Episode 147: How Artists Get Into Galleries: Insider Tips with Art Advisor Logan Dix

Introduction to Parenting Anxiety

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Introduction to Honest Art Podcast

2:28Hi there. Are you an artist who's been painting for five years or less and you're wondering how you can get your art to that fine art status? Or maybe you're an artist who is looking for your voice and your signature style. And I'm here to tell you, that's exactly why I created the Honest Art Workshops, and we have them in gorgeous destinations all over the world. And in them, we tap into you and to your voice. I only host a handful of them a year, three to five. So if you're interested in that,

2:59head to the link in the show notes to learn more.

Introduction to Logan Dix

3:06Welcome back, everybody, to the Honest Art Podcast. If you are an artist, honestly, at any stage of your career, but especially if you're an artist who wants gallery representation, representation by an art consultant, really kind of any sort of representation at all, I have got the person for you today. We are, we're talking to Logan Dix, and I first met Logan because she was a gallery director

3:40at one of the galleries that I was represented by. She is now an art advisor and art consultant living in Austin. So I, I'm so lucky to get to pick her brain a lot on behalf of artists. And I know you are going to really love our conversation today. So welcome, Logan. Thank you. Thank you so much for having me. I'm honored to be here. Oh my gosh. We were talking before the podcast started about our intentions,

4:11and, um, Logan was sharing, which is the same intention as mine. And that is really that, um, you know, she's going to share a lot of information with you and it's going to be super empowering. Um, a lot it's, I'm just, I'm super, super excited. Before we do that though, uh,

Logan's Background

4:30can you tell us a little bit about your background, how you got into this? Yeah, absolutely. Um, so I like to say that my art experience started when I could first hold a pen. I, um, but ironically did not turn into an artist myself, um, but more so an advocate for artists. Um, I begged my mom to go to this art high school and I just like, it was a non-negotiable. I had, I had to go where I'm from back in North Carolina.

5:04Um, and I think that that really allowed me to kickstart my, um, knowledge of art history and just a deeper appreciation and training my eye and knowledge of materials. I went on to college and I studied art business and leadership. And that is exactly what it sounds like. It's a crossover between business, art history, creative leadership. Um, it was the perfect blend of everything I love and really allowed me to solidify, um, my passion

5:38and where I belong in the art world. Um, a kind of crazy thing that happened to me in college was I ended up in the ICU for a week. Um, and that experience really solidified why I do what I do. Um, so prior my, um, you know, love for art was there, but this experience, like art is what got me through that time.

6:08Um, some hospitals, they have like art or lack thereof on the wall. Um, and so when you see, when you see the art and you're surrounded by this like really traumatic experience, it really made me realize how essential art is in the world and how transformative and healing it could be. Um, so that just made me know, like, this is what I have to do for the rest of my life. Um, and I have to showcase and uplift the artists and get them into these spaces

6:39where it means so much to other people.

Professional Experience

6:42Um, professionally, I have worked in both nonprofit and for-profit. It is mostly gallery. And as you mentioned, we worked together while I was a gallery director. Um, so over the past eight years, I have placed multiple millions of dollars of art in both private and public collections from emerging artists to blue chip artists. Um, and now I'm an art advisor. I run my own firm called Portara Advisory.

7:14Um, it is the basis that art is a portal and it's a transformative experience. I manage a small roster of artists and I advise private and, um, private clients and corporations on building collections for their spaces. Um, okay. I mean, just this sort of that alone. Sorry, that's just that alone. I'm like, my mind is blown. First of all, uh, I didn't know that about your, about you ending up in the ICU and, uh, the, how much art meant for you.

7:47And that's so, I love that because I've worked with artists who have talked about, you know, um, wanting to get their work into institutions. And, um, and the beauty of that is that it's open to so many people from all different walks of life to do it. And, and I've said forever that how, you know, the healing power of art, but you literally lived it. Yes, I definitely lived it. I find that it's like the most important part to my story. And, um, that's why I'm able to advocate

8:18for the artists so well, because I know how powerful it can actually be for people who are either in an, you don't even have to be in the hospital. It can be an office space and it's really powerful. Yeah, for sure.

