Meeting with Gallery Owner

[DLibrach]

Hi All,

Could use some advice from all of you great, seasoned (and not so seasoned) pros.....

I've been approached but a rather well-regarded, contemporary gallery about becoming one of their artists. They seemed impressed with what they saw on my website but have asked me to bring along a print portfolio. I have a portfolio prepared but could use any pointers. I've heard it's best to keep things simple so I have 10 images that I think best showcases who I am and what I do as well as what I think would work well with their philosophy (from researching their website and the artists that they currently represent) yet still brings something different to the table.

Also, I hope my art speaks for itself, but I know I'll still have to say something. What should I expect? As an artist, what type of questions should I be asking? What questions should I expect to answer?

Any and all tips/suggestions greatly appreciated. Thanks in advance.

Cheers,
David

 

[Ken Tanaka]

Good for you, David.

I cannot offer too much in the way of sage advice. You probably have more insight into this gallery than anyone here. I looked through some of your work -- it's very nice, inoffensive work that could be very attractive for quite a number of applications. I would, indeed, select 10-12 pieces to bring along but certainly no more for the first meeting.

If I could offer a single phrase of advice it would be to keep in mind how galleries earn their rent. They may seem like very sophisticated businesses but I assure you that they really are quite the contrary. Most are small businesses that are constantly looking for new stock and new opportunities to sell or license stock. Hence, you're a good candidate.

First and foremost they'll want to get a sense of whether or not you're going to be a pain in the ass. That's ok if you're already a big name commanding big prices. But otherwise they'll probably pass.

In terms of preparation, I suggest you get some sense of how these guys make their rent. Yes, they sell stuff. But that, alone, would not keep many galleries in business. Most galleries have other avenues for revenue. For example, do they rent pieces for corporate or dining/hospitality displays? (Your pieces would be perfect for that business.) Do they plan to represent your work at prominent fairs such as Art Chicago, Basel, or Miami? DO they plan to represent your work on their Web site? How much of your work do they plan to show?...and WHEN. (Since Halifax is mostly a warm weather tourist destination this is an important question.)

Finally you'll want to get a sense of what's in it for you. Be prepared; most galleries want half of your sales off the top, some want 60%. Such terms are sometimes negotiable but not likely for a newbie. So I'd suggest negotiating some sort of win-win agreement that involved a sliding scale based on gross sales over a period of time. But you be the judge of what you feel comfortable negotiating. But just be sure that you have an out if THEY turn out to be the pains in the ass. (And try to get a local attorney familiar with such agreements...ask other artists for recommendations.)

Congratulations and good luck!

 

[DLibrach]

Thanks Ken for the extensive reply!

.....First and foremost they'll want to get a sense of whether or not you're going to be a pain in the ass. That's ok if you're already a big name commanding big prices. But otherwise they'll probably pass.....

I'm quite easy going, but it's good to be reminded to watch out for how/what I say and how it can be interpreted. When I'm rich and famous then I'll make sure to make them lay out only green M&Ms under my art and other unruley demands. Until then, I'll keep myself in check.

In terms of preparation, I suggest you get some sense of how these guys make their rent. Yes, they sell stuff. But that, alone, would not keep many galleries in business. Most galleries have other avenues for revenue. For example, do they rent pieces for corporate or dining/hospitality displays? (Your pieces would be perfect for that business.) Do they plan to represent your work at prominent fairs such as Art Chicago, Basel, or Miami? DO they plan to represent your work on their Web site? How much of your work do they plan to show?...and WHEN. (Since Halifax is mostly a warm weather tourist destination this is an important question.)

Good point. I hadn't even thought about marketing or other areas of revenue that they use. I'll make sure to inquire about that.

Finally you'll want to get a sense of what's in it for you. Be prepared; most galleries want half of your sales off the top, some want 60%. Such terms are sometimes negotiable but not likely for a newbie. So I'd suggest negotiating some sort of win-win agreement that involved a sliding scale based on gross sales over a period of time. But you be the judge of what you feel comfortable negotiating. But just be sure that you have an out if THEY turn out to be the pains in the ass. (And try to get a local attorney familiar with such agreements...ask other artists for recommendations.)

Again, great advice. Yeah, I realize that it is the galleries that profit from sales (although they have their expenses too) and not necessarily the artist. Once the cost of printing, framing and my time are considered, I don't expect to have much left over (if anything) from my cut of a sale. Hopefully one day I'll be in a position to negotiate a better percentage but I'll probably only have a take-it-or-leave-it offer this time around. That being said, I'll still make sure that I'm not giving away my soul either.

