Approaching an Artist About Gallery Representation
What a working artist reads in a first email from a gallery, the questions that go unanswered too long, and how to make the conversation short.
Read →Notes from the studio. How the generative systems work, what the laser and the mat board are actually like, and what it takes to turn an algorithm into an object you can hang on a wall.
What a working artist reads in a first email from a gallery, the questions that go unanswered too long, and how to make the conversation short.
Read →Why most wall art gets complimented and forgotten, what makes an object generate real questions instead, and how to choose for a room people gather in.
Read →The full pipeline from parameter space to a stack of cut mat-board, including the parts that fail. Written for people who want to know how it actually works.
Read →What to put in a donation request, how far ahead to send it, and why most of the ones artists receive get declined without a reply.
Read →Lighting, placement, cards, and reserves. The practical setup that separates an art lot that performs from one that sits there all night.
Read →Generative art and AI image generation get filed together and they work almost nothing alike. What the actual mechanical difference is, from someone who uses both.
Read →How to set the stated value and opening bid on a donated piece, why the number matters more than organizers expect, and what it does to the artist.
Read →Owning the single instance of something a system could have produced endlessly. What that is worth, what it is not, and why the number matters less than the stopping.
Read →Why the expensive donated artwork sometimes goes for nothing, what the room is really bidding on, and how to choose art that performs.
Read →The wall behind your desk is on camera for hours a week. What actually reads through a webcam, what disappears, and how to choose art for it.
Read →Acid-free board, bookbinding adhesive, light, and humidity. An honest account of what threatens a paper artwork and what actually protects it.
Read →Not AI image generation. The quieter question of where these tools actually enter the work, where they do not, and where the line is still being drawn.
Read →A photograph flattens a dimensional relief sculpture into one angle and one moment. Here is how to actually experience one on your wall.
Read →What a studio is actually like while a 100W laser runs: the sound, the smell, the light, and the pile of cut layers cooling on the table.
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