Spaces: Exploration of Art Venues, Notes 5: Non-profit Venues

On Saturday, March 9, the Oklahoma Visual Arts Coalition offered the Artist Survival Kit workshop, "Spaces: An Exploration of Art Venues." During this workshop, five speakers shared their experiences with different art venue types including retail, restaurants, commercial galleries, non-profit venues, and auctions/secondary markets. In this series of blog posts, we share notes from each speaker thanks to ASK Committee Co-chair Sarah Atlee.

Glenn Herbert Davis, Tulsa

Over, Mixed Media, 11' x 13' 5" x 5' 11"

Glenn Herbert Davis: Not-for-profit, university, and alternative spaces

These types of spaces will often be self-funded and are often funded through grants. Sales tend to be anomalous, rather than the rule.

When showing at this type of venue, an artist will need to transport and/or ship their work, may be giving public talks, and may spend some time in residence. There is often an educational programming component. A university, for example, usually covers at least part of these costs, and may offer the artist a stipend.

Glenn's work is mostly site-specific installation, often with performative or time-based aspects. His work does not often lend itself to sales.

Advice for showing at a university:

Ask for what you need.

Don't question policy. (Example - if you are required to install between the hours of 8 am and 5 pm, respect that.)

Respect the time of the people who are helping you.

Be as practical and forthcoming as possible. Keep lines of communication open.

Don't expect venue organizers to drop everything for you. Be prepared to work within their limitations.

Be organized, and do the job you agreed to do.

Every exhibition involves a practical exchange of services and time (which may or may not include money). There are no gifts.

Glenn looks for interesting, ambitious, enjoyable, low-cost things to do. If he can get paid in the process, even better. By creating repeatable, packageable works, he opens up a wider range of potential venues. He makes sure to have detailed documentation and instructions for disassembly and reassembly.

Glenn uses Sketchup to create 3-d models of his work for proposals. He encourages physically visiting an exhibition space, not just relying on floor plans provided.

Not-for-profit spaces typically review submissions by committee, rather than a single person. The committee may be separate from the venue's institution. There may be members who are brought in specifically to review your work. Keep in mind that when your submission is under review by a committee, they are on the lookout for reasons why you might be too much trouble to deal with.

Not-for-profit exhibition cycles tend to be shorter than commercial venues. Glenn will often have about five days to install, followed by the opening, then about three weeks of exhibition time before takedown.

Spaces: Exploration of Art Venues, Notes 4: Galleries/Secondary Markets

On Saturday, March 9, the Oklahoma Visual Arts Coalition offered the Artist Survival Kit workshop, "Spaces: An Exploration of Art Venues." During this workshop, five speakers shared their experiences with different art venue types including retail, restaurants, commercial galleries, non-profit venues, and auctions/secondary markets. In this series of blog posts, we share notes from each speaker thanks to ASK Committee Co-chair Sarah Atlee.

Painting by David Crismon

David Crismon: Galleries and secondary markets

After your work leaves the studio...

Price your work to cover your production costs. If you're unsure about how to price your work, a gallery can offer guidance there. [Holly Wilson mentioned that it is very important to have your work priced the same at every venue, so as not to undercut anyone.]

50% commission is typical for commercial galleries. Keep in mind all that the gallery does to earn that portion: overheads, promotion, hanging and lighting, shipping, and more.

A gallery might be more interested in selling your work than in its content.

David recommends asking friends for gallery recommendations.

Auction houses mostly sell work by artists who are deceased, though occasionally work by living artists is sold at auction. An auction house will typically take a flat percentage from a sale below a certain dollar value, after which their commission will increase incrementally. Auction houses may inflate prices, in part because they invest a lot of money into potential sales by producing expensive catalogues and other advertising.

For living artists, auction prices will affect that artist's retail prices.

Spaces: Exploration of Art Venues, Notes 3: Galleries & Art Fairs

On Saturday, March 9, the Oklahoma Visual Arts Coalition offered the Artist Survival Kit workshop, "Spaces: An Exploration of Art Venues." During this workshop, five speakers shared their experiences with different art venue types including retail, restaurants, commercial galleries, non-profit venues, and auctions/secondary markets. In this series of blog posts, we share notes from each speaker thanks to ASK Committee Co-chair Sarah Atlee.

