For Artists Only

This is purposely a misleading title to this posting. Art- and art openings are NOT for artists only, but I think John and Jane Q. Public think that galleries are some sort of private club. I am repeatedly asked things like, "Does it cost money to go to a gallery?" "Do I need a ticket?" "Can anyone go?"
See that nice photo above, full of nice people looking at all that nice art?
They're all artists!
Nothing wrong with artists. Some of my best friends etc, etc... Conservatively speaking, 95% of my friends are artists and they're the greatest, swellest people around (funny, witty, smart, talented) but they cannot- and should not- be expected to buy art. And while I love my friends and the millions of new artist friends I meet, I want other, non-artist people to go to openings and experience my work.
This is one reason to show- to gain a wider audience for your work, with this widening audience (hopefully) leading to these individuals becoming buyers and collectors of the work.
My friends can visit my studio and see what I'm up to. I realize seeing the work in a gallery is different. I appreciate that they like coming to openings and getting a bit of wine and cheese and celebrating my work in a clean well lighted space; it does make the work seem complete. But I cannot- and do not- expect them to buy my work. So everyone leaves at the end of the evening and the work looks great but nothing changes. You get another line on your resume...
It's a constant paradox: how do you attract people to the gallery and separate them form their money? I suppose that's cynical way to put it but art needs to be collected. Galleries go belly up because the gallerist/director hasn't figured out the answer to this age old dilemma. Artists fight for the few positions in the stable of blue-chip galleries because there is a greater likelihood of success in selling work (which, of course, leads to being able to make more work...) Mid-level and entry level galleries stay open for maybe two, three years and close because of a lack of sales. It cease to be fun when operating a gallery means sitting in a lonely space, surrounded by work that no one wants to invest in and you still have bills to pay.
Several art dealers have stated to me recently that the artist should be bringing the buyers in to the gallery. I ask, then what's the gallery's part? If I had a slew of collectors that were eager to buy my work, chances are I wouldn't need a gallery.
I sure don't have the answer. I can make the work and attempt to round up the people who have enjoyed and purchased my work previously, and invite them to this show, and the next show and on and on. But it's a long slog! Even gallerists throw up their hands and exclaim over how hard it is. But we continue to schlepp our work to gallery after gallery and show after show... what's an artist to do?!?!!!??!?!?

An Unfortunate Exchange (Reason Number 765,500 to Hate the Art World)

I think of myself as a reasonable artist. I have been practicing my art for a substantial amount of time (like the better part of 59 years) and have a pretty clear idea that my work has "value". I have shown enough- and sold enough!- to know that I'm not some hack who wastes peoples time trying to corner them and force my work down their throats. In short, I believe I make work of merit and I deserve an audience and at least a modicum of cordiality when I approach a gallery professionally.
Last fall, a new gallery opened in a near by town. A friend had stopped into the space and even ventured my name and Bob's as likely candidates for showing at the new venue. Bob and I called in one afternoon and were pleasantly surprised to see interesting work of an experimental and conceptually engaging nature. We additionally had a positive conversation with the youthful husband and wife (formerly of New York City) who were running the gallery. Both Bob and I left our web addresses and suggested they take a  look.
Several weeks later, I called the gallery and talked to the male half. He immediately acknowledged me- again in a positive manner- and stated as how he'd looked at my web site and was interested in my artist's books and how I encouraged hands on interaction with them. He even asked if we were available on a certain Monday as he said he needed to be in our area (we are only one town away.), Unfortunately, I had to work and we agreed to set a time in the near future for a studio visit. Of course, they had a new show opening and then the holidays came and everyone got busy so it wasn't until the other day that I thought to check in...
When I called, he again remembered me but I detected a strain in his tone. Before I could even recommend another attempt at setting a date for a studio visit, he immediately said, "Well, we're actually booked for the rest of the year." Me, being all affirmative and trying to be upbeat and chipper replied, "We all know that most shows are scheduled well into the future and artists often have to wait a year or two to show. Besides, sometimes artists drop out or are unable to complete the work and there comes an available time to show." (See? I've been at this a long time...) But I'm starting to get that queasy, twisted feeling that comes when a conversation shifts into unpleasant territory- much like trying to hook up with someone that you have a crush on and it dawns on you that the feeling is not mutual. A lot like that! Anyway, I'm nothing if not persistent (but not in a creepy stalker-ish way!) and I said, "Look: I'm returning this call and following up because you expressed an interest. This isn't like a "cold call"". And he responds, "Well, honestly, I don't usually drive all over the place making studio visits." We're only in the next town... it's not like I've asked him to drive to Montana to see some lame-ass work. Besides, he'd encouraged me!
So I finally, trying very hard to not sound utterly foolish, desperate and like a jilted suitor, said, "Well how about I bring some work by the gallery?" To which he had to agree. But by this point, I'm thinking, "What a complete A-hole!" And why not make a poor artist bend over backwards and jump through fucking hoops?
Most artists will recognize this story. Curators, art dealers, critics- people even tangentially associated with the arts- feel they can ride rough shod over artists. Yes, there are too many of us but the system that has sprung up around artist sucks, to put it bluntly. I am so tired of feeling like I'm asking for a favor or a hand-out or some bizarre perversion simply because I need what most artists need: an opportunity to show my work.And how on earth are we to succeed if the very system that presents our work is manned by weasels that run the other way when they see us coming? I've been told repeatedly that dealers/curators feel "pursued" and "put upon" by pesky artists; they are jaded. But what's an artist to do? We are told we need to be aggressive and persistent, but then we're rebuffed. I was actually told one time, after asking for the contact information of a curator who had selected several pieces of my work for a show, "not to "bother" the curator. !?!?!?!!?!? WTF?
I know there's a fine line, a balancing act to follow. But does anyone have those guidelines for me to figure out just the right mixture of push and pull? And don't lead us on. Believe it or not, we're adults. that is, if you're not interested, just say so. Pleasantly.
So, in short- you Art World "power brokers": be nice! Artists have it hard enough.