"Subtle Shades"
22"x 30" Transparent Watercolor with Holbein paint and Fabriano paper.
February, 2019...Newsletter
*Left click on the images for a larger view
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Finding the right gallery can be enjoyable; well mostly
Looking for an art gallery to represent you can be a humbling and intimidating experience. There are so many variables that need to be considered in finding the right gallery for your style of work and also your price point. It's usually a question of not just getting into a gallery but finding the "right fit". After all, when you place your work in a gallery you are essentially entering into a business partnership with the gallery. You each have duties and responsibilities for the partnership to be successful. You are providing the product and they provide the sales venue. If things go well both of you stand to gain. For the gallery to promote you properly, they need as much information as possible about you so the they can educate potential customers about your background and your philosophy regarding your art. Furnish them with a current and updated resume and biography so they can educate the customers about you, the artist. An artist statement is also a good selling tool because it lets people know what makes you tick as an artist. In other words, a good gallery should do more than just hang your work on a hook in the hope that someone will buy it. They need to market you, the artist who created the piece, as much as they market your work.
Most galleries charge a commission of 40% to 50% on sales. If the idea of paying a large commission to a gallery for marketing your paintings bothers you it can be avoided by merely opening your own gallery. I'm being a little tongue in cheek here. I have owned a gallery on two occasions and totally understand why they charge what they do. They are paying the rent, advertising, utilities, the staff, office equipment, web services, insurance, furnishings, taxes, maintenance, and a whole lot more. This all has to be paid every month before the gallery owner makes a profit or an income. Hopefully, that puts things in a little perspective. Yes, it's a lot of the profit from a sale but the gallery pays for all of that while we pay for a picture frame and a piece of paper or a canvas.
After our Myrtle Beach workshop last month Diane and I spent a couple of days in Charleston, SC looking for a potential gallery for some of my larger abstract expressionist paintings. We have also been looking at some galleries in Charlotte, NC recently. The process that we use for choosing galleries that are the "right fit" for us is a pretty simple and common sense approach. Best of all, it is not the least bit intimidating. Here's what we look for:
- The gallery needs to be in a location that has walk-in traffic. I have found that most art sales are an impulse purchase, at least it is with us. We enter a gallery to look around and suddenly fall in love with a painting or sculpture that we are convinced we can't live without. Sometimes the price is prohibitive but if it's affordable we will usually leave with a new piece of art for our collection. We really didn't intend to buy anything.
- The person working in the gallery needs to be respectful of the fact that a potential customer just entered their gallery. A simple greeting is all that I require but you would be surprised how many times I have walked into a gallery dressed in my usual attire which is blue jeans and a tee shirt only to have the "gallery person" look at me and either look away or just not speak to us. I guess that we don't look like we can afford anything in the gallery so why waste time and breath. We are actually serious art collectors. A simple "good morning or please look around and let me know if I can help you" would have been nice. Indecently, I usually turn around and leave when treated rudely.
- We do not let the person working in the gallery know that I am an artist. I want them to think that I am a potential customer to see how they interact with me. This is not meant to be deceitful in any way. It's just that I have learned from experience that as soon as I tell them that I'm an artist there is an immediate change in their demeanor. Often their smile disappears and they're not quite so eager to talk with me. Most likely they are thinking that I'm either in the gallery to look for ideas to copy or I'm going to hit them up for a spot in the gallery.
- As we walk around the gallery we're observing how the art is hung. Is the art well lit and nicely spaced in a way that allows each painting to have it's own presence on the wall or is it crammed together with other painting only inches away? Presentation is a big consideration in selling art.
- Would my paintings be right for this gallery? If the gallery is loaded with traditional landscapes and I'm looking for an abstract gallery this is not the "right fit" for me. If the gallery is predominantly abstract art then it might just work. I want my work to be in the same price range as the other paintings so that my work does not appear to be "cheaper" than all of the other paintings but also does not appear to be "overpriced" when compared to the other pieces. If the prices in the gallery range from $2,500 to $7,500 and my paintings are priced in the $4,000 to $7,000 range then I have found a good fit. On the other hand if the prices are in the $10,000 to $20,000 range or higher and my average price for a piece is $5,000 then I would not be a good fit for that gallery. Price perception is an important consideration. Collectors might think that my work is not as good as the others because it's so under priced. The opposite is true also. If my average price is $5,000 and the other pieces in the gallery are in the $1,000 to $2,500 range then my pieces will look over inflated.
