Lisa Harrington on wed 7 aug 02
I'm a sculptor with zero gallery experience, and I can't find a source on the
internet that tells me anything really useful. Most advice is confined to
"have a professional take pictures of your work" and "send slides to
galleries you like." This can't be the whole story, so I've decided to
collect stories, anecdotes, tips and tales from real artists. I'll maybe
start a website or even publish a little book. Please email me your story at
lisa.h@rcn.com. Don't be shy if you think your story is not unusual or
interesting, because I don't know any other artists out here in suburbia, so
ALL stories will be enlightening to me. If you'd like, send one photo of your
work as an attachment. Also, if you don't object to having your comments or
work published, please indicate that in your email. I really appreciate this,
and hope it works!
L. P. Skeen on wed 7 aug 02
Lisa,
Get WEndy Rosen's book "Crafting as a Business". If you get a chance, go to
the Crafts Business Institute too.
L
----- Original Message -----
From: "Lisa Harrington"
To:
Sent: Wednesday, August 07, 2002 4:50 PM
Subject: gallery representation (how'd you get it?)
> I'm a sculptor with zero gallery experience, and I can't find a source on
the
> internet that tells me anything really useful. Most advice is confined to
> "have a professional take pictures of your work" and "send slides to
> galleries you like." This can't be the whole story, so I've decided to
> collect stories, anecdotes, tips and tales from real artists. I'll maybe
> start a website or even publish a little book. Please email me your story
at
> lisa.h@rcn.com. Don't be shy if you think your story is not unusual or
> interesting, because I don't know any other artists out here in suburbia,
so
> ALL stories will be enlightening to me. If you'd like, send one photo of
your
> work as an attachment. Also, if you don't object to having your comments
or
> work published, please indicate that in your email. I really appreciate
this,
> and hope it works!
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
Snail Scott on thu 8 aug 02
At 08:59 PM 8/7/02 -0400, you wrote:
> I'm a sculptor with zero gallery experience, and I can't find a source on
> the
> internet that tells me anything really useful. Most advice is confined to
> "have a professional take pictures of your work" and "send slides to
> galleries you like." This can't be the whole story, so I've decided to
> collect stories, anecdotes, tips and tales from real artists.
This is a rather large and amorphous question. People
may not want to just sit down and write 'Everything I
Know About Galleries'. Perhaps if you ask specific
questions, you will get answers on those smaller
topics more readily and in greater numbers.
You can also cull quite a bit of good advice from
the Clayart archives, on a wide range of subjects
ranging from pricing strategies to contracts to
finding the right representation. Take a look! If
you don't learn everything you want to know, at
least it may clarify what questions you want to ask.
-Snail
Harrington on thu 8 aug 02
Thanks! You are not the only person to suggest this book. I'm not really
a crafter, per se, but I will check it out.
lisa
"L. P. Skeen" wrote:
>
> Lisa,
>
> Get WEndy Rosen's book "Crafting as a Business". If you get a chance, go to
> the Crafts Business Institute too.
>
> L
> ----- Original Message -----
> From: "Lisa Harrington"
> To:
> Sent: Wednesday, August 07, 2002 4:50 PM
> Subject: gallery representation (how'd you get it?)
>
> > I'm a sculptor with zero gallery experience, and I can't find a source on
> the
> > internet that tells me anything really useful. Most advice is confined to
> > "have a professional take pictures of your work" and "send slides to
> > galleries you like." This can't be the whole story, so I've decided to
> > collect stories, anecdotes, tips and tales from real artists. I'll maybe
> > start a website or even publish a little book. Please email me your story
> at
> > lisa.h@rcn.com. Don't be shy if you think your story is not unusual or
> > interesting, because I don't know any other artists out here in suburbia,
> so
> > ALL stories will be enlightening to me. If you'd like, send one photo of
> your
> > work as an attachment. Also, if you don't object to having your comments
> or
> > work published, please indicate that in your email. I really appreciate
> this,
> > and hope it works!
