Showing posts with label gallery. Show all posts
Showing posts with label gallery. Show all posts

Wednesday, 28 November 2012

Three New Exhibitions...

We are very busy here at "Business Towers" supporting artists who are exhibiting their art in Yorkshire. We have three exhibitions starting this month to take us through to the New Year. more information about each exhibition will be on its way.



South Square Studio Artists at New Bradford Playhouse. Open now, three of South Square's studio holders, June Russell, Patricia Calver and Tony O'Connell are exhibiting their work in the bar area of the New Bradford Playhouse in Little Germany, Bradford. visit the theatre's website for opening times.

Barcaeyes by China9

China9 at Central Hall, Keighley. Huddersfield based artist, Dex Hannon, exhibits unusual art as his alter ego, China9, at our regular exhibition space in Keighley, West Yorkshire. Show starts Wednesday 28th November. Check out the Facebook Event HERE

Labyrinth 

This is a first! Sally Storr and Jo Whitehead exhibit glass, ceramics and plaster at Otley Courthouse, West Yorkshire from Sunday 2nd December. The exhibition, called Vessel, explores the deconstruction of the purpose of containers that hold liquid. Visit the Otley Courthouse website for opening times. 

Thursday, 25 October 2012

Opportunity for Yorkshire Artists

South Square centre, Thornton

South Square Salon 2012 | Call for Works

Following on from the success of the South Square Salon 2010, South Square Gallery in Thornton near Bradford, West Yorkshire is offering artists another opportunity to display their works in a salon-style exhibition during the months of December and January at South Square.

Artists working in any media are welcome to apply, there is no selection process so all submissions are guaranteed at least one artwork on display. For a £10 submission fee artists may submit up to 3 works for the show. This is a great opportunity to exhibit and sell your work in a professional gallery space.

If you are interested in applying please visit www.southsquarecentre.co.uk/index.php?/news/south-square-salon/ to download the application form.

Saturday, 23 June 2012

Zareena Bano - Sab Rang Exhibition

Sab Rang exhibition at Central Hall

Zareena is a Visual Artist and works as a freelance Creative Arts Tutor.  She has worked in the arts for over ten years now and is exhibiting her work as part of the Sab Rang exhibition at Central Hall, Keighley.
The artwork is made up using mixed media. The work is inspired by traditional South Asian and Arabic calligraphy designs fused with modern and contemporary art. The diversity of the range of work she has been involved with and has tutored on has reflected the needs and interests of the client group injected with her own style and passion.  She possesses a wide skill base of creative arts and attributes to be able to deliver different forms of art for different styles and levels of engagement.


Zareena likes working with different communities, sharing her passion, joy and knowledge of art, exposing talents of local people and provoking people to succeed in life. She likes to encourage people to express themselves, to exchange creatively and interact with each other. In doing this, she has reached out and touched many peoples’ lives therefore making a difference through art.


 Sab Rang is showing at Cafe Central, Central Hall, Alice Street, Keighley until Friday 13 July. Admission is free and the exhibition is open from Monday to Friday 8.30am - 4pm and Saturday 9am - 2pm.

Thursday, 10 May 2012

Sab Rang - All Colours

Mural Art by Upasana Sonigra

Sab Rang is the title of the next exhibition at Central Hall, Keighley from Monday 11th June to Friday 13 July 2012. 

Sab Rang (All Colours) is an exciting exhibition by three Yorkshire women artists who explore their South Asian culture through art. Akari Maharani, Zareena Bano and Humaira Minhas explore the themes of heritage, history, calligraphy and mehndi with their contemporary art works.


Sab Rang will be showing at CafĂ© Central, Central Hall, Alice Street, Keighley BD21 3JD from Monday 11th June to Friday 13th July (Opening times: Mon -Fri 8.30am to 4pm Sat 9am - 2pm) ENTRANCE FREE


Sab Rang is sponsored by Artists in Business and supported by Kala Sangam  

    



More about the exhibition, including Artist's statements, coming soon....

