Art Biz Blog

DON'T do this!

Every Monday in the Art Marketing Action newsletter, I encourage you to do this and do that. I guess it’s also my responsibility to tell you what not to do. Let’s start with this list.

DON’T try to make your art into a business unless you are truly passionate about your work and understand what it takes to make it as an artist. You cannot make a living as an artist unless you have accepted and embraced the reality that you need to make money from it in order to survive.

DON’T drop in on gallery dealers and expect them to drop everything and look at your portfolio. Think about it. Do you like someone demanding your time when you’re trying to focus on work? Here's a better way to contact galleries.

DON’T forget the people who help you out along the way. Send lots of personal thank you notes and “just thinking of you” email.

DON’T try to create art in a vacuum. Most of art history’s greatest artists (and most successful personalities) were part of communities whose members were enriched by each others’ ideas and inventions. Read magazines and books, attend lectures, and be aware of what is going on around you.

DON’T go it alone. Set up a network of support, even if you have to go outside your family and current friends, to cheer you on. Limit your time with those who are negative about your career.

DON’T ignore the details. There are no shortcuts when you want to achieve great things. Put everything in place that will allow you to succeed.

Image ©Michael Orwick, Majestic Morning

Getting into out-of-town galleries

The Oklahoma Visual Arts Coalition wants to know how they should advise their artists to get into out-of-town or out-of-state galleries. I had some advice for them on today's blog tour stop for I'd Rather Be in the Studio!

Read about getting into out-of-state galleries.

Brenda Marks wants to know . . .

On today's blog tour stop for I'd Rather Be in the Studio! Brenda Marks asks me this:

What do you see as the advantages and disadvantages of belonging to an art cooperative?

Wow! I've never been asked this before. I think I came up with a pretty good list of things to consider, although I realize it's a starting point. Visit Brenda's blog, Making Marks, and see what I have to say.

Be sure to leave your own thoughts about artist co-ops and check out the free book giveaway.

Image (c) Brenda Marks, Transitions 5

Robin Maria Pedrero wants to know . . .

Today's stop on the I'd Rather Be in the Studio blog tour takes me to Robin Maria Pedrero's blog.

Robin asks me about contacting galleries out of town. What's the best way to go about this? It's a question many artists ask, so I was happy to answer.

Read my thoughts about contacting galleries on Robin's blog and enter to win a free copy of my book.

Image (c) Robin Maria Pedrero, Balloon Flight

Asking your gallery for addresses

Sally Bullers left this question on the blog:

Is it legitimate to ask gallery owners for the name and address of those who purchase your art? I like to drop them a note and keep up my mailing list. Some galleries are very protective of these names.

You're right, Sally, some galleries are very protective. It's because they've been burned by artists who ended up selling directly to patrons or simply because they've heard of it happening to other dealers. You can eliminate a lot of the worry by negotiating with your gallery and nurturing trust in the artist-gallery relationship.

Yes, you should not only ask for names, you should have this arrangement built into your contracts with galleries. You need these names should something (heaven forbid) happen to your gallery. And your gallery should be able to trust you with them. (See links above for more.)

Image (c) Sally Bullers, Chase Away the Blues.

Is her art in the restaurant just free wall decor?

Time for a Dear Alyson letter. Question from anonymous:

I have a situation that I have not come across before and believe you could provide an answer or some insight. From time to time a gallery director shows my work. When he does, we have a 50/50 agreement. I am not exclusive with this gallery.

This same director is on retainer by a restaurant owner to work with his interior designer. He looks to the gallery director -  paying him a monthly retainer - to provide rotating (every 4-6 months) artwork for the walls of a "hot" new restaurant in town. To open the restaurant, he came by my studio and selected about 8 pieces (prints) for this purpose. We agreed upon 70/30 for any sales. The restaurant, despite all of the directors efforts to get them to do so, never promoted the work as for sale - neither my name and prices nor his name and gallery was ever visible on any literature or signage. How many customers in the restaurant would even consider that maybe the work was for sale?  Few if any, I suspect, even if they admired it.

Here is my question: When the restaurant changes out my art for other, and if nothing has sold, does the GALLERY DIRECTOR "owe" me anything except a thanks!? I realize the only (written) contract was based on sales - should/could I have negotiated anything from him for the use of these pieces to the restaurant? Seems I have gained nothing and the restaurant got great free art for it's opening and the initial 6 months!

