To Market -- “Working with a Gallery?”

On March 14th, 2011 the Flynn Center for the Arts, Burlington City Arts (BCA), and the South End Arts and Business Association (SEABA), cooperatively presented a one day workshop "The Business of Art" at Contois (City Hall) Auditorium in Burlington, Vermont. As a representative of Frog Hollow I was asked to participate in a panel discussion in one of the sections focused on "To Market." The following is the speech I gave as an opening to discussion.

-Rob Hunter
Gallery Director
Frog Hollow

Frog Hollow is a 40 year old organization and is distinguished with the honor of being the first state craft center in the nation. We were founded in 1971 with the goal of increasing the exposure of Vermont professional crafts people as well as to provide an educational resource for all ages in all aspects of craft and craft appreciation.

I should mention that although I do have six years experience as a self employed artisan, the bulk of my experience in the arts comes from my work in galleries. Both on the West coast and in the north east and specifically with the craftspeople of Vermont.

From this perspective I have several recommendations to make regarding approaching galleries and working with galleries.

First of all I would strongly recommend that you take the time to truly develop your craft, be it painting, woodworking, pottery or any discipline you choose to pursue. A goal being to always create something wholly original with a look and feel that can be seen as yours and yours alone. With this accomplished I believe you have a good departure point to successfully develop a plan to Market yourself.

One of the big questions you will be confronted with in doing so is “Do you want to work with a gallery?” Some artists are very successful in selling their work independently. With new methods of marketing yourself online and off there may not be a need on your part to use a gallery. This is where some self exploration needs to done. There is something of a misguided belief that being in a gallery insures instant success… that life will become easier as a result. As many of you can attest, this is not the case. In many ways an accurate assessment of what a gallery offers and how your needs fit in is a great benefit. Before attempting to answer the gallery question you have a few items to address. Know where you want to be, know what your market is and develop a plan which defines your vision for the future and what your goals are for five years down the road. There are constant hiccups that occur as time passes, recognize this and make adjustments as necessary but it is always good to have a plan which you can measure your success against.

If you choose the gallery route be picky about where you place your work. The gallery that represents you sends a message about your work and creates a perception in the publics’ eye about you.

Galleries can vary greatly. In general a good gallery should offer Exposure. Some level of Prestige. Increased Sales and a Dedicated Clientele.

This may sound great but does come at a price. Most galleries ask for consistent pricing between the prices the artist charges and those in the gallery. The standard percentage being 50%, especially when you move outside of Vermont. Most galleries are moving to consignment which puts the burden of the cost on the artists for production of the work, work which may sit around for awhile before it sells… and many galleries have exclusivity clauses which limit where you can exhibit in the area. You need to weigh this against all the things a gallery does to help sell artwork, including paying high rent to capture walk-in traffic, advertising, mailers, e-mailers, shows, working with collectors, and more. A successful gallery is a great partner because it can be your promotional superstar. Its purpose is to devote eight to 10 hours a day to selling and marketing. But again, it comes at a price and only you can make this informed decision whether the cost is worth it to you.

Before you approach a gallery, such as Frog Hollow, do your homework.
Find out as much as you can about all aspects of the gallery. What is their philosophy, their mission, who do they cater too and what kind of artists/artisans do they represent. This aides in making an accurate decision as to how you and your work might fit in. Don’t just stop with a visit to the gallery but attend their events, openings and functions and Initiate conversations with other artisans who exhibit there, tapping them for feedback on the galleries performance, strengths and weaknesses.

When approaching galleries keep it casual, professional and non-confrontational. I have come onto the gallery floor on busy days and witnessed my staff members cornered by an artist I have never seen before with their work spread out across the floor or counter trying to convince them that it should be shown in the gallery, and preferably today. Be sensitive to when you approach a gallery. Busy times and periods are bad. Part of the research involved in approaching a gallery is knowing who to contact and how to present your work. When you find that information out follow it to the letter. You are sending a message by doing so, it is refreshing to know that a future prospect can indeed follow directions, because there are procedures in place which will need to be followed. In all applications and paperwork, be legible and succinct. Don’t pad out an application because you think more is impressive. Your work should be impressive enough and able to stand on its own. Don’t try to dazzle with the vast range of things you are capable of. This simply conveys that you are unfocused and scattered. Instead, present a body of work in a single discipline which makes sense. What you are conveying in this packet is that you are capable of producing a consistent output of work which can be displayed as a whole and stand alone without confusing the clientele.

