| Selling Your Art by Douglas Ready |
There is the thought among many artists determined to produce only work generated by their own internal
mechanisms that to succeed in the art world gallery representation is a must. The truth is that only a very small
percentage of working artists will ever acquire gallery representation. A much smaller percentage will acquire
adequate gallery representation.
And, even if you're successful in finding that one gallery with which you can build a working relationship, the gallery
won't do all the work. You need to check in regularly with the owner, build a rapport, meet potential buyers, attend
openings, and reassure yourself that enough is being done to promote your work. In fact to insure success in a
gallery environment you'll need to promote yourself at least as much as before you secured gallery representation.
The belief that you can pitch your art, without qualification or recommendation, to galleries until someone falls in
love with it to the point where they take on your business affairs and leave you to toil happily away in the studio is a
fantasy. Galleries are not in business to discover new and exciting creative geniuses and micromanage their
respective careers. Galleries exist to sell art.
Galleries are only interested in art they believe they can sell, and there is only one known manner of proving your
work will sell: somebody has to have bought some of it, preferably a good many pieces of it. An adequate gallery
will work with the artist to build his client list, but very few of them are much interested in starting from scratch.
Securing reputable gallery representation without an existing client list is virtually impossible.
I referred to reputable gallery representation. There are always so-called galleries willing to take on the work of any
artist for a fee. The artist pays the gallery up front for wall space and promotional expenses, and is even expected
to pick up the tab for the wine and cheese required on opening night. This variety of so-called gallery makes its
money by cashing your check and actually does little more than sell you wall space, although most are perfectly
willing to charge an additional commission--up to 50% in some instances--should a piece of your work sell. This
kind of operation is sometimes referred to as a Vanity gallery.
The artist will do better with a Co-op gallery. This gallery is run and maintained by the artists who display on its
walls. There is generally a fee to join, and the artist can expect to pay what amounts to monthly rent for the
privilege of hanging his work on the wall. The artist may also be expected to man the gallery a few days every
month. The Co-op will also charge a percentage of the dollars generated when and if the work sells, and while the
percentage varies from Co-op to Co-op it is generally a smaller percentage than a traditional or Vanity gallery.
At any rate, whether the artist chooses to pursue traditional gallery representation or join a Co-op gallery the one
thing needed to insure success is a client list, and the artist himself is the most effective tool available for generating
a client list.
Identify an Audience
Most working artists earn a living without gallery representation. The practical artist learns very quickly that he and
he alone is responsible for the success or failure of his artistic ventures and that while gallery representation is one
way to put his work in front of collectors it certainly isn't the only way. Sometimes, it's not even the preferred way.
To be successful, the artist must secure collectors as clients. In order to secure clients, the artist must first identify
an audience. An audience is a collection of people who are interested in or fascinated by or obsessed with the work
the artist creates. A client is a member of that audience who actually took money out of his pocket and traded it to
the artist in order to acquire a work of artistic creation.
You cannot and will not acquire clients until you've identified an audience.
There is a market for every variety of art the artist can possibly create, but that doesn't necessarily mean there's an
extensive market for every category of work. It is very possible to earn a substantial living producing a niche
product, but the smaller the niche the more necessary it becomes for the artist to identify members of that niche if
he is to prosper working only within that genre. If the artist is determined to produce nothing but highly detailed
realistic scenes from the battle at the Alamo, he'd better identify every organization that studies or celebrates that
particular brawl and make an effort to put samples of his work in front of every member of each organization, all the
while keeping his fingers crossed. On the other hand, if the artist expands his repertoire to include not only the
Alamo, but perhaps the Civil War his potential audience amplifies to the point of potential viability.
The successful artist will take the necessary steps to discern and pursue that portion of the populace with a
potential interest in his product.
Originals, Prints and Posters
If the artist is determined to sell directly to collectors those images created from his own internal directives, there are
three varieties of product available for promotion: originals, prints and posters.
Selling the original art is a straightforward undertaking. The artist creates the work and exchanges it with a buyer
for a mutually determined price.
A valuable addendum is the print. Prints may be hand-pulled or commercially printed, and are produced in a limited
number, that number to be determined by the artist. The prints are signed and numbered on the front of the print to
indicate both the number of the print and the number of prints created, i.e.:
24/75
(indicating print number 24 out of an edition of 75 prints)
Prints are sold at a less expensive price point than the original work, making the print a more affordable, and
sometimes a more appealing alternative to acquiring the original artwork. Prints, like the original art, have the
potential to increase in value as the artist becomes more established.
Posters differ from prints in the fact that they are not limited to a particular number of copies. Generally, posters
are reproduced on a less costly grade of paper than prints, but not always. Posters are an inexpensive way to
make your work accessible to large numbers of people who for whatever reason aren't interested in spending the
necessary amount of money to acquire an original piece of artwork.
