Art Space Talk: Dan Duhrkoop (EmptyEasel)

EmptyEasel, founded by Dan Duhrkoop, is an online art magazine that contains practical advice, tips, and tutorials for creating and selling art. The goal of EE is to publish helpful information for both new and professional artists—without any of the vague or confusing “artspeak” common to the art world. EmptyEasel helps new or unknown artists reach a wider audience by encouraging ALL artists to use the internet to promote and sell their artwork. Since 2006 EmptyEasel has become one of the most visited advice sites for artists on the World Wide Web.

www.emptyeasel.com

Brian Sherwin: Dan, EmptyEasel is an online art magazine with practical advice, tips, and tutorials for creating and selling art. The site also features reviews of social art sites and other online art communities. Can you give our readers a brief history of Empty Easel-- how long has the site existed and why did you decide to establish it?

Dan Duhrkoop: Sure—I started EE near the end of 2006, so it's been going for just over 2 years now. My original idea was just to share information about oil painting techniques and feature some of my favorite artists, but I began adding art marketing tips and some business advice when I realized that many artists were looking for information on selling art as well as making it.

Then in early 2007 when several big-name art-startups began picking up steam (Redbubble and Imagekind in particular) I started researching and comparing various internet art galleries in addition to my other articles.

Mid-2007 I redesigned and enlarged the site, and opened up EmptyEasel for article submissions. A lot of folks have gotten involved and I've been posting at least one reader-submitted article just about every week in addition to everything else published on EE.

BS: Who is Empty Easel—as in, who are your writers?

DD: All of my writers are also artists: Dianne Mize has contributed a lot of the recent painting tutorials found on EE, Margot Dinardi explains the digital side of things (GIMP help) and Denise Telep covers art marketing, motivation, and a lot more.

I focus most on where to sell art online and how to optimize your blog for search engines, but I also write the weekly featured artist section and dabble in everything, really. I'm working at lining up a few more writers for 2009 as well.

BS: So how can individuals interested in writing for Empty Easel contact you? Are there any specific topics that you prefer to include on the site?

DD: Anyone can submit an article via our article submission form—it's a great way to introduce yourself to a pretty big audience of artists and art lovers while promoting your art blog or art profile at the same time. Every author gets credit for their article and two links back to their own web page.

Suitable topics for EE range from tutorials on any medium (pencil, pen & ink, oils, watercolors, acrylics, etc) to business advice, art product reviews, or just opinion articles that relate to the world of art. Pretty much anything goes if it's on topic, interesting, and well-written.

BS: Dan, you are an artist with extensive knowledge of selling art online. Do you have any general advice concerning online exposure and promotion for artists? What do artists need to know in order to take full advantage of what the internet provides as a tool for success?

DD: You know, you've hit the nail right on the head. The internet is a tool, not a pre-packaged solution. I guess I have two pieces of general advice for artists who want to start selling online. First, it's not going to happen immediately - it may take months or even years to become successful. That's OK though. . . I'm a big fan of the slow and steady approach, and I really encourage my readers to stick with it and make it work. Second, the level of success you reach has EVERYTHING to do with the effort you decide to put into it. No one else will do it for you, but you CAN do it yourself. That's what's great about the internet.

For example, imagine two artists, one who pays for a premium listing on some big online art gallery, and another who does their own thing, blogging each day, posting new paintings, learning about the internet and search engine optimization, and so on. At the end of the year, I'd put money on the dedicated art blogger, not the artist with the premium listing. Effort gets you farther than anything else will, and I know that both from my own experience with EmptyEasel and by looking at other successful artists who have done exactly the same thing.

BS: With that in mind, can you point our readers to any specific articles on Empty Easel that you think would be helpful?

DD: Well here's an article which shows EmptyEasel's own visitor numbers from 2007 and gives a good idea of what to expect from your own efforts if you stick with blogging for a whole year. A while back I also posted some tips for creating an authority art website that are just as true today as they were when I published them in 2008. Both of those articles are great places to start.

BS: In regards to buying and selling art online do you have any specific suggestions? For example, is there anything that an art buyer should look out for when purchasing original art online?
DD: Just little things. . . make sure you know the size of the piece you're purchasing, whether or not it comes framed, and if you're responsible for paying shipping and insurance. See what the seller's return policy is, too, since some artwork can look different in person. You should always be allowed to return the artwork for a full refund within 7 days, if not longer.
That being said, there isn't (in my opinion) a whole lot to worry about when purchasing art online. Most folks aren't trying to scam you, and if they are, you'll probably know it just from looking at their website. Misspelled words, requests for money transfers to Nigeria, hard-luck stories, and anything else that seems shady should be avoided. If you're an art seller, take a good look at your blog or website to make sure that you're not scaring people away yourself. Accepting PayPal for payments is a good way to ease a lot of fears right off the bat.

BS: Can you give our readers some general advice about starting an art blog? In your opinion, why is it important for artists to maintain an art blog today?

DD: If you're just now starting an art blog, my first recommendation would be to go to Wordpress.org and download the files for your own self-hosted blog. You'll need to buy your own domain name and sign up for a paid hosting plan if you decide to go this route, but it's hands-down the best blogging solution anywhere.

Understandably, a lot of artists are a little nervous about buying a domain name and hosting and uploading files, etc. If that's you, I'd point you toward Blogger or Wordpress.com (note the ".com" not .org). Either of those are extremely simple to get started on.

Once you've got your blog you should set up a consistent posting schedule (3 posts per week, for example). At the same time, do whatever you can to start networking online. This may include joining art forums, Twitter, social media sites like www.myartspace.com, etc. Everywhere you join, make sure to leave a link to your blog—especially in forums and blog comments. These are the basic building blocks of internet art marketing. There's a full-length article at EmptyEasel explaining how to develop your own online art marketing strategy if you want more information on how to go about it.

In answer to the second part of your question, the reason why blogging is so helpful to artists is that it gives you an even footing with the big guys out there. Over the course of a year, for example, your blog could easily grow to encompass 150-300 posts. That's 150-300 chances for someone to find your website, and the more posts you publish the more likely you'll be found. When you think of the millions and millions of searches that people type into Google every day, I'd say that it's nearly impossible for a determined blogger NOT to be successful at gaining traffic and exposure online.

BS: What other advice do you have concerning social media marketing for artists?

DD: Don't spread yourself too thin. After 3-6 months of networking and getting your link out there, pull back to your own blog. You should have some decent traffic by that time (a few hundred visitors per day, perhaps) and you can focus on creating high-quality posts and more art. If you've done your social media marketing correctly, others will now be promoting your blog for you.

Of course, if you find that Twitter, Stumbleupon, or some other social site is working really well, you don't have to stop using them. Just start focusing your efforts there towards a specific goal, like getting people to sign up for your blog's email list.

BS: It appears that sometimes fans of specific social art sites and other online art communities are not always happy with the reviews that you post. I suppose one could say that there will always be controversy with criticism. With that in mind, do you see your site reviews as a form of feedback to help those specific sites improve? Have you been known to change your opinion of a site after improvements are made?

DD: I definitely see my reviews as feedback, and if they help spur a company towards better service and better results for their artists, then I'm more than willing to go back and update what I've written.
Ultimately, however, EmptyEasel has a responsibility to the individual artist, not to the big companies—so when it comes down to either writing what I believe and making some people upset or glossing over the truth just so they're happy, I've got to stick to my guns and point out whatever flaws I see (and how to correct them).

BS: In your opinion, how will the internet change the art world of the future? For example, do you think that brick & mortar galleries will eventually catch on to eCommerce and other aspects of the internet that artists have been exploring in mass?

DD: You know, it might be too late for the B&M galleries. Just like the music industry is seeing a surge of independent, self-marketed artists, so is the visual arts community. The power is shifting to the people now, and although we're just getting started, we're learning fast.

If traditional galleries ARE going to successfully transition to the internet, they'll need to start adapting and listening to what both art buyers and art sellers want. The prestige of being shown in a gallery isn't as important to artists as it once was. Now we're looking at page views and sales. We're looking at reach and engagement of our viewers.

Buyers, on the other hand, are looking for everything—all types of art. The internet is simply making it possible for them to find what they're looking for, no matter how obscure. It's a very different world than what it was 20 years ago. With such a large community of artists online who are determined to figure out how to make things work for themselves, I don't see the traditional art establishment catching up anytime soon.

BS: Finally, do you have plans to expand Empty Easel? Can you give us some insight into your future plans for the site?

DD: Well, beyond adding more articles and tutorials, I do have a super-secret project in the works that will be launching within the next few months (hopefully by March 1st). I don't want to say too much until we've finished it, but as you might expect, it's geared toward helping artists succeed online. Anyone interested in learning more about that can sign up for EE's free weekly newsletter and I'll keep you posted on our progress.

You can learn more about EmptyEasel by visiting the EE site-- www.emptyeasel.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

myartspace.com

www.myartspace.com

New York Art Exchange

www.nyaxe.com

London Calling

www.myartspace.com/londoncalling

Buy Art and Sell Art Online: The New York Art Exchange (NYAXE)

www.nyaxe.com connects art buyers to art sellers.

The New York Art Exchange (NYAXE) continues to grow as new features are implemented. The New York Art Exchange, an online marketplace for buying and selling contemporary fine art, enables the art community to capitalize on new digital mediums through technology by connecting artists, gallerists and collectors via the World Wide Web. NYAXE is brought to you by www.myartspace.com, the premier networking site for artists, art collectors, gallerists and other involved in the global arts community. With over 50,000 members myartspace is a concentrated social art site for the art world.

NYAXE connects collectors, artists and gallerists together, allowing buyers to quickly search through thousands of works of fine art on the site and navigate through numerous curated pieces of works. Gallerists and artists can create a personal and customized branded online gallery storefront to begin selling on the NYAXE marketplace. Storefronts can be organized into categories such as watercolors, original works, sculptures, to make it easy for art collectors to find what they are looking for.
Create a NYAXE storefront and sell your art, photography, and fashion to the world. Mark Enger’s store on the New York Art Exchange -- www.nyaxe.com/MarkE

Currently there are five different levels to choose from in building a NYAXE gallery storefront. A basic storefront is free for the first five listings, and each level provides more advanced features and marketing capabilities and cost effective pricing structures. The various tiers of service are designed to enable artists and gallerists to try their hand at ecommerce to build a basic store at a low cost. Artists and gallerists subsequently can upgrade to higher tiers if they wish to expand their offerings. NYAXE is a an affordable solution for exploring what eCommerce has to offer.

The New York Art Exchange (NYAXE) was officially launched on December 2nd at the Bridge Art Fair in Miami. Catherine McCormack-Skiba, CEO and founder of NYAXE, stated, "It's been my vision for years to make great art accessible to a broader audience through technology and the internet. I'm excited that we can empower gallerists and artists to expand the awareness of their fine art and help them connect with a new audience of buyers on a global level."

Browse the New York Art Exchange

Buying and selling art on the New York Art Exchange is easy. Browse NYAXE stores quickly. Browse by medium or by category. Use ‘Jump to page’ to go to specific browse pages or simply view each page one page at a time. Use the NYAXE search field to search by artist name, tag, location, medium, style or price. Sort by Featured stores, date added, and price.

Links of Interest:

www.catmacart.com
www.myartspace.com
www.nyaxe.com
www.nyaxe.com/storeSellerSignUp.do

Take care, Stay true,

Brian Sherwin

Senior Editor

myartspace.com

www.myartspace.com

New York Art Exchange

www.nyaxe.com

Art Space Talk: Alan Bamberger

Alan Bamberger is an art consultant, advisor, author, and independent appraiser specializing in research, appraisal, and all business and market aspects of original works of art, artist manuscript materials, art-related documents, and art reference books. He has been selling art since 1979 and rare and scholarly art reference books since 1982, and has been consulting and appraising for artists, galleries, businesses, organizations and collectors since 1985.

