Tribe Report Archives, June 23, 2006

Martin de Vore

Tribes and Tribulations

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Greetings fellow Tribesters. Welcome to the special edition of the Tribe Report. In this particular edition, more than 50 artists, gallery owners, event promoters and art marketers were invited to write a paragraph about the future of art marketing as they see and deal with it. I'll continue to post any responses I receive in the next few days. Here are the responses I received so far:

From Lacey Crawford (artist): With the many and varied art markets now available to all artists, viewers, dealers and critics, each venue has undoubtedly suffered and benefitted in some way for both the artist and the market provider. There are artists who consider galleries taboo, artists who see online galleries as too cheap and bloated, and there are artists who perceive art festivals as an impossible and time-consuming way of life, but I believe that any way of exposure for the artist can have its advantages if the artist has time to pursue the options. I choose to use as many easy routes as possible because I have zero time to market my own art. I work an "8 to 5" job that goes into overtime on a daily basis, a sideline job that doesn't allow for shortcuts, thereby taking all my leisure time to perform, I take classes during both major semesters and I am raising a family of cats. I depend on the kindness, good taste and inclusion of gallery owners to exhibit (and therefore market) my work for me and I use my Web site to post most of my art pieces after each show. I don't depend on either to actually sell the art; I do hope the art will speak for itself. I feel that marketing one's own art is essential, but until I can clear my slate to do the footwork, I believe that galleries and an online business card are tools for this part-time artist's survival.

From Mitch Cohen (event promoter and artist): Art is as much of a business as anything else in our society. As such, an artist should know their market before they go after it. Carolyn and I saw a need for artists to show and sell their work directly to the public in Houston and created the Yale Street Arts Market. I believe art galleries will always be as necessary to the arts as are fine arts museums. A gallery provides a unique service for the collector, first time buyers and the artist through education, knowledge and trends in the art market. Artists choosing to take this route with their work should familiarize themselves with how galleries operate and choose which type best fits their needs. Many artists that I know choose to do as much as possible to promote their work, and I'm all for this. I do however recommend not directly competing with any gallery commitments. I find this practice highly unethical, and a poor marketing choice. From the trends I've seen, self promoting artists will continue to be a part of the arts scene in Houston and beyond. The Internet, festivals, markets and vanity galleries provide a much needed outlet for local artists to sell their work in a highly competitive field. It will be very interesting to see if and how traditional galleries adjust to this rising trend.

From Charity Snider (artist representative): I'll qualify my contribution to this week's Tribe Report with this statement: Artists, in general, are horrible business people. There... I said it. Are you so surprised by that? After all, creatives spend their time creating, and any time they spend away from creating is a 'waste of time'. So it really doesn't hurt the artist to have a friend, family member, or significant other who can take the time to contact galleries, register for festivals, or even coordinate a gala event where their art work is made the primary focus -- without the artist ever having to lift their brush away from the canvas. Having said that, where is the future of art marketing headed? Well, to be honest, that question can't be answered with ease as it really depends on the art. Art, like any other product, has a target market -- consumers looking for art 'just like this'. One artist paints the cafe scene on a cobble stone street, another artist feverishly renders emotional outbursts of color and texture, and yet another artist gives birth to Venus springing forth from the foam of the sea -- but her face is Martha Stewart, her hands are tentacles, and she is escorted by Siberian tigers with flippers and fins. Where am I going with this illustration? Well, the cafe scene will not likely don the interior of the Guggenheim, but you could see it accent the wall of a hotel or restaurant. The color explosion may not attract attention from a gallery, unless they cater to interior designers who need a 'mostly green piece with some sharp texture to go with this fabulous green velour sofa and loveseat'. And although Jackson Pollock made his mark in the art world with his splatter paintings, let's not forget his wildly Abstract Expressionist works he did that were figural or scribed upon, and not just his drizzles of paint. He barely made a dime as an artist -- but his work DID and DOES hang in the Guggenheim (Peggy had quite the collection).... an artist's relationship with a gallery can be very important, but an artist's focus is in creating... so all too often they manage to lose their work in truly insane contracts that practically hand over their works. However, a fair gallery relationship can earn the artist some scratch and the gallery their commission -- but this relationship must be based on mutual trust and respect. You give a painting to a gallery to sell, you don't try to sell it out from under them, they have X number of days to sell it, and if they don't, you get it back and they take on other works that their clientele may dig. Artists should grasp the fact that galleries owners have clients, and they know their clients' taste. You don't go to a shoe store looking for a pair of jeans, so don't expect every gallery to jump at your art just because... take into consideration the audience they are wooing -- do you fit? Or would your work be more comfortable at the coffee shop? Who owns that coffee shop? And do they like art?

