Tag Archives: galleries

What It Takes

I wanted to take a moment to discuss some concerns that I hear repeatedly amongst artist friends and online.  If you are reading this post, then more than likely you are an artist or maybe an art enthusiast.  Some of you may have embarked upon making a career of your art while others are afraid to do so for various reasons.  And of the ones that are currently working on their art careers, you may find yourselves discouraged at times or frustrated that things are not going as planned.  So what do you do about it?  Well, I am here to say that first of all, don’t give up.  And don’t be scared, or discouraged, or angry, or sad, or frustrated, etc., etc., etc.  This is a subjective business and not everyone will feel that your work suits their gallery or their living rooms.  And that’s okay.

Let’s face it.  This career is not for sissies.  But if you love your art, which I’m sure you do, then the other stuff won’t really matter.  Take pride in your work and take pride in all that you have accomplished.  Even if you’re just starting out, you have a lot to be proud of just in taking the first step to starting your career.  Shockingly enough, most people do not take those first steps (and that’s including those that are not even artists).  It takes guts to make the first move.  You’re getting out of your comfort zone.  And even once you are well into your career, you will find that you still have to shake things up and get out of your comfort zone again and again.  As the stakes get higher, you need to do more as well as reach more.  But that’s okay because you love what you do.

Aside from loving your work, you have to be consistent.  That is the one thing that I see so many artists drop the ball on.  Consistency is key.  You can’t expect to accomplish everything overnight.  You will have to slowly build and take each step towards building your exhibition experience, your portfolio, your sales, your awards, etc.  And just because you accomplish one goal, doesn’t mean you can stop.  You have to keep on plugging away at your career.  You can’t just coast or rest on your laurels.  You’ll need to have new work to show, you’ll need to expand to other cities, other states, other countries even.  You’ll need to keep moving.  How many bands can you think of that were one-hit wonders?  How many actors can you think of that were popular and then seemed to disappear from the face of the Earth?  You may find it hard to even think of examples but once you do, you’ll be thinking, “oh yeah… whatever happened to…?”  Don’t be one of those cases.  You are not a flash in the pan.  You’re serious about your career and you are here to stay.

The good news is it’s not about luck!  Sure, sometimes you may happen to be in the right place at the right time, but that won’t be often.  And even if it does happen, it won’t necessarily make your career.  Even for the positive things that happen in your career, if it wasn’t directly related to your doing, if you trace it back, you will probably find that it was thanks to one of the “seeds” you planted in the first place.  You don’t need to buy a Magic 8 ball or get a tarot reading.  Just keep putting yourself out there, creating more, improving as much as possible, marketing, networking, exhibiting, etc.  You don’t need luck- luck is hard to get anyway.  Consistency is easy enough to do and is a sure bet.

Stay strong, be consistent, and be professional.  The rest will follow.



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Signing the Dotted Line

A recent online discussion regarding gallery contracts reminded me that this is something I should have posted awhile back.  There are surprisingly a lot of artists that avoid showing with galleries for fear of the contract.  In actuality, the contract is what keeps you protected and prevents anyone from running off with your money.  In fact, if there is a gallery you are interested in working with that does not “do contracts,” you should either make your own for them to sign or else leave.  It’s wise for both parties to have a legally binding document that ensures that everyone involved is covered.  Art is money, so when you’re handing over your work to a gallery, you’re essentially handing them hundreds to thousands of dollars and hoping they’ll take care of it for you.  With that said, here is a list of most (I may be forgetting some things…) of the issues that should be covered in your contract.  Most of these pertain to a gallery that is representing you, but much of this applies to short-term gallery exhibitions as well.

Commission: The standard here is 50/50, but can vary depending on your location.  This absolutely must be covered in any contract with any gallery, no matter if they represent you or not since this is what determines exactly how much you receive from the sale of your work.  And on a side note, it is perfectly fair for a gallery to get half of the sale since they are the ones that have to pay for your exhibition, advertising, rent and utilities for the building, catering, etc.  If a gallery isn’t doing this for you, then they are not earning their share, which in that case, I would recommend going elsewhere.

Payment: Another must.  When will payment be made?  Some galleries may wait until the end of an exhibit to send you your check, while others may pay you immediately.  Sometimes this is determined by how the customer paid, especially if they are on an installment plan.  Usually to cover all bases, contracts will state that payment is made within 30 days from the end of an exhibition.  Just so long as it clearly states that you are going to get paid within a reasonable period of time, then it should be fine.

