Artist and Gallery Marketing Los Angeles
Collectors, curators and press look you up before they write. We build the website that shows the work properly, document it with photo and video, and help get your exhibitions in front of the people who might come.
Quick answer
We work with Los Angeles artists, galleries and independent curators who need the work shown accurately online. A real person on our team photographs and films the work, designs and builds the portfolio or gallery site, and prepares the captioned image sets, statements and dates that press and collectors ask for ahead of an opening.
The work is better than the website.
Old websites flatten the work
Low-resolution images, missing sizes and media, and a layout from years ago. A curator who cannot see the work clearly moves on.
Posting happens around shows, then stops
A feed fills up before an opening and goes quiet afterward. Collectors who follow along see nothing from the studio in between.
An opening happens and nobody outside the room hears about it
Press need images, a clear statement and a date well ahead. Without those, a good show gets a single post and no coverage.
How We Help
What we build for artists and galleries
Portfolio and gallery websites
Sites with accurate color, large images, work details, exhibition history and a way to inquire about a piece.
Social media content
Studio process, installation views and work in progress, planned between shows so the feed keeps going.
Exhibition promotion
Announcement graphics, a press-ready image set and a short list of outlets and writers to approach, sent before the opening.
Documentation photography and video
High-resolution photos of the work and short videos of the artist, the studio and the install, for archives, applications and press.
Hiring Guide
What to ask when you hire for artist and gallery marketing
Questions to put to any photographer, web designer or marketing studio before you hand over the work, with what a good answer sounds like.
Can you reproduce the color, scale and surface of the work?
A collector or curator judges the piece from the image. Glare, color shifts and missing scale cues make a painting look different from the one on the wall.
- A good answer: color-managed shooting with a reference card, controlled light for texture, a scale shot with the work in a room, and agreement on which file is the reference.
Who holds copyright in the artwork and in the photograph?
Copyright in the artwork stays with the artist. The photograph carries its own copyright, and a gallery representation agreement may say who can reproduce images of represented work.
- A good answer: separate written terms for the work and the photos, and the artist's approval before any image is published.
What does the site do when someone wants to buy or inquire?
Galleries differ on whether prices are shown, and artists selling direct differ again. The inquiry path should match your practice.
- A good answer: they ask your price policy, build an inquiry form or price request flow, and leave payment platforms and sales tax questions to you and your accountant.
What is in the press package, and when does it go out?
Editors and writers need images, captions and dates well ahead of an opening, and a late package usually gets a single post and nothing more.
- A good answer: a captioned image set with title, year, medium, dimensions and credit, a short statement, exhibition dates, and a send date counted back from the opening. No promise of coverage.
How will the archive be named and organized?
Grant, residency and catalog applications ask for images again and again. Files named at random mean reshooting or hunting.
- A good answer: filenames tied to your inventory numbers, a spreadsheet of titles and dimensions, and web and print versions stored together.
How are images described for people using screen readers?
Art sites often lean on large images with little text. Visitors who use screen readers need written descriptions, and search engines read the same text.
- A good answer: alt text that states title, medium and what is visible, written with you, plus readable captions beside each image.
Questions people ask
How early should we start before an opening?
Earlier is better, since press and collectors need time. A social content package can start within about two weeks of kickoff, and a website usually takes 4 to 8 weeks from kickoff to delivery.
What do you need from us?
Images of or access to the work, titles, dimensions and media, your artist statement or bio, and exhibition dates. If you do not have good images, we can photograph the work.
Who owns the images and the website?
Copyright in your artwork stays with you. Ownership of the photos, videos and site files we produce is set out in the agreement, and we hand over finals at the end.
Can you guarantee press coverage or sales?
No. Editors and collectors decide that. We prepare the assets, the outreach list and the timing so your show is easy to cover.
Who owns the copyright to a photograph of my artwork?
Copyright in the artwork stays with the artist. The photographer generally owns the photograph unless a written agreement assigns it, and a commissioned photographer usually grants a license. We write the license so you can use the files for your site, press, grants and archive. This is general information, not legal advice.
Should my website show prices?
Practice varies. Many galleries list price on request and send a price list to people who inquire, while artists selling directly often show prices. Both work. We build either, including an inquiry form that tells you which piece someone asked about and whether they came from a show or a search.
Do I need releases to film or photograph people at an opening?
Guests at a private event are not always covered by a blanket rule, so the safe approach is to post a notice at the door that filming is taking place and get signed releases from anyone featured, such as speakers or the artist. Rules vary by venue. This is general information, not legal advice.
Is Instagram enough, or do we still need a website?
Instagram compresses and crops images, and you do not control the feed. A site holds full-size images, exhibition history, an inquiry route and an archive that press and curators can cite. Most artists keep both, with the feed pointing to the site and the site pointing back to the studio account.
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