> >
> >
> ____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
> >
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Harrington on thu 8 aug 02
OK, Snail, that sounds like a good idea, so here are the questions I've
got on my mind today:
Is sending out slide sheets really the only way to get a gallery to
notice you? What other tactics have been successful?
Is it really as impossible as the books on the subject I've read suggest?
How do you know when you've got enough of a body of work to start
approaching galleries?
What if I have some bronze, some terra cotta, and some plaster
sculptures? Can I show all three media?
Can I show a piece in plaster and offer to have a bronze made for a
buyer who wants it in bronze and is willing to wait for it? After all,
bronze casting is a pretty big investment to make before you know if
anyone will even like your work.
I have heard from someone that only bronze commands the respect of "Fine
Art" and that anything terra cotta is craft, and therefore of lesser
value. I think that idea stinks, and I'm hoping that it is going out of
fashion, or maybe even gone. Anyone have any experience with this kind
of attitude?
Is there any such thing as a gallery that will sell a couple of pieces
at a time if you don't have a whole bunch, or if you don't have time to
do more that a few pieces per year?
That should be enough for today. I don't want to burn out your brains!
Thanks! Lisa
Snail Scott wrote:
>
> This is a rather large and amorphous question. People
> may not want to just sit down and write 'Everything I
> Know About Galleries'. Perhaps if you ask specific
> questions, you will get answers on those smaller
> topics more readily and in greater numbers.
>
> You can also cull quite a bit of good advice from
> the Clayart archives, on a wide range of subjects
> ranging from pricing strategies to contracts to
> finding the right representation. Take a look! If
> you don't learn everything you want to know, at
> least it may clarify what questions you want to ask.
>
> -Snail
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Snail Scott on thu 8 aug 02
At 01:16 PM 8/8/02 -0700, you wrote:
>OK, Snail, that sounds like a good idea, so here are the questions I've
>got on my mind today:
>
>Is sending out slide sheets really the only way to get a gallery to
>notice you? What other tactics have been successful?
No. It's a terrible way. But sometimes it's the only way.
The best way is personal contact - becoming known to the
gallery owner; being referred by other artists represented
by the gallery; knowing people in common. But, this only
works if you are situated to meet people and schmooze. If
you can't get to know them (and get them to know you),
slide sheets are still the professional standard. (I like
to toss in a few 8x10 color xeroxes, just to give them an
idea of what's on the slides and let them know it's worth
the effort to take a look.) CD-rom will become the 'thing'
soon, I think, but it's not there yet. At the bare minimum,
make sure you're only sending stuff to galleries that might
actually show your type of work, and get the NAME of the
person in charge.
Even if you don't have a gallery, SHOW YOUR WORK!!! Rent a
storefront. Enter juried shows. Have a studio event. Lend
work to rich friends, so their other friends can see it.
Do a vanity show. Take out ads. Teach. Get known.
SHOW YOUR WORK!!!
A decent exhibition resume is something a gallery looks for.
And gallery owners go to shows and sometimes even jury them.
How you gonna get remembered if you ain't been seen?
If you go to gallery receptions, DON'T introduce yourself to
the owner then, they're really stressed out and too damn busy
to remember you. Come back later to meet them, when the
pressure is off.
>Is it really as impossible as the books on the subject I've read suggest?
You can make it less impossible by being focused on actual
'possibles', and getting to know them and their needs. TALK to
them. They seldom bite. (And who wants to do business with a
biter?) Make an appointment. If you can't travel there in
person, make advance arrangements for a phone chat about their
needs and intentions, and about your work. Galleries WANT to
show work, and they need artists to make it, but don't have
time to spend on stuff that doesn't suit their niche. There's
no such thing as the 'best' gallery, only galleries that suit
your work, and those that don't. Most don't. If they do suit,
but they're not interested this week (or this year), keep in
touch. Be friendly. Remind them you're alive, and working.
Send postcards of your new work. They may have everyone they
need now, but that can change.
>How do you know when you've got enough of a body of work to start
>approaching galleries?
You need to have enough work in your portfolio to show your style
and direction. Give them some idea what to expect from you in the
future. You don't have to make the same stuff over and over, but
they need SOME predictability. And, you need to have enough work
in your portfolio to show that you're committed to your career.
