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Desire to testify your art in a gallery, but have few or no ideas where to begin? Getting into a gallery is much more than having enough inventory, and it tin be difficult to navigate the process without a knowledgeable guide.

Crista Cloutier–the art business organization expert and consultant behind The Working Creative person–is just the guide you demand. This talented multi-hyphenate–with titles including artist, gallerist, and fine arts appraiser–has sold artists' work to art galleries beyond the globe.

She now spends her fourth dimension helping young man artists to achieve success and create a thriving business. We asked Crista to share her expertise on how to achieve art gallery representation.

Before You Begin the Process...

The first step is to remember that fine art galleries aren't the exist all and end all of selling your art. In that location are many, many other opportunities out at that place, so don't go hung up on showing in a gallery.

Getting into the gallery that you desire could be a long term goal. So, exist patient and build your career and build your audition with that cease outcome in mind.

Crista's Guide to Art Gallery Representation:

1. Find the Gallery That Fits Your Piece of work and Goals

The very showtime thing that an artist should do is inquiry. Just because a gallery sells art, it doesn't mean they should sell your art. A gallery relationship is like a wedlock–it'south a partnership–and it has to piece of work for both sides.

A gallerist is normally a creative themselves and they have their ain aesthetic, interests, and focus. Doing your enquiry means finding out which galleries make the most sense for your artwork and career goals.

2. Develop a Relationship With That Gallery

It'south of import to develop a relationship with the gallery that you desire to testify in. That means signing up for their mailing list, going to their events, and finding out what it is they need that you could give.

I recommend showing up to gallery events more than once, having business cards, and challenging yourself to have at to the lowest degree three conversations while you're at that place. And, sympathise like whatever relationship that information technology merely takes time. Stay open to whatever fate brings yous.

It's besides critical to care for everybody there like they're potentially your best client. You lot never know who could be best friends with the gallerist or actually be the gallerist. By judging or dismissing people, yous're missing out on what the whole relationship and audience building is about.

The decision maker gets hammered all the time, so by being function of the gallery's tribe you lot're getting to know the people in the sphere of the decision maker. When I considered a new artist every bit a gallerist, it was well-nigh always because another artist I worked with or ane of my clients told me about their work.

3. Know How to Speak About Your Art

It's essential to know how to talk about your work. The best way to do this is to brand sure your work is almost something. If your piece of work is nearly self-expression or personal feelings, dig deeper. Writing your creative person argument helps you form your ideas and put language to them. Information technology's important to put language to your ideas, both in your artist argument and in your conversations.

I once introduced an artist to a collector, and she asked him what his piece of work was like. He mumbled, "I used to work in acrylics, merely at present I work in oils." She was actually insulted because that's all he said. There was no where for that conversation to go.

Many artists say, "I don't similar to talk about my work" or, "My work explains itself", but it doesn't. Your work doesn't speak for itself. Yous need to give people a place to come into it. The all-time manner to sell fine art is to have a story for information technology. The story can exist technical, emotional, inspirational, historical, anecdotal, or even political.

And while not many galleries exercise studio visits anymore, you'll desire to be prepared to talk nigh your art if they practice. Be sure to take a 20 minute presentation at the ready, with food. You lot demand to know exactly what to say, what to show, the club to become in, your prices, and the stories that go with each slice.

iv. Expect to Bring Your Audience with Y'all

Make sure you have your own audience to bring to a gallery. This is something you tin can build yourself, especially through online tools or at events. Create mailing lists and a following, and keep track of the people who show involvement in your work. An artist should always be building their own audience and exist able to keep control of that audience.

Y'all take to be filling the gallery with people also. Y'all have to work just equally hard every bit the gallery does to promote your events and tell people where they can discover your work. It is a partnership, and the best partnerships are when both people are working just as hard to go people in the door.

ARTWORK ARCHIVE NOTE: You can larn more than near this in Crista Cloutier'due south free e-book ten Divine Secrets of Working Artists. Download it here.

5. Follow Submission Guidelines to the Letter

One time you've established a relationship, detect out what the gallery'south submission policies are. This is one place where you don't want to break the rules. I know as artists we always break the rules, only don't break the rules on submission policies. As far as your submission materials, make certain you have good, solid ones.

Have high-quality, cropped images that include the work's title and dimensions. It's a good idea to have an online portfolio as well as a difficult copy, so you're ready for anything. It depends on the submission policy, but information technology's also good to have your biography, CV, and creative person argument ready when you start to strop in on galleries. You lot've got to have your ain website too. It is expected and is a sign of your professionalism.

six. Understand the Commission Construction

Artists often complain to me nearly having to pay a gallery 40 to 60%. I think that's really the incorrect mode to look at information technology. They're not taking anything from yous, they're bringing you lot clients, so pay your commissions joyfully. However, you desire to make sure that if they are taking a big pct, they are earning information technology and giving a lot more than in exchange.

Hammer out what a gallery is going to do for you every bit far as public relations and marketing in contract negotiations. If they're getting half, you desire to brand sure they earn it. You lot want to know what they're doing to make sure your art gets in front of the correct people. But, at the same time you lot need to do your bit also.

7. Remember That Failure Is Never Permanent

Recall that declining to get into a gallery just means it didn't work out this time. Vik Muniz is an artist who'due south had incredible success in the fine art world and he said to me once, "When I succeed, it's that time I failed to neglect." You take to fail a hundred times before you succeed, so just focus on failing improve. Don't accept it personally and don't quit. Figure out what went incorrect, what you lot could do ameliorate, and repeat.

Want to Learn More from Crista?

Crista has much more than advice on the business of art on her brilliant web log and in her newsletter. Her article on How to Sell Your Art is a fantastic place to kickoff and be sure to sign up for her newsletter here.

Consider Yourself a Go-Getter? Sign upwardly for Crista's Working Creative person Masterclass. Class starts Nov. 16th, 2015, but registration is open up until Nov. 20th, 2015. Don't miss this great opportunity to gain valuable skills and knowledge to fast track your art career! Artwork Annal members who use the special coupon code Archive will receive $37 off the registration fee for this session. Acquire more here.

Want to Organize and Grow Your Art Business and Receive More Fine art Career Tips? Sign Upward for Free Here.