I may be in an enviable position, but it is a sticky one nonetheless. I’m getting to the position where I may be represented by multiple galleries that want to show my work at art fairs. With the rise of the art fair as a way of selling and promoting artists, how might I go about deciding which gallery will show my work at a fair? In the instance where you are just showing in galleries it seems easy because you can schedule shows apart in the calendar year and set work aside for each gallery, but if the same galleries start showing up at fairs, it gets tricky. Is this something I have to negotiate, or would I just tell them to talk it out?

Congratulations! To answer your query, I turned to some experts who have the inside scoop on art fairs. Gallerist Nathan Bowser in Portland, Oregon, agrees that your predicament (if it can really be called such) is a good one to have. “This artist has a very exciting problem and should be commended for actively thinking about the best way to balance these many positive elements of his or her career. Communication is key to any business relationship, so avoid the ‘let the galleries duke it out’ approach (this is a great way to alienate your allies). This is YOUR career, so it is quite important that you remain an active voice in these important choices. How and where your art is displayed directly affects who sees it and what they take away from that experience. Though it may be one of the least interesting aspects of an artist’s work, staying involved in your career planning can be one of the biggest determining factors of your success.”

Jordan Tate. New Work #100, 2009; three-channel slide projection; Courtesy of the artist

Edward Winkleman, my other go-to man on the art fair scene, had some detailed insight into how your issue might play out. As the Director of Winkleman Gallery in New York, he’s had a lot of experience with fairs, including ARCO, Art Chicago, Pulse, Year 06, Aqua, and NADA: “It’s not at all unusual for an artist to have work in the booths of multiple galleries at an art fair. Usually those galleries are in different cities, so there’s not much confusion about who represents them where, but you’ll occasionally also find work by the same artist in booths of galleries from the same city (generally as a plan worked out mutually by artist and respective galleries, but not always). For example, say Gallery A represents Artist X and Gallery B owns some of Artist X’s work outright. Even if Gallery A and Gallery B are in the same city (and even if Artist X and Gallery A might object), Gallery B can indeed present the work at the art fair of their choice because it’s their property. Of course they might damage their relationship with Artist X (assuming they still have one), but they are in the business of selling art, so….”

It sounds like you need to initiate conversations with all of your galleries so that everyone is on the same page. In their responses, both Edward and Nathan brought up the related issue of having enough work on hand to satisfy your dealers and collectors, so make sure to discuss expectations regarding quantity with your galleries. For example, Nathan pointed out, “At some point there comes a time in an artist’s career where they must face the task of supplying enough work to maintain the interest and active collecting of a (hopefully) ever-growing and widening audience. Especially for an artist whose star is on the rise, there is definitely a case to be made for producing enough work to satisfy this demand. An artist I work with has this great anecdote from a visit to Andy Warhol’s studio. He, Andy, and several others were standing around chatting, and the question of how to become a well-collected artist came up. Andy’s reply was simple: ‘You can’t be well collected if there aren’t enough works to collect.’”

Jordan Tate. New Work #141, 2009; pigment prints, frames; Courtesy of the artist

Edward underlined the need to put everything on the table before problems arise: “Trickier for the artist is how to keep each gallery who might want to bring work to the same fair (or to fairs near the same time) happy when supply is short. Multiples are one solution, if that fits within the artist’s practice. Otherwise, it makes sense to simply have a conversation with each representing gallery well in advance, letting them know what you, the artist, feel is available for that fair. Yes, this can lead to disagreements, but the earlier such conversations take place, the easier it becomes to work out solutions that keep everyone reasonably happy.”

So you have to think very carefully about not only where your work is going but also about how much work you can reasonably produce to have on hand for each fair. Nathan continued with some savvy observations on how an art fair functions for the artist, the gallery, and the collector: “Success at art fairs is often tied quite closely to a well-planned and executed strategy. Despite the free for all feel on the fair’s floor, a large portion of sales start before the fair opens, and even more activity culminates well after everything has been packed away. Galleries that are successful at art fairs develop leads before the fair. Later, follow-up communications after the fair can lead to sales and museum shows. Rarely do these things happen from coincidence.”

