Scott Jones recently wrote a great article about approaching galleries.  There were many great insights.  Scott and other gallery owners / directors like him truly love art and enjoy discovering new artists.  As such, they will take the time to review artists’ portfolios because they genuinely want to see the work.  I don’t think all gallerists are as open as him, but many are.

 There is, however, a dilemma that is unavoidable.  Good galleries have hundreds or thousands of submissions.  This makes their task difficult and time consuming.  Even with the best of intentions, a thorough review of a given artist’s work is unlikely.  First impressions are critical.  Even then, sometimes gallery owners are so bogged down, a portfolio may be given only a cursory glance.

An Example

A couple years ago, I submitted my portfolio to a gallery for consideration.  A short while later I received a reply stating something to the effect of, “Thank you for your interest in our gallery.  Although your work is of high quality, it is not what we are looking for at this time.”  It seemed to me like a form letter.  Perhaps the owner really looked at my portfolio, perhaps not.  I don’t know. 

However, a few months later, the same gallery owner saw one of my paintings at an invitational show.  He loved the painting.  After visiting my website, he telephoned me to invite me to participate in an annual show he has at his gallery.  He mentioned a few paintings by name from the website.  Interestingly, a couple of those same images were sent in the portfolio.  Through our telephone conversation, it seemed apparent that he had no recollection of the portfolio.

This could be easily be explained by a few possibilities.  One possibility is that he really didn’t take the time to look at my portfolio.  But let’s give him the benefit of the doubt.  Let’s assume he really did view my portfolio.  Perhaps he even liked some of it, but wasn’t interested in adding me as a gallery artist.  With hundreds of other portfolios viewed in the meantime, it is understandable that he didn’t remember mine.

But what made the difference?  Why did he like my art the second time?  I think it boils down to one thing: he saw my work in person.  Maybe there are other reasons, but I think this is the biggest.

The piece he saw touched him.  He loved it.  With that feeling toward my art and a recollection of my style, he had a different frame of mind while looking through my website.  As good as a photo may be, it doesn’t do justice to an original painting.  He had experienced my original work just enough to be somewhat familiar with my technique and style.  Thus, despite the shortcomings of the digital images, he had a better idea of my work.  What he saw before, he now saw with new eyes.  He associated an experience with my original art and transferred that experience to the viewing of my digital images.

Another example of this principle actually happened several years earlier.  I had sent my portfolio to a gallery.  I telephoned a week or so later to follow up.  I don’t recall the conversation, but the short of it was that he wasn’t ready to add me, but wasn’t completely dismissing me either.  I mentioned that I would be in the area in a few weeks and wondered if he would set up an appointment to view actual works.  He obliged and when he saw the works in person a few weeks later he liked what he saw.  I joined the gallery that day.

I guess my point is this: viewing original works is always better than digital images, prints, or slides.  Unfortunately, this isn’t always possible.  This does create a dilemma.  Some gallery owners are willing to set up an appointment to view original works, but some aren’t. Remember, they are very busy.

So, what to do?

Be Respectful

Respect the gallery’s time.  Respect the gallery’s preferred method of submissions.  Be understanding of their situation.  Follow their guidelines and preferences.  Reread Scott’s article.

Follow Up

Once you have given the owner adequate time to review the portfolio, follow up with them.  If possible, a telephone call is better than email.  Again, be respectful of their wishes and time.  As Scott mentioned, don’t call when the gallery is involved in a show.  You may wish to email and ask when the best time to call would be.  You run the risk of them saying not to call, though. 

Another option is to call and say something to the effect of: “I know you are busy and I wish to respect your time.  If now doesn’t work for you, when would be the best time for me to call back?” 

From my experience, they will most likely take the time to visit right then.  They recognize your awareness and respect of their time.  This puts you in better standing with them.  They likely would also rather not postpone the visit.  Sometimes, though, they may request that you call at another time.  If so, try to set a phone appointment.

Request a Personal Appointment

Once you are able to visit on the phone, three outcomes are likely.  1) They add you as an artist. Great!  But, unlikely.  2) They say no. Your work isn’t a fit for the gallery.  3) There is some interest, but maybe or maybe not. 

If you find yourself in this third scenario then direct the conversation to ask for an appointment to show original works.  Remember the reasons I mentioned above.  You may choose to say something like: “I know that you recognize that digital images can have limitations.  They reveal only so much.  Viewing the originals will give you a better feel for my technique and style.  The brushwork, color, and subtleties will be more evident.  Will you be willing to set up an appointment to spend a few minutes viewing my works in person?”

Final Thought

Visiting with a gallery who is “on the fence” with your work may or may not result in representation.  I have had more than one experience where the gallery didn’t add me at that time, but the owner or director and I had a pleasant meeting.  They liked my work enough to ask that I continue to keep them posted.  They requested that I email them from time to time and that there was a real likelihood of being seriously considered in the future.  From the visit, it was evident that it was a genuine interest, not just a dismissal (I’ve had plenty of those, too).

One last comment, don’t be pushy.  If there is no interest, it is a waste of both your and their time to pursue it.  Move on.  Find a gallery that is a better fit for your work.

Sincerely,

Keith Bond