A Site for Emerging Artists
Interviews
A Gallery Director Speaks: A Day in the Life
Oct 22nd
Robert Patrick
By Carolyn Edlund
Artsy Shark is pleased to present Part Two of a three-part interview with Robert Patrick. He is currently the Director of Marketing and Wholesale (and in-house blogger ) for Linda Jones Enterprises in California, dedicated to the art of legendary film creator Chuck Jones. Robert has a long history of curating and producing shows, tours and events, including 12 years as a very successful gallery director at the Walton Street Gallery in Chicago. Robert graciously agreed to an interview focused on what artists must know about galleries, collectors, selling, and making presentations.
AS: Could you describe a typical day for a gallery director?
RP: I would have to say that a gallery director never has a ‘typical day’, but I think there are certain processes and steps that a director may take each day that insures the viability of the business of an art gallery.
My day usually began the night before. Before leaving for the evening, I would clean off my desk and I would write a short to-do list for the following day, leaving it neatly centered on my desk. The next morning, on the trip into town, I would do a series of visualization exercises focusing on the items that I wanted to accomplish that day plus I always visualized selling a work of art. I encouraged my staff to do the same.
Once in the gallery, I would consult with the staff regarding their plans for the day, delegate tasks to the back of the house staff (assistants and registrar), and drink copious amounts of coffee (alright, maybe not copious, but at least a cup or two).
If we were planning a show, there would be press releases to write, invitations to design, envelopes to hand-address, catering/flowers to 
order, art to install (which usually entailed a complete overhaul of the gallery—walls would need spackling and painting, etc) and although the back of the house staff would do the work, it was my responsibility to see that it was done as directed and as needed for that particular exhibition. Along with exhibition planning, usually a few days before (or even the day of the reception) we would meet with the artist for an exhibition walk-through. This would be a time for the staff and I to have some one-on-one with the artist, able to probe and discover new ways of discussing their artwork with our collectors. It also gave the artist the opportunity to make any changes to the installation of the show.
And of course, on a daily basis I would be in contact with collectors, either those walking in, those with appointments, or on the phone; coordinating deliveries and installations (a service we offered to all of our local clients), making presentations and handling T.O.s (turn-overs, art consultants would usually begin a presentation and then introduce me at a later stage of their sales process and I would either close the sale or offer details that enhanced the probabilities of the consultant closing the sale. It is a business after all and sales are the most important charge of the gallery director.)
As often as possible, after a consultant had finished with a collector, we would vet the experience; dissecting what worked and what didn’t. Why they bought what they did or why they didn’t buy anything. What the consultant could have done better. One day a week before the gallery would open, I would hold an hour-long all-consultant meeting where we would discuss upcoming events, work on sales presentations, and consider new and better ways of doing business. It is important that your staff, particularly the art consultants, feel that they have a sense of gallery ownership; that their voice and opinion matter to the success of the gallery.
And there is the merchandising of the gallery. Even without a specific show, I like to keep the art moving. At home I prefer the salon installation (a la ”Samuel F. B. Morse’s “Galleries of the Louvre“) and sometimes I would employ that technique in the gallery, depending on the artist and the work, but more often than not, we kept the art hung gallery-style (in a line, one after the other, with the occasional double-hang.) At an exhibition with an artist reception, the entire gallery would be devoted to their work for at least two weeks. After that we would start to reduce its size over the next couple of weeks, slowing adding our other artists back into the mix. If there wasn’t a special exhibit or focus, I would re-hang the gallery every two weeks (as well as changing the art in the windows), particularly because the majority of our clientele were local. When I directed the Circle Gallery in the Westin Maui, we re-hung the gallery less frequently as our clients were tourists almost exclusively and were in the hotel for three days on average, but change was still important in keeping the staff fresh and excited about the art we presented and sold.
The interesting thing about being a gallery director is that the job does not end at 5:30. After the gallery would close, there may be community outreach programs to attend, gallery openings, artist open-studios, all of which are about connecting and networking with your community. Although I believe in the power of social media to help network, there is no substitute for face-to-face communication; that is real community building and it pays major dividends when you are in the business of placing art into the homes and offices of those who love it.
