So you’d like to find a gallery to show your work….

Posted on: May 17, 2006

You've graduated or are a few years away and you feel your work is ready to be shown in a commercial gallery. How do you get in?

Firstly, finding the right gallery is important. The vast majority have websites, so that's a good place to start. Check their list of artists and browse their exhibits to see if their aesthetic and exhibition program is compatible with your work. Don't limit yourself geographically and, especially, don't focus solely on New York or Los Angeles. There are excellent galleries all over the US, and a smaller, less well-known gallery can be a perfect place to start. Lastly, don't limit your search to traditional photo dealers, photography is now an important part of many galleries' programs, something you should be able to see based on their websites. Many galleries list their review policies online, be sure to check if that's the case. If nothing's posted regarding their review policy, give them a call. If you send an email, you may not get a response.

Next, if possible, visit them. If they're in the same city, take an afternoon and walk through the galleries you're considering. If they're elsewhere and you can afford it, take a quick trip. What does their space look like? Is the work properly lit and installed? Is the gallery clean? Is the person at the front desk friendly and professional? Snobbery and elitism play well in Hollywood's vision of the art world, but not if you're looking to enter into a professional relationship with a gallery. You want them to be friendly and cordial from the start, or you'll only get frustrated in the long run. If they're clearly not busy, ask about their review process. But if they're in the middle of something, don't hover. This is reconnaissance, after all. Take an announcement card and make some notes to review later.

OK, you've got a list of galleries. What to send? Years ago the standard was a sheet of 20 slides from the last 12-18 months and a self-addressed stamped envelope (SASE). This is still acceptable in many cases, but it can get expensive sending out 20 sets of slides. Typically, a CD with 20 images or a suite of 8x10 inkjet prints works. Some galleries will review websites, others happily accept emailed jpegs. If you're sending a link, attach one or two smaller images to give them an idea of what's on your site. Choose the process that best suits your work that is accepted by the target gallery. Include an artist's statement if you have one, a resume, and a cover letter. Don't worry if you don't have an extensive exhibition history; galleries don't expect to see that from students and recent grads. Just list any exhibits you happened to be in, any awards, scholarships you've received and where you were educated. Gallerists aren't interested in reading your thesis, brilliant though it may be. Tiny fonts and avant-garde layouts may look attractive, but can be frustrating to decipher for aging eyes. Keep everything brief and easy to read. If you want your materials returned, include a SASE. Be sure the return envelope is less than 16 oz so that it can be dropped in a mailbox. If you don't want your materials returned, state this in your cover letter.

The single most important thing about what you're sending will be the images. Don't create a retrospective, but edit your portfolio to 20 or so current images that are consistent in quality, both technically and conceptually. If you need to include details, limit them to one or two per image. Don't worry about binders, cases, stationery, etc. It boils down to the work, not the package or the pitch. Test-drive your portfolio on friends, professors, family. They're likely to catch spelling errors and typos you missed, and can give a fresh read on the images.

You've sent out your materials, and now you wait. And wait. And you don't hear back from anyone. Don't get dejected. Sometimes galleries get bogged down and may not have had an opportunity to review new work. Don't call and put them on the spot, just be patient. If you included a SASE, chances are you'll get the work returned, eventually. If you didn't, chances are they took a look and it wasn't right for them.

OK. You got a positive response. Don't break out the champagne immediately, but do reply right away. Just because they expressed an interest doesn't mean they'll be giving you a show in the near future, or ever. What it means is they're interested and want to start a conversation, possibly visit your studio. Maybe hang your work in a back room, maybe in a group show, or maybe a solo show. Or maybe they want to see the next body of work. Keep your expectations low, and don't be afraid to ask questions. Communication is vital for both sides, and if there is to be any sort of future relationship, both you and the gallery need to feel that you can speak freely.

The other, more likely response, is negative: "your work is outside our curatorial program" or "we are unable to add any new artists to the gallery" or some variation on "no, we're not interested." Galleries receive many submissions; their rejection of your work does not mean it isn't good or gallery-worthy. Maybe that gallery already has a number of artists producing similar work, and isn't interested in adding one more. Do not get discouraged, no matter how discouraging the process is. Keep track of those galleries you liked best, read the art press, catch as many shows as you can and try again when you have a new body of work. Stay informed, keep trying and keep working.

Finding gallery representation can take a long time and it's not any fun. The good news is: there are always new galleries opening up and new opportunities for showing your work. In your search for commercial representation, don't neglect not-for-profits and regional art centers. There are hundreds of alternative exhibition spaces out there, all over the country, and commercial galleries pay attention to what they're showing. Make it a habit to periodically assemble 20 or so images and send them out. The very act of editing your work to a coherent set of 20 is useful and informative. Think of it as a periodic review of what you are investigating and producing. This is a valuable exercise that can help you to define and refine your project, as well as get your work into a gallery. Most importantly, stay positive and keep working.

Natalie Domchenko is the gallery director for the Peter Miller Gallery in Chicago, a gallery which features both accomplished and emerging artists in a variety of media including paiting, sculpture and photography.