The Portland Metro Photographic News

by Tom Hubbard, PMPN, August 12, 2009

For a photographer who aspires to exhibit and sell his art in galleries, it appears to be a classic Catch-22 situation.  "You can't display your photographic art in a gallery until you have a successful track record of displaying your art in galleries."  Still, the walls of photography galleries are full of images, and most have a long line of "pre-qualified" photo artists standing in the wings.  So, some photographers must have discovered the secret.

When I visited  Blue Sky Gallery at last Thursday's artist reception, I posed the question to the gallery's long time co-founder/co-curator and internationally-recognized exhibiting photographer, Christopher Rauschenberg.  Christopher's comments were underpinned with the caution that becoming an exhibiting photographer requires constant diligence, commitment and plain old hard work.

The first hurdle is to convince yourself.

It may be your career goal to become a famous exhibiting photographer, but that day will never come unless you are convinced your work has reached that higher level of artistic achievement.  Family and friends may praise your pictures, but is that enough to launch your gallery career?  There are ways of finding the support and confidence building beginning artists most need.

• Ask other photographers.  Photographers are a sharing bunch.  Most are willing to give you an opinion and offer constructive suggestions.  Start there, and seek the advice of many photographers.
• Submit images to local photo competitions.  The results are always educational and are sometimes accompanied with a critic of the image(s) submitted.  Having a picture placed in a photo contest is always a confidence boost.  Best of all, there's really nothing to lose (except a possible contest entry fee).
  
• Consider portfolio reviews.  Formal portfolio reviews usually have a price tag.  You are paying for the time, opinions and suggestions of a photographic expert.  In these sessions, you present a portfolio of your work to an expert who then takes a critical look at your work in terms of technical and artistic merit.  The review they give you is intended to provide guidance for moving your exhibition career forward.  They will also be able to give you a sense of a gallery's interest in your work. The cost of portfolio reviews can range from about $50 to several hundred dollars.  Portland's own semi-annual Photolucida is an excellent example of a recognized Portfolio Review which draws some of the world's most respected reviewers and emerging photographers to our photo community.

There is a general consensus among photographers that a point is eventually reached where he or she knows that their work is deserving of gallery representation.

Start small.  Build an exhibition base.

"There are many small venues with considerable public traffic that are more than willing to provide exhibition space for the emerging photographer," says Christopher.  Typical exhibition spaces in this "first time" category include:

• Coffee Shops
• Restaurants
  
• Corporate Offices
• Small libraries
• Law Firm Offices.

The point is that you are thinking ahead to the time when you will approach a full-blown art gallery.  Starting with these smaller venues gives you experience in working with owners of exhibit spaces and all the work required to prepare your work for public display -- designing a themed exhibit, printing, mounting, framing and hanging the final prints. You will most certainly be asked about your exhibition experience.  Building this base of smaller successful exhibits will add to the credibility of your body of work.

Research Galleries to find one that matches your creative style.

Christopher warns, "Asking a gallery to exhibit your work when your photography is not a match for the gallery's artistic focus is a waste of time."  Take the time to visit many galleries.  Study the work they display, the photographers they feature and the types of imagery they showcase.

When you find a gallery that fits your photography, research their preferred method of identifying potential exhibiting photographers.  In many cases, this information can be found on the gallery's web site along with detailed instructions for submitting your work for consideration.  Calling the gallery will also provide you with this submission information. 

Contact other photographers who have exhibited at the gallery and ask their advice.

Approach the Gallery

It's time to go to the gallery and speak with the curator.  Consider this event as a job interview.  Provide the gallery with a brief history of your experience, and ask if they are accepting and reviewing portfolios.  If portfolios are not being accepted, put the gallery on your "future follow up" list and move on to your second choice.  If they are positive and willing to review your work, go over the submission details and set a date/time for presenting your work.

In general, galleries request:

• a portfolio of 10 to 15 images with a definite theme
• an artist resume
• an artist's statement describing the proposed exhibition.
  

Depending on the gallery's guidelines, this material might be requested in print or digital form.

The NUMBER ONE REASON that an unknown photographer's work is rejected by a gallery is failure to follow their submission rules.  And these rules vary from gallery to gallery.  Check and double check your presentation package before delivering it to the gallery.

First-timers are likely to display their work as part of a gallery's group show.  This type of exhibit allows gallery owners the opportunity to gauge the public's reaction to the art work of new photographers.  If enough interest is shown by patrons and collectors, the next step could be an offer from the gallery for solo exhibit.

Christopher cautions photographers to be aware of the unspoken realities of making a living as an exhibiting photographer:

• Photographers should not expect to make many sales during the first several exhibits.  (Don't give up your day job just yet.)
  
• Photographers bear the cost of printing, framing and mounting the prints displayed in galleries.

So, be forewarned that being accepted by a gallery does not imply immediate success.  Your financial planning must include the expense of preparing several exhibits with the understanding that profits are far down the road.

If your goal is a career as an exhibiting fine-art photographer, it is not an impossible task.  If you have mastered your craft, have a vision for your art and are consistently producing imaginative work, you are on the right track.  The next step is understanding the exhibition business and the preparation necessary to successfully approach your first gallery.