as i’m preparing for my upcoming show, Elements at D’art Gallery in denver, i was asked by a coworker, what went into putting on an exhibit in an art gallery? i replied, “i select some images to show, print them, doubt myself, print some different images, doubt myself some more, pick and print a few other images, soil myself with worry, and the process continues…”

while that’s not the exact truth regarding my process, it does shed some light on some of the things i go through when preparing for an exhibit. i thought it may help others to outline my process.

first of all, why should you care what i have to think on the subject? at this point, i’ve had a number of either solo shows or dual shows with other artists - six, in all. a couple of those dual shows have entailed roughly six or seven images printed, while the others have included up to twenty-five prints. one of the ways i “learned” how to exhibit was through an online class from a photographer that’s well known in the photography world. i also learned by viewing a number of exhibits in galleries, and through a lot of trial and error.

now that you either agree i’m worth listening to on the subject, or at least are too bored to look for something more interesting to read, i’ll get on with describing my process of preparing for a solo show - one where the concept, idea, color palatte, etc. don’t need to match up with another artist’s work.

step 1 - is there a theme?

i determine whether there will be a concept or a theme to the show? will it be all pieces from a certain location, all pieces that represent a certain concept, all pieces that have a similar subject, etc. or will it be a “greatest hits” of my work? once i’ve answered these questions, i go through all of my work and create a collection in lightroom where i copy each potential image into the collection - even if i deem it only a remote possibility to make the final exhibit, i add it to this collection.

step 2 - determine number of walls and space of each wall

i measure the wall space of each of the walls in the gallery, or each of the walls that i’ll be displaying my pieces on. this is hugely important because as i begin to thin down those images that i think i’m going to exhibit, i need to determine what sizes are possible. and here’s where i will potentially differ from others…i don’t believe having the same size image or same size frame is a necessity for all the pieces in the exhibit, though some do. that’s really up to you. i will say this - if you’re going to offer different sizes, presentations, black and white pieces and color pieces, portrait and landscape orientations, etc. ensure that it looks intentional. it is my opinion that the larger the gallery and the higher the walls, the more important it is to change up the sizes to provide interest and even surprise for gallery viewers. in smaller rooms or shorter walls, providing similar or same size pieces works better. D’art Gallery is a relatively large gallery with very high walls, and looks far better with an assortment of piece sizes.

step 3 - create sub-topics or themes for the different number of walls

i now plan which images go where. if there is a subject or topic, can it be broken down further into additional sub-topics? if so, which sub-topics are both interesting and themes for which i have images that fit? i need either one large image to take most of the wall, or at least three images to fill that sub-topic’s wall. smaller areas can also be broken down by subject matter, tonal values of the images, high contrast images, etc. but again, every decision i make when breaking this large collection into smaller collections should look intentional. i actually create additional sub-collections in lightroom under my original collection and start adding any possible images that fit into the sub-collections. i may include the same image in multiple sub-collections. (though i won’t use the piece in multiple locations)

step 4 - determine print sizes

there are a number of things that go into determining the print size.

step 4a - how do i want to present the piece? options include

• printed on paper and mounted without a mat, then framed

  • which paper type? (i use either a photo rag, baryta or bamboo paper)

• printed on paper and matted, then framed

  • which paper type? (i use either a photo rag, baryta or bamboo paper)

  • what size mat will be used? i typically mat 3” for 12x18, 11x14 or 12x12 and 4” for prints larger than that, but this is artist-dependent

• printed on metal, acrylic or canvas, with no frame

step 4b - what is the smallest size a piece needs to be printed to have the visual impact?

i don’t like presenting most of my images smaller than 12x18, 11x14 or 12x12 - there’s too much detail in most of my images, and that detail can get lost in smaller sizes. in Elements, i have a piece that i printed 24” wide and it lacked the visual presence i wanted from the piece. i held up that print inside a 36” wide frame and felt it still wouldn’t have the presence i wanted. this piece had to be printed at least 48” wide in order to have the visual impact i believe was needed. this minimum size may require some test prints at different sizes, keeping in mind that matting a smaller image will make it feel larger though the detail will still be difficult to see. one final note on image size - large pieces (such as the 48” wide piece) should be placed in spots in the gallery where there’s room for people to back up far enough to see it. placing it on a wall that’s too close is akin to sitting in the front row of the movie theatre - which, for us adults, is horribly uncomfortable and detracts from the experience of seeing the movie in the theatre.

