(Excerpted from Living the Artist’s Life) 

As the digital age and websites evolve, portfolios aren’t as critical as they once were.  But no matter how sophisticated a site might be, it could never take the place of a well laid-out portfolio in the hands of a client or gallery owner, as you’re sitting across from her, discussing your work. 

If you’re like most artists, you’d rather be creating new work than assembling a portfolio.  Yes they’re a pain to deal with; I’ve never yet met an artist who enjoys assembling them.  I don’t enjoy assembling them.  But they’re essential.  If you look on the portfolio as a work of art itself, utilizing a direct presentation that is visually stunning, it won’t seem such a bore.  Spend the necessary money on it, and on the photography, to make it look good.  The money will be returned by means of sales.

For those of you who have no interest in selling your work, create the portfolio in whatever fashion you wish.  Make it sleek, make it ragged, make it out of duct tape if you like, so long as the finished product adequately represents your work, passion and ideas.  If the notion of making money from your art doesn’t jive with the way you create, then let the portfolio suggest, or even shout, this as well.  

Regarding portfolios, I recommend the following: 
1)  Portfolio Size: 17 x 20 
2)  Size of Photos:  8  x 10s or 5 x 7s (no smaller)
3)  Other elements: Resume or Bio, an Artist’s Statement, and Press Clippings.

Lay out the photos two-to-a-page, or four-to-a-page, depending on the size you choose.  My personal preference is two 8 x 10s per page, because they give the viewer the best visual impression of your work, and that first impression is the most important one you’ll make.  Repeat: THE FIRST VISUAL IMPRESSION YOU MAKE ON A GALLERY DIRECTOR, OR  COLLECTOR, IS THE MOST IMPORTANT ONE YOU WILL MAKE.  Please never forget this.

After you’ve laid out the photos, put the resume and artist’s statement at the end.  I never put these items at the beginning of a portfolio, because I want the viewer to be impressed with the work itself first.  Once that impression has been made, then they’ll be willing to read about the artist.  Needless to say, when I lay out a portfolio for an artist, I always place the most stunning images on the first pages, with the weaker ones following, then finishing again with the stronger works.  If it’s all strong, so much the better.

Just as importantly, anytime you show your portfolio, try to have a small original with you, since the work itself will always read better than a photograph, no matter how well the latter is shot.  If a gallery director, or collector, is already looking at photographs, and liking what they’re seeing, you can reinforce this by casually showing them the small jewel that you happen to have at hand.  Note use of the word “casual.”  Contrary to general misconceptions, the art business does not function at its best in a mode of pretension and pressure.  Rather it is always at its best when everyone is relaxed: the artist, the dealer, and especially the collector.  Relaxation leads to trust, trust leads to sales.

Finally, after you’ve shown your portfolio, be prepared to leave behind a well laid-out presentation folder.  You can find these in any office supply store.  They’re the size of a notebook, utilizing either pockets or transparent sleeves, and can make a very impressive visual statement.  Make sure a disc of your work is in the folder, along with photos, a business card, postcards, your resume, and other essentials.  If you’re still using slides rather than discs, fine, but be prepared to ultimately make the change to discs.  The visual world is heading in that direction, and I doubt if it will head back.

You’ll also need to include any press clippings you might have garnered over the years, and a select list of clients.  What?  You don’t have those things yet?  Don’t worry.  I’ll go over the getting of press, as well as how to acquire that coveted list of clients, in later chapters.