I’ve talked a lot about the particularities of what a good application should look like and how to find galleries that resonate with your work, and now I want to get really tactical and try to make a roadmap of things to consider, when searching for representation.

The only true tactic that ever worked for me in the beginning and has allowed me to periodically get invited to collaborate with curators and exhibit my work was that I started applying to any open-call that I could find online and that fit my work.

A great website that has worked for me was CuratorSpace — focusing primarily on the UK.

You created a professional portfolio of your work and have a nice, well-prepared CV to compliment it in your application. But what now?! Before going into anything tactical, I want to talk perspective.

Similar to a CV, the portfolio of works is an important document to have as a creative; not only does it make your life easier when applying to open calls, but allows for an incredible amount of introspection and reflection on your personal brand, your preferences and just what you and your art are all about!

You can also download my portfolio of work from around 2016 on this link to as an example if you’d like.

An interesting article popped-up a few days ago on Artnet, stating that predominantly red or blue monochrome artworks sell for considerably higher prices than all the other colour of the rainbow. And, while quite an interesting read, it did get me thinking about who exactly would be able to benefit from such information?

Link to Sara Thornton’s brilliantly written book about the art world.

*Affiliate link (thanks for supporting the channel).

Yesterday I tried to break down the artist CV and all its features, but I just couldn’t stop feeling like I needed to address video too! So in today’s blog I would like to focus on video as a more informal, but incredibly powerful tool, to propagate your art and creative message.

A well prepared CV is the corner stone of any application, but unlike financial advisors, marketeers and other professionals, artists can’t really do much with the standard form that so many others use — aka. we usually aren’t employed anywhere and McDonalds doesn’t really count. 

You can also download my CV here, if you’d like to see how what I yap about looks in real life.

Yesterday’s blog dabbled a bit in talking about things to keep in mind when searching for gallery representation and after a lot of feedback from all of you reading my blunders I decided to expand on it and provide a more in-depth look into what tactics could land you your first gallery gig. So expect this week’s blogs to be focused solely on this topic.

The amount of CVs and portfolios the average gallery receives on a daily basis is immense, so having a good tactic when trying to approach one is imperative.

Even though we live in the digital age, the more or less most important factor to take into consideration when trying to get signed is where your targeted gallery is located. Because even though you could theoretically email your portfolio to any place in the world, the majority of gallerists appreciate artists that are in close proximity to where their institution operates and this is because of several factors.

Today’s mother’s day in Slovenia and while unrelated to art it got me thinking about our ability to do what we do. 

Without a mom, we obviously wouldn’t be able to exist, but there is a bigger, more universal provider that also has an enormous part to play in our ability to work in the creative field. Without the enormous advances in our society — both technological and social — our ability to live off selling anything on Etsy (even the existence of Etsy itself) would’ve been impossible to imagine.