Artist Career Paths: Art Galleries vs. Social Media (Unveiling the Truth)

On this platform, we have given practical and industry-approved career advice for artists to increase their chances for success. However, there is more than one way to be successful, and different goals result in different career paths. Before we expand on these career paths, please note that the most important thing is to follow the path that feels right for you. However, due to many misconceptions, false information, and some very worrying trends that are incredibly harmful to artists, I found it of the utmost importance to write this article, discussing the bitter truth and dilemmas an artist faces regarding their journey and career.
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👨 About the host Julien Delagrange:
Julien Delagrange is an art historian, contemporary artist, and the founder and director of CAI. Delagrange studied Science of Arts at Ghent University, Belgium, and worked for the Centre for Fine Arts (BOZAR) in Brussels, the Jan Vercruysse Foundation, the Ghent University Library, and has contributed to the international contemporary art scene as an art critic, lecturer, curator, gallery director, consultant, advisor, and as an artist. As an artist, he is represented by Galerie Sabine Bayasli in Paris, France, and Gallery Space60 in Antwerp, Belgium.
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→ To empower artists by providing adequate and industry-approved advice for artists for long-term success in the highest realms of the art world, sharing inside information and proven strategies based on real-life experiences in the art world.
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Table of contents:
00:00 - Introduction
00:45 - A Polarizing Discourse of Gallery Representation versus Self-Representation
03:09 - Disclaimer: Do What Feels Right for You
04:03 - Q: Why Should I Care About Art galleries?
05:51 - The Pros & Cons of Art Galleries & Social Media
13:53 - A Worrying Trend
17:02 - Round-Up
17:44 - More Information
17:56 - Outro

[@MegaZidzid]

Success of gallery sales is mostly predestined by 1.vocal/social abilities of artist or exhibition's curator, and 2.quality of alcohol drinks. If an exhibition lacks those two, internet is much better option

[@contemporaryartissue]

Sounds about right 😂 On a more serious note, I would also add the location of the gallery, the number of years the gallery is in business, the time of the year (preferably spring or fall), and of course, the work itself.

[@timeenoughforart]

After I realized I had seen 7 galleries close on me in ten years, I became much more sympathetic towards galleries. They earn their 50%. Time wise I easily spent just as much time selling a piece as I did building it. Worse was all the time I wasted trying to sell stuff that still sits in storage.

[@quarkycharmedart]

I feel like your channel might single-handedly be saving my art career before I even get started. Thank you for this content. I studied physics at MIT, not art, and I know next to nothing. Your channel and website have been so incredibly as resources for recommended reading, strategic steps in experimentation and learning, and explaining the art world to a socially inexperienced beginner. I am so excited to begin delving into this alternate side of my passion.

[@LuizArduiniDesign]

Another extremely informative video where the hammer comes down to settle the debate with the truth. For real, ever since I started watching this channel I have taken a whole new approach and perspective towards the art world and being a serious artist. The amount of clarity and direction this channel provides is incredible and indispensable. Thank you for the work that you do CAI 🙏 I also really do foresee a shift in the near future where as much we grow ever more dependent on technology, there’s a major purge from tech all together looming in the future. And, it certainly stems from the major demand to connect as humans face to face as you mentioned in the video. This shift in consciousness will happen due to both economic forces and psychological needs.

[@contemporaryartissue]

Thank you for tuning in and for your most kind words. I am delighted to hear you enjoy and appreciate our publishing activities and efforts. Big thanks! I agree with your statement; many aspects of the art industry require some rethinking and repositioning in order to survive, yet our inherently human desire to connect with people, objects, and experiences will outlive any trend or technological development. Have a great day!

[@EARSOC]

I just want to congratualate and thank you for providing this actually useful information. For years information like this was impossible to find outside of books and professors. Its great to finally have someone like you sharing this information

[@contemporaryartissue]

Thank you so much for your most kind words. I genuinely appreciate it and I couldn't agree more. It has become a personal mission to fill this gap and lack of adequate information, so stay tuned :-) Have a great day!

