Debra Klomp Ching, an art dealer at the Klompching gallery, New York, did a very interesting talk on gallery representation and the ways in which emerging artists can promote their work to such spaces: https://www.youtube.com/watch?v=1jAek9Rtmtw&list=PLsvgwpCfUJcAXAwbXbEiD_AajvR3Ozxzd&index=212&t=141s

The first section of the talk discussed ways in which art dealers find the artists they end up representing. There are multiple ways to get you art seen by galleries for example entering open calls and competitions, approaching them with a business card at gallery open evenings or event or through referrals from other critics/ galleries/ art dealers. However she said one of the most effective and enjoyable ways is to attend portfolio reviews at portfolio review festivals. She gave some tips on how to prepare, for example you must have a clear reason to be at the review, wanting either gallery representation, a book deal or a solo exhibition. Your must invest in a portfolio which shows the craftmanship of the work to the best of its ability, the choice of paper is just as important as the image. Because you only have 20 minutes, which includes unpacking the portfolio, large and cumbersome prints are not necessary. Despite the investment into the quality of the portfolio, there is the acknowledgement that the prints will be handled casually and may get damaged.

There are different types of portfolio review festivals. Some festivals are juried beforehand meaning the festival is more exclusive and relaxed. Others have a huge frantic buzz where there could be many hundreds of photographers. A few are open to the public and the photographer is stationed at a table with their portfolio on display to be asked questions by meandering critics/ art dealers and enthusiasts. Besides the review, photographers can benefit from attending these events through forging relationships with the other photographers attending, conversations with others may give them an idea of where their work sits within the competition.

What are they looking for?

• Integrity of intent
• Photographs that have something to say
• Excellent craftsmanship
• Originality
• Narrative and aesthetic strength
• ‘a spark’

Once a gallery finds an artist they wish to represent, they enter a business and creative relationship contract. The gallery provides exposure and access to potential buyers, they work closely with the artist on their creative development, editioning and pricing, keeping track of sales. The pricing of work relates to scarcity, scale and framing. The artist must uphold a standard of branding in their website in order to uphold the galleries reputation, which is what upholds the sales.

I had lunch with a mid-career artist having watched this talk and asked him if he had ever attended a portfolio review. He said once, and the reviewers were super critical of his work causing him to loose confidence in his practice. He said that he was happier working as an independent artist and getting solo shows/group exhibitions from other opportunities, of which there are many. He also told me of a friend of his who, post graduating, was taken on by a gallery but found the pressure of producing large quantities of work, to be sold, exhausting, she eventually pulled out of the contract. It is interesting to hear different perspectives around creative success and ways of pursuing being an artist.