Len Cutter Interview Owner of Cutter and Cutter Fine Art, Brilliance in Color, Galeria del Mar, Loves’ Art Emporium Galleries St. Augustine, Florida Host to the 24th OPA National Juried Exhibition
Q. How did you discover you wanted to sell fine art?
After operating a large gift shop, we noticed one day that the sales of small prints from local artists were outselling all other items combined. It was an easy decision and we, as a family, had roots, in that my mother was an artist as was my grandmother, both of whom were quite good. It was an exciting decision that proved to be profoundly beneficial to our family.
Q. When did you first start selling art?
Sometime between 1999 and 2000, we noticed an opportunity to broaden our list of artists and move higher than simply prints in the $25-$300 range.
Q. What is the biggest challenge in selling art today?
With three large galleries in such a small town, our challenge is discovering art collectors (both potential and veteran) and separating the wheat from the chaff of the over 4 million tourists a year who pass through the Nation’s Oldest City. We have found that the look, feel and general appearance of our galleries coupled with a sophisticated and well-trained staff is essential.
Q. How has selling art changed in the last 10 years?
That is an easy one. In the past, our print programs were somewhat connected with an opportunity to sell the originals of those artist. Recently, we have noticed that the brisk markets we once enjoyed, specifically the lower end, mid level and upper end markets, have congealed into one market. That one market is now seeking, in the main, Original works of Fine Art. Some of our artists still have Fine Art Prints that do quite well for us. The shift however has been crystal clear: the current American buying public seeks “only the best” and that generally means original paintings.
Q. How do you differentiate your three galleries?
That one is not so easy. Many astute observers who stroll into our three galleries recognize the similarities in our wall coverings, our pricing cards, and that we do not “crowd our walls” in a salon style hanging. Rather, we believe firmly in the “less is more” museum hanging style of presentation. As far as styles are concerned, I suppose you could say Brilliance in Color is our Classical gallery while Galeria del Mar is more of a contemporary space and Loves’ Art Emporium (where it all began), with its higher ceilings and unique entrance, features photo-realism, realism and impressionism.
Brilliance in Color Gallery
Galeria del Mar Gallery
Loves’ Art Emporium Gallery
Brilliance in Color Gallery
Galeria del Mar Gallery
Loves’ Art Emporium Gallery
Q. What has influenced the style of the three galleries?
That is a fun question. The answer is clearly our clients. Like all American businesses, we need to make money and you can bet your bottom dollar we will not long stay with artwork that is not in demand. Like all markets, the art market is driven by those who buy.
Q. What are your thoughts on ‘talent” in regards to being a successful artist?
(Success meaning artist that sells well) Well, first of all, we only represent artists who we personally enjoy. Their personalities are key but the work itself must appeal to us. You cannot sell something in which you do not believe.
Q. What are your feelings about artists selling their art online without gallery representation?
It is a free country. But here again, the market (collectors) is driving this issue. As a bricks & mortar dealer, we believe art dealers bring to the table that certain something that helps to promote longevity, name recognition and the client base that allows the artist to focus more on their creativity and not so much on the business side; which, on its face, looks very easy but, in fact, requires perpetual attention to detail and bringing artists to collectors in a professional and workmanlike manner. We create an art buying experience that cannot be replicated online.
Q. What are your thoughts on how artists should approach galleries and a career in Fine Art?
Well that is almost impossible for me or any dealer to handle. All artists are so entrenched in their own purpose, message and style, and that is as it should be. Artists can clearly benefit from a strong relationship with effective dealers. Knowing how to approach those dealers or even to have a willingness and understanding to do so is probably at the center of why some artists never find the right dealer for them. It is not easy to make these kinds of life-significant arrangements.
Q. Any thoughts that you really want artists to understand about selling fine art?
Wow…who wrote these questions? These are all great and insightful attempts to make the art business function better. Basically, “selling fine art” begins with the art itself. The paintings must be good, high quality and interesting. The colors, compositions and general ideas can be myriad, but the paintings, all of them, must appeal to the type of person that the gallery attracts. What dealer would not want to say to the artist “send me your very best”?
