Opus Newsletter Contributor

This is the third article in a series by Alice Rich who is contributing to both our online and printed newsletters.

Alice Rich is well known to the BC art community for her seminars on business issues facing visual artists and in her own right, as a photographer and painter. Since graduating from UBC and Emily Carr Institute of Art + Design, Alice has worked in professional roles with two major galleries, founded a publishing company, and is presently working as an artist and seminar leader. She also has extensive community involvement on Art Boards and committees.

Opus has asked Alice to share some of her insights with our readers and is co-sponsoring her new seminar series early in the New Year. These participatory seminars will include special guests representing a wide range of backgrounds from the professional art community. Alice's workshops will be open for registration starting in January at which time a fee schedule will also be available. Details on Alice's workshops are availabe at the end of this article.

To earn one's living as an artist requires both the making of art and the marketing of that art. As difficult as it may seem, the artist's road to success requires finding the resources and paths necessary to get the work into the world and keep it out there. However, once you have gained the habit of devoting two mornings or one day each week to 'marketing' it becomes easier to be more effective in your art practice.

The foundation of any artist's marketing should be research. Dedicating those hours to constructive research can be fascinating, rewarding and makes marketing a non-threatening activity. You can give yourself permission to actually devote yourself to taking time for those things that you may have known were important but have put off. Things like reading art magazines, visiting people in their studios, organizing your inventory, writing a new artist statement, compiling your submission list, making follow-up phone calls or researching the advantages/disadvantages of making giclees of your artwork. Your marketing research days or mornings are key to building your career.

What does it mean to find your "warm market"? The phrase describes a market for which one's work is a fit. But how exactly does an artist find the warm markets? Where does one look and how does one recognize these markets? Again, research is the answer, when word-of-mouth networking or manifestation on a spiritual level falls short. Someone may see the right place for you and pass on the name, but research allows you to make the most of that contact or lead. Before following up, some investigation into the opportunity will help you know what you may be walking into, and to make the most of it. For anyone with a healthy curiosity, as most artists possess, some healthy information gathering or espionage can be fun, while at the same time taking the sting out of the entrance. The best sales people in any field are often those who take the research time to learn about their quarry, giving them points in common to address on meeting.

In selecting galleries or other organizations to approach, your research in advance will help you minimize rejection by finding the most appropriate gallery or organization for your work. Compile an initial list of those galleries for which you believe your style of work would be most suitable. You will refine and focus this list as you gather information about the galleries. The warm market grows from this groundwork on your part. As you narrow your focus to people most likely to share an interest in your body of work, some of them will express interest in your work and become your warm market.

Your research will suggest new ideas, places and opportunities to approach but will also cull out many wasteful false starts. In this context it is preparation. Just as preparing the ground of a canvas provides the basis for a good painting, preparing for a submission, a gallery meeting or a meeting with a prospect, provides the basis for a productive meeting. Good choices cannot be made without this material. Once you have found the opportunities that closely relate to what you want and how you want your work handled, you will have a list of places to target.

There are several publications that serve as resources and can be found in bookstores and directories on the Internet, other media and newsletters. The Artist & Graphic Designer's Market, Mary Cox, editor, is a resource for artists wanting to market to greeting card companies, prints or posters. Names and addresses are listed, along with how to submit. In Vancouver, for example, one can start with Preview Magazine, the Georgia Straight, Alliance for Arts and Culture, and numerous medium specific web sites and links. To build up your web bookmark library, start with artnet.com and perform Google searches for "art in Canada" and "art magazines Canada" or for the USA as well, "art magazines".

Follow regional exhibitions, stop in to see shows of other artists, notice which artists are being shown and start to search out those venues that have appeal for you and that you believe could be interested in your work. Select a small number to approach first and frequently check their websites for information and background. Which artists do they represent? Each gallery's web site will usually provide this information along with accompanying images of artwork. The best research can come from other artists who have shown there and are presently part of their stable. You may know someone who has shown there and can share firsthand impressions with you. Get on each gallery mailing list or email list, attend openings and introduce yourself to the gallery staff. While being discreet is good, this is no time for temerity. Talk to the staff and let them know what you do, show some appreciation for their selections and shows, space, etc.

There are many questions you need answered but the first is to find out in their words what kind of work they strive to show. How do they describe their mandate? What is their preference for submission format and timing? How many shows do they do a year? Do they have a standard contract with each artist? (You will want to see this contract at a later time.) If you were getting close to being accepted into a gallery or space to show your work or being commissioned for a project, or being courted by a consultant or agent, it would always be prudent to call another artist who has experience with that space, person or organization for a reference. Even if you do not know the artist, call and ask politely if they would mind sharing some of their experience in working with this organization. This can produce a flood of important information and insights. The artist may describe good and bad experiences, all of which would help you to decide to pursue the best way to approach the situation, or in the worst case, withdraw your interest.