Holly Wilson, With Her Birdens, Bronze and Silver, 8.5" x 4" x 4"

Holly Wilson: Commercial Galleries and art fairs

Holly emphasizes that the worst thing a potential gallery can tell you is "No." That's as bad as it gets. The important thing is to muscle past the fear, and just ask. You never know what will happen after you start the conversation.

They may tell you that they love your work, but that it's not the right fit for their gallery. Be courteous, thank them for their time, and ask them to recommend other galleries that you might approach.

Holly also emphasizes visiting potential spaces in person. Know what the walls are made of, and if the gallery uses a special hanging system. This is especially true for wall sculpture.

Research, research, research! Holly goes to art fairs like SOFA and Art Chicago. She gets all the information she can about a fair ahead of time. She visits the website of every single gallery that will be there, and narrows down a list of those she wants to investigate further. She gets a floor plan of the fair exhibitors, and spends a whole day walking around and making further notations about what galleries may or may not be good for her work.

Holly may research specific artists she likes, to find out where they've shown, and cross-reference that information with her gallery research. She also asks other artists for gallery recommendations.

When approaching a gallerist, she makes sure to have an *excellent* image of her work on a postcard to leave behind.

Tip: dress like a buyer, not like an artist. Keep in mind that galleries spend $20,000 - $80,000 for a booth at the best trade fairs, not to mention all the advertising they do.

Questions HW asks about potential commercial galleries:

Do they have branches in other cities?

Do they go to art fairs?

Do they have good relationships with their buyers & collectors? Have they cultivated these relationships over time?

Do they work to have magazine articles published about their artists?

Are their websites good? Do they make good use of social media?

Is the gallery in an arts district? Is there a potential for foot traffic from nearby businesses?

Specific advice for artists who work with bronze or similar materials:

Research your foundry costs. Your casting cost per piece, multiplied by 3, is a good guideline for the piece's retail price. A gallery that takes a 50% commission on sales of paintings should only take 30% on sales of bronze works.

Holly recently participated in the Heard Museum Guild IndianFair & Market for the first time. Rather than use the typical art fair exhibition booth setup, she built herself a tiny white-walls gallery, in order to better show off her work. She built three 4x8' panels of cabinet-grade plywood, supported by custom-cut and threaded plumbing pipe (hidden by 1x2 strips). The setup is modular, transportable, and reusable. It was very eye-catching and made her work much more visible.

As an exhibitor, Holly chose to apply specifically to the Heard Museum and Santa Fe Indian Market art fairs in order to attract high-end galleries, curators, and collectors. She took out a $400, 1/6-page color ad in a Native American arts magazine with a very large circulation, specifically to bring people to her booth at the Heard fair - it worked, and also resulted in a significant increase in her website traffic.

Remember, an artist is a business, so conduct yourself accordingly. You're responsible for promoting yourself. When you make sales, reinvest that money back into your business.

For print promotion, Holly makes sure to have excellent photos of her work. She carries a basic postcard and business cards that she gets from overnightprints.com to hand out. She also uses business cards from Moo, which are higher quality prints, for more special occasions. Holly has created a larger foldout brochure specifically to send to certain high end galleries.

Spaces: Exploration of Art Venues, Notes 2: Restaurants

On Saturday, March 9, the Oklahoma Visual Arts Coalition offered the Artist Survival Kit workshop, "Spaces: An Exploration of Art Venues." During this workshop, five speakers shared their experiences with different art venue types including retail, restaurants, commercial galleries, non-profit venues, and auctions/secondary markets. In this series of blog posts, we share notes from each speaker thanks to ASK Committee Co-chair Sarah Atlee.

Watercolor painting by Tommy Lee Ball

Tommy Ball: Artistic Restauraunteering

Know your venue - do your homework.

When approaching a potential restaurant, have your portfolio, business cards, and other print materials ready, so they can see your images immediately. Tommy leaves small digital prints on watercolor paper with the owners of potential venues. They are small gifts that are very memorable.

The best time to talk to a restaurant owner is on a weekday afternoon between 2 and 4 pm. Leave your contact info with them, and remember to follow up.

Questions to ask about potential restaurant venues:

Have they ever shown art before? Do they do so regularly?

How often do they rotate new art in?

What is their submission policy? Who handles art submissions?

Price points: is your work priced appropriately for the venue?

