working with an international gallery?
I had a conversation with an artist recently who mentioned being wary of working with a gallery outside of her home country because she had heard me advise against it. Wait, what? I thought to myself. That didn’t sound like something I would say, at least not without more context. So for this month’s article, I thought I’d break down a few of the pros and cons of working with an international gallery and when you might want to seek representation through one.
Let’s start with the pros, of which there are several.
PROS
The main one would be that once you find yourself at a certain point in your career, you may need new channels to reach a wider audience for your work. Depending on where you live, that could simply be solved by looking for a gallery or other sales partnership (boutique, interior designer, art advisor, agent) in a different city or region, or by seeking out new platforms online. However, finding representation in a different country gives you direct access to a circle of local clients where the gallery is based. Who knows, you may discover an entirely new batch of raving fans for your art! I hope you do :)
Maybe one of your goals is to show in exhibitions, art fairs, or museums around the world. Working with an international gallery could be one way to help that happen and make new professional connections worldwide. Of course, there are US galleries that show in European and Asian fairs and vice versa, but not all do because of the costs involved. Having multiple galleries in multiple countries gives you a higher chance that you’ll be invited to show in a variety of international exhibitions each year.
There’s also the element of prestige. By securing international representation, you are continuing to develop your artist brand and demonstrate progress in your career on a global scale. This can boost the value of your work and build your reputation with collectors.
But let’s not forget that working across borders also comes with its fair share of challenges.
CONS
First and foremost, there is always shipping to consider. If you are able to negotiate for the gallery to pay for you to ship your work to them, or they offer it, great. However, not all galleries do this. If you are responsible for covering your own transportation costs, then sit down and calculate how many works the gallery would have to sell to make back the money you’d spend up front. One? Five? Ten? Whatever that number is, does it seem realistic that they will reach it? What if they don’t - would you still consider the opportunity worth it for building your resume or the experience in general?
Shipping also sometimes involves surprise costs. Therefore, I highly suggest budgeting extra money for supplies, assistance, insurance, or anything else that may arise during the process. In addition, shipping your work internationally can be stressful for a variety of reasons, from the extra paperwork needed to unexpected delays or, in the worst cases, artwork that is lost or damaged in transit! (This is why I’ve joked to my husband that every gray hair on my head is from an artwork shipment...) While there are a number of things you can do to try to avoid these issues, from giving yourself enough time or hiring help to packaging works securely using quality shipping materials, sometimes it is completely out of your control and just bad luck. Are these things that you are willing and able to manage?
Circling back to the idea of prestige, I think this lures some artists when it shouldn’t. Sure, having representation in Sydney, LA, London, or Berlin sounds exciting, but is the audience of the gallery there and/or are the artists already on their roster truly a match for your work? They should be if you want your partnership to succeed both professionally and financially.
Are there any cultural differences or language barriers to consider? Galleries in different countries can operate quite differently, so you absolutely need to have open communication about how your work will be promoted and displayed, as well as fully understand all the details of any contracts you sign. You should feel comfortable enough to be able to ask questions and know that they will be addressed in a timely manner. Speaking of, any time differences should be noted when it comes to deadlines, phone calls or meetings, and any other gallery events you are expected to participate in. You may also want to familiarize yourself with the basics of special laws or taxes that may apply to you selling art in another country, although the gallery should manage that for you on their end.
Working with one or several international galleries can be a rewarding experience. That said, I wouldn’t recommend entering these partnerships lightly. Take time to think about why this would be important to you and if the effort and experience would be worth it. If you’re in this for the long run, don’t feel pressure to rush into showing internationally right away. It should feel like a natural progression that you pursue when you’re ready.
Cheers,
Alicia
