It is rare to find an article on the subject of gallery representation and how this most mysterious of worlds works. James Loks’ research reveals a number of interesting points, the need to be committed to your practice, the support networks offer, the shop window available from artist led shows, the futility of trying to fake it; but more importantly, it reveals that there is no easy way to becoming an ‘overnight success’. http://www.artslant.com/ny/articles/show/45587
Shara Hughes interviews a number of artists about how their representation was achieved http://burnaway.org/feature/charmed-im-sure-get-gallery-representation/
Long ago I was warned against approaching galleries, as they like to find the artist. These articles confirm that advice. They also confirm the need to be seen to be found.
Daniel Palmer considers the investment emphasis developed by some emerging artists and cautions against this approach. http://www.artnews.com/2016/03/09/go-pro-the-hyper-professionalization-of-the-emerging-artist/ Admittedly writing in the US, he is also sceptical about the value of a contrived, expensive MFA qualification (average $38,000 per year) producing product-based demand fulfilling artists.
Andrew Berardini argues for the ‘amateurs, dabblers, dilettantes’ rather than the artist as financier. ‘Stripped away of institutional validation and the pressures of the market, we are free to be human, to be artists, to be unprofessional.’ http://momus.ca/how-to-be-an-unprofessional-artist/
Having reflected on all the options available to me during the preparation of my Personal Practice Plan, I still feel that the gallery, with all the issues of control, is still the best route for me. I am currently exploring the hazardous route of the Open competition with recently produced work, testing the water. This path is fraught with danger, a pageant. Who are the judges? What is their practice? What did they have for breakfast? There are, of course, the practicalities, am I around to deliver, to collect, is the venue a realistic distance away? It has worked in the past with the RI and RWS, but it has equally failed more times with these august establishments.
I recently submitted three works from the series Happy Families to the East Sussex Open at the Towner in Eastbourne, and Night Workers, to the Marmite Prize.
Watercolour on paper, 78 x 58 cms
Watercolour on paper 38 x 38 cms
Two very different works, two very different competitions, chosen after researching the judges and visiting the Towner’s selection last year. The outcome will be announced in the next few days.
It is all part of the process and practice of being an artist. Finding an authentic balance between product and project is key.