Newsletter - March, 2010

Hi all,

What's new!

We now have a new secretary. A big thank you goes to Karen Harvie for taking on the task of deciphering what goes on at our meetings, putting pen to paper and recording it for us.

I'd like to welcome our newest member, Tacha Reed. Tacha sent us a wonderful letter of introduction which also outlined her background; colourful, diverse and accomplished. For a little information about Tacha, you can visit the websites: www.artslant.com & www.linkedin.com

This week, Sandra will be mailing out entry forms for this year's 4th annual Festival of Art.

If you don't receive one of these entry forms by March 10, please let either Sandra, Kristie or me know.

Sandra MacDonald: cstudio@ns.sympatico.ca
Kristie Sheehy: ksheehy58@hotmail.com
David Howells: davidh@eastlink.ca


On the website front, Andrew Harvie has just begun tackling our website. When he has finished strutting his stuff, the website will look completely new.

Here's a little information about this year's show, along with some reminders:

Please note that corrections are being made on the Entry Guidelines link on our website.

All works should be dropped off at the Pisiquid Canoe Club on the Windsor waterfront on Thursday, May 27 from 10 AM - 8 PM

The opening for the show will be Friday, May 28 from 7 PM to 9 PM. Admission is free - with goodwill offerings accepted - and there will be a cash bar. Mayor Paul Beazley had said he would be our Guest Speaker, but just realized he'll be away that weekend. He is going to see if the Deputy Mayor, Laurie Murley can stand in for him.

The show continues throughout the weekend, May 29 and 30.
Hours: Saturday, 10 AM - 5 PM and Sunday 10 AM - 3 PM

All artwork should be picked up between 3 PM and 5 PM on Sunday

A reminder...the Entry Form needs to be sent to us before May 26 so that we can put the information into our program for the show.

The Hants Journal has been approached regarding sponsorship in the form of advertising. We are waiting to hear back from them. With or without sponsorship, we will be taking out a quarter page ad in the Journal. Thanks to Kristie's legwork, CBC radio host Olga Milosovich has offered to help promote the show on CBC. (Pat...your spelling of Olga's surname was correct...top marks). Regarding promotion and advertising, our event will also be integrated as being part of this year's Apple Blossom Festival (ABF) weekend. The ABF's organising committee are doing something special during this year's Apple Blossom Festival called AgriFun, which it looks like our event may also be able to be tied into; again, with regards to advertising and promotion. This is really good news for us. For more information about AgriFun, please see attachment.

Anything you can do to help 'get the word out' and promote our event would be greatly appreciated. We can use your help during the show. If you have a little free time and would like to get involved, please let Kristie or me know.

Guenter Burr has an article titled ‘The Business of Art’ - The Art of Conducting Business in the Art World by Joseph Landry. Sandra is looking into the possibility of having Joseph give a presentation on this for us. My understanding, after speaking with Guenter, is that it will be free of charge and last about 2 hours.

An offer has been extended to the HCAC by Jeff Redden - Home Hardware, Windsor
All of the following came about as a result of Kelly's talks with Jeff. Thanks Kelly!

Jeff is expanding his business (Windsor Home Hardware) into much of the Fort Edward Mall…a 22,000 square foot expansion. Most of the additional space will be for furniture. Within this space, Jeff plans to create one space, 16’ x 20’, for higher-end furniture. Within this space, the bottom 4’ of wall space will be used for fabric samples. The ceiling is 14 feet high and Jeff is offering the arts council all the wall space above the 4’ line to use as a permanent sale space…helping to showcase artwork by artists from Hants County. Jeff has yet to meet with the arts council’s directors so what follows is only what has come out of my conversations with him. All decisions made regarding this partnership will have to be decided by all directors and Jeff. Of course, before deciding anything we would need to see the finished space.

The foot traffic through Home Hardware is approximately 500,000 visits per year; obviously not all different people, but very busy nonetheless. This would give the HCAC a permanent home which Jeff would be very pleased for us to advertise as such.