Bamberger has appeared live on CNN's Daywatch, KTLA's Making It (Los Angeles), and KRON-TV in San Francisco, and answered art business questions on New York City Cable TV's Project Art Show. He's been quoted in numerous media including the New York Times, The Wall Street Journal, Great Britain's Guardian Unlimited, Marketplace (National Public Radio), the Los Angeles Times, New York Newsday, the San Francisco Chronicle, Esquire, ESPN Magazine, Real Simple, ARTnews, The Arizona Republic and Wired and has been featured in the Chicago Tribune, the San Francisco Examiner, Kiplinger's Personal Finance, Your Money, and other publications.

Bamberger is the founder of ArtBusiness.com-- a website that provides complete art services, art appraisals, art price data, news, articles, and market information to art collectors, artists, and fine arts professionals

Brian Sherwin: Alan, you are an art consultant, author, advisor, and independent appraiser. You specialize in appraisal, research, and the business and marketing aspects of original works of art. You also have extensive knowledge of artist manuscript materials, art-related documents, and art reference books. Can you give us a brief history of your background in this field?

Alan Bamberger: I began in the art business around 1980 selling old paintings and other original works of art. During that time, I would purchase reference books for my library. That gradually evolved into purchasing duplicate reference books and selling them to other dealers and collectors. After a while, I moved almost entirely into selling rare and hard-to-find reference books on the fine and decorative arts.

My education around art comes not only from books and catalogues, but also from artists, art gallery owners, and other fine arts professionals. During this time, I also became a member of the Antiquarian Booksellers Association of America and the International League of Antiquarian Booksellers.

BS: You maintain www.artbusiness.com. Can you give us a brief history of the site? Why did you decide to create it?

AB: My original idea for www.artbusiness.com back in the late 1990s was to use it as an online portfolio of sorts-- to show samples of my writing-- in hopes of getting more writing jobs. Putting the writing samples online was easier than sending them in the mail (how writers used to query publications back in the good old days). Anyway, I realized when viewing my website statistics that quite a few people were finding the site and reading my writings, so I started putting more and more of my articles online. That's pretty much how things started.

BS: You have written about the art business since 1983. How has the art market changed in your opinion since that time? Would you say that it is easier to be successful as an artist today due to the advent of the Internet?

AB: I think the main ways the art business has changed are that knowledge is easier to come by and, more significantly, that artists can expose their work internationally with little or no effort. This is particularly advantageous for artists who do not live in major national or international art centers, but have talent. And some artists manage to get known simply by establishing online presences. This was not possible just a few short years ago.

BS: What advice do you have for artists who strive to gain exposure online? Do you have any marketing tips for artists who are focused on selling art online?

AB: A few quick tips-- price your art, have plenty of contact information, make your art easy to buy (accept credit cards, Paypal, etc), don't show a lot of sold work, show your most recent work, don't show a lot of old work (particularly if your current art is very different). I have several articles for artists online about how to approach internet selling like this one for example-- www.artbusiness.com/webworks.html.

BS: What about art collectors? Do you have any general advice for art collectors concerning buying art online?

AB: Know what you're buying, know who you're buying from, don't buy big name art at online auctions like eBay unless you are an expert in whatever artists you're shopping for, make sure you can return whatever you buy if it turns out to look different than it looked online, read and get informed about what you're buying before you buy-- not after.

BS: Can you point our readers to any specific online articles that they may find of interest concerning these topics?

AB: I have plenty of articles for collectors online here-- www.artbusiness.com/collectors.html. And my book, The Art of Buying Art, covers everything collectors need to know about how to buy art. It's easy to understand and anyone who buys art can benefit from it.

BS: Giving the state of the economy… do you have any general advice for artists, gallerists, and others who are focused on the business of art?

AB: Selling art is more challenging now than it's been in quite some time. It's important for anyone selling art to demonstrate the value of that art-- not necessarily in terms of dollars, but also in terms of meaning, significance, and similar intangibles. People buy art because it enriches, beautifies, and enhances their lives. Be able to show how your art (or art that you're selling) does that. Here's an article that kind of sums it all up-- www.artbusiness.com/osoquunewec.html.

BS: Speaking of the economy, there has been some debate online concerning the potential for brick & mortar galleries embracing the internet for an alternative way of selling art. Many traditional art sellers scoffed at the idea of selling art online during the 1990s. Have you observed a change in opinion concerning this as far as gallerists are concered?

AB: Yes. The large majority of galleries have online presences. In fact, some galleries and dealers sell almost as much and sometimes even more art online than they do out of their physical galleries. An online presence is particularly beneficial to galleries that sell art by artists with national or international followings-- avid collectors scour the market for the art they collect, and the internet is one of the best ways to get a quick overview of who's selling what.

BS: Speaking of the art world in general, do you have any concerns about the art world at this time? For example, there has been a lot of debate concerning the potential of orphan works legislation being passed. What are your thoughts on that issue?

AB: I can understand both sides on this one, but I am for the legislation because of the incredible difficulties entailed in figuring who, if anybody, holds the rights to reproduce so many works of art from all nationalities and all time periods. Of course, the person reproducing these works must do due diligence in this regard before reproducing them. That must be made very clear in any such legislation-- and the penalties should be significant for those who don't.

BS: I understand that you are a member of the Association of Online Appraisers. Can you give our readers some insight into the goal of that organization?

AB: The goal of this or any appraiser organization is to educate, promote uniform standards of appraisal, and to give everyone access to professional appraisers, not only for art, but for all forms of personal property, and not only for purposes of insurance, inheritance, donation, and the like, but also for buying and selling. For example, a gallery might represent a work of art as being a bargain when in fact it is overpriced.

When you don't know that much about what you're buying, it's always a good idea to consult an appraiser first-- for a no-conflict-of-interest second opinion. Likewise, private parties who are considering selling art need professional opinions as to how much it's worth before offering it for sale.

BS: What about other organizations and projects that you are involved with. Would you like mention anything about them?

AB: My main project these days is comprehensively documenting the San Francisco art scene with exhaustive coverage of gallery shows. It not only helps artists and collectors now, but I also intend it to be an archive for the future. This May will mark the sixth anniversary of this project which I began in 2003. Over the years, I have also volunteered my time and knowledge to help several local non-profit organizations.

BS: Where can our readers purchase your books online?

AB: You can read brief chapter summaries of The Art of Buying Art here-- www.artbusiness.com/basynop.html
You can order a signed copy of the book here-- www.artbusiness.com/bookorder.html

BS: Finally, is there anything else you would like to say about your profession? Any closing advice for buying or selling art online?

AB: As someone who knows a lot about art and how the art business operates, I can't stress enough that when you're just starting out as a buyer (or seller), talk to professionals, educate yourself, and get second opinions as required before going ahead with purchases or putting art up for sale in the marketplace. It is simply too easy to make very expensive mistakes when you don't have that much experience.

In closing, I'd like to say that it is my great privilege and pleasure to work with as well as serve artists, dealers, collectors, and creative people everywhere. My main goals in life are to make art more accessible to everyone, and to help everyone-- buyers, sellers, and artists alike-- to do whatever it is that they want to do.... better.

You can learn more about Alan Bamberger by visiting the Artbusiness.com website-- www.artbusiness.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
New York Art Exchange
www.nyaxe.com

Art Prices Drop. Galleries Close Doors. Auction House Cuts Jobs.

You don’t need to be an economist to realize that the financial skies will not be clear anytime soon. Could it be that the worst is yet to come? The auction house Christie’s International thinks so. Their plan of action? Simple. The notable auction house is in the process of making staff reductions as a result of poor auction performance in recent months. Staff reductions at a major auction house is just another sign of the chaotic times we are in as far as the economy is concerned.

The dire state of the economy has forced many artists to step outside the unwritten rules of the art market. Even established artists, such as Damien Hirst , have lowered prices drastically while embracing alternative marketing plans that go against the traditional schematics of the art market. Art dealers have suffered as well.

Many gallery doors have closed since the fall of the economy. I’ve been told that some art dealers and their staff have placed bets on which gallery will close next-- all the while fearing that they may be next. There seems to be no end to the concern that art professionals from all levels of the art world have due to the financial crisis.

The fact that Christie’s is showing signs of struggle makes it very clear that the decade-long art market boom has officially ended. Now is the time for artists, art dealers, and even auction houses to rethink the ways in which they sustain themselves during turbulent times. Indeed, the protective bubble surrounding the art market has popped .

The official statement from Christie’s to the press:
“Effective January 12, 2009, we have begun a company-wide reorganization review, which includes the possibility of significant staff reductions, not renewing many consultants’ contracts and the continuation of other cost reduction initiatives, that will ensure we remain competitive and profitable in 2009. Any staff reductions that might be necessary will be implemented globally in accordance with local regulations and in as considered and timely a manner as is possible.”

Links of Interest:

Christie’s Begins Massive Layoffs -- Art Fag City

Christie’s Cuts Costs as Art Market Slows -- New York Times

Christie's announces 'significant' job cuts -- International Herald Tribune

Christie’s to Cut Jobs as Crisis Cuts Auction Sales -- Bloomberg

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
New York Art Exchange
www.nyaxe.com

eCommerce is a Welcome Addition to the Art Market

Lately I’ve been thinking about the influence the internet has had on the mainstream art world. One can already notice the fact that many gallery represented artists have a personal website-- some are exploring eCommerce as well. That said, there is no doubt that the next generation of artists and art collectors will be tech savvy in general-- having been raised with the World Wide Web. I expect that we will observe an extreme shift toward utilizing the internet within the context of the art world as a whole in the near future. I can foresee advances in eCommerce involving the art market as well as galleries striving for online visibility (that will be a hard fight since so many have slacked on it).

The possibility of a great shift makes sense when you consider the number of artists who have been utilizing the internet in order to gain exposure as well as the number who have explored the potential of eCommerce in recent years. It goes without saying that artists are leading this charge-- and that is exactly why gallerists will eventually pursue it in mass. In other words, the galleries will have to fill a need that the artists they represent obviously desire-- the need for high online visibility and alternative marketing by utilizing eCommerce. My guess is that artists in the near future will expect this from those who represent them.

When this great shift occurs I predict that artists will discover these options independent of the gallery that represents them if said gallery has failed to offer eCommerce and high online visibility. Again, the next generation of artists and art collectors will most likely expect a gallery to offer eCommerce and to have a visible online presence. Thus, I think a gallery owner would be better off exploring the possibility now in order to be prepared for the future. No matter what happens it does not hurt to have an improved online presence, true?

I will not go as far as to say that eCommerce will replace the traditional art market, but I will say that it is certainly a viable alternative-- a welcome addition to the art market. That said, I realize that traditionalists of the art market will firmly state that buying art online will never replace viewing and buying art in person. I agree to a point. However, one must remember that the same was said about other items and services that are now commonly sold online.

That is not to suggest that art is an ‘item’ or a ‘service‘-- that is up to the individual to decide -- it simply reveals how naysayers have been proven wrong in the past concerning eCommerce. People are starting to 'get' it. My guess is that we will see an increase in galleries selling art online by the end of 2009.

Topics of Interest:

Art Market Crisis: Galleries NEED to Embrace the Internet... and eCommerce!

eCommerce Can Work For Artists

Why Art Sites Work

how to gain exposure for your art online

Art and Recession: Time to Adapt

Don’t Expect Your Art to be Discovered. Make it Happen Online

Art and the Internet: The Artists Are Here. When will Galleries Participate?

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

www.nyaxe.com

Don’t Expect Your Art to be Discovered. Make it Happen Online

Don’t Expect Your Art to be Discovered. Make it Happen Online.