Thanks to modern printing technology, the only real difference between a print and a poster is often the signature
and the numbering. There is an ongoing discussion regarding the proper categorization of commercially
reproduced limited edition work. Some feel that only the print hand-pulled by the artist should be referred to as a
print, that the commercial reproduction, regardless of its quality, is nothing more than a signed and numbered
poster. The distinction is one the artist will have to determine for himself.
Reproduction Rights
The artist has a much better chance of generating a reasonable income if he remains open--in fact actively
pursues--reproduction opportunities for his work. Prints, posters, greeting cards, collectors' plates--all reproduction
possibilities, and that income potential, are dependent upon the artist retaining reproduction rights to his work.
This means that someone who buys your original art that person must be informed that while the collector owns the
artwork, the artist solely owns the right to reproduce the work and only the artist can sanction such reproduction. A
simple written statement included in the Bill of Sale should be sufficient to accomplish this most important
communication.
It is paramount for the artist to retain a copy of the artwork. In the event that reproduction rights are assigned, the
artist will be expected to provide a viable image for the client to work with and it is unrealistic to expect the collector
to return his property for the artist's use. Retaining a copy of the image is best accomplished by archiving computer
scans that can be manipulated for future use as the occasion arises.
Targeted Promotion
Selling art is a difficult skill to master, but if you're going to make a living as an artist you have to be able to sell your
art at least as well as you're able to create it.
I am astounded at the number of talented artists who have mastered their craft and produce absolutely wonderful
creations, but know so little about how the art business works and what they have to do to sell their work that most
of their working days are spent engaged in occupations that have absolutely nothing to do with the art world.
Students attend art school so they might learn to create art that is good enough to sell, believing that if a quality art
education is pursued and acquired one can make a living as an artist. Art school offers a wonderful opportunity to
spend several years practicing one's decided craft, but selling and marketing are seldom found in any art school
curriculum. Art school does not teach you how to how to sell your art in the real world. You'll probably learn how to
put together a portfolio, but the chances of an instructor taking you aside and explaining just how to find the person
who wants to purchase what's inside that portfolio are almost non-existent.
The student is told that if the work is good enough showing it to a gallery owner or mailing a reproduction to an art
director is all that is necessary to generate income. Some art schools dismiss the art business altogether by
suggesting that creating art is where the artist's focus should be, that making money isn't pertinent to the process
and debases the experience of being an artist. Schools rarely seem to mention that if you can't make money making
art, you have to spend a good portion of your time engaged in unrelated dollar-generating activities.
Selling art does not diminish your credibility as an artist, it enhances it.
In the beginning, your day-to-day accomplishments are what advance your art career. Create to the best of your
ability and get your work out there. Display your artwork at every opportunity, hang it in every restaurant and bar
that will let you use their wall space, set up at every street fair and art festival you can get to. Listen to what people
say, get a sense of who likes what and why, figure out how to price it so it sells, and show it whenever and wherever
you get the chance. Along the way, you'll meet people, make connections, and those you impress the most will
eventually introduce you to others who can do more for you.
That's how any business works, and the art business is no different.
There are as many ways to sell art and become successful as an artist as there are artists, and each and every one
of those ways is perfectly acceptable. The key to success is identifying those methods you can comfortably apply to
your own work.
Most artists want to become rich and famous as soon as possible. They want to create art full time, basking in the
solitude of their studios while other people sell it. In pursuit of this lofty goal, the number one question artists ask is
how to get representation. Most are stunned to discover that you have to sell art in order to attract gallery
attention. Once you learn to make sales--once you've learned to persuade others that your art has merit-- you'll be
ready for representation.
You must learn to convince others that they're better off owning than not owning your art. It is certainly gratifying to
hear someone say they love your work, but compliments, no matter how constant, won't keep you from the need to
pursue that career in food service.
The overwhelming majority of art world relationships are initiated through networking between people who already
know each other. This is pretty much the same in any business. Few people are willing to take chances on total
strangers and this is why cold calling rarely works unless you've developed a zealous sales personality or you have
something unbelievably astonishing to cold call about.
All artists want to sell themselves and their art, but you'll have better luck selling when you sense that whomever
you're speaking with wants to be sold to. You don't want to get a reputation for turning every conversation into a
selling situation. People will see you coming and walk the other way or at least stop taking your telephone calls.
Art galleries sell art for a living. They carefully evaluate every artist who presents them with art and decide to work
only with those who can demonstrate that their art is not only salable, but that it will sell.
Art business professionals sell their art by convincing people that it has value and that it's worth paying money for in
order to own. Rarely in the art business do people spontaneously buy art because they fall in love with it the
moment they see it. They ask questions and whoever answers those questions has to answer them in ways that sell
the art.
