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Mark Stevens & Annalyn Swan: de Kooning: An American Master
Join our Twitter book club this summer. See Pages above.
Sharon Waxman: Loot: The Battle over the Stolen Treasures of the Ancient World
Lindsay Pollock: The Girl With the Gallery: Edith Gregor Halpert And the Making of the Modern Art Market
LOVE this book! It reveals so much about the early American art market. Halpert was a true pioneer.
They say we learn more from our mistakes than from our successes. So . . .
What is the biggest marketing mistake you've made?
If you don't like the word "mistake," substitute gaffe, boo-boo, error, misjudgment, blunder, oversight, or miscalculation.
Use Valentine's Day as the perfect excuse to do something special for your VIPs
[3 min. 33 sec.]
Mentioned in this podcast
The Cultivate Your Connections class begins on February 11.
Prefer reading to listening? Check out the Art Marketing Action newsletter.
Subscribe to the Art Marketing Action podcast at iTunes.
Instructions for subscribing to this podcast.
I’ve been reading two books simultaneously: Tribes by Seth Godin (just finished) and The $12Million Stuffed Shark: The Curious Economics of Contemporary Art by Don Thompson. They’re interesting reads--separately and together.
Godin speaks of heretics. No, not that kind. He talks about the heretics that try something different and change the world. Don't do what everyone else is doing. Do the opposite! Godin inspires you to put down the darned book and start leading!
Thompson harps on branding: branded artists, branded galleries, and branded collectors. While “branding” might be new to the art world, the way business gets done in the gallery-auction-museum world has been around for centuries. Thompson’s heretic is Damien Hirst, creator of the $12million stuffed shark and branded artist extraordinaire.
Things are changing! Twenty years ago we could only think of one branded artist: Warhol. Now, there are many more. The economy and a new generation of artists (who grew up online and with marketing) will bring about more changes. How will art be sold and collected in the future?
Stick around . . .
This is what I’m talking about! Don’t do what other artists are doing. Add a twist!
Artist Brian Kliewer likes the “painting a day” phenomenon, but (and this is my take with my words) that’s getting kind of old. We like NEW ideas!
Instead of just doing a painting a day, Brian is promoting 100 Paintings in 100 Days for $100 each. And the response has been outstanding. Check out all of the red dots for yourself.
Image ©Brian Kliewer, Nosing In.
Someone better grab this before I do. I love Brian's white-belt cattle!
How can you add a twist to something that’s been around for awhile and make it fresh--make it yours?
Janelle Fendall Baglien, president of Studio Art Direct gives artists tips for marketing right now. She says the list is long and to achieve each step could take as long as a
year, but urges artists and art-related businesses not to be
overwhelmed. Just chip away at it, now, while you have the time.
Read the article.
Let me show you how to drive traffic from your Web site to your blog (and vice versa) and from your newsletter to both.
Listen to this week's podcast.
[5 min. 36 sec.]
Check out Monday's post for more resources.
Subscribe to the Art Marketing Action podcast at iTunes.
Instructions for subscribing to this podcast.
This podcast is an audio version of the Art Marketing Action newsletter.
E-marketing is the topic of today’s Art Marketing Action newsletter. Specifically, it’s about uniting all of your e-marketing efforts so that you drive people from your Web site to your blog, and vice versa, and from your newsletter to both places. Check out today’s issue if you haven’t read it already.
I also want to share with you these additional resources to help unify your e-marketing (and uniting this blog post with my newsletter AND Web site). First, two freebies from the Art Marketing Action archives:
Next, two ArtBizCoach.com products:
What did I forget? How do you unify your e-marketing efforts?
Learn how to identify your competition and how to keep an eye on them.
Listen to this week's podcast.
[5 min. 7 sec.]
Check out last week's podcast for helping you find your vision.
This resources are mentioned in the podcast:
You might also be interested in forming a FREE artist salon to help you with your marketing plan (which includes your competition). Check out Art Biz Connection.
Subscribe to the Art Marketing Action podcast at iTunes.
Instructions for subscribing to this podcast.