[@normapadro420]

Hello. This is the reason why I am an independent artist. I wanted to share my work with the world as soon as possible. I couldn't wait for anyone's approval, or pay to get publicity either. Creating art is difficult. Having anyone tell you that it's not good enough is devastating.

[@leststoner]

Best way to go.

[@veronicavleck1704]

Thank you so much for yet another superb video. I greatly appreciate both your work and your guidance. You are the best! I hope that you are having a lovely summer.

[@contemporaryartissue]

Thank you, Veronica; summer has been great indeed! The pleasure is all mine and thank you for following the channel and your most kind words. I appreciate it!

[@RonaldGosses]

AWESOME! Thanks for showing.

[@dv-artistdavidv.828]

thank you for summing this up so nicely.

[@contemporaryartissue]

The pleasure is all mine!

[@MrElenaArt]

Thank you so much for the honesty. I found a difficulty to find such info when I studied at fine arts accademy and after. It seems everything to be very secret and I struggle with a paranoia about what to do.

[@contemporaryartissue]

The pleasure is all mine. At art school, there is definitely a tremendous lack of adequate information you need to start your career the right way after graduating. Online, there is so much false information, bad courses, and conflicting information as well. Feel free to use all the information (articles, tools, videos) at www.contemporaryartissue.com/advice-for-artists/ as your main source of information. There is a lot more to come as well!

[@iCamSkiEz]

Just happened to find this video and I really appreciate it, great stuff mate

[@contemporaryartissue]

Big thanks! Appreciate your most kind words sincerely 🙏

[@adriennehein]

The best channel! CAI has taught me so much about the art industry I always look forward to watching new videos.

[@contemporaryartissue]

That's wonderful to hear. Thank you for following the channel and wishing you all the best!

[@newfineart]

To be, and stay successful as an Artist, you must ADAPT to the market. Your career has a short-term market and a long term market.

[@contemporaryartissue]

Spot on! Understand, adapt, act. Short-term results are most helpful-if not, necessary-to pursue long-term success. Thank you for tuning in!

[@newfineart]

@@contemporaryartissue You're most welcome Julian. Your videos are stylish, educational and full of insights in to the Art Market. This video in particular was especially useful because it highlights a reality check for a lot of Artists, namely that their a lot of us trying to make a living from our creativity. I have over thirty years under my belt as a self-taught artist and I'll admit that I never made it as a "successful" artist, mostly because I'm not financially driven and just love spending my time painting and creating. The best advice I could give any aspiring Artist is to make sure you have a day job to pay the bills and keep a roof over your head. Practice, practice, practice until you are confident in what you do, then do pictures for friends until they run out of wall spaces to hang your stuff on. Attend local art groups, show your face and listen to other artists. When you start doing commissioned work for people and they like your stuff, try to keep in touch with those former customers to see if they would like to increase their collection of your work. Really important is to remember to have a life away from your painting/drawing/creative to gain perspectives on your creative output. Do make the most out of the techniques mentioned in this video with regards to building a brand online, they do take time to get going, but consistently creating good looking art and keeping your followers informed does work. There is always consolation in knowing that your works will be viewed and admired for a long time, regardless of what recompense you received for it. Your work will outlive you and although the future is not written, it will definitely include multiple samples of the creativity you conjured in your short existence.

[@DanielLopes-kv4sp]

Yes keeping options open. For me it’s word of mouth/build it and they will come. Understand I only have so much money. I can’t afford dealing with a gallery right now. Or social media. They are a distraction. Period. Understand change will come I have to be ready. However one must have the work when a change happens in one’s favor. I must have the work. And able to get it where it needs to be. This takes money. Work is king and good work, consistent work. Same direction same quality is king. You know you understand that. Understand everything must be met with work. I focus on your video on finding what is unique in my work and bringing that out. Difference matters being true to that difference matters even more. That I arrive to it organically. That kind of arrival is king. Superficial stunts and tricks do not lead to further breakthroughs. The work must grow in honest fashion or it becomes contrived and stilted. Work, work, work and if nothing drops. Then the enjoyment of making the art, of experiencing the journey is a worthy life purpose.