Art simply doesn't sell itself. Someone has to sell it.
The same holds true for you as an artist. Your art does not sell itself: you have to sell it. Selling your art involves
much more than inviting someone to your studio or your website or setting up at a street fair or showing a gallery
owner a portfolio of your work. When people see your art and like it, they automatically think about whether they can
make money selling it, and you have to address that concern.
If you want a gallery to represent you, you have to convince that gallery that money can be made selling your art
and that you can help them make that money. Your involvement in the process is essential. You have to address
the financial implications of what happens to your art once it leaves your studio and goes to market. If you sit there
grinning hoping you'll be offered a contract, you'll probably be sorely disappointed. You have to prove that you're a
marketable commodity.
Proving your marketability is essential, but especially so if the person seeing your art has no idea who you are. To
begin with, most artists get shows or representation by word of mouth. They're introduced to the people who
eventually sell their art. If at all possible, get a personal introduction to gallery owner who you think should see your
art.
With or without introductions, target only those galleries who sell your type of art or represent artists with
comparable resumes and career accomplishments to yours. Know enough about the art they sell so that you can
customize your presentation and explain why you believe your art is right for them. Be ready to explain why you
picked a particular gallery to pursue representation and understand that flattery--because this gallery is the best
there is--is not your strongest collaborator. Personalize your presentation or chances are good that your
presentation will go nowhere.
Talk about why you believe people will want to own your art. This doesn't mean that you do a high-pressure sales
pitch, but rather that you treat the meeting as though you're looking to enter into a moneymaking partnership. If the
only reason you've got for showing your art is that the person you're showing it to sells it, you're better off not
making the presentation until you've rethought your position.
Describe the market for your art as well as you can. Talk about who buys it, why they like it, how much you sell, and
how much it sells for. The more such information you provide, the better a prospective dealer, agent, gallery, or
representative is able to evaluate whether they can sell your work.
The Care & Feeding of the Collector
Most people won't spend a lot of money on something just because they like it. If Mr. and Mrs. Collector just want
something in pale green to match the drapes there are much less expensive options open to them than purchasing
an original piece of artwork. As an artist, you know what your art means on a personal level and you can certainly
convey that to people, but are you able to justify your selling price? Explaining why your art has value from a
monetary standpoint is an essential part of convincing buyers that your art is something they want to own, especially
when they're undecided or unfamiliar with your work.
Many buyers, especially those perusing your work for the first time, need assurances because they often don't know
that much about art. They're insecure and they want concrete facts presented in a manner they can understand.
Some collectors, of course, buy art on the spur of the moment and according to whatever strikes their fancy, but
they're in the minority. Be prepared to demonstrate that your art has value.
Documentation is a good first step. Do everything possible to get your work reviewed. A feature in a newspaper or
magazines, even a one-word mention in a small article at the bottom of the page in the local neighborhood
newspaper helps establish your credibility.
Along with documenting your career accomplishments, document every significant piece of your art. Explain what
the art is, what it's made out of, why you created it, what inspired you, what it represents. A couple of paragraphs
accompanied by a photograph or two of the work in progress should do it. Include these with the art when you sell
it. Collectors appreciate a little something extra and this provides them with a little something special, something
personal that helps them understand they've just purchased a valuable piece of original art, not simply a wall
decoration.
Keep track of individual works of art. Record who and when they sold, how much they sold for, any unusual
circumstances regarding the sale. These records will come in extremely handy for your future promotional efforts.
Selling art is a competitive venture. If a collector has only $1000 to spend and he intends to buy only one piece of
art, he's either going to buy it from you or he's going to buy it from another artist. Success depends on stacking the
odds in your favor by increasing the chances that he's going to buy it from you.
Often this involves little more than being able to comfortably talk about your art. Most contemporary art collectors
regard the experience and adventure of meeting and speaking with artists as an essential part of collecting.
Collectors love getting involved in the art community by spending time at galleries, going to openings, visiting artists
at their studios, crawling through street fairs, talking about art and meeting artists. With luck, the collector will feel
something akin to a sponsor and begin presenting you to fellow collectors.
If you're uneasy in public situations or have problems speaking about your art, practice with friends or associates.
This is called Role Playing and although it's bound to feel silly while you're doing it, it's the best way to become
comfortable with a process that's paramount to achieving success. Actors rehearse for a reason and that reason
isn't just to memorize their lines.
The instant you complete a work of art and place it up for sale, it becomes subject to the laws of the marketplace
just like any other goods or services. The artist must transition from the creative mode to the objective pricing
mode. People like to know that they're getting good value for their money. This means that you've got to price your
art competitively. A good rule of thumb, whenever you're not sure how much your art is worth, is to price comparably
to what other artists with similar accomplishments and similar market bases to yours charge for similar works of art.
