Guest blogger: Fiona Purdy

There is one sure thing that will happen to every artist who sells their work. You will be constantly approached by organizations asking for a donation for their good cause.

Fiona Purdy, Stepping Out. Acrylic on canvas, 36 x 24 inches. ©The Artist

There are four ways to deal with donation requests.

1.    You can donate.
2.    You can ignore the request.
3.    You can decline the request.
4.    You can offer another solution, and explain why you are offering it.

Instead of getting annoyed by another begging letter, email or phone call for my work, promising me big exposure that never eventuates, I opt for #4.

To be fair, most fundraisers are unaware of what it means for artists who donate their artwork. 

I believe it is our responsibility to gently & diplomatically educate them.  If enough of us do this, maybe sometime in the future we won’t be bombarded as much – and maybe the charity will make a lot more money.

Here is a reply that I sent recently to an organization requesting I donate a painting or a portrait gift certificate.

Dear M,

Thank you for contacting me regarding your event. The  “X” Zoo is a wonderful place.

When a patron purchases a piece of artwork at a fundraising event, they can claim the entire purchase price as a charitable deduction.

However, when an artist donates a piece of artwork, they cannot claim the retail price of it as charitable contribution. An artist can only claim the cost of the materials, which normally is a fraction of the price of the finished artwork.

A piece of art is different than say a vacation, or a spa visit, or donation of that kind. Artwork has an intrinsic value, especially portraits, a deeper value than say a golf package.

After donating many paintings (or portraits), I’ve come to realize that many of the people that attend these events expect to get a “deal,” to be able to purchase artwork at less than market value. This devalues my artwork and it is extremely unfair to my clients who have paid full price for my work.

I would never do this to my clients. It is unacceptable to me.

In light of this I no longer donate my artwork outright to any charity.

I do want to help you in your fundraising efforts however, and there is a way that we can still do this.

You can purchase one of my paintings at full price, and then offer it in the auction, where you will be able to price it at more than the cost to you. You could also get the attendees to understand that the event is a fund raising venture and they should get behind the Zoo by bidding big to raise as much money as possible for this worthwhile cause.

Please let me know if you would like to pursue this avenue.

Regards,

Fiona Purdy

So the next time you are approached to donate your artwork, please feel free to use this letter and modify as you wish!!

About the Guest Blogger

Fiona Purdy makes vibrant, contemporary animal paintings and portraits that portray her passion and deep love for her subjects. She lives in Scottsdale, Arizona.

There is no end to requests for donations of your artwork, so you need to figure out how to handle them.

I suggest setting limits – now!

Kristina Bell DiTullo, Affect/Effect I (detail). Sheer and clear adhesive bandages on clear plastic shower curtain. Installation for "6.7.8", May 2010, Mobius, Boston, MA. ©The Artist

This advice isn’t for artists who are joyfully supporting multiple causes with gifts of their art. It’s for artists who are searching for a response to relentless donation requests – often for charitable auctions.

1. Set limits on the causes you donate to.
2. Set limits on the monetary value you donate.
3. Set limits on the type of art or medium you donate.
4. Set limits for organizations that don’t give you a complimentary invitation.
5. Set limits on how art is publicized and displayed.
6. Set limits on bidding.

What are your donating limits?

Janice McDonald's Budding (collage) is projected as a backdrop during Patricia Renzetti's "Reflections" ballet in Denver. Photo by Rachel Graham.

I encourage you to stop and think about what it means to be part of a worldwide community of artists.

Really. Stop now. Think about it.

Even if the proclamation of National Arts & Humanities Month (October) is for the U.S., we know that national boundaries are fuzzier because of the Internet. We feel a kinship with artists around the globe.

I ask you to spend time this month on these two actions: collaborating and advocating.

Since this is the Art Biz Blog, let’s look at how this applies to your marketing.

Collaborate

Trade postal support with another artist.

Contact someone whose work you admire and organize a 2-person exhibit or collaborate on a single project.

Advocate

I doubt that asking people to celebrate National Arts & Humanities Month will change their behavior much. You can, however, change your behavior.

I give you 4 easy and meaningful ways to do this in this week’s Art Marketing Action Newsletter.

Are you collaborating and advocating?

Artists are what defines any arts agency, be it an arts council, commission, or board.

Artists are the reason you exist.