[@ItsJiDayy]

Thank you! Semantics and the landscape always prevented me from engaging people with my art as much as I wanted to. This provides another perspective

[@contemporaryartissue]

Wishing you all the best!

[@lukejackson4964]

a very useful breakdown! I really like how free it is of the usual hang-ups people have (myself included unfortunately) regarding the Gallery system. In the end, it has taken me years to grow past my knee-jerk reactions against the gallery system and see art dealers as simply people who are also passionate about art and have chosen a very risky and very tough business in which to exercise that passion.

[@contemporaryartissue]

"art dealers as simply people who are also passionate about art and have chosen a very risky and very tough business in which to exercise that passion." Exactly! Thank you for tuning in and wishing you all the best

[@mikeykay5517]

Thanks for the all the help

[@contemporaryartissue]

The pleasure is all mine; thank you for watching!

[@r-cdmx]

Excellent, as always. Thank you. 👌🏽✨

[@contemporaryartissue]

The pleasure is all mine! Happy to hear you enjoy our videos 🙏

[@ErikMKeller]

Very insightful. I would add one thing to the social media discussion, though. As an artist, you are at the mercy of the platform. X suspended my account without warning and, naturally, without giving me a reason. In short, I lost the community I built in the last 15 years. On the bright side: I'm preparing a solo exhibition right now.

[@deroux]

Great video. Clear and concise.

[@contemporaryartissue]

Thank you for watching, the pleasure is all mine!

[@tonyp333777]

Amazing video . Thank you so very much I’m currently researching galleries and this video is pivotal in my emergence into the art world

[@contemporaryartissue]

The pleasure is all mine; happy to help! Wishing you all the best!

[@achaoachao3091]

Many thanks for the wise advices

[@contemporaryartissue]

The pleasure is all mine, many thanks for watching!

[@ivancal123]

Great and relevant content. CAI never disappoints, very insightful information from a professional point of view. Thanks so much for sharing your perspectives.

[@contemporaryartissue]

The pleasure is all mine, thank you for tuning in and for your most kind words!

[@chumaanagbado]

Insightful, as usual.

[@contemporaryartissue]

Thank you! 🙏

[@AGcreations777]

Superb take on the topic. Very much right on the money. Great video

[@contemporaryartissue]

Thank you, I appreciate it. Have a great day!

[@jamesfblaisjr]

Once more, CAI gives clear, thoughtful, concise, and actionable art career-development insights that untangle art marketplace dynamics which especially benefit aspiring artists (like moi). Thank you.

[@contemporaryartissue]

Thank you, James, for tuning in and your most kind words. I appreciate it. Wishing you all the best, and stay in touch!

[@Giorgi_Gabiskiria]

You're on the mark with your insights. Lately, I've been debating within myself the balance of quality versus quantity when it comes to social media content. Undoubtedly, maintaining a distinct and individual representation of your art holds greater value, especially if your aspirations lean towards collaborating with galleries and high-end institutions. I appreciate that our perspectives on the contemporary art world really match. Indeed, today's art world is full of unwritten art rules, which can be a bit annoying, road by road, mostly for young emerging artists.

[@contemporaryartissue]

Thank you for tuning and for sharing your relevant thoughts concerning this topic. I am more than happy to continue demystifying those unwritten rules with CAI and make them publicly accessible, empowering artists who are currently "outsiders" and give them an honest shot for success. Have a great day!

