This information is located in our software for artists. Some references within the text will be software related.

You will come across many situations where you have to present yourself and your work: job interviews, studio visits, curator visits, public art presentations, lectures, workshops, grant interviews, symposiums, teaching demonstrations for interviews, collectors, gallery talks, museum walkthroughs, reviewers/writers, presentations to funders, producers and more. The following are considerations you should address before you present yourself. Preparing ahead of time can make a significant difference in how other people perceive you and your work.

Consider:

• Who are you meeting with and what is the context? Are you meeting at a gallery or organization, at a coffee house or at your studio? Do you have to drag your materials with you, and how will you present them?

• What are you seeking and why are you seeking it from them? Be clear about your intentions. Are you asking for general support or something very specific? Has the purpose of the meeting been established, or will you have to articulate it?

• What is the relationship that you have or want to have with the person you are meeting or presenting to? Are you asking for a short or long-term relationship?

• What is the amount of time you have to present? Do not try to fit an hour-long presentation into a half hour. You should leave time for discussion in any situation.

• How you are presenting the materials? Is the equipment on-site, or do you have to provide your own? Do you need to be there early to make sure everything is working and that your slides are right side up?

• How will you present yourself? How will you be perceived? How will you connect with them? How can you ensure that the passion and enthusiasm you have for the project is best conveyed?

• How can you ensure that the information is clear? Do not use art jargon or fancy words if you can help it. Do not be condescending—simply engage.

• Consider how to be persuasive without being overbearing.

• Think about how you will present yourself as well as your work. How does your background and history relate to what you are presenting?

• How much background is needed to understand the project?

• You will need to convey what you are asking for and why. Consider how you will present your request. Be sure that you ask specifically for what you need, and make sure you understand what the results will be.

• Do not assume that the person understands what your request. Be sure to get feedback on the project in order to clarify your intent.

• Consider what the person you are presenting to wants on their end. Make sure you understand their priorities and interests.

• Make sure that you make eye contact. Many artists tend to look at the slides or monitor and their own work when talking to an audience. This can render you inaudible.

• Engage your audience, including those people in the back of the room. Try not to look at the ceiling when talking. There is an old adage that says, “Just think of everyone in the room being naked.” If this doesn’t work for you, or just makes you feel all icky, try just publicly acknowledging that you are nervous, because the audience can usually tell anyway. People are usually more sympathetic to presenters who say outright that they are a little nervous. You will feel better and it will humanize you to your audience.

• Consider your wardrobe for your presentation or meeting. Dress appropriately and comfortably.

Real Life Story

An emerging artist in Los Angeles applied for a public art project for the first time. She was accepted as a finalist—one of three—that was required to present her project to a panel. Having never done this before, she was nervous about her presentation. She decided to schedule three nights in her studio to invite her friends and peers, and people who had done public art and presentations before. She invited them to her studio, and did a dry run through of the presentation. Afterwards, she had a discussion about what worked and what did not work. She got great feedback, and later she did her final presentation to the public art panel. She got the commission.

She said that she never would have gotten the commission if she had not practiced before an audience. Do not underestimate practicing your presentation, especially if you are nervous.

PRESENTATION VENUES

MUSEUMS
ABOUT: There are many different types of museums. Some museums are encyclopedic, meaning they strive to collect works which represent a good cross section of art history. Some contemporary art museums are dedicated to only exhibiting and collecting the work of living artists. Each museum has a specific mission so it’s important to do your research to understand what they are likely to showcase. Depending on the institution, museums offer one person, group, thematic, invitational and juried exhibitions. Most do not accept proposals for review, but some do. Most have their own curatorial staff, who invite artists to exhibit work. Most museums do not accept unsolicited donations of artwork.

EXPECTATIONS: Most museums now have Web sites, which will usually let you know their policies for submissions or studio visits. If not, be sure to call the staff before sending information. Many museums schedule their exhibitions 2 – 4 years in advance.

PROS: Museums are prestigious venues. The level of professionalism and assistance to the artist is high. Additionally, if the museum buys your work it is likely that the prices and demand for the rest of your work will increase.

