Yareah Magazine

DAVID McDOWELL: ON GALLERIES

By Isabel del Río

In Yareah magazine/April, we admired some oil paintings of “Against the Grain”, David McDowell’s last exhibition in Belfast. In his blog (http://yareah.com/davidmcdowell/?p=95) we can read an exclusive report about it: David is happy, no doubt, with the final result.

However, we know very little about the hard work behind a successful exhibition.  Our curiosity about the world of galleries is what pushes us to interview McDowell.

Isabel del Rio: Hi, David, and congratulations. “Against the Grain” presents paintings of several artists: Stephen Johnston, Kyle Barnes and yourself. Why did you choose a combined exhibition?

David McDowell: The “Against The Grain” exhibition was aimed at critics who have condemned Realism as dead.  Conceptually, a collaboration of Realist artists could demonstrate the protest greater than a solo show could.  With unprecedented reviews across Northern Ireland, our voice was heard and so the exhibition was a success.

IdR: Who must work harder to organize an exhibition: the artist or the director of the art gallery?

by David McDowell

DM: Different galleries work on different levels.  Various factors will determine how successful an exhibition will be.  It is very much about promotion.  Galleries will only promote an artist if they are sure they will get a good return.  With this in mind, I know emerging artists have to work extremely hard to organize an exhibition.  As well as making the artwork, they must find a host venue, design and distribute publications, network and organize the private viewing, all at their own expense.  Established artists usually have all this taken care of by the host venue, allowing them time to make the artwork.

IdR: Is it important to get on well with the director or should it be a purely professional relationship?

DM: I think like any professional relationship, it becomes platonic over time.  What is important is communication.  A lot of galleries are all about the business and aren’t clued in to art lingo.  Fortunately there are gallery directors from art backgrounds and so they have a mutual understanding with the artist which is great.  It is important not to be controlled by the gallery but rather have respect for one another.

IdR: In your opinion, which characteristics should a good gallery have?

DM: A good gallery will be knowledgeable in the aesthetics of curatorship and will have plenty of white wall space.  White is neutral, therefore the viewers eye will catch the focal point, which is the artwork.  Art should be viewed at approximate eye level.  A cluttered space where the wall is smothered from the ground to the ceiling in artwork is unprofessional.  Galleries will gain a reputation based on the quality of art they exhibit.  If you exhibit in a gallery with amateur painters, you will be labeled as an amateur painter, so the gallery you choose very much depends on your goals as an artist.

IdR: How about costs? Who is the big beneficiary of an exhibition?

DM: I suppose it depends on the gallery ethos.  Galleries usually take between 30% and 60% commission on sold artworks.  For the lower end commission rate, the gallery will usually only provide the exhibition space, leaving the artist to promote themselves.  As the commission rate goes up, so should the gallery’s publicity expenditure for the artist. 

IdR: Is an exhibition the best way of knowing and sharing creative ideas?

DM: It is certainly the best way of engaging with your audience.  The viewer has an immediate connection when they are faced with the grain of the canvas so to be confronted with the original artwork is surely the most effective means of communicating your ideas.  I don’t think publications and websites can justify the aura of a masterpiece in the flesh. 

IdR: Can you tell us the best anecdote of your emergence as an artist?

DM: I can recall five years ago, my former High School business teacher, Mr.Devlin, saw a photo of one of my paintings before a show inauguration.  He said to me, “I want that one, how much is it?”  Being an emerging artist at that stage, I timidly said “£200”.  He said to me, “I know you are going to be a huge star, I want to invest in you” and handed me £200 for the piece.  I met him last month ahead of the “Against The Grain” show and he gloated, “You wouldn’t believe how many people wish they’d invested in you when I did.”  Needless to say, he walked away joking of early retirement when he heard how much my artwork is worth now.

IdR: What would you recommend to a young artist who wants to start his/her career?

DM: Be confident in saying you are an artist.  With regards to galleries, you will get rejected many times before you find the right one.  Be cautious of choosing the powerful, established gallery; it is not necessarily the right gallery.  Build your reputation locally; international acclaim will follow in good time.  Make art for you, not for anyone else.  Sometimes galleries will try to influence you.  When you conform to the constraints or trends of the canon, you become unoriginal and thus defeat the purpose of art.  The industry is largely based on promoting yourself so make sure everyone knows about your next show.  Always carry business cards as you never know who you’ll be talking to in the most random of places.  Take opposition as a compliment; if you evoke a reaction you’ve made art. 

IdR: Which new projects do you have in mind?

DM: I am currently exploring the qualities cinematic imagery can bring to a painting.  I have a solo show at the Phoenix Gallery, Belfast scheduled for next year so I’m presently making preparations for that.  Prior to that I have a few minor group shows and will be working towards establishing myself as an artist in Dublin so watch this space.

IdR: Thanks for your time, David, and good luck. As always, Yareah magazine will continue paying attention to your career.

See more:

http://www.davidmcdowell.co.uk/

davidmcdowell.co.uk

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