What to Know About Working with an Art Advisor – The Artist’s Perspective - Agora Gallery

By Chiara Lewis

Beneath its lustrous surface, the contemporary art market is as enigmatic as can be. How exactly do artists get their work from their studios to the homes of collectors, or in the halls of museums? Well, this tends to be a mysterious process for those outside the art world, and even for those inside the system. Nevertheless, what is widely known and much reported in the contemporary art market is who paid how much for what. Every day artists, galleries, and collectors, connect to shape the contemporary art market, and this article will provide a brief analysis of how these interactions emerge, and the vital role an art consultant plays in the construction and cooperation of these players. The art market differs from every other international market. The way art is traded, sold, and bought is through auction houses, galleries, private collections, and museums, frequently with the assistance of art consultants, curators, and general art experts. Art consultants are essential actors in the art world, as they advise clients, negotiate with galleries, bid on works at auctions, and introduce buyers to market experts. Thus, much of the art market’s uniqueness derives from the fact that many art collectors and buyers cannot evaluate the quality of artwork without guidance from experts; even the most accomplished collector of contemporary art is often confused. Since art is an intangible asset with a few particular value-adding characteristics, it is difficult for many collectors and buyers to differentiate between the quality of various works, and for such, rely on their trusted advisors to help them navigate the complexities of the art market to build a well-curated personal collection. Some frequently asked questions from art collectors and buyers to art consultants are: Is there a concept behind the artwork? How does it relate to other works? Is this a reasonable price? How will this piece look with my other pieces? Art collectors and buyers need substantial reassurance before they splurge on art, and many of the institutions and practices of the art market revolve around providing these types of services.

How do art collectors and buyers choose the art they buy, with or without an art consultant?

First, art collectors and buyers use brand names as a certifier of quality in a multitude of different settings. There are two prominent brands in the art market: the gallery and the artist. Gallery brand names stem from a profoundly organized hierarchical system where their position in that “bureaucracy” captivates collectors. For many collectors, a gallery’s reputation is the most significant aspect when choosing a gallery; thus, a gallery’s status is incredibly important. Artists, like galleries, are also brands, particularly when they reach a certain level of popularity within the art world. Their status has two critical implications upon their artwork: its value and its recognition. Therefore, a notable gallery has the power to advance a represented artist’s prominence in the contemporary art market, and the relevance of an artist’s brand has the potential to capture more valuable collectors and buyers. Another notable aspect of brands in the contemporary art market is a “Winner Take All” feature, where a large section of investments on art is focused on a small number of artists. The aspect mentioned above has always been a structural feature of the art market. Art collectors and buyers customarily associate an artist’s authorship with quality; therefore, purchases are centered on specific artists and galleries who represent those artists. This trend has recently intensified by the globalization of the contemporary art market.

What is an art consultant, and what role does she or he play in the art market?

An art consultant is an expert in the world of art. An art consultant is knowledgeable on both past and present art, and possess the necessary skills to evaluate all genres of work. He/she is capable of attributing authorship, defining authenticity, and providing a precise judgment of quality for each artwork analyzed. Furthermore, an art consultant typically has professional experience from working at a gallery or a museum, or he/she held a previous position in art management. Thus, an art consultant should understand the market value of an artwork, conduct adequate diligence on pricing, quality, and origin, and be a well-versed negotiator. A proper art consultant also needs to know what to do after the transaction — for example, framing, installing, lighting the work, ensuring, cataloging, and loaning out pieces from the collection to other galleries or museums. An art consultant’s principal role is helping his/her clients understand the complex maze that is the art world. However, the exact reasons for why an individual would inquire an art consultant can vary. For example, a buyer may be new to the sphere of art collecting and needs guidance and connections with top galleries and auction houses. Art consultants can facilitate the process of collecting by researching galleries to visit and by booking appointments. Additionally, the art market is notoriously a relationship-based business. Although an art collector might know which work he/she wants, frequently, only an art consultant with the right connections can obtain the access needed to secure a specific piece. Galleries often sell only to their most loyal or high-profile clients, making it difficult for new buyers to get access to desirable works. A respected consultant, on the other hand, can use his/her connections to help facilitate a path towards artworks usually reserved to certain customers. Also, an art consultant can help an art collector acquire a specific taste, for instance, investing in contemporary art rather than renaissance art. Nevertheless, the downside of relying on an art consultant is that the age-old “buy what you love” mantra is lost when a market expert advises a buyer on what to buy. As a result, art collecting has become frequently homogenized and eclectic, and individual collections have become increasingly uncommon.

What is the difference between an art consultant and an art dealer?

There is a crucial distinction between art consultants and art dealers. Although both have the expertise needed to design an impressive collection of art, each represents, and gets compensated, by a different player in the world of art. An art consultant works for individual clients, providing them with a neutral guide in the process of acquiring a single work of art or building an entire collection. Contrastingly, an art dealer’s responsibility is to the artists they represent and their respective work. The artists pay them with a percentage, usually 30%-60% of the sales of their work.

In conclusion, the act of art collecting is rapidly and globally increasing, primarily from the rise of online art sales and the proliferation of private collections and museums. Thus, with an increase in art collectors and buyers, comes the demand for experts who can assist in the process. Art consultants are an indispensable tool for any buyer who is serious about securing a superb collection of artworks that will enrich a home in the present and enrich the owner in the future.