After over a decade of researching online strategies for gaining exposure and selling art online I have noticed that many artists tend to embrace romantic notions of how the art market works. These fantasies are fueled by literature and films that depict the magic moment at which point an artist becomes “discovered”. The scenario often involves an artist working years in solitude only to be discovered by chance-- with fame and fortune just around the corner. Unfortunately, the art world does not exactly work that way. To put it bluntly, artists need to put the bedtime stories aside and learn to make it happen for themselves.

An artist can’t stay hidden in his or her studio and expect fame and fortune to appear out of nowhere. I can't stress this enough-- the idea of being picked up by an influential art collector or gallerist out of the blue is best left for the movies. It can happen, but the odds are it will not happen to you, anyone you know, or anyone you will meet in the near future. Yes, it is that rare. There are only so many brick & mortar galleries to go around-- and millions of artists worldwide who desire to be represented by them. In that sense the internet serves a need while offering great opportunity to artists who embrace it. It is a new frontier that the art world is only now starting to explore in detail.

I base my observations on the conversations I've had with hundreds of emerging and established artists. This is why I know that reality works very different than what we read in a novel or view on the big screen concerning the art world and ideas of being "discovered". Thus, it is my opinion that an artist can’t wait to be discovered. An artist must take the bull by the horns and utilize every opportunity in order to promote his or her artwork-- again, he or she must make it happen.

Luckily there is great opportunity to be found online. The potential for gaining exposure and marketing online is limitless. In other words, there is a world of opportunity at our fingertips. All it takes is an entrepreneurial spirit, the initiative to get started and maintain a presence online, and raw ambition. These factors are crucial to establishing a successful online promotion / market strategy.

An emerging artist must do everything he or she can-- as far as online promotion is concerned-- in order to help him(her)self be discovered or simply to carve out his or her own destiny. In other words, artists today don’t have to wait to be “discovered” in order to have their work placed before the public. An artist today can display his or her artwork online in order to reach the public at large-- including potential patrons and art collectors in general. The artist must be relentless in establishing a presence online.

In that sense artists are bypassing the traditional route of brick & mortar marketing by representing themselves and using the internet as a vehicle toward a marketing path that can be just as successful. As mentioned, this online art marketing path has the potential to be very successful in the long-run and has the added benefit of potentially opening career doors in ways that emerging artists in the past would not have had access to.

Getting started is simple enough. Buying a decent computer and enduring the monthly expense of internet connection is a good investment for a visual artist when you consider that he or she can reach more people online per month than he or she ever would buying an expensive ad in an art publication or other magazine. Another thought-- technically an internet savvy artist has the potential to reach more viewers per month than he or she ever would in a traditional gallery setting.

True, if you can afford it you can have the best of both worlds-- but you will find that many artists are focusing on online efforts rather than traditional forms of gaining exposure-- just as many who have been successful within the traditional model have stated that the internet is opening new doors. The methods of art marketing are changing and artists are leading the charge.

The simple fact is that artwork is being seen in ways that would not have been possible years ago. For example, some artist blogs have more unique traffic per month than physical exhibit spaces do in a year. True, you can debate the value of viewing art in person compared to viewing art online, but when it comes down to the line traffic is traffic no matter how much you try to philosophically slice it. To put it bluntly, today artists don't have to cling to fantasies of being discovered-- they can make it happen simply by following their ambition and utilizing the internet. A little initiative can go a long way online. Make it happen.

A few suggestions:

* Answer email that you receive about your art promptly. When a buyer or other interested person has a question about your art it is always best to answer it within 24 hours. After all, if you wait a month to answer a potential buyer her or she may have already purchased from another artist who was more prompt. Thus, you will want to set time aside each day to check your email and answer any questions that viewers may have.

* Be smart about how you list your contact info. Make sure that interested individuals can contact you with relative ease. Include an email address on your website, blog, art community profiles, and so on. You may want to list your email as ‘myhandle AT insertname.com’ instead of ‘myhandle@insertname.com’ in order to ward off bot programs that harvest email addresses. That step will help you to cut back on the amount of spam you receive at the address you have listed. However, keep in mind that some individuals and companies will harvest emails manually. Thus, it is always good to create an email address specifically for your online promotional and marketing efforts instead of listing your personal email address.

* Have a website or online community profile that is devoted to your artwork. Remember that your personal website does not have to be fancy to get the job done. Your main focus should be to provide a site that is easy to navigate and allows images to be viewed quickly. In other words, people are not going to waste time figuring out a puzzle just to view your work nor are they going to wait over a minute for your images to upload.

Remember that in most cases if you have a personal website it will be your responsibility to maintain it. So if something ‘breaks’ you need to know how to fix it or be able to afford the expense of having someone fix it. Hiring someone to design a website can be very expensive and the cost of minor fixes throughout the year can add up quickly. Keep that in mind before your personal website runs you instead of you running your personal website. In other words, learn the skills, find a friend who has the skills, or find alternative ways to display your art online.

If you lack the skills or resources needed to create your own website you can instead use an online art community profile as the hub of you online activity. If you take that path be selective and choose the art community that works best for your needs. To put it bluntly, if you create fine art you might think twice before uploading your artwork to an online art community that appears to focus on anime/manga fan art. Remember that your online associations can reflect on your professionalism in the opinion of some individuals.

*Create free accounts on online art communities. Online art communities can be a valuable resource for artists as far as exposure and marketing is concerned. You should maintain a few regardless if you have a personal website. The simple fact is that an online art community will most likely have more traffic than your personal website will be able to obtain on its own. Which means that you can increase traffic to your personal website by including a link to it on your online art community profile.

Online art communities that offer messaging, comments, forums, blogs and other aspects of social networking can be a valuable resource for keeping in contact with fellow artists and other individuals who are interested in your work. Never forget that having strong connections with fellow artists can lead to exhibit inclusion and provide valuable insight into the market as well. To put it bluntly, you can learn from fellow artists and might even receive a helping hand in the process-- just be sure to spread the knowledge on with open hand.

*Maintain an active blog for your art. A great way to obtain exposure for your art is to create a blog that is focused on your art, the exhibits you have been in, and so on. Choose a blog service that has high traffic-- such as Blogger or Wordpress. Try to post at least two entries per week. If you are selling art online be sure to make a post about it on your blog with a link back to the site where your are selling the art. If you have an upcoming exhibit be sure to post a press release about the exhibit on your blog.

It may seem overwhelming at first, but it is actually easy to find something to talk about as far as your work is concerned. Just remember that each entry helps improve your presence online. Be sure to utilize free services like Pingomatic in order to help spread your blog content on the World Wide Web.

*Establish yourself on social networking sites. Social networking sites-- such as Facebook-- can make it possible for you to connect with professionals with backgrounds in various industries. It is not hard to discover journalists, scientists, politicians, and others who are willing to network with you. These individuals may be willing to give you advice on how to improve your presence online and offline. Just be respectful. Remember that establishing online rapport with influential art bloggers can be very valuable as well. The feedback that you can obtain will be very helpful for your growth.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com
www.nyaxe.com

Press Reception for the New York Art Exchange (NYAXE)

Catherine McCormack-Skiba, CEO and founder of NYAXE, mingles with press

The press reception for the launch of the New York Art Exchange (NYAXE) took place earlier this month in Miami during Bridge Wynwood. The New York Art Exchange is a marketplace for buying and selling contemporary fine art online. NYAXE enables the art community to capitalize on new digital mediums through technology by connecting artists, gallerists and art collectors via the World Wide Web. The site is designed to be an ecommerce solution for members of the ‘art world’ social networking site myartspace.com.

The New York Art Exchange press reception brought design, technology, and art together.

Catherine McCormack-Skiba, the CEO and founder of myartspace and NYAXE, was on hand to answer questions from members of the press during a cocktail party. Visitors included journalists from the Associated Press, The Miami Herald, and prominent art blogs. Curious gallerists, art collectors, and members of the press observed what myartspace and NYAXE offers to the global art community by participating in site demonstrations. Opinions, ideas, and drinks were shared in a casual setting that was energized by a meshing between art, technology, and design.

Brian Skiba demonstrates the capabilities of the New York Art Exchange

Brian Skiba, the interim Chief Technology Officer and Chief Financial Officer for myartspace and NYAXE, demonstrated the capabilities of NYAXE during several presentations that allowed onlookers to participate. Members of the NYAXE staff directed visitors to experience the site first hand by accessing computers in a media center that was conveniently located within the design of the reception structure.

Reception guests viewed New York Art Exchange stores while listening to a presentation by NYAXE staff.

Catherine McCormack-Skiba, CEO and founder of NYAXE, stated, "It's been my vision for years to make great art accessible to a broader audience through technology and the internet. I'm excited that we can empower gallerists and artists to expand the awareness of their fine art and help them connect with a new audience of buyers on a global level."

Links of Interest:
www.catmacart.com
www.myartspace.com
www.nyaxe.com
www.nyaxe.com/storeSellerSignUp.do

Damien Hirst is Looking Ahead

Damien Hirst is Looking Ahead. Image via Portfolio

Damien Hirst is considered to be one of the most tactful artists living today as far as establishing a market is concerned. While the ethics of his practice can be debated one must admit that Hirst is a capable businessman-- his actions have enforced the idea that an artist can take his or her career into his or her own hands by utilizing alternative marketing paths, such as selling art online or at auction without the help of gallery representation. However, it may very well be that recent economic struggles have finally caught up to the world renowned British artist and his business model-- at least that is what the skeptics are saying. Could they be wrong?

The media has reported on several stories that reveal the current status of the ‘dismal’ financial situation facing Damien Hirst. For example, there are reports that Hirst has dismissed 20 to 24 assistants from his production company. Further reports include information stating that only two of eight works by Hirst sold at Art Basel Miami Beach less than a month ago. However, one must remember that Hirst has been making his own rules as of late-- so it could be that he does not care about these recent losses. After all, Hirst is by no means a starving artist.

As mentioned, Damien Hirst is a very business-minded artist. Before counting Hirst out realize that he recently lowered his own prices. In fact, Hirst has stated that he is looking forward to selling his work for affordable rates within the context of recent global economic woes. He has already reduced the price of some works by half. Hirst has also said that he is looking at more realistic prices in general. Thus, it seems to me that Hirst is learning as he goes. When faced with a tough market one must learn to adapt, true?

Hirst is aware of this. As a businessman and entrepreneur he is very aware of what is needed in order to sustain his market during stages of economic strife. Hirst recently stated, "If I want to sell new work, I'll price it lower. If people have got less money, you can either just shut your door and say, 'Screw everybody', or I can wait until everyone can afford my work or price it cheaper." Thus, you can't measure the success of Damien Hirst with traditional concepts of art world success. After all, Hirst is exploring different markets in order to sustain his art dynasty, so to speak.

Do you need an example of how committed Damien Hirst is to exploring the market for his art? Look to his association with Levi’s Jeans for the answer. The artist is working with Levi’s Jeans in order to produce a limited edition collection of clothing featuring themes that are common in his art. The prices will start at $100 for tees and $250 for jeans. Hirst will utilize aspects of ecommerce when selling his line of clothing. Needless to say, Hirst is an artist who is prepared to brave the new frontier of the art market.

So what can we learn from Damien Hirst? Simple. When demand is down an artist must adapt to the art market as well as the global economy. As with any business... traditional models of commerce are meant to be broken.

Links of Interest:

Has Hirst’s Bubble Burst? [Portfolio]

Damien Hirst, of $100 Million Diamond Skull, Sees Prices Slump [Bloomberg]

Hirst Market in Decline, Say Researchers [ArtInfo]

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

www.nyaxe.com

Advice for promoting and selling your art online

Below are some suggestions on how to improve your online presence-- these suggestions can be helpful in planning your strategy for promoting and selling art online:

1. Post links to your art!

Include a link to the art site(s) that you are using on every profile that you have-- every site that you are involved with. For example, if you have a profile on www.myspace.com or www.facebook.com make sure to include links to the sites where your artwork can be found. Thus, if you have an account on www.myartspace.com be sure to include that link on your Facebook or Myspace profile. If you are managing a New York Art Exchange (www.nyaxe.com) store from your myartspace account be sure to include your store link on those sites as well.