I asked Jeff what type of price range he envisioned. He thought that $300 to $3000 would be a good range. This was an off-the-cuff answer to a question that was out-of-the-blue. There will be a special place for sculptures below a skylight. Kristie mentioned that having sculptures in an area where there will be lots of children likely to touch them would be a big consideration.

We have discussed having a 25% commission. Sales would be put through Home Hardware. The directors and Jeff would need to discuss whether tax needed to be charged; appreciating that most artists do not need to charge tax, though it is unlikely for Jeff to have a tax exempt section in the store - complicating things at his end.

Jeff mentioned that he would need to be part of the Hants County Arts Council in order for this to work smoothly. I have made a note to invite him to our next meeting. He has created an area within this new space for a group of offices. Jeff mentioned that instead of cash, he would use his 25% commission to buy artwork. The artwork purchased by him would then be put on permanent display, furnishing these new offices and the walls of the hallways created by them. This will be an area that the public will be invited to walk through so it will be an additional display case for our artwork. This is such a generous offer of Jeff's that, should we go ahead with it, I think it would be a great idea for us to promote this partnership thanking Jeff and drawing attention not only to this permanent display case of our work but to the nature of it - Jeff's commitment and support of the local arts. This promotion would be in addition to the fact that the artwork of artists from Hants County would be featured permanently on an ongoing basis in the gallery area.

Jeff will pay to have professional gallery hanging hardware, lighting and advertising. As a solution to certain inevitable challenges that we would face using this space, Jeff proposed the idea of having back-to-back solo exhibitions lasting from one to two months; each show having a wine and cheese opening and being advertised…which I believe Jeff will help with.

Regarding professional development, whether or not this is right for any individual artist, will need to be considered on an individual level. There are many things that need to be considered, but this is very important and too complicated to address here.


Our next meeting is at 7 PM at Cravings Cafe, 3816 Hwy. 14, Upper Rawdon. Members are invited to attend any of our monthly meetings.

This newsletter will be added to: http://hantscountyartscouncil.blogspot.com

The only website you need to know is :) www.hantscountyartscouncil.com

I hope the articles below are helpful.

Last but not least, one of our members, a friend and fellow artist, Al Bergin, underwent a total shoulder replacement for his right shoulder (his painting arm) this past Sunday. On behalf of all the members of the arts council I'd like to wish Al a full and speedy recovery. I hope Al is able to participate in this year's Festival of Art.

Only three weeks to spring!

Happy Creating,

David

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This months articles:

Art Marketing Is Conversations: by Cliff Watson

Branding for Artists (from Emptyeasel.com)

Entice Me: by Alyson B. Stanfield

Please send any thoughts that you would like to share on these topics to me and I'll add them to our blog.





Art Marketing is Conversations

by Clint Watson

http://clintwatson.net/blog/7977/art-marketing-is-conversations



This article is by Clint Watson, founder of FineArtViews.

Since writing about Art Marketing for Artists Who Want to Change the World, I've had some more thoughts about art marketing: Art marketing is conversations.

Ignore your friendly magazine salesperson and/or marketing "guru" who tells you marketing is all about "branding:" "branding" is for sissies, branding is dead - MARKETING. IS. CONVERSATIONS. (Hint: If you're having conversations, you'll "automatically" develop a "brand").

Conversations are going to happen with or without your participation.

There's an old saying in advertising, "Tell your story, or someone else will tell it for you." But, if you don't participate in the process, the story that gets told may not be the one you want told.

Consider what Brian Clark, of Copyblogger wrote, "People tell stories about themselves. They even buy things in order to say something about themselves. They don’t give a hoot about your story unless it furthers their own personal narrative. If it does, your story comes along for the ride. If not… too bad for you. You’re not the star of this story. Smart marketers don’t even try to be the star. Smart marketers want to be indispensable supporting characters...People respond to marketing stories when they either identify with the hero, or desire to become the hero. Your story must put the prospect front and center as that hero."

