Marketing your Artwork

Here are some thoughts (not really answers) to the age old question: How do I market my artwork. Marketing your artwork involves a combination of creativity, strategy, and understanding your audience. As an artist, it's crucial to develop a unique brand that reflects your artistic style and vision. Start by creating a professional portfolio that showcases your best work. This portfolio can be a physical collection or a digital presence on a website or social media platforms.

Social media is a powerful tool for artists. Platforms like Instagram, Pinterest, and Facebook allow you to share your work with a global audience. Use these platforms to post regularly, engage with your followers, and participate in art-related communities. Posting behind-the-scenes content, progress shots, and stories about your creative process can help build a personal connection with your audience.

Networking is another essential aspect of marketing your artwork. Attend art fairs, exhibitions, and gallery openings to meet other artists, collectors, and potential buyers. Building relationships within the art community can lead to opportunities for collaborations, exhibitions, and sales. Additionally, consider joining local and online art groups to expand your network.

Pricing your artwork appropriately is crucial. You can’t just look at your painting and ask “what do I think it’s worth?” You really have to take the time to research the market and understand how similar works are priced and consider factors such as the cost of materials, time spent, and your reputation as an artist. Offering various price points can attract a wider range of buyers.

“Pricing your artwork appropriately is crucial.”

Creating an email list is an effective way to keep your audience updated on new works, exhibitions, and events. Regular newsletters with exclusive content or special offers can help maintain interest and loyalty.

Lastly, never underestimate the power of storytelling. Share the inspiration behind your pieces, your artistic journey, and what you hope to convey through your art. This narrative can make your artwork more relatable and appealing to potential buyers, helping you stand out in a crowded market.

Like I said, these are not really “answers” but they are thoughts. If you’ve had luck with any other ways of marketing, please leave a comment. I’d love to hear success stories!

Steps to Becoming a Full-Time Professional Artist

Becoming a full-time professional artist is a dream many hold, but the path can seem really daunting. The world of art is as challenging as it is rewarding, requiring not just talent, but also persistence, strategy, and a keen understanding of the business side of art. Here's a list of ideas based on my own experience that might help you transition from a passionate amateur to a full-time professional artist.

1. Hone Your Craft

First and foremost, dedicate time to mastering your art. Whether it's painting, sculpture, digital art, or any other medium, consistent practice is crucial. Attend workshops, enroll in art classes, and seek feedback from mentors and peers. The more you refine your skills, the more distinctive and professional your work will become. Just because you can complete a painting, does not mean anyone would part with money to buy it. Ask for input and listen to critique. Growing your art skills is what this step is all about. Keep practicing and learning and never, ever stop.

2. Build a Strong Portfolio

Your portfolio is your artistic resume. It should showcase your best work, demonstrating your style, range, and progression as an artist. Include a variety of pieces that highlight different techniques and subjects. A well-organized, high-quality portfolio can make a significant impact on potential clients and galleries.

3. Create an Online Presence

In today's digital age, having an online presence is essential. Create a professional website to display your portfolio, provide information about yourself, and make it easy for people to contact you. Utilize social media platforms like Instagram, Facebook, and Pinterest to share your work, engage with followers, and reach a wider audience. Regularly updating your online profiles can help keep you in the public eye.

4. Network and Connect

Building a network within the art community is invaluable. Attend art fairs, exhibitions, and gallery openings to meet other artists, curators, and potential buyers. Join local art groups or associations to stay informed about opportunities and events. Networking can lead to collaborations, exhibitions, and sales opportunities that you might not find on your own.

5. Understand the Business of Art

Art is not just about creativity; it's also about business. Learn how to price your work, manage your finances, and handle contracts. Understand the logistics of shipping and handling art pieces. Consider taking courses in art business or seeking advice from more experienced artists. A solid grasp of the business side can make a huge difference in your success as a professional artist.

“The journey to becoming a full-time professional artist is ongoing.”

6. Seek Representation

Gallery representation can provide significant exposure and sales opportunities. Research galleries that align with your style and reach out to them with your portfolio and then ask about the steps involved for representation. Don’t just show up or send them photos in an email. Show some respect and go the route they’ve already set up as far as approaching them to represent you. And…be prepared for rejection, as it's part of the process. Rejection is okay. It just means you’re looking at the wrong gallery. Persistence is key. Having a gallery represent your work can lend credibility and open doors to new audiences.