[@jawadkazmi8856]

​@@contemporaryartissueI'm not sure what to do as a new "outsider artESt!" As I'm not even sure if I'm unique enough to be origina! 🎨🖌️🤔🤬 I've been labeled with words that even confuses my personal lexicon and that's scary. I've just started painting oils now & lately with mixed media. Started after work last November. Where to $ell? where to go? What to do?! Thanks for all your videos no matter how much $hit they leave in my wake😂❤ GOD BLESS

[@DanielLopes-kv4sp]

I agree with CAI’s vision of art galleries pro’s and con’s. That your vision includes a resolve of the con’s. That your vision understands the pro’s of galleries. Acceptance of a internet where art possibilities thrive-must be explored.

[@ifychiejina1292]

Thank you for this video! It was very informative.

[@contemporaryartissue]

Dear Daniel, thank you for tuning in once more! Yes, once more, there is a play of balance here for artists. Have a great day!

[@contemporaryartissue]

@@ifychiejina1292 The pleasure is all mine!

[@iliketrees8708]

Okay thank you for the response ;) I guess as a solely digital artist, I guess I'm out then anyway, but good to know. Keep up the good work.

[@contemporaryartissue]

Feel free to pick up a brush-you might enjoy it more than you expected. Thank you for tuning in, and have a great day!

[@justinyuvilla8944]

VOLUME MAN!

[@spectrem]

I’m so tired of social media but there are very few galleries within hours of me 😢

[@monicalopezpinzonart]

Hello, thank you for the video. You are addressing a very universal concern for artists. I think another way to see it is: don't put all your eggs in one basket. Have a good one!

[@contemporaryartissue]

Yes, absolutely! Keep your options open and adapt. Have a great day!

[@chrislethbridge1759]

Very insightful video - as always. Those who are evangelical about online platforms tend to proclaim the death of more ‘traditional’ practices, however screens are by definition restrictive and there is no substitute for the physical experience of encountering an artwork, it’s not purely image, it’s scale, texture, depth, even smell. Art is an actually a multi sensory experience. As you mentioned, a good gallery also confers critical endorsement on an artist, bringing to the table networks of not just collectors, but writers, curators etc. I see social media as a means to add value to existing forms of representation and enhance an artists’ presence, as a way to pique interest and generate further investigation. Social media on its own can be very self serving and insular. It’s lazy in that it requires the viewer to do all the work. To give you an example, I purchased a work from an emerging artist whose recent career trajectory (I understand) has begun to take off successfully. However, despite having invested, I have no idea when or where he’s showing and receive no communication. As he has made the assumption I’m not a wealthy collector and have little industry influence, the onus is entirely on me to keep track of him via Instagram etc! I find this quite common among artists, however such a passive approach is no way to build a supportive and consistent network with longevity.

[@fremont111]

I also bought a piece of art from a fairly well known artist and she has the gall to ask her followers on IG to pay for her Patreon in order to get updates on her work. Hey, I just bought a fairly expensive piece of your art, can I get on to your newsletter or Patreon without having to attach a credit card? It's weird out there...

[@contemporaryartissue]

Hi Chris, thank you for tuning in. A very interesting and relevant comment! Art is indeed a multi-sensory experience, but-as you have illustrated with your anecdote as a collector-it is also making an emotional connection with the artist or the collector in question. A cold and online sale without a real connection will probably almost result in a singular transaction between both. Whereas when you have a chat, take care of your collectors, connect with them on a personal level, and stay in touch, a long-term relationship of promotion and purchasing can emerge. The Art Basel and UBS Art Market Report have shown that maintaining relationships with existing collectors is the main priority of successful art galleries. And I believe artists should do the same; because why build an audience if you don't maintain it? Very interesting chat once again, thank you!

[@contemporaryartissue]

@@fremont111 Very interesting anecdote; thank you for sharing! I couldn't agree more. A collector shouldn't have to pay to stay in the loop-it's ludicrous. Thank you for tuning in!

[@chrislethbridge1759]

@@fremont111 Definitely the wrong approach, cheeky!

[@chrislethbridge1759]

@@contemporaryartissue In this instance the artist in question worked at a studio complex I was managing and who had regularly come to me for professional advice! So definitely bought direct. It’s not malicious of course, just lacking in thought.