What I am hoping for is to gain is some exposure. Right now, that's probably worth more than anything for me.

Thanks,
David

 

[Mike Shimwell]

I've been doing a bit of work with a local gallery which is owned by a good commercial framer. There are still discussions around the cost of framing, but if your gallery offers bespoke frmaing (and if you are happy to let them choose how to display your work) then you may be able to reduce at least a part of the outlay.

Well done, and well deserved.

Mike

 

[Michael Fontana]

David

Ken made some impotant statements, I might add:

quite often, galleries tend to have kinda homegrounds, which means that in a circle of xy miles, or states the are representing you exclusivly, so you can't exhibit with someone else in that aerea.

be aware, that you can't sell privatly - or out of the studio anymore, once you're bound with a gallery, unless you give the 50 % to the gallerist. That's how it works here in Basel.

And ask the gallerist, if they' ve some partner-galleries in other lands; that's quite common, and opens doors that would be closed otherwise.

 

[DLibrach]

Thanks Mike and Michael for your words of wisdom.

There are still discussions around the cost of framing, but if your gallery offers bespoke frmaing (and if you are happy to let them choose how to display your work) then you may be able to reduce at least a part of the outlay.

I'll keep that in mind. I've got a pretty good framer but will check with them as to their requirements or if they are able to framer it at a reduced cost.


.

...quite often, galleries tend to have kinda homegrounds, which means that in a circle of xy miles, or states the are representing you exclusivly, so you can't exhibit with someone else in that aerea.

be aware, that you can't sell privatly - or out of the studio anymore, once you're bound with a gallery, unless you give the 50 % to the gallerist. That's how it works here in Basel.

And ask the gallerist, if they' ve some partner-galleries in other lands; that's quite common, and opens doors that would be closed otherwise.

They really get you coming and going don't they!?! If they are that restrictive, how do other artists deal with that and actually make a living? My work isn't at the point yet, nor is my name established enough (at all?), to command extremely high prices so I've got to keep prices in line with the other artists. Guess its all about 'putting in your dues' when starting out.

Thanks,
David

 

[Kathy Rappaport]

Gallery....

I decided that I had enough of a portfolio that I was going to open a gallery within my studio. I have a retail space with a long wall and the entrance is next to a busy restaurant with good foot traffic.

Talk about expensive propositions. I have been slowly printing and framing and garnering some interest. The framing part is where the cost is. I am buying custom frames and matting them.

Also, I am working with a few restaurants on displaying my pieces and an art show this spring.

We shall see. Maybe I can be the next Annie Liebowitz.

 

[Mike Shimwell]

We shall see. Maybe I can be the next Annie Liebowitz.

Given some of the flak Annie has caught lately that may not be such a desirable prospect - she does remain very marketable though!

I've found framing to be very expensive. I'm able to do my own, but even then the time cost often means I'd rather be doing something else. When I sell prints privately I've become happy to have any framing in wood done done by the gallery at a discount (seems to work out at about 25% to 35%) and then I can sell on at retail. This is a good arrangement for us both! Fraiming in metal I do myself as it's much quicker and easier and I quite enjoy matting up prints.

Mike

 

[DLibrach]

Good luck with the gallery Kathy! It's always been a dream of mine. Our next house in the country I'm hoping to arrange it so that I can convert a barn or something into one. At this rate, that'll be quite a few years away but it's always good to have something to work towards.

Cheers,
David

 

[Ken Tanaka]

Talk about expensive propositions. I have been slowly printing and framing and garnering some interest. The framing part is where the cost is. I am buying custom frames and matting them.

Kathy's remark cuts to a real issue with regard to gallery representation for photographers. Generally speaking it's a losing proposition for amateurs. Yes there are plenty of exceptions but they really do prove the rule.

Many galleries tap local amateurs knowing that they'll be flattered and that they'll think it's a "good way to get my name out there". Usually, however, your name's not even leaving the zip code. The gallerists are lazy, have no connections beyond their locale, represent whatever will make them a buck, and have no intentions of working for you (which is what they're actually supposed to be doing).

A gallery that does not specialize in photography, that has not made a commitment to photographic art through participation in AIPAD or a similar organization is probably not worth the investment in money or time, even as an unknown.