You will ask the gallery the same questions, but firsthand experience from your peers helps enormously as you can now pre-think the situation before speaking to the gallery staff. You may feel it better to save this step until the gallery shows interest in you. Either way, you need information from a reference.

Questions to ask another artist willing to share his or her experience (as colleagues we should all be open to that camaraderie): Did you sign a contract with them? For how long? Do they have an extensive mailing list or do they rely on you to bring in your own family and friends crowd? Do they pay for the opening? Do they pay for the mailing? How else do they promote the artist (e.g. publications, reviews, catalogue, direct calls, etc.)? Verify the percentage sales commission they take. How best can you work with this group? Is the artist responsible for insurance, shipping? What about framing? Any extra charges that were unexpected? And of course the big one - do they pay on time the balance due to the artist? You will know which answers work for you and which cause you discomfort. You will have gathered vital information that you will need as you decide on your approach and when the time comes to negotiate a contract. At this point the blinders come off, you have some idea of what you are walking into and how to proceed.

Mistreated or Misinformed

Too often, artists are so pleased to be accepted into a space, they forget to get these details. The next step is disappointment when the surprises start. For example, they find out too late that the price of the opening has come off the payment from sales. Don't wait to be shocked and end up feeling burned. Ask yourself, "Am I taking responsibility for my part of the deal? Have I done the homework/research necessary to satisfy myself on all of the issues before getting involved?"

If you know all the conditions and you know your expectations, why not put it into a contract and clear up any unsaid, implied or actual terms of agreement? Knowing the pertinent information, artists can set their prices accordingly, or strike a dealt to spilt costs upfront. For an opening, one might supply one's own homebrew and cheese plate. The point is, none of us like surprises. With clarity comes success and the time to take care of other needs like public relations and contacting those who have purchased or show interest in your work in the past; these people are your biggest warm market.

Marketing versus Selling

Marketing is often confused with selling. In fact, they are hugely different, despite being related. Marketing determines how the item gets to the particular outlet and how buyers are made aware of the item. Selling is the process of convincing the buyer to make a purchase from the selection offered.

Any artist's work will sell best when its location is best matched to the needs of its prospective buyer. It stands to reason that as an artist you will want to think about the end result and choose the best setting for your work. Look at the outlet. Who are its customers? Where do they live? What kind of income and educational background do they possess? Are they in a specific age group? Which gender makes the purchase?

Marketing includes the advertising, public relations, price points, business networks and locations. Sales take place when all of the above has been successfully addressed. This brings the right customer through the right door. A good established gallery will do a lot for you, but if you are in a cooperative artist run center or a new gallery or an overworked gallery you will need to jump in yourself and make sure that all of the marketing elements are in place. The artist cannot sit back and wait or hope that the important items will be done to the artist's satisfaction. Too often, necessary steps are omitted, giving another reason for the artist to feel burned and disappointed when the audience is small and the media didn't come around. One realizes too late that more promotion should have been done. In a perfect world, everything would be in place. In the real world, we must take responsibility to create our own success. A 110% effort is needed to ensure strong attendance and avoid post exhibition heartbreak.

I love the expression "The way to eat an elephant is one bite at a time". Identifying the market for one's work can be daunting, but being rewarded with market recognition is akin to finding the elephant and having a warm bite.

Contributed by Alice Rich
alice-rich@shaw.ca

Registration for Alice Rich's seminar in Vancouver starts December 5th, 2003. The seminar runs from January 23-25th, 2004 and is structured as a comprehensive program. The 3-day program is designed to help artists discover a multitude of marketing and career building ideas. Cost of the three-day Artrepreneur Seminar is $299.00 + GST.

To receive a registration form, program outline, location and other key details, contact registrar, Joanne White at alice-rich@shaw.ca or call 604-255-1010. Payment must be made upon registration by Visa or cheque. You will be sent a confirmation letter with full details.

If you require further information about the Alice Rich seminar visit her website www.alice-rich.com or email: alice-rich@shaw.ca. Please note that enrollment is limited, please register early to assure your space.

DAY 1: Friday, January 23 - 1:00pm to 6:00pm
Pulling Yourself Together and Marketing Approaches: Take an inventory of old patterns and determine your personal intent and start an action plan. This seminar reviews approaches to researching and targeting your gallery submissions.
Guests: Art Consultant and Publisher.

DAY 2: Saturday, January 24 - 9:00am to 5:00pm
Marketing Outside of Galleries: This exciting day looks at trade and marketing opportunities with publishers, design houses and on the internet. The business of art, including contracts, accounting, copyright and more, are also examined.
Guests: Professional Artist and Chartered Accountant.

DAY 3: Sunday, January 25 - 9:00am to 4:00pm
Portfolio Evaluation & Brainstorming: This final day includes critiques of participant portfolios and group focused work on strategic marketing planning and development. It will also assist you in evaluating individual business and financial needs and using the information presented.
Guests: Commercial Art Photographer and Publisher.

Please note: The presenter reserves the right to alter the presentation without notice