CONS: Most museums will not consider unsolicited proposals. Many museums still do not provide an artist fee.

RESEARCH: Research online or call museums to find out their selection process, or if they have open call exhibitions. Most will publicize applications and information. Be sure to find out their policies for a requesting a studio visit.

RESOURCES: AAM is the Association of American Museums. Also, the summer issue of Art in America lists most all museums in the U.S.

COMMERCIAL GALLERIES
ABOUT: Galleries are for-profit businesses that select artists either by open call or private selection. Gallery dealers make their money from sales of the artwork. The commission the dealer takes from the sale of this work can range from 40 – 90%. Most sales should be about 50% to the dealer and 50% to the artist. No two galleries are alike, so research is a must! Artists are treated very differently from gallery to gallery. For more information see the Galleries section in the GYST software.

EXPECTATIONS: A working relationship between the artist and the dealer should result in the promotion of the artist’s work. A good gallery will cover the costs of exhibitions and shipping. This requires trust, good communication, and up-to-date consignment agreements. Artists represented exclusively by a gallery usually have at least one solo exhibition at that gallery every three years. Most galleries deal with a small number of artists on a regular basis.

PROS: Good galleries are active in the promotion and marketing of their artists. An artist can build a long-term relationship with a good gallery. Regular sales through a gallery can provide a steady income to an artist. Having a good gallery on your side can lead to more visible shows in museums and other galleries in other cities.
CONS: Galleries that are run poorly do not actively sell work, can renege on contracts, and be slow to pay artists. Some galleries do not sign contracts. This should make you suspicious. Some galleries expect the artist to cover gallery costs. Some take a large commission, using excuses such as the high costs of promoting emerging artists, which require more work. Always have good contracts and never pay to show your work.

RESEARCH: Make sure you find out which galleries show the kind of work you make. Not all galleries review work, so make sure you call first, or check their Web site. Often galleries like to receive an e-mail with an image of your work, and a way to contact you or see more images. Be sure to find out how they operate. Thoroughly investigate their business practices and their relationship with their current and past artists.

RESOURCES: Most large cities have gallery guides which list galleries and who they represent. Art in America has an annual issue that lists most galleries in the US. The Gallery Guide National and Regional Editions is a good place to look, as well as calendar listings in your local newspaper or weeklies.

NON PROFIT AND ARTIST RUN SPACES
ABOUT: Traditionally called alternative spaces, these organizations began in the 1970s to expand exhibition opportunities for artists. These exhibition spaces are supported through public and private funding. They often have many opportunities for artists and do educational programming as well.

EXPECTATIONS: These spaces generally work with a range of artists from emerging to established. They often will show work that is risky, or experimental. Many support local and regional artists and usually pay an artist fee for showing work. Some take a small percentage of work sold. They are usually a good place for emerging artists to begin showing work, as the staff is often supportive of artists.

PROS: Nonprofits are usually accessible to emerging artists, often pay an artist fee, and often present programming that reflects community concerns. Many do group exhibitions that allow an artist to get started showing work. Most spaces encourage the submission of proposals from artists and curators. They often have an exhibition committee of artist peers who make decisions.

CONS: Often these spaces are financially challenged, and will sometimes request that the artist help fund the exhibition.

RESEARCH: Be sure to understand the mission of the organization and see if your work fits their mandate. Contact the organization or visit the Web site to find out about submission guidelines.

RESOURCES: Art in America’s Annual Guide lists many nonprofits. National and regional gallery guides, and Web sites are good places to find out about these spaces. Also, you may contact your state arts council or commission. Check out your cities Cultural Affairs Department for information.

ALTERNATIVE VENUES
ABOUT: These are exhibition sites that don’t fit into any of the rest of the categories listed here. They include banks, bookstores and other commercial venues, corporate and city government lobbies, restaurants, schools etc. A list is included below under resources.

EXPECTATIONS: Work is hung in a public space. Often the responsibilities for labor and expenses fall onto the artist.

PROS: A good way to introduce your work to new audiences, and/or create an important context for the work. If you are working with a business or corporate setting, sometimes they don’t schedule work far in advance, so you can get a show within a year. This is good for calendar-specific subject matter. Also some critics and curators are very interested in seeing work in unconventional settings.

