Advice on how to sell art from a fellow artist is often free but is it good.

Debbie Bunce 2011

Art marketing authors and coaches, rightly, advise artists because of honest feedback by established art sell venues to develop a creative voice. I’ve also heard this reiterated by curators reviewing my work. “A body of work should have a consistent flow in subject matter and style.”

 I was trained in classical portraiture.  I branched out to landscapes and still life as I entered art fair venues. I didn’t get any accepted submissions to galleries or even alternative venues in my back yard market until I started producing more contemporary pieces for submissions. The feedback for my traditional work was, “Nice paintings, not a fit for our clientele.” It was frustrating because I was selling work at art fairs and all the art marketing books said. “Selling experience and a collector’s base is the only way an emerging artist can hope to be considered by more established venues such as galleries.”

Art marketers also, rightly, instruct artists to research their target market and to be sure they know the creative emphasis of a venue before bothering to submit submissions. My problem was I was a classically trained artist who was placed in a contemporary town because of job relocation. There are very few gallery venues in Portland, Oregon that market traditional, representational work. So I concentrated my submissions on the few galleries that offered both contemporary and representational art.

I made the mistake of including my traditional pieces in my portfolio for the 1st few interviews because I thought showing myself to be prolific was most important. I was told my portfolio, and website, though carefully divided in subject matter and style looked schizophrenic because of the varied styles. One curator who’s gallery offered an eclectic variation of styles explained,” While the gallery may offer more than one style, a solo exhibition needs to have coherent flow. The collector wants to purchase in confidence that the artist is a master of their style. Contrasting styles is what one expects to see in a college portfolio as a student is learning and experimenting.” My interpretation of what he was saying is the gallery is hoping to convince their patron that despite the fact that they have never seen or heard of this emerging artist before, the gallery has discovered a master. More than one curator said they don’t want any surprises when receiving work for a solo exhibit.

I had better success in setting up several presentation books of singular style. However, I have not excluded any categories from my website.  There is a strong probability that this will continue to be a problem in the eyes of any curators reviewing my work. The reality is my direct sales have exceeded my gallery sales. 3 of the 4 galleries that exhibited my work have become casualties of the economy and closed their doors. I made the conscious decision to include both contemporary and classical in my portrait presentation book because in the direct sales venues of commissions, the art collector is less concerned about a proliferation of styles. What’s important is a potential client sees something they connect with. Because my website is essential to my direct sales I’m resistant to removing either style.

Even in the direct sale venue of art fairs, I get questions from booth attendees as to why I paint in both contemporary and classical styles. I’m honest with my answer.” I couldn’t get gallery exposure with my initial creative direction, so I worked to find a creative expression that fit how people in my home town enjoyed developing and creating their home sanctuaries. I found I love painting in both styles now and if I had to give up one in would severely stifle my creative expression.”

 There are also several art fair venues in Oregon that dictate that the artist exhibit artwork strictly in the style as their accepted submission. For those venues, I’m careful to comply and leave one or the other at home. No sense in ruining your chances to exhibit for the next year. Galleries are closing left and right in Oregon. There are fewer selling venues for artists so you have to create your own opportunities.

One example is local Chamber of Commerce offer networking opportunities where you can offer presentations of your business service. 3 portrait commissions this year have come in from recommendations from my local chamber. Also, many townships, who offer farmers markets, are now offering artists’ markets. Those require small, quick setups with small originals and impulse items like note cards. I’m currently researching one that has just come to my attention.

 Blessings towards your efforts to share and market your creative gifts. Hopefully some of the mistakes I’ve shared will help you do a better job of hitting the target of earning income from your passion. In the ten years I’ve been selling my art, I’ve yet to see my income exceed my expenses. As successful artist and art marketer Jack White attests, “Better to take advice from and artist who is successful at selling their work then one who isn’t.”

Canon Beach Evening Sentinels

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