Artist Websites  Artist Websites |  Featured Artists |  Art Marketing  Art Marketing |  Art Contest |  BrushBuzz |  InformedCollector |  FASO Loves You - Share Your Art, Share Life

Blog


« Diann Benoit | Main | The Art of Painting: Is a painting ever really finished? »


Follow this Blog



Subscribe to our Newsletter



Quick Links

Artist Websites and Good Design
How to Sell Art
How to Get Your Art Noticed by Galleries
SEO For Artists - The Ultimate Tip

 

Blog Roll

Mikki Senkarik's Blog

















advice for artists
analytics
art and culture
art and psychology
art and society
art appreciation
art blogging advice
Art Business
art collectors
art criticism
art education
art fairs
art festivals
art forum
art gallery tips
art history
art law
art marketing
art museums
art reception
art show
art studio
art websites
artist resume advice
artist statement
BoldBrush Winners
Brian Sherwin
Carolyn Henderson
Carrie Turner
Clint Watson
copyright
Cory Huff
creativity
Curator's Pick
Daily Art Show
Dave Geada
Dave Nevue
email newsletters
exhibits
exposure tips
Facebook
FASO
FASO Featured Artists
Fine Art Shows
FineArtViews
framing art
Gayle Faucette Wisbon
Google
Guest Posts
Holiday
InformedCollector
inspiration
Instagram
Instruction
Internet Scams
Jack White
Jane Hunt
Jen Piche
John Weiss
Juried Shows
Kathleen Dunphy
Keith Bond
Kelley Sanford
Kim VanDerHoek
landscape painting
Lori Woodward
Luann Udell
Mark Edward Adams
mixed media
Moshe Mikanovsky
News
oil painting
online art competitions
online art groups
open studio
originality
painting
pastel
photography
Pinterest
plein air painting
portraits
pricing artwork
printmaking
realism
sculpture
sell art
selling art online
selling fine art online
SEO for Artist Websites
social media
social networking
solo show
SSL
Steve Atkinson
still life art
support local art
Think Tank
Twitter
watercolor
websites for artists
workshops
Zac Elletson




 Aug 2017
July 2017
June 2017
May 2017
Apr 2017
Mar 2017
Feb 2017
Jan 2017
Dec 2016
Nov 2016
Oct 2016
Sep 2016
Aug 2016
July 2016
June 2016
May 2016
Apr 2016
Mar 2016
Feb 2016
Jan 2016
Dec 2015
Nov 2015
Oct 2015
Sep 2015
Aug 2015
July 2015
June 2015
May 2015
Apr 2015
Mar 2015
Feb 2015
Jan 2015
Dec 2014
Nov 2014
Oct 2014
Sep 2014
Aug 2014
July 2014
June 2014
May 2014
Apr 2014
Mar 2014
Feb 2014
Jan 2014
Dec 2013
Nov 2013
Oct 2013
Sep 2013
Aug 2013
July 2013
June 2013
May 2013
Apr 2013
Mar 2013
Feb 2013
Jan 2013
Dec 2012
Nov 2012
Oct 2012
Sep 2012
Aug 2012
July 2012
June 2012
May 2012
Apr 2012
Mar 2012
Feb 2012
Jan 2012
Dec 2011
Nov 2011
Oct 2011
Sep 2011
Aug 2011
July 2011
June 2011
May 2011
Apr 2011
Mar 2011
Feb 2011
Jan 2011
Dec 2010
Nov 2010
Oct 2010
Sep 2010
Aug 2010
July 2010
June 2010
May 2010
Apr 2010
Mar 2010
Feb 2010
Jan 2010
Dec 2009
Nov 2009
Oct 2009
Sep 2009
Aug 2009
July 2009
June 2009
May 2009
Apr 2009
Mar 2009
Feb 2009
Jan 2009
Dec 2008
Nov 2008
Oct 2008
Sep 2008
July 2008
June 2008
May 2008
Apr 2008
Mar 2008
Feb 2008
Jan 2008
Dec 2007
Nov 2007
Oct 2007
Sep 2007
Aug 2007
July 2007
June 2007
May 2007
Apr 2007
Mar 2007
Feb 2007
Jan 2007
Dec 2006
Nov 2006
Oct 2006
Sep 2006
Aug 2006
July 2006
June 2006
May 2006
Apr 2006
Mar 2006
Feb 2006
Jan 2006
Dec 2005
Nov 2005
Sep 2005
Aug 2005