Insurance: This is another must in my book, however, I have seen some great spaces not offer insurance, so I can’t say that I haven’t taken a risk at times myself.  However, you should be seeking out galleries that provide insurance while your work is on their premises, especially if they are representing you.  If your work is there long-term, odds are greater that something may happen- fire, theft, etc.  You can look into getting your own insurance coverage, but it won’t be cheap, so you may be better off leaving it up to the gallery.

Framing: Frames are not generally required for all artwork, but this should be laid out in the contract.  If frames are required, it needs to be clearly stated who covers this cost and what type of work- drawings, paintings, printmaking, etc. or just certain types of work?

Discounts: It is not uncommon for a gallery to offer discounts to their regulars or for a purchase of multiples.  This practice is normally only done in representing galleries as they are the ones with a particular roster of artists that they deal with on a regular basis.  Discounts can range from 10 to 20%.  The contract should clearly cover what the discount is or what the range may be and how it is divided- evenly between the gallery and artist or does the gallery take that out of their cut entirely?

Shipping: For those that are out of the area or state, shipping costs need to be covered as this can be very costly.  Shipping policies vary among galleries, so I can’t say that there really is a standard here other than that if it is a short-term exhibition in a non-representing gallery, typically the artist pays for shipping their work to and from the gallery.  For a representing gallery, the artist may be responsible for to and from shipping, or only shipping the work to the gallery, or the gallery may cover all shipping costs.  As far as shipping the work to a client, the gallery will either pay or the client will, not the artist.

Outside Sales: This could be a post in and of itself given the discussions with other artists.  The gallery that you work with may allow you to sell work on your own through festivals, studio, etc. and I have yet to see a gallery that doesn’t.  First, be sure that your work is priced consistently with that of the gallery.  Typically if a sale is made to a client from the gallery, then the gallery will get a commission, usually their standard rate.  However, if the client is someone not affiliated with the gallery and did not see your work via the gallery, then the gallery may only require 20 or 30% or often times, there is no commission.  Point being, if you had to do all the leg-work to get that client, then you would get the entire amount of the sale, but again, that would apply to people unaware of the gallery.  This should be covered in your contract, including the commission rate, if any.

Exclusivity: Typically galleries only require exclusivity to the city they are in.  However, some require exclusivity to the region, state, and even the entire nation (though these are generally “blue-chip” galleries dealing with work that goes for hundreds of thousands to millions of dollars).  Again, this is another issue that should be clearly spelled out in your contract.

Loaning Work: This is usually only an issue for those represented by more than one gallery or those that enter work to juried shows in which the same work is already in a gallery.  If work needs to go from one show to another, the gallery that currently represents that work may require a commission if that work sells in another gallery.  Both galleries would get a commission, for example, each gallery may get 30% while the artist gets 40%.  This rate varies among galleries, though, and should be clearly stated.

Length of Contract: Most contracts remain active so long as the artist is with the gallery.  Generally there is an “out” for each party with a 30-days prior notice, again, this may vary, but 30 days is usually all that is required.  In the event that the relationship is not working, either party has the option to end it.

Exhibitions: This only pertains to representing galleries in which your work is there long-term.  What type of exhibitions will the gallery guarantee and how often?  Will you have the opportunity to have a solo exhibition and will you also be given group exhibition opportunities?  Where will your work be when it’s not being exhibited- typically galleries have a salon in which a mix of works by the gallery’s artists are featured in the back room or even in their project space.

Most importantly, take your time and look over your contract before signing.  There’s nothing wrong with asking to have a day or two to look it over.  You could even run it by someone you trust just to make sure there’s nothing you’re missing.  As I said, if a gallery doesn’t have a contract, tell them you would like to make your own and be sure to cover all of these aspects mentioned.  If you’re uncomfortable telling a gallery you want to make a contract, just put it in benign terms such as that it’s how you keep track of things, or that you might forget (not that you want to appear stupid to these people but put it off on yourself if you need a cover).  If you feel any amendments need to be made, write it up and send a proposal to the gallery.  More than likely they will oblige and add it to your contract.  Above all else, if you are not comfortable with the arrangements, do not sign and look somewhere else.  There are plenty of other fish in the sea.



