The Difference Between a Vanity Gallery and a Traditional Gallery.
I like to think of Vanity and Traditional galleries as two different business models instead of thinking of either type of gallery as good or bad. The ideas of what a gallery is and what it can be has morphed so much, especially throughout the last 10 to 15 years. The art market has changed drastically in the last decade in which several galleries are now charging a fee to show one’s artwork—the vanity galleries. These galleries are not doing this to prey on vanity but instead, they see the change in the market. This business model is a way to support both the artist and the gallery. The term “Vanity Gallery” has a derogatory connotation within the art world which is why I try not to use it. However, I will use this term in this blog because its main definition is understood by most.
You may ask what I mean by the art market changing. One major change is how the internet has opened up so many opportunities for artists to interact and sell directly to collectors. Those interactions have pushed galleries to the side as artists can self-market themselves if they choose. The internet also allows more ease of contacting someone which has its pros and cons. An example of a major con is this— Say a gallery has been exhibiting works for an artist and a collector sees the work for the first time at said gallery. The collector can directly contact the artist online to get a better deal instead of working with the gallery, thus cutting out the gallery’s commission.
Cutting out the gallery damages the relationship with the artist as galleries put time and effort into exhibitions, marketing material, and overhead fees for a brick-and-mortar. This ties back into the idea of a “Vanity Gallery” and why those types of galleries will charge a fee to showcase with them. Artists who participate in “vanity galleries” see this fee as an advertising expense on their end. Self-marketing can be time-consuming and could take years to build up a rapport, so paying an established gallery can help grow your artist career more quickly.
I can see both sides of this dilemma as I am both an artist and a gallery owner. As an artist, I constantly work to build myself a noteworthy art career. Working with “vanity” galleries, or partnership galleries, helped me to build a personal list of collectors who are continuously investing in my work. These galleries also helped to grow my CV as I have been able to showcase my work in major cities around the world.
Most artists who are first starting their art careers often do not have an established CV (and many galleries will only work with established artists). Working with a “vanity” gallery can help an artist build a client base and start making consistent sales as these galleries provide a larger audience. We as creators need to ask ourselves how we can also benefit from this relationship before accusing “vanity” galleries of being inherently a predatory system. Assumptions can be detrimental in this situation. Assuming all “vanity” galleries are bad runs the risk of you missing out on a great opportunity as an artist. We need to educate ourselves about the business model of a “vanity” gallery to determine which opportunity will have the best return. If the ROI (return on investment) is beneficial to me, then I have no issues paying a fee that supports my art career. Some artists do not believe in paying fees to grow their art career but unfortunately, that is the name of the game. As mentioned, galleries pour so much time, money, and energy into building a reputable name and different networks that can help artists. As with all things, there will be bad apples however, there is value in the connections and exposure a gallery, venue, showcase, or publication can bring.
I want to return to the point of why I personally do not find the term “vanity” gallery derogatory or a business model that is predatory. Traditional galleries tend to focus on what is hot in the art market at the time and not necessarily something that is innovative. Vanity galleries will often take a chance on an upcoming artist who is doing something unique as these types of galleries want to help grow an artist’s career–not only profit off of it. I want to clarify that either business model of running a gallery is not bad, but as an artist “vanity” galleries have shown more compassion to artists. Traditional galleries often showcase a narrow category of blue-chip works (that are often tens of thousands of dollars) at the major art fairs—Basil, Art LA, Focus ect…—as they need to cover costs while still making a large profit.
I want to address one more concern about “vanity” galleries. I often hear that artists are afraid to showcase in a vanity gallery as it might hurt their chances in the future to work with a traditional gallery or even hamper future sales to collectors. I want to be the example that this fear is unfounded. Working with a vanity gallery generates exposure that helps you to make sales and learn about the art market. The exhibitions and sales while working with a vanity gallery allow you to build up your CV, which in return gives you credibility as an artist. It is unlikely future galleries will pay attention to every gallery listed on one’s CV.
Lastly, at the end of the day, both business models will charge their artists a fee to showcase with them as neither can guarantee a sale. Traditional galleries charge after the sale, while vanity galleries charge before the sale. Yes, traditional galleries are taking a greater risk which is why the “vanity” gallery business model is becoming more standard. If you, the artist, are paying to showcase your work that means you are taking a risk instead of the gallery. However, remember that this fee benefits both parties. The gallery can cover overhead fees while as the artist you can benefit from the networking and marketing opportunities. I want to state that paying the fee beforehand does not mean “vanity” galleries will not be unmotivated to sell your work. It can be quite the opposite. These types of galleries care about supporting artists and want to see them succeed. If vanity galleries are not making proven sales, why would an artist want to work with that gallery?