Q. Is there something about you and your work that you would like to share?
I am not an artist. All right, I did try oil painting in my youth and everyone said, “You’ve got it” but I knew…I don’t “got it.” Ending up as a dealer, in a life that has found me doing many diverse things, finds me filled with enthusiasm for fine art. Without that enthusiasm, I am absolutely certain that I would not, and could not, spend the rest of my days selling the work of those who truly are…the artists.
The OPA 24th Annual National Exhibition & Convention will be held in St. Augustine, Florida at Cutter & Cutter Fine Art’s Brilliance in Color Gallery April 29 – May 3, 2015. OPA member Eve Albrecht was able to chat with two of our scheduled speakers to give you some background information about them. Joe Gyurcsak is the resident artist at Blick Art Materials and Utrecht Brand. He also participates in educational programs and is the company’s technical manager as well. Scott Gellatly is the resident artist and product manager of Gamblin Artists Colors. Both gentlemen have interesting beginnings in their art careers. Read on to learn more.
Eve Albrecht
Scott Gellatly
Joe Gyurcsak
Eve Albrecht
Scott Gellatly
Joe Gyurcsak
Q: How did you discover you wanted to study and practice/teach fine art?
Scott Gellatly: Ever since I can remember, I’ve been driven to make things. This drive to make things has never stopped. It was in middle school and high school, though, that my interest in drawing and painting took hold. I took my first oil painting class during my first year of college, and that was the “where have you been all my life?” moment. The lusciousness of the paint and depth of color in oil painting had a profound effect on me…as it still does. During my college years, I quickly realized there was a difference between instructors who were passionate and skilled in sharing information with students, and there were those whose teaching careers were simply viewed as a means for them to pursue their painting. I had an opportunity to teach art before I finished my degree, and I found that I really loved sharing information with others. Luckily, I’m in position to do this still through teaching painting workshops and through my work with Gamblin.
Joe Gyurcsak: I have loved to draw since I was five or six years old. When I was twelve, my parents brought me to my first formal lessons, and this is when I caught the bug! When I was in high school, I participated in the first Adjunct High School of the Arts Program in NJ. This was the first advanced college level teaching program for a select few high school students. The students that were selected were chosen out of hundreds in a competition. I was able to go to a local college for training three times a week. This led to receiving a few scholarships to the Parsons School of Design and the School of Visual Arts in NY. After my formal studies, I became an illustrator. Then in 1990, I left that career to pursue a career in fine arts.
Q: Many people believe they must have a “talent” already before they can paint or draw. Do you believe this?
Scott: The drive to make art is more important than innate talent. Talent is something that non-artists talk about. Artists should always hone their skills, no matter what stage they are at with their art.
Joe: Talent is a small part of the equation. There are many talented people in this world, but many don’t have the burning desire to see their dreams through! Talent for an artist is defined as a vision, a need to express in word, paint, clay, music, et cetera; however, all of these still need to mature, still need to be cultivated and honed in to reach higher levels of expression.
Q: Were you already able to paint before you went to study art?
Scott: I have enough bad drawings and paintings from my early years to prove otherwise. There were paintings that I thought were successful then, but then I continued to develop my skills and broaden my knowledge of art techniques.
Joe: I was able and willing to paint before any formal studies, but the road is long and mastery just does not appear. Some days after 40 years of painting I am not able to paint, but oh, I am willing!
Q: What are your thoughts, Joe, on Learning Fine Art with Workshops?
Joe Gyurszak – Self portrait – 12×12Joe: Artists should go into a workshop like a blank slate, buy completely into the teacher’s philosophy. They should work hard, take notes, and ask too many questions. Artists should not have the goal of creating finished works of art. They should go to work things out; that is why it is called a workshop. It is important to absorb the lessons. Take what is of value to you; apply it, and when you are ready for the next level or workshop, you will know. Otherwise, keep on working it out until you are ready to move on to a higher level.
Q: At what point should an artist stop taking classes and workshops and develop one’s own style?
Scott: I believe “style” is a culmination of artist’s conscious and subconscious actions while painting. Those conscious elements include for example, the choice of subject matter or color palette. An artist’s propensity to apply paint in a certain way (the artist’s handwriting) is less conscious. An artist can always pick up tips from other artists, through classes, workshops, or simply studies others’ work. But, these newfound tips on painting will only affect the conscious actions of painting.
