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WHAT'S
SEVEN THINGS A GALLERY OWNER DOESN'T WANT TO TELL YOU
BY CRISTI SMITH Y 26
ou're an artist. You've created a body of work and you're ready to see it acquired (read: It's time to make some money). In most cases, this process
begins with fi nding a gallery willing to dedicate wall space to your art. Even with the proliferation of Websites and social media opportunities for artists, there's still nothing that can replace a buyer being able to experience a piece of art in person, properly lit and beautifully displayed in a reputable gallery. Why, then, isn't your art in a gal-
lery? Or in more galleries? Or in the prestigious ones? You know your work is good. You've practiced your giſt , stud- ied art and might even have a degree to show for it. You're confi dent that, if given the chance, your art would sell. If you've done the legwork—visiting gal-
leries, sending images via e-mail, closely following gallery submission protocols and maybe even dropping by with your portfolio tucked under your arm—and you're still not having much luck, it might be time to ask yourself one very simple question: Why? As a gallery owner, publisher and art
business writer (not to mention the wife of an artist who has gone through every stage of becoming a professional), I've learned the rationales behind the deci- sions a gallerist makes when deciding which artists to represent. I've listened to numerous artists present their work, make their pitches and ask for repre- sentation. And I can assure you that no gallery owner enjoys looking an artist in the eyes and telling him or her "No," much less explaining the reasons be- hind the rejection—particularly if we're afraid we might hurt the artist's feelings.
WHAT'S STOPPING OU?
1
STOPPING YOU?
T at's why many galleries won't review a portfolio in person, instead asking for electronic submissions only. T ere are two standard reasons a
gallery gives for rejecting an artist: "We're not accepting new artists right now" or "It's just not right for us, but there is another gallery you might try...." (T is latter technique is also called "passing the buck," but we'd still like to appear helpful.) Do you want to know the honest
truth? Nine times out of 10, if we don't accept your art, it's because we don't think we can sell it. Which begs the same question: Why? Aſt er commiserating with many
other gallery owners and examining my own motives, I'm sharing with you the top seven reasons a gallery owner has for rejecting an artist... and what you can do to turn that "no" into a "yes."
YOUR WORK IS NOT DEVELOPED ENOUGH.
T is is the most common
reason a gallery says no (and the most frustrating for many artists). When a gallery enjoys a reputation for being a credible, artistic authority, having fi ne art in the truest sense is paramount to its image. It only takes one obviously inexperienced artist to alter the clien- tele's perception of the entire gallery. Galleries are justifi ed in being discern- ing for this reason alone. Being nice or doing favors doesn't pay the rent. T ere is no quick and easy way to mature as an artist. You just have to
MARCH/APRIL 2012