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

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

Think Fine Art for Christmas

Thoughts on Christmas Shopping

Ruminating on Black Friday and excruciating shopping expeditions makes me think that there is a solution for holiday shopping blues. (Now that is a record – two colors mentioned in the same sentence as adjectives without trying.) Instead of enduring the crushes of humanity to get the next “latest and greatest” present that will be forgotten in a drawer in a month – think art.

There are several reasons to think art for the holidays. Fine art and fine crafts are a great way to get a beautiful, well-made gift for a pittance when bought from an artist direct, compared to what a department store would charge. The artwork/present can be personalized by a dedication that is written on the back or in an inconspicuous place of the artwork. You would have the opportunity to get a present for a loved one that is made domestically and with great care and thought. Getting a present from an artist would also show that you put a lot of time and thought into the gift; which is true. Finally the clincher: little or no crowds like there are in major malls etc.

Sounds like some convincing arguments. So when it is time to get the gifts for the special people in your life, think local – think art.

copyright 2007 by 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