Joe: Never! In his eighties, Cezanne was found in a museum sketching some sculptures. An experienced artist came up to him and asked him what he was doing. Cezanne replied, “I am trying to learn to draw.”
Q: Which artists or workshops have influenced your painting style and technique most?
Scott: J.M. W. Turner, Wolf Kahn, and Stuart Shils; specifically, his Irish series in the late 90’s.
Joe: Just the living artists: my high school art teachers, C.W. Mundy, Quang Ho, Richard Schmid, John Howard Sanden and many more. All of these people have enlightened me in some way shape or form, and I am ever grateful for their support.
Q: How did you start to earn money with your art?
Scott: I’ve been fortunate to have had gallery representation since being out of school for only a few years. Since this time, I’ve made a career out of selling my work, teaching and working in the art material industry.
Joe: At seventeen years old, my brother and I ran an airbrush business for t-shirts and cars. At twenty-three, I received my first illustration job from CBS Records by entering a national competition. I was commissioned to do the “Footloose” single by Kenny Loggins. The rest is history.
Q: How has your painting practice changed since you started working for Gamblin and Dick Blick respectively?
Scott: Working for Gamblin has had a profound impact on my painting. My early exposure to the information that Gamblin provided filled a number of gaps in my education. For instance, Robert Gamblin wrote a terrific newsletter on the differences between the indirect painting techniques of the Classical era and the direct painting techniques of the Impressionists, based on the development of pigments in the 19th century. This made me think differently about how to create a painting structure as well as the optical possibilities of oil painting. As my role with Gamblin has evolved over the years, I’ve taken on a central role in product development – both with color and with painting mediums. A big part of this work is to paint with these materials in my studio to perfect their performance and working properties.
Joe: My career with Dick Blick started as the resident artist and then as brand manager for the Utrecht brand for the last seventeen years. My painting practice hasn’t changed, but my career has allowed me to continue to grow and experience unbelievable opportunities. I have been blessed to travel the world and meet so many great artists all of which has inspired me.
Q: Scott, can you describe what a typical day/week looks like in your artist life?
Scott Gellatly – Prelude to Spring – 12×12 – Oil on panelScott: I put in 40+ hours a week at the Gamblin factory. After work, I spend time with my family (which is a glorified way to say that I run my kids to sport practices and throw dinner together). Only after my kids’ bedtime, do I get some time in my studio. Luckily, my family and Gamblin are incredibly supportive of my painting career, so I do get time to paint when I need it.
Q: What are your thoughts on a career in fine art and your work style?
Joe: I spend 30 to 55 hours a week at Dick Blick: Thirty percent with R&D, fifteen percent on Regulatory, fifteen percent with QC, and thirty percent at lectures and painting demos throughout the US. I paint anywhere from one to four hours a day. I work out by doing Kick Boxing three days a week. God & Family first, then everything else falls into place
Q: How do you keep yourself focused between your job, painting and home life?
Scott: It’s not easy, but my secret is to book shows. Whether it is for a solo exhibition or a group show, having a deadline to work against is the best motivator. This is my only advice for artists starting out – book a show. It doesn’t matter if it is in a gallery or a coffee shop. Having a show on the calendar forces you to produce a body of work, think about the cohesiveness of the work, and most importantly move past that body of work once the show has been completed. This is a terrific way to keep your work moving forward.
Joe: I stay organized by making lists and setting priorities. It is important for artists to do the following: Plan your work and work your plan. Always seek the higher power in life to then activate your dreams and then never stop dreaming. Take care of your mental, spiritual and physical being; then you can do anything and everything. I want people to know that I am not just Utrecht Joe. I am a fully dedicated artist whose life and heart is in this 100 percent, and I want to share and give back for all the blessings bestowed upon me.
The OPA Twenty-Fourth Annual National Exhibition in St. Augustine is showcasing several of today’s most successful artists. Expect their demos to be motivating. Demos persuade us to experiment, to change, and to energize our own practice. Further, they teach us new ways to think and see, modify our techniques, and remind us of methods we may have forgotten or never learned. Just breathing new air sometimes, being inspired by accomplished and like-minded artists helps move us to reach for the next level.
