Ask Harriete

How do I submit work to a gallery for view?

This is part two of a four part series by Don Friedlich, Harriete Estel Berman and Andy Cooperman for artists and crafts people about submitting work to galleries and retail establishments. Originally published on Etsy's Storque. CLICK HERE to read the entire series.

After your research to find a gallery appropriate for your work (as described by Don Friedlich in PART 1 ) now it is time to contact the gallery with images of your work.

First look on-line at the gallery’s web site for information on how artists should submit images and material for review. Check the web site thoroughly: often this information is buried deep in the web site since this is not information commonly accessed by the public.

If you don’t see this information on the web site, call or email the gallery directly.  Introduce yourself and ask about their procedures for artist review and application. Don’t be surprised if they say that they aren’t taking on any new artists: the gallery world is limited and selective.

If you are invited to submit material, follow the gallery’s submission guidelines EXACTLY including the number, size and type of images. Some galleries prefer a package sent through the mail; others may prefer email submissions or a link to your web site.

Most importantly, submit only fantastic images. Gallery owners and managers may reasonably assume that the quality of the photographic documentation that you submit is representative of the quality of your work.  While this assumption may not be true, visual images play a critical role and their quality and appearance do influence the gallery’s assessment of your work. 

Do not send images with distractions in the background.  I would suggest a background of white or a graduated grey.  Brightly colored backgrounds are fine for websites (e.g. Etsy) but rarely used in the “gallery world.”  

I took some photos of my own work to illustrate what I mean by low quality photography. The first image ( left) has a distracting background and a hot spot where the flash is bouncing or sunlight is glaring.

The next photo (right) has many problems. The colored background with embroidered beads is distracting. Wrinkled fabric in never a good photo backdrop.The earrings are off to one side with too much empty space within the frame. The images is slightly                                          out of focus.

Here are a few suggestions for top quality images:

•    Avoid an unbalanced image, such as the subject off to one side.
•    Avoid too much empty space in your image – fill the frame.
•    Correct lighting and exposure is essential.
•    Do not use heavily textured fabric or paper, wrinkled or draped material, dramatic or contrived backgrounds such as sunsets, landscapes, pebbles or exotic patterns. 

YOUR IMAGE PACKAGE should look creative and professional.  Unless the gallery specifies differently, include the following in your image package:

•    Cover Letter - stating briefly why your work is appropriate for that particular gallery or retail establishment. If you have visited the gallery, say so in the letter. Make it clear that your decision to approach this particular gallery is based on your research into the work they represent.
•    Resume  - one or two pages
•    Artist Statement - one or two short paragraphs (short, entertaining and relevant about your work). Pique their interest in your work with interesting content, and make it relevant to the gallery and their audience. 
•    Images of your work - burned on a CD or sent by email.

o    Send jpg (for easy viewing) if sending the images by email.
o    Send both jpg and tif 300 dpi (or higher for print quality), if you are sending a CD. 

•    SASE Envelope (Self Addressed Stamped Envelope) if you want your materials returned.
•    Image description sheet should include the following information for every image.

o    Title of work
o    Date of work
o    Artist’s name
o    Brief description of materials
o    Dimensions (height x width x depth)
o    Photo Credit of the photographer

• Contact Sheet (Page of thumbnail images and key information)  
A contact sheet is rarely requested but if you are sending a CD in the mail, I think this adds a lot to your image package. This way the gallery or store can quickly glance at your images without even putting the CD in their computer. This quick and easy access to your images was an advantage that slides offered that has been lost with digital media.

Make sure that the titles for the images include your last name and the title of the work (or at least part of the title).Example for my images:   BermanH_IDneck.jpg 

Place all your materials in an interesting, colorful, professional envelope styled to be consistent with you work and the gallery. Your key to success is hard work, originality, and persistence.

Good luck.

Harriete Estel Berman

I never make any money, how do you stay motivated year after year?

Dear Harriete,

Lily Necklace by Michelle Pajak-Reynolds

As I prepare my yearly records for my accountant, the expenses vs income $$'s are always lopsided.  While I'm very frugal, I spend WAY more than what comes back. I hope it's not too personal a question to ask, but have your $$'s ever turned out this way as well.  Sometimes I feel like my art habit is pulling too much out of my household income.  While it's really only a small percentage of our total, it's still a several thousand each year. How do you stay motivated year after year?

Signed,
Worried about negative cash flow

Dear At a Loss,

You've really hit on a couple of fundamental issues.  One, Can I make a living out of my art?  And two, How do I stay motivated?  Many, if not all, artists have been confronted by these issues. 

Let's separate these topics because I think of them as entirely different. In this post I will address the money issue and the importance of using Short Term and Long Term Goals for your professional development and motivation. Then, continue with a few suggestion to stay motivated and inspired about your work.