If you want to see two dealers who are at the top of the photographic art representation game today look no further than Jeff Fraenkel and Cathy Edelman. They've become institutions in the art photo world. Cathy, in particular, represents new talent perhaps best exemplified by Julie Blackmon. Julie's path to-date is pretty typical of a budding successful art photographer. She's developed a solid body of work, participated in many shows and won prominent awards. Today she's represented by four U.S. galleries, among which is Cathy Edelman. Julie's editioned prints (which are really extraordinary large-format Epson pigments) sell for the modest prices of $2,000 - $5,000. Eight to 10 years from now I would expect the range to be $6,000-$25,000.

Today, in my opinion, a gallery should demonstrate that they're going to work hard for you in order to earn that big pie slice. That means they have the national and international connections to get your work into shows and to get your work noticed far beyond tourists and local restaurant looking for cheap decor.

I actually didn't mean to be so discouragingly frank, David. But that's the story as I see it. I have the pleasure of occasionally working with one of the most prominent contemporary art dealers in the world (non-photography) and see the level of talent and clientele cultivation that has propelled them to the pinnacle they now occupy. They work their asses off for their artists and for their collectors. So do Jeff Fraekel, Cathy Edelman, and the other fine photo dealers in the U.S.

In my opinion, with some savvy use of the Internet and some time invested in attending top-quality shows in the U.S. and Canada (initially as a visitor) and chatting with gallerists and artists from around the world you would be able to place yourself in a far better position that most local galleries will ever place you. Art galleries in general are under tremendous pressures to maintain their raison d'etre. On the one side, the high-end side, they have auction houses making sales that were once the exclusive provenance of galleries. On the other side the Internet is able to connect artists with far more potential buyers than most galleries ever could.

So, frankly, I'd have to give it some real thought and research before I made any commitment to representation by a local gallery.

 

[DLibrach]

Again, thanks for all of your thoughts, Ken. Don't worry about being frank. If I wanted just the icing and the feel good stuff I would have gone to any number of other photography/art forums. This is the only places I've found where you can get real and honest advice and feedback without having to worry about things being sugar coated.

This is a conversation that I would love to continue with you over a bottle (or two) of wine at some french bistro in another 5-10 years. I have not experienced enough to be able to agree or disagree with your points as of yet.

I wonder though how many of the more established didn't start off with showing in local galleries and such. Everyone needs a first step, right? What were theirs?

You have given me lots to think about and will take them with me this weekend as well as in the future.

David

 

[Asher Kelman]

David,

Congrats on getting interest. It might sound easy but it's not if the gallery has any standing and does exhibit in the premier photography shows. I just received this from a very presitigius gallery.

ARTIST SUBMISSIONS

A minimum of 12 images of artwork created in the last 16 months.
All forms of images are acceptable (analog and/or digital).
If you choose to send digital images, please send high-resolution tiffs or jpegs.

An artist biography/C.V. listing previous/current exhibitions, representation, and education.

No original artworks will be accepted and incomplete submissions will not be reviewed.
Walk-in submissions are not accepted.

A fee of $60 is required for all submission
​

I have omitted the name of the gallery since it's quite pointless if one does not have an invitation in the first place. The $60 fee is essentially lost.

What I think the take home from this is

1. "A minimum of 12 images in the last 16 months". To me that means they are looking for artists who are currently active.

2. "An artist biography/C.V. listing previous/current exhibitions, representation, and education." The gallery really must have a deep sense of who you are as a person and an artist they can represent. Will you be reliable? Will you be productive and bring them new work to sell. So they need a very good write up of who you are, after all, they must sell you as well as the artwork.

Most galleries have their own stable of artists already. Still, they are always testing the waters, seeing what else is out there. In spite of this apparent openness to new work, it's more that they want to be aware and have an opportunity to refuse. They are, after all, looking ahead but also right now must pay for each square foot of wall space and the sales people who are salaried.

Good luck,

Asher

 

[Kathy Rappaport]

Interesting....

This is interesting to me. I have many images that have been mostly from my travels over the last 5 years. People have asked if I sell them and so mostly I have said I'd print something up if they'd like. I am getting that more and more now that i have the studio. I decided to make a wall in my shooting room be the gallery more to attract people to my studio so they can meet me for commissioned portrait work. I have so many images that would be salable so I thought that it would be a great marketing/PR tack to take to get some notice. I have no idea where it will lead, but, I never expected my cost of goods to be as high as it is.

Asher and Cem might find it interesting that on of the images some one is interested in is one of a photographer chatting with the owner of a 1952 Woody at the end of the Santa Monica Pier...at dusk.I don't have a property or model release, although I might be able to get one.

