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What It Takes To Run A Patreon Site… (Part 3)

Running a creative platform for artists and poets….

We start promoting submission calls early with podcasts, social media, articles in Huffington Post, Medium, and in our platform at Patreon. For example, listen to the Podcast Gently Does It with John Dalton as he interviews Walt Morton and David Hummer for Painting The Figure Now which is one of the upcoming exhibitions we have provided for our members.

So now your members are submitting work and being published and accepted into exhibitions in galleries and museums. Now what?

Now that your members have been accepted after signing up for your tier program on Patreon when joining, you have to follow through. Here is a glimpse at some of the work involved in my part once an artist is selected to an exhibition.

We start planning most of our exhibitions a year or more in advance. I approach venues to see if they are interested in showing our artists. Sometimes I approach the curator first.

Once we confirm with a curator and venue, we then get to work to publish the call online. I have been publishing online for twenty years so putting a call up is relatively easy for me although I realize that it may take additional time for others.

Once the call is up submissions start coming in. Some artists have work available and they submit early. Others have to create new work so I make sure to give them plenty of time to finish a new piece for consideration. The key part of any submission call is for artists to read the guidelines. Some exhibitions ask for new work created specifically and others are just interested in your current work.

At the time of the deadline, the curator takes time to view each submission and decide what works they feel best qualified for their vision of the exhibition they are curating. They then send me their selections. I then email the artists and confirm with them letting them know they have been selected and give them further information.

We then set up a secret group on Facebook for that exhibition specifically so that we may communicate as a whole and privately as needed. Gallery Directors and curators are also involved in this process of the group along with staff members who are writing about the works in the exhibition.

I then send out select images from the exhibition to the press to see if they are interested to cover the show. If they are, they will email the artists individually and ask for further information about the work. Or they will contact me or the curator or the gallery/museum.

In the meantime, the gallery/museum is preparing a consignment agreement or artist agreement to send the artists who in turn must sign and return back to the gallery/musuem. This agreement usually states information about shipping and the delivery of the artwork, commission, and other information about the exhibition.

Some of these galleries such as Sirona Fine Art Gallery, Zhou B Art Center, Abend Gallery, and Bernarducci Gallery Chelsea also have the works up on Artsy or Artnet for further coverage besides the PA website. These websites are not free. There are monthly fees involved so making sure the artist abides by the agreement is imperative.

During this whole time, while we are waiting for the actual exhibition to take place, I will give directions to the artists about how to use social media as a placement for the exhibition and prepare specific images and videos for them to use. All of this is happening while I am publishing the show’s catalogue/issue/publication in various formats such as print-on-demand, digital, online, and PDF download. We sometimes reach out to individuals to interview and also include poetry.

All of this work is put in and then some for just one of our exhibitions and we have several exhibitions each year.

If you listen to the Podcast it will seem as if what we are creating is a fairy tale but I am going to leave you a quote some from Howard Tullman:

“You get what you work for, not what you wish for.”

I’d like to add that any publication is nothing without our writers and staff. I’d like to thank Lorena Kloosterboer, Walt Morton, Daniel Maidman, John Dalton, Natalie Holland, and everyone involved in helping our dreams come true. I hope you take the time to check out everything we have to offer on our Patreon.