This is another way of describing Hugh MacLeod's Blue Monster idea. People want to tell their OWN stories to each other and connect with each other. You just want to become part of that conversation and have your story.....your art, your artist story "come along for the ride."

Your followers are going to talk to each other and you want to be able to encourage that behavior. Helping them connect with one another is a good thing.

Hindering conversations is a bad thing. And this is where we turn to the subject of art galleries.

"Marketing is conversations" applies to you art galleries as well. I'm speaking to art galleries now. Art galleries listen - get this fact in your mind and accept it: Your clients ARE going to talk directly to your artists. Be part of the conversation or bury your head in the sand and ignore it (and be excluded). The Internet has changed the equation. This subject came up recently in my twitter stream and artist John T. Unger said, "Making the intro (of the collector to the artist) insures the gallery stays in the loop. NOT making the intro has more potential to hurt their sales." John's exactly right: If you introduce your clients to your artists, you're guaranteed to be part of the conversation. If you don't, you're guaranteed to be excluded. Which option do you want?

Art is all about communication. When a buyer purchases artwork, he/she is “purchasing” the artist as well as the artwork. The stronger the client-artist connection, the more likely the person will become an ongoing collector. The progressive art dealer realizes that instead of hindering these connections, he should foster and encourage them. My thoughts: This sounds great in theory but is arguably detached from the reality of the market place. But, it is also true that as people can now Google an artist's name and contact them directly, the gallery can now be bypassed in a way that it could not be before.

Indeed, building relationships is the essence of the dealer’s job. Instead of hiding the artist’s web site, why not enthusiastically share it with clients and encourage them to visit it? Instead of blocking access to an artist, why not pick up the phone and introduce the prospect to that artist? Heck, why not even give the artist’s phone number to prospects? Each of these actions would make a sale more likely; after all, wouldn’t YOU feel special if you were invited to personally call the artist? Galleries and artists need to quit playing games and work together as a team and trust each other.

My thoughts: A gallery owner in Toronto once said to me (as I was doing the Toronto Outdoor Art Exhibition at the time) that a gallery cannot compete in selling artists work, that " the buyer would always prefer to buy directly from the artist". I believe that this is correct. If gallery owners used the advice above, they'd be hard pressed to have anybody buy from them when artists could sell directly to clients(brought their way by the gallery) and give a discount to the buyer and still make considerably more than they would have selling through the gallery. This would be a losing proposition for the gallery.

If I were an artist today, I wouldn't work with any gallery that tried to limit my freedom to have conversations directly with collectors online and offline. I also wouldn't work with any gallery that didn't agree to provide me with contact info of people who purchased my work so that I could strengthen my connection with my collectors.....my collector clan. To reciprocate, I would make sure that each of my galleries trusted me completely. I would NEVER, NEVER, EVER sell directly to collectors that discovered me through my galleries. I would NEVER sell my artwork for a price lower than what it would sell for in a gallery.

My thoughts: This shows a complete disconnect and lack of understanding of the reality of the relationships between gallery owners and artists. My experience is is that as you climb the ladder, the willingness of the gallery owners/directors to tell you the names of the customers who have purchased your work, is directly proportionate; the bigger/better the gallery, the less likely they are to share this information. I can say from experience that in some of the top galleries in Yorkville, Toronto, this information would never be given out.

PS - If you ever break trust with your galleries, realize that the story surrounding you may no longer be the one you want told. Remember conversations are going to happen with our without your participation.

My thoughts: something very valid is being pointed out here, but keep in mind it is only a tiny part of a very big picture about marketing art. I'd question the emphasis put on all of this, but it is something to consider.
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My thoughts: Here is the other side of the argument about branding. Branding for its own sake is a risky thing to do. If someone is going to do this, they should understand thoroughly what they are getting themselves into...what are the consequences of any action taken. Remember, all things don't apply to all people. Take what works for you!

