A Gallery Director Speaks: What Artists Must Know

By Carolyn Edlund

Part One of a three-part interview with Robert Patrick, the Director of Marketing and Wholesale for Linda Jones Enterprises in California, dedicated to the art of legendary film creator Chuck Jones.

 

Robert has a long history of curating and producing shows, tours and events, including 12 years as a very successful gallery director at the Walton Street Gallery in Chicago. Robert graciously agreed to an interview focused on what artists must know about galleries, collectors, selling, and making presentations.

AS:  Collectors need to know about artists to be inspired to collect their work. What information do you suggest artists prepare to inform prospective collectors?

RP: As a matter of course, they should prepare a short, one page biography accompanied by a C.V. (curricula vitae) that would include education, exhibitions, press articles and awards. A current photograph of them, perhaps taken in their studio while they are at work would be an excellent addition. If they are emerging artists, I would recommend an artist’s statement, written in concise terms about what their art means to them, their artistic influences and how they answer the question that is a blank canvas.

If and when an artist begins a relationship with a gallery, it should be an imperative for the gallery owner/director to visit the artist’s studio (if possible.) They should take the time to understand their creative process, their technique, and their intent. The artist should understand that collectors want a story; it can be how & where they purchased a work of art, it may include a story about the art consultant or gallery director, but most importantly they will want to tell their friends why this work of art means something to them. And to do that, the artist must help the gallery by providing insight into what their work means to them.

An artist working without gallery representation is going to have to ‘sell’ themselves to a prospective collector. They are going to have to listen to what the collector is telling them and take that information and show the collector how what he wants is present in their work of art. They should consider comparing and contrasting their work with artists of note (“I’ve been influenced by Cézanne, but what I’ve done is taken his structure and freed it from its formality, making it less rigid and more fluid,” for instance.)

AS:  What is the process that an artist goes through with a gallery to establish a working relationship? How is this similar to a sale to a collector?

RP: There are three rules that I believe artists often ignore when approaching a gallery and that I would like to reiterate:

• Carefully consider how your art will fit with the art exhibited in the gallery. If you paint flowers in vases in a photo-realist manner, it’s more than likely that a gallery which shows only abstract or conceptual work may not be interested. Find a gallery that carries work similar to yours. Research the gallery’s artistic philosophy before you submit your work; the internet was made for this kind of search.
• Never submit your art for consideration without following the gallery’s guidelines for submission which are more often than not posted on their website. If they aren’t I recommend a phone call to the gallery and politely ask for that information.
• Drop-in cold calls are unwelcome.

But let’s say, Gallery XYZ has called you after receiving and reviewing your portfolio and they say, “Let’s talk further.” You make an appointment, and then what do you do? They’ve called you for a reason: they like your art; they think it may have a place in their collection.  Hurray! But now you have to close the sale. The steps of selling yourself to the gallery are identical to those of a consultant selling art to a collector.

Greet

I don’t want to change your personality (or for that matter your personal habits,) but I do want to suggest that you take a good look at yourself before you leave the house for this important meeting. Present yourself as you would want your art to be presented.  Professionally. Introduce yourself. Shake hands. Look the owner/director in the eye. Smile. Use their name immediately (that way you won’t forget later when you want to ask them to represent you.) Sit down when offered a chair. Be gracious. You may be doing business with these people for a long time (fingers crossed!)

Mini-presentation

This step, along with #3 Qualifying, may be interchangeable or happen at the same time. It will include idle conversation on topics perhaps unrelated to you or your artwork. The weather, the local sports team, a compliment from you to them about the gallery. This is the time that you want to listen very deeply, your attention focused, laser-like, on everything they are saying (or not saying.) Of course, before the meeting you’ve done your homework on the gallery. Exhibition schedule, frequency of publication of exhibit catalogues, artists they represent, how long they’ve been in business. It’s okay to ask them about their gallery; how business is these days. This could be the time you say how happy you are to be here to present your art to them and how well you feel your work will enhance what they have been doing all these years.

Qualifying

See above.  Steps #2 & 3 are a time for you to establish your reputation, knowledge, ability, interest (as it will be for the gallery.)

Major presentation

You should be prepared to speak about your work not only in the vernacular that is particular to this business, but also in a way that conveys your emotion and passion for what you do. What does a line mean to you? Why do you use a particular totem or fetish, what that means in relationship to the rest of the painting or works. What motifs are recurrent and why. This is also the time to brag about your successes: awards, exhibits, sales, and collectors of note (corporate and personal.)

Answer objections

The gallery may not have any objections, but they may ask if you’re willing to paint larger, smaller, make prints, use a different color palette and you should be prepared to answer these questions truthfully, maintaining the integrity of your vision. At the same time you will want to make sure that if by painting on a larger canvas the gallery would be ready to take you on, that you don’t forego the opportunity. You might say something like, “I’ve never worked in that size before, tell me why you feel it would make sense for me to do so,” and listen to the answer.

Trial Close

Trial closing is an important part of any sale; it is usually a statement or a question that implies ownership. “Tell me why you like my work.” “How do you see my work fitting in with your other artists?” “When could I expect a solo exhibition?” A trial close can happen at any time during your ‘sale’, I always liked to think that my “Hello, welcome to our gallery,” was a trial close.

Close

Of course, it may not be necessary to ask them to represent you; after all, they called you. But, at some point, after all of the above has happened (or not) you might just ask them what their plans are regarding you and your art.

One caveat about submitting your art for consideration: It may take the gallery two months before they even have a chance to look at your work (the submission guidelines may give you a clue regarding receiving a response.) But I think if you have not heard back from them within 4 weeks, it would be perfectly acceptable to call and ask for your status. Be polite, not petulant (I know you know that, but it’s important to remember that a good, positive attitude will reward you.)

Don’t miss Part Two and Part Three of Robert Patrick’s interview.

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