Monday, October 10, 2005

Your Turn!!

How many of you out there are promoting your work to publishers, art directors, and/or galleries? What sorts of experiences have you had along the way? What do you feel are your biggest obstacles? If you could get into any place of your choice (publishing house, agency, gallery, museum, etc.) what specifically would it be and why?

I'd love to hear a few stories from the lurkers out there and in turn you can ask me anything about my process along the way here too.

A Fresh Letter From the Stack

"Dear Suzanne,

Thank you for providing an opportunity to view images of your recent work. While at this particular time we are not actively seeking new artists to join the gallery, we attempt to see as many examples of current work as possible. Our returning your images is less a reflection of the work than the limitations in time and physical space at the gallery. The actual roster of artists we represent is by necessity quite small so we do not frequently make additions. I appreciate your interest in the Gallery and wish you the best in the future.


The Gallery"

Yeah yeah ... ok so another lesson I learned along my journeys last week. Strange as it may seem, every gallery I went to had paintings of landscapes, aquatic scenery, flowers, and the occasional pop-artish piece of work. None of them focused on figurative work, none of them even really featured figurative work like my work. There were the occasional portraits (very occasional), but truly, had I simply walked through the gallery to see if this looked like a place that would accept my work (because they seemed to specialize in figurative narrative work) I would have turned on my heels and left.

Everyone I met with last week said something to the effect of, "Oh this is great! We don't have any work like this in our gallery right now and this would make a wonderful addition!" The rejection letter above came from a gallery that very heavily features figurative works. I'm not saying that their comment that their gallery is tiny and already filled to the gills with artists is not true, but, if what the three galleries told me last week holds true for many galleries (that on occasion they do like to "diversify") perhaps my constant searches for something even remotely like my work is a bit misguided? Who knows, but it's certainly something to think about.

Tuesday, October 04, 2005

Dangerously good combination

Ok – in my entry on September 28th I emphasized the need to not be scared of using the phone. This advice also couples with the advice to always go into a gallery in person whenever possible (after calling ahead to set up a time to review your work). When you pair the two together, you may find that you get a very potent combination. In the span of a week I have managed to meet with three galleries. I am pleased to say that now, I am a very busy woman and will be painting up quite a storm. I was accepted at all three venues.

More rejections will be forth coming. And as soon as I have time I will make a proper post discussing the details of these new arrangements.

Monday, October 03, 2005

A Quickie Rejection

This one is via email:

"Thank you for submitting images for review. The work is nice, but does not fit with the direction of the gallery.



The nice thing about the occasional email inquiry is that it is quick and costs no money. It can also result in an equally fast and virtually free rejection letter.