Artists can be your best advocates or your biggest critics.

To ensure the artists are on your side . . .

©2011 Kate Ruddle, Antoinnette's Wig - Pink. Faux hair, fabric, feathers, glass buttons.

Explain Your Position

Explain your mission clearly to local artists. But first make sure it’s the right mission and that it doesn’t compete with the for-profit entities in your area.

Does your mission acknowledge the role – specifically – of artists in your area?

Everyone on your staff should be on board with your mission before you expect the same from those outside your organization.

Work hard to articulate your purpose to the artists of your community and to make sure they buy into it.

Formalize the Relationship

Form an advisory board of local artists. Listen to them. (More on that below.)

Evaluate

Ask for feedback from artists outside of your advisory board – the ones who benefit from your programs as well as those who don’t.

Be Bold

Just because you’ve always done something one way, doesn’t mean it’s the best way for today.

And when every agency is doing the same thing, don’t you think it’s time to distinguish yourself?

Change. Adapt. Expand.

Listen First, Then Explain

Listen to the feedback. Don’t get defensive. Listen. Absorb. Discuss.

You can’t act on every idea recommended by your community of artists.

Ultimately, you must decide how to best implement your mission. But . . . listen. After listening, you can explain your actions.

Listening shows you care.

Listening proves that you care more about the arts and artists than you do about your own agenda.

Guest Blogger: Paula Lewis

Except for the few artists who have reached the level of success that enables requires help from assistants to keep up with the demand for their work, we artists are a lonely bunch.

Solitude is good for creativity, but only up to a point.  Community, education, critique, support, and inspiration are good for our work and our psyches.

Join an artist organization and you’ll see what’s in it for you. Here are a few of the reasons I cherish membership in the Pennsylvania Guild of Craftsmen.

1. Market Influence

A guild or organization can work to build the overall market for fine art and fine craft.  The momentum of the group will benefit everyone.

Paula Lewis, April's Promise. Vitreous enamel on copper, 11 x 15 inches (including frame).

2. Business Advice

Record-keeping, setting prices, dealing with galleries, and liability insurance are examples of the kinds of issues that can be addressed by guild members that come from a variety of backgrounds and levels of experience.

3. Fresh Perspective

Viewpoints from artists working in multiple media help identify with whom your work resonates and why. Knowing more accurately what your most likely client looks like helps you effectively allocate scarce resources (time and money.)

4. Confidence Building

Many of us are visual, not verbal, so being asked to speak or write about our work can be a special challenge.  Practice with your fellow artist-members enables you to speak more easily with non-artist potential clients.

5. Revitalized Muse

If you are “stuck,” you are not making art, which means you are not going to have any art to sell. Shared creative energy is a priceless benefit of joining a guild.

Join an organization that is media-diverse, multi-generational, and embraces a broad spectrum of styles. You will find your creativity constantly jostled, your contact (client) list expanding, and your ability to speak comfortably and cogently about your own work significantly improved.

Oh, you will also make fabulous new friends and feel more strongly connected to your community – good deal!

Guest blogger Paula Lewis, Scorched Eyebrow Studio, hand-fires and composes copper and vitreous enamel collages. She lives in Boiling Springs, Pennsylvania, near her childhood home and her mother, with her husband, Ken and her beautiful autistic daughter, Jessica.

Jen Barbati was recently thrown a curve ball from one of her buyers, which left her speechless.

Here’s what we know

Two years ago, this buyer purchased a giclée of one of Jen’s paintings. It just so happened that Jen had a postcard made up with the same image. She happily gave the buyer a stack of the postcards to hand out to her friends.

Fast forward to late last year. Jen again runs into this person, who proudly proclaims that she had liked the image so much that she started framing the postcards to auction off in fundraisers for her nonprofit organization. (Re-read that sentence. She’s been auctioning off framed images of Jen’s postcards without Jen’s knowledge or consent.)

Jen is so shocked that she can’t say anything. If she had only been asked, she gladly would have donated. Jen is a wildlife artist and this is an organization she strongly supports!

The woman is a pillar of the community. And, again, Jen supports the cause. It fits nicely with her niche market and she wants and needs to stay on good terms. Still, Jen wants to make sure that this woman knows that it was pretty uncool to do this without the artists’ knowledge.