Make it your mission to discover a few of their secrets. Look for those “ah-has” gleaned from off-handed suggestions, quick strokes of cadmium, or flying jokes. What to Expect:
Friday May 1st – 10: 00 a.m. – Noon
Albin Veselka OPA: Portrait from Life
Albin plans to paint an oil portrait sketch from life. In describing what motivates him Albin says, “I paint because I am constantly enthralled with what the visual world offers. I try to reflect what that feels like to me through my art in as honest a way that I can.” Albin wants to share with us a training tool he calls “squint and believe”; more on that at the demo.
Takeaway tip: “In the work I want to create, there is a crucial duality of representing accurately and saying something compelling that is my own,” says Albin. “I think the best way to find the balance between those two ideas is painting from life constantly under the limitations of time that necessitates selectively eliminating the superfluous. Painting from life makes sure your reference is as accurate as possible and having time limits requires you to choose what is important to you and what isn’t. Another important step that helps you to insert yourself into your work is to rework the painting later without any reference; this further imposes your intent on the painting.”
Friday May 1st – 10: 00 a.m. – Noon
Marc Hanson OPA: Landscape Mood
Marc’s landscape demo will show us how he approaches mood and atmosphere. He hopes to offer an insight into the way he handles paint, and says he looks forward to the demo because he loves the interaction while he paints. “I am a landscape artist at the core,” says Marc. “I like to paint the mood of the atmosphere; the emotional side of the landscape.” The visual beauty of the outdoor world drives Marc as an artist. “It’s what trips my trigger and causes me to get out and let that work within me as I paint along. I am addicted to that investigation and to trying to put down on paper or canvas how I react to it.”
Takeaway tip: Marc encourages us all to paint as much as we possibly can from life, and paint with a purpose when we do.
Friday May 1st – 10: 00 a.m. – Noon
Morgan Samuel Price
Morgan is planning to paint a landscape and interact with the audience about her process. She is known for her dramatic plein air paintings of street scenes and wild places. Local Florida rivers and jungle are favorite subjects. “Just as the artists of the past have shared their knowledge, I too, have always enjoyed sharing mine,” says Morgan. “I am looking forward to the venue.”
Takeaway Tip: The darkest dark in the light is never as dark as the darkest dark in the dark nor is the lightest light in the dark as light as the lightest light in the light!
Friday May 1st – 10: 00 a.m. – Noon
Dominic Avant
Dominic will paint a figure near the water, working from a photo reference. He’ll discuss how to describe form in the figure and color temperatures, and will answer questions as they are presented. Dominic paints figures in natural moments, and hopes his demo will help viewers gain an insight into his process. “I’d like to show several aspects of my painting,” says Dominic. “For instance, I’ll focus on my color palette, capturing light to describe form on figure, color harmony, and handling water.”
Takeaway Tip: After blocking in the painting, use a direct painting approach and fewer mediums if any.
Friday May 1st – 1:00 p.m. to 3:00 p.m.
Barbara Carter: Repairing Frames
An expert in the traditional art of water gilding picture frames, Barbara’s demo will concentrate on repairing frames damaged from gallery wear and tear. “Attendees will hopefully walk away with enough info to do some repairs for themselves,” says Barbara. “I’ll answer questions; give a list of sources, materials and recipes I use; and show them how to touch up frames to make them reusable.” Barbara will show us ways to bring damaged metal and gold leaf frames back to life. She will also show how she places washes on frame panels that are too bright and show techniques of water gilding.
Saturday May 2nd – 3:00 p.m. – 5:30 p.m.
Louis Escobedo OPA: Still Life and Light
Louis will create a still life and talk about how he sees color and captures emotion. “The audience often finds the way I construct a painting interesting, especially how it comes together after seeing the effect of light in the painting,” says Louis. He especially encourages us to pay attention to the light on the objects we paint since light is lost when contrasts are forgotten. He also mentions that values are very important and you should consider them before you let color come out to play.
