Clayphil on fri 19 dec 97
I have been making pots for coming up on 4 years now. As I approached this
business I set some goals toward diversifying income sources, sort of a "don't
put your eggs all in one basket" business plan. Some parts have been
reasonably successful. I have gotten into progressively better art fairs and
income from those fairs is pretty good; I have generated some pretty steady
business out of the studio. With all that I'm happy; it's moving in the right
direction.
I'm not so happy with my attempts to del with galleries/gift stores and I need
to rethink my approach for 98. I have had two main experiences peddling my
what I call "my rather high end, one of a kind, functional wares" to galleries.
1.) I have had some pieces in galleries and they have sold well, even "fast"
but I have had difficulty sustaining involvement with the gallery. The prime
example was with the Kohler Gallery in WI. I sent them some pieces which they
sold outreally quickly. I called to see if they wanted more work and the
response was "not now, maybe later" After several follow-up calls, later never
came.
2.) I have had my work in several gallery/gift shops but most that I have
dealt with don't seem to promote "one of a kind" very successfully. They may
like the look but they don't seem to understand much about what goes into the
process, the don't promote it or display it very well. What seems to sell in
those places is is ware in the lower price ranges and higher end stuff just
doesn't attract the attention. I have visited the stores that have my stuff
and it hasn't been unusual to find it gathering dust or at least moving very
slowly.
Sooo, I'm curious about how to market to galleries and sustain a relationship
with them. And how to Identify places where my work will fit in and perhaps
even sell.
Anybody else struggle with this gallery stuff?
I don't feel I am at a point where I could do a big wholesale show but i do see
a need for some of my income to come through another channel, like "a few good
gallery outlets".
I am aware that I got discouraged about the gallery business and most of last
year I adopted an awfully passive appraoch. The "Let Them Find Me" tactic
didn't cut it either.
I would be grateful for thoughts, experiences, advise, whatever. TIA
Phil in Chicago
Wendy Rosen on sat 20 dec 97
Phil,
The definition of one-of-a-kind work has changed alot in the past
five years. Few artists really create objects that are not "part of a
series" of very similiar objects. I would be glad to look at your slides
and offer some advice.
Many artist "spin off" their o.a.k. work from their production
work... this helps them sell the work in the same markets and shops. Many
shops are looking for production work primarily... but love to find a
"sizzle" piece to help draw attention and increase the image of the
gallery. This is the easiest way to sell o.a.k work.
Another method is to sell to ceramic collectors through shows like
SOFA... this requires alot of "cooperation" in supporting (with YOUR own
cash) one artist shows, exhibit space, advertising, lists etc... Most of
these galleries are depending on one of two things... your ESTABLISHED
reputation OR your FINANCIAL support to help them grow your image. This is
most often not openly discussed... never-the-less it is fact.
You need to decide what your work will be first... and then decide
what path you need to take to get where you want to go. The work and the
path must be in harmony.
I'll be back in the office on Jan 7th.
Best Wishes,
Wendy
>----------------------------Original message----------------------------
>I have been making pots for coming up on 4 years now. As I approached this
>business I set some goals toward diversifying income sources, sort of a "don't
>put your eggs all in one basket" business plan. Some parts have been
>reasonably successful. I have gotten into progressively better art fairs and
>income from those fairs is pretty good; I have generated some pretty steady
>business out of the studio. With all that I'm happy; it's moving in the
>right
>direction.
>I'm not so happy with my attempts to del with galleries/gift stores and I need
>to rethink my approach for 98. I have had two main experiences peddling my
>what I call "my rather high end, one of a kind, functional wares" to
>galleries.
>1.) I have had some pieces in galleries and they have sold well, even "fast"
>but I have had difficulty sustaining involvement with the gallery. The prime
>example was with the Kohler Gallery in WI. I sent them some pieces which they
>sold outreally quickly. I called to see if they wanted more work and the
>response was "not now, maybe later" After several follow-up calls, later
>never
>came.