Is there a sales commission? How much? Restaurants often take no commission, but artists should be prepared to handle their own sales.

Is your work a good fit for this venue? Generally, grotesque subject matter, nudes, etc. should be avoided.

How are the walls? Do you have their permission to drill holes if that's required for hanging your work?

How is the lighting? Tommy often hangs his own clip lights in restaurants. Sometimes this requires minor electrical work on his part. An example of this can be seen at the Forge co-working space in Tulsa.

Have they offered to hang your work for you? Make sure they know how to properly hang art, and make it easy for them by having your work be display-ready with proper wiring.

Be professional: be on time! Respect the fact that they are running a business, and you are not their top priority.

Be sure to get direct contact information for the restaurant owner. If there's a problem, you want to be able to talk directly to them.

What if the restaurant closes, or moves, while your work is hanging there? What if you try to get your work back and it's locked up somewhere? Have a contract with provisions for situations like this, and get actual legal help making it.

On price points: Tommy shows different work depending on the prices at a particular venue. He may show originals or prints. For restaurants where a customer would spend $50-$100 on a meal, he may show original paintings priced around $1,000. For restaurants that charge $10-$20 a plate, he'll show prints priced around $200.

Make your own wall tags. Tommy includes his name, the medium and substrate, information about the frame, and his contact info. He does not display prices.

New restaurants are great, because an artist can help them out by making their interiors look better for their launch, attracting more customers.

To physically protect his work in restaurants, Tommy frames everything with glass and caulks the seam between the frame and the backing. This way, he can prevent food smells and moisture from creeping inside the frame and being absorbed by the paper.

While your work is up in a restaurant, be a patron. Bring people you know to eat there.

If your work is hanging for more than a month or two, check in with them once a month. Bring new work, or simply refresh your display by rearranging the existing work.

Know when the show will end. Contact the restaurant owner 2-4 weeks before your work comes down. Don't leave them with bare walls! Remember, they are not gallerists, and may want more time to line up the next artist to show there. They'll appreciate recommendations for other artists.

When you deinstall, leave their walls in better shape than you found them.

Thank the restaurant management and staff in a personal, special way.

Tommy doesn't have to search for new venues these days - he's spent enough time cultivating good relationships with restaurants that now they approach him.

Spaces: Exploration of Art Venues, Notes 1: Retail

On Saturday, March 9, the Oklahoma Visual Arts Coalition offered the Artist Survival Kit workshop, "Spaces: An Exploration of Art Venues." During this workshop, five speakers shared their experiences with different art venue types including retail, restaurants, commercial galleries, non-profit venues, and auctions/secondary markets. In this series of blog posts, we share notes from each speaker thanks to ASK Committee Co-chair Sarah Atlee.

Amanda Bradway: Art in a Retail Environment

Amanda Bradway runs DNA Galleries in OKC's Plaza District, where she sells handmade goods (mostly by local artists) and contemporary art.

Amanda advises that artists shop around for the right venue for their work, one that reflects their aesthetic and style. Style is particularly important, so visit the spaces you want to show in.

Inside DNA Galleries in OKC's Plaza District

Questions to ask about your potential retail venues:

Price points: Is your work over- or under-priced for the venue?

Is there adequate display space for your work?

Are the shelves stable and sturdy?

Are there locked display cases for smaller, more valuable pieces?

Layout: How are the walls? Is there enough wall space for your work? Would your work be hung too high for people to see it? How will it be displayed?

Be professional. Showing your work in a retail venue is not unlike showing it in a gallery. Make sure your work is display-ready, framed and wired for hanging. DNA had an experience where an artist installed a completely different body of work than what they had submitted, and it wasn't as good!

Be excited about your work - retail owners don't want to show your work if they think you just want to get rid of it.

Offer different price points for a range of potential buyers. People don't often walk into retail stores expecting to walk out with original art. They may really enjoy your work but not be able to afford larger originals. However, they are likely to buy small prints, buttons, stickers, etc.

Turnaround: Retail goods need to move, and not stagnate in the store. If your work will be displayed there for more than a month or two, bring new things in periodically. Retail stores often change their merchandise to match the season. Artists should keep in mind that retail sales are what keep the business' doors open, and fine art sales will likely be secondary to that.

Promotion: Tell everyone where they can find your work. Check in with your social media outlets, even just once a day. Retailers will appreciate the additional publicity.

