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Detroit Artist
Network ("D.A.N.") Forum 1/27/03 - Report
Thanks to all those who weathered the cold, attending
the first meeting of DAN at the Historic Scarab Club.
I was particularly grateful for the generous participation
and energy from everyone present. Special thanks to
Amanda Maniscalco, who took detailed notes during
the proceedings (compiled below by the moderator):
Those present: Moderator: Robert Maniscalco (artist,
CCS, Maniscalco Gallery, WCCAHH)
Panel Members: Gilda Snowden (artist, CCS), Martyn
Bouskila (artist), Renata Polubinskus (artist), Ric
Geyer (4731 Gallery), Dennis Jones (artist, CCS),
Jerry Power (artist), Kevin Hanson (Johanson Charles
Gallery), Richard Green (E.D. - Downriver Council
for the Arts)
Esteemed artists and participants: Carlos Gonzalez,
Robert Fionda, Debbie Lapratt, Pam Berari, James Dozier,
Tony Bacon, Paul Horton, Darlene House, D.C. Thom,
Diana Ciofu, Leslie Delorean, Rich Onica, Charlene
Kull, Marion Melody, Charlene Brown, James H. Brown,
Acquanetta Sproule (for Roy Sproule), Emily Linn,
Audra Wolowiec, Jamie Treacy, Sarah Burgur, Connie
Shea, Mara Cazers, Jason Polan, Monica Morgan, Robert
Fournier, Angela Lucaj
Those who have expressed interest in participating
in DAN but did not attend Monday: Jenenne Whitfield
(Heidelberg Project/Tyree Guyton), Aaron Timlin (E.D.-Detroit
Artists Market), Jim Hart (Detroit Cultural Affairs),
Mary Harrison (E.D. - C-Pop Gallery), Kim Adams (ArtserveMichigan).
Let me know if you or someone you know should be part
of DAN.
DAN is intended as a focus group to brainstorm and
develop solutions to improve the art market in Detroit.
Overall, the first meeting was forthright, penetrating,
wide-ranging, positive and informative. Two major
themes were addressed: Part 1 was an assessment of
the metro Detroit art market and Part 2 was a discussion
of successful marketing techniques for the artist.
The findings below are not intended as a definitive
or comprehensive assessment of the Detroit art market
but were nonetheless, insightful:
Part 1 - The Detroit Art market
Detroit's unique art market was addressed: What's
the good, bad and ugly? What's working well? What's
missing? What needs to change? Who's responsible for
change? What can we learn from other models? What
can be done to improve the art market in Detroit?
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The dilemma
in metro Detroit is not a lack of talent (Detroit
is a vibrant art town, bustling with creativity)
or potential art buyers (as was first suggested).
The far ranging discussion of what participants
perceive as problems in the art market is summarized
below:
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Very little
media coverage of the fine arts (not enough critics
covering major openings, artists under recognized).
No real art critics, only feature arts writers.
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Detroit is not
known as an arts destination - little daily foot
traffic in galleries, though openings are well attended.
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Perception of
galleries as "pricey" or "stuffy."
There is a perceived inaccessibility to the main
stream art buyer on the part of Detroit galleries
and arts venues; a feeling of elitism still prevails.
-
This combined
with the perception of Detroit as a blue-collar
town keeps potential art buyers at bay or traveling
to other centers for their collections.
-
Little or no
national media coverage because Detroit Galleries
don't advertize in national magazines or reach out
to the national media.
-
Education -
not enough public outreach about fine art.
-
No major centers/pockets
of art galleries (the market is spread over a large
geographical area, while other cities have dense
concentrations of galleries). The burgeoning mid-town
scene was put forth as a positive development.
-
Retail art prices
vary widely from venue to venue, often depending
upon the venue commission percentage. This leads
to a loss of confidence and trust on the part of
the art buyer.
-
Commercial galleries
are not surviving in this deflated art market.
-
Some artists
undercut gallery commissions.
-
There's little
support of the mission of commercial galleries on
the part of Detroit artists, many of whom prefer
to remain unaffiliated.
-
A weak gallery
system (bad experiences, among artists and galleries
call integrity into question and reduces confidence
and loyalty among artists and art buyers). There
are reports among participants of galleries not
paying artists, as well as other unethical gallery
practices.
-
For these and
other reasons, there is a "Catch 22:"
artists aren't loyal to galleries, galleries remain
weak in promoting their artists, therefore the art
market heads south.
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Local arts venues/entities
are unclear as to who their primary constituents
are; there seems to be confusion as to the roles
each can play in the total picture. (See below)
Lines of communication/networkingcoordination among
artists is missing.
-
Lines of communication/networking/coordination
among exhibition venues, schools and agencies is
missing.
-
There are deep
philosophical/aesthetic/hierarchical divides in
Detroit that keep artists isolated from one another.
-
There is a perception
that there are no "shining lights" (institutions/agencies
which could provide networking/marketing information
and services to artists). Detroit agencies, schools
and exhibition venues lack resources for addressing
the art market and are not providingadequate career
guidance information.
Possible solutions and recommendations:
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Artists write
art reviews of other artists, submit to media
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Galleries and
artists work together to promote exhibits more effectively
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Develop DAN,
provide a networking resource for Detroit artists,
sharing info and pooling talents, resources and
information to create a stronger art market. It
was suggested that DAN develop a mission statement
based in values like integrity, loyalty, trust and
mutual benefit.
-
Look to other
cities for effective models
-
Artists at every
level in their careers take on the responsibility
to give back to the community as part of their marketing
plan.
-
Artists take
responsibility for controlling the flow/availability
of work (taking into account the basic laws of supply
and demand).