step 4c - which images make the cut on each wall?

i like to use lightroom’s “lights out” capability to test different combinations of images for each wall - paying attention to tonality and flow from one image to the next. there are so many ways to consider how images can potentially flow from one to the next, that editing and sequencing of images is a topic that could take a lifetime to master. sometimes i’ll make 4x6 or 5x7 prints of the images in consideration and play with the combinations until i find one that i feel works.

once i have a combination i like, i determine if the smallest printed sizes plus potential mat and/or frame sizes plus distance between each piece (and distance from wall edge to first and last piece) fit on the wall. one consideration is the distance between pieces, and this distance depends on the size of the prints, frames, etc. themselves. the smaller the overall frame/print size, the less room required. my general rule is six to eight inches between 11x14, 12x18 or 12x12 pieces and eight to twelve for larger pieces.

if the combination i like with all spacing between and frame sizes is too big, i either need to remove image(s) or pick a different combination. if it’s too small, can i increase the size of one or some of the prints?

step 5 - order show cards

show cards are one of the most personalized marketing materials you can create for your exhibit, and when professionally done, can add a lot of credence to the exhibit. the gallery may create these for you, or if you’re working with another artist, you may create one together, or you may decide to create one on your own. each exhibit is potentially different, but i’d highly recommend the creation and ordering of show cards two months before the show. it will take a few weeks to get the cards and then you have a month or so to distribute them.

i use at least one, and potentially two or three images from the show to display on the card. typically on the back is the show information - a short writeup of the contents and/or concept of the show, important dates such as the show dates, artist opening, any artist talks or other high traffic days that may draw people. cards should also include the gallery information such as address, gallery hours and the gallery website url. i include my website and a QR code so people can be taken directly to my website.

cards can be sent to friends, family, and previous buyers. i also leave them in coffee shops, cafes, other galleries, etc.

step 6 - order show vinyl (if necessary/desired)

show vinyl is the black lettering applied to the walls that introduces the gallery visitor to the exhibit title and artist name. it can be done in any font and adds a nice, professional touch to a gallery setting.

step 7 - pr / marketing

pr and marketing for the exhibit can be done once the show has been confirmed, however i wait until i’ve selected which pieces will be in the exhibit. social media, email list communications, website communications, show cards, etc. are all be valuable parts of my pr / marketing plan.

one additional type of pr or marketing is local online calendars. often tv stations, newspapers, local magazines will have event calendars on their website. fortunately for me, the gallery does this when my shows are at D’art Gallery, but i’ve (or my wonderful girlfriend has) done this for some of my past exhibits. finding where to submit these entries, and doing them can be a relatively painful process. i’m not sure they’re as useful as the time required to request them, but the key to art sales is getting the right eyes on the right piece at the right time, and any method that can accomplish this, may be useful.

step 8 - order frames (if necessary)

i typically have “standard” size prints, which get standard, minimal, black, metal frames. for non-standard prints, i often try to pick frames specifically for that piece. i feel this change in the frames as well as the sizes helps to provide a visual change that keeps gallery visitors from getting bored.

frames can take a while to assemble and get shipped. for gallery exhibits, i typically use minimal black frames with acrylic glazing with UV protection and anti-glare coating. the glazing increases the cost significantly, but for me it’s worth it. i order frames at least a month before i’m supposed to hang the show to make sure they’re in stock.

step 9 - order prints (if necessary)

i print anything 16x24 or smaller myself and i work with a local printer for larger prints (or metal/canvas/acrylic) that uses the same papers i use (and same brand printers, so ink should be somewhat similar). they’ve always done a wonderful job for me, and i trust them. it can take up to two weeks for my printer to get the mounted paper prints, or metal/acrylic pieces, along with a test proof so i can ensure the final print will be what i expect. i try to put in any orders a month before i’m supposed to hang the show.

