Consignment Best Practices: How to Work Effectively With Your Artists

Consignment Best Practices: How to Work Effectively With Your Artists

When it comes to consignments, follow these best practices.

Most galleries accept artwork from their artists on a consignment basis. It seems easy: the artist sends you their work and you give them an agreed-upon percentage or amount of the sales price.

But there are lots of details and things to consider to protect both your business and your relationship with your artists. Check out these best practices when accepting artwork from your artists:

If it’s not written down, it didn’t happen

Regardless of what kind of agreement you have with your artists, put everything in writing and be sure both parties have signed. Some galleries have artists sign consignment terms for each new body of work, while others simply have their artists sign an annual contract. If you have an artcloud account, you can safely store your agreements in your artists’ records.

Whatever path you take, be sure to include the following points:

  • How long will the gallery attempt to sell a given work of art?
  • Is the artist or the gallery responsible for photographing and transporting the artwork?
  • Does the artist participate in gallery discounts?

Increase transparency with a monthly sales breakdown before sending payment

Giving your artists regular sales reports is helpful for both the gallery and the artist. Not only can these reports help your artists better understand what is and isn’t selling, but they increase transparency into which pieces sold, when, and for how much.

Whether you compile these reports manually or generate them from your management platform, be sure they contain:

  • The date the artwork sold
  • The retail and sales price
  • The amount owed to the artist for each piece

Give your artists the tools to keep track of their consignments themselves

Many galleries consider regular sales and consignment reports for artists to be part of their day-to-day work, but you can also empower your artists to track their sales themselves with the right tools. Invite your artists to artcloud, and once they’re connected to your account, both the gallery and the artist will find the consignment experience to be much smoother.

Some benefits for the gallery and for artists:

  • Artists get automatic email notifications each time one of their pieces goes out on approval or gets sold — artists love this!
  • When artists consign artwork via artcloud, the inventory data automatically populates in the gallery’s account
  • Artists have access to analytics where they can track their sales data for tax and record-keeping purposes


End of Year Reports: How to Help Artists Increases Sales

End of Year Reports: How to Help Artists Increases Sales

Take reporting to the next level — use it to help your artists create more work that flies off the walls.

Most galleries provide their artists with regular sales reports, typically each month before sending out the artists’ payments. Generally the purpose of these reports is accountability and record-keeping. Both parties know what pieces were sold, when, for how much, and what the artist is owed for each piece.

But you can take reports to the next level and use the information to help your artists sell more artwork.

Oftentimes galleries do this with an end-of-year report, but you can also provide this type of report more frequently, for example every 3 to 6 months. Regardless of whether you compile these reports by hand or generate them automatically from your artcloud account, be sure to take a look at both the pieces that sold and the ones that didn’t. Doing so will help you see the whole picture of the artist’s work and understand how it resonates with your clientele. Over time, you’ll start to see trends that can inform future bodies of work the artist creates for your gallery.

Here are some trends to track when reviewing each artist’s sales reports:

Time to Sell

In addition to reviewing which pieces sell and which don’t, you’ll want to analyze how long it takes to sell each artists’ work. What’s the average time it takes to sell an artist’s work? Which pieces sell more quickly than others? Art management systems like artcloud record when pieces were added to inventory and the date they were sold you can easily figure out how long the item was in your inventory before it was purchased.


Subject matter can have a tremendous impact on collectors. One gallery we work with recently discovered that one of their artist’s sales dropped sharply when she moved away from her traditional subject matter and started experimenting with new things. The artist switched back and just like that, her sales went back to their usual levels.


Some artists’ work sells better in larger sizes, while for other artists, smaller pieces tend to sell better. You may also find that certain sizes sell faster than others. This information can help artists create the right balance of artwork and ensure that pieces are always selling.


Taking a look at medium is especially useful if an artist works with a variety of mediums. Considering the high cost of certain materials, an artist may discover that they get more ROI by focusing on some types over others.


Color can also have a big impact on collectors. Sometimes certain colors or color themes may sell better than others for a given artist.