You will also want to include a link to your art on every post that you make-- be it a blog entry or comment on social networking sites. Be sure to include links on any email message you send or reply to. You can even use html code in order to place something like 'View My Art Here' or 'Buy My Art Here' on your profiles so that people will click on 'View My Art Here' or 'Buy My Art' in order to be taken to the site you desire people to view.

2. Build multiple online networks to promote your art!

Build networks on sites like Myspace and Facebook. By building networks on several social networking sites you will be able to use each of those sites as a vehicle for your art. Most of these sites will allow you to send links to several people at once in the form of bulletins, shared links, or group messages. Take advantage of that! However, don’t abuse it. You don’t want the site to mistake you for a spammer nor do you want to annoy people. Sending a weekly update about your development as an artist will suffice. If you are selling art online you may want to inform your networks of new listings. Maintaining social networks is a great way to reach hundreds or thousands of people at once.

3. Write about your art!

Use a service like www.blogger.com or www.livejournal.com in order to create a blog/journal about your art. Post entries about your art, exhibits that you will be involved with, and your thoughts about the direction of your work-- include links to your artwork on every entry that you make be it a comment to another user or a journal entry about what you ate last night. Do the same on any art site that you are involved with if they offer blogs or journals. As mentioned before, it is always good to end an entry with your name followed by the links you desire to promote.

Remember that you don't always have to write about yourself. Anything you mention in an entry can help improve your placement in search engines. If you associate yourself with a specific artist, style, or movement be sure to write about that and the connection you feel that you have. By doing that your name may show up on searches for those respected influences on search engines like Google. Again, by including your name and links to your art on these entries you will greatly improve your search placement. In other words, each entry will help improve your online presence. Remember that establishing your online presence will improve your chance of selling art online.

4. Alternative press is a good thing-- Seek it!

Seek out art zines that may feature your work online. There are hundreds, if not thousands, of these to discover-- and don't dismiss art blogs! As you can tell by my interviews(www.myartspace.com/interviews) artists from all walks of life and stages of career have found value in what bloggers, such as myself, can provide as far as exposure is concerned. I've interviewed artists who are virtually unknown and artists who have had their work sell for over a million dollars at auction. These artists may not share artistic direction or financial status, but they all share an acknowledgment of what online exposure can accomplish and a desire for the recognition that the Internet can provide.

Many art bloggers will be more than happy to make a post about your art if you contact them. Sure, you may desire to be covered by a major art magazine... but until that day comes-- if it comes --the art blogosphere is the next best thing-- if not the best! An art blog article, review, or interview can bring a continuous flow of traffic to your website for years to come if you include links to your art. In other words, an article about your art on an art blog will most likely be viewed by more people than an article about your art in a magazine. Recognition is just a few clicks away! The times have changed.

5. Combine efforts, work together with fellow artists!

Forming an alliance of sorts with like-minded artists can benefit you greatly as far as online exposure is concerned. If you admire the art of your friends be sure to include a link to their work on your profiles and make sure that they do the same. Working together you may decide to create a profile, blog, or website that represents all of the artists involved in the group. A page that includes links to each respected members art is of great value-- especially if each member includes that link along with their personal art links when posting on the sites they are involved with.

Art groups have popped up all over the net alongside self-declared art movements. Artists unified under a common goal-- in many cases exposure for each member --have worked with great success on auction sites and other online resources. There are other benefits to a union like this... for example, if you are unable to find time to go online you will know that your name is still being spread by your friends. Gaining exposure online can sometimes be a battle... it may very well be a fight that is best not fought alone.

6. Find the time to promote your art online!

Some individuals feel that the Internet is an addiction best left avoided. However, if you want to gain exposure for you art-- both online and offline --you really need to find enough time to promote yourself. Spend some time each day posting links to your art, uploading images of your art, commenting on the work of others and building networks on the sites you are involved with. A half hour of concentrated promotion of your art each day will really pay off as the years go by. After-all, you can't build your online presence if you are not online.

One of the best ways to promote your art online is to maintain a blog that is focused on your artistic practice and interest. If you are actively writing about your art on a blog you will be able to take advantage of Search Engine Optimization (SEO). In other words, you will increase your chances of being indexed by search engines. Again, this is time well spent.

7. Avoid throwing money away on 'how-to' art marketing books!

Don't waste your time and money on 'how-to' books that are focused on gaining exposure for your art online. I'm sure there might be some that are worth your time and cash, but I've yet to find any. That money is better spent elsewhere for your online marketing/exposure efforts. For example, you could spend the money on website construction or a premium account on www.myartspace.com. There are many online art communities... find the one that works best for you.

I've mentioned my dislike for 'how-to' art marketing publications in the past and have received some delightfully angry responses from authors of these types of books. Why do I say to avoid them? Because they are often over-priced for the information they contain-- information that is often not current with the times and that contains 'helpful' links that are no longer active... which is not very helpful at all-- especially when a $19.95 price-tag is involved!

I take this position because if you do a Yahoo or Google search for 'art marketing advice' or 'gaining exposure for your art online' you will most likely discover everything mentioned in these books and more-- for free. True, those books may contain personal experiences that the author has had researching (note, researching) online marketing and exposure tactics, but more often than not you will discover that the author is not an artist and therefore has not had any direct experience marketing or gaining exposure for art online.

Many of these books are also written by authors who have a business motive hidden within the pages of their book-- that being their $100+ per month art consultant service which is often mentioned in one of the final chapters. This is why I take a hard stance against these books and in many cases their authors-- and before you say that I have a motive note that I make it very clear that I write for www.myartspace.com. Also note that you did not have to pay $19.95 to discover that fact. Also remember that membership on myartspace is free. Premium service on myartspace is just an option.

Instead of buying a collection of art marketing books you would be better off researching online art marketing and exposure on your own. Discussing marketing and exposure tactics with other artists that you meet online is also a great way to discover free information about promoting your art online. The only thing it will cost you is the price of internet connection and time.

In closing, there are many things you can do to promote your art online. Each step can improve your chances of selling art online. This includes, creating free accounts on every art site that offers free membership, creating a blog or two about your art, using social networking sites to build a network, posting links to your art on art forums, and if you must invest money, invest it in a personal website or paid-membership on an art site that you deem worthy of your hard earned bucks.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

how to gain exposure for your art online

How to gain exposure for your art online

It is common for me to receive dozens of questions each month concerning advice on how to develop or improve online presence. There are many artists who want to improve exposure for their art by utilizing the Internet. The problem is that most do not know how to do it efficiently. True, there are many books about this subject on the market. However, there is also a world of information online that one can obtain without cost. It all starts with a simple search.

Search ‘online exposure for art’, ‘how to gain exposure for your art online’, or any number of combinations and you will most likely find some useful information. Google searches for ‘art business’, ‘art market’, or simply ‘online exposure’ can also be helpful. Below I will provide some general advice about obtaining exposure and creating presence online for your art.

One of your main goals will be to obtain traffic to your personal art website or the profiles that you have created on online art communities such as www.myartspace.com. This is a task that will involve some organization if you desire to do it well. Thus, be prepared to spend 15 minutes to an hour each day updating specific online efforts and posting links. The sacrifice of time is minimal when compared to what can be achieved.

Many artists make the mistake of thinking that the effort involved in gaining exposure and presence online is a one trick pony. These artists will create profiles on select online art communities or create a personal website thinking that alone will build their online presence. They create a personal site and online art community profiles-- but fail to update or promote them. Again, that tactic is a one trick pony that will have mediocre results at best. It is kind of like going to the gym only to leave shortly after setting up equipment. In other words, creating a personal website or online art community profile is just the starting point.

True, those minimal efforts will certainly help with online exposure and presence, but it is not an efficient way to establish yourself online if you allow them to gather cyber dust, so to speak. In order to receive a steady flow of traffic to your art online you must spread your links like wildfire on the World Wide Web. There are several ways to go about it. For example, if you visit an online forum you will want to include a link to your main art site at the end of any comment you make. Often there will be a space provided for the URL. If so, use it! This goes for Myspace bulletins, Facebook messages, Livejournal entries, blog comments… and so on.

You can also take advantage of email. When you write or reply to someone you will want to include links below your name at the bottom of your message. That will hopefully spur curious readers to visit your personal website or the profiles you have on online art communities. Email can be a powerful tool for gaining exposure. Especially if you establish an e-letter in order to keep family, friends, past buyers and other interested individuals current about your art practice, exhibits, and updated about your website and online efforts.

My point in all of this is that you can't simply create a personal website or community profile for your art thinking that the site(s) alone will do all the work for you. True, having your work on any site will bring visitors to your art, but you need to do some work yourself in order to maximize that traffic. You need to have your name and links to your art on as many sites as possible. You need to pass those links on whenever the opportunity arises. Remember that there is nothing wrong with promoting who you are and what you do. There is no room to be shy-- especially when we are talking about the internet.

On a side note, artists also need to think about Search Engine Optimization (SEO). That is a topic that I will go into further detail about in the near future.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

New York Art Exchange (NYAXE)

The New York Art Exchange media lounge and digital gallery at Bridge Miami Wynwood. Catherine McCormack-Skiba, CEO and founder of myartspace & NYAXE, mingles with press

The New York Art Exchange, an online marketplace for buying and selling contemporary fine art, was officially launched on December 2nd at the Bridge Art Fair in Miami. The New York Art Exchange (NYAXE) enables the art community to capitalize on new digital mediums through technology by connecting artists, gallerists and collectors via the World Wide Web. NYAXE can be used alongside www.myartspace.com. NYAXE and myartspace are owned by the Catmacart Corporation.

NYAXE will connect collectors, artists and gallerists together, allowing buyers to quickly search through thousands of works of fine art on the site and navigate through numerous curated pieces of works. Gallerists and artists can create a personal and customized branded online gallery storefront to begin selling on the NYAXE marketplace. The storefront gallery allows artists and gallerists to sell the following: an original piece of artwork, a digital version of the work (e.g. jpeg), or an on-demand version of the print on merchandise (e.g., posters, note cards, Giclees for example). Storefronts can be organized into categories such as watercolors, original works, sculptures, to make it easy for art collectors to find what they are looking for.

Brian Skiba demonstrates the capabilities of the New York Art Exchange

There are five different levels to choose from in building a NYAXE gallery storefront. A basic storefront is free for the first five listings, and each level provides more advanced features and marketing capabilities and cost effective pricing structures. The various tiers of service are designed to enable artists and gallerists to try their hand at ecommerce to build a basic store at a low cost. Artists and gallerists subsequently can upgrade to higher tiers if they wish to expand their offerings. NYAXE is a an affordable solution for exploring what eCommerce has to offer.

Catherine McCormack-Skiba, CEO and founder of NYAXE, stated, "It's been my vision for years to make great art accessible to a broader audience through technology and the internet. I'm excited that we can empower gallerists and artists to expand the awareness of their fine art and help them connect with a new audience of buyers on a global level."

Links of Interest:

www.catmacart.com

www.myartspace.com

www.nyaxe.com

www.nyaxe.com/storeSellerSignUp.do

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Damien Hirst Lowers Prices and Slams a Price Tag on Pants

From "Show me the Money!" to "Let's make a deal!"

Damien Hirst has been shaking the foundation of the mainstream artworld more than usual as of late. First he bypassed his dealers in order to sell at auction-- breaking auction records along the way. Then he returned to one of his first dealers while keeping other dealers on the fence, so to speak. Now, with an artworld recession lurking in the background, he is openly stating that the market for his work and the art market in general is over-priced.