Have an opening. It's a great opportunity for store visitors to see and try new things. You'll get a different audience than people who might ordinarily visit a gallery.

DNA Galleries fills a niche by selling handmade, artist-made products that are 98% from local artists. They now have an online submission form. They want to know what kind of products or art you're offering, what your price points are, and whether artwork is ready to hang. They rotate products and art out consistently, and seasonally. Artists are encouraged to resubmit if they are initially rejected.

Retail customers like to see variety and selection within a consistent group of products, which is why DNA Galleries wants to see a minimum of 5 pieces in an artist's submission. They ask that your work has not been shown in the Plaza District within the past year.

When contacting a potential venue, know exactly who you should talk to. Don't assume the person behind the counter at a retail store is the right person to talk to about showing your art. Make an appointment, rather than just walking in with the things you want to sell.

Finding the Artistic Venue That's Right For You

Excerpted from Advanced Strategies for Marketing Art by Constance Smith (Chapter 3)

Momentum OKC 2013 artwork, photo by Rex Barrett

As you start researching places to sell your work, remember that your main goal is to get your work in front of the public for reviewing. If they don’t see it, they can’t react, nor can they buy. Your first aim should not be a New York gallery—or any gallery, for that matter. If that’s your aim, you’re hoeing a difficult path. (Make a gallery your priority only after you have gained a reputation.)

A target market is the group of people toward whom you will concentrate your sales efforts. Many artists overlook sales opportunities that could be quite profitable to them and think only of getting into a gallery. Artists I am acquainted with who are making a living from the sale of their artwork earn most of their income from sources other than galleries. 

Niche market

Take a notebook and answer the questions below. You will then have a better understanding of the specific people who might like to purchase your artwork, where to find them, and how to attract them. This is your niche market. Don’t be misled to think that the larger the niche market, the more sales you will have. Small is good: Word spreads fast in a small group.

Momentum OKC 2013 artwork, photo by Rex Barrett

Who is attracted to my artwork?

• Men      Women      Children     All         
• Marital status
• Ethnic background
• Age group 
• Religion
• Income level
• Education level
• What do they read?
• Where do they hang out?
• How can I  get their attention? 
• What are their reasons for buying my art?            
• What organizations do they belong to?
• Specific region of the country to sell to?
• Describe exactly what I am selling.
• Define more specifically my target market.
• Features of my artwork.
• Benefits to buyer: Can I offer something more, something different, something better than my competitors? 
• Experience, authority, expertise: Why would someone trust me?
• How will buying my artwork make the customer’s life better?
• How can people pay for their purchase (credit card, check, terms)? Will this satisfy my target market?
• Am I able to produce enough original pieces for potential buyers in my target market?
• Are there any legal considerations in selling my product to this (or any other) market?

Learn from a more in-depth discussion of artistic venue options at the Artist Survival Kit workshop, “Spaces: An Exploration of Artistic Venues" on Saturday, March 9, 1-4 pm at MAINSITE Contemporary Art Gallery in Norman. More information and registration available at www.ArtistSurvivalKit.org. 

Connecting Artists, the Public and Learning: Hardesty Arts Center

Architects' rendering of the Hardesty Arts Center, opening December 2012

We recently announced a new 2012 exhibition featuring Oklahoma artists, Concept/OK: Art in Oklahoma.  Last week we highlighted the planning that led to the exhibition format. This time, I want to profile our gallery partner, the new Arts & Humanities Council of Tulsa Hardesty Arts Center, also known as AHHA. We are pleased to work with AHHA because of their innovative educational programs, emphasis on connecting living artists with audiences and wonderful new galleries.  

Slated to open in December 2012, AHHA will be a 42,656 square foot arts center in the Brady Arts District of Tulsa.  The center will house galleries; classrooms for many studio disciplines; a media lab; a photography suite; a reference library; and indoor and outdoor event spaces.  Reflecting its artist-centered focus, the building will be topped with studios accessible 24 hours a day.

AHHA Director Kathy McRuiz said, “AHHA will be a hub of activity with a street presence and a welcoming feel. OVAC’s track record of excellent exhibitions assures that we will have a first-class grand opening where Concept/OK will be seen by thousands of visitors from across the state and region. We are especially excited about the Residencies, which represent the audience participatory nature of future AHHA programs."

