Category: marketing

by Carolyn Edlund

Do you send a monthly email newsletter to subscribers? Here’s how to share your work and create interest.

When you send email messages to your subscriber list, you shouldn’t be just making a sales pitch. Instead, focus on building a relationship with your followers, and communicate in a way to draw them in to learn more about you. Here’s how to share what you love to do while providing a fulfilling experience to subscribers.

Include a special feature just for your list

One incentive to subscribe is getting exclusive content. If you are having an open studio, why not invite subscribers to a special early preview to get first look at your work and enjoy refreshments? Or give free shipping on orders for an upcoming holiday, for subscribers only.

Describe your inspiration

Telling your story is a powerful way to attract fans and gain sales. Recall something that really inspired you this month, and show the results and your interpretation. Did you take a trip or notice the seasons changing? How did this new piece fit into or evolve from your current direction?

Take them inside the studio

Work in progress is always fascinating. Most people love the idea of being an artist, and they may have no idea how you create your art or handmade work. Include a collage of photos showing the steps to making a new piece of art. By sharing the complexity or time involved in your studio work, you build value in the eyes of your collectors.

Announce your newest collection

Ready to debut your new spring line of jewelry, or a painting series that you just created? Take a photo of a grouping, or use a teaser to link back to your art website for the whole collection. People love to see what’s new, and images are the best way to share.

Celebrate an achievement

Did you just win a prize, gain some press or finally get into that gallery you’ve been salivating over? Share the good news, with an attitude of gratitude. People who love your work want you to do well. Let them know!

Relate a collector story

This is a great way to help your subscribers imagine owning your work. Did you visit your client’s home to install a painting? Did a bride wear one of your special necklaces at her wedding? Tell the story, with accompanying photos.

Send an invitation

This could be a request to stop by your booth at at upcoming fair or festival. Or you might consider inviting your subscribers to connect with you on social media. (Don’t forget to follow them back!) Social media creates a passive stream of communication with your subscribers. As they see your art on Facebook, Instagram or other platform over and over, you become more memorable to them.

Go behind the Scenes

What is it like to set up for an art event? Or hang a gallery show? Was your work featured in a fashion show where you helped the models who were wearing your handmade clothing? Share that back story. A peek behind the scenes shares what it’s like to be in your business. The public doesn’t often hear how it all works. This type of story reaches people who will be fascinated by the whole process.

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Watercolor artist Lisa Tennant creates paintings of urban signs and places that resurrect old memories. Visit her website to see more of her work.

I’ve naturally been creative from the beginning, drawing and painting as early as age five. I painted with acrylics early on, but became fascinated with watercolor. It always looked so fresh, and the paint itself took on a life of its own. In college I learned watercolor from a master—Igor Beginin. I ended up with my BFA in painting and graphic design, MA & MFA in painting and watercolor painting at Eastern Michigan University.

“John’s Grill” transparent watercolor, 29.5” x 40”

I hold current memberships in a number of watercolor organizations. I’ve won a number of awards in various juried shows in my career, most notably Best of Show in the Scarab Club 60th Watercolor Exhibition and as a Finalist in “AcrylicWorks 10: The Best of Acrylic” publication by Artists Network.

“Obsolete” acrylic on canvas, 48” x 48”

Although I do work in a variety of mediums and subjects, my interests lean more toward nature and architectural subjects, especially using multi-point perspective. Once I discovered my passion for urban landscape, I seemed to always capture signage somewhere in the work. Eventually I made it one of the main themes in portraying weathered and abandoned places.

“Lost” transparent watercolor on twin rocker handmade paper, 17” x 21”

I am inspired by a variety of artists and styles—Maurice Prendergast, Carolyn Brady, and John Marin are favorites. Photorealism and loose expressive paintings seem like opposites, but I enjoy different art styles and mediums, and appreciate each for their own merit.

“Speak for Yourself” transparent watercolor, 18” x 24”

I plan most of my paintings ahead, especially the architectural subjects. The perspective has to work correctly and the realism has to be believable.

“Starlight II” transparent watercolor, 37.5” x 25.25”

When working in watercolor, I almost always stretch my paper to make sure that flat washes don’t have issues and the paper stays flat during painting. Vivid color is important to me. With watercolor I have to build the color slowly so there are no streaks, and the paint doesn’t get muddy sometimes with ten or more layers.

“Whatever Happened to Langston’s Café?” transparent watercolor, 25.5” x 25.5”

Working in large areas to smaller details, it helps to block in the shapes. With watercolor it helps in building the color, in acrylic it helps to define main areas and sets the underpainting to peek through. The works tend to have a photographic appearance from a distance and an abstract when viewing close in.

“Checked Out” transparent watercolor, 21.5” x 29.5”

I am ever learning and am constantly looking to make changes in my work, explore new ways of working, and push the boundaries of theme and meaning in my art.

Lisa Tennant invites you to follow on Instagram, Facebook and YouTube. 

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The fusion of art and augmented reality (AR) is a groundbreaking development. This technology is not just a tool but a new canvas, offering an innovative way to experience art. By adding digital elements to the physical world, AR invites a deeper interaction with the creations. It’s changing how we perceive and engage with things we see in galleries. This post delves into the transformative role of AR in showing exhibitions. It explores how AR enhances visitor experiences and opens new possibilities for all curators. As we explore this emerging landscape, we’ll discover how AR redefines the traditional boundaries of creativity and technology.

