Time ain’t money when all you got is time. [...]

In the weeks ahead, I’ll share animal fables, showing how each artist…er, I mean, animal… dealt with this calamitous time in history. Ants, beavers, spiders and ostriches, all have a tale to tell. [...]

Behaviors that we might tolerate in our teenage boy (because he’s “that age” and we love them) don’t look good on grown-up men. Don’t give fair organizers a hard time just because you’re not getting your own way—most of them are/were artists themselves. It’s not a “we vs. them” situation. We need them, they need us. Don’t expect preferential treatment because you’re a big name (or think you are.) We’re all here to sell our work today! You can have a different opinion without the other person being “wrong”. [...]

For me, becoming an artist called for many deep changes. Putting myself out there with—and for—my art. I had to take initiative. Make decisions with no guaranteed success for outcome. Taking risks, like paying out big money for big shows, advertising, marketing materials, websites. These were not traits that “nice girls” were encouraged to show in the 50’s, 60’s and even the 70’s. So… [...]

He said very few people are willing or able to put that kind of training into effect. And most of us—being ordinary, hopeful, not-quite-as-disciplined-as-we’d-like-to-think, won’t do it. We’ll “wish” it away—“I think they’re getting better!” “I know it will get better!” But wishing and hoping doesn’t create profound change. We put our feelings on top of the doggie situation. This keeps us from seeing the real problem clearly. It keeps us from acting appropriately. [...]

Take good notes when you’re getting advice - even bad advice! Remember the only good thing I got from the fine craft “consultant”? I found that in my notes later. All I could remember from the session was bad stuff, insulting stuff, infuriating stuff. There was a tiny nugget of useful information in there. I would have missed it entirely if I’d relied only on my memory. [...]

Don’t make a half-hearted effort and quit halfway through. Don’t slink away with your crazy horse and sigh, “Well, I tried…” Give it your full attention, your highest intention, and your best shot. Give your art the opportunity it—and you—truly deserve. [...]

So listen to all of us here who write for FineArtViews. Some of us think one thing, some of us another. Maybe they’re right for where you are now. Maybe I’m right for where you’ll be in a few years—or never! Some things will sit well with you, some things won’t. The one thing you can bet on? It’s all good. For somebody, somewhere, sometime. Maybe even you. Right here. Right now. [...]

The person who asks you NOTHING about your work, your goals, your needs, will probably not give you advice worth listening to. [...]

There is no one thing that will make you or break you. There is only you, and your work. And an audience, somewhere, that will welcome you both with open arms. [...]

We at FineArtViews (FAV) strive to offer solid insight into the world of art and art marketing -- by introducing readers to viewpoints concerning the state of the art world, and exploring a wide range of art marketing strategies. That dedication was stronger than ever in 2012. [...]

I use a large, expensive piece to draw people into my booth. But I don’t make it easy to see its price. Once they’re in my booth, they’ll see a wide array of pieces, at a variety of prices. Once they realize they’ll find something affordable, they relax. They shop. And they fall in love with that one special piece. Then they can decide what’s “affordable” and what isn’t. [...]

I had a hard time deciding to write about this strategy. I firmly believe we should NOT underprice our work. I believe discounts, “seconds” sales and such can undermine our efforts. We could disrespect our customers who were willing to pay our full price for our work. [...]

I usually make a lot of my income from one major show. I set aside money for next year’s show expenses, then restock my inventory of supplies. When I realized my cost of goods sold was about to go through the roof, I decided to take a closer look at the materials I already had on hand. I found ways to repurpose a lot of my “out-dated” inventory. I kept my restocks to a minimum, while enriching my design vocabulary with items I’d reworked, reformed or simply turned in for cash. It forced me to think “thrifty” instead of “let’s try this and this and this and oooh look at these, let’s get some!” [...]

I should confess right now: Yes, sometimes I think people are lucky. But mostly, I think some people pay attention, work hard and constantly experiment to find out what works best for them. These people follow through on their plans and intentions. They constantly educate themselves and strive to improve everything, from technique and style, to selling and marketing. They seize opportunities. And they share their knowledge freely, because they know how little of what they’ve achieved has actually come from LUCK. [...]

Do you have to slap a happy face on it? Well...yes! You don’t have to pretend everything is great (although buyers tend to be attracted to success, not failure.) But giving in to negative feelings and a downer outlook will not help you achieve your goals for your art. [...]

IF you can afford the money… IF you can afford to lose that money… IF you’re ready to take a giant step, if you’re truly comfortable taking a big risk… THEN take the gamble. [...]

So...Did I feel lucky? The next few shows I did, I was very aware how financially precarious I was. I looked around me and saw many artists making the same gamble. The number of artists at each show was increasing. The number of attendees, decreasing. The number of quick, easy, big sales? Almost non-existent. Even commissioned works were being cancelled after the show left and right. We were all desperately hoping the sparrows were going to return to Capistrano--and hoping we weren't waiting for the buffalo to come back. [...]

There’s a tendency to think that if our work is wonderful enough, and if our work is accepted, and if we win those prestigious awards, that galleries will come pounding on our door. That could happen. But the tendency, especially in today’s economic climate, is still for the artist to approach the gallery. When done right on your part, it shows you know the drill, you’ve done your homework on the gallery, and you’re ready to commit. [...]

We’re here so people can see, and buy, our artwork. If they become good friends and passionate collectors in the process, that’s wonderful. But until they decide that’s the relationship they want, all small talk is just that—small talk—that interferes with what they came to the show to do…. Shop. [...]

