So, have you ever wondered what it would be like to be an artist and display and sell your work across the country at weekend art shows? Here are some tips that can increase your chances of success.
1. Visit the art exhibitions first
You may not always have the luxury of visiting each and every art exhibition before applying for acceptance. After all, if you visit before you apply, you’ll have to wait another year to participate (if you’re accepted) and most of us aren’t that patient. However, when you are able to visit the show first and talk to the participating artists, you will have an idea of whether or not this is a show you want to participate in. Be honest with the artists you talk to and ask a few questions. Most will be happy to answer your questions if they perceive your honesty and sincerity and if you don’t distract them from those who visit your booth. After all, they are there to show and sell their work, not to act as show investigators. With their permission, ask how long they’ve been doing these kinds of shows. Is it considered a good show? Was it difficult to enter? Is the fee reasonable? How is the assistance? Are the show hours long enough, too long, or just okay? Was the setup and teardown schedule adequate? What do you like about this particular show? What don’t you like about it? Do you plan to return next year? There are a number of other questions that could be asked, but please respect the artist’s time.
Some events that advertise themselves as art shows or even art and craft shows end up with lots of questionable “art” booths that aren’t actually art at all. If the “art” show has more than its share of artists making foam rubber alligators on a hanger or rubber weapon craftsmen, it’s probably not a high-quality art show. That does not mean that there is no place for these products. There are many large festivals that draw large crowds that have all kinds of vendors, from artists and artisans to cosmetic vendors and sausage-on-a-stick vendors. Don’t criticize these places, just be aware that you will meet a lot of people at these events who may have little or no interest in your art. The good thing is that you will meet a lot of people and sometimes that is all it takes to find some gems that will make your efforts worthwhile. I have been successful in both types of venues and have also come up short on occasion.
On the other hand, a juried event will raise the level of quality of the work on display, which should appeal to an audience that appreciates art more. You can reduce the number of attendees, but those who attend may be a more “qualified” audience. By qualified, I mean they not only have a greater appreciation for art, but also hopefully the means to purchase it if they like it.
Once you’ve determined that you want to participate in a particular show or festival, here’s what I believe is vital to your success as an artist and as an entrepreneur.
two. Have a consistent body of work
Although you may be good at every piece of art you produce, your audience of potential buyers/collectors will likely identify you with a particular theme, color, style, medium, presentation method, etc. Show a lot of what you like to do the most and a lot of what seems to connect with people the most. A bunch of random paintings of various subjects without a distinctive style or color palette in cheap, mismatched frames is likely to hold a potential buyer’s attention for a long time, even if the paintings are good. A hodgepodge of sculptures that look like they were made by ten different sculptors probably won’t improve your reputation. This randomness does not help identify what it is. I’m not suggesting that you never try anything new or experimental, but you have to make your art memorable to get some sort of following. Consistency is the key. See the work of some of the most successful artists you admire. What unites your work and identifies it as your own? Subject or theme, style (the way they paint or sculpt), the choice of colors used, the size, the framing? Any and all of these features may apply. Don’t copy his work, but learn from it. If you’re doing work that connects with an audience, people will be looking to you to buy your art, even after the show is over. It has happened many times.
3. They have different price points
Whether you choose to show originals only, limited editions, or a mix, it’s often dictated by program guidelines. Sometimes it’s completely up to you. If you have a body of work that connects with viewers, you’d obviously want to sell some of it. If you limit your bids to big, expensive original works (whatever that means to you), your potential market will be smaller and you’ll eliminate a number of people who might otherwise want to buy. That may be fine if your work sells for the prices you want on a regular basis. However, my experience is that having artwork at various price levels makes it possible for buyers/collectors to enjoy ownership of some of my artwork in the “now” until they are ready to move on to more collectible pieces, therefore, more expensive and profitable. . This can be achieved by offering various sizes of original works, offering print or sculptural editions in two or more sizes, having some limited editions and some less expensive open editions, or even offering gift-type products such as note cards or calendars with your art reproduced. on it (if the show allows it).
