Far too often the commercial gallery sector in Australia is misrepresented and misunderstood. With regard to the galleries that specialise in the contemporary applied arts in Australia, their important role within the industry has not been properly recognised.

Sabbia Gallery, Sydney

This paper attempts to give an overview of Australia's commercial galleries working specifically with studio glass, and the many issues they face. It will attempt to start discussion, with a view to engender a better relationship between existing institutions, artists and galleries. It will also allow a better understanding of the essential roles these galleries play for the future success of Australian glass as a whole.

Commercial galleries continually strive to present the finest in Australian glass, and to educate their clients and the general public to the achievements being attained on a worldwide scale. They devote their time to their artists and are committed to the promotion of their work.

As part of the existing gallery system, problems can arise between artists and galleries because of the lack of understanding regarding the artist/gallery relationship. This often-complex liaison has been the topic for discussion for many years. All too frequently artists are not well enough informed regarding the various galleries that exist and the responsibilities that each party has within the relationship.

Australia is lucky enough to have a Code of Practice to refer to, even though a very small proportion of the industry use it, or are even aware of it. The Code runs through every area within an artist and gallery relationship. Regarding gallery representation it states:

A successful relationship between an artist and a commercial gallery is mutually beneficial. The primary role of artists is to be the creators of original works of art. Forging a relationship with a gallery enables artists to gain expert assistance to develop their professional reputation, reach their audience and have their work purchased or commissioned. This can best be achieved through gallery representation, where the commercial gallery actively manages the artist's career development in the expectation of a long-term relationship with the artist.¹

Axia Modern, Melbourne
Artist - Klaus Moje

With respect to studio glass, there are a number of galleries that present the work of Australia's artists. There are only a handful of galleries that present themselves as representational, with a stable of artists and a regular exhibition schedule. Others are a combination of both retail and representational exhibition spaces. Some galleries do not promote a stable of artists, but run an exhibition program. There are also many that are purely retail.

Each gallery model exists because of specific location, client base, market sustainability, and gallery development. Each is important to the viability of the glass sector, its artists, and the development of the market. All galleries, regardless of their model, have a responsibility to their artists and clients to present the work they hold on consignment to a high standard of display, and to conduct their business in a professional manner. It is when this level of professionalism is neglected that many problems arise.

I spoke with a number of commercial galleries exhibiting glass. I concentrated on the galleries that are considered as representational, including Axia Modern Art in Melbourne, Beaver Galleries in Canberra and Narek Galleries in Southern NSW. Other galleries such as Glass Artists Gallery in Sydney and Kirra Galleries in Melbourne were approached but because of other commitments, they could not respond. I also spoke with Masterworks Gallery in New Zealand, as a source of comparison.

Narek Galleries, Tanja
Artist - Mel Douglas
Dense Light exhibition

Each was asked about how their gallery operated, what they considered the responsibilities of the gallery and artists, basic business practice, any issues they faced, and media and industry acknowledgement. I also invited general comments. These discussions form the basis for much of what is discussed in this paper.

All these galleries conduct themselves in a similar way. They are representational, that is, they have a stable of between 10-25 artists they exhibit exclusively within a specific area. That area is either regional or statewide, and on occasion with particular artists, national. The area of representation is jointly agreed upon between the artist and the gallery.

A formal contract or agreement is used with these galleries. This can take many forms. With some, it is a formal written signed agreement, with others it is a letter stating terms and conditions of the relationship, and others, a verbal agreement. All of these contracts or agreements are discussed between the artist and the gallery, to try to avoid any concerns or confusion. Their relationship is strengthened and developed over time.

I cannot state just how important these agreements are, whatever form they take. To embark on a relationship with a gallery, for whatever period of time, without some understanding of what the expectations are, can end up causing enormous stress, and all too often financial strain. These agreements exist to make all areas clearly understood so that the working relationship between the artist and gallery can run smoothly. The contracts and agreements are there to protect each other's investment in the relationship.

A gallery's main responsibility to an artist, when they take them on as part of the gallery stable is to:

• a. Promote the artist and their work, as much as possible, through exhibitions and marketing.
• b. To maintain a high standard of display within the gallery space, from all artists.
• c. Encourage the development of an artist's work and help nurture their career.
• d. To provide financial sustainability through the sale of their work, and make prompt payments of any sold works.

