Tips for painters new to the market
September 26, 2017 10 Comments
Let me say without hesitation that I love selling art.
Selling is one of the most satisfying, most exciting things about being a painter.
And not just for the obvious reasons.
It’s not about making money off your passion.
It’s not about feeling important, quitting your day job, or the validation in being a “real artist”.
It’s knowing that someone loves your work enough to part with their hard-earned dough. So much that they’re willing to live with it for a very long time.
It’s sharing a piece of yourself that will outlive your great-grandchildren while covering expenses so you can produce and contribute more to the world.
But mostly, it’s that wonderful feeling of moving forward.
Selling just plain feels good.
And I didn’t always feel this way.
Like many artists, I was once conflicted about parting with the work. I wanted to and I didn’t.
If it sold too quickly, it felt like selling out.
If it didn’t sell quickly enough, it felt like rejection.
It pained me to let go of certain pieces, as if my favorite children were leaving with strangers and I’d never do anything good again. Painter’s block would be the price for abandoning them.
And all this madness was discouraging buyers, who sensed that something wasn’t quite right.
At bottom was the core problem, the problem that eventually surfaced and later resolved itself. The same problem that I see in other artists:
Thinking too much of the work as yours.
Thinking too much about having produced it.
Thinking too much about yourself.
Which isn’t just a career problem. It’s THE problem.
Putting yourself at the center of your art engenders self-consciousness and anxiety, over everything from a minor setback on the canvas to getting few bucks less for it than you hoped.
It creates an emotional attachment that signals amateur to anyone thinking about buying your work. Which is why I stress the opposite:
Complete non-attachment to your art.
From the moment it’s available, ideally, from the moment you begin, don’t think of your art as your creation. Think of yourself as the caretaker. You merely helped the work along.
Which isn’t the same as indifference. It’s leaving the ego, and its power to sabotage everything you do, out of the process.
Tracy Everly Leaf and Lisianthus
Oil on panel, 6 1/4″ x 7″
Staying out of the way
Are you as tired of the words, Treat your art like a business, as I am?
Not that this is bad advice. But it’s so overused, and it lacks passion.
So do book titles such as How to Survive as an Artist. Screw survival—how about we all prosper?
What we can get from the art marketing gurus is the wisdom of appealing to the hearts and souls of collectors, rather than expecting them to love our work just because we love making it.
Alex Mandossian likens selling (anything) to feeding pigeons in a park. Approach to aggressively and they’ll scatter. Earn their trust with something they want, and watch them swarm.
How then, do you reach out to collectors without scaring them off?
In short, you don’t.
Because most avid collectors are already on the lookout, consciously or not, for great art. The key is to get them to discover your art and not someone else’s.
Emphasis on the word discover. As in the feeling they’ve found a hidden gem that the rest of the world hasn’t. Or that they’ve jumped to the front of a long line.
If you’re too bold or self-involved, you’ll turn them off.
If you’re too modest, you’ll devalue your work.
And while the following is hardly an exhaustive list, here some things that inspire collectors to make a purchase:
Feelings Over Content
Frank Hobbs Roadway
2015 Oil on canvas, 11 x 14 in.
Art lovers are drawn to the feelings evoked by your work more than the subjects you paint.
But, not being conscious of this, they’ll almost always respond to the subject. Which can lure you into painting “desirable” themes. This is the one area where you should listen only to yourself.
If your heart is into beautiful landscapes, still-lifes, or portraits—paint them.
If you’re drawn to gritty urban scenes—paint them.
Trust yourself, go all-in with the subjects you love, and the world will pay attention.
You’ll know you’re on the right track if you feel a little exposed when showing your work. Consider the great actors of our time. They don’t perform; they reveal something deep within themselves, giving us a glimpse into ourselves and the human condition.
And surprise! They always have work.
Chelsea Bentley James, Pink bathroom 2
Oil on masonite, 12 x 12 in.
The flaky artist stereotype can actually work in your favor–if you’re committed to being the opposite.
Which means being supremely well-organized. Collectors tend to be ambitious, business types who admire ambition in others.
So if someone asks to see six still life images, then send them six still-life images. Send them fast; it shows intelligence and respect. Don’t muddy the waters with too many choices.
Guys, please, dress shirt and blazer for your openings, not your painting clothes.
Because the bottom line is this…
Presenting yourself as a professional, and not another (yawn) rebel, doesn’t make you less creative and it doesn’t make you a sellout.
It makes buying your work safer and a whole lot easier.
A Unique Style
I’m torn on this one.
Having an unmistakable style, or branding may get you noticed. But it won’t make you great.
Because all your energy will be spent on being different, not better. And with everyone out there trying to be different, different isn’t so special. It’s not even interesting anymore.
So just focus on getting good. Better yet; become extraordinary. It’s the best way to stand out from the crowd.
Daniel Sprick, Peter’s Brother, 2012
Oil on panel, 20 x 16 in., detail
When You Meet with a Collector
Relax. Give them your full attention.
Don’t fidget or look around the room at your own stuff. Explain your work without over-explaining.
Show them that you’re excited, but not desperate, about the prospect of their owning it. The simple phrase, This is my job, always scores points. It shows commitment.
Leaving them alone in the studio for a few minutes (Excuse me while I check on something?) lets them focus and take ownership.
Set your bottom-line price and stick to it. It’s OK to be negotiable, but again, if you’re too soft, you’ll devalue your work and lose collector confidence.
You Can Do This
There are so many artists out there with both talent and success, reminding us that we don’t have to compromise. You can have integrity and a great career.
You can have multiple careers. Or second, third and fourth ones.
You can start at any age,
you can be as commercial or as non-commercial as you like.
Too many artists sound apologetic for having full-time jobs. News flash—making a living is noble.
But what makes the 21st century so exciting are the growing possibilities to how it’s done.
Millennials are traveling the world while earning six figures off their laptops,
Stay-at-home moms have professional blogging careers,
All we artists need is a little confidence, imagination, and, to the point of this post, empathy for our clients.
And let’s please give Thomas Kincaid a break. He was just doing his thing.