The Art Festival Newsletter
September 2018
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As artist Ann Rea states - "You don't want to sell art. Why? Because selling art sucks. You want to create value above and beyond your art and sell that."
Artists who understand this psychology are successful in developing language and communication techniques that help clients understand the value of the art and become collectors.
Today the average attention span is about eight seconds, making the early phase of first-time engagement extremely important.  The language we use in  communicating with customers impacts our ability to intrigue them about our art and close the sale. 

So what are these words that sell and how do you use them? 

To sell your artwork, you need to strike a healthy balance - be confident without overselling; be firm without being too pushy.  

Think about action words, you are Selling an Experience . You need to have a conversation about the benefits of the pieces of art they are interested in. Explain what your art accomplishes, whether it nurtures and soothes, charms, motivates, or creates an atmosphere. What will the buyer DO with it? Will they cherish it? Will it make a statement?  People want a piece that emotionally connects to them.   Find the reason your work caught their eye and c onsider the feeling you can evoke through words. Explain what your art accomplishes and how it can evoke the feeling that your client is looking for.

Since many artists don't consider themselves to be natural salespeople, they think that it's better to not pressure a potential buyer and allow them to make that decision for themselves  And that's true to an extent. On the other hand, giving buyers an easy way out is a sure way to lose a sale.  Statement's such as "Would you like a brochure of my work?" or "Why don't you go home and think about it?" gives a potential buyer an easy out.
Don't be afraid to ask for the sale. Knowing that your potential client will get great enjoyment from and deserves to own a piece of your work. Once you have gone over all the benefits, seen their reaction, and helped to create an experience for them and a sense of ownership, ask, "May I wrap this special piece up for you?" or "Are you ready to schedule an appointment to have this delivered to your home/office?" If you don't ask, you can't get a "yes." 
And if the answer is no, it may mean that the sales cycle will take a little longer. Get their name, phone and email, and continue to follow up with them. Find ways such as social media, mailing lists, and email to foster and grow your initial connection. Many sales happen after the initial contact.
As  Jason Horejs states in his book How to Sell Art, " The sale isn't the end of the sales process, it is only the beginning. Turn buyers into collectors with post-sale follow up and systematic communication."
Application Deadline: 9/14/18
Last Chance to APPLY:  Click logo for more information!

Indian Wells, CA
Application Closes: 10/22/18

The Woodlands, TX
Application Closes: 10/20/18

Bonita Springs, FL
Application Closes for February Show: 10/1/18

Greenville, SC
Application Closes: 10/4/18

Click HERE to view more Calls to Artists:
Create Additional Income with Your Art
By Alan E. Katz, Esq.

Licensing your art is an excellent way to develop a supplemental income stream. According to the Graphic Artists Guild, licensing is a $70 billion industry, and art licensing accounts for 10 percent of the licensing market. You can license your artwork to be reproduced on a wide range of products such as T-shirts, posters, jewelry, prints, household items, and fabrics. The following tips will not help you market you art but will help you determine how your license can protect your rights once you find the right deal.

The United States Copyright Act of 1976 recognized the principle of divisibility, which allows artists to use narrowly defined licenses to divide the rights to their copyrighted artworks. For example, artists can grant one company the right to reproduce a work of art on a T-shirt, grant another company the right to reproduce the artwork on a coffee mug, grant a third company the right to distribute it, and grant a museum the right to display the artwork. Each of these licensees would become the owner of a limited copyright in the artwork, and the artist would retain all other rights that he or she had not otherwise parceled out.

An exclusive license stipulates that the artist agrees not to convey to another party a right it has granted to one party; these exclusive licenses may have time-period limits. To be effective under the Copyright Act of 1976, an exclusive license must be in writing, and the writing must clearly define the key terms of the grant of license, including duration, royalty payments, and the name on the copyright notice.

The license agreement goes from the artist who holds the copyright (the licensor) to the user (licensee). The license grants the licensee the right to use the artwork on a product or for a specific purpose and for a set time period in exchange for some form of compensation and subject to such other terms and conditions upon which the parties agree. The compensation can be a flat fee, a percentage of the sales of the product (a royalty), a combination of a flat fee and a royalty, or a guaranteed minimum amount against the royalty.

The license agreement should include the exact names and addresses of the licensor and the licensee; describe the licensed artwork; include an attached image of the artwork, when available; and clearly describe the use that the licensee can make of the artwork. For example, the license should clearly state whether the licensee plans to reproduce the artwork on a T-shirt, a coffee mug, or another product.

The license may entitle the licensor to a specified number of free samples of the product using the artwork and specify that the samples are subject to the licensor's approval before production begins. The licensee must agree to seek permission from the artist to make any additional use of the artwork that the license agreement does not cover, and the licensor and licensee must agree upon payments for such use at that time.

The license should stipulate the time period that the license will remain in effect, the date upon which the artist must deliver the artwork, and the manner of delivery. The licensor should stipulate whether it is granting an exclusive or a nonexclusive right to reproduce the artwork on the product. The license should state where the licensee can use or distribute the product containing the licensed artwork. The artist should reserve all rights that the license does not expressly grant to the licensee.

If the licensee is paying royalties, the license should specify whether there is a guaranteed minimum payment and how the percentage is calculated-on gross sales or net sales, for example. It should also state whether the licensor has a right to audit the books of the licensee and what procedures will take place if the licensor finds a discrepancy in the books and how often the licensee must render statements of account to the artist and how detailed those statements must be.