Takeaway tip: “Each painting is a different set of problems. That’s why I’m just as happy whether painting a playful still life of fruit and vegetables, abandoned cars in a field, or a peaceful water scene. Whatever the subject, I’m looking for some element and a way to portray it. There needs to be something emotionally strong in the painting. I strive to evoke an emotional response in both myself and my audience. ”
Sunday May 3rd – 9:30 a.m. – Noon
Don Demers: Seascape Experience
Known for his maritime themes and seascapes, Don Demers plans to paint a crashing surf. He will show the combination of the structure of a seascape and the strict methodology he employs in painting one. Don says that painting is much more than just the visual. “For all of us who paint, it’s out of some internal need to explain and exalt the world around us. For me, it’s not just about the visuals of the subject. It’s also about trying to capture a human experience. ”
Takeaway tip: “Plan your painting carefully and with clear artistic intention. There is a great technical prerequisite that you are required to have before you can begin to use your artistic voice. You have to know how to do it, before you can know why you’re doing it.”
Born in Guangzhou, China in 1952, Huihan Liu has become a master signature member of both the Oil Painters of America, and the American Impressionist Society and an artist signature member of California art Club. Huihan Liu was trained in the Guangzhou Academy of Fine Art in China in 1972 and has a MFA from the Academy of Art College of San Francisco in 1989. With more than twenty years in his professional career as an illustrator, teacher, and painter, he won Best of Show Award in the Oil Painters of American Regional Exhibition in 1996. Huihan Liu’s artwork has been featured in major artist publications over the years. He is the juror of the 24th National Juried Exhibition. “Song of Spirit” by Huihan Liu OPAM Received Second Place in OPA’s 2014 Masters Only Show. What do you believe the relationship is between ‘talent’ and becoming an artist?
I believe that artistic “talent” is the passion you have about something you love to do, no matter how frustrating it is. As children, we have a natural ability to draw before we can read. Interest is a driver of motivation, and with motivation, you will discover and use your “talent”. Otherwise, if you have “talent”, but if you have no motivation to develop that interest, then talent is meaningless. I never thought that I was talented, but I loved to draw and found it was fun as a child. When I was in high school in the late 60’s, I painted many propaganda paintings. Was it difficult for you to pursue an art education in China?
It was very difficult because we had to go through a ‘family political background check’ during “Culture Revolution”, which was a time of social and political chaos in China. My father was a teacher and he had Christianity in his background. Both of these issues caused me trouble when I applied to art school. Luckily, I was accepted after a long and difficult process. How did you get to study at the Academy of Art in San Fransisco and how did this lead to further opportunities?
In 1987, I was studying for my graduate degree at my art school Guangzhou Academy of Fine Art in China. To further my graduate studies, I applied to the Academy of Art University, moved to San Francisco and graduated in 1989 with a MFA. During the one year of the practical training program, I worked as a story board artist in an advertising agency in San Francisco. I had to move back to China after the one year training program according to the student visa. However, the agency wanted me to stay because their client liked my portfolio style for the storyboard presentation. It was very complicated to get a green card to stay permanently. The agency had to advertise my job in the newspaper for several days so that any US citizen could apply. More than sixty people were interviewed, but the company still chose me because they were sure that I would make a contribution to the company and country. What were the challenges of moving to the United States to study art?
I was separated my family, my wife and son who remained in China more than a year while I studied in the US. I didn’t have any friends or family members in the US. My English was very limited. I was lucky that my wife and my son had applied for US visas and could come to stay with me during my second year of study. However, I had no problem when I finally went back to visit China was 1995. How did you start to earn money with your art?
In China, before I left, I was not represented by art galleries. I was teaching art at the Academy which was a comfortable life. In the U.S., I began selling my paintings in 1994 through galleries and was teaching. How should one develop their learning if they can’t do an MFA or an Atelier program?
It would be best to have an individual intensive study directly with a mentor who will work with the student in a specially designed program. Another option is taking workshops. It is best to take a workshop with the same teacher two times a year or once a year for about four years where the workshop is limited 10-15 students. This method is the best way for both the mentor and student to maintain a commitment and consistency in working together. If the student is always shopping around for a different workshop every year, it would be difficult to see progress. Should artists try a wide arrange of artistic style (realism/impressionism) and different mediums to develop their style/likes/dislikes?