CONS: The artist may have to work out their own insurance, the exhibition space might be less than ideal, and the majority of the work on the project falls to the artist. It can also be difficult to get people to visit out-of-the-way venues or venues where they are expected to pay money to see the work.

RESEARCH: Make contacts by visiting local venues and talking with the manager or owner. Search out venues where artists have already shown their work.

RESOURCES: There are no listings of sites, but talking to your peers for ideas is helpful. For context-specific sites, check out the web and the local yellow pages

COLLEGE AND UNIVERSITY GALLERIES
ABOUT: Many colleges and universities have galleries supported by the institution. Many are open to proposals from the field. Some have a dedicated curator on staff, others are student-run or managed by faculty. Some college galleries often have a built-in audience of students and faculty.

EXPECTATIONS: Many of these spaces function like museums or nonprofit spaces. Contact them to find out submission guidelines.

PROS: Colleges and universities provide good opportunities to exhibit work. Many have substantial staff, and most will support financial aspects of the exhibition or project. Many fund a brochure or a catalog and some pay artist fees.

CONS: Some exhibition spaces are less than desirable, or hard to get to for the general public. Some have parking issues. Security can be an issue at some sites.

RESEARCH: Visit the Web site or call to find out if they accept proposals. Many of these galleries are scheduled 2 – 3 years in advance.

RESOURCES: Art in America’s Annual Guide, local listings in publications, and Web sites.

PRIVATE ART DEALERS AND ART CONSULTANTS
ABOUT: Many private dealers and consultants work from their home or a small office. Most do not organize public exhibitions. Some work with a specific genre or media, others choose artists on a project-to-project basis. Some make their money from the sale of an artist’s work, and others don’t.

EXPECTATIONS: Private art dealers and consultants generally work with a wide range of artists. A corporate art consultant work son a project basis with a client to build a collection. Most consultants take a commission from sales.

PROS: Working with private art dealers and consultants can be a good source of income. An artist may work with several consultants at one time.

CONS: Work is sold without being publicly exhibited. Some consultants or dealers may not have the best interests of artists in mind. They may take advantage of artists they work with.

RESEARCH: Contact individual consultants to find out how to submit work samples. Many consultants hold on to images of an artist’s work in order to make presentations. Some consultants will consign work.

RESOURCES: Art in America’s Annual Guide and local web listings. Other artists are a good resource.

RENTAL GALLERIES
ABOUT: Rental Galleries are often associated with museums or decorating services. They show the work of artists and rent the work by the month or year.

EXPECTATIONS: Rental galleries generally work with a wide range of artists. They expect artists to consign work to them for varying periods of time.

PROS: Rental galleries can be a good way to generate income from your work. Also some curators and collectors periodically visit rental galleries to find new artists’ work.

CONS: Many of these works are hung in private places, so are not open to viewing by the public. Also some rental galleries rent work to decorators and designers who can damage work. Make sure your work is insured.

RESEARCH: Check the Web for information, or consult other artists.

RESOURCES: Web listings are probably the best place to start. You might also want to contact your local arts organizations.

CORPORATE ART COLLECTIONS
ABOUT: Corporate art collections range from Fortune 500 corporations, to hospitals, to local restaurants. Art is purchased for investment, office furnishing, prestige, and employee morale. Some corporations have in-house curators on staff.

EXPECTATIONS: Corporations generally purchase non-controversial work, usually through independent arts consultants or in-house staff. They seldom purchase directly from artists. Some collections specialize in a particular media, region or theme.

PROS: Corporate art collections can be a good resume booster, and a good source of income. Often they commission work for particular spaces. If an employee admires an artist’s work in the collection, they may purchase some for their home. Also people on corporate boards of directors who collect work sometimes donate work to museums, so your work may be more appealing to them if your work is in their company’s corporate collection.

CONS: Often if your work is in a corporate collection it won’t be seen by the general public. If the corporation goes bankrupt, your work may not be protected. Sometimes it is hard for the artist to borrow the work back for a show or retrospective.

