Over the last couple of years, I have been fortunate enough to show my work nationally and internationally while at grad school and with the launch of Sunset Colonies. There are a few important points that I feel are not discussed enough for emerging artists or people just making it into the art world. These are solely my observations and experience condensed into this entry that hopes to illustrate and help other people with the process.
By far, the most important aspect of delivering your work can be described as being well informed about the rules and expectations of the location where the show is going to be held.
In most instances, the process begins with a curator or an open call, which searches for artworks that fit a certain kind of thematic or narrative (sometimes this can be solely defined by the medium too). Most of the time, I’d be arriving with a set of framed photographs that had been accepted by the curator or organizers of a show. It’s important to understand the dynamics of putting a show together in order to aid the process for the work of the installers and the people organizing the event.
Delivery times and dates
We all balance difficult schedules. Galleries and curators are no different. Make sure you receive the information regarding appropriate artwork delivery. Showing up with a loaded car to an empty gallery at the wrong date / time is frustrating and a waste of time. If you’re unsure about the times and places, make sure you reach out over the phone/email and confirm their availability. Installation dates are usually set ahead of artwork drop-off; if you don’t make it in the specific time, you might get removed from the show altogether.
This might sound obvious, but make sure you commit to the show’s delivery and pickup schedule as soon as your work gets selected.Wrap and safely transport and deliver your work.
This is perhaps one of the most important aspects of the process which is often overlooked. You don’t want to be «dragging» your work without any consideration for its well-being (proper protection of its structure or form — think about a crate, bubble wrap, wrapping, etc.). A lot of galleries won’t provide artists with artwork insurance, so they won’t be liable for any artwork damage.
Think about it this way: If you don’t show respect for your own work’s well-being, don’t expect for it to be protected while it’s on their walls.
Make sure that your artwork is protected for travel and transport. Also make sure the gallery keeps all the wrapping material for de-installation day — this could be tricky when they’re installing a show. The rule of thumb is to ask them to keep the protective material so it could be reused at the end of the show.Label your artwork
Artwork labeling is perhaps the most overlooked aspect of the process. Curators frequently work remotely, and galleries often need to organize shows without fully understanding each artist’s artwork titles.
What I like to do is label each of the pieces with a strip of masking tape that includes my name and the artwork’s title. This way, regardless of who is handling the artwork, they can quickly identify who it belongs to. Additionally, this is also a good strategy when the wrapping material won’t let the curator or installer see the photograph or artwork clearly through its protection. It’s also a win-win, since this labeling stays with your protection material, claiming its ownership when you are ready for deinstallation (point #2)
Sometimes you might be lucky enough to have a whole team of installers putting a show together, but more often than not, you will be responsible for the installation of your pieces in a group show. I hope that by following these three steps, you can have an organized and smooth experience dealing with galleries and art spaces that want to show your work to their audiences.