黑龙江哈尔滨电动伸缩门优质厂

画廊应该如何“养”艺术家？

How should the gallery "keep" the artist?

推广艺术家的正确姿势

Promoting the right posture of the artist

第一，定期举办个展。艺术家同意被画廊代理后，首先的需求是确定举办个展的时间和频率。一般而言，画廊每 1.5-3 年为艺术家举办一次个展。收藏家也非常希望能在画廊通过有节奏的个展规划看到这个艺术家的创作历程。

First, hold an exhibition on a regular basis. After the artist agrees to be represented by the gallery, the first requirement is to determine the time and frequency of the solo exhibition. Generally speaking, galleries hold a solo exhibition for artists every 1.5-3 years. Collectors also very much hope to see the artist's creative process through rhythmic exhibition planning in the gallery.

第二，带收藏家参观艺术家工作室。收藏家都对艺术家独一无二的工作方式表示强烈的兴趣，当然也必须保证这样的参观同样令艺术家感到愉快。通常，艺术家负责介绍自己的艺术创作，结束之后，画廊家和藏家私下商谈交易的细节。

Second, take the collector to visit the artist's studio. Collectors are strongly interested in artists' unique way of working, and of course, it must be guaranteed that such a visit will also make the artist happy. Usually, the artist is responsible for introducing his artistic creation. After the end, the gallery owner and the Tibetan family discuss the details of the transaction.

第三，艺术博览会是个好地方。在博览会上，对于年轻画廊而言，策划一个艺术家的个展往往比大杂烩式的展示更能显示画廊的定位，更能吸引人的注意。

Third, the Art Fair is a good place. At the fair, for young galleries, an exhibition of an artist is often more attractive than a hodgepodge display.

第四，在通过举办展览推广代理艺术家的同时，也应该注意在网媒、移动媒体（微博、微信）等多平台进行宣传，保持艺术家持续的”热度”。

Fourth, while promoting agents by holding exhibitions, we should also pay attention to many platforms, such as network media, mobile media (micro-blog, WeChat) and other platforms, to maintain the continuous "heat" of the artists.

第五，对艺术家的创作进行梳理，举办学术研讨会，实现对艺术家的”学术”保值。

Fifth, combing the artist's creation and holding academic seminars to preserve the academic value of the artist.

高古轩与村上隆

Gao Gu Guan and Murakami Takashi

为艺术家定价

Pricing for artists

为自己的艺术家作品定出一个合理的价格，对画廊和艺术家的名誉和发展都很重要，这表明了画廊家对自己正在做的事有清楚的认知。为艺术品定价有诸多考量的因素(包括艺术家名气、媒介、尺寸、版数等等)，还有一个快捷的方式做参考，即去一个相对成熟的艺术博览会问一圈价格，大概也就能对你的艺术家的差不多类型的作品有个基本定位了。

It is important for the reputation and development of galleries and artists to set a reasonable price for the works of their own artists, which shows that the gallery has a clear understanding of what he is doing. There are many factors (including artist fame, media, size, number of editions, etc.), and a quick way to make a reference to a relatively mature art fair to ask a circle of prices, and probably have a basic position for the almost type of work of your artist.

年轻艺术家的作品因为没有稳定的市场需求，所以价格要尽可能合理的低，价格的提升最好是由市场的需求来决定。

Because of the lack of stable market demand for the young artists, the price should be as low as possible. The promotion of the price is determined by the demand of the market.

画廊与艺术家间存在的矛盾之一往往是定价机制。

One of the contradictions between galleries and artists is pricing mechanism.

作为画廊而言，必须首先明白两点：

As a gallery, we must first understand two points:

一、艺术家是作品的拥有者，他有权利制定作品的价格；

First, an artist is the owner of the work, and he has the right to make the price of the work.

二、经纪人的名声是建立在对艺术家价值的正确的市场价格判断上，定价过低和过高都无益于建立稳定长期的市场。尤其对于年轻艺术家来说，一开始相对低的价位是为了让最先一批作品能够进入市场，最好是出售给有影响力的收藏家(他们在圈内能起到很好的宣传作用)，当第一批作品卖空而买家的名单还在增加时(意味着市场需求的增加)，艺术家作品的价格自然会得到提升。

Two, the reputation of a broker is based on the correct market price judgment of the value of the artist. The low and high prices are not beneficial to the establishment of a stable long-term market. Especially for young artists, a relatively low price at the beginning is to allow the first batch of works to enter the market. It is best to sell to influential collectors (they can play a good role in the circle), when the first batch of work is short and the buyer's list is increasing (meaning the increase of market demand). The price of the artist's works will be promoted naturally.