There is a bit of irony to his statements considering that critics of Hirst have long stated the same about the artist who has fetched millions for his work with relative ease. The artist, businessman, and entrepreneur is now looking forward to selling his work for affordable rates within the context of recent global economic woes-- reducing the price of some works by half. Hirst has also said that he is looking at more realistic prices in general, "If I want to sell new work, I'll price it lower. If people have got less money, you can either just shut your door and say, 'Screw everybody', or I can wait until everyone can afford my work or price it cheaper."

The Damien Hirst X Levi’s® collection

Do you need an example of how committed Damien Hirst is to his recent statements? Look to his association with Levi’s Jeans for the answer. The artist is working with Levi’s Jeans in order to produce a limited edition collection of clothing featuring themes that are common in his art. According to Art News Blog the prices will start at £55 for tees and £150 for jeans. When asked about the difference between expressing himself in art versus fashion Hirst replied, “I don’t see a difference really, anything done well is art, but this way a lot of people get to own my stuff and in a not too precious way.” It will be interesting to observe how Hirst utilizes the internet for his new ventures. He has a history of exploring eCommerce.

Links of Interest:

Damien Hirst Sees the Writing on the Gallery Wall

End of Days Watch: Damien Hirst Admits His Art is Overpriced

Damien Hirst Levi's Jeans and T-shirts

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

www.myartspace.com/blog

www.myartspace.com/interviews

Mistakes that Artists (and art dealers) Make When Selling Art Online

Mistakes that Artists (and art dealers) Make When Selling Art Online

The art market of today is very different than the art market of the past. Today artists, art dealers, and other individuals can utilize the power of the internet in order to forge alliances with peers and to sell their art by exploring eCommerce capabilities. In most cases a personal website is not enough to be successful when it comes to selling art online. Thus, individuals need to promote themselves on high traffic art websites that demonstrate professionalism within the context of the mainstream art world. However, finding an online ‘home’ for selling art does not mean that your work stops there. An entrepreneurial spirit-- with the drive and ambition to succeed-- is needed.

As many of you are aware, www.myartspace.com is preparing to implement eCommerce capabilities. That is why I have decided to tackle some of the mistakes that artists and others make when selling art online. Below are what I consider to be the most common mistakes that online art sellers make when it comes to listing their art for sell-- these mistakes can easily block your efforts when it comes to selling art online. These mistakes can drive potential buyers away:

Lack of image descriptions: Believe it or not most art buyers, especially those making a purchase online, desire to know information about how an image was created and the motivation behind the creation of the image. Unfortunately, many art sellers leave options for image descriptions blank instead of taking advantage of the opportunity these options provide in order to offer more details to potential buyers. Thus, sellers need to take some time offering information about the work they are selling in order to be more successful selling said artwork online. This does not mean that the information has to be of any great length-- it simply means that online art sellers need to condition themselves to offer more content. Content is king online-- and that goes for selling art as well.

Lack of an artist statement: The lack of an artist statement does not say much for the artist or the artwork that is being sold-- literally. This is especially true for emerging artists who are not yet 'known' to the general public. Thus, having an artist statement that is easy to access online can drastically improve the chances of selling art online. Don't be afraid to write about yourself if you are selling your art online. If you are selling the artwork of others it is still important to offer as much information as you can about the artists you are representing online.

Lack of online networking commitment: In order to be successful selling art online one must be committed to online networking. Online networking is important for establishing a presence online. This is accomplished by taking advantage of networking sites such as Facebook, Myspace, and even myartspace in order to introduce yourself to, and establish rapport with, potential buyers. Also, by networking online an artist can establish connections with other artists who may have crucial information pertaining to strategies for selling art online successfully. To put it bluntly, you don’t exist if you fail to social network online in the market of today.

Lack of consistent pricing: Most of us would like to sell art for the same prices as Damien Hirst or another mainstream established artist. However, that is not exactly a realistic approach for pricing your art-- especially if you are only pricing works that you are extremely attached to in that manner. Thus, artists and other art sellers need to be realistic and consistent about how they price their artwork online. If your attachment to a specific work of art is blinding your judgment on pricing it may be best to not sell that specific work until you are ready to let it go. Also, while it is tempting to ask high prices for specific works the simple truth is that it is best to be consistent with pricing. In other words, if you have sold work for $500 it is best to stay in that price range. Once you raise your prices remember to be consistent with all of your prices.

In closing, there are hundreds, if not thousands, of art sites that an artist or art dealer can choose from in order to increase his or her chances of selling art online. However, the wise online art seller will focus his or her attention on art sites that are geared toward professionalism-- art sites that can prove their significance with an established track record of mainstream artworld involvement. Focus on art sites that have been involved with major contemporary art fairs because that often means that high profile collectors are aware of those sites. Only a select few, including www.myartspace.com, have been involved with art fairs directly. By utilizing art sites that are embedded in the mainstream artworld and avoiding the mistakes mentioned above an individual will greatly improve his or her efforts in selling art online.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art and Recession: Time to Adapt

Art and Recession

It appears that the current status of the economy may have delivered the final blow over the success of the art market. Many had thought that the booming art market would continue to thrive regardless of the financial crisis facing the global economy. Today is a new day-- and it is not exactly better. There is great fear that the financial bubble surrounding the traditional aspects of the art market may finally burst. Could it be that the art world recession has finally come? Are we already there? These questions and more plague the thoughts of art dealers at this time. The need to adapt is now.

I'm not convinced that we are 'there' yet. However, if the art market continues to sour we will most likely witness artists forced into obscurity while gallery doors close for the last time. It has been estimated, as mentioned on this blog recently, that if a downward spiral occurs it could result in the closing of over 50 galleries in New York alone. If this happens careers-- artists, curators, and other art related professionals-- may stagnate and emerging artists will find traditional exhibit involvement to be even more difficult to accomplish.

For example, I’m already getting reports from emerging artists who have stated that exhibits that had been planned for months have now been cancelled. Insiders have also warned that major contemporary art fairs may be forced to hold off until the economy is more stable. It is very likely that the situation could turn into a waiting game. That said, I would not count the art market out just yet-- though it does pay to be wary and to learn to truly adapt to the situation by utilizing the technology of today.

These concerns are warranted due to a drop in transactions between art dealers and art buyers at recent major art fairs in the UK. In the US the art market has been delivered another blow due to major sales by Sotheby's and Christie's in New York that were millions of dollars below their lowest estimated prices. The brick & mortar galleries are having a tough time, the art fairs are having a tough time, and now the auction houses are having a tough time in this unstable market. Needless to say, the art market has dodged more than a few bullets and has taking a few hits in stride as the financial crisis unfolds. To put it bluntly, there is enough fear to go around, but there are also people putting up one hell of a fight to sustain the art market as best they can. The question is-- will the good fight be enough to keep the art market in the ring, so to speak?

It is no secret that the success of the art market is often only as strong as the status of the economy. The two walk hand-in-hand. If the economy is strong the art market is strong. The best example of this is the art market of the 1980s and how the art market had a harsh fall in the early 1990s. However, the thing to remember is that the art market always bounces back-- sometimes a little bit before the economy does. Also, the art market of today is far different than the art market of the early 1990s. Today the art market is truly global. That factor may help to sustain the art market when everthing is said and done.

Think of it this way-- the number of international collectors has drastically increased in recent years. There has also been an increase in younger art collectors compared to the recent past. Thus, one could say that the art market is down on one leg, but that does not mean that it is out for the count. Collectors from India, China, and young collectors throughout the world may serve as a lifeline. In that sense, I think that some galleries may learn to appreciate ecommerce and other marketing strategies that are considered unconventional by the blunt of the art world at this time-- such as utilizing online social networking for exposure and global reach.

In closing, when the market changes a good business person will learn to adapt to those changes. That involves more than just saying, "I can adapt". I know a lot of art dealers who claim to adapt, but in all honesty they do not. Key figures involved with the art market are being bombarded by questions concerning the financial crisis. At this rate I believe we will know some of the answers by the start of 2009.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Selling Art: Three Key Factors that Emerging Artists Should Consider

Selling Art: Three Key Factors that Emerging Artists Should Consider

When it comes to selling art there are as many ideas about pricing and selling artwork as there are artists, gallery owners, and art consultants-- each individual has his or her own opinion on the matter. In other words, there is no set rule for how one should price or sell his or her work. Some artists are able to cash in with the traditional route of gallery representation while others bypass the traditional market in order to carve out their destiny one their own terms. The hard definitions of how an artist should sell are broken all the time. However, for emerging artists I feel that it is important to be realistic about pricing and to consider three main factors that can help or hinder the process of selling art. Thus, I will offer my humble opinion on these factors.

Before going into detail about these three factors I feel that I must include some information about art pricing in general. When pricing art an emerging artist must consider details that might be uncomfortable to think about. For example, the emerging artist must look at what his or her art has accomplished from an objective standpoint. He or she must acknowledge a lack of exhibit history if there is one and the connections that come with it. He or she must acknowledge that in the bigger picture his or her artwork has yet to make a cultural impact.

One can have an ego that matches the ego of some of the top selling artists in the world, but that does not mean that he or she will be able to realistically demand the same prices. In other words, the emerging artist must acknowledge his or her place in the art market as a new face who has yet to be tested. Pricing should reflect this. In other words, don't expect to sell art for $20,000 a pop. True, there are exceptions, but most of us are not so lucky. Thus, in order to improve status one must take the initiative to do so.

With that said, there are several factors to consider when understanding why some artists can sell their work for several thousand per piece. I think three factors are the most important-- exhibit history, cultural impact, and social networking. Fortunately, emerging artists can take advantage of-- and improve upon-- these factors by utilizing the internet:

1. Exhibit History: The exhibit history of the high selling artist is one of the top three factors concerning demand for high prices in my opinion. Where the artist has shown can debatable prove the importance of his or her work as a financial investment on top of raising the value of his or her art in general. True, there are exceptions, but most high selling artists have exhibited actively throughout their careers in prestigious galleries, museums, and institutions. The thing to remember is that most of them started off exhibiting in smaller venues. Thus, it is important for an emerging artist to strengthen his or her resume by taking part in as many exhibit opportunities as possible. Don't expect everything to just fall in your lap.

"Don't be fussy about the shows you are asked to be in, although still aim for bigger and better shows. The more exhibitions you are in the more likely you will be offered venues that are more prestigious and you will get a better deal." --
Derek Ogbourne

Each exhibit brings with it new connections that the artist can utilize in order to push further into the market. Fortunately, the internet can be used as a point of contact. By utilizing aspects of the internet an emerging artist can learn about exhibit opportunities that he or she may not have been aware of otherwise. This can come in the form of discovering online juried art competitions or curators who are seeking emerging artists. Thus, it is important to take some initiative and make things happen. An emerging artist should not wait for ’it’ to happen-- an emerging artist should try his or her best to make ’it’ happen by improving upon his or her exhibit history. Think of each exhibit as a step up a ladder leading to the next step or as a machete that can slice into career obstacles.

2. Cultural Impact: The impact the artist has had on popular culture can be a factor in why he or she is able to demand high prices. A perfect example of this would be the art of Shepard Fairey. True, Fairey was well-known before creating his iconic image of Obama. However, that single image launched him into mainstream culture. That impact has made it possible for the artist and his work to end up discussed in a rural gas station as much as it is on the streets of New York. That impact, which spread like wildfire on the internet, has no doubt increased the value of Fairey’s work in the mindset of art collectors. Thus, it is important for emerging artists to make as much of a cultural impact as they can AND to utilize aspects of the internet in order to spread the flames, so to speak.

