I admit that it's more fun to think about ways to market my work sometimes than it is to struggle with it in the studio.

However, excellent work is much easier to market. Take time to understand what conveys excellence in your particular style. compare your work to what's selling well in whatever venue you choose.

Clint, thanks for speaking the truth here. I've been in the studio for several days now, and believe me, it takes such perseverance to work through the difficult canvases.

It is nice to hear that it is the art being presented is foremost in the mind of the gallery owner.
I can't imagine successful galleries not looking at the artwork if the cover letter was not up to their expectations.

Terry - In all honesty, I actually preferred the portfolio submissions with no cover letter or handwritten cover letters, it always made me feel like I was about to discover the next great artist nobody had ever heard of. Maybe that's just me though.

I have a question and thought Clint's blog would be the perfect place to post...when sending work to a gallery how is the cost of shipping fee handled? I've recently signed on with an east coast gallery and am about to send out 3 pieces and I realize this is an added fee that I won't have with local galleries. Does this mean one gallery could charge more to cover this fee or does the artist eat this charge? I hope you still read the older blogs :)

This would be a good question to start over at http://canvoo.com/buzz/forum

It's good to know that the cover letter isn't more important that the art work. The business end of things seems to take a little too much time sometimes.

Such great advice! I tend to stress out over so many "to do lists" for marketing, when all that matters in the long run is the art. Spending time in the studio is so valuable, so it is quite a juggling act to work it all in. Thanks so much!

Clint, another great post; your incite as a gallery owner is very valuable. It's all about the art.

Hi Clint,
Thank you for sharing this...it does seem true that there's a whole business that exists to tell artists how to do the business side of things. Yet my experience is that there aren't any hard and fast rules...the business of art is as personal as the creating of art. Gallery owners and directors are very personal about how they select their artists, how they like to see or hear about new art, how they like to be approached. It all seems to come back to 1) create your best work and 2) do your homework before approaching a gallery. Art is a personal business, and involves relationships. First, with ourselves and our materials as artists. And then with those with whom we can honestly connect -- clients who love and buy our work directly, writers and champions of art with whom we can communicate, gallery owners and directors with whom we resonate, etc. The good common sense rules of relationships seem to also be the best for the business of art. Thank you for being one of our honest champions!

In my recent efforts to contact galleries, my own experience underscores Clint's words. They are interested in the work.

A neat letter, or nice presentation or clever �artsy� approach may only serve to make it easier for a gallery owner to see the art as a fit or not. That's not a bad thing. It will never will convince someone to carry your art if they don't like it or they believe it does not fit their focus.

I really believe the reason to have a professional appearance has more to do with the notion of quality and consistency for one's own piece of mind.

Clint, thanks for posting a link to your favorite cover letter. I can see why it's appealing! As a professional writer, I tend to lean toward the "corporate" look-feel in letter writing, but you've opened my eyes to the "artist's way" of focusing first on the art and having the letter play a supportive role.

That's nice and all, but being professional is a little less subjective then having "good art" (I am not referring to technical expertise). And therefore it's "easier" to do because you don't have read someone else's mind.

Clint,

Thanks for the honest article. I'm new to the art world, but I would have to agree with Stede, there are lots of different types of gallery owners and directors, just as there are judges. Obviously the main focus of a presentation SHOULD be the art...but isn't there always the chance you could run into an owner who's not like Clint...one who might judge the whole package by its presentation and get a preconceived notion of the artist and his or her work. The owner could put it in the "no" pile without bothering to look at the art. Some judges insist that the value of an image is discounted by less-than-perfect framing...maybe some will say the same about a fantastic slide presentation they get in the mail with the cover letter written on the back of a napkin. Maybe they can't see the forest for the trees.
How about a happy medium...as you say, we all do the best we can in order to present our art to an owner, a judge, or a client in the best possible way and let the chips fall where they may!

Kathy - you are correct that they might not all be like me - my main point is - it's ok to look professional but it's not so important that you have to PAY someone to teach you how to make a "professional" cover letter.

With the economy being down, art isn't the best of sellers. Than there are people out there trying to help artist sell their art for a price $$$$ (I know everyone has to make a living). Art sells it self, the image is King! Also, How do I put up a icon photo with my comments? If anyone can help.

Esther - on a related note, I am SICK of the movement of "gurus" telling people to "set their intention" - it's so hokey sometimes.

just checking

Durwood - it is showing up - two tropical fish it looks look

Amen. Clint you hit it on the nail! I see so many artists waste money on materials to send to gallery owners when your art should speak for itself. Nice to see it said plain and simple!