Robert Patrick has agreed to speak individually with Artsy Shark readers who are seeking consultation about pursuing gallery connections and building their art careers. For a free initial conversation with Robert, contact him at rpatrick@lje.com.
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A Gallery Director Speaks: What Artists Must Know
Oct 18th
- Robert Patrick
By Carolyn Edlund
Artsy Shark is pleased to present Part One of a three-part interview with Robert Patrick. He is currently the Director of Marketing and Wholesale (and in-house blogger ) for Linda Jones Enterprises in California, dedicated to the art of legendary film creator Chuck Jones. Robert has a long history of curating and producing shows, tours and events, including 12 years as a very successful gallery director at the Walton Street Gallery in Chicago. Robert graciously agreed to an interview focused on what artists must know about galleries, collectors, selling, and making presentations.
AS: Collectors need to know about artists to be inspired to collect their work. What information do you suggest artists prepare to inform prospective collectors?
RP: As a matter of course, they should prepare a short, one page biography accompanied by a C.V. (curricula vitae) that would include education, exhibitions, press articles and awards. A current photograph of them, perhaps taken in their studio while they are at work would be an excellent addition. If they are emerging artists, I would recommend an artist’s statement, written in concise terms about what their art means to them, their artistic influences and how they answer the question that is a blank canvas.
If and when an artist begins a relationship with a gallery, it should be an imperative for the gallery owner/director to visit the artist’s studio (if possible.) They should take the time to understand their creative process, their technique, and their intent. The artist should understand that collectors want a story; it can be how & where they purchased a work of art, it may include a story about the art consultant or gallery director, but most importantly they will want to tell their friends why this work of art means something to them. And to do that, the artist must help the gallery by providing insight into what their work means to them.
An artist working without gallery representation is going to have to ‘sell’ themselves to a prospective collector. They are going to have to listen to what the collector is telling them and take that information and show the collector how what he wants is present in their work of art. They should consider comparing and contrasting their work with artists of note (“I’ve been influenced by Cézanne, but what I’ve done is taken his structure and freed it from its formality, making it less rigid and more fluid,” for instance.)
AS: What is the process that an artist goes through with a gallery to establish a working relationship? How is this similar to a sale to a collector?
RP: There are three rules that I believe artists often ignore when approaching a gallery and that I would like to reiterate:
- Carefully consider how your art will fit with the art exhibited in the gallery. If you paint flowers in vases in a photo-realist manner, it’s more than likely that a gallery which shows only abstract or conceptual work may not be interested. Find a gallery that carries work similar to yours. Research the gallery’s artistic philosophy before you submit your work; the internet was made for this kind of search.
- Never submit your art for consideration without following the gallery’s guidelines for submission which are more often than not posted on their website. If they aren’t I recommend a phone call to the gallery and politely ask for that information.
- Drop-in cold calls are unwelcome.
But let’s say, Gallery XYZ has called you after receiving and reviewing your portfolio and they say, “Let’s talk further.” You make an appointment, and then what do you do? They’ve called you for a reason: they like your art; they think it may have a place in their collection. Hurray! But now you have to close the sale. The steps of selling yourself to the gallery are identical to those of a consultant selling art to a collector.
- Greet: I don’t want to change your personality (or for that matter your personal habits,) but I do want to suggest that you take a good look at yourself before you leave the house for this important meeting. Present yourself as you would want your art to be presented. Professionally. Introduce yourself. Shake hands. Look the owner/director in the eye. Smile. Use their name immediately (that way you won’t forget later when you want to ask them to represent you.) Sit down when offered a chair. Be gracious. You may be doing business with these people for a long time (fingers crossed!)
- Mini-presentation: This step, along with #3 Qualifying, may be interchangeable or happen at the same time. It will include idle conversation on topics perhaps unrelated to you or your artwork. The weather, the local sports team, a compliment from you to them about the gallery. This is the time that you want to listen very deeply, your attention focused, laser-like, on everything they are saying (or not saying.) Of course, before the meeting you’ve done your homework on the gallery. Exhibition schedule, frequency of publication of exhibit catalogues, artists they represent, how long they’ve been in business. It’s okay to ask them about their gallery; how business is these days. This could be the time you say how happy you are to be here to present your art to them and how well you feel your work will enhance what they have been doing all these years.