Yes. I did this as well throughout my career. Regarding judging OPA’s 24th National Juried Exhibition, what is your procedure for judging the hundreds of paintings?
To be a judge for the awards is a challenge and difficult, like judging a sport. While there may be technical factors to evaluate, the final decision often comes down to a matter of personal opinion and taste.
To me, excellent artwork should catch my eye and make me say, “Wow!” at first glance from a distance, without hesitation or thought. If a work stops me in my tracks, I will gradually take the chance to study the painting more carefully. Generally, the extraordinary representational painting should be well-engaged, with a unique idea paired with excellent craftsmanship. It should also possess strong fundamental elements such as overall composition and color pallet, and also draw from, but not be limited by, an original interpretation by the artist. What is your advice to those that have submitted paintings for exhibitions and haven’t been accepted?
It is normal to have paintings that haven’t been accepted and it happens to me. My advice is to re-evaluate the painting if it needs be improved. If not, go on the next one, don’t be discouraged. What a typical day/week looks like in your artist life?
I am a scheduled person. I mark everything on a calendar. On average, I paint around 35 hours per week. I paint 6-8 hours a day, four days a week at home. On a major project, I will work longer. Generally, I will paint for several hours then I need to take a break. I really like to go for a walk or exercise when I take breaks. Sometimes I will stop on a painting, and chose to paint something different like a still-life. I love to paint “Plein Air”. When I return to the studio I will have a fresh eye for my work.
It is important to me to stay well balanced. Exercise is like meditation, and it is really healthy. Painting is like meditation, however, only until the point when you lose judgement because you have been working too long at one time. This gets frustrating and then you know you need to take a break, and go painting outdoors! Most importantly, hard work doesn’t equal good work. There is a right time and the right moment. Balance is everything.
Teaching is a very important part of my life and I take it very seriously. In my workshops, in addition to explaining and demonstrating the fundamentals of how I approach my painting technique, I really feel it is important that I teach students how to evaluate and judge their own paintings. You as an artist need to know how to view your paintings and see what is right and what is a problem when a teacher is not around to help. In addition, I have changed my workshop to include composition. I ask the students to bring three photo references for their future paintings ideas, and then we walk through them, learning what works and what would make the best composition. With this in hand, my students are one step closer to creating great paintings.
First of all I would like to start out by making it very clear, there is absolutely nothing wrong with being an artist who chooses NOT to turn making art into a “career.” It in no way makes them less of an artist; it only means they are not going to rely on their art to live. If you are one of those artists and you make art solely for the joy, congratulations!
Beginning-Mid-Level Career Artists
Entering exhibitions and competitions:
For the rest of us, building a career is, at the very least, time-consuming. It can also be super degrading and, at times, expensive. Someone told me once to expect a good resumé item to come in at no less than a grand. That was many years ago. I suspect by now, it costs much more than that. By this I mean the expenses incurred with membership fees, entry fees, crating fees, shipping fees, travel to the event (if you are fortunate enough to be able to attend), return shipping fees if the painting or paintings do not sell, etc. can add up quickly. At this point, you are up to several thousand dollars, and this does not take into account the time, supplies, framing, oh, and lest we forget, painting the award-winning painting! Okay. So many of you already know this part. But for anyone just entering the world of competitions, it may be tough news. Yet, entering competitions is one way to begin to build a good resumé and career. Quite frankly, it is also one of the least expensive ways to start. [Note: yes, you will be rejected from time to time and want to give up. Don’t. I say this with all honesty and humility. Pouting, making accusations, and posting your failure all over social media will get you nowhere. Try again. It is true that the very piece that did NOT get into one event, may win the top prize in another. You must learn to leave your ego out of this and continue to seek these opportunities.]
