Approaching a Gallery with your Work

congratulations Portal! well done and you deserve it. What are you doing now? it's ages since I've 'spoken' to you online.

Have you got a website? if you have please pm me the address?

How 'posh' is the gallery?

Dress so that you feel happy and confident, feeling comfortable and 'yourself' matters. Remember you've got that folio to lug so you need to be comfortable. (I've tended to keep it simple - dark trousers and a simple top that I don't have to worry about but looks classic and smart/casual).

Appear quietly confident in your work and sure of its quality and friendly - without being over confident obviously! - if you don't believe in yourself (I know you do, but they need to know you do) they won't.

You are an artist considering their gallery as it appeals to you - rather than you timidly auditioning! (I have to take a deep breath and be an actresss for this bit cos I'm always nervous at first - once you start chatting about the work it's ok)

I'd take originals in your folio unframed and possibly mounted, depending on size, and at least one framed so that they see how you frame, if it isn't the way they like you have chance to discuss this. Your folio sounds good and will look professional. I had one gallery that preferred narrow frames to wider ones and it suited my work so I was happy to go along with it. they were quite happy with the limed ash that I like. I don't frame canvasses ever - I've had a gallery surprised but they went along with it, most are quite happy with that anyway. Make your mind up on issues like that if they are important to you.

The first time is the worst - in actual fact they are usually happy friendly chats about your work, a real buzz. Your works is good so you have a headstart. The gallery wants profit so they are looking for sales and they know their clients and have a good idea of what will sell to them so if the worst happens and they turn you down, it is simply the wrong gallery and there will be others. Fingers tightly crossed for a 'yes' and sales though

Have you given them your website details if you still have one? I find that really useful.

you could have a small folder/folio of photos of some of your really large paintings as well to show the range of your work - you obviously can't carry everything.

The conversation will sort itself I find. The gallery owners are used to dealing with new artists. Saying how good the gallery looks or how you like their choice of artists is always a good warm up comment! and as you've chosen that gallery as you like it, you won't be lying

Osso should be an excellent adviser as she had her own gallery and lightwizard as well. I know it from the approaching artist side!

Goodstein Shapiro is a very good painter who has shown at some good galleries and will also be able to give you some good advice. Google her name.

How much do you know about gallery practices? - percentage taken, tax, when do they pay you? how many will be on show and how many in the storeroom? You need to know your prices before you go - I always use Artists Price when selling through a gallery and they work the sums out to do their percentage on top - that way I'm clear on what I'm getting.

One gallery I show at takes 60%, others take 50% and smaller ones 35%. If you have your price sorted that you don't go below, you don't lose out. Selling prices need to be reasonably constant or buyers can be miffed if they see stuff cheaper elsewhere!

Keep us updated?


(I've got a current sort-of-solo that is going well , a nice small town gallery but with wealthy residents) (sort of solo cos I've got over 3 dozen pieces but there's a handful of the owners life drawings and half a dozen paintings by other artists and some pottery). This is the first solo show where the owner took out ads in 4 glossy local magazines featuring it - which was rather nice).

We have been a gallery with a certain formal look but fairly relaxed atmosphere. Our city is such that people rarely dress up, ever, much less to see us. I'd say to wear clean clothes that you feel good in. It is hard for me now to remember what anyone wore - we've interviewed many artists over five years.

On attitude, we have been much more put off by overconfidence than by any temerity, but that's us. Be yourself - we have had shy artists and near charismatic room awakening artists and like them all, usually. I personally am sort of repelled by a salesy-sort of tone. We have usually looked at any art, even without appointment, because we enjoy looking at it. If we can't show you, we might make other local suggestions.

I suppose each gallery is different. We always have wanted to see original work, even if someone came in the door with a set of slides in hand. We might not go futher than looking at the slides in that case, if we didn't appreciate the work or liked it but didn't have a month free to book, or liked it but already had too many (whatever type), but we wouldn't book a show without seeing originals.

