I must be insane!!

Dear Deborah:

 

Thank you for your correspondence and your interest in our Gallery.   At the moment we are not seeking any new representation and are in a mode of trying to downsize the number of artists we represent.  

 

Currently we represent 32 artists full time, and in a perfect world I would prefer less allowing me to better promote the ones I have.  So, when I look at new artists work, I have to ask myself  “who would I take down that I have sold before, so that I can see if I can sell this new work, or new look in the gallery?” 

 

Your work is very good and I thank you again for letting me review it. 

This particular gallery above is in Texas. Like the others, I thanked him for his time and reviewing my works. This process lets me know I'm taking my work in the right direction. In such an economy, and the future uncertain, no doubt this is probably one of the hardest times many artists have experienced...

I have recently learned that 90% of the sales from my Aspen gallery, are for clients visiting from Texas, Florida, and the Eastern Upper states.....could I be any further away from my market? I think not! But it is time to get creative and visible in those places, the most economical way possible!! 

Sign of the Times

Some strange things within the art circles started happening earlier this year due to the economy; it's only getting worse. 

First, artists that have been known to do "very well" that I exhibit with at an annual, juried art show made 1/2 of their normal sales - and those were the lucky ones, with many years of experience doing the show. Artists that continued on the art show circuit afterwards, had hit/miss sales. I couldn't justify this path; it's expensive and in this economy, I didn't see favorable odds for myself. To further this complication, many artists that have not had to depend upon these shows for sales, are now popping up left & right, we all know what happens in the law of supply and demand......too much supply.......slows down demand. 

I got my own firsthand experience; a show I locally applied for had 2 jury processes; I exhibit with some of the artists in this show. It's not a new show, just new for me and my first time applying. I passed the first jury process; not the 2nd. The letter I received stated how they had over 100 extra applicants apply and over 1,500 pieces of art to jury in. Thankfully this only cost me $25 to enter my submissions.

It's a good year to polish up those painting skills and work on inventory. I am preparing for the annual juried show a few months away, same one I spoke about above. It's local, good exposure, and the most economical show for me to do, averaging the cost and the number of days exhibiting - it's over 70 days long.

Bad Economy

Everyone is hurting; it's hard to feel sorry for yourself that the art field is slow when you know there are people who have lost their jobs, struggling to pay their bills. These are great times to really get creative, do what you can to keep your art in the forefront. Don't disappear.

Supplemental income is always welcome; art can be feast or famine. Back in my animation days it was all about getting signed on to a green light project, artists may have work for 6 months, then nothing. The lucky ones got at least a one year contract and up, more of a permanent-type hire. The fine art has also proven to have highs and lows. Keep that part-time 2nd job, or even full-time job - if nothing else, to pay for supplies and expenses. We spent close to $20,000 in such before I sold my first painting; I'd not be financially ready for the opportunities the art world was going to throw me - if I didn't have this supplemental income. There will be sacrifices in your heart & wallet - hold on to everything you can.

One way to stretch that dollar and get your work in front of people is art competitions. They can run from $0 to just over a $100, depending on which one. At the very least, you'll get your work in front of someone and if you win - hey - now you really have a payoff. Not only recognition, but they buy the original work.

Criticism III

Every gallery owner/director seems to be as different as artists themselves. Many owners are artists as well! It's good to have many qualified people view your works; don't get held up on just a few. I contacted another reputable gallery while away and she had a very different response:

Dear Deborah,

 

Thank you very much for your submission of work.  It is, indeed, lovely; however, at this time we are not seeking new artists. 

 

Thank you for considering our gallery.  I wish you the very best in your career and invite you to visit our galleries in Jackson, Sedona and Cody.

 

Best Regards,

Pamela, Director

Though they're not looking for artists now, things can change as the economy turns around. The next time I do contact her, it will be a warm connection, as oppose to this cold first one. It's one step closer than before and I got the opportunity to get my work in front of her, and the chance for feedback. This process alone can move you milestones in growth. 

Criticism II

Sorry for the delay here, I've been on travel. It's so fitting this entry follows the last post. Since my recent work has expanded into wildlife, I decided to follow up with a gallery I've had my eye on for awhile. It's one of the top galleries in town, very reputable. Not only do they feature high-end art, they have the clients to follow and they're very good to their artists. They have a reputation of paying when the work sells. (This topic is another blog post! I'll come back to it, promise) A little backstory here, my last correspondence was 2 years ago;  it's good, when possible not to burn your bridges, you never know when you'll need them again. An artist currently in the gallery suggested I contact them when I showed him my horses back in 2007.

So I emailed this contact with examples of my work, (all horses - I was fairly new at them, experiencing with a looser, impressionistic style). He thanked me and had problems with my rendering of their anatomy. Well to be honest, he ripped my work up one side and down the other.....I was beginning to wonder why my artist friend had referred me.....but I thanked this contact for his time and asked if I may follow up in the future, which he welcomed. 

But inside I was fuming!!

Confused, defeated, but knowing I still had talent and needed to continue, I set this experience aside - keeping a critical eye on my anatomy of horses.

And now, a few years later with wildlife subjects added, I decided to follow up. I'm going to paste his response below:

Deborah,

Thank you for your email and photos.  You have some very nice paintings in this group.  My main concern is the backgrounds of the paintings.  Not very exciting.  I know, you want to focus on the animal(s) but there still needs to be some interest there.  Also, the separation between your subject and the background is not evident.  The wolf painting is a good example of this.  I like how you executed the wolf but the background seems to be right on top of him/her.

I hope this information is helpful to you.

Though my work may not be "there" for him just yet, this response and critique is much improved from our last.  He likes my animals and has no problem with the anatomy, and this time it's a selection of multiple species. His concern is backgrounds; which is a relief. Honestly, backgrounds do baffle me, they're not the focus of my work - the animal is. I have some ideas for experimentation in my next series of works.

He knows his gallery and clients, and what sells. Playing with some background changes does not compromise my artistic integrity or alter the focus of my works. Some artists think any suggestion of change means to forfeit their vision and to them I ask: Is it really? Though I may come from an emotionally invested angle with my work, he views it as commodity; it's a product. The difference between art as a livelihood vs. art as a hobby, comes down to this:

Is the work sellable?