Planned over many years, the Arts & Humanities Council of Tulsa’s AHHA will house and improve the Council’s already established arts education programs.  

When AHHA opens, youth will take classes and mentor with professional artists to develop their interest in the arts and become part of the creative culture. The Community and Learning Studios, where the Residencies will take place, will be incubators where visiting artists will get to know the participants and help create collective artistic statements or collaborative works. The center will offer much-needed space for artists and arts organizations to make and display their art, while making the arts accessible to all.

Read more about the project in this article or on the website ahhatulsa.com. Learn more about the Concept/OK: Art in Oklahoma exhibition, see www.Concept-OK.org.

Visiting Gallerist Jane Sauer on Artists & Collecting

Guest blogger: Beth Downing

Gallerist Jane Sauer

Renowned Santa Fe gallerist Jane Sauer will be visiting Tulsa in early October - the Brady Craft Alliance is bringing her to Oklahoma for a set of events covering art, craft, and collecting. The events will take place on October 1st and 2nd (see below for details).

I was fortunate to talk to Jane in advance of her trip to Tulsa about some of her experiences in the art world - she has more than 30 years of experience as a highly recognized professional in art. She is known nationally by museum curators and collectors for her work as an innovative studio artist, and is often requested to serve as guest judge or curator for exhibitions. Artists and collectors throughout the country continue to seek her advice and remember her for her continuous activism in promotion of the arts.

Q: You have been both an artist and a gallerist - what would you go back and tell your artist self about working with a gallery?

A: I am surprised at how irresponsible I had been as an artist in not getting things done one time and fulfilling my responsibilities. I actually called my old dealer and asked "how did you put up with me?" Selling art in a gallery is business; there are no two ways about it. People are not purchasing art on a whim; they are much more cautious and thoughtful about what they like. The fact is, artists have to be a partner in the business of art.

The art world has changed dramatically in the last few years and images are everything. Artists have to provide the gallery with materials to sell their work and everyone wants to see good, high-quality images while they are considering a purchase.

Q: What made you decided to leap over the line from being an artist to owning a gallery?

A: I have always been interested in the business of art, but I really got my feet wet while I was Chair of the American Craft Council from 1997 to 2000. That was my training ground to understanding the bigger picture of the art world.

Q: Are artists becoming more business savvy?
A: Unfortunately, the university setting does not prepare you for the business of art. Graduates come out green and this has been true for a long time. People find different ways of living the creative life and there are many more avenues to that life because of the internet. Artists that have survived the last five years have learned to become good business partners with their galleries and their dealers.

Marketing the work is key - the days of people just walking into a gallery and choosing pieces they like is over. They do much more research.

Q: What advice would you give to an art enthusiast who wants to start purchasing and/or collecting artwork?

A: Do a lot of looking and establish what kind of work you like. Set some money aside and take time to key in on what type of work you are interested in and where you might put a piece. It's a really good thing to look before you buy and understand who carries the kind of work you like. Collecting is infectious because once you have that level of sophistication and not want to possess artwork.

Buy the piece you love. Go to local galleries and fairs and just begin. And remember that artwork can be bartered for - I know a dentist that loves are and he has put together a beautiful collection for traded services. It's a pleasure to go to his office (which is unusual for the dentist!)

Q: Do you have any memorable purchases from you began collecting? What work is on your walls now?

A: I have traded for many, many pieces of art so I have the work of my friends. I love folk art even though I don't sell it - in fact, that's one of the reasons why I collect it. I decided not to purchase any of the work from my own gallery because it can make each show less important if the gallerist continually has access to the best piece in the show. I also didn't want to show preference for one artist over another.

Q: The age-old art vs. craft argument - what is your thought?

A: If it's good art, it doesn't really matter what it's made out of. Craft is talking about process and materials and that becomes a superficial discussion - we don't argue about oil vs. acrylic. This is an argument that raises its ugly head in every generation, photography is one recent example. How artists declare themselves is how they end up situated in the art world. Painting is a craft too, it's just how you use and apply it.

Ultimately, it's not an essential debate. If it's good, it's good.

To hear more words of wisdom from Jane Sauer, be sure to see her in Tulsa on October 1st & 2nd!

