Here are a few pointers I can offer for those who want to have their work considered for gallery representation…..any gallery. Save yourself some frustration and do your due diligence.
– Make sure you either visit the gallery or the gallery website. Try to make an honest assessment about whether your work may fit in there. For example, if you are a portrait painter, and they don’t carry any figurative work, it might not be a good fit.
– Contact the gallery to ask if they are open to considering new artists and if they have a submission policy. Nearly every gallery will.
What I think is so riveting about the best of artists – that they see something to immortalize that even the casual observer might overlook. And yet, once seen in the artwork, we all become better observers.
There is some kind of misconception that an artist needs to be humble and self effacing when they receive a compliment about their work. Truth is, I love my work. Looking at it, I can see the flaws, but I also can stare at it in wonder knowing that I created it. That feeling does not get old. And it thrills me to no end when someone else tells me that they like it too. and I want to dance with joy when they purchase it. I am no longer willing to look like I am all blase about it. So I want to change my response to that compliment. I want to squeal with happiness and I want that person to know how much it means to me to hear it. So, here is me dancing with joy and saying Thank You to all who take the time to comment on my work. It just fills me with joy.
“Vintage: Caballero” – from the photo shoot of the Royal Hermann’s Lipizzaners from some years ago.
Personally, I adore this image. In my estimation, it combines the modernist principals I aim for, with the feel of early photography. A nod to some of the heroes of the medium. And it retains all of the characteristics of what fine art equine photography can be. Although some may object to the terminology “Fine Art”, I feel it is a very valid phrase that identifies work whose purpose/intention is quite different from documentary, commercial or journalistic photography.
The second significant point about this image, is that it is the first one that was found being used without my permission. So my first real exposure to copyright infringement. And the first time that I attempted to protect my intellectual property. Alerted by a good friend, it was used without permission, as a reference for a commercial mural and then an image of the mural was used to promote the painters business. So multiple layers of infringement. Unfortunately it was also the first instance where I learned that as a “little guy” the only person who was going to make any money or real headway from my attempt to receive any proof that the work was destroyed or compensation for it’s misuse, was my lawyer. An unhappy truth that played itself out a number of times since. So much so, that I have stopped looking for instances of infringement of my images. Even though a number of them are now registered with US copyright.
To see more of my work visit my website at – Juliet R. Harrison Photography
I am full of errant thoughts today.
In Fine Art, I feel strongly that there is a difference between pathetically cute and provocatively naive.
I used to believe that one should never dress in all black. In fashion, I now believe I should do whatever the fuck I want.
An interesting question from a fellow artist…Do you buy art and what do you use to judge whether the work you are buying is worth what you are paying for it?
I do, and as long as I can afford it, I buy what speaks to me. But as a gallery owner, I also know that others don’t always feel they can trust their instincts about art and it’s value. They judge monetary value by the judgement of others. And often, that is the value for an artist being in a gallery. Buyers use gallery representation and prices as a measure of of legitimacy. As if someone else has vetted it first, so it must be good. Judgement via the marketplace. Has it ever really been otherwise in the general population? I think that most people feel inadequate in the face of ART. Don’t understand that if they love it and can afford it…that is all that really counts in the purchase equation. I carry work in the Equis Art Gallery, that I love. The artists set the price based upon what it has been selling for in the marketplace. And I feel strongly that for collectors and art lovers…..buy what you love. Don’t concern yourself over perceived value. Does it touch you? Can you afford to own it? When you fall in love with artwork, the value is that it has touched your heart, your mind and maybe even your soul. And I know it sounds trite, but that is priceless.
“Bodhi in the Sky” was shot on 2 1/4 film. This image is a part of my growing attempt to learn to see square. It may sound odd to those who are not “photographers”, but our “vision” gets completely intertwined with and determined by our technical tools of choice. (No different then an oil painter who envisions work based upon the properties of oil paint) We learn to see images based on the equipment we use. I have been using 35mm film for nearly my whole life. And I tend to crop mostly in camera. Meaning, I usually keep pretty strictly to the shape and image as it comes directly from my camera. So, using a medium format camera is an exercise in learning to see differently. And that, for an artist, is challenging and important in our creative evolution.