Traditionally, galleries sustained artists with a stipend so they could live and create art until the opening of a show and beyond. There are still a handful of high-caliber galleries that practice this model but most simply don't have the capability to function at this level. We certainly don't. I do not represent artists in an ongoing manner, but I do publicize, market, advocate for, live, breathe, sleep that artist's work during the months leading up to the event and the entirety of the exhibit. (And we do have contracts which allow for us to keep and sell work past the exhibit but relinquish upon the artist's request).
From my understanding, the few galleries serving this immediate area have shuttered their exhibition programming or moved on. And there are even fewer chances to be highlighted as a solo artist. We are a small operation but we've had big experiences in the past. I've worked with contemporary artists like Julian Stanczak and Jerome Witkin and curated traveling museum exhibitions. I understand the practices to get work seen and I'd like to apply that to this market.
I look for thematic confidence. Meaning, how well do the pieces look together? After all, hanging a retail exhibit is very much about merchandising. For our Virtuous show, Jermaine Dickerson produced new graphite drawings, mixed media paintings and charcoal sketches, but all on the same topic - modern day media coverage and the state of sexism, racism and injustice - based around the comic book genre.
I'm a stickler for presentation so even if your work is on extravagant paper or your sculptures stand seven feet high, I have to consider how that translates in our space — a storefront with a track hanging system and approximately 11 foot ceilings. It is unlikely, but not impossible, for me to hang works on paper with metal clips and nailed to the wall. I don't think this looks professional nor inspires confidence in a buyer, no matter how exceptional a work is. You may think this is snobbery, but I'm trying to strike a balance between the museum guidelines I once adhered to, the gallery presentation of American works I'm used to and the early 20th century architecture of our building with a combination of cement, plaster and drywall surfaces.