RESEARCH: Contact the curator of the corporate collection to get protocols for submission or work with an art advisor.

RESOURCES: Corporate Web sites and philanthropy publications.

REGISTRIES (FORMERLY KNOWN AS SLIDE REGISTRIES)
ABOUT: Slide registries can be actual archives for physical slides or virtual databases for digital images. Many slide registries are sponsored by local arts organizations, museums, libraries, and public art agencies. Many are curated and made available to the public, curators, collectors, critics and historians for exhibition opportunities, articles, and research.

EXPECTATIONS: Some slide libraries open to the public, some are curated, or open only to invited members. Registries will also collect other information such as resumes, catalogs, exhibition announcements, prints etc. in a file folder to be viewed upon request. Each slide library has its own requirements.

PROS: Slide registries and libraries are a great opportunity to get your work seen by curators and collectors. Some registries have an online database that can be accessed worldwide. A good registry will ask for periodic updates.

CONS: Poorly maintained registries can get little traffic and often contain mainly out of date materials. Remember to update any slide registry that you are in, even if not requested, at least once a year, especially if contact information changes.

RESEARCH: Research online or call to find out if the organization has a slide registry. An application form with necessary materials is usually available

RESOURCES: Web sites with registry listings.

OPEN STUDIOS
ABOUT: An open studio consists of an artist or group of artists hosting an event for viewing, celebration, and selling of artwork. This can be at their actual studio spaces, or artists can come together to show work in one studio space.

EXPECTATIONS: Open studios can happen in many ways. Expectations are based on the organizer of the event. If the open studio takes place at an individual artist’s studio, the artist does all the work.

PROS: Open studios are a great way to introduce new work to the curious public. Sales and contracts can result from open studios. Connections with other artists can be made, as well as with curators and galleries.

CONS: Usually all expenses for an open studio are paid by the artist. The artist has to be available for all hours of the event, which can be exhausting.

RESEARCH: Artists should have open studios for two consecutive days, also offer hours by appointment. Develop and share good mailing lists. A great idea is to team up with other artists for group open studios.

RESOURCES: Talk to other artists and organizations that have put on open studio events.

ONLINE GALLERIES AND SALES SITES
ABOUT: There are both for-profit and non-profit galleries. The best ones are curated and put up a selection of artists’ works for sale or visibility. They can be small online databases or massive digital warehouses of work.

EXPECTATIONS: Some online galleries require members to pay monthly or yearly fees. Some membership organizations allow members to post work on their Web site. Other Web sites are exclusively for showing or sales, and artists are curated into the online collection. Commercial online galleries take a commission on sales.

PROS: Online galleries are a good way to direct people to your work, plus they provide visibility to an expanded audience.

CONS: Your work will be seen in the context of other artist’s work. If you are concerned, make sure you check out the submission policies and the artists currently on the site. Not all sites have good sales records. Many charge a fee for each work displayed. Not all work looks good online. If someone buys your work online, has it shipped to them, and they don’t like it or it doesn’t correspond to the image online, they have the right to return it, which can be a financial and mental battle.

RESEARCH: Conduct online searches for information. Talk to other artists who use these services.

RESOURCES: Some Web sites have listings of online galleries.

VANITY GALLERIES
ABOUT: Vanity galleries are for-profit galleries that require artists to pay for exhibition of their work as well as many other related expenses. They may also require an additional commission on work sold.

EXPECTATIONS: Vanity galleries generally charge for all associated expenses of the exhibition, including publicity, rental of the space, shipping etc.

PROS: A chance to show your work.

CONS: A vanity gallery has little incentive to sell or promote your work because they are getting money from you upfront anyway. Vanity galleries usually represent poor quality artists. They usually give the artist a bad name in that the artist had to buy a place to exhibit work. Vanity galleries don’t look good on your resume.

RESEARCH: Find online.

JURIED EXHIBITIONS
ABOUT: Juried exhibitions are offered worldwide, through galleries, museums, organizations and arts councils. They usually consist of a call for entries, where artists are asked to submit their works for review by a guest curator or jury panel.

