Thursday, August 4, 2022

A FALSE MEMORY or PARALLEL UNIVERSE?

When I began my professional career in photography I used a number of different photo labs.  Back in the 1980s, in a large city (Houston, Texas) there were many labs, unlike today where there are hardly any, anywhere.  I used labs near to the studio, or near to the client and tried them all.  After a while I learned which ones were good, which ones were not so good and which ones were best for certain specialties.  Eventually I figured out that one lab got the earliest Kodachrome processing delivery, and which lab was best for C-41 or E-6 film processing.  All my black and white processing and printing was done by me, in-house, but I learned which labs were best for C-prints or Type-R or Cibachrome or other things.  All in all I used about a half-dozen different photo labs, but there was this one lab…

I have clear memories of occasionally using this one photo-lab, but now, well, I don’t think it really existed; I think I have a ‘false memory.’  I recall using a particular lab, not frequently, but from time to time, for film processing.  I have no recollection of the name of the lab or the names of any of the people there.  The lab was in a multi-story building, not a high-rise or skyscraper, but not the typical strip-center type photo lab either.  The building was near the Medical Center and I remember having to ride an elevator up a few floors.  Once inside the door there was just a simple counter, usually staffed by a woman, inside a large, studio-like room.  Linoleum floor, industrial fluorescent lighting, no windows.  I recall the smells of chemistry.  It was an older studio-lab, seemingly run by old guys doing ‘bread and butter’ photography like copywork, and slide duplication, and simple tabletop studio photography.  Whoever they were, they weren’t a big deal and were not like the guys I knew from our local photo-district, aka, the ‘photo ghetto.’

The people at this lab, usually it was just the lady behind the counter that I dealt with, were always very nice, professional and courteous.  Nice folks.  Why didn’t I use that lab more often?

Could it be because it never really existed?

This was a time period roughly from the early 1980s to the early 1990s.  I can remember the names of most of the labs I’d used, and their locations.  For this ‘mystery lab’ I can vaguely remember the location but not the name.  Although I didn’t use that lab often, I remember going there on multiple occasions.

Yet I can’t remember the name nor do I have any receipts from the place.  (I don’t archive receipts from over thirty years ago, but…)

What’s happening here?  I have clear memories of the place: the approximate location, the elevator, the fluorescent lighting, the large studio-room, the counter, the nice people, the smell and always being happy with my processed film.  Yet, now, I’m starting to think that the place never really existed.

It’s not really a big deal.  Life goes on just fine.  But I wonder, was it real, is it a false memory, or do I have a brain tumor or something?  Why do I have this memory but there’s absolutely nothing physical (real, provable) attached to it?  None of this really matters today but it’s certainly odd.

So after thinking about this one night during the hypnogogic state I asked someone I know has some psychic ability – my wife.  She answered, with great certainty I should add, that I’d experienced a “brief intersection of different universes or parallel realities.”  She went on, “somewhere in the multiverse there’s a version of you that uses that photo-lab, briefly this version of you visited that parallel universe and that’s where the memory comes from.”

Hmmmmm, okay, that’s some kind of explanation.  Possibly plausible and definitely unprovable.

That’s it.  That’s all I’ve got, just a memory.  And I’m really beginning to believe that lab never existed (in my universe, anyway) and my memory isn’t accurate.  I’ll never know, but at this point I’m comfortable thinking my memory is false.  Now, if I should ever find out the lab was real, I’ll really freak-out!

Does anyone have any other theories?  I’m open to hearing them all!

Tuesday, December 28, 2021

PRESENTING YOUR ART (Originally written for the Mountain Artists Guild, Prescott, AZ)

A powerful portfolio can make a huge impact on your career as an artist.  An elegant, clear, concise and consistent portfolio can get your work exhibited, enhance your reputation, expand your market and increase your income.  A weak portfolio can literally stall your career.  Presentation is important.