- Usually Diane will ask the gallery person a question about one of the paintings to see if they have taken the time to learn just about their artists. The question might be, "I am not familiar with this artist, can you tell me something about her?" Most of the time she gets a response of, "Oh, she's from California". In other words, they have no idea of this artist's background such as awards that she has won, whom she has studied under, publications that feature her work, etc. The gallery has a responsibility to learn about their artists. I really don't care where the artist lives. I want to know what has this artist accomplished to be able to ask this price for her paintings. Let's face it; the painting will sell itself. You either love and want the piece or you don't. The galleries job is to sell the artist. In order to do that they need to read the artists biography and resume. Imagine going to purchase a car and all that the salesperson tells you about the car is, "Oh, this car was built in Detroit". When I purchase an original piece of art in an art gallery I want to know that I am buying something that is special and has value. Learning the background about the artist is part of that equation.
- So let's say that you have found a gallery that is the "right fit" for you and your work. All of the criteria that you look for have been met and you're ready to approach the gallery for representation. As you leave the gallery pick up a brochure or business card that has the gallery contact information including their website. When you go the galleries website look for a "Submissions" tab. If they have one it will explain what you need to do to be considered for representation. They will usually ask for some high resolution images of your work, your biography and resume, and your artist's statement. They might also ask what galleries you are in at the present time so that they can see if you're already in a gallery that is close to them. Art galleries almost always demand exclusivity of their artists within a certain radius. If the website does not have a Submissions option you can still put together the same package of information and either send them an email accompanied with a nice cover letter or mail the information to them. If you don't hear back from them within a couple of weeks you can always give them a call and tell them that you're just making sure that they received the information that you sent. Sometimes that will get a conversation going in which you can introduce yourself and discuss your interest in their gallery. It's also not a bad idea to let them know that there are also other galleries in the area that you're considering and that you will choose only one to represent you.
There you have it. We had a great time visiting galleries while in Charleston and we got to see some fantastic art. There was no intimidation because we weren't trying to sell anything; instead we were on a fact finding mission. As it turned out we did find three galleries in Charleston that met all of our criteria. When I have an opportunity to get some time in my studio and finish a few more pieces I may submit to all three of them in hope of being represented by one. I'm not in a hurry however. Finding the right gallery can be a time consuming venture and can take months or sometimes years to achieve. So don't be in a hurry. Do your research and stick to your plan.
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"The Edge of Town"
15" x 22" Transparent Watercolor Abstract Expressionism
This painting has a new home in Pennsylvania
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Do you need an artist's website?
If so, go to
www.faso.com
(Fine Art Studio Online). This company will help you design your own custom website to your specifications. They have numerous templates that you can choose from and a great support system. I designed and built my website even though I am very computer challenged. The best part is the price. I'm only paying $28.00 a month for my website even though it is very lengthy and there are less expensive programs if you don't need a huge website. If you haven't already seen my website go to
www.sterlingedwards.com
and check it out. They can also assist you with registering your domain name. When I find something good, I pass it on.
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Wholesale pricing on original watercolors
A few months ago we announced a way for current and former students to purchase original watercolor paintings from my website at the same price that they would pay if they purchased the painting at the student wholesale price in one of my workshops. This has proven to be a very popular concept and we have sold quite a few paintings through this special offer. Here's how it works:
If you are a former student of mine and have taken a workshop you are entitled to the same special wholesale price on my original watercolor paintings on my website that you would pay in a workshop. The prices on the website are my retail price and do not apply to my students. If you see a painting on the website that you are interested in possibly purchasing, DO NOT click on the "BUY NOW" tab. If you do it will take you to PayPal and charge you the full retail price of the painting as seen on the website.
Instead, go to the "CONTACT" page and send us an email requesting the student wholesale price of the painting. Please tell us the title of the piece, what workshop you attended, and whether or not you are a U.S. resident. You will receive an email with the student wholesale price plus ordering instructions. All of the paintings are unframed and unmatted and shipped in a heavy duty mailing tube for protection. Each will be accompanied with an Artist's Biography. As a special bonus, we offer
FREE SHIPPING
on watercolors that are shipped to a U.S. address.
This offer does NOT include Whiskey Paintings.
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Sterling's 2019 Workshop Schedule
***Please Read***
Beginning in 2021 Sterling will be doing fewer workshops. Currently our 2019 and 2020 workshop schedules are full and we are booking the 2021 workshops. If you would like to schedule a workshop for your group in 2021 please contact us soon so we can send you the information that you will need to make a decision. Email;
sterling@sterlingedwards.com
and request a workshop information packet. All spots are filled on a first come, first served basis.
Note:
When you write be sure and tell us the name of the group that you represent and where you are located.
- January 7-11, 2019, Myrtle Beach, S.C.
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects.
WAIT LIST
- January 21-24, 2019, Mission,TX
This is a four day watercolor workshop for the
Hidalgo Watercolor Society.
This workshop is for All Skill levels and will focus
on a wide variety of watercolor styles and subjects. The Contact person is : Joyce Capen,
capen1jl@cmich.edu
WAIT LIST
- February 4 – 8, 2019, The Villages, FL.
