This issue is important to some artists, and not to others. For established artists represented by successful, galleries, the subject of concern in this editorial may be of minor interest. But for emerging artists, every piece of information that helps to create a positive impression of their developing career is valuable - including being able to show readers of their resumé that their work has been purchased. This is particularly valuable when a work is purchased by a well-known or well-respected corporate, public or private buyer and/or collector.

Artists and their galleries must keep track of every buyer. Both parties benefit from the cultivation of the relationship between the artist and the buyer. It has been said of many buyers of fine art that they invest in the artist and that they do not just buy a work. A good artist/gallery relationship will ensure that the buyer is kept abreast of the artist's development in an effort to maintain an interest in the artist. Non-sales communication that informs buyers when the artist gets favourable reviews, an important commission or an award, or is bought by a prestigious collector will increase the likelihood of more sales to that buyer.

Another value that can come from communication with buyers is as a source of testimonials. I have found that testimonials from purchasers are very effective marketing tools for artists interested in achieving a high volume of sales. Having buyers drop you a note or e-mail about why they purchased your work or like the piece(s) they bought can be very motivational reading for future buyers, in media releases, on your website or in other marketing materials. Testimonials that are properly accredited to the speaker are very influential and a standard practice of skilled marketers.

This issue of artists knowing who buys their work interests me because many artists tell me that they cannot get the information about who buys their work from the galleries which show and sell their work. This is a very complex concern, especially since I recognize the rights and needs of both parties. The gallery must protect their business and client base from artists who would sell directly to their clients, and the artist needs to be able to develop the most compelling resumé possible. So how can this seeming conflict of interest between the gallery and the artist be solved in a satisfactory way for both parties?

In truth, it seems to me, there is no conflict. Both the gallery and the artist have a mutual interest in the successful development of the artist's career. If both parties maintain an open, honest and respectful dialogue, there is reason to believe the best interests of both the gallery and the artist can be met. What is important is that both parties have respect for each other and trust each other. Further, it helps for the artists and gallery to agree on a "business plan" that tracks the development of the artist's career.

A gallery is a business. The self-employed artist is a business. When an artist enters into an agreement with a gallery they are, in effect, forming a business partnership, and when non-artistic businesses form partnerships, every aspect of the agreement is carefully discussed and understood - often legal representation is part of the process. Artists, on the other hand, often make emotional decisions. They can be so eager to be represented by a gallery that they may neglect paying due diligence to the terms and conditions of their contract.

There are lots of books available for artists to do research into the gallery/artist relationship, and Canadian artists have CARFAC and the CARFAC Collective as an additional resource on the subject of contracting. Thanks to the internet, these resources are easier than ever to access or source. Artists would do well to do due diligence before signing any contract with a gallery. A gallery can do a lot for an artist's career, and galleries have to concentrate on the development of their business to serve many artists, so often the individual artist can feel disadvantaged by the agreements they find themselves in with galleries. But their unhappiness is often not the gallery's fault; I find as I listen to artists' complaints about gallery practices, that the artist has not done enough homework in order to work with the gallery towards an agreement that meets both parties' needs. As I have said, it all depends on the ability of the two parties to work together to an understood common goal.

A good, clear, well-thought-out agreement between the artist and the gallery will lead to the successful growth of both businesses. They are mutually committed to the advancement of the artist's career and both parties benefit from each other's success when every aspect of the relationship is covered by an effective agreement.