Networking:
Another way to help your career along, is to attend conventions and events that are meaningful to you. For example, you have already taken the step to belong to OPA. If you can take one trip this year, why not try to go the conference? I remember my first one. My $1200 painting was hanging next to David Leffel’s $100,000 painting. I could have tucked my tail and retreated; instead I felt a sense of “WOW. Here I am! Next to these amazing painters.” Research conferences, conventions, and other networking opportunities and set a goal to make it happen. Sometimes even more difficult than going to an event, is to leave your ego or shyness at home. As artists, many of us are introverts. I am no exception. This can manifest itself in one of two ways: arrogance or timidity. Fight both. A few public speaking, improv, or acting classes, professional coaching, or counsel, followed by rehearsing and preparing what you might say and can get you through a lot. You will not die. You will make connections and friends that will have an effect on your career for years to come. I met Quang Ho at my first OPA conference. He, in turn, has mentored me and become one of my dearest friends. We are now working together on projects. Whether you mean to or not, the people with whom you connect can help build your career. This is in no way using their goodness. It is just a product of it. Chances are you will in turn help their careers as well.
Mid-Level-Upper-Level Career Artists
First of all, you should STILL be doing those things listed above. Now, you will add…
Marketing and Advertising:
Go ahead and say it with me… marketing. See, it isn’t an ugly word at all. Some people cringe when they hear it, but the truth is that you produce a product. It is one that is near and dear to your soul, but it is still a product to the mere mortals (buyers) of the world, and it has to be marketed. No one is going to accidentally stumble onto your front porch looking for a great piece of art. Marketing can mean a lot of things. For instance, if you are putting your work on facebook, twitter, pinterest, blog, or any other social media, you are marketing. You are just choosing the free route which doesn’t seem quite as icky somehow. The question is, are you making those efforts on a whim or do you have a plan? Look into the insights of what works and what does not, which types of posts are getting the best response, and what subjects your followers most want to hear about. Follow the advice of experts to make “free” marketing work for you.
There will come a time, mid-level career, that you may find it a good idea to up your game with some paid marketing. You need to know that you are ready for such a leap. One of the best ways to determine that, is to answer these simple questions:
Do I paint regularly and produce a steady stream of work?
Is my work consistent in style? (We will keep growing, but your work should look like YOURS, not your instructor’s
Can I commit to at least a year of paid advertising?
Paid advertising can be in the form of print ads or banner ads in publications, direct mail, or whatever. The hard truth is that it will cost some money to do these things. This is money you don’t have, after all, because you are an artist building a career. But like a lot of things, consistency will prove that it will pay for itself over time. When I began print advertising in a meaningful way (by that I mean, not just once here or there to get editorial coverage), I was absolutely in no position financially to do it. You’re thinking, yeah, but you weren’t as broke as I am. Yes. I was. The point is, I did it anyway and lived on faith and water for a very long time. Only you know your responsibilities and can make this decision. After about 8 months of consistently advertising, I noticed things changing. collectors, gallery owners, event organizers, and other artists, do not always distinguish between paid ads and editorial content. This is great news! As your ads show up every month, the lines become more and more blurred. All people really remember, is that your name is in the magazines “all the time.” Name recognition builds clout. Clout builds career.
You-Think-You’ve-Made-It Level Artists
All of the above and then some:
Sorry to tell you this, but the stakes are even higher for you now. There are still important exhibitions in which you will want your work. They may be on the museum-level and/or high-end-private-collector-level. It is also a fair idea to be a leader by continuing to exhibit as Masters of those core groups and organizations that helped “make” your career in the first place. This seems more important than ever. While the demands are greater on you, so is your responsibility. Look to the artists who still do this. They are revered. The others who allowed ego to make decisions for them are getting lost in the pile. If you are at the top of the heap, congratulations. You are now one of the artists whose name may show up in the history books. For you, public appearances, lectures, community involvement, and mentoring will solidify this, and you may well be remembered for many generations to come. You will leave a legacy behind and your children and grandchildren will reap many benefits!
As for conventions, mailings, and advertising, you should still do those. (Remember, someone else is eager to take your place if you do not.) They are just directed differently now. Now you are doing this because it keeps your name fresh among the newer converts to this business, the go-getter types who are making the calls, getting the high-dollar collectors who are talking about your sales. The museum directors, the top 1% of collectors who want to visit your private studio, and buy your books that are now worth several hundred dollars, are watching and guess what, they get magazine subscriptions too. They watch TedTalks and CBS Sunday Morning. Your name has to stay on the tip of their tongues. Now that you can offer only a few pieces on the market each year and have some guaranteed collectors ready to buy, your calling is a higher one. Use it for good.
