This morning NPR ran a story on the proliferation of artist-owned galleries in New York. Unfortunately, this phenomenon has frequently coincided with the end of a booming economic cycle. As a collector and long-time observer of the art community, I am delighted to have more venues in which to get a glimpse of contemporary artists are creating. But as a person who also cares about the artists, I am worried that more artists may be hurt than helped by this phenomenon. Generally, it’s a bad idea for the artists.
Running an art gallery is not an extension of creating art. And although artists do, and should, take an active role in promoting their careers, running a gallery is a business, and a risky one at that. With art fetching well documented record prices and rents in cities like New York soaring, the risks of opening a small art business today far outweigh the potential benefits.
Successful galleries do far more than display and sell art. When not on the selling floor, the successful gallerist is busy visiting artists’ studios, networking with collectors, with Museums, critics, scholars and with other gallerists. He is seeking exposure for “his” artists as well as to place their work in important exhibitions and collections. And some successful gallerists contribute to the scholarship that is a necessary ingredient of a healthy art market. They produce catalogues, curate shows and lend works to other exhibitions.
The successful gallerist is an arbiter of taste, an expert whose expertise is sought out by those who want to build top tier collections, by those who wish to purchase their first work, by curators and by critics. If the gallerist is successful at building his brand, he has the power and authority to influence trends in scholarship, not only in collecting.
Not to be overlooked, the successful gallerist is an accomplished businessman. He understands the need for adequately capitalizing the gallery business, for developing a suitable inventory, and for merchandizing his business. He maintains a consistent level of taste, interest and variety on the gallery walls and makes his gallery a destination, which will always be interesting for the public to visit. Lastly, he controls expenses, watches the payroll and pays the rent on time.
Surely there is room for a small number of artist galleries. AIR Gallery and other collective efforts have a long and distinguished history and have contributed to the art community and to the participating artists. But it makes me very nervous to think that young artists will increase the already significant investment they make by committing to a career in art but assuming the additional risks associated with running a small business in New York.