What comes after, whatever is made of our efforts, when we are gone, whatever it is those others who come after will understand, will be what serves their need, not ours. [...]

My advice to you today? Find your own distinct balance point of gazing inward, and outward. Recognize the signs that you’ve explored far enough. Know just how much internet surfing you can handle, and set your personal limits. Afraid of being copied? Step outside of that little spiritual prison. [...]

Yep, it gets hard when it’s hot, or windy, when my back aches and when sales are slow. But more and more, I try to relax. I embrace my customers, exchanging hugs as they appear, year after year, to see what wonders I’ve made in the months in between. I soak in the sunshine. I go with the flow. I eat my energy bar. I remember why I’m here, at this show. [...]

My first impulse is to tear out those pages. But then I stop, and set the notebook aside, too. I realize that sometimes, in order to go forward, it’s necessary to go backwards for awhile. It’s good to remember that hard times pass, that most failures are a prelude to a new path, a bright new direction. [...]

You know the days when, if you could even get into the top fine craft shows, your success was almost guaranteed. When a single boldly done full-page ad in a magazine could generate tons of response, perhaps even measurable in (gasp!) sales dollars. A time when everyone yearned to have a beautiful handmade website of their work, because then the world would surely beat a path to your door… It struck me that these little missives are like messages in a bottle, veritable postcards from the past. Each contains a little whiff of hard-earned wisdom that still resonates today. [...]

There comes a time where it just seems too hard to do another show, to face another windy rainstorm at an art festival. Too hard to master yet another social medium in order to promote our work; to approach yet another gallery that will probably say no; to apply for yet another exhibition. At some point, it just seems easier to settle for what we know will work; to stick with the techniques we’ve already mastered; to answer every challenge with a heart-heavy “I tried that once and it didn’t work.” What if all it took were twenty seconds of insane courage? [...]

Sometimes people who love to make things, would rather pay to make one themselves, than pay to own an original. If someone is looking for a reason to say no to your work, the lure of “I can make it myself!” can be a powerful distraction. Taking a class may be a more affordable way to “own” your work, even if it’s just a student’s best copy. The drawback here is, if you’re charging $1,000 for one of your widgets/products, and you teach a class on how to make one for $200, then you may be encouraging a secondary market, one that’s less profitable for you. [...]

Human nature being what it is, I’m rarely asked, “Why is this piece I love so much CHEAPER than these other ones?” No, it’s always the other way around: “Why is this piece I love MORE expensive than those other ones?” So what do people want to know? [...]

So how do you answer this question? Well, that depends on what they REALLY want to know. Sometimes, they’re trying to determine if you have what it takes to be successful. Whether you’re a fresh new face or a grizzled veteran, galleries and highly motivated collectors care about this. Your answers will help them decide. [...]

I get that many artists are totally comfortable with offering discounts. It’s a growing trend. After all, when even designer stores and luxury goods are open to bargaining, it seems short-sighted not to go along. But whether you discount or not, you WILL get asked this question. And even if you never discount your work, there are ways to keep the conversation going... [...]

Here’s one last reason not to give in to the lizard brain: Whatever you say about another artist to ‘cut them down to size’ will eventually get back to them. Worse, it will be misquoted, or taken out of context, or magnified in malice. And they will never forget. Our art world is too small for that kind of bad energy. And life is too short. Lead with your big, loving, highly creative heart. Be gracious about who you’re being compared to. Then give yourself the highest accolades of all. Tell the powerful truth about your own beautiful work. Forge the connection, then take it to the next step, on your terms. You’ll come out smelling like the proverbial fragrant-yet-hardy-shrub-rose! [...]

Some people will never understand. For them, anybody’s work is simply something for them to copy and replicate. Their actions go far beyond merely being inspired by a use of colors or a design detail. Anything you do or make, is fair game for their own use...But there are many people who truly mean no insult or harm by their inquiries. Often, what they are hungry for, it turns out, is encouragement to find their own story, and follow their own path. [...]

There’s nothing wrong with curiosity, inquiry, and appreciation for others’ work and techniques. Often teachers are a-brim with same, and that’s why I said they tend to be the folks that ask lots of questions. I love it when people marvel about the detail in my work, my color choices, and my display. Some people, though, go too far. And that will feel differently for different people. Here are a few of my guidelines. But I can only speak for myself, and I hope others will chime in with their own ‘parameters of respect.’ [...]

First, find out why they want to know. With candor and curiosity, simply ask them what it is about your work, that technique, that intrigues them. [...]

Looking back at FineArtViews (FAV) articles from 2011 shows that debate about art is alive and well within the FASO community. [...]

Of course, to do this with integrity, you’ll have to do some deep thinking about what inspires you, and why. Why what you do really matters to you, rather than being some intellectual painterly exercise. But you know me by now. And you knew that was coming, didn’t you? [...]

There are many reasons why someone would ask us about our prices. Some are unsure if the price really reflects the value. For example, how many times do we see newly emerging artists price their work by what they see more established artists charge? Some people really don’t understand the work that’s involved bringing a work of art all the way from idea to fruition. Sometimes (but not usually), it’s a deliberate challenge. And sometimes, it simply reflects their dismay that they can’t afford to buy the piece they’ve fallen in love with. [...]

When people have lots of choices, they look for reasons to start eliminating some of them. Or at least postpone some of them. And if you’ve given them a chance to postpone buying your work, they’ll take it. [...]

Remember, you don’t have to answer every question at face value. Know that people are looking for a reason to validate why they are attracted to your work. Give them that good reason and watch your sales soar. [...]

This series of using news values to punch up your artist statement has come to an end. So what have we learned along the way? [...]