It is no surprise that I receive regular inquiries and submissions from artists across this great earth of ours. Over the years, this has slowed. I attribute that to the greater access artists, and art buyers have to each other through social media and web presence (if you’re behind here, time to catch up). It’s no significant loss for me. I use the same channels to locate and contact artists myself.
There was a time (maybe 20 years ago) that I would have a milk crate full of artists’ submissions in the form of 35mm slides, pamphlets, and frilly folders underneath my desk…and these were just the ones without a SASE (always a no-no for any artist).
Times have changed, but artists’ persistence and naivete (laziness) have not.
The above email was sent to me (plus dozens of other unsuspecting galleries) in a large “net” email that covered many of us. Please, these rarely work. It’s a general “one size fits all” message that lands with a hard and abysmal thud.
Courting a gallery (yes, that’s right, courting!) takes a little time and a soft-handed approach. Be consistent and sincere.
Gallerists (or at least their assistants) see your email, as evidenced by the above reply made by one of the most prestigious art galleries on earth, Hauser & Wirth. How kind they were indeed. Most emails like this receive swift deletion treatment.
As we can see with the “reply all” response, there is a litany of galleries that our artist reached out to (and all the galleries on this email received and witnessed this).
What a mess.
Might this prehistoric approach work with someone? Maybe. If the art was good and it was a good fit. But, I don’t know if many people would even open the PDF.
I wouldn’t.
If anything, add one jpeg (your zinger) and a link directly to where you want the receiver to go…not just the general home page.
There is no secret formula to a sure-fire successful approach, but there are ways to increase your chances while laying a rock-solid foundation once a conversation begins.
Every artist has their style of reaching out, and I applaud that. I remember the unique ones…but I also remember the not-so-effective ones.
I keep a folder titled Milk Crate on my computer desktop, full of failed attempts—no need to join the group.
Classes & Notes
New Releases in Fall Classes via Zoom:
I will dive into the delightful subject of physically manipulating your photographs with Mixed Up Media offered through ICP this September.
The Los Angeles Center of Photography offers a new class, DIY to NFT: How to Find Your Place in the Art World. If you are ready to empower your career as an artist who uses photography, this class is for you.
In November, I return to the South East Center of Photography with the popular Choosing Yourself as an Artist. Two seats are remaining.
Did you know that you can comment directly below?! Have something to say or a question that needs answering? Type it below, and let’s start a conversation.
Michael Foley opened his gallery in the fall of 2004 after fourteen years of working with notable photography galleries, including Fraenkel Gallery, Howard Greenberg Gallery, and Yancey Richardson Gallery.
In 2002, Foley continued his interest in educating and working with artists by serving on the School of Visual Arts and International Center of Photography faculty. He teaches and lectures on contemporary photography issues at the undergraduate and graduate levels.
In 2020, he founded The Photo Community, which offers classes and commentary on contemporary photography.
Foley lives and works on the Lower East Side of Manhattan with his wife, Maya.
Finding a Home
Great advice. Don’t be lazy in how you approach a gallery.
True to most of the things we do!