 

Buying Trends of Art Collectors

by Lori Woodward on 7/6/2011 9:10:55 AM

Today's post is by Lori Woodward.  Lori earned a bachelor's degree in Art Education from the University of Arizona.  As a freelance writer for various art publications, she has written more than 60 published articles for  American Artist, Watercolor, Workshop, and International Artist Magazines since 1996. Her paintings, along with instructional articles, have been featured in Watercolor Magazine since 2007, and in American Artist's Highlights Issue, Step by Step 2011, with the article: "Moving into Acrylics".  Woodward has co-authored the book, "Watercolor Step by Step" a Walter Foster Publication, and authored a chapter for Calvin Goodman's "Art Marketing Handbook for the 21st Century".  She has been a member of the Putney Painters since 2004, a small invitational group of painters who are mentored by Richard Schmid and Nancy Guzik.

 

During past months, I've been doing a bit of research by asking collectors where and how they most enjoy buying artwork. Additionally, I've been casually interviewing professional artists - asking them how their sales are going and where they're selling the most art.

 

A few trends have emerged, and in a few sentences, I'll share these with you. Since I'm not an art marketing consultant, but rather a professional artist and arts writer, I have no conflict of interest in sharing information that I know is true - whether the current trends are looking bad or good. My only goal is to help artists understand what's happening with art sales and perhaps help them take advantage of art market trends. Yes, the way art is sold and bought has changed significantly in the last 5 years.

 

Ten years ago, I wrote the chapter on artist websites for Calvin Goodman's Art Marketing Handbook. At the time, few - if any, artists were selling online. Today, artists are selling online from their websites, blogs and even Ebay. Brick and mortar galleries are handling a great deal of sales online, as well. Collectors are buying more and more artwork without having seen it "in real life". Even auctions take bids online or by phone these days. American Art Collector Magazine has a section near the back of each issue showing which paintings were bought, sight unseen, over the phone - solely from gallery advertisements before the show's opening.

 

OK, now I'll share what I've been hearing from collectors. Some of these collectors are what I think of as lifetime collectors. None of them are multi-millionaires (that I know of), but they consider building a significant art collection one of the joys of their lives. When I asked each how they prefer to acquire new work, they first mentioned museum invitational art events... one time shows where the paintings hang for a month or so and then are returned to the artists. They enjoy attending these shows where they meet the artists and visit with fellow collectors. The only complaint is that many of the paintings are sold by draw - which means names are pulled out of a box - and collectors often "lose-out" when the painting they really wanted goes to the name that was picked.

 

The great thing about these types of events/shows is that the non-profit museum often takes as little as 25% on the sale. The downside is that it's difficult for artists to get invitations to these events. The list of artists on the roster is what gets the avid collectors to travel to them. 

 

Many art buyers want to meet and get to know the artist, and furthermore, they are interested in knowing why the artist painted the work they would like to purchase. Collectors truly want to know the stories behind their collected treasures. With the internet, these folks can easily get in touch with artists, and sometimes arrange for a studio visit. One collector said he prefers to buy from the artist in the quiet of the studio - even though full retail price is paid. That way he is assurred to get the work he wants without competition from other buyers.

 

As artists' galleries close, they are left with no recourse but to sell on their own. Many I've interviewed are just waiting for the economy to improve so that gallery sales pick up. However, just like the housing market - art collectors are not in a buying frenzy like they have been in recent years. Some collectors are wanting to "cash-in" on their investment and are selling their acquisitions at the same galleries where these artists are selling new works. Unfortunately, for all involved, these collectors are finding it difficult to re-sell work.

 

So, where's the good news? Gallery district rents are dropping as they deal with empty space, artists are looking for new venues and getting creative in their marketing efforts, and collectors are saving their purchases for the best art they can afford. Artists are forced to improve on both the quality of their work and and at the same time, get that work in front of art buyers. Instead of paying the traditional 50% commission to a gallery, some artists are doing their own advertising and hiring an administrator to handle sales from their websites. Of course, I'm talking about wildly successful artists who already have the money to invest in magazine ads and a staff.