Clint you are a hoot. Never in my long life had I heard that reply to my many application : �I don�t care about a cover letter. �The opposite �proposal will not be considered if one does not follow the rules. But then again - I heard it just about all.
Ursula

Last time, Thanks again. I have my art on site at Garvatar.com.

Thanks

Loved the example cover letter. That takes guts. Glad you included the envelope too. I like the idea of personalizing it.

Esther, I did a workshop this summer on "How to Approach a Gallery" He was a gallery owner and said right out; go to the gallery with images and ask for the owner and hope he is there. Show him your work and he can tell right away if it is a fit with his gallery. So now do we have the guts to do this. Not sure. What do you think

Years ago I pursued some galleries in my local area and up in northern California. I always looked at the art first, then talked to the gallery owner or employee if I felt there was a chance they were looking for new artists. If they said yes, I showed them the portfolio. If they were snooty, I did not even bother to ask them if they wanted to see my portfolio. Who wants a slap in the face, not I. I think you really have to 'feel' out the situation. Employees usually gave me the director`s business card and said to call them and arrange an appointment.
Many times, I would chat for awhile, have a nice conversation and looked at all the art, read the artist`s biographies and decided I needed more time to improve my own art quality. That was 7 years ago, I have improved greatly and I am ready to go out and try again.
Meanwhile I am exhibiting in two co-operative art galleries, one for 8 years, the other for 5 months. I will be in a guest spot in a Laguna Beach gallery sometime this fall or winter. It will be nice to have my art displayed in a professional gallery where I do not have to volunteer sitting hours. So, it`s back to the pavement I go visiting potential art galleries.

There is an old saying about what you all are talking about:

If you throw enough stuff against the wall, something will stick.

all anyone can say is "NO", and if you don't show, they can't even say no.

Esther, please, get some rest.

Judy, Your postcard sounds like a very good idea; if the owner is there have your images ready so you can show those. First thing is getting the owners attention. I am giving out all this advice and I have not done this myself but, this is what I learned from a gallery owner. Maybe Clint can help us with this. Clint! where are you?

Websites are an invaluable resource for showing your work in a consistent manner-and showing the gallery owner your "style." Many seem to prefer that (or digital images) these days versus a portfolio.

Perhaps I missed this but in my city there is a website that lists most of the galleries online. At a single click, you can see the art that gallery tends to show and also submission guidelines.

http://art-collecting.com/galleries_il_chicago.htm

Debra, you are right. I think we have a gallery directory site here, too. I'll check that out for an overview of their work. I do think an in-person view of the building, upkeep, etc. may give me an idea of how progressive or successful their business is. It won't be precise, but some red flags may be visible if they are struggling. The last thing I want is to get into a relationship where the gallery is just getting by and doesn't have the revenue to promote their artists.

Very true, Judy. I agree that seeing the gallery in person is really important and can head off any unpleasant surprises.

From a friend who worked in a Canyon Rd. gallery for several years: do your research first on the galleries you approach. The most annoying thing was to have someone come in and want to be represented by a gallery they'd never visited before that moment, and showed work that was totally inconsistent with their work. But this seems pretty basic info that most here are already well aware of.

With a nice profesional looking portfolio in hand, I have tried many different times to walk in or cold call galleries in the past with varying degrees of success (and not).. But the thing that finally got me representation in the gallery I wanted was, believe it or not, walking in with actual artwork in hand, letting them know that I was doing the terrible no-no, (walking in with paintings), and, just as you said, Clint, if the art is GOOD, they can't help but look. I happen to live in New Mexico, so walking up and down Canyon Road in Santa Fe I entered a dozen or more galleries that I felt my art would fit, and I was surprised and pleased to get positive results. In many cases, if the gallery owner was not looking to add another artist, they suggested other galleries that they thought would be a good fit. Nobody bit my head off, told me to get lost, or stuck their nose up in the air,as we imagine would happen. If you try this,just be sure to do it early on a week day, (no Fridays), before noon if possible. Never when you see customers in the gallery. It's not for everyone. Be sure you are framed beautifully. Show your work in a way that shows you love what you are doing. I know this goes against everything we are taught,but, again, if the work is GOOD, and you are sincere, what is the worst that could happen? Oh, also, carry a neat, well presented portfolio, cards, and confidence!

Margi,
When you say be sure to bring your portfolio with you, are you talking about an extra large black case with your paintings in there (I do watercolors, so paper would fit) or are you talking about a portfolio of your work photographed, perhaps in an 8x10" format?

You are absolutely right about writing cover letters. I'm still trying to figure out what to write. On another note, I'm scared stiff of approaching galleries. They seem to be very intimidating and even that they have this sort of private club that you can't get into. Is that my own fear factor???