3 Ways Galleries Can Help Grow Their Artists’ Careers

3 Ways Galleries Can Help Grow Their Artists’ Careers

Investing in your artists’ careers is good for them and good for your gallery.

By empowering your artists to market themselves, grow their networks, and take ownership over their own art business, galleries can drive loyalty and set the stage for long-term, mutually-beneficial relationships with their artists. Many galleries even promote such services when recruiting new artists as a way to attract top talent.

Here are just a few ways galleries are growing their artists’ careers:

Help your artist develop their presence on Instagram with professional photography

As the most visual social media platform, it’s not surprising that Instagram plays an essential marketing role for both galleries and artists. Some galleries pay for professional photography sessions of their artists at work, or split the cost with their artists. The end result? Both the gallery and the artist have a collection of great images to use on Instagram.

  • When posting to Instagram, be sure to tag your artists and ask them to tag the gallery when posting photos on their own Instagram accounts
  • Rather than posting everything at once, sprinkle these posts in throughout the year to keep your Instagram feed active and fresh with new content
  • Make the most of the investment by reusing the photographs on your website or on other marketing materials

Connect your artists with other galleries to increase their representation

For many emerging artists, each new gallery representation is a stepping stone in their careers. Introduce your artists to galleries in other parts of the country that might be a good fit for their work.

  • If your gallery is currently the artist’s only representation, offer her/him tips on navigating the process
  • Manage expectations and be sure your artists know that gaining new representation may take some time
  • Since you won’t always be able to provide an introduction, give your artists suggestions for reaching out to galleries they’d like to work with

Provide each artist with a year-end report to help them understand their sales trends

Rather than focusing solely on total sales, use end-of-year reports to help your artists identify trends around what is – and isn’t – selling. With a better understanding of the types of pieces that resonate most with your collectors, artists are empowered to create more work that flies off the walls.

  • Be sure to examine not only which pieces sold, but which pieces didn’t — look at trends according to subject matter, size, colors, etc.
  • Track how quickly each artwork sold and the average time it takes to sell a piece — what trends do you notice amongst the artwork that sold the fastest?
  • Based on what you and your artists uncover in the sales data, what suggestions would you offer them and what changes should they make?

Note: for artcloud customers, artist sales reports are automatically generated in your analytics, so you don’t have to create them manually. Check it out and ask us if you have any questions!

How does your gallery support artists? Let us know in the comments!

Improve your art website’s SEO

Improve your art website’s SEO

We hear this from galleries and artists all the time: “I want better SEO” or “I’ve paid a lot for my SEO and I don’t want to lose it.”

What’s odd is that when we ask what ‘good SEO’ means to them, we don’t often get a straight answer. The truth is that presence on a search engine can be hard to define.

Below are some tips to help your art website perform optimally, so that you can establish and maintain a strong presence on search engines.

Establish a Baseline

First and foremost you need to know what you want to optimize for. Are you looking to optimize for your artists’ names? Your city? Medium? Start Googling the search phrases you want to be associated with and see where you’re currently ranked.

You could try things like: “Top art galleries in Charleston,” “Brian Coleman art,” or “contemporary art galleries in Colorado.”

Once you see how you’re ranking on these terms it’s time to develop your plan.

Set Your Goal

Putting work into your website without a goal is fruitless. You need to know where you are and where you want to go.

To accomplish this, we suggest you sign up for Google Analytics. It will help you measure your current traffic and assess how well your hard work is paying off.


OK, now that we have a baseline and a goal, let’s look at your homepage.

Do you have any images? Any text? What’s loading and how often is it refreshed? Are you talking, at all, about what you want Google to rank you on? Are you publishing your latest exhibitions on your homepage? Do you talk about your gallery?

Making sure that your homepage has relevant content is key.

Artist Bio Pages

Your artists are, in a lot of ways, the lifeblood of your gallery. Making sure their pages are strong is critical.

Do you have a bio listed out for each of them? Do you have high resolution images? Are you rotating these images as you get new inventory?


Adding information about upcoming exhibitions is a great way to create fresh and rotating content on your website.