We would go to studios to see it if the work is unusually large or there are dozens of paintings or sculptures. It may be different in a more urban environment - people around here generally have cars or trucks and can bring their work in.

We've been interested in a coherent body of work since we have done solo shows in the main gallery.

Most galleries have in mind a spread of work among their artists - so that they don't show nineteen different water-scape painters, for example. Because we've had openings on a monthly basis, and people come out for them in droves for that one night, we don't want to have the work of one month's solo show be very similar to the last. There is a certain flow to the show bookings as there is to the flow of the work in a room.

We have from almost the beginning been booked up for twelve to twenty four months in advance.

We've taken 40% of the sales price. We learned not to promise promotional cards, as we couldn't afford it - but we have been glad to do the layout, actually preferring to do it because of some past goofs by others.

We do not want artists showing in the immediate area within a certain amount of time before showing with us, with the exception of the local museum or the local university gallery. You get a solo room with us, don't show at the coffee shop or another sales space. Also, don't sell your work cheaply at studio sales, maintain your pricing, for many reasons.

We maintain control of how the work is hung in the room, including what may be left out, lest the room be too jammed, or one work much weaker than the rest - although artists are welcome on the installation day - it is often a team effort, kind of a dance of what makes sense re the space and the work content, but we have the last say. I don't think we've ever had a row about this, but it is possible. One or two of the artists with us have deeply cared which photographs have gone in which sequence, and that's how they have gone up, as we've had no objection to that sequence.

We have insisted, having learned the hard way, on agreement re framing, whether it is no frames or what, we have wanted to be assured that the frames don't louse up perfectly good paintings, and we want consistency within the show, with any exception to be discussed; framing decisions to be made before artist does the framing or has it at the framer's. (Which framer's matters - there is one we trust a lot re taste).

We have never had insurance for the work, and say so on the consignment form.

On pricing, we appreciate it if the artist comes in with a price list, either of sales price or artist price (we can do math), but in most cases want to be listened to re work being set at too high a price or too low - all discussible.
We don't often have a piece up that is not for sale, and retain control on doing that.

Re money, you get your 60% within ten days of our getting it, usually faster than that.

That's all I can think of at this minute..

Portal, I'm happy for you doing this, very pleased. Please tell us how it goes, and have fun doing it, as odd as that may sound.

Vivien, congratulations on your near-solo, that sounds gratifying.

that was really interesting reading Osso. It's interesting to see the other side.

A local gallery that I've shown at since before my degree has given me excellent advice over the years and I continue to show there as loyalty works both ways, He still dishes out advice and comment - Frank by name and frank by nature he says.

Thought of one more thing - with the artists that have shown with us on a repeat basis, they have tended to paint a whole new coherent show for exhibit with us, and if they participate in local studio sales days, it would be with old work at consistent pricing. We learned to discuss this with the artists when a person with a show with us sold about two dozen pieces at a studio sale for artist's price one or two months before the scheduled show.
Only one small piece sold in our place.

We are not in a very populated area and there aren't masses of art buyers. That studio sale undercut us (sheesh, we earned less than it cost us for snacks and drinks) for that whole month the show was up. It also undercut the artist, keeping prices low.

It often happens anyway, that someone's work won't sell -- and even knowing that we have occasionally done a second show because we really like the work -- but not usually in such a clear cut circumstance.

Usually we could recover because some things in the smaller rooms with a mixture of art would sell - but at such a tightrope level that we worked at, being undercut is tough.

So, we feel there is a professional way to act as a gallery and as an artist. Since I am an artist I see that side of it too. It helps for the artist and gallery to discuss these things.

Thanks for the responses, they're appreciated.

As for my website, I have gone through two new web designers and they have both fallen through. Hopefully I can get the folders back up on my web site until I find someone who can get the job done.

