Magic lamp art marketing eric rhoads art


Much like the Fountain of Youth, I think we all tend to seek out a “magic lamp.” All we have to do is rub it, and “Poof!” A genie will grant us the success we dream of.


Over decades as a marketer, I have sometimes fallen prey to the belief that a magic lamp exists — and I’m happy to report that yes, indeed it does. There is a way to rub a magic lamp and watch your career go “poof” toward success. It will take more effort on your part than you might have hoped, but if you rub the lamp, it will happen.


A “magic lamp” is usually the promise of something too good to be true, raising unrealistic expectations of success with little effort or small investment.


I’m always looking for shortcuts, and even when I know something seems too good to be true, it often tempts me. So I spend my money in hopes of magical results, and poof! Nothing happens.


The biggest seduction in art marketing is the belief that big audience numbers can equal instant success from a single ad. Yet every time I fall into that trap, I wish I had realized that the physics of marketing always matter. There are things that will give you that desired success, and things that won’t. Violating the physics of marketing almost never works.


Most think that advertising to a big audience is like rubbing the lamp. “If only,” they think … “If only I advertise to a giant audience, I’ll sell a painting, or a couple of dozen.”


So they prepare an ad, pay the money, and poof! The money is gone, and there are no results from rubbing that magic lamp.


Oh, in case you think an experienced marketer like me doesn’t sometimes fall for it, think again. One year I decided that the subscribers to a major auction house list would be great potential subscribers for one of my magazines targeting art collectors. It was a big number, and a very high price.


I ran a spreadsheet, and told myself that if just 2 percent signed up, I’d pay for the campaign and make money on it. So I paid $18,000 for one ad, and poof! Something amazing happened. My money disappeared and I sold a grand total of two $40 subscriptions. It cost me $9,000 per subscriber.


Of course I kept waiting for more results, rationalizing that some readers hadn’t seen it yet, or some hadn’t responded yet.


Nothing happened other than my feeling like a buffoon for throwing away a big amount of money.


If there is a magic lamp to marketing art, it is to follow the physics of marketing. I’ve found that every time the physics are right, the results are amazing, and every time I try to shortcut the physics, I fail.


Here is the formula.


Massive Frequency + Great Creative + Targeted Audience + Concentrated Audience + Time + A Ready Buyer + Stability


How big or how small an audience is really does not matter. It’s a trap we all fall into, but the reality is that a small audience could result in the sale of every painting you could possibly produce.


Though it seems logical to believe the odds are better because you are exposed to more people, more isn’t what you need.


The physics of advertising work very much the way friendships work, or the way business relationships work.

  • When you meet someone new at a cocktail party, it’s a quick hello.
  • If by chance there is some interest in getting to know the person, you may engage in a conversation.
  • Then maybe you run into them at another event, and remember you found them interesting.
  • That conversation may lead to a follow-up call or meeting.
  • Then maybe another call or meeting.
  • If, over time, the relationship gels, it can turn into a casual friendship.
  • Combined with time, that friendship might lead to a deep friendship, at which time trust happens.
  • The longer the time, the deeper the trust.
  • The deepest relationships tend to develop over long periods of time.


But there are also other factors to relationships, like chemistry and bonds through common interests.

In the early stages, you know you don’t dare abuse the relationship with a big ask, like a favor or an introduction. It’s just too soon to ask for anything, and doing so could result in the end of the budding friendship. If you ask for too much, too soon, or inappropriately, trust is lost. But the deeper the relationship, the bigger the possible ask.


Let’s examine the elements of the formula, the “magic lamp”:


Advertising and marketing is about frequency. The more they see you, the closer you get to a point of awareness, then deeper awareness, then the early stages of interest, then deeper stages of interest, then finally trust and its deeper stages as well.  


Frequency is different from repetition. Frequency is the number of impressions a single individual receives within a certain amount of time. For instance, you could repeat an ad in a publication, but if a person didn’t see or notice that instance of the ad, that repetition doesn’t count toward their frequency.


Marketers have known for decades that a person needs to have a frequency of seven before they will be ready to buy