Kasia, I'm with you! :)

And, Kasia, your site gives me goosebumps :)

What a reassuring thought! Just do "great artwork"! That's what I'm working on - each day in the studio.

Thanks for 'cutting to the chase' about presentation. Paint something worthwhile, and it'll get noticed!

Claudette

Great point Clint, the bottom line is the work and that should be our focus. I do strive for professionalism in everything that leaves the studio with my name on it just because I can't help myself ;)

My two cents about Judy's question:

I would be really uncomfortable walking into a gallery and showing my work without an appointment. I know it worked for Margi but it has the potential to backfire.

There was a recent post on Art Biz Blog by a gallery owner about this subject. You can read it here.
http://www.artbizblog.com/2010/04/maren-bargreen.html
and Clint could probably weigh in here with some authority.

After you visit the galleries and figure out which ones may be a good fit, then you could mail one of your postcards and follow up with a submission. One of the galleries I'm in called me because I mailed them one postcard and then they went to my website. They then called me to see the works in person and after that I was signed on. Hope this helps - Good Luck!

I think the key thought Clint highlighted is "respecting how they want to be approached�. If they want to see website, actual art, postcards... do what they prefer.

In my business, when designers and art directors came in unannounced, I was always polite, but insisted they make an appointment. It is a sign of mutual respect. And I spent time looking , sharing, and learning. Not everyone did that.... some firms would only look at portfolios without the people attached. That's just the way it was. They felt the work was enough to see for an initial impression. That does support the notion of quality art (whatever that means).

If I ran into job seekers who tried to control the style of interaction while ignoring my preferences, it turned me off. Fast.

Clearly, just making great art won't get you far, unless you show it to people. I think we have learned from Clint, Lori, Keith and others that you can't just count on one avenue to succeed. And so it is with galleries as well.

Clint, great point, absolutely right.

Helen, you are a great cheerleader, thanks for your support! Yes, I did get an afternoon nap, I was exhausted after working an outdoor art show all weekend.
Now that I have read the rest of the comments since yesterday, I see this is a great topic to discuss on approaching art galleries with several options.
Judy Mudd, I like your idea especially. I am thinking of going into my Photoshop today and designing that large postcard with 12 of my artworks in thumbnails to market myself. I have only the single artwork on the front of a postcard now with my info on the back. Having a layout like the back of a calendar showing all the images is a much better idea. It is just like the amount of works asked for in a portfolio but right in your face all at once. Then they can go to the website and see larger images and read the bio, statement and such.
I have met gallery owners who do not like the internet and insist on a tangible portfolio and phone calls. People who are not computer savy are still in existence. I know two who run fairly large galleries who do not use the internet, they will accept emails at least.
Thanks everyone, this has been a timely forum.

Thanks, Esther. I hope it works. I just thought it would be a less threatening way of introducing my work. I would not expect them to drop everything to take a look and respect their time and policies. BUT, if THEY wanted to talk a bit, etc, etc, I would be ready. We artists are generally not hard sales people, we are soft sales people if sales people at all.

Art galleries will not make an art career.
The sooner artists learn that, the better.
The gallery route is not the only way to have a successful art life.
Art galleries get bombbarded by artists every day.
Just because they take an artists work, does not mean it will sell.
There are tons of art war stories about artists and galleries that did not work out.
I suggest that artists have backup plans, and not depend on galleries to build a career.
As muchas artists dislike business they better handle a large part of that business themselves.
Bob Ragland

My comments on artists and gallery relatioships, are not to be mean.
I just think artists who, don't think of other avenues to sell their art, are not being businesslike.
Art galleries can't do everything for artists.
Real artists handle their own business and they rely on themselves to have decent careers.
BUSINESS is an artform, just like making works of art , in my opinion.
I am completely resposible for my successes or failures in my artlife.
I live in a house that I paid for by being very businesslike as an artist.
Cheers,
Bob Ragland

Ursula "we have a difficult time to live of our paintings."

What do you mean, I'm not sure what you are saying here.

Durwood

I can list many artists that I know , who are banking from their effort. Again ,art is a business. The free enterprise system allows us artists to make money ,any way we choose.
Each time I wake up in my paid for house and drive my paid for car, I am thankful that I have done it with ART MONEY!!!!!!
As long as my artbraain works, I will get paid, ON PURPOSE!!!!!!!
BOB RAGLAND

Hi.........
I am Adam Kennedy........
I read this post and is really very interesting forum.
Its really awesome....
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Thanks

Cover Letter