Using a sale of art versus art-seeing expectations. There are two viewpoints that will be at contretemps when it comes to visiting an artist’s studio/gallery. The artists and the clients. Unfortunately both camps have to get over their pre-conceived notations of what is to go on. That does not mean that you can’t have those thoughts – just which the thoughts have to be tempered with reality.
With the artist the client visit will be objective and to the point. The artist thoughts are that all visits are going to lead to quick sales. In addition, the client is, or should be, focusing solely on the art in the room or would like to discuss a commission today and give the artist a down payment to get the process started. The one thing to be avoided is the client speculating or doing “blue sky thinking”. This burns up the artist’s creative time. Unfortunately for the artist, he has been surrounded by the art for a while and knows it cold. He is acquainted with all the nuances and details. The artist just knows, from his mindset, what the best piece is and that the customer should be happy with the artist’s decision and purchase the artwork.
From the client point of view, all of the above could not be further from the truth. The client is coming to see the art – yes, but and this is a big but, not really to buy. Above all the client wants to look at art, discuss the motivation behind regarding it, and engage in some small talk, almost anything to get away from a quick commitment/buy. The client does not want to be rushed into a quick decision, particularly if this is the first visit to the artist’s studio/gallery. Occasionally, there is also the expectation that the artist’s work that the client saw elsewhere now has taken a radically different course either in design, subject matter, color, etc. So there is bound to be some conflict here.
The key is to understand that each side – the artist and the client – have valid points of view and that their mutual destination is the identical. Eventually the client/artist situation will work itself out – though consequently – never in the artist’s time frame. The artist always wants it quicker.
Visiting an artist’s studio for better pricing. Some Clients visit artists studios to, for many years, receive better pricing. Some clients, and to be truthful some artists, buy into the concept the artist can sell art cheaper through their studio/gallery than through their gallery representation. Some clients actually befriend artists to get their “artist friend” to make them a piece of art. There is a reason artists sell through galleries – that is certainly so that they don’t need to invest in the time and money to satisfy and greet clients on his or her turf. This frees up the artist to produce work to supply his/her gallery network. This can also be seen as profit for that artist. All companies like profit.
This may the client well knows that they are gaining from the artist. The customer also does not care that the artist, by selling his work at a wholesale price, is undermining his galleries. Towards the client, this is a one time transaction and a good deal. The artist though, has driven a stake while in the gallery/artist trusting relationship that is so recommended to sell art. No wonder galleries are extremely leery of artists selling their work independent of the gallery.
When artists have their own stand-alone gallery, the artwork prices also need to be exactly what their galleries sell work with. Clients in this instance think that for the reason that artists gallery is not on prime real estate that they should pay less. To turn the tables a little bit, if the client is at the artist’s position, should they lower their price? Due to the fact the overhead component is less than a typical gallery, do you select bargain basement pricing for an exclusive edition special weapons product? Not in conventional economics without in a real life scenario.