How to Get Noticed by Galleries and Grow Your Art Career with William Noel Clarke

Strategies for Career Growth & Recognition

Last week, I interviewed William Noel Clarke¹ for an insider’s perspective on this often murky world of the art world.

Will brings a deep, well-rounded understanding of the art world, shaped by years of experience in curation, commercial galleries, and arts mentorship. Trained as an artist in Leeds, he quickly realized that his strength lies in facilitating and amplifying the work of others rather than focusing on a singular practice.

He has built and nurtured artist-led spaces² and curated exhibitions in both experimental and traditional settings, collaborating closely with artists to help them navigate the commercial and institutional art worlds.

As a former director at Vitrine Gallery³, Will played a key role in shaping its innovative program, balancing experimental and installation-led practices with commercial viability. He has supported artists through representation, offering strategic career advice, and helping them understand how to position themselves within an evolving art market. His experience at Glyndebourne⁴ further solidified his ability to curate in high-profile, sales-driven environments while preserving artistic integrity.

In addition to curating, Will has established himself as a trusted mentor and consultant. He guides artists on various matters, including contracts, pricing, and developing sustainable careers.

Learn more about Will in his own words:

When Should an Artist Look for a Gallery? (not right away)

Will states that gaining recognition and establishing a successful practice requires time. An artist's work and personal development need space to grow before others begin to appreciate the depth and significance of their creations.

In the early days, concentrate on immersing yourself in the art scene. Set up a studio space and connect with the local community. It's also important to cultivate a network of peers with whom you can exchange ideas. 

Will often tell artists that they need to think like entrepreneurs, but not in the way people typically think of business. Art is about creative exploration—self-exploration, engaging with global subjects, and telling stories. It should be separate from the pressures of commercializing your work to make a living, but balancing that with practicality is part of the challenge.

A gallery shouldn’t be the immediate goal; even when an artist gets into one, it doesn’t guarantee financial stability. Galleries often sell only one or two pieces, and many focus on supporting artists with large-scale installations through institutional commissions, which might not be immediately profitable. For them, it’s about building the artist’s provenance.

When it comes to galleries, the timing should come naturally. It’s about getting the work shown and developing relationships with galleries you respect. This takes time and effort, and it shouldn’t be forced.

One of the biggest faux pas in the art world is cold-calling galleries—this rarely works, and most unsolicited applications won’t be considered. Instead, attend openings, engage with the gallery on social media, and build rapport organically.

If you want to work with a gallery, Will recommends first showing interest in their program. Compliment their exhibitions or let them know you have work coming up and would love to invite them for a studio visit without directly asking to show at their space. It’s about showing genuine interest and creating an opportunity for future collaboration.

Ultimately, deciding when to approach a commercial gallery is not something you can force. If you’re committed to working with a gallery, you should start identifying the ones you want to collaborate with from the beginning and work toward building those relationships.

It’s essential to maximize every opportunity—whether it’s inviting people to your studio or exhibiting your work. However, you should invite people to your studio only when you have substantial work to show. It’s about having a body of work that reflects your practice and is ready to be shared. Building relationships and sharing your work naturally will open doors when the time is right.

A more conversational version is here:

How does an Artist find the right Gallery?

Understanding Gallery Programs

Every gallery has its program, shaped by the interests and perspectives of the people running it. This will affect the type of work they showcase. For example, the Will mentions how Vitrine, the gallery he worked with, had an installation-led, experimental approach. Personal interests—like a preference for technique in an artist's work or a love of performance art—will also play a role in what galleries prioritize.

Considering the Medium

When choosing galleries, consider the mediums they typically represent. For example, painting, sculpture, and ceramics are popular and widely accepted mediums in galleries. However, if you work with textiles and present your work in a professional, wall-based format (framed and finished), you will likely be considered for shows.

While certain galleries focus on well-known mediums, others might be open to new, unique formats that challenge traditional gallery practices. The key is understanding the gallery’s existing program and identifying similarities and differences with your work.

How to Fit Into a Gallery’s Program

When looking at a gallery, think about the type of work they already show. For instance, if a gallery already represents two artists addressing climate change, they might be less likely to take on another artist working with the same theme—unless your work brings a new perspective. It's all about enhancing the gallery’s program without repeating what’s already been done.

