Tag Archives: “art marketing”

Selling Yourself Short

"Crutch" by Amy Guidry; Acrylic on canvas; 12"w x 6"h; SOLD; (c) Amy Guidry 2014
“Crutch” by Amy Guidry; Acrylic on canvas; 12″w x 6″h; SOLD; (c) Amy Guidry 2014

Some think that as a “new” artist, you have to start selling your art very low until you start selling like crazy, then you can raise your prices.  A lot of people would multiply the width by height of their art and that number would be the price.  Or if you’re “good,” you can then multiply that by 2.  What?

While there is some truth to starting out small when you are a new artist, it is absolutely ridiculous to think that a painting that took 40 (or more) hours to create should be worth a paltry amount.  Not to mention supply costs, packaging and shipping costs, and any other fees such as to your photographer or web designer.  Starting out, you won’t be able to recoup all of your costs, but that doesn’t mean you have to fall that short of doing so.

For the most part, I have yet to see any emerging artist overcharging for their work.  It’s usually the opposite.

Why is it that when we make something by hand, it must be cheaper than anything else?  Why are we willing to shell out more for some mass-produced, made-in-china crap than for something created, an original mind you, by a “starving” artist?  And why do artists feel that their work isn’t worth it?  Is it lack of confidence?  Is it because the grass is greener on the other side?  Whatever the reasoning, it needs to stop.

Be proud of your work.  It’s the only one in the world.  There are no others.  It’s unique.  And you made it yourself.  It was created from your imagination and unwavering dedication.  You spent endless hours sketching it, then actually producing it, forgoing weekends or holidays off, and time with your family just to finish this one piece of art.  Why settle for less?  Be confident in your work and the rest will follow.

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www.AmyGuidry.com

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Growing your success

Amy Guidry giving a talk at the New Orleans Museum of Art
Amy Guidry giving a talk at the New Orleans Museum of Art

I had a question from someone wanting to know my thoughts on his acceptance into a particular publication (Studio Visit, to be precise, which I have discussed before here).  Often when I would get my work featured in a certain show or a magazine, I would get questions as to whether that led to something bigger.  Because I don’t ever rely on just one opportunity, I can’t pinpoint or put some sort of quantitative measurement to it.  While it would be nice to come up with a specific formula that doing X + Y = Z, I find it is best to have a continuous cycle of productivity going.

I don’t believe there is ever one accomplishment that opens doors.  On rare occasion you hear of some now-famous artist that was discovered and then had a sold-out show.  These are the stories that artists hear and think “that could be me.”  For the overwhelming majority of artists, including the famous ones, it was a series of events that got them to where they are today.

So in the case of the artist that contacted me, I told him that it is not so much about being in the magazine, but what you do with it.

For example:

– Once he is published in the magazine, get extra copies to send to collectors

– If you can afford it, get additional copies for potential buyers as well (anyone that seems really interested in your work)

– Give copies of the magazine to galleries as part of your portfolio presentation

– Inform your local press (newspapers, radio, etc.) that you got into the magazine

Find ways to make the most of your accomplishments and extend their shelf-life.  No one opportunity will do it, but if you can make it snowball into more, you’ll increase your chances of getting bigger and/or more opportunities.

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www.AmyGuidry.com

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Meeting Goals

I’m a list-maker, so when it comes to New Year’s resolutions, I already have a list at any given time. I’m constantly thinking of things I want to accomplish or improve. My lists get overgrown, they’re illegible, and I use the new year as an opportunity to purge those lists and rewrite them into something slightly more legible. With that said, there are several guidelines that have always helped me reach goals and regardless of your personal plan, can come in handy. So here’s what I’ve picked up over the years from various sources and my own personal experience:

Have a clear vision of what it is you want
Tell people about your goal- it keeps you accountable- you’ll be more willing to accomplish it when everyone is watching
List in detail steps and a strategy for getting what you envisioned
Set deadlines- literally put it on your calendar that you will accomplish something on a certain date and follow through
Have passion for what you are doing- you have to be truly excited about what you are doing or want to accomplish
Be flexible- if something doesn’t work out, alter your plan to make it happen
Be willing to take risks and get out of your comfort zone
Surround yourself with positive people
Prioritize your goals into high priority, medium, and low
Be proactive but maintain balance in other areas of your life

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www.AmyGuidry.com

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Are you passionate?