If you can't figure out how to price your art, pay yourself a sensible hourly wage, multiply that amount by the number
of hours you take to make the art, toss in the cost of materials, and let that total be your asking price. Whatever
formula you choose for pricing will undoubtedly require adjusting once you've had the opportunity to present your
work to the buying public. Just don't make the mistake of pricing yourself out of the market before you get started.
And, don't price your work so that people won't take you seriously.
You may want to experiment with different pricing structures. This gives you a chance to get outside feedback from
collectors and settle on dollar amounts that make both you and your collectors feel the most comfortable. It's best to
settle on a pricing structure as soon as reasonably possible, though, because the last thing you want is the collector
who bought a piece at your last exhibition finding that a similar piece is 20% less expensive this time around.
Courting the Gallery
Many artists imagine that once they've acquired gallery representation all their problems will be solved. A team of
professionals will devote themselves to selling the work and the artist can retire to the studio and devote himself
solely to the creation of yet another masterpiece.
Dream on.
A gallery contract may require exclusive rights to sell your work, thus limiting your market. If you hold an open
studio, you will be expected to sell at gallery prices, otherwise gallery clients may feel they are being overcharged
for your work--and, the gallery may expect a commission from those sales. If you want to participate in a local
exhibition, you will need to get the gallery's permission. And, you'll probably need their permission to seek gallery
representation in other locals or to publish reproductions of your art.
You acquired gallery representation on the basis of a certain type of work and you'll be expected to continue
producing in that style. You will also be expected to produce a certain amount of salable work, which can lead to
undue pressure if you’re subject to creative blocks.
That said, gallery representation can be an effective method of putting your work in front of people whose sole
purpose for visiting the gallery is to purchase art.
Target the galleries you want to approach and remember that the process isn't one of convincing the gallery owner
to look at your work, but rather convincing him to represent your work.
An application package to a gallery should consist of 10-2- slides, neatly labeled with titles, dimensions and
medium, your name and the year you completed the piece. The gallery will want to know they're reviewing your
current work. Make sure your application package focuses on a particular body of work. If you mainly paint nudes,
don't toss in those two landscapes you've got no matter how well they turned out. Include a suggested retail price
list that includes the gallery's estimated 50% commission and indicate whether the work will be sold framed or
unframed.
Include an up-to-date art resume and a short statement about your work, nothing pretentious, just something that
details your artistic viewpoint and a little about your working process.
Compose a simple, straightforward cover letter stating in no uncertain terms that you're seeking gallery
representation and would like to meet with the gallery coordinator to explore the possibility. DO NOT address the
cover letter to Gallery Coordinator--call the gallery and secure the name of the proper individual. Enclose a self-
addressed stamped envelope for the return of your materials.
Successful galleries may receive several hundred application packages every month. Don't be surprised if it takes
some months for them to get back to you. Perversely, it will probably take longer to receive a response if they're
interested.
The chances of securing gallery representation, especially if you've never had gallery representation, are slim.
Expect rejection, shrug it off, and send out the next package. Most artists who do manage to secure gallery
representation have first gone through dozens of rejections.
Eventually, with perseverance and a little luck, you'll get a positive response inviting you in to talk with the gallery
coordinator. Remember throughout your presentation that the main reason someone decides to represent
your art is that they think they can sell enough to make enough to help them stay in business. Either they think they
can sell that art now or they think that by working with you, they'll be able to sell it at some point in the future, most
likely the near future. The only way to get and maintain gallery representation that lasts for more than one show is
for them to sell enough to make their efforts worthwhile.
A Promotional Gameplan
If you're serious about pursuing gallery representation, you have to put your work in front of gallery coordinators.
Every time your application package is rejected, you're one gallery closer to finding the one that wants to hang your
work on their walls. Artists are continually told that application packages should only go to one gallery at a time.
Given the odds of any one gallery having an interest--or even the need--to acquire another artist for their roster,
this simply makes no sense. The artist should put his work in front of as many galleries as he can realistically
juggle. If two galleries contact you simultaneously requesting an interview, talk with both of them. Just because a
gallery has an interest doesn't necessarily mean they're going to offer you a representation contract. And, you may
not be satisfied with the terms of a particular proffered contract.
The bottom line is that the possibility of two galleries contacting you at the same time is very slim.
A good rule of thumb is to have twelve application packages circulating to galleries at all times. When a package is
returned to you, immediately turn it around and get it out to the next gallery on your list.
If you run through all the galleries in the city you're in, try another. When you run through those, try another city,
then another state. In the meantime, realize that a successful art career is not dependent upon gallery
representation. Explore other venues for displaying and selling your work--restaurants, bars, banks, libraries,
bookstores, art festivals, street fairs, juried shows and a website.
Above all, keep producing the very best work you can.