[@Johniwhite]

Thanks for the interesting talk. May I ask a stupid question? Is it ALWAYS necessary get pictures expensively framed before a gallery will hang them for sale? I see works by Ben Nicholson with hammered together home-made frames from cheap wood, I see new works in major public galleries without frames at all. Is it just less risky to offer them for sale without nice frames? That icing on the cake. It's just that, yes, commercial Galleries must make money or die like any other business - but the cost of framing on top of the 50% commission is a real turn-off for many artists.

[@contemporaryartissue]

Hi John, thank you for tuning in-and there are no stupid questions, so feel free to ask anything. Concerning the expensive frames, the answer is no. It is not necessary, but it kind of depends on your visual identity, your medium, and also the aesthetic and consistency you're pursuing. For instance, painters will often leave the edges rough, white, or showing the undertone. Others will create artist frames. Others will frame their works on paper in a glass frame, and others will mount them onto panel. The most important thing here is that you do this in a consistent manner and that the final object exudes quality. For instance, leaving the edges untouched works if you work on thick 2 inch stretcher bars, but it will look cheap on 1 inch stretchers. Painting the sides most often looks cheap, so this isn't a solution either. If you work on paper, then you must do something when it comes to the presentation because a piece of paper on the wall does not exude high-end quality and has not enough physical presence. So try to find your own formula of presentation and make sure the object-quality is strong. Hope this might help!

[@tasrijatnika1946]

Definitely it's current issue, thanks for video, CAI making civilization much better and truly logic :))

[@contemporaryartissue]

The pleasure is all mine! Thank you for tuning in and wishing you a great day!

[@dr_shrinker]

Great video

[@contemporaryartissue]

Thank you for watching!

[@jenne3594]

Can you do both? Be in galleries with one series and maybe offering another series on your own website?

[@bijouxcreateur94]

9:00 as far as video reels on Instagram are concerned the average view time of an Instagram reel is between two and four seconds. There is absolutely no way to build an audience with that.

[@contemporaryartissue]

Totally agree! It is a fleeting and superficial engagement and, thus, very ineffective with a historically low conversion rate. This weekend, we'll be discussing Instagram and strategies on how to use it in the best way possible. Feel free to stay tuned!

[@masker9885]

Im just confused on one thing, if I have a social media presence, say a 100k followers and if I sell my work on Instagram, so if I made a post saying like how much this piece goes for and someone messages me etc. and I end up selling it, then would I still be able to work with a gallery? Or would I have to stop selling online while I’m working with that gallery, but then wouldn’t it be unfair as in if I sold a piece online for say 500$ but then the gallery wants to sell it for more then how does that work exactly? If I sell online am I basically just cutting all opportunities of ever making a career as a gallery artist

[@meezanlmt]

Interesting

[@contemporaryartissue]

Thank you for tuning in!

[@mangeshbhoir7782]

Nice video👌

[@contemporaryartissue]

Thank you for tuning in!

[@donwesleystudios9636]

Viewing art via social media is like looking through a keyhole at it. In person it's always much better or at least different. What interim methods are there to get art physically in front of people (not yet collectors) that doesn't look desperate or thirsty. Shorter: How to show work physically before you make it into a gallery of importance?

[@contemporaryartissue]

You're absolutely right and an important question. You can't force people to see your work in the flesh, nor should you ever impose it to people, yet it makes all the difference. I believe a good documentation of your art including exhibition views can give a hint of how the work could feel or look. Submitting your art to awards or by hosting your own exhibition are other strategies to show the work in the flesh. Wishing you all the best!

[@NateBear]

Are there any good examples of artists making jump from online to gallery world? Is there any kind of art that just wouldn't work on gallery works no matter how good?