While it’s true that some will never buy anything major, others may use this as a springboard to start collecting their work to the extent they can afford. Your job after that purchase is to keep these low-end buyers (as well as all of your buyers) informed about you and your art through emails, newsletters, websites, newspaper or magazine articles, or however possible to let them know that you appreciate their business and hope to see them one day own some of their best art. They are more likely to want to own more of your art when you show your appreciation for their purchase and learn more about you and your progress as an artist.
Four. Have a clean and attractive display stand
There are a few generally accepted artist booth configurations that are used at most quality shows. The standard size booth is usually 10×10, which is why many awnings or marquees are made in this size. EZ Up, Flourish, ShowOff and a few others seem to be the most popular. As your inventory and sales grow, you can always add a Double Cab space, when available. Although some brands of tents come in a wide variety of colors, a white cover is recommended. Some programs do not accept anything else. Pick the one that fits your budget and make sure it has adequate sidewalls and leg weights in case of bad weather. If you show enough time, you will experience inclement weather.
The actual racks that you hang your work on or use as backgrounds may be metal grid-type panels, such as those made by Graphic Display Systems, or carpet-type panels, such as those made by Pro Panels, or mesh netting made by Flourish. Get what you can afford and upgrade as sales allow. An indoor/outdoor rug or other floor covering is a nice added touch if it enhances your booth and doesn’t distract from your art.
Have a focal point in your booth, a “whopper,” a one-of-a-kind piece, or something that will stop showgoers from wanting to come in and see what your art is all about. I hang a 24×36 framed, matte limited edition of my signature piece above a custom-made credenza (which has wheels, but the wheels are camouflaged) right in the middle of the back wall of my booth. This popular image is what I most identify with as it has become my best selling print. Since I started doing this, I have rarely failed to sell one of these framed prints. The credenza also tastefully displays very small pieces such as note cards, hand-painted tiles, and a guest book for addresses and email addresses (my favorite way to contact people). Inside the credenza drawers are my change (keep enough change), ticket sales, credit card forms (you should accept credit cards for high-end items in my opinion), ribbon, string, bug spray, business cards and brochures, and extra. hang tags for my framed pieces. Below are unframed prints ready to replenish my print shelf when one sells. All of my work that is hung is framed (with the exception of an occasional gallery canvas) in similar style frames with brass nameplates to enhance value and identify the title of that piece. All unframed prints are packed in clear bags that have an adhesive flap to seal them and are placed on a browsing rack.
Have a tool box to hold items such as pliers, hammer, nylon connectors, wire, duct tape, clamps, small broom, and other miscellaneous items you may need during the course of the show. Once you’ve shown it a few times, you’ll have an idea of which items are useful. Keep this and anything else that might distract you from your art out of sight as much as possible.
5. Offer space to your potential customers
I have found that more people will walk into my booth display and look longer if I stay outside of my booth until they are interested in my work. I try to be very attentive, but I only approach a visitor when I perceive some kind of interest, no matter how small. Do not block your entrance by placing yourself and your staff or friends and family where no one can enter and look around. Even if there are two of you and you are each sitting side by side near the front of your booth, there seems to be an invisible barrier that visitors won’t pass through. I’ve seen other ideas of where artists are positioned to encourage a better “booth visit”, and in a booth larger than 10×10 I could see where sitting off to the side at the back of the booth might work well. However, in my personal booth I don’t want my face to compete with my art. At this point, I’m just incidental to the art. I made the art and answer any questions and take the money. Otherwise, I don’t want to intrude. Yes, I want the client to remember me, but first I want them to see my art. When you make a sale of any importance, follow up with a handwritten thank you note.
Displaying and selling your work at outdoor art festivals is hard work that is often accompanied by some expensive lessons. However, when you finally make that connection with people who like your work and are willing to part with their money to own some of it, the rewards can be great, both financially and artistically.