“A comprehensive guide.” —Artspace. “Whether you are new to the business or a seasoned gallerist, it is always wise to remember the essentials.” —Leigh Conner, director, Conner Contemporary Art Aspiring and new art gallery owners can find everything they need to plan and operate a successful art gallery with How to Start and Run a Commercial Art Gallery. This new edition has been updated to mark the changes in market and technology over the past decade. Edward Winkleman and Patton Hindle draw on their years of experience to explain step by step how to start your new venture. From finding the ideal locale and renovating the space to writing business plans and securing start-up capital, this helpful guide has it all. Chapters detail how to: Manage cash flow Grow your new business Hire and manage staff Attract and retain artists and clients Represent your artists Promote your gallery and artists online Select the right art fair And more How to Start and Run a Commercial Art Gallery, Second Edition, also includes sample forms, helpful tips from veteran collectors and dealers, a large section on art fairs, and a directory of art dealer associations.

ART DEALERS ARE ESSENTIALLY SALES PERSONS. They sell art and occasionally buy some themselves, although usually for the purpose of reselling it. In a sense, the art dealer is no different from people selling cars or real estate. The more they know about the product they are selling, the better the job they can do. As an art dealer, especially, you need to know everything about what you are selling. Everyone selling art is going to be passionate about it, urgent to champion some new visionary or to defend an Old Master who has gone out of fashion but whose work still radiates wonder. If you are already excited about art, you are starting from the right place. A career as an art dealer is something you should seriously consider, even if what you are mostly concerned with is the work you do as an artist yourself. In fact, many of the people working in the art market are themselves painters, sculptors, photographers, or other artists. There is a long tradition, dating back to the origins of art dealer as a profession, of artists who were also dealers. It was often the case that the artist with the best business sense would emerge as representative for his/her own works also those of friends and colleagues. You could do the same today, although new galleries that open today are usually owned and operated by people who are more intent upon being dealers than artists themselves. These new dealers are usually taking the step to open their own business after having spent a few years gathering experience in other galleries or auction houses, while at the same time diligently scouting for artists whose work they admire and who are not represented exclusively by another gallery. What is critical, if this is a career that is appealing to you, is that you learn as much as you can about art, past as well as present. You will be entering a world of bright, well-informed people, with little room for anyone trying to fake it. In the highly competitive art world, you need to be the real deal if you want to get to the top. You might even, during your high school years, come upon that special period or style that you want to make the focus of your life's work. It may be the first time you see a great work of classic art, like The David of Michelangelo; or something more modern, like a drip painting by Jackson Pollack; or something completely different from anything you have seen before, like a pop art construction by Red Grooms. You will want to keep expanding the scope of your knowledge so that your favorite works can be understood and explained in the context of the entire panoramic global history of art. The art world can be very fickle and fashion conscious, lifting you up one year, when your gallery lands new artists who suddenly become the defining visionaries of the moment, then dashing you into despair the next year, as the market moves on and your artists have become yesterday's news that no one cares about any longer. You need to be extremely resilient to continue in this career, unless of course you achieve great success early on and are that rare dealer who goes from one success to another without ever a misstep. Besides intelligence, luck, passion, and resilience, it will help to be charming and graceful. Artists, especially the really good ones, can afford to be rough and uncouth, with no particular regard for social skills. Art dealers and the people who work in galleries and auction houses will frequently find themselves in social as well as business situations (often one in the same, as in an opening party for a new exhibit) with the wealthy and powerful. Proper manners allow you to be polite without being subservient or pushy. A touch of class never hurt anyone anywhere, and especially not in the art world.

Provides insight into the art business from the perspective of a gallery owner.

This guide for aspiring and exhibiting photographers alike combines practice and concept to provide a roadmap to navigating, and succeeding in, the fine art photography marketplace locally, domestically, and internationally. Join former New York gallery owner, international curator, and fine art photographer Thomas Werner as he shares his experiences and insights from leading curators, gallerists, collectors, auctioneers, exhibiting photographic artists, and more. Learn how to identify realistic goals, maximize results, work with galleries and museums, write grants, develop strong nuanced imagery, and build a professional practice in a continually evolving field. Featuring dozens of photographs from international practitioners, and a robust set of resources, this book will ensure you have the tools to give you the opportunity for success in any marketplace. Whether you are a student, aspiring photographic or video artist, or a photographer changing careers, The Business of Fine Art Photography is your guide to starting and growing your own practice.

For ten years, New York's Alleged Gallery provided a breeding ground and played the role of willing accomplice to some of the most vibrant American art to come along in decades. By exhibiting the then emerging talents of Mark Gonzales, Chris Johanson, Rita Ackermann, Susan Cianciolo, Barry McGee, Margaret Kilgallen, Harmony Korine, Mike Mills, Ed Templeton, Thomas Campbell and Terry Richardson, much of Alleged's impact was due to a complete and utter disregard for the status quo. Using a potent blend of photographs, artworks and interviews with artists, photographers, filmmakers, musicians, collectors and other denizens of the era, Young Sleek and Full of Hell documents the glorious trials and tribulations of running an independent gallery in the final hours of the 20th century. The full list of the artists interviewed by Brendan Fowler in the book is as follows: Thomas Campbell, David Aron, Liz Goldwyn, Joey Garfield, Leo Fitzpatrick, Spike Jonze, Audrey "Rose" Bernstein, Kid America, Amy Gunther, Mike Mills, Jason Lee, Arik "Moonhawk" Roper, Carlo McCormick, Shelter Serra, Kim Hastreiter, Andre Razo, Chris Pastras, Lila Lee, Athena Razo, Joshua Wildman, Brian Degraw, Chris Habib, Julia Gandelsonas, Bill Powers, Sasha Hirschfeld, Susan Cianciolo, Shayla Hason, Ari Marcopoulos, Cynthia Connolly, Adam Glickman, Michele Lockwood, Terry Richardson, Barry McGee, Phil Frost, Tobin Yelland, Craig R. Stacyk II, Jess Holzworth, Marcellus Hall, Ashley Macomber, Tatiana von Furstenberg, Stefano Giovannini, Adam Wallacavage, Rita Ackermann, Erin Krause, Chan Marshall, Stephen Powers, David Hershkovits; Thurstone Moore, Chris Johanson, Janice Gaffney, Ed Templeton, Hugh Gallagher, Harmony Korine, Andy Jenkins, Ryan McGinley, Cheryl Dunn, Simone Shubuck, Shepard Fairey, Andrew Jeffrey Wright, Lee Ranaldo, Seth Hodes, Bruce Labruce, Brendan Fowler, Dakota Goldhor, Beata Hendricks, Ivory Serra, Susanna Howe, Mai-Thu Perret, Christian Strike, Chloe Sevigny, Oliver Zaham and Clare Crespo.