(From Emptyeasel.com) An artist’s “brand” is not just a label, a logo, or a signature—instead, it is one of the most powerful marketing tools you can have. What do I mean? Read on.

What is branding, exactly?

Your brand is what you’re known for. Good branding is the act of becoming known for something that you do, above any other competitor. As an individual artist it is very likely that you don’t have an established brand like large companies do—which means if you want to gain customers, you must create a brand of your own.

Your brand, however, should not be focused on you. It should be focused on attracting customers. My brand is “Artwork that Begs to Be Touched” which immediately says something unique, and connects with potential buyers more than just a logo.

Some brand phrases are too generic, too vague to set you apart. You can call yourself the “Best western artist in America” but so what? Who compared you to whom? Does that even connect with potential buyers?

On the other hand, if you guarantee your western art by saying, “My brand is burned onto every painting,” then that’s something tangible for people to remember. You’re the artist who uses a branding iron to sign your work. Now that would certainly set you apart from the herd! My thought: I feel that using the word branding in this way is also risky. It runs the risk of having the public's primary response to the art being about the commercialisation of the product instead of about the intrinsic value and beauty of the artwork. Many ideas have the potential of being good, it's often how you use them.

Here’s another stand-out brand: “The artist who provides a lifetime guarantee.” Also, “Art made from 100% recycled materials.” Both of these brands speak directly to the customers’ interests while setting you up as different from the norm.


Putting yourself in your brand

Is there something unique or otherwise notable about your artwork that’s worth mentioning to someone? Then don’t just mention it—shout it from the rooftops!

What do you think of when you hear, “Have it your way”? How about, “The real thing”? If you said Burger King and Coke, you’ve already been swayed by the lure of branding.

Effective companies constantly reinforce public awareness of their brands to achieve long-lasting recognition. Your own brand should encompass something unique about your art, or about you, so that potential customers learn to recognize your style.

In the art world Thomas Kinkade uses the brand “Painter of Light” as his defining statement. His brand explains him and his art in a short, powerful sentence—and because of he’s so well branded, everyone knows who he is!

When we think of brands, we often think of just an image but that’s actually not the case. While most of us are familiar with the Taco “Bell” or the Nike Swoosh, good branding is usually more of a catch phrase that states a purpose or reason for being (like Kinkade’s brand) rather than a logo.


How to create a strong brand

To create an effective brand you must first define the type of customer you have. Second, you should create and refine your brand to as simple an item or phrase as possible, and third, you have to promote your brand constantly.

Assuming you already know your customers, or who you’re trying to appeal to, let’s talk about the second phase: creating and refining your brand.

1. Define your key core competency or best thing you offer

Take some time, sit down and really apply yourself to defining the single best thing that you do. Often this will be what people already mention when they discuss you or your art—after all, it’s what you’re good at.

Other times, what makes you unique is the reason you create your art, or the life experiences you’ve had which have shaped you as an artist. There is no wrong answer. Simply find that unique element that is you and move on to step two.

2. Create a key phrase built around your core competency

There will probably be many ways to describe yourself and your unique abilities, but remember that a key phrase should be short and very concise. Work towards that.

Don’t ever use ambiguous statements like “The low priced leader.” Of what exactly? For whom? Compared to whom? Do you see the problem?

Look around and see what statements are being used by other artists and learn from them. Learn from their mistakes or successes, and then when you create your own key phrase, be different!

3. Draft a symbol or logo to reinforce the message visually

Sometimes having a symbol or visual identity to go along with your branding statement can be very effective. . . but it isn’t always necessary. However, if you feel the need for a logo to reinforce your key statement, then create one, or perhaps adapt one.

What I mean by “adapt one” is that logos are often created simply by consistently using a unique font. Stick with one type-face every time you use your statement, and that will become the symbol you are known for.

For example, the old UPS label wasn’t fancy at all, but through simplicity and repeated use, it became widely recognizable.