Jordan Tate. New Work #141 (detail), 2009; pigment prints, frames; Courtesy of the artist

“Though some galleries find success in a something for everyone, scattershot approach to their art fair presence, I’d venture that this type of booth caters most to the impulsive shopper who is looking for low-hanging fruit and less to the serious collectors who are generally using art fairs to check in on artists they already collect and to consider new work; to finally see in person works that they’ve been hearing a buzz about; and/or to reconnect with their network of trusted advisors (galleries) and to learn about new artists who match their interests.”

“With these points in mind, talk with your galleries. Learn about the fairs they will be showing at. Go to the fairs yourself and determine where you’d like to be seen. Find out how your galleries intend to structure their booths. Who you will be showing with? How do they see your work fitting the market where the fair is? How are they advertising? Who do they know in the area? Are there leads they are trying to capitalize on? What work of yours are they hoping to show? A few small drawings in the corner of a booth with twenty artists could do fine for an emerging career. A solo booth at a prominent fair could be the gateway to museum shows. If you are a multidisciplinary artist who works across several media and styles, you may be able to split works thematically amongst your galleries, providing each with work that best matches their program’s focus.”

Nathan summed up with some final words of wisdom: “Be inquisitive, make a plan that works for the vested parties, but also let the professionals do their job. There are a lot of variables to consider, so talk it out. It’s good to be wanted—don’t shy away from opportunity. But make sure the choices fit your goals and your ability to make quality work for this important presentation of your art. Communication is key.” Amen to that. Good luck!

Merry Hanukkwanzmas and Happy New Solstice Apocalypse! ‘Tis the season for gifting, so this week I’ve prepared a list to make your holiday shopping easier. My suggestions are based around the idea of advice—this is an advice column, after all, and who doesn’t need a little wise counsel now and then? For those on a tight budget who still want to share the love, I’ve thrown in a few items at the end that don’t rely on the almighty dollar.

For the Art School Student: I Like Your Work: Art and Etiquette

As the title suggests, this edited collection of essays explains the social mores of the professional art community. From studio etiquette to what to say and do at openings (as well as a fun essay on how to dress!), this sometimes-serious, sometimes-tongue-in-cheek volume will have you nodding in (weary) agreement. There are also a few juicy sections by anonymous authors that supply a bit of keen insight into the workings of our little world. Warning: thumbing through will only make you want to keep it, so order a copy for yourself and a copy to give away.

Draw It with Your Eyes Closed: The Art of the Art Assignment (2012). 128 pages, perfect-bound

For Your Favorite Art Teacher: Draw It with Your Eyes Closed: The Art of the Art Assignment

As with I Like Your Work, this book is also a collection of essays edited by Paper Monument. While the title makes it sound a bit dry, the contents are actually quite touching and amusing. Some articles are written about professors’ own attempts to teach their students, and some are written by former art students about the relative efficacy of the assignments they received. As you might imagine, the pedagogical tasks described herein run the gamut from Zen-koan-like simplicity to arduously complicated, making this a winner for both the seasoned instructor and the neophyte. One personal favorite is Kevin Zucker’s tragically comic essay, “Seemingly Innocuous Assignments that Will Lead to Improbable Calamities: Cautionary Notes for Teachers, Unfortunately Based on Personal Experience”—as far as I’m concerned, this one alone is worth the price.

Stamps of Disapproval, by Heather K. Phillips/Schooled

For the Critique Leader/Art School Program Director: Stamps of Disapproval

Okay, it’s not a book (but it is text) and it’s not really advice (unless “I’m not convinced” counts), but this set of six stamps is a great gift for anyone who has anything to do with art—they’re easily presented to everyone from your Art History T.A. to your pal the freelance graphic designer. If you don’t already have someone in mind for these babies, they’re cheap enough to keep on hand in case you are ensnared in one of those last-second gifting situations: Oh, you got me a gift? Well, here’s something for you.

Guillermo Gómez-Peña, co-author (with Roberto Sifuentes) of Exercises for Rebel Artists: Radical Performance Pedagogy

For the Budding Performance Artist or Instructor: Exercises for Rebel Artists: Radical Performance Pedagogy

Here’s another slim volume chock-a-block with fun and exciting things to do. Though it is specifically about performance, I found some of the information adaptable to other kinds of classroom settings where you need to get people moving and thinking—or when you just need to shake things up. Written by long-term practitioners Guillermo Gómez-Peña and Roberto Sifuentes, this book is replete with honest, playful advice for artists and it walks the reader through a series of step-by-step exercises that create public spectacles, circumvent convention, and question all kinds of borders and boundaries.