Gallery Representation

8:32Well, I didn't mean to interrupt you. Were you? No, you're okay. You're okay. I was basically almost done just, um, talking about also, uh, appraisal, but really like my culmination is the bridge between art and business is what I love. So it was, I was at the end. I know. I love that. And I think that's why I love our conversations together because we, and, um, not that I only like talking to people who agree with me, but it is more fun. It does help. It does help.

9:02But we are so aligned in the way we think about artists and lifting artists' voices and their work. So, um, okay, let's get right into what every artist that I work with, well, not every artist, but 99% of the artists that I work with, they're big thing. And I used to feel the same way that the pinnacle of our existence as artists is to get gallery representation.

9:33That is what I used to believe. Once I, um, had gallery representation, I, I, I don't believe that anymore, but I do think it's a beautiful thing. And I think it's a great way for artists to elevate their work. And, and if you work with a great gallery, it can be amazing. So, um, as, uh, having had that experience as a gallery director, um, when a gallery reviews submissions, what would you say separates

10:04the artists who get, um, a yes from a gallery for representation versus the ones that get ignored? And the reason I said ignored, because for me, sometimes I would get a no, no thank you, but in most cases I just got ignored. Yeah. Yeah. Um, and that's, that's good to bring up. Um, because I think it's really easy to take that personally and, and you can't, you cannot let that affect you.

10:34Um, you just have to keep going because there are so many artists portfolios that I've reviewed where I have quite literally said out loud, really talented artists. Um, but it's not correct for our market. Um, and unfortunately the reality of the gallery is you are just so overwhelmed with, um, everything you have to do in the day-to-day, um, as well as they receive hundreds of submissions. So it's, it's truly impossible to respond to everyone.

11:06Yeah. Um, which is unfortunate. I wish I could like give everyone the time of day, um, to critique or, or answer any questions they have if they weren't a proper fit. But, um, yeah, you normally get like that automated response. Yeah. That's like, yeah, we'll contact you. Yeah. Yeah. I'll call you. Don't, don't call me. Yeah. Please don't call. Please don't walk in.

Walking into a Gallery

11:34Um,

Walking into a Gallery

11:34I do want to talk about this because I have heard conflicting responses on it. I have always advised artists do not just walk into a gallery and expect to show your portfolio that, you know, gallery directors and employees are very busy. Um, if you want to do that, make an appointment, but what are, what are your thoughts on it as a gallery director? Yeah, I actually agree with you. I, um, I think it's a boundary respecting thing.

12:06And so to partially answer the question, um, the first question as well in this, galleries are really looking for who you are as a whole beyond just, um, technique and your voice. They are looking to see if you respect boundaries, um, or if you listen to rules or that's, you know, sort of along the same thing. But yeah,

12:36if you try to go in and demand their time when they have like back-to-back client showings, um, and meetings, it's, it's a little disrespectful of how busy they are. And, um, it's okay to like go in and talk and like make the connection and continue to build it. I feel like that's totally fair game, but definitely be respectful of their time. It's a huge in, in boundaries. Um, if, if you teach them that you won't respect their boundaries right off the bat,

13:07why would they want to represent you? Because you're just telling them that you won't respect what they need from you in the future. Right, right. So it's more than just the work. It's definitely more than just the work. I would say the most important thing for the work itself, other than technique, is obviously a consistent voice, a consistent brand, a consistent story. Who are you? Um, but beyond that, it's, it's the professionalism. It's how cohesive is your CV

13:40to your resume? Um, because I think even some people can get bogged down with like, oh, well, my CV doesn't have an MFA on it. That's okay. I don't think that the MFA makes or breaks you. Um, I've represented extremely high selling, self-taught artists. Um, it's, it's really just, does this artist understand the professionalism side? Is this a hobby? Is this a career? What are their goals?