An artist's responsibility to a gallery, as part of an artist stable is:

• a. To provide the gallery with their best and most innovative work.
• b. To respect their area of representation, and keep the gallery informed of any other exhibition opportunities.
• c. To provide the gallery with any information or images requested as a means of the gallery promoting the artist.

There are many other areas of responsibility by both parties, which are also explained at great length in the Code of Practice. These points above are areas each of the interviewed galleries felt were the most important as the basis for a strong foundation between artist and gallery. If these are respected then all other issues that arise should be easily resolved through discussion.

Some artists do not have any verbal or written agreements with galleries, and many are not aware of the arrangement, and often find themselves in a situation they did not anticipate. As an example, some galleries do not insure the work they hold on consignment, which should be standard. Many have dubious payment methods, which in some cases, leads to the artist being out of pocket. This is caused predominantly from a lack of understanding regarding what they should expect from any gallery they become involved with.

Masterworks Gallery, Auckland
Artist - Gabriella Bisetto
Little Breaths exhibition

I strongly believe that this lack of understanding exists mainly because of the difference in tradition between the fine arts and applied arts sectors. It is commonplace for a fine arts gallery to be representational. Artists are aware of this and what the representation implies. However, the studio glass industry, has not been built within these traditions, our artists do not know what they should expect from galleries and what their responsibilities as the artist are. Unfortunately the professional practice courses that are taught within our colleges and universities do not prepare them well enough.

Commercial galleries and artists specialising in studio glass, should conduct themselves in the same manner as any fine arts space. The gallery should be highly professional in all their business practices, invest their time in the development of an artist, and promote their work, and in turn be rewarded with the artists finest work and loyalty. Sounds simple!

It should also be noted here that an ongoing relationship between an artist and their commercial gallery, and the inclusion of that artist within the gallery's stable, is built largely on the ability to sell the artist's work. In the circumstance that the gallery is not able to support the artist through sales, given that a reasonable environment has been created by the artist to do so, then the representation of that artist should be reconsidered. Holding on to an artist merely because a gallery considers itself somehow an owner of that artist, is to the disadvantage of both the artist and the gallery. The artist is better served by sourcing another gallery who is able to create a new market for their work, and the gallery is best concentrating its efforts on its other artists, and diversifying the group with new makers.

Retail spaces present themselves differently to a representational gallery, by providing an ongoing income to many artists through the purchase and sale of production and limited edition pieces. These galleries play an important role in the development of the industry, allowing a larger group of clients and visitors the opportunity to acquire contemporary handmade glass, with many lower priced pieces on offer, and help sustain many artists financially.

When a contemporary artist is presented in a professional gallery space, whether it is retail or exhibition, it has a positive effect on their work, and on Australian glass en masse. Having work represented by an unprofessional venue has a detrimental effect.

Some galleries are not willing to make the investment in an artist through representation and all that it should encompass, by showing too many artists through group exhibitions or as gallery stock on a short term basis. The idea of a few quick sales with an artists higher priced exhibition pieces are often all too enticing to both gallery and artist. This has a negative impact on any gallery that represents this artist as part of its stable, and eventually on their working relationship.

One time that this can occur, is with international art fairs. I discussed at length, with the galleries I interviewed, their opinions and involvement with art fairs. They all had varied experiences, with a few having been involved in many of them over the years, others concentrating on only a few, and the rest not interested in being involved in any. The ones that had been involved had thoroughly enjoyed them, but agreed it could be beneficial, particularly in the long term, more for the artist than the gallery. It was a wonderful opportunity for the artist to achieve an international profile, and often resulted in an international gallery gaining access to their work for future representation.

The general consensus amongst the galleries I interviewed, and the only logical and ethical way in which a gallery should exhibit work by an artist at an international or national art fair, is when that gallery is the artist's existing representational gallery in Australia. This is the only way that the gallery can handle all future enquiries from the event, and the artist can be properly promoted on a continual basis, long after the art fair is over. This also avoids any conflicts with the artist's Australian galleries in the long term.

There are many galleries that choose not to be involved in international art fairs, believing that a local gallery knows the local market best, with their main concern to concentrate their efforts on promoting their artists within their own country. This holds very true within Australia, which needs all the market development and education it can get.