Douglas Ready
©2006 Serendipity Press. All rights reserved.
mechanisms that to succeed in the art world gallery representation is a must. The truth is that only a very small
percentage of working artists will ever acquire gallery representation. A much smaller percentage will acquire
adequate gallery representation.
And, even if you're successful in finding that one gallery with which you can build a working relationship, the gallery
won't do all the work. You need to check in regularly with the owner, build a rapport, meet potential buyers, attend
openings, and reassure yourself that enough is being done to promote your work. In fact to insure success in a
gallery environment you'll need to promote yourself at least as much as before you secured gallery representation.
The belief that you can pitch your art, without qualification or recommendation, to galleries until someone falls in
love with it to the point where they take on your business affairs and leave you to toil happily away in the studio is a
fantasy. Galleries are not in business to discover new and exciting creative geniuses and micromanage their
respective careers. Galleries exist to sell art.
Galleries are only interested in art they believe they can sell, and there is only one known manner of proving your
work will sell: somebody has to have bought some of it, preferably a good many pieces of it. An adequate gallery
will work with the artist to build his client list, but very few of them are much interested in starting from scratch.
Securing reputable gallery representation without an existing client list is virtually impossible.
I referred to reputable gallery representation. There are always so-called galleries willing to take on the work of any
artist for a fee. The artist pays the gallery up front for wall space and promotional expenses, and is even expected
to pick up the tab for the wine and cheese required on opening night. This variety of so-called gallery makes its
money by cashing your check and actually does little more than sell you wall space, although most are perfectly
willing to charge an additional commission--up to 50% in some instances--should a piece of your work sell. This
kind of operation is sometimes referred to as a Vanity gallery.
The artist will do better with a Co-op gallery. This gallery is run and maintained by the artists who display on its
walls. There is generally a fee to join, and the artist can expect to pay what amounts to monthly rent for the
privilege of hanging his work on the wall. The artist may also be expected to man the gallery a few days every
month. The Co-op will also charge a percentage of the dollars generated when and if the work sells, and while the
percentage varies from Co-op to Co-op it is generally a smaller percentage than a traditional or Vanity gallery.
At any rate, whether the artist chooses to pursue traditional gallery representation or join a Co-op gallery the one
thing needed to insure success is a client list, and the artist himself is the most effective tool available for generating
a client list.
Identify an Audience
Most working artists earn a living without gallery representation. The practical artist learns very quickly that he and
he alone is responsible for the success or failure of his artistic ventures and that while gallery representation is one
way to put his work in front of collectors it certainly isn't the only way. Sometimes, it's not even the preferred way.
To be successful, the artist must secure collectors as clients. In order to secure clients, the artist must first identify
an audience. An audience is a collection of people who are interested in or fascinated by or obsessed with the work
the artist creates. A client is a member of that audience who actually took money out of his pocket and traded it to
the artist in order to acquire a work of artistic creation.
You cannot and will not acquire clients until you've identified an audience.
There is a market for every variety of art the artist can possibly create, but that doesn't necessarily mean there's an
extensive market for every category of work. It is very possible to earn a substantial living producing a niche
product, but the smaller the niche the more necessary it becomes for the artist to identify members of that niche if
he is to prosper working only within that genre. If the artist is determined to produce nothing but highly detailed
realistic scenes from the battle at the Alamo, he'd better identify every organization that studies or celebrates that
particular brawl and make an effort to put samples of his work in front of every member of each organization, all the
while keeping his fingers crossed. On the other hand, if the artist expands his repertoire to include not only the
Alamo, but perhaps the Civil War his potential audience amplifies to the point of potential viability.
The successful artist will take the necessary steps to discern and pursue that portion of the populace with a
potential interest in his product.
Originals, Prints and Posters
If the artist is determined to sell directly to collectors those images created from his own internal directives, there are
three varieties of product available for promotion: originals, prints and posters.
Selling the original art is a straightforward undertaking. The artist creates the work and exchanges it with a buyer
for a mutually determined price.
A valuable addendum is the print. Prints may be hand-pulled or commercially printed, and are produced in a limited
number, that number to be determined by the artist. The prints are signed and numbered on the front of the print to
indicate both the number of the print and the number of prints created, i.e.:
24/75
(indicating print number 24 out of an edition of 75 prints)
Prints are sold at a less expensive price point than the original work, making the print a more affordable, and
sometimes a more appealing alternative to acquiring the original artwork. Prints, like the original art, have the
potential to increase in value as the artist becomes more established.
Posters differ from prints in the fact that they are not limited to a particular number of copies. Generally, posters
are reproduced on a less costly grade of paper than prints, but not always. Posters are an inexpensive way to
make your work accessible to large numbers of people who for whatever reason aren't interested in spending the
necessary amount of money to acquire an original piece of artwork.