Participating in Art Fairs - Agora Gallery

By Chiara Lewis

Art fairs are one of the premier ways for artists to promote their agendas and expand their audiences from local or regional favorites to national and international players. Fairs present unique opportunities for artists everywhere to come together and showcase their work to museums, galleries, dealers, collectors, curators, agents, consultants, and critics. When it comes to visual art, hardly anything strikes as firsthand viewings, in-person consultations with knowledgeable professionals and accomplished artists, and apprised assessments from experts. With a top fair typically attracting 20,000-40,000 or more international art fans, exhibitors can easily see more potential clients in several days than they do by solely working with a gallery for a year. Art fairs are essential for anyone who aspires to play the art game at the highest levels, as opportunities for advancement abound. However, for a participating artist, taking full advantage of all an art fair can offer is more complicated than merely filling the booth with art and waiting for something to happen. Holding a successful art fair depends at least as much on patience, character, and planning as it does on the logistics of the fair itself. Fairgoers gravitate toward artists and dealers who are excited to be there and who express a passion for their profession.

So what exactly does it take to be ready for an art fair?

First, an artist should avoid wasting money by researching and visiting the art fair before booking a stand or participating alongside a gallery. Talking to artists who have exhibited their work before and finding out what the art fair is really like will give an artist insight on how it operates, and which stands and galleries attract the most visitors. Art fairs allow artists to build their network and assess their potential markets; therefore, locating the proper art fair is vital. There are two types of art fairs. Local art fairs frequently have an intimate feel and can be valuable sources for new buyers, allowing artists to build close relationships with potential clients. Contrastingly, at larger art fairs, an artist is often unable to create personal relationships with buyers and the public due to a large number of visitors. Nevertheless, art fairs such as the Frieze London and Art Basel are internationally renowned and attract an annual influx of visitors from all over the globe, allowing an artist to expose his/her work to a diverse group of visitors and buyers. However, large art fairs, such as Art Basel, include only the most established galleries and artists. Frieze London is similarly challenging to access; about 500 galleries apply each year for the fair, but only an average of 160 is accepted. Therefore, an emerging artist should apply to an art fair like Focus first, which is still affiliated with Frieze London, but showcases and accepts artists who have not yet risen in the international art market. Additionally, some US states have popular community-based annual events that might be beneficial to an artist’s career for a specific art market, such as the New York art market, or the Miami art market.

Second, an artist should consider creating a financial budget. Working out the costs of travel, renting a space, creating a unified presentation, and/or working with a gallery, are essential elements to consider in advance in order to approach the best quotes, suppliers, and representatives, and primarily to give an artist time to research other alternatives if needed. For example, large-scale art fairs are a big financial commitment. When applying to Art Basel artists should examine the costs of transportation and shipping before making any commitments. Furthermore, international events, such as Artexpo, organize several shows worldwide yearly. Most artists approach these events as ideal settings to showcase their art globally and disregard the overall cost. An artist must decide what art market he/she is trying to reach and what geographical locations are most beneficial to their objective. With a sufficient number of art fairs globally and nationally and little guidance, it is simple for an artist to lose track of his/her primary goal. Lastly, an artist should always read a contract before committing to anything, as organizers usually build in other financial commitments.

How does an artist successfully participate in an art fair, with or without a gallery?

The most straightforward method of securing presence at an art fair is through an art gallery. Most galleries do not include all of the artists they represent in the booths they purchase for the art fairs. Thus, since there is no guarantee, an artist with a gallery contract still has to convince the gallery to include his/her work. After that, although the gallery itself usually manages most of the planning, design, and strategy, an artist must collaborate with the gallery staff to provide information and be present for a smooth and unified presentation. A gallery must be able to create a well-curated booth with plenty of white space, regular work, and a cohesive collection of art and artists where each work is there for a reason, positively contributing to an overall impression that is greater than the quantity of the individual pieces. This way, a gallery can adequately demonstrate how everything belongs together to potential buyers and the public. Following a simple, direct, and easily understandable approach, visually and verbally, is necessary in order to sell artwork at an art fair, and that cannot be achieved without cooperation between a gallery and its artists. However, as an emerging artist without gallery representation, the process is slightly different and more demanding. Most art fairs do allow artists to secure a space or a booth individually, yet typically there are limited spots and acceptance rates do decrease. Thus, being proactive with the process and signing up shortly after the application opens is vital in order to be admitted and obtain a booth. Furthermore, an artist signing up individually, rather than with a gallery, will have to pay a more considerable amount to participate in the art fair, such as travel, accommodations, and staff to assist with visitors and buyers.

Additionally, the space an artist selects to exhibit his/her work is crucial. To present work with a clear association with fine art, an artist should avoid being too close to crafting booths and food and drinks stalls. Fairs provide different spaces, from a simple booth to a table or a wooden stall. It is essential to find out beforehand what exactly the fair provides in order to know what to expect. Finding pictures of previous shows, possibly in the same location, will allow an artist to have a better idea of how the space will ultimately appear. That way, an artist will have plenty of time to prepare all the necessary items to design his/her booth strategically.

Other than the design of the booth and the artwork selected, it is essential for an artist to have sufficient business cards to distribute to any interested buyer who visits the space. Also, having a catalog from a recent exhibition will give interested viewers a chance to see an artist’s work in a broader context. The catalog should include a short artist statement about the work exhibited and an artist biography. Another way to be a part of an art fair, although not all art fairs do provide this option, is through participation in competitions affiliated with the fair. The competitions are typically advertised months before the fair, and an artist should submit his/her work at one’s earliest convenience. The competitions often focus on a particular theme or region and might require an artist to create entirely new artworks or be selective with the artworks they submit. The advantage of participating in a competition, rather than just an art fair, is that an artist’s work does get sponsored even if not selected, thus providing secured exposure before paying any fees.

For all artists, art fairs are an excellent opportunity for networking, securing sales, and for achieving national or international success. However, participating in an art fair, with or without a gallery, is not simple. An artist must make a conscious effort to stand out in the vast crowd among other talented, creative, and innovative artists. Nevertheless, hard work, character, connections, and great art will allow any artist to advance in the highly competitive, yet electrifying world of art through art fairs.