-
Galleries develop
exclusive relationships with artists so they can
effectively promote their careers, locally and nationally.
-
Galleries co-op
advertising in National Publications
-
Invite art schools,
agencies and other arts entities to play a larger
role in educating fine artists and venues about
proven marketing practices
-
Establish a
forum to determine how each of us can play a role
in a healthy art market.
Create an annual Detroit Art Expo, presenting top
artists and galleries to regional art buyers.
-
Create a prestigious
Fine Arts Festival committed to maintaining the
highest standards, free of pressures to include
crafts and .
-
Artists establish
consistent retail prices.
-
Detroit Galleries
participate in National Art Expos (like C-Pop recently
did in Miami)
Develop an Detroit Art Dealers Association. Local
galleries establish high standards for doing business,
pooling resources, through by establishing a local
affiliate of the National Art Dealer's Association.
-
Explore methods
of developing emerging collectors. Reach out and
encourage the younger "arty party" scene
by promoting/educating them about collecting fine
art - not just getting drunk in front of it and
hoping they will buy.
-
Artists offer
a wide (but consistent) price range of artwork at
exhibitions (from reproductions to large scale works).
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Artists leverage
their influence by working together
The confusion regarding the various roles the various
local fine art venues play in the overall health of
the art market was brought up by Robert. The question
is: "who are the primary constituents (who pays
their bills) at each of these venues?" Knowing/agreeing
on this might lead to more clarity in Detroits art
market.
| Venue type |
Constituency |
| Non-profit exhibition spaces (providing
educational or challenging exhibitions/competitions
in art centers, guilds, clubs, etc.) |
unaffiliated artists, artist members,
public => non-profit funders |
| Alternative Commercial Spaces (restaurants,
theatres, corporations, etc.) |
their customers |
| Art Fairs |
unaffiliated artists => public,
art buyers |
| Commercial Galleries |
represented artists => art buyers |
| Art Consultants/designers |
art buyers |
Part 2 - Successful marketing strategies for the
artist
We discussed developing an effective business/marketing
plan. All agreed that the best marketing strategy
for an artist must be based on integrity, fairness
and open dealings with all. The word "tenacious"
came up with regard to the pursuit of one's career.
Create a five year plan - with sales & marketing
goals and strategies. There were a number of other
great suggestions and admonitions from the participants.
But first we needed to distinguish between Sales and
Marketing.
Marketing The actual definition of marketing
is "identifying your buyer and determining what
they want." Most artists really don't want to
"market" because they don't want to face
the fact that not everyone wants to own their work.
Artists must identify their market and find ways to
expose their work to those people. "People with
money" is not a complete answer. Decide if your
work would do well in art fairs, galleries, non-profit
competitions, corporations, doctor's offices, restaurants,
night clubs, e-bay, municipal installations, Star
Trek conventions, Design studios, interior designers,
museums, etc. Be honest with yourself. What has worked
for you (or artists like you) in the past?
Sales Artists want to sell, and sell at the
highest price possible. Selling is the process of
increasing the value of your work (so you can sell
it for the highest price possible). When the value
is equal to price the work will sell - if it's presented
well to your market.
To accomplish this artists can:
-
Devote themselves
to creating the best work possible (study, probe,
practice, work, grow)
-
Develop a body
(bodies) of work which somehow belong(s) together
(this is your product line).
-
Create a benefits
analysis. Answer the question, "what's so great
about what I do?" "How is it of benefit
to others?" If you don't have an answer, maybe
you need to produce more work.
-
Establish consistent
retail prices (build up a fair market value - what
the work has sold for in the past)
-
Create an effective
artist statement (be specific - avoid BS!)
-
Write (or ask
another to write) interesting bios of a varying
lengths.
-
Build a strong
resume.
-
Win awards and
let people know you've done so.
-
Have artists
write about your work (write about other artists'
work!)
-
Generate media
coverage (put on that PR hat!)
-
Artists at every
level in their careers take on the responsibility
to give back to the community as part of their marketing
plan.
-
Develop a fine
portfolio and show it whenever possible and appropriate.
-
Develop and
maintain frequent, quality contact with your collectors.
-
Network among
artists, schools, local organizations.
-
Be generous
with your time, talent and insights.
-
Recognize opportunities
wherever they turn up.
-
Print catalogues
and send them to collectors.
-
Artists take
responsibility for controlling the flow/availability
of work (taking account basic laws of supply and
demand).
-
get a website
and promote it.
-
get a gallery
and promote it.
-
get on e-bay
and promote it.
- get with whatever you can and promote it.
For artists seeking gallery representation there
were several suggestions:
-
Don't walk into
a gallery cold. Take an interest, do your research.
Make yourself indispensable. What can you bring
to the gallery besides great art?
-
Think of the
gallery as a partner working with you for mutual
benefit. Be sensitive to the interdependent nature
of the gallery/artist relationship.
-
Ask the gallery
how they go about reviewing new work, after you've
had a chance to learn more about the gallery's needs
(what is their market? Is it a match?).
-
Be clear, loyal,
fair and open in your dealings with a gallery. Galleries
have no incentive to promote an artist who is showing
all over town. Contracts/agreements build clarity
and trust.
-
Build a national
career by exhibiting outside the area of the gallery.
-
present yourself
in a professional manner. Don't show them everything
you've ever painted. Show only your strongest work.
Maintain a portfolio with impact, including an artist
statement, resume, bio and press clippings.
-
Be ready with
images in print, slide, digital images.
Other issues such as tax and legal issues for the
artist, were touched on but tabled for now.
Plans for the future. . . DAN has been invited to
submit a mini grant proposal to DCA, through the Wayne
County Council for Arts, History & Humanities
to provide funding for future events of DAN.
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