14:11Is their style something that my clients in this market are looking for? And that's a big one. So again, like I mentioned, there's been plenty of artists who I've thought are like, you're so incredibly talented. I just unfortunately don't think you're going to sell well for us because it's not what my clients are looking for, or I already have three or four similar artists, so I don't need another one. Right. So from an artist's perspective, I think it's really important

14:41to be intentional about the galleries you reach out to. For sure. And, and also, I just remember when I was first reaching out to galleries, I was really reaching out to very similar galleries, if I'm being honest. And, um, and, you know, with very similar styles and, uh, it was rejected, uh, and rejection is just part of it. But I always say, you know, you have to cast your net wide, you know, you have to just like, don't just count on one or applying to one or two

15:12really, um, uh, spread out a little bit and, um, and make sure that the gallery is the right fit for you based on, on the work that like let, because it shows that you did your homework, right? Yes. I actually, I have that point in my notes as well. Like make sure you're doing your homework and your research. If you're just copy pasting dear gallery manager, um, like they usually have their director or owner on the website,

15:42like use their name in the email, mention why you think they're a good fit. Um, why you think your work is a good fit. Um, it's, it's really beyond just the work. It's, uh, it's such a relationship based, how do you say it? Like environment that galleries are really looking for an artist that they can build a relationship with so that they can then turn, build the relationships with the collectors. Yes. And I, I love that. And I think that's one of the reasons why, um,

16:14one of the many reasons why I really enjoyed working with you is because we had an easy working relationship from the beginning. Our conversations flowed easily. There's a lot of respect. I had a lot of respect for you. I feel like you respected me, but, but the thing is, is that, um, I, I have found that if you find a gallery director that you connect with, they will be your champion. Absolutely. And then, but if that gallery director leaves, so too might your champion.

16:45So, you know, it's, it's just like art is subjective, right? Yes. What, what one director loves, another director won't. So is that right? Yes. Yes. I think that's such a good point to bring up. Um, the person that is selling your work has to sell your story and they have to be your champion. And they have to be your advocate. And that's why the whole package is so important.

17:16You have to connect personality wise, um, because they will inherently want to push your work more and more. Yeah. Yeah. Cause it's, it's just like, if you become friends, you don't have to be friends, but if you're friendly, you want your, you know, you want to talk about these people. You want to talk about their work. You, you know, absolutely. At least that's my experience.

Preparing for Gallery Representation

17:39Okay. Well, if an artist that's listening today wants to approach a gallery this year, what should they have in place before they even send that first email?

17:55Um, we touched on it actually for a brief second in the last question, but make sure you know who you're emailing. Yeah. Um, especially if you copy and paste the wrong gallery name, you're going to immediately, like, they're not even going to look at the rest of your portfolio. Oh, is that happened? Oh yeah. Oh yeah. It's like, make sure you know who you're emailing. Um, don't say, or like I, yes, they've,

18:26they've copied and pasted some details and not, and not change them. Um, that's like a point that's attention to detail. That's a level of professionalism. You have to make sure you know who you're emailing, be intentional about who you're emailing. Um, you should know that not every gallery is a perfect match for you. I think you should do the research yourself. Like it goes both ways. So email the ones that you feel like you really connect with. Um, try to build a relationship with them.

18:58Don't give up. Um, don't walk in and call and pester them as we mentioned, but. Um, I think, I think the biggest red flag and what people need to make sure they have in place is just a consistent portfolio. Make sure that your art is cohesive and not all over the place. Like you're not, I don't need to see that you're showcasing 20 different styles. Like I want to know who you are as an artist.

19:30What's your niche? What brings your uniqueness to the table? Right. Um, and then that brand should be cohesive through everything that you present. So the portfolio CV, um, and your website and social media. Yeah. So that brings me to another question.

Importance of Social Media

19:51And that is that, you know, how important is, um, when you say everything should be cohesive, I, I often talk about you are a brand year. So, so you are the brand, you and your art are the brand. And so I talk about being clear on your why, because once you're clear on your why, that makes everything more cohesive. It's like, I, you, now I know my story because I know my, why I know the story that I'm trying to tell. And that story now becomes,

20:22becomes part of the brand. But how important is, um, social media to the equation? And like, do, do galleries look and an artist's social media? Definitely. Um, I want to see who your target audience is. I want to see what your why is. Um, your why basically dictates who you're speaking to. It dictates, um,

20:53the collectors you want to attract. Yeah. And are those collectors, the collectors that come to my gallery? And if so, then we're probably a good fit. Yeah. Um, so I think it's really, it's really vital. Um, and I call social media the necessary evil for artists. That's so funny. I was just having this conversation yesterday with Studio Elite. And I was just saying, you know, tell me, tell me how you've, cause it was a brand new cohort.

