Julie Adlers Birthday!

Julie is a cool lady - she's also very successful in the business of dance. Julie started teaching dance as a teen for much the same reason I painted - aside from our love of doing it, it was a way to make extra money. I met Julie and her husband Ed Sparage many years ago when they first asked me to redesign their ocean front condo. 

Julies stage name is Adler and she was a Broadway headliner before joining forces with Joe Tremaine, a well known Hollywood choreographer - together they formed Tremaine Dance Conventions  -  This was to become a very dynamic duo making their convention # 1 in the world today. They just celebrated their 30th anniversary in Orlando, Florida with a huge Gala...filled with Hollywood stars.

Julie celebrated another birthday this week and still has star quality. Today I'm shipping her this portrait I did a few years ago in appreciation of her and Eds friendship over the years. 

#439 Julie Adler Sparage 30x30 Oil on linen (2-16-2010)

HAPPY BIRTHDAY!! 

My very favorite photo of them - it was taken during a photo shoot when the photographer asked Ed to join Julie.

How to give 8x10s the "best wall" jump factor

You group them together, framed as a single, that's how!

This is very cool and got a lot of attention the minute it was hung. It hasn't sold yet but I'm sure it will. The framing turned out to be one of the more simple tasks and much better than separate frames....especially hanging it. In fact we originally hung it as separates and decided it would be better for the client as a single.  

Here its shown framed as separates before the gallery was repainted, really not bad looking but very tedious hanging. 

Either way huge impact!

Curious note: Until we butted the frames together no one could pick up how it related to the suns progression....also the stages had to be arranged left to right as shown because that's how we read!

My Time Is My Own Again!

The last three weeks proved to be a bit more than I bargained for but worth every minute spent. I haven't picked up a paintbrush much less thought about painting during the whole time. My new gallery space is finished and hung. The LeGrand soiree was a blast. We were all in good company and no one does it better than Sue, the owner of LeGrand Fine Arts.   

Yesterday, I spent the whole day ordering supplies, stretching canvas, decluttering my studio and running errands. During the last three weeks I even resorted to using my daily task list again.......mmmmm

The Fall season for an artist seems to be packed full so I guess we have to use the other months to get ready. Nuts! I thought I left that behind when I stopped painting for juried shows....guess not!

Now that I'm entering back into the painting mode at least I don't have to worry about what I'll paint, I already know. My new gallery at Crossroads has (8) wall spaces to paint for by the next opening on November 16th. So that means if I want a fresh exhibit I have (52) days to paint (8) major paintings. That gives me about 6.5 days per painting - looking at it that way it's not too bad. However one of those will be another 62x192 (4) panel painting for the 20 foot wall and I'm guessing it will eat up about half my time. So today I'll do a 24x24 warm up because I'm bound to be rusty and don't want to think about it much.  I know the next few days will be filled with interruptions. On top of that I have an AAC ad deadline tomorrow,  plus a small writeup to do because they also included me in one of their features, "Small Works and Miniatures" - LOL...kinda funny when you think about it for someone who pushes hard for "larger is better".....well it is!! What can I say:=))

SOLD 

 #671 Free Spirits 44x40 oil on linen  (6-18-12) sold by LeGrand Fine Arts

 #312 Evening Walk 20x24 oil on linen panel - sold by Richard Stravitz Fine Art Galleries

It's amazingly weird how related these two paintings are; 312 was done in early part of 2010, well before I started painting large. I was more focused on execution and subject matter and less on size. As a result these are well executed paintings. Many are now used as references for my larger paintings because I want the same quality. Knowing that, I've been trying to keep these paintings by holding them back, but every once in a while I lose one, like here.  Now here's the really weird part....#671 was painted to replace it. But, we needed it here so I never took it to Stravitz.

This is the only photo I have of the painting in my gallery. The staff was setting up for the opening night festivities. The following day it was transferred to LeGrand for the Soiree where it sold.

