SENDING EMAIL BLASTS : ART WORLD RESEARCH

It occurred to us that our artists emails cater to multiple distinct audiences including friends, collectors, curators, dealers, and the press. This becomes particularly important because curators and dealers can have very different interests; curators focus on cultural relevancy, while dealers are concerned with the marketability of your work.

We consulted six art world professionals about how they like to receive artist email blasts. The data shows that it might be worth segmenting your email lists between General, Curators, and Dealers.

NOTE: this is a small sample and there are exceptions to every rule.

GENERAL TAKEAWAYS : TLDR

• SIGN-UPS: If someone is a public art world professional and their email is readily available, you can sign people up without their express permission, but be cautious. They might unsubscribe, and too many unsubscribes or unopened emails can flag your remaining emails as spam.

• OUR METHOD: Before signing someone up for an email blast send them a personal email introducing yourself and inviting them to something exciting. You are much more likely to get a real connection.

• FREQUENCY: These art world professionals receive fewer emails than one might expect. There is a balance between updates and spam. Most pro’s seem to expect multiple emails if you are actually doing something of note, so if you are having a big show, they are okay with an invite, a middle of show event, and a closing email with any press or experience update. If this is a regional show that’s not in their region, only send one email.

• RELEVANCY: These professionals are more likely to accept unsolicited emails if:

1. The work is culturally relevant to current events.

2. The artist is sufficiently advanced in their career to be noteworthy.

3. The artist works in a specific field that the professional is interested in.

• BREVITY OR CONTEXT: Dealers prefer succinct emails with a glossy image; curators appreciate more contextual information.

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INTERVIEW SUMMARY
WITH ART WORLD PROFESSIONALS

LARGE MUSEUM CURATOR

• Email Volume: Receives many artist emails weekly.

• Reaction to Unsolicited Emails: Response depends on relevance and presentation.

• Email Management: May unsubscribe or ignore based on content relevance.

• Preferred Frequency: Monthly or quarterly; dislikes frequent reminders.

• Content Preferences: Prefers a balance of text and images; dislikes large attachments.

MEDIUM SIZE MUSEUM CURATOR

• Email Volume: Over 30 emails per week.

• Reaction to Unsolicited Emails: Takes a quick look to assess relevance to her focused mission. Frequently asks “why are you sending this to ME”

• Email Management: Generally ignores, especially frequent reminder emails.

• Preferred Frequency: Quarterly emails are most effective.

• Content Preferences: Enjoys substantive content; invites to collaborate are preferred over large project introductions. “Introduce me to your work, but let the curator curate”

HIGH END ART PRESS EDITOR

• Email Volume: Receives 3-5 artist email blasts per week.

• Reaction to Unsolicited Emails: Interest depends on content, not the sender; irrelevant content leads to frustration.

• Email Management: Ignores generally; unsubscribes if content is especially irrelevant.

• Preferred Frequency: Prefers monthly updates or emails tied to significant events.

• Content Preferences: Favors emails that combine an event notice with an image.

SMALL TIME ARTIST CURATOR

• Email Volume: Receives about 20 emails per week.

• Reaction to Unsolicited Emails: Silent deletion.

• Preferred Frequency: Quarterly is best; monthly acceptable but not more frequent.

• Content Preferences: Prefers brief introductions, relevant images, and additional writing if it tells an interesting story.

MID RANGE ART ADVISOR / DEALER (10k works)

• Preferred Frequency: Likes monthly updates; finds quarterly too jumbled.

• Email Management: Unsubscribes from unsolicited blasts to avoid spam flags.

• Content Preferences: Prefers emails to be more image-heavy and less text-heavy.

BLUE CHIP Gallerist

• Email Volume: Receives about a dozen emails per week from unknown senders.

• Reaction to Unsolicited Emails: Does not read emails from unknown senders.

• Preferred Frequency: Quarterly, depending on how fresh the information is.

• Content Preferences: Emphasizes the importance of placing engaging content at the top of the email; prefers a mix of context, one striking image, and additional text.

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GALLERY OUTREACH FOR ARTISTS

Reaching out to art galleries can feel like a daunting task for many artists, but with the right approach and understanding, it can become a more manageable and successful endeavor. Here’s a detailed guide on how to effectively reach out to galleries, drawing on insights from a community chat among artists.

Understanding Gallery Dynamics

1. Long-Term Relationships: Galleries often rely on recommendations from their current artists when considering new talents. Building relationships with artists already represented by galleries can open doors to gallery introductions and recommendations.

2. Gallery Representation: Not all galleries will be a fit. Some artists find that working with smaller galleries without signing exclusive contracts offers more flexibility, while others benefit from formal representation. It's essential to understand what each gallery offers and align it with your career goals.

3. The Role of Social Media: Social media platforms like Instagram can play a crucial role in gaining gallery attention. Regular updates and professional presentation of your work can attract gallery directors or curators who are scouting for new artists.

Effective Outreach Strategies

1. Networking: Engaging with other artists and participating in art-related events can provide crucial networking opportunities. As discussed in the community chat, artists often receive gallery introductions through mutual connections within the art community.

2. Direct Contact: Cold emailing or sending physical portfolios can still be effective. Tailor your approach to each gallery's preferences, which you can often find on their websites. Include a well-prepared portfolio and a personalized cover letter that resonates with the gallery’s exhibited style or ethos.

3. Follow-Up: Persistence is key. Follow up your initial contact with additional communications, such as updates on new work, upcoming shows, or professional achievements. Remember, the art world is small, and building a reputation for being professional and courteous goes a long way.

Tools and Techniques

1. Use of Technology: Tools like CRMs (Customer Relationship Management software) can help you track your interactions with galleries and schedule follow-ups, ensuring you remain organized and proactive.

2. Professional Materials: Invest in high-quality prints of your work or create digital portfolios that are easy to distribute and showcase your work effectively. Some artists use services like Blurb to create professional-looking catalogs of their work at a reasonable cost.

3. Onboarding Strategy: Developing a multi-step approach to engage galleries can be beneficial. Start with a soft introduction, perhaps through a mutual connection, followed by more formal outreach like an email or catalog send-off, and culminate with personal meetings or studio visits if possible.

Understanding and Patience

The process of securing gallery representation or even just a show can be lengthy and fraught with challenges. It's essential to stay patient and persistent. As discussed in the community chat, sometimes the journey to gallery representation takes years and involves building relationships and slowly making inroads into the gallery’s network.

Conclusion

Reaching out to galleries requires a blend of strategic planning, professional presentation, and persistence. By understanding the dynamics of gallery operations and preferences, tailoring your outreach, and employing modern tools and traditional networking, you can increase your chances of success in the competitive art market. Remember, every interaction is a step towards building a lasting relationship within the art community.