- Qualifying: See above. Steps #2 & 3 are a time for you to establish your reputation, knowledge, ability, interest (as it will be for the gallery.)
- Major presentation: You should be prepared to speak about your work not only in the vernacular that is particular to this business, but also in a way that conveys your emotion and passion for what you do. What does a line mean to you? Why do you use a particular totem or fetish, what that means in relationship to the rest of the painting or works. What motifs are recurrent and why. This is also the time to brag about your successes: awards, exhibits, sales, and collectors of note (corporate and personal.)
- Answer objections: The gallery may not have any objections, but they may ask if you’re willing to paint larger, smaller, make prints, use a different color palette and you should be prepared to answer these questions truthfully, maintaining the integrity of your vision. At the same time you will want to make sure that if by painting on a larger canvas the gallery would be ready to take you on, that you don’t forego the opportunity. You might say something like, “I’ve never worked in that size before, tell me why you feel it would make sense for me to do so,” and listen to the answer.
- Trial Close: Trial closing is an important part of any sale; it is usually a statement or a question that implies ownership. “Tell me why you like my work.” “How do you see my work fitting in with your other artists?” “When could I expect a solo exhibition?” A trial close can happen at any time during your ‘sale’, I always liked to think that my “Hello, welcome to our gallery,” was a trial close.
- Close: Of course, it may not be necessary to ask them to represent you; after all, they called you. But, at some point, after all of the above has happened (or not) you might just ask them what their plans are regarding you and your art.
One caveat about submitting your art for consideration: It may take the gallery two months before they even have a chance to look at your work (the submission guidelines may give you a clue regarding receiving a response.) But I think if you have not heard back from them within 4 weeks, it would be perfectly acceptable to call and ask for your status. Be polite, not petulant (I know you know that, but it’s important to remember that a good, positive attitude will reward you.)
Robert Patrick has agreed to speak individually with Artsy Shark readers who are seeking consultation about pursuing gallery connections and building their art careers. For a free initial conversation with Robert, contact him at rpatrick@lje.com.
Secrets of Trade Show Success/Interview with Surface Designer Khristian Howell
Oct 14th
By Carolyn Edlund
Khristian Howell is a familiar face in the Art Licensing industry. She has exhibited at many trade shows, and has a lot of commercial success to show for her efforts. Not only does she create fabulous designs for many products, but she has business savvy as well, and has written an ebook to assist other artists who would like to pursue a career in this field. She graciously agreed to share some of her trade show secrets with us.
AS: Khristian, you are very involved in the world of Art Licensing. Who are your customers and what types of merchandise are your designs used for?
KH: I am currently licensed in fabric, online stationery, paper, tableware, scrapbooking, wallcoverings, lamps, and the list is growing everyday! Some of my current clients include Anthology Fabrics, Robert Kaufman Fabrics, Creative Converting, IMGS Wallcoverings, Alluminare, Tiny Prints, etc.
AS: Currently, you’re preparing to release your second ebook about trade shows. What’s so special about it?
KH: I am over-the-top thrilled about this new release called SHOWSTOPPER – Road Map to Rocking Your Trade Show. After writing Confessions of a First Timer, I got wonderful feedback and I was thrilled the book was energizing artists from all over the world. However, I also got loads and loads of questions and comments asking me to go deeper on a whole range of topics. What makes SHOWSTOPPER so exciting is that it is much more than just an ebook. This time I have created a tool that will literally walk you through all the key items you need to do to prepare for a show. On top of that I have included special video interviews with experts on topics you want to know about most like “Blogging for Artists” with Tara Gentile, and “File Management and License Tracking” with Tara Reed to name a few.
Topics and Action items will be delivered straight to your inbox 2-3 times per week for 14 weeks. This way you can concentrate only on the goal for that week, do it fully and cross it off your list without feeling immensely overwhelmed. The ebook in its entirety will also be included for your reference. Of course there is an option to use the ebook on its own, but then you will miss out on the videos from the amazing guest stars!
