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  • Atricle Dump - Negotiations Between Artist and Gallery-Contracts Must Be Clear, Flattery Gets Ya Nowhere Pt. 3

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    Part Three:

    Galleries need to create a close relationship with their artists. They need to nurture the fledglings, and hype established artists. They need to create a family in a sense. They need to know that if the gallery fails they will have their work returned to them safely. Without that I am personally not comfortable being in a gallery no matter where it is. An artist should not undervalue themselves and ship out their work just because they are flattered for being asked. Likewise galleries need to respect the talent and energy that goes into a piece of art by attending to the details that make the relationship work and therefore become successful.

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    stablished artists. They need to create a family in a sense. They need to know that if the gallery fails they will have their work returned to them safely. Without that I am personally not comfortable being in a gallery no matter where it is. An artist should not undervalue themselves and ship out their work just because they are flattered for being asked. Likewise galleries need to respect the talent and energy that goes into a piece of art by attending to the details that make the relationship work and therefore become successful.

    That was a real l

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    o them safely. Without that I am personally not comfortable being in a gallery no matter where it is. An artist should not undervalue themselves and ship out their work just because they are flattered for being asked. Likewise galleries need to respect the talent and energy that goes into a piece of art by attending to the details that make the relationship work and therefore become successful.

    That was a real l

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    ves and ship out their work just because they are flattered for being asked. Likewise galleries need to respect the talent and energy that goes into a piece of art by attending to the details that make the relationship work and therefore become successful.

    That was a real l

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    es into a piece of art by attending to the details that make the relationship work and therefore become successful.

    That was a real leaning experience for me as you might imagine. I have had other nightmares also, so I have had to put on a business hat as well as being an artist. Bad experiences are the reason I am extra cautious as to who and where I ship my work to. Normally I have a pretty strong bond with a gallery owner before I ship.

    A few questions to ask a gallery:

    Who pays the shipping costs? To and From.
    Is there insurance, if so with who? and for how much?
    Is there a trial period?
    Who, what, where is the gallery owner?
    Will the artist b

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