What do you do with too much art?
Now I don't want to leave the impression with this post that I am either bragging or that the quality of my work is suffering, but the simple fact is that I create work at such a rate of speed that I am quickly coming into a serious space issue in my studio.
Even downsizing the sculptures to smaller pieces is at this point doing little to no good.
A lot of artists have problems with procrastination. They get a great idea and sits on the drawing board or the piece they are creating slowly grinds to a halt half way through its completion. I am a stubborn artist though. I rarely leave an idea untouched and I almost always create through to completion even if the piece has to sit for a few weeks.
But with that said, I can create anywhere from 5-15 new sculptures in a ten day period.
"So it still sounds like your just bragging Grey. Whats the purpose of this post?"
The purpose is that space considerations are a serious issue for any artist, especially those of you who work in very small spaces. What do you do with the work when its not selling? What do you do with it when it stacks up to the point where one piece of art is destroying another because its all pressing in on each other? You've given it away, you've shoved in friends faces to the point where people run and hide when they see you on the street because you might shove more art at them. And if you do successfully give away a great deal of it then where does it put you in terms of the value of your art?
What do you do until your work comes into demand? Is there a strategy that ends up serving you as an artist or is it all just a crap shoot where the successful never have these problems and the failures are destined to repeat them?
First I think we need to examine what makes an artist collectible? I doubt there is a formula to success. But there do seem to be commonalities in artists whose work is in demand.
- ORIGINALITY: This seems to be the highest factor. People love the chance to own something totally unique. An artist who makes one painting a year and then tries to sell a thousand prints of it is most likely not going to go far unless the print is totally emblematic of something important such as the artist who created the French Solidarity symbol created after Charlie Hebdo attacks. The Eiffel Tower shaped like a peace symbol was everyplace in the weeks following the attacks.
- PERSONALITY: This is also crucial. People love or hate the artist persona. The more colorful the personality the more collectible that artists work can become.
- MYSTERY: This can be an indicator of collectibility. The recluse such as Chicago artist Lee Godie or the super secretive Banksy can send the artists work skyrocketing in popularity and demand.
- TECHNIQUE: Art technique especially a new and unknown technique of style or movement such as the Dada or Impressionist eras indicated.
At the same time you cannot focus on all of these things at the same time to strengthen them. I think they must come naturally from within as you become a better artist or else others will know its just a mask your wearing.
So where does that leave us? If your an unknown, your an unknown. So how does it solve the problem of inventory control?
Well lets shift for a moment and look at our art as inventory. Inventory has a dollar value. Every piece you create can be broken down into its dollar value and that value is based on the popularity of the artist. But even the most rudimentary art from the rawest most unskilled artist still has a value. Its may be in penny's versus C-Notes but again there is still some amount of value.
So how can you make that value work for you? Lets list it in order of lowest benefits to highest. Keep in mind that you are basically passing out cash to them in the form of art.
- FRIENDS: Giving it away to friends is one way but very limited. They accept out of love, but rarely buy out of a sense of collecting your work.
- COLLEAGUES: Giving it away to colleagues is another. These are acquaintances which you may not count as friends but still have relationships with. Examples are doctors, lawyers, professionals, etc. The value bar raises slightly above friends because these are potential buyers who don't buy out of love for you, but out of some amount of art sense.
- CHARITIES: Giving it away to charities definitely boosts the value up a notch because now you are creating good will in the community but you are getting your art exposed to more people. The drawbacks are that charities tend to take advantage of artists so its crucial to stand your ground on getting the benefits you need and deserve for your work.
- GRAND GESTURES: Now we get into a higher value category. You are basically finding a cause worthy enough to benefit from a large chunk of your inventory. This one is difficult because its not easy to find a cause worth working with. It takes research and diligence to find just the right one.
- THE SURPRISE: This involves gifting a person of high caliber with a piece of art. The problem is to not reach too high. The higher you reach the more likely that the person you are giving to already receives a lot of gifts and is therefore most likely to not appreciate or show it to others. There are also political considerations to this because some political positions do not allow gifts in any form. You do not want this to look like a bribe, but a genuine from the heart gift. The other problem with this is that it can be difficult to find a way to gift the person. Just sending through mail is cold. But the more important the individual is, the harder it will be to find an inroad towards gifting them. Be sincere! Genuinely want the person to have the piece of art.
- OPENINGS: Now this a category I like but again takes some research. Finding a new business which is opening and gifting them with a piece of art can be amazingly beneficial. Be cautious though. Gifting a piece of art to say a new gallery or museum will again look like your pandering rather than sincere. Giving to a new hospital or a new legal firm though has benefits.