Remember the 8x10 Progression sunrise series and the set of 5-stages? I was going to share it's marketing history with you - I'll give you an update tomorrow...:=)

ART & PRESENTATION = MONEY

Koi grow exponentially to their surrounding - Guess what? Artists do too!!

The bigger a Koi gets the more lovely it becomes....well, I don't look any better but my paintings do!

Space and the evolution of an artist go hand in hand. My alternative gallery gave me the space and freedom to pursue my art and allowed it to evolve unhampered. 

This was just one small part of my journey over the last few years but as it turned out, a very important part - I'm not sure the rest would have worked without it and here's why.

Because of my experience here I had first hand knowledge of what worked and what didn't. I didn't have to get that information second hand from a gallery - if they even give it to you all. This is no fault of the gallery system. They have a different objective, to "sell" art that works for them. As artists, if we want to use the system and sell, it's our job to find out what makes a client JUMP! Unless they do, you can't sell it....even a gallery can't! Art sells itself and can't be sold otherwise......even by the artist himself. A smart collector (not a greedy collector) won't buy art as investment unless he likes the piece, regardless of what it is.  A good salesman is not a salesman but fills a need or solves a problem - if it makes sense the sale is made!

I always knew a good product, well presented, would exceed and have more perceived value than one which was not. It's fairly basic knowledge but it's only as good as the presenter - a junk dealer will get less and the antique dealer will get rewarded handsomely for the same junk. 

I knew from day one who my  client would be and what they would expect from me as an artist.  It can be summed up in one word,  "QUALITY"!  

When I walked into Crossroads the first time I was already well established in the juried exhibition world, on a website, had lots of international art buddies,was a member of at least (3) organizations and had work hanging with some big boys in an upscale gallery. My work held it's own in my sandbox; the juried exhibition world. But, this was never my reason for painting in the first place - it was simply a required step in my over all goal of painting only "Best Wall Paintings". I knew my client well and they would want major art works to hang on important walls and I wanted to be one of those artists considered. They would not be interested in smaller works typically associated with these exhibits, unless the painting had serious presence and not likely in a frame to frame presentation; also very typical of  juried exhibits. And, unless they were part of the art world they would not be aware or follow these events. I hung around with them for decades and I certainly wasn't.

Galleries like what I now call "peer credits" and use it to add perceived value to a painting. So basically I did it for the galleries. However 3 1/2 years into it, I don't think the galleries necessarily know my client either, because they call them "Collectors".  The only thing I know for sure, my clients like collecting  money and stature amongst their peers.  While that clearly could include art to fill a particular space - it has to get their attention first. I call it the "jump factor"and fun watching it too!  

Especially when we all do it at the same time:=)

Eventually I realized a juried show's true value was allowing an artist to compare himself against other artists (the completion) and grow from the experience. Boldbrush by Fine Art Studio Online is a wonderful platform for it.

Many artists are very happy to stay in the juried sand box their whole career. Certainly for a teacher it has benefits and the prize money is significant along with peer prestige. None of this has much value in why art is bought in the first place....it's a luxury few can afford and a status symbol just like designers are....to make an impression. They buy art and hire designers as a status statement. I promise you if you're not exposed to this you wouldn't know it! 

As a commercial designer it was less true, but once you enter the residential market it is! It also becomes personal and then you get it!

My main objective here at Crossroads was to evaluate my work on a gallery wall, get reactions, establish some local price points and look for the "jump factor"!! 

The gallery also has well attended opening exhibits including a juried show I could enter and did. The all media and member shows are held every (2) months - it was very useful too, especially when I had a large painting. I could use these exhibits as a way of showing, and they hung for (2) months.

ART & PRESENTATION = MONEY

JUNE 2010 ($300 to $2500 artist)

If a gallery presents your work like this, WALK! That is unless of course you have a different objective than selling.

My original 12x8 foot gallery wall - space shared with 3 other artists. No lighting but harsh industrial overhead lighting, which washed paintings out. I used a few designer talents and made it work.

