What Galleries Want

About a decade ago, I wrote a series of articles for Watercolor Magazine called "Advice From Experts". The editors gave me full reign of the topics I chose to highlight. So, being intensely interested in the area of art marketing, I wrote articles that interviewed high profile gallery owners and what they like to see in artist submissions to their gallery.

In the years since, I’ve come to know and befriend many gallery dealers. There is definitely a protocol that dealers generally expect when artists approach them for representation. But before I talk about how to submit materials to galleries, it is important to put the cart before the horse and talk about the art work that is to be submitted. After all, you could have a best materials and portfolio, but if your subject matter and style is "all over the place" - in other words, too varied, you will be at a disadvantage. Before you approach galleries, it’s wise to spend some time developing a professional looking, body of work that exhibits an easily recognizable and consistent style of your own.

Think about some of the artists that are listed in the high visibility shows and galleries in the U.S.. When I flip through magazines like Southwest Art, Art of the West, and American Art Collector, I see many familiar names of well known artists, and immediately, I know what each artist’s work looks like and the particular subject matter each specializes in. There’s no doubt about it, artists who’ve experienced success have a well developed, individual style. Many specialize in one subject matter. For example, Kathryn Stats paints landscapes, and so does Scott Christensen and Matt Smith. Robert Coombs prefers romantic figurative works. There are exceptions though - some artists paint figures, landscapes and still lifes, but these artists have a cohesive style that translates through all their subjects. Two come to mind. David Leffel and Richard Schmid.

All of this is to say that if you want to look professional and get a gallery owner’s attention, your paintings will need to look like they’re all painted by one artist. Now, you’re probably gonna look at my website and say to yourself, well... she doesn’t practice what she preaches! And, you’d be correct – at least for now. But I am currently on a journey to find out what I love to paint most. Last year, I had three galleries: one wanted only my still lifes, another preferred my landscapes and the third really didn’t care but didn’t sell any of my paintings. I should have never let myself get into this state of affairs, and I could have avoided it by first developing my body of work with the subject matter I love most, and then approaching the galleries, with the visual statement, "This is what I paint"... period. If you don’t have a style that you are known for, gallery dealers will sometimes ask you to paint what they know their customers want to buy. Since I have the ability to paint a variety of subjects, I let them fragment my art into whatever they liked best. It emotionally wore me out, and I pulled out of all three galleries in order to begin anew -- finding out who I am as a painter without outside pressure.

I am currently developing a series of landscapes because this is the subject matter that most speaks to my heart. As I push the brush over yards and yards of canvas, my individual style is naturally emerging. Which leads me to the next statement... Paint what you absolutely adore painting, because if you get known and collected for it, you’re likely to be stuck with it. Collectors sometimes get nervous when their artists go off in a totally different direction. It makes them wonder if the works they previously purchased are devalued.

So let me finish up this segment with some encouraging words: If you haven’t gotten to the point where you’ve arrived at a style of your own, take however much time you need to get there. Seek the subject matter that you adore, and get better at it than you ever thought you could. Also, it doesn’t hurt to set your best paintings aside for national competitions. When you get into those shows, it builds your resume, gives you affirmation, and lets gallery owners know you’re in it for life.

Well... to the easel I go! Landscapes it is!

Lori

This afternoon an artist who read a previous blog on outdoor shows asked me the following questions:  My answers follow - thought some of you out there in cyber art land might gain a bit of insight...
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Hi Lori, I am contemplating doing outdoor fairs and shows next year for the reasons you mention, and am wondering how to discern what shows would be best for me and selling my work. How do you decide where to show, and how do I give myself the best shot at choosing shows where buyers in my price range buy? Is there a "best" price range to be in for outdoor shows, or does it vary by show and region? So much to learn to make this a successful adventure!
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After reading Clint's blog for today - answering of 11 questions, I am reminded that we all must create our own markets to a great extent, and he's right - it takes time and there's no magic formula.

There are many levels of collectors and many markets in which to sell your work.  When I started out, I did outdoor shows in New England.  Before you turn your nose up at that, I just want to say that a friend of mine often comes home with $6K-$10K in her pocket with a $60 show fee.  Some of these shows are small - like the one in Keene NH, and others are larger and draw a huge crowd... like the Portland Maine show (300 exhibitors), but that show is probably one of the best selling shows.

These shows are a great way to build a mailing list.  I bring a nice looking guest book and ask those who are intersted in receiving mailings and emails from me to sign on.  That way, I am not bugging them; They want to hear from me because they like my work.  Another friend of mine made $60,000 this summer doing regional outdoor shows.  Some artists who do the juried shows in far cities make 6 figures.  It can certainly be lucrative, AND if you enjoy meeting people and getting the names and addresses of folks who buy your paintings, it's a wonderful way to go.

On the down side, it takes some physical strength to set up the tent and cart all those paintings to your space.  I used to hire a teenage boy (or two) to help me set up and take down.  Sometimes, my husband helped out.  I bought my EZ up tent at Sam's Club for under $200.  Looking professional is a must these days.  You can buy stands from some of the companies that advertise in art magazines like American Artist or Art Calendar.  When you do the same show for more than one year, you usually get the same spot - and collectors know where to find you.  Also, there's prize money to be won!  Gallery owners sometimes look through the shows for artists to carry - especially new galleries.  I have worked with two as a result of being in a nearby show.

