The Art World's New Formula for Success: Collaboration Over Competition
A new model of gallery success has emerged, one that prioritizes collaboration over competition. The past year has seen several high-profile alliances between top-tier galleries and dealers, including a recent partnership between Pace, Emmanuel Di Donna, and David Schrader to serve top-tier clients.
At the forefront of this movement is a multigenerational exhibition at Jarvis Art, titled "Eruption," which brings together German Neo-Expressionist and Transavanguardia masters alongside younger artists. The collaboration was sparked by Max Werner, son of veteran dealer Michael Werner, and art advisor Lindsay Jarvis, who launched his own gallery late last year.
The two visionaries met five years ago at a party in SoHo, where they began discussing the current state of contemporary art. They identified threads of sensibility connecting modern practices to those of the 1980s, an era marked by social tension and division. The absence of museum exhibitions addressing these issues resonated with them.
The exhibition features works from Georg Baselitz, Ellen Berkenblit, Francesco Clemente, and Maria Lassnig, among others. Jarvis notes that there hasn't been a compelling exhibition that revisits Expressionism in a serious way. Werner agrees, pointing out the "imperialist" gallery model, which has proven financially unsustainable for most dealers.
Instead, they see a future where galleries collaborate across different circles, building cross-border business models rooted in collaboration with international peers rather than competition. This approach not only allows dealers to tap into new markets but also fosters a broader collector base.
Sharing everything, including costs and revenues, equally is key to the success of these collaborations. Werner emphasizes the importance of equal decision-making and valued "hard nos" – honest opinions that help improve the partnership.
The model is already being tested with future exhibitions, such as a solo show for Archie Rand, who appears in the current exhibition. Rand's work resists easy classification while retaining the neo-expressionist pulse of that era.
The formula for success lies not in the individual, but in the collective effort and shared vision between galleries and dealers. As Werner puts it, "It's very equal. And honestly, it's useful—if one of us has a hard no, that matters."
This new approach to gallery management represents a return to an earlier spirit of art dealing, where colleagues collaborated and supported each other. With the rise of mega-galleries, this collaborative model is poised to disrupt the status quo, offering a fresh perspective on how galleries can succeed in today's rapidly changing art market.
For Jarvis and Werner, "Eruption" marks a milestone in their collaboration, one that showcases the strategic effectiveness of international collaborations for multigenerational presentations. As they embark on future projects together, it remains to be seen whether this formula will become the new standard in gallery management – but one thing is certain: the art world's landscape has just gotten a lot more interesting.
A new model of gallery success has emerged, one that prioritizes collaboration over competition. The past year has seen several high-profile alliances between top-tier galleries and dealers, including a recent partnership between Pace, Emmanuel Di Donna, and David Schrader to serve top-tier clients.
At the forefront of this movement is a multigenerational exhibition at Jarvis Art, titled "Eruption," which brings together German Neo-Expressionist and Transavanguardia masters alongside younger artists. The collaboration was sparked by Max Werner, son of veteran dealer Michael Werner, and art advisor Lindsay Jarvis, who launched his own gallery late last year.
The two visionaries met five years ago at a party in SoHo, where they began discussing the current state of contemporary art. They identified threads of sensibility connecting modern practices to those of the 1980s, an era marked by social tension and division. The absence of museum exhibitions addressing these issues resonated with them.
The exhibition features works from Georg Baselitz, Ellen Berkenblit, Francesco Clemente, and Maria Lassnig, among others. Jarvis notes that there hasn't been a compelling exhibition that revisits Expressionism in a serious way. Werner agrees, pointing out the "imperialist" gallery model, which has proven financially unsustainable for most dealers.
Instead, they see a future where galleries collaborate across different circles, building cross-border business models rooted in collaboration with international peers rather than competition. This approach not only allows dealers to tap into new markets but also fosters a broader collector base.
Sharing everything, including costs and revenues, equally is key to the success of these collaborations. Werner emphasizes the importance of equal decision-making and valued "hard nos" – honest opinions that help improve the partnership.
The model is already being tested with future exhibitions, such as a solo show for Archie Rand, who appears in the current exhibition. Rand's work resists easy classification while retaining the neo-expressionist pulse of that era.
The formula for success lies not in the individual, but in the collective effort and shared vision between galleries and dealers. As Werner puts it, "It's very equal. And honestly, it's useful—if one of us has a hard no, that matters."
This new approach to gallery management represents a return to an earlier spirit of art dealing, where colleagues collaborated and supported each other. With the rise of mega-galleries, this collaborative model is poised to disrupt the status quo, offering a fresh perspective on how galleries can succeed in today's rapidly changing art market.
For Jarvis and Werner, "Eruption" marks a milestone in their collaboration, one that showcases the strategic effectiveness of international collaborations for multigenerational presentations. As they embark on future projects together, it remains to be seen whether this formula will become the new standard in gallery management – but one thing is certain: the art world's landscape has just gotten a lot more interesting.
. What's next, them partnering up with influencers or somethin'?! It's all just a bunch of fancy words for "we can't compete on our own, so let's work together to try and stay relevant". And what about the little guys who don't have the resources to join in on the fun? 
. The idea of sharing costs and revenues equally is a game-changer, as it removes the pressure to constantly prioritize profit over artistic merit.
. By working together and supporting one another, galleries and dealers can create exhibitions that are truly groundbreaking and push the boundaries of contemporary art 
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. The exhibition "Eruption" is a prime example of how art can be used as a tool for social commentary and critique, and I think it's really exciting to see galleries taking a more nuanced approach to showcasing art that reflects our increasingly complex world 
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It's about time we shift our focus from competition to collaboration, don't you think? 
The fact that Jarvis and Werner are sharing costs and revenues equally is genius! 
It's all about creating a win-win situation for everyone involved. And let's be real, it's about time we disrupt the status quo in the art world – those mega-galleries can't stay on top forever! 
#ArtWorldRevolution #CollaborationOverCompetition #NewStandard
lets hope this trend keeps goin and we see more galleries embracin the collaborative vibe! 
And Jarvis and Werner's approach is all about creating these incredible exhibitions that bring together artists from different eras and styles. I mean, the fact that they've got Georg Baselitz and Maria Lassnig alongside younger artists like Archie Rand is just genius.
. It makes total sense that dealers and galleries are working together, sharing costs and revenues equally - it's all about supporting each other and creating something truly special 
. It's refreshing to see some old-school values making a comeback in the art world 
. Can't wait to see what other exciting collaborations Jarvis and Werner have up their sleeves!
I think this new model of collaboration between galleries and dealers is gonna change everything! 
According to data from the Art Basel fair, 71% of galleries have reported an increase in sales since 2020 
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. The whole equal decision-making thing sounds like a breath of fresh air too - no more ego clashes or backstabbing 
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. It's about finding that balance between personal style and collective vision. And I love the idea of international collaborations - who says art has to be limited to one culture or region? 
️, and I'm excited to see where Jarvis and Werner's collaboration takes them 
. Maybe we'll see more dealers and galleries putting aside their competitive instincts and working together instead 
. Like, I get it, they want to be all buddy-buddy and support each other... but what about the collectors who get taken advantage of? 
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But what really gets me is how this could lead to a more diverse art market, with galleries from different parts of the world coming together and showcasing each other's work. That sounds like some exciting stuff!