7. Diversify Your Income Streams

While selling original pieces is the goal, it's wise to have multiple income streams. Consider offering prints, merchandise, or commissioned work. Teaching art classes or workshops can also be a viable source of income. Diversifying your income can provide financial stability as you establish yourself in the art world.

8. Stay Inspired and Keep Creating

The journey to becoming a full-time professional artist is ongoing. Stay inspired by exploring new techniques, subjects, and mediums. Regularly challenge yourself with new projects and continue to grow as an artist. Passion and dedication are the driving forces behind a successful art career.

Becoming a full-time professional artist is a journey that requires dedication, strategic planning, and a love for your craft. By honing your skills, building a strong portfolio, creating an online presence, networking, understanding the business, seeking representation, diversifying your income, and staying inspired, you can turn your passion into a sustainable career. Remember, every artist's path is unique, so stay true to your vision and enjoy the creative journey!

Question 10: "Do you have your work in galleries?"

If you or someone you know is an aspiring full time artist, one really important question that needs an answer is this: Do you have your work in galleries? And then the follow up question, “How do you find the right galleries?”

When I was still a novice at marketing my own artwork, I had absolutely no idea there is actually etiquette involved with getting my work into an art gallery and in the beginning, I unknowingly broke all the rules. I first thought of cool cities with a decent art scene, and then got onto Google and basically emailed every art gallery on the list. My email included photos and my resume.

After well over a hundred emails (all unanswered by the way), I learned that I needed some help and eventually received the advice I needed. Here is that advice:

1) Think of the cities most visited by tourists or art seekers.

2) Google the art galleries on your list and look at every gallery website with this in mind: “Would my work fit well in this gallery? If say, you do minimalist abstract work and the gallery is in Cody, Wyoming and carries all cowboy portraits, uh…pass that one up”. This is really important. You’ll make yourself look like a fool if you don’t do your research. Contact only galleries in which you work would look “at home” in.

“…Would my work fit into this gallery?”

I regularly get people emailing me asking if they can get into my gallery. Had they actually done their homework, they’d see that I do not have a “gallery” at all per se. I have an open art studio (a place where artwork is produced and sold by the artist). Had the inquirer taken just a moment to look at my website, they’d realize this. When an artist doesn’t do proper research, it just makes them look ridiculous. Trust me…this is probably why I received no responses from all the art galleries I emailed back in the day.

3) Ideally, next, you need to take a road trip and actually VISIT the art galleries in one of the towns you’ve selected. Just pick one town/city and work on that one first. You’re not going to be able to fill twenty art galleries with your work, so don’t bother covering the entire country. Look at one city at a time. When you’re visiting, greet the curator/gallery owner and just browse through, taking your time looking at the artwork. At this point, imagine you’re a perspective art buyer, so pay close attention to the vibe you pick up entering and wondering around. Were you completely ignored when you entered? Not good. Are you followed around and hounded? Not good. I wouldn’t bother pursuing the gallery if they don’t treat visitors with respect. But then if all goes well, ask the person at the desk if you could make an appointment to talk to the manager and get info on their policy regarding the addition of new artists. Asking for an appointment immediately communicates that you respect their time. Respect is good. Then when you meet with the owner/manager, ask them what the process is and how you might be considered as one of the artists they represent. Do NOT walk in with your paintings under your arms. Do NOT scroll through the photos on your phone to wow them. Trust me. They have a policy in place. Find out what that policy is and follow it. Again, that shows respect AND it actually gets your work considered.

I had a gallery owner friend in Asheville years ago, and she said she recieved emails from artists wanting gallery representation every day, literally over a hundred emails a week. She said she just deletes them all. That is because there was an intake policy in place (actually stated on her gallery website) and that the policy was not followed. Do you homework.

Follow this advice, and that will at least help. And it will definitely mean you won’t have to email hundreds of art galleries like I did initially. Be smart.

Question 8: "Do you advertise?"

In my blog list of twelve questions I would suggest an aspiring full time artist ask an already full time artist, we have come to the question of advertising…”Do you advertise? If so, what seems to have worked well for you and what hasn't? What percent of your budget goes to advertising?”

The issue of an artist advertising is so tricky. Here is why…The only way you’ll sell your work is for people to see it, right? How will “Joe Public” see your work and then (maybe) buy your painting? Maybe he’ll scroll through Popular Mechanics magazine and see your ad, and voila! A big sale. Well that was easy.