IS MONEY MOTIVATION FOR CREATING
Personally, I have never made much money from my artwork despite the fact that  I do more every year to generate income.  To make ends meet, I have a part time job (leading exercise) and do silver repair work.  I give lectures, workshops and speak at schools and conferences.  Each year a couple of major pieces do sell and some smaller items sell more often.  The art sales alone are not enough to cover my expenses, sometimes close but not enough.

Making a living from your art. The reality for most artists and craftspeople is that they need additional sources of income outside of their artwork to pay the rent and support themselves. To put it bluntly, don't give up your day job. 

This may not be the answer you wanted to hear, but making a living from art is not a practical motivator. It is irregular and outside of your control. 

Revenue from my work is not my sole source of motivation. Really it is only a small part of the big picture.

So how can an artist/maker stay motivated? First and most important, you need to decide your Goals for Success,  then break this down into Short Term and Long Term Goals.

Be honest with yourself? Is making a living from your work your most important goal? Then your production methods need to align with this goal along with the type of items you produce.

I am more motivated by making the best, original, innovative work that I can and  finding exhibition opportunities. Displaying my work in great exhibitions, included in books and magazines, and purchased for museum collections are my goals. As an artist, I work at aligning my work methods, and designs toward these goals. 

WRITE DOWN YOUR SHORT TERM AND LONG TERM GOALS
Seek your validation from you short and long term goals. Examples include:

• producing one AMAZING piece per year
• producing smaller or less involved work that costs less
• having your work published in books and magazines,
• having your work included in shows,
• learning how to update your own web site, 
• developing your Photoshop skills,
• participating in a show,
• organizing a show of your fellow artists,
• making new opportunities for yourself and others (like a Critique Group),
• generating money,
• generating sales.

PARTICIPATE IN A CRITIQUE GROUP
This is very important. Use the Critique Group to:

• Stimulate your work,
• Create deadlines for yourself to get work done for the next Critique Group
• Give and receive honest feedback. 
• Meet monthly to motivate each other.
• Potentially, the group can create group show opportunities. 

Vague and gratuitous compliments serve no purpose here. Be clear and on target. An "I like it" or "that is interesting" is not useful. Be specific about what works visually and what doesn't. Give a detailed interpretation and identify what elements caused or triggered your perception.  Draw on your knowledge of each artist's objectives and target your comments toward their objectives. Are the fabrication techniques aligned with their goals.  Focus on constructive criticism.  Avoid talking about children, dogs, cats, and personal problems.

A link to my Critique Group Guidelines is provided here.  I recommend that a group have between three and ten people to maintain a core group familiar with the work, previous progress and the short and long term goals of each member. 

DIG DEEP, BE UNIQUE
For me the path to success is to make the best, most interesting, deep, esoteric, off the beaten path, unique,  "_________(fill in the blank here)" in the whole world. It has to reflect your inner core, your passion, your inner being, your singular artistic voice, and a personal vocabulary of fabrication methods that you have developed over time. The more unique, the more unusual the work, the more likely you will reach your goals. Copycat designs will quickly hit the "glass ceiling" of the art and craft world.

Write down the goals for your work, and then study your approach to design and production. Are your work methods, approach to production, promotion, networking, and dedicated focus all aligned like the stars? Are you working in a straight line?  Your goals for your art or craft may be different than mine.

Your goals for your art or craft may be different than mine, the most important thing to realize is the you will never reach your goals if you aren't clear and honest with yourself.

Harriete Estel Berman

Resumes - What qualifies for the publicity category?

Dear Harriete,

Red Lush Bracelet by Michelle Pajak-Reynolds

My husband and I are having a debate about publication/press listings on a CV/Resume. The question is this: If your work is in a group show that receives press coverage, but your name and/or piece isn't mentioned in the article, should you still list the article on your CV/resume? I'm not telling who's on which side of this debate, so please be honest, but there is a week's worth of dish duty wagered on your answer....

Resume Quandary                                                       

Dear To List or Not To List,                                             You should only list a review or publicity on your resume if your work is mentioned in the text or if a photograph of your work is published in the review or article.  If you were in the show, of course, you can still list the exhibition under the exhibition category on your resume.

Additional information on your resume about articles and reviews might be useful.  I often suggest that a listing of a review should include the author, publication, volume, date and maybe even whether it included a photo.

Here is an example from my resume:

Cross Gans, Jennifer. (2006, Spring). Scents of Purpose: Artists Interpret the Spice Box. Metalsmith, 54. [text and photos]

Artists and crafts people can increase their chances of being included in a review or article by sending amazing, dazzling, professional quality images to the exhibition sponsor two to three months before the exhibition opens. The sponsor may use your images in the article about the show, just because your images are FANTASTIC!!!