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects. Two of the days will cover floral and landscape watercolors and three days will be devoted to creative and expressive deign with watercolors (abstract and stylized).
- February 20 -24, 2019, Grifton, NC
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects.
WAIT LIST
- March 18-22, 2019, Santa Fe, NM
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects. Contact: Heather Atherton,
misa@madelineschool.com
715-747-2054.
- April 8 -12, 2019, Hummelstown, PA
This is a five day watercolor workshop for the Pennsylvania Watercolor Society. This workshop is for all skill levels that will focus on Creative and expressive deign with watercolor (abstract and stylized). Contact: Linda Young,
pwswrkshops@gmail.com
.
- April 29-May 3, 2019, Calabash, NC
This is a five day acrylic abstract workshop for all skill levels that will focus on a wide variety of acrylic techniques on paper and canvas.
- May 20-23, 2019, Folsom, CA
This is a four day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects, Contact: Barbara Otey, cawatercolorworkshops.com, 916-608-9153
WAIT LIST
- June 10-14, 2019, Boone, NC, Cheap Joe’s
T
his is a five day watercolor workshop for all skill levels that will focus on painting floral and landscape watercolors primarily with large brushes. Contact:
Edwina@cheapjoes.com
1-800-227-2788
- June 24 -28, 2019, Petoskey, MI, Crooked Tree Arts Center
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects. Contact: Megan DeWindt,
megan@crookedtree.org
, 231-347-4337
- July 15 -19, 2019, Belfast ME, Coastal Maine Art Workshops
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects.
207-594-4813
- July 29 – August 1, 2019, Evergreen, CO
This is a four day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects.
- August 12-16, Grand Marais, MN; Grand Marais Art Colony
This is a five day watercolor workshop for all skill levels that will focus on
Stylized Interpretations
of a wide variety of subjects. Contact: Ruth Pszwaro,
programs@grandmaraisartcolony.org
- September 9 -13, 2019, Hendersonville, NC
This is a five day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects.
- October 7-10, 2019, Morgantown, WV
This is a four day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects.
- October 22-26, 2019, Reno, NV, Sierra Watercolor Society
This is a four day watercolor workshop for all skill levels that will focus on a wide variety of watercolor styles and subjects. The contact person is : Linda Parisi,
parisiart@outlook.com
, 360-589-9330
- November 14 -16, 2019, Raleigh, NC Art of the Carolinas Trade Show
This is the annual trade show in Raleigh, NC sponsored by Jerry’s Artarama
- December 9-13, 2019 Palm Beach, FL, Palm Beach Watercolor Society
This will be a two day watercolor workshop on the 9th and 10th covering floral and landscape painting followed by a three day workshop on the 11th thru the 13th focusing on creative and expressive design with watercolor (stylized and abstract). Both workshops are for all skill levels. Contact;
Steve Philbrook,
561-471-8588, Philbrookstudio52@gmail.com
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"Standing Tall"
This is a 4"x 5" Whiskey Painting that I did at my Myrtle Beach workshop in January. I used Iceberg Vodka from Newfoundland to paint this piece on Fabriano 140 lb cold pressed paper.
If you click on "Paintings" on my website;
www.sterlingedwards.com
you can scroll down to
Whiskey Paintings
and read a brief history of the
Whiskey Painters of America.
You can also see other examples of my Whiskey Paintings. It's a fantastic group of artists with a rather unique and proud history.
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Yep, what can I say...
Our annual Myrtle Beach workshop was a blast. This year we held the five day workshop at the beautiful Embassy Suites in the Kingston Plantation. We had a full workshop of fantastic artists from all over the U.S and Canada. During the week we covered a multitude of watercolor subjects and techniques. They worked hard, but believe it or not, they also played hard.
This is one of our students (whose name shall remain anonymous) who was captured on camera making a valiant effort to relax a little in the Resort lounge after a hard days work. Who says that hard work doesn't have it's rewards? (And before you ask,
"yes", I was given permission to post this.)
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"Follow the Light"
15" x 22"
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This is a demo piece from the Myrtle Beach workshop that I painted to show how to handle a sunlit background in a way that creates a pathway to the light. I was also asked to show how to paint reflections so I decided to combine the two demos into one painting. I painted this piece on the last day of the workshop. This painting has a new home in Hendersonville, NC
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Diane and I on Whiteside Mountain near Highlands, NC.
Art; it chooses us
Food for thought
"If you hear a voice within you saying, 'You are not a painter', then by all means paint, boy, and that voice will be silenced."
Vincent Van Gogh
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Sterling Edwards / Artist, LLC
230 Sunny Acres Drive
Lewisville, NC 27023
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