They have a business to run. If you want them to stake a portion
of their success or failure on you, show them that you're not a
dilettante. Lots of people make art. Few of them are artists.
If you want a solo show, have enough work to put one together.
They may not give you one right away (or ever), but if that's
your goal, prove you're up to it.
>What if I have some bronze, some terra cotta, and some plaster
>sculptures? Can I show all three media?
Yeah. It's easier to show multiple media than multiple styles.
>Can I show a piece in plaster and offer to have a bronze made for a
>buyer who wants it in bronze and is willing to wait for it? After all,
>bronze casting is a pretty big investment to make before you know if
>anyone will even like your work.
Yes. This is fairly common. If you can get a gallery which is
willing to take advance orders based on the preliminary model,
that's great. Usually, the gallery will display the pattern/model,
and take advance orders for the piece. The customer usually gets a
substantial discount for this, but it gives you the seed money to
cast the edition. Subsequent numbers sold after casting are priced
higher. (Paint the pattern to look like the anticipated final
surface of the bronze piece, to give potential customers the most
accurate idea of its eventual look.)
A few words of advice: LEARN THE PROCESS! If you are short of cash,
learn to do as much of the production process as you have the
facilities for. The cost of casting lies mainly in the cost of labor.
When I worked in a professional foundry, my time was billed to the
customer at $75/hr, and that was in a 'cheap' area. Overhead still
costs, but if you can (for instance) learn to make your own molds,
pour and dress your own wax, chase your own metal, or apply your
own patina, not only do you save money (though at the expense of
time), but you gain greater control over the final product, and even
if you have to go to a commercial foundry for some (or all) of it,
you can avoid decisions that will cost more without improving the
art.
Sure, some artists drop off the pattern at the foundry and say,
"Call me when it's done", but if they don't REALLY understand what
they're asking for, they may pay hundreds of dollars extra for things
that they didn't even care about. Some artists use textures that are
painfully slow to reproduce in metal, or need specialized (expensive)
tools. Other artists bring in work that's insanely difficult to
make a mold from, because of their choice of armature or material,
or due to some unconsidered oddity of form that adds nothing to the
aesthetics or concept. Others demand unattainable results from the
medium.
If it's a hobby, spend whatever you like. If you're trying to make a
living, you've gotta make informed choices.
>I have heard from someone that only bronze commands the respect of "Fine
>Art" and that anything terra cotta is craft, and therefore of lesser
>value. I think that idea stinks, and I'm hoping that it is going out of
>fashion, or maybe even gone. Anyone have any experience with this kind
>of attitude?
Yeah, it stinks, but them's the breaks. I do believe that the 'fine
craft' movement of recent years has done a lot to improve the potential
prices of clay work, but it's not at parity yet. Keep in mind, though,
that it's the 'prestige' status of bronze that allows the huge costs of
production to be recouped, and your profit margin on bronze may not be
as high as you hope. As for 'respect', well, it depends on the audience.
Some people will only consider you a 'real' sculptor if you work in
bronze or stone, but that's essentially within the 'traditional' side
of the market. On the contemporary side, it's less prevalent. After
all, the big shots in the international magazines work in chewing
gum and baling wire. What's YOUR market?
KNOW YOUR MARKET!
>Is there any such thing as a gallery that will sell a couple of pieces
>at a time if you don't have a whole bunch, or if you don't have time to
>do more that a few pieces per year?
Of course. Some galleries want to handle a very small 'stable' of
artists, and show their work intensively. Others are happy to show
dozens of artists, with maybe only a few pieces from each at a
given time. That's all part of choosing a gallery that's appropriate
for you. Other factors include price range, subject matter, style,
size of work, medium, etc. Is it close enough to hand-deliver your
work, or would you have to ship? Can you afford to? Some galleries
specialize in 'famous artists' only, while others seek out 'new
talent'. When you go gallery shopping, ask yourself, can I see MY
work here? (Sometimes the fit is TOO good! They may say, "We've
already got someone filling that niche for us, we don't need another
(fill in the blank) right now." Keep in touch, though...that same
gallery might need you in the future.)