[@contemporaryartissue]

There are many artists who were, for instance, very popular on Instagram, resulting in quality gallery representation because they proved there is an audience and market for their art. On the other hand, there is a lot of art that works well online but would never get into a serious art gallery; for instance academic figure drawing, digital illustration art, old master landscape painting, the typical "hobyish" textured abstracts, et cetera. Hope this might

[@alexanderm6458]

@@contemporaryartissue I would love to hear more on exactly this! Can an artist represent himself online and sell directly to collectors with open pricing (at least in the beginning as he lacks gallery representation), and still be considered to work with high end galleries in the future? Asking for a friend $-)

[@jazw4649]

I'm here for the stark white hallway and black door handles

[@contemporaryartissue]

😂 I love them for sure!

[@magnuskarlsson8655]

Does the top gallerists like Gagosian and Zwirner really care about an artists social media presence, e.g. on instagram, enough to actually consider representing that artist? I'm asking because popularity doesn't necessarily translate to quality, and the client base through which an artist becomes popular on instagram doesn't necessarily translate to the client base who can afford to buy art from artists represented by Gagosian or Zwirner.

[@contemporaryartissue]

Hi Magnus, great point. The established galleries don't care that much, or at all, about how many followers you have. Some established artists don't even have an Instagram account. It can help at the start of your career to enter smaller galleries however. Thank you for tuning in!

[@chiara_smirne_artist9827]

And what about online art gallery like Saatchi gallery, Singulart, Artfinder, etc.? Where they can be placed in your analysis? thank you so much for your videos

[@contemporaryartissue]

Great question, this is something we have talked about frequently as well on our channel. For instance our video on the different career paths and on how to make money as an artist. Both videos are linked in the description. Have a great day!

[@chiara_smirne_artist9827]

Thanks again. I'll watch all of them soon. Have a great day! @@contemporaryartissue

[@bijouxartjewelleryundkunst4429]

6:00 Rarely does a gallery represent one artist unless the gallery belongs to an artist. Galleries can represent tens if not hundreds of artists. Some of these artists can be either short term or long term relationship. Biggest problem is that most artist submissions are not properly reviewed or are not answered at all. Some of that work may be from unknown but very skilled and very talented artists. Too rarely galleries try new work. Too rarely galleries publish art submission information. If in fact there were not enough galleries or that there are so many artists with galleries not having enough space it would be no problem for the already established galleries to expand and to make more space available for more artists. Not just cities but small affluent towns and affluent tourist towns can also have galleries. Palma de Mallorca Spain, St. Paul de Vince France, Eze France, St. Ives UK, Maastricht Netherlands, Knokke Belgium Ghent Belgium where rent and living costs absolutely don't have to be anywhere near like the larger cities. In the US there are small towns like Asheville and Chapel Hill in North Carolina which have art galleries. It is not necessary for an artist to be in top known galleries in New York, Paris or London to make a career. Submitting work to top known galleries is impossible. Submitting work to less known galleries very hard.

[@contemporaryartissue]

If I would review all submissions for CAI Gallery thoroughly, I wouldn't get any work done. It is simply too much for art galleries and it is not fun at all to turn so many people down. Feel free to run a gallery and give it a go, you'll quickly notice the struggle is real. Feel free to watch our video on cold-calling art galleries for more information

[@bijouxartjewelleryundkunst4429]

@@contemporaryartissue The solution can be very simple. Submission guidelines can be posted on a gallery's website saying what is required, what kind of art can be submitted, and / or if submissions are taken or not taken or when they are taken. The web is invented to improve communication and not to suppress it. Yes if I had a gallery I would try exactly that which would be a better idea than to practice ignoring thousands of artists sending submissions without most if not all of them not being answered.

[@ShawNshawN]

the thing about the gallery route is galleries go out of business ALL THE TIME. You have to get into maybe 5-10 galleries before you have any gallery relevancy that is long-lasting. On the other hand, if you're on most of the major social media and develop an email list you have a better chance. By the way, quantity leads to quality over time anyway. You can't produce quality without having done a lot of art anyway. I think galleries will remain, but social media really is just another medium to sell in. Are you suggesting closing the art auction houses because they aren't galleries... no.