There is no ‘one-size-fits-all’ in art portfolio presentation because each of us is an individual artist with our own special and unique traits, however there are certain things we all must do in order to get noticed.  This information is geared to the fine artist who desires to exhibit their work in galleries and other venues.  Commercial artists have different needs; unlike the fine artist the commercial artist seeks ‘jobs,’ assignments or commissions whereas the fine artist is usually seeking exhibition venues (usually an art gallery or alternative art space.) 

A serious artist needs the following things in one form or another:

·        A website

·        A physical portfolio in a book or box

·        A digital portfolio or DPK (digital press kit)

·        Printed ‘leave behinds’

·       A positive attitude

·       A touch of good luck

The internet has (thankfully) eliminated the need for large, heavy, expensively shipped portfolios.  Today our websites are our portfolios.  And a website is available 24/7.  A website is a super-convenient way to see a body of an artists’ work.  And it’s no longer necessary to learn html or hire someone who does to create a website because there are plenty of user-friendly template-based web-hosting services available.  Many of these were developed for photographers but they work equally well for any kind of visual artist.  For my own website I use Photoshelter.  I keep my site pretty basic with portfolios of different styles of work, information about me, a contact page linked to my email address and a link to my blog.  If I wanted, Photoshelter offers services to make my website fully e-commerce enabled (to sell art online, direct from my website).  I don’t use this feature because my work is available through other online galleries and the simpler website is less expensive (mine is $30.00 per month). 

Here’s an abbreviated list of template-based website services:

·         www.photoshelter.com

·         www.squarespace.com

·         www.wix.com

·         www.godaddy.com

·         www.zenfolio.com

·         www.site123.com

·         www.zyro.com

·         www.smugmug.com

This is a very brief list, do a Google search to find many more.

 

You will need these three basic things on your website at the very minimum:

·        Portfolio(s) of similar-styled images.

·        Information about you, the artist – artist statement, biography or CV.

·        Contact information with email and telephone.

You can add other things to your website such as new works, a link to your blog, an upcoming events page, or you can make your site fully e-commerce enabled.  I recommend starting with a simple portfolio and adding to it as the need or desire arises.  Just be sure to update your website periodically so it doesn’t become a stagnant ‘ghost ship.’  As you go you’ll need to learn about SEO (search engine optimization) and linking your site to others.  Your website can become as big and complex as you’d like but, at the bare minimum, you must have an online presence.  When you build your website you’ll need to apply your art and design skills to create a good-looking website.  Remember, your website is competing against literally millions of other websites!

You’ll also need an actual, physical portfolio when you get the opportunity to actually meet a gallerist in person.  This is a collection of images in a book or box.  The portfolio book/box is a package that houses the samples of your art product and you’re going to want the nicest portfolio container possible.  If your portfolio book/box is cheap-looking, or beat-up, or unwieldly, that’s a negative reflection on you and your work.  A beat-up or cheesy portfolio box sends a message that you don’t take your artwork seriously.  An elegant, nice book/box says the artworks inside are important and you care and take art seriously.  This is simply the psychology of nonverbal communication and we’re all influenced by it! 

The artworks inside that book or box are the most important thing you’re going to show and they must be perfect.  In today’s art-world you’re going to want to show prints.  If you’re a painter or a 3-D artist that means your artworks will need to be photographed.  High-quality inkjet prints on good quality paper are fine.  Often gallery offices are cramped for space so I recommend print sizes between 8x10 inches and 11x14 inches, anything larger is cumbersome.  I print an image size of about 5x7 inches on 8 ½ x11 inch paper.  It is important that each print includes your name.  When a gallerist goes through your ‘book’ the repetition of your name on each and every print will help them to remember you.  (For best results just assume anyone who looks at your portfolio is cramped for space and has a short attention-span.)

Your portfolio should include at least ten, and not more than about twenty artworks.  It’s best to leave them wanting more.  Be utterly ruthless when editing your works.  You don’t want anything in your ‘book’ that requires explaining, or worse, apologizing or making excuses for.  Each image must be ‘a killer.’  Do not show anything you don’t want to do or exhibit.  For example, say you’ve done one really great painting of an orange, it’s really great so you want to put it in your portfolio however you’d rather paint pictures of bananas.  I guarantee if you’re offered an exhibition it’ll be for a show of paintings of oranges and you’re going to hate it!  Despite its incredible quality remove that orange print from your portfolio!  Only show what you want to exhibit. 

