Tips for painters new to the market
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 just about making money off your passion.
It’s not about feeling important, quitting your day job or the validation of being a “real artist”.
It’s knowing that someone loves your work enough to part with their hard-earned dough.
So much that they want to live with it every day and for a 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 some artists, I once had conflicting feelings 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.
All this madness was discouraging buyers who sensed something wasn’t quite right.
At bottom was the core problem which eventually surfaced and then resolved itself, the same problem that I sometimes see in other artists:
Thinking too much of the work as yours.
Thinking too much of yourself as the artist.
Thinking too much about yourself.
Which isn’t just a career problem. It’s THE problem.
Putting yourself at the center of your art invites 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 considering 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 simply helped the work along.
Which is not the same as indifference. It’s leaving the ego and its power to sabotage just about everything we 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.
Same for book titles such as such as How to Survive as an Artist. The hell with 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 to feeding pigeons in a park. Approach and they’ll scatter; earn their trust with something they want and watch them swarm.
How then, do you reach out to collectors without talking too much about yourself?
The short answer is, you don’t.
Just as most young people are looking to meet someone, most avid collectors are on the lookout, consciously or not, for great art.
The trick is to get them to discover your art and not someone else’s.
Pay attention to the word discover. As in the feeling that they’ve found a hidden treasure that the rest of the world hasn’t yet.
If you’re too self-involved or aggressive you’ll turn them off.
If you’re too modest you’ll devalue your work.
And while the following is hardly an exhaustive list, in my experience, these are the things that collectors respond to most:
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 because they don’t know this will usually respond to the subject.
This can lure you into painting “desirable” themes, but it’s the one area where you should listen only to yourself.
So don’t follow other people’s tastes. Lead with your feelings.
If your heart is into beautiful landscapes, still-lifes, or portraits, then 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.
I always come back to 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 Bently James, Pink bathroom 2, oil on masonite, 12 x 12 in.
The flaky artist stereotype can work in your favor if you’re committed to being the opposite. (OK, treating your art like a business applies here.)
This means being supremely well-organized. Collectors tend to be ambitious types who admire ambition in others.
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.
Presenting yourself as a professional, and not another (yawn) rebel, won’t make you less creative and it doesn’t make you a sellout.
It just makes buying your work feel safer and a whole lot easier. And let me just repeat that I’ve made every mistake mentioned in this post, a whole bunch of times.
A Unique Style
I’m torn on this one.
Having an unmistakable style, or branding, will probably get you noticed. But it won’t make you great.
Because all your energy will be channeled into being different, not better.
And with so many artists out there trying to be different, different is not so different. 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
The Artist, AKA You
Like it or not, your personality plays a major role in how quickly your work moves out of the studio. So you have to get yourself out of the studio or invite folks in.
Don’t assume that phenomenal art will sell itself or that a gallery will do it all for you. Collectors want to attach a face they know and like to their investment.
They like to talk about “their” artist when showing their prize off to guests so give them something meaningful to say.
When you meet with collectors
Relax; give them your full your attention. Don’t fidget as you look around the room at your own stuff. Explain your work without over-explaining.
Show that you’re pleased but not desperate about their owning it. The simple phrase, This is my job always scores big points. It shows commitment.
Leaving them alone in the studio for a few minutes, “Excuse me while I check on something?” allows them to focus and take ownership.
Set your bottom line price and stick to it. It’s fine 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 at once. Or second, third and fourth ones. You can start at any age; you can be as commercial or non-commercial as you like.
Too many artists sound apologetic for having full-time jobs. News flash; earning 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 now have professional blogging careers….
All we artists need is some confidence, imagination, and to the point of this post, empathy for our clients.