From Lilibeth Andre (artist): As an artist involved with many time-consuming activities, I want a gallery that functions not just as a show place but as an active "agent" for my work. I believe it is fair to pay for the promotion service that a gallery provides for my work. A gallery promotes my art much better and more skillfully than I would. Considering there are many marketing tools available to an artist, the service of a gallery releases me from time-consuming promotion efforts so that I can focus on production, ongoing skill development, and mastery of my trade. A good relationship with a gallery provides me with outreach and resources that I do not possess. Although I am always an agent for myself and I share the responsibility for joint promotional activities with my gallery, the gallery is responsible for the direct promotion of my work, on a day-to-day basis.

From Dune Patten (artist): This issue of art marketing has been a core state of mind for me since I’ve been in the business. My view, as I have always maintained, is that the marketing and sale of art should be left in the hands of the artist or the grass-roots organization[s] -- Internet-based studios and galleries, open artist studios and festivals -- focusing on the work and not the double-mindedness of ‘art-consciousness.’ What I mean by this is that it is imperative that the artist maintains control of his or her own product; and only side with whomever or whatever shares, without a doubt, the same vision and attitude. Take The Studio Gallery for example. It was a grass-roots gallery dedicated to not the sell-abrasion of art, but the ‘celebration of art.’…you feel me? A lot of galleries can benefit from taking knowledge from what Marie Weichman was doing -- not just attempting -- at The Studio Gallery. Most art galleries, whether they outright express it or not, more often than not, have a ching-ching ‘house-the-art-star’ mentality; so filled with intellectual booboisie. However, it is evident the established art galleries have been on the down-slope for some time now. And I feel this is the underlying [emphasis on the word lying] current beneath the whole ‘gallery-stable-artstar-laden’ facades. I believe artists are tired of that, I know I would be, and this is why I have never really sought any gallery representation. It seems you get stuck in some sort of vortex where gallery representation means higher market value for your work; but who’s going to buy at those prices outside the gallery setting? It’s almost a CATCH-22 situation. I believe this is the reason for the outcropping of so many web-based galleries, as well as alternative ‘multi-discipline venues’ out there. My next solo exhibition is at a Gallery/Music/Ministry/Coffeehouse in San Antonio and you know what, I’m proud of that.

From Mandy and Phillip Tague (gallery owners): Every successful business is made up of a team. Each role of the team that leads to the sale of a piece is essential. Without the elements of artist, gallery owner and collector working in a succinct way, sales won’t be achieved. Most artists fail miserably at promoting themselves; they are focused on creation while the gallery owners are focused on bringing buyers to the table. For the artist, it’s difficult to find a gallery owner who is willing to promote them with enthusiasm and respect. For the gallery owner, it is difficult to meet artists who are professional and willing to participate in the creation of their own success. The symbiotic relationship between artist and gallery is essential for the success of both. The vehicle is indifferent, rather a means for point of sale i.e. gallery, online Web sites, referrals or call-ins. Bottom line? The artist and gallery owners who are in business need to get paid, so make careful selection in relationships and be willing to give the all to your team. This is the recipe for success.

From Xsemaj (artist): Marketing for the artist starts with the artist. Galleries are a pivotal aspect of an artist's success, but in the this world of instant access, an artist may choose to lose, having to split their profits with a gallery. My opinion lends me to think galleries are necessary; a Web site can reach a wide variety of people, but it will never do justice to physically seeing the art. So... a great Web site and an established gallery are the foundation of a lucrative art career, but not the only path. The bottom line is -- it is totally up to the artist to make their career; representing themselves and deciding who else represents them...choices. These choices include gallery contracts, promotion and general marketability....

From Mary Ann Lucas (artist): I have found that, so far, I have been the most successful in selling my work through art festivals, exhibits in restaurants and office buildings and personal contacts. The ratio of sales is 1/3 from galleries 2/3 myself. I have been very disappointed in the fact that although I have my work in from 3 to 5 galleries, my sales have been poor. I do partially attribute that to the fact that these galleries are relatively new start ups so they do not have established clientele. Anyone contemplating doing festivals -- my experience is to avoid any that have the word “craft” associated as the people who attend are not into buying art. I spend a tremendous amount of time promoting myself and try to get as much exposure and then name recognition as possible. I don't really mind all the work I do at promoting myself because I enjoy meeting and socializing with people (although, like anything else, there are times it gets me down). I love to meet the people who buy my art. That's not to say that I don't have a tremendous amount of respect for the galleries I am associated with but I'm a shaker and mover and very impatient. I'm not in the league of galleries that insist on exclusivity as long as they are a respectible distance from one another. Always scout out venues to show your work. I designed a trifold handout that I always have available at any exhibit or festival I do. It consists of a picture of my artwork (I chose a black and white to keep the cost down), an artist's statement, a bio and contact information. People love these. Send your event to the local newspapers in the hopes of getting it published - possibly add a photo of yourself. your neighbors, friends and acquaintances see this and it elevates their opinion of you as a serious professional artist. Collect a mailing/e-mail list to notify people of any upcoming shows. Having a Web site: I think it helps tremendously in adding credibility and professionalism to me as an artist. It is a selling tool. It allows people to look through your work anonomously and contact you if there is something that catches their eye -- these are people whom I have already met and have already seen some of my work. They then come to my studio and view the piece, almost always buying. Join organizations, meet people outside the art world - they are potential collectors. I'm not looking for fame and fortune. I'm just happy to have my work hang in as many homes as possible.