The Evolution of Galleries

Art galleries have experienced a remarkable evolution over the centuries. Originating as private collections accessible only to the elite, they have transitioned into public spaces that celebrate cultural diversity and creative expression. In earlier times, galleries were almost sacred places where silence prevailed, and the focus was solely on the physical works displayed in a traditional, static format. The advent of modern art initiated a shift towards more interactive and engaging experiences. These changes reflected the evolving societal attitudes towards creative works and their role in public discourse. Today, technology, especially augmented reality (AR), is playing a pivotal role in further transforming galleries. This technological integration introduces dynamic, immersive elements to all kinds of exhibitions, reshaping how audiences interact with them.

What is Augmented Reality?

Augmented Reality (AR) is a technology that overlays digital information into the real world. Unlike Virtual Reality (VR), which creates an entirely digital environment, AR enhances reality by adding to it. This technology has found applications in various fields, from gaming to education, and now it’s significantly impacting the creative world. AR in art is not just about viewing; it’s about experiencing and interacting. This technology allows visitors to engage with art in previously unimaginable ways. It brings paintings to life, tells stories behind sculptures, and creates immersive environments. AR is transforming it from a passive viewing experience into an interactive journey, making art more accessible and appealing to a broader audience.

Dannie Jing for Unsplash

Augmented Reality in Galleries

In the realm of art and augmented reality, galleries are finding new ways to captivate and engage their audiences. By integrating AR, traditional creative works are no longer confined to their frames. Visitors can interact with different pieces, uncovering hidden stories and details. This interaction is not just about adding novelty but deepening understanding. AR allows curators to express concepts and narratives that extend beyond the physical dimensions of their work. For galleries, this means offering a more engaging and memorable experience. This new dimension of interaction attracts diverse audiences, including those who might not have been interested in traditional forms of creativity. AR is thus enhancing the gallery experience and democratizing access to art for everyone.

Benefits of Integrating AR

Integrating AR into art galleries offers numerous benefits. Firstly, it significantly enhances the visitor experience. By adding interactive elements, AR makes art more engaging and understandable. It also serves as an educational tool, providing contextual information and historical background about works people see. This can be particularly beneficial for complex or abstract pieces. Moreover, AR contributes to making art more inclusive. It breaks down barriers for those who might feel intimidated by traditional galleries. It also offers accessibility features for people with disabilities. For creatives, AR is a powerful medium for creative expression. It allows them to add layers of meaning and interaction to their works. This technological integration enriches the art and broadens its appeal, attracting a wider, more diverse audience.

Challenges and Considerations

Despite its benefits, integrating AR in galleries is not without challenges. The foremost is the technical and financial investment required. Not all galleries have the resources to implement AR technology effectively. Another challenge is finding the right balance between technology and creative works. There’s a risk that the technology might overshadow the art itself. Curators must ensure that AR complements, rather than dominates, the creative experience. Accessibility is another crucial consideration. The technology should be user-friendly and accessible to all visitors, regardless of their tech-savviness. These challenges require careful planning and thoughtful implementation. Success in this venture means not just adopting new technology but adapting it in a way that respects and enhances the core values of the gallery.

Tara Winstead for Pexels

Art and Augmented Reality: The Future of Galleries

The future of art galleries with augmented reality is promising and full of potential. As AR technology advances, its applications within galleries will likely become more innovative and immersive. We can expect galleries to offer experiences that are not only visually stunning but also emotionally engaging and intellectually stimulating. These developments will likely attract a new generation of artists and visitors for whom technology is integral to life. As AR becomes more mainstream, it may also become a key factor in conceptualizing and creating new artworks. The gallery of the future might be a place where the boundaries between reality and digital creation are seamlessly blended, offering experiences that are currently unimaginable.

Conclusion

The blend of art and augmented reality (AR) marks a pivotal moment in the evolution of galleries. This technology is not just a passing trend but a revolutionary shift in how we experience and interact with works in the gallery. AR brings a new dimension to exhibitions, allowing visitors to engage with creations on a deeper, more interactive level. This enhanced engagement is vital for the modern audience, who seek experiences that are both intellectually stimulating and emotionally resonant. As AR technology continues to develop, its potential applications are boundless. We can anticipate more immersive, personalized, and interactive experiences that challenge our traditional perceptions of art. As we embrace this new era, the marriage of art and AR promises to enrich our cultural landscape, making it more accessible, engaging, and meaningful for everyone.

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Author Bio:

Emily Hart is a freelance writer and art enthusiast in Seattle, Washington. Emily’s journey in the art world began with her first job at PortaBox Storage Washington, where she oversaw the storage of various art pieces and antiques. This role gave her unique insights into the logistical aspects of art preservation and sparked her interest in how art interacts with different spaces and environments.

Enjoy this selection of amazing works by our latest group of talented artists in different mediums. Click on each artist’s name to visit their website and learn more.

Vanda Orlova

When we create a family, we seem to go through sublimation. And then our children are the embodiment of our contours. My picture is about the importance of family in the life of every person.