Look at all your portfolio prints as a group.  You want to ‘pace’ your presentation and try to have one image ‘flow’ into the next.  Start and end your portfolio with your absolute best works.  If an artwork is really good, but not great, put it in the middle of the portfolio.  You want to start with a high-impact image and end the same so you’ll be remembered.

Do not mix a variety of styles or techniques in the same portfolio!  This cannot be emphasized enough.  If you work in a variety of styles (like, for example, surrealism, realism and abstract-expressionism) create a separate portfolio for each one.  Again, this cannot be emphasized enough!  If you mix styles or techniques in the same portfolio you will not be remembered for anything.  You want the gallerist to remember you as a ‘surrealist’ or ‘abstract painter.’  If you mix styles or techniques you’ll only be remembered as that person who does a lot of different stuff.  You don’t want that!  You want your name associated with a particular style of art.  I cannot emphasize this enough. 

You may want a digital version of your portfolio or a DPK, digital press kit to leave behind.  For my DPK I bought DVD cases from the office supply store and created my own artwork for the case with my inkjet printer.  Then I burned low-resolution images (screen quality, nothing that would hold up to printing large to protect my copyright from theft) on a CD along with text files of my artist statement, biography and resume.  Inside the case is a printed table of contents with thumbnails of the images, a page with my contact information and what I’m seeking (exhibition, publication and licensing opportunities) along with my business card.  Today CDs and DVDs have fallen out of favor and USB thumb-drives are preferred.  You can put the same things on a thumb-drive, minus the need for a DVD case and artwork, and use that instead of a disk for your DPK.  When I deliver or leave-behind USB thumb-drives I present them in a gift box that includes my business card.  Thumb-drives are small and can easily be lost, that’s why I put them in a box.  I also use personalized thumb-drives imprinted with my name and website address.

You’ll also want a ‘leave behind’ in printed form that doesn’t require a computer to view.  This is something with a picture and your contact information on it that the gallerist can keep on file.  I’ve used direct mail for years as self-promotion so I use those postcards as leave-behinds.  I also have a lot of extra gallery exhibition invitations from previous shows and I leave them behind after a portfolio showing as well.  The gallery invitation leave-behind also adds credibility, it cues the gallerist that you’ve had prior exhibitions and are experienced.  Also remember galleries are usually risk-adverse, they’re more likely to take a risk on giving you an exhibition in their gallery if another gallery has taken the risk first.

If you have Photoshop or Illustrator skills you can design your own leave-behind postcard or flyer.  If you’re not comfortable doing it yourself postcard design is an easy job for a Graphic Designer.  You can create postcards, flyers or brochures in any size you’d like.  Make sure your design includes one really great picture and all of your contact information, including your website (where you want to direct the gallerist to see more of your work).  Two quality, low cost – high volume printers I like are:

·         www.vistaprint.com

·         www.modernpostcard.com

There are many more of these printers online.  Do a Google search and compare prices and products.

 

Once you’ve got your website online and a collection of samples in print from in an elegant book or box, along with at least one printed sample to leave-behind (and a business card) you’re ready to brave a new world of rejection and start showing your work to galleries in hopes of getting a show.  This is where the last two bullet-points on the presentation list come into play:

·         A positive attitude

·         A touch of luck

A positive attitude is very important because you will be confronted with rejection when you start presenting your portfolio.  Most gallerists are passive-aggressive when it comes to rejection – they don’t say it!  You’ll know it when they like your work enough to consider exhibiting it but rejection often comes in the form of a blow-off.  That means after your portfolio showing you’ll never hear from them again.  Sadly, this is normal.  To let you down easy sometimes they’ll tell you:

·         Not at this time.

·         Not the right gallery for you.

