ART DEALERS - Part 2 - CHOOSING THE RIGHT GALLERY

"On Sale" 

© J. Licsko 2010    6"x6"    oil on canvas

      After you are sure that your intended gallery is a "good fit" for your work, then you must be equally sure it is right for your personality. Artists, being easily influenced emotional beings, must consciously respect and protect their psyche. 

     Two art dealers were asked how they feel about their artists visiting the gallery. The first said, " I love it when the artists drops in to the gallery frequently. It is easier to sell a painting when you really know the artist, and they are always on your mind."  The other said, "Artists should deliver the work, and then leave it to me. I will call them if something sells".  Artists should ask the same question of their prospective galleries.

     A good dealer knows that his artists are crucial to his success. The gallery owner and staff will treat the artist with warmth. They want you to know that they welcome you, and are proud to show your art. Nurtured by this environment, your creativity has the best chance of flourishing.

     The worst dealers have personality problems that infect everything and potentially everyone with whom they come in contact. Even if your art sells in that environment, you will be able to find a better gallery. If you feel unwelcome when you visit your gallery, move on. 

     A good gallery presents and handles art in a professional manner. If you find your paintings on the floor, leaning against a wall, or worse, in the storage closet, you need to know why. Does this happen often? Are they getting scratched? Are you finding thumb prints on the tops of your canvas caused by improper carrying? Are you being asked to repair work damaged in the gallery? 

      Some galleries may sell your art more frequently than others, but if that's done by always discounting your work, you loose. Even if the dealer takes the discount from their own commission, it decreases the retail value of your current works, future sales, and handicaps the other galleries you work with. Make it clear in your in your consignment sheet, that the gallery's commission is a clearly specified percentage of the retail price. This is different from telling them "your price" thereby allowing them to make whatever they want on top. Honor your galleries and your art by keeping your retail prices consistent. Do not undercut your galleries by selling privately at lower prices. And remember, the Internet makes it very easy for collectors to comparison shop the different galleries. There are no secrets.

     The best art dealers will work to sell your art at its full value, promoting and educating the collector about all your strengths. They will help the artist build the value of their work, at the right pace, over time. They are not afraid their artists will out grow them, because they want to grow too.

     Just as good fences make good neighbors, good consignment agreements make good business. In a previous post, I have shown an example of my own contract that is short, and been "good enough" for me in most circumstances. I augment it as I go along, adding or subtracting points that are relevant to each gallery situation. If you can afford an art attorney, it would be wise to have one designed specifically for you and your needs. However, be warned, it is the tendency for lawyers to be so detailed that prospective galleries won't sign it without the advice of their attorney, and that added expense could be a deal breaker before you have had a chance to develop a relationship. Ask your attorney to keep it as simple as possible, adaptable to various galleries, and preferably, one page.

     Next post: part 3 Getting paid.

ART DEALERS - The Good, the Bad, and the Rare.

"Lipstick & Rhinestones"

©JLicsko oil on canvas 12"x9"

Part 1:   In this post, and the next, I will share with you a few observations and tips culled from nearly forty years experience dealing with dealers. I have worked with a large number of galleries that have represented my work, my husbands work, or both. A few of these relationships have been exceptionally beneficial and enjoyable. 

My definition of an art dealer for the purpose of this writing is an artist's representative, either an independent person with no public viewing space, or a gallery owner who is the active commander of a gallery that exists to sell art to the public.

An art dealer has his feet in two buckets. He must be able to work with strong artistic personalities, speak their language, know where they are coming from, and understand their psychology. Equally important, he must be able to win the trust of collectors. Ideally charismatic, a dealer must be a strong sales force to be effective. It is rare to be fluent in both these worlds, and then add to that, to possess the head for responsible, intelligent, and creative business.

Most dealers own or manage an art gallery in a good location where walk-in traffic is essential. This gallery becomes the headquarters for exhibitions, openings, and day to day sales. This dealer must be proficient at developing a following of collectors, the less glamorous job of maintaining a physical retail space, managing both artists, and a sales staff made up of quirky individuals ranging from those with a seriously admirable arts background, to those who would be equally comfortable selling refrigerators.

I will share with you examples of polar opposites of independent art dealers. The first looks very much like a traveling sales man who will literally knock on doors. He will use one sale to direct him to the next. "Mrs. Jones down the road just bought a piece from you, she thought you might want to see the others I have in the car". (I'm serious). At the other end, is a sophisticated individual, usually with a good arts education, maybe some family connections, perhaps a sexy foreign accent, and the equivalent of a plush condo in New York or Palm Desert. This dealer often has worked out how to live well surrounded by extravagant art. Working at home, with a lower overhead, he is able to write off major portions of his home and elegant lifestyle as business costs.

If your are very lucky, as we once were, you may find the rarest of all, the art dealer who loves art and artists so much that he buys what he loves for his gallery. He sees his role as the conduit. He delights in being able to nurture and support his artists. His personality will have a strong influence on the art exhibited both because his personal taste permeates the gallery, and his choices may effect the artist's work. He will bring out the best in all his artists. If you find one, treat him very very well.

Next post: Part 2

SUBJECT MATTER - WHAT TO PAINT

"The Desert Rose" © J. Licsko '10   oil on canvas

I have often said I prefer people look at what I paint rather than how I paint. Frequently, the curse of the realist painter is observers notice the craftsmanship over the content. 

When I started painting many years ago, my first objective was to try to recreate what I saw. There is no better way to develop painting and drawing skills than copying an image from life or from photographs. The goal is to teach oneself to see, while simultaneously developing eye-hand coordination. I chose subjects that had some appeal to me and naively thought that I was making art. It wasn't until much later that I was told by a trusted authority that I had to find my own voice.

That comment threw me into a creative tailspin. We all know that the harder one looks for something the more elusive it becomes. After four years of earnest searching, I started to understand the difference between what I had thought was art, and what my authentic creative self could make as a unique contribution to the general stream of art. Looking back, I now have a respect for the frustratingly painful years of self exploration and doubt, because all the while the craft progressed. When I finally recognized my own voice, I had better skills to express it.

Knowing what to paint starts with knowing oneself. In earlier posts,  Fifteen Rules for Courting the Artist's Muse, The Reluctant Muse, and a Lesson From My Muse, I have given methods and examples of how I recognized genuine inspiration that was uniquely important to me. By listening to our inner selves, we find the universal truths that can be appreciated by others, and also the fuel for creativity.

My painting "The Desert Rose" was inspired by a vacation I took earlier this year with my mother. She, being from a northern climate, was searching for warmth and sun. Palm Desert was the place she yearned for. While lounging around the pool, sipping Margaritas, I couldn't help but notice the contrast between the younger and the older woman. Making no conscious attempt, asleep, and oblivious to the attention she was getting from the men at the bar, the young woman was the focal point. At the same time, I admired the mature woman who has made a life long commitment to her femininity. The advantage of fresh skin has been replaced with jewelry, symbols of her lifetime of accumulated personal power. While I am not actually in the image, I discovered while painting it that I am caught somewhere in between my two subjects. I am reminded that the road between the two is a short one.