Getting work into good galleries

[rmuniak]

I don't have a problem getting into local galleries (northeast Ohio). It's nice to be able to make sure your work is not put away or sold for 2 or 3 times what you agreed on selling it for. I've been there in the past with my sculptures
Now I am thinking of pursuing some fine galleries such as the Del Mano and I'm asking for advice on how to approach them or convince these people my work is good enough.
At the same time I want some references that they are reputable and pay on time.
Also what are some of the other good galleries (any ware in the US as long as they are well known?)

I would be eternally grateful for your input----Ray

 

[Bill Boehme]

I think they know the names of the turners who have "arrived".

 

[Rob Wallace]

I agree with boehme....

I think this is a, "don't call us, we'll call you" situation when you get to that level....

I'll keep feeding the galleries as best I can, and hope some day to get a call from the "big leagues"....but I won't be shattered if I never get one....

It's just fun to be part of the process at any level. The fact that people buy what I create on the lathe still is amazing to me.

Rob Wallace

 

[Steve Worcester]

I would say that it takes a salable unique item and knockout slides to get their attention.

Depending on where you are, pickup the magazine "Woodworkers West". Go through the area that announces new shows coming up that are requesting submissions. Look at those galleries as well as those that have new shows coming out. Look at their websites and see if your work might fit there. Find out who to send slides to. Include an offer in the letter to send samples and requesting feedback on your work.

And don't loose faith. You will go about AT LEAST 10:1 with rejections. Go to the symposiums and show your work, find gallery people there and ask them for critiques.

 

[Bill Boehme]

Ray, you have quite a few very innovative turnings in your gallery that look quite impressive (I am still wondering about the actual size of the "moons"). My critique is concerning the photography (since that is a very important part of getting your work accepted by a gallery) and not the work itself. I think that the images, on average, have a somewhat two-dimensional appearance and also there seems to be a problem with lighting and white balance in the majority of the images. In most of the images, the DOF is too shallow and the focus seems to generally not be quite sharp enough. In most cases, the shadows are too harsh and it looks like mixed lighting types are being used in several instances.

 

[Keith Krebs]

Ray, congratulations on wanting to push your gallery exposure from a regional focus to a nationally known gallery. I have had several opportunities to have discussions with the Del Mano staff and found them to be very open to advising new up and comers. I feel your work would fit into their gallery just fine, however they are know for selling well known turners so don't be put off if they don't initially accept your work or offer you a commission split that may be lower than you normally receive. The previous input you have received on preparing the best photos and PR package is also on point. My main suggestion to you is just do it. Nothing ventured, nothing gained. BTW, I do expect to be invited to your first show at Del Mano. Good Luck.

Keith Krebs

 

[Keith T.]

Hi Ray, You have been given some good information so far, but there are some important factors to consider that haven't been approached. The first thing many galleries will want to see is your resume. What awards have you received? Which exhibitions have you participated in? Which galleries are representing your work? What publications have featured your work? Your resume tells the gallery owner volumes about you and your career, where you've been, and where you're going. Top galleries want to see that you've been around a while, and are in it for the long haul. You are going to have to take a long, hard look at the work you have produced up to this point....what is it that make your work unique? Have you developed a recognizable signature style? How does your work compare to what the gallery represents?

Many of the galleries you aspire to approach are international in scope; they've seen the best work being done anywhere, often represent artists in mulitple fields, and seek to represent only the very best. For example, do you turn bowls? There are thousands of turners who turn bowls, and would love to be represented by the same galleries as you would. What makes your work stand out is such a large field? This is where a signature style is important. It's not easy to impress the important galleries; derivitive work isn't going to fly.

Name recognition is critical; there are several ways to accomplish this, but writing articles or donating a good piece at a national symposium are two ways to begin. Make a game plan, set goals, then set out to achieve them. When you are ready to approach a gallery, make an appointment. Don't make cold contacts; they won't appreciate that at all. Many galleries only accept resumes at set times of the year, so you'll have to do some homework. Many turners have been discovered at the AAW National symposium Instant Gallery! You DO display your work there.....? Hope this helps.

 

[Bob Hadley]

Ray,

Your first sentence contained something that struck me: you wanted to make sure your work was not "sold for 2 or 3 times what you agreed on selling it for."

If you agreed to sell a particular piece to a gallery for X, and the gallery resells it for 2X or 3X, it seems to me that can only enhance your reputation. Isn’t that what you want? To be someone whose art commands a high price?

The gallery is not the enemy. They have rent, payroll, displays, advertising, etc. They have to turn a profit to stay in business. It is in their interest to develop a market for a reliable supply of art that sells for a good profit.

I don't worry about gallery mark-ups and margins. If they manage to sell a piece for way, way more than originally thought, that’s great! I’d be surprised if they weren’t rushing for more of the same.

Maybe that wasn’t your experience. Maybe you could elaborate.

For the record, I do not own a gallery.

BH

 

[Steve Worcester]

That works fine until you have multiple galleries selling the same body of work for different prices. The higher gallery will feel you are undercutting them at the lower priced gallery. You want to make sure everyone is happy.

Then again, if they are buying the work outright (vs consigning) then there isn't a whole lot you can do about it.

 

[hockenbery]

I know one turner who was invited into Delmano at the AAW symposium based on three pieces displayed in the instant gallery and one donated to auction.

Put out excellent work with unique qualities and the gallery owners and collectors like to discover new turners...

getting critiqued at the AAW is can generate some positive publicity.

-Al

 

[rmuniak]

Thanks to everyone for the imput..I will contact individually some of you.. To answer the above question about 2-3 x pricing.
I (was) represented be a gallery in West Palm Beach years ago. They placed a large piece in a fancy restaurant (Trumps usual table was in front of it) with a 8K price on it. Unfortunately we had agreed on $3500 price which meant a sale would have netted me about 20%.
A gallerys' place is a relationship with an artist is to get for them and the artist the best possible price. He should have a pretty good idea of the value of any artpiece or would not be in business long. They should also build up trust with the artists as well as the artist to the owner. This as a result creates a trust with the public as well that they are getting a fair price.
A good example of an unfair gallery would also be if they called me and asked me to lower the price and split the difference in order to make a sale.. This has been done many times and even though many artists will scoff at this they have all done it believe me. Now what if this gallery unbenownced to me only cut my end for the sale. See where I am going.
Also the Gallery I am guessing would have told me they sold the piece for the $3500 amount. As a result I would not know that suddenly my work was worth more the I once thought... Galleries establish prices that we as artists use for our customers, thats how it works.
There is one other thought I have and that is what if the 8K price was way to high and never would have sold (it didn't). So I was wasting my time and efforts using him there instead of a gallery who probably would have sold it for the $3500 ....


Thought?

 

[Mark Placek]

Ray, After reading all the posts, I feel very fortunate to have my work in the delMano gallery.
I was doing some research a few years ago and came across the gallery. I sent an email with a link to my website and a description of my work.
Several weeks later Ray Leier (owner) wrote back saying that he was very surprised how wonderful my work was and would like me to send him three of my pieces. He also has one of my bowls in his personal collection.

The first bowl I sold was a commissioned piece that we (Me, Ray and the client) designed over the phone in a conference call while looking at the bowls on my website. I had only been turning for about 2 years prior to getting into delMano.
I suggest you send them an invitation to look at your work.. It worked for me!

PM me if you want Ray's email address.