A variety of subjects salon hung, almost frame to frame, comprised of 8x10, 11x14 and 20x24 paintings. My first sale off this wall was (2) 8x10 paintings  @ 300 each (one was my first lily pad painting) 

During the first  (5) months Crossroads sold an 18x24 for around $2500 + the pair of 8x10s above for a total of $3100 - My expenses were more than covered. 

However this space had served it's purpose and it was time to move on. I could not lift my prices any more without going larger than 20x24s. I needed better walls and the "Jump Factor" to do that!

Better Digs for 2011($550 to $5000 artist)

Crossroads offered me a better location at the entrance but shared with another artist.....it was better, and it had "track lighting" albeit not the best looking system I ever saw, but it still worked!

I was offered the left half of this shared space.

Notice no red rug....LOL it was the "best wall painting" above - OK, if you're selling rugs!!

After Betsy and I repainted and hung our work, it looked fresh and neat - all the paintings were well lighted with some air. It started to look a bit more professional.......more like a gallery presentation.

The walls are a much darker taupe than the original colour....not similar as it looks here. It was an odd little space with an alcove. 

Betsy was a good space mate, a very accomplished pastel artist with an outstanding list of national shows and more earned initials after her name than god!  Our work was compatible.....progress! Love it!!

My First Best Wall Painting (before)


Original gallery wall (same painting)

  My Best wall Painting (after)

The game changer wall my "First Best Wall Painting" with good visibility from the main desk but not from the entrance. Betsy had that view....a seniority thing :=)).  

When the lights hit, this painting ROCKED! Betsy jumped first, I didn't see it, I heard it! It got my attention and everyone else too - but not near as much as when it sold quickly for $3600.....This was my first quantifiable best wall...the game was on! 

Note: During my later gallery show, a 30x30 sold for $5,000 and a 48x44 sold for over $6,000, the same size as the painting above $3,600 - the gallery presentation was better, giving my work more perceived value.

For the next (6) months I painted for these walls and made some serious progress, both as an artist and the value of my art. I was a happy camper until I was offered and accepted a solo exhibit at a new gallery, well located in a sleepy upscale harbor town about an hour away. 

Coincidentally it also lined up with my 1st full page ad in American Art Collector. You might think I'm deviating from the point of this article....I promise you I'm not. 

I saw (4) very important things from my solo show; (1) My ad helped sell my ad painting a 30x30 Venice, within 1st half hour, for $5000. and (2) Every solo show needs a serious anchor which I had in a 72x60 Venetian painting @ $10,000; for "The Jump Factor", and it did! (3) A painting sold for over $6,000 was returned the following day because the black liner frame was simply that, a black liner frame.  Perhaps OK for the show but not in home surroundings....Duh! As a designer I knew, as a painter I didn't think about it! (4) I saw my work for the very first time as a separate large collection of (30) odd paintings. The latter, #4, being the most important going forward.

The larger painting held the show and the smaller paintings were lost and for the most part ignored - not surprisingly either, because I see it at Crossroads and through my sales. A 30x30 with a 4" or 5" frame holds its own - anything smaller forget it! I also didn't like my paintings lined up like little soldiers on larger long walls. None took center stage, including larger works. I painted a very large 72x60, originally designed to break up the wall as an anchor painting.....well it didn't work, it was just a bigger soldier! We relocated it at the rear, on a wall by itself, and it "jumped",  commanding all the attention opening night! Until then, not even a "Best Wall",  it worked for exactly the same reason my Best wall Painting above did! It was presented without surrounding clutter "space of its own" and by my definition a "Best Wall Painting"
  
Any painting can be a "Best Wall Painting" providing it has "space of it's own"  

I came back knowing if I ever wanted to sell "Best Wall Paintings" my main objective....I needed better digs!!!

My current space had a top out of $5,000....small works didn't sell much after the big ones started showing up. The space could only hold (1) big painting up to a 60x48. My other wall surfaces were secondary walls and not able to hold anything much larger than a framed 30x30. My other concern was not over- powering my space mate, a pastel artist who worked on a smaller scale.