>2.) I have had my work in several gallery/gift shops but most that I have
>dealt with don't seem to promote "one of a kind" very successfully. They may
>like the look but they don't seem to understand much about what goes into the
>process, the don't promote it or display it very well. What seems to sell in
>those places is is ware in the lower price ranges and higher end stuff just
>doesn't attract the attention. I have visited the stores that have my stuff
>and it hasn't been unusual to find it gathering dust or at least moving very
>slowly.
>Sooo, I'm curious about how to market to galleries and sustain a relationship
>with them. And how to Identify places where my work will fit in and perhaps
>even sell.
>Anybody else struggle with this gallery stuff?
>I don't feel I am at a point where I could do a big wholesale show but i
>do see
>a need for some of my income to come through another channel, like "a few
>good
>gallery outlets".
>I am aware that I got discouraged about the gallery business and most of last
>year I adopted an awfully passive appraoch. The "Let Them Find Me" tactic
>didn't cut it either.
>I would be grateful for thoughts, experiences, advise, whatever. TIA
>Phil in Chicago
*******************************************
Wendy Rosen
The Rosen Group
Niche & AmericanStyle Magazines
http://americanstyle.com
3000 Chestnut Ave #304 Baltimore, MD 21211
Voice: 410/889-3093 Fax: 410/243-7089
*******************************************
Ray Carlton on sun 21 dec 97
hi phil..there is no easy way with galleries.. repeat business is the
hardest kind to get. when you do those clients need to be treated like gold
and treasured with all your heart..to get that return business your
marketing approach needs to fit that gallery perfectly and they are all a
bit different.
Did you ever go hunting or fishing? Its a lot like that. you stalk the prey
and if you put a foot wrong your quarry vanishes into the forrest
cheers and good luck
At 09:25 19/12/97 EST, you wrote:
>----------------------------Original message----------------------------
>I have been making pots for coming up on 4 years now. As I approached this
>business I set some goals toward diversifying income sources, sort of a
"don't
>put your eggs all in one basket" business plan. Some parts have been
>reasonably successful. I have gotten into progressively better art fairs and
>income from those fairs is pretty good; I have generated some pretty steady
>business out of the studio. With all that I'm happy; it's moving in the
right
>direction.
>I'm not so happy with my attempts to del with galleries/gift stores and I
need
>to rethink my approach for 98. I have had two main experiences peddling my
>what I call "my rather high end, one of a kind, functional wares" to
galleries.
>1.) I have had some pieces in galleries and they have sold well, even "fast"
>but I have had difficulty sustaining involvement with the gallery. The prime
>example was with the Kohler Gallery in WI. I sent them some pieces which
they
>sold outreally quickly. I called to see if they wanted more work and the
>response was "not now, maybe later" After several follow-up calls, later
never
>came.
>2.) I have had my work in several gallery/gift shops but most that I have
>dealt with don't seem to promote "one of a kind" very successfully. They may
>like the look but they don't seem to understand much about what goes into the
>process, the don't promote it or display it very well. What seems to sell in
>those places is is ware in the lower price ranges and higher end stuff just
>doesn't attract the attention. I have visited the stores that have my stuff
>and it hasn't been unusual to find it gathering dust or at least moving very
>slowly.
>Sooo, I'm curious about how to market to galleries and sustain a relationship
>with them. And how to Identify places where my work will fit in and perhaps
>even sell.
>Anybody else struggle with this gallery stuff?
>I don't feel I am at a point where I could do a big wholesale show but i
do see
>a need for some of my income to come through another channel, like "a few
good
>gallery outlets".
>I am aware that I got discouraged about the gallery business and most of last
>year I adopted an awfully passive appraoch. The "Let Them Find Me" tactic
>didn't cut it either.
>I would be grateful for thoughts, experiences, advise, whatever. TIA
>Phil in Chicago
>
>
Please note My NEW!! email address
Ray Carlton
Karl P. Platt on mon 22 dec 97
Most galleries prefer to work on consignment. It's a lot cheaper for them
and, in effect, this arrangement serves to shift the risk of maintaining
the gallery onto those who made the work within it. Very very few
galleries have enough liquidity to purchase outright all of the stuff on
their shelves/walls.
