How to get my work in a Gallery

I tried google many times, but never came up with exactly what I was looking for. Always close, but not it. This will definitely help my gallery ambitions! Thanks again sapearl!

Some public galleries will have annual or semi-annual "Requests for Proposals" whereby artists can submit exhibition proposals. These are often juried. They may be looking for either solo exhibits or individual pieces from a number of artists. Check their websites for submission forms and dates.

Thanks everyone for your suggestions! Especially you Sapearl! I'm in the process of putting together my 11x17 portfolio using Itoya's Profolio Professional book. I've also started hunting down all the galleries in Chicago that display photography. Once I've got my portfolio finished I'm going to begin to visit/contact each of the photography galleries here. I think I'm just going to play it by ear after that...

.

sapearl wrote in post #8873518
Beach -

You want to easily, conveniently be able to show your work to the gallery director or manager. This is something compact and portable that you can carry from studio to studio with little aggravation. I use the Itoya presentation books for my "exhibitable" material:

http://www.utrechtart.​com …ew_product.cfm?​item=47849

Stu

Stu, what are the black paper refills useful for? Do you put them behind your prints? Or do they just fill the blank pages?

.

Hello again Beach - sounds like things are moving along for you in a positive direction . I believe you are referring to what looks like black construction paper in each of the page "sleeves." They are there just to provide some rigidity to the filled or unfilled page.

They're also good as a background. If you have a smaller print, brochure, handbill, or other piece of art featuring your work or efforts, you can "float" it in the middle of the black page (small piece of tape in back of the print will anchor it).

beachbum2277 wrote in post #8967786
Stu, what are the black paper refills useful for? Do you put them behind your prints? Or do they just fill the blank pages?

.

sapearl wrote in post #8967980
Hello again Beach - sounds like things are moving along for you in a positive direction . I believe you are referring to what looks like black construction paper in each of the page "sleeves." They are there just to provide some rigidity to the filled or unfilled page.

They're also good as a background. If you have a smaller print, brochure, handbill, or other piece of art featuring your work or efforts, you can "float" it in the middle of the black page (small piece of tape in back of the print will anchor it).

Ah, so the actual paper is a little thicker than normal, everyday white copy paper? And does the portfolio I ordered already have this paper in it? I'm getting the professional series Itoya book similar to the one you gave the link to.

.

Yeah - I'd say slightly thicker, but certainly nothing like cardboard. I believe that all the portfolio books come like that; all of mine have been shipped that way .

beachbum2277 wrote in post #8968044
Ah, so the actual paper is a little thicker than normal, everyday white copy paper? And does the portfolio I ordered already have this paper in it? I'm getting the professional series Itoya book similar to the one you gave the link to.

.

sapearl wrote in post #8968073
Yeah - I'd say slightly thicker, but certainly nothing like cardboard. I believe that all the portfolio books come like that; all of mine have been shipped that way .

Great. Thanks for all your help!

.

I use the Itoya Portfolios, too, they work great! Good luck on your quest!!

Win

Win wrote in post #8968482
I use the Itoya Portfolios, too, they work great! Good luck on your quest!!

Win

How's the clarity of the pages on the professional line of Itoya's?

.

They're good for lunchtime meetings also - do have to be careful of the water glasses though when rotating them on the table . I lugged one to a local restaurant just a couple of days ago for an informal showing to some art and PBS folks.

Win wrote in post #8968482
I use the Itoya Portfolios, too, they work great! Good luck on your quest!!

Win

Just a quick comment here on the "out of the box" suggestions. I gave thought to the resturant option, and hallways of libraries, etc. Really great ideas for exposure, but I don't think they will translate into sales (just my opinion). This is because people go to resturants to eat, not to buy artwork. Ditto for libraries and other display sites. If you do get your work displayed in these locations, it should be to invite interested folks to your gallery (or web site). Which brings you right back to the original question . . .

The best galleries might assist with framing and preparing your show.

They will also help promote you, with an opening reception perhaps, and possibly with some additional marketing efforts.

You'll be negotiating a reasonable split of the proceeds from sales. Obviously, a new and relatively unknown photographer is more of a risk for the gallery, so might expect a less favorable split. Meanwhile an established and popular photog with a good track record of print sales might have the upper hand in negotiations.

Check that your work is covered by insurance while on display.

Usually it will be limited edition prints that you sell in a gallery, probably between 100 and 400 prints from any specific image. Some photographers today are even doing micro editions, only a half dozen to two dozen prints will ever be made. The gallery will advise you on this.

You should be signing an agreement with the gallery. It will spell out all the above details and more. I think the ASMP book "Good Business Practices" might have a sample, generic gallery agreement.

It's definitely a good idea to get your work into any public places where it might be seen. Restaurant, library, coffee shop, dentist/doctor's office, etc. They get free decor for a while, you get free exposure. It can't hurt and might turn into some sales. The only down side is that you'll have to spend a bit getting stuff matted and framed. But once that's done you can move them to other display locations. Just put a business card on each frame, or leave a stack with the owner/manager. Don't expect them to sell the prints for you, just to refer the interested party to you. Don't suggest any profit sharing, but also don't be surprised if they ask for a percentage of any sales. Again, put together some sort of simple agreement for everyone to sign. That just spells things out in advance, to avoid problems later.

sapearl wrote in post #8968503
They're good for lunchtime meetings also - do have to be careful of the water glasses though when rotating them on the table . I lugged one to a local restaurant just a couple of days ago for an informal showing to some art and PBS folks.

That doesn't sound good!

I think the clarity is fine. I do most of my prints on Metallic paper and the sleeve does degrade the image a bit. I usually end up sliding out any that people show interest in. The Clearbags are thinner and there is a lot less "degrading".

Win

amfoto1 wrote in post #8974962
Obviously, a new and relatively unknown photographer is more of a risk for the gallery, so might expect a less favorable split. Meanwhile an established and popular photog with a good track record of print sales might have the upper hand in negotiations.

While reading the many good comments here, a thought occured to me. If a gallery has a sudden opening (perhaps due to a cancellation), you should be ready to go. If you agree to short term showings (such as just over a weekend), or to have your displays ready to fill-in in case of a cancellation, you could get your foot in the door. This would help the gallery avoid "empty periods", especially when they are un-planned.