Selection of “quadruple delight” handmade textile bags by Inga & Evija

Inga & Evija

We are Inga & Evija, known for our handcrafted, upcycled, artsy, uplifting fashion accessories. Our mission is to make people feel confident and beautiful, regardless of their body type.

“From Their Love She Blooms” acrylic on canvas with silk and raw emerald, 30″ x 30″ by Angela Chostner

Angela Chostner

My intention is to express the energy of virtue through moving color grounded in feminine form. Deep blues, angelic faces and archetypal shapes are hallmarks of my work. My creative process is part meditation, part prayer.

“Synergy” watercolor, 19″ x 25″ by Juanita Hagberg

Juanita Hagberg

Personal experiences and aesthetic connection inform my response to nature. Textural, bold, and organic, my watercolors suggest the complexity found in the natural world without replicating it.

“The Elusive Butterflies” manipulated photography, 40″ x 40″ by Gerrie Lewis

Gerrie Lewis

My transformational photography visually stimulates one’s mind while bringing awareness to the interwoven connection between nature and society. Multiple photos of broken glass overlaid with photos of flowers is how I created The Elusive Butterflies.

“King of Kings” pencil, 16.5″ x 23.4″

Rob Thompson

Welcome to my artistic world. I’m Rob Thompson, a Yorkshire, UK-born artist. I share my vision for dynamic and captivating artworks through my subjects and styles.

“Inner Harbour Sunset” oil on canvas, 8″ x 10″ by Nancy Blacker

Nancy Blacker

Exploring the theme of entropy, my work focuses on aging. I try to paint what I find to be beauty at every stage of life in defiance of the aging process itself.

“Portrait of Jesus Based on the Shroud of Turin” oil, 8″ x 10″

Cindy Spellman

After measuring the proportions on the Shroud of Turin, I painted this portrait in oils. The Shroud captured the imprint of Jesus Christ which occurred during a supernatural burst of radiation during the Resurrection.

“Aleph’s Garden” oil on canvas, 70cm x 100cm by Marco Raddino

Marco Raddino

My works present a great imagination of shapes and compositions, bright and energetic colours, as well as continuous philosophical and theological references. For example, in this painting, the subjects incessantly recall elements of the Jewish-Christian theological and philosophical tradition.

“Dream” acrylic on wood panel, 34″ x 30″ by Monica Brinkman

Monica Brinkman

I create playful, meditative, and colorful acrylic paintings to complement spaces for relaxation. Common themes in my work are yoga, balance, feminism, and nature.

“Patio” acrylic on canvas, 11″ x 14″ by Stacie Flint

Stacie Flint

When I am painting, I go to an intuitive realm of joy because that is what I want to feel and to share. Color, play, beauty, inspire, love through art!

“Blooms” oil, 40″ x 30″ by Kajal Zaveri

Kajal Zaveri

I am a New York based artist, and my landscape paintings fall in the realm of abstract realism; familiar and known, yet abstract enough for modern sensibilities and for allowing viewer interpretation and immersion.

“Shining Dawn” oil on canvas, 20″ x 16″ by Mary Hills Powell

Mary Hills Powell

I love painting reflections, transparencies and opacities in water. Light creates such abstract colors, shapes and distortions that are fascinating to interpret with paint.

“A New Day” mixed media, 24″ x 30″ by Roya Yazdi

Roya Yazdi

As a self-taught artist based in Los Angeles, my inspiration is drawn from nature coupled with bold, vibrant colors and textured techniques. This results in art that reflects my ever-shifting creative mood.

“Mood Indigo” oil on canvas 16″ x 20″ by Rose Faye

Rose Faye

A  serene walk in the woods after overnight snowfall. A companion painting is on my website named Snow Trees.  My mission is to create beauty and joy through visual art.

“Ferdinand, Lover of Peace and Freedom” mixed media, 15″ x 12″ by Vivienne Riggio

Vivienne Riggio

I fabricate large scale mythical creatures that connect us to another time, another place. I draw from my experience in operatic costume design and use traditional embroidery techniques, sheep’s wool and upcycled unusual objects. My desire is that these shaman-like sculptures evoke a departure from conventional imagery to an unfamiliar place of wonder.

“Seacoast 3414″ photograph, 30″ x 30” by David Rowell

David Rowell

My work examines the ephemeral quality of the natural environment through creative exposure techniques and mindful composition along with the discovery and construction of light, color and texture.

“Poppy Peace” acrylic and resin, 24″ x 24″ x 1.5″ by Alison Thomas

Alison Thomas

I see my art as perfectly imperfect. My art is about embracing the inherent flaws and imperfections in life and finding beauty and meaning in them. Imperfection is often what makes things interesting.

“Molly and Audrey” oil, 16″ x 12″ by Sandy Jacobs

Sandy Jacobs

I invite viewers into relationship with the natural world, hoping to elicit fascination, to convey the spirit of what I see there, and to inspire respect for nature’s intrinsic role in all our lives.

“Portrait of Awareness” acrylic on canvas, 36″ x 48″ by Lindsey Ridgeway

Lindsey Ridgeway

My paintings feature the interplay between internal and external influences that shape our conscious experience. Much of my work features plants, animals, and fungi, which aids in relaying different philosophies reflected to us through nature.