As you add new exhibitions to your site, be sure to link to them from social media. This will help you grow your backlinks and thus the overall ranking score for your site.

When ‘optimizing’ a website, there are no silver bullets. After building hundreds of websites for artists and galleries, we’ve found that building a well-structured website with good content will help you rank highly on any search engine.

How does your website stack up? Set up a free 30-minute consultation to learn more. We’ll assess your site before the call and provide recommendations for areas of improvement.

At the Studio: Daniel John Gadd

At the Studio: Daniel John Gadd

Today at Atmos we’re speaking with abstract artist, Daniel John Gadd in his Brooklyn Studio. Read along for a chance to hear about his Youtube-learned carpentry skills and how he gets the mirrors in his paintings to crack just right. 

*This interview has been edited and condensed.

Atmos: Thank you so much for meeting with me today! Can you tell me a little bit about when art first started interesting you?

Daniel: I don’t know when it first started to interest me. I grew up playing a lot of sports, I was a jock and eventually it turned into baseball when I was 9 years old. I was on four different baseball teams at a time and I was playing in the winter. So sports were really important to me, but I had a grandma who I saw pretty regularly. I grew up right over the George Washington Bridge and she would take me to the skyline and I would draw it. After a while I could remember everything that was there, at least in a ten year old’s mind. So there was defiantly an underlying interest and eventually in high school I got to a point where I didn’t want to play baseball anymore. I started to listen to punk music and hung out with these kids that were the art kids, so I kind of fell into it. As a ‘I don’t know what I’m doing and this seems interesting’. In high school I had a really supportive teacher.

A: Did you study art in college?

D: Yes, I went to School of Visual Arts. But first, my parents, although they are supportive, were like “There’s no way you’re going to art school, you’re going to a well-rounded liberal arts college”. I was like ‘Then I’m not going to college’. I found out later that my mom, who is amazing, she applied to colleges for me. So I ended up going to the University of Rhode Island. I knew nothing about Rhode Island, but it wasn’t for me. I’m sure there’s plenty of great people there, but for me it ended up being exactly what high school was. I called her crying every day for a month and eventually she said, “you can go to school of your choice”.

A: Did you study painting?

D: I studied painting at the School of Visual Arts and it’s a good school to study painting. I honestly don’t remember a lot of it. But I do remember going back and it was the fourth year and they give you these studios. They basically tell you, “go make some art”. It’s more structured than that, but it’s basically that. I formed a relationship with a teacher. He introduced me to the gallery (that represents me now).

A: It’s all about those connections. What’s the gallery name that represents you?


A: How long have you been with them?

D: It was Life on Mars before and the director’s name was Michael David and then they became David & Schweitzer and I opened the gallery (with the first exhibition). That was October.

A: Oh recent! And you’ve been happy there?

D: Yeah. It’s cool because they’re supportive and this is actually Michael David’s studio that I am working in now. All of this work is for a show I’m having in November there..

A: Can you tell me a little bit about this series?

D: I come from a figurative background and I was making figurative paintings that kept getting more and more abstract. I had this break through a year and half ago. I was beating a painting to death not getting anywhere and I decided to cut out the only piece I liked. This circular shape, and I was like, ‘holy shit, this is either really good or really bad’. I kind of sat on it for a while and decided ‘I think this is really good’, so I made ten more. Eventually I decided I didn’t care if it was really good or really bad, because it meant something to me. I started to feel alive. The last show at DSC was all circles and was titled For the Moon. It’s my daughter’s name, we call her moon at home. The new work is just the progression of that starting point. I think we paint our biology, these paintings have aggression, athleticism, fragility and are painfully sensitive. If the circles where about taking what makes us most human, breaking it down and reassembling it into balanced wholes, the work in here now is a reconciliation and acceptance that perfection isn’t possible, and celebrating it.

A: When did you start using mirror?

D: I was always speckling in the mirror as the figure paintings got a little bit more abstract. They fully started to come in when I started making the circle paintings. At first the cracks were by accident, but now they’re a drawing device. The mirror is a symbol of the self reflection that happens during painting. It also talks about that fractured part of my life and being completely broken and putting it back together.