 

[Michael Fontana]

I wonder though how many of the more established didn't start off with showing in local galleries and such. Everyone needs a first step, right? What were theirs?
David

They knew more about the gallery than the gallery knew from them ;-)

joke aside, what Ken says is pretty close to what I see here:

"they work their asses off for their artists and for their collectors." Ken

Don't forget, that no artist became successfull prior to a big daddy holding his hand over the artist... - collectors can be big daddy's.

Another main difference between a John Doe's gallery and a successfull one are its relationship to museums and collectors.

Meanwhile, as a artist, showing up in important galleries, you' ve to prove that you want to make a living out of art...


*************
I really don't want to comment on the 60 $-gallery.

 

[Ken Tanaka]

Don't forget, that no artist became successfull prior to a big daddy holding his hand over the artist... - collectors can be big daddy's.

Another main difference between a John Doe's gallery and a successfull one are its relationship to museums and collectors.

Meanwhile, as a artist, showing up in important galleries, you' ve to prove that you want to make a living out of art...


*************
I really don't want to comment on the 60 $-gallery.

Last year I attended a talk given by a very well known photographic artist. Afterwards during dinner it became very apparent that I was seated between the artist and the patron collector who had helped put him on the map 30+ year ago. The conversation between the two was similar to two very old friends even though they'd not seen each other for 10 years.

That event was held in a museum, by the way. Museum curators, to a significant degree, rely on gallerists for guidance toward "good" contemporary work. In fact a significant portion of the annual curatorial budgets of museums is earmarked for the curator's travel to galleries and shows.

Meanwhile, good galleries have lists of frequent clients and collectors that help guide, with money trails, the gallerists to discover what's "good". Significant collectors, in turn, are courted by museum curators (sometimes for decades) in hopes that they will donate or will their caches to the museum.

This is the primary creator-purveyor-collector-museum life-cycle path for art.

 

[Asher Kelman]

Re the $60 fee. If there really was a great chance of getting one's work in that way, it would be fine. It just prevents an avalanche he of submissions and provides for the time of the assistant going through the work and maybe mailing stuff to an associate in Miami, NY, Paris or wherever. This is not some scam. This gallery is one of the finest.

 

[DLibrach]

Well, the weather decided to not cooperate on the day of our meeting (15+ cm of snow) so we have rescheduled for next weekend. I'll let you all know how I make out. Thanks again for all the great advice.

Cheers,
David

 

[Jerome Love]

Hi All,

I've been approached but a rather well-regarded, contemporary gallery about becoming one of their artists. They seemed impressed with what they saw on my website but have asked me to bring along a print portfolio. I have a portfolio prepared but could use any pointers. I've heard it's best to keep things simple so I have 10 images that I think best showcases who I am and what I do as well as what I think would work well with their philosophy (from researching their website and the artists that they currently represent) yet still brings something different to the table.


Cheers,
David

I have to say that is a great perspective first off. Have confidence! You'll do great!

 

[DLibrach]

Thanks, Jerome. We've rescheduled for Saturday. Looking forward to it.

David

 

[DLibrach]

Alright, I was finally able to meet with the gallery owner over the weekend.

First, let me thank all of you for your words of wisdom. I felt much more prepared entering into the conversation armed with all of your comments.

Overall things went pretty well. I will be having a few images in the gallery throughout the year (they are open from April through December) as well as a one month, mini-show (one wall devoted to just my work, around 6-8 images, as opposed to a 'full show' which would consist of two walls).

It was the first time that I've received brutal, honest feedback from someone regarding my work. For the most part, the comments made were consistent with what I had already thought. Still, it can be challenging to hear it out loud for the first time and it took me a couple of days to absorb it all. It confirmed to me that although my work may stand out a bit, I still have a ways to go to take it to the level that I want it to be at.

All in all it was very informative and enlightening and I am looking forward to the opportunity. I still have some work to do (picking a cohesive collection, printing and framing...etc) but the gallery doesn't open until April so I've got time to put something together something really spectacular. Until then, I'll probably be bugging you all with some more questions. Hope you don't mind......

Cheer,
David

 

[Ken Tanaka]

Thank you for the update, David. It sounds like you had an informative and productive first meeting. A good start on what might be an excellent long-term relationship.

 

[Jerome Love]

David,

Glad to hear things went well overall. Your perspective is great and the fact that you see the feedback as a way to improve and bring you up to a new level is a great outlook as well. I hope you find a collection in the next few months that best represents you.