 

So that's great for all those big named artists, but what about the middle ones, like us... like me? Here's more good news. If we create a cohesive body of work that rocks and set aside some money to get our work in front of collectors, we no longer need a gallery. It makes me sad to see so many artists vying for gallery representation, when most of the artists I know who are working with galleries are not selling any work from them (at this time). Right now, galleries are not the panacea that artists imagine.

 

I'm all for galleries that do a great job of representing their artists, have fair contracts, and actually sell the work that's consigned to them. I've worked with many galleries through the years, but I've also sold my work on my own.  I do understand how awesome it is to say I work with "so and so - bigtime gallery", but in the end... I've sold more work on my own than any gallery has for me. I like keeping that extra 50% commission and I enjoy the relationships I have with my collectors. It's really not all that difficult to sell art - even for shy artists; just takes a bit of know-how and practice.  Recently, I wrote a post on how artists can sell each other's work -- why not? Other artists who don't want to work direcly with collectors might consider hiring a friend, or even a collector who has great administration skills. Hiring someone with writing skills would also be a plus. Either pay them by the hour or else give them a 20% commission on sales. 

 

Some artists are selling better than ever at plein air festivals right now. When the economy drops, plein air paintings sell better. The collectors buy smaller, less expensive works and, as a plus, get to meet with and eat with the artists. Another option I'm checking into right now is setting up my art booth at local farmers' markets in wealthy towns. Last week, I got in touch with an artist who has been selling her work this way. You know, if a group of farmers can get together and sell their goods on the village green once a week, what's to stop several artists from getting together every Wednesday afternoon throughout the summer months to hold a regular art show? Do we really need gatekeepers to organize events?

 

With all this said, if you are working with a gallery successfully, there's no reason to leave. As my tennis teacher used to say, "If you're winning, don't change a thing; if you're losing, try something different until the tides turn."

 

So let me leave you with this question: if artists who are working with galleries are not selling much work, and those galleries are not taking on new artists, then why would an artist spend hours building a portfolio to submit to galleries (at this time)? Why not get started selling on your own for far less money and much more profit? Forget the ego thing... being in a top gallery might make you feel good, but it won't necessarily bring you income right now.


 

Services:
FASO: The Leading Provider of Professional Artist Websites.
FineArtViews: Straight talk about art marketing, inspiration - daily to your inbox.

InformedCollector: Free daily briefs about today's finest artists in your inbox.

BoldBrush Contest: Monthly Online Painting Contest with over $25,000 in awards. 

Daily Art Show: Daily Show of Art that reaches thousands of potential collectors.

 



Related Posts:

Three Types of Collectors

Home Show Previews

Selling Fine Art Online: Be Prepared for the Art Collectors of Tomorrow

Selling Fine Art Online: FASO Mobile-friendly Artist Websites - the Future of Online Art Marketing is Now

Working With Galleries: How Often is Your Work Displayed?

Cultivating Future Collectors

Out of The Box Art Marketing - Selling Friends' Work


Topics: art appreciation | art collectors | art gallery tips | art marketing | exposure tips | FineArtViews | Lori Woodward | sell art | selling art online | selling fine art online 

What Would You Like to Do Next?
Post your comment Join Email List Follow via RSS Share Share

 36 Comments

Marsha Hamby Savage
via faso.com
This is a fantastic article. I agree with everything you said and have been trying to read and learn all I can about drawing clients to me personally. I also agree that brick and mortar galleries that do well for their artists is a wonderful thing. I have a couple, and need a few more. But, getting one to take a new-to-them artist is getting more difficult as you said.

Thanks for the kick in the pants about ramping up the strategies for getting my work out there in my own way.... blog, web site, Facebook, LinkedIn, Fine Art America .... whatever way gets it done.

I believe telling potential clients about myself helps them want to by my art ... and the galleries think it hurts them ... at least one I was in, but no longer with them. Another one is so interested in all that I do to get clients ... they know I will send customers to them if a painting is hanging there.

But, again great information about what is happening ... and as I suspected. Always enjoy your articles!

Louise Charles-Saarikoski
via faso.com
Thank for this very informative article. I had wondered whether I should spend time approaching galleries, but the 50 percent commission amoung many other things has put me off. I think my time is better spent in the studio!