Jen Barbati, Jaguar. Oil, 16.5 x 13 inches. ©The Artist

Here’s what we don’t know

We don’t know whether Jen’s name (which was printed prominently outside of the image) was cropped during the framing.

Likewise, we don’t know whether Jen was given credit in any form.

Here’s what we can deduce

We’re pretty sure that this woman intended no malice. She just wasn’t thinking about Jen–only herself and the organization.

We also know

We know that anyone can pick up a postcard and frame it and we’d have little control over it.

We also know that it would have been best to address this with the buyer/purloiner when Jen first learned of it (late October).

Here’s what Jen’s going to do

Jen said she is going to contact the woman and ask for a meeting. When I asked her if she was comfortable with that she said “Yes! I do much better in person than on the phone or in writing.” Great! Jen knows her strengths.

Jen is going to open her conversation with this woman by telling her 1) that she’s thrilled she likes her giclée so much and 2) that she was very happy to hear that her postcards were helping to raise money for such a valuable organization. This is important. Jen isn’t going to lead an attack. She is genuinely happy about these things and she wants to make sure this is conveyed from the start.

Then she’s going to say something like: “I’m curious. Can you tell me how the postcards were framed?” And “How do your auctions work? Was my name printed anywhere? Was it on the back of the framed image?” She’s not going to assume anything. She needs answers before she can proceed.

Armed with these answers, Jen will be able to know which direction she needs to take the conversation. She wants to let this woman know that she would like to support the organization however she can–as long as she’s given proper credit.

While I’m not an attorney (Let’s be clear on that!), I did advise Jen to use the term “copyrighted image” in a non-threatening way. This person didn’t make the copies of the image, so an attorney would have to address if any laws were broken. But she needs to know that the artist owns the rights to the image.

Sure, Jen could let it go–be happy about helping to contribute to this organization. But folks, if we don’t educate others about how art and artists work, nobody will. It’s part of your job (yes, job) to educate people. Jen is doing all artists a favor by talking to this one person instead of staying silent.

Any more advice for Jen?

Artist Geri Dunn was stunned when someone purchased a gift certificate of hers at a silent auction and then wanted to either 1) redeem it for cash or 2) commission an original drawing for the amount on the certificate ($150). People really do ask/demand the darndest things!

Let’s look at the situation and start with the gift certificate itself, pictured here.

The small lettering on the bottom row consists of these three components.

1. The artist’s contact information–phone and email.
2. The certificate number, expiration date (12/31/2010), and the words “Not redeemable for cash.” Having an expiration date is important! And the “not redeemable” phrase proved key when the recipient tried to cash it in. Geri was able to point to this language and quickly put an end to that discussion. The words “No Cash Value” could also be used or added.
3. A place for the authorized signature (presumably the artist’s or the organization that auctioned it off).

Without knowing the context of how this was promoted in the sale (Was there any text that went along with it or in a catalog?), I see one crucial piece of information missing on the gift certificate–>What can it be used for?

A simple phrase like “To be used toward the purchase of original art or prints by Geri Dunn” might have covered it.*

You could also add the phrase “Non-Transferable” if you want to ensure that only the purchaser is able to use the certificate.

Go over details with the organizers

It’s difficult to have control over your donations if you aren’t involved with the organization or in attendance, but there are some things you can do to have a smoother experience.

Whenever you donate a gift certificate, talk details with the organization. The nonprofits I’ve been involved with have had forms for donors to fill out. Write out the specific terms of your donation on the form and make sure you sign it somewhere. If the organization you’re supporting doesn’t have a form, make up an official letter of your own. Address your donation letter to the organization and include it when you deliver the gift certificate.

If you really want to go all out, see that anything in print (a catalog, brochure, or label) is more specific than “Gift Certificate.” Perhaps “Gift certificate toward the purchase of art by Geri Dunn” would be sufficient. I know this might sound like going overboard, but I’m amazed at how few people read the details of an offer. The more bases you cover, the fewer headaches you’ll have in the long run.

If necessary, provide a separate “Terms of Use” document to go along with the certificate or, better yet, print the terms on the reverse of the certificate itself.

You can also use and adapt many of the above tips for certificates that are purchased from you and given as gifts.

*Disclaimer: I’m not an attorney. I’m sure that state laws differ on such matters, so please do some research before you create your gift certificates.

