Want to Join a Gallery? Things to Avoid

5 Things to Consider Avoiding if You Wish to Get Gallery Representation

At imperfecta, I am always open for artists. If they ask and are open to it, I will offer honest input and advice.

Art galleries offer a number of exciting opportunities to artists, from visibility to promotion, credibility and access to collectors. Many articles share tips on what to do to get your foot in the door of a gallery.

Here I will focus on five things you should consider avoiding if your wish is to get gallery representation. These tips are based on my personal experience as a gallerist yet, based on my conversations with other gallery owners, they seem to resonate with many.

I hope you will find them valuable as you continue navigating your artistic explorations.

#1 - Avoid unsolicited drop ins

To connect with a gallery to show your work, set up an appointment. Showing up, unannounced, and asking a gallerist to check your portfolio on the spot is a terrible way to get things started.

Most gallerists like to look at portfolios on their own time and decide, based on their research, whether or not they wish to learn more and connect with you. This isn’t to determine whether your art is ‘good’ or not, but to evaluate how well it might mesh with the gallery.

That said, if you “discover” an art gallery while travelling and opt for the “pop in" approach, be professional and quick — make a human connection, leave your card and follow up with an email later on. 

#2 - Don't show up with unfinished homework

Recently an artist entered my gallery and, without looking at the art surrounding her, asked: “So, what art do you like to show in this gallery?” I smiled and pointed at the walls. She barely looked around and persisted: "So, how would you describe the style you like to showcase?"

Did she discover my gallery accidentally on a weekend stroll? Or did someone suggest she check it out? Did she come to showcase her portfolio? Whatever her intent and context, one thing I observed is that she did not provide any background or context and, instead, demanded my time — asking generic questions before looking at the many artworks on walls, shelves and racks.

Truth be told, nobody likes wasting time with folks that do not do their homework before dropping in unannounced. Being unannounced gives a poor first impression — dropping in without any acumen about where you are is a show stopper.

#3 - Be careful with markets and cafés

Exhibiting in coffee shops hoping to be discovered, and taken seriously, might not always help your cause.

For coffee shops the benefit is evident: they get to decorate their space for free and promote themselves as arts supporters. For amateur creators and artists at the start of their journey, these venues offer a way to display their work and possibly make a few sales.

However, over time the coffee shop strategy will start bruising your reputation. Curators and gallerists will start looking at your work as coffee shop material, wondering whether it has been rejected by more legitimate venues and if you are taking your art career seriously.

Similarly, selling art at weekend markets, alongside crafts, knick knacks and vegetables, may signal that you are more focused on selling quantity (vs growing in quality) or that your art might have been rejected by more legitimate venues. 

Ultimately, the key question to consider is: what is most important to you?

If exposure to broad audiences and quantity of sales is your target, then coffee shops and markets are most definitely a way to go. If growing as an artist and being exposed to art collectors and refined art palates is what you are seeking, then you have more valuable alternatives at the start of your journey. 

Joining co-op galleries, exhibiting for non profits or other less casual venues are for example much better options, as they provide greater legitimacy and are more likely to get the attention of gallerists and curators.

#4 - Don't be inconsiderate and inefficient

How you decide to initiate contact with a gallery — be it in person or online – will make a massive difference.

For example, direct messages without basic greetings that contain only a link and a gimmicky sentence along the lines of here's my great work, let me know if you want me in your gallery will likely get you nowhere. Similarly, sending numerous emails, each loaded with large files and lengthy texts will likely remain unanswered, as gallerists have very little time to spare.

Your initial behavior is a lens into your future behavior. Inconsiderate, self centered and incomplete first attempts tell the story of how you might be once in the gallery — and who wants that? Be professional, efficient and polite instead.

#5 - Avoid rushed submissions

Frequently galleries solicit art through open calls to curate group shows while potentially discovering new artists. Those are precious opportunities to initiate a conversation with a gallerist and they should be taken very seriously.

Last year I received an email in response to an open call that read: “I did not read the open call but here are some images of work that seem to fit with the title” — do not do that, unless you wish to sabotage yourself. Another time I received an incomplete submission and, since I never reject work without first trying my best to learn about it, I reached out to the artist to seek answers, twice. He never replied. Another time again, someone sent two artworks though the call explicitly mentioned one submission only.

Truth be told, all those extra or incomplete submissions ask for extra time to review and reach out — and time is precious for gallerists, just as it is for the artists they represent. Respect people’s time.

One last note

Of course, there are many more considerations if you wish to achieve gallery representation, yet I hope these five initial pointers will help as you continue your journey. 

Thanks for being in the art world — we need you.

Interested in showing your work at imperfecta? Find opportunities in the "open calls" section of our website.