Approaching Museums and Galleries

Since I have spent the past twenty -five plus years working as a museum and independent curator, I thought I could offer some suggestions about presenting work or exhibition proposals to museums and, by extension, to gallery owners.

Be aware that quilts are unfamiliar territory for many people in the art business, and that you may have to do some educating, both about the art and its audience. On the other hand, quilts are familiar, non-threatening objects, and they are wildly popular. Have you ever met anyone who said, "I don't like quilts?" Or how about "I just don't understand quilts?" I haven't. All of these facts can work to your advantage.

One of the best tools you have at your disposal in pitching an exhibition is demographics. Quilting in America™, a survey commissioned last year by Quilter's Newsletter Magazine and International Quilt Festival and Market in Houston, revealed some eye-opening statistics. The survey showed that there are nearly 20 million quiltmakers in the US and that they spend $1.8 billion a year on quilting supplies-fabric, sewing machines, thread, tools, books, etc. The average dedicated quiltmaker, defined as someone who spends more than $500 a year on quilt-related products, is 55 years old, college educated and has a household income of $75,000. Believe me, those sorts of numbers will help you get the attention of any museum director. And remember that those numbers are just quiltmakers; they don't include people who love and enjoy quilts but don't actually make them.

What's the best way to approach a museum? If it's a small place, send a note to the director and ask to come and see him or her. If it's larger, see if there is a textile or costumes curator and get to know her.

When you've got your foot in the door, be sure your presentation is clear and well-organized. If you are pitching an exhibition, you will need to be specific about the number and size of the quilts you'd like to have in the show. Think about how many "running feet" of wall space it will take to hang all the quilts. This is a fairly easy calculation-just add the widths of the pieces together and then add at least two feet on either side of each quilt for labels and visual breathing room. Also be prepared for questions about methods and costs for mounting the quilts and shipping them to and from owners.

Have some first-rate photographs to show. I can't emphasize the importance of good photography enough. It's far better to have a handful of professional 4 x 5 transparencies to present than any number of mediocre slides or snapshots. Respect your work enough to present it in the best possible light; hire a professional. If you don't know a good studio photographer, many larger galleries and museums have photographers on staff who also do freelance work. There are also several photographers who specialize in quilts and do superb quality work, including Karen Bell in New York, and Sharon Risedorph in San Francisco. Their experience is worth the price of admission. If your work has been hung in a gallery or museum setting, some good installation shots can be helpful as well, especially if the person you are talking with has not worked with quilts before.

Offer support, especially if you are dealing with a smaller institution. Museums are chronically understaffed, and many depend on volunteer support to get things done. Offer the help of friends, your crit group, or local guild in mounting and publicizing the show. Make it as easy as possible for the museum, which is, after all, considering allocating precious resources of time, exhibition space, and money to your idea.

Help raise money. If you go to a museum with even a few hundred dollars promised by a guild or local quilt shop for instance, you will be taken more seriously. At the least, be ready to present ideas about how to fund your exhibition.

So what does an ideal presentation look like? Here's a draft letter I'd like to receive.

Dear Director,

I would like to propose an exhibition of studio art quilts by Jane Doe, Sally Sewn, and Polly Pocket.

As you may know, art quilts are intended as gallery pieces. They are made by academically trained artists who combine traditional quiltmaking with concepts and techniques drawn from their training in the fine arts and crafts.

Quiltmaking is one of this country's best loved and most widely practiced crafts. People everywhere love quilts, and I believe there is a large and eager audience for exhibitions of quality work like the one we are proposing. An independent 2003 survey revealed there are 20 million quilters in America, and that they spend over $2 billion on their work each year. International Quilt Festival, the largest annual quilt show in the United States,, brings more than 55,000 people to Houston each fall for heir four-day event.

I am a member of the Fair City Quilters Guild, which has over 500 active members. The Guild has already raised $2500 to make the exhibition possible. If you are interested, our members would be able to assist your museum in fund raising, as well as in mounting and publicizing the show.

I have enclosed five color transparencies of quilts that would be included in the show along with information about the artists and the exhibition we have in mind. You can find more information about us at www.doesewnpocket.com. I would be happy to meet with you to discuss this at your convenience and look forward to hearing from you.

Thank you for your consideration.