Amy Guidry discusses her work with viewers at the Paul & Lulu Hilliard Museum

Judging by my title, you’d think this was a quiz you’d find in Cosmo.  Actually, I read an article by Norm Brodsky in Inc. Magazine recently that inspired me to write this post.  He mentioned seeing a Rolling Stones concert, watching Mick Jagger performing at the age of 69, wondering how or even why he does it.  He’s not exactly hurting for money, he’s getting older- sorry, but true, and touring is a lot even for young kids, so why continue to do it?  Mr. Brodsky’s point- passion.  Clearly this man has passion for what he does.  I can completely relate.  While I am no Mick Jagger, I can completely relate to the need (yes, this is a need) to create.  That passion is what makes you get up everyday and do what you do, despite rejection, despite challenges, and despite just having a bad day in general, only to get up the next day and do it all over again.

There are some artists out there that give up because they didn’t get into a show or a particular gallery or their work didn’t sell like they expected.  There are those that give up because galleries are not knocking down their doors.  And there are those that continue to paint (or sculpt, or draw, etc.) but don’t ever expect anything to come of it.  If you are happy with that, that is perfectly fine, but if you want more for your art, then you’re going to have to give it your all.  Whatever you choose to do in life, that has to be your passion.  It has to be the thing you get up for everyday.  It has to be the thing you choose to do and do it well.  Be the best damn artist, baker, or candlestick-maker ever.  And it doesn’t stop there.  Don’t just master your craft, but also learn the skills required to make that business succeed.  Continue your education- no, I don’t mean go back to school, necessarily, but continue to learn through other sources such as the wonderful web.  And get out of your comfort zone.  Being successful at anything requires taking on new challenges or doing things we are not accustomed to.  Lastly, be flexible.  If something doesn’t go as expected, learn to adapt or figure out a new way of accomplishing the task at hand.

It seems like a given that you are passionate about your art, but that’s not always the case.  Figure out what it is that brings you joy and if need be, kick it into high gear.  Take charge of your [art] career.

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www.AmyGuidry.com

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Art and Press: Show Me Some Love

“The Wild West” by Amy Guidry as featured in Professional Artist magazine’s article “Communicating Social Messages through Art, Partnership and Publicity” by Renee Phillips

A recent discussion online brought up the lack of enough media coverage of visual art.  It is true that the number of features written about art have gone down over the past several years and it doesn’t help that some publications suffered from the economic downturn.  Some suggested that art may be too “complicated” for people to understand (bah!) while others thought bias may be given to other art forms such as music or literature.  There may be some truth to this, but I think the real reasons are much bigger.  To start, art is a luxury item and is marketed as such.  There are some smaller works that are more affordable for a wide range of budgets, but for the most part, art is a luxury item which means it is expensive due to scarcity, quality, technique, and materials, thus the price reflects this.  Part of the appeal of luxury items is that they are exclusive.  This shrinks the number of people that not only own such items, but also those that may feel comfortable enough to ask for the price.  Now, I don’t believe that art has to be completely out of reach and there are ways that it can be an easier purchase without sacrificing the artist’s own time and expense but that is another topic.  For the moment, let’s just stick with high-end luxury items.

Adding to this exclusivity are many galleries that like to orchestrate exactly which hands their works go in.  There are many blue-chip galleries which only want to see their artists in the “right” collection, thus adding to the gallery’s status.  And I have to admit that there are those galleries with the infamous “gallerina” giving the cold shoulder to visitors.  Most galleries don’t operate this way but unfortunately this is the common perception.  The “white box” psychology has taken over and makes many people uncomfortable with the art world.

