Getting Into an Art Gallery & Growing Your Collector Base

Getting Into An Art Gallery & Growing Your Collector Base

Research the Right Gallery

Not every gallery is going to be the right fit, and that’s okay. Start by looking for galleries that already show work in your medium and price range. In the Twin Cities, that could mean commercial galleries in the North Loop, artist-run spaces in Northeast, or cooperative galleries like Form+Content.

Visit shows in person. Follow their social media. Read their mission statements and see what types of artists they work with. Then build a simple list of galleries that make sense for your work. This will be your submission roadmap.

Build a Solid Artist Profile

Think of your artist materials like a resume and cover letter. At a minimum, you’ll want:

  • A short, well-written artist bio
  • A concise artist statement (written in plain language)
  • A CV or exhibition history
  • A clean, mobile-friendly portfolio website

When contacting galleries, tailor your message. Say who you are, what your work is about, and why you’re interested in them specifically. Include a link to your site, and keep the email professional and to the point.

Start with Juried Shows

Most artists build their exhibition history through juried shows before landing gallery representation. These shows help you build your resume, connect with curators, and get your work in front of collectors.

You can find a roundup of Twin Cities art competitions and juried calls here on my website.

Stay Visible in the Local Gallery Scene

Your reputation grows when people see your name in shows, meet you at events, and follow your work over time. Stay active by:

  • Attending gallery openings and talking with artists and curators
  • Participating in open studio events and community art walks
  • Posting consistently on social media
  • Joining local arts organizations like the MN Artists Guild or NEMAA
  • NEMAA has a great email newsletter of art & gallery events, see NEMMA’s latest newsletter here, and subscribe (top left corner button).

If you haven’t already, consider showing at local art fairs. They’re a great way to connect with buyers and get real-world feedback on your work. I’ve put together a detailed guide to Twin Cities art fairs here.

Present Yourself to a Gallery Professionally

Galleries and jurors make decisions based on your materials—especially your images. Even if your artwork is strong, poor photography can hold you back.

Make sure your images are color-accurate, evenly lit, and glare-free. Include the right details: title, medium, size, and year. Avoid distracting backgrounds or heavy editing. A clean, well-documented portfolio sends the message that you take your work seriously—and that others should too.

Getting into an Art Gallery is a Process

Be patient, stay consistent, and treat each opportunity with care. Whether you’re applying to a juried show or meeting a gallerist at an opening, you want to be ready with a strong portfolio, a clear voice, and images that reflect the true quality of your work.

If you need help photographing your art to meet gallery standards, I’m here to help. I specialize in accurate, high-resolution images that show your paintings at their best.

Let your work speak clearly, and let your photos help open the door.

The First Thing a Gallery Sees is the Images of your Work

If you’re serious about showing your work in an art gallery or building a base of loyal collectors, you can’t afford to overlook your images. Great photos open doors. They’re the first thing jurors, curators, and buyers see. In many cases, they’re the only thing people see before deciding whether to work with you.

Before a painting ever hangs on a gallery wall, it has to stand out in a stack of submissions. Whether you’re applying to a juried show, reaching out to a gallery, or building an online portfolio, your photographs do the talking. If they don’t look exactly like your work in person, you risk misrepresenting yourself or being dismissed entirely.

Collectors are no different. Once someone is interested in your work, they want to study it. They might zoom in, compare it to others, or print it out to sit with for a while. If the photo feels off—if the color looks wrong or the texture seems flat—they lose trust. They’re not just buying a painting. They’re buying a connection, a feeling, and a moment in time. Your photos need to support that.

Too many artists miss out on opportunities because their photos don’t do the artwork justice. A quick phone pic under warm kitchen lights won’t cut it. Galleries want clean, accurate, professional images. Photos that capture color, texture, and subtle detail without adding glare or distortion. Images that help them say yes.

Think of your photos as your representatives. They show up before you do. They start the conversation and shape the first impression. If you want to grow your career, your collector base, and your gallery reach, make sure your photos are as strong as your paintings. You’ve put too much into the work to let a weak image hold it back.

Here’s my pricing and details for taking photos of your paintings.

Photo above: Freddy’s Bar by Paul Oxborough

Client Paintings: Gallery Artists

Paul Oxborough painting photographed by Mitch Rossow - Bar Longh 32x34

Bar Longh

by Paul Oxborough
Mary Pettis painting photographed by Mitch Rossow - Sunlit Textures 22x18

Sunlit Textures

by Mary Pettis
Steve Levin painting photographed by Mitch Rossow - Books and Butterflies 8

Books and Butterflies 8

by Steven J. Levin
Steve Levin painting photographed by Mitch Rossow - Alley Cat

Alley Cat – Charcoal

by Steven J. Levin
Mary Pettis painting photographed by Mitch Rossow - Dancing Dawn 16x20

Dancing Dawn

by Mary Pettis
Steve Levin painting photographed by Mitch Rossow - Johannes Vermeer study of Girl with a Pearl Earring

Johannes Vermeer study of Girl with a Pearl Earring

by Steven J. Levin