Representative galleries regularly promote their stable of artists as a further means of education. The promotion is done through exhibitions, newsletters, media releases, advertisements and articles on artists and specific exhibitions.

Even with all this marketing and promotion, commercial galleries working with glass have to contend with the lack of media interest in their artists. Artists working in glass in Australia always play second fiddle to their contemporaries working in more traditional mediums such as painting and sculpture, with glass not taken as a serious form of artistic expression, and often placed within the lifestyle pages.

I would like to think that this perception would begin to change as the media slowly recognises through highly professional exhibitions by both commercial and non-commercial gallery venues, that our glass artists have achieved enormous acclaim within contemporary art on an international level.

All galleries, commercial and non-commercial, play an integral role in this education process and the development of the applied arts in Australia, and in this case, contemporary studio glass. The relationships between the commercial and non-commercial galleries need strengthening. Each needs to become more aware of what they are trying to achieve, and to work more closely together. This can only happen when the non-commercial venues and the institutions that largely support them, gain a greater respect for the enormous work put in by our commercial galleries, and the important role they play within the industry.

The main concern of most non-commercial spaces, such as our major state and regional public galleries, is the promotion of the artist above all, and the advancement of the industry within Australian art. This in turn can have a flow on affect to the representative gallery and can result in sales, as well as re-iteration that an artist working within glass is collectible. The representation of these artists by their galleries should be noted by the non-commercial galleries, for greater possibility of sales for that artist in the long term.

Many non-commercial venues have a commercial outlet. There can be a conflict of interest with this situation when the non-commercial venue, which is publicly funded, is seen to be competing for sales. These venues are contributing to the education process we so vitally need, by allowing greater access to the work, but there needs to be an understanding that the two venues should not cross over with the same work from the same artists. This is where greater discussion between the artist and their galleries is so important. A strong relationship between the commercial and non-commercial galleries should also avoid any such conflicts.

There will always be grey areas due to the exceptional nature of the work, and new relationships will constantly be forged. Each artist and gallery is a unique entity, so a clear dialogue between all is necessary to maintain a healthy arts industry, which supports all that reside within it.

There is not a clear understanding of how Australia's commercial galleries specialising in glass operate. Most make an enormous contribution to the development of Australian glass. They are the well-informed conduit between artist and client. They allow their clients and the general public greater access to the work, through continual exhibition, promotion and sale. They develop a strong market for their artist's work. Ultimately they allow the audience greater knowledge of the high levels of achievement being attained by our artists.

Commercial galleries should be able to operate to the highest possible standards of practice, in the best interests of both the gallery itself and the represented artists. They are not always free to do this when faced with obstacles such as competition from publicly funded non-commercial venues, or artists not adhering to their area of representation or providing the gallery with their best and most innovative work. I would like to see the commercial glass gallery sector acknowledged more for their contributions to the industry, the risks they take, and their work towards increasing the profile of the artists they represent.

The commercial gallery sector needs to be highly professional in the way they present themselves and support their artists. This professionalism needs to be met in kind by the represented artists, and respected by public curators. Commercial glass galleries and artists who want longevity in their field need to develop long-term thinking.

Anna Grigson
Co-Director, Sabbia Gallery, Sydney, Australia
September 2007

I would like to thank a number of people for their advice and support during the research of this paper. They include: Bev Kenna from Axia Modern Art, Martin and Susie Beaver from Beaver Galleries, Karen O'Clery from Narek Galleries, Annie Porter from Masterworks Gallery in New Zealand, Dan Klein from Dan Klein and Associates in London, Catrina Vignando from Craft Australia in Canberra, Kylie Johnston from Collect Store at Object Gallery in Sydney, Lani McGregor from the Bullseye Connection Gallery in the USA, Ann Jakle from Canberra Glassworks, and ceramic artists Honor Freeman and Ruth McMillan, and Maria Grimaldi from Sabbia Gallery.

Anna Grigson is the co-director of Sabbia Gallery in Sydney, Australia. The gallery is a high quality commercial space that represents a small group of Australia's finest contemporary studio glass and ceramic artists. Anna has worked in the Australian arts industry for the last twenty years, in both the fine and decorative arts.

Footnote

1. National Association for the Visual Arts (NAVA) website. Code of Practice - For Australian commercial galleries and the artists they represent. Code of Practice