G

GALLERIES

Galleries are physical or virtual spaces where pho-
tographic works and the public cross paths. Gal-
leries can have many structures, diverse objectives,
and utilize a variety of resources to link photogra-
phy and public. Examples of some gallery structures
include cooperative galleries, commercial galleries,
cultural spaces both public and private, web gal-
leries, galleries at temporal events such as art fairs
or symposiums, and vanity galleries. Galleries can
showcase work by genre such as still life, portrait,
landscape, or experimental, exhibiting only photo-
graphy or various media, exhibiting work on general
or specific themes or events, organized by individual
authors, institutions, or groups. Each gallery structure
will in some way bring photographic works and the
viewing public together. Different structures will
accomplish these links in different ways, varying
their rapport either to photographers, to the public,
or both.
In a cooperative gallery, artists become members
to participate in gallery activities. There may be a
membership fee and members may be asked to
participate in gallery functions by helping to hang
shows, gallery sitting, newsletter production, etc.
Membership may also be open to the general pub-
lic, who through their membership provide sup-
port, both financial and time, to the gallery. Some

events and activities at a cooperative gallery may

be open to the general public, others to members

only. Activities may be educational or promotion-

al, such as juried shows.

Commercial galleries are places of business where

gallery directors promote photography as a consu-

mer good. Commercial galleries represent a limited

number of artists and apply countless strategies to

provoke the sale of a photograph. Some galleries

build their reputation by carrying only the work of

well-established artists. Other galleries claim to be

presenting heretofore undiscovered talent. Some

galleries will solicit submissions for group or solo

shows, juried by the gallery director or a guest

curator. There is a contract between artist and gal-

lery, either implicit or in writing. The contract will

determine the division of responsibilities, such as

framing, insurance, regulation of exhibits, insur-

ance, prices, fees, and method of payment.

Both public and private institutions can have gal-

lery space for exhibitions. Public institutions such as

the commercial attache ́ to embassies, municipal,

state, or federal buildings, public libraries, commu-

nity centers, or universities can host exhibitions in a

gallery, generally open to the public-at-large. Pri-

vate institutions also, such as private schools, non-

profit organizations, theaters, coffee shops, and