Marian Fortunati
via faso.com
Well, Lori, I guess we all try to do what we can. I guess it depends upon our various situations. Some are not able to travel to and set up for fairs. Sometimes we try local venues like restaurants or I've even heard about artist / real estate collaborations... Making a home look nice for an open house and selling both art and potentially a new home. I guess creativity extends to all areas, huh??

Kathy Chin
via faso.com
Hi Lori,
Thanks for the article, your information is really valuable!
I have not been as involved with my co-op gallery as of late and have been considering seeking out other types of galleries. Did a few outdoor fairs in the last few months to mixed results. I admit to not having kept up with my online marketing, and will be doing that soon.
I guess I feel as though if I'm not in a place where someone can actually see my work hanging, they won't take me seriously. As a photographer, I don't have a studio or a place where a potential buyer could actually go to see my work. Also, some buyers I've talked to don't want to purchase an image they haven't seen in person. Up until recently they could seen my work hanging at our co-op gallery but that has changed.
Lori, when you first started out, did having a physical location for collectors to view your work make sense?

George De Chiara
via faso.com
Thanks Lori for sharing the things you've discovered by talking with collectors and other artists. All good stuff! It's nice to hear you don't need to be in a big gallery to sell. I like the farmers market idea.


Lori Woodward
via faso.com
Kathy, initially, I did outdoor art shows - more than 10 years ago, so I knew who bought my work. I also did portrait commissions, and those who had me paint their kids bought my other artworks.

When I started working with galleries, in the late 1990's, I stopped doing the outdoor shows. I was pretty happy with galleries. Some of my galleries closed.

I pulled out of galleries a few years ago when each of the three I was working with wanted different subject matter. One wanted landscapes, one portraits and another still life. Although I can paint all three subjects, I wanted to concentrate on landscape, so I decided to pull out altogether.

That's when I started selling as an artist in residence at a BandB in Tucson. Then some of my past collectors found my website and signed up for my email newsletters.

Finding and maintaining a collector base takes considerable effort and time, but when I sell on my own, I'm able to stay in touch with these folks much better than my galleries ever did. I also offer past buyers incentives to buy again - which my galleries couldn't afford to do.

I'm not inclined to work with galleries at this time because my prices just wouldn't support the 40-50 percent commission. I would hardly break even on the sale.

I could get more money for my paintings, but I keep my prices affordable because one of my missions is to help introduce original art to people who have been buying reproductions because they can't afford to buy anything over a few hundred dollars.


Carol Schmauder
via faso.com
Thank you for your insights, Lori. I recently pulled my work out of the gallery my paintings were in because they hadn't sold anything for a year and a half. I have always had better sales on my own when I meet the person that buys. I think they like to know who painted the piece personally.

Recently I invited six other artists to join me at my home for a sale. We had five tents in the yard and I had my work in my house. We sent out invitations, I put a small ad in a newspaper, I placed nice signs on street corners on the day of the sale, and I sent e-mails out to my mailing list. The cost of the whole thing was minimal and we all brought food items for the refreshment table. We had very good attendance and all of us sold work. We all agreed it is something we will repeat next year.

If we are going to sell our work during difficult times I think we need to put some of our creativity into the methods we choose to sell with.

terri
via faso.com
I notice that many of the writers (almost all) refer to art as painting. I don't paint, but I am a visual artist. What about those of us who don't paint but do other things? How do collectors feel about other media outside of paintings. What about new media? Sculpture? Graphic Art? Printmaking, etc?

Just asking...

Lori Woodward
via faso.com
Carol, that's such exciting news about the show at your home with friends. Thanks for sharing that.

Terri, most of us talk about painting, but other types of art seem to be affected by the economy in the same way. In my state of NH, there is a juried art guild that shows each summer in Sunapee NH. The painters are in the minority of artists there - mostly artistic, high end crafts. However, both types of art attract the same audience, and the painters and the crafters sell equally.

Just an FYI - yesterday, I spoke to the person in charge at a farmer's market about setting up a booth for my artwork. She is a provider of grass fed beef and other meats. She seemed discouraged and said, I doubt if you could sell more than one painting a week. I replied that I'd be delighted to sell one painting a week because for me it means a new collector.

