Galleries
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Selling Art Through Galleries- My Advice
by Jo O'BrienI recently received an email from a fellow RedBubbler and thought I should share my response… DISCLAIMER: this is just my opinion an…
I recently received an email from a fellow RedBubbler and thought I should share my response… DISCLAIMER: this is just my opinion and advice so don’t take my word as gospel! ____________ Hi Jo, I ‘discovered ’ you on Red Bubble and love your work.. You mentioned you work for a gallery that takes work on consignment. I’m interested in getting some of my work into galleries but don’t know how to. My stuff is here… http://www.redbubble.com/URL So just wondering if you have some advice?? Cheers & thanks, ____________ Hey M First thing is you will notice that the footer of this email has all my phone numbers- please do not hesitate to call me and we can have a proper conversation about this. I have a lot of artists ask me about this and am only happy to help out. I have found that the best way to get your stuff into galleries is to do what you have just done- send an email with a link to your work. Your webiste is basically your CV in the art world – it doesn’t have to be flashy (and redbubble is totally appropriate) but having work that loads quickly is important. You will be lucky if a gallery spends more than 1-2 minutes looking at your site. The other thing you can do is to print out samples of 5-8 images of your work, a biography or artist’s statement and any quirky info that could be used to market you. Put this together into a CV or folio and make several copies. Then you do the door knock thing. If you take this option be aware of a few things- Gallery staff at some places (certainly not us though) can be quite snobby to artists who come off the street and try to sell their wares. I suggest being pleasant but do not try to take up too much of their time. I’m more receptive to a “here’s a copy of my folio, here’s my contact details, i’d love to have a chat some time but obviously now isn’t the best time for you- maybe give me a call if you’re interested?” than a lengthy rehearsed sales pitch. Each gallery will have a slightly different way of doing things. Some will ask for a tax invoice when you bring in art and they will just pay you when it sells. Other will ask for an invoice only once something has sold and they may or may not request a consignment note when you deliver your art. Other places do 90% of the paperwork for you but these are rare. We keep a running file of what work you bring in and if anything gets returned to you because it wasn’t selling. Then if something sells we call or email you the same While I’m on this I should mention that some galleries will not deal with you unless you have an ABN. GST normally doesn’t make a difference but I have heard of a couple of fussy places who have insisted on dealing with GST inclusive artists only- go figure? The other thing that changes between galleries is the mark up of your work. In some of the artist run galleries you can get a 30/70 split of the sale (with the artist being better off). Other places will rip you off majorly and mark up your work by more than 100% and therefore will get more money than you do when it sells. Don’t let people bargain with you for your cut and THEN try to add 10% on for GST- insist on bargaining on the final price inclusive of GST. I make this bargaining process sound difficult but the truth is most places have a policy about how they split things and you either take it or leave it- my advice is more to show you the difference between money grabbing and artist appreciating! Which brings me to my next point- look at the attitude of the gallery. Some places are really picky about what you give them to sell which can mean that they either have no idea OR it could mean that they know their clientelle really well. You just have to be good at reading people to wrok that one out. The places that I would steer clear of are the ones who don’t seem to fussed by what you give them or don’t really care about having a biography or any information about you. They should be interested is selling ‘you’ as a product as well as your stuff. You have to balance out the financial side of things with the personal side. At our galleries we go 50/50 on sales which is considered a bit high. The upside however is that you get a mini cheering squad who will rave about your amazing talents to anyone who glances at your work sideways. We don’t have artists complaining about the higher mark up because we make up for it in branding and promotion you. This is a call each artist has to make for themself. If you’re stuff is considered sellable (which is decided on a case by case basis) we will give it a decent chance of selling- normally I put new stuff on display straight away or in the shop window. Then we see hwat the reaction is. Sometimes we find out very quickly that there is no interest, or everyone loves the image but thinks it is too small, or red, or badly framed or whatever. We aim to have open lines of communcation with our artists so that they don’t keep sending us stuff that no one wants! But in the end if after 4-6 weeks things are not going so well I send things back and invite the artist to try again if they begin experiementing with a different syle or medium. I certainly invite you and any other RedBubble artists to contact me about selling work through our galleries. We are always very keen to see what people have got to offer. Jo O’Brien Work: +61 3 9349 4333 (Sunday, Wednesday, Thursday) Work: +61 3 9827 3338 (Monday)
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Learn from yesterday, live for today, hope for tomorrow…..... Natural History Museum, London, England. / One of my most favourite places…....... / . . /
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DUE TO DEMAND….. I will be staging another Portrait Shoot. I have some new talent on my books with some INCREDIBLE REATURES. and cant wait to work on one of my productions. / / There will be some theming but this will be staged as an OPEN SESSION. I will extend the Newbies first time @ half the admission so this will be a good time to check it all out and get some awesome shots for your portfolio. / I am working on mid MAY Expressions of interest….........if you would like more information, or to book in, just email …..... PORTRAIT SHOOT to events@arthouseproductions.com.au OH! there maybe one or two special visitors from interstate, FLYING DOWN FOR THE SHOOT / —--Original Message-—- (email published with approval) / / From: Shell / Date: 13/04/2008 07:00:17 / To: events@arthouseproductions.com.au / Subject: shooters gallery / / Hi Alatetia, / Could you please put me on your mailing list for the shooters gallery. / I live in QLD on Bribie Island, however if you do a portrait shoot or / something else I am keen on I would love to jump on a plane and come / down. / / Cheers, / Michelle
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“Open for Business” Photography & Artwork / by Holly Kempe © An art gallery at the historic town of Silverton in outback New South Wales, Australia. “History with its flickering lamp stumbles along the trail of the past, trying to reconstruct its scenes, to revive its echoes, and kindle with pale gleams the passion of former days.” ~Winston Churchill Competition: Top Ten placement of the Outback Australia group.