For the Aspiring Gallerist: How to Start and Run a Commercial Art Gallery

Godblessum, that Edward Winkleman. Not only does he write a blog that offers advice to artists (and contributed to this column), but he’s also penned an in-depth look at what it takes to found and maintain a successful art gallery. From writing a business plan to finding and renovating a space to promoting the gallery and representing artists, Edward has you covered. If you’re thinking about opening a gallery, don’t miss out on his hard-earned wisdom.

For Your Favorite Advice Columnist: Dear Asshole: 101 Tear-Out Letters to the Morons Who Muck Up Your Life

Even enthusiastic writers get tired of having to pen correctional missives, and this book steps in to fill the void. The publisher’s info says, “Ever wish you could leave a nasty note for that jerk in the Hummer who blocked you in, or the idiot who didn’t clean up after his dog? Now you can! Dear Asshole includes 101 letters to all of the assholes you encounter on a daily basis, each letter conveniently perforated so you can tear it out and give it to the desired offender.” Amazon reviewer shadowcat410 says, “The book covers almost every type of moron out there,” and I’m hoping that means there’s a note for the frosty gallerinas who grudgingly and disdainfully hand over a press release—even after I tell them I’m reviewing the exhibition.

For the Absolutely Broke:

Need to give a present, but you’re totally skint? Consider a gift of your time and energy. Certificates for your time and assistance are always appreciated: a little drawing or collage in a nifty envelope costs next to nothing, but means a lot to those who are short on help. Here are some ideas:

Build a Website

This one is definitely an undertaking, so save it for a loved one. There are quite a few template-based sites out there, but you’ll have to pay for hosting, which runs about $8/month. If you use Weebly, you can build and host a professional-looking site for free. Check it out.

Make a New Mailing List

If you’ve got a pal who’s not very organized, you can offer to help her by taking all her little scraps of paper, random business cards, and neglected Open Studios mailing-list-sign-up sheets and inputting them into a useable system. This person will be singing your name to the heavens when she has to mail postcards or send an email invitation for her next solo show.

Studio Assistance

We could all use a hand in the studio now and again, whether it’s to construct a project or just clean up and rearrange the furniture. A gift certificate for a set number of hours is a wonderful way to support your favorite artist without spending a dime.

I have been out of graduate school for 3 years now and working as an independent artist.  I have a consistent studio practice and upcoming exhibitions at non-profit, artist run spaces but have never had any luck with commercial gallery spaces.  I am at the point in my practice now where I feel ready to seek commercial gallery representation but have no idea where/how to even begin the process.  The people that I know who are represented by galleries seem to have it just “happen” to them.  What are some things that I could do to get the ball rolling? I know that it is usually not a good idea to just send in a work sample and CV cold.  Any tips/suggestions would be great.

First of all, congratulations on maintaining a rigorous practice after grad school. There are many people who leave with an MFA and, for a variety of reasons, are not able to continue making art; so in spite of your current concerns, I hope that you look back on what you’ve accomplished so far and feel proud.

I also want to say that finding gallery representation rarely just “happens,” despite the many artists who like to make it seem as though everything just falls in their laps (implying, of course, that they are so talented that the world just comes running). This kind of social game might be fun at parties, but it seldom happens in reality. Finding representation—especially the right representation, not just any old gallery—takes research, commitment, and often some good connections; and this is all in addition to slogging away in the studio.

What you need to begin are a couple of great resources that will lay out the task in front of you. Start by reading Edward Winkleman’s advice for artists here. He lists five items that should be on the checklist of anyone seeking representation, which I will paraphrase: “1. Do some honest and serious thinking about where your artwork belongs in the art market; 2. Do some serious research to find the program that best fits your artwork within that market; 3. Don’t make mistakes that will discourage you; 4. Work toward a short list. And be very honest with yourself; 5. Once you have an ‘in,’ so to speak, then let the gallery know you’re interested in having them consider your work.”

That’s the short version, but take the time to go read the whole thing right now. I’ll wait.