21:23And I was saying, you know, tell me how you feel about social media. And the majority of people were like, I have it, but you know, I don't really, I'm not really active. And so like, that's, this is the first full week. I'm like, that's one of the things you've got to start focusing on. Hey, real quick while I've got you, I just want to tell you, I know that being an artist can be a lonely job and filled with self-doubt. So artists need other artists and we need painting techniques and the skills to sell our art

21:55along with it. So that's why I created the best membership group of artists on the planet called the Honest Art Society. And in it, you receive several coaching calls a month with me so that you can get your questions answered on business and on your art. You get monthly trainings from art techniques to marketing and business. You get exclusive art critiques as well as exclusive discounts on workshops and courses. And all of this is for only $47 a month

22:26and you can cancel at any time. So if you're ready to make your best art ever along with a great community of amazing artists, I hope you'll join me in the Honest Art Society and you can find out more at the link in the show notes. So let me ask you this, Logan. I follow a couple of, a couple of, well, I follow several, more than a couple of galleries, but one of the galleries that I follow, the director went on and was showing

22:57some of their new work and he said specifically, I found all of these artists through social media. I have found a large share of artists through social media.

23:12You just, you never know. And here's the thing that I have noticed that gets an artist's head a lot. They're like, I've posted that, I've posted something similar to that before, but you never know who's looking at your, your page for the first time. Right. Um, we see it all day, every day, so we get in our heads, right? But, um, just, you just have to keep doing it. You never know who you're going to attract that day in the post that you make. Um, and like,

23:44I don't want it to feel like you have to be bogged down by it. You know, like don't force yourself to like do these hour long reels every single day. Um, just be intentional. Take one day to dedicate to your social media or website management. Yeah. Um, and it's, it's important. It's definitely important. And you don't have to have a hundred thousand followers to get a gallery to represent you.

24:15You know, um, you can still have a low following. I think it just shows, it shows your purpose. It shows your dedication. Um, it shows, again, you're running yourself like a business. You're marketing yourself. Yeah. And would you want to be represented by a gallery that doesn't touch their social media? Yeah. No, probably not. No, no. Well, because it goes into that relationship thing, right? It's like you, you want to work with somebody who's professional and can promote

24:46maybe an opening that you're having or whatever it might be and, and, and vice versa. But yeah, social media is so not optional. Yeah. Like, like you said, the necessary evil, right? Yeah. Yeah. Okay. Can I circle back to one other thing that came to mind when you were saying, um, you know, include your portfolio. Um, and you were saying, you know, consistent portfolio. You don't want to see every single style they've ever painted ever, you know, just a consistent style. Um, how many images, uh,

25:17would you like to see when an artist submits an email? Great question. Cause I almost would have forgotten this point. Um, I think 10 to 15 artworks is really good, but here's my favorite thing that artists put in their submissions, installation shots. And I'm talking like installation shots from a gallery exhibition and installation shots from home or public,

25:47um, collections. Yeah. To me, this shows one, it shows like how, how has your art been curated in other spaces before? Um, two, it shows me how your work feels in a client home setting. Um, and it automatically that shows me proof of sales. Yeah. You've had people collect your work here. I'm seeing it in a real life setting. It's not just the inventory image

26:18because I think we all know it's so hard to like know how art can feel. Um, and that's about, I feel like that's half of what art is, is the feeling and emotions that it evokes for people. Um, so install shots I think are a plus. Oh my gosh. I never would have thought of that. What a great tip. What a great tip. So, so the portfolio doesn't just need to be like clean cropped, uh, images.

