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Spring is in the air, and summer is soon to follow
― and along the major arteries and lesser-known by-ways of the
Cape ― flowers are not the only things ready to bloom.
You can almost feel the excitement in the air as
warmer weather signals the beginning of a new summer season. (see,
Art Talks: “When it comes to art, there’s no place like the
Cape” for further discussion on the appeal of the Cape.)
For the art community on the Cape, especially, it
signals the time to finish up those projects begun in the fall.
For gallery owners, its time to trim the
hedges, spruce up the driveway, put out the flags, and hope the
investment in advertising and commitment to gallery artists made, in
some cases, months earlier, correctly anticipated the buying trend and
mood of shoppers accurately.
For browsers, it’s a time to see what
new, do a little comparative pricing, and further refine one’s
appreciation of the various mediums.
What will be “in” or “hot” this summer?
What will sell? What prices will yield the greatest sales? If you
display it, will buyers invest?
Even those of us who buy and collect art can’t
answer any of the above questions with certainty. Buying art, unlike
buying almost anything else, often combines an odd juxtaposition that
teeters between the Dickensian mercurial and deeply emotional: It
usually comes down to this: either I must to have it, or I can do
without it, for now. (see, Art
Talks: “Art & Inspiration”, for my own views on what
constitutes art that interests me.)
While it’s the “I simply have to have it”
shopper that promises early returns, don’t discount the “I’ll be
back” casual browser. When it comes to art the image that attracts is
the image that lasts.
I have a philosophy about the subject: original
works of art, because they are “one of a kind”, never grow old. If
the right mix is there a sale will be measurably easier. After all, who
doesn’t look at issues such as affordability, convenience of payment
terms, and willingness of the gallery owner to place an item on hold, or
in some cases release the work to the buyer during payment.
One thing you can count on, the competition to sell
will be feverish, as galleries announce upcoming shows, and the roads
become increasingly busier with both casual and serious shoppers.
On the recommendation of my good friends, Bob and
Anita Winstanley-Roark, I have put together an anecdotal list of things
I look for when choosing a gallery, starting with the obvious:
Is the gallery visible?
I spend entire vacations browsing art, visiting
galleries all over the northeast. On the Cape, especially, winding
roads, small towns, and the abundance of trees and shrubs along single
lane roadways can make spotting a gallery located somewhat off the road
difficult at best. Once passed, turning around can be a nuisance, and
dangerous. I suspect that I’m not the only one who has said: “If
only I had seen it earlier, I would have visited.” You might be
surprised how better sign visibility can yield more visitors.
Spotlights, even on bright days, and especially in shaded areas, can
illuminate a sign that should be, but isn’t obvious. Trim the shrubs,
and make sure the “open” flag is out. If the welcome signs isn’t
obvious to you, think how obscure it can be to a seasonal passerby.
Is the gallery inviting?
It may sound simple, but a visible “open” flag
really does attract attention. Also, the best galleries, I find, are the
ones that have illuminated art in the windows, or at least visible from
the street or driveway. There is nothing quite like a warm work of art
highlighted by a strategically placed spotlight to get one’s
attention. What doesn’t work? Some galleries located in artists’
homes keep their lights off until a visitor drops by. It may save
electricity but deter a potential customer from approaching, especially
on private property. If saving electricity is an issue, then light a
sign on the outside. Remember, the message should be “welcome”, not
“try to guess if someone’s inside.” Even with a sign, if you have
a gallery on private property, you really do need something else to show
you’re in and doing business.
Do you do any self-promoting inside?
So, I’m inside. The art is beautiful. It’s a
non-threatening environment. The message is, browse. If that’s all, it
may not be enough. How about a prominently displayed professionally
prepared poster perched on an easel, describing the gallery, its owners,
pricing policy, and the art on display? Say something nice about
browsing and enjoying the stay on the Cape. Why not include a message
that says, if you would like a question answered, ring the bell located
on the display table. The point is this, once inside, you want to use
every passive inducement to make the casual browser feel at home, and
what better way to make someone feel at home than by telling them
something about yourself and the gallery they are in?
Are artist bio’s available to read?
I paid three thousand dollars for a work of art at
a local gallery, and had to lobby the attendant for the framed/signed
artist’s bio that was next to it. Why not prepare a half dozen copies
of each bio, and have them all signed when art is dropped off? Then, the
loss of one is not a major loss. To the buyer, however, it can mean a
lot. The personal connection that we make with an artist when we
purchase a piece of art, even if we never meet the artist, comes through
in the art. Having that “something extra”, in a simple 8 by 10 frame
can add even more. I display every bio that is provided, provided it is
framed. Those who view my art can read something about the artist who
painted it, too.
Are the prices varied and competitive?
What to charge? I wouldn’t even presume to tell a
gallery owner how to set pricing. I usually respond, when I’m in a
buying cycle, buy purchasing what I like. The market will pretty much
answer when something is too much. There are some really great galleries
on the Cape, and the best, for me, are those that have varied price
structures inside. Maybe you can’t afford a Donald Demers original at
$15,000. But a smaller one at $1,800 or $3,000, could be another story
altogether.
Have you “spoken” to your market audience?
This goes to the eternal question, what is
art? Whatever the final answer, I suspect we can all agree that whatever
it is, you don’t want it hanging on display indefinitely. Are you
showing what people are buying? My own feelings run along these lines:
it sometimes take time for me to make up my mind about a new purchase,
and this can often take six months or more, especially if I’m in a
leisurely buying cycle. So, don’t be alarmed if you show what you deem
good art and it doesn’t sell this season. Art buyers tend to know
where to look and when, and we generally know what to expect from year
to year. We know this because galleries that cater to our tastes know
us. So, once you get to know a buyer, talk with him or her and ask them
questions. See if they can add anything to what you are currently doing
to enhance their shopping experience. You might be surprised what you
discover.
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"Strike
One" by Marieluise Hutchinson
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On the aside, I had the opportunity recently to
attend a “Patron’s reception” at the Copley Society in
Boston with my friend, Marieluise Hutchinson, whose work is on
display at the Cummaquid Fine Art Gallery in Barnstable. Three of
her paintings were on display. Although it was raining and windy
the evening of the reception, the weather didn’t prevent some
two hundred people from attending a great show. Where they parked,
is anyone’s guess. As for us, I took Marieluise to the reception
via Boston’s subway. Yeah, the subway. I think I redeemed myself
with a quiet dinner afterward. I was pleased to hear from
Marieluise that her New York show at the “Frank J. Miele
Contemporary American Fold Art Gallery” was a great success, and
that the value of her art to discerning buyers has increased
substantially. |
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