October 25 has been declared International Artist Day by a group of artists who thought wisely that artists needed their own special day. Not coincidentally, it’s also Picasso’s birthday. Is it on your calendar? How will you celebrate? Here are some suggestions they give you on their Web site.

1. Have the Mayor of your city proclaim this day, October 25th, as International Artist Day every year. While it may be too late for this year, you can get it in the works for 2010.

2. For a visual exposure have your local media film an interview and do an article about the Artist(s) in your area.

3. Have businesses sponsor an Artist by purchasing a painting for their lobby, or hosting a show.

4. Treat your favorite Artist to lunch or dinner.

5. With so much up and coming new talent out there, why not help sponsor an emerging artist, through a weekend workshop or fundraiser?

6. Advertise International Artist Day by downloading our logo and using it to print posters or invitations for events.

7. As a gallery owner, host an Open House with as many of your represented Artists in attendance.

8. As an individual art lover, throw a house party featuring your Artist friend(s) and their artwork, of course!

9. Host an “Art Auction” in a restaurant with a guest speaker to talk about art appreciation, art history (briefly) and the importance art plays in our society. Charge per plate. This money can be used to help sponsor new talent in the schools.

10. Send International Artist Day greeting/post cards to all your supporters to show your appreciation and thank them for honoring Artists and supporting the arts. (I love this one! See making your collectors feel special.)

11. If you have any type of website, add the International Artist Day link and feature a different artist of the month, every month with a short biography.

12. Most of us drive so why not have some magnetic decals or bumper stickers made to promote International Artist Day to display on your vehicle. This would help the awareness to develop. Please visit the gift store.

In response to my post about how to respond to people who ask you for your art for free, Alicia Leeke was reminded of a newsletter I wrote about soliciting donations. After reading that article, Alicia listed the charities she supports and posted it to her website. Great idea! If people don’t see it first, she has a resource she can direct them to.

Alicia Leeke, Exotic Palm. ©The Artist

Alicia also created a standard letter to respond to requests for donation. She has given me permission to share it here. (I have added the phrase “to address my concerns” to the final sentence.)

Alicia writes:

I got this idea from your newsletter and it worked surprisingly to my advantage in selling one of my prints at a price that was fair to the market and to me and not devalue the work. The finished piece was a framed print of a palm that was 24 x 24 [pictured here], double matted and framed with glass, so they got a very large quality piece they might not have otherwise gotten had it been a straight donation.

I’m continuing my advice for artist salons, which I started in Monday’s Art Marketing Action newsletter and podcast. The first three elements for thriving groups are here. Today, I’ll look at three final things to consider for your artist salon.

Miami art-marketing salon organizer Debra Cortese talks at an exhibit opening of member art. Photo by Rosie Brown.

4. Location

Dedicate a place for your salon meetings. The best locations are your home, studio, or gallery (after hours). Public places aren’t conducive to open conversation and hanging out as long as you’d like. Some salons might last late into the night and you don’t want to feel pressured to cut short an energetic session.

You won’t regret setting a single location. Having to decide on a meeting location each time would take up a lot of energy and wear you (the organizer) out. You need to save your energy for more important stuff like your art and your career.

5. Regularity

A salon should meet with frequency and consistency. I prefer more frequent contact than monthly sessions, but most people can’t commit to anything more often than once a month. Stick with a day (say, the second Tuesday) so that you aren’t constantly asking members to pull out their calendars to agree on a date. You, as organizer, should set the day before asking others to join.

6. Conversation

Ah, yes, what will you talk about? If you are running an Art Biz Connection marketing salon, you have your agenda planned out for you. Otherwise . . .

Be loose with any guidelines. In the suggested Vision under #2, note that I wrote “stimulating conversations about art and life.” That’s because life informs your art. Let your discussion wander and trust that salon members will always bring it back to art.

To kick off an evening’s exchange, you might select a topic or delegate this task to a different salon member each time. Alternatively, it could be the responsibility of each member to bring a conversation-starter on a slip of paper. Those could be drawn from a bowl or rewritten on a white board to be returned to when it’s time to move the session along. Without some sort of structure, a salon could decay into just another social event.

Organize an art marketing salon

6 elements for a thriving artist salon, part 1

Art Biz Connection free art-marketing plans

Twitter book club for artists: We’re reading a biography of Gertrude Stein–leader of the famous early 20th-century artist salon in Paris. It’s free!