“The Bobble Braid Poem” acrylic and oil, 24″ x 48″ by Sue Turayhi

Sue Turayhi

This painting is based on a poem called the Bobble Braids. I responded to the spiritual feeling that poem impacted and in return I poured my heart and soul into the canvas, bringing the visual image of love, dance, and the cosmos to the canvas. I am always inspired to connect the dots between word, image, and color.

“Feelin’ Groomy” digital art, various sizes by Zoey Vegas

Zoey Vegas

I enjoy creating art that makes people happy and smile. I would like to use my art in ways to help children and animals. We need more smiles!

“Graceful Strength” mixed media with oil, 20″ x 16″ by Raelyn Acorn

Raelyn Acorn

The inspiration for this piece came as I wanted to show the strength we as women have. The beauty in our souls as we emerge out of our world.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

This is for anyone who is serious about building and living the life of an artist.

I hate to even call this episode “Starting Your Art Career.” “Starting Your Art Business” isn’t any better, but the algorithms seem to prefer these options. 

The words Career and Business imply a financial goal and that can’t be the end game. It’s more like “Starting Your Artist Life” because it requires a devotion to the work, not to making money.

It’s not about making a living as an artist because it is too much pressure—on yourself and especially on your art—to make the leap to making a living when starting out.

In her book Big Magic, the book for artists I wish I had written, Elizabeth Gilbert writes, “There’s no dishonor in having a job. What is dishonorable is scaring away your creativity by demanding that it pay for your entire existence.”

The bottom line: Don’t even think about making a living from your art in the early stages of forming an art business. It’s too much pressure and unrealistic at this point.

Since 2021, the Continuum, South Florida’s premier resort-style oceanfront condominium residences located in Miami Beach, has formed a unique alliance with one of the world’s leading galleries to present hand-picked collections of work by today’s leaders in modern and contemporary art.

Beginning in December this year, in time for Miami Art Week. and running until the end of February 2024, Opera Gallery will showcase the gallery’s most coveted artists in a rotating exhibit of thirteen sculptures by individual contemporary masters from various nations, presenting the latest in artistic expressionism shown within the grounds of the Continuum property. Five artists represented by Opera Gallery, have been hand-picked for their notoriety and prominence within the fine art industry, for a series of installations – both inside the buildings and on the lawns. The sculptures present themes and characters from today’s pop culture, together with abstract designs using mixed media and metals that exemplify brilliance in engineered craftsmanship.

“We are delighted to continue our association with one of today’s most celebrated international galleries,” says Rishi Idnani, Managing Director at the Continuum.  “This is the fourth year we are showcasing the very best the fine art world has to offer within the property, adding a world class collection of work by some of today’s most creative masterminds in modern day art.  We pride ourselves on representing artistic excellence, and this continued collaboration with Opera Gallery enhances the aesthetic experience at the Continuum for our residents.”

The work by Valay Shende, an Indian sculptor, will be presented inside the Grand Lobby of the Continuum, featuring detailed characters created by stainless steel discs and mixed media that depict popular superhero characters, including Catwoman, Hulk and Spiderman, among other fictional figurines.

Considered as a major representative of the new generation of Iberian sculpture, the work of French artist, Xavier Mascaró, will be presented in the lobby at the Continuum, as well as on the lawns throughout the property. Over the past ten years, his installations and figurative sculptures of cast iron, copper and bronze have become iconic and are regularly exhibited in public spaces and galleries around the world.  Mascaro’s giant heads and cross-legged figurines reflect his themes from Spanish art history, coupled with his exploration of universal myths and beliefs based on ancient civilizations.

Vitrina como Pretexto III by Manolo Valdes courtesy of Opera Gallery

Manolo Valdés is one of the most internationally established contemporary Spanish sculptors.  In both paintings and sculptures, he inflates the figure’s size, abstracting form and minimizing detail, while incorporating roughly applied paint and unusual materials. The timelessness of the image as the axis of the visual experience is the determining factor in his creations. In his works, image and matter are fused in a body of work that wanders between Pop Art and material art, as a continuous search for reinvention.  The abstract work of Manolo Valdés will be featured inside the buildings at the Continuum, as well as at select outdoor locations on the property’s grounds.

Expanding Gestures by Pieter Obels courtesy of Opera Gallery

Dutch sculptor, Pieter Obels, works with Corten steel, yet his works convey light and grace as he bends the steel into extraordinarily delicate and winding shapes. Obels aim is to create totally organic forms with an extreme yet somehow innate sense of plasticity. This sense of a natural rhythm makes his sculptures sit with a total oneness in any natural surroundings.  Obels’ sculpture, entitled “Expanding Gestures,” will be featured within the grounds of the Continuum in 2024.

German artist Rotraut, began her early work focused on drawing and painting. Beginning in the 1990s, she shifted to sculpture as her primary medium, with many of her works known as monumental sculptures in bright, primary colors. Rotraut’s sculptures and paintings have been displayed frequently at Art Basel in both Switzerland in the U.S., and many of her works have been sold at auction, including the sculpture UNTITLED which sold for $225,000 at Sotheby’s in 2018.  Rotraut’s impressive metallic green sculpture, also untitled, is currently exhibited outdoors at the Continuum, juxtaposed brightly against the foliage of the grounds with an elegance that inspires.