That said, if one is to invest in the business of another person, actually
entering into a form of partnership with them, its worth
while to make moves to ensure that there is reasonable compensation for
doing so -- i.e. sales. Of course the gallerist has clear interests in
selling goods, but when the bills come due it really doesn't matter too
much whose goods get sold -- so long as there's cash to meet expenses.
I've known many craftspeople/artists (as the case might be) who have
placed $100-150,000 worth of goods out there in the market on consignment.
For illustrative purposes, let's use the $150K number.
Whether or not this investment is worthwhile ought to be compared to the
return one might recieve on any other sort of investment of the same value
-- say T-bills, CDs, or if you're real gamey, the Korean stock market.
Actually, as return relates to risk in any investment, you find that
consignment turns out to be a very high risk business. Consider that if
you need $45,000 to run your shop, pay the househould bills and eat,
you're expecting an annual return of about 30% on your
$150,000. This is Korean stockmarket territory.
In this light it is reasonable to take steps to secure your interests a
bit more than the winds of fate might provide. I've seen several
arrangements work reasonably well:
A. Direct purchase at discount of a collection of the work representing
its scope and a portion of consigned goods.
Here you avoid becoming another thing on the shelf by giving the galerist
a financial interest in supporting the work through an emphasized display.
The consigned risk is smaller, but so is your return.
B. In return for consigned goods, demand a show with magazine propaganda
for the opening, etc.
This, too, gives the gallerist a financial interest in emphasizing your
work, but in the event sales don't materialize you've at least been able
to get you name out there a little more loudly, building for the future.
I may have mentioned that I've developed a process to print photographic
images on ceramic surfaces using a laser. Thinking it would be silly not
to tap into the tourist market here I've made some 4"x 4" tiles with the
image of a very shapely (archtypal) Brasilian backside in an archtypal
dental floss biquini, and the name of a famous beach on which they are to
be sold. Now, if you think anyone in the US has low liquidity, you haven't
seen Brasil -- where monthly interest rates are presently on
the order of 9%. Gee, I can't imagine why the Brasilian economy ground
to a halt -- thanks those astute fellows at the IMF. Of course, no-one has
cash to buy these fine tiles outright even though they *really* like them
a lot and believe they can sell them. So they ask, can they be
consigend and how much do you need to get for them. The answer is cost
twice plus 9%/month -- and you have to place them right in front of the
cash register so everyone sees them. One guy went along and so did I as
the class of tourist frequenting his place is the sort that I'm targeting
with my somewhat crass tiles.
Now one might ask why not simply invest in a Brasilian savings account --
well, given 9%/month interest rates -- that's 108%/year -- you might
imagine that this is *real* risky sport -- I'm better off climbing steep
cliffs or shark wrestling. My crystal ball says that Cash is King in the
near future no matter where you are.
ANyway, this is only to provide a bit of food for thought in considering
how one invests their time/money/effort in marketing.
KPP
Don Jones on tue 23 dec 97
>----------------------------Original message----------------------------
>
>
>Most galleries prefer to work on consignment. It's a lot cheaper for them
>and, in effect, this arrangement serves to shift the risk of maintaining
>the gallery onto those who made the work within it. Very very few
>galleries have enough liquidity to purchase outright all of the stuff on
>their shelves/walls.
>
>
>KPP
Is this really true KPP? I'd be interested in some numbers. I only deal
with galleries that purchase so I don't really know.
don
Don Jones
claysky@highfiber.com
:-) implied in all messages and replies
http://highfiber.com/~claysky
Jawoodside on tue 23 dec 97
I've been marketing to galleries for about a year and a half and my approach
is very direct. I show up in person with a selection of pieces which I
consider a "starter set" and if there's interest I try to establish a
relationship on the spot. I spend half of the first meeting talking about my
expectations and the other half asking the gallery owner about his or her
ideal relationship with an artist. As a new entrant in the market I am happy
to do consignment. Most places where my work is shown pay substantial rent so
their placement of my work in their shop represents an investment on both our
parts. The rate of sales varies from location to location but I've found that
the gallery owners mostly pay on time, give good feedback, and are receptive
to display suggestions. Some relationships just do not work out though. Three
of approximately 10 galleries where my work is shown closed this year. But
each of those closures gave me the opportunity to find a better location in
the same area. One gallery had really pokey sales of my work--not in
general--I took a look at my work relative to the gallery and how it was lit
and pursuaded the owner to take some different types of my work than she had
originally preferred and now I'm selling quite well there. Also I find that
most gallery owners won't call you when they're getting low on your work or if
it isn't selling. I keep a good eye on my inventory list and let people know
when I have additional pieces or just suggest that we trade some of the stuff
that hasn't moved in a while for some newer items. To summarize, marketing to
galleries is just like any relationship, you have to work hard at it but
recognize that sometimes even if you do everything right, things may not work
out. Come to think of it that's kind of like making pots!