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Gallery Opportunities

Viewers at Gallery 549 looking at Amy Guidry's paintings

With two group shows less than a week apart, another in the next month, and a solo show only 7 months away, a lot of pe0ple think I’m really busy.  Or uber-busy.  It seems normal to me, though, especially if I want to maintain a career as an artist.  So this has me thinking that this must not be the norm, which is unfortunate because I like to think that artists are all showing their work somewhere other than their basement.  So I have to ask- are you doing all that you can to promote your work?  Or do you not know where to start?  For those that are beginners, I thought I’d take this opportunity to discuss how to exhibit your art.  And maybe even those of you who are not new to this will pick up some ideas.

First, I like to ignore all the “rules” regarding getting into galleries.  So many people say you should start small and local.  Yes, there is some truth to this, but don’t sell yourself short.  Some of my very first exhibitions were out of my city and out of my state, so there goes that rule.  Secondly, there are a lot of people that say you shouldn’t even approach a gallery, that you should just let them call you.  What??  If I want something, I don’t just sit on my couch and will it to me.  I go out and get it.  Now, don’t get me wrong, that doesn’t mean you can just march into a gallery and dump your portfolio in their lap.  You should send them your work in a professional manner- read my steps for doing this in a previous post.

Galleries like to know that you are going to be reliable and not flake out if they book a show with you for several months/years in advance, hence the need for a good resume.  So you’ll need to build your exhibition history.  But how do you get an exhibit if you have never exhibited before?  I know- it’s like which came first, the chicken or the egg.  This is where starting small and local comes in since you’re more likely to get into a gallery that knows you personally through local events, plus if they are not solely looking for established artists, you’ll have a better chance.  That said, don’t limit yourself, either.  There’s no harm in trying to get shows elsewhere- especially group exhibitions since galleries know that if you drop out, it won’t be so hard to replace you or make up for it.

In addition to galleries, there are other ways to exhibit your work.  I’d recommend this whether you need to build your exhibition history or even if you’ve done hundreds of shows.  You can never reach enough people.

University galleries and museums– great to have on your resume, but won’t result in sales necessarily because the general public doesn’t think to go there to buy art.  That’s just the perception they have.  However, these venues are very prestigious and build your credibility among collectors and galleries.  You will need a few shows under your belt to score one of these, but just to say, this is something you should be aiming for.

Local museums– more likely to show your work these days due to the economic crisis.  Their funding has been limited since the government loves to cut arts funding first, so they can’t afford to ship work and give stipends to national/international artists.  So get to know your local museum and send them a proposal.

Juried exhibitions– Now there is a lot of debate over these types of shows since some think they lead to nothing, while others think you should never pass an opportunity to exhibit.  If you are completely new to exhibiting your work, I say go with the latter.  When you’re starting out, you won’t discriminate so much- there’s plenty of time to do that later once you’ve been showing a lot.  If you’ve built a bit of an exhibition history, that’s a different story.  Personally, I will do juried exhibits, but that’s only if I feel they are worthwhile.  I decide based on:
Where the show is being held– is it a good venue or is it some cube in the middle of nowhere?
Who is the juror– someone prestigious in the art world or just somebody’s grandma that took a watercolor class once?
Is the venue insured? Nevermind whether your own work is insured, if the venue itself can’t afford insurance, then it’s probably not a good one (sorry).
What city/state/country is the venue located– again, don’t go with someplace not typically known for art.
Is it a vanity gallery? There are a few of those out there holding juried shows- make sure the gallery has a good reputation.

Lastly, look into exhibition opportunities that are off the beaten path.
Pop-up galleries are the latest “it” spaces and do not require representation, so you are more likely to get into one.  Also, if you are just starting out, look into showing at coffee shops, bookstores, libraries, bank lobbies, doctors’ offices, law firms, gift shops, restaurants, etc.  Although food and smoke near your work is a scary concept, so just consider that risk, but look into making your own exhibits through these venues.  Not all will lead to sales, which is why many don’t bother, but it will build your name in the community, build your exhibition history (until you can gain more via galleries, etc.), and it can lead to future sales since people will see your work and talk about it with others well after your show.  Each step builds upon the other.  It all takes time- Rome wasn’t built in a day.

I’m sure I’m forgetting some things, so if you have ideas for opportunities to share, please feel free to add them in the comments section.