Sunday, 4 March 2012

Felted Cloth Update


Exhibition Poster
Our latest Artists in Business exhibition at Central Hall is going really well and we are getting lots of positive feedback. Take a look at the latest pictures below. 








The exhibition is in Cafe Central until 6 April 2012. 

Thursday, 12 May 2011

Spare Place

Further to my March blog post about pop-up galleries, A Future for Empty Shops, it's now easier to find out where those empty shops are in the UK. 


Spare place

Spare Place is a map of spaces across the UK which can be used for temporary and pop-up projects: it includes empty shops, church halls, fields, shopping precincts and old offices. All spaces can be legally occupied by agreement with the owner. Find out where those vacant premises are or add your own empty space to the website. 

If you would like to find out how to set up a pop up gallery please contact Artists in Business and we will send you a free PDF instruction leaflet. 

Wednesday, 2 March 2011

Pop Up Galleries - a future for empty shops


The "Love Keighley" Gallery was an empty shop project devised by the Arts Factory working in partnership with The Keighley Town Centre Association.


14.7% of the retail units in the UK are lying empty and Keighley is no exception.  Stepping out of the bus station, visitors are immediately faced with a row of empty shops and feel they could be in any town. The pop up gallery tapped into the Love Keighley initiative with the window vinyls, posters and publicity mirroring the branding.  The Airedale Shopping Centre's offer of an empty shop made the ideal gallery for the annual Open Art exhibition. 


The Yorkshire Open is a showcase of visual art held annually at The Arts Factory. By moving the exhibition to an empty shop visitor numbers increased by a staggering 751 with just under 1000 people entering the gallery.  200 free promotional bags were given away and £130.60 raised on behalf of Manorlands, a local hospice. But it wasn't all plain sailing....

Setting up a pop up gallery entails a lot of hard work, planning and can sometimes be frustrating. It was freezing, particularly when it snowed (!) and there was no water so no toilet or cups of tea. 

But it was extremely effective for marketing the Arts Factory and raising awareness of what the gallery does.  Visitors ranged from pensioners to unemployed teenagers, artists to shoppers and everyone had a favourite picture.   The gallery was alive with colour and displaying the sheep from the Shorn Keighley Project drew the public to the windows. 


Displaying the art brought its own problems - I panicked that we would have too much work and not enough wall space. Luckily, this was not the case because we hung the show to look more like the Royal Academy Summer Exhibition with less white wall space than we are used to. 

A total of 40 Yorkshire artists displayed 93 pieces of work between them, ranging from traditional to contemporary, textiles to photographs.  Visitors came from Hull, Sheffield, York and Leeds but mostly Keighley and Bradford.  The gallery was open six days a week for three weeks and 16 volunteers covered 32 of the total 76 hours that we were open.   Would I do it again? I can't wait!

If you would like to find out how to set up a pop up gallery please contact Artists in Business and we will send you a free PDF instruction leaflet. 

Tuesday, 2 February 2010

10 Tips for a Successful Arts Business

All self help books have magic number tips such as 10 good tips, 7 bad tips (how not to do something) and 3 rules to live by! So, in the spirit of the self help book here are my top 10 tips to starting a successful arts business.


Pinback Button by Button Empire

1. Carpe diem! In the words of Los Campesinos, If it seems like a good idea then it IS a good idea. Start researching how you can turn your art into a business. Get some good business advice from your local Business Link or visit a business consultant.

2. Be honest with yourself. Do you have a product that people will want to buy or are you making art for yourself? a lot of people say they love your work but would they be willing to part with their money to prove this?

3. Be willing to put in the hours. Being self employed is great, you can work when you want and there's no-one else to tell you what to do. Actually, being self employed can be very lonely and more demanding than working 9 to 5. Are you willing to stay late, burning the midnight oil when everyone else is at the pub?

4. Know your sums. Calculate the cost of everything you make, including your hourly rate and then work out your profit. Don't forget to work out your overheads and running costs. Keep accurate records and, if you are not hot with figures, go on a book keeping course. Try and live by the expression "look after the pennies and the pounds will look after themselves"

5. Know Your Competition. Find out what everyone else is doing - look at their strengths and weaknesses, find out how they market their art, compare their pricing and look at how you can improve your business on THEIR performance.

