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Where do you show your fine art photography?

jerryreed

jerryreed

New member
I am trying to educate myself here. What do you see as the most likely commercial venue for these beautiful images; books or art galleries (other?).

I ask, as I am working to solidify an incompletely formed impression that visitors to many contemporary galleries that feature the work of current artists - not the secondary market galleries like those seen at AIPAD - seem to purchase images of the scenes with which they are familiar, either areas near their home, or as reminders of areas that they have visited, like Hawaii or the Grand Canyon.

I would very much appreciate anyone's favorable or unfavorable experiences in finding the best fit for exhibiting and/ having their art shown.

If your art is being shown, or you are currently being represented by a gallery, in the USA or Europe, will you please let me know, so that I may better understand what art fits well, and where?

Jerry Reed
 
GrahamWelland

GrahamWelland

Subscriber & Workshop Member
Jerry,

Love your work on your web site!

I'm surprised that some of the pros here haven't commented yet. However, I've looked at the best of ways of getting a body of work together and out there in some form or other and these are some of the avenues I've pursued so far and maybe they could help:

Alain Briot has a pretty decent book about marketing your work. He also offers one-one consulting assistance for marketing too. I've been on a couple of weekend sessions with him and he is very forthcoming with helpful and critical advice.
Alain Briot Fine Art Photography
Alain Briot Fine Art Photography

I also attended a couple of very useful workshops & seminars. One with Michael Levin at Vancouver Photo Workshops who went through the logistics of getting shown and representation and the various avenues for getting your work out there. The other with Charles Cramer / Rex Naden who also covered similar materials and advice on marketing, presentation and generally getting your work shown or sold.

The overriding impression I came away with from attending sessions with both of these folks was a very simple one - if you want to be successful and get gallery or representation then you need something that is uniquely you and definitely not me-too. Now that won't be a surprise to anyone. The other important thing was to actually ask gallery owners what they were looking for (or more importantly NOT looking for - typically what they're already carrying or showing).

The best bit of advice, depending upon what level you're looking to achieve, was to work with art consultants in your own local area as these folks are always looking for interesting images for the decoration market, be it corporate, office, personal etc and they value variety more than galleries etc plus offer a much better return on the $$ too. If you're looking for strictly high end fine art then this may or may not work for you.

Books - nice vanity projects but tough to make any money however.
 
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jerryreed

jerryreed

New member
Graham,

Thank you for your thoughtfully helpful reply. Michael Levin has done a terrific job of getting the right eyes on his well done work. I am sure that workshop was terrific. Right now, I am scheduling portfolio reviews and sending work to juried group shows, and looking for additional solo shows in commercial galleries, particularly in Boston.

Meanwhile what is working (unexpectedly) is the licensing of images to be used in institutional branding. I am also making larger prints with an eye toward commercial interior designer recommendations.

Thanks again,

Jerry
 
S

shortpballer

Member
Jerry,
Excellent Work! I have left the gallery world for a little bit right now. But when I was doing lots of gallery work, I found it always best to just show up at prospected galleries with a couple images and just show them. With art, gallery owners are interested in the person behind the art more than the art itself (atleast here in Paris).
I am currently represented in 3 galleries in France, and have others that were/are interested in our work (don't currently have the funds for printing). Its hard at first to just go in and try, but so far everyone appreciates the personal approach rather than a simple email.

Hope this Helps,
Eric DosSantos
 
jerryreed

jerryreed

New member
Eric,

Thank you for sharing your experience. I am having a custom portfolio box made that I should receive next week. My images are square and I have been showing them in a 16 by 20 inch box at portfolio reviews. With the smaller box (14 by 14 inches), which will look inviting (hopefully) I will tuck it under my arm, and with your encouragement will give it a go.

Thanks again,

Jerry
 
S

shortpballer

Member
Jerry,
Just go in there with a smile and confidence in your images, and you shouldn't have a problem. Your work speaks for itself :)

All the best,
Eric

jerryreed said:
Eric,

Thank you for sharing your experience. I am having a custom portfolio box made that I should receive next week. My images are square and I have been showing them in a 16 by 20 inch box at portfolio reviews. With the smaller box (14 by 14 inches), which will look inviting (hopefully) I will tuck it under my arm, and with your encouragement will give it a go.

Thanks again,

Jerry
Click to expand...
 
jerryreed

jerryreed

New member
Ed - Thank you. I looked at the reviews of the book on Amazon, they were very consistent with your recommendation. Great advice.

Jerry Reed
 
P

paulraphael

Member
In my experience there is no generic advice about what people are looking for. Each gallery is going to be somewhat different. If you are looking at true art galleries ... meaning a places that make their money selling art, not picture frames or posters or something else ... it's almost guaranteed that they operats as a private dealerships, and that the showrooms are somewhat secondary.

A succesful dealer makes his or her money from a file cabinet full of clientelle accumulated over many years in the business. Dealers know their clients, who are usually wealthy collectors (there's less money to be made off of poor collectors ...)

It's best to get to know a gallery, either onine or in person. You'll get a sense of the gallerists' leanings, which will absolutely reflect the leanings of their clients. You don't want to show work that's completely unlike what that gallery represents. But your work needs to be enough different to be worth adding. Can be a fine line ...

You'll do best with galleries that have a relatively small roster. If you don't have a very long exhibition and sales record, you'll probably have an easier time with a gallery that's relatively new ... meaning, run by someone who's been in the business a long time and who has finally found reason to hang out a shingle. Not someone clueless who's starting a hobby business.

Most galleries want to see work electronically these days, if they want to see it at all. This is great—you're not limited by geography or by a fed ex budget.
 
jerryreed

jerryreed

New member
Paul,
Thank you for your reading of the opportunities and best approaches to try. Sounds like very good advice. I also go to as many portfolio events that I can get to. So, far that is what has paid the biggest dividends for me. In such setting, the artist is paying for their critique. Gallerist attend to find new talent.

Jerry
 
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paulraphael

Member
Yeah, I should have mentioned the review events. They get expensive, so I think it's good to go when there are enough specific people you're interested in seeing to justify the cost.

Mary Virginia Swanson's site and books are also a helpful resource.
 
S

subrata1965

Member
Charles Crammer told me to find the Art Consultants from the Yellow pages. Sometimes he doesn't even have a clue about where his photographs are being sold.
 
jerryreed

jerryreed

New member
Subrata,
Your suggestion sounds good, and if Charles Crammer has had success, what's to lose?

Thank you,

Jerry
 
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