"Everybody uses labels: they give you a handle on things – an over-simplified handle, sure, but without labels, without ads, without words, the world would be an indistinguishable mass, a blur. You can hope, maybe, that people ascribe so many labels to you that none wins out…" --
Vito Acconci

Making a cultural impact involves fostering discussion about your art by taking specific actions that can help improve your chances of being successful-- or at least notorious. This does not mean that the emerging artist must fight for a specific political cause, but if the artist does have a statement to make he or she should probably make it very clear. Fairey’s HOPE is an example of how easily work by a specific artist can become recognizable by utilizing the internet and spreading the word. True, an emerging artist may not be able to make the same national impact on visual culture that Fairey has accomplished, but it is very possible for he or she to make a regional impact on culture. As I’ve mentioned before… it is very important to build a regional audience for your work and this specific factor can play a role in that.

3. Social Networking: Who the artist is associated with can be a major factor in why he or she is able to demand high prices. Traditional social networking is still a solid foundation for exposure. However, there are other options-- such as online social networking. By social networking online an emerging artist can meet and build connections with individuals who have the potential to drastically improve the exposure of his or her work.

"My students have almost all made networking sites part of their daily life. I seriously wonder where they find the time. Young artists have great opportunities to see what is out there, to form connections and communities and to promote themselves." --
Holly Hughes

Today an emerging artist can utilize social networking sites like Facebook, Myspace, and myartspace in order to build rapport with gallery owners, curators, art collectors, and fellow artists. Establishing good rapport with fellow artists is one of the best ways to open doors later down the road, so to speak. Online networking and the interaction that originates from it can foster exhibit involvement and other opportunities for the emerging artist. Social networking online is social networking without the expense of travel or a hangover.

In closing, that is the three main factors as I see them. My opinion is that if an emerging artist improves on these three factors he or she will have a better chance of demanding higher prices in the future. Until that point is reached he or she will have to be realistic about pricing. True, an emerging artist can be successful in grasping these three factors and still not achieve the standing of pricing that he or she desires. However, by taking initiative and improving upon them he or she will stand a much better chance of improving upon his or her market.

As the saying goes, “You only live once.”. In other words, spend your time wisely. If you want to view art as a career-- and if you strive to sell art you most certainly do to some extent-- then you must realize that you will need to do what you can to foster it just like any other business entrepreneur. If you can’t think of selling art as a business… than you should probably not bother selling your art. It is as simple as that.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Five Reasons to Join myartspace

Five Reasons to Join myartspace

1. It's Free and Unlimited: myartspace is the premier online network for the art world. It's free to join. It allows users to upload unlimited images, music, videos and audio narrations. You can create an unlimited number of galleries to organize your work. No limits. So how does it compare to the competition? We would encourage you to compare yourself:

Saatchi/YourGallery -- You can create one gallery that can contain up to 20 images for free. You can't upload or attach music to your galleries of work. myartspace allows you to organize your work into contemporary Flash galleries. But check out the work at their site and ours. A Saatchi Gallery. A myartspace gallery. You decide.

Or you compare our HTML gallery to look at apples-to-apples. And a lot of our competitors charge money just to be a member. Some let you upload 3 images per month unless you are a paying member. We encourage you to look at the other sites. Make the judgement yourself. At myartspace, we use online advertising and competitions to help offset the costs of building the site. So we can deliver the latest technology and unlimited storage for free to our community.

2. It's Contemporary and Cool: myartspace is hip. It's cool. It's contemporary. It lets artist build contemporary presentations of their works with music, audio narration, video and more. So you can create an experience that's much different than all other online sites for artists. And, if you want, you can take your gallery and "embed" it into other pages (like your www.myspace.com profile and bulletins, or your www.livejournal.com entries).

Some good examples include:

Galleries with music: Amanda Potter, Sarah Maple, Allison Currie
Galleries with narration: Dayton Castleman and Seth Camm
Galleries with video: Derek Ogbourne and Frank de las Mercedes
Galleries in HTML: Todd Burroughs, Paul Mardikian and Viorel George Popescu
e-Catalog in PDF Format: Lois Foley.

3. It takes a community to make it work! myartspace is a community with artists, collectors, curators, art critics, educators, gallery owners, and more. The community has painters, photographers, sculptors, videographers, and everything in between. myartspace has one of the largest collections of online interviews with emerging and established artists. myartspace sponsors all sorts of community events including world-class juried competitions.

In 2006 we sponsored the South of France Competition. Four winners were wisked to the South of France for a week. In 2007 we ran New York, New York -- a 3-week show in Chelsea, New York. Winners from the corners of the earth were flown in and hosted to a gala show opening. In 2008 myartspace sponsored a juried photography competition -- the myartspace/HotShoe International competition AND now the Miami Basel Juried Competition. In 2009 our competition will take us to London, England and Shanghai, China. And in 2010 myartspace will hold its winning global exhibition in Mumbai, India.

4. Wanna Sell your art; We can be your platform: Artists are linking up with collectors and selling their art today through their personal networks on myartspace. In November myartspace will be introducing our solution to art selling -- the New York Art Exchange (nyaxe). It allows artists to set up their own store and list their work. And, of course, the work can contain additional photos, video, and narration. Online galleries will be springing up to sell work using the myartspace platform. And galleries can extend an invitation to you to represent your work in their galleries -- whether online or in Chelsea.

5. And it offers a premium membership for even more! myartspace is a free, open community. But for those artist that want more professional capabilities we offer premium services for artists. Premium subscribers can have their own personal web addresses. They can have HTML and Flash galleries. They can create their own PDF e-Catalogs of their work. They can post news events and press releases, issue eVites to heir exhibitions and upcoming shows and much more. Premium Services is $75 per year. For more information on premium services, click HERE.

So in short, we would love for you to check out our site and see if it works for you. We're proud of our membership and our growth over the past two years. Come check out the premier online social network for the art world. www.myartspace.com

Art Market Crisis: Galleries NEED to Embrace the Internet... and eCommerce!

Art Market Crisis: Galleries NEED to Embrace the Internet... and eCommerce!

One of the critical problems facing the art world is the fact that many art dealers continue to play by the rules of old during times of economic crisis. They often fail to adapt in a meaningful way and roll on as if nothing had happened. Unfortunately, something has happened-- the economy is in a state of peril. Current economic woes have cast a shadow over the art world. These concerns have turned to fear-- and that fear has turned to paranoia in some circles. Some have suggested that if the economy continues to worsen we will see hundreds of brick & mortar galleries close throughout the world. Thus, the time to adapt to this dire market is now! Art dealers need to accept and utilize alternative forms of commerce-- including eCommerce.

Businesses owners must truly adapt in order to sustain themselves during times of economic struggle. This translates to laying off staff, adjusting prices, OR taking some initiative by utilizing different paths of commerce that may be foreign to theie business structure. Selling art is a business-- when business is rough you either count your losses or close your doors. In other words, art dealers need to discover new ways to keep their doors open during difficult times. They need to take note of the positive change that eCommerce has spurred for other types of business. For many art dealers that will involve braving the art market frontier of the internet that has been ridiculed by certain circles of the art world since the 1990s. My opinion is that eCommerce may allow some galleries to keep their doors open during times of economic despair while offering alternative funding during the best of times. Art dealers must adapt to this extension of the global market.

Businesses have learned to adapt to specific market situations by utilizing the internet and eCommerce. Unfortunately, many art dealers tend to hide themselves within a protective bubble of fantasies that dictate that the structure of the art market is without fault and must never change. You can observe the attitudes created by that bubble in how certain circles of the art world have been stubborn about utilizing the internet and eCommerce. Certain individuals want the dynamics of the art market to be etched in stone. Unfortunately, that attitude is why many businesses fail in general. To put it bluntly, when it comes to business nothing is etched in stone.

In order to adapt to a difficult market a business must truly adapt. This is accomplished by exploring different manners of commerce. Lack of initiative, ambition, and the ability to accept changes in how business can be conducted has cast doom on many businesses and it is also why a gallery can end up closing its doors for the last time. This is why it is vital for art dealers to accept eCommerce in order to expand their market. With little effort an art dealer can introduce his or her represented artists to the global art market 24/7. That is the amazing thing about eCommerce-- when the gallery is closed for the night and the art dealer is sleeping a collector overseas may very well request to purchase a piece. From there being practical about secure payments and shipping are the only steps left within the context of the deal.

So how can art dealers utilize eCommerce in order to stabilize their business during difficult economic times? How can they obtain alternative cash flow in order to keep their doors open? It is simple really. By utilizing eCommerce meshed with social networking art dealers can represent more artists-- including emerging artists with affordable prices. An art dealer could technically represent hundreds of artists online with ease while focusing on his or her core artists in the physical gallery space. In other words, an art dealer can represent his or her core artists (primary representation) in the physical space of the gallery while representing others (secondary representation), as well as their core artists, online. This would allow art dealers to take on less established artists so that they can offer affordably priced art to the global market during hard economic times. It would also be a source of alternative income when the market is more stable. By utilizing the internet and eCommerce an art dealer can keep his or her business open to the world 24/7. The technology is here. Use it!

Links of Interest:

Do Galleries Need eCommerce?

www.myartspace.com/blog/2008/10/do-galleries-need-ecommerce.html

eCommerce Can Work For Artists

www.myartspace.com/blog/2008/10/ecommerce-can-work-for-artists.html

Why Art Sites Work

www.myartspace.com/blog/2008/10/why-art-sites-work.html

Art and the Internet: The Artists Are Here. When will Galleries Participate?

www.myartspace.com/blog/2008/09/art-and-internet-artists-are-here-when_27.html

Take care, Stay true,

Brian Sherwin

Senior Editor

www.myartspace.com

Do Galleries Need eCommerce?

Do Galleries Need eCommerce?

I read an article recently that touched on the idea that the growth of the online art market has endangered the relationship between artists and traditional dealers. The article mentioned that the online relationships that artists can now maintain with potential collectors might harm the traditional brick & mortar structure of the art world. This is an issue that I’ve explored a few times on the Myartspace Blog. It is an issue that deserves to be explored or at least considered. The influence of the internet on the art world is obvious in that artists are utilizing the internet in order to build professional networks and to sell work online. The questions at hand:

1. Should brick & mortar galleries accept eCommerce as part of marketing efforts?

2. If a brick & mortar gallery fails to acknowledge the growth and importance of eCommerce today will that gallery be more apt to endure financial struggles in the future compared to other brick & mortar galleries that learn to accept eCommerce as a viable addition to the traditional art market?

Questions like this often face a very stubborn crowd. I realize that traditionalists of the art market will often firmly state that buying art online will never replace viewing and buying art in person. However, I think with some scenarios even the staunchest advocate against the art market ‘going online’ would agree that it can be profitable if managed correctly. For example, what if the online buyer is already aware of the artist he or she is considering an online purchase from? In that case eCommerce works without question.

Another example-- What if the online buyer is willing to use a secure form of online payment in order to purchase a work of art from an emerging artist? Again, that can work if done right. It works everyday for artists and buyers throughout the world. It can work for brick & mortar galleries as well. The internet is not going away-- eCommerce will continue to fuel the global market. How can anyone deny that? Should brick & mortar galleries take advantage of that? Should they offer eCommerce or utilize sites that offer eCommerce for that purpose? I think so.

My stance is that brick & mortar art dealers should consider having a stronger online presence in order to expand upon their market efficiently at little cost. This includes eCommerce options for selling art. I believe that most gallery owners would benefit from being involved-- or having staff involved-- with social networking sites and specific online art communities that offer eCommerce capabilities. I have five main reasons for having this opinion:

1st: Displaying art online with eCommerce capabilities will increase the chance of finding a potential buyer for stored artworks at the gallery. Galleries will often have some artworks in storage while other artworks are rotated for public viewing. Thus, by displaying all works-- or at least the stored works-- for sale online the gallery has the potential to unload a piece that would have otherwise remained in storage.

