Seorang perupa yang masih dalam 'kegigihan' untuk memperjuangkan seni dan namanya, melalui jalur mainstream memerlukan galeri dan ruang untuk mepresentasikan karyanya. Dengan hebohnya boom seni rupa (halah, untuk yang keberapa kali sejak 20 thn terakhir ini) bermunculan galeri dan he he tutupnya juga galeri yang lain, yang menciptakan; pemburu dan diburu, mangsa dan pemangsa atau anak asuh dengan bapak asuh..etc dari semua itu musti hubungan yang mutualisma...saling menguntungkan dan membuat wacana pasar yang 'guyub' he he he.
Dari Contemporary Art Gallery Magazine menulis tentang
10 alasan yang paling sering diungkapkan galeri sebagai penolakan bagi perupa yang menyampaikan proposal
1) Style - The artist's style is not desirable for the gallery. While an artist's style may be very unique, it may not fit the types of work that the gallery has committed to showing. Galleries select styles that they want to show - that are not redundantly shown everywhere else.
2) Quality - The artist's quality of workmanship and esthetic values are at a different level of development than that sold by the gallery. This essentially means that the artwork is seen as unacceptable - not good enough to be represented. Occasionally the artwork is seen as too good, but this is usually price related.
3) Similarity - The artist's style is not unique, not different enough, from other artists that are already represented in a particular gallery. A gallery almost always needs some variety of styles even in targeting a narrow part of the market.
4) Dissimilarity - The artist's style is radically unique, too different from the styles of the other gallery artists.
5) Low Pricing - The artist's pricing is too inexpensive. Even if the pricing is realistic it can be too cheap. This is because a gallery that has targeted a clientele to sell works in the general range of $4-20 thousand dollars can seldom profit from offering works in the $500 range, unless the works are prints or maquettes made by one of the artists that they already represent.
6) High Pricing - The artist's pricing is to expensive. A realistic price of $10,000 for an artist's work is too much for a small local gallery that specializes in a market buying work at $500 to $2000.
7) Location - Most galleries focus on representing artists from specific locations. If you are not from those locations you won't be accepted. This may involve a city or state, a region or nation, or an international reputation. A small, local gallery cannot handle an international superstar, nor can a major international gallery handle a local unknown.
8) Logistics and Administration - If an artist's works are much too large, or heavy, or delicately breakable, then the gallery will have major concerns about shipping, handling, storing, displaying and insuring the works.
9) Personality Clash - Most galleries judge artists by factors beyond their artwork. When style, pricing, and location are less the issue than the artist's persona, or the artist's reactions to the persona of the owner or director of the gallery, then rejections are common. Suffice it to say that this judgment is usually subjective, seldom based on any sociopathic behavior or bad manners on the part of the artist.
10) Gallery Clique - Galleries and their artists form opinions when they meet an artist. For many galleries the review of an artist is a group process. This process is based on the personal taste and opinion of the gallery members, the status and reputation of the artist, friendships or other professional relations. This happens because the gallery's community is something of a union with member influence or voting rights.
- Giselle Borzov
Yang perlu dicatat dalam hal ini adalah bagian dari proses tumbuh dan kembangnya kedua belah pihak; perupa dan galleri..
salam dan jabat erat