APPROACHING A GALLERYOne of the pro

APPROACHING A GALLERY
One of the problems we encounter on viewing—particularly graduate and postgraduate
photography—is the fact that the work has great relevance within the
context of an academic environment. However, outside that environment the
imagery, when asked to, as it were, stand on its own, cannot do so convincingly.
Usually this is due to an overemphasis on theoretical underpinning and not enough
on the technical and aesthetic qualities that go towards making an image.
David Scull, Hoopers Gallery
Unsolicited proposals can be a bit of a bugbear. Most galleries are programmed
for two years in advance, as we are. The process of agreeing to a show will take
time and when anyone applies for a show their proposal has to be clear and not
overcomplicated. Don’t send proposals to all and sundry; look at a gallery’s
website, look at the type of work they exhibit and if it fi ts in with yours.
Anne McNeill, director, Impressions Gallery
We ask an artist to fi rst send us a selection of his or her work by email so
that we can get an idea if the work would be interesting for us and if it fi ts the
programme of the gallery at all. If we then invite an artist to show us his original
work we expect him to bring in good quality prints. . . . You have to be able to
choose the right image and quality of print in order for a gallery to judge your
potential.
Rudolf Kicken, founder and co-owner, Kicken Gallery, Berlin
Museum and gallery programming policies are so constrained by funding criteria,
local government policy and sponsorship concerns that it’s unlikely that the unsolicited
proposal would tick all the boxes.
John Gill, director, Brighton Photo Biennal
I cannot stand pushy photographers. Good manners are crucial. Curators talk to
each other all the time, both nationally and internationally, and if you are rude,
aggressive and diffi cult, word will get around. If you are pushy, forget it, you’re
never going to get a show that way.
Anne McNeill, director, Impressions Gallery
There are three strategies (for looking at new work). Firstly we look at a lot of
specialist magazines and go to a lot of exhibitions, art fairs and galleries. Secondly,
we have people who come to the gallery to present their work, and thirdly, artists
we represent may point out another artist because they have the fi nger on the
pulse all the time.
Rudolf Kicken, founder and co-owner, Kicken Gallery, Berlin
At Impressions we look at people’s work informally through our Sounding Board
portfolio sessions and give feedback. Photographers who are pro-active and get
their work reviewed in this way stand a better chance.
Anne McNeill, director, Impressions Gallery
How does a photographer start looking for a gallery? Many
photographers make the mistake of thinking that if they send
their folio or details to all the galleries in town, one of them
will pick it up. This can be an expensive and time-consuming
exercise which, in my experience, rarely works. A better plan
is to spend some time shaping an exhibition proposal and
researching appropriate galleries before approaching any of
them.
If you are just starting out, it makes little sense to apply
to the major galleries who only show established fi gures.
Look around for the galleries that interest you because they
show work you like or work by colleagues or simply because
you can imagine your work in the space, and start there.
Depending on where you live and how much work you
have to show, the best place to start is usually locally or in
the nearest sizable town. To research possible galleries, look
at “what’s on” magazines, gallery guides of every type, specialty
photographic magazines, and web sites, and talk to
other photographers. Your sources of information need to be
recent because galleries can be fairly short-lived and most
towns have a fl uctuating number of photo galleries. If a suitable
local gallery does not suggest itself, then start to look
farther afi eld.
If you can concentrate on local galleries, it is reasonably
easy to go look at them once you have made a list.
Approaching a Gallery 69
70 Finding an Exhibition Space
Actually looking at the gallery will tell you much more than
any review, publicity, or web site can. You should be able
to assess a number of factors, including whether the gallery
shows the type of work you make, how your work would fi t
the gallery, whether you have enough work for a one-person
show, and, equally importantly, whether it is a gallery you
would be pleased to show in.
Once you have decided that a gallery may be suitable for
you, the next step is to fi nd out how it selects shows. Pick
up any available brochures and handouts and talk to the staff.
The person in the gallery when you visit can usually tell you
a great deal and save you from wasting your time. For example,
the gallery staff should be able to tell you if the gallery is
booked up for the next few years. And, crucially, they should
be able to tell you the gallery exhibiting policy, whethe