Post #200! Yikes.
Back from Yorkshire for a day and just catching up on cataloguing/admin/invoicing and general life. Someone drove into the back of my car on Saturday night so I have a very sore neck and have been pretty fed up about the timing of it all. Going all that way in my little red van has not felt the most reliable way to travel! Anyway, everyone was fine, so that’s all that matters really, insurance should sort out the rest, although my third party managed to give me some dodgy contact details, so hope the debt collectors can find her!
A piece of the art prize work got broken on Friday too, so that didn’t help my mood. It bothered me more than I expected, although I knew having delicate casts on the floor was asking for trouble. Going to replace it today, although the new version is not as good as it’s been made in a rush. Oh well!
I saw this today on a-n: Gallery, dealer and agent agreements.
I thought it was a good read, and importantly stressed the importance of the two way relationship. I felt lucky this year to speak to two gallerists about the way they work: Ceri Hand & Kate MacGarry. They were both keen to demystify the whole process and it was nice to see that they are just people working with other people (artists).
I interviewed Ceri briefly, when she was kind enough to spare a moment during a busy day at the gallery (preparing for imminent art fairs, mid-visit with Rebecca from Saatchi and all on her 40th birthday!). I was pretty distracted by her amazing dress, so was glad I recorded the conversation. She described her relationship with her artists a bit and how they had all developed together since the gallery opened. Kate MacGarry said similar, as most of the artists she represents have been with her from the start. Ceri also talked about studio visits (saying that a lot of artists, especially in the North, seem to have little idea what is expected during one), and the difference of choosing work for art fairs over exhibitions and that a lot of artists need input on this. Sounds good to have such a critical friend/gallerist.
Ceri also stressed the importance of artists knowing what is appropriate and the fact that respect goes two-ways. So, if you want a gallery to look at your work, do your research on them first and don’t rock up asking for a job if you haven’t even set foot in the place. Also, turning up with a portfolio randomly is not the best idea.
In the a-n article, they mention the fact that these relationships are never static – so pretty much the same story as with all other aspects of being an artist! I think I have come to realise since I graduated (in 2001), that having a gallery is not the be all and end all. There are plenty of other ways to make a living or exhibit or work. They may not come with much support or input, but they exist. I may start looking for some more critical friends though – people have asked whether I have had any feedback from the art prize show and I can’t really say I have. Not any that I can 100% believe as most of it was heard at the opening.
I’m going to have to carry this on I think… next post…..
