{"id":1563439,"date":"2025-03-24T22:05:18","date_gmt":"2025-03-24T22:05:18","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1563439"},"modified":"2026-04-29T09:54:54","modified_gmt":"2026-04-29T08:54:54","slug":"expert-advice-on-working-with-galleries","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2025\/03\/24\/expert-advice-on-working-with-galleries\/","title":{"rendered":"Expert Advice on Working with Galleries"},"content":{"rendered":"

Working with galleries is something many artists aspire to at some point in their career but can feel on the back foot as the road towards it is very unclear. In this article, I will address the most asked questions by Jackson\u2019s blog readers including how to identify the galleries that are a good fit and how to approach them; how to get discovered by galleries, exhibit internationally, and what it means to be represented.<\/p>\n

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Expert Advice on Working with Galleries<\/h2>\n

What Does it Mean to be Represented by a Gallery?<\/h2>\n

Commercial art galleries operate in different ways so there are various forms, and time periods, of representation. Some galleries will have a fairly constant roster of artists that they exhibit in rotation and take to fairs. Others will host a string of solo exhibitions and group shows without \u2018holding\u2019 stock of any artist’s work. This will indicate whether the representation is ongoing or sporadic, so think about the kind of relationship you want. Are you looking for long-term nurturing? Or would you rather be less committed? In both cases you can work with multiple galleries simultaneously, as long as you don\u2019t have an exclusivity deal. It\u2019s healthy to seek more than one gallery to ease the pressure and find audiences for different bodies of work. But be mindful not to spread yourself too thinly as this can bring diminishing returns.<\/p>\n

Both routes have their merits but from my experience of running a gallery, there is something very special about ongoing representation. You have the gratification of building something together with your combined skill sets. It comes with the support of being nurtured by a dealer in between exhibitions. As long as it\u2019s someone whose opinion you trust, this can dramatically help the development of your practice, and professional journey. <\/p>\n

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The gallery is arguably more invested \u2013 they are putting time and resources into promoting your work. Every inch of a gallery wall and fair stand costs money, and there is no guarantee that any of the work will sell. This is why galleries need to be so choosy as it comes down to a financial risk on their part. It\u2019s also worth being aware that the gallery may try to guide your work in a particular direction that suits their audience. There are various responsibilities when being represented by a gallery \u2013 the artist is required to produce consistent work and the gallery needs to maintain a market for it. Whether you have a contract or a handshake, you are entering a partnership that requires an even level of commitment.<\/p>\n

You may feel like that\u2019s more than you\u2019re willing to get involved with, which could encourage you to take the route of one-off gallery shows and independently curated exhibitions. In this model, working with galleries can be more ad hoc but no less advantageous.<\/p>\n

Identifying the Right Gallery for You<\/h2>\n

Once you have worked that out, it\u2019s all about research. This is by far the most important part of the process and it often gets rushed. It\u2019s not about working with any<\/em> gallery or your ultimate dream gallery but the right fit for your work and stage of your career. Here is a helpful checklist of criteria you can work through:<\/p>\n

1.<\/strong> Location: where is the audience for your work? <\/p>\n

2.<\/strong> Price point: do your prices align with those in the gallery? <\/p>\n

3.<\/strong> Aesthetic: can I visualise my work on these \u2018walls\u2019? <\/p>\n

4.<\/strong> Roster: what stage of career are the artists at?<\/p>\n

5.<\/strong> Link: what\u2019s the connection between your work and the work they show?<\/p>\n

6.<\/strong> Exhibition schedule: what kind of shows do they do \u2013 solos, group shows, online collections?<\/p>\n

7.<\/strong> Ethos: does your work have strong values that need to align with your representative?<\/p>\n

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Approaching Galleries<\/h2>\n

While there are some galleries who can be snooty about receiving emails from artists, it\u2019s a myth that artists shouldn\u2019t approach galleries. Remember, you are bringing them a partnership opportunity so think of it less as a submissive request and more of a business offer. If they really are a good fit, they would be foolish not to consider your work. Wait until you have a clear, cohesive body of work to present. Always check their website for application instructions. If it doesn\u2019t say, I believe an old-fashioned email with an attached catalogue of selected available works is still worth doing. If you can, visit one of their exhibitions or events first to see how they operate in the world and make human contact. If that\u2019s not feasible you can try to engage on social media. Laying the groundwork first will really help your email stand out more in the inbox.<\/p>\n

Getting Discovered by Galleries<\/h2>\n

Ideally, the gallery comes to you, after all, they want the satisfaction of having \u2018discovered\u2019 you. So look out for open calls. You can consider the bigger institutional ones but it\u2019s potluck who comes to the show. Whereas lots of commercial galleries are running them as a way to discover artists. It\u2019s the perfect way to get your work in front of them as they<\/em> have specifically asked for it. You can also create your own opportunities. Group shows are great, as galleries are more likely to come and see multiple artists than a solo exhibition. This can be an art fair or an artist collective. Show them what they could have, wrapped neatly in a bow. <\/p>\n

The term \u2018vanity exhibition\u2019 is thankfully dying out and it\u2019s no longer frowned upon for artists to put on their own shows. Just choose the venue carefully and make sure it\u2019s somewhere there is footfall unless you can do a big marketing push.<\/p>\n

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Exhibiting With International Galleries<\/h2>\n

One blog reader asked whether you need a manager or dealer to show in New York and the simple answer is no. You can apply for an international gallery in exactly the same way as above. You just need to think about the logistics. This is something the gallery should help with, though shipping to the gallery is usually the responsibility of the artist so you\u2019ll need to be clued up on the import process. New York galleries often operate with contracts and it\u2019s important to get advice before entering into anything binding. Independent art dealers can be helpful for connections but the more people involved, the more commission you might be required to pay on sales.<\/p>\n

We have really just scratched the surface but I hope this shines a light into what working with galleries looks like. Remember, galleries would be blank walls without artists, you<\/em> are the stars of the show so you<\/em> have the real power. <\/p>\n

Expert Coaching Webinars With Claudia Kennaugh<\/h2>\n

Over the past few months, we asked the Jackson\u2019s community what they wanted to know most about building a career in art. Based on your responses, we\u2019ve created six webinars in collaboration with Claudia to explore these key topics. Each session is packed with valuable insights to help you grow and succeed as an artist, plus a live Q&A where you can ask your own questions.<\/p>\n