Solo Shows vs. Group Shows

Solo shows are becoming more common because they allow galleries to give more attention to one artist’s work. Galleries find solo shows easier to produce as they focus on one artist, allowing for more care and higher support. If you’re unsure whether your work fits a group show well, consider aiming for a solo show instead.

International Exposure

If you're an artist, thinking beyond your local scene is important. Most galleries are unlikely to schedule multiple solo shows in the same city for an artist in close succession. However, galleries with international spaces—like those in Basel or other cities—might be more open to giving you a solo show abroad, helping to diversify their program.

Building international connections and working across countries can expand your audience and create more opportunities. Participating in residencies and art fairs can also help you get your work seen in different cultural contexts, where your art might resonate differently.

Representation of Artists of Color and Gender

The issue of tokenization—especially for female artists or artists of color—is complex. Will mentions advice from The White Pube, where one of the writers encourages artists to take advantage of any opportunities that come their way, even if they are concerned about being chosen because of their identity. While these opportunities can be meaningful, it’s important to focus on the merit of your work rather than worrying about being represented for your gender, ethnicity, or background.

In Will’s own words:

How can an introverted artist share their work with the world?

For an introverted artist, success isn’t about forcing yourself to be outgoing—it’s about being proactive in a way that suits you. Some artists thrive solely on the strength of their work, while others build their careers through their personality and social presence. Either approach can be effective, but visibility is important.

If you're not attending openings, engaging on social media, or networking in traditional ways, you still need to find methods to put yourself out there. This might involve scheduling studio visits, applying for residencies, or seeking quieter moments to explore exhibitions and connect with curators or peers. You don’t have to be everywhere, but you must find a way to make your presence known.

Knowing your work deeply is key. Many successful introverted artists communicate through their art, but when they do speak about it, they have a strong grasp of their themes, techniques, and influences. This confidence can make a lasting impression, even without constant socializing.

If traditional networking isn’t your thing, create your own opportunities—organize a small show, collaborate with other artists, or find creative ways to promote your work. The art world won’t come to you, but with a strategic approach, you can carve out your own space without having to be the life of the party.

How Artists Can Market Themselves (Without Feeling Cringe)

Marketing for artists is all about understanding the etiquette. While Will doesn’t say marketing is bad, certain approaches might be considered unconventional. For example, running Instagram ads might seem a bit odd to some. However, using Instagram to post updates, share your activities, reshare press coverage, and highlight shows you’ve participated in is an effective marketing strategy.

A website that is easy to navigate, up to date, and includes high-quality documentation, such as a clear biography and CV, is also an important marketing tool. These promotional tools help engage people with your work and activities, making them a key part of your marketing strategy.

Maintaining a mailing list and sending a monthly newsletter count as marketing. These are valuable strategies for keeping your audience engaged and informed.

If you’re doing a show in a gallery that doesn't have a press or sales team, it's your responsibility to help promote the event. While the gallery might promote the opening on their social media, you should also reach out to the press, invite collectors, and take the initiative to ensure your work gets attention.

In contrast, they typically handle the marketing if you're working with a commercial gallery. They promote your show, run ads, and create a marketing strategy. However, even in this case, you might still contribute by providing press contacts or inviting people you know to the show.

In summary, marketing is a shared responsibility, whether you handle it independently or work with a gallery. It’s essential for visibility and success.

Gallery Representation vs. Independent Career Paths

Will gives the example of a painter whose work is undeniably contemporary, skillfully crafted, and appealing to a global market. Their work can scale, reaching both high-end and lower-end collectors. Typically, they’d show in galleries and sell well at each exhibition, but they would only receive 50% of the sales. Over time, as they continued participating in more exhibitions, their reputation grew, and collectors began approaching them directly for commissions.

At that point, the artist realized they no longer needed the gallery. Instead of sharing profits, they could make 100% of the sales by dealing directly with collectors. They’d built enough reputation and market around their work to confidently turn down gallery representation.