There are zillions of galleries. Out of every hundred galleries,
though, maybe only a dozen are even 'possibles', for the reasons
mentioned above. Get to know those better. Maybe only two or three
will be real contenders, so focus on those few. Don't waste your
time with scattershot attempts at the wrong targets. Aim for the
ones actually worth hitting; it improves your odds a lot.
-Snail
Harrington on thu 8 aug 02
Thank you! You really seem to have a lot of knowledge, and I appreciate
the time you've taken on this. I hope you won't mind if I think of a few
zillion more questions along the way.
gratefully, Lisa
Snail Scott wrote:
>
> At 01:16 PM 8/8/02 -0700, you wrote:
> >OK, Snail, that sounds like a good idea, so here are the questions I've
> >got on my mind today:
> >
> >Is sending out slide sheets really the only way to get a gallery to
> >notice you? What other tactics have been successful?
>
> No. It's a terrible way. But sometimes it's the only way.
> The best way is personal contact - becoming known to the
> gallery owner; being referred by other artists represented
> by the gallery; knowing people in common. But, this only
> works if you are situated to meet people and schmooze. If
> you can't get to know them (and get them to know you),
> slide sheets are still the professional standard. (I like
> to toss in a few 8x10 color xeroxes, just to give them an
> idea of what's on the slides and let them know it's worth
> the effort to take a look.) CD-rom will become the 'thing'
> soon, I think, but it's not there yet. At the bare minimum,
> make sure you're only sending stuff to galleries that might
> actually show your type of work, and get the NAME of the
> person in charge.
>
> Even if you don't have a gallery, SHOW YOUR WORK!!! Rent a
> storefront. Enter juried shows. Have a studio event. Lend
> work to rich friends, so their other friends can see it.
> Do a vanity show. Take out ads. Teach. Get known.
>
> SHOW YOUR WORK!!!
>
> A decent exhibition resume is something a gallery looks for.
> And gallery owners go to shows and sometimes even jury them.
> How you gonna get remembered if you ain't been seen?
>
> If you go to gallery receptions, DON'T introduce yourself to
> the owner then, they're really stressed out and too damn busy
> to remember you. Come back later to meet them, when the
> pressure is off.
>
> >Is it really as impossible as the books on the subject I've read suggest?
>
> You can make it less impossible by being focused on actual
> 'possibles', and getting to know them and their needs. TALK to
> them. They seldom bite. (And who wants to do business with a
> biter?) Make an appointment. If you can't travel there in
> person, make advance arrangements for a phone chat about their
> needs and intentions, and about your work. Galleries WANT to
> show work, and they need artists to make it, but don't have
> time to spend on stuff that doesn't suit their niche. There's
> no such thing as the 'best' gallery, only galleries that suit
> your work, and those that don't. Most don't. If they do suit,
> but they're not interested this week (or this year), keep in
> touch. Be friendly. Remind them you're alive, and working.
> Send postcards of your new work. They may have everyone they
> need now, but that can change.
>
> >How do you know when you've got enough of a body of work to start
> >approaching galleries?
>
> You need to have enough work in your portfolio to show your style
> and direction. Give them some idea what to expect from you in the
> future. You don't have to make the same stuff over and over, but
> they need SOME predictability. And, you need to have enough work
> in your portfolio to show that you're committed to your career.
> They have a business to run. If you want them to stake a portion
> of their success or failure on you, show them that you're not a
> dilettante. Lots of people make art. Few of them are artists.
>
> If you want a solo show, have enough work to put one together.
> They may not give you one right away (or ever), but if that's
> your goal, prove you're up to it.
>
> >What if I have some bronze, some terra cotta, and some plaster
> >sculptures? Can I show all three media?
>
> Yeah. It's easier to show multiple media than multiple styles.
>
> >Can I show a piece in plaster and offer to have a bronze made for a
> >buyer who wants it in bronze and is willing to wait for it? After all,
> >bronze casting is a pretty big investment to make before you know if
> >anyone will even like your work.