26:49Well, I, I assume they also need to be clean cropped images of, of the work. Yeah. Yeah. Don't put like, don't put it in if it's going to be, I, I hate to, um, be like picky about it, but it makes a difference. No, be picky. We want you to be picky. Tell us, tell us the truth. Just don't put those like low resolution, dark photos in your portfolio. Like make, make them, it's the level of professionalism. Um, it, it can be hard

27:20to get, like, trust me as the person who hounds clients over and over again for good install shots, if I'm not able to be there, it can be kind of near impossible to get them. Yeah. Um, and explain to them how to take a good one. So I, I know how difficult it can be, but just try ask multiple times every time something sells and like, keep them, keep them in your portfolio and like, hang on to those.

27:51Um, great tip. Yeah, absolutely. A great, great tip. And when, uh, when people submit those 10 to 15 paintings, I just want to, um, caveat that like, they shouldn't be, they should be 10 to 15 of your best paintings. Um, yes, 10 to 15 of your best paintings. Um, they can be, and some of them probably should be paintings that have sold. Um, put your price points with it and make sure your price points are cohesive

28:22and make sense to your resume. Um, yeah. And again, high resolution, good lighting photos. You don't like lighting is also half of it. Yeah, it really is. It really is. Um, okay. So, um, when, what do you see? I mean, I know you manage artists. You are in the, you're just really in the, the whole mix with artists

Knowing When You're Ready

28:50and their careers. And, um, one of the things that I, I've, I think artists need to remember is like, we're on your side, you know, the, as an art manager, you know, you want to see the artists win, right? They're, you're definitely on your side. So how does an artist know when they're ready for art management? Like it, I think it, one of the hardest things to discern as an artist is the quality of our work.

29:22And I know for myself because I had, I'm totally self-taught. Well, I mean, I've taken some workshops, but for the most part, you know, I'm self-taught. Um, and so I, Logan, had a really high opinion of what my art was like when it really sucked. I mean, because if my art was slightly better than it was six months before that, I'm ready for representation. You know, it's like, it's

29:52just, I was so off the mark, really, really off the mark. And now I'm just, I'd look back at some of that work and I was like, oh my gosh, what were you thinking? But how does, how do we discern that as artists? How do we know when we're ready for gallery representation or, um, you know, management? Like, how do we know that?

30:14Um, I don't know if you're going to like my answer, but before you think you're ready. Really? Before you think you're ready. And I think people wait. I think people wait until it's too late to take the leap to invest in themselves. Um, or. And honestly, maybe artist management and gallery representation could be two different answers.

30:44True. True. Um, but I would say love this answer, by the way, just for the record. I love this answer. Uh, before you think you're ready is always my favorite time to do something. Before you think you're ready. I, you don't want to wait until you're overwhelmed and burnt out. And then you have creative blocks. and then now you're, now you're stressed and you're trying to catch up with yourself and you're behind in the studio. So I think, I think there's a level of

31:14self-awareness that's needed in this. Um, and maybe some like daily journal reflection can help people just like start to notate like how much time am I spending on my emails or website maintenance or how, how much time am I spending reaching out to potential collaborations like versus actual time in the studio. And when you realize, I think there's like a steady line that when you realize I'm

31:45starting to spend too much time on this, I need help now so that I don't get burnt out and then I can level up my growth. Yeah. Um, I agree. There is this tipping point where everybody it all becomes just a lot. Um, but when it, when in terms of the quality of the art, um, do you, are you, do you still stand by that where maybe you're just not quite ready or what do you think about that? The quality of the art? Great question.

32:15That's, that's a good way to separate them. Um, so in terms of quality of the art, I would say you should wait until, um, you definitely want to wait until you're getting steady proof of sales. Yeah. I think there's many, many artists that just like, are like, I'm creating art. Don't get me wrong. I'm not, I'm not putting anyone down because I think everyone needs to keep creating,

32:45but so many people just like paint some paintings, their voices, a random still life to a few random abstracts that don't even have cohesion. Um, and they just email, like, I'm going to be represented by a gallery. I sold one thing. Like, I probably don't think you're quite ready for it then. Yeah. Um, but when this is like starting to become your source of income because you're selling well, um, you have a clear, clear voice, I'll

33:17probably mention clear voice a hundred times through our conversation. Um, clear voice and story of who you are. Like that's, that's when you're really ready