You did your homework and (after a few/some/many rejections) a gallery has expressed interest in your work. You're invited into a group show. The turnout is great. Sales are made. Over the ensuing months, you are invited to join the gallery as a represented artist. Conversation begins for a solo show.
.
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You're on Cloud Nine!
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Then, seemingly out of the blue, you get the dreaded email: “The gallery is closing. Please come and pick up your work.”
It happens more often than you think. As rents rise and the cost of doing business climbs (galleries may pay $10,000 or significantly more for a ground-floor space, and not just in New York City
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It’s a long, hard fall from Cloud Nine to Square One
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Best-case scenarios:
. The dealer may not know what the next step is, but when the dust settles you may be invited to show in a new location—or be one of the artists the dealer represents privately
. The more responsible dealers who know they’re closing for good may try to place some of their artists with other dealers. It does happen
. If you have been actively visiting galleries, networking, making studio visits, being visible outside the studio, the shock of being suddenly gallery-less will be mitigated by people who know you and your work. You find yourself invited to participate in group show or two
. You never know who has seen your work, noted your name, Googled you and visited your website. Then (seemingly) out of the blue, a request for a studio visit or an invitation to show arrives
. If you have been actively visiting galleries, networking, making studio visits, being visible outside the studio, the shock of being suddenly gallery-less will be mitigated by people who know you and your work. You find yourself invited to participate in group show or two
. You never know who has seen your work, noted your name, Googled you and visited your website. Then (seemingly) out of the blue, a request for a studio visit or an invitation to show arrives
Worst-case scenario: You have to start all over again. .
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Rethinking the "worst case":
. You’ve got that recent exhibition on your resume and possibly some new collectors. These are the bonafides that help you rebound into another gallery
. Whether you realize it or not, you’ve learned a lot about working with galleries: making contact, projecting confidence, following up
. Keep your collectors on your mailing list. Let them know of exhibitions you're in, projects you're involved with
. Show in good juried shows as much as you feel is professionally acceptable
.
Rethinking the "worst case":
. You’ve got that recent exhibition on your resume and possibly some new collectors. These are the bonafides that help you rebound into another gallery
. Whether you realize it or not, you’ve learned a lot about working with galleries: making contact, projecting confidence, following up
. Keep your collectors on your mailing list. Let them know of exhibitions you're in, projects you're involved with
. Show in good juried shows as much as you feel is professionally acceptable
. Participate in a good DIY show if the opportunity arises; better still, organize one
. You may not want to go back to the conventional open studio events, but consider a studio evening with white wine and light snacks for your collectors, supporters, local arts writers, and, yes, bloggers--folks who are in a position to help you connect the dots. They know why you've invited them. Keep the bubbly flowing and be charming. And, of course, make sure your most fabulous new work is on the wall and well lit. This is not a party for your hungry artist friends, but you might ask a few of your most well-connected colleagues to attend. (You'll do the same for them if the time comes)
. Create a catalog of your work. Update your website. Something tangible, or clickable, will help dealers and curators connect with what you do
. You may not want to go back to the conventional open studio events, but consider a studio evening with white wine and light snacks for your collectors, supporters, local arts writers, and, yes, bloggers--folks who are in a position to help you connect the dots. They know why you've invited them. Keep the bubbly flowing and be charming. And, of course, make sure your most fabulous new work is on the wall and well lit. This is not a party for your hungry artist friends, but you might ask a few of your most well-connected colleagues to attend. (You'll do the same for them if the time comes)
. Create a catalog of your work. Update your website. Something tangible, or clickable, will help dealers and curators connect with what you do
. Network with other artists. You will learn of, or be recommended to, group shows that keep you visible
. Sometimes gallery assistants decide to strike out on their own, inviting a few of the original gallery artists with them. It’s a chance, but perhaps one you wish to take
. You may decide that with the savvy use of online media you can manage your career on you own
. You may decide that with the savvy use of online media you can manage your career on you own
Have you been with a gallery that closed? What did you do? Where did you land?
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