6. Know Your Customer. Who will your potential customers be? Who will you appeal to? Where do they buy their art? What kinds of galleries/shops do they go to? What are they willing to pay?

7. Have a sure-fire Business Plan. Business plans are boring but, if you need to borrow money or to further your business, then you will need one. And you should WANT one too - a business plan can help you plan for the future, work out the direction you want to take your business in and identify all your strengths and weaknesses. (I will be blogging about business plans soon).

8. Organize. This means sort out your studio and make it an efficient place to work. Sort out your schedule - learn to prioritise your time so that you are not wasting time gazing at art on the internet instead of making it.

9. Networking. It's all very romantic starving in a garret but sometimes you have to come out and meet people. You can network with Twitter and Facebook (easy) but you also need to talk to real people about your work. Visiting galleries and exhibitions is a great way to network - you are your art's ambassador.

10. My Year in Lists. Make lists. Set targets. Stick to them. Lists give you a raison d'etre, goals to work toward. Lists include Your Strengths/Weaknesses, Mailing Lists, List of Tasks, Shopping Lists.

Wednesday, 9 December 2009

Your Chance to Win...

Sign up to our January Newsletter before 5 January 2010 and you will be entered into a free draw to win this beautiful blue bubble dish from Glassprimitif.



About our newsletter: there are articles about arts business, features on different artists, updates and useful links too.
The next newsletter will be "SHOWCASE" the gallery edition with information for artists wanting to exhibit in a bricks and mortar gallery.



And the winner is.....

Glitterysah has won the selection of glass christmas decorations. Congratulations, Sarah.

Sunday, 6 December 2009

Mini Masterpieces



These days it’s something of a clichĂ© to look at a piece of contemporary art and think that it’s no better than the work of your 3 year old, but what do you do with the latest masterpiece that said 3 year old has just produced? Stick it on the fridge door, file it away for posterity, or even put it in the bin after a decent interval? Artful Kids is a newly established business which seeks to present a child’s artwork at its very best, so that it can take pride of place on a living-room wall, or make a lasting, personal and unusual gift.
The person behind it all is Jude Drever, who was originally trained as an artist, but spent many years working in museums and galleries before having a family and being inspired by the artwork of her small children to try and liberate kids drawing and painting from the fridge door or kitchen drawer.
A range of different styles are available, but one of the most popular so far, has proved to be the Gallery Style Posters shown here, where a child’s artwork is presented as a poster advertising an artist’s exhibition. Professionally framed, and available in a range of sizes, this displays a child’s name prominently, and yet does not look out of place on the wall of a smart interior. A careful editing process takes place to ensure that the original artwork is presented at its best.




To find out more, or see some of the other styles offered, visit the Artful Kids website Or visit the company blog, Artful Adventures for a range of features dedicated to children’s art, including tutorials, featured artists, news and longer articles.

Monday, 5 October 2009

Taking a Pound of Flesh....

In my previous post Artist/Gallery Agreements I talked about the gallery precentage on sales. This can vary from 20% to above 50%. How does this affect you as the artist?



Whoever sells your work for you deserves to get paid for doing it. Whether they are acting as an agent or a bricks and mortar gallery/shop they will need to be recompensed for their services. This usually takes the form of a percentage of the sales cost. Percentages can vary wildly and you may feel a bit shocked at the gallery who adds 60% onto your wholesale price. This may take your £25 print up to a whopping £ !

Is this fair? well yes and no (but mostly yes)
Forget about the percentage at the moment. If you are selling your work through a gallery you need to sell it at the right price - enough to cover your materials, overheads and make a small profit - enough to make it worth the gallery adding a percentage without overpricing the item. If a gallery asks you to reduce your costs so that they can add their % and still be able to sell the item then this is not the gallery for you. (Pricing your work is a subject that will be discussed in the future).

