Marketing Mondays: The Vanity Gallery

..
[Update 3.17.10:
After consulting with an attorney, I have decided to reinstate the name of the venue, Ico Gallery, now located in Chelsea.]

I recently got a cease-and-desist e-letter from a pay-to-show venue in Tribeca threatening me with a lawsuit for slander. It reads in part:

You know nothing of the gallery business. What you teach your students and have posted online is fantasy. It is slander, and if you do not remove our information immediately, we will contact the university and the server of your blog and initiate a lawsuit.

It is unfortunate that so many people are subject to the delusions and propaganda concerning the gallery business, vilifying the very people who are making a difference in the art world today. Do your homework rather than spewing lies. Do you claim to know how prominent gallery's are doing business? You are guessing; shame on you!


Why the letter? Because I posted, on a blog I created for my students, a caveat about vanity galleries, including their letter soliciting business.

Here's how I responded to the gallery: It's not slander if it's true.

In the interest of journalism, let me share with you some of my teaching-blog post along with the essence of their offer. I have removed their name from the letter, which means they cannot actually claim it as their own, which means I have violated no "confidentiality." I have posted a short list of vanity galleries at the end of this post without commentary.

Me:
As we discussed in class, a "vanity gallery"— so called because you pay to show—typically solicits the artist. There is always a financial charge to the artist, typically to be paid up front to the gallery. This financial arrangement distinguishes the vanity gallery from a commercial gallery, which does not charge the artist to show. Below is an example of a vanity gallery's offering to an artist. It was sent unsolicited to a friend of mine.

I have never heard of this gallery, nor ever received an e-mail from them (and as an art blogger I get A LOT of e-mails from galleries). Their "press" page consists of images of the gallery's advertising in various publications. Normally "press" constitutes reviews of the exhibitions. Note particularly the items in red.

Them:
Dear ______,

We recently reviewed your work online and would like to consider you for an upcoming group exhibition at X Gallery. In exchange for your assistance in paying some of your promotional costs, we will feature you in a show here at X Gallery as well as promote your work in print and online for up to 1 year. If you are interested in discussing this opportunity further, I can put you in touch with the gallery Director or the head curator. Details regarding specific exhibitions and marketing plans should be discussed directly with them. Also, we are not negotiable regarding marketing expense or our commission.

Opportunities for solo or small group shows can also be discussed with the director on an individual basis. This letter is not an opportunity to exhibit; it is to express our general interest in working with you.

Gallery Compensation: 50% commission on all sales
Gallery Advertising cost due up front: $2,500

There's more, but you get the picture. No wonder they were concerned that I was commenting on their practices. I'm guessing they don't want to lose their clientele. And they're not alone; there are other galleries with similar arrangements. New York artists know that pay-to-show galleries have no credibility here. Get, say, 20 artists in for a group each month, and there's 50 large to pay the bills, the staff, the gallery expenses. Why bother to sell anything? The money's been made. The galleries are then free to spend their time and effort soliciting the next batch of artists for group--or "solo"--shows.

Legitimate commercial galleries assume the cost of showing an artist's work. They do not solicit for artists; they receive plenty of submission packages.

There are situations in which artists may legitimately pay to show their work—such as the entry fee for a juried show, or membership dues to a co-op gallery—and these options come with some benefits.

. A good juried show (I'm thinking of the annual NYU Small Works show, for instance) attracts a good juror, tpically a New York dealer, critic or curator, and the possibility for networking at the opening. Some artists have found representation, or inclusion in gallery exhibitions, as a result of the exposure.

. The co-op gallery, which typically requires a membership fee, dues, and time requirements, is as the name implies, cooperatively owned and run. You don't give your money to an owner; you are a part owner. Co-op membership comes with a built-in community of artists and an opportunity to present work that doesn't have to be commercially viable. Both can be good opportunities for an emerging artist. Many artists have moved from co-ops to commercial galleries (this is true of gallery directors as well).

Another gallery I know of that solicits artists in a pay-to-show arrangement: Agora Gallery.