AS: Please share with us some of your secrets for creating a super-successful trade show experience.
KH: Sure, I’d be happy to. Here is my list:
- Presentation IS everything: Always think of your business as a brand. When you are designing the pieces of your marketing package for the show (booth, promo pieces etc.), make sure they all speak to and compliment each other. They should all make a cohesive statement about you and your art. You want to create synergy across all your platforms.
- Use social media. Don’t be shy! Use all the major social media outlets to let everyone know your are doing the show. Create excitement around the event. Let everyone know that you are excited about the show and your new work!
- Do your research. Contact the companies that you are really hoping to connect with at the show. Try to set up appointments in your booth with art directors. Taking the initiative to get on their calendars will show them your are VERY interested in working with them, and a potentially great business partner.
- Tell, don’t sell. You do not have to sell great artwork. Just be you, be excited, and be optimistic! Remember licensing is not a hard sell. You are at a show to foster and develop lasting working relationships, so be authentic.
- Have a follow up plan. The vast majority of new contracts will happen weeks or even months after the show. You must have a super organized plan for how you will follow up with the contacts you met. Often times it will take your diligent efforts to really seal the deal. Be prepared to take detailed notes on who was interested in what pieces, what is their timeline like, etc.
Artsy Shark has an affiliate relationship with Khristian Howell. Sales of her publications help to keep this blog alive and well.
Your Creative Flow/Interview with Tory Hughes
Aug 30th
By Carolyn Edlund
Tory Hughes is a polymer clay jewelry artist, writer, teacher and creative consultant living in Santa Fe, New Mexico. She inspires students in her classes to embrace their creativity and think in new ways, and she coaches artists to get unstuck and transform their careers, making their dreams a reality. We spoke recently, and she agreed to give her thoughts on creativity and keeping your creative energy flowing.
AS: How would you define creativity?
TH: Creativity is an inherent, ongoing human process that translates energy into form. Everyone does it, just as we all breathe (form into energy) and digest (form into energy). Not everyone translates energy into form consciously, which explains a lot about life on earth right now. Ideas into objects and events. Thoughts into words and images. Energy into form. This includes the classic definition of creativity as “the ability to produce something new through imaginative skill, whether a new solution to a problem, a new method or device, or a new artistic work”. But It goes farther: we generate everything we experience around us as we go through our lives. Innovation, invention, creativity, are all related. We can’t not create. However, we can create with increasing awareness and deliberation.
We can investigate what we really want to happen, and why. We can choose what is most important to us and go directly for that, rather than
being distracted by others’ ideas. Other peoples’ ideas about our creativity are like other peoples’ ideas about our breathing. They may be useful opinions, they may have helpful tools to offer: but ultimately we know better than anyone else what’s really going on in our hearts and minds. We may not want to accept it, or look at it clearly, but go deep enough and we know. So creativity is the transformative force that brings everything into being, and we, as elements in this flow, participate in this. Very cool!
AS: What causes artists to get creatively blocked?
TH: First, everyone goes through some version of this. The propaganda out there says that if you’re a real artist you never falter. This is ridiculous. All artists, all people, stumble occasionally. Life happens. We are all human, and we are all in this together. In my experience, blocks arise when there is a conflict between the sets of goals that are motivating us. In other words: What we really want to do is running headlong into what we think we should be doing. And we are resisting, naturally enough. In every situation I’ve seen, when people can investigate their blocks without judgement, they identify pretty quickly what they really want. This is almost always the right thing for them.
‘Shoulds’ are an indicator that we don’t want to do something, that deep inside we know that’s not the right thing for us. If forced to do it we’ll probably resist, procrastinate and sabotage the action. Blocks also tell us when we need to look at other areas of our lives, and bring things into balance. This is actually another version of the same conflict mentioned above. In other words: When we know we need to take time off from trying to make art – to rest, integrate new knowledge, nourish our relationships, deal with internal issues that we have been avoiding – yet we refuse and keep trying to work harder, we usually make things even worse. Our wheels spin, we smell smoke, we have the brake and the accelerator down on the floor and we still aren’t going anywhere. Yech.