October 1st

"Living With Craft"

Lecture and Cocktail Reception, 4-7 PM

Gilcrease Museum

Free and open to the public

This event will give the public an opportunity to learn all about fine craft – its definition, how modern artists are interpreting craft materials, and craft’s relationship to fine art. Jane has a unique perspective on this given her lengthy history and breadth of experience in the art world. This talk will appeal to fine craft newcomers as well as collectors wanting to learn from Jane’s expertise in the field.

October 2nd

Conversation and Brunch with Jane

Philbrook Museum, 11:30 AM - 1:00 PM

Brady Craft Alliance Members and Donors

(to join the BCA, go to www.bradycraftalliance.org)

Hitchhikers Guide To The Gallery

By Sue Clancy (with apologies to Douglas Adams)

Congratulations! This guide is for Brave Artists – if you are reading this you must be one!

In an Art Universe filled with Galleries the Brave Artist must be prepared to encounter two different species, the WonderBeings and the Vorgons.  Both species may come disguised as artists, gallery owners, collectors, volunteers, publishers, museums and non-profit organizations.  Even more confusing is the fact that WonderBeings can become Vorgons and Vorgons can become WonderBeings.  For a Brave Artist to be prepared and (hopefully) safely encounter these species and traverse the Galleries – detecting BS, avoiding Black Holes, or successfully navigating them – it is essential that the artist carry and use two things: a working BSM and a Towel.  


[To activate this guide extend a thumb and click on the links.]

Artist Survival Kit Recap: Expanding Your Horizons

On Saturday, October 23, we held the “Expanding Your Horizons: Finding New Markets For Your Art” workshop at the Mainsite Contemporary Art Gallery in Norman. This topic is frequently requested by artists and was well-attended on a rainy Saturday.

The three speakers were Dr. Joy Reed Belt, owner of JRB Art at The Elms gallery in Oklahoma’s City’s Paseo District; along with two artists, Jonathan Hils and Kate Rivers.

Dr. Belt gave attendees advice from the gallery perspective, emphasizing the importance of defining what you want out of a gallery relationship and then finding the gallery that suits your desires as well as your artistic work.

The two artist speakers echoed Dr. Belt’s remarks, both saying their gallery relationships developed over time and were a product of networking and getting to know the people of the gallery and the artists that were represented there.

Kate Rivers outlined the “4 P’s” needed for developing a successful gallery relationship.

1. Product

As an artist, your product is your artwork. Many galleries require artists to have a certain number of pieces on hand at all times, and they should change regularly. Plan to create your product on a consistent basis.

2. Passion

Being a working artist is not easy, and it will take some drive and determination to keep going. Galleries will want to see that you’ve shown passion in your work through a history of artistic practice, as demonstrated through your resume.

3. Professional Practice

One of the best ways to foster a strong relationship with your gallery is to do as much as you can to make their job easier. This includes things like strong presentation of your work (framing, etc), providing quality images of your work, and consistent communication and record keeping.

4. Portfolio/Packet

Your portfolio will likely be your first introduction to a gallery. Be sure it looks as good as it possibly can! You absolutely must follow the submission instructions outlined by the gallery (no exceptions). If no guidelines are given, here’s a list of what you should include:

Letter of introduction

Artist’s statement

Artist’s resume (short version showing the highlights)

CD of ten images (unless the gallery requests something different)

Annotated image list

Reproductions of 2-3 works

Publicity from past shows

Contact information on EVERYTHING

The next Artist Survival Kit workshop will be "Oh, Snap! Documenting Your Work in Photos" on February 5, 2011. It will be held at the Oklahoma City Community College Art Department. Prior to the workshop, time slots will be available for artists to sign up to have their work photographed. More details coming soon at www.ArtistSurvivalKit.org. 

Gallery Relationships: Holly Wilson

In preparation for our Artist Survival Kit workshop, “Expanding your Horizons: Finding New Markets for your Art,” on Saturday, October 23, 2010, several artists who show regularly in venues outside Oklahoma will discuss their galleries, how they built the relationships and tips for other artists. 

Holly Wilson

www.hollywilson.com

Q: Where is your favorite gallery where you have shown, especially outside OK?