So, you are happy to sell your hand pressed lino prints at £80 a print and the gallery is adding 50% to the price - retailing your print at £160.
If your reaction to this is "I could sell this for that price myself!" then the bald answer is "Go on then - why are you wasting the gallery's time?"
If your reaction to this is "that's way overpriced, they'll never sell it!" you need to ask the gallery the following:
  • Does the gallery think that this is a competitive price for your print?
  • What type of customer buys this style of art?
  • Are they confident that they can help you to raise your profile as an artist and bring sales?

It's not in the interest of a gallery to make the work overpriced and unsaleable. They know their customers and their tastes, they know the value of art and they are not in the busoiness of ripping people off.

Why take a percentage? Everyone has to eat. Galleries have their own overheads, publicity costs, staff wages and maintenance charges to pay.

When taking a percentage doesn't work.

  • When your work is selling at another local gallery for a lower price. Undercutting a gallery that could possibly bring you more sales is like shooting yourself in the foot. Better to choose WHICH of the galleries you would prefer to sell through.
  • When you agree to sell your art to someone who has seen it in the gallery but doesn't want to pay the percentage, thus depriving the gallery of the opportunity to broker a sale and, consequently their fee. You have had their services of displaying your work in their gallery for free and they didn't get any payment for it.

If you are unhappy with a gallery because they can't sell your work at their retail price then don't do business with them. Simple As.

Friday, 4 September 2009

Making a Statement




How do you start to write an Artist's Statement? What should it include? What shouldn't it include? The artist’s statement is subjective and, in this post, we will not be telling you YOU ARE WRONG – instead we will give you OUR perspective on the subject and help you to write a compelling and interesting statement.

We have hosted a lot of fabulous shows over the past ten years at Keighley Arts Factory and every artist has submitted a statement to accompany their art. We have read statements that tell us about techniques, inspiration, concepts, study and, occasionally, stuff we just didn't understand.

Why do you need to write an artist’s statement?
"I am an artist, not an author – my art is visual and should speak for itself. Why can’t people take away their own experience?"

Well, I sort of agree with this - art should speak for itself but there are other reasons for the Artist's Statement.

Your statement is a vital selling tool, use it to promote yourself as an artist to buyers, curators, critics and fellow artists.

Here is an example of an artist's statement.
"My work is
created to depict a sense of self and how we perceive space. We are able to project and construct space within our own experience and knowledge. I create environments that take the viewer on a journey and makes that person redfine their preconceptions of spatial dynamism. The viewer is encouraged to interact with the work via their navigation of the space and the juxtaposition of other viewers around them. Creating my work is an intense process that, through its construct, takes me to another artistic plane and helps to redfine the meaning of space. I challenge the viewer to decide whether the transfomration is real or illusionary -my work is a mere suggestion that grows organically".

What kind of art does this artist make?*
What are his/her influences?
How much did you learn about the processes of making art?
Does this statement make you want to see the art?


*If you want to know what the art is, send me a message using the contact box below and I will respond.


So, what would you like to put in your Artist's Statement? Here's a couple of short exercises that will "limber you up" before you embark on writing your actual statement.


Find a fellow artist or like-minded person to work with and take a few minutes describing your art to them. Whilst you are describing ask that person to jot down the "key" or important words you have used. After a short time reverse the process and ask your partner to describe his/her work to you. When you have finished this exercise ask your partner to describe, in his/her own words, what you do. Now do the same for that person.


Did your partner have a clear idea of what your work is about?


Did they decribe something about your art that surprised you?


Did you discover anything new about yourslef or your art whilst you were describing it?

Here's another short exercise for you to try.


On a piece of paper write one short sentence in response to the following questions:

What is your favourite tool and why?
What is your favourite material and why?
What do you like best about what you do?
What do you mean when you say that your work has turned out well?
How does it make you feel when it goes well?
Do you use colour in your work? If so, what is your favourite colour and why?
What do you do differently from the way you were taught?
What do you want people to see/think/feel when they view your work?


Hopefully you now have enough basic information about your work and your creative process to start to write your statement. Before you do here are some tips about the actual writing.



  • Write in the present tense.

  • Say nice things about your work.