As a busy artist, I am always updating my resume to add exhibitions or press items. One thing I can’t stress enough is the importance to stay on top of updating your resume. You never know when a gallery or a collector may ask for it and you don’t want to hand over an outdated resume or keep them waiting while you work on one. And it’s easy to forget to include something. So here are a few guidelines that I follow for my own resume (or CV) that may come in handy for those of you in need of an update or those just starting out. These are the categories in order of appearance:

Birthdate and Birthplace: I just put my year of birth, but you can use your full birthdate. This is important to collectors and galleries since they are interested in how your age and where you are from may influence your work.

Exhibitions: Depending on where you are at in your career, this may be one category or two. In the latter, you will have a Solo Exhibition category and a Group Exhibition category. Some like to put 2-person shows in with Solo. In that case, it should be clearly marked as Solo and Two-Person Exhibitions and list each exhibit as such.

For those of you just starting out, don’t fret. Everyone has to start somewhere. If you have ever shown your work in a coffee shop, restaurant, library, bank, etc. now is the time to list it. If you were the only artist, list it as a solo exhibit. What if you haven’t shown at all yet? I would start small- ask owners of businesses (if you know them personally, even better) if you can hang your work there for a month. If you know of a vacant space that you can use, put up an exhibit of your own and invite people for an opening reception. Even if it’s for one evening, it’s still an exhibit. These opportunities are easier to come across since no one is expecting you to make money for them, so they are more willing to let you use their walls. However, once you start getting exhibits at galleries, you should remove these previous shows from your resume. It’s okay when you’re just starting out, but once you start moving up the ladder, you will need to omit exhibits that are of “less importance” in the gallery owner’s eyes. This rule goes for everyone.

List exhibitions by most recent first. List the year, name of the exhibit, and the location. If there is an exhibit catalogue, put “(catalogue)” at the end of the listing. If there was a well-known curator or juror, list them as well.

Experience: I use the term “experience” here, but really this will depend on you. This spot should be reserved for any jobs, lectures, workshops, etc. that you may have (or had) pertaining to your art career. ONLY list something if it is relevant to your career. Even if you are an Executive Director, 20 years going, at a major department store chain, do not put it down. Unless this is evident by looking at your art, it is not important to your art career in any way other than a paycheck. If you are an art teacher, list your teaching experience, or if you’ve ever been a guest artist lecturer, list lectures, etc.

Education: This is an important category, but as I have learned from various sources, it shouldn’t be at the top of your resume. Your exhibition history is more important. So obviously this area won’t need much updating unless you are presently in school or going back. You should name your university, location, degree received, and the year. If your degree is not art related, or does not  influence your art, you may want to leave off what your degree is in. More than likely, no one will ask anyway. From experience, only other artists and art professors ever ask where I studied.

If you have not attended college, don’t worry about that either. Many artists are self-taught. You may list such on your resume or if you’ve ever taken another artist’s workshop, you can put this under Education as well. As you move up the ranks, you may want to eventually remove the workshops unless they were conducted by well-known artists (i.e. nationally or internationally recognized). As your career progresses and you gain exposure, no gallery is going to care about a workshop you took 10 years ago. Not to say it wasn’t important to you, but galleries want to know what is most significant to your career.

Awards: Again, this is a category that depends on you. This may not be a blue ribbon award category so much as it is a list of grants received or residencies you were selected for. If you have received an award ribbon, certificate, etc. be sure to list the name of the competition and what placement you received. If you received a purchase award, be sure to name the award- for example, most are a person’s name such as the Betty Sue Purchase Award. If you don’t have any awards yet, just leave this category out.

Bibliography: Well, back in college, I learned the proper way to list press articles, etc. from “The Little, Brown Handbook.” I assume it still exists, but no two artists ever list their bibliographies the same. Some group everything by year, some alphabetical by article name, some alphabetical by author name, etc. I list by author name, but to each his own here. Regardless, this category should include any magazine articles, newspapers, radio interviews, tv interviews, and even blogs. Back in the day, blogs weren’t even in existence in “The Little, Brown Handbook.” Our books were stone tablets… just kidding.

Collections: Again, if you don’t have anything for this, just omit it. However, if your work is in any public collections, list it here. If your work is in any private collections (which is more likely the case), you can list the names and locations of the collectors if they are well-known (i.e. celebrities or famous patrons of the arts). Sorry to say, but no gallery is interested in knowing that your next door neighbor owns your work even if it’s 50 pieces. However, if the person is seen on national television or they are a famous artist, well-known curator, or a major art collector that loans their collection to museums from time to time, then you’ll get a gallery’s attention.

