Artist Studio: Client Expectations

You are psyched up. You have seen this brilliant artist’s work at a gallery. You know deep down that this is just the artist for you. Before calling the artist and making an appointment, you had better check up on the artist.

Check to see if the artist has a website. If he/she does, look carefully at it. Particularly if it is sculpture, check to see what all the views are on the different sculptures. See how the different sides integrate together. Next, see if the artist has several different styles or mediums that they work in. If they do work in different styles or mediums, familiarize yourself with them. Decide right then if you want to see these extra styles. Getting to the artists studio and finding out that more styles are available is great but can be tiring. Nicely negotiating not to see these “wonderful other styles” is tiring. Better to be clear from the start about what you are looking for. Beside you want to save your attention and design judgment for the style you are really interested in.

For example, an apocryphal story has it that Picasso usually painted in two different styles. He was said to paint in one style in the morning on a canvas and in another style on a different canvas in the afternoon. So do check up on the artist. You may find that the style that the artist is working in, that is not in the gallery, is more interesting than what was in the gallery.

Also once you get to the artist studio, be prepared for some difference in style and color than what you had seen previously at the gallery. This bit of mystery is one of the wonderful aspects of visiting an artist studio. Above all enjoy the visit. Take time to get to know the artist. They really are not that different from you.

copyright 2007 Carl Wright

Expectations When Visiting an Artists Gallery.

Managing a sale of art versus art-seeing expectations

There are two viewpoints that are at contretemps when it comes to visiting an artists studio/gallery. The artists and the clients. Unfortunately both camps have to get over their pre-conceived notations of what is to go on. That does not mean that you can‘t have those thoughts – just that the thoughts have to be tempered with reality.

For the artist the client visit will be objective and to the point. The artist thoughts are that all visits are going to lead to quick sales. In addition, the client is, or should be, focusing solely on the art in the room or wants to discuss a commission today and give the artist a down payment to get the process started. The thing to be avoided is the client speculating or doing “blue sky thinking”. This burns up the artist’s creative time. Unfortunately for the artist, he has been surrounded by the art for a while and knows it cold. He is familiar with all the nuances and details. The artist just knows, from his point of view, what the best piece is and that the client should be happy with the artists decision and buy the artwork.

From the client point of view, all of the above could not be further from the truth. The client is coming to see the art – yes, but and this is a big but, not necessarily to buy. Above all the client wants to browse the art, discuss the motivation behind the making of it, engage in some small talk, almost anything to get away from a quick commitment/buy. The client does not want to be rushed into a quick decision, particularly if this is the first visit to the artist’s studio/gallery. Occasionally, there is also the expectation that the artist’s work that the client saw elsewhere has now taken a radically different course either in design, subject matter, color, etc. So there is bound to be some conflict here.

The key is to understand that each side – the artist and the client - both have valid points of view and that their mutual destination is the same. Eventually the client/artist situation will work itself out – though from personal experience – never in the artist’s time frame. The artist always wants it quicker.

Visiting an artists studio for better pricing

Some Clients visit artists studios to, in their mind, receive better pricing. Some clients, and to be honest some artists, buy into the notion that the artist can sell art cheaper through their studio/gallery than through their gallery representation. Some clients actually befriend artists to get their “artist friend” to make them a piece of art. There is a reason artists sell through galleries – that is so that they do not have to invest in the time and money to meet and greet clients on their turf. This frees up the artist to produce work to supply his/her gallery network. This can also be seen as profit for the artist. All businesses like profit.

Most times the client well understands that they are taking advantage of the artist. The client also does not care that the artist, by selling his work at a wholesale price, is undermining his galleries. To the client, this is a one time transaction and a good deal. The artist though, has driven a stake in the gallery/artist trusting relationship that is so necessary to sell art. No wonder galleries are so leery of artists selling their work independent of the gallery.

When artists have their own stand-alone gallery, the artwork prices should also be exactly what their galleries sell work for. Clients in this instance think that since the artists gallery is not on prime real estate that they should pay less. To turn the tables a little bit, if the client was in the artists position, should they lower their price? Just because the overhead component is less than a typical gallery do you use bargain basement pricing for a limited edition product? Not in conventional economics and not in a real world scenario.

copyright 2007 by Carl Wright

Visiting an Artist’s Studio/Gallery

The Zen of the Artist's Studio/Gallery

At some time or another most people would like to visit an artist’s studio, if nothing else to see how another profession works. This is understandable since a lot of jobs are seen as routine and boring. But with Art, (break out the soft lyrical music, the soft-focus lens, and the dreamy voiced narrator) it’s different – or at least the vast majority of people think so. Even my brother thinks that.

Full-time serious artists are like any other business person. They must make money, and a profit, to pay for their mortgages, new tools, supplies, kid’s education, etc. The typical artist does not have a stipend or money from a rich parent to endlessly dawdle over a particular project. It may seem like it, but they do not – trust me. As an artist you have to earn your way, just like any other business person.

Full-time artists for the most part have a full-time dedicated space that they work in. It is easier for them not to set up and break down their studio day after day. The setup/break down routine is a disruption to the process of getting started and proceeding with the work for the day.

With a full-time studio, comes a certain form of organization for the artist. This style of organization usually does not work well for the visiting patron who is used to seeing a completely hygienic selling space. The typical client – that we usually see – is one that has an aversion to mess, clutter, and loose organization.