The rotating exhibit presented in partnership with Opera Gallery will be at the Continuum in Miami Beach from December 1st until February 29th, 2024.

by Carolyn Edlund

Many artists are thrilled at the idea of having gallery representation, and that’s understandable. But will it work for you?

Should you work with a consignment gallery to help sell your work? Maybe. Consignment can be a positive or negative experience, depending on the situation and the parties involved. Going into a consignment arrangement with a plan and an informed mindset will help you get the most out of the experience. Ask yourself:

Is the gallery a good fit?

Do your research before approaching any gallery or store to make sure that what they currently sell is complementary to your work. Does your art fit with their focus or theme? Are your prices in a range that is compatible with the other artwork they have for sale? Identifying appropriate galleries is an important first step to take before making any inquiries about consignment. Check gallery websites to learn more about their mission, any niche they fill, and whether your artwork is in alignment.

Have you gotten positive feedback from other artists?

What experience have other artists had with the gallery? Since many gallery relationships are started through networking and social activities, you may be able to connect with artists who already work with them. Does the gallery promote their artists and put in the effort to make sales? Do they pay on time? Are they trustworthy?

Do you have a contract?

It’s amazing the number of artists who deliver their work to a gallery or consignment store despite the fact that they have no written contract. Damage, loss or failure to keep an agreement can be resolved when the contract is on paper, but not when it’s verbal. If a gallery closes and keeps your stock, or there is a misunderstanding, it can be disastrous. A clear written and signed contract lets all parties know the parameters of the agreement the terms and conditions. That’s a good thing.

Have you set realistic sales goals?

Being represented by a gallery is great, but not so much if sales aren’t happening. Speak with the gallery manager to get a clear idea of how much exposure and promotion you will get. Will your work be on display, and for how long? The last thing you want is to find that your work is in their back room instead of on the sales floor. When you have an understanding with the gallery, it will enable you to set goals for the sales you expect to have. After a period of time, evaluate whether the relationship is working out. Were your goals realistic? Are they being met, or exceeded? Or would it be better to discontinue the relationship and sell elsewhere?

Do you have a way to keep track of your inventory?

When your art is out of the studio and at different galleries or shops, you must stay organized. Then you can locate each piece in your inventory. Who has what? When should work be shipped? You can use a spreadsheet for this purpose, or a service like Artwork Archive that makes it easy to stay on top of this essential information and more.

Take these steps to make sure you connect with the right galleries, have a clear contract, understand your relationship and set sales goals, and stay organized. It will put you in a position where you have more control over your inventory, sales, planning and your small business.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

A painting falls off the wall, dislodging a sculpture below. Soot shoots out of an active fireplace, blanketing a canvas hanging above it. Heirs take ownership of a valuable art collection, only to discover they can’t sell or insure it because they lack documentation. In my 17 years as an insurance specialist in fine art and collections, I’ve encountered all these unfortunate incidents and many more.

Such losses can hurt financially. But for many collectors, artwork can have sentimental value, an important piece of cultural heritage and a legacy to share with future generations. That’s why it’s important for all art enthusiasts to protect their works by caring for them properly, minimizing the risk of damage and having the right insurance in place for worst-case scenarios.

SAFEGUARDING YOUR COLLECTION EVERY STEP OF THE WAY

Collectors can’t always prevent accidents, but making smart decisions along the way can reduce the chances that damage occurs. Here’s how collectors can protect their cherished works throughout the collecting lifecycle — from acquisition to legacy planning.

Acquisition

You can take precautions even before you’ve purchased a work. Ensure that you’re buying pieces from a reputable source, such as established auction houses or galleries that show at well-known art fairs. It’s much riskier to buy from private dealers you don’t know much about. If you’re new to the space, an art advisor can help guide you through the process. Before making an acquisition, consider hiring a conservator who can evaluate the piece’s condition and note any prior damage or restoration, as well as any special display conditions it would require. Ask for all provenance documentation, which is a work’s ownership history. This will include where works would have been bought and sold. Having the right documents is key to avoiding questions about authenticity or rightful ownership, which can expose you to lawsuits, undermine a piece’s resale value or make it tough to get insurance.

Transit and Installation

Most damage to art occurs in transit. If pieces are packed or shipped improperly, the results can be catastrophic. When moving art, work only with professional fine art handlers accustomed to dealing with high-value and fragile pieces. Engaging specialists is equally important when installing your pieces — don’t leave it to a handyman! Experts know which hardware is appropriate based on the item and your location. For example, those in areas prone to seismic activity should use special installation hooks to provide an extra level of protection. Also, consider where you’re displaying works to make them less vulnerable. Avoid hanging pieces over an active fireplace, in direct sunlight, or in high-traffic areas, such as stairwells or outside a child’s bedroom.

