Business Plan Art Gallery Apa Essay Style
Art isn’t just for rich collectors — young people interact with contemporary art more and more thanks to the internet, and art galleries and spaces are hosting events, parties, vernissages that mix visual art and concerts or DJ sets, public interventions, and other events that attract attention and, of course, crowds. When your space starts generating word-of-mouth because of the strength and relevance of its programming and just how darn cool it is, you’ll find them lining up out the door.
Like it or not, the art world, like fashion, runs on trends.
The right space for you will depend on what kind of gallery you envision yours to be — are you going for a hyper-contemporary, industrial vibe, where you may need more space for larger works like conceptual sculptures and installations, or are you more interested in a smaller space in a central location?
It’s not just a question of ending up on high street — you need to decide what sort of space will actually work for your curatorial vision and the number of artists you wish to show at a time or represent.
But you’ll also need to keep your programming and your marketing snappy and relevant.
Make your show titles intriguing, and make them visible to passerby: you need to plug into the public consciousness and determine what people want to see without knowing that they want to see it.
Many galleries have also started investing in publishing (especially limited editions) as a means of generating revenue — from academic publications to catalogs, artist books, multiples, and more, publications are a great way to keep your price points varied, your offer diverse, and your gallery intellectually relevant: it ups your gallery’s credibility on the market as a generator of knowledge.
While small galleries can’t capitalize upon housing the works of art celebrities, they possess the potential “cool,” or alternative factor that differentiates them from the stuffiness of museums or white-cube spaces, which are often intimidating to people who feel they “don’t know anything about art” and are put-off by the academism of the high-end art world.
The art market is as much about investment as it is about passion for good work, and it goes without saying that a large portion of the collectors and actors that put money into the market are interested in minimizing both risk and effort by investing in already-established names.
And while artists generally get famous thanks to their affiliations with high-end galleries, museums, and collections, their talents as well as public awareness of them are often incubated in the “lower” end of the market, by the smaller galleries and organizations that invest in emerging rather than established talent.
In 2018, the days of all-male, all-white, or all-cis group shows are numbered and attract more and more negative attention and even outright hostility, even in respected institutions (see, for example, the open letter originally published in French paper about the programming at this year’s Rencontres d’Arles).
By keeping your programming and your artist roster young, fresh, and diverse, you not only appeal to a greater market segment (remember, people like art that speaks to them), you establish yourself as a progressive space (an important factor in a sector that values that new-new).