Organised as part of Cosimo
Dean Melbourne - painting, researcher, number of group of solo shows in London. From backcountry. Works as an artist advisor
AN - pricing information, also provide insurance which covers a bespoke policy
Artist statements: consider the priority list of information. What is the core of the practice, what is the most interesting information. Avoid it being generic e.g. who explores, who is interested in. Do you need to state where you are from? Especially in the first sentence.
AXIS - also provides insurance policies
If represented by a gallery can allow the gallery to price you, they are experienced and can know value of artists. However they can take advantage on early career artists.
Keep register of ...
Material costs (update as constantly change)
AN suggested day rate. Size of work - cross reference to come up with price of work.
Artfinder - useful site to find a courier
Where you sell is more important than the price.
E.g. is it an art fair, online, through a university- what area and level of prestige does the host provide?
Consider exclusivity of artwork
Establish your own Terms and Conditions which you work by - consider when deciding on pricing and agreeing on relationships with galleries
If gallery is interested in your work you can ask to trial a series of works with them. If it is successful and they sell well you can move forwards. Have a connection with this gallery - most represent artists through recommendations
Always have at least 25 finalised artworks in studio to show a gallery. E.g. invite them to see new body of work - buikd on exclusivity, state how no one has seen work before and allow them first chance
Value is not:
Different approaches to success ladders
3 types of approaches:
• Peer support
• Academic (museums/biennials)
Showing the journey of your practice - utilise reels and video content to show works I progress or making processes, studio shots etc
Artist support pledge - way of making sales and building community
Garden Alton - The Work House
Develop your creative practice
Spent money on practice making work
Nees to say in application - What would you send money on?
E.g. travel to a biennial for creative inspiration, get professional mentoring, using more expensive materials
• Multiplier - brings people in contact (gallery)
• Peers - share knowledge, support
• Customer/client/buyer - sales, exposure, potential
• Mentor - personal/business, can be formal or informal
• Champions - need to nurture, help promote you and share your art
Give value to get value. Slowly and organically. These are real relationships, not forced for professional gain. Use networking to build genuine relationships of mutual support
What are the gaps in your network?
Clients are my gap.
How to get more client?
• Collabs with shops - get work in shop windows e.g. cass art or cafes
• Following and commenting on similar artists
• Looking though similar hashtags
• Follow possible clients - message to gage interest
• Open studios, studio visits, invite curaties, collectors to see new work
• Art fairs, starting with local community ones e.g. Birmingham open studios, Kings Heath Village Square Market
• Build up to larger art fairs
• Affordable art fair
• The other art show
• Joint works
• Fist pop
• Walsall art gallery residency
• Clarity market - clear on target
• Secondary readership/viewership
Identify what my work involves and understand what market that aims at
E.g. my Fragments collage series - identify
• Colour, aesthetics
• References things from our locality
• Use of advertising
• Retro tech, cars, pop culture
More recent work with an interest in architecture:
Speak to architects - gain interest and connections in that field
What to do if communication becomes difficult with a client: Pipeline
Blocked - issue with mode of communication
Making it more informal and conversational
Stay in touch and develop a connection
What do you really want to say?
Inherent in you
What you do
What you are good for
What you stand up for?
What's important to you?
Beauty/aesthetics, found objects, comcrete
What is you're idea of success?
What you do
Your strategy or tacks
Needs to match with your vision and values
What you say
Think of yourself as a company
Split the way you work into departments
Concept of a creative board:
Can be made up of admirers such as writers, poets, artists, musicians, historical figures
Leah Crowfoot, accountant, help to make audit
• Building relationships
• Communication strategy
• HR, how do you support your own wellbeing
Here and now
• Promotion and marketing
• Problem solving
• Research, market and technical
• Goal setting
What is my legacy?
Successful body of work
Impact on the artworld
Helping other emerging artists
When seeking opportunities:
Selecting more carefully
Build relationships before asking
Get involved. Do things
Team up and make things happen
If approaching a gallery
Have 25 pieces to show, consistent, presented properly
Charlotte Keates - Arusha Gallery