How to Build A Great Gallery
The first gallery might have been the Kunstmuseum in Basel (Established in the 17th century) but art has been open to the public for some time. Even so, the world of galleries is quite young in the sense of the professionalization of the field. There are few universities or institutes that train you in the art market so the easiest way to learn is by observing the strategies of the galleries that work best in the market and/or in the vox populi.
It Needs to Have Cultural value
The main function of an art gallery is to exhibit and sell works. However, it is a public space of free access which means that it is visited by both specialists and amateurs who come with a recreational or aesthetic intention. For this reason, galleries not only have an economic function but also a social and cultural one. Exhibitions are an instrument of communication that disseminates knowledge to society. Therefore, the most relevant galleries are considered to be dynamic agents of informal art education. Moreover, they impose social tastes. At the economic level, they influence market trends and contribute to the development of other sectors such as tourism. On the other hand, financial support for production ensures the continuous functioning of culture but also has a great impact on the local market. The works on display are built as a social good that is part of culture and heritage. The importance of accompaniment also lies in the fact that artists are generally recognized post mortem but the new generation of gallery owners should reverse this situation.
For all that to happen a gallery curator needs to have his finger on the pulse of his local culture. If it’s a digital curator and s/he needs to understand the niche their niche. That means you have to go to bars, you have to hang out with artists and taste makers and of course buyers. You need to understand your crowd and to do that you need to spend time with them. Nothing beats the face to face.
The Gallery Needs a Vision
The fundamental thing to start a gallery and make it successful is that it must have a vision. Without it, there is no gallery. Its directors must have their vision defined, which constitutes the purpose and identity of the space. In this way, a coherent and invisible line is created that includes the curatorial design, the artists that are promoted, and even the ideal clientele. That means some people will be excluded, and that’s ok—there are plenty of galleries. This allows the gallery to distinguish itself in a very competitive world. When exposing in a fair, it should not need a poster to differentiate it or to know what it is about.
The project gives life to the gallery. Otherwise, it would just be a shop selling a product. It must have a meaning, a concept, a style, a stamp of its own so that it is less difficult to remain consistent over time. Although it must ensure diversity, it is always advisable to point out and that the gallery should impose itself as an expert in a niche market which will create a loyal customer base.
Be Innovative
No one needs another white cube.
A new generation of collectors is interested in genres that traditional galleries don't usually represent. These new proposals include new modes of exhibition and interaction. The innovative aspect immediately captures the attention of fans. For example, the "Sala Dalmau" (Barcelona) emphasizes the didactic and historical aspects of certain artists. They usually have few works for sale as they usually come from private collections or the artist's relatives. "La Juan Gallery" (Madrid) specializes in performance, video art, and live installations. Its principle is that art is in the subject and not in the object. Its creators say that they sell experiences and not paintings. The gallery's goal is that live art gets a space in museums, fairs, on the street, and above all in the mind of the viewer.
Another case that has generated repercussions is the “AP Gallery” which is located in the heart of rural Segovia. The natural landscape is the true framework of the exhibitions as they want to create a bridge between urban culture and agro-culture. But they do not limit themselves to traditional exhibitions, there are also artistic residencies and interventions that challenge the passer-by as site-specific or land-art works. There is also “Plastic Murs” (Valencia) which specializes in urban art. Its owner, Vicente Torres, says that for years, artists working on the street have had studio productions. Finally, "El Cuarto de Invitados" (Madrid) experiments with enunciative relationships. The space is part of a house where its creators live together and are in contact with their neighbours. It is a gallery that is usually far from the market logic but even so it has made an impression in a short time.
And of course…
You NEED Artists so PAY them WELL
It goes without saying that the most important thing for a gallery's success is its artwork. There are many painters, sculptors or photographers but there are few artists. The selection usually depends on the criteria of artistic, aesthetic and personal quality such as their vision, their background and their trajectory (such as their collaborations).
The gallery must guarantee the opening of possibilities to its artists to attract and preserve them. There are innovative business models that defy the traditional rules and extend their functions to digital marketing, custom curatorships and other basics. Collaborative contracts are another new trend that consists of a 50% commission and the gallery is responsible for covering all costs.
The gallery owners must take care of their artists, stay in touch, visit their studios and participate in the act of creation. A good administration consists of promoting the artists, building up their reputation, having a presence in the most relevant circuits for their style and having their price go up. The support is in every sense, even after the exhibition. It is a full-time guardianship.