To top it all off, I find that many artists and even galleries do not send out press releases to the media or when they do, it’s the same drivel that many writers receive over and over again.  It’s a boring presentation of facts- who, what, where, when, and if you include an artist statement, why.  Sure, it’s a big deal to the artist and to the gallery that they’re having a show, but why should it be a big deal to the public?  The public wants a story.  I’m an artist and even I find press releases about shows to be a snore.  I want to know the artist’s life story- why they created this work and I don’t mean some nonsensical philosophy using every vocabulary word you had to learn for the SAT’s.  What brought you to this point in your life?  What did you overcome to make this work?  What in your travels inspired this series?  It doesn’t have to be dramatic like a soap opera- although that sort of thing always interests the media- but it should be informative enough that a writer can weave this into a great story.

Even if you are lucky enough to get the elusive great review in an art magazine, these publications are for a specific niche and are not read by the general public.  If you want your art to be seen in mainstream media, as was expressed in this conversation, then you’re going to have to broaden your reach, be proactive, send press releases (good ones!!), and ask for interviews.  Be your own PR team.  Let the public get to know you as a person.

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www.AmyGuidry.com

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Why Losing Fans is a Good Thing

Facebook Fan Page for Amy Guidry Artist

After reading the title of this post, you’d probably think I’m being sarcastic or just plain crazy.  Actually, no.  The thing is, anytime you are losing “fans” (email newsletter subscribers, Facebook Fans, etc.), you’re probably not actually losing fans, you’re losing people that weren’t really interested in the first place.  There are many reasons why someone may subscribe to your newsletter or be your fan on Facebook or follow you on Twitter.  You would hope that it’s because they just love your art, but that’s not always the case.  Some are other artists just doing research on you, some are acquaintances that felt obligated to join because you asked, and some may have been interested but quickly discovered that your work is not what they expected- the list goes on.

So why is this a good thing?  Because it translates to more time and effort put into those who do care about your art, and less wasted on those that weren’t interested.  For every email, every phone call, every Tweet, every newsletter, every postcard, etc. etc., there is less time, money, and energy invested into those that are not interested in your art, thus allowing you to focus on those that do care.  Sure, you want to know that your art resonates with tons of people- everyone, for that matter- but it’s not going to do that if they’re hitting the delete button every time you send them something.  And it’s not that you’re doing anything wrong or that your art is “bad.”  Some people are just not going to be interested, but this frees you up to fully invest in those that are.  If you were to send out a newsletter and end up with a few “unsubscribes” as a result and one heartfelt email from a fan, that fan’s response far outweighs the unsubscribes.  (More than likely those unsubscribes are people you’ve never heard from anyway.)  Having a meaningful connection with your fans is much more rewarding and better for your career seeing as these are the folks that will talk about your art, come to your shows, and share your news or posts with others.

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The Big Time

“Heads II” by Amy Guidry; acrylic on canvas; 12″ x 12″; (c) Amy Guidry 2013

There seems to be a common misconception among artists and even among the general public, for that matter, that I wanted to take a moment to dispel.  Some are of the opinion that if they can just accomplish [insert goal here] that they will make it as an artist (although this applies to non-artists as well).  The thing is, there will never be “one” gallery or “one” show or “one” award that will “make” you.  I believe this misconception stems from what appears to be the overnight success of others.  Anytime we hear about an artist or musician or athlete in the news for the first time (to our knowledge), we think they are an overnight success because we’ve never heard of them before and now they are famous.  It wasn’t that they accomplished one particular goal and found instant fame.  Sure, there is probably one particular accomplishment being highlighted in said news feature, but that’s simply because they need a hook for their story.  The fact is, this person has been working their butt off “behind the scenes.”  Just because we’ve never heard of them before doesn’t mean that this now-superstar wasn’t working two jobs or repeatedly getting rejected or struggling to make a name for themselves or all of the above at some point in time.  I’ve heard of many artists that worked odd jobs and couldn’t get into galleries that are now successful.

In order to become a success at anything, whether you are an artist or not, is to diligently apply yourself to each opportunity.  Sure, Larry Gagosian could walk into your studio, buy your work and make you a star overnight, but VERY rarely does that ever happen.  And even in those instances, if you were to look backward you will see a series of small steps that led up to that moment.  You have to build your career, brick by brick, layer by layer.  There’s no quick-fix, magic pill, or get-rich-quick scheme that will do the work for you.