  • Include a quote or two - either ones that are relevant to your work or nice things people have said about you.

  • Watch out for paragraphs and sentences. The average paragraph should be five sentences or more and you should have a minimum of 3 paragraphs. It is tiring for the reader to plough through one long unbroken statement or to read one-sentence paragraphs.

  • first person or thrid person? There's a bit of a debate about this. It's about friendliness versus formality. I prefer to write in the first person as I feel a bit pretentious writing about myself in the third person but it's all a matter of taste.

Do you know what you want to say but are having trouble organising it all on the page?

It will be easier if you write three paragraphs in the following order.

Paragraph 1 About your work, your goals, your aspirations.

Paragraph 2 How you make your art, materials, tools, way of working.

Paragraph3 How your work has evolved and what you are working on at the moment or how you see your work developing.



Read you statement back to yourself. How does it scan?


When you have finely tuned your statement find someone to read it to. Ideally it should be someone who has never seen your art so that they can answer those questions that are at the top of this post.


And, by the way, Here are some of my pet-hate words:


juxtaposition, fragmentation, redefinition, encountering, interaction, durational, amalgamation, transformation

Monday, 17 August 2009

You Been Framed!

If you are an artist, would you want advice about your framing? Choosing the right frame is quite difficult as much of it is down to personal taste but I sometimes wonder whether artists put enough thought into their choice of framing. What do you think?



Choosing framing to complement your art says a lot about how much you value your work. At Keighley Arts Factory we see a lot of framed (and unframed) art and we have seen the good, the bad and the just plain ugly. Our pet hates are:
  • plastic frames from Matalan or similar stores
  • paintings cut down to fit the frame
  • old photo frames or re-used frames
  • badly mitred frames
  • badly cut mount board
  • badly fitting frames

A well made, well presented frame can make all the difference to whether your work gets accepted for exhibitions or open shows.

My personal dislikes are (and you can disagree with me in the Comments)*:

  • brushed gold, silver or bronze moulding (sooo 1990s)
  • thin plastic moulding (sooo 1980s)
  • metallic or dark coloured mount board
  • mount board chosen to pick out a colour in the painting
  • mount board with differing measurements at top, sides and base
  • Box canvases

Mount Board. What is wrong with ivory, cream or black? and why the fancy ruled line in a contrasting colour? Why do you want the mount board to stand out anyway? Surely it's better to let the painting sell itself and, if the customer wants to mount the art in a sludgy green or maroon, they can change it. Why cut the mount board yourself with that blunt Stanley or Xacto knife? Those jaggedy edges stand out a mile and detract from your art. A bevel edge looks so much better and if you don't possess a professional mount cutting machine - go to the frame maker.

Framing. Why did you pick that expensive heavy brushed metallic moulding to frame your art? Are you hoping that a customer might buy it to match their leather sofa or their wallpaper? What kind of philistine buys art to match their decor anyway - Isn't that what Ikea's for? The rule of K.I.S.S. should apply to choosing moulding (Keep it simple, s....) My idea of a good frame is a pale wood, dark wood or ebony frame that allows the art to speak for itself.... and it's not the most expensive moulding in the shop.

Box Canvas. OK. So you can buy them for pennies these days (they even sell them in Poundland) and they save you the hassle of framing your work and they make you feel like a "real" artist. But the box canvas is the poor man's stretched canvas in standard sizes and nasty textured surface. Then there's those annoying sides - do you leave them bare or do you wrap the painting around them? Recently I overheard a visitor criticizing one of our exhibiting artists because he had left the sides of his STRETCHED canvas messy instead of painting around the edges. Wha....??? It's a serious piece of art - who cares about the sides? It can be framed later or left as it is. I would rather see brush strokes and smudges than dabbed edges.

Frame Makers. You get what you pay for and it SHOWS. Frame making is a highly skilled profession and a properly framed piece of work should have mitred edges, bevelled mount board, pinned and taped at the back, D rings with taut hanging wire or nylon cord and clean glass. Cheap framing is exactly that - cheap. So if you are wandering around the junk shop looking for a frame to match your painting/print/photograph - go seek a trained professional.

