some advice from SLGA

Gallery Submission Process (Originally published July 2006) from silverlake gallery alliance

We receive a ton of submissions. Since Its not possible for me to respond to them all I thought I would use this forum to address the issue. Rather then have me ramble on I ask Caryn Coleman of Sixspace, Jennifer Armbrust of Motel and Cliff Benjamin of Western Project for their opinions on the subject of starting a relationship with a gallery...

...The responses where so generous instead of cramming them into one long post I though I would present them individually. Hopefully if you're one of those who feel baffled by galleries this will answer a few questions.

We all agree that cold submissions are the worst way to start a relationship with a gallery. These generally come from inexperienced artists who send out emails shotgun style hoping to hit anything. Galleries have very definite ideas about what they show. They don't show generic "Art" but have a specific direction. The good ones particularly are specialists who focus on a particular branch of art and are very familiar with it. If you want to show at that gallery you should be too.

Personally I feel most of the submissions I receive are sent prematurely and the artist hasn't had enough feedback to be aware that they are still caught up in unconscious imitation. If you weren't lucky enough to come through the MFA pipeline (a virtual must at many galleries) I suggest starting your own alliance with other artists. I agree completely with Amburst who suggested." if all else fails, grab your buddies, find a space, put on an underground show and promote yourselves until someone pays attention." starting your own scene can provide another critical atmosphere to gain invaluable feedback and support. If you can make a significant impression on other artists recognition and galleries wont be far behind believe me.

Here's what Owner/Director Jennifer Armbrust of Motel in Portland had to say:

What is the problem with cold submissions?

The main problem with cold submissions is that gallerists are so incredibly busy and cannot spend time looking through everything that comes in and then respond. It would just take too much time and detract from the real focus of a gallery which is to promote and sell the work of the artists they have already developed a relationship with. We actually accept cold submissions at Motel however, there are certain submissions that receive more attention than others. If you are sending materials to a gallery, first, confirm that they accept submissions and then ask about their preferred format. For example, we only accept email submissions. Then, if you are going to cold submit, take some time to appeal to the curator in your cover letter. Make sure you are familiar with the gallery and can see how your work would compliment their programming. I don't even respond to submissions when I know I'm part of a mass mailing. Be picky about who you send your portfolio to and then send a personalized submission to the director. Even then, don't expect a response. Just keep making work and putting it out there. And, please, don't call and email to keep checking back.

What is one thing you would advise an artist looking for a gallery?

Look for a gallery which shares your philosophy about art; a gallery whose roster and exhibitions you are excited about. Then, ask around to make sure they treat their artists well and pay them on time, etc. As an artist, in looking for a gallery, you are essentially interviewing for an agent. Make sure you find the agent that can best promote your work and protect your interests so that you can focus on making art. If your favorite gallery doesn't accept submissions, head to one that does. If you can get your foot in the door with a gallery that focuses specifically on promoting emerging artists, you might be able to land a spot in a group show. Then, work your tail off and present your best work. Galleries that don't accept submissions still usually have their feelers out to other galleries and are looking at their shows.

Are there any particular misconceptions artists have about galleries that stand out?

I think some artists that are early in their career have a slightly antagonistic view of the gallery. I think there are fears that the gallery will take advantage of them or push them in a direction they don't want to go, artistically. But neither of these could be further from the truth. Gallerists relieve artists from the impossible task of having to be an accountant, salesperson, handler and promoter in addition to making art. This is why they take a commission. Gallerists work full time as advocates for artists which is a tireless job and, largely, thankless. They help artists to achieve their greatest potential by relieving them of the burden of business.

Is there anything regarding the process you would like to add?

I'm so tired of seeing a million portfolios that look alike. Find your own artistic voice. Work your ass off. Take risks. Prioritize your studio practice. Push your limits and innovate until you've developed a body of work that is distinctly yours. Do all of your homework first, then go about worrying about finding a gallery. And, if all else fails, grab your buddies, find a space, put on an underground show and promote
yourselves until someone pays attention.

Jennifer Armbrust is the Owner/Director of Motel in Portland as well as a founder and regular contributor to the Portland based art site Port

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Western Project Interview

I met Cliff Benjamin Owner/Director of Western Project a few years ago. He lives in the neighborhood and stopped by the gallery early on to offer some words of encouragement . Of course this was very thoughtful so how do I repay him a couple years later by drafting him to answer some questions for my blog, that's how. Once again he was very generous to answer some questions for me and I appreciate it.

Western Project shows a mix of contemporary photography, sculpture and painting. The work they exhibit is filtered through a keen awareness of precedent but doesn't shy away from the seduction either. Bright colors and characteristically impeccable finishes draw you in and on closer inspection also act as a detour sign redirecting or perhaps misdirecting your expectations. The results of his skill as a gallerist are evident by the acclaim his artists receive in the press including a number of write-ups in the L.A. Times.



Here's what he had to say:

Q. What is the problem with cold submissions?

A. Sending in a cold submission is asking for a relationship with someone you don't even know and that is just a dysfunctional way of doing things no matter what. I make the analogy: if someone asked you to marry them on the first date would you do it? Of course not. It takes a long time to get to know someone and see if there is a) chemistry and b) trust.

Q. What is one thing you would advise an artist looking for a gallery?

A. I would advise them to get to know a gallery and what they show develop a relationship with the people that operate it and really see if it is a good fit meaning you both have similar goals and ideas about showing work and developing careers.

Q. Are there any particular misconceptions artists have about galleries that stand out?

A. misconception is any assumption or judgment one has about people they don't know. Don't be afraid to ask a question - we are all in the same boat.

Q. Is there anything regarding the process you would like to add?

A. There are a lot of great people in the art world so find those you are in alignment with life is short be smart and have a sense of humor.