Even at that, Crossroads sold a lot of paintings from this space - a few larger paintings, but mostly 30x30s well framed with some smaller 20x24s. Anything smaller was a waste of wall space.

However, I did notice a 30x30 could easily sell for the same price as a much larger 48x44. But, I couldn't get much more for the larger one after 5000. So size now was less important with regards to moving my prices forward.....mmmmm....unexpected development!

I mentioned this to Jenni (Crossroads owner) and she agreed, artists hit a value level; ie "this artist work sells between $500 to $1000....mmmmm got it!

During my gallery show a 30x30 sold for $5,000 and a 48x44 sold for over $6,000, the same size as the painting on my first best wall painting (above) $3,600 - the gallery presentation was better, giving my work a more perceived value.

Now Jenni got it too!! She stepped in and got me (2) spaces we could combine into one gallery. Basically a 12x16 space or 192 square feet of well designed gallery space with lighting! We designed it so I had (9) individual wall surfaces to paint for and it worked! My little paintings finally had "space of their own".

Great Digs 2011 - 2012 ($6,000 to $9000 artist)

 First opening - exterior view
Here the red rug and large ottoman work as part of the gallery design because the "RED DOT" ottoman adds logical function

 Interior view

The Venice painting is 72x60 (the anchor at my recent solo show) and the 20x20 studies in 23kt gold water gilded frames are left - no one looked at those (other than the frames) but they did the big one - oddly I didn't have a good wall to show the 72x60 right + plus it was a gallery wrap (to-date the only one). In this setup the painting looks unfinished and if nothing else it needed a clean floater frame.....visual lesson learned well. 

Last opening in this space

 
My Clients understand this space because I'm showing up front how my paintings will work as standalone "Best Wall Paintings" in a softer home environment!!

If small paintings didn't sell before, they really didn't here....LOL

I augmented my gallery with a national ad campaign using American Art Collector. It was a very good sales tool for me and my galleries. In some cases the ads sold a painting. Aside from my first gallery, W.H. Patterson, I was now represented by other galleries. 

Here we go again - never satisfied, but it was time to move on because the maximum dollar amount of $9,000 was reached and again my cool little gallery had size limitations. I was not able to break the 10K barrier. I came close a few times and I already raised the painting bar and that didn't work so it was time to use size as a way of breaking through. It worked before, so there is no reason to believe it can't work again. To do this I would need even larger paintings and lots of space. Most galleries don't have this kind of space either. They carry many artists, which eventually causes them to reduce the large paintings. Guess what, my alternative gallery did!

THIS IS WHY I'M ALSO IN AN ALTERNATIVE GALLERY AND WISH THIS WAS THE NORM OVER THE REALITY FOR ARTISTS

2012 Exceptional New Digs

Finally a completed painting

It took a bit longer than expected with more than one crash and burn but it's finished and signed! The only chore left is varnishing and framing. 

I'm still not sure if this is the final title but I am sure it will be part of the Progressions Sun series - 683 being stage one as the sun is rising reflecting on the waters surface.

COMPLETED PAINTING

 683 Reflections and Koi - Stage One  60x192 oil on linen (9-7-12)

 Panel 1 of 4

 Panel 2 of 4

 Panel 3 of 4

Panel 4 of 4

This coming week will be spent changing out the gallery wall colours to better harmonize with my paintings. Plus a very long boring 26' wall will be broken up into (3) separate displays using a new10' wall projected out about 12" at the center line. It will reduce the number of paintings but those paintings will have more presence, which I think is a good trade off.

You can see how the paintings line up like soldiers - none really commanding attention. I also have a bit of necessary function to hide so my new 10' feature wall will do that and still give access. 

Chuck Larivey and the business of art - my updated recap

I thought it might be interesting and perhaps useful sharing some of my journey over the last 3 1/2 years with a more organized recap version of what I actually did and how it related to the business side and what it took to merge my art into it.

My career path is design specific to me, and not necessarily adaptable, but it does have a lot of common ground. 

