29 june 2023, Jeannette ten Kate
The gallery: more than just sales
Over the years, the notion of the gallery as a sterile white cube with an inscrutable employee and incomprehensible art on the wall has changed considerably. At least, that's what the galleries themselves are working hard to achieve. Concepts such as transparency and accessibility for visitors are now high on their list of priorities.
However, this is not always the experience visitors have. People still find it difficult to simply walk into a gallery. For example, many wonder whether you can come look at the art without being a potential buyer, and whether a certain level of knowledge is expected of you. And whether it is customary to ask about the price and, if you decide to buy, to discuss a possible discount.
All the more reason to take a closer look at the galleries and their organisation, and to explain how they work and their expectations. Firstly, it is important to know that a gallery collaborates with the artist. In other words, the gallery does not buy the art, but offers a platform. If the work is not sold, it returns to the artist. This means that the risk is shared, on the understanding that the costs may differ.
The monthly costs incurred by the gallery in terms of rent, storage, insurance, personnel, administration and marketing continue, regardless of revenue. Trade fair stands and the associated transport and staff are other costs incurred by galleries. That is why a 50/50 division of sale proceeds is in itself a reasonable distribution key. That is, if the gallery actually supports the artist, such as by participating in fairs or online platforms.
Perhaps even more important is contact with museums and corporate collections, both nationally and internationally. This takes a lot of time and effort, but does generate attention for the artist – and with that an increased chance of participation in non-commercial exhibitions. This in turn provides added value for the artist and his or her work, but also entails new, creative challenges for the maker. The more attention an artist captures, the more important he or he becomes for galleries, so this is a focal area.
It goes without saying that galleries would like to welcome seasoned collectors and art professionals, but they are also interested in new audiences. The goal is twofold, namely to sell (now or in the future), but also to bring art to the attention of a wider audience. However, a gallery is not a museum, so receiving too many visitors is at the expense of individual attention.
Levi van Veluw, In the depths of memory, 2023, courtesy Galerie Ron Mandos (photo Michèle Margot)
Art must be seen
This view is shared by Sebastiaan Brandsen, senior director at Galerie GRIMM. To enter his gallery, you first need to ring the bell at the stately canalside building on Keizersgracht. At first glance, the location is therefore not very accessible. But GRIMM is open to all visitors, including those who just want to take a look. Because, says Brandsen, “Art cannot exist if it is not seen.” Apart from that, the gallery wants to offer visitors a special experience, for example by taking the time for them, providing information and answering questions. That is challenging when there are large groups of people inside. The bell system helps to maintain the desired atmosphere. “We also hope that word of mouth will help more people find their way to the gallery.”
Outside visibility is also limited at Galerie Fons Welters. The entrance on Bloemstraat is a work of art by Joep van Lieshout. It is a striking interruption of the street scene, while at the same time completely depriving you of a view of what is happening inside. The space behind the façade turns out to be surprisingly large. Nick Terra, director of the gallery, has a clear vision: “The gallery is a space that offers a platform to artists you believe in. Not only to sell – that's a means to keep running the business. My goal is to make art accessible to the public and to appeal to people with it.”
It is important to Terra that interested parties feel welcome. He also considers the as a place that facilitates research: there are books ready to be leafed through and questions are gladly answered. Because knowledge translates into understanding, and therefore longer viewing pleasure. A comparative study at various galleries offers clear insight into what the art market has to offer and how the 'system' works. It also makes clear that each gallery has its own focus and therefore its own identity.
Michael Bailey-Gates, Ethyl Eichelberger Angels, 2019, archival print op rag baryta-papier, 76,2x58,4cm/ 114,3x87,6cm, courtesy The Ravestijn Gallery © Michael Bailey-Gates
More than just looking
Upstream Gallery, for example, specialises in digital art. Founder Nieck de Bruijn is well aware that the emergence of this art movement – and NFTs in particular – means a radical change in how art is experienced and that this raises many questions. That's why Upstream devotes considerable attention to explaining it. The gallery does this both online through its website and by organising events. The reason is that, in addition to representing a specific artist, the gallery also wants to serve as a knowledge centre for the entire digital art movement.