Display and Storage

Water damage is another major source of loss for art collectors, whether due to a natural disaster, a burst pipe, or even a leaky sink in the residence two floors above you. Fires, excessive sun exposure, fluctuating humidity, and power outages can also threaten collections. To mitigate these risks, employ environmental controls that keep temperatures and humidity stable and minimize UV exposure (insurance typically doesn’t cover light damage). Install smoke detectors throughout the home that automatically notify a third party if activated. Backup generators can keep climate control and alarm systems functional if the power goes out. Create an emergency preparedness plan that lays out procedures for evacuating artwork and includes emergency contacts, such as art handlers and conservators. If you keep works offsite, rely on dedicated fine art storage warehouses rather than general facilities, and opt for a private unit when storing high-value or high-volume collections to reduce the chance of accidents. Check that the facility uses the same precautions you’d have at home, such as multilayer security, climate controls, and a disaster plan.

Of course, valuable works are also at risk of theft. Install multi-layered security systems that include a perimeter alarm system, interior motion sensors, glass break sensors, and 24/7 alarms for individual works. Strong inventory controls are also key for noticing and remediating losses, especially for collections that include many pieces across multiple locations. An old-fashioned spreadsheet does the trick, but digital management collection platforms make inventory management even easier: You can upload relevant information, including invoices, artist fact sheets, appraisals, condition reports, and images of works; pinpoint the location of works down to the room; and generate reports to see where everything is housed. Some owners also use radio-frequency identification tags on valuable pieces, but those only work within a single location.

Insurance

Whether they cover every piece or only those valued over a certain threshold, serious collectors need insurance. Coverage under a typical homeowners policy is usually not robust enough to protect fine art collections because it offers limited coverage, often excludes flooding and breakage of fragile items, typically has a deductible, and may only cover works located in a primary residence. Instead, choose a valuable articles policy with broad worldwide coverage, which protects works whether they’re at home, in transit or in storage. Make sure the policy includes no deductible for most causes of loss. The best options offer extra protections, such as automatic coverage for newly acquired works or automatic coverage extensions to provide a cushion if market value spikes. Work with a broker who can help you find a trusted insurer that specializes in the fine art space.

Image courtesy of iStock

Lending and Consigning

Many collectors loan their works to museums or other institutions, a benevolent gesture that adds unique risks. Before handing off your pieces, sign a written loan agreement with the borrower outlining how the work will be packed and shipped and whose insurance will cover it at each juncture. Borrowing institutions often insure works from the moment they leave the owner’s wall to the moment they return, but make sure the borrower has an appropriate all-risk policy and consider leaving your own insurance in force as a backup. Make sure a professional art handler will ship and install the works, and request condition reports before a work is packed, once it’s uncrated and before it’s returned. If the piece will be exhibited publicly, ask the institution whether it will offer a security guard, glass case, glazing or other measures to protect the item.

Ongoing Maintenance

Once you have proper measures in place, you still need to manage your collection consistently. Make sure you know how to properly clean and maintain each piece and do so regularly. Engage conservators at least annually to evaluate the condition of works and treat pieces if needed, especially for outdoor sculptures. Check or replace installation hardware at least every decade, as picture wires and hooks can weaken over time. Keep your inventory system current, updating the location and current value of works. On the financial side, get your collection reappraised every three to five years, or every one to three years for volatile market segments like post-war and contemporary art. Update your insurance policy with current appraisals to make sure you’re not underinsured if something happens.

Image courtesy of iStock

Legacy Planning

When it comes to passing on your collection, communication, and planning ahead are key. Don’t assume your heirs want all your pieces or would treat them as you do. Ask them about their interest and plans and evaluate whether they have the maturity and living conditions to properly care for your art. Get key documents in place, especially provenance paperwork for older pieces, to pass on with the collection. Make sure your heirs know how to properly ship, install and maintain the works, and share contacts for experts you trust. And let heirs know they will need to get pieces reappraised and take out their own valuable articles policy once the collection is theirs. If you plan to donate to an existing museum or foundation, confirm they will accept the item and the terms of the donation, including when they will take over insurance for your artwork.

Preserving Your Legacy

 Safeguarding a valuable art collection requires a proactive approach at every stage of the process — starting even before you’ve made a purchase. Doing your due diligence, properly transporting and caring for works, and tailoring insurance coverage to the unique needs of art collections can help minimize the chances of loss and protect you if the unavoidable happens. Taking the right steps can help you maximize the longevity of your pieces and preserve them for generations to come.

Author’s Bio:

As Senior Vice President, Fine Art & Valuable Collections Manager, at Chubb, Laura Doyle leads underwriting and growth strategies. She advises private collectors and family offices on unique risks including museum loans, consignments, private museum programs, art as collateral, and international transit and storage. Chubb is the world’s largest publicly traded property and casualty insurer. With operations in 54 countries, Chubb provides commercial and personal property and casualty insurance, personal accident and supplemental health insurance, reinsurance and life insurance to a diverse group of clients.

Enjoy the portfolio of artist ZECO, who presents a provocative collection of high energy digital art. View more of his work here.

Art is a voice, art is a scream. Art must be a loud voice screaming.

“Big Sky” digital art, 60″ x 40″

I was born in the middle of the wild jungle in Mozambique and grew up in the middle of medieval castles in Portugal. Now I live in the middle of the restless landscape of the United States.

“False Prophet” digital art, 40″ x 50″

I studied Art at the National Society of Fine Arts in Lisbon, Parsons School of Design, and New York University in New York. After studying the classic masters in Europe and the Modernists in the United States, I like to mix both sometimes. It amplifies my possible creative horizons, and I like that.