Thanks to modern printing technology, the only real difference between a print and a poster is often the signature
and the numbering. There is an ongoing discussion regarding the proper categorization of commercially
reproduced limited edition work. Some feel that only the print hand-pulled by the artist should be referred to as a
print, that the commercial reproduction, regardless of its quality, is nothing more than a signed and numbered
poster. The distinction is one the artist will have to determine for himself.
Reproduction Rights
The artist has a much better chance of generating a reasonable income if he remains open--in fact actively
pursues--reproduction opportunities for his work. Prints, posters, greeting cards, collectors' plates--all reproduction
possibilities, and that income potential, are dependent upon the artist retaining reproduction rights to his work.
This means that someone who buys your original art that person must be informed that while the collector owns the
artwork, the artist solely owns the right to reproduce the work and only the artist can sanction such reproduction. A
simple written statement included in the Bill of Sale should be sufficient to accomplish this most important
communication.
It is paramount for the artist to retain a copy of the artwork. In the event that reproduction rights are assigned, the
artist will be expected to provide a viable image for the client to work with and it is unrealistic to expect the collector
to return his property for the artist's use. Retaining a copy of the image is best accomplished by archiving computer
scans that can be manipulated for future use as the occasion arises.
Targeted Promotion
Selling art is a difficult skill to master, but if you're going to make a living as an artist you have to be able to sell your
art at least as well as you're able to create it.
I am astounded at the number of talented artists who have mastered their craft and produce absolutely wonderful
creations, but know so little about how the art business works and what they have to do to sell their work that most
of their working days are spent engaged in occupations that have absolutely nothing to do with the art world.
Students attend art school so they might learn to create art that is good enough to sell, believing that if a quality art
education is pursued and acquired one can make a living as an artist. Art school offers a wonderful opportunity to
spend several years practicing one's decided craft, but selling and marketing are seldom found in any art school
curriculum. Art school does not teach you how to how to sell your art in the real world. You'll probably learn how to
put together a portfolio, but the chances of an instructor taking you aside and explaining just how to find the person
who wants to purchase what's inside that portfolio are almost non-existent.
The student is told that if the work is good enough showing it to a gallery owner or mailing a reproduction to an art
director is all that is necessary to generate income. Some art schools dismiss the art business altogether by
suggesting that creating art is where the artist's focus should be, that making money isn't pertinent to the process
and debases the experience of being an artist. Schools rarely seem to mention that if you can't make money making
art, you have to spend a good portion of your time engaged in unrelated dollar-generating activities.
Selling art does not diminish your credibility as an artist, it enhances it.
In the beginning, your day-to-day accomplishments are what advance your art career. Create to the best of your
ability and get your work out there. Display your artwork at every opportunity, hang it in every restaurant and bar
that will let you use their wall space, set up at every street fair and art festival you can get to. Listen to what people
say, get a sense of who likes what and why, figure out how to price it so it sells, and show it whenever and wherever
you get the chance. Along the way, you'll meet people, make connections, and those you impress the most will
eventually introduce you to others who can do more for you.
That's how any business works, and the art business is no different.
There are as many ways to sell art and become successful as an artist as there are artists, and each and every one
of those ways is perfectly acceptable. The key to success is identifying those methods you can comfortably apply to
your own work.
Most artists want to become rich and famous as soon as possible. They want to create art full time, basking in the
solitude of their studios while other people sell it. In pursuit of this lofty goal, the number one question artists ask is
how to get representation. Most are stunned to discover that you have to sell art in order to attract gallery
attention. Once you learn to make sales--once you've learned to persuade others that your art has merit-- you'll be
ready for representation.
You must learn to convince others that they're better off owning than not owning your art. It is certainly gratifying to
hear someone say they love your work, but compliments, no matter how constant, won't keep you from the need to
pursue that career in food service.
The overwhelming majority of art world relationships are initiated through networking between people who already
know each other. This is pretty much the same in any business. Few people are willing to take chances on total
strangers and this is why cold calling rarely works unless you've developed a zealous sales personality or you have
something unbelievably astonishing to cold call about.
All artists want to sell themselves and their art, but you'll have better luck selling when you sense that whomever
you're speaking with wants to be sold to. You don't want to get a reputation for turning every conversation into a
selling situation. People will see you coming and walk the other way or at least stop taking your telephone calls.
Art galleries sell art for a living. They carefully evaluate every artist who presents them with art and decide to work
only with those who can demonstrate that their art is not only salable, but that it will sell.
Art business professionals sell their art by convincing people that it has value and that it's worth paying money for in
order to own. Rarely in the art business do people spontaneously buy art because they fall in love with it the
moment they see it. They ask questions and whoever answers those questions has to answer them in ways that sell
the art.
Art simply doesn't sell itself. Someone has to sell it.
