The day damien hirst signed with white cube in a london pub

This scene, almost mythic, illustrates the power of partnerships between galleries and art schools. Behind the success stories of Hirst, Tracey Emin, and Sarah Lucas lies a system that has been running smoothly for decades: galleries spot talent before they even graduate, and schools serve as breeding grounds for these headhunters. But how does this mechanism really work? Who benefits from it? And, most importantly, how can a young artist take advantage of it without being crushed by the system?

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01When galleries play headhunter in the halls of art schools

Every year in May, European and American galleries send their teams to art schools like pilgrims. At Yale, Goldsmiths, the École des Beaux-Arts in Paris, or the Städelschule in Frankfurt, gallery directors, curators, and scouts roam the halls of MFA programs with the same intensity as collectors at Art Basel. Their goal? To spot the next stars before they sign with the competition.

Leo Castelli, the New York gallerist who launched Jasper Johns and Roy Lichtenstein, had a simple method: he attended thesis shows (end-of-year exhibitions) with a notebook and a checkbook. Today, things are more organized. Hauser & Wirth, for example, sponsors the Royal College of Art’s (RCA) final-year exhibition in London every year. In exchange, the gallery gets a first look at the students’ works—an unwritten but very real clause. "It’s like a right of first refusal," explains a former RCA student. "If Hauser & Wirth wants a piece, they’ll get it before anyone else can make an offer."

In New York, Gagosian has taken the system even further. Since 2016, the gallery has funded an artist residency for UCLA’s MFA students. In return, participants receive a studio, a $10,000 grant… and the promise of an exhibition at Gagosian if they impress the scouts. "It’s a way to ensure the best talent comes back to them," confides a UCLA professor. "But be careful—it’s not free. Students who sign with Gagosian often commit to not working with other galleries for at least two years."

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02Art schools, the talent factories that feed the market

If galleries invest so much in schools, it’s because the latter play a key role in shaping artists—and in boosting their market value. A 2023 market data platforms study found that 72% of artists represented by the world’s top ten galleries (Gagosian, Hauser & Wirth, Pace, etc.) had earned an MFA from a prestigious art school. Yale leads the pack, followed closely by Goldsmiths, the RCA, and the Städelschule.

Why these schools in particular? Because they offer much more than a degree. They provide a network, legitimacy, and, above all, early exposure. "A Yale student is three times more likely to be spotted by a gallery than a student from a lesser-known school," explains a New York-based scout. "Why? Because galleries know Yale trains artists who speak the language of the market."

Take Julie Mehretu, for example. A Columbia graduate in 1997, she was spotted by Marian Goodman at her first solo show in 2001. Today, her abstract canvases sell for between $5 and $10 million at auction. "Columbia was a springboard," she says in an interview. "But without Marian Goodman, I might still be painting in my Brooklyn studio."

Conversely, some schools struggle to attract gallery attention. African art schools, for instance, are still largely ignored by the Western market. "European and American galleries don’t come to the École des Beaux-Arts in Dakar or the University of Lagos," laments a Senegalese artist. "They prefer to wait until African artists come to study in Europe or the U.S. before spotting them."

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03The trap of contracts: when galleries lock in artists before they even graduate

Behind the success stories of discovery lies a less glamorous reality: the contracts signed between galleries and young artists are often unbalanced. In 2021, a New York Times investigation revealed that 60% of MFA students in the U.S. had signed an agreement with a gallery before even graduating. Many of them were unaware of the hidden clauses in these contracts.

Take Nate Lowman, a New York artist spotted by Gagosian while still a student at Columbia. In 2010, he sued the gallery, accusing it of not paying him his share of his works’ sales. "They made me sign a contract that gave them 70% of the profits," he explains. "And when I asked for an accounting, they threatened to drop me."

The most controversial clauses? Exclusivity agreements, which force artists to work with only one gallery for a set period. In 2019, an RCA student sued Hauser & Wirth after discovering her contract barred her from collaborating with other galleries for three years. "It’s like signing a marriage contract before you’ve even met your partner," quips an art lawyer.

Another pitfall: first-right-of-refusal clauses, which give galleries the right to reject a work before it’s offered to another buyer. "It’s a way for galleries to control the market," explains a collector. "If a gallery doesn’t like a piece, it can block it and prevent the artist from selling it elsewhere."

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04Professors, the matchmakers who make or break careers

In this system, professors play a crucial role. Not only do they train artists, but they also act as intermediaries between students and galleries. "A professor who recommends a student to a gallery is like a godfather introducing his godson to the mafia," explains a former Yale student. "It opens doors, but it also creates debts."

