About Show RSVP's

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 galleryowner 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 2009 Carl Wright

Quality, Delivery times, and Client Input

Quality versus Price or Price versus Quality

After getting a wonderful commission for some artwork, there are some considerations to consider. There is quality to price issues, delivery times, and client input. First, there is a price to quality ratio. Quite a few artists I have met are of the opinion that you give sufficient quality for the price quoted. Actually the reverse is the proper way to think of the ratio. As an artist you should have a certain non-negotiable level of quality that you out into each and every piece of art that you create. That quality equates to a certain price. Then do not budge more that 5% from that price. Reason is that in many cases, the client will forget that they agreed to a lower level of quality for a lower price. When you deliver the completed artwork, then you have to resell the concept of lessened quality for a lesser price. Besides, as a pride issue, would you really want to put out substandard or subpar work for a subpar price? The client who foisted this on you is proud of their “negotiating” skill and brags to all his friends. All the braggarts’ friends see is a sad and low quality artwork that he bought because of a low price. Is that the reputation you want to be tarred with – a low budget, low quality artist? Don’t think so. Artwork should make the soul soar to a higher level, not fall to earth like a lead balloon.

Delivery Times

Make delivery promises set in concrete. Your client expects you to deliver the right item in the right time frame. Anything else is playing into the old lame game of artist as tortured soul, poor business person, etc. Also gives the customer if they are shrewd an opening to renegotiate the price downwards. Or you can invoke penalty clauses if those are in your contract for the artwork. Penalty clauses are a quick way to lose any and all profit in a project. On-time delivery is a sign of a professional artist.

Client Input

All people feel that they are creative. Be aware of this when accepting custom work. You need to listen carefully to the client, take notes, and if possible try to work in some of the clients’ notions. Ultimately though, the client asked for you based on your previous work. The client may have some great insights that will help your work tremendously. Sometimes, you have to diplomatically ignore the client suggestions – preferably not in their presence though. If your design is strong and thoughtful enough, the client will forget all about their hot trendy ideas and embrace your ideas. In fact the client may just congratulate you on how well you translated their ideas to the “perfect” artwork for them. That would be wonderful.

Copyright 2008 Carl Wright

Art Gallery Show Etiquette

Or the Do’s and Don’ts of Attending a Show

With the advent of Jody’s and my show at Ed Chasen Fine Art coming up, it occurs to me that we have not covered what it is like for an artist to be at their very own show. Believe me it is somewhat nerve-wracking. Even more so for the gallery owner.

Do you remember long ago when you had to stand up in grade school in front of strangers and perform? Or better yet, still in school and throwing a party? Yep that is similar to what an art opening is like. The nervousness and anticipation. The gallery owner asks him/herself questions like: Will anybody come? If they do come will they buy anything? Did I advertise enough? Did I forget someone?

The artist(s) asks all those questions plus: Did I take to long talking to that person? Am I missing an opportunity by not talking to that person? Who is that person? Have I already talked to them? Am I sounding like a recording of myself – just push the “play” button and the elevator pitch comes out? Why did I not just become an office worker with a steady income, lots of free time, company benefits, paid vacation, and always an abundance of work to do – like my parents encouraged me to?

Now both the gallery owner and the artist(s) have all that in common, in addition they have to smile and act like it does not matter. Think of the Dial commercial – “Never let them see you sweat” is very appropriate. What a recipe for being or having some kind of psychological “ism” wrong with you.

What to do?

As an appreciative and supportive person of the artist (presumably you would not be there if you were not), be nice and gracious to the artist and the gallery owner. Even if you know the artist, come up and introduce yourself casually along with your date. Believe me the artist will be somewhat relieved. You have just taken off some of the pressure of a social encounter.

Talk with the artist for a minute or two or maybe a little longer if you have a question. Then mingle with the crowd. There are probably a lot of other people that want to talk to the artist that evening, but are too bashful to cut in. This is a selling event for the artist and gallery owner. Their job is to get people interested in buying art tonight and in the days ahead. Not just talk politics.

If you are interested in getting a custom artwork from the artist – make an appointment to see them a day or two after the show. An appointment after the show is a kindness. Just write your name and phone on a business card and possible times that would work for you. It allows time for the client (you) and the artist to discuss custom work in a less pressurized environment. Better art results from this.

If another question occurs to you that you would like to ask the artist – go ahead. That is what they are there for. Just remember that the artist may have forgotten that he(she) talked to you. You are not forgettable at all. Just reintroduce yourself and ask your question. Opening receptions are hard work for artists. A lot of them do not get out much – their solitary work environment gets in the way. For a lot of artists it is rather like a reception line that you shake hands at. The politician shakes your hand and moves you to the next person. You are important; there are just a lot of important people to see. Politicians also have an advantage – they have a political minder who reminds them of all the people’s names wanting to shake hands. Most artists do not have that advantage.

Enjoy the opening reception. Have some wine. Talk to the artist and also the gallery owner. The gallery owner does get lonely. Ask questions. If possible – buy some art. Have the artist personalize the art for you with an inscription. Above all have fun. It is a great night for a show and to meet people. You just might meet someone interesting or better yet find a ravishing piece of art that you just have to have now.

copyright 2007 Carl Wright

On Buying Artwork from a Gallery

Stereotypes

Oh the abject horror of it all – going to a gallery to look perchance buy some art. Or maybe you saw a beautiful painting through the window and wanted to get a closer look. Unfortunately there was this tweedy little man/woman with over-sized horn rimmed glasses perched on a pinched face that looked you over and sniffed like they had walked into an odiferous bathroom. What a cliché.

