the same sort of prestige as a traditional commercial gallery but still may have a similar appearance to the public. Upfront costs are something to think about. The rental costs need to be really weighed against the sales potential. It can be a fairly risky venture for new artists.

Vanity Galleries
-Most controversial of the gallery types, vanity galleries (possibly also called artist-run initiatives) are a derivative of the co-op gallery in that they often charge artists fees to exhibit with them. It’s common to charge the artist membership fees, exhibiting space rental fees, hanging fees, and/or other expenses related to marketing.

Some of these galleries profit exclusively from the artist’s application fees. Others charge several thousands of dollars just to exist in their space and are generally ask for payment upfront. Usually situated in heavy tourist areas, the vanity gallery has a tendency to pursue emerging artists from out-of-town with hopes of exposure in a premier location.

Unlike the co-op gallery, artists aren’t usually invested in the running of their gallery space and therefore have little say in business areas. Also diverging from the typical commercial gallery, a vanity gallery has already gained profit from the artist in advance. Constant relationships between the gallery and its clientele may not be fostered with the same intensity as a commercial gallery. In my opinion, it’s wise to avoid these places as they exploit artists for profit upfront with little incentive for future sales. But if they suit your needs, go for it.

Non-Art Exclusive & Auxiliary Exhibition Space

–An exhibition space that makes its main income from something other than artwork.

Examples of such spaces are restaurants, coffee shops, retail stores, city ambassador centers, community art centers, dentist offices, airports, hotels, etc. Typically, your work is presented in an area that exists predominantly for a different source of income. This is the most accessible space for emerging artists as they don’t typically rely heavily on a previous exhibition record and artist contracts. Since this is the most accessible, it’s likely that you will start here or have already shown in such places.

As it is a flex space, they often rotate artists’ work out regularly and shouldn’t require a restriction on regional representation. Naturally, their actual business is their main source of income and therefore its needs are prioritized over that of the artist. It should also be understood that they may not have employees that are specifically trained or available to sell your artwork. As a result, it’s not uncommon for the space to require the artist/buyer to secure sales independently through posted contact information. They may or may not have commission rates.

Things to keep in mind:
Typically these spaces are the most plentiful. But remember, they make their actual income by other means. They may not have insurance that covers your art, don’t necessarily have trained art sales agents, and may rely on you to sell/distribute the art directly. If there is a commission rate, consider if it reflects those needs (which it likely doesn’t). Many times, these types of spaces are earnest in their art appreciation and look for business examples to follow — which tends to be the commercial gallery model. They might not fully understand the intricacies of commercial gallery responsibilities. Take this opportunity to educate yourself and if you can without being a jerk, try to educate them why commissions might not be applicable here and why a mutually sustainable solution matters.

It is common for these spaces to lean into exposure rather than sales. Depending on the artist’s level, needs, and the actual type of space, sometimes exposure alone is worth it. Sometimes it’s not. Ask yourself: Does this place get opportunistic foot traffic or exposure in ways other places wouldn’t reach? Would you walk into a space like this and think the artwork is for sale?  And if so, would you interrupt the service provided to ask how you can buy it? Are the people who come to this space likely prepared to add extra costs for your art in addition to the price they are already paying for the service in the space? For example, a visit to the dentist’s office has a totally different financial mood upon exiting than a coffee shop. This shouldn’t deter you from showing artwork at a dentist’s office. Rather, it’s important to acknowledge what psychological components are at play and how they contribute to indirect marketing and the payoff from exposure.

Oftentimes, these opportunities are through fellow art lovers who also wish to spice up their space and support local artists. They might not have considered that they are asking you to spend your own money to decorate their walls for free, because sales are potential. As a result, I submit that it’s not unreasonable to consider asking them if they would like to be the first sale and pick their favorite piece for purchase before saying yes to the opportunity. Buying a single piece is much less expensive than purchasing a whole collection or renting out decorations. However, be aware that this isn’t the norm. It’s merely one of the many ways artists could (and should) politely encourage sustainable support.

Auxiliary Exhibition Space
-Any multi-purpose space that isn’t necessarily developed for the showcasing of art and commercial products.

Some art simply isn’t meant for the white-walled gallery. Much of today’s aesthetic incorporates environmental and situational aspects into the artwork. It’s also completely up to an artist’s individual desires to make work that is or is not for commercial gain.

Examples: Installation or site-specific artworks, earthworks sculptors, outdoor/public works, temporary or transitional works, and guerrilla-based artwork.

Generally, these spaces aren’t as concerned with commercial success as they are utilizing an environment that is picked for its suitability to the artwork. Commercial galleries, arts organizations, or city/state/national art councils often offer grants or project awards for public communal spaces. Naturally, the auxiliary exhibition space can also be utilized with no commercial gain or loss whatsoever. There are also plenty of opportunities that don’t include highly profiled or bureaucratic procedures. Auxiliary spaces are rich in potential, but can also be the most at risk from physical damage due to weather or the public. It’s pretty obvious to say that they also don’t necessarily come with insurance.

Ending Remarks
As I mentioned before, this is ideally a basic guideline that one could use to learn more about their own needs. Feel free to use whatever information pertains to you. And always remember, the art world is ever-changing… which is a good thing.

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