The Journal of Australian Ceramics Vol 48 No 3 November 2009

Technical: Selling Cera mics
A Marriage made ... on Paper!
Jane Sawyer discusses the pros and cons of exhibiting in commercial galleries
Congratulations! It's your first solo show in a well-known commercial gallery. The invitations have
gone out, the media release was well received and the bubbly is on ice.
Most artists' greatest desire is to be represented by a reputable commercial gallery that supports,
encourages and sells their work. For ceramic artists, with our history of being on the fringe of art,
showing in a reputable commercial gallery is a statement to the world that we are artists and that we
want our work to contribute to our culture, to be criticised and analysed. It also gives us access to
long-term support from professionals who have a better chance of selling our work for higher prices.
But is the glamour and lure of the commercial gallery all it's made out to be? What are some issues to
consider? What are the risks? In conducting research for this article I asked ten experienced ceramic
artists who exhibit in commercial galleries some questions. Some were happy to have their names
disclosed and others weren 't, so I have elected for anonymity. Also referred to is the Code of Practice for
Australian Commercial Galleries which is endorsed by National Association for the Visual Arts (NAVA),
the Australian Commercial Galleries Association (ACGA) and The Australia Council for The Arts. It is
considered the best practice document.
love and marriage ...
OK, so you've done the hard yards finding a great gallery director who loves your work. You 've
asked everyone you know about the gallery and it has a good reputation and acts professionally. But,
how important is it that the gallery directors understand your work) And what kind of relationship is
necessary to maintain the momentum?
"I really admire them and they are very straight with me. If something doesn't suit their clients or
price they communicate this very clearly. I don't take it personally - these people are professionals. They
deal with the commercial world far more than I do and they know what they are talking about. "
"It's a fun, honest and open relationship."
"Everything is positive. No one would even know my name without their support. "
"It's like marriage - they don't have to understand my work but they do have to love it!"
Th is is obviously the scenario we all want to hear about! Open, honest communication from both
parties and genuine care and goodwill go a long way. However what happens when things go wrong?
"My gallery has no real communication between exhibitions. Sometimes I feel like a jilted lover."
"There's a lot of fear in the air and a real power difference."
"A complete misunderstanding over something small that would have appeared in a written
agreement, if we'd had one, means that I no longer show at one gallery. It has destroyed my selfconfidence
and trust in galleries."
Like all relationsh ips, it's not always amicable or equitable between galleries and artists. The heady
days of the first show where everything seems to be going well can change. People can have simple
misunderstandings or genuine differences. Leaving aside the question of whether the public will
embrace your work. how can you manage the risks so that you maximise your chances of a mutually
successful show where you and the directors are still talking at the end of it and you have a long future
together?
60 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2009