How To Get Noticed by Art Galleries - How To Get Your Art In A Gallery (3/4)

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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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[@micheldumont292]

I have been at this art game for about 9 years and i've been scaling this ladder quickly, my biggest achievement was getting good gallery representation with the Paul Petro gallery in Toronto. Patience , it can take a few years , meeting the right people and shaking hands. Going viral helped a bit but really all the group exhibitions i tried my best to steal the show and luckily i was well received. I have followed your channel for a few years and its helped reaffirm the decisions i've made and miigwetch

[@contemporaryartissue]

Thank you for tuning in and for sharing your thoughts and experiences here. You're absolutely right!

[@mmontagart]

Loving your co-host! Great episode. I'm a 30 sculptor, watching with interest, and a dachshund.

[@contemporaryartissue]

Big thanks! Greetings from us both to you both 🐶👋🙌

[@katecox5240]

Thank you for your weekly content. It's an essential part of my art practice!

[@contemporaryartissue]

Thank you so much, that's tremendous!

[@nicolasb.henry294]

Little by little I begin to find my way in the art world your channel helped me a lot. What I have learned is to be patient building an art career is not a 100 m it is a marathon but it definitely worth it.

[@milenacolar2520]

That discourse makes an art gallery sound like a holy grail, not simply a mediator business model that earns commission from the inflated prices that they set for someone else’s work. Yes, they are useful (at least some of them), but let’s not make them sound gods - alike. Especially nowadays, when the business in every sphere drifts more and more towards online.

[@cree8vision]

But still isn't the best way to sell art is thru a gallery where people can see work live?

[@nataliamarie5894]

I think it just comes down to professionalism which is as important in the art world as in any other profession. Gallerists search for artists rather than looking through email submissions because often the submissions are not what they are looking for. The curator from my local gallery is more active on instagram than anyone else I know. Sometimes I wonder where he finds the time lol. But he knows what he is looking for so it’s more efficient from the gallery’s perspective I believe.

[@alpotap]

The guy is an art gallerist. When you are a hammer, everything looks like a nail...

[@hued.]

online art sales statistics make up a very small percentage of the total sales annually, especially after covid

[@contemporaryartissue]

Of course they are not gods, but if you want to make it in the art world, they are the most important business partner for most artists-with the exception of artists who go for the more institutional route via curators, projects, open calls, and museum shows. There are other business models for artists without gallery representation, but these are outside or on the periphery of the art world. Concerning online sales, this is what the UBS art market report states: "Online sales accounted for 16% of the total value of the art market’s 2022 turnover, down from the peak of 25% in 2020, and 4% lower than the share of global retail e-commerce (20%) in 2022." Online sales have a significant presence, but they remain a small portion of the total market share and 85% of all online sales are below $5,000. Personally, I also prefer to exhibit the works in real life and to connect with your collectors and art enthusiasts in general.

[@zapveresepa1]

You could always just walk into the gallery's restroom and draw something on the wall. That way, technically, you can say the gallery has some of your art on it's walls.

[@contemporaryartissue]

😂👏

[@CarlosTorres-uq6nx]

😂😅

[@mariannemathon2104]

Tnanks you very much for your advices !

[@contemporaryartissue]

The pleasure is all mine!

[@KellyONealCreative]

It’s tricky to build your social media audience without doing the things the algorithm rewards you for. (Like doing the weird canvas turn around/reveal.)

[@stojanovich]

No it’s not, just do good work and be intelligent on how you use the platform

[@contemporaryartissue]

When it comes to growing an online audience, too often, the focus is too much on what works for the algorithm, what hashtags to use, or how many times you should post. Instead, it is a lot more efficient and effective for real-life success if you spend more time networking on Instagram. Engage with others instead of posting about yourself and you'll get there! Even more, by doing so, you can "choose" your followers by engaging with them in your initiative.

[@OneAndOnlySurge]

Social media gets us in our instant gratification phase, but always think of the long game too... I once had a curator inquire about a post with my work from years ago when in art school. I told him I no longer create and am more "behind-the-scenes" in the industry yet he told me to reconsider... and when I do to get back to him. Everything you post may come back to reward you, algorithm or not.

[@RapidBlindfolds]

Is there any proof that gallery directors actually read online art magazines? I think 90% of them are paid vanity projects

[@contemporaryartissue]

Today, the majority are indeed paid vanity projects-but not high-end art magazines with high standards in terms of the artists they feature/accept. When it comes to proof for this strategy to work, I have seen it a couple of times with our platform. So, indeed, be aware of vanity projects that are only after your money, but do not ignore this strategy in general. Thank you for tuning in!