I guess it's really about how much you value your art compared to how much effort you will go to present it well.

*The personal comments of the author do not reflect the opinions of Keighley Arts Factory.

Sunday, 2 August 2009

Do-It-Yourself Zines

In a previous post Leanne Woods talked about how she created an on-line zine using Issuu.com and you can also make zines the "old-fashioned" way.



What is a zine? It's a hand written, typed or photocopied magazine, usually associated with 'underground' arts, music or political groups. I remembr when (yes, a reminiscence now) when the UK music press chose to ignore the emerging punk rock scene and the only way we could find out about gigs and bands was via zines. These were handed out and passed around for free. The best of these was Mark P's "Sniffin' Glue".

Why make a zine? Zines are time-consuming to create so you won't want to make them very often but they are useful as a marketing tool. You can send your zines out for free or you may want to charge for them. You can also sell advertising space in them to cover your costs.

Who will read my zine? Before you start to design a zine think about who you are targetting. If you try to make your zine all things to all people then no-one will be interested. Ask yourself - what do you want your zine to do?
  • tell people about your art
  • publicise other artists in your zine
  • make a "how to" creative zine
  • show off your graphic and illustration skills

How will I design my zine? This depends mostly on who your reader will be, the content of your zine and your creative style. Your zine can be a simple folded and stapled booklet, a sheet of paper folded neatly into quarters, an accordian folding book or a stitched pamphlet. Remember that making a professional-looking book is time consuming and not so much fun when you get to the fiftieth one!

This is how we created ours. Our first zine (see above) was created by one of our gallery volunteers, Joel. We needed a marketing strategy to encourage more young visitors to the gallery and we decided that a zne would be the ideal way to do this. Our first task was to DECIDE ON THE CONTENT. We listed all the activities that the gallery delivers that would appeal to young people including our work with young offenders and a forthcoming exhibition, Game Over. We wrote the articles for Joel, gave him access to images of the gallery and asked him to produce an eight page, A5 size zine.

The most time consuming part for Joel was DESIGNING THE LAYOUT. A zine needs to look busy with lots of visuals and writing. As our zine was created from collaged images with drawings before being photocopied, it needed to be visually striking. Joel st about with scissors, scalpel, glue, pens and pencils to make an eye-catching zine.

As a marketing publication the zine needed to IDENTIFY ITS PURPOSE as It is a zine about the gallery for young people. We asked Joel to put our logo and website on every page of the zine (the rule of marketing - you need to see something at least 7 times to remember it, you only need to be told once). We also needed to cover the cost of photocopying the zine and, as we intended to make it a free publication, we offered ADVERTISING SPACE to local "young" businesses. Covering the costs meant that we could give the zine away for free.

Finally - a word about COLOUR. Unless you have a very strong graphic design for the cover you will probably need a shot of colour to make it more marketable. But colour printing is expensive and hand-colouring is time consuming. We solved the problem by photocopying the frnt and back page onto brightly coloured paper - red, yellow, orange and peach.

If you would like a free copy of the first Keighley Arts Fatory zine please contact me using the email box at the bottom of the page. There will be a charge of 50p for the postage and we accept Paypal.

Here are some more zines for you to check out:

Worn Fashion Journal

Make Your Own

Art for a Democratic Society

Colouring Outside the Lines

Saturday, 20 June 2009

Making the Right Impression

Tips about presenting yourself as a serious artist.




You have arranged to bring your work to a gallery, either in person or delivered by courier, but have you thought about how it will be packaged?
At Keighley Arts Factory we have seen artists bring their precious art in a plastic shopping bag and we have received work from couriers that has been "thrown" into an empty box too. Even jewelry and small items have arrived in paper envelopes! Two issues arise from this:
* How will a gallery value your work if you don't value it?
* How can you protect your art in transit?

