Creative Calamities

As an illustrator and explanatory graphic artist, I am well versed in the art of telling a story. But when it comes to my fine art I often neglect this important part of being an artist.

Another lesson that I learned when I showed my work at the Red Dot Art Fair in March was that simply making art and standing in the shadows is not enough. I need to be a storyteller as well.

As I have learned recently in the world of freelance graphics, I have to wear many hats. I have to be a salesman, marketer, accountant, art director and an artist to make a living. I have recently learned that need to make that same shift in thinking when it comes to my fine art as well.

When asked about my work I often give short adequate answers rather than telling the story of a piece of art. I am becoming aware than I need to “sell” my art in order to sell art.

One of the pieces that I displayed at the fair which depicted part of the Gion Festival drew unexpected comments. Someone who sat within eye shot my paintings for several days told me that it took two days before he became aware that my painting was not purely abstract. That surprised me a bit because the imagery in the painting is so obvious to me. And one of the event’s security guards remarked that he liked the painting because he could see there was a party going on. He saw it much more clearly.

When someone expressed an interest in a piece of mine and wanted to know more about it, I initially thought I didn’t have a much to say about it, but found that I could have plenty to say with the possibility of a sale encouraging me to dig deep in my memory. Just showing my art and standing in the background is often not enough to make a sale. I see a real need to practice talking intelligently about my art and getting comfortable with this aspect of being a serious artist.

The Short Story: Me (Aaron) participating in the Gion Festival, Kyoto Japan, 2000. Painting of the Eve of the Gion Festival (started 1999 reworked 2009).

Many times I have seen people talk a young artist down from an already bargain price on a piece of art, only pay double that price for the framing. But I guess it is easy to talk an artist down on his/her price when they are eager to sell.

A couple of weeks ago I participated in the Red Dot Art Fair in New York City. I was invited by the University of Miami’s art department  who sponsored a booth and featured the work of alumni in the New York area.

I had a quandary about pricing so I asked for advice. One of my former professors advised me not to price too low because in NYC in that venue people might not take me seriously if I price too low. So I double my prices. That would also cover the school’s 40% commission if anything sold. Since I was pricing high, I needed to upgrade my presentation. I  re-stretched one canvas, $60 and two framings set me back $400. After delivery/pick-up and commuting into the city for four days for schmoozing, I easily plunked down $500 promoting my work.

The spaces at the four day art fair rented for $11,000 to $30,000. A West Coast gallery in a space near us had shipped a huge crate in with their art. They had to cover the owners travel and lodging expenses, and hire someone to work the space when he couldn’t be there. On the last day he sold one small piece.

Lori Woodward, a contributing writer for FineArtViews breaks things down in her article Art Pricing Strategies 2. She discusses things artists should remember in pricing their work — the cost of making a painting, education, travel associated with art, framing, etc.

I used to feel strange quoting a price that someone considered too much for art. I don’t anymore. Because I have learned that making art is an expensive habit.

Scene from the Red Dot Art Fair 2010