A: How long does it typically take to you?

D: It’s an athletic feat. I’m guess I’m still an athlete because these things are heavy. I break them down and put them back together over and over again. None of these paintings started as anything near this shape. So when I’m actually working it’s more like a tornado in here, pieces everywhere. Sometimes I get lucky, a week or something. But a particular part of this painting is over a year old, but it’s been stored away. So did it take me a year and half to make this painting? Yes and no, I guess.

A: How do you start?

D: Normally I take two pieces of plywood and put them on the floor and I’ll put them over what I’m working and I’ll let stuff fall on it. If I see something, I’ll be like, ‘oh it’s ready’. And then I’ll start. Eventually I back it so it can hang on the wall. I’ll make a couple cuts. In between then I’ll play in photoshop. I can decide a color or at least somewhat think of an idea. Or if I want to make a drastic cut, I can cut it off in photoshop to see. At a certain point, the mirror gets expensive and it may seem untrue, but that’s the fifth version of the mirror, because I didn’t like the way it cracked. It gets frustrating but I try to recycle it all. At first it was just slam it, but now I’ve been starting to get a little bit more particular. I want the cracks to mean something and the composition of the piece to relate.

A: How much can you control the cracking though?

D: You can get pretty good at it. You can’t control everything, but you can glue the back in certain ways. So if you hit something that big with a hammer you won’t get the same mark as if you hit something (smaller) with a hammer. There’s math involved. That’s not who I am, but I can at least say, ‘OK, this is three times larger, so I’m going to make the surface that hits it three times larger’.

A: I would have never guessed that, that’s crazy. Is it really satisfying to hit the mirror?

D: Yeah, there’s a certain violence to it. I think there’s a certain underlying anger and violence in me.

A: It’s therapeutic.

D: Oh, it certainly is.

A: You’ve been in New York for how long?

D: So I grew up in New Jersey, about ten minutes from New York. I’ve been here my whole life and when I was a kid we would come here. My dad would take me here all the time. It was funny because he’s not really an art guy and I remember we would skateboard. And he would say, “I’ll take you skateboarding, but you have to come to a museum with me”. I think he really just wanted to go to a museum. Looking back it’s like, oh he knew. I’ve spent times living in Brooklyn and Manhattan, but now I have a family and this has to support that. We live in New Jersey.

A: And you drive in?

D: Yeah, I do this crazy thing where I’ll leave at five in the morning and it takes me 35 minutes. At first it sucked, but I got used to it. The alternative is, though it’s only 20 miles away, you can’t get anyone out there to look at your work. So you’re basically in isolation.

A: It’s nice to have a home to go back to though.

D: It is! I think it’s better for my daughter. We can’t afford to do things that we can afford living there. Our parents are out there so they can watch the kids.

A: Do you have a studio at home?

D: No, just here. I like it because if I’m here, there doesn’t exist. I can be fully invested here. And then alternative, I can be fully invested there. There are times like yesterday we went to the park and out to lunch and got ice cream and maybe if I had a studio there I would say, ‘well let me put in a half day’.

A: It’s nice that it’s two separate environments. Do you like working here alone? Do you listen to music?

D: I do listen to music. I like working here alone though, it’s a pretty crowded building and I can take advantage of that. A second set of eyes is always helpful. Sometimes I’ll end up working in complete silence. But I like listening to music. These paintings are very personal, but I think they can become about some very universal themes. Especially with what’s been going on with violence and anger, but also beauty. These fractured things that are still together, for the better. But your question about music, (I listen to) top 40. Unless there’s a little bit of method acting that goes along with these and then I’ll listen to some sad emo song that I liked when I was 18. I hope no one follows me on spotify.

A: Do you title the works?

D: I do. Some of these have titles, some I’m still working on.

A: This is a question from our artcloud Gallery Liaison, Melissa Hill. What are some roadblocks when you start on a new piece?