·         We already have a                            (fill in the blank, surrealist, abstract painter, etc. etc.)

·         No thanks.

All of this is normal so be cool and don’t ‘cop an attitude’ if you’re rejected.  Vent your anger and frustration in private.

If a gallerist asks you to come back at a later time with new work by all means do that!  This is a test I’ve seen far too many artists fail.  It means they saw something in your work, a beginning or a spark of something and they want to find out if you’re committed to your vision.  Tell them (but not in a Terminator voice) “I’ll be back.”  Then go to your studio and create new works!  In six months’ time, go back to the gallery and show (the same person who told you to come back) one or two pieces you showed previously (to re-familiarize them with your art) and then show your new works.  Hopefully they’ll respond positively and also see you now have enough works for an exhibition and things will go well for you.

Finally, the last point, luck.  ‘Luck’ is an unreliable partner but you can make your own good luck.  Sometimes, if a gallerist really does like your work but it really doesn’t fit their gallery, they’ll tell you something like: “This really isn’t a fit for this gallery but you should see so-and-so at such-and-such gallery.”  If you hear that, do that!  Ask them to make an introduction for you, or at the least, ask if you can drop their name when you go to that other gallery.  Anytime someone can ‘open a door’ for you or make an introduction or in any way advocate for you take advantage of it.  An introduction is always better than a ‘cold call.’

One last thing about some galleries; they really don’t like dealing with artists.  Sorry, but it’s true.  And to avoid meeting artists and the inevitable un-comfortability of an in-person rejection they will have an online submission system through their website.  Don’t submit to galleries online.  Period.  It’s like sending your sample works to noreply@gallery.com, you’re never going to hear back from them.  You’ve been pre-rejected.  Don’t waste your time.

Keep in mind that a gallery without art is an empty room but an artist without a gallery is still an artist.  The artist can exist without the gallery but the gallery cannot exist without the artist.  There has always been more art created than places to show it and the sad reality is art exhibition and sale is a competitive business.  If you understand that it’s a business, or more accurately, a game, then you will eventually succeed.  But you’ve got to ‘compete’ at the highest level, so prepare your presentation professionally, keep a positive attitude and hope for a little good luck.  With a good presentation you will find ‘your people’ and be on your way to an exhibition of your incredible artwork.

Tuesday, December 14, 2021

PRICING YOUR ARTWORK

(Originally written for the Mountain Artists Guild, Prescott, Arizona)

PRICING  YOUR ARTWORK

Pricing artworks is a mysterious and arcane endeavor.  There are many opinions but very few rules or guidelines.  There are no ‘industry standards.’  I will begin by mentioning the following information is for the fine artist and not the commercial artist.  Pricing commercial works is often the result of negotiation and always includes a ‘reproduction’ or ‘license’ fee.  Sometimes commercial art prices include a transfer of copyright too.  Reproduction and copyright is not a factor in a fine art purchase.  When a collector buys a fine art piece they are not buying the copyright, which remains with the artist, nor are they buying a license to reproduce the artwork in any way.  When one purchases fine art they’re buying a piece of art for display only.  This should be written clearly on the invoice or Certificate of Authenticity to avoid any confusion by the buyer.

One pricing methodology I eschew and recommend avoiding is the ‘square inch’ model.  This method takes the size of the piece; height x width = size in square inches, and assigns a number (price) to each square inch to determine the artwork’s price.  Here’s an example:  a 16x20 inch artwork is 320 square inches (16x20=320), if you assign $5.00 per square inch you end up with a price of $1600.00.  320x5=1600.  This method does not take into account any aesthetic factors and should be left to those who price and sell carpet or tile.

Most retail pricing takes three factors into account: cost of production (materials), cost of labor, and profit.  For artwork it’s nearly impossible to calculate the cost of labor so forget about that as a pricing factor. 

After many years of selling art, I’ve found the following factors should be considered when pricing your artworks:


·         Cost of production (material – paint, canvas, film, paper, ink, frame, etc.)

·         The gallery and market.