2nd: By utilizing social networking and eCommerce a gallery owner could ‘test the waters’ with a potential new artist to the gallery before investing time and money that could be spent on others who have already proven their marketability and track record. The gallery could technically represent dozens of newcomers online in order to gain feedback and eventually decide who to represent and who to drop. It would also be a good way to have an artist on hold if for some reason an artist represented by the gallery itself abruptly leaves.

3rd: By being involved with social networking sites a gallery owner will increase the flow of traffic to his or her gallery website. Higher online visibility can result in new buyers noticing the gallery. It also translates to more people observing the artists represented at the gallery-- which is never a bad thing.

4th: Utilizing these capabilities could help to strengthen the artist/dealer relationships at the gallery. My assumption is that an artist would feel more secure if his or her artwork had two distinct avenues of being sold at the gallery-- in person or online. If a gallery does not offer eCommerce chances are an artist will discover that option elsewhere independent from the gallery. Thus, I think a gallery owner would be better off exploring the possibility.

5th: The next generation of artists and art collectors will most likely expect a gallery to offer eCommerce and to have a visible online presence. Traditionalists of the art market are still very wary of the internet. However, opinions about how the internet can benefit the art world have changed drastically since the late 1990s. Today you can find online art communities featured at contemporary art fairs alongside traditional brick & mortar galleries. That alone should give you an idea of what is coming-- it is already here. The next generation of artists and art collectors will be born into that. To them the meshing of the internet with the art world will be the norm instead of being viewed as dangerous territory.

Do galleries need eCommerce? I think so. I think it will become a vital aspect of the art market of tomorrow. What say you?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

eCommerce Can Work For Artists

eCommerce Can Work For Artists

Electronic commerce, also known as e-commerce or eCommerce today, has had many developments in the last 30 years. During that span of time the meaning of electronic commerce has changed and its reach has grown. What started as Electronic Data Interchange (EDI), Electronic Funds Transfer (EFT), and automated teller machines (ATM) has expanded to meet the needs of an internet driven culture. Today, electronic commerce involving the World Wide Web is a relatively new manner of buying and selling products and services if you think about it. Since 2000 the development of eCommerce as a viable marketing tool has taken off. I feel that artists, specifically self-representing artists, can benefit from this growth. Some already have.

Don’t let the new kid on the market block fool you-- eCommerce is here to stay and the sooner business-minded artists embrace it the sooner they can make a profit that they otherwise would not have made. By selling art online an artist can reach millions of potential buyers with just a click of his or her mouse. In fact, some artists have been able to earn a living selling their art online while avoiding brick & mortar gallery representation all together. As I have mentioned before, savvy artists would be wise to combine efforts by embracing both conventional and unconventional paths. In other words, the potential for success online and offline is only limited by your ambition.

Ambition… the drive to succeed can make or break a marketing plan. With each passing day it is easy to observe the fact that ambitious companies and individuals are thriving due to eCommerce. This is why it is vital for artists to think of themselves as web entrepreneurs in that the validity of eCommerce as a profitable form of exchange must be considered for ongoing success within the art market of tomorrow. Artists must embrace this aspect of the market and grow with it. eCommerce can work for artists as long as artists work to understand and utilize eCommerce. In other words, leave your doubts at the door so that you can embrace the direction that the market is going.

Doubts can hold an artist back in the studio as well as in marketing. That said, the problem facing eCommerce as a valuable tool for selling art online is the fact that it had problems early on. There is no question that the art sites of the mid to late 1990s and into the early 2000s failed to some degree as far as selling art online is concerned. That early failure caused many art professionals to scoff at the idea of selling art online. The wounds are still present today in the words of some of those professionals who have failed to grasp how much eCommerce has changed since those early years. The market has changed and eCommerce has developed far beyond its early roots. While it is true that many galleries are missing out on the potential of eCommerce it is also true that millions of artists have had success selling art online. The eCommerce of today can work for artists as well as galleries as long as they set the fears of the past aside long enough to benefit from it.

One should also remember the fact that eCommerce in the 1990s and in the early 2000s was no where near as profitable as it is today. For example, it has been suggested that the combined profit from eCommerce in the United States will reach $204 billion by the end of 2008. That is an increase of 17% from 2007. Those profit numbers were considered pipe dreams during the early years of eCommerce. In other words, if every professional avoided eCommerce those numbers would have never been reached. Those savvy enough to explore the potential of eCommerce have become wealthy in the process. In the end I think the same will be said for artists and galleries who-- with an entrepreneurial spirit-- explore the potential of eCommerce within their marketing plan. Again, eCommerce can work for artists!

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Why Art Sites Work

Why Art Sites Work

There has been debate involving the issue of networking online concerning visual artists for several years now. Some have suggested that online networking is not important for visual artists as far as exposure and success is concerned. Some feel that it is an unnecessary use of time that could be better spent in the studio or in searching for exhibit opportunities on foot. Others suggest, myself included, that online social networking and the exposure gained from it is a worthy pursuit for business-minded artists and that artists can actually save their valuable time if they do it right. Individuals in this camp, myself included, feel that creating and maintaining social networks online is a necessary effort for all artists-- specifically emerging artists-- to commit themselves to if they are seeking exhibit opportunities or opportunities to sell their work.

Why is social networking online necessary for artists? Because in today’s world it is necessary for any professional. I suppose the necessity depends on the artist though. For example, an artist who does not seek exhibition or selling opportunities may not need to focus on social networking in that respect. On that same note, an artist who has been in the rat race for decades may have enough of a following and support that he or she does not need to worry about online efforts aside from maintaining an online presence. However, emerging artists who desire to exhibit and sell need to think of themselves as business entrepreneurs because in many ways that is just what we are. Thus, social networking online is key as it is with any other marketing strategy.

True, social networking online is not the only key toward success, but it beats footing your way in order to obtain information and connections-- gas is not getting any cheaper. In fact, I think artists should view social networking online as a set of keys because there is a world of doors that can be opened with it. The ability to learn about valuable opportunities from your networks online is worth the effort. The potential of meeting a collector or curator online is worth the effort. Keeping in contact easily with fellow artists in order to help each other out is worth the effort. To put it bluntly, social networking online for artists is-- you guessed it-- worth the effort.

The effort you put into social networking online does not have to be taxing on your physical and mental reserves nor does it have to conflict with your daily life. You will be surprised in what you can accomplish just by spending a few minutes online each day in order to promote yourself on art sites that have social networking capabilities. If that effort is meshed with other social networks, such as Facebook or Myspace, you can technically reach thousands of people each day with just a few clicks of the mouse. It is far cheaper than sending out hundreds of business cards that will most likely end up gathering dust in a drawer or simply tossed aside. It is also far cheaper than paying at the pump or handing over money to a taxi in order to hit streets. The simple fact is that social networking online is an economically sound choice for an artist who wants to stay connected to the art world and opportunities while using his or her time wisely. Less time on the streets means more time in the studio, correct?

One reason that some circles of the art world look down upon art sites with social networking capabilities is the fact that the image of artist registries from the late 1990s and early 2000s are still stuck in their head. If you dig deep enough online you may discover the fractured remains of those ancient-- as far as the internet is concerned-- websites. I’ve found a few doing searches about art. I often do not remember their names, but I do remember their fees-- some charged as much as $50 per month for inclusion while others charged a few hundred dollars per year with no other benefits than being able to have a few images posted in their registry. Some of them were free and riddled with ads, but all of them were pretty much a one stop venture without any sense of community. None of those sites, at least that I’m aware of, function today as they did at that time. Sadly, the ill will brought on by those early art sites continue to sway opinions about art sites today as a whole in some circles. Thus, some art professionals tend to miss out on the positive changes that have occurred online over the years.

The simple fact is that many people who experienced those early online art registries first hand ended up closing their mind to any thought of art sites working for artists. Thus, current art sites with thriving communities and curator / collector involvement are unfortunately thrown on top of that old stack of bones due to opinions spurred by the first online art boom-- which did fail. People need to think about why art sites work today instead of holding on to the memory of sites that failed or exploited artists in the past. After all, many of those early art registries and sites did exploit artists in that most did not allow artists to upload images for free and most did involve a fee that was considered high even for back then. The art sites that thrive today are not a fluke. Some of them report sells involving millions of dollars per year-- a few have even been discussed in major papers, such as the New York Times. Again, that is not a fluke.

Today there are several art sites that allow artists to upload images for free. Some do set limits, but others, like www.myartspace.com, allow users with free accounts to upload as many images as they want for free. These art sites should not be considered just ‘a registry for images’ because most, including myartspace, offer their users the ability to communicate openly as well. For example, on myartspace members of the community can invite other members to their network, can leave comments for other members or send other members messages-- including alerts on the site and by email to their myartspace network when new galleries are uploaded. The network invite you receive could be from a curator, collector, or fellow artist. That is the excitement of social networking online. That is the basics of the importance that social networking online has played-- and will continue to play-- in the success of emerging artists today. The importance of art sites within the context of the art world will not go away anytime soon. Those savvy enough to pick up on the positive changes that have happened will be far better off in the future than those who have avoided it due to concerns of the past.

Why will art sites not go away anytime soon as far as the art world is concerned? Because a few art sites are already embedded within the mainstream art world. A select few-- including myartspace-- are involved, will be involved, or have been involved with major art fairs. Off the top of my head I can think of several art fairs that have featured art sites in one way or the other-- Scope, Pulse, Frieze and the Bridge Art Fair. Correct me if I’m wrong, but last I checked the brick & mortar galleries rush for acceptance from these same venues as well. Thus, at least in the eyes of some art fair founders, one could suggest that certain art sites are just as valid for displaying art as a traditional brick & mortar gallery. Yes, there are differences… but it does show how the internet is changing the way we should think about the art world as a whole. If some of the top business minds and collectors in the art world can find value in specific art sites perhaps the rest of us should at least consider that value, correct?

The influence of the internet and how art sites can work for artists can be discovered in physical art publications as well. Years ago some art publications stated that the sell of art online was doomed and that the internet would never be a viable way to support artists. Those publications wrote the internet-- as a vehicle for art commerce-- off as mere pipe dreams. Today much has changed in that many artists are able to earn a living, or at least extra income, from selling art online by utilizing eCommerce. Art publications have finally picked up on this and are starting to feature artist social networking capabilities on their websites while praising the influence the internet has had on the art world in print. Again, if those professionals can observe the value of social networking and selling art online perhaps those who still have doubts should at least consider the possibility.

As Brian Skiba, the Chief Technology Officer and Chief Financial Officer of myartspace, has pointed out-- there are a variety of reasons why sites focusing on the art world are built, survive, prosper, and work. Regarding what I’ve been saying, Mr. Skiba’s opinions-- in my opinion-- reveal that the flukes of the past must be forgotten unless we wish to be blind concerning the art sites that shine in the here and now. Observe the following text concerning these issues in the words of Mr. Skiba and his opinion of why art sites work for artists today and will continue to work for artists in the future:

First, a site like www.myartspace.com provides software functionality that is free and generally is more easy to use in what is known as a SaaS (Software As A Service) model. So artists can manage a contact list, blast out marketing messages, create price lists and catalogs in PDF form, build presentations that integrate music, video, audio narration and images. The level of expertise required to do most of these things by themselves with the basic flash/html/Adobe tools is expensive and complex. So simplicity and ease of access is a primary driver to a website like myartspace.

Second, communities like myartspace, by their nature, attract more traffic than do individual websites. Involvement on an art site will normally bring an artist more traffic than his or her personal website would by itself. There’s a reason why galleries are concentrated in cities. They draw art appreciators into the area of critical mass. The same is true for online sites. Most online sites are being hit tens of thousands of times a day, and this is far more challenging for an individual site, such as a personal site maintained by an individual artist, to do.

Third, the way search engines operate, the more cross-links that point to your individual websites that exist, the higher your site gets ranked in the search engines. So if your presence on a community site includes a link back to your personal site, the SEO (Search Engine Optimization) is improved.