AS: How can an artist work on overcoming confusion and their internal fears about creating?
TH: Everyone has their own path through confusion and fear. First, most important, is to stop beating yourself up for being where you are. The panic and anger of beating yourself up feeds the conflict- more energy goes to the confusion and fear. We automatically translate energy into form, right? So we feel worse, and things around us get worse, and it’s all a mess. So just let that one go. Got it? Let. it. go. Second, breathe, drink more water, go for a walk in nature somewhere, the more the better.
Third, make sure you know why you are creating. There are no wrong answers to these questions, no matter what you may have been told: Why do you create? What is your intention for creating this particular thing? What is most important about it? What do you want to happen? What result do you expect? Is your choice of media and expression most likely to get you to this result? When you aren’t clear and solid in your intention, you aren’t clear on what you want to happen. As you go along, you have no end point to measure your progress against. And once you get somewhere, you can’t be sure whether this is the right place or not, because you never picked ‘the right place’ by selecting an intention.
Fear is the tool used by the programming in our heads to keep us from doing something new. There is a part of all of us, an area of our brain, 
actually, that perceives all new things, all change, as threatening. Check out Seth Godin and the lizard brain. Notice the irony? Creativity is defined by bringing the new into existence. But that’s what we do! Artists are on the edge of the cliff most of the time, looking over it to see what we can create. Therefore, we’ll always feel an edge of change, of newness. Usually we get nervous or anxious. However, we can choose how we interpret this energy of change moving around in us. We can perceive it as excitement – Wow, the new, change, excellent! – or fear – Oh no, the new, change, I can’t do this. Remember, we translate energy into form. We can do this deliberately. Choice is our tool. Navigating that inner conflict between our imperative to create, and our (antique) programming to never create, is done by our choices. In the end it’s all choice. There are no wrong answers.
AS: Do you have any final thoughts on emerging artists empowering themselves and their creativity?
TH: You are here for a specific creative purpose, whether large or small. Trust this. Your feelings are your guide along this path. If your heart and mind united say to do something, NO ONE has the right to tell you to do something else. If your fears are harassing them, paint or draw or write them into form, then tell them to leave, so you can get on with your life. Know your intention. Act on your intuition. Ask for help when you need it. Accept your unique gifts, and your power.
Break Free from Worry/Interview with Karol Ward
Aug 24th
By Carolyn Edlund
Today is the tomorrow we worried about yesterday. ~Author Unknown
Karol Ward
Are you a worry-wart? With our economy in the tank, it’s very challenging to sell art. Life becomes unsettled, and worrying has become more common than ever. Fear not, says nationally known speaker and psychotherapist Karol Ward, who is the author of the book Worried Sick: Break Free from Chronic Worry to Achieve Mental & Physical Health
AS: Please explain the types of worry, and the most common sources.
KW: There are two different kinds of worry that are the most common. The first is chronic worry, which is a constant, on-going feeling that does not go away even if there are not specific reasons for the feeling of worry. It is a feeling inside that gets projected or placed upon the outside world. I describe chronic worry as the feeling that the person experiencing it is wearing a pair of “worry glasses” that they view their circumstances through. Everything seen through those lenses is a cause for concern and the wearer is on-guard in anticipation of a “worst case scenario”.
This type of worry usually stems from core beliefs learned in childhood, trauma or series of traumas that result in the perception that the world is not necessarily a safe or comfortable place to live in. Chronic worry can be viewed as a coping mechanism used to handle the fear of the unknown.
Situational worry is the second kind of worry that people experience. This worry happens from the outside in. Upsetting events and situations occur that stimulate a natural “worry response”. However, this response is not static and is not the person’s usual mindset. This type of worry encompasses personal and professional circumstances and can be short or long term. Health issues, the economy, financial, career satisfaction, and relationship glitches are all examples of situational worries.
With this type of worry, there is the understanding that the worry comes from a specific cause and when that issue or problem is resolved, the worry will shift. A person experiencing situational worry is also able to take in another person’s perspective on their issue and feel a shift in mood. Though some situational worries can be long term, there is still the understanding that the circumstance is the cause of the worry as opposed to the blanket feeling of anxiety associated with chronic worry.
