The deliberately rude ARE different than you and I. We must understand that to protect ourselves.
Yesterday I wrote a post, responding to another artist’s frustration on being treated rudely by a gallery she approached.
Shortly after I published it, I received a comment that baffled me. It was condescending and pretentious, and completely missed my point.
I almost replied to it. Instead, I’ll be deleting it soon.
Why? Because any comment that includes the phrase “Sorry to offend your sensibilities, but….” is not a serious contribution to discussion. (The writer’s contention was, I don’t understand that galleries are a business, and rank hobbyists need to know that.)
I almost leapt to my defense. The original article expressed dismay at how the gallery treated them, not the fact that they didn’t like the work. After all, if a business is rude to its potential vendors, is that good business sense?
I decided to delete the crabby response. But I still wondered why someone would be deliberately provacative. When I visited the person’s website, I could see no evidence of a working artist, or even a viable online presence. Nothing. Wha…..??
Finally it dawned on me. Whether I responded, or left the comment as is, people visiting my blog would do just what I did: Click on the crab’s site to see what they’re about.
The crab was using his comment as click bait. Diminishing what I offer, in order to build traffic to their own site.
We hear it all the time: Don’t feed the trolls! Don’t let them bait you, engage you, feed off your anger.
Unfortunately, the trolls are getting bigger, and hungrier.
A memorable illustration is high tech blogger Kathy Sierra, whose inspirational, highly-readable blog changed the face of her industry–until hostile comments and death threats chased her off the scene. (Temporarily, fortunately. She’s back, and she’s awesome.
Another is Ghostbusters actress Leslie Jones, who was brutally trashed on Twitter by a someone who’s name I won’t even print.
And of course, the biggest troll of all, the Republican nominee for President of the United States.
What do these trolls gain from their behavior?
Unfortunately, a lot.
They get attention. Publicity. Lots of it. And though we detest and protest their behavior, we end up talking about it–and them–even more. The Google hits skyrocket. The person who cruelly baited Leslie Jones actually celebrated when he was banned from Twitter. Why? Because the media talked about him and his antics even more, nonstop. The interviews continued, the outrage continued, and there he was, sitting in the middle of a media frenzy, enjoying every minute, crowing about his successful grab of the world’s attention.
The more we learn about people like this, we realize they are not motivated by the same things that motivate most of us. I want to be known for my work, of course. But I want it to come from a place of inspiration, compassion, support, and contribution. I want to use my gifts to make the world a better, happier, more joyful place.
These others crave attention. Power. Control. And they will do anything to get it. The world is a playground to them. The media is a system to be gamed. The rest of us are simply fodder for their egos.
In my own tiny world, where I make little horses and bears, where I share what I’ve learned on my journey so that others can be inspired to walk their own path, there is no room for these people. Oh, sure, some will make their way here from time to time.
But I’m learning to recognize them faster.
And I hope you do, too.
Continuing my series for Fine Art Views on using story hooks in your publicity and self-promotion…
I just figured out how to republish my Fine Art Views articles here! Duh…..
Tell Me a Story: Proximity
by Luann Udell
In short, the world is a pretty big place. But it’s still made up of countless communities. These days, our communities are far more than just the people who live near us. Take another look at yours. See if there’s a group who’d love to hear more about what you’re up to. […]
Read the rest of this article at:
Tell Me A Story: Proximity
This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).
For a complimentary subscription, visit: Fine Art Views
Making the Most of Your Open Studio
by Luann Udell on 10/14/2010 10:08:54 AM
With permission from Fine Art Views, the art blog I write for, I’m reprinting today’s blog post here on MY blog! :^)
This post is by Luann Udell, regular contributing author for FineArtViews. Luann also writes a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explores the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines and newspapers across the country and she is a published writer. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did.” You should submit an article and share your views as a guest author by clicking here.
I just finished a two-day open studio event, as part of a group that began a few years ago here in New Hampshire. I’ve done other open studios, on my own and as part of larger groups. This particular one is a good one to consider for what works and what doesn’t; we’re a small group (25 artists) and we’ve built it from scratch. It was our third tour and we finally started to see the results of all our hard work.
In the past two years, I felt fortunate if I made enough sales to meet expenses. I had to find other ways to value the experience beyond sales.
Of course, there’s the reward of having a clean studio. In the two weeks I deep-cleaned my space, I finally found all my scissors. And discovered I have not one, not two, but FOUR paper cutters. (Yes, I gave one away.)
I’ve come to appreciate the emotional rewards of hosting such an event. It can be a great way to thank current customers—they love an invitation to see you in your little world!
I discovered the joy of sharing my space with a compatible artist and friend. We tag-teamed the set-up, food and demonstrations. The good energy we created was palpable.
I found new collectors, and met more people who support what I’m doing. I reconnected with long-lost friends and made new ones. A small get-together is planned for like-minded stamp carvers. A defunct artist support group now plans to get back together.
There’s no single right way to have an open studio, of course, and some people prefer not to do them at all. Sometimes our galleries encourage these events, knowing that creating that relationship between artist and collector will benefit all concerned. And sometimes our galleries don’t like it at all.
