Contents of Art Business News - MAR-APR 2012

As the most requested magazine in the industry, Art Business News stays true to its mission of reporting the latest industry news and emerging trends driving the fine art market. ABN: The art industry's news leader since 1977.

Page 29 of 67

ABN
you do, but if what you do does not appeal to the gallerist you're pitching, it's probably not going to be accepted. Gallery owners work hard to create a brand that refl ects their personal tastes; if your art doesn't appeal to them, they are going to have a hard time overcom- ing that prejudice and promoting it to their clients. Don't take it personally; you just have to fi nd the right gallery.
4
YOUR BODY OF WORK LACKS COHESION.
Your work might be getting the
brush-off because, to put it bluntly, it's all over the place. It's far easier to paint whatever's in your head at any given moment than to discipline yourself and narrow your focus. You need a "calling card," a distinctive identity. While there is always room for experimentation, you should also explore the boundaries of a unique subject matter or style that you can develop as your own. You can't develop greatness if you aren't focused, determined and constantly working to make each piece better or more inter- esting than the last. Gallery owners also like to know
that what they get from their artists will sell. If I sold fi ve of your still life paint- ings last month, I'll want more of them. If you fl y off in a completely diff erent creative direction, it's like starting over with a new artist. Gallery owners in- vest in you, and ask that you work with them toward mutual success in return.
5 28
YOU MIGHT BE HIGH- MAINTENANCE.
You might have some fabu-
lous art, but if you make diva demands and high-handed assumptions or re- quests from the get-go, it's likely that your portfolio will be swiſt ly handed back to you. Gallery owners have a lot of artists to keep happy, so they try to be fair and do what's right by their
"THERE IS A FINE LINE BETWEEN FLATTERY AND COPYRIGHT INFRINGEMENT."
business. If you start out by asking about your gallery publicity, wall space, shows, framing, marketing materials and so on, it's not going to sit well. If a relationship isn't working (which
is easily evidenced by a lack of sales), everyone will know soon enough. Few gallerists will want to keep an artist who isn't selling (and vice versa). It's good to be helpful, interested and en- thusiastic, but let's face it: Gallery own- ers know their job better than you do. So let them do it!
6
YOUR ART IS WORTH LESS THAN YOU THINK.
T e best determination of
the value of a painting is the artist's sales history. If you don't have one, or if it is weak, then your paintings should be priced aggressively so as to establish a record of sales. T ink of it as a mar- keting expense as you're getting off the ground. T e best advertising an emerg- ing artist can have comes in the form of collectors who will talk up your work to others. You can raise your prices as demand increases, but if you're just starting out, you should let the gallery owner sell your art for whatever he or she deems a fair price.
7
YOUR ART ISN'T PARTICULARLY UNIQUE.
If there are lots of other art- ists doing the same thing as you, a gal-
lerist isn't going to get excited about your work. A unique style, perspective or interpretation is paramount to an artist's success. If you're painting in someone else's style, chances are your work isn't as good as the artist who created that style and has been perfecting it for years. Peo- ple want the original, not the copycat. While a gallery strives to represent
art that will sell, that art still needs to be fresh, distinctive and inspiring. T e big- gest thrill for a gallery owner is to fi nd art that is both unique and desirable to his or her clientele. As a gallerist, I can tell you that is easier said than done. When an artist becomes successful, there will always be others who will try to capitalize on that success by copying his or her style. Imitation is a sincere form of fl attery, but in the art world there is a fi ne line between fl attery and copyright infringement. Mastering the skills isn't enough; it's
imagination and vision that make a true artist. Developing your own style may take time and a lot of experimentation, but doing so is critical to your success.
If you're stalled on the road to suc-
cess, you may have fallen prey to one or more of these drawbacks. Work hard to correct them, and you'll be doing your career a tremendous favor. Remember, as with any worthwhile endeavor, there's always room for improvement. ABN
Cristi Smith is co-owner and president
of Ford Smith Fine Art and owns the retail Ford Smith Gallery in Roswell, Georgia. She is also the agent and publisher for her husband, Ford Smith. Her professional background spans 25 years in retail advertising and marketing and includes executive leadership in Fortune 100 retail- ers, with a concentration in start-up com- panies in the upscale home decorating industry. For more information, visit www.fordsmithfi neart.com or call 770/552-5942.
MARCH/APRIL 2012