AS: Artists often have sporadic or uneven income from their work, creating feelings of insecurity. How can they change their mindset to deal 
with this?
KW: In my practice, I have treated many artists who feel shame and embarrassment over the fact that they are not successful yet or do not have the consistent annual income that others do. I support them by having them explore and ultimately dismantle their belief in an economic standard that will never work for them. Then we work on defining what success looks like specifically to them and to recognize the signs and steps that would help them realize they are moving forward. These steps are unique to that artist and acknowledging them helps the artist nurture their specific path.
Also, in my experience, artists often overlook one of their greatest strengths that people in other fields do not or cannot handle. That strength is the ability to balance the passion of their work with the resiliency needed to weather economic insecurity. Now, I know many artists would rather not experience the insecurity that comes from having to worry about income but it is often a consistent aspect of an artist’s career. It seems funny but during tough economic times, I have known many artists who can handle the worry and stress better than those in more traditional fields. That is something artists can be proud of, which helps them with their core perception of who they are.
AS: Quite often the artist doesn’t “fit” into society’s definition of success, and has a lot of self-doubt. What coping mechanisms can be used to overcome this?
KW: As I mentioned earlier, I am a big believer in defining what success looks and feels like to that specific artist. This will be different not only in contrast to other fields but also among artists. So, first it’s important to let go of trying to fit into society’s definition of success. Then I have them try a version of the specific exercise below.
- Find a comfortable spot to sit and relax
- Close your eyes and breathe in through your nose and exhale slowly through your mouth 3 or 4 times
- Ask yourself if you were to achieve success tomorrow, what would it look like? (Be specific with this in terms of recognition, money or lifestyle)
- How would you notice that your life was different?
- How would you feel?
- What is one step you could take that would help you notice you were moving toward that vision of success?
- How would it feel to take that step?
- When will you do it?
One other suggestion I make is for the artist to surround themselves with people who inspire and support them. It is important to be around others who, even if they are not specifically artists, are open to the possibilities of life. While there is certainly room for the times when we all feel negative and insecure, it does not serve us to constantly be immersed in the impossibility of life rather than the possibility.
AS: What would you suggest for artists who feel conflicted about pursuing the business and self-promotion side of their work?
KW: Explore those ingrained beliefs about business and self-promotion. Who did you learn them from? How does not embracing the knowledge needed to be a success in your career benefit you? Sometimes hiding our gift’s from the world are something we learned earlier on and in reality are not who we are today. Sometimes it reflects a fear of losing control of the familiar world we live in now.
It’s important to explore what losing control would look like and is it really as scary as where our imagination takes us. Artists should also educate themselves by reading about how others they admire got there – even those in other fields. There are also some great books about the emotional relationship people have with money. You don’t have to be an expert in accounting or business to be a success, but you do need to be open to learning about how you view it. The more comfortable you are with what you want, the better choices you will make in regards to who you feel comfortable with in helping you achieve the success you want to create.
AS:What are some of the effects of chronic worry? How can we dig ourselves out of this cycle?
KW: Chronic worry affects people physically, psychologically and behavioral.
- Physical effects include: Muscle tension, headaches, stomach problems, jaw pain and digestive issues.
- Psychological effects include: Nervousness, irritability, tearfulness, low grade anxiety, negative attitude.
- Behavioral effects include: Over or under eating, over drinking, working, shopping, or spending. Sleep disturbances and or withdrawal in personal relationships.
I recommend tapping into what I call the Three C’s to help with worry.
Calmness: Finding ways to achieve physical calmness through some form of movement or through specific breathing exercises.
Clarity: Exploring beliefs or creating specific plans that makes the artist feel more in charge of their life.
Community: Connecting to resources or people for emotional, mental, and spiritual support.
Remember the goal is not to eliminate worry from our lives because that is impossible. Worry is a normal response to things we need to pay attention to that are causing us concern. What we are aiming for is managing, understanding and reducing worry so that it does not take over our lives.
Featured Artist Julia Hacker