The license should stipulate whether the licensee has the right to change the artwork or combine it with other artworks and, if so, whether the licensee can do so without the approval of the licensor; specify whether the name of the artist will appear on the artwork when it is reproduced; and state whether a copyright notice in the name of the artist will accompany the artwork when it is reproduced.
If the artist is licensing electronic rights to the artwork, the license should specify the form of final use, such as a website or a compact disc, and indicate whether the consumer or end user can print a copy of the artwork or is limited to only viewing a display of the artwork.
The license should provide for indemnification of the licensor by the licensee against any and all claims, costs, and expenses, including attorneys' fees, that arise in connection with any use of the artwork that differs from those that the license allows and from any claims relating to the product upon which the artwork has been reproduced, even if in full compliance with the terms of the license agreement. The licensee should agree to assume liability for loss, theft, or damage to the artwork.

Finally, the license should specify the manner in which disputes will be resolved-for example, whether the parties will submit to binding arbitration or are free to litigate. If the parties do not agree to binding arbitration, then the license should specify that the law of a particular state shall govern and the court that will have exclusive jurisdiction over the dispute.

While putting together a comprehensive license agreement with all these terms can be daunting, don't let it deter you from licensing your art. Doing so offers you the opportunity to earn income multiple times from the same work of art, which is not the case if you sell the artwork outright.

Alan E. Katz is a partner in the New York City law firm Greenfield Stein & Senior, LLP, where he specializes in art law, real estate law, and software licensing. 
This Issue's Quote: 
"Art enables us to find ourselves and lose ourselves at the same time."  Thomas Merton
Bonita Springs National Art Festivals, Florida

This month I had the pleasure of interviewing  Ehren Gerhard, Director of the  Bonita Springs National Art Festivals and Art Exhibition Director for  The Centers for the Arts Bonita Springs

Please talk about the Art Center and the role the Festivals play: 
The Centers for the Arts Bonita Springs offers a wide variety of programs for all ages. Members and artists of the Centers for the Arts offer their time and talents to bring a variety of outreach programs to local schools, neighborhoods and organizations.  We have a Visual Arts Center as well as a Performing Arts Center that  provide our community with year-round performances, events and classes in painting, drawing, sculpture, ceramics, glass, and metal as well as dance, theater, film and music. 
100% of the proceeds from the Festivals go back into the community, shaping both our present and future.
  • Local youth receive over $97,000 in scholarships annually to participate in visual and performing arts programming on our campuses.
  • Local Elementary Schools receive over $20,000 worth of visual and performing arts programming annually.
  • Local high school, middle and elementary school students receive over $7,000 in free exhibitions, receptions and award programs on our campuses.
  • Youths and adults receive over $20,000 worth of free Community Theater Programs with full scale productions throughout the year at our Center for Performing Arts.
In terms of curation, how do your shows differ from other art festivals? 
We always start with the most rigorous and experienced jury panel. That means you get the best-of-the-best to see, an unparalleled and excellent collection of original artwork.  Another thing we have is a unique layout.  There is an excellent traffic flow pattern for patrons with plenty of areas to rest, enjoy a beverage or lunch in a beautiful park setting. We spend countless hours working on artist placement to find the best location for specific booth displays or set up needs.  One of my personal favorites is our overnight camping for artists on the festival site. It is located in a park along the Imperial River with a private dock, boat ramp, restrooms and picnic tables.
What is the role of community development for the Arts Festivals?   
We are seeing great support for our festivals. The immediate area has several newly developed communities and continues to be one of the fastest growing areas in the nation. The last several years have brought many new promoters and festivals to our surrounding area. We find that what patrons are looking for is an event that is a strong partner in their local community, one that's working with them to develop a sense of place, enhanced identity, unique meaning, value and character for their city.
One Chance to Make an Impression
  1. Use your rear wall to grab the attention of patrons with a showstopper. This piece should be prominently placed and not crowded with other work.
  2. Dress professionally to the setting.
  3. Stand up, especially when talking to patrons. When you are sitting, invest in a tall directors' chair. Being eye level is very important.
  4. Use your phone to promote yourself at the show, take pictures of the show, your patrons (with their permission), and your work to post on social media. Don't use your phone to distract yourself!
  5. Stay engaged during the show, stay active, don't read newspapers or books in front of customers.
  6. The best way to sell your art is to talk to your clients. Your story and process are as important as the work itself.
  7. When you leave your booth, ensure your booth is being attended by a booth sitter, spouse, or neighbor.
  8. Don't block your entrance, allow people to step in and look around.
  9. Keep your booth and items clean. I have a friend who creates glass vases. During one of his shows, a blind customer asked if she could touch the vase, as the artist described the process and colors. When she put the vase down, the customer said "it must be very pretty when clean."  The artist was mortified that a blind customer felt the dirt before he saw the dirt.
  10. No matter how bad the show is, don't complain in front of the customer.
Wishing everyone fantastic shows and safe travels
Robin Markowitz

Quick Links:

Make the most of your time with a potential customer.

You - make it clear that the focus is on your prospect by conveying your messages from their perspective, not yours.

Imagine - allowing the patron to see the art in their personal space.

Color as an effect - luminous, dusky, radiant, glassy, or diffused.

Limited - because this word implies exclusivity and scarcity.

- it helps you combat the status quo.

Only - this conveys a class of one.
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Let us know what topics interest you and Art-Linx will work to include them in the next Art Festival Newsletter - Published  November 14, 2018

Contact Robin Markowitz 

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