step 10 - print those items myself that i can

as stated above, i print anything 16x24 or smaller myself. i do this once i have the image sizes solidified, and begin matting/mounting as needed.

step 11 - assemble frames (if necessary)

the frames i order often require assembly, or at least preparation of the glazing. the glazing comes with plastic paper adhering to the glazing to protect it - acrylic scratches extremely easy, though it’s next to impossible to shatter and is much lighter than glass. each frame will require prep work by removing any protectant from the glazing, and cleaning the glazing with plastic cleaner and a microfiber cloth. additionally, hanging hardware needs to be installed on the frames. i typically wait until the print is placed in the frame before adding the hanging hardware.

step 12 - sign pieces

i sign every matted print on the white border around the image in the lower right corner of the image. (i don’t sign on the printed area, but just below) i also include the image’s title and year (and editioning information if the image is editioned) in the lower left white border. i use pencil for prints on photo rag paper and pen for prints on baryta paper.

for items that are mounted and don’t have the white border, or metal or acrylic prints, i sign and title with a sharpie or silver pen on the back of the item.

step 13 - mat prints (if necessary)

my preferred presentation is either matted or mounted prints. when dealing with prints, i wear cotton gloves to avoid fingerprints and finger oil from getting on the prints. i often have aspect ratios or print sizes that don’t quite fit in a standard sized mat opening, so i have a mat cutter and cut my mat pieces and backing board myself. i won’t get into the matting process here - perhaps in another blog post.

step 14 - place spacers on glazing for mounted print frames (if necessary)

prints should never rest against the glazing of a frame. in order to avoid this, i either mat the print or include spacers between the glazing and the mounted print. spacers provide a bit of an air gap and typically have one side of a small plastic square that has adhesive. i cut the spacer slightly shorter than the length of each frame side, then remove the adhesive covering strip. i then place the glazing in the frame, and begin applying the spacer by placing the adhesive side of the spacer onto the glazing pushing it as far against the frame side as possible, slowly adding more and more of the spacer while pushing it against the frame side before pressing down on the adhesive side.

step 15 - place signed pieces into frame (if necessary)

i always ensure the glazing is clean and free of finger prints with no dust and that there is no dust on the print/mat itself. i keep a sensor blower handy to use immediately prior to placing prints in frames. put the print in the frame, put the frame together, turn over the frame and ensure there is no dust or any spots between the frame and print/mat/mount.

step 16 - place business cards on back using artist’s tape

i typically put business cards on the back of either the mat or mount so any potential purchasers have my contact information and website url to potentially purchase other pieces, or make guarantee claims.

step 17 - attach hanging hardware

if i’ve not attached the hanging hardware to the frame yet, i will do so at this time. i always hang pieces somewhere in my home for a couple of days, just to make sure the hanging hardware is attached properly.

i go through steps 8 - 17 for each piece in the show (though some of these steps may be combined such as ordering frames, prints). as i add additional completed pieces, i begin to feel a sense of doubt whether i’ve selected the right pieces, that the pieces go together or that the walls will work together. it is a guarantee that this will happen for every show, and i’ve come to expect it and merely fight the lingering doubts by saying it’s a natural part of my process and it will pass. usually by the time i’ve completed all pieces and hung them within my home, i feel relatively comfortable with the exhibit as a whole. when i told my co-worker i soil myself, i wasn’t lying. there is indeed a sense of doubt and imposter syndrome that always sets in.

step 18 - price the pieces

in general, i price based on my cost, (i include the work put into creating the final presentation of the print in my cost) adding any profit margin i require, plus factoring in any commissions. i create a single retail price for each print presentation so that no matter where or how the piece is purchased, the price is consistent.