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Portrait of Georgia O’Keeffe. Oil on Canvas / American Artist. Georgia O’Keeffe was raised in Wisconsin, educated in Chicago and Virginia, taught, painted, and lived on the east coast until her early sixties when she moved to Abiquiu, & Santa Fe, New Mexico. Close to one hundred when she died in 1986, living alone and painting in scenery that inspired her famous flowers in closeup with strong sexuality, voluptuous lilies and poppies, stark desert landscapes and animal skeletons. She worked in charcoal, water color, and finally oils, and worked large. I’m not sure her story is known well outside the states. She was photographed, courted, and married (1924) by famed 1920’s photographer Alfred Stieglitz who adored her, left his wife and family for her, and made her more famous than he was. She too, was madly in love with him. His black and white photographs of O’Keeffe filled Stieglitz’s famed “291” gallery in New York and caused a sensation with portraits focused on her beautiful bone structure and striking looks, and spectacular nudity. He took over 300 portraits of her from 1918 to 1937. Stieglitz may have been in love, but smart enough of a businessman to cause O’Keeffe’s work to skyrocket in price, averaging $100,000 a painting, monumental for a living artist and a woman in that time. What he did for her career lasted, interest waned some but revived and her work is priceless now. Every girl painter can use a Stieglitz, few get one. Stieglitz died in 1946 and she moved permanently to New Mexico three years later after cataloguing his work and papers. She was 59, began a new life in a landscape she claimed as her own. “God said I may have that mountain,” she’d written, “if I paint it enough.” So she did. / I painted this from one of Alfred Stieglitz’s famous photographs of Georgia O’Keeffe. / When you do portraits, you start to hear conversations from that time, get a sense of the thinking of the subject, smells and impressions wander through you or assault you inescapably. It’s a fascinating and somewhat dangerous occupation because when you put down the brush and turn away you wonder where the hell you’ve been and question your sanity. I’ve come to accept it as just what happens and there it is. One cannot help but see Stieglitz’s fascination with O’Keeffe’s profound physical symmetry. It bothered me. I thought it annoyed Georgia, too, that he was making more of it than in truth was there. Certainly a thoughtfully bright, introspective & solid woman. But he did not capture the O’Keeffe who stood in the desert in thunderstorms alone in the middle of the night to draw the electricity in the air into her being, which she was notorious for doing. Or the O’Keeffe who lived alone on her Ghost Ranch, and drove in her Model A Ford recklessly to plateaus and mountains of New Mexico to soak in the wilderness. DH Lawrence, Ansel Adams, the Lindberghs were visitors. / It’s not the last portrait I’ll do of her, but I wanted to see more in her than Stieglitz’s precision, no matter how beautiful that is to see. / I think he was incredibly kind and thoughtful about this woman’s life, and helped her reach a financial independence undreamt of for an artist of her time and sex. Stieglitz said of the first drawings of Georgia O’Keeffe that he saw: “Finally, a woman on paper!” He admired her, and he loved her. I can’t blame him for thinking her perfect. I’m just not so sure he saw the savage in Georgia. Other US photographers who did some earlier radical work in b/w, nature, and nudes you might want to visit: Ansel Adams. Brett, Edward, and Cole Weston. Edna St Vincent Millay wrote: “My candle burns at both ends; / It will not last the night; / But ah, my foes, and oh, my friends— / It gives a lovely light!” / Which, published in 1918 became an anthem to end constraints on overwatched Victorian girls. A wild, free life… edged with death. / The Hawks Perch
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Gothic shoot Art Direction by Alateia from Shooters Gallery / This imagery was made possible and shot under FILMING APPROVAL thanks to FAWKNER MEMORIAL PARK / View all of the shoot here / Take a look at my other photos / Add me to your watchlist / /
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Artists Deb & Vexta, the piece to the left is by LADIE POIS
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This laneway in melbourne is a gallery for artist to express themselves it is well know around the world for the beauty young emerging graffiti artists can contribute to it. / Melbourne Graffiti has become a tourist attraction and a popular backdrop for fashion and wedding photography. /
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An old 1930’s Mercedes Benz on exhibition at NGV (National Gallery of Victoria) in Melbourne. This car was a V8 had automatic transmission and went from 0 – 100kmph in only 16 seconds! haha how times change! Background desaturated in Photoshop and Gaussian Blur applied to background layer. Featured on the RedBubble homepage on the 1st of May 2009 Click here for my other photos of cars! / /
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This photo was taken at the National Gallery of Victoria on St. Kilda Rd, Melbourne. There was a girl resting on one of the concrete slabs. Highlighting her was what I wanted to achieve in this image. The large black area in this is the archway entrance and reflection to the building.