Except it doesn’t work that way. How many people looking through Popular Mechanics are interested in the latest mechanical gizmos AND maybe fine art. I’m not saying those people aren’t out there, I’m just suggesting that you have to determine who your clients are out there (your demographic) and figure out how to reach them.

“Who is your demographic?”

When I was brand new to the professional artist career, I advertised in local art magazines. It cost hundreds and hundreds of dollars and here’s the thing…No one EVER came into my studio and said, “Oh, I saw your ad in ______ magazine and I just HAD to come and see your artwork for myself.” That literally never happened and SO, I never ever had any clue at all whether or not my career was positively affected by advertising. All I can say is that I’m selling more artwork now (I basically don’t advertise now) than I was back in the day when I felt like my career might crumble if I didn’t advertise.

Ahhhh, so the sage advice is this: DON’T ADVERTISE, right? Wrong. See, because I am part of a collective of hundreds of artists in Asheville, we (as a group) advertise in local magazines around the country in locations where a lot of Asheville tourists are coming from. My dues to the River Arts District Artists goes to help fund that advertising. So the advertising I’m doing doesn’t just affect me, it affects the district. But if people who visit Asheville want to make sure they check out the River Arts District, then I stand to benefit. I do have a listing on an Asheville tourism website (RomanticAsheville.com) but that’s it.

So it’s not that I’m such an awesome artist that I don’t have to advertise. I happen to be a part of an awesome group of artists in an awesome tourist oriented town and WE do the advertising together. That’s one of the very biggest perks of being an artist here, but I would think that same model could be adopted anywhere artists are. If you live in Cincinnati, find the other artists around you and advertise together. It works for us here in Asheville, and although we like to think we are so unique, I doubt that’s the case. We’re just running with a good idea and that same idea could work anywhere I’d think.

The other thing I would totally stay away from is the seemingly kind offers you get from people to display your work in their office space or restaurant. Here’s how that usually goes: “Hey, I have a great opportunity for you Steve! I’m opening a brand new upscale Italian restaurant in town and we would LOVE to display your work there on our walls, free of cost to you, and you can put price tags on all your work so you can sell your work from the restaurant. Think of the exposure!”

Don’t do it.

My experience with this is that if your artwork is simply decor on the wall of a restaurant, coffee shop, dentists office or office space, people don’t notice it at all. Look, when you go out to eat, have you ever asked the waiter, “Hey, I really love this potted ficus you have over here. How much is it??” You have never asked that question, have you? Be honest. No, of course not. You probably didn’t even notice the ficus in the corner because…you were there to eat food. Plain and simple. This way to “get your work out there” is a really nice way to give the restaurant owner free decor for their walls. Suggest he BUY the artwork from you and see what he says. Or tell the owner that you have a cousin who is getting married next month and you would like to suggest that he (the restaurant owner) cater it for free. “I mean, we can put your cards around on all the tables so everyone will know where that amazing food came from! Think of the exposure you’d get!”

That doesn’t work for any other profession, don’t let it happen to you.

Concluding this post, it might be good to remind you that I’d encourage any questions relating to whether to advertise and how/where to do it. If I don’t know the answer, I’ll help you find someone who does.

Question 6: "What are the positive points and negative points about having an 'open studio'?"

For someone looking make a living by selling the artwork they create, this is really a very important question to explore. It’s important to note that not all artists are cool with the idea of an “open studio”. I happen to absolutely love the idea because I absolutely love selling my paintings and if I my studio door isn’t open, no one will see them and if no one sees them, no one will buy them. Let me give some background information that might be helpful to anyone considering having art sales as their full time career.

For years, I created paintings. I couldn’t help myself. I have been an artist since I was a kid and I love painting. The thing is, you can’t just graduate art school and then send out your resume to someone that’s posted an ad on craigslist: “Wanted: Artist to create paintings. Salary commensurate to their experience. Benefits included.” That is uh…NOT how it’s done. The question of HOW to get your paintings in front of potential buyers is the question every artist out there is asking. I have found that the best answer to that question is to adopt an “open studio” model and to definitely find other artists willing to do the same thing in the same part of town you’re in.

Years ago, a metal sculptor opened a studio in a run down part of Asheville (i.e. the low rent district). Over time, more artists opened studios nearby. Once a year, they’d all open their studios to the public and they soon discovered that there was a huge public interest in not only seeing the artwork, but in meeting the artist and watching them work. Somewhere along the line, as more and more artists also opened studios nearby, they began to adopt a full-time “open studio” model. In other words, if you were visiting Asheville, you could run down to the low rent district practically any day of the year and wander into a studio, watch the artist weld, blow glass, paint, etc. and buy direct from the creator. Then they renamed the area of town “River Arts District” (because it sounded so much better than “low rent district”). Eventually, over 220 artists created studios in the district and they’ve pooled their funds for national advertising to promote the district as a tourist destination.