Digital images that you took yourself, probably won't be good enough. You need professional quality images taken by a professional photographer.  Set money aside and invest in top notch photography of your work.  If there is no art or craft photographer in your area, consider the next town or state. SNAG has a list of photographers on their web site which may be helpful.

Hope this information about resumes is helpful.

Harriete

Resumes - How much is too much info?

ASK Harriete:

When putting together biographical information a prospective retail venue, is including personal information appropriate? If so, what information should be shared and what information is TMI (too much info)?

Signed,

Resume Challenged

 Dear Resume Challenged,

Let’s first talk about resumes. A resume for your art/craft career should stick to professional information only. Leave out your birth date, children, husband, pets and previous occupations.  A one page resume should make you look focused on your art or craft (even if you have multiple lives as a wife, mother, father, or another occupation that earns money.) Include only the information that is relevant to your art/craft career. If you are just starting out and don’t have anything to list in the categories suggested below, then delete that category (don’t have a category title and leave the space blank). You can enhance your resume by participating in shows sponsored by the Metal Arts Guild, taking on a board of directors position or teaching a workshop to your peers. Volunteering your time in support of your art community is an excellent way to build your professional experience. 

If your limited professional exposure as an artist or craftsperson will not fill a one page resume, then create a one paragraph bio instead. This bio should highlight your professional experience in a descriptive and entertaining manner using facts and achievements as much as possible. You may use your non-art education or other work experience but only if it can highlight how this has enhanced your artistic or creative vision. 

Do not include your home or mailing address if this resume will be shown to the general public or shown to collectors by your gallery. These days a phone number, email address and/or web site are adequate information for anyone to contact you.

Education
The education category would include your formal education in the arts.  I personally do not care to see workshops or seminars that you have taken in the education category. A workshop (whether it is two weeks or a weekend) is not extensive enough education to warrant mention on your resume.  It just highlights the weakness of your formal education in craft or art. This last statement runs contrary to advice in a number of books and reflects my personal opinion, so you decide for yourself how relevant your workshop experience is to your current situation.

Exhibitions
Exhibitions should be listed with the most recent show first, then listed by years, as necessary. If you have enough shows, the Exhibition category could be further subdivided into solo shows, invitational shows and juried exhibitions. Juried exhibitions could be further divided into international, national and regional. Participation in a wholesale/retail craft fair or street fair does not fit in this exhibition category. Instead, you could create a category such as “retail venues.” 

Publications
The Publications category should include any books, magazines or newspapers that included a picture or a review of your work either in a group or solo show. If you have a long list of items in this category, it could be subdivided into books, magazines, and newspapers. Sometimes it is nice to include the name of the juror or curator. 

Authorship
Writing a review or article is a good way to gain additional professional exposure and experience. Consider building your resume by writing an article for the Metal Arts Guild newsletter or other publications to help build your professional credibility in the art community. 

Collections
List only public collections such as museum or corporate clients. If you want to list the name of private collectors that own your work on your resume, you should ask their permission first. 

Professional Experience
Your art/craft resume should focus on establishing your credibility as an artist or craft person. Professional experience could include places where you have taught, worked as an artist-in-residence, or given slide lectures.  If you have organized a show or lecture, worked as a volunteer at the local art museum, helped with the installation of an exhibition or involved in a leadership role with the Metal Arts Guild; all of these experiences enhance your art/craft career and get you out to meet new people and build your resume. List them under Professional Experience.

Professional Memberships
This could include your membership to the Metal Arts Guild, SNAG, enameling guild or other art organizations. 

Hobbies
Some resume books suggest listing your hobbies, etc. This is not appropriate for an artist resume. Skip it, no one cares. 

Here are excellent resources for finding out more information about resumes.
http://www.artisttrust.org/services/prof_dev/resume

http://www.collegeart.org/guidelines/resume.html

 Resume or  C.V.
A Resume is a summary or condensed version of your professional experience. You might have multiple versions of resumes such as a one page, two page and five page as your career develops.

A C.V. (abbreviation of curriculum vitae, latin for “course of life”) is usually expected to include everything in your professional life, most often for an academic situation. The terms “resume” and “C.V.” are often used interchangeably. If a gallery asks for a C.V., clarify what they are really expecting, a one page resume or a complete C.V. 

KEEP YOUR RESUME(s) & C.V. updated – ready at a moment’s notice. When a magazine, gallery or curator calls for information about your work, they don’t want to hear that your resume isn’t current (it doesn’t sound professional) and they don’t want to wait. They want the information yesterday!

Signed,

Harriete Estel Berman
bermaid@harriete-estel-berman.info
www.harriete-estel-berman.info