this is standard for galleries" On what do you base this
statement? IMHO and from some experience (I have say a few
decades past); that statement is incorrect.
Okay, what is correct? Can it be that there is no absolute correct?
Can it be that each of you is correct WHERE YOU LIVE AND WORK? Could
it possibly be that insurance requirements and availabilities vary
from city to city, let alone state to state? What may be absolute
truth and gospel in Podunk, Idaho may be way off the mark in Los
Angeles, CA. A hard fast statement of “incorrect” is invitation for
argument, rather than discussion.
Just my humble opinion…
Betty
If you give your work to this gallery, you might as well just
have left it on the street. In this case, the gallery has no
incentive to take any precautions to avoid it being lost, stolen,
or damaged.
Wrong! In most cases, the galleries do all they can to protect
the work left by consigning artists. As an artist and a gallery
owner, I truly resent the statements you make! Ok, I know I'm not
supposed to "take it personally," but you're accusing galleries of
not taking precautions to protect the work of artists.
Whoa, there! I’m not accusing all galleries of this, and certainly
not yours. But as someone who has been through the disillusioning
experience of having a gallery default while in possession of a large
amount of my work, alarm bells go off when I hear that the gallery’s
own insurance won’t cover work held on consignment. To me this sounds
like they don’t want to take responsibility for it, in which case it
would be extremely difficult to get reimbursement if something went
wrong.
I have 60 plus artists in my gallery and I do all I can to protect
their work. I have even paid up when the inventory doesn't match up
with what I have. If something broke, I paid. If something is
missing, I paid.
That’s great, but you have to realize that not everyone is as upright
as you. (I’m sure there are lots of honest people in Nigeria, too).
Does your insurance not cover damage and loss for consigned
merchandise? I’ve had work go missing while in a gallery that did
have insurance, only to have the owner tell me that I’d only get a
fraction of my wholesale price, because his insurance policy had a
large deductable (as if this had anything to do with me).
Consignment arrangements are inherently risky for artists, who have
to pay up front for all the costs of production, wait for something
to sell, then hope they get timely payment, and that the gallery
doesn’t go belly-up in the meantime. It’s a much better deal for a
crafts store or gallery, which get all their stock for free, unlike
stores carrying other types of merchandise. Without an iron-clad
guarantee of the gallery’s responsibility for work held in trust, it
is very difficult for an artist to rationally justify getting
involved with it on this basis, particularly if the work in question
has a high intrinsic value. I’m glad to hear that you do take this
responsibility seriously, and I’m willing to accept that most other
galleries do so as well, but you have to realize that there are bad
apples in every barrel, and that there are some who will not hesitate
to take advantage of naive artists. Unfortunately, it’s the shakiest
and least-established ones that tend to be the most receptive to new
work, especially if they can get it for nothing, without even a
guarantee of compensation for loss. I used to be more trusting, but
after some bitter experiences, I’ve learned to be more careful. I’m
sorry if I inadvertantly offended you, but I’m not backing off my
original advice to be very cautious about getting into a consignment
relationship with a venue that wants to disclaim all liability at
the outset.
Best Regards-
Andrew Werby
www.unitedartworks.com
hello everyone,
i’ve noticed that no-one seems to have addressed the last question in
the original post; namely, how many of what to submit for
consignment?
myself, have been working up an inventory, and sometimes find myself
in a slight panic of not feeling like i have enough inventory, or
worse, not enough of the “right” kind of inventory. (rings vs
earrings, vs pendants/necklaces, vs brooches, etc.)
have jabbered for years about being an “independant artist,” and
through past experiences have decided that consignment is the best
option for me at this time. would like some sort of insight re:
inventory. my problem is that i have tons of ideas for multiple
varieties of materials, but i don’t feel i have enough pieces of
each variety to constitute a “line”. how many pieces should be in a
line? also, i don’t feel i can combine my disparate ideas because i
feel it would look like the resulting line was created by a
committee. of clowns. in my head. i really want to avoid looking
like a flake to prospective gallery/store owners.
also, how do i find galleries interested in selling art jewelry? in
san antonio, where i live, i have the “cheaper in Mexico” threat
dangled over me on a regular basis, and i need to find places in
areas that a)have people with lots of disposable income, and b)the
ability to appreciate the artistic value of jewelry that isn’t made
of gold/diamonds/platinum. i’m wanting to put together a kit with a
brochure, artist resume, artist statement, mini-portfolio, but how
do i find the proper places to send it?
i’m sure someone in this awesome forum can help me, thanks Hanuman!
Susannah Garcia
Moonshine Metal Creations
@susannah_wiseman