Interview with Gallery Director Jurgita Galbraith - Part 1
Episode 67: Hearing exactly what the gallerist is looking for.
In this episode Laura and Peter are talking to Jurgita Galbraith who runs the Birch Tree Gallery in Dundas Street in Edinburgh. There was so much good material in the interview that we have split this into two episodes, in this first part the discussion is about building a relationship with a gallery, what the gallerist may expect from an artist and a few things that an artist really should avoid in their dealings with a gallery.
Some of the fantastic points brought up by Jurgita Galbraith of the Birch Tree Gallery, Edinburgh
For more information on the gallery, please visit www.birchtreegallery.co.uk
· In a long-term relationship between artist and gallery, the personal relationship matters AS MUCH as the quality of artwork. Unless you are a world-famous artist, if the relationship is too challenging for the gallery, it will not work, even if the artwork is good and sells well.
· The artists and the gallery have to work as a TEAM. The best outcome is an equal partnership, not one being ‘superior’ to the other with both earning their percentage by cooperation and mutual support.
Approaching the Gallery or Being Approached by the Gallery
· Make sure your web-site is up to date and
o clearly indicates LOCATION where you live or work. Distance is inevitably a practical consideration.
o only up-to-date and the best work should be in the Gallery/ Works, have an archive section if you wish to show older or sold work. It helps to arrange work in chronological order.
o List which galleries you CURRENTLY work with; no gallery wants to step on another’s toes and it saves wasting time to see who represents you already.
· Do your HOMEWORK before approaching the gallery.
o Engaging with the gallery’s social media shows your interest and will also inform you about the gallery, the work it shows and the gallery’s ethos. The gallery will also notice your engagement and interest in them.
o Never send a generic e-mail; do the research, find the correct person and send a personal mail.
o Never tell the gallery that your work is ‘a perfect fit’ for the gallery; they’ll be the judge of that (even if you are right)!
o Research the gallery’s format: some have changing shows, while others hold stock throughout the year. Check you can work with the format before you apply
· If you are approached by a gallery and are an established artist and with lots of gallery options
o Be honest, if you can’t say yes immediately, but may do later, say so. Work with the gallery to find a mutual date.
o Take your time if needs be, but explain that you will get back to the gallery and do so as promised!
o If you have enough representation and are not interested, say no and be clear why.
o If you are unsure, discuss the options with the gallery and see if there’s a way of making the relationship work, perhaps in connection with another project or in the future.
o if you said yes, it’s important to engage with the gallery. Visit if you have not done so and inform the gallery about your work, projects in the pipeline and anything else that will grow your relationship. It’s vital both parties are invested in the success of the relationship.
o If you have an agenda for wanting a particular show date or to have another artist show with you etc, be clear about that from the start. The gallery may or may not be willing to accommodate it.
Helpful Suggestions
· Tell your gallery if you are working on a new body of work and show examples if you have them already. Advance knowledge always helps a gallery to plan shows.
· if you have funding or residency that will result in artwork, let the gallery know in case they can become involved to mutual advantage.
· If you do not live in the area, but are interested to show with a gallery, approach them ahead of time and send in an expression of interest telling them when you can visit if they want to take the relationship further.
· for emerging artists: take every opportunity as THE opportunity for future leads.
Remember that there could be a gallery owner in the crowd attending the graduate show, art fair, art festival, or ‘following’ you on Social Media from a personal profile. Take down names and follow every lead!
Preparing for the Exhibition and Delivery
· Agree on realistic deadlines. E.g. ideally the work has to be completed and photographed at least a month before the exhibition. If you can’t meet that deadline be honest upfront and ask if it is OK to have 50 or 80% of work photographed, and the rest ‘at the last minute’.
· Good photography of your work is ESSENTIAL and is the responsibility of the artist, not the gallery.
o Unless you have skills and equipment, invest in hiring a professional photographer.
o When you send photographs of your work, label them. Check with the gallery what they need, but name, title, medium, dimensions is a good start.
o Ask what resolution the images need to be before sending.
o Use a system like Dropbox to send a collection of photos, especially large files. Don’t send lots of emails with a few pictures in each.
· Framing.
o Be open to discussing framing with the gallery, they know what works for them and their clients and if you are hanging in a mixed show, it is important your work shows well with other pieces.
o Ask if the gallery wants D-rings with cords/ wires or mirror-plates.
· Packaging and shipping.
o Storage is a problem for many galleries. Make sure you agree on delivery date and be clear about pick-up of unsold work
o Storing packaging is a problem for many galleries so expect to remove it when you drop off work unless you have agreed otherwise in advance.
o If you are shipping the works, and are expecting unsold works to be returned, be conscious that the gallery may need to store your packing materials so check and agree this in advance
o If you use bubble-wrap or other packaging and you recycle it, do take the time to make it presentable. It’s important to respect your own work and deliver it in a way that shows that respect. It sends a positive message to the gallery.
· Delivery Note.
o Include photographs in the delivery note if you can. You should ALWAYS label your work very clearly, but this is crucial if there are no photos on the delivery note.
o Write your name, title and medium on the back of works if you can. Attaching a label with the same information plus the retail price is good practice.
· Pricing.
o Make sure the price is the same everywhere (if you have multiples, make sure the same price is at every gallery/ show and on your web-site!). Artists charging differing amounts for the same work is a deal breaker for professional galleries.
· Hanging
o Trust the gallery to hang your works; you both want the best for them.
o If you do have specific requirements discuss them and agree a hanging plan with the gallery well in advance, but be respectful; it is the gallery owner’s space and clientele.
o By all means make helpful suggestions especially if your work needs special handling, or you think two works should go together etc.
o Understand that the gallerist may need to handle the work to sell it. If you need to explain how, do so!
This Podcast is sponsored by Michael Harding Colours. For more information about Michael’s colour range or to find a retailer near you, please visit www.michaelharding.co.uk
