GALLERY REPRESENTATION
There seems to be a feeling among many artists that
if they are not represented by a gallery, then they somehow haven’t arrived.
In today’s climate this would translate into failure for the majority
of artists.
Galleries are finding it hard to survive in the current economic climate,
because art is regarded
as pure luxury
by most people, not something they need.
If you can see things from the gallery owner’s point of view it helps.
Is your work salable in those surroundings?
Have you already a track record of sales to significant clients, private
and corporate?
Are you creating something so original that no one can afford to ignore
it, so it will pull visitors into the gallery?
Just being good at what you do usually isn’t enough, at least in a big
city. However, local galleries in small towns may be prepared to take some of
your work on consignment to test the market.
If it doesn’t sell in a few months, you will be asked to take it away
again.
Approaching
a Gallery
After weeks or months of
visiting galleries in the area you’re targeting, you will have a pretty
good idea of the ones which show work like (but, of course, not the same as)
yours. If
you are an abstract painter, you won’t bother applying to a gallery which
specializes in realism.
If you’re a traditionalist, you’ll avoid anywhere which exhibits the
avant-garde.
Having picked your likeliest galleries, strike up conversations with the
owners about the exhibits, the artists, anything which might help you to find
out if you have a chance.
Don’t immediately tell them that you are an artist either - it might
restrict their responses.
If they think you’re a buyer, they’ll give out plenty of information.
Notice whether the gallery takes the trouble to promote their artists’
work. Are
there slides and light-boxes available?
Can you easily view the work in the stacks?
Indeed, is there anyone to talk to at all?
If not, maybe they can’t afford the staff or they simply don’t care.
After a few visits introduce yourself by name and ask whether the gallery is currently reviewing slides. If not, when is the next review likely to happen. If so, ask how many you should send. If you’re the shy type, you can do all this by phone, but it really helps to be able to refer in your cover letter to the fact that you have met in person. You can also mention certain exhibitions which you have particularly enjoyed. Let them know that you’ve done your research.
The
Application Package
This should consist of a sheet of 10-20 slides, neatly labeled with
titles, dimensions & medium, your name and - very important - year of
execution.
They’ll want to know that they are looking at your current work.
Choose only slides which represent a particular body of work.
Even if you do paint nice landscapes and you’ve done an abstract or
two, if your main focus is the human figure, confine yourself to that.
If you don’t, you may be viewed as immature or unfocused.
Along with the slides you should include a retail price list which
allows for the gallery’s 40%-50% commission.
Indicate also whether the paintings would be sold framed or unframed.
Enclose an up-to-date resumé and a short statement about your work.
This should never be too pretentious, but should clearly explain what
motivates you to produce this particular body of work.
You may also describe your process if this will enhance the viewing of
your slides.
Your cover letter, on good stationery with your distinctive letterhead to
match your business card, will be straightforward.
State your purpose clearly - that you would like this gallery to
represent you and include a SASE for the return of your materials.
Bear in mind that successful galleries receive approximately 200-300 such
applications per month!
It may take them 2-3 months to get back to you, or you may receive the
package by return mail without even a letter or explanation.
If you’re really serious about gallery representation, you will not
give up after the first round of rejections.
Many artists have faced dozens of rejections before finally finding a
gallery which likes their work.
It’s tough and not for the faint-hearted.
As soon as you get your package back, send it off to the next gallery on
your list.
Don’t let the slides sit in your office gathering dust and going past
the sell-by date.
If one city doesn’t work, try another … and another.
Meanwhile don’t sit
around fantasizing, explore alternative venues for showing your work - cafes,
restaurants, banks, libraries.
Finding a gallery may take several years, so you need to keep active
meanwhile.
The
drawbacks of gallery representation
It’s easy to imagine that once you’re in a gallery all your troubles
will be over.
Someone else will sell your work and you can just sit back and paint or
sculpt. Not
usually so.
Contracts may demand exclusive rights to sell your work, thus limiting
your market.
Or you may be told that you can only exhibit outside a 50-mile radius.
If you hold an open studio, you will be expected to sell at gallery
prices, otherwise gallery clients may feel they are being overcharged for your
work. If
you want to participate in a local exhibition, you will need to get the
permission of the gallery.
You have been accepted on the basis of a certain type of work, so
you’ll have to stick with that style or subject at least for a while.
This can be very inhibiting for some artists who like to experiment.
You will also be expected to produce a certain amount of salable work,
which can lead to undue pressure if you’re subject to creative blocks.
It’s no use sitting back and expecting the gallery to do all the work either. You need to check in regularly with the owner, build up a relationship, meet potential buyers, attend openings, reassure yourself that enough is being done to promote your work. At all times you should be a professional - galleries are leery of flaky artists.
©
Ann Baldwin 2002