As funny as that is, and a lot of times taken for gospel, it is simply not true. Most gallery owners and their staff are wonderful people. They come in all shapes, sizes, and temperaments. Their dual purpose in life is to seduce you with the art they carry and then follow through and close the sale for cash. Just like any other retail merchant. And hopefully come back again for more.

The major difference between a hardware merchant and a gallery owner is that you know most of what is in the hardware store and how it is used and that all the brand names are about the same. All the chain saws work the same, cut wood, and cost about the same. In a gallery same-sized paintings and sculptures can be wildly different. Some of the artists have a bigger brand name than others. It seems that in a gallery the whole affair is rigged against you.

Relax. All of the items mentioned above can be true – but probably are not relevant. Art is what you like, what you are comfortable with, and what you can afford. Over time your tastes will change – you will sell the art that you are dissatisfied with and buy new art. It is a delightful process not a destination set in concrete.

What to look for in a Gallery

First talk to friends with similar interests. Do they have a few galleries that they rave about? Visit their favorites. Check out gallery websites. Most galleries now have web sites so that you can do a quick check to see if you are interested in their offerings. Most galleries keep their web sites up-to-date. Galleries in different cities can be seen at the Archer Exchange (www.ArcherExchange.com), Art-Collecting.com (http://www.art-collecting.com), and ArtNet (http://www.artnet.com/) for example.

Every gallery is also different. Certain items though are fairly standard. They have a knowedlgable staff who knows about the art and artists. The gallery should have some stock that is not on the sales floor, that the staff is willing to show you. Some inventory (maybe as much as 25%) is in storage in the back room waiting to rotate out onto the sales floor later. Most galleries accept debit cards, credit cards, personal checks and travellers checks. Many galleries also have extended payment plans for larger purchases.

The Actual Visit

Visiting a gallery is wonderful. You get to explore a lot of new ideas at once. You get to see the gallery owners’ taste in art, how he displays it, and how he groups different art together. Lots of ideas to work with and assimilate.

Some galleries only show figurative work (paintings and sculptures that are centered on people, animals, or nature). Some galleries only show abstract work (everything else). Finally there are galleries that show both in the same room. That takes quite a personality and talent to juggle disparate styles and make it look like absolutely gorgeous not jarring.

Afraid of being swooped down upon by a bevy of sales assistants that cannot seem to leave you alone? Attend artists opening nights, Third Thursday events, First Friday events, etc. On these nights the galleries are usually fairly full of lookers and buyers. You will not be molested by the spikey-haired sales assistants (if this creature still exists); they are to busy. At these gallery events you can see several open galleries in one evening. Makes a great date as well as seeing a wide variety of art. A word of caution though – visit only two or three galleries in an evening. You can overload on the art and not remember what you saw where. That would be terrible!

Going to galleries can be a lot of fun. Go and have some fun. You will see some great art and some so-so art. But you will come away with a better idea of what you like and why you like it. That is the first step in buying art. Enjoy!

copyright 2007 Carl Wright

Room Color and Art

Several years ago, we invited some new acquaintances to the house for dinner. I think that they were very interested in seeing what artists lived like. You know how that goes; artists are out of the norm so naturally their home would reflect their weirdness. Well the dinner was a success but the comments during dinner were a little telling of our new acquaintances. Minerva (all names have been changed to protect the guilty), was of the opinion that all art had to be displayed on stark white walls with white ceilings to top it off. This, according to her emphasis, was akin to the 11th Commandant given to Moses. Not just any white though – bright white. Minerva took great umbrage at our living room walls being a semi-gloss red. We do have a mostly white ceiling but there is also a mural on the ceiling – with (shudder naked) people in it. Worse we also had artwork hanging on the red walls. Needless to say, there was no reciprocal dinner invitation, nor have we seen them since. Obviously, our tastes in home décor are, to be polite, dissimilar.

This is not a polemic on décor, but a reminder that there is more than one “right” way to use wall color to display art. Plain white is perfectly okay for some homes and temperaments. It gives a neutral backdrop so that the art can show through. Plain white does make your home look like an art gallery and a bit sterile (my opinion). On the other hand, lots of different deep rich color tones in one room can be a problem also. It is all a matter of taste, your personality, and how well you pull off the total effect.

There are some better slightly more adventurous solutions – without being totally daring - to make a room more inviting and comfortable. These neutral shades also show off more of you as an individual and can give a different feel to the art you purchased for the room.

Wall Color Choices

When choosing a white wall color; mix in a bit of a warm shade like red (very very little or you end up with pink) or a little yellow to warm the space up with. This will produce a subconscious feeling of energy, liveliness, or movement.

Another neutral shade to think about is a very light beige. Not coffee with cream – far lighter. Beige is a neutral color but not lifeless like stark white. This is also a color that promotes calm.

Think about picking a neutral shade such as a very pale gray – definitely not battleship gray. Make sure that the gray that you pick has some red in it. Grays can feel warm and enticing because of the warm red tints used in the paint. Grays can be cold (blue in the paint mixture) and less inviting. The bluer tones are good if you want to promote a feeling of quiet, calmness, thoughtfulness, etc. If the gray tint is to dark it will make your room(s) look dingy.

Ceilings

The ceilings are considerably easier though. White is usually called for but not just any white. To steal from a great source – Oprah – mix a slight tint of the wall color in the white for your ceiling. The slight tint used in the ceiling white will bring the room together wonderfully.

The hardest part is selecting a color for the walls. For that, input from your spouse/significant other is called for; but only if they live with you. If it is just you - do what feels right. After all this is just paint not brain surgery on your Mother.

If you are not happy with it later - change it!!

Happy Painting and Arranging!