As an artist, I'm not just interested in sales, but in building a following of collectors - to sign up for my email newsletter so that I can get my work in front of them on a regular basis.


terri
via faso.com
I think a lot of how we are affected by economy has to do with our individual goals as artists, who we wish to target or speak to (better yet who our art speaks to), and how we market.



Jill Banks
via faso.com
Lori,
As usual... great article and I love the question "Do we really need gatekeepers?" It is so often a revelation that we are actually in charge of how and where we sell our work ... and who does the selling.

I, too, pulled out of galleries because of poor sales and missing the interaction with collectors. We need to build on that collector base by keeping in touch, introducing them to new work on an opt-in basis, providing wonderful service and keep on knocking their socks off.

I had incredible success setting up at the Farmer's Market on an occasional basis each summer for the last few years. I haven't done it yet this year. But this is a good reminder to sign up. Or organize something similar for art ... as you said ... minus the gatekeeper.

Carol, I love your idea about the home show with tents in the yard.

Anyway, lots to think about and do! Thanks!

Lori Woodward
via faso.com
Jill, I remember the home show you had - I think it was during the holidays in December. Saw picks of how attractively your work was hung and heard that it went very well. I get so excited when I see artists achieving results by taking their career into their own hands.

Would love to talk more about your experience at the farmer's market. You can answer here or else email me at lori@loriwoodward.com


Veny
via faso.com
Lori,

great observations in your article. I am emerging artist that only sells online through my web site and in person by referral from my friends. However I think the brick and mortar galleries helps building a reputation. You may not sell art through them, but the presence of your paintings in a good name gallery helps to build solid foundation. Otherwise I totally agree that we have better things to with the 50 percent commission :)

Jill Banks
via faso.com
I'm part of a local, highly successful arts organization that offers members the opportunity to set up under a tent at the town's farmer's market. We pay a nominal fee for the space (that's paid to the market organizers). I have access to a tent and screens for the farmer's market at no charge ... in exchange for having promotional material for the organization as handouts.

The town can definitely be classified as wealthy.

The farmer's market is very small ... and has really struggled ... but it was still a great, positive experience each time I participated. I wouldn't want to do it every week because I want to be able to have the booth look different each time. I spent time before each market to figure out just what I wanted to hang/bring ... and how. The booth looked impressive and visitors seemed to love having an artist to talk to ... right next to the vegetable stand.

I had a few huge sales days. One day, a woman visiting from out of town purchased three major paintings. She'd been admiring her sister-in-law's paintings of mine that day ... before coming to the market.

I don't try to figure out what people will purchase in that setting vs. another. So, I don't just offer small scale, less expensive pieces. I bring what I'm proudest of ... and hope for a connection.

And, I, like you ... am thrilled to add one collector. Each one is invaluable!

The farmer's market is also a great way to connect with new potential students or fans and as an "advertisement" for other upcoming events. The casualness of it ... and smaller crowds keeps interaction personal. I love that.



Susan Mitchell
via faso.com
What great,albeit, not new thoughts. Some of us artists need to be motivated to move up. For me this article was such a motivation. I am sending your article to both a good artist friend and my husband, a wonderful administrator, and hope both will be motivated to run with me. Thanks for the inspiration,

S Mitchell
Paris, TX


Laurie Finkelstein
via faso.com
I am fortunate to have my paintings in one local, very popular restaurant. While I have not had a sale, I have been able to track people driven to my website and e-mail address - which builds a contact base.

I also participate in an art walk once a month that is combined with a weekly farmer's market. The organizers have brought in gourmet food trucks to increase the traffic. I enjoy the art walk because it allows me to talk to possible collectors and get feedback on my work. I have sold at art walk, although it is not a regular occurrence. Still I think the exposure it good.



Christine Marx
via faso.com
Lori,

What a fantastic article! I love the idea about the farmer's market and getting together with other artists to paint. I am just starting out and toying with doing art fairs next year. Have you written any articles about that? Thank you for all the wonderful help and information you provide.

Luann Udell
via faso.com
Lori, GREAT ARTICLE! I appreciate your sharing your research results, and your thoughts are spot-on (as always!) In times like these, we can't rely on methods and myths that are no longer working for us.