Others advertise regularly in the classifieds of the monthly art magazines. The websites of these galleries may not post the financial arrangements, but you you can confirm for yourself the financial nature of the arrangement by letting them know you are "interested" in showing with them. They will lay out their terms.

And check out my blog post, An Offer I CAN Refuse, about a solicitation I received from Gallery Gora in Montreal.

While we're on the topic, who else has received the "invitation to exhibit" at the Bienniale Internationals Dell'Arte Contemporanea in Florence, Italy? Gilbert & George, Christo and Jeanne-Claude, David Hockney and Richard Anuskiewicz have received honors in previous editions of the fair, and Marina Abramovic will be honored this year. The hoi polloi, the not-so-famous artists may participate for the fee of E2700, or something over $3000. Hundreds, I mean hundreds--of artists participated in 2007. An average of 500 artists at 2700 euros is, let me see: one million three-hundred-fifty thousand euros. Nice take. Image from www.florencebiennale.org

Am I being cynical and suspicious? Has anyone participated in this? Please share your experience. Any encouragement or caveats for this blog's readers?

And in general, I encourage you to share what you know for this post. Has anyone ever found themselves in a pay-to-show situation? What was it like? Who has been solicited by a pay-to-show gallery? Do you know of other pay-to-show galleries here or in other cities? Feel free to post anonymously if you're uncomfortable with the topic but have something to say.

.

An Offer I CAN Refuse

Click here for The Artist as Curator, updated with pictures and review

So it's not enough that I get unsolicited e-mails for Viagra and penis enlargements. Now it's one for career enlargement. Talk about getting dick.

Here's the opening line from Galerie Gora (www.gallerygora.com): "We have viewed your work and would like to offer you an opportunity for an exhibition of your work in Montreal, for the year 2007/2008."

Umm, hmm. An unsolicited offer from a gallery that I've never had anything to do with? From a gallery that trolls for artists in the classified ads of the art magazines? Let's look at their "opportunity" on the Con-O-Meter, shall we? I've excerpted some of their "Terms and Conditions" in red.

. They want money to show your work. . . . (The fee for a solo exhibition is US $2,400.00 to cover gallery expenses. The fee to take part in a group exhibition is $250.00 for first work and $150.00 for each additional work...Please send to the gallery: Completed and signed application, International bank/postal money order or bank transfer. You will then receive a confirmation, an exhibition date and other related information....The balance of the fee is payable 5 weeks prior to the exhibition date. )
And how many "solo shows" will they install at one time?
. . . .needle skipping over Legitimate and jumping straight to Con

. They expect you ship it to them at your expense. . . (Artists are responsible for all shipping fees and procedures to and from the gallery door.)
After they've taken over two grand from you?
. . . needle heading from Con to Rip Off

. They expect a commission if the work sells. . . (The gallery takes a 10% commission during the 3 week exhibition.)
Sounds like a nice low commission, but where's the incentive for them to actually sell anything if they've gotten their money up front from you? Ten percent of nothing is, um, let me calculate: Nothing.
. . . . needle heading from Rip Off to You Can't Be Serious??

. You need to retrieve the work within 10 days after the show ends. . . (If the work is not retained for representation, it must be picked up from the gallery within 10 working days following the end of the exhibition.)
And why should they retain it for "representation" when they can bring in a new batch of paying artists?
. . . needle heading from You Can't Be Serious?? to You're Effing Kidding Me!

. They assume no responsibility for the work. Ever. . . . (Gallery Gora will take every possible care for the safety of all work; however, Gallery Gora or its staff is not responsible for any loss or damage of any work, during shipping, storage, on exhibit, at art fairs or at associate galleries.)
They take take no responsibility for the work even after you pay to ship it and show it?! Out of the money they take from you--which they say is to cover gallery expenses--they can't provide insurance? Insurance is a gallery expense.
. . . Con-O-Meter needle heading straight to Ninth Circle of Hell

Wait, there's more! (Gallery Gora also offers: Custom framing, Publication of artist catalogues and posters. For a price quote or for more information, please contact the gallery.)

And more! (Advertising options are available at extra cost. )

I'll pass on the extras and the options. In fact, I'll pass on the whole offer.
Comments welcome!