step 19 - create writeups for the exhibit

there are a number of things i write for each show, though one or two are all that’s typically required - an artist statement of the show. this is a short, one-page essay on why i’m showing these items, what drew me to this as a subject and how i chose and processed these pieces to comprise the overall exhibit. some people include a “show statement” such as above, as well as an artist statement like the ones you see on many artist websites. since i often break up the overall theme of the show into sub-themes, i will often write something on what each sub-theme is and how it applies to the theme overall. occasionally, i’ll have a piece that needs a description of its own. if you’re like me, you may be an “OK” writer, but i always try to have my girlfriend read through and offer suggestions/edits for the things i write. if you think my writing is coherent, it is because of her and her suggested edits, (which i almost always take) which make the my writing far more comprehensible. i highly recommend having someone read and edit for spelling and grammar but more importantly, to ensure the writing makes sense to someone other than you.

step 20 - hang the show

the show is typically hung the week prior to the show’s opening. getting this many pieces to the gallery without doing any damage to them can take some doing. i know artists who have rented moving trucks. i make several trips with my suv. once the pieces are at the gallery, hanging can take some time. the middle of each image should be 5 ft high, or 60 inches. since i know which pieces go on which wall, and i’ve already calculated the distance between the pieces, it’s fairly easy to calculate where the next piece goes on the wall. this step also includes hanging the show vinyl, if there is any, as well as the pricing/title information and any write-ups.

step 21 - modify the lighting (if possible/necessary)

once the show is hung, i look at each piece from multiple angles and note any lighting needs to avoid glare or ensure good lighting of each piece. if i find pieces where a lighting change would benefit the piece, i bust out the ladder and move the lights so that each piece looks its best. since most of my presentations are framed with anti-glare acrylic as the glazing, lighting reflections aren’t AS much of an issue as typical glass, but i still may want to alter the lights slightly to avoid any hot spots, given a particularly important piece or viewing location within the gallery.

step 22 - enjoy the exhibit!

at D’art, we typically have an artists’ opening the first weekend of the show. this is the date i like to invite friends and family. we offer refreshments and attempt to get people drunk so they’ll buy our art. it rarely works. but it is nice to celebrate the completion of the show with those that know the artist best, as well as some of the regular visitors of the gallery. the first friday of each month is also a big deal for the art district. all of the galleries are open and thousands of people come down to the art district to view art and hang out with friends. we’ll often see 1,000 people come through the gallery on a first friday in the summer. some of the artists may also do an artist talk at some point during the exhibit - it gives gallery visitors the opportunity to get to know the artists better, and the artists get to talk about their process and views on the art itself.

step 23 - take down the exhibit and prep the gallery for the next one

after the gallery closes on the final sunday of the exhibit, it’s time to take down the pieces that didn’t sell, somehow manage to get them home without destroying them, patch the holes in the wall, clean up any markings and paint any dings on the wall and remove the vinyl. for any pieces that did sell, it’s typical to ask them to come into the gallery after the show has completed. if they come in on the last day to pick up the piece(s), i’ll package them so they can transport them safely without any damage to the frame or glazing. if they can’t come in on that day, i’ll package up the items as if they were there, and leave the items at the gallery. i may give them a call at some point the week after the show to remind them of their purchase and try to schedule a time to have them pick it up.

it is usually at this point i never want to do another large exhibit. i just want to rest. but then i recall seeing the people interact with my work. the artist reception and first friday are the two best opportunities to see people interact with my work in a controlled environment. this isn’t people thumbing through bin prints outdoors, under a tent in variable and often poor lighting. they’re viewing the pieces in the exact way i want to present the pieces. it’s the single best aspect of showing my work in a gallery. i get to see what works and what doesn’t. i’ve seen people cry while looking at my work. i’ve had people talk to me about how they were moved by the pieces - how they lost their home in the fire i’ve photographed. i’ve wound up being invited to different gallery exhibits through shows while many of the artists i know have received commissions based on their gallery exhibits.

many people wish me luck in selling pieces for an exhibit, but i’ve never looked at sales as a sign of success for an exhibit. the reactions i get from people is the biggest indicator of success for me. did i move people? did i make people stop and wonder? did i inspire people to slow down and/or look closer at the things they pass by on a daily basis? that is the gold in a gallery exhibit for me. sales? they’re merely the icing on the cake.