What surprised me, is that it had a very logical flow, sometimes intuitive but looking back very deliberate. 

As we move from one sand box to the next we naturally rise to the occasion - work the sand and move on. Very much like one of my favorite subjects, Koi, however unlike the Koi, we have control! 

As we grow opportunity has a way of presenting itself - absolutely fascinating how that works too!

HISTORY

#1 Landscape 16 x 20 oil on cotton panel (3-16-09)

With this small painting I had some choices to make as an artist. Would it be a pastime or as a professional. And if as a professional, would I treat it like a normal business.  And if I did, what did I want out of it? 

I had the answers before the paint was dry and before my 2nd painting, in fact the very next day....PROFESSIONAL!

GOAL

• Become a financially successful oil painter enjoying an International reputation.
• Paint at least 5000 canvases, leaving those not sold in a trust for the benefit of my family. I also included  an endowment to the arts, supporting emerging artists. 

NOTE: Currently at #731 with 4,269 to go 

 PLAN

• 15-Year time frame (I'll be 83..LOL)

• Develop a marketable product (all businesses need one)

• Establish a value for the collection through sales

• Credibility and peer validation (prestigious juried shows held at prestigious galleries)

• Market through galleries, internet websites, blogs and most important, for name recognition, a national ad campaign.

• Secure the services of an agent or PR firm (not in original plan but as time went on needed) 
• Set up a Trust

This was a good outline to start my new career from. I allowed 15 years; enough time to accomplish all my goals. Now all I had to do was start working at it. My logical course was to break it down to basics with a yearly goal.

1st YEAR 2009

• Redevelop my skills as an oil painter - I allowed (1) year and this was not about sales

• Join professional artists groups - meet other artists and become involved

• Website (FASO) Fine Art Studio Online as a launching pad - a stable address where I could be found and my work shown (now with prices). At the beginning FASO was an important tool and a way of judging myself against other artists.

I spent (6) months painting plein air daily (almost exclusively) rain or shine, only later moving into the studio. 

In my 1st year I completed 202 paintings of various sizes and subjects -  no subject was out of bounds.

While doing plein air I also discovered "Our James River" and "My Sun", and for the most part these were a basis for all my studio paintings during the 1st year. 

My first year was remarkable - my plan was working to perfection. I did all my list and even got in a few national shows on top of it, including one in London at the prestigious W. H. Patterson Gallery. Love it! Hanging with the big boys!

126 Libby Sunset - Richmond 18x24 oil on linen panel (8-4-09)

Juried into Oil Painters of America 2009 Eastern Exhibit - Corse Gallery in Jacksonville, Fl.

Even with my 1st years progress I was a long way from my goal of having a saleable PRODUCT!

2nd YEAR 2010

• Develop paintable subjects for the regional and International market place. This is a big deal if you want to move beyond your local sandbox. This did not mean gallery paintings (3rd year). Good examples; Venice and Koi, discovered while painting plein air at Maymont.

• Regional market testing through sales (if possible).

• Peer Validation by entering more National and International juried bricks and mortar exhibits (prize money is significant and it's a very competitive sport)

My second year was as good as my first - I stayed on task - painted daily.  Worked mostly on paintable subjects like Venice, the James, Koi and the National Parks....many for juried shows. 

About mid-year I started looking for a bricks and mortar place to show and test my wares - I did a lot of research too. In my case I was not ready for galleries yet. So instead, I looked into alternatives.  Crossroads came into play here as being very important - especially with regards to creative control and product development, which is really what I needed to focus on.

Towards the end of 2010 I started painting large with galleries in mind - a whole new learning curve, but I was on the right track.  

By the end of my 2nd year I painted an additional 225 paintings for a total of 427. I even had some sales both online and at Crossroads.

MY 2010 GAME CHANGER 

BEST WALL PAINTING 

 389 Belle Isle Quarry Lilies 48x40 oil on linen (10-17-2010)

Sold @ Crossroads for $3600 soon after it was hung on my new feature wall in a shared gallery space with Betsy Kellum.