In contrast, some artists with smaller markets still rely on galleries for exposure. They may consistently participate in smaller group shows or institutional exhibitions, but they might not yet have the following or reputation to operate entirely independently. For these artists, gallery representation helps facilitate occasional sales and commissions, but they may not have the same freedom as the first artist.

That said, there’s always the risk that an artist's hype will fade. Without gallery representation, they might find it difficult to maintain consistent visibility. However, galleries can still be crucial in promoting the artist’s work and ensuring it remains relevant to collectors and institutions.

Some artists, however, focus exclusively on large institutional commissions. They create large-scale installations or take part in residencies, making galleries unnecessary. Their work is often aimed at institutions with the resources to purchase it. Although their work might not be sold in galleries, their practice gains from the institutional credibility that gallery support can offer.

Understanding Your Place in the Art World

When determining your place in the art world, it’s important to understand your current and desired space. Different areas of the art industry cater to different types of work, and aligning your practice with the right space can make a big difference.

For example, if you're creating traditional landscape oil paintings, major contemporary galleries might not be the best fit. They tend to focus on conceptually driven works—art that engages with current social, political, or cultural themes or explores mythology and storytelling in new ways. Some artists work within a more socially engaged practice, using their work to comment on or interact with broader issues.

At the same time, there are many different levels and types of art institutions. The ecosystem includes small project spaces, private foundations, commercial galleries (ranging from emerging to blue-chip), and major institutions like Tate or MoMA. Community-driven spaces may cater more to artists working in traditional mediums or those with a more illustrative focus. Recognizing where your work fits within this landscape is key.

Another crucial factor is the quality of your work. Technical skill takes time to develop, and while some artists have a natural gift, most refine their craft over years of practice. If you’re selling on platforms like Etsy, your audience is likely very different from collectors who buy from galleries. The price points are different, and so is the level of engagement with the work—an Etsy buyer may be looking for something visually appealing and accessible. In contrast, a collector may seek investment pieces or more conceptually rigorous work.

A note on selling: Will generally advises artists not to put prices or a shop on their website, as it can undermine the perceived value of their work in a gallery context. Similarly, producing limited edition prints of paintings can sometimes devalue the original. If you want to create editions, they should feel like distinct, intentional pieces—such as a screen print or a photograph with its artistic integrity—rather than simply reproducing an existing work.

Ultimately, success in the art world is about positioning yourself thoughtfully. If you want to work with certain galleries, research them and understand their work. If your practice leans more toward illustration, think about how you can develop a unique approach that pushes the boundaries of that medium in a way that excites curators and collectors.

Art trends evolve. Craft—based mediums like ceramics and textiles have gained significant traction in contemporary art over the past decade, so there’s always room for innovation.

Many artists find success by drawing from personal, cultural, or historical narratives—whether through local history, family stories, or entirely fictional worlds. The key is making your work feel relevant, exciting, and distinctive.

When Will mentors artists, he always starts by asking about their goals. Do they want gallery representation? If so, which galleries interest them? Once they identify their target, they can start refining their work and positioning themselves strategically to increase their chances of success.

Summing up

Navigating the art world involves persistence, strategy, and self-awareness. As William Noel Clarke highlights, success isn’t just about talent—it’s about understanding where your work fits, building meaningful relationships, and positioning yourself in the right spaces. Whether seeking gallery representation, cultivating an independent career, or balancing both, the key is to remain intentional and adaptable. The art world thrives on connections, trust, and the ability to tell a compelling story through your work and how you present yourself. You can carve out a sustainable and fulfilling path in the industry by aligning your practice with the right opportunities and staying true to your creative vision.

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Will and I would love to conduct a second session focused on reviewing artists’ work—not as a critique but as a guidance session. This would help clarify your place in the art world and determine your next steps.

This is what it would look like

• Artists submit their work with some background on their goals.

• Will discusses where their work might fit and suggest next steps.

• A follow-up Q&A session for broader questions.

This will focus on helping artists navigate art rather than critiquing their technique or style.

Please complete this Google form to sign up for this session

1. https://www.williamnoelclarke.com/

2. https://serfleeds.co.uk/about/

3. https://www.vitrinegallery.com/

4. https://www.glyndebourne.com/