APPROCHING AND WORKING WITH GALLERIES

advice from CLARE BLOIS.

If an artist wishes to approach your gallery, what is the best way of making contact?

Letter of introduction?  Yes that’s good. Find out name of gallery owner.

Calling at the gallery in person? No, owner will want to see images first and may very well not be there anyway. Artist should however visit galleries to assess which might be suitable.

E mail?  I like that best, with one or two images or a web link.

Phone?  Not that useful, it’s the images that are important

 What information do you want from them?  

 CV?  Yes

Artistic statement?  Yes, not too lengthy and best to keep it straightforward and above all honest. Several pages of philosophy not required at this stage in your career.

 CD with images?  That’s good. With sizes.

Website?  Yes, nowadays one might expect one, but not totally essential

Photographs / postcards?  Not necessary

Business cards?  Not necessary

Portfolio of recent and previous work?  Good to take this along if a meeting is arranged

Which are the most common mistakes artists have make when approaching galleries?

Arriving unannounced with vast portfolio.

Not researching what is already in the gallery and therefore if it might be the right kind of venue. 

Having been invited to come and show me work 'in the flesh', saying they don’t know when they will have anything ready.
 
Sending round a mass e-mail addressed to every gallery in Scotland.
 

Showing me work that is badly framed (unframed is better than this, you can always say you are looking for advice as to what the gallery would prefer). 

Getting partner or agent to make contact instead of artist himself.

Things not to say to a gallery owner (all these I have heard!):

When will there be space for me to hang my work in here?

When is the next free slot for a solo exhibition?

These aren't actually finished yet............

My therapist says it would do me good to exhibit my work.

Framing doesn't really matter, does it?  People are only looking at the painting.
  

Any other comments …

I make the following comments in the light of my experience on both sides of the fence – as a gallery owner and also an artist with work in other galleries around the country:

Most gallery owners are genuinely interested in promoting promising artists, but they also have to make a living.  That means sales.  It is very important to approach the right galleries, i.e. the ones where your work fits into the pattern of what they are already selling.  That includes the pricing.  If you are just staring out, try not to price too high - you can always go upwards.

Galleries are not trying to rip artists off.  The commission should be regarded as the fee you pay to have a buyer found for you.  After all, you get the work hung for nothing and finding buyers is just as difficult as producing work!

If your work is not accepted by a gallery it may be for all sorts of reasons, it does not mean it is not any good!  However, if you press the gallery owner for an honest opinion, so not get upset if he gives you one.  It is only his opinion.

If your work is accepted, you will get huge brownie points for a businesslike approach, proper paperwork (especially delivery note), JPEG images, correct hanging fixings etc. and above all timely uplift!  A nicely presented one page CV also goes down well.

Do not have a website with your work for sale at lesser prices than at a galllery.

Do not keep phoning to see if anything has sold.  Make contact after a month or two if you have not heard anything.

Ideally you should get a written contract from the gallery.  In practice you may not and it can be difficult to ask for one.  But you must ask about rate of commission, insurance arrangements and how long the work will be hung.  Be aware that not all galleries are as good to artists as the ones in this area are!  There are late payers out there and galleries who put your work into a cupboard without telling you.  Or even lend it to friends.  Just be wary.