These days I am working more with galleries - why?  Because my husband can't always help me set up and as I said, the shows are physically demanding.  But if you have a way to do it and you're just thinking about selling your work, it's a great way to get started.  It's fun to see which of your works are looked at again and again.... and you might just come home with lots of money in your pocket.

Oh, one more item.  You'll need a tax ID number for each state that you sell in, so  you'll have to register as a business with that state, but when you have a tax ID number you can buy frames wholesale - right from the distributor.  This is just the tip of the ice-berg on outdoor show info.  Feel free to send me email to ask specific questions about my experiences with shows.

Lori

 Approaching Galleries

If you have not been selling your artwork, then it may be wise to test how saleable it is before approaching galleries. There are a couple of straight forward ways you can do this: Do outdoor shows in your area and enter nationally renowned fine art competitions. Outdoor shows are a great way to learn about the business of framing and preparing your works for sale - and you’ll get face-to-face feedback on what folks like about it. The competition is fierce with national competitions, but if you place at all - it’ll be a good step in proving the worth of your work.

For example, if you enter an Oil Painters of America show (you must be a member), and your work is accepted, this lets you know that you’re on the right track. If your painting sells at the show... whatever you’re painting, keep on painting it. There are also great magazine competitions by American Artist and The Artists’ Magazine. For these, you only need the image of the painting. You won’t need to send the work to a show.

Your Body of Work

It takes some time to prepare for gallery representation. Here’s the part that’s hard to hear: You should have at least 10 spectacular paintings, same style, and preferably similar subject matter. These paintings should be framed professionally and ready to hang. Artists who sell well in galleries and gain a following of collectors have developed their own style. There work is not "all over the place" with subject matter or color or brushstrokes. The work is recognizable from across the room as this artist's work. Some artists do paint many different subjects, but they have a distinct style.

If you don’t have a body of work like I described above, and you haven’t developed a style, I suggest you look through art magazines and dog-ear or tear out pages that have paintings that you love. Most likely, you’ll begin to see that these paintings have something in common - and it’s also likely that your eventual style will be similar. Copy the works of artists that have been dead for at least 75 years (to avoid copyright problems). Then paint and paint .... paint your own compositions (from life or your own photos)... and you will arrive at a style after a time. How long it takes depends on how often you paint. I’ve been developing my style for a number of years - I enjoy Hudson River School type landscapes and realistic floral still lifes. That is who I am, and that is what I strive to paint.

There is a market for all kinds of subjects and styles, but don’t try to get away with saying your paintings are impressionistic or abstract unless they are very well designed. It is far easier to paint in a realistic style than to construct a fantastically composed abstract work. There is so much more to it than what meets the eye.

Researching Galleries

Unless you’ve built up some credentials through placing high in competitions or have had many sales at local galleries, submitting your work to well known galleries that advertise in magazines may be a waste of your time. Sure, if you’ve had your work published in magazines and got honorable mention in American Artist’s Cover Competition, you probably can reasonably submit to a top gallery. These galleries have such high rents and costs that they really cannot afford to take on an artist who is unproven with collectors.

The good news is that there are many, many other galleries in great gallery districts across the nation that sell very well. But before you call anyone up or send a letter, make sure you select a gallery that sells work that is similar to yours (not the same, but the same type of art). For example, I would not approach a gallery that sells abstract works. My work would fit in best for collectors who appreciate historical paintings or realism. If you are an abstract artist, don’t bother contacting a gallery that shows realism. Good galleries don’t have work that’s all over the place either... they know their clientele, and they don’t try to sell to every taste.

Unless your work is known nationally on some level, it’s a good idea to target galleries that are within a day’s drive of your home. For one thing, it saves on shipping costs, and it’s easier for a gallery to stay honest with sales if they know you might be stopping by. The closer to home my gallery is, the easier it is for me to work with the owner. For one thing, I live in New England which means I can easily paint in New England - and galleries in NE will sell scenes that are local. Still life doesn’t matter so much, but even so, tastes in New England have a traditional bent.

So once you’ve found (and visited) several galleries you feel your work will fit well in, you might call and ask if they are accepting artists submissions. Of course, the person you’re talking to will say no... they have all the artists they need.

So, preface your question with, "I paint Hudson River Style Landscapes in oil, and my work won third place in International Artist Magazine’s landscape competition. I’m looking to add a gallery in your location. Are you currently looking at artists’ portfolios? You have to have some ammunition to hit them squarely between the eyes to get their attention. That is why I say that it is better to prove your work by getting some credentials before approaching the better galleries. If they are interested. Ask for the gallery manager or owner - then ask if they prefer to see a portfolio (photos, bio, and resume) or your web site. If and when they ask you to bring work in for viewing, only bring a few of your very best works. Never show the gallery person everything you’ve ever done... not only will you bore them to death, you won’t look like a pro.

Now some local galleries - that are frame shops or are not in art districts or tourist towns, are much easier to get into... especially if you paint realistic subjects that have a wide appeal. Most of these galleries sell prints and some original art. I advise not to let the gallery frame your work before it’s sold, because if it doesn’t sell, you may be stuck with hundreds of dollars owed for custom framed paintings. Always do your own framing or let the gallery buy your work at a 50% discount of retail unframed at the onset.

I HAVE TO MAKE DINNER NOW

Well, I’ve gotta run, so I’ll need to continue this talk at another time. I’ll delve into how to get ready for that appointment with the gallery.

Hope you enjoyed reading this and got something from it.

Sincerely,

Lori