Approaching Art Galleries – Advice from The Working Artist Alumni

Artists frequently ask how to get their work into galleries.

The following advice is the voices of artists who put these ideas into practice.

Their stories prove that there isn’t one path into a gallery—but there are principles that make every path stronger.

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Advice #1:

It’s good to research the gallery to make sure it’s the right “fit” for you. Does your art compliment and connect with the other art on display? Also it’s a good idea to talk with other participating artists to make sure that the gallery owner is going to work hard and pay you on time. 

Gallery owners are very busy and appreciate making an appointment. Your work must be organized and your presentation professional. Don’t be afraid to show the “real” you. The gallery owner is interested in you, and will be selling you as well as your art.

Judi Wild

Advice #2: 

Never be discouraged or offended if you apply or submit and aren’t accepted or don’t receive a response. So frequently we feel stung or rejected; I’ve even envisioned curators looking disgustedly at my work and passing it over. It can be really disheartening. 

Luckily, I’ve also been on the other side and run a few grass-roots exhibition spaces and a collective. We frequently receive unsolicited proposals from artists who wanted to show with us and oftentimes they’re really, really good. Unfortunately, we were really, really overextended. We never got back to a lot of them (I admit this with embarrassment); but we thought about them a lot. Try to keep this in mind whenever you’re not accepted for something you apply for. It’s so easy to feel disappointed in the moment, but remember that a gallerist may love your work but feel it’s not right for a particular show. 

Don’t stop applying; you may be perfect for the next one. We always had a long wish list of shows we wanted to put together, and were always thinking of different ways to incorporate the people who had submitted interesting work. Even years later.

Kym O’Donnell

www.kymodonnell.com

Advice #3: 

Build a relationship with a gallery first. Do this by attending their shows. Ask questions about what they show without pushing your work. If you submit to their calls to artists, follow all the rules, do all the paperwork, get everything in on time. 

Don’t be that artist that is remembered for being extra work or having an attitude. Most galleries are severely understaffed. Respect their time, or volunteer ifthat is a possibility. In the end a relationship gets you into a show if it comes down to you or someone else.

Tom Waters

www.creativewatersart.com

Advice #4: 

Expand your definition of galleries depending on where you live. I live on an island in the Gulf of Alaska. My definition of wall space is going to be very different from someone in New York City! 

Gallery space here might be a coffee shop wall or museum front porch or portable walls in a national wildlife refuge building. I’ve also reached out to a successful gallery/store in another community in the state, but I packaged myself with 3 other artists well-known to the owner so I was able to get a group show for the 4 of us. 

And I name-dropped a friend who’s known to the owner. Did I sweat that phone call? You bet! But it’s about letting people place you in a context they’re familiar with so they’ll give you a chance.

Natasha Zahn Pristas

www.natashazahnpristas.com

Advice #5: 

Most galleries either have a waiting list or they want to feel like they’ve discovered you. I recently got into a gallery with a two-year waiting list due to an artist friend who mentioned my name to the owner. 

I was able to send my portfolio directly to the gallery owner who liked my work and accepted me in right away. After talking to many galleries owners I found that they like to follow artists on social media. 

But it’s important not to wait on galleries, or anyone for that matter, and take the bull by the horns. Since taking The Working Artist, I’ve curated a group show that was successful and then doors just started to open up!

Rochelle Johnson

Advice #6:

I visit a gallery and study the genre of art that’s exhibited. I speak with the staff, lettingthem know I’m an artist, and get a feel for the business and its market. Later I’l| email the manager of the gallery and send her images of my work, my CV and a bio. 

I follow up the email in a week or two, usually in person. If they’re interested in my work, we’ll talk about commissions and what the gallery will offer me in terms of exhibitions, publicity etc. 

I have found that sometimes a gallery’s sense of professionalism or elitism will conflict with my own creative process and we will not be able to work together.

Lynne Tinley

www.boranupgallery.com

Advice #7: 

My first experience with a gallery was not good, but I only have myself to blame. If only I had done Crista’s Working Artist course before I tried to get in a gallery I would have saved myself a lot of pain. I should have had an up-to-date portfolio, business cards, references, pricing and I should have gone to a gallery more suited to my style of painting.

Stephen Simmons

Advice #8:

If you’re already being represented by a gallery – it’s SO much easier. Other galleries then seem to take you much more seriously. That first one is the hardest. 

Without a doubt a professional website which showcases your work looking it’s best is a MUST! In the first instance I emailed a few photos of my work and then referred the gallery owner to my website. 

The images sparked their interest enough to take the time to look at my site. From there they asked to see samples of my work in person and I was in! My website now generates at least one genuine enquiry a week from either a potential client and/or gallery interest both in the UK and overseas.

Monique Oliver

www.moniqueoliver.co.uk

Advice #9: 

I’m an artist who also owns a gallery. So here’s what I’m looking for in working with an artist: First and foremost is integrity. There are a million great artists out there, but fewer who live by a deeply embedded ethical code of conduct. How they comport themselves in their daily lives is as important to me as the quality of their art. Because of the nature of the gallery, I’m looking for artists who present well.

I’m not referring to the clothes they wear, but artists who become part of my tribe are activist-artists who are willing to stand up for nature, as well as showing their work in the best light – whether that’s doing talks and presenting workshops or volunteering on projects. They represent the gallery out there in the real world. If they’re not currently happy putting themselves out there, then at least they should be willing to learn. 

I’m more than willing to invest time and effort in helping these artists develoр if they’re willing to do the work. It helps if they have a good following. Obviously good art that suits the gallery’s theme and purpose. We only sell nature-related art. Openness to learning, developing and growing as people as well as artists.

Karen Thurman

www.thurmanovich.com

Crista

July 28, 2026