Here are some thoughts on what worked for us and how to keep everybody happy. It’s not comprehensive, but it may give you insights on aspects of planning that are often overlooked.
Feel free to add your thoughts and share your experiences, too!
It takes time.
You might get lucky and have a stellar event your first time out. I did in years when money was flowing more freely. Nowadays, it can take time. Sometimes you just have to keep doing an event until it gains momentum. That seemed to be the case with our tour.
Piggy-back on another tour/event/holiday.
There’s another more established art tour in our area that runs on the same weekend. Some of their members were miffed we did ours the same time. Others were thrilled. They knew that more options generates more opportunities. Yes, some of their “frequent fliers” tried our tour this year—some of these visitors said they simply wanted to try something new. Next year, our “regulars” will surely try theirs. It’s win/win for everyone.
We also picked a popular regional holiday weekend (Columbus Day) which is perfect for enjoying the fall foliage in New England. People are out and about and looking for things to do. “What a beautiful vista…. Hey! There’s a sign for an art studio tour. Let’s go see some artists!”
Which brings us to…
Marketing is important.
Our signs brought a lot of people in. We had great advertising, too, and snagged some good publicity (free!) in the form of newspaper articles, too. But signs hammer the point home. My husband drove around the area that weekend for a rock climbing venture. He commented that he saw our signs everywhere!
We tried to save money by making our own signs. They are eclectic and fun. But they’re not holding up well and a good wind knocks them off their pinnings. We may end up having signs made commercially—more money, but also more durable. If local politicians running for office can have decent signs, we can, too!
Create a great brochure and an excellent map.
We’re lucky–one of our members had these skills. He designed a lovely brochure using the theme and the rich colors of autumn to tie us all together. It’s bold, bright and professional-looking. He found an extremely affordable online printer and we placed them in key locations all over the area. I heard many compliments about our brochure. It just made us look like we really knew what we were doing! (I’ve included images of it. Forgive my lack of photography skills with glossy paper…) (I forgot to show the map. Trust me, it’s there!)
Tip: Targeting your audience gives you the most bang for your buck. I do a big retail show a month before the tour. I gave every customer a brochure with their purchase and offered them to anyone who expressed a wish to see my studio. Each and every one was delighted with this “personal invitation”. And a lot of them came, too. (I was touched by the collectors who couldn’t come and called to let me know—just as if they’d been invited to a party!)
Work with your galleries.
Some artists have a local gallery that represents them. One particular gallery is not happy when artists sell directly to customers. They believe all sales should go through them. If this happens, try to work out a compromise that keeps everyone happy. One artist only shows and sells work for the open studio that is not in the gallery. This can be work from a different series that’s not compatible with the gallery’s client base, or smaller, lower-priced work (the gallery doesn’t carry her miniatures, for example) or even unframed pieces. They are also more willing to let her sell for very short term events, like our local Art Walk.
You’ll also be wise to never undersell your gallery. That’s almost guaranteed to lose you your place with them. Instead, try the different series/smaller pieces/work-they-don’t-want-to-carry approach.
If your protesting gallery is a major account for you, you might even consider offering them a commission on the work you sell during this event.
Create groups within each location.
Your current customers may feel fine coming to your studio already. New visitors will feel much more comfortable if you have more than one artists in your location. It’s just human nature—multiple options make people feel they’re sure to find something/someone they like! Artists who double up (or even three or four) in a studio consistently report more visitors and more sales than lone artists.
I shared my studio with my friend and fellow artist, Nicole Caulfield. Her work is excellent and appealing, and her personality is, too. We love each other’s work and that showed in the energy level here all weekend. People commented on how wonderful it felt in our space, over and over.
Grouping artists together also allows you to grow your artist list without expanding your tour. We wanted people to visit “all 25 artists” on our tour and created a contest to encourage that. In reality, it would be impossible for someone to do that in two days.
Some folks in our group are talking about limiting the number of artists for that reason. But you want new faces on the tour because…..
….People love the new. They want to see new artists, new work, new studios. I’m going to suggest to our group that we allow new artists to join a current participating artist in their studio for a year or two. That will allow us to grow our artist list slowly, without adding more stops for a few years. (We’ll be able to reuse our “studio number” signs for a couple years, too!)
Jury your artists (or at least know the quality of their work) for a consistent tour. But don’t worry about having only “proven sellers” on your tour. We have both big names and emerging artists on our tour. People love to see artists at all stages of their careers.
Create variety in your stable of artists, too. Some people get picky about what is “art” and what’s not. By adding a few woodworkers, a potter and a jewelry artist to the tour, we created more buzz for the tour and offered something for everyone. (Why do you think fine art museums have gift shops?)
Let your friends and current customers know. And use social media, too.
I used to do a full postcard mailing for these events. Last year, I finally created an email group for my customers, supporters and friends. A few weeks before the event, I did an email blast and a couple Facebook announcements. I added photos of my studio and images of new work.
