Vanity Galleries: Pay to Play at Your Own Risk

By Renée Phillips, The Artrepreneur Coach

Renée Phillips is the Director of Manhattan Arts International, an author of several books, and a public speaker. She is known as "The Artrepreneur Coach" and provides empowering life and career strategies for creative individuals.

This article by Renée is an excerpt from her book Success NOW! For Artists, in Chapter 7 "The Truth About (New York) Art Galleries". The first edition of the book was printed in 1999. The current edition is the Fifth Edition printed in 2007.

This article also appeared in Art Calendar: The Business Magazine for Visual Artists, now known as Professional Artist magazine.

Keep in mind, the fees mentioned in this article charged by vanity galleries have undoubtedly increased since I wrote this.

An artist recently e-mailed me a copy of a contract she received from a Chelsea, New York gallery. The gallery offered her several options of what they referred to as "gallery representation", ranging from $2,900 to $20,000. For a group exhibition and a "year of representation" that offered little more than showing her work on the gallery's Web site, it would cost $9,200. She was seriously considering this offer.

This woman is just one of the many artists from around the world who have been keeping galleries like this one in business. And, as evidenced by my bulging folder labeled "Vanity Galleries Contracts," this practice is multiplying. Due to the unbalanced proportion of artists to galleries, this way of doing business has become profitable and is here to stay. (Note: I must point out that I do not consider non-profit, artist-run galleries, also known as cooperative galleries, to be vanity galleries, because membership fees are not designed by profiteers.)

The Price of Fame
It was in the 1980's that I first became aware of vanity galleries. As an art writer assigned to review gallery exhibitions I visited the Lynn Kottler Gallery on the upper eastside. Another one at the time was Womanmade Gallery on West 57 Street. The space was divided into what looked to me like stalls which artists paid a fee for. I thought, how much this says about them -- treating artists like farm animals. I was appauled.

Selling Myths to Stroke the Artist's Ego
Many vanity galleries use the same identical phoney pitch letter and send them out to many artists at the same time a few times a year. It is clear from the letter they don't know much about the artists' work when they contact them. I wonder, don't they realize artists speak to each other and compare notes? Do they care?

New York's tremendous prestige in the art world has contributed to the longevity of this type of enterprise. To many people, an exhibition in the Big Apple represents the perception (not necessarily the reality) that an artist "has arrived." Many artists from abroad view vanity galleries as an affordable way to enter the New York gallery system, effectively enhancing their careers in their homeland.

For numerous artists, this route also offers a temporary bandage from the wounds of rejection. One artist, who paid $2,300 to hang three paintings on a gallery wall, expressed the feelings of desperation many artists share, "The problem for many of us who use these galleries is that we found it very difficult to find a gallery that is willing to show our work solely on a commission basis."

Throughout the last two decades, the complaints I've received from artists showing in vanity galleries have been disheartening. Many have fallen victim to false promises and condescending attitudes.

Worse than the artists who regret a single lapse in judgment, are those artists who go from one vanity gallery to another, without any tangible growth in their careers. Their hope is the next gallery will be their lucky break to stardom. When mistreated, their shame silences them from making any formal complaints to the Better Business Bureau.

Too Good to Be True
To believe an exhibition in any gallery in a major city at any cost will garner the attention of serious curators and collectors is naïve at best. Although they may appear to have credibility to outsiders, vanity galleries are viewed dimly by knowledgeable art professionals. As one art critic said to me, "When I see such a gallery on an artist's resume, I know they paid to have their ego stroked."

Furthermore, the uneven quality of art found in most of these galleries turns away serious collectors.

Whether these galleries cleverly label their fees "representation" or "promotion" or blatantly charge by the linear foot, there are others that simply resell services at a high markup. An artist was offered a one-person exhibition with one condition -- that he pay for all advertising, invitations, a catalogue, and framing -- all under the control of the gallery. He said, "The grand total comes to $28,000 and their commission is 40 percent. I would have had to sell over $40,000 worth of paintings just to break even!" When he began to tally additional costs, such as shipping the work to and from the gallery, plus travel time and loss of pay from his day job, the stress on him began to mount. It is no surprise that a colleague of mine refers to the worst of these galleries as "Vulture" galleries.

Obtaining Legitimate Gallery Representation
Before falling back on the option of vanity galleries, artists should ask themselves if their work qualifies for a legitimate, reputable gallery. There is no one-size-fits-all, and no two galleries are alike. Each gallery has its own focus and criteria, and each artist has their unique strengths with varying market potential.

First, learn about the gallery’s requirements and aesthetic direction. In general, in New York City, having a strong and cohesive body of work, previous exhibitions in respected venues, a track record of sales, press reviews and awards ensure that you are ready to approach legitimate galleries with the confidence that your work has value — both artistically and financially.

Since many respected galleries rely on their colleagues, art collectors and the artists they already represent to recommend new artists to them, it is wise to build a strong career as well as relationships. Whether you have a referral or not, if you have confidence that your work fits the gallery’s artistic direction and you have strong presentation materials to reflect the work, you should approach them directly without hesitation.

The final decision is yours and perhaps your experience will be among those that are positive. However, before you take the plunge:

* Speak to several artists who have already shown there.

* Calculate all costs and risks, including those to your reputation.

* If you want to proceed, negotiate with them. Ask them to decrease or eliminate the fee and work on commission only. You have leverage if you have a proven track record of sales, credentials, and/or an impressive mailing list or press contacts. I know artists who have succeeded in getting the gallery to lower the fee.

Honest Pay for Honest Work
How can you determine which galleries charge fees or not? Ask them. Ask other artists.

The most reputable galleries are members of the Art Dealers Association of America, http://www.artdealers.org/. For a dealer to qualify, he or she must have an established reputation for honesty, integrity and professionalism among his or her peers. This association has strict ethical requirements. You won't find a vanity gallery in this group.

Renée Phillips, known as The Artrepreneur Coach, counsels artists worldwide. Learn more about her private consulting services available by phone.

Renée is the author of Presentation Power Tools For Fine Artists, as well as Success Now! For Artists: A Motivational Guide For the Artrepreneur. Learn more about her books.

She is a member of the International Association of Art Critics (AICA) and American Society of Journalists and Authors. She is the founder of Manhattan Arts International.