Importance of an Appointment

To see a client requires the artist to make the studio presentable, so that the organization of the studio is not a distraction. I am not talking about day-in day-out maintenance of sweeping the floors, vacuuming, washing brushes etc. that is taken for granted. Putting away all the normally used tools of the trade, arranging the artwork on the walls and pedestals tastefully, putting out fresh flowers, leaving some art magazines, that mention you, carelessly left open to that page, etc. is the name of the game. As an artist, the job is to make it easy for the client to buy, by making it appear that you work effortlessly.

That is why it is important to call for an appointment. The client does not want to be embarrassed to see the artist in their less than immaculate studio. The artist does not want to be embarrassed by the clutter and what the client infers from the mess of the studio. Let’s not talk about the mess on the artist from working at their medium. Without an appointment this is a lose/lose situation.

Artist Gallery Solution?

There is also the case of an artist(s) having a gallery space on their property, like we do. Aha, this is the answer to the problem you think. Alas no. To properly take care of a gallery requires a person there staffing it full time. Yes the artist could do their art to some degree, but not with full concentration. Also this opens the artist up to client questions like: “Oh – do you give lessons? That looks easy! Do you get paid for that? Why do you paint/carve like that – that’s wrong!”. The artist’s time gets taken up while other clients, possibly paying clients, are slipping out the door. As the saying goes Been There-Done That.

One solution that we also have tried, is to have me greet all the customers who come up and accompany them into the door. Looking at it from the customer’s angle is instructive though. Since I sculpt with power and pneumatic tools I am usually covered with a fine coating of dust that leaves a cloud behind me as I walk. Think of PigPen in the Charlie Brown comic strip Peanuts.

Imagine a nicely dressed – not overly dressed- couple out for a leisurely weekend. They want to see the local artists – since a lot live around the area – and come up to our gallery without an appointment. This 6’4” man comes out, dressed in jeans and flannel shirt covered head to foot in a gray dust wearing a respirator mask and ear protectors. He looks like an escapee from a Sci-Fi movie of renegade oversized bugs. This is not a good first impression. The client will worry about getting filthy just from being within 5 foot of this creature. This artist look is also not conducive to getting top dollar for the artwork. All the while, the client is looking for a graceful way to get away without being condescending or judgmental. Even if the artist manages to get the clients in the door of the gallery, the client’s overwhelming urge to leave colors their entire visit and subsequent encounters.

Now envision the same couple but met by someone who is cleanly dressed, and not overwhelmed with dirt. Naturally the whole encounter will be better, some art can be purchased safely, and the couple are not feeling threatened. See what a difference an appointment can make? The difference between a one-time visit with no money changing hands and the possibility of a sale and the begining of a long-term relationship.

copyright 2007 Carl Wright

Small Efforts = Large Benefits

A Stellar Idea at Art Shows

In March of this year Jody and I were two of 12 resident artists at a grand opening of an art gallery. Being one of 12 artists that actually had their art hanging in the gallery was quite a thrill. Rolling up in a limo (the gallery owner’s idea) was truly fun. Got to know what a rock star feels like rolling up to an event. The gallery doors opened after we disembarked from the limo, letting the line of people that coursed down the block in for their first peek .

I was worried that the crush of clients, in the gallery, would prevent the clients from knowing who the artists were. Not to fear, all the artists were wearing either a boutonniere or a corsage. Low key but very classy. Made the artists easy to identify so the guests did not have to feel foolish knowing if they were really talking to an artist.

Sometimes small items make all the difference in making a client feel comfortable.

About RSVP’s for a Show

In a recent show, an RSVP was requested for guests who planned to attend. Not many guests bothered to RSVP but lots of clients showed up. This caused some problems beforehand and during the show.

Beforehand, since so few people had RSVPed, there were some potentially sour moments between the gallery owner and the artist involved.

Both the gallery owner and the artist harbored thoughts that the other had not done as good a job of mailing invitations or pumping the publicity for the show. This is a problem since the gallery/artist relationship is based on trust to a large degree.

RSVP’s can also be used as an arms race. From the gallery owner’s viewpoint – the last artist show had lots of RSVP’s and the current show has very few. Means the current artist either: has no clients coming, is relying solely on the gallery’s drawing power, or the artist ranks so low in the clients mind that if there is nothing better to do they will go to his/her show. All not real comforting from the gallery owner’s view.

The artist has similar concerns. The gallery has no clients coming, they are relying solely on the artist’s mailing list, or the gallery is a very low priority for the client. Problem is that neither the gallery owner nor the artist can or should address this issue because of it’s volatility. Not a great way to engender warm fuzzy relations between a gallery owner and an artist.

During the show was the other problem. The RSVP’s give the gallery owner a feel for the logistics involved. Such as should the band be outside because a crush of people is expected? How much wine and cheese to order? Should there be police involved to direct traffic? Does the gallery owner need extra sales or cash/wrap help?

So what to do? Be kind, RSVP. Yes it does commit you to being someplace but what better way to spend a night – seeing great art by an artist that you enjoy, breaking out of the mold of staying home or going to the movies (doing different things than normal), meeting new people and renewing old friendships, and perchance buying some art. Not a bad way to spend an evening.

Your RSVP is a small item with larger ramifications. Just think, because of your thoughtfulness, you have indirectly helped make a relationship stronger (gallery owner/artist). This leads to less tension between the gallery owner and artist ergo a better evening for the client.

Such a small gift with large benefits.

copyright 2007 Carl Wright