It is important to also realize that rejection from a gallery is not necessarily bad and is not a snub against you or the work. Because art is so private we sometimes internalize this process and take it personally. It may simply be felt that the work is not a good fit for the clientele or the gallery, which is why doing your homework before applying is so important. There is only so much room in a gallery and these tough decisions have to be made.

When accepted by a gallery make sure that there are contracts in place and read them. And more importantly understand them. Make sure that there is a tracking system in place for all inventory. Know what the broken, stolen and damaged policy is before hand. Know when and how the annual inventory is conducted and how discrepancies are handled. Know who is responsible for delivery and return of work. There should never be any surprises. Trust your gut instincts, if you don’t feel comfortable with an establishment, don’t leave your work there.

Among the many don’ts associated to working with a gallery high among them is that a gallery should not be treated as a storage facility for your unwanted or surplus work. Don’t drop off the items you have left over from your shows and markets. I know it can seem overwhelming and is easier said than done but if you had a tough time selling it, we’ll have a tough time selling it. You’ve worked hard to get in so why would you undermine that success. A better thing to do with these unwanted items is to put them aside and accurately asses them. Determine what it is about them that currently is not working and make adjustments to your process.

I cannot say enough good things about being organized and keeping accurate records and I always encourage artisans to update frequently…sales increase when you do.

Another thing is to communicate your process and background to the gallery in a manner which is easy for them to pass on to their gallery staff. Short concise write ups are helpful, and a great tool for the staff to relay your story and process to the public with. It is my experience that the artist’s story behind the work is what sells it best. It humanizes the work and lets the customer know that a human being was behind its creation. The story is one of the greatest tools in selling art.

Working with a gallery can be a great experience and resource. In addition to increased sales and exposure you can receive feedback on your work as well as input on directions in which to develop. I have recently been working with an artist in the development of a new wood product which was initiated by his simple question “is there anything you need that people have been asking for.”

Beyond the gallery aspect….My advice to you as an artist…
I would have to say that your continued personal growth is of immense importance. Never stop growing. I don’t care how successful you are. Continue to explore new designs, forms, subject matter. Don’t get trapped into creating just because it is successful, or even worse, because it is “what you have always done”.

Be open to both suggestions and criticism, even when it hurts. There is no benefit in requesting feedback from multiple source or individuals until you finally hear what you are looking for. Instead listen to what is being said and learn from it. Seek honesty, not confirmation.

Be flexible, respond to trends, seasons,…political upheaval….any number of things which change as time progresses. I am not suggesting that you change your artistic vision or compromise your principles but I do suggest that you keep with the times. Color pallets in life change, your response to that taps into the current needs of the public.

Be social. This can become a difficult balancing act, especially if your work is taking off and you are already dividing your time between accounting duties, inventory management and creating new work, but the networking that you do within the artisan circles and within the communities in which you live and work will open doors for you, be they gallery opportunities, events, or introductions to key people in the arts industry. The development of a support network makes this easier. There are very successful artisan couples who divide the tasks of marketing their creations masterfully. There are amazing family artisan businesses out there where children and parents are all working together in facets of the creation process. There are shared studio spaces which supply feedback and support in any number of ways. There are individual artisans working with assistants and interns in structured task specific environments which allow for the creative process to flourish. Marketing yourself as an artisan is an exhausting endeavor, sharing the burden of all it encompasses can be a life saver.

Above all things become involved. Some see art as a private and personal journey, and I respect that, but in many ways it is a response to the life that you live and the life of those around you. Both artists and galleries are currently struggling in response to our economic times. This is not a period where we should be taking an every man for himself attitude. Instead we should all be working together, joining in community programs, joining boards and development committees, working to establish long term goals and then taking steps to achieve those. In many ways the success of the gallery establishes the success of the individuals it represents. It is very much a symbiotic relationship. When given the opportunity, which galleries such as Frog Hollow provide, you should take an active role in its operation.

And by this I don’t mean the dreaded and overused “Micro-management” of your displays. I mean you should respond to calls for ideas, attend meetings and gatherings. Show your support for these institutions and organizations.

It will have a positive effect not only on your work and the exposure you receive but on the community in which you live and market yourself.