Many artists believe that only the very best, most technically proficient artists will get gallery representation and sell their art. If you’re waiting for your work to reach some imagined level of perfection before you begin putting it out there, you could be holding yourself back in a big way.
There’s a natural tendency for artists to strive for perfection in their work. It’s part of what makes you an artist—the desire to create something exceptional. But if you’re waiting to achieve perfection before you’re willing to share, show, or sell your work, you might be waiting a long time. Worse, you may be slowing down your personal and professional development as an artist.
This misconception plays into another common issue: self-doubt. You might feel like your work isn’t good enough to be out in the world, and that doubt keeps you from sharing your art with others. However, what we need to realize is that galleries aren’t looking for perfect art. Yes, galleries want to find work that’s excellent, but they are also looking for work that’s marketable, consistent, and created by artists who are professional in their dealings.
What Galleries Are Really Looking For
When a gallery considers representing an artist, they’re not expecting absolute technical perfection. What they’re really looking for falls into three categories: marketability, consistency, and professionalism.
- Marketability: Galleries need to show work that will appeal to their buyers. Art buyers are an incredibly diverse group of people, and often, a piece of artwork that you or I might have doubts about will be the exact piece a buyer falls in love with. If your work interests you, it’s likely going to resonate with others too. You need to give galleries the opportunity to see your work and share it with their collectors.
- Consistency: If a gallery sees marketability in your work, they’ll want to know that you can consistently create more pieces in the same style or theme. Consistency is important because collectors often want to follow an artist’s body of work over time. If a gallery can count on you to produce cohesive and consistent work, it builds trust and creates opportunities for future sales.
- Professionalism: When a gallery represents you, they’re entering into a partnership with you. They want to work with artists who communicate well, deliver on promises, and are reliable and easy to work with. Being a professional in the art world is just as important as the work you create. A gallery wants to know that you’ll be a good partner over the long term.
Don’t Wait for Perfection
If you’re waiting to reach some level of artistic perfection before you start putting your work out there, you’re missing out on valuable feedback and growth opportunities. Getting your work in front of buyers and gallery owners will help you gain perspective on how your art is received. This doesn’t mean you should create just to please the market, but understanding what resonates with people can help you refine your work and direction.
Also, remember that galleries, like artists, are at different stages of their development. Sure, it might be tough for a brand-new artist to get into a well-established gallery in a major art market, but there are plenty of galleries in different phases of growth. Some are just starting out, others are more established, and some focus on emerging artists. No matter where you are in your career, there are opportunities to get your work shown. It’s just a matter of finding the right fit for where you are today.
Take Every Opportunity to Get Your Work Out There
My advice to every artist is to take the earliest opportunities you can to get your work in front of people. This might mean participating in local art festivals, weekend shows, or open studio events. But it’s also important to start thinking about approaching galleries, even if you feel you’re not quite ready. Presenting your portfolio to gallery owners is a great way to start building those connections and getting valuable feedback.
Ultimately, waiting for your work to be “good enough” could mean you never take that first step. The sooner you get your artwork out into the world, the sooner you’ll find your audience.
Have you ever struggled with the feeling that your work isn’t ready to be seen? How did you overcome that? Leave a comment and let’s start a conversation.
Hi Jason,
I have been delaying sending my portfolio to galleries for the very reasons you point out. Also, I worry that if I am turned down by a gallery I may want to again approach the same gallery after I have improved my portfolio. However, I fear that the gallery may remember turning me down and automatically turn me down the second time without really considering my new body of work. In other words I fear that I have only one opportunity to get it right. I would greatly appreciate your thoughts on this.
Best regards,
Hal
I understand your concerns. Hal, and it’s natural to feel pressure when submitting work to galleries. However, being turned down by a gallery once doesn’t mean you’ve missed your only chance with them. Galleries are focused on finding art that aligns with their current vision, and tastes evolve over time. Approaching them again after refining your portfolio can demonstrate your growth as an artist. The key is to ensure your new body of work is strong and that you’re showing confidence in the progress you’ve made.
Don’t let the fear of a single missed opportunity hold you back—it’s all part of the journey.
Years ago I was represented by lots of nice galleries. For many years, the only pieces of my own work that I owned were pieces I felt weren’t quite gallery-worthy for some reason or another. I kept them in my studio protected by dust bunnies and cob-webs when I went on a rather long health hiatus. I finally decided I wanted to live with them because they make me happy and proud to look it. When I installed them in my house, I couldn’t for the life of me figure out what the perceived imperfection could have been that had prevented me from sending these pieces to my galleries; galleries that were *asking* for more work, if I had it! We’re our own worst critic, of course.
I didn’t wait until I felt I was “good enough”. Initially, I attended a Christmas bazaar with some of my small watercolors, 9” x 12” paintings of horses and a few 6” x 8” dog paintings. I took my travel set with me and painted while people came by my booth. I sold several works but got a dozen commissions for dog portraits in the 6” x 8” size. I also printed 5” x 7” flat Christmas cards with a horse design. I sold over 500 of them. One of the local tack shops here let me display my small horse and dog paintings in there front lobby and I sold several there and got commissions to do horse portraits. Each painting let me develop my skill as a watercolor artist and helped my style evolve. I now have my paintings hanging in businesses throughout our city, I’m selling my art and getting known locally. I took your webinars on how to get into galleries, price your work accordingly and the one on building your portfolio. Over the summer, I built inventory and honed my watercolor skills. I sent my portfolio out to a gallery where I thought I would be a good fit. The gallery owner contacted me the next day and now I have gallery representation in Texas, I’m in the Southeast, near the coast. Thanks to you Jason, I know what gallery owners expect in a professional relationship with their artists. I did not wait until I was good enough but I grew with the exposure and the encouragement of my community. Don’t wait until you think you’re good enough, be brave and step out there.
Thank you so much for sharing your journey, Margaret! It’s inspiring to hear how you’ve built your career by taking opportunities as they came, even before you felt fully “ready.” Your experience is a great reminder that growth often comes through the act of putting yourself out there and evolving with the feedback and opportunities that follow. It’s wonderful to see how your success has unfolded—from bazaars and commissions to gallery representation. I’m thrilled that the webinars played a part in your success, and I’m excited to see how your art continues to flourish! Keep pushing forward.
Hal, I’m sure many people must share your fear about re-approaching a gallery that has turned you down before. It’s the same fear that keeps me from submitting my portfolio – what if my portfolio gets better and I’ve already approached my ‘top pick galleries’ with my sub-par portfolio? ‘Maybe I should just wait.’
It’s completely understandable to feel hesitant, Jackie, but waiting until everything feels perfect can sometimes hold you back from valuable opportunities. Remember that galleries see numerous portfolios and are often willing to reassess artists when there’s clear growth or new work that excites them. The key is to focus on developing your skills and building relationships with galleries over time. Even if your initial submission doesn’t lead to representation, it opens a door for future interactions. Don’t let the fear of not being “ready” keep you from moving forward—you’ll continue to grow through the process!
Nailed it again Jason.
Thanks Christopher!
Plus- You never know! Years ago I was in a hard-to-get-into art festival. I took what I thought were my best abstract pieces and took one I had just finished that I thought was hideous. I took it because if I had a lot of “holes” in my show, I’d feel compelled to drag it out. Sure enough, on the last day of the show, a woman stopped short in her tracks, back-stepped, and pointed her finger at me scoldingly, saying, “You didn’t have that hanging there 10 minutes ago!” I confessed that I didn’t. She left abruptly and returned with her husband. They both agreed that the one I thought was “hideous” was perfect for their home. I’m glad that I took it, even though I didn’t think it was good enough.