Framed art work, placed in plastic bags, will knock against other surfaces and, particularly if you choose soft wood, will dent and knock the frames. We would prefer to see art protected in bubble wrap or blankets. If your frames ARE soft wood then add cardboard or bubble wrap "corners". When you choose quality, hard wood frames that have been professionally made, then this kind of damage is greatly reduced. You should choose a reputable courier and pack all your art yourself. Make sure that your boxes are fully lined with bubble wrap, blankets or air filled plastic cushions. Don't allow framed work to touch other framed work - keep a padded barrier between each piece. Wrap the box well with parcel tape, label it "This side up" and ensure it is visibly labelled where it's going and where it is from. Also, don't forget to call the gallery with the name and contact number of the courier and the day it is due for delivery.
Your art is your ambassador - if your work looks poorly presented and protected then the gallery you are working with won't make the effort needed to sell your work. If your art looks well framed and undamaged then it will project the image that a gallery is attempting to create.

Keighley Arts Factory

Friday, 12 June 2009

Approaching a Gallery


A short guide to applying to art galleries by Keighley Arts Factory.

Approaching galleries to show your work can be a nerve wracking experience. It can feel as if you are offering yourself up for humiliation and that you are wearing a T shirt that states KICK HERE!
At the Arts Factory our ethos is not to sit in judgement of other people's art but instead we consider two questions:
* Will this artist's work be the kind of thing our visitors come to see?
* Will our gallery suit this artist's work?

Presenting Your Submission.
The purpose of your submission is to "showcase" your art and give the gallery a taste that will leave it wanting more. At KAF we ask for 3 items for submission: images, a CV and an artist's statement. Other galleries may only want images and a statement or they may want references too. If the gallery hasn't been specific then contact them to check their submission requirements.
Images.
These are the most important part of your submission. Does the gallery accept jpegs by email, a disk, photographs or (rarely) slides? Avoid emailing images that are difficult to open or disks that won't load onto another computer (test them out first). Size matters - images that are too large to view without scrolling on the computer won't get looked at and thumbnail images that don't enlarge on the screen won't give an adequate view of your work. Texture, scale and details of your art will be lost if the your image is less than 2" in size.Images should be clear, bright and a true depiction of your work in colour and tone. Avoid photographing framed pictures under glass and, if you need a background, stick with white. Make sure there is a list of sizes attached to the images.
Curriculum Vitae (or resume)
Not all galleries bother with CVs but a CV is a tool that tells a gallery who you are and where you are coming from. Hand written CVs will be discarded and so will disorganised, erratic ones. Choose a plain font, type out your CV and print it on crisp quality paper. Keep the information simple: full name, date of birth, address, education, employment and experience. If you didn't go to art school then list your art interests and any courses you attended. If you belong to any art guilds or societies then add these too. If you don't work as a professional artist then write about your key skills. Don't be put off - self taught artists have an equal chance of being accepted by a gallery - your images should speak for you.
Artist's Statement.
Art is a journey on which we explore ideas, discover new concepts, work through issues and experiences. Your statement is a written representation that will take the reader on this journey, exploring where you come from artistically and how you got here. Your statement helps the curator or selection committee to understand about your work.So make it vibrant, make it enthusiastic, make it live. Avoid trotting out the same old claptrap (artistspeak) and, instead, be unique, be original, be different. Think about your use of english. You didn't observe it - you saw it. You didn't experience it - you felt it. (Also avoid talking about the "human condition" - dare to be different)!

After you have sent your submission.
* Give the gallery a few days - if you haven't recieved an acknowledgement then contact them - did they get it?
* If they are considering your submission ask them how long this will take? If the deadline goes by without contact call/email them again and ask if they have made a decision yet?
* If you are rejected ask them, very politely, why. They could give you some tips to help you with future submissions.
* If the gallery says "we cannot offer you anything at the moment but will keep your application on file" contact them again in 6 months and ask if they are in a position to consider it again.
* If it's an outright refusal make sure your have sent a stamped addressed envelope so that you can send your images, CV and statement to another gallery.

One final word about "knock-backs". They are not personal. Don't wait until you have the courage to apply to another gallery - send a new submission out straight away. Do what many authors do, keep a file for your rejections and read them when you are famous!

Keighley Arts Factory
L'Occitane en Provence