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TUTORIAL: How to make a calendar
by Patricia MontgomeryThis tutorial is mainly for the bubblers that are new to navigating the RB site. The calendars are quite easy to create. The most i…
This tutorial is mainly for the bubblers that are new to navigating the RB site. The calendars are quite easy to create. The most important thing to remember is that all images must meet the following requirements. Even one pixel below these numbers and it won’t work. 2182 by 1906 pixels for the main pages / 3271 by 2874 pixels for the cover page Click on “my bubble” Click on “calendars” (in the 2nd row of menu items) Click on “Add a new calendar” (right-hand side of screen) Add a title and description (optional, but recommended) Add your cover image (When you click on the little down arrow, it will bring up a list of titles of all the images in your gallery, even the ones that may be “hidden” or “not for sale”.) Then just start adding images, one for each of the twelve months. If you aren’t quite finished but want to save it, use the “Hide” feature at the bottom of the page. Then you can make changes without anyone seeing it. When you are ready to publish, then change to “Allow Anyone to View This Work”. I hope this is helpful. If you run into problems or still have questions, please don’t hesitate to let me know. Have a blessed day! / Patricia CLICK HERE FOR ALL TUTORIALS BY PATRICIA / Add Buttons To Your Profile Page / How to make a calendar / Downsizing those example images on your profile page / Adding Examples (Card, Laminated, Matted, etc) To Your Profile / Add photos to your profile description / Adding emphasis to your text / Plus more tutorials!
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I think this image is something of an optical illusion. to me, it appears to bulge out, even though it’s concave. you decide.
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On July 21, 2009 this image was featured in the ImageWriting group. On April 22, 2009 this image won the California Challenge in the American Southwest Group. On April 1, 2009 this image won the Black & White Challenge in the Retired & Happy group. This image placed third in the Best Treatment challenge in December ‘08. The Golden Gate Bridge was barely visible in this dense morning fog. From a cliff overlooking the bay, the pillar was visible as well as a misty outline of the San Francisco skyline. Built in 1933, the bridge was completed 5 years later in 1937. It is a part of US Highway 101 and State Route 1, and is the only road to exit San Francisco to the north. A bit of trivia: The suspension bridge is 8,981 feet in length and is 200+ feet above the water. It has a total of approximately 1.2 million rivets holding it together. Another view of the bridge: ~ ~ ~ ~ ~ Please don’t copy or download this image. My photos may NOT be reproduced and/or used in any form without my written permission. If you want this photograph, I would be honored for you to purchase it. ©2008-2009 Patricia Montgomery | Bucks Mountain Galleries | All rights reserved.
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In my Painting the Masters series, at Shipley art gallery. This is a John Callow (1822-1878) Watercolour on hand-made Not paper. / 17” x 10.5”
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This was done at an art gallery called Art Garden in Okayama, Japan. An installation that was technically never installed. Performance art that was witnessed by no one so was it even performed? One could argue that neither ever took place. Good thing I was able to capture the evidence of its non-existence with my camera…. I had an opportunity to use the gallery space for some photos. Given the setting I wanted to create something that looked like a physical installation. This “structure” was drawn by me and my cohort and recorded by my camera. It is completely made of light and nothing else. It was gone the instant it was created. This image is straight from the camera. No photoshop was used nor any post editing of any kind was done. It was created using the light painting method. Numerous hand held flashes were strategically fired around the room to illuminate the space. A picture of the space during the day is visible here Camera: Canon EOS 40D / Exposure: 123 / Aperture: f/7.1 / Focal Length: 17 mm / ISO Speed: 100 This has to be one of my favorites art projects I have ever done… I had an A4 size printed of this and it looks incredible.
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Wild horses in Utah’s west desert.
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Wild horses in Utah’s west desert.
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City Life Series Italian painter, Bruno Garlandi, gallery in Groznjan, Croatia Work from my collection of painting – “Glagolitica”, by Bruno Garlandi di Venezia, Italy Groznjan, Croatia
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The Lower Gallery links the Dauphin’s Apartment rooms with the rooms of Madame VIctoire’s Apartment on the ground floor of the Palace Versailles, near Paris, France UNESCO World Heritage Site Featured by Historic Places – 29th Nov 2009 / Journal Featured by Art by Bubble Hosts – 29th Nov 2009 / Journal
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This work is made of many photographs in Photoshop
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