Comments on: Vanity Galleries vs. Co-ops

By: Kathy Pine

Fri, 31 Jan 2014 20:20:41 +0000

Vashon Island is a small island with a large artist community. We’ve been using a kind of hybrid business model through Vashon Allied Arts (VAA), a non-profit organization whose purpose is to support island artists and arts programs of all kinds.
A big part of what we do is sell local artists’ work on a commission basis through Heron’s Nest Gallery, which is owned and operated by VAA. The artist receives 60% of the sales price and the 40% goes to VAA to pay for expenses associated with running the gallery. Artists’ work is vetted, they do not pay a fee to have their work in the gallery, nor are they required to work in the gallery.
The gallery is run by a Manager (me) who is employed by VAA. A staff of about 15 hard-working volunteers, many of whom have worked in the gallery for ten or more years, are relied on to service our customers. We do have several volunteers who are also artists with work in the Heron’s Nest. All volunteers receive a 20% discount off any artwork in the Nest. This discount is borne by VAA, with the artists receiving their full 60% share of the sales price. The idea of encouraging artists to work in the gallery by giving them a larger share of sales is an interesting one.
Any profit that is made by the Heron’s Nest goes first toward expenses associated with running the gallery, and then to the general budget of the non-profit to fund Vashon Island arts programs.
This business model has been in place since 1985, and significantly contributes to the strong arts community we have on the island.

]]>

By: Janice McDonald

Wed, 11 Dec 2013 05:51:48 +0000

The vanity gallery doesn’t give you a community. I’m involved for 3 years with a co-op gallery in Denver that’s been around for over 30 years and was pivotal in the development of the contemporary art scene here.
My experience has been great… some of the original members are still involved! If someone leaves, potential members audition to fill the opening. We have gallery space on a prime corner in our arts district. I’ve truly benefited from the ideas, advice, camaraderie and connections given by other members, not to mention the freedom to show whatever I’d like when it’s my turn to have a solo show, every 12-18 months. There is no commission taken on work sold and no expectation of what your show should be like. Experimentation is encouraged. It really is what you make it.
In addition to each member’s show, we also hold an annual All Members’ Show, Small Works Holiday Show, and organize both an open and a juried show for the community each year.

]]>

By: Lauran Childs

Mon, 09 Dec 2013 16:29:39 +0000

When I was at some Art Basel events in the design district in Miami a few days ago I noticed that a vanity gallery, Art Fusion, had taken over much larger premises – a free standing building that used to be owned by Bernice Steinbaum if I recall correctly.
That suggests that they are successfully selling. I guess you’d have to decide if it’s worth the risk for your particular art. Going to look into it.

]]>

By: Aaron Collins

Tue, 19 Nov 2013 15:50:37 +0000

What percentage of contemporary living artists with inclusions in important museum or private collections reached success through showing only or mainly in co-ops? I would agree that co-ops provide a community for artists. But without a dealer’s imprimatur, staffing, marketing savvy and good connections, co-op artists mostly languish unsung and off-radar of those who would help make their careers and guide them away from choices that art constrain their critical acceptance, creative growth and sales success. Call it art world snobbery, but serious collectors have a fairly elaborate code that determines which artists to take seriously and oftentimes that starts with which galleries to take seriously – most often reflected by the presence of a prestigious dealer’s name on the door: Gagosian, Zwirner, etc. Co-ops, tourist town galleries, vanity galleries, cafés, municipal galleries are all fine, but artists aiming high should avoid them. If an artist has a prevalence of those on a resume, snob dealers with their own agendas and ambitions will often shun those artists. I’m not saying it’s right, just saying what is.

]]>

By: Brian Sherwin

Tue, 19 Nov 2013 14:13:57 +0000

Sarah — There is only one problem with what you said though… most of the vanity galleries I know of claim to have a strict vetting system in the works — but clearly that is not the case. It really does boil down to if the artist can pay or not. Again, those spaces tend to suggest that they have high standards about the exhibited work — they do as much as they can to look like a more legitimate space… but I doubt any of them have ever said ‘no’ as long as the artists has the funds to pay. Ha.
Aaron — You said, “I challenge the notion that even co-ops are viable. Serious collectors avoid them. In the gallery world hierarchy, the have about as much (or little) cachet as a vanity gallery and all the political repulsion of any private club. I advise artists to avoid co-ops or any other gallery type that collectors, curators and critics reflexively avoid because they’ll usually get nowhere showing in such venues.”
You do realize that the NYC art gallery scene, as we know it today, is rooted in co-op spaces that existed in the late 1940s and into the 1950s? I’ve worked with galleries in Chelsea and other locations in NYC… believe it or not, most of the art dealers I’ve known have a special place in their heart for co-op spaces. They loathe vanity galleries though.
As others have mentioned, pop up spaces are becoming common as well… and some notable galleries and artists have explored that direction as well. Shoot, a decade ago people often questioned the credibility of art fairs — yet international art fairs are now a staple of the BIG art market. Food for thought.

]]>

By: rob

Mon, 18 Nov 2013 15:40:31 +0000

In reply to Sarah.

“…the company you keep…”
So true. I’m not a great artist but I’m a pretty damn good artist. In my ‘one’ vanity gallery experience I came in and installed three works in my allotted space and soon after my “wall-mate” showed up and hung 22 pieces, all flowers made of yarn, glue and glitter. She said her inspiration came from arts & crafts time with her first grade class. Parents loved these little creations their children made so she jumped to the conclusion that everyone would want one too.
As the buying public arrived I could see them peer at this overbearing wall of yarn and glitter and run in the other direction. I don’t think anyone came close to viewing my art because they were avoiding the explosion of glitter craft on the wall next to me. It was a costly experience and I’ve avoided vanity galleries ever since.

]]>

By: Alyson Stanfield

Sun, 17 Nov 2013 05:26:51 +0000

In reply to Deb Taylor.

Thanks for sharing the Aussie perspective, Deb.

]]>

By: Alyson Stanfield

Sun, 17 Nov 2013 05:25:09 +0000

In reply to Kathleen Eggert.

Are you in Canada, Kathleen? I know it’s different there.

]]>

By: Alyson Stanfield

Sun, 17 Nov 2013 05:24:40 +0000

In reply to Aaron Collins.

Aaron: I’m not sure it is fair to dismiss an entire category of venues. It really depends on your goals as an artist and your location.
As I said in a comment above, co-ops are HIGHLY viable in Denver. And serious collectors visit and buy from them.

]]>

By: Alyson Stanfield

Sun, 17 Nov 2013 05:21:43 +0000

In reply to Adriana Vidal.

Adriana: So happy you found a good fit.
Denver is a REAL co-op town. I have never seen so many co-ops in a metro area. And, like the one pictured here, many are gorgeous and highly professional. The artists run them well and they make sales.

]]>