This Post is by Daniel J. Keys, Regular contributing writer for FineArtViews.  You should submit an article and share your views as a guest author by clicking here.

Recently having my work accepted into one of this nation’s largest and most prominent art establishments, I’ve learned that putting my best foot forward - especially when it comes to submitting my work indirectly - is fundamental to my success. 

Setting a standard for ourselves 

First, it’s imperative to understand that everything we do in our line of business must be completely professional, tasteful, and tactful whenever possible. There are just no excuses for unprofessionalism; the existence of so many business relationships, and whether or not they’ll remain advantageous to us, can at times depend entirely on what kind of impression is first made upon the recipient of our humble offerings (i.e. our business cards, brochures, portfolio, or photographic images of our artworks themselves).  

 Remember that your portfolio denotes not only your work, but also in particular what kind of person you are; and a sloppy portfolio can ruin your chances to be represented by a gallery. 

Putting it all together 

Below is basically what I used to put together my personal portfolio. There are a few ways of going about this delicate procedure, and many are - I’m sure - very effective; however, having only done this once, I haven’t another proven method to share. 

Here’s my process: 

1. Use a simple but professional looking binder 

  This helps to keep all of the portfolio’s contents neat and tidy, and make it easy for the gallery’s representatives to keep track of the materials enclosed at all times. 

2. A good cover letter 

A portfolio is our opportunity (and sometimes only chance) to make a lasting impression on a gallery’s selection committee. I’ve heard of galleries that have returned artist’s portfolios without ever looking through its pages because of how poorly written the cover letter was. 

This letter needn’t be long, but rather state what’s enclosed in the package that this letter came in, who you are, and why you’re contacting this particular gallery. Be brief and to the point. 

3. Your resume 

This should list any accomplishments worth mentioning including awards, publications, major exhibits (both one-man and group shows), and past gallery representation. 

4. Artist’s statement (this can often times be placed along with the Resume all on one page, especially if the resume is short) 

This statement is written in the first person, and should express our feelings about what it is that we do.  

Our artist’s statement should point out the idiosyncratic qualities of our work and make its reader desire to take a second look at our art. 

5. Biography 

Always to be written in the third person, and usually completed in a formal writing style. 

6. List of works 

A page dedicated to listing the titles, mediums, and dimensions of our work’s represented in the portfolio. 

Note: This page can be eliminated if you have each work’s information printed on each photograph. 

7. At least ten quality photos of recent work 

A gallery wants to see that our work is of a consistently good quality, and that we’re capable of providing them with ample material to hang in their space. 

Show your best work, and make sure that it’s recent. If possible, only provide them with images of work that is still available for sale.  

8. A CD of these images 

Not all galleries require this but have one made anyway. It’s well worth having it available to others and chances are you’ll make use of it even if the gallery that you’re contacting doesn’t insist on having one. 

9. A page listing the current pricing for each piece of art 

Determine the price for each artwork listed in the portfolio.  

Note: keep in mind that most galleries command a 50% commission on all artwork sold, so be sure and factor that in when pricing your art. 

10. A SASE 

Along with the self addressed stamped envelope, I also like to include a blank piece of matching stationary so as to make it convenient for the gallery representative viewing the portfolio to jot down his or her thoughts, or be able to send a quick note back to me regarding my materials. 

Some useful tips 

Always use quality matching stationary throughout the entire folder, and have your information printed at the top of every page. Keep in mind that your choice of paper can say a lot about you and your commitment to excellence (or lack of it). 

Be sure and include any major publications that have featured you and your work, including magazines and exhibit catalogs. 

Be patient  

A professional portfolio isn’t usually completed overnight. It took me over a year to get mine where I felt it was ready to be received by a national-level art gallery. I worked to perfect every part of it, and the effort seems to have paid off: The owner of the gallery now representing me was very complementary about the binder and all of its contents that I sent him, and wanted me to know what a positive impression it made on him and the gallery staff.  

This method has proven successful for me, and will hopefully steer you in the right direction when you decide to give making a portfolio of your own a try. 

-Daniel