This is the most "frequently"
asked question. It is almost impossible to answer. It is like
asking "how do I find a mate?" Here's what I had to
say in the summer interview
with the editor:
What do you want to know--how
they decide? Well, there are probably two major factors: fashion
and money. Lesser factors might be if the artist can help the
gallery--if they can bring stuff in--clients, media attention,
etc. If the dealer thinks the work is good it is because the
work reflects their taste, their understanding, their scope.
The dealer generally either thinks the work can be sold or can
be reviewed. There are exceptions, dealers who believe in a particular
artist regardless of sales or recognition. Rare. This is a business,
not a particularly good one, but a business nonetheless.
What can the artist do?They
find a gallery that they connect with. They convince the dealer
by example that they will be good for the gallery, either through
the work, or through their reputation and influence. What we
are talking about is chemistry, then maybe respect. Generally
speaking the average gallery has a mixture of rookies and veterans.
The rookies act as "discoveries," and the veterans
are artists who have earned a reputation, perhaps elsewhere,
and provide name recognition for the gallery as well as stability
in the stables. If you fall into the rookie category you have
to be humble, because you are of humble beginnings. You need
an introduction to get your foot in the door. You can do it off
the street, but you have to have something they want, something
which will attract them to you. Does this mean look? Well, yes,
of some kind. Physical presentation to go along with the presentation
of the work. Energy. Positive. Dealers are a combination of pimp
and vampire, they want what you have, at least by association.
It could be courage, beauty, talent, yeah-- talent, light, charm.
Whatever. If you have it, let it shine. Being defeated before
you start is only going to bring it on faster. Don't give up.
It is like so many other things- a mate- a job- all you need
is one, and there is one out there somewhere. It may not be the
one you want, but if you get one, be smart and take good care
of it--and maybe it will take good care of you. If you complain
and demand and aren't worth it--watch out!
Of course. It is no different
from anything else. What do you have to offer? Can you work with
the gallery? People go around with these screwed up notions of
being qualified. Forget it. All the qualifications in the world
won't mean a thing if you don't generate chemistry. The question
is can you work together? Will you work together? Can you bring
good things? Who you know helps but isn't essential if you can
find some other way through the door. I'm a big believer in getting
your foot in, and then making yourself irreplaceable. The problem
is, no one is irreplaceable. That is important to remember too.
Yes, everyone is special, but someone else is always there waiting
for your spot. Usually lots of someone else's!
The real answer of course
is that there is no recipe. Determination, luck, chemistry, a
positive attitude, and of course, a body of work that is strong,
consistent, and presentable. Don't give people too much to look
at. If you can show them one image at a time it makes it easier
for them to digest the work.
Strong is important because
it makes it easier for people to respond quickly. Time is not
on your side. A first impression is everything. Arts people tend
to form opinions far too quickly--lightening speed and irreversible.
Consistency is not important as much for its own sake as it is
to show both direction, conceptual vision, and signature style.
It also shows maturity. It doesn't matter how gifted you are
if you are all over the place. Presentation is important because
it keeps the work in the front, and makes it harder to dismiss.
Like it or not, everyone respects good presentation. Of course,
the artist gets to apply their imagination to determine just
what good presentation is for what they do.
Good luck and stay positive.