The same holds true for you as an artist. Your art does not sell itself: you have to sell it. Selling your art involves
much more than inviting someone to your studio or your website or setting up at a street fair or showing a gallery
owner a portfolio of your work. When people see your art and like it, they automatically think about whether they can
make money selling it, and you have to address that concern.
If you want a gallery to represent you, you have to convince that gallery that money can be made selling your art
and that you can help them make that money. Your involvement in the process is essential. You have to address
the financial implications of what happens to your art once it leaves your studio and goes to market. If you sit there
grinning hoping you'll be offered a contract, you'll probably be sorely disappointed. You have to prove that you're a
marketable commodity.
Proving your marketability is essential, but especially so if the person seeing your art has no idea who you are. To
begin with, most artists get shows or representation by word of mouth. They're introduced to the people who
eventually sell their art. If at all possible, get a personal introduction to gallery owner who you think should see your
art.
With or without introductions, target only those galleries who sell your type of art or represent artists with
comparable resumes and career accomplishments to yours. Know enough about the art they sell so that you can
customize your presentation and explain why you believe your art is right for them. Be ready to explain why you
picked a particular gallery to pursue representation and understand that flattery--because this gallery is the best
there is--is not your strongest collaborator. Personalize your presentation or chances are good that your
presentation will go nowhere.
Talk about why you believe people will want to own your art. This doesn't mean that you do a high-pressure sales
pitch, but rather that you treat the meeting as though you're looking to enter into a moneymaking partnership. If the
only reason you've got for showing your art is that the person you're showing it to sells it, you're better off not
making the presentation until you've rethought your position.
Describe the market for your art as well as you can. Talk about who buys it, why they like it, how much you sell, and
how much it sells for. The more such information you provide, the better a prospective dealer, agent, gallery, or
representative is able to evaluate whether they can sell your work.
The Care & Feeding of the Collector
Most people won't spend a lot of money on something just because they like it. If Mr. and Mrs. Collector just want
something in pale green to match the drapes there are much less expensive options open to them than purchasing
an original piece of artwork. As an artist, you know what your art means on a personal level and you can certainly
convey that to people, but are you able to justify your selling price? Explaining why your art has value from a
monetary standpoint is an essential part of convincing buyers that your art is something they want to own, especially
when they're undecided or unfamiliar with your work.
Many buyers, especially those perusing your work for the first time, need assurances because they often don't know
that much about art. They're insecure and they want concrete facts presented in a manner they can understand.
Some collectors, of course, buy art on the spur of the moment and according to whatever strikes their fancy, but
they're in the minority. Be prepared to demonstrate that your art has value.
Documentation is a good first step. Do everything possible to get your work reviewed. A feature in a newspaper or
magazines, even a one-word mention in a small article at the bottom of the page in the local neighborhood
newspaper helps establish your credibility.
Along with documenting your career accomplishments, document every significant piece of your art. Explain what
the art is, what it's made out of, why you created it, what inspired you, what it represents. A couple of paragraphs
accompanied by a photograph or two of the work in progress should do it. Include these with the art when you sell
it. Collectors appreciate a little something extra and this provides them with a little something special, something
personal that helps them understand they've just purchased a valuable piece of original art, not simply a wall
decoration.
Keep track of individual works of art. Record who and when they sold, how much they sold for, any unusual
circumstances regarding the sale. These records will come in extremely handy for your future promotional efforts.
Selling art is a competitive venture. If a collector has only $1000 to spend and he intends to buy only one piece of
art, he's either going to buy it from you or he's going to buy it from another artist. Success depends on stacking the
odds in your favor by increasing the chances that he's going to buy it from you.
Often this involves little more than being able to comfortably talk about your art. Most contemporary art collectors
regard the experience and adventure of meeting and speaking with artists as an essential part of collecting.
Collectors love getting involved in the art community by spending time at galleries, going to openings, visiting artists
at their studios, crawling through street fairs, talking about art and meeting artists. With luck, the collector will feel
something akin to a sponsor and begin presenting you to fellow collectors.
If you're uneasy in public situations or have problems speaking about your art, practice with friends or associates.
This is called Role Playing and although it's bound to feel silly while you're doing it, it's the best way to become
comfortable with a process that's paramount to achieving success. Actors rehearse for a reason and that reason
isn't just to memorize their lines.
The instant you complete a work of art and place it up for sale, it becomes subject to the laws of the marketplace
just like any other goods or services. The artist must transition from the creative mode to the objective pricing
mode. People like to know that they're getting good value for their money. This means that you've got to price your
art competitively. A good rule of thumb, whenever you're not sure how much your art is worth, is to price comparably
to what other artists with similar accomplishments and similar market bases to yours charge for similar works of art.