>
> Yes. This is fairly common. If you can get a gallery which is
> willing to take advance orders based on the preliminary model,
> that's great. Usually, the gallery will display the pattern/model,
> and take advance orders for the piece. The customer usually gets a
> substantial discount for this, but it gives you the seed money to
> cast the edition. Subsequent numbers sold after casting are priced
> higher. (Paint the pattern to look like the anticipated final
> surface of the bronze piece, to give potential customers the most
> accurate idea of its eventual look.)
>
> A few words of advice: LEARN THE PROCESS! If you are short of cash,
> learn to do as much of the production process as you have the
> facilities for. The cost of casting lies mainly in the cost of labor.
> When I worked in a professional foundry, my time was billed to the
> customer at $75/hr, and that was in a 'cheap' area. Overhead still
> costs, but if you can (for instance) learn to make your own molds,
> pour and dress your own wax, chase your own metal, or apply your
> own patina, not only do you save money (though at the expense of
> time), but you gain greater control over the final product, and even
> if you have to go to a commercial foundry for some (or all) of it,
> you can avoid decisions that will cost more without improving the
> art.
>
> Sure, some artists drop off the pattern at the foundry and say,
> "Call me when it's done", but if they don't REALLY understand what
> they're asking for, they may pay hundreds of dollars extra for things
> that they didn't even care about. Some artists use textures that are
> painfully slow to reproduce in metal, or need specialized (expensive)
> tools. Other artists bring in work that's insanely difficult to
> make a mold from, because of their choice of armature or material,
> or due to some unconsidered oddity of form that adds nothing to the
> aesthetics or concept. Others demand unattainable results from the
> medium.
>
> If it's a hobby, spend whatever you like. If you're trying to make a
> living, you've gotta make informed choices.
>
> >I have heard from someone that only bronze commands the respect of "Fine
> >Art" and that anything terra cotta is craft, and therefore of lesser
> >value. I think that idea stinks, and I'm hoping that it is going out of
> >fashion, or maybe even gone. Anyone have any experience with this kind
> >of attitude?
>
> Yeah, it stinks, but them's the breaks. I do believe that the 'fine
> craft' movement of recent years has done a lot to improve the potential
> prices of clay work, but it's not at parity yet. Keep in mind, though,
> that it's the 'prestige' status of bronze that allows the huge costs of
> production to be recouped, and your profit margin on bronze may not be
> as high as you hope. As for 'respect', well, it depends on the audience.
> Some people will only consider you a 'real' sculptor if you work in
> bronze or stone, but that's essentially within the 'traditional' side
> of the market. On the contemporary side, it's less prevalent. After
> all, the big shots in the international magazines work in chewing
> gum and baling wire. What's YOUR market?
>
> KNOW YOUR MARKET!
>
> >Is there any such thing as a gallery that will sell a couple of pieces
> >at a time if you don't have a whole bunch, or if you don't have time to
> >do more that a few pieces per year?
>
> Of course. Some galleries want to handle a very small 'stable' of
> artists, and show their work intensively. Others are happy to show
> dozens of artists, with maybe only a few pieces from each at a
> given time. That's all part of choosing a gallery that's appropriate
> for you. Other factors include price range, subject matter, style,
> size of work, medium, etc. Is it close enough to hand-deliver your
> work, or would you have to ship? Can you afford to? Some galleries
> specialize in 'famous artists' only, while others seek out 'new
> talent'. When you go gallery shopping, ask yourself, can I see MY
> work here? (Sometimes the fit is TOO good! They may say, "We've
> already got someone filling that niche for us, we don't need another
> (fill in the blank) right now." Keep in touch, though...that same
> gallery might need you in the future.)
>
> There are zillions of galleries. Out of every hundred galleries,
> though, maybe only a dozen are even 'possibles', for the reasons
> mentioned above. Get to know those better. Maybe only two or three
> will be real contenders, so focus on those few. Don't waste your
> time with scattershot attempts at the wrong targets. Aim for the
> ones actually worth hitting; it improves your odds a lot.
>
> -Snail
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
| |
|