EXPECTATIONS: Sometimes artists are required to pay to submit their work for review, sometimes they are not. Often juried exhibitions are fundraising campaigns for non-profits or commercial spaces, where they make money off of artist paying to submit work. Usually artists pay to ship their work to and from the venue. Some juried exhibitions offer prizes to select artists and sometimes publish a catalog to accompany the show.

PROS: Juried exhibitions are one way to get visibility for your work. This can be good for emerging artists because their work can get in front of important jurors or panels.

CONS: Applying to multiple juried shows can be expensive. A good juror does not ensure high quality of work chosen or visibility for the artist. You may not like the context your work is placed in or the other artists chosen alongside you. The artist is most often responsible for shipping, framing and packing of work.

RESEARCH: Art classifieds, Web sites and local listings.

RESOURCES: Art Calendar’s Web site, nyfa.org, art calendars, Artweek, Afterimage and other sites.

CO-OP GALLERIES
ABOUT: Co-op galleries are based on artist participation and membership, in which the artists share the expenses and business responsibilities of the gallery.
EXPECTATIONS: Usually artists who participate in co-op galleries have to pay a monthly or yearly fee in return for a guaranteed show of their work. Artists must apply for membership. And sometimes have to put in time or labor, like sitting in the gallery or managing accounts, etc.

PROS: A co-op gallery is a guaranteed venue. Some of the older ones are well respected and reviewed regularly. Sometimes a co-op gallery is the only local exhibition opportunity available to artists in rural or overlooked locations.

CONS: Sometimes, participating in a co-op, having to deal with group dynamics, can get political and lead to in-fighting. Some co-ops have a bad reputation because some people consider them a venue where an artist pays to exhibit their work.

RESEARCH: Take the same procedures as most commercial galleries. Inquire about a co-op’s financial standing. Do your homework.

RESOURCES: Online research and Art in America Annual Guide.

PUBLIC ART PROGRAMS
ABOUT: Public art programs consist of commission and sale opportunities to artists sponsored by federal, state, municipal agencies and independent organizations for work in a public context. They can entail both large and small-scale projects.

EXPECTATIONS: Art councils often administer these programs. Artists are selected by panel process and are then asked to submit a proposal. They are often curated from slide registries.

PROS: Public art programs provide a good opportunity to have work seen by many, which can lead to other opportunities. They also provide a chance to execute projects on a scale that you can’t otherwise afford.

CONS: Working in public can require the artist to adapt their intent, and work within strict budgets and guidelines. Many programs want artists with previous public art experience. Work can be vandalized.

RESEARCH: Contact local arts council and consult with public art program directories. Conduct online searches.

RESOURCES: Americans for the Arts, Public Art Directories.

ART FAIRS AND FESTIVALS
ABOUT: Art festivals can come in many forms. Mostly, festivals consist of environments where artists sell their work directly to buyers in rented space or at rented tables. Generally art festivals take place yearly and on a state or regional level. Art Fairs on the other hand are held for galleries to sell their inventory to dealers and collectors, often on an international scale.

EXPECTATIONS: For festivals, artists and/or dealers are expected to pay for the space. At an art fair, usually the gallery owner or dealer pays for the space rental. In both situations, the gallery, artist, or one of the gallery’s representatives must be on hand to sell work to the public.

PROS: Sales are directly to the public. This can be a good way to make money in a small amount of time. Also these exhibition opportunities usually come with high foot traffic. Also festivals and fairs can be an excellent way to network with other artists, galleries, curators, and collectors and can be a good way to introduce the work of an artist outside of the context of a gallery show.

CONS: Fairs and Festivals can be expensive to enter. The artist or dealer must be on-site at all times. Also these exhibition opportunities can be inadequate spaces to view work.

RESEARCH: Carefully research the venue and the quality of work displayed in the past before you commit.

RESOURCES: Art in America Annual Guide, local guides and listings and the Web.

AUCTIONS AND BENEFITS
ABOUT: Donating work to an auction is a great way to help out a nonprofit organization or a good cause, and gain exposure for your artwork. Auctions come in many different forms. Some auctions are silent, where the host institution has a party and invites guests to silently outbid on bid sheets. Some auctions are open forums where people bid for work out loud. Some auctions are curated by the host institution, others involve more submissions or work from a larger, more nebulous pool of artists.

