Demystifying the Gallery World: Things an Artist Should Know

So this last weekend I attended the Spectrum Fantastic Art Live convention, which is a medium sized convention located in Kansas City, MO. It's about three years old and spun off of the juried annual Spectrum Fantastic Art. I went mostly to lurk around, see some kickass art, meet amazing artists and run a workshop called "Demystifying the Gallery World".

The gallery world isn't all that mystical, really. It's just a business. Granted, it can be volatile, unpredictable, baffling, but it's really not all that much from any other business in that there are protocols, contracts, agreements and mostly, relationships. Curator, artist, visitor, collector...

I only had 30 minutes to cover an insane amount of information, so I tried my best to hit as many points as I could, using simple slide shows to bullet point. As requested, I am going to list my slides here, in all their glory.

(Want to See the Actual Workshop? Here it is!)

Developing a show with your curator

•  Working relationship (key word: “relationship”)
• — Size of show, size of work(s)
• — Theme or series
• — Curatorial vision
• — Communication! Keep it open, even if there is a problem

Contracted obligations for You and the Curator/Gallery

• — Written agreement stating terms of show
• Average retail gallery commission: 40 – 50%
• Exclusivity clause?
• Artist usually pays for shipping fees to/from gallery
• Amendments must be discussed, written and signed by both parties to be legal
• — Insurance, security, damage or loss of art
• Marketing obligations, if any

Managing the workload between Confirmation and Delivery

• Mindful of deadlines vs your own work ethic
• “Buffer days”/”work days”/”potential sick days”/”FAIL days”
• Last month is devoted to press releases, marketing, documentation, cataloging
• Unlike some publishing scenarios, gallery openings are “hard openings”!

Preparing to document your work: Photography, Statement

• WIP photos are great, especially for a unique process 
• Traditional 2D: good lighting, clear images, true colors (ie, get a professional if you need to) 
• 3D: multiple angles, detail shots (video is okay too) 
• DON’T: use cell phone, photograph a piece under glass (unless you have no choice), or overly Photoshop an image 
• OIL, metallics, and high gloss mediums: mindful of reflections, blowout, moiré 
• Statement: reflect the theme of your piece/show. Be heartfelt (visitors can read through bullcrap). First person statements are best. If your medium is unique, you may need to explain what it is or why you used it 
• DON’T: copy from your website

Framing and Display

DO:

• Ask about weight/size limitations, as well as wall hanging options and amount of wall space 
• Wall space: ask about “usable” vs “total” wall space 
• 3D: Ask about types displays, surface type, if pieces can be anchored, height of displays 
• Use framing material that is archival – if it is not, alert gallery owner 
• Ask about frame options on the gallery end, if you are shipping. Many galleries have inhouse framing or framers that are economical. 

DON’T:

• Use chipped, broken, scuffed frames 
• Use glass if you plan to ship the piece. Use plexi or matte acrylic 
• Use a cheap frame (that clearly looks cheap) for expensive pieces. Customers complain about that. 
• Use odd colors for mats or frames, they’re a harder sell. Use neutral colors such as white, cream, gray, black, beige. 
• Use toothed hardware. It tends to come out. Use appropriate d-rings, wire.

Shipping your work

When packing 2D art:

• Ask gallery if they have packing material requirements (such as “no peanuts”) 
• Don’t pack glass if at all possible 
• Use foamcore, hardboard or rigid material to protect front of piece 
• Don’t tape anything directly to your piece or frame 
• Paper corners, bubble wrap, paper on corners 
• Don’t overpack a box. Also, make sure pieces will not shift in transit 
• Don’t use packing tubes for original art 
• Insure your package! 

When packing 3D art:

• Crate larger pieces (have one built or buy one at places like Uline) 
• “box in a box”, floated 
• Complex pieces should be broken down into smaller pieces, boxed individually 
• Send along assembly information and images, including a repair kit 
• Insure your package!

Pricing your work

• Materials, time as a factor (adjust if you tend to work slow or fast) 
• Take in consideration commission rate 
• Market value: speak to gallery owner about local retail averages vs global averages (example: Grand Rapids may have a higher price point than Anchorage for art) 
• You may need to make some adjustment to your pricing (or piece choice) to reflect your new locale 
• Don’t undervalue: your humble $300 price point for your detailed oil painting may say “there is something wrong with this” or “I’m not worth collecting” to a collector. You don’t want to brand yourself as naïve or desperate. 
• Don’t flux: Collectors get very frustrated with art that’s re-priced from show to show or month to month. If a piece isn’t moving at a current price, RESEARCH WHY. The results may surprise you. Never drop a price…

Market your show: marketing, opening receptions, and review

• Branding the Art and Show: from Objects to Experience 
• Social media/Mailing Lists/Preview Lists 
• Press Releases and advertising 
• Opening and Closing receptions 
• Press and collector parties 
• Reviews: the Good, the Bad, and the Nothing At All