Deb Sokolow, Untitled, 2009. Acrylic and graphite on paper, 8 x 10 inches

Okay, now that you’re back with a more complete idea of the research project that you’re undertaking, you should consider buying a copy of Art/Work, a book I will probably keep recommending until I die. Not only is it an excellent primer for all kinds of professional activities (galleries, contracts, consignment, etc.), it also has helpful quotes from gallerists and dealers that help you understand things from their perspective. It’s not expensive and it really is a wonderful resource, so please obtain a copy and keep it on hand as you start to negotiate this path.

It’s important to remember that this undertaking is not just a matter of doing your homework and sending images. I asked Alexis Mackenzie, the assistant director at Mark Wolfe Contemporary Art, for some insight. Here’s what she said: “Getting started in the commercial gallery world is best facilitated by engagement with the arts community; participating in public events, residencies, group shows, etc. and building relationships with other artists is one of the better ways to get your work seen while making connections to other curators and gallerists. The upcoming exhibitions at non-profit, artist-run spaces are the perfect starting point for this. Even something as simple as having a basic website where people can see examples of your work, your CV, an artist statement, and contact information is very useful.”

Deb Sokolow, Untitled, 2009. Acrylic, tape, and graphite on paper, 10 1⁄4 x 8 1⁄2 inches

She continued with some advice that reiterates Mr. Winkleman’s wise counsel: “Outside of building connections within the arts community around you, I think one of the most important things to consider when it comes to approaching (or being approached by) any gallery is to look at their program and see if your work is a good fit. If your work is not in line with their program then it wouldn’t make sense for either of you to work together, as it would most likely not register with their audience, and they might not have collectors for you. Artists shouldn’t show at a gallery just for the sake of being exhibited; consider the fact that they will be representing you and your work, and should be able to speak for it with understanding and appreciation, and within the context of their program. This means that a gallery is most likely not going to be interested in work that this doesn’t apply to, even if the work is good.”

Additional resources for finding the right fit might be some of the curators (independent or institutional) in your region. They are likely to have a bit of insider knowledge regarding the programs of local commercial galleries, so invite a few for studio visits and ask if/where they see your work fitting into the local scene. They might have several suggestions for you, and if they like the work—a best-case scenario—they also might be willing to make an introduction. If you pursue this course of action, be diplomatic and don’t put pressure on anyone to make it happen for you. Recommending an emerging artist to a specific gallery is an act of generosity and best initiated by the curator. In other words, approach these meetings with enthusiasm and curiosity but don’t be a pest.

Also, don’t be crushed if the commercial gallery thing doesn’t work out as quickly as you were hoping it would. Ms. Mackenzie has a final suggestion for you to keep in mind as you build your career: “There are other paths besides exhibiting commercially; try looking into grants, public art, non-profits, etc. if a commercial path does not seem to be opening up at this point in time. And personally, I think the work itself should always come first. Make strong work that you believe in, and the rest should follow.”

Good luck!

I may be in an enviable position, but it is a sticky one nonetheless. I’m getting to the position where I may be represented by multiple galleries who want to show my work at art fairs. With the rise of the art fair as a way of selling and promoting artists, how might I go about deciding which gallery will show my work at a fair? In the instance where you are just showing in galleries it seems easy because you can schedule shows apart in the calendar year and set work aside for each gallery, but if the same galleries start showing up at fairs, it gets tricky. Is this something I have to negotiate or would I just tell them to talk it out?

Congratulations! To answer your query, I turned to some experts who have the inside scoop on art fairs. Gallerist Nathan Bowser in Portland, Oregon agrees that your predicament (if it can really be called such) is a good one to have. “This artist has a very exciting problem and should be commended for actively thinking about the best way to balance these many positive elements of his or her career. Communication is key to any business relationship, so avoid the ‘let the galleries duke it out’ approach (this is a great way to alienate your allies). This is YOUR career, so it is quite important that you remain an active voice in these important choices. How and where your art is displayed directly effects who sees it and what they take away from that experience. Though it may be one of the least interesting aspects of an artist’s work, staying involved in your career planning can be one of the biggest determining factors of your success.”