Jane Woodside in San Francisco where the weather's turned quite cold and I
trying to get ready for a firing tomorrow.
ArialMT on sun 28 dec 97
the biggest problem i have had with just about every gallery that i have had
consignment work are the peices that they send back broken without
acknowledging and the fact that many of them keep a lot of your stuff in the
back only displaying a portion .displaying only a portion is one thing in a
wholesale situation but unacceptable on consignment but gallery owners seem
miffed if they are critized for that practice.i would rather have the work
somewhere else if they can not at least display it.gallery with ''ART WORK'''
have been the worst putting pottery to use under their plants, using the
plates for ashtrays and so one- just disrespectful and not intended to display
the work for the craftsperson's advantage.
just my pet peeves over the years.
margaret having a blue christmas (-DELIGHTFUL SEEING THE 2+ year old exclaim
-except when we watched the grandkids open presents)
Jennifer Boyer on mon 29 dec 97
Hi Margaret,
I'm in the unique position of being a potter AND consignment gallery
owner(with 11 other craftspeople). We sell the work of 125 craftspeople in
the 15.00 to 250.00 range, so we are not a high end gallery. Hence the work
tends to move off the shelves fairly steadily. I think our exhibitors all
share with us the belief that you must have back stock. I know my work
looks best when there's a representative selection, and if I'm selling well
that means I need to keep the gallery supplied with back stock for
repelnishing my shelves! Our best selling craftspeople have a good supply
on the back shelves. I also sell at our Vermont State Craft Centers, which
are just as professionally run as my(our) gallery, and the same theory
holds for them too. All these businesses are run on consignemnt forthe most
part. JMNSHO,
Take Care,
Jennifer
>----------------------------Original message----------------------------
>the biggest problem i have had with just about every gallery that i have had
>consignment work are the peices that they send back broken without
>acknowledging and the fact that many of them keep a lot of your stuff in the
>back only displaying a portion .displaying only a portion is one thing in a
>wholesale situation but unacceptable on consignment but gallery owners seem
>miffed if they are critized for that practice.i would rather have the work
>somewhere else if they can not at least display it.gallery with ''ART WORK'''
>have been the worst putting pottery to use under their plants, using the
>plates for ashtrays and so one- just disrespectful and not intended to display
>the work for the craftsperson's advantage.
>just my pet peeves over the years.
>margaret having a blue christmas (-DELIGHTFUL SEEING THE 2+ year old exclaim
>-except when we watched the grandkids open presents)
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer
Thistle Hill Pottery
Montpelier, Vt. 05602
jboyer@plainfield.bypass.com
Wendy Rosen on fri 9 jan 98
I disagree with Vince's view on consignment. Galleries who consign do so
for many reasons... sometimes it's just because they don't have the cash or
confidence in the work. Retailers who buy outright have made an
"investment" in you... expecting your work to be a viable resource for a
long period of time (usually 3-5 years). I believe that any good
relationship has RISK and REWARD on both sides of the fence. Artists are
becoming more and more depended on for advertising coop, promotional
materials, coop exhibition expenses etc... The consignment gallery should
PROVE it's "investment" by providing the artists with a detailed
explanation of it's risk and expenses in an event or marketing program. In
my book Crafting As a Business there is a "gallery negotiation form" that
helps artists and retailers define what each partner is bringing to the
table. Consignment is not for artists who haven't learned the "art of
negotiation". BTW- if it really sells... someone will buy it and it won't
be necessary to consign! Vince's perspective works in some cases... but
I've found that in work that sells for under $1,000 that selling outright
is a better move. Then each partner SHARES the risk. If you really want
to consign.. then do it with a "buy-in requirement" or a "buy back option".
