| Managing a sale of art versus art-seeing expectations. | | | | that their mutual destination is the same. Eventually |
| There are two viewpoints that are at contretemps | | | | the client/artist situation will work itself out - though |
| when it comes to visiting an artists studio/gallery. The | | | | from personal experience - never in the artist's time |
| artists and the clients. Unfortunately both camps | | | | frame. The artist always wants it quicker. |
| have to get over their pre-conceived notations of | | | | Visiting an artists studio for better pricing. Some |
| what is to go on. That does not mean that you can't | | | | Clients visit artists studios to, in their mind, receive |
| have those thoughts - just that the thoughts have | | | | better pricing. Some clients, and to be honest some |
| to be tempered with reality. | | | | artists, buy into the notion that the artist can sell art |
| For the artist the client visit will be objective and to | | | | cheaper through their studio/gallery than through their |
| the point. The artist thoughts are that all visits are | | | | gallery representation. Some clients actually befriend |
| going to lead to quick sales. In addition, the client is, | | | | artists to get their "artist friend" to make them a |
| or should be, focusing solely on the art in the room | | | | piece of art. There is a reason artists sell through |
| or wants to discuss a commission today and give the | | | | galleries - that is so that they do not have to invest |
| artist a down payment to get the process started. | | | | in the time and money to meet and greet clients on |
| The thing to be avoided is the client speculating or | | | | their turf. This frees up the artist to produce work to |
| doing "blue sky thinking". This burns up the artist's | | | | supply his/her gallery network. This can also be seen |
| creative time. Unfortunately for the artist, he has | | | | as profit for the artist. All businesses like profit. |
| been surrounded by the art for a while and knows it | | | | Most times the client well understands that they are |
| cold. He is familiar with all the nuances and details. The | | | | taking advantage of the artist. The client also does |
| artist just knows, from his point of view, what the | | | | not care that the artist, by selling his work at a |
| best piece is and that the client should be happy with | | | | wholesale price, is undermining his galleries. To the |
| the artists decision and buy the artwork. | | | | client, this is a one time transaction and a good deal. |
| From the client point of view, all of the above could | | | | The artist though, has driven a stake in the gallery |
| not be further from the truth. The client is coming to | | | | artist trusting relationship that is so necessary to sell |
| see the art - yes, but and this is a big but, not | | | | art. No wonder galleries are so leery of artists selling |
| necessarily to buy. Above all the client wants to | | | | their work independent of the gallery. |
| browse the art, discuss the motivation behind the | | | | When artists have their own stand-alone gallery, the |
| making of it, engage in some small talk, almost | | | | artwork prices should also be exactly what their |
| anything to get away from a quick commitment/buy. | | | | galleries sell work for. Clients in this instance think that |
| The client does not want to be rushed into a quick | | | | since the artists gallery is not on prime real estate |
| decision, particularly if this is the first visit to the | | | | that they should pay less. To turn the tables a little |
| artist's studio/gallery. Occasionally, there is also the | | | | bit, if the client was in the artists position, should |
| expectation that the artist's work that the client saw | | | | they lower their price? Just because the overhead |
| elsewhere has now taken a radically different course | | | | component is less than a typical gallery, do you use |
| either in design, subject matter, color, etc. So there is | | | | bargain basement pricing for a limited edition product? |
| bound to be some conflict here. | | | | Not in conventional economics and not in a real world |
| The key is to understand that each side - the artist | | | | scenario. |
| and the client - both have valid points of view and | | | | |