[@loop-io8yk]

If you are a graduate of an art school: please ask your professors and your fellow students for a first contact with a gallery, it will work out. If you did not study at an art academy: just forget it... Assuming you are over 40 and you did not study at an academy, then the probability that you will ever get a contract from a (good) gallery is, I would say, less than 1%. Otherwise you would have to make very, very, very interesting art.

[@contemporaryartissue]

Only 20% of graduates find gallery representation-a telling number illustrating a formal art education is no holy grail or guarantee for future success-although it helps tremendously. Thank you for tuning in!

[@jorgergonzalezvisualartist8925]

With Instagram going the way of becoming a data gathering platform for Meta AI, should we as artists be truly participating on the platform or should we focusing on finding alternatives?

[@dnlgrmn7169]

Alternatives

[@contemporaryartissue]

Meta has always gathered data for various purposes-honestly, I am not too worried about this aspect for artists, especially considering the inevitability of AI using publicly available visual information. Instagram is where the art world is, so moving away to alternatives where predominantly other artists are who are outside of the art world does not seem like a sound idea. Thank you for tuning in!

[@jorgergonzalezvisualartist8925]

@@contemporaryartissue Thank you for that insightful reply. Makes total sense not leaving an app where the deal makers are looking at the work to go to an app where only artists will be looking at your work. Thanks.

[@Jardinsophy]

Hi! I would like to know who is the artist in minute 0:21. Thanks in advance. Your content is so useful, thank for that too.

[@nickrodis6862]

Salamat po

[@greenstandardprogramming]

Hi I would be really appreciative of a response either from the channel, which I love btw or even other commenters. I’m curious what the etiquette is re disclosing sales of works. So I was very fortunate to sell four pieces at the beginning of the year to two different collectors. I haven’t been super on top of my social media until recently and was thinking maybe I should upload the works that sold and say something along the lines of being grateful for the sales and that they’d been sold. I’m not sure though if this might come across as being vain or is something that’s frowned upon by galleries etc? Thanks for the content you make, it’s been really useful for my early career (left art school in 2021) and have been able to use a lot of the advice on the channel to my gain this year

[@margomoore2538]

How does one write essays for art magazines?

[@contemporaryartissue]

If you write an essay on a certain topic, exhibition, or news event-for instance, the passing of an iconic artist, you can submit this essay to magazines asking to see it published for their readers. If you can provide high-quality writing for free, there is a good chance that they'll accept it!

[@ITcanB]

I wouldn't pay a fee for someone to consider showing my artwork, that a money making scam. ❤

[@contemporaryartissue]

It depends; most often, the entities who use this strategy as their primary business model are indeed scams-think of vanity art galleries or online art magazines that specifically focus on giving paid exposure to artists, as their audience consists of only other artists. However, magazines that are primarily making money through partnerships and sales do have an audience that can be beneficial for artists and can be worth it.

[@Futuristbillpicone]

Is there anyone on here that's a Artist Manager in NYC?

[@srm842]

What are your thoughts on artists moving away from Galleries and becoming their own business owners and selling art directly to collectors?

[@andrewwhiteTV]

Probably need a PR client to do all this

[@contemporaryartissue]

Very expensive! You can just do it yourself, it is not that difficult. We provide free guides on almost everything with our platform so you can do it yourself. Wishing you all the best!

[@danielshor3021]

ממש,צריך מבין גלריה מקצוענית ..תסכים מיד להציב למכירה יצירה יפה אפילו אחת .....ואם אין מקום תגיד לך ..אין מקום ..תקנה יצירה קח אותה ותציב,את שלך ..אם תמכור אם היא תימכר ..נשים עוד,בגלריה

[@sphere111]

5000 subscribers? Not in my lifetime.

[@contemporaryartissue]

5000 followers on Instagram is the number I am referring to in the video-which is pretty doable!

[@paulrollinson1305]

Or open your own gallery....

[@nataliamarie5894]

I’ve wondered the feasibility of doing this myself. Opening a small gallery with a collective of artists. Even if it’s a more commercial route, I wonder the statistics and if it is a viable alternative.

[@contemporaryartissue]

Definitely a possibility!

[@dianegerrard6241]

business rates and rent for a physical gallery! Need to sell a lot to cover costs.

[@OneAndOnlySurge]

It's all about the galleries' collectors and contacts after all... We've seen busy Intersection storefront galleries fail and 2nd floor apartment galleries flourish. It's always who you know... 😉

[@ognoface437]

Dog at like he ya guest host

[@nickrodis6862]

Salamat po