Ken said:
> I have avoided the art world, intentionally, for a long time, but just
> maybe it might be time to dip my toes in and take my lumps. Who knows, it
> might just pay for the new camera equipment???? It's gotta be better than
> wedding photography. Anybody with experience in the art gallery/wholesale
> arena have any advice/comments? My past experience resulted in "slammed
> doors" and "sorry, we already market xxxxx".
>
> It's nice to be "discovered" once in a while.
>
> Ken Norton
1st - I apologize for the length of this post... kinda got carried away. :-)
2nd - Congratulations on your opportunity!
3rd - I am not "there" yet... any thoughts I have to offer are the ramblings
of someone on the path, not having arrived yet. "Arrived" equates to sales,
regular if not spectacular. I'm in my second year on said path. I am still
very much engaged in learning how the camera works. I have at least a year,
probably two, to go before I introduce myself to the market with a decently
full portfolio... not before. Obviously my approach fits only me, for my
reasons, i.e., YMMV.
Having said that: everything I've read says that the Art Market should be
considered a component of an overall campaign. I'll offer four books on the
subject that go into some depth, depth I couldn't paraphrase nor have the
experience to summarize. They read well and I recommend them highly.
The first - "Photography For The Art Market" subtitled "The Images and
Approaches that Succeed in the Markets: Museums, Galleries, Collectors,
Magazines, Posters, and Cards" - by Kathryn Marx, Amphoto, 1988. It's a bit
dated but the basic thinking (I hope) appears to me to be valid today.
A quote "Prudential purchased very little photography because the company
was "hesitant to purchase color because of the archival problem."
Supporting what she wrote in 1988, this spring I observed in the galleries
of Santa Fe that _the vast majority_ of images on display, old masters and
new talent, are Black & White.
The second is again an old standard - "The Perfect Portfolio" subtitled
"Professional Techniques for Presenting and Selling Your Photographs" - by
Henrietta Brackman, Amphoto, 1984.
This book will help _anyone_ get their 'poop in a group'. It offers great
advice on how to critically look at your own style, how to determine where
you need additional efforts, and how to arrange the collection into a
unified, cohesive, whole. Should be in everybody's library.
The third is the best book I've ever read on the subject - "How To Survive &
Prosper As An Artist" subtitled "Selling Yourself Without Selling Your
Soul" - by Caroll Michels, Owl Books, 4th Ed. 1997. An artist who began
consulting _to_ artists in 1978, this is a 'no holds barred, kick 'em where
it counts' EXPOSE' of the Art, and specifically _Gallery_, Market. If you
believe what is written, and she gives more than adequate supporting
material, then you will be convinced that gallery owner's _are not your
friends_. She then offers some rare common-sense advice on "If not that,
what?" Additionally the book provides *the* most information rich appendix
I've found to date. When I get to that point, and I have a ways to go, I am
without doubt budgeting some $$$ for one-to-one consulting time with her.
Pages 172-3
Dealing With Dealers: In Summary
"Over the years, I have met with thousands of artists, often serving as a
coach to help them iron out gallery-related problems. And over the years I
have had at least one client in approximately 90 percent of the galleries in
New York City that exhibit contemporary work. These experiences have
provided me with an unusually broad perspective on what has gone on behind
the scenes at many galleries since the late 1970s and what is going on
today. I have been privy to intimate information about how artists are
treated and mistreated, who is suing whom and why, the names of the dealers
who do not pay artists or do not pay on time, and other maladies.
"I still cringe when I hear or learn about some of the unintelligent remarks
and value judgements made by dealers, or the outrageous rudeness they
display. Those rare occasions when an artist praises a dealer for being fair
and wise give me hope that perhaps thing are changing for the better.
"More often, though, I have trouble responding when I am asked to name
dealers I respect _both_ as businesspeople and as human beings. In New York,
which has more than five hundred commercial galleries, the dealers on my
list could be counted on one hand!
"Although for many reasons I consider the gallery system in New York to be
the most decadent, New York is certainly not the only place that attracts
art dealers with questionable moral and business ethics. Many artists around
the country have trying and cumbersome relationships with dealers.
"If artists do not learn to _cultivate their own market_ and become less
dependent on galleries for sales and exposure, they will find themselves
paying commissions in the neighborhood of 75 percent and up, just to support
dealers in the style to which they are accustomed! But it is also highly
likely that if you total the amount of money a dealer currently receives for
the sale of work and the amount of money some artists are now required to
spend for exhibition-related expenses, the day of the 75 percent commission
might have already arrived!
"It is important that artists develop an autonomous posture and make their
own career decisions rather than wasting time waiting for something to
happen. The chances are remote that you will find the perfect agent or be
introduced to galleries through an art-world-figure referral system, and the
so-called artist referral system is virtually nonexistent, because most
artists are too paranoid and competitive to refer each other.
You _can_ find a gallery without being referred and without an agent. But do
not rely on representation by _one_ gallery to provide the exposure or
livelihood your are seeking. Build a network of many galleries located
throughout the United States and the world. Building such a network requires
time and patience. But it can be done."
The rest of the book is even better. Best $15 I've spent in a loooong time.
The last book is a nice little thing that offers a "Mechanics Illustrated"
approach to getting your finished product to its destination intact. Titled
"Caring For Your Art" subtitled "The Best Methods to Store, Handle, Present,
Document, Photograph, Pack, Transport, Insure and Secure Your Art" - written
by Jill Snyder for Allworth Press, 1991. After all this effort it just makes
sense to protect your investment, and come across as the detail oriented
professional you surely are.
Hope you find something worthwhile in here... good luck!
Tim
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