Deep Thought Thursday: Preparing for gallery interview

Where to start? Most galleries I’ve dealt with are more interested in the work than in interviewing me, but I suffered through a heck of an interview (2 hours +) with a gallery owner last fall, and in retrospect wish I had been more prepared to be grilled. Everyone asks the easy questions: – How prolific are you? – What other galleries do you sell with? – How well does your work sell elsewhere? – How many paintings can you provide us per year? – What commission split do you expect? Then there are the harder ones: – What’s the best painting you’ve ever done? – Why do you paint? – What are you trying to get across with this painting here? – Why do you think your work would be a good fit in this gallery? – Tell me about your studio/working methods/framing etc. – How does your past career influence your work? During the crazy interview I had last fall, the guy was waffling about whether to carry my work or not, and at one point asked me, “What do you think I should do?” which totally threw me. In retrospect, I should have had the confidence to tell him that he should show my work, at minimum keep my paintings hanging on the wall for a few months and see how they sell. I gave some wishy-washy answer instead. He kept my paintings overnight and then decided I wasn’t the right fit at the time. I honestly think he would have taken my work had I been more confident and prepared to sell myself. I’ve learned from that experience, and since then I’m a lot more prepared and confident when I meet with galleries, with good results so far!

the last time this happened I couldn’t get back in touch with them, their mobile phone was continually off or out of range with no voicemail. *sigh* I’m still trying to get ahold of them. the previous time I was just ignored. my messages and emails were not responded to. they sounded so keen initially too (they found me) my suggestion is to pick up first time or at least, don’t put it off too long worrying your responses to death. perhaps galleries need a few lessons themselves in how to deal with people. even a simple, I’m sorry we did have a slot but it was urgent and it’s been filled or something would be better than outright ignoring someone. the downward spirals after those were quite shocking.

what a relief to see I wasn’t the only one! I got home from work one day to a message on my answering machine from a gallery I had recently sent information to – and tried calling the person back immediately. I called three times over the following week and each time I left my name and phone and said I was returning her call. Nothing. So yes, at least a polite “no” is better than initiating a request and then ignoring the response. It has been hard to get back the energy (courage) to submit to galleries again.

For me, the most troubling, difficult question is where did I go to school? As a self-taught artist (yes, I do believe a person can hone their skills without a “teacher”) this is a difficult question to answer. When a gallery believes they can only sell your work based on your credentials then that is the gallery that has to work hard for a sale. With that said, my response to my schooling is very simple. I never attended a university to learn how to paint. I study art and the techniques used by the masters to better understand the process of painting as it applies to my style. If I had the guts, I would ask the gallery owner where they got their sales degree and MBA from. After all, they sell it, we make it.

Alyson, I have been in email conversations with a gallery that extended an offer and a sample contract to me. I was able to come up with a good list of questions based on the sample contract. I overlooked the question that Stacey asked: What are the gallery’s expectations for the flow of new work – the quantity and frequency? I think that is a great question! Another that I asked that I think is really good is about framing. What is expected of frame molding, do they have a type they prefer and do all of your pieces have to be framed the same…are you going to have to reframe for this gallery? something to consider.

Oops–I mean RIFT not rit!!

The few things I would add are that I am in constant contact with my gallery. A phone call occasionally, and I feel short e-mails every few weeks are not too much. Of course, they get my mailings. I am having the long hello with three (important-to-me) galleries, and am interested to know what will finally seal the deal with them.

Many good points from artists. I’m a gallery owner chiming in. Gallery owners don’t own the world, or your work. It’s a symbiotic relationship to get your work in the hands of those who love it. That’s the point. Both sides, artist and gallery, have interests and both are valid. I have a Gallery Agreement that spells out the various responsibilities of each party. We do monthly shows and the only continued presence of any artist is on our website. You should communicate professionally and you should expect the same. If either party is slack in their professionalism, the relationship will suffer, if it gets off the ground at all. I have received everything from the introductory phone call by the artist’s girlfriend, to an extensive packet (which tells me exactly how the artists expect to be treated). I don’t mind educating artists who are novice in gallery relationships, but I do mind an artist submission outside of our simple guidelines and poor communication. As to the ones who won’t return phone calls with a simple “no, not now”, that’s unacceptable. I am in a forum of gallery owners and some do seem to have difficulty saying “no” to an artist. Perhaps they are the types that simply ignore unhappy tasks. I always advise these individuals that it is in their own best interest to get the information out there about what they want to carry in their own business. There are many different ways to say “no”. But I would want to hear it–rather than hear nothing. It’s common courtesy to put yourself in the shoes of another and act accordingly.

Thank-you Sarah Adams for your comments! Hearing the other side is what we (artists) need so we can better put ourselves in the gallery owner/curator’s shoes.