Holly Wilson, Red Dress,
Encaustic on Birch, 5x3"

Wilson: Goldesberry Gallery, Houston Texas!   I have said it to so many people it’s almost a joke. I have had most of my shows in Texas and have loved it. I’ve had three successful sole shows and that makes a difference. The Goldesberry Gallery was my first “Real” Gallery representation and while we have had our ups and downs it has been an amazing ride. They have grown and so have I.  Now I know what I need to be doing as a professional artist. For example:  inventory sheets, great photos of the work [before the show], updated information, and showing up with the work on time!

Q: Tell us about your most positive gallery relationships, what made them good? 

Wilson: In thinking of my most positive relationships I had to think of all my experiences with galleries, the good in contrast to the not so good, to really understand what is positive for me. For me the ability to communicate is paramount.  I want a gallery to be open to talk to whoever walks through the door about my work. Some gallery’s are too consumed with the game and I just recently realized that I am just not onboard with. I was sure that that was what I wanted; but I was just recently faced with that and I discovered it was not true. Now I hope that the gallery loves my work and that they will talk as if the work was from their own collection.  Last weekend I ran into a few people who had purchased some of my work several years ago. They seemed excited to see me and they said they still have the piece and told me where it sits and how they have enjoyed it for so many years. It really made my day, my week, my year and that’s how I want everyone to feel when they see or own my work. As I look at the galleries that have my work on their floor now I see that I have that and I hope I can continue this kind of relationship.

Q:  How did you initially find gallery representation and/or seek galleries outside of your community?

Holly Wilson, Cigar Girl Walking,
Bronze, Encaustic, Wood, 12.5x5x4"

Wilson: My first time to show in a gallery was before the Internet so it was all legwork, going into the galleries looking at the shows. And even with the Internet you still need to do that, if you can, to see the gallery in person and attend a show makes a big difference. You can see how the owners and the gallery staff are. Are they warm and friendly?  Would you feel they could tell the story of your art?

Before I got my first gallery I was told “no” by 5 galleries all in the same day. Number six said bring the work in and we will see what we think. Then later that night at another event I saw them again and they said to call them when I got the work home from another show and they would come see it. They drove 2 hours to see me and took 6 pieces back to their gallery. I had a Solo show with them 6 months later that following spring and I have been showing with them now for just over 16 years.

At this point I wanted to be able to drive to the galleries within a day or two so I looked at what are the markets by me with a really good presence. Then I check them out online to see who is showing.  I also inspect their web site; is it current, is it updated, what are the shows they have had and going to have, are they anywhere else, Facebook, Twitter etc.   I look up their artists and check what they’re showing and where else they’re showing.  If I happen to know any of the artists I call and ask what they do and don’t like about the gallery.  If I plan to submit I also ask if they would be comfortable writing a reference for me. Before I send anything I check the web site for guidelines on submitting. When visiting I make sure I have an updated book and about 6 examples in the car.

I am a big fan of taking that big breath and jumping!  I have my doubts, I do go round and round thinking  “Will they like me? Am I good enough?”  but in the end the worst they really can do it say no, and they just might say yes.

Q:  What advice would you give to artists about committing to a gallery or gallery show?

Wilson: Make sure you understand what the gallery is offering you for their split. Are they just a place to hang or are they working for you by calling collectors, corporate clients, museums, and doing PR in print and social media such as Facebook, twitter, and blogs?  Are there openings, closings, gallery talks, video promotions, etc?  These make a big difference in the outcome of your work being seen by people and, hopefully, people purchasing it. The goal is to have a gallery represent you and work for you and your art. When this happens it is worth the gallery’s cut and the exclusivity contracts.

Do not over commit. It’s better to show up with more than you promised than to come up short (Alyson Stanfield). I say this but it’s been hard for me to keep it as I have these grand ideas and then life kicks in with the job or the kids and I encounter delays or equipment failures and then I think I can still do it if I just don’t eat or sleep for the next 72 hours.

Read a profile of Holly Wilson in this recent issue of Art Focus Oklahoma magazine. 

The Artist Survival Kit workshop, “Expanding your Horizons: Finding New Markets for your Art,” is Saturday, October 23, 2010; 1-4 pm at Mainsite Contemporary Art Gallery, 122 E Main St in Norman (map).  This panel discussion will cover the basics of how a professional gallery relationship works, as well as tips for approaching galleries and exhibiting your artwork out-of-state. Panelists include artists Jonathan Hils and Kate Rivers, as well as gallery owner Joy Reed Belt. See the Artist Survival Kit page to register.