Although instant success would be nice, the good news is it’s much more realistic (and reassuring) to know that you are in control of your success.  Rest assured that the steps you are taking now are improving your career rather than waiting around and just hoping for a lucky break.  Take a look at what you’ve accomplished over the past year, or even over the past few years, and you will probably find that you’ve done much more than you ever thought possible.  Now imagine what you could accomplish over the upcoming year, or five years from now, or ten.  “Shoot for the moon. Even if you miss, you’ll land among the stars.” – Les Brown.

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www.AmyGuidry.com

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Perceptions

As an artist, therefore business owner, I can tell you it takes a lot of work to do what I do.  Which is why it is always surprising to me when people are confused by the amount of time I spend marketing my work.  Someone once said that it must be “relaxing” and so nice to “just paint all day.”  HA!  That is clearly not the case.  Artists know this but many still struggle with the idea of taking time away from the easel to market their work.

The thing is no one cares about our work as much as we do.  It may seem that if you have gained the coveted gallery representation that you are able to just paint all day, but that is not the case.  Why else do you see so many artists with representation with various galleries, myself included?  I can tell you, and even the gallery owners will tell you, that you can’t put all your eggs in one basket.  Galleries are dealing with multiple artists and also multiple tastes and preferences.  You are not their only artist and they can’t possibly devote all their time and energy solely into your work.

It is up to you to grow your business, get your work seen, show in different galleries in different cities or even different countries, and meet people.  If you want people to know your art even exists, you will have to learn to market it and make the time to do so.  If you’re still reading this, clearly you’re serious about your work but I’m sure some of you are groaning at the thought.  But hear me out.  I have artists from all over email me and ask me how I did this, that, and the other.  Some of them assume that I “knew someone” or I was “lucky” but (though I haven’t done any actual math on this) I would say that 99% of what I’ve accomplished is a direct, or sometimes indirect result, of my actions.  If you want it done, you need to do it yourself.  Call that gallery, email that magazine, write that press release.  Whatever you are looking to gain, you will have to take the steps to make that happen.  It won’t just fall into your lap.  Very rarely does that ever happen.

Make time to work in the studio, but plan to spend a good portion of your day or week marketing as well.  Here are some ideas to get you started:

Update your website

Attend gallery openings

Send out a press release

Create a Fan Page for your art on Facebook

Hand out business cards

Send an email newsletter

Give a talk about your art

Read a marketing book!

These are just a few examples.  Think big.  Whatever you want to accomplish with your art- do it.  Make a list and take action.

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www.AmyGuidry.com

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Pay to Play

I’ve mentioned vanity galleries on here before but given some recent discussions, I felt it necessary to post about this controversial topic again.  I can tell you that I have never heard of anyone ever selling out a show or gaining ANY type of success from a vanity gallery.  Never.  If that were the case, we’d hear other artists singing their praises.  I know that it sounds great- a solo show in a major city (usually New York).  But that’s all you are getting.  A show.  There will never be a single show that will send your career into the stratosphere.  You’re thinking, right, of course not.  Well, if you’re willing to pay around $3000 plus all other costs associated with a show, then that show sure as hell better send your career into the stratosphere.  But again, that doesn’t happen.  So why even entertain the thought of showing in a vanity gallery?

OK- so here is the breakdown:

Vanity galleries are any gallery that require the artist to pay in order to show with them.  Not to be confused with a co-op gallery, which is owned and operated by the artists involved.

Vanity galleries charge an outrageous fee, this ranges anywhere from $1500- $3000 or just shy of selling a kidney.

Most vanity galleries also require that the artist install and de-install the show themselves.  Aside from this being a lot of work for the artist, after all, what are you paying the gallery for, but you’ll probably need a plane ticket as well if you don’t already live nearby.

Let’s not forget you are also responsible for shipping costs.  Plus you’ll be paying return shipping when the work does not sell.

You’ll most likely be responsible for invitation costs, so aside from printing costs, postage adds up quickly.