·         Similar prices.

·         Your medium.

·         Size of artwork.

·         Your status/recognition.

·         Profit margin after gallery commission.

Here’s how it breaks down:

Every artist should know their production costs.  For painters it’s the cost of the canvas, paint and frame; for photographers or digital artists it’s the cost of paper, ink and frame.  Minus the frame, this is the actual cost of the artwork – which in most cases isn’t all that much!

Framing is problematic.  Frames are not cheap yet it’s expected that artworks in a gallery are framed.  The expense of the frame falls wholly on the artist and eats into profits.  Few galleries share framing costs so it’s best to use the cheapest frames possible without the frame looking cheap and cheesy.  That’s a hard target to hit.  Think of the frame as an unpleasant add-on expense.

When I do exhibitions out-of-town I always defer to the gallery for pricing.  They know their ‘range’ and they should know their market.  I try to hit a ‘median’ price that’s an average for the gallery, not over- or under- priced, and in a range expected by their clients. 

Look around the gallery and in other galleries in the area at other professional artists’ prices.  In most cases your prices ought to be within this range to be ‘competitive.’  (There are exceptions.)

Medium is an important factor.  One-of-a-kind artworks are naturally more expensive than reproducible art.  This is why paintings cost more than photographs or digital art.  A painter expects to sell one painting at a high price whereas a photographer expects to sell lower-priced prints but in multiples.  Beware the terms Gicleé and Inkjet as they effect the perception of value!  Gicleé is a fancy, French word for ‘sprayed ink’ or ‘inkjet print.’  When painters sell Gicleés of their paintings they’re selling reproductions.  When a photographer or digital artist sells a Gicleé they’re selling originals.  A true digital ‘original’ exists only as binary code but ones and zeros are not ‘a tangible form’ and must be printed to be seen.  Therefore that ‘digital print’ or Gicleé is an ‘original’ just the same as a photographic print from the darkroom was.  Avoid the term ‘inkjet’ entirely as most people associate inkjet with their cheap office printer.  To avoid the stigma of either term I use ‘Archival Pigment Print’ for my digital artworks.

Size matters.  Obviously large artworks should command larger prices simply because production costs are higher.

The artists’ status or level of recognition does affect prices.  If you’re well-known with name-recognition, like Damien Hirst or Jeff Koons, your works will command a higher price than an artwork by Billy-Bob Nobody.  This is how the art world works.  If you’re ‘famous’ your name alone asserts value, your works are more widely collected, appreciate in value and are worth more in the secondary market.  Don’t worry, if you should achieve widespread name-recognition the gallery will raise your prices for you!

Finally, profit-margins.  Profit, as in extra money, is the thing that allows you such luxuries as owning a car, sleeping indoors and eating on a regular basis, so you’re going to want as much of it as possible.  You’ve got to factor the galleries’ commission into your retail price.  As a rule, most galleries take a fifty-percent commission.  That means for that $500.00 print sold you’re getting $250.00 after the gallery takes their commission.  Let’s do some simple math here, and you can use this to ‘explain’ to someone who thinks $500.00 is ‘too much’ for an artwork:

 

·         Print sold for $500.00

·         Less the 50% gallery commission

·         Leaves you $250.00

·         Let’s say the print and matt cost you $30.00

·         And the frame + glass cost you $50.00

·         Deduct $80.00 ($30 + $50) from your $250.00

·         That leaves you $170.00

·         Let’s say you’re in a low tax-bracket (because you’re an artist) and pay 10% Federal Income Tax

·         Deduct another $17.00 leaving you with $153.00

·         And you pay an average 3% State Income tax

·         Deduct another (approximately) $5.00, leaving you with $148.00

 

So, the collector who paid the gallery $500.00 + sales tax for your artwork nets you $148.00 after expenses and taxes.  This is why art is expensive!! 

Pricing artworks is indeed a mysterious and arcane endeavor, you want to hit a price someplace between free and extortionate and that’s a hard target to hit.

 

Dale O’Dell

December 2021