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Thread: LENS 2013

  1. #21

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    Well I donated my $40 to the gallery LOL. I'm in the local area and have visited the gallery a few times. Nice people and I hope they make enough money to keep going. I'm not trying to sell anything. My photographs have been looked at by enough people that I know I'll never get a one person show at anyplace but perhaps the local library. These pay to play shows give me something to do with the pictures. And I like to support the local art centers that put them on. Plus they are easy enough to enter. A lot of work to try and sell your stuff to a commercial gallery.

  2. #22

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    Quote Originally Posted by eddie View Post
    The idea that you're going to be "discovered" just because your work is amazing is pure fantasy. If you want to have a chance of getting into the better galleries, and have professional representation (before you're a "name"), you're going to have to have a CV to send with your portfolio. This CV will need a history of exhibitions and/or competitions.Without a history, they won't be interested. The better galleries are looking to have a relationship with the artist. Part of it is seeing a history of commitment to their art- more than a few years. The better galleries will spend a lot of money promoting their artists.
    I don't think anybody is disagreeing with you on this. It's also defending the status quo, which I think needs to change, and is changing. Gallery "needs" a CV? Fair enough. Let me see a CV of their successes in getting their clients exposure and sales. (Oh, wait, Just who is the client in this exchange? The guy whose photographs are on their walls 24/7? Or the customer who walks in on a lark and gets out his wallet?

    If the gallery participates in something like Art Basel Miami, they can spend more than $10,000 exhibiting just a few artists.
    This is not that level of a gallery, is it. I'm sure there's some stars out there but they are vastly outnumbered by galleries that know very little about marketing. Galleries who are very hesitant to really push an unknown artist, perhaps not even educated enough about Art's idiot bastard stepchild, Photography. Been in plenty of galleries where some solid photography was hung so as to be almost invisible while prime real estate was given over to repetitive garish acrylics and second-rate brown pottery.

    Sales may be rare at the show, but it can lead to other sales. I had 2 pieces hanging in a competition far from me. A couple checked out my website, and bought 3 photos, totally different than what was exhibited.
    I would suggest it was your website that made the sale, not the gallery. You probably aren't going to get rich via Etsy, but the Internet lets you get to millions of eyeballs. It's been a new world out there for a while. I doubt galleries want you to realize that.

    I happened to take first place, too, and got a bit of $.
    Congratulations. Really.

    LENS 2013 is legitimate. It's well know among photographers who do enter competitions. Being accepted looks good on a CV, and would open up the Chicago area to those with no exposure there.
    I'm not suggesting anything else. I'm saying the old ways need to die. If galleries want "relationships" then they need to show the artist a real CV too. AND, they need to alter the fee schedule until such time they can prove to the artist that they can deliver the clients so the work can deliver the sales. If the work sucks they need to say so and turn the artist out, and not make up some excuse to themselves to hang it anyway because the electric bill is coming due.

    At some point you have to have confidence in your work and aspire to more...
    The gallery mule method is the only way to do this? To gain confidence? To move on? That's ridiculous. Twelve years ago I sold two 16x20s for $130.00 each at a company art show in my employer's lunch room. Those checks gave me more confidence than any gallery up to that time. There's lots of roads twixt here and there.

    Regards,

    s-a
    I photograph things to see what things look like photographed.
    - Garry Winogrand

  3. #23
    eddie's Avatar
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    Legitimate competitions are a great way to get your work seen, and evaluated against others. Of course, there are scams out there, but a little due diligence will tell you which is which. This one is legitimate, and the implication that it's a scam is unfair.

    Quote Originally Posted by semi-ambivalent View Post
    I don't think anybody is disagreeing with you on this. It's also defending the status quo, which I think needs to change, and is changing. Gallery "needs" a CV? Fair enough. Let me see a CV of their successes in getting their clients exposure and sales. (Oh, wait, Just who is the client in this exchange? The guy whose photographs are on their walls 24/7? Or the customer who walks in on a lark and gets out his wallet?
    If a gallery is interested, you'll need to do your research. You need to talk to the other artists they represent, and find out how well the gallery is doing for them.

    Quote Originally Posted by semi-ambivalent View Post
    This is not that level of a gallery, is it. I'm sure there's some stars out there but they are vastly outnumbered by galleries that know very little about marketing. Galleries who are very hesitant to really push an unknown artist, perhaps not even educated enough about Art's idiot bastard stepchild, Photography.
    I think you're confusing exhibiting with representation. A competition is not for having the gallery market your work. It's for you to market your work by being seen in a venue you'd have no access to otherwise. A rep/agent markets your work. This is one way to get your work seen by reps.


    Quote Originally Posted by semi-ambivalent View Post
    I would suggest it was your website that made the sale, not the gallery. .
    Without hanging at the gallery, the couple would never have seen my website.



    Quote Originally Posted by semi-ambivalent View Post
    Congratulations. Really.
    Thank you. Looks good on my CV.



    Quote Originally Posted by semi-ambivalent View Post
    I'm not suggesting anything else. I'm saying the old ways need to die. If galleries want "relationships" then they need to show the artist a real CV too. AND, they need to alter the fee schedule until such time they can prove to the artist that they can deliver the clients so the work can deliver the sales. If the work sucks they need to say so and turn the artist out, and not make up some excuse to themselves to hang it anyway because the electric bill is coming due.
    Like I said, you have to research the gallery, too. When the work sucks, they let you know by not taking you on. Legitimate galleries/competitions won't accept crappy work to pay the electric bill. If it doesn't sell, they won't get any money.



    Quote Originally Posted by semi-ambivalent View Post
    The gallery mule method is the only way to do this? To gain confidence? To move on? That's ridiculous. Twelve years ago I sold two 16x20s for $130.00 each at a company art show in my employer's lunch room. Those checks gave me more confidence than any gallery up to that time. There's lots of roads twixt here and there.
    There are a number of ways to make a few bucks from your work. Galleries, art festivals, flea markets, lunch rooms, sales to friends.... My point was that, at some point, you'll need to see how your work stacks up against others work. One way to do it is by entering competitions. $40 (or so)in entry fees isn't a lot of money to invest in yourself. If accepted, add the cost of shipping (most likely both ways). Framing costs are negligible. Either the work sells, or you get your framed piece back, and can use it again. One way to keep shipping costs down is by determining the size of your entry by the distance it needs to be shipped. For me, if the competition is far away, I enter smaller pieces. Closer and I enter larger ones.



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  4. #24
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    LENS 2013

    February 28th through March 31st
    Join us on Saturday, March 2nd between 5 and 8 PM for the opening of our LENS 2013 International Juried Photography Exhibition! LENS2013 was juried by Karen Irvine, Curator and Manager of Publications of the Museum of Contemporary Photography at Columbia College Chicago. Our gallery is located at 1310 1/2 Chicago Avenue in Evanston, IL.

  5. #25

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    Mark, Just curious. Any idea of the digital to darkroom ratio of the accepted prints? Any APUG's get in?

  6. #26
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    Chuck, In the past couple of years the digi vs. DR prints ran about 70-80% digital. I saw some of the images chosen by Karen Irvine and though not sure, I expect most are digital. Not sure about any APUG's chosen either. I'll let you know when I find out more.

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