Edward Winkleman, my other go-to man on the art fair scene, had some detailed insight into how your issue might play out. As the Director of Winkleman Gallery in New York, he’s had a lot of experience with fairs, including ARCO, Art Chicago, Pulse, Year 06, Aqua, and NADA: “It’s not at all unusual for an artist to have work in the booths of multiple galleries at an art fair. Usually those galleries are in different cities, so there’s not much confusion about who represents them where, but you’ll occasionally also find work by the same artist in booths of galleries from the same city (generally as a plan worked out mutually by artist and respective galleries, but not always). For example, say Gallery A represents Artist X and Gallery B owns some of Artist X’s work outright. Even if Gallery A and Gallery B are in the same city (and even if Artist X and Gallery A might object), Gallery B can indeed present the work at the art fair of their choice because it’s their property. Of course they might damage their relationship with Artist X (assuming they still have one), but they are in the business of selling art, so….”

Jordan Tate, New Work #100, 2009. 3-channel slide projection (RGB)

I’d say it sounds like you need to initiate conversations with all of your galleries so that everyone is on the same page. In their responses, both Edward and Nathan brought up the related issue of having enough work on hand to satisfy your dealers and collectors, so make sure to discuss expectations regarding quantity with your galleries. For example, Nathan pointed out, “At some point there comes a time in an artist’s career where they must face the task of supplying enough work to maintain the interest and active collecting of a (hopefully) ever-growing and widening audience. Especially for an artist whose star is on the rise, there is definitely a case to be made for producing enough work to satisfy this demand. An artist I work with has this great anecdote from a visit to Andy Warhol’s studio. He, Andy and several others were standing around chatting and the question of, ‘how to become a well collected artist’ came up. Andy’s reply was simple: ‘You can’t be well collected if there aren’t enough works to collect.’”

Edward underlined the need to put everything on the table before problems arise: “Trickier for the artist is how to keep each gallery who might want to bring work to the same fair (or to fairs near the same time) happy when supply is short. Multiples are one solution, if that fits within the artist’s practice. Otherwise, it makes sense to simply have a conversation with each representing gallery well in advance, letting them know what you, the artist, feel is available for that fair. Yes, this can lead to disagreements, but the earlier such conversations take place, the easier it becomes to work out solutions that keep everyone reasonably happy.”

Jordan Tate, New Work #141, 2009. Pigment Prints, frames.

So you have to think very carefully about not only where your work is going, but also how much work you can reasonably produce to have on hand for each fair. Nathan continued with some savvy observations on how an art fair functions for the artist, the gallery, and the collector: “Success at art fairs is often tied quite closely to a well-planned and executed strategy. Despite the ‘free for all’ feel on the fair’s floor, a large portion of sales start before the fair opens and even more activity culminates well after everything has been packed away. Galleries who are successful at art fairs develop leads before the fair. Later, follow-up communications after the fair can lead to sales and museum shows. Rarely do these things happen from coincidence.”

“Though some galleries find success in a ‘something for everyone’ scattershot approach to their art fair presence, I’d venture that this type of booth caters most to the impulsive ‘shopper’ who is looking for low-hanging fruit and less to the serious collectors who are generally using art fairs to check in on artists they already collect and to consider new work; to finally see in person works that they’ve been hearing a buzz about; and/or to reconnect with their network of trusted advisors (galleries) and to learn about new artists who match their interests.”

Jordan Tate, New Work #141 (detail), 2009.

“With these points in mind, talk with your galleries. Learn about the fairs they will be showing at. Go to the fairs yourself and determine where you’d like to be seen. Find out how your galleries intend to structure their booths. Who you will be showing with? How do they see your work fitting the market where the fair is? How are they advertising? Who do they know in the area? Are there leads they are trying to capitalize on? What work of yours are they hoping to show? A few small drawings in the corner of a booth with twenty artists could do fine for an emerging career. A solo booth at a prominent fair could be the gateway to museum shows. If you are a multidisciplinary artist who works across several media and styles, you may be able to split works thematically amongst your galleries, providing each with work that best matches their program’s focus.”

Nathan summed up with some final words of wisdom: “Be inquisitive, make a plan that works for the vested parties, but also let the professionals do their job. There are a lot of variables to consider, so talk it out. It’s good to be wanted—don’t shy away from opportunity. But make sure the choices fit your goals and your ability to make quality work for this important presentation of your art. Communication is key.”

Amen to that!