查尔斯·萨奇

Charles Saatchi

画廊与画廊的合作

Cooperation between galleries and galleries

与其他画廊分享代理一个艺术家，对很多画廊来说是难以接受的。但事实是，由合力去扩大这个艺术家的市场面及价格，比单个画廊抱守现有的市场接受度，更加有利于艺术家和画廊自身的发展。

Sharing an agent with other galleries is unacceptable to many galleries. But the fact is that it is more conducive to the development of artists and galleries to expand the market and price of the artist by the joint force, holding the current market acceptance of a single gallery.

当然，画廊与画廊间的合作有两个难题要解决，一是谁能拿到艺术家的哪些作品，二是哪家画廊是艺术家的主要代理画廊。平衡好艺术家同等质量的作品在不同画廊的代理权，能够避免彼此之间产生怨恨和矛盾。往往艺术家愿意将更优秀的作品交给实力更雄厚、服务更好的画廊(这些服务包装运输专业，做好艺术家的档案整理，参加最顶级的博览会等)，而这样的竞争关系也会促使其他代理画廊要为艺术家提供更好更专业的服务。毕竟最终各方的目的都是一致的，即建立艺术家作品的更强大的市场。

Of course, there are two difficult problems to be solved in the cooperation between galleries and galleries. One is who can get the works of the artist, and the two is which gallery is the main agent Gallery of the artist. Balancing artists' equal quality works in different galleries can avoid mutual resentment and contradiction. Often artists are willing to give better works to more powerful and better service galleries (these services are packaged and transported, the artist's files, the top fairs, etc.), and this competitive relationship will help other proxy galleries to provide better and more professional services for artists. After all, the goal of all sides is the same, that is to create a stronger market for artists' works.

代理制究竟好不好？

How good is the agency system?

代理制带给艺术家的好处：

The benefits of the agent system to the artist:

能够得到相对稳定的展示机会，因此能将精力集中在创作上，而非在寻找合作伙伴上。年轻艺术家进入一家画廊，其艺术创作的价值会因为画廊的名声和旗下其他艺术家的品质而得到提升。而且一般艺术家要等到第二个或第三个个展后，才会得到一些严肃批评家的评论，因此制定出相对稳定的个展计划对艺术家地位的建立是非常有利的。总之，画廊的代理制有利于艺术家长期稳定的职业规划和呈现持续而有内在逻辑的公众形象。

We can get a relatively stable display opportunity, so we can concentrate on the creation rather than looking for partners. When young artists enter a gallery, the value of their artistic creation will be promoted by the reputation of the gallery and the quality of their other artists. And ordinary artists will have to wait for second or third exhibitions to get comments from some serious critics, so making a relatively stable exhibition plan is very beneficial to the establishment of the artist's status. In short, the agency system of the gallery is conducive to the long-term and stable career planning of the artist and the continuous and logical public image.

代理制带给艺术家的坏处：

The agent system brings the harm to the artist.

艺术家可能感觉到画廊对他的推动和宣传能力不够，效果不明显，而加剧两者间的紧张关系。而当这样的合作关系不顺畅时，艺术家也会苦恼如何终结这个关系。而要解决这些问题，就要求艺术家和画廊之间良好的沟通交流。

Artists may feel that the gallery's promotion and publicity ability is not enough, the effect is not obvious, and exacerbate the tension between the two. When such a cooperative relationship is not smooth, artists will also be distressed how to end the relationship. To solve these problems, we need a good communication between artists and galleries.

代理制带给画廊的好处：

The benefits of the agent system to the Gallery:

画廊能够制定出长期推广艺术家的计划，这样制定出的展览和项目会更严谨和更有活力，也因此可能带来更丰厚更长远的回报。代理艺术家显示了画廊对艺术家创作未来的信任，也将这一信息传递给艺术界其他人士，画廊也因此获得了他们的信任。艺术家、画廊和藏家，三者的关系将更为紧密。通常，为年轻艺术家培养一个坚实的市场需要好几年的时间，

The gallery will be able to make plans for long - term artists so that the exhibitions and projects will be more rigorous and dynamic, and thus may bring more generous and longer - term returns. The proxy artists show the gallery's trust in the future of the artist, and also transfer this message to others in the art world, and the gallery has gained their trust. The relationship between the three artists, galleries and collectors will be more closely related. Usually, it takes years to cultivate a solid market for young artists.