A Few Other Quick tips:
Snail mail – Send handwritten notes to would-be workshop attendees and art buyers. People love a personal touch.
Become an expert – on a topic at which you are passionate. People will come to you for lectures and answers.
Get your art seen – If you are at “museum exhibition” level, great. If you are not but you paint lovely dog portraits, ask your veterinarian if you can hang your work there. Put ego aside and just do it. It’s a start.
Start a blog (or wipe the dust off of that old one you started) – Don’t make it all about You, You, You. Be giving and sharing of your information.
Support your friends – Going to art openings for your friends is a great way to learn how things work, meet others in the business, and maybe even find a great gallery. Just remember, it is THEIR night. Do not approach a gallery owner during someone else’s moment to shine.
Email – Begin an email campaign. Start your list of people with a few or hundreds, but start it. (By the way, NEVER add anyone to your list without permission.) Then, email people on the list in a very personabe way. Sure, send them announcements about all of your great trips and accomplishments, but also send them stories and helpful tips and links (like one to that last blog post you finally got around to doing).
Social media – Free. Use it. Don’t abuse it. You do not want to shove your news down everyone’s throat, but remember that most things must be posted more than once, in different groups, and at different times of the day. If you feel you are already doing too much of this, enlist someone else to “brag” on your behalf and tag you.
Volunteer for an Organization – So much good can come from being part of an art organization. By default, your name is in front of people all of the time. There are many great artists in positions in organizations but there are also many who are, perhaps, not as great yet. If your name is in a publication as a leader in an organization, the assumption is that you are a professional, good at what you do, and everyone should know and respect you.
Set goals – and I should add, WRITE THEM DOWN. Goals keep you on track. These should certainly be artistic goals, but you should also write career goals. Make them just beyond what you think you can actually reach in a specific period of time. On April Fool’s Day in 2005, I became a full-time painter. I gave myself many goals. One of them was for where I wanted to be in 10 years. Happy anniversary to me! But I didn’t stop making goals all along the way. Things change; your goals change. Write them all down. Make them happen. If you don’t realize a goal in the specified time frame, reevaluate what you did or what you might have done differently or even if the goal was totally unattainable in the first place. Example: Paint en plein air on the Mars.
More realistic goal: meet a real astronaut who, by the way, happens to also be an artist. (Seriously, look up Alan Bean. Send him a note and tell him I asked you to. He will get a kick out of it).
So what are you waiting for? No matter where you are in building your career, I have given you something to do. Go do it!
With three large galleries in such a small town, our challenge is discovering art collectors (both potential and veteran) and separating the wheat from the chaff of the over 4 million tourists a year who pass through the Nation’s Oldest City. We have found that the look, feel and general appearance of our galleries coupled with a sophisticated and well-trained staff is essential.
That is an easy one. In the past, our print programs were somewhat connected with an opportunity to sell the originals of those artist. Recently, we have noticed that the brisk markets we once enjoyed, specifically the lower end, mid level and upper end markets, have congealed into one market. That one market is now seeking, in the main, Original works of Fine Art. Some of our artists still have Fine Art Prints that do quite well for us. The shift however has been crystal clear: the current American buying public seeks “only the best” and that generally means original paintings.
It is a free country. But here again, the market (collectors) is driving this issue. As a bricks & mortar dealer, we believe art dealers bring to the table that certain something that helps to promote longevity, name recognition and the client base that allows the artist to focus more on their creativity and not so much on the business side; which, on its face, looks very easy but, in fact, requires perpetual attention to detail and bringing artists to collectors in a professional and workmanlike manner. We create an art buying experience that cannot be replicated online.
I am not an artist. All right, I did try oil painting in my youth and everyone said, “You’ve got it” but I knew…I don’t “got it.” Ending up as a dealer, in a life that has found me doing many diverse things, finds me filled with enthusiasm for fine art. Without that enthusiasm, I am absolutely certain that I would not, and could not, spend the rest of my days selling the work of those who truly are…the artists.