From Jill Griffith (artist): Are galleries necessary for success? You know whatever an artist can do to get their name out there is necessary because I think we've all noticed that names sell art, people recognize names. A gallery is a show room; it's kind of like a starting place -- you know before your name is all that you truly need. A client goes to a gallery shopping for art, finds a piece that they might like. (Unfortunately, very few people see and buy. They have to think about it for awhile). As for exclusive contracts well its more for the gallery's protection. They are working there hardest at selling your work. They have hand picked you in most cases to represent them and there gallery. People want to know where to see your work you send them to that gallery. You work harder for them they work harder for you. So far' I don't have problems with this...of course that does depend on the contract. There is no reason you as an artist shouldn't be able to submit work outside of there jurisdiction. You might look into what the galleries' thoughts are on festivals or art activities, see if there are special arrangements that can be made. I'm not sure what galleries' views are on artists selling there work on the internet. I do know that a lot of galleries themselves sell work that way. As for the galleries' commission -- and whether it's fair or not -- that depends on the gallery and on you. Each gallery can be different. The higher more successful galleries know what they can get away with and know if they can get it for your work or not. Less known galleries should not have the same size commission as the more well-known galleries. Most galleries don't charge you rent to hang your work. This is how they get paid. Not only do you have to sell your work you also have to sell yourself. The Internet is your best bet for this, placing your bio and pictures of your work up and where they can be found works wonders. Perspective clients pick up cards and bios, then they go home to look you up on the internet to see what else is out there. Don't get me wrong, I'm not talking eBay -- at this point, I'm not a fan of putting your work on eBay. It seems wrong to have bidding wars over art or selling yourself cheap. Studios and festivals are nice but can be expensive. Festivals are a lot of work and the weather is not always your friend and you don't get your booth money back if it's a wash or if your things get ruined so look at your Farmers Almanacs. LOTS of people go to festivals for art especially in Houston -- again, sometimes they buy and sometimes they just look and collect cards.

Thanks to everyone who took the time to share their views. Now, let's see what else is going on....

Tribal Drums

From Wayne Gilbert: As you know the greatest problem in running for office is acquiring the money necessary to run the campaign. TV, media, print, travel, promotion etc. cost a lot. At last count we were only roughly $18,000,000 behind. We need a fresh new direction in Texas politics, and the ordinary folks in Texas will respond out of recognition of this need.

So, I have decided to have a small BBQ at my Studio/Home on July 8, 2006, for the first 125 people who contact me and submit payment. The cost of the "Bring It On BBQ" fundraiser will be $250 per person. You will make out your checks to "Kinky Friedman for Governor Campaign" or have the option of paying by credit card. The festivities will begin at 7 p.m. P.S., Kinky will be there Talkin’, Eatin’ and Speakin’.

The fixin's will be by Crawford’s Custom Catering and the music will be provided by Dan Workman Productions. Ad Work by "Chuck Carlberg.” There will also be a raffle for a piece of art.

You can contact me at my e-mail address at wayne@digimg.com, mobile 713-822-4842, or daytime 713-802-9466.

P.S., I need to have your info ASAP!

-- Wayne

Kaleidoscope

"Just as the Kaleidoscope creates a unique image based on the interplay of light, reflection, and color, an effective artist constructs a painting through the blending of natural curiosity, thoughtful reflection, and creative invention." Yep. Well said, Amy. Folks, this is Sippora's last show. It should be a good one. Featuring the art of Allan Rodewald, Ron Gordon, and Jim Leen, this show will also feature Maia's live, nude, body-painted models as they stroll for the final time through Amy's abode. The festivities kick off on Friday, July 7, from 6 p.m. to 9 p.m. For more information on the Kaleidoscope show, call (713) 520-1085 or take a look at the Sippora Web site at http://www.sippora.com

Odds and Ends

On Saturday, June 24, Mary Ann Lucas will be exhibiting the entire range of her art in a one-woman show at the Garden of the Dragonfly in Old Town Spring titled Evolution of an Artist. The opening day reception will run from from 5-8 p.m. The exhibit will run until July 28. Information on “Evolution of an Artist” can be obtained from Garden of the Dragonfly, 318 F Main Street, Old Town Spring, or by calling (281) 528-7779. For more information, contact Lucas at (281) 583-8408 or visit her Web site at http://www.malucasart.com

Coda

Remember, I am not The Amazing Kreskin, so if you have a show or event coming up that you want me to mention you have to send it to me at: mldevore@gmail.com

That's it for now.

Until then, keep creating art, viewing art, buying art and supporting your fellow artists of all tribes.

Martin L. de Vore is an artist and journalist now living in Houston. Martin is a member of the Artists At Large and Post-Diversionist tribes whose personal life leaves him totally confused most of the time.

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