As an arts consultant myself, I also notice that there are many prejudices when it comes to digital art. This is mainly due to its association with crypto currencies and hyped NFTs that are traded for commercial reasons, such as the Bored Apes. That’s a shame, because at the start of a new art movement, in which groundbreaking developments follow each other in rapid succession, it is challenging to make a well-considered analysis with sound knowledge. This provides better insight into the subject, but also into the zeitgeist in general. All the more reason for the gallery to make its experience and knowledge accessible.
The Ravestijn Gallery, which specialises in photo-based art, is a gallery that values this message. The majority of the artists this gallery represents focus on diversity within society, both its vulnerable side and the consequences of human behaviour. The photos are often the creative result of specific research or intended to draw attention to specific situations. Such art provides insight and makes you think. The main objective is for the work to be seen because, after all, without viewers, the message is lost.
Looking at art and developing an understanding of both form and content gives the mind creative freedom and positive energy. That is why it is important to see art without buying as a goal. If this is the case, the only measure you apply is what you like, while art can mean so much more. Such an attitude can therefore limit your experience.
Melanie Bonajo ‘When the body says Yes’, Big Spoon, 2022, ultrachrome print op Canson Lustre, 62x110cm, courstesy de kunstenaar en AKINCI
Renan Beunen, co-owner of AKINCI Gallery, also sees the importance of the combination of showing and informing. AKINCI's exhibitions are museum-like. For the artists involved, the underlying concept of the work is just as important as the form – sometimes even more important. Providing background information is therefore essential. And that's exactly what the gallery does. “Selling is necessary, but displaying work in museums, biennales or having it on display at the Documenta is our main motivation. We want to meet the need to take the time and have more information before buying. We also sell more to institutes and museums than to private individuals. Most of our time is spent on properly highlighting our artists with this goal in mind. We work together with our artists, while simultaneously acting as their agent.”
A prime example of how the gallery can act as an agent is AKINCI'S guiding Melanie Bonajo during the 2022 Venice Biennale, when Bonajo was selected to represent the Netherlands. Beunen comments, “During the Biennale, we were Melanie's back office so to speak. But afterwards, when a whole stream of exhibition requests erupted, it was especially important to organise everything properly and to supervise it with and for the institutes showcasing her work at various locations around the world.”
Francesca Mollett, Folding Tide, 2023
Dare to ask
It goes without saying that a gallery cannot survive if it does not make money. Moreover, revenue numbers are also an indicator of what people are willing to pay for an artist, which in turn is reflected in the rise in asking prices. The more attention devoted to major players in the art market, the higher the prices. Nevertheless, galleries will make every effort to keep the prices from rising too quickly. It is important for the artist and therefore also for the gallery that work is supported as widely as possible and remains accessible to both the public and museums. Except, of course, in the extreme cases in which the demand is greater than the supply. The gallery and artist then decide who is ‘allowed’ to buy the work.
In order to understand what determines price and why something was made and what the artist wants to tell, it is therefore advisable to see as much art as possible, including in galleries. And the following applies: dare to ask questions. Not only about the asking price, but also the artist's resume, in order to gain insight into his or her track record. As well as in terms of the work: what does this work mean and where does it fit within the artist’s oeuvre. And if you then decide to buy, asking for the 'best price' is not uncommon. Although it is not encouraged and there are no hard and fast rules, discounts are certainly negotiable in the art world. If a lot of time and work has preceded production or expensive materials have been used, the chance of a discount is small. The gallery will also be more inclined to give a discount to loyal customers than to first-time visitors.
In summary, a gallery has its own function, which is difficult to compare with any other industry. In fact, the gallery fulfils the role of shop, exhibition space and agency at the same time. This tripartite division is clearly visible at Ron Mandos Gallery, a gallery which optimally uses its large space on Prinsengracht. The exhibitions are spectacular and no time, expense and effort are spared to create a museum-like show with the artists. In addition, the gallery spends a lot of time providing information, both to visitors in the gallery and via social media and, for example, by organising art talks on Sunday afternoons. Without further obligation. So, don't hesitate to visit a gallery. Whether you are only browsing or interested in learning more or possibly buying, it won’t cost you anything.
Jeannette ten Kate is an art consultant in the global art market, founder of The Art Connector and director of The Arts Club and International Arts Club. She has worked at Sotheby's and Glerum Auctioneers. She has also run her own company, artconnector.nl, for the past 20 years.