Carol, GREAT IDEA! Thank you for sharing your mini-art fair idea, I'm already thinking of who could join me here. Most of my 2-D friends already have pop-up tents, so that would work beautifully.



Kathy Chin
via faso.com
Lori,

Thanks for the follow-up, I really appreciate it! Your nuggets of wisdom are tremendous!


Katarzyna Lappin
via faso.com
Lori,

your articles are so full of wisdom and helpful instruction.
It is good that you keep repeating this subject a lot.

There is a big paradigm shift happening in the art business and for new emerging artists it is important to get familiar with the new reality, trends and opportunities available.

Before I decided to make my art a profession I always thought that my goal is to find a dream come true gallery. When I finally
got all the permits I quickly realized that I want to be that person who connects to the buyer of my art, that I need to have my own database built on the connections I make for the sake of the future success. My imagination always produce some fearful "what ifs" so I thought "What if the gallery I would be in goes out of business ? Will they willingly provide the buyer information?",
Would I have to start over ?, "What if I would like to communicate with those who bought my art and this would be
against the gallery policy ?. Most of my concerns related to the artist - buyer relationship. I believe this is the crucial
part of a successful business.

The good reputation doesn't necessarily come from gallery representation only. It can be developed through awards, shows,
recognitions, memberships and many others. As everything a good name is a matter of a lot of work, passion involved and happy clients.

I also use to sell paintings through the museum of one of the art organizations I belong to. They are great because after they sell your artwork they provide all information about the buyer and the artist is free to contact the buyers, send them thank you notes, encourage to sign for the newsletters and so on.

Recently there was an opening reception in this museum and I found out that the museum has sold two paintings of mine at the previous event. I was told to go get my check and the buyer info. I noticed that the buyer of one painting was a person who bought two other paintings within the last year. I was really interested to meet this buyer in person to say "thank you".
He was at the reception as I was told and I was introduced to him by the staff members. It was such an exciting feeling to see somebody so happy to be able to meet the author of the paintings he collected.

I am open to cooperate with others for the sake of selling my art. I don't have a problem with paying the gallery a commission, even if it is 50 percent. What I guard is the connection with my art buyers not restricted by the third parties. Also my clients are happy to have direct access to me.

What I wrote is my opinion only and please do not assume I am against regular galleries. I think they are great and serve wonderful purpose. I expressed what works good for my personality.


Katarzyna Lappin


Jo Allebach
via faso.com
Thank you Lori and all those who made comments as well. Listening to all the great ideas is very helpful. I need to get out to the farmers market we have in town. It sounds like a good idea.

Lori Woodward
via faso.com
Just an FYI - some of the farmer's market directors discourage anyone but produce growers and food producers from selling. I do believe that having a couple (not a lot) of artists at a market will increase visitors.

Most will ask you to pay the season's show fee plus insurance (in case someone hurts themselves near your booth)... this runs about $15/week here.

But I'm wondering if a small group of artists could set up in the same spot on a different day than the farmer's market?

I also like the idea of having the show on the grounds at someone's home. The only issues to deal with would be parking space and insurance.

If the artists set up - same spot - same time on a regular basis, that would be key. Consumers at Farmer's markets understand that if it's pouring rain, no one will set up that day. It's not absolutely required.

I've got some other ideas creeping around in my head, but that's for a future post - or else I'll post it on my own blog.

Casey Craig
via faso.com
I attended a show of an artist friend of mine that was held in a backyard too. There were 4 artists set up in tents with refreshments. Parking was a bit of an issue since it was on a cul-de-sac. I didn't see anything over about $100 selling, buy my friend does wooden folk art pieces that mostly fall under that range.

I also know of an artist that used to have print or calendar signing parties at local restaurants. She would set up a table and a bring a few easels with original work in the side room of a restaurant during non peak hours and sell and sign her prints and calendars. Now she was extremely well known and had a large following so I don't know if this would work for someone that hasn't developed a client list yet, but you never know.
Thanks Lori!

Virginia Giordano
via faso.com
Hi Lori, Here in NYC it's very daunting to think of taking over an empty gallery space even for one day, I've looked into that. But, I love the idea of artists getting together and pitching tents. Friends just opened a General Store in a town which is loaded with artists. You've given me a new idea to think about!