Just make sure that you own your work until you are PAID for it! and ...
get references!!!
Wendy
>----------------------------Original message----------------------------
>
>
>Most galleries prefer to work on consignment. It's a lot cheaper for them
>and, in effect, this arrangement serves to shift the risk of maintaining
>the gallery onto those who made the work within it. Very very few
>galleries have enough liquidity to purchase outright all of the stuff on
>their shelves/walls.
>
>That said, if one is to invest in the business of another person, actually
>entering into a form of partnership with them, its worth
>while to make moves to ensure that there is reasonable compensation for
>doing so -- i.e. sales. Of course the gallerist has clear interests in
>selling goods, but when the bills come due it really doesn't matter too
>much whose goods get sold -- so long as there's cash to meet expenses.
>
>I've known many craftspeople/artists (as the case might be) who have
>placed $100-150,000 worth of goods out there in the market on consignment.
>For illustrative purposes, let's use the $150K number.
>Whether or not this investment is worthwhile ought to be compared to the
>return one might recieve on any other sort of investment of the same value
>-- say T-bills, CDs, or if you're real gamey, the Korean stock market.
>Actually, as return relates to risk in any investment, you find that
>consignment turns out to be a very high risk business. Consider that if
>you need $45,000 to run your shop, pay the househould bills and eat,
>you're expecting an annual return of about 30% on your
>$150,000. This is Korean stockmarket territory.
>
>In this light it is reasonable to take steps to secure your interests a
>bit more than the winds of fate might provide. I've seen several
>arrangements work reasonably well:
>
>A. Direct purchase at discount of a collection of the work representing
>its scope and a portion of consigned goods.
>
>Here you avoid becoming another thing on the shelf by giving the galerist
>a financial interest in supporting the work through an emphasized display.
>The consigned risk is smaller, but so is your return.
>
>
>B. In return for consigned goods, demand a show with magazine propaganda
>for the opening, etc.
>
>This, too, gives the gallerist a financial interest in emphasizing your
>work, but in the event sales don't materialize you've at least been able
>to get you name out there a little more loudly, building for the future.
>
>I may have mentioned that I've developed a process to print photographic
>images on ceramic surfaces using a laser. Thinking it would be silly not
>to tap into the tourist market here I've made some 4"x 4" tiles with the
>image of a very shapely (archtypal) Brasilian backside in an archtypal
>dental floss biquini, and the name of a famous beach on which they are to
>be sold. Now, if you think anyone in the US has low liquidity, you haven't
>seen Brasil -- where monthly interest rates are presently on
>the order of 9%. Gee, I can't imagine why the Brasilian economy ground
>to a halt -- thanks those astute fellows at the IMF. Of course, no-one has
>cash to buy these fine tiles outright even though they *really* like them
>a lot and believe they can sell them. So they ask, can they be
>consigend and how much do you need to get for them. The answer is cost
>twice plus 9%/month -- and you have to place them right in front of the
>cash register so everyone sees them. One guy went along and so did I as
>the class of tourist frequenting his place is the sort that I'm targeting
>with my somewhat crass tiles.
>
>Now one might ask why not simply invest in a Brasilian savings account --
>well, given 9%/month interest rates -- that's 108%/year -- you might
>imagine that this is *real* risky sport -- I'm better off climbing steep
>cliffs or shark wrestling. My crystal ball says that Cash is King in the
>near future no matter where you are.
>
>ANyway, this is only to provide a bit of food for thought in considering
>how one invests their time/money/effort in marketing.
>
>
>KPP
*******************************************
Wendy Rosen
The Rosen Group
Niche & AmericanStyle Magazines
http://americanstyle.com
3000 Chestnut Ave #304 Baltimore, MD 21211
Voice: 410/889-3093 Fax: 410/243-7089
*******************************************
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