by Alyson Stanfield on February 8, 2010
Too often we flounder because we’re afraid of asking someone to clarify instructions for a grant proposal or exhibit submission. We’re afraid of the answer, so we’d rather guess. Or we’re lazy. Asking makes you look smart. Here are four benefits of asking for clarification. Here are four benefits of asking for clarification.
by Alyson Stanfield on December 1, 2009
If you’re not being paid by a gallery you know is making sales, your reaction should depend on the answers you give for the five questions in this article. While consignment contracts are vital, they won’t help you if the gallery doesn’t have the money to pay you. Think about the relationship you have with the gallery right now and what you want that to look like in the future.
by Alyson Stanfield on November 5, 2009
If someone found you on a gallery website, do you owe your gallery a finder’s fee? How do you know? Does it make a difference if the client wants a custom painting that doesn’t yet exist?
by Alyson on April 13, 2009
You’ve done a lot of research to find galleries where your work fits, so don’t blow the submission process. While there is no standardized format for submitting your portfolio to galleries, you can earn points by being professional from the get-go. Find out what the gallery wants and follow its wishes to a T.
Many galleries [...]
by Alyson Stanfield on August 18, 2008
Jennifer McChristian, The Chair. Charcoal on paper, 14 x 11 inches. © The Artist
Our local schools have started back up and university students are moving into campus housing. It’s also a time when I notice a spike in activity on my Web sites and interest in my classes. It’s time to go [...]
by Alyson Stanfield on August 4, 2008
Priscilla Fowler, Dispersion, 2008. Sepia ink and ink wash on painted paper, 24 x 30 inch detail of 15-part drawing. © The Artist
Most galleries don’t count on a single artist to survive. Likewise, most artists can’t count on a single gallery, retail outlet, or exhibit venue for their survival.
Have you been putting too [...]
by Alyson Stanfield on July 7, 2008
Martha Marshall, Harbor Triptych. Acrylic on canvas. © The Artist
From the moment a work of art enters a museum, it is treated as the special one-of-a-kind, irreplaceable object it is. It sits in a crate in the loading area and acclimates to its new surroundings. After sufficient time has passed, it is uncrated by [...]