Over a year and a half ago, I started the process of writing a book and a book proposal. I don’t know what has taken so long except maybe I have a certain amount of fear. But I think also it was because I was trying to find my voice--like so many of you try to find a style that differentiates you. It all came together this week. For five years now I have been sharing with you some not-so-secret information about how to market your art. Sure, there’s stuff you need to do, stuff you must do. But I think I figured out something big this week. Artists who don’t think in terms of marketing or promoting have an easier time. These artists, I posit, are just so all-fired up about their art that they can’t wait to share it with others. And that’s exactly what they do. Instead of marketing, they’re sharing. Just something to think about until next week,

What Artists Need to Know About the Artist-Gallery Relationship

Teleseminar with Paul Dorrell Wednesday, February 21, 8 p.m. EST

Gallery dealer Paul Dorrell will be my special guest for this teleseminar. Paul is the author of the acclaimed book “Living the Artist’s Life” and has much to say about the artist-gallery relationship. Just $14.95 for the seminar. Sign up now.

Workshop in Bradenton, FL

Sunday, March 25

I’m thrilled to announce that a day after I speak to students at the Ringling School of Art + Design in Sarasota, I’ve added a workshop for all other artists in the area. It will be at the Art Center Manatee and you can contact them for the details: http://www.artcentermanatee.org
I hope you can join us!

► View all upcoming classes and events.
 

FEATURE ARTICLE

Build Trust with Your Galleries

A cloud of suspicion hangs over the gallery-artist partnership all too often, which is most unfortunate. You need each other. Artists need galleries to help market and sell their work so they can concentrate most of their effort on creating. Galleries need artists to make brilliant art and to help with promotion. You rely on each other to make a living. Because of this, you should make a deliberate attempt to nurture an honest, trustful relationship from the start.

I can think of no better way to foment trust than to communicate openly and often. The lines of communication—for better or worse—are usually established at the beginning of the partnership. It’s difficult to mend fences or to alter agreements after misunderstandings have occurred. Ensure that your communication style and habits enhance rather than undermine your relationship.

Before your work ever enters into the gallery inventory, both parties should sit down for a candid face-to-face discussion. What do you expect from each other? Be prepared to reveal details and to compromise. When you look into the eyes of a person, you understand more fully what they’re made of. Their dreams, goals, and agendas should match with yours. You have to trust the people on whom your livelihood depends. It’s more difficult to establish this kind of trust over email or the telephone.

At this face-to-face meeting, review the particulars of the contract. Signing it is one thing. Going over the content verbally so that everyone is on the same page is another. What is expected of the artist? What does the artist expect from the gallery? Each section should be discussed and agreed upon. The key is that the terms of the contract are laid out as to be mutually beneficial to both you and the gallery. That’s the only way for any business agreement to endure over the long haul.

As you sit at the table together, listen to the other person. This can’t be overstated: listening is a key skill for building trust. Few people trust those who talk too much. Listen for what the other person needs and how you might be able to help. Repeat what you hear and ask for any clarification: “I’m hearing that you will pay 60% of the advertising costs. Is this for any advertising or for a specific publication?”

Don’t enter into agreements of any kind that you can’t make good on. Failure to follow through with your commitments does irreparable damage to your reputation. Nor should you agree to terms that you hope will be more favorable to you in the future. You’ll be setting yourself up for disappointment.

One of my primary rules for negotiating is this: You have to ask for and get it up front. Perks rarely come after an arrangement is put into place. Entering into agreements that you hope will get better or that you don’t feel good about from the start almost always leaves you being resentful of the other person and of yourself for getting into a bad situation.

Learn much more about working with galleries in this week’s teleseminar with dealer and author Paul Dorrell.  (Hint: I think he’s going to tell us that he’s never had contracts with any of his artists!)