Vanity galleries do not push for sales.  Sure, the work is for sale, but nobody is going to work hard to sell it for you, they’ve already got your $3000, remember?

Many vanity galleries require that you do your own gallery-sitting anyway, so you’d be the only salesperson in that case.

You’ll also be responsible for drinks and food during the reception.

Lastly, and this is probably the worst of them all, your reputation is sullied in the eyes of “real” galleries.  Galleries know who the vanity galleries are and do not look kindly upon them.  If you think you’ll get a show with an established gallery with a vanity gallery on your resume, you are dead wrong.  Sorry to be so blunt, but I’m telling it like it is.  Galleries want to show artists that are successful based on their merits, not on how much they’re willing to pay their way to “success.”

And so, the big question here is “what are you paying for exactly???”  Just what does $3000 pay for?  Why does the gallery need that money?  I would love to hear their response.

If you’ve shown with a vanity gallery, the best thing you can do is to remove any mention of them from your resume, website, blog, social media sites, etc.  Make as if they don’t exist and move on.  Galleries that are new to your work don’t have to know.  Consider it a learning experience and just keep moving forward.  If you are still considering showing with a vanity gallery, the only other thing I can recommend is to Google them.  Look up their name with the word scam or just look up their name alone.  More than likely you will find horror stories and you can hear directly from artists that did participate.  Just keep in mind that no career was made overnight.  Even “superstars” that appear out of nowhere have been behind the scenes, working diligently for years and years, except no one was aware of that part.

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www.AmyGuidry.com

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You Like Me, Right Now, You Like Me: The Case for Social Media

SPIKE
Sally Field\’s 1985 Oscar Acceptance Speech
www.spike.com
Spike Full Episodes Spike Video Clips Spike on Facebook

With all the social media sites out there- Google+, Facebook, Myspace, Twitter, Pinterest, etc.- it has a lot of us all wondering if we really need to be on these sites.  As an artist, I have to say yes… I can hear the groans now… Does it really matter?  In short, absolutely.  Not that this is a popularity contest, but those likes, plus 1’s, and tweets are important.  Sure, they give you a boost of confidence and let you know that someone out there is taking notice to the work you’re doing- everyone wants to have their “Sally Field moment” – you “like” me.  But more importantly, it’s about trust.  Social media sites, time-suckers that they are, actually help build brand trust.  They allow people to get to know you, get better insight into your art, see what you are doing with your art career, and it also gives them confidence to buy your art when they can see that others like you as well.  In fact, the number of fans you have on Facebook, for example, builds confidence among other fans and potential buyers.  All the social media kudos you receive show that they are not alone- that others like your work and buy it, too- therefore they should join the club.  Because of these sites, others are able to vouch for you.

So how to manage all these sites?  And is one more important than the other?  Well, I have to admit that I do have my personal preferences when it comes to social media, however, I do think it is important to be present on all of them to some extent.  To keep things from getting out of control, I would recommend that you first set time limits.  Don’t get distracted with reading posts and watching videos.  Limit your social media time to only work-related posts and interactions when you are on the clock.  You can always go back later at the end of the day to do your personal posts, etc.

I know some of you may frown upon this, but copy and paste is your best friend when it comes to posting about your art.  I see no harm in replicating posts from one site to another.  It will save you time while maximizing your reach.  More than likely no one is going to be seeing the same posts from one site to another anyway.  Not everyone is on all social media sites and even if they are, they still may not see all your posts due to their short shelf-life as well as Facebook’s use of EdgeRank (which filters out 99% of posts by friends and businesses).  It really is best to cross-post in order to broaden your audience.

One last note- this may sound contradictory given your time restraints, but do try to respond to your fans’ comments in a timely manner.  If you post a painting or you ask a question, people are going to respond rather quickly, so be around to give them a response as well.  If you find that this is exceeding your time limit, perhaps find a way to wrap things up and exit the conversation.  You could thank everyone and say that you are going back to the studio now.  Or maybe entice them to come back by saying that you’re off to work on a piece and will come back with a “sneak peek” photo later.  Speaking of which, I need to get back to my easel as well.  If you have questions or comments concerning social media, feel free to to share them here!

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