Bonnie Samuel
via faso.com
Terrific, Lori! I love the idea of Farmer's Market or local art fair. Living in a smaller town as I do, I've been exploring this idea and I see lots of potential tying into the "buy and shop local movement." Times they are a-changing!

Joanne Benson
via faso.com
Thanks for sharing lots of great information. I wish I had the energy to follow up on some of these great ideas! I never thought about selling at a farmers market before. We recently had several recreation park events where artists were invited to paint and sell their work. Unfortunately the weather was iffy and I didn't participate. However, it was a good opportunity to get the art seen by lots of people. You never know when one of your paintings will strike someones fancy!

Chuck
via faso.com
My experience with Farmers Market has not been that good. The people running it in my neck of the woods don't like to stray that far from produce. It is a shame. Your comment about using the same space on a different day of the month is a fantastic idea. I bet there are loop holes to jump though. A monthly art and craft street show would do well in smaller locations.

Amy Guidry
via faso.com
Hi Lori,

This is a great article. I think these are all great avenues to try, though I do agree with Veny that gallery representation does add to your credibility. So I would say to keep applying, but I think it's important to do a little bit of everything and not put all your eggs in one basket.

Have you tried any pop-up galleries? These are building in popularity and I wonder if anyone has had success with them or started their own?

marie Jonsson-harrison
via faso.com
Thank you for a really great article. I so agree with your point of view. In my own case I find the combination of a couple of great galleries as well as a website works really well. The blog from the website keeps the visitors returning too.
Keep up the good work. Love Marie xxx

AFTP
via faso.com
I think this was an excellent article--it really reads true...I remember voraciously reading the handbook some ten years ago...though it never really quite worked for my market or goals--which is very high end, extremely educated and persnickety. The comments in this forum are also of value but I have this to add (unequivocally); while art fairs offer a good place to make a buck for the average artist or crafts person, they do not seem to play well for art that is actually doing something remarkable and memorable (especially where a significant amount of time was involved requiring a much bigger payout). I realize people will think of this last sentence as elitist or arrogant but this kind of art exists also and the climb seems much more steep and precarious for the type of artist pushing this envelope--where the lowest common denominator is not painting to please a customer but painting because of vision. At any rate, people come to art fairs to rubberneck or for a good deal--or something to dress the set--like tchotchke items and low cost cash-n-carry stuff...arty farty things that are pleasing or decorative. Forget about an art fair if you are an artist of caliber and originality...unless of course, you are lucky enough to be represented by a significant agent at the Navy Pier in Chicago or Art Basel in Florida. And the model of artists banding together to form a kind of collective again only works if the price points are low or remuneration is not at stake. So what's left for the serious, demanding, high-end artist--where a work can take as much as six months to produce and is not necessarily populist or to go with a couch in the living room, etc?

-AFTP

Sharon McGlasson
via faso.com
Lori,

Your articles are so informative. Usually I try not to get on the Internet, it's so addictive, but I'm afraid I'm going to be following you. Thank you for such sound advice.

Swetal
via faso.com
It's fabulous article. Made me understand needs and interests of buyers. I usually make art for my own but you made me realize that on what shall I concentrate for a bright career and getting fame in arts.
Thanks Dear :)

Swetal
via faso.com
Write another comment . . .

Swetal
via faso.com
It's fabulous article. Made me understand needs and interests of buyers. I usually make art for my own but you made me realize that on what shall I concentrate for a bright career and getting fame in arts.
Thanks Dear :)

Andoreza
via faso.com
Thanks for this informative post. Internet had given the priviledge of reaching to the buyer more effectively than before and it is important to make use of it to the fullest.

sandy collins
via faso.com
Thanks for this article Lori, I just read it and decided to get a booth in the local Wethersfield farmers market! Great information for someone trying to find a spot to sell art.
thanks!
Sandy










 

FASO Resources and Articles

Art Scammers and Art Scam Searchable Database

 

FineArtViews, FineArtStudioOnline, FASO, BrushBuzz, InformedCollector, BoldBrush
are Trademarks of BoldBrush Technology, LLC Licensed to BoldBrush, Inc. 

Canvoo is a registered trademark of BoldBrush Technology, LLC Licensed to BoldBrush, Inc

Copyright - BoldBrush Technology, LLC  - All Rights Reserved