EXPECTATIONS: Artist donates the work, and the organization takes care of the sales. Artists usually pay for framing costs and sometimes shipping. Sometimes an artist needs to set the minimum bid for their work.

PROS: Sales are directly to the public, and there can be high foot traffic. The artist sometimes receives a percentage of the sale. Auctions can provide great exposure for emerging artists because collectors, curators, and other artists often attend these auctions.

CONS: It costs money to create the artwork and usually the artists does not recoup this money when the work sells.

RESEARCH: Carefully research the venue and the quality of work displayed in the past before you commit.

RESOURCES: Many museums and artist run spaces hold auctions of artists’ work.

ALTERNATE PRESENTATION SITES
If you are going to engage in exhibiting your work in these alternative venues, be sure to get the required permits or permission if needed. If you have more suggestions to add to this list, e-mail info@gyst-ink.com

City Hall or Government Buildings
Houses, apartments, garages, living rooms (both commercial and alternative spaces)
Empty stores in malls (e.g. Beverly Naidus’ installation project)
Restaurants
Storefronts of existing businesses, (e.g. flower market, architect’s office, etc.)
Public schools, especially their theater spaces
Abandoned buildings
Theaters on their “dark” days
Walls of concert halls, theaters, or other performance venues
Movie theaters (e.g. “Projections”, Karen Atkinson and Sylvia Bowyer)
Buses (they sell advertising space)
Subway or metro
Billboards (some companies give discounts to artists) or alter an existing one
Signage (can go anywhere)
Front lawns of business or suburban neighborhoods
Parks
Public spaces in front of a business
Parking lots (project a movie, project slide work, or do a performance)
Loft spaces
Rent a space at the swap meet for exhibition or performance
Newspaper space (ads, classifieds, personals, e.g. Group Material)
Check out a local rag or magazine, especially if they are just getting started
Storage space in a storage building
Posters
Mail art
Postcards
Park your car (installation or sculpture) on the side of the road, and feed the meter (e.g. Foundation for Art Resources )
Paint the side of a truck or semi
Install a show in a truck, and park at another gallery opening
Performance in a truck
Fences and sidewalks
Banners
Flags
Public libraries (e.g. ,“6 Degrees” exhibition by Side Street Projects)
Coffee houses
Use a taxi, drive a taxi
Slip posters or printouts inside newspapers (buy a paper and insert your work into the rest of the papers
Calendars
Birthday cards
Hair salons
Furniture store
Laundromat
Rooftops of buildings
The beach
Local celebrations and festivals
Enter a parade (e.g. the Doo-Dah Parade in Pasadena, California)
Dentist or doctor’s office
Model homes
The front door of your house or apartment
Bookstores
Block parties
Empty fields
Parking structures
Used or new car lot
Infiltrate parties as caterer/server
Student unions at universities
Churches, especially progressive ones (e.g., Tim Miller’s performance with a Minister)
Gridlock Shows, when traffic is stopped, hand out your artwork
Sandwich billboards (walking art performance)
Sky writing
Slip art into books in the public library or magazine rack
The Internet
Safe deposit boxes in a bank
Alter store bought goods and return to shelves (e.g. Barbie Liberation Movement)
Digital projections can be projected almost anywhere (statues, monuments, buildings, from inside your car)
For a public art reception, put reception goods in trunk of car and serve from there
Riverbeds
Hiking trails (e.g. New Town’s events)
Overpasses
View master (e.g. Karen Atkinson and Sylvia Bowyer for “Projections” catalog)
Parking meters (e.g. Karen Atkinson)
Audio can be broadcast almost anywhere (e.g. Terry Allen’s trees at UCSD)
Stages built in public sites
Republican or Democratic Convention’s alternative stage area (e.g. Side Street Projects)
Exhibitions and installations in Motel and Hotels
Short weekend shows in all sorts of places (e.g. Dave Muller’s Three Day Weekends)