“American Gun” digital art, 20″ x 30″

My art is tinged with shades of Surrealism, Modernism, Expressionism, Pop Art, and the Renaissance period. I paint the invisible message in front of me. I paint conceptual images to help me navigate through uncovering hidden emotions, unveiling the current state of affairs, and concealed social and political issues. And I paint the feelings in my brain and the visions in my heart. My right brain is inspired by my left brain.

“Matador Sorrow” digital art, 20″ x 30″

A new painting is always an immersive experience, and a trigger of adrenaline and dopamine. It takes me into a problem-solving mode that forces me to find the right look, style, and mood that best responds to my artistic intentions with limitless potential. My work may take different forms and styles, but color is one of the main characters in my artistic universe. Bold and strong colors make me smile and help me express ideas and emotions.

“Breathless Cataclysm of the Heart” digital art, 20″ x 30″

I use oils, acrylics, pastels, pencils, and digital tools to create my work. My work is usually focused on one subject around one main idea which can be a critique of a social issue, the difference between past and present, the expression of a feeling, or whatever makes an emotional or intellectual impression on me.

“Soho Sky” digital art, 60″ x 40″

Usually I share my work with friends and family to get their opinions and feedback before my work is finished. I’m not looking for approval or any kind of positive confirmation, but I like to make sure that the ideas and messages in my paintings are clear, easily readable and throw a smile at my friends’ faces.

“Red Hug” digital art, 20″ x 30″

Lately, I like to look at contemporary work from new, young artists embracing new technologies and tools that can add a deeper perspective to the art world. It inspires me. For the last few years, I’ve been displaying my work in galleries around the USA and Europe.

“Love is Multicolored” digital art, 40″ x 40″

Art is a pleasant journey for me. My heart is motivated by the creative process, and just like my heart, I’m inspired!

ZECO invites you to follow him on Instagram.

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Artist Ying McLane presents a vibrantly colorful portfolio of contemporary paintings. See more of her work by visiting her website.

Since my youth, I’ve cherished the beauty of a clear blue sky, the gentle touch of raindrops, and the warmth of the sun’s rays. This love for the world around me inspired me to dive into drawing and painting, expressing my deepest feelings on canvas.

“Blue Bird” oil on canvas, 40″ x 30″

My artistic ability shone brightly during my childhood, with my Chinese watercolor paintings being showcased across Asia. However, a career in art was not deemed a lucrative choice in the culture I grew up with.

“Whisper of the Wild” oil on canvas, 30″ x 24″

I had to set aside my artistic aspirations and embark on a career in journalism. It wasn’t until my arrival in the United States in my thirties that I seized the opportunity to attend various art schools in New York City. There, I honed my skills in classical oil painting, and I have never looked back since.

“Glory” oil on canvas, 36″ x 36″

My inspirations stem from my vivid imagination, transforming my canvas into a playground of bold colors and vibrant brushstrokes, where elements of realism seamlessly meld with abstract forms, weaving a distinctive narrative.

“Blue Serenade 2″ acrylic and resin on canvas, 24″ x 20”

As an immigrant, my art serves as a reflection of the diverse tapestry of experiences that have shaped my life, a testament to the beauty and diversity I have encountered along my journey.

“Mood of Blue” oil on canvas, 24″ x 20″

Balancing the demands of being an artist and a parent to three young children requires patience and skill. Fortunately, my family members have been unwaveringly supportive of my passion, often serving as my muse.

“Golden Guardian” oil and acrylic on canvas, 18″ x 24″

I strive to create beautiful, uplifting art that inspires and encourages others. For me, art is not just a pursuit; it is a way of life. I would rather toil away in my studio than indulge in a reality TV show during my leisure time. My visits to art stores often lead to more purchases than I planned.

“Blue Symphony” oil and acrylic on canvas, 30″ x 40″

I firmly believe that when artists create something beautiful, it is more than just a painting, a sculpture, or a photograph. It is a manifestation of the artist’s soul essence. To artists, art transcends the mundane daily grind, serving as an elevated form of self-expression.

“Florida Serenade” oil on canvas, 30″ x 24″

It is our duty as creators to contribute to the enrichment of our world through art. I refer to my artwork as “high vibe art” because I am of the belief that art should bring light, beauty, and inspiration to the lives of others. Every day, I strive towards this goal, infusing my creations with positivity and vibrancy.

Ying McLane invites you to follow on Instagram.

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My guest for this episode of The Art Biz is Kamal X.

Kamal recently released his book, Black Astronaut, which is a collection of photographs he started after the murder of George Floyd. It was, as you recall, the height of Covid and like many, Kamal was hesitant to travel and be in crowds.

But, as he said, he knew he had to risk it all because the moment was bigger than him.

In our conversation, you’ll hear about how and why Kamal learned photography and how he approaches his subjects on the street.

What I enjoyed most about talking with Kamal is his message. Through photography, he learns about himself, and he shares his positivity through his words and deeds.

He says, “Remember you are the light and you can create and visualize something bigger for yourself.” And he encourages you to be true to yourself and avoid making art for the algorithms.

by Carolyn Edlund

Making sales of your art or handmade work is a numbers game. Use these tips to increase your close rate.