This podcast is an audio version of the Art Marketing Action newsletter.
Keep your friends close, and your enemies closer.
--Sun-tzu, Chinese general & military strategist (ca. 400 BCE)
This week’s Art Marketing Action newsletter helps you identify your competition. Here are some ways to keep an eye on competitors.
Above all, give yourself credit for everything. Although you might not have approached your career in the same way the competition has, that doesn’t mean your way isn’t every bit as valid. Know what they do better than you, but recognize where you excel. Play to your strengths.
I received this email from awhile back from Bob Hunt:
I've been getting your newsletter now for a couple of month and do find some of the information interesting, but I feel you haven't addressed a real issue that contributes to success. It's talent. No where do you address this (at least not in the newsletters I've received) or in any of the topics in your seminars. All the best marketing, networking, setting up web sites etc., won't do any good if the work isn't marketable. A lot of novice painters get the false impression that if you do all the recommended things you suggest that they'll be successful. False.
Bob, here are some thoughts off the top of my head:
1. First, it's important to note that my newsletter is written for all kinds of artists--not just painters. I am certain you realize this, but because your email addresses painters directly, I feel the need to emphasize the fact that I write for more than painters.
2. What is “marketable” and who decides that? Both you and I know that a lot of art is selling for a lot of money--art neither one of us would spend a dime on. We also know that “marketable” means different things in different markets and in different levels of the art world. I do not believe "marketable" = "talented".
3. I don’t teach talent, so I don’t address it often. I only share the business and marketing side. However, in working directly with clients I am adamant about them devoting themselves to non-negotiable studio time and perfecting their crafts. (Check out this week's Art Marketing Action newsletter.) You are right, however, that I should more often address the role of talent in an artist’s career.
Bob's message continues:
One of the most important things you can suggest is to have your readers get an "honest" assessment of their work to find out if indeed it has value. Many novice painters think they can be successful because of all the encouragement they have received. Usually that encouragement comes from family and friends who don't want to hurt their feeling by being honest with them or don't have the expertise to give an honest appraisal. This is not to say they can't be successful, if they address some of their shortcomings (providing they know what they are).
Only if you have talent and have marketable work will all your suggestions have validly [sic].
Image (c) Bob Hunt, Down the Rabbit Hole
Whom do you listen to?
Yes, artists should always seek feedback on their work, but from whom? Who is going to be the person who gives them the thumbs up or thumbs down? I have heard so many stories from successful artists who received negative feedback and zero encouragement from certain teachers. Perhaps it gave them determination to forge ahead, but they could have just as easily quit with such an “honest” assessment. At the same time, I agree with what I think is at the heart of Bob's comments. Keep reading.
Bob recently wrote with these additions:
Most artists are very sensitive, and because most paint from the heart, it can be painful to receive negative criticism. They might get turned off because of it and don't think they're good enough to continue something that they love, and have a talent for doing so. The talent just has to grow. They have to learn to have a thick skin. Most importantly, is being honest with themselves. Listen to all the criticism, absorb it and if you think it's valid incorporate it. Not all criticism has to taken and acted upon.
When I do an occasional work shop, I stress that failure is not a failure in it's own right. The artist, hopefully has learned something from that failure and future work hopefully will be better because of it. I also stress, that to improve, you have to take risks, hence more failure, but that is the only way to improve and grow as an artist. If the artist is painting the same way they were 2 or 3 years ago, they're getting comfortable and not growing. This is especially true of some artist, who start to sell, and feel that this is what sells, so no need to try anything new.
Developing your thick skin
Now, we're getting to the heart of the matter. It's not just a matter of someone giving your art the thumbs up or the thumbs down, it's learning how to deal with those assessments. It's discovering what to work on, whom to listen to, and where to go from there. It's not about having "marketable" work (whatever that is). It's about exploring your talent and honing your craft. It's about learning from mistakes. It's about watching your work take on a life of its own after it leaves your studio and seeing how you react to that new life.
Bob, I also like your mention of taking risks. What is great art if not risky?