I’m always astonished at the folks who can barely tolerate children in their booths or studio. It’s true, usually people with kids are too busy with the kids to actively shop. But it allows people to come who otherwise would have to hire a sitter. We found little things for kids to do and enjoy. Not only were parents and grandparents grateful, I think my friend lined up a few portrait commissions. (She captures children beautifully in her work.)
And tell yourself you are laying the groundwork for a future generation’s appreciation of art and craft.
Remember to have fun.
In our culture, where money is often the measure of our success, it’s good to remember that an open studio doesn’t have to be just about the sales. Yes, I want my work to sell. But I also value the relationships I have with my collectors. At my open studio, they are my guests. Treat your open studio as a way to thank your loyal supporters, consider sales the gravy, and you will never be disappointed.
A quick segue today, before the amazing artist statement I promised you yesterday.
I’ve had to eat my words re: what I said about going to art school.
Here’s what I said in a reply to a comment on that post:
Actually, Aza, I recently had an experience that made me see the value of a good art school education. And that is the connections and opportunities that are made possible. I attended a workshop presented by a young woman who just finished post-graduate degree studies at a prestigious art school. In the course of her studies, she visited the studios of many well-known artists; gained access to facilities (museums, galleries) beyond the reach of most people, even allowed access to their “backstage”, so to speak.
It was enough to make me wish I’d gone to art school, too! :^D
I think everyone has their own needs and desires re: art school. If you feel drawn to it, go. Explore. Take what you need and leave the rest. Take advantage of every opportunity to connect, network, and experiment.
And then, be sure to come back and tell us what you learned.
I’ve never said you shouldn’t go to art school. I say you shouldn’t rule yourself out as an artist if you don’t go.
I remember bugging a friend who decided to go to art school late in life. She was already a productive artist–why did she need an art degree??
She replied that no one in her family had ever gone to college before her, and certainly no one had ever achieved a master’s degree.
She wanted to be the first.
I realized that mattered very, very much to her. And that was a good enough reason to do it.
Sometimes you need a college degree for credentialing. Sometimes you need it to prove something to yourself. And now I know the connections, networking and opportunities you get can be worth every penny.
Just know your reasons.
And don’t use not going as an excuse to not make art. Because I know better.
Today you get permission to be unsociable.
As connected as I am to the world-wide web, I try to insulate myself a bit.
I try not to look at other people’s art too much. If it’s good and I like it, I want to imitate it (which is okay for inspiration, but not for my core aesthetic.) If it’s really good, it just makes me feel bad about my work. If it’s bad, it’s just a waste of time. Or it makes me feel smug, which is not being the Buddha. (If it’s really bad, though, it’s funny.)
I try not to read too much Twitter. Either it’s pretty mundane stuff, or I get caught up in what they’re saying, and forget what I want to say. Although lately I’ve been ROTL at this one and that one. I enjoyed tweeting (love to hear the sound of my own voice, there, I said it), until I realized how much time I was spending doing it.
Same thing with blogs. There are some great ones out there, with heady stuff. But then I start comparing mine to theirs. And then I worry about how many people are reading mine (or rather, how few people are reading mine). It becomes all about the numbers, and not about what I want to say.
It feels like when I worry excessively about how much artwork I’m selling. I stop thinking about the work I want to make, and I focus on what I think will sell.
So when things are slow in the studio, I venture out a bit. Otherwise, I try to unconnect.
Today, from one of my favorite blogs, I received permission to be this way.
There are blessings to social media. But there are repercussions, too. Connection is wonderful. But I don’t want to wander aimlessly from point to point. And I don’t want to be just a point someone passes through to get somewhere else.
Except….in my artwork, and my writing.
I don’t mind being an experience people absorb and go through, to get to where they dream of being.
Not by copying my work. (I just found a website where a former customer, whose been copying my work for four years, brags about her “original” and “unique” designs…. Sigh.)
Not by being the Buddha. Because some days–okay, most days–nobody would ever mistake me for Buddha. Before I had rich dyed dark red hair, BTG (Before The Gray), I had rich medium red hair. And I embody every inch of that redhead temper thing.
I hope by sharing the hard days, and the good days, by sharing what I’ve learned and what I know, I can help people get to where they want to be–to help you get to where you want to be.
I hope that by telling you when it’s hard, it’s not always because you aren’t good enough, or not savvy enough, or not experienced enough, maybe you’ll persevere with your art.. (And even if it IS because of that, you can get better. I did.) Sometimes it’s hard because….it’s just hard. Period. I hope that encouraging you to make your art helps you stay the course.
And like Naomi over there at IttyBiz, I hope I help you by giving you permission to decide for yourself what deserves your focus, and what doesn’t. To decide for yourself what success is, and what isn’t. To make the art that is in Y-O-U, and nobody else, and to get it out into the world.
Take a minute to read her essay.
And remember, it’s okay not to answer your phone sometimes. It’s okay to say no. It’s okay not to text/IM/facebook/tweet/link/ning/blog/read today’s newspaper.
It’s okay to simply be unavailable. To turn off the ringer and let the answering machine/voice mail/thingie do its job.
Now go to your studio and make some stuff.
P.S. Now I wish I hadn’t given myself permission to publish this without thoroughly proof-reading it first! :^) I just fixed six typos….