Fourth, communities are able to offer benefits that individuals would have difficulty achieving without scale. For instance, if you enter the myartspace competition to have your work shown at the Bridge Art Fair Miami , it will be reviewed by curators from the Whitney Museum, the San Francisco Museum of Contemporary Art, The San Jose Museum of Contemporary Art and the Bridge Art Fair.

In the past myartspace has brought in jurors from the Tate Modern, Sotheby’s, the National Portrait Gallery (London), the Rhode Island School of Design, the Art Institute of Chicago, and more. While it would be nice to believe that most artists had access to such curators for review the simple truth is that they don‘t. Thus, as a community member on myartspace they have the opportunity to gain that access if they choose.

Thousands of art appreciators come on myartspace every week. With over 400 interviews with contemporary artists known and unknown (the likes of James Rosenquist or Michael Craig-Martin), people are attracted to unique perspectives and proprietary content that is made available.

Fifth, artists do appreciate peer review, and participate in commentary, critique and dialog with other community members on art sites. This ranges from opinions on newly submitted work to opinions on art trends, politics and the price of oil.

Sixth, over time, many of the sites like myartspace begin launching eCommerce capabilities so artists can set up shop, sell original and on-demand printed work, and begin monetizing their experience online. Once again, a free, and easy to use platform is a lower hurdle for many artists when they are looking at representing themselves and dealing with the myriad of IT issues associated with a web site.

There are at least another dozen or two reasons why artists join these community-oriented art sites. The challenge to the overall perspective is the “registry” concept. A site like myartspace is not just a site for including your art in an online registry. Registry accounts for about 1/1000th the benefit of the community membership.

In closing, the art sites of yesterday may have not worked for artists. In fact, many of them were very self-serving in that they demanded high fees for questionable benefits. Some boldy exploited artists. However, today there are art sites that do work for artists and that will continue to expand into the future. True, it is not rational to focus your time on every art site you discover. Just as there are top brick & mortar galleries there are also art sites that are more professionally legitimate than others. In that sense, traffic is not always the marker of a professionally sound art site. That said, don’t allow hundreds of bad apples to spoil your basket.

Art sites do work! The art fairs have noticed. The art publications have noticed. Business professionals have noticed. Investors have noticed. Collectors have noticed. Millions of artists have noticed. Don’t you think it is time to take notice? Don’t you think it is time to acknowledge the fact that social networking and eCommerce involving the selling of art is one direction that the art world and art market is going? It is inevitable. Art sites work.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Art and the Internet: The Artists Are Here. When will Galleries Participate?

Art and the Internet: The Artists Are Here. When will Galleries Participate?

The internet has quickly changed the way that we think about commerce in general. Anything you can think of can be purchased online. Today, businesses can be made or broken depending on the influence they have online. The art market and the selling of art is no exception as far as good business is concerned. Years ago predictions about the influence the internet would have on the art market were often scoffed at due to the early failure of e-commerce involving art. However, much has changed since those early years and several artists and art sites-- with an entrepreneur spirit-- have went on to sell millions of dollars worth of art since that early bust. One can find story after story of artists who struggled in the brick & mortar gallery scene only to carve out their future online by utilizing the potential that the internet provides. Blogs, auction sites, and art sites with e-commerce capabilities have given artists the tools they need in order to market themselves on their own terms without the need of traditional gallery involvement. The internet is here to stay and artists will continue to benefit from it. The question is… when will the traditional galleries and art dealers catch up?

It seems that with each passing month the press notes the fact that even the traditional structure of art marketing is changing as galleries and other aspects of the art world rush to catch up with what they observed as a doomed aspect of the market early on. The changes brought on my the internet-- concerning the buying and selling of art-- has been written about in major newspapers and art magazines. However, there are still certain aspects of the art world that has been slow to embrace these changes and the benefits they offer. Is e-commerce the market for the future as far as the buying and selling of art is concerned? That question may make an art critic, art dealer, or gallery owner laugh. However, one thing is for certain, it certainly seems that it has made an impact-- at least in the careers of artists who have embraced it.

People have called this change the democratization of the art world in that the buying and selling of art is within the reach of all artists-- instead of the relatively small number who are lucky enough to have traditional gallery representation. Self-representing artists can technically avoid the gallery scene all together by focusing on their online efforts. However, there are also a number of represented artists who have also embraced the internet in order to open up new avenues of commerce as far as the sell of their art is concerned. This is a power that artists-- for the most part-- lacked before the advent of the internet. Artists can now alter their marketing path by flirting with e-commerce or pave a new path that goes beyond the traditional art market by fully embracing e-commerce.

My guess is that traditional galleries, and others who deal in art from a brick & mortar setting, will need to adapt to these changes in order to compete. They will always have their place within the market as far as integrity goes, but tradition does not always equal continued success. As it stands, it is possible for an artist to make a better living selling his or her art online than the living he or she would make through traditional gallery representation. Artists combining both marketing structures will no doubt have the greatest benefit-- even if they are viewed as rogues by their peers who disregard the influence of the internet.

What I enjoy about this recent boom in e-commerce involving art and the many ways that artists have adapted to it is the fact that artists-- in general-- appear to be more open about discussing their work. For example, it is common for artists to discuss their thoughts, process, and methods on blogs. Art collectors and others who appreciate art benefit from this exchange. Artist/bloggers tend to give information that appeals to collectors by making the experience of purchasing art online personal even if no direct contact is made. Artists are able to keep in contact with past buyers in a personal way by blogging about their work and keeping a contact list of those collectors in order to send out new information. That exchange is remarkable. The end result-- due to e-commerce-- is an art market that benefits artists and informs collectors about the artists they are considering buying from.

Instead of focusing on the traditional art marketing structure, which often involves up to 50% commission and the burden of living in a city with great expense, artists online can avoid commission all together or discover a much lower commission by utilizing art sites that attract art collectors with their site traffic and the security of the e-commerce capabilities they provide. Artists can embrace this new avenue of art marketing from the comfort of their home no matter where home may be. In that sense, aspects of the traditional art market structure no longer has dominance as far as the success or failure of an artist is concerned. To put it bluntly, art dealers and gallery owners no longer have direct control over the ability of an artist to advance his or her career nor do they have the power they once held as to how successful an artist can be based on representation and exhibits. The ambition of the individual now dictates success or failure.

Traditional galleries and art dealers will always have their place in that they will continue to have access to a tight network of press and influential collectors who may or may not have a presence online. In a sense, they will always play a role in who enters the history books due to press and the acknowledgment that is rooted in it. For example, the art magazines will always cover brick & mortar exhibits in the hubs of the art world no matter what. One could say that the traditional art market will always influence the perception the public has about specific artists and their role within the context of art history. With that said, as the internet expands so will the consideration for what is historic and meaningful. Art bloggers, like myself, are already picking up on that by featuring artists who have yet to be featured or reviewed in a major newspaper or art publication. Eventually those barriers may very well be broken even if the gatekeepers of old are able to hold back some of the flood of change. There is always room for some aspects of tradition, true?

Art dealers and galleries should take notice of the changes around them. It has been suggested that many dealers and gallery owners are not paying attention to the success of online art auctions, e-commerce art sites, and the ability artists have had to build their own careers by utilizing the internet. Very few traditional galleries with websites have e-commerce capabilities-- in fact, many gallery websites are horribly outdated compared to the standards of today and the expectations of tomorrow. The decision to not expand in an ever-changing market is either bold or foolish. In other words, if traditional galleries lose their standing it is due to being stubborn and not embracing the technology of today while everyone else is. Frankly, the same can be said for newspapers and art publications who discredit the changes that have occurred due to the internet.

History tells us that in the past certain aspects of the art world felt that the buying and selling of art online would never be in reach-- that it would not work because buyers are not able to see the art in person. Many art dealers and gallery owners feel that only mediocre art is sold online. I’ve overheard that prejudice during discussions about the validity of selling art online. However, I know artists who embrace both the traditional art market and the digital frontier of the art market-- artists who have sold art online for thousands of dollars while their work in a brick & mortar gallery remains mostly unsold. Thus, remarks about artists utilizing the internet being mediocre is a sign of ignorance or denial.

Today e-commerce involving art is obviously working and will continue to work. Especially in a time when gallery owners are reporting a decrease in traffic as far as exhibit openings are concerned. Some have suggested that the decrease is due to gas prices and other economic factors. In that sense, exploring what the internet can provide is a question of economics and keeping a roof over the art they represent. Thus, I would think that now is the time for traditional art dealers and gallery owners to take notice and to embrace the change. Unfortunately, most tend to be stubborn on the issue-- a choice that may very well hurt the artists they represent and their business as whole when everything is said and done. Artists continue to reap the benefits of e-commerce and the rewards of maintaining a social network online while the majority of art dealers and gallery owners remain gridlocked on the issue.

The art market is changing in many ways due to the internet. It is foolish to consider it as just another trend-- it is a reality. The influence of the internet and the capabilities that the internet offers, such as establishing a large network of contacts, is a reality that every successful business must accept in order to maintain that success. At some point traditional galleries may have to embrace social networking online or risk failure. For example, it has been suggested that there is a new wave of younger art collectors that have entered the market. These young collectors are internet savvy-- they have experience utilizing sites like www.facebook.com and www.myspace.com in order to keep in contact with their peers. That is an aspect of the market that artists have tapped into by utilizing social networking websites and enhanced personal websites. One must ask, why are the brick & mortar galleries behind?

The implications of social networking online concerning art and the buying and selling of art is straight forward-- it does not take a business degree to understand it or to explore it as part of a marketing plan. Thanks to the internet it is possible for artists-- or gallery owners-- to discover art collectors on social networking websites or to be discovered by that youthful-- and influential-- market. For example, social networking art sites like www.myartspace.com allow artists to build a network of fellow artists, collectors, and curators. Myartspace allows artists and gallery owners to keep track of one another and inform people in their myartspace network about their career growth and exhibitions. These connections have helped artists to be accepted into brick & mortar gallery exhibits that they would not have otherwise known about. Traditional galleries should take note of that and benefit from the connections that are within their reach.

Traditional galleries and art dealers can benefit from having a presence online as well. For example, art dealers and gallery owners can benefit from having free profiles on websites like Facebook, Myspace, and myartspace. By utilizing these websites an art dealer or gallery owner-- or staff person-- can establish a network of ‘friends’ which will result in free advertising for upcoming exhibits when said network is informed of the event. Having a social networking presence also allows art dealers and gallery owners to observe potential talent with ease. The ability to contact emerging artists or mid-career artists who are not currently represented by a brick & mortar gallery is reason enough for an art dealer or gallery owner to consider utilizing the internet as part of his or her business model. It is a way for them to keep their gallery fresh with new artists when there is space available. In a sense, the art dealer or gallery owner who utilizes the internet and social networking sites can tap into talent before other art dealers and gallery owners have the chance. Thus, it is my prediction that art dealers and gallery owners who embrace the internet may very well corner that aspect of the traditional art market by leaving their peers and rivals in the dust and confusion of ‘what was’.

In closing, artists from all walks of life-- both unknown and known to the traditional art market-- are taking responsibility for their own careers by utilizing the potential of the internet. They are reshaping the business structure of the art world by embracing e-commerce and social networking. Many are making a living, or better living, from that activity. Some artists who have never exhibited in New York, Chicago, or Miami have a better presence online than artists who have stuck to the traditional route of art marketing. In fact, some of the artists who are well-known in those centers of the art world are practically unknown online. You can scoff at that statement all you want, but the simple fact is that content is King and the internet is the King’s castle. Art dealers and gallery owners can do the same. One could say that they must embrace it for the sake of their artists. The time for wishful thinking about the ‘way things were’ has passed. Welcome to art commerce 2.0. Don’t you think it is time to participate?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com