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A HIGHLY INFORMATIVE ONLINE MAGAZINE DEDICATED TO THE ARTIST AND THE ART LOVERIf you like this site then Recommend It!
ART FACTS
"THE ART OF SELLING ART - PART II"
by Robert K. Roark
Today, with instant global communication, it is not unusual for an artist to consider showing in a gallery far distant from the artist's abode. Although an artist should not dismiss this possible avenue of promotion, it is prudent to take certain precautions before sending your work off into the great unknown. Try to learn as much as possible about the gallery's background and reputation. does the gallery advertise in local and international publications? If so, ask to see these ads. Does the gallery maintain a website, have a business card, gallery brochures, and membership in local business organizations? If a gallery legitimately wants to represent you, it will gladly provide you with any and all information you may request.
Should you decide to "join" a faraway gallery it is exceptionally important to come to a mutual agreement and understanding on a number of points. Getting these "understandings" in writing (before sending off any work) is of paramount concern. You must know, for example, who will pay for shipping of the artwork either way. This responsibility usually falls to the artist.
Other considerations might include: should the artwork be shipped framed or unframed, will you be required to travel to an opening of your work, galleries payment schedule on sold works, and will the gallery keep you updated on a timely basis as to your "progress" in your new locale.
Most artists can create enough work to satisfy at least two galleries. It only makes sense to have galleries that are located away from one another, perhaps with opposite seasons. For this reason, it is sometimes necessary to consider showing in an "unseen" venue. With a bit of preplanning and a few written agreements, this need not be too daunting an experience.
Whether you show locally, long-distance, or both, it is important to remember that patience is of the essence when establishing a solid customer base. Although optimism is an admirable quality, do not have unreasonable expectations as to what a gallery can do for you, especially in the early going. The competition for sales is keen and there are many outstanding talents lined up at the starting gate.
Your career need not stop once you are established in a gallery or two. There are still many avenues of promotion open to you above and beyond gallery sales although any self-promotion can enhance these sales.
For example, obtaining membership in various organizations of professional artists can naturally enhance your name-recognition. Submitting your work to juried shows around the country can increase your artistic profile (and your income!). It can also polish your "image" as a professional artist worthy of a buyer's serious consideration.
Conversely, I would suggest that you avoid participation in events made up primarily of amateur artists. A "win" here is a Pyrrhic victory to say the least. Forego any event where your work will hang on a fence or be surrounded mostly by inexpensive crafts. Although the quality of work in these events can be quite high, the "perception" will tend to work against the image your are trying to create.
Next month I will begin a series of articles on still life painting. This series will include a bit of history on the genre as well as many practical tips on set-up, actual painting, framing, and of course, final marketing.
E-mail Mr. Roark your comments or questions: hostmaster@artisticforum.com
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RELATED ARTICLES AND EVENTS
"THE ART OF SELLING ART-PART I" by Robert K. Roark
"GETTING YOUR ART TO MARKET: The Gallery - Artist Relationship" by Robert K. Roark
"THE FINE ART OF MARKETING ART" by Robert K. Roark
Read article about Mr. Roark: "Robert K. Roark: Capturing The Mood".
Visit Mr. Roark in his studio at Winstanley-Roark Fine Arts, 2759 Main Street, Brewster, MA 02631, Tel: (508) 896-1948 or (800) 828-7217, E-Mail: wrfa@masterfulart.com.
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