Representation: Another category you can omit if needed. If you happen to have gallery representation, list it here.

So that’s it- you may find in your career that there are other categories you could include, which is fine, just be sure your exhibitions stay at the forefront. Oh, and be sure your contact information is on every page of your resume. And no staples.


April Artwalk

This weekend (April 9th) is the Second Saturday Artwalk in downtown Lafayette, Louisiana. Galleries and business will be open after hours for this free event, officially starting at 6pm and ending at 8pm-ish. BTW, I will have work at Gallery 549 for the annual Spring Group Exhibition, so if you are in the area, be sure to check it out.

Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: Francis X. Pavy: Currents and Flows – now through May 7
Side Gallery: Brett Chigoy: When the Preditor has Defined our Dreams as Prey– now through May 7

Cajun Spice– 535 Jefferson St / 337-232-3061 – Cliff Broussard

Galerie Eclaireuse– 535 ½ Jefferson St. / 337-234-5492 – Melissa Bonin

Gallery 549– 549 Jefferson St. / 337-593-0796 – Spring Group Exhibition

Galerie Lafayette at The Lafayette Public Library- 538 Jefferson St. / 337-261-5775 – William H. Parr

Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530 – Katherine LeMoine

Sans Souci Gallery– 219 E. Vermilion St. / 337-266-7999 – Louisiana Crafts Guild- Fait a la Main

Second Saturday Artwalk

This Saturday, January 8th, is the first artwalk of 2011! If you live or will be in Lafayette, Louisiana, this weekend, be sure to stop by all the galleries and business downtown that are featuring new exhibits. This is a free (and popular!) event for a fun evening out. Starts at 6pm- 8pm (ish) in downtown Lafayette. The schedule is:

Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: Domains, Parameters and Wanderings– Anastasia Pelias, Jennifer Odem, Christina Mcfee, Allan Jones, Colleen Ho, Chyrl Savoy
Side Gallery: The Mississippi Delta: Images from a Blues Pilgrimage by Scott Ainslie
Vault Series: Candice Alexander

Cajun Spice– 535 Jefferson St / 337-232-3061
Works by Kim Parker and Tina Thibodaux

Galerie Eclaireuse– 535 ½ Jefferson St. / 337-234-5492
Jon Schooler

Gallery 549– 549 Jefferson St. / 337-593-0796
Donald LeBlanc solo exhibition

Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530
Works by Ryan Benoit

St. Pierre’s Center for the Arts– 114 W. Vermilion St. / 337-236-9111
Jason Copes

October Artwalk

Sorry I was late to post this… it’s been a busy week, to say the least. Tonight is the October 2nd Saturday Artwalk in downtown Lafayette, LA! The event is free and starts at 6pm (lasts until 8-ish). Galleries and businesses downtown have some exciting new openings tonight:

Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: October 9 – December 18, 2010- Tom Secrest: Realm of Subconscious
Side Gallery: October 9 – November 5, 2010- Nervous Energy- Curated by Stephanie Patton
Vault Series: October 9-December 11, 2010- Michelle Fontenot

Cajun Spice– 535 Jefferson St / 337-232-3061- Liz Gold and Debbie Denison

Galerie Eclaireuse– 535 ½ Jefferson St. / 337-234-5492- Early works of Tom Secrest

Gallery 549– 549 Jefferson St. / 337-593-0796- In honor of Breast Cancer Awareness month, Gallery 549 is asking Artwalk attendees to sign or draw on the paper-covered walls of the gallery to recognize those that are fighting breast cancer. Anyone wishing to donate to local breast cancer foundations will have the opportunity to do so through the gallery.

Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530- Jeff Lush

Pottery Alley– 205 ½ W. Vermilion St. / 337-267-4453- Natures Serenade– Unique sculptures, thrown pieces, hand built vessels

Whoojoo Stained Glass– 532 Jefferson St. / 337-269-9310- Open Studio

Approaching a Gallery (in a few easy steps)

Amy Guidry's painting "Food or Pet? How Do You Decide", Wally Workman Gallery, Austin, TX
Amy Guidry's painting "Food or Pet? How Do You Decide", Wally Workman Gallery, Austin, TX

First, check out galleries that you think may like your work. You should never just blindly send out your portfolio, resume, what have you to a gallery without determining if they’re the right fit. And this should go without saying, but be sure that they are a gallery! Attend openings, meet curators, dealers, gallery owners and directors. If you can’t physically make it to a gallery, at the very least, you should check out their space online. Get to know the artists that they show. Can you see your work fitting in with a group exhibit of these artists?