Dear anonymous,

I hate to say it, but it appears that the gallery director owes you nothing. All arrangements should be discussed and negotiated ahead of time. The gallery dealer could have negotiated a rental fee with the restaurant owner and paid you a portion. He might have also negotiated an opening reception, invitations, and publicity (including table tents or handouts) on your behalf. (By the way, you could have done this with your gallery director as well.) Now, it’s too late as you already agreed to the 70/30 split with your gallery.

The time to lay out your terms is before any artwork leaves the gallery and goes to another site. And if you’re pressured to make a decision, delay. Always say “let me think about it and get back to you.” Go home, do some research, and respond well armed with your terms. And, yes, some gallery consignment contracts have these terms spelled out in them. If yours doesn’t, I suggest a face-to-face meeting with your director and an additional letter of agreement that spells out the specific terms for that situation.

I would be curious to know what the monthly retainer was. I’m also curious as to what would have happened if a piece had sold. Was there any incentive for the restaurant owner to sell? I’m sure the restaurant owner truly looked at it as inexpensive wall decor.

I think you should express your displeasure with your gallery director. You can begin asking him what he thought of the arrangement. How could it have been better for the gallery? Don't get angry because it's something you agreed to. Just tell him that you weren't happy with that situation and won't likely do it again without different terms. This up front honesty and action will empower you.

Don't spend too much time wishing you had done something differently. It's in the past. Be happy that you learned something and know how to handle a similar situation differently in the future.

Hear it straight from the gallery dealer's mouth

If you missed tonights free teleseminar on the artist-gallery relationship with Paul Dorrell, not to worry. It's now available to listen to.

I'm also offering Paul's book, Living the Artist's Life, for just $13.50 (including shipping) until March 5. It normally retails for $16.95.

Take advantage: Paul Dorrell interview and book.

Free Teleseminar

Paul Dorrell and I have decided to offer this week's teleseminar for FREE! But it's limited to the first 250 people who sign up.

"What Artists Need to Know about the Artist-Gallery Relationship"
Wednesday, February 21
6 p.m. Mountain Time

Paul Dorrell is the author of the acclaimed guidebook for artists, Living the Artist’s Life. Thousands of artists worldwide look to him each Friday for his online column, Friday Tips For Artists, in which he dispenses advice as a successful gallery owner who has seen his share of struggles.                                                                    

Paul  founded Leopold Gallery, one of Kansas City's pemiere galleries, in 1991. He also has an active blog, Paul Dorrell's Blog, and is a columnist for The Artist’s Magazine.

                                                                   

Sign up now.

Follow Up on the Phone

Whenever you send a letter about your art, be sure to say that you will call at a specific time to see if it has been received and if the recipient has any questions. Then, put it on your calendar and do it!

I did this a few weeks ago when I was encouraged by an artist in Northern California to send a workshop proposal to her local arts council. I did and two weeks later I called to make sure it was received. I was slightly nervous because I had never had contact with the person before, but my fears were instantly allayed. He not only received it, but he wanted to talk with me about it right then and there. He was very interested in it.

Again, the steps:

1. Send letter of inquiry stating that you will call them in [two, three, etc. weeks] to see if it has been received and if they have any questions.
2. Make a note on your calendar for the day you said you would call.
3. CALL! Don’t say you’re going to call and then not do it.

Read “Get ‘em While They’re Hot” in the Art Marketing Action newsletter and "Follow Up."

When an Agent Might Be Good for Your Art Career

The only time I have ever seen the artist-agent relationship work with emerging artists is when the “agent” is the spouse or very close friend of the artist. I use the term “agent” loosely because this person usually doesn’t have connections that a true agent would have. This person behaves more like a marketing contact for the artist. He makes the calls, sets up appointments, takes care of the database, and so forth.

The spouse or close friend deal works so well because that person usually has as much at stake in the artist’s success as the artist herself does. Dwayne and Jill Cranford are a terrific husband-and-wife team.

Anyone have a story with a happy ending about a fine artist who achieved success with the help of an agent?

(Of course, licensing agents are different. You’ll usually need one of these if you want to license your work.)

Read why you should quit looking for an agent in this week’s Art Marketing Action newsletter.

Image: Stone furniture by Dwayne Scott Cranford.