The Fine-ArT PhoTogrAPhy issue
Private art dealers, who sell work without
the benefit of a brick-and-mortar gallery,
can be great assets to PhotograPhers both
financially and in develoPing their careers.
By Conor risCh
Three years ago, Barbi Reed ecided to shutter the Sun Valley, Idaho, area gallery she’doperatedformorethan three decades. Reed wasn’t
getting out of the art business, however.
Instead she was changing her business
model, from one based around a tradition-
al brick-and-mortar gallery to one more
akin to those run by private art dealers,
who serve many of the same functions as
gallerists with one big exception—they
have neither the benefit, nor the expense,
of a permanent exhibition space. Reed
now operates a “virtual gallery,” curating
exhibitions for her Web site and publiciz-
ing them just as she would an exhibition
at a brick-and-mortar gallery.
© MARISA POR TOLESE
Left: A photograph of a mother and daughter
from Marisa Portolese’s series “Antonia’s Garden.”
Opposite page: A work from Erika Diettes’s series
“Rio Abajo” (Drifting Away). Private dealer
Charles Guice represents both artists.