How to approach a gallery

[lightwisps]

It seems that many artists, not just photographers but all sorts of artists. Since I own a gallery may I make a few suggestions?

!. Research the gallery and find out what sort of art they display and what
their parameters are.

2. If you have a website send them a link so that nobody wastes each others
time.

3. Make an appointment to show your work.

4. Most importantly have your presentation looking professional. No excuses

Galleries are in the business of selling the art. There are hours of the day
that they are busier than others. I know these guide lines sound simplistic but it never ceases to amaze what comes through the door.

I can always be contacted at lightwisps@yahoo.com

 

[Eric Rose]

What's the web address for your gallery?

 

[lightwisps]

Hi Eric,

www.3yellowtulips.com

 

[c6h6o3]

I would go farther:

1) Don't even approach a gallery until you have a complete, consistent body of work. By complete I mean at least 40 photographs with a portfolio of 20 or so for introductory showing to galleries. By consistent I mean all the work in your portfolio must display the same style which identifies you. Not having a credible body of work before approaching a gallery is a deadly mistake that almost every aspiring artist seeking gallery representation makes. Don't make it even once.

2) ALWAYS put your best foot forward. Have your portfolio mounted, matted and ready to show. If you can do a piece better, don't put it in. Do it better and then put it in. Show only the absolutely best you can do. Pretend you're putting together a one man show for the MOMA every time you add a print to your portfolio, and one day you might be. As lightwisps said, no excuses.

3) Galleries love themes (think Shelby Lee Adams). Artists hate them. Deal with it.

4) You are known by the company you keep. If you want a gallery owner like this guy to let you in the door, don't let him even suspect that your work has ever been on the wall at Starbuck's or Barnes & Noble.

 

[chriscrawfordphoto]

I would go farther:

1) Don't even approach a gallery until you have a complete, consistent body of work. By complete I mean at least 40 photographs with a portfolio of 20 or so for introductory showing to galleries. By consistent I mean all the work in your portfolio must display the same style which identifies you. Not having a credible body of work before approaching a gallery is a deadly mistake that almost every aspiring artist seeking gallery representation makes. Don't make it even once.

2) ALWAYS put your best foot forward. Have your portfolio mounted, matted and ready to show. If you can do a piece better, don't put it in. Do it better and then put it in. Show only the absolutely best you can do. Pretend you're putting together a one man show for the MOMA every time you add a print to your portfolio, and one day you might be. As lightwisps said, no excuses.

3) Galleries love themes (think Shelby Lee Adams). Artists hate them. Deal with it.

4) You are known by the company you keep. If you want a gallery owner like this guy to let you in the door, don't let him even suspect that your work has ever been on the wall at Starbuck's or Barnes & Noble.

I've met Mr. Paletti a few times. He's a very nice guy who collects the work of the greatest photographers. I doubt he'd look down on a photographer who had shown work at Starbucks, he knows you have to start somewhere. Having said that, the stuff he collects is mostly by the ultra-famous so even if you have never exhibited at a bookstore or coffeeshop, you probably aren't important enough for his collection and won't be for many decades (IF you become recognized as one of the greats). If you live in or can travel to Louisville, his gallery is a must see. The most impressive collection I have seen anywhere in the midwest (he's in Kentucky, but right across the river from Indiana....since I live in Indiana, a midwest state, I compare him to other stuff I've seen in my area).

 

[kombizz]

I am not sure what would the situation if an artist was too poor to put his/her images mounted, or framed.
Does the Gallery provide these kind of facilities to an artist or not.
I guess not, but not too sure.
Can you help in this matter.
Thanks

 

[TheFlyingCamera]

When showing images to a gallery, the expectation is that they should be mounted. This is a reasonable minimum - anything else just looks unprofessional. Just as you would not go to a job interview not wearing a suit, don't go to a gallery preview with un-matted prints. Framing is usually only expected once a show has been agreed upon. Some very high end galleries will provide framing for the artist, but expect them to charge a 60% (or more) commission. Otherwise, you will be expected to provide your own framing. Some galleries show work matted only, in glass clip frames, because they sell framing services and it makes it easy to show customers how the work would look in a frame of their choice.

 

[Laurent]

Just as you would not go to a job interview not wearing a suit,

Does this mean that, if I go to interviews "suitless" I may show images unmounted (I'm working in IT, and got my best job without wearing a suit)

Sorry, couldn't resist....

 

[removed account4]

look at the work a gallery is presenting and try to understand
if your work is a good "fit" sometimes galleries will bend over
backwards for new-upcoming people, most of the time not ..
too much of a risk, the work doesn't go with their current stable / collector-base ( and a bad economy ).

the last gallery i showed work to was in a leather bound portfolio with slipcase ( book ) unmounted prints,
just like i would show an art director / creative director.
they didn't seem to mind the images not being 4ply window mounted.
and i'll have a piece or two in a show there sometime early summer.

4) You are known by the company you keep. If you want a gallery owner like this guy to let you in the door, don't let him even suspect that your work has ever been on the wall at Starbuck's or Barnes & Noble.

you can say that again ...
often times galleries will refuse to even look
at the work of a "coffeehouse artist" ....

 

[TheFlyingCamera]

Does this mean that, if I go to interviews "suitless" I may show images unmounted (I'm working in IT, and got my best job without wearing a suit)

Sorry, couldn't resist....

Must be nice. I too work in IT, and every IT job I've gotten I wore a suit to the interview (I've never had to wear one at work with the occasional exception of meetings with clients).

 

[SuzanneR]

I've shown loose prints at organized portfolio reviews. Usually these are 20 minute reviews, and the reviewer is seeing you and 10 other people, so it's best that the work is easy to get to and flip through. At these review events, most of the reviewers, in fact, prefer unmounted prints because of the time constraints. BUT, I think if you've managed a personal one on one appointment for a gallery to review your work with more time, it would be preferable to have them mounted/matted.

And of course, presenting yourself well is always a good idea, whether a suit or just being well dressed and groomed.

 

[c6h6o3]

I doubt he'd look down on a photographer who had shown work at Starbucks, he knows you have to start somewhere.

If the work were good, of course he wouldn't. I exaggerated a bit. But it's still important to network with people whose artistic vision parallels your own.
For instance, there are people who make a living selling at art fairs. I don't think Paul would be interested in that work. On the other hand, I couldn't sell a thing at an art fair and Paul has exhibited my work.

Paletti in particular is very sensitive to getting started in the business and has helped a lot of photographers with first shows and getting books published. While his collection is heavily weighted toward vintage and historically significant photographs, he does buy a lot of contemporary work as well.

 

[c6h6o3]

Must be nice. I too work in IT, and every IT job I've gotten I wore a suit to the interview (I've never had to wear one at work with the occasional exception of meetings with clients).

My Dad always said: "You are never out of place overdressed. When in doubt, dress. Then they'll be the ones out of place."

That advice has never failed me.