www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

For artists that rely on sales this is a major concern. Known for something, making
sales… what kind of response will you get if you change directions?

Legitimate concern---yet I don’t feel it is right to let that hold you back. Once
again allowing for risk-taking can lead to better results that you might imagine.

We fear rejection yet if the work is better, we should proceed.
It can lead to a new audience, and being seen in a better light, perhaps more
developed, sophisticated, on a new level

Hardest to navigate is the transitional phase when you have not yet hit stride with
new stuff. Be patient and open to continuing to show older work until the new
stuff has reached a similar level of accomplishment.

General advice for navigating public showing of new direction:

GALLERIES: may mean loss of a gallery—but galleries need to serve us as creative
people just as we serve them with our work. Part of that is giving new work a
chance.

But even if the gallery goes along with it, it may not be right for their clientele. No
guarantees with change. Need to trust in the process.

It may also be a welcome change, bringing in new collectors or reviving interest
from older ones.

Shows your growth and seriousness you give your career, you are not just
producing

IN FACT the change may not be as dramatic as you perceive it to be, or there is
still strong connection to older work so both may be shown together (Atlanta
show) Changer is internal as well as external and you may feel it more than others
see it.

Big noticeable is a risk worth taking--such as moving from realistic landscapes to
non-referential abstract work –could be seen as positive, interesting move by
gallery OR flat out rejection.

Be prepared for either. Put your work first. Know that it will find its audience.

Make sure the new work is as well-developed as older stuff; don’t try to show it
too early in the transitional phase or you may impede its acceptance

For already-scheduled show: do you need to focus on getting the new work to the
point of exhibition? It’s the usual urge--we tend to think our current work is the
best and want to show that.

If at a commercial gallery get their input and realize it’s a business; they may
decide to hold off on the newer work or mix with older.

Not good to pull a total switch if direction just before a show. Allow them time to
adjust to the change if they do not embrace it.
save out enough of the older work if necessary. Send images of the newer work to
get the response.

At a self-curated show/noncommercial—much more leeway. Set your goals and
go for it.

If you need to include older work and newer work in a show it can be presented
as two different series-- allows viewers to make connections between the two.

Consider making separate sections on your website for the two bodies of work
but if not clearly related, let the older work drop off as soon as newer stuff is well
underway

Know that you may be asked to go back to an older style by a collector or gallery.

As in, “can you do some more of those realistic landscapes?” how will you
respond?

Maybe fine if you’re not firmly settled into new approach,

OR some people do work in more than one style, always.

Individual decision.

Conclusion: change is a necessary process and try to embrace it in positive ways
but be prepared for some obstacles in its marketing. They may or may not
happen—BUT if it’s truly a change for the better believe that good things will
follow.

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Podcast notes—exhibit prep

Focus for the podcast on a show where you have 8+ pieces; a small group,
two person, or solo show

Getting a show:
Are you ready??
Request from your gallery if not asked
Proposal to non-commercial space = find out requirements, write
proposal/statement
Consider how much time you need to produce the work

Exhibit categories:
Group show with colleagues at non-commercial space
Group/2 person at a gallery --they will probably choose who you show with
More and more common to NOT have solo shows
Be open minded about who they pair you with

STEPS to a show:
How much lead up time are you given, varies from over a year to a few months
Maybe a theme or just a selection of your work

Early on:
Find out the expectations for the size and number of pieces; this is usually
flexible; if you want to include something you are already working on
Ask for a timetable of when the gallery will want certain things: these include list
of pieces, prices, artist statement, publicity photos (work and you) put these into
your own calendar
Ask if you have any $ obligations for the reception/costs/announcements
Will there be an artist talk
Date of opening reception--Think about whether/if you can attend. Lay some
groundwork for travel, clear the dates, etc.
Publicity: Usually they will want some advance publicity materials even if you are
still working on the paintings—send image you think will be included (anecdote)
Always good to have some bio pics on hand/you in studio etc.
Send Updated resume and bio—check to see if they are using something out of
date; sometimes they don’t ask just take from the web

Closer to the show, or according to the timeline:
Self-promotion on social media; don’t rely on the venue to do it all
Artist statement specific to the work; is there a theme, something that ties it
together? Listen to our podcast on the topic,
Choose the work or the venue to do that—if you do it, you want cohesive but
with some variety; try not to include anything you don’t consider as good as the
rest just for the numbers.
Price list—consistent with prices elsewhere and within the list itself
Double check for accuracy
Mention to gallery if you are raising prices from what is in their current
inventory
Most galleries can adjust numbers/sizes to what you want to send, don’t be afraid
to ask

Prep the work:
Framing works on paper/unless frame is part of the overall aesthetic, keep it
simple/neutral
Preparing panels and stretched canvas—framing not usually necessary for
anything but small work; small work maybe/maybe not, consult with gallery
Wood panels—sand and clean up, wood treatment up to you
Canvas—touch up stains and splatters, somewhat optional depending on
the aesthetic of the work, clean vs. expressionistic, opinions of gallery
Wire the back, use good wire and d-rings, no clip type hangers or cup hooks
Sign work somewhere, back/front options
Title
Copyright symbol and date/optional
Wrap for transport of shipping/nonstick paper or foam over the front; encase in
bubble wrap ---allow plenty of time
Can just use blankets if transporting in car but best to wrap in plastic at least.
Consider how you would deal with the work if your car broke down or was in an
accident. Will you need to bring it into a hotel overnight if travelling in extreme
heat or cold?
Decide what to wear to the opening!

At the reception: do your best to be friendly, chatty
Be on time
Look nice
Don’t be discouraged by lack of sales at opening
Ask gallery person to introduce you to people/ they don’t always think of this
It’s tempting due to social anxiety, but do not just ang out with your friends or
drink too much
Do not pass out your own business card

After the show is underway:
Check in with the gallery once in a while but don’t bug them; sales take time
Continue some self-promotion