Get in front of the right audience

Have you ever exhibited your work at the wrong show? Most likely, you have. It’s not uncommon to guess whether a show is right for you, or to take a chance because the event is local or the booth fee is very low. But even inexpensive events are costly when you consider the time to prepare and travel, and production time lost when out of the studio. Your best opportunities may be well-respected juried fairs, or niche events that draw the type of attendee that is perfect for the theme of your work.

Artists who are selling B2B also need to carefully choose their prospects. Looking for a gallery or retail stores as a potential wholesale or consignment account? Do the research to be sure their focus and price point range are a good match for you. Take a look at the other artists they represent. Are they your peers? Would your collection fit right in? If not, don’t waste your time. Find your perfect prospect, and concentrate on impressing them.

Reach out to prospects over time

The percentage of sales made on first contact is very small. It takes numerous “touches” to not only be remembered, but to connect at a time when the customer is ready to buy. This means an ongoing marketing program is essential. Whether you are emailing your retail customer base or mailing line sheets, catalogs or invitations to business prospects, be consistent and persistence with your efforts. You must be seen over time to make an impression and let your customers know you are in business for the long run.

Always follow up with serious inquiries

If a shopper is seriously considering your art, but doesn’t commit to the purchase, are you letting them get away? Take the time to get their name, email address or phone and contact them again. You might take a photo of the piece they admire with your phone, sending them detailed information and a price while they are in your booth. Then, contact them afterward to discuss their interest or close the sale. Keep them on your list either way. If they didn’t buy, they will continue as a prospect and receive further communications from you. If they purchased, you will want to stay in touch for the purpose of making repeat sales.

For business customers, take any inquiry seriously and keep that prospect on your list for at least three years unless they request to be taken off. One of the most valuable things you can do with business accounts is let them know you have staying power. Gallery and wholesale customers do not want to work with artists who are “here today, gone tomorrow.” And, they may like what you make, but want to see growth and maturity as your collection evolves before they make the commitment to work with you.

Offer incentives

Want to close sales now? Perhaps the holiday season is coming to a close, or you want to maximize income at a show and need to sweeten the deal for your customers. Incentives, especially time-sensitive offers, can drive up your rate of sales. These may include free shipping, a baker’s dozen, free installation, a bonus gift with purchase, or a discount off the retail (or wholesale) price. Choose carefully to appeal to your audience, depending on their needs and wants.

Use these strategies regularly to determine the right shows, and your best prospects. Your focus should be on proven techniques that get results. Then – rinse, repeat, and keep selling!

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Artist Diana Jahns explores different mediums to create vibrant and memorable imagery. Enjoy her portfolio, and see more on her website.

My art journey is marked by shifts and tangents that sometimes span many years. I’ve drawn and painted, sidestepped into sewing and weaving, returned to drawing and painting, shifted into photography and then found ways to combine drawing, painting and digital photography.

“Bright Orchard” acrylic, 16″ x 20″

My current art making activities stem from my interest in combining traditional, “real” art making materials with digital photography image making.

“Rock On 1” digital composite, various sizes

I take photographs of separate painted pieces of paper. Then, I set those photos aside while I work at my art table arranging these painted pieces on a board until I have created a satisfying abstract composition. This is hands-on work and is represented by Local Language, an art consultant in the San Francisco Bay Area.

“Rock On 2” digital composite, various sizes

Later I explore the photos in my computer and play with them in Photoshop to see how different combinations and other color schemes might work out. I’ve discovered that using this software is a great way to extend the experimentation that starts in my art studio.

“The Florist 6” digital composite, various sizes

This digital process birthed a whole body of work, several bodies of work in fact. They are very different in appearance from my work of decades earlier. You can see some of this work on my websites and Instagram, and on ArtfullyWalls.com, where reproduction prints are available.

“The Florist 1” digital composite, various sizes

A little over 20 years ago, I became a professional photographer, providing photography services to my customers, in particular headshots and portraits. I spend much of my time, nearly every day, editing photos in Photoshop. Running a photography business requires my full attention. But recently I’ve been able to set aside a day or two each week, to head back into my painting studio for some hands-on work. The experience of discovery and sense of freedom I find there is exciting.

“Surf 6” digital composite, various sizes

My earliest memories are of making art. When I was about 6 or 7 years old, my artist/photographer grandmother gave me my first painting lessons. Later, when I was a teen, she taught me how to handle a camera so that I could document my work. She also introduced the idea of making prints of my work from my photos. I continued painting and drawing through my college years and in the years after. I did not take up photography seriously until about 20 years ago. Between the end of my college studies and up to when I became a photographer, I hand-wove and designed art-to-wear that I exhibited around the country.

“Sky Twice” acrylic, 36″ x 36″

After a move to Northern California, I became deeply inspired by the rural, agricultural landscape around me. I would roam the nearby fields and hills, using a digital camera to capture the views that I wanted to interpret into pastel drawings, which I did later in my studio. Over a period of about 10-12 years, my work gradually evolved to become more minimal and abstract. Soon I was experimenting with making entirely abstract work, inspired by feeling and imagination.

“Red Willow” pastel, 72″ X 96″

And this is where I am today, exploring two parallel paths–photography and art making–working from imagination and feeling.

Diana Jahns invites you to follow on Instagram.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!