[@contemporaryartissue]

Hi Shawn, thank you for tuning in. I believe your comment doesn't contradict anything I said so it seems we are more or less on the same page. Yes, galleries are struggling to survive, as I mentioned around 14:21 yes, it takes a while following the gallery route, and 5 to 10 shows spread across a couple of years is fair hence; thinking in the long run, as discussed at 10:40 And yes, we advise to be on social media as an alternative route to sell work and build your audience, however, leaving your options open and not blindly following trends on platforms that will not last. I also agree in terms of quantity-as I discussed in our video on art style-however, this needs to be filtered personally instead of being shared online all the time. Create 100 or 200 works per year, but only keep your very best pieces. Kill your darlings to elevate the overall quality of your oeuvre. I don't understand the analogy that I would be suggesting to close auction houses. First, I am not stating we must renounce social media, literally, and auction houses are the secondary market, whereas we're discussing the primary market in this case. So I believe we're on the same page, but possibly I haven't formulated my message and key reflections clearly enough throughout this video. Thanks for tuning in and for sharing your thoughts!

[@Johniwhite]

Ah... but what if producing all of that lower - but rising quality work - and posting it online kills ones reputation before one becomes really good and saleable and critically appreciated?

[@duyhaitrandinh9928]

So sorry but I can not read your article on the website 😢

[@contemporaryartissue]

Hi there, I am sorry to hear something is not working. Please try using the following link: www.contemporaryartissue.com/artist-career-paths/ Thank you for tuning in!

[@margitx6483]

When established Art Galeries know that new artists can be helped with representation, why don't they invest in more low-leveled entry shows? In my opinion the treasure of Art Galeries is their network and by focussing on the established artists only they forsake themselves and their clients of new and more interesting art. And also the financial climate for the middle class isn't that great, people are sitting on their money because they expect a crisis. What could be the solution? Lower prices?

[@contemporaryartissue]

They do actually-there are a lot of established galleries offering residencies and so-called "lab" projects in which a small room or a single wall is designated for young and upcoming artists. On the other hand, they cannot support all artists and they have to focus on the established artists and the secondary market to remain relevant, competitive and helpful towards their clientele. If your clients want blue chip artists, well, if you don't show them, you'll lose them. Concerning lower prices as a solution for the financial struggles of the middle class, this would only mean the end of more entry-level art galleries. The struggle is real and we must adapt. Rethinking the city center art gallery to reduce costs, rethinking the competitive gallery model and investing in working together in search for financially synergetic collaborations, etc.

[@stojanovich]

as you said most big/medium galleries have a project space where they show upcoming and young artists, heck I myself am now showing in a space like that, wont say the name though 😂. The biggest thing I learned in my years navigating the art world is to take it slowly and to NOT get your hopes up. Things do happen, but it takes time, be patient, always!@@contemporaryartissue

[@user-vd9mh1mn9t]

Bansky needs a gallery？ Artists should have their own marketing strategies

[@TheNoblot]

art is science is alchemy is an art. However, when ignorance is strength and war is peace art is put aside and commerce and economy become the merchants of Venice art the naufrage ship and the artiste a future victim on the crucifix leading to an enslaved population rather than freedom that the artist hoped for the population.

[@guy_denning]

"industry approved"? - ahh... approved by the existing gatekeepers...

[@contemporaryartissue]

Industry-approved, as in tested and successfully approved in the art industry. Gatekeepers has a very negative connotation and we often hear about it in online discussions. However, who are the gatekeepers you are referring to? Yes, there are some very influential and elitarian so-called gatekeepers in the top layer of the art world; the director of MoMA, curators as Hans Ulrich Obrist, or gallerists such as Larry Gagosian. But they have nothing to do with your success or first exhibitions in the art world. The gatekeepers for the entry-level art galleries-to get your career started-are in the first place normal people, collectors and gallerist that take a natural interest in your work. Do not make any excuses stating the art world is a fraud and a small group of people decides everything and is holding you back. In the art world, there are 40.000 museums, 20.000 private galleries, and 100.000 art advisors, and they all have slightly different ideas about art and the art world and the bulk of these people are normal middle-class art enthusiasts.