The gallery space was well placed near the entrance, had some lighting and this one wall, not seen from the entrance but it could be from the reception desk (command center). Up until this point not a feature wall....that was until this painting was hung and well lighted and displayed as a single (best walls paintings would be)  

The jump factor took over and in a nano second people got it! 

"Presentation and how a painting is presented is as important as the painting itself"

If there was ever a pivotal point in the sand, you could actually point to, this was it! It validated what I knew as a designer; presentation is everything! But, more importantly in that nano second it changed for me, other artists at the center and the center itself. Because soon after, Crossroads made it happen for other artists - if there ever was a joint venture between artists and gallery, its at Crossroads in its purest form!

My next year 2011 would be important because the fundamentals were in place - I did my homework and it was make it or break it time...I needed a 1st class product!!

3rd YEAR 2011

• Fine tune my subject matter based on sales 
• Paint larger gallery quality paintings and paint only for the best walls 
• Product presentation and framing
• National ad campaign - name recognition & gallery search
• Blogging
• Continue on with Juried events - more peer credits
• Increase sales and firmly establish my value as an artist

I devoured my list and looked for more....I was in the game! 

The minute I started showing some of these 1st "best wall" paintings at Crossroads, I started selling, and my prices moved accordingly. 

Looking back, until I started to sell, my price points were all over the place.  

I used all the normal recipes like square inches and size......however what worked in the end was going online using FASO and seeing how similar work was priced by successful artists. 

FASO from the start was a tremendous help in many other areas.  It allowed me and anyone else for that matter, to access and search the websites of the top artists here and abroad. I could see their work. galleries, prices (if they had it) and any works they sold..... ...a very useful and necessary tool - after all, these artists would be my competition!

Soon I needed a better gallery space at Crossroads. I wanted a space similar to the Caboose gallery, more contained than a shared space. Jenni made it happen!

This may have been an "Ah ha moment" for Jenni, I know it was for me!

I had a very nice gallery space with creative control which I changed out every two months - lined up with Crossroads different exhibits. Basically a one man show for me. The space holds a dozen or so paintings depending on size.  It's well designed and at 192 sq. it worked remarkably well and I painted to it!


Some interesting things happened once I started showing larger works; the smaller paintings stopped selling - another oddity, I originally used size to move my prices up but it soon became clear a 30x30 could sell for the same or more than a 60x48. Pricing finally revolves around the "jump factor" a painting produces in a buyer. I always knew this as a designer, but now I was seeing it first hand with my paintings.

I had a product at the end of 2011 and a 1st class one at that! I painted 194 paintings for a total of 621 paintings, and sold about 30 or so from $550 to $8,500. It had a lot to do with my subject choice, size and how my work was presented and framed.....it made a difference!

A FEW 2011 BEST WALL PAINTINGS 

 616 Koi and Lilies 56x46 oil on linen (12-1-11)

 619 Prussian Moon - James from Belle Isle 48x44 oil on linen (12-19-11)

 

 620 Ballerinas Lacing up 36x36 oil on linen (12-25-11)

In 2012, I know this could not have been done if I had used the normal gallery system! WOW! that's a shift and it will influence my future thinking.

4th YEAR 2012

I had no real list going into my 4th year 2012. This thing moved very smoothly, very fast and well beyond my expectations.  I just continue doing everything that worked from the previous years because ....aside from gallery searching I really didn't know what to do next! 

I knew there was a a lot more to it tho!

But, over a bit of time, a new plan developed.  Now, the time was right.

• Set up my Trust - explore other charities where my art might be useful
• Find an agent
• Gallery search
• Elite art circles - Museums - Prestigious galleries
• Expand my ad campaign 
• A major art project
• Declutter (after 3 or 4 years a good move) 

Going into 2012 I decided to declutter by limiting my art organizations and juried shows to only one. I chose OPA, (Oil Painters of America) dropping the rest. I didn't need anymore peer and gallery credits, I had enough! In my experience, they didn't have any effect on my sales - my art and the jump factor did! Once they " jump" they don't care about anything other than taking it home.