It worked.

Because I have a studio in Asheville, I don’t have to do the art show circuit. I don’t have time to. People from literally all over the country (and the world) explore the River Arts District in Asheville. Because of that, I have paintings hanging in homes and businesses in most of the states of the US and in England, Ireland, China and India. It’s kind of crazy.

“Because I have a studio in Asheville, I don’t have to do the art show circuit.”

So that’s the upside. The downside is that you have to be there with your door open. But to me, that’s a small price to pay for being able so easily to actually make a living doing what I’d do for free anyway! I mean, nearly everyone else I know has a job that requires them to be in an office or store or factory or whatever. Even if you telecommute and work from home, you have to actually be committed to the task your profession requires of you, so it’s really no big deal to adopt an “open studio” model and commit to being there. And especially now, I have three other artists in my studio space and they cover days I’m not in. That makes it a whole lot easier when it comes to days off or time to travel.

But the other downside (not for me, but for some) might be that if an artist has an open studio, people will watch you create what you’re doing and will be asking you questions through the whole process. If that sounds like hell to you as an artist, this is NOT the business model you should adopt. I happen to love it because I actually get to know the people who purchase my work.

So bottom line is, it depends on your personality — whether you’re okay being around people or whether you need solitude. Personally, I’ve found it’s much more “balancing” to be around people (and this is coming from an introvert), but…that’s just me. Everyone is different. But if you’re okay with people, and you can find other artists who would consider opening studios with or very nearby you…I think an open studio is absolutely the best way to actually sell your work.

I have so much more to say on this but this posting is probably long enough. If you’re interested in more information though, just post it below, and/or email me at stclaireart@gmail.com. If you’re an artist trying to make a living selling your art, I am happy to help any way I can.

New Art Gallery on the West Coast

Downtown Pleasanton, California

What a weird, unpredictable couple of weeks! I usually do not like unpredictable at all. I like planing my life as best I can. I know that’s impossible sometimes, but still…I try. But I’m so thankful that “unpredictable” isn’t always a scary thing! Let me back up and explain.

A couple weeks ago, the phone rang and I almost didn’t answer it. I totally assumed it was a robocall. Instead, it was a real live, breathing human! It turns out this guy is an artist who'd visited my studio, and in the course of our conversation, he said I should get into a gallery on the west coast; that he sells very well in a few galleries there. I explained that it’s a very difficult thing to find a gallery that fits you well when you live across the country. For example, a local gallery owner friend of mine once told me that she usually gets over a hundred artist requests for gallery representation in her email every week. She just deletes them without even reading them.

So, it turns out this complete stranger said he’d try to hook me up with a gallery he’s rep’d by in Pleasanton, California (in the Bay Area). I mean, who does that? A week later, I got a phone call from the gallery owner who had spent time looking over my website and studying my technique and…he was really interested. After he had a discussion with the gallery manager about what he thought, they sent me a contract for representation. And…I signed it. This is exciting to me for several reasons:

1) I’d love to expand my reach to the west coast.

2) I’d love a tax deductible reason to visit the west coast.

3) I was asked if I could come up with several “vineyard” themed pieces. This TOTALLY excites me. I love the way the rows of grape vines add a geometrical element to a natural landscape. A vineyard is beautiful and peaceful. This theme totally fits what I love to be painting. I can even sell the pieces in my Asheville studio (we have vineyards here too — heck, they’re kind of ubiquitous, you know?)

“…I’d love a tax deductible reason to visit the west coast.”

4) What the gallery has asked for is one large original piece and several prints. So, because of this, I’m going to venture into the world of metal prints. These are a relatively new technique of dye sublimation on a metal surface, creating awesome colors and really emphasizing contrast. I like that, because my paintings are painted on a metal surface. The reason I’ve done very, very few prints before is that compared to an original, the print on paper or canvas is just flat, dead looking. These metal prints glow. I’m excited to try them out and see how it goes. This could open up a lower price point possibility for someone that wants one of my paintings but can’t swing the price of an original.

So, I guess the moral of this story is: When the phone rings, (unless it says “United States” or “Unknown Caller”, answer the phone! You never know who’s on the other end.