Once you’ve determined which gallery or galleries you are interested in, you should prepare your presentation. These days, email is so common (sometimes it’s preferred) that I think it is okay to submit your work via email. However, if a gallery has a submissions policy, be sure to abide by that. If not, they’ll toss your work in the trash. If the submissions policy is not a clearly stated link on their website, try looking under the Contact Us page. If there is absolutely no information, contact the gallery for their guidelines.

Whether you submit your work via email or postal mail, be sure that your presentation is professional. First, get the name of the person you need to contact. Whether it’s the director, the curator, or the manager, find out their name. I know from personal experience, many just blindly send an email without even acknowledging my name. Why would I want to show their work (again, I’m not a gallery, but let’s pretend for a second) if they don’t even know who I am? So find out their name. Google it, ask someone, or contact the gallery itself- just find out!

The rest is easy. This is where you should put together your bio and/or resume, portfolio, and any other relevant information. You should have all of these at your fingertips already, but if not, now is the time to start. Make sure that all of your information and images are up to date. And be sure to spell check. It’s the little things that matter, so be sure to dot your i’s and cross your t’s.

If you send your information via email, be sure to use small image files. If you load down their inbox, they won’t be happy or they may not even receive your information at all. It could bounce or end up in a spam filter. So keep it small- 4MB total is best.

Sounds simple, and it really is if you keep everything up to date. Again, if you have any questions, don’t hesitate to contact me. www.AmyGuidry.com

August Art Walk

Installation view of Amy Guidry's work at The Alamo, Lafayette, LA
Installation view of Amy Guidry's work at The Alamo, Lafayette, LA

Two posts today… lots going on, but I wanted to inform everyone of Lafayette’s Artwalk schedule for this month. Artwalk happens this Saturday, August 14th in downtown Lafayette, LA. Gallery showings are as follows:

Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: August 14 – September 25, 2010- Michel Varisco: Shifting
Side Gallery: August 14 – September 4, 2010- Rajko Radovanovic: Last Line of Defense
Vault Series: August 14 – September, 25 2010- Kelly Guidry

Cajun Spice– 535 Jefferson St / 337-232-3061- Tina Thibodaux: Reflections

Cité des Arts– 109 Vine St. / 337-291-1122- 23 Photographs by Angelle-Leigh

Galerie Eclaireuse– 535 Jefferson St. / 337-234-5492- “Louisiana Landscapes” group show featuring the work of Erin Chance-Fenstermaker, Pegi Derby, Colleen McDaniel, Jane Noble, Steve Schneider, Jon Schooler and Dennis Sipiorski

Gallery 549– 549 Jefferson St. / 337-593-0796- Donald LeBlanc- “Landscapes and Little Head Totems”

Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530- Artwork of Michael Russo

Pottery Alley– 205 W. Vermilion St. / 337-267-4453- Art Under Wraps

July Artwalk

Second Saturday Artwalk is upon us again!  If you are in the downtown Lafayette area, be sure to stop by this Saturday, July 10th.  Galleries and many downtown businesses are open from 6-8pm.  The schedule for this month is as follows:

Acadiana Center for the Arts– 101 W. Vermilion St. / 337-233-7060
Main Gallery: Through July 24, 2010- Southern Open 2010
Side Gallery: July 10 – July 24, 2010- Maria Lovullo (1961 – 2009)
Vault Series: Through July 24, 2010- Pat Juneau

Cajun Spice– 535 Jefferson St / 337-232-3061
Anne Bulliard Crownover Glasswork & Mosaics

Galerie Eclaireuse– 535 ½ Jefferson St. / 337-234-5492
Works by Dennis Sipiorski and Steve Schneider
Also in the gallery: Tom Secrest, Paul Schexnaider, Billie Bourgeois, Jon Schooler, Sue Boagni, George Loli, Colleen McDaniel, James Hunter and other regional artists

Gallery R (at The Russo Group)- 116 E. Congress St. / 337-769-1530
Painter Colleen McDaniel

Pottery Alley– 205 ½ W. Vermilion St. / 337-267-4453
The Spirit of Haiti– steel drum art

Sans Souci Gallery– 219 E. Vermilion St. / 337-266-7999
July Jewels– jewelry makers of the Louisiana Crafts Guild