[@martinreed549]

The world is rapidly changing galleries are age old institutions that at one time were the only place to put work in front of collectors, but they are now being replaced by social media which provides a equal playing field. Galleries have reputations and expenses that dictate there every move and this illuminates 99% of players. Yet most artists only believe they are successful if they are selected an represented by a gallery. The gallery system is not a fair system but counter productive to artist and the art world. You have mentioned in previous vidz that you tube is an absolute no no for artists wanting to be represented by a gallery yet you use it to create your channel and promote yourself isn’t this contradictory it’s working for you so why not use it for promotion purposes as an artist. Artists and artworks make sense but galleries foybles make no sense at all it’s a failing system that is hypocritical and inconsistent, if everyone painted there own art for there own homes it would be a more interesting world to live in.

[@user-ze1kb9wp1l]

For me 80% in galleries and 20% social media

[@jenne3594]

Galleries allow this?

[@aleksbellov]

Malevich's "Black Square" put an end to the depiction of reality and laid the foundations for the development of all contemporary art. Before the First World War, Hobbes' ideas reached their limit, as historians say, the spirit of war was simply in the air. 1911 Gioconda is stolen, the French blame the Germans for everything and France is going to declare war on Germany. The feeling of the inevitability of the approaching end was expressed by Malevich with his Black Square. In the future, his ideas will serve as an impetus for Victor Vasarely and the creation of a new style in Op-art art - on the basis of which all computer graphics are built. We are on the verge of discovering a quantum computer and light plays the main role here, so "Victory over black..." kzbin.info/www/bejne/d326aWCqmNGFfs0 is inevitable. ​

[@TheNoblot]

ART 🎨 Politique * Think of governments 👑👒 when you get a corrupt population you probably have a corrupt government when you have a corrupt economy you get a corrupt population & a corrupt government. Having philosophers as leaders of a nation when you have a corrupt population will only lead to a corrupt government when you have a well-educated population with integrity & honesty independent critical thinking you get harmony and an honest government becomes automatically the result of wisdom & civility. 🎑🧙‍♂✍🖼🎨

[@jjsc3334]

It doesn't matter if you have a degree, I have seen many BFA MFA artists make ugly trash garbage art.

[@BeMyArt]

He doesn't really knows how social media works 🤦‍♀️ Doesn't matter how algorithms changing if you already have millions subs💁‍♀️ all subs will see your content. And fan base gives you endless buyers source who like you and your style while in galleries money washing friends reselling each other "meaningful masterpieces" made of trash expressing a little uncomfortable events.

[@lisengel2498]

I love yourbasic advice: go for what makes your heartsoul sing 🎶🌷🎵🩷

[@contemporaryartissue]

Absolutely! ❤

[@seling5290]

Pittura per signorine 😆

[@ToySeeker]

Go for it!

[@contemporaryartissue]

💪🙌

[@loriwakefield1]

I would add create art that is relevant and true to your ideals why did I want to be an artist? for my glory to get laid or for a higher purpose than myself, I believe GOD works through artists for a reason beyond getting rich and famous. Quickly accepted quickly forgotten all that glitters is not gold, how many artists are in the history books it seems to me only 10 or fewer a century. Create great art and no matter what if you are an artist you will keep creating and co-creating for a higher purpose. Relax everything works out the way it is meant to. Thank you for the intellectual discussions I like social for propaganda purposes

[@contemporaryartissue]

Hi Lori, thank you for tuning in, as always, and for contributing this to the comment section. Indeed, great art is the main purpose. Wishing you all the best!

[@joshuaemrich7785]

The contemporary art world has no use for God and those who hold your values. It is one more piece of the hegemony of the left. It cares about Gender Identity, Race, Equality and other such fads of the moment. Do you think a Gallery would ever show a piece of Art that even hints at Hierarchies, strong borders, Trump as Heroic etc?