NEW YORK, NY.- It’s a truth universally acknowledged that an artist in possession of a good body of work must be in want of a solo exhibition. This is offered with profound apologies to Jane Austen for clumsily transposing the requirements of marriage (in her view at the time) to the art world. The fact remains, however, that solo exhibitions are key in establishing reputations, recruiting supporters and (eventually) securing future buyers of artworks.

The same principles apply to artists working in any medium – photographers, painters and sculptors, to name just a few – and anywhere across the globe. Even ‘underground’ street artists (think of mysterious and secretive UK graffiti artist, film director and political activist Banksy) need to make sure the statements their work is making are being heard and that their work is recognizable.

Here are some initial tips on how to organize, plan and manage a solo exhibition.

Venues
While commercial galleries might be viewed as the Holy Grail of the art world, particularly if finding success and making money is a principle aim, sometimes less likely venues can offer the best opportunities for first-timers. This includes galleries in urban locations, as opposed to the city center.

Public galleries are worth investigating as often they have excellent lighting resources and equipment for hanging artworks, whether paintings or canvases derived from photographic work. Private, commercial premises can also be good – just as hotels and conference facilities aim to adorn their walls with ‘appealing artwork’ so other types of establishments might welcome work that is more edgy or provocative. In some ways this is one of those ‘think outside the box’ creative challenges.

Always take the time to visit a potential venue beforehand as this might provide a few pleasant (or otherwise) surprises, including what rules they have and what facilities they will make available to prospective exhibiting artists. Planning a good venue can be made easier with a little digital help – why not use board portal software to research and collaborate with suitable exhibition spaces, such as community premises. Libraries and galleries can be helpful as well as community halls, restaurants, offices and owners of empty stores.

Quantity as well as quality
It’s obvious that quality as well as quantity counts however it’s important to consider if the body of photographs or other artwork to be exhibited is sufficient to adequately fill the chosen space. If there are doubts, consider a mini-portfolio of artwork that could be marketed as a tempting glimpse into the potential of the artist’s personal creative scope.

On the subject of marketing, which can be a tricky one, should there be a ‘famous’ friend lurking somewhere in the background who could take part in the launch of the exhibition this will not generally harm artistic credibility. Remember that building a marketing portfolio is essential well in advance of the first solo exhibition. Aim to collaborate with fellow artists and friends to create a base of shared knowledge that will help everyone aspiring to stage their first solo exhibition.

Themes
If the venue is no problem and body of work is sufficient, the next issue that might be relevant is the theme of the exhibition. Depending on how works are categorized (if you like, what tags they have) it’s possible to digitally sort photographs and other artworks based on one or more themes. These might include, for example, nature, technology, people or seascapes. Selecting a theme adds a degree of cohesion to the body of artwork that is to be presented.

In this sense, narrative can also become an issue: for example, ‘to do, or not to do?’ For a first exhibition narrative really can help make a big difference. This gives viewers a sense of the direction the work is taking and of the story it aims to tell. Visiting other local art exhibitions can reveal a great deal about how best to organize a personal, solo event.

As time passes the opportunity to host a solo exhibition often beckons bewitchingly and some artists start by writing to professional commercial galleries and museums with themed proposals that are well thought through and inspiring. It’s really quite important to cast the net wide at this stage as unpredictable opportunities really can arise anywhere.

Getting pedantic
Let’s say the exhibition venue, content, theme and narrative is sorted. Take some time out at this point to consider the practical requirements of the work to be displayed. Will plinths, hooks, tape and/or ceiling hooks be required? Plinths are often needed for the display of sculpture; acid-free tape is necessary for unframed works; ceiling hooks are used for a number of different purposes.

All that’s left then is the four-letter word: work. This is not the creative effort that artists and photographers are dedicated to in order to hone their craft – no, this is the drudgery of promoting the solo exhibition.

It’s worth bearing in mind that many hours are likely to be spent writing ‘advertisements’ for personal artistic work and the importance of the exhibition theme and content. At this point an artist is routinely telling people their work is ‘seriously awesome’ and cringing inwardly throughout the whole process.

Jargon buster
If the art world jargon makes heads spin, there’s a quick way round it:

• Remember that photomedia includes all photography whether by analog or digital camera;

• Consider as 2D all art that is ‘flat’ (for example photomedia and painting);

• Mixed media uses different artforms (such as a combination of painting, collage and photos).

A footnote on collaboration
Finally, if not confident enough just yet to go forward with a solo exhibition, consider either sharing the opportunity with a sympathetic exhibitor, or alternatively with an artist whose work is completely in contrast. Again, use a database to collaborate and check with other artists on how much work they have needed to make the best use of similar spaces. Remember that many younger artists begin by collaborating with others and learn a great deal in the process.