Peer and gallery credits are useful to galleries and that was why I originally did it.

My interest over time had shifted to the buying public. How could I get to them? Well that was easy, national ads and the internet......it works too....not so much social media like Facebook. Social media is less than 1% of my web traffic - mine is more direct search using my name Chuck Larivey....perhaps 68%.

National ads work remarkably well for global name recognition, opportunities and my gallery search. 

In my case I used full page ads in American Art Collector which I typically painted for....after all I needed the best!

TYPICAL AD IN AAC

As it appeared in the March 2012 issue # 77 

(not a good scanned reproduction)

It was directed to galleries and probably one of my more successful ads

However, the internet and blog is more useful on a global scene. My numbers grow daily - you gotta love Google stats and search engines! And now I-pad, because this is the game changer!

I know my website is used by my collectors making the search and final moves.

I have some link-ins from my galleries but not what you'd think. Interestingly, the galleries want you to add their link but not reciprocate by adding you to theirs. I only have one which has actually done it.....LeGrand Fine Art!

Regrettably, many galleries are regional and not necessarily in the joint venture game with their artists - many in fact, look at artists with websites as competition, and don't want involvement but want control, for fear we will sell direct to their clients......I see it as their issue not mine!

THIS IS A VERY PROBLEMATIC AND COMPLICATED ISSUE 

I finally resolved my position on it and will leave it to others to figure out.

I know from my own experiences, the gallery system had no value with name recognition nationally - advertising in AAC and the internet did.

Getting in galleries is easier than you think - direct your advertising to them with a good painting and they come knocking!

I always felt the gallery system would be my main selling platform. Of course now I know in 2012 it won't be. As an artist I need creative control over all things involving my career and I can't expect a regional gallery to do any of it other than perhaps show my work....god knows they don't sell it!
 

My focus shifted instead, to how to break into the elite art circles - a must at some point - one of the ways is through Charity's and fund raisers. So that's a work in process.  

The first 6 months was much about re-evaluation - I only knew I was on the right track because by the 2nd quarter my sales exceeded last years - not as many paintings as 2011 but most 2012 were "Best Wall Paintings", which caused my numbers to rise faster and higher. 

Proving my main business objective  " why people buy art in the first place, of course their BEST WALLS"

MY FAVORITE 2012 BEST WALL PAINTING

 648 Koi and Lily pads 44x40 oil on linen (4-11-12)

Sold @ Crossroads

Going into September I have a fresh outlook and some new directions!

 

My simple business plan

Produce a list of (18) important items - and as of today I have done it all with the exception of #15. A few are still on-going and a work in progress.

1. Develop skills as an oil painter (1-year - plein air, studio & life painting)
2. Organizing, numbering system, digital imaging with hard copies and a daily calendar showing painting history.
3. Website - FASO (with prices)
4. Blogs & newsletters
5. Key word titles for internet search engines
6. Join professional groups - meet other artists and become involved
7. Credibility & peer validation as an artist – prestigious juried shows (important at the front end - limited value in the overall picture)
8. Developing a product - subject matter – presentation/framing & size "best wall paintings"
9. Paintable subjects - Regional verses Global
10. Product market testing using alternative methods
11. Gallery search (National ads worked)
12. Galleries (yes or no?) & alternatives such as Crossroads and the internet with advertising....perhaps upscale fairs like Art Basil
13. Establish market value (wholesale & retail)
14. Art as an investment – protect your pricing
15. Marketing - P/R Firms and Agents
16. National ad campaigns – decide what you want out of it first?
17. Charity and Art as Marketing tools - mine is RVA based "ChildSavers"
18. Finally, a professional artist with a saleable product 

 CONCLUSION

I split up the list, followed a logical flow, and it worked!

 

Galleries, Museums, residential and commercial properties, require 
“BEST WALLPAINTINGS”

I want to be one of those artist considered.