Perhaps your hand-written signature is the symbology you’re looking for. Is it a strong, recognizable mark? Does it reflect the rest of your art? Norman Rockwell used his signature as a logo. . . could you do the same?


Effectively promoting your brand

Large companies with deep-pockets can launch massive campaigns utilizing every form of media. Most of us will not have the resources for that, so each piece of information we produce must be effective. Consistently using your brand statement and/or brand symbol wll help you get the most bang for your buck.

This means putting your brand on everything you create. If you send e-mails, use your brand phrase or statement below your signature line. If you produce postcards or flyers, place the statement prominently. Also, don’t forget to put your brand on your web site and business cards.

Ideally you’ll have a well-balanced mix of online and offline promotion, and through repeated use you will begin to forge an identity based upon your defining statement. You may even become “one” with the brand, like Nike has with “Just Do It.” You know when this “oneness” is achieved by the fact that people know instantly who you are when your symbol is displayed or your phrase is written or spoken.


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Entice Me: Alyson B. Stanfield



Over the years, I've seen a lot of marketing mistakes from artists. One of the biggest mistakes is easy to correct if you take the time. Here's what I'm talking about . . .

A couple of weeks ago, I talked about how to find the right language about your art (read Art Marketing Action: Play Offense). You can't stop there. You must also find the right words for your marketing messages. I see postcards, emails and Web sites with some version of the following:

"Please visit my new Web site at www.isntmyartwonderful?.com"

"Please come to my new show."

"I hope you'll drop in to see my work at my new gallery."

"In case you can't make it, there's plenty to buy in my online store."

Not very enticing, are they? Without any other text with them, these are lousy, half-baked attempts to get me interested in your work. I'm busy! Tell me what I'm going to get! What, exactly, is in it for me? And could you insert a little humor? I've had a rough day and need something to smile about.

If I had a dollar for every artist that sent me an email saying "please visit my new Web site," I'd be rich beyond my wildest dreams. Okay, maybe not rich, but I'd definitely have a new outfit with matching shoes.

If you want to get an audience for your opening, send an email blast:

"I know you have probably already framed, hung, and forgotten about the postcard invitation to my upcoming opening, so I thought I'd send this as a reminder. Everyone who is anyone will be at Star Gallery on Friday, February 17 from 6 to 9 p.m. I'm going to be premiering a new body of work inspired by my recent trip to Japan. Wear a kimono and obi and come enjoy some sushi with us. (I'm giving you permission to be fashionably late and arrive at 6:10! I sure hope you can make it.)"

If you want to announce a new Web site or an update to an old one, try this in an email:

"You may have thought you've lived long enough to see everything, but you were wrong. I have created the ultimate mobiles for today's contemporary home. They're bigger than a breadbox--filling up that entryway that no one knows what to do with. Just imagine the look on your guests' faces when you open the door and reveal this baby! Curious? Visit www.isntmyartwonderful?.com for the latest photos."

Now, aren't those two examples a little more enticing than, "come see my new work"? Language is magical.

We're blogging about it at ArtBizBlog.com

KNOW THIS
Like everyone else, I'm busy. You'd better choose the right words to get me to do what you want.

THINK ABOUT THIS
Your promotional language is too important to send something to which you gave less than 100%.

DO THIS
Pull out all of those old emails, letters, and postcards you have sent. Knowing that hindsight is 20/20, how would you have written them differently if you had a second chance?



Last note: About the art market. Many galleries traditionally taking a 40% commission are now taking 50%. I assume that this is in response to the blow the markets have taken over the past two years.

According to a letter from Peter Gregory, Boundless Gallery's founder, that was republished on Empty Easel, Boundless Gallery (an online gallery) decided to close because:

"[Our] business model doesn't make sense on today's internet...Since the "Great Recession" started, BoundlessGallery.com has been losing money. The art market as a whole is off 50 to 80%.