Getting a gallery to pay an Artist

Having run an independent stand-alone gallery for 13 years and being an artist for 19 years gives me a different perspective on gallery-artist relations. To be sure running a gallery is fraught with joy and problems. The joy comes from helping a client step up, and buy a better artwork that the client will enjoy for a longer time. The joy of discovering a new artist and promoting him/her. The inner delight knowing that many people covet what you do and know in their heart of hearts that they could do it better – if they did not have kids, or a mortgage, or had more savings, or an understanding spouse.

The difficulties come in a lot of the time in the customer service area – sometimes with customers (kind of unusual) and artists – not unusual at all. Customer difficulties are always resolved quickly since the gallery wants the clients money and satisfaction. Without either the client’s money or satisfaction, a gallery owner can’t meet his bills. If the client is truly unhappy, he/she will badmouth the gallery to all their friends. Very bad for business.

Artists are a different story. Most artists put their work on consignment – meaning the gallery owner shows the work, sells the work, collects the money, and then the artist gets paid usually 15, 30, 45 or 60 days after the sale.

The artist is somewhat dependent on the gallery owner for his livelihood. If the gallery owner sells work, the artist can more easily pay their bills. If the gallery owner sells work and has tough economic times, the artist will have trouble paying his bills since the gallery owner has the money and his needs come first (in his mind). This creates a difficult situation for the artist, how hard do you push the gallery owner to pay what is rightly due the artist? A consideration – does the artist want to continue with this gallery? Have they worked well together in the past? Is this a momentary thing?

The thing for an artist to remember is that the gallery owner has collected money on your work. He is paying someone – just not you. You, as an artist need to change the dynamic so that you are paid first. If after several phonecalls, faxes, and emails that are all ignored; send a demand letter for payment.

A demand letter basically states that you are owed money. State the date of the transaction, the financial terms agreed to, and also when you expect to receive payment before taking other action. Send the letter by US Mail registered return receipt. This is the first step in showing that you have an official record of asking for the money. You need to keep a paper trail to document what your actions are in case you need to file suit in court. This means any phonecalls before and after the demand letter get written in a log with date, time and what was discussed. Same with faxes and emails in addition to keeping a copy of what was sent. If there is still no response after about 7 days after receipt of the return receipt – contact a lawyer to send a letter on his stationary for the money to the gallery owner. That is a great tactic and usually will cost under $100. Most people do not like getting letters from lawyers and will send the money post haste.

Disclaimer: I am not a lawyer or pretend to be. A lawyer should be consulted to make sure of any and all of your rights as being owed money.

copyright 2008 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

Art Show Angst

It has been a very busy 2 weeks since my last posting. We are finishing up all the loose ends of the artwork for the show on Dec. 15th. Ordering bases for sculptures, checking paintings and sculptures for damage and repairing it, mailing invitations, sending final press releases, etc. Starting Monday, we will start some new artwork for the show knowing that all the other details are cleaned up and we can move forward confidently.

The show date is finally becoming tangible. Looking forward to getting out of the studio (something we have not been doing much of lately), and seeing old friends, new customers, and renewing acquaintances at the show. Sounds kind of like we are bears getting over hibernation. Does seem like it though.

Art Shows for artists are really a love/hate thing. Shows are great for getting the artist out of the studio and forcing them to use social skills. Some artists would rather stay in their studios and create. Not me. I like seeing people, getting feedback on my work, seeing who my customer is, breathing in air not filled with stone dust, and best of all selling my wifes' and my work. Simple things really. Also gives me an excuse to talk with friends (after the show) and also evaluate the gallery the show is being held at.

Part of being self-employed as an artist is to enjoy some of the benefits of self-employment. Shows, selling, friends, and also the solitude of the studio all are part and parcel of the package. Got to love all of it. Fortunately I do most of the time.

copyright 2007 by Carl Wright