D: The biggest one is the shape because the last body of work that I did that people saw were all circles. Then I moved to the triangle, but I want them to be more organic so I don’t have an ending point. A lot of times I don’t want to fall into the same form because it’s easy. I think that’s been a roadblock lately, to just not continually make the same painting. It’s such an organic process, so there will be ten bad ones before there’s a good one but at least I can save pieces.

A: Yeah you basically source your own works.

D: It’s a form of drawing I guess, or collage.

A: Are there any emerging artists that you’ve seen lately that you like?
 D: There’s a girl that just graduated from the Studio School, Rose Lopeman. She’s pretty good. A: What does she do?

D: She’s a builder like me. She’s more of a sculptor than I am, but definitely check her out. I used to share a studio before I moved here with Dana James. She pours onto the canvas, kind of like a Frankenthaler, but a little bit more punk. Another painter, Ben Pritchard.

A: Being in New York is amazing because you can always find someone new to like.

D: Oh absolutely. And I think you said it in one of your interviews, there are just so many.

A: Yeah! It’s really hard to sift through. At what point did you think art was a viable career option to do?

D: About two years ago. I had a studio in New Jersey and someone suggested to me that I should move out here and give it a shot and I did.

A: And it’s been working out.

D: It’s been working out and I think that in some capacity I would have to do it. So I don’t think I get to choose if it’s a viable option. I just have to do it and try to make all the other pieces work.

A: And your family is really supportive?

D: Yeah, I mean there are things that come into play like money. So that’s a big one and I’m an abstract painter so it’s hard for a lot of people to get.

A: Do you do figurative stuff anymore?

D: No, it’s all this. A lot of times when I get home, she’s four but she knows I’m a painter, so I’ll come home and she wants to paint. It’s the last thing I want to do when I get home a lot, but we’ve been drawing figures a lot.

A: Your dad used to take you to museums, is there anything that sticks out in your mind as a really big art memory?

D: The first big art viewing memory I have was much later, Jenny Saville’s show at Gagosian. It was these larger than life figure paintings, a little bit Freud, a little bit de Kooning. I was just like wow, that’s really something.

A: Do you like working in a large format?

D: Yeah, I think there are challenges that the small ones don’t have. In the small format there are challenges that the large ones don’t have. Especially now I have the ability to (work in large format) so I want to do it.

A: I find that a lot with artists that I speak to. Once they have the space and the availability to do that, they love doing it. Finding the space to do it is hard.

D: I’m lucky because the gallery has been extremely supportive with me being here, which is why I’m here. My old studio wasn’t nearly this big and I still made big work, but it was just kind of falling on me.

A: Oh, how heavy are these?

D: They can be deceiving. That (points to work) I don’t know how I got it on the wall. I got it on myself and I tried to lift it off, but I can’t. I was working on it on the floor and I lifted it up and I was just like, ‘this is going on the wall’.

A: Sheer force of will.

D: I needed to see it and I did it. After I make the final move, there’s a lot of reinforcement. I’m a good carpenter, so these may look like they’re about to fall apart, but eventually they’re structurally sound.

A: Did you teach yourself how to do carpentry?

D: I did. I didn’t know how to do anything about it. It was almost out of necessity. It was like, ‘I want to build this. Youtube, how do I build it?’. The same thing at my house. We bought a house and it was ugly so I gutted the whole thing.

A: The internet is amazing. Do you collect any other artists’ work?

D: I have a couple things from trades. I have a list actually if I came into some money, I would be broke.

A: Do you hang your own work at home?

D: Not really. I have one painting in my house. It was actually because we had my daughter’s fourth birthday party there and the wall was blank so. And then I decided I liked it so I left it. I try to keep some work for myself.

A: Are there any museums you like to visit outside of the city?

D: There’s one I go to a lot, the Montclair Museum of Art. I lived next door to it for a long time. I like walking around Storm King.

A: Storm King is beautiful, any time of the year.

D: I love the Hudson Valley. It’s my end game, although I’ll probably be priced out by then. A: It’s getting so crazy. Beacon is nuts now. There’s a new museum now too, Magazzino.

D: I think I read about it.