My work has been changing in that I have been using much thicker, rapidly applied paint. I've been letting myself go in a way with my paintings that I do in my drawings, letting go of various ideals about how paintings should look and having fun with the process. I'm not sure where its going to end up but I'm really enjoying the work and looking forward to whats going to happen.

Unfortunately, I haven't been able to paint more than a couple days a month. My cake decorating job really takes a lot out of me. 40+ hrs a week at 8-10 hour days spent standing (usually with no breaks,) while making 40 cakes an hour and helping customers in assorted bakeries manned by one decorator leaves me exhausted. I've been trying to get a new/less tiring job so I can focus on my art, but the market sucks in Austin right now.

The gallery is not the most posh in town, a career advisor said that because this is a mixture of old (student) and some newer work I should keep it to the less famous galleries. The one I'm showing to is the Wally Workman Gallery.

I had never even thought about framing... I have a general idea of what I charge, but I am completely ignorant about pricing. Art school was 100% about making it, and 0% money and practicality. But thankfully I have alumni career services and your help.

"How much do you know about gallery practices? - percentage taken, tax, when do they pay you? how many will be on show and how many in the storeroom?" - absolutely nothing. I know galleries take 50% and they are ideally supposed to do stuff in return, like take out ads. And sometimes they want you to sign exclusivity contracts.

I'm going in tomorrow morning so I'll let you know what happens.

I'm glad to hear about your solo show, Vivien. Way to go! Do you have any links you could send? What is your current work like?

Hi Portal good luck! DON'T agree to any exclusive contracts!


That's a good start, gaining experience with local galleries before aiming up market - and if this gallery is good to you, then you can continue with them whilst showing elsewhere as well.

I'll pm you links and to a free site host that I think is utterly brilliant that you could set up yourself if you wanted, not relying on other people.

Hi.

I went, and Wally Workman was very nice. She looked at all my stuff and pointed out things she liked.

Unfortunately, (and expectedly), she told me that my work wasn't consistent enough yet to be marketable. But she told me to come back and show her in six months when I have more work.


There was only one faux pas during the interview: She asked me if I was still working and going to figure drawing and I embarrased myself. Here's the conversation:

"Have you still been working, going to figure sessions?"

"Yes, I do self portraits and go to the artplex on Guadelupe"

"You mean the artplex? On 45th?"

"No, the one on Guadelupe and 17th"

"That burned down 6 months ago"


Admittedly, I hadn't been there in a half a year. Whoops.

Anyways, it was as untraumatic as it could have been and I'm glad I got the first one out of the way with a nice gallery.

Thanks for the advice. If you have any more suggestions for next time they are appreciated.

Hi.

I went, and Wally Workman was very nice. She looked at all my stuff and pointed out things she liked.

Unfortunately, (and expectedly), she told me that my work wasn't consistent enough yet to be marketable. But she told me to come back and show her in six months when I have more work.


There was only one faux pas during the interview: She asked me if I was still working and going to figure drawing and I embarrased myself. Here's the conversation:

"Have you still been working, going to figure sessions?"

"Yes, I do self portraits and go to the artplex on Guadelupe"

"You mean the artplex? On 45th?"

"No, the one on Guadelupe and 17th"

"That burned down 6 months ago"


Admittedly, I hadn't been there in a half a year. Whoops.

Anyways, it was as untraumatic as it could have been and I'm glad I got the first one out of the way with a nice gallery.

Thanks for the advice. If you have any more suggestions for next time they are appreciated.

oops!!!!

Go Portal Star!

That sounded stressful, yet rewarding. Keep us posted on what else you are up too!

Approaching a gallery
This topic made me wonder - most galleries and competitions require slides of one's work. But how do you do that with a digital camera?

Galleries I deal with are happy with digital images - cd or website - with commercial galleries it's always been website so far.

you can have slides made from digital images if you go to a specialist photo company here - expenisve and a bit retro when they could be seen on screen but it is possible.