If you can't figure out how to price your art, pay yourself a sensible hourly wage, multiply that amount by the number
of hours you take to make the art, toss in the cost of materials, and let that total be your asking price. Whatever
formula you choose for pricing will undoubtedly require adjusting once you've had the opportunity to present your
work to the buying public. Just don't make the mistake of pricing yourself out of the market before you get started.
And, don't price your work so that people won't take you seriously.
You may want to experiment with different pricing structures. This gives you a chance to get outside feedback from
collectors and settle on dollar amounts that make both you and your collectors feel the most comfortable. It's best to
settle on a pricing structure as soon as reasonably possible, though, because the last thing you want is the collector
who bought a piece at your last exhibition finding that a similar piece is 20% less expensive this time around.
Courting the Gallery
Many artists imagine that once they've acquired gallery representation all their problems will be solved. A team of
professionals will devote themselves to selling the work and the artist can retire to the studio and devote himself
solely to the creation of yet another masterpiece.
Dream on.
A gallery contract may require exclusive rights to sell your work, thus limiting your market. If you hold an open
studio, you will be expected to sell at gallery prices, otherwise gallery clients may feel they are being overcharged
for your work--and, the gallery may expect a commission from those sales. If you want to participate in a local
exhibition, you will need to get the gallery's permission. And, you'll probably need their permission to seek gallery
representation in other locals or to publish reproductions of your art.
You acquired gallery representation on the basis of a certain type of work and you'll be expected to continue
producing in that style. You will also be expected to produce a certain amount of salable work, which can lead to
undue pressure if you’re subject to creative blocks.
That said, gallery representation can be an effective method of putting your work in front of people whose sole
purpose for visiting the gallery is to purchase art.
Target the galleries you want to approach and remember that the process isn't one of convincing the gallery owner
to look at your work, but rather convincing him to represent your work.
An application package to a gallery should consist of 10-2- slides, neatly labeled with titles, dimensions and
medium, your name and the year you completed the piece. The gallery will want to know they're reviewing your
current work. Make sure your application package focuses on a particular body of work. If you mainly paint nudes,
don't toss in those two landscapes you've got no matter how well they turned out. Include a suggested retail price
list that includes the gallery's estimated 50% commission and indicate whether the work will be sold framed or
unframed.
Include an up-to-date art resume and a short statement about your work, nothing pretentious, just something that
details your artistic viewpoint and a little about your working process.
Compose a simple, straightforward cover letter stating in no uncertain terms that you're seeking gallery
representation and would like to meet with the gallery coordinator to explore the possibility. DO NOT address the
cover letter to Gallery Coordinator--call the gallery and secure the name of the proper individual. Enclose a self-
addressed stamped envelope for the return of your materials.
Successful galleries may receive several hundred application packages every month. Don't be surprised if it takes
some months for them to get back to you. Perversely, it will probably take longer to receive a response if they're
interested.
The chances of securing gallery representation, especially if you've never had gallery representation, are slim.
Expect rejection, shrug it off, and send out the next package. Most artists who do manage to secure gallery
representation have first gone through dozens of rejections.
Eventually, with perseverance and a little luck, you'll get a positive response inviting you in to talk with the gallery
coordinator. Remember throughout your presentation that the main reason someone decides to represent
your art is that they think they can sell enough to make enough to help them stay in business. Either they think they
can sell that art now or they think that by working with you, they'll be able to sell it at some point in the future, most
likely the near future. The only way to get and maintain gallery representation that lasts for more than one show is
for them to sell enough to make their efforts worthwhile.
A Promotional Gameplan
If you're serious about pursuing gallery representation, you have to put your work in front of gallery coordinators.
Every time your application package is rejected, you're one gallery closer to finding the one that wants to hang your
work on their walls. Artists are continually told that application packages should only go to one gallery at a time.
Given the odds of any one gallery having an interest--or even the need--to acquire another artist for their roster,
this simply makes no sense. The artist should put his work in front of as many galleries as he can realistically
juggle. If two galleries contact you simultaneously requesting an interview, talk with both of them. Just because a
gallery has an interest doesn't necessarily mean they're going to offer you a representation contract. And, you may
not be satisfied with the terms of a particular proffered contract.
The bottom line is that the possibility of two galleries contacting you at the same time is very slim.
A good rule of thumb is to have twelve application packages circulating to galleries at all times. When a package is
returned to you, immediately turn it around and get it out to the next gallery on your list.
If you run through all the galleries in the city you're in, try another. When you run through those, try another city,
then another state. In the meantime, realize that a successful art career is not dependent upon gallery
representation. Explore other venues for displaying and selling your work--restaurants, bars, banks, libraries,
bookstores, art festivals, street fairs, juried shows and a website.
Above all, keep producing the very best work you can.
Douglas Ready
©2006 Serendipity Press. All rights reserved.