Roni Horn, a professor at Yale, recommended Rachel Harrison to Greene Naftali Gallery. John Baldessari, at CalArts, introduced David Salle and Jack Goldstein to Mary Boone. And Michael Asher, also at CalArts, mentored Andrea Fraser and Allan Sekula. "Professors have enormous power," confirms a Parisian gallerist. "They can launch a career… or destroy it."

But this power comes at a price. In 2018, a UCLA professor was accused of taking commissions on his students’ sales. "He told us: ‘If you want me to recommend you to Gagosian, you have to give me 10% of your sales,’" recalls a former student. "It’s illegal, but it’s common."

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05New models: when galleries become schools (and vice versa)

Faced with rising tuition fees and the precarity of young artists, some galleries have decided to take matters into their own hands. In 2020, Hauser & Wirth launched the Hauser & Wirth Institute, an educational program offering grants, residencies, and free workshops. "We want to train the next generation of artists without saddling them with debt," explains Manuela Wirth, co-founder of the gallery.

In Paris, Chantal Crousel Gallery has set up a similar system. Each year, it selects three young artists from French art schools and offers them a solo show in her gallery. "It’s a way to bypass the MFA system, which is expensive and doesn’t guarantee a career," explains Chantal Crousel.

Conversely, some art schools have turned into galleries. In 2022, the Royal College of Art opened RCA Galleries, a space where students can exhibit their work without going through an external gallery. "We want to give students the autonomy they don’t have in the traditional system," explains an RCA professor.

But these new models raise questions. "Are galleries becoming schools to better control artists?" wonders an art critic. "And are schools becoming galleries to better monetize their students?"

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06Alternative schools: when artists bypass the system

Faced with the grip of galleries and traditional schools, some artists have created their own structures. In New York, the Bruce High Quality Foundation (BHQF), an artist collective, launched the Bruce High Quality Foundation University (BHQFU) in 2009, a free art school. "We wanted to show that you could learn art without paying $50,000 a year," explains a collective member.

In Berlin, the School of Machines, Making & Make-Believe offers workshops and residencies for artists without going through traditional institutions. "We don’t believe in degrees," says founder Rachel Uwa. "We believe in concrete projects."

These initiatives show it’s possible to succeed without galleries or traditional schools. But they remain marginal. "Most artists still need galleries to break through," admits a Berlin artist. "The system is locked, and it’s very hard to bypass."

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07How to benefit from this system without being crushed

So, how can a young artist take advantage of gallery-school partnerships without being exploited? Here are some tips, gathered from gallerists, artists, and professors.

Choose your school carefully. Not all schools are equal. Yale, Goldsmiths, the RCA, and the Städelschule are the most sought-after by galleries, but they’re also the most expensive. If you can’t afford them, consider a lesser-known school with a strong network, like the École des Beaux-Arts in Lyon or HEAD in Geneva. Play the networking card. Art schools are hubs of contacts. Take advantage of meetings with gallerists, open studios, and exhibitions to get noticed. "A gallerist won’t come looking for you if you stay in your corner," explains a former Goldsmiths student. Read contracts before signing. Exclusivity and first-refusal clauses can trap you. If a gallery offers you a contract, have it reviewed by a specialized lawyer. "It’s better to miss an opportunity than to sign a bad contract," advises a New York artist. Diversify your partners. Don’t put all your eggs in one basket. Work with multiple galleries, participate in residencies, and sell your work online. "The more partners you have, the less dependent you are on one," explains a Parisian gallerist. Create your own structure. If the system doesn’t suit you, build your own. Start a collective, open a pop-up gallery, or organize exhibitions in alternative spaces. "Galleries need us as much as we need them," reminds a Berlin artist.

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08The future of gallery-school partnerships: toward a fairer system?

Is the gallery-school partnership system doomed to disappear? Not necessarily. But it is evolving.

On one hand, galleries are increasingly looking to diversify their talent pools. In 2023, Hauser & Wirth signed a partnership with the University of Lagos to spot African artists. "We want to get off the beaten path," explains Manuela Wirth.

On the other, schools are trying to reinvent themselves to stay relevant. In 2024, the Royal College of Art launched a scholarship program for artists from disadvantaged backgrounds. "We want to democratize access to art," explains an RCA professor.

Finally, artists are taking matters into their own hands. In New York, the For Freedoms collective organizes workshops and exhibitions for artists who don’t want to go through galleries. "We believe in art that’s accessible to everyone, not just collectors," explains a collective member.

Still, one question remains: Can this system ever become fairer? "Not as long as galleries and schools continue to depend on each other for survival," says an art critic. "But if artists take power, anything is possible."

One thing is certain: the day Damien Hirst signed with White Cube in a London pub, he didn’t know he would change contemporary art. But he did know one thing: to break through, you have to play the game. And sometimes, the game is about getting spotted before you’ve even finished your degree.