The current model of art galleries has not changed in almost a century and a half. Today, as yesterday, the gallery owner does something as fundamental as promoting and selling the work of his artists, helping them in the creation and production of their works, and influencing their international recognition. But in a world like the current one, so changing and fast, the debate arises with increasing force about whether this model is still the most appropriate. For this reason, new working methods and alternatives are appearing that seek to redefine the role of the gallery in the 21st century.
One of the main problems facing a gallery today is the enormous expenses it has to face: rent, electricity, water, telephone, salaries, assemblies, transportation, warehouses, production or insurance are just some of the annual expenses it generates. In addition, the behavior of the public has changed, and fewer and fewer people are attending the galleries. Why does this happen, if the entrance is free and the one to the museums, for example, is not? Even today, and despite the efforts made by many galleries to open up and approach new audiences, these spaces are still perceived as elitist and closed centers for a public that may be able to buy a work of art but that does not belong to the world of art.
It also happens that collectors, those who do belong to the art world, have become accustomed to making their purchases at fairs, which is a few days concentrating an abundant supply of gallery proposals. But for medium-sized galleries participating in the most important fairs is not so easy because the prices are tremendously high and the fair model basically consists of attracting attention among hundreds of proposals, which is difficult when you have another gallery next to you that can allow a 100 square meter booth full of super productions by the best-known artists.
Types Of Galleries
There are many types of galleries and it is difficult to make a general classification in which they can be grouped by their activity or location.
Depending On Your Business Model, They Can Be:
- For representing exclusively contemporary artists
- OS (primary market).
- For working with well-known firms and with resale work (secondary market)
- By alternating both markets (primary and secondary).
- For working with emerging artists.
They Can Also Be Classified By The Field In Which They Carry Out Their Work:
Local Galleries:
They carry out a work to promote emerging artists or artists of medium history. They promote the closest collecting. Its mediation is important because it is the first link where the emerging artist and the collector converge in their beginnings.
National Galleries:
They are first-line rooms in the country and with an international projection. They work with established artists, important collectors and collaborate closely with museums, foundations, and similar institutions.
International Galleries:
These are highly prestigious galleries that are consolidated worldwide. With a portfolio of elite collectors and with access to the main museums. Their prestige is usually ahead of the artists they represent. His work is developed both in the living artists market and with first-rate works from the secondary market. His level of business is high, speculative with artists, and aggressive with collectors.
Commercial Galleries:
Newly created galleries whose assets are emerging artists and with a young clientele.
Galleries For Rent:
That sells decorative and more handmade than artistic work. They usually charge rent for exhibiting and do not carry out any representation or promotion of the artist.
Itinerant Galleries:
These are those that do not have their own premises and organize exhibitions in specific locations, such as cultural centers, foundations, hotel establishments, etc. Each gallery works in a specific market segment and in which they specialize based on their clientele.