A: It just opened. I really want to go there next time I’m up. It’s a new spot to hit besides the Dia or The Clark.

D: I think I need to be financially successful enough before I uproot my entire family to go there. A: Do you think you would work better in the country?

D: Depends. I think it depends on space. I think if anyone has enough time for themselves…I think part of living around here you have to do 50 things to make ends meet. I often wonder as opposed to the country vs the city, what it would be like if I could just paint. I don’t have to worry about all the other aspects. But then sometimes I think it’s really good to be away from the studio.

A: Do you have any advice for aspiring artists?

D: I think work makes work. Just keep working hard and doing anything possible to be able to make work. I feel like aside from the lucky people who are hand picked in the beginning who are mega stars, I think it’s kind of a boxing match. You keep going, you keep getting hit. Don’t give up.


Images Courtesy of Emma Fishman (@emmafishman)

Night at the Museum

Night at the Museum

End your summer with a banger! Tonight only, MoMA PS1 is hosting a party to celebrate the final weekend of Jenny Sabin Studio’s Young Architects Program installation, Lumen. Guests will also enjoy after-hours access to the galleries for the final weeks of our summer exhibitions, including Maureen Gallace:Clear Day, Ian Cheng: Emissaries, and Tomas Rafa: New Nationalisms. The party features DJ sets, cocktails, bites by M. Wells, and more.

General admission tickets are $15; MoMA members $13; MoMA PS1+ members free. Buy your tickets here. See you all there!

Image Courtesy of MoMA PS1 and Jenny Sabin. 


The Perfect Art Day: LA Edition

The Perfect Art Day: LA Edition

The Broad

Go See:


April 29 – September 3

From everyday experiences to protest movements as monumental as the Arab Spring uprisings across the Middle East, to themes that probe systems of social control or examine global commerce, artworks in Oracle tackle the effects of organizational frameworks on global events and private individuals”.

Atmos Pro Tip: If you wait until October 21, go see the special exhibition, Yayoi Kasuma: Infinity Mirrors.

Hauser & Wirth

Go See:

Paul McCarthy. WS Spinoffs, Wood Statues, Brown Rothkos

July 1 – September 17

“Never before exhibited in Los Angeles, the works on view – nine monumental carved black walnut sculptures of Snow White, the Prince, and Dopey, alongside arresting wall hangings – seek to disrupt traditional notions of art and culture, while introducing viewers to McCarthy’s tireless exploration of mediums”.

The Getty Villa

Go See:

The Gardens

Open year-round

Gardens are integral to the setting of the Getty Villa, as they were in the ancient Roman home. Open spaces around the site feature bronze sculptures, fountains, and lush plantings of trees, herbs, and flowers used by the Romans”.

Image Courtesy of The Broad. 

At the Archives: Hans Hofmann

At the Archives: Hans Hofmann

Title: Hans Hofmann at work in his studio

Date: 1952

Description: Hans Hofmann in his studio at 53 East Ninth St., New York City, working on a painting.

Creator: Reynal, Kay Bell, 1905-1977, photographer

Born in Germany in 1880, Hans Hofmann was a German-born American abstract expressionist painter. By 1933, and for the next four decades, he lived in New York and in Provincetown. From his early landscapes of the 1930s, to his “slab” paintings of the late 1950s, and his abstract works at the end of his career upon his death in 1966, Hofmann continued to create boldly experimental color combinations and formal contrasts that transcended genre and style.

Courtesy of the Archives of American Art, Smithsonian Institution.

5 Things to Read This Week

5 Things to Read This Week

Happy Monday Atmos! Want to ease into your week with us? Grab your coffee and extend your weekend a little longer. Here’s what we’re reading this Monday morning:

Is the Elusive Tech Collector Real? Not Quite Yet, Dealers Say

Solange Releases Interactive Project on Black Womanhood Tied to Tate Modern’s ‘Soul of a Nation’ Show

Designs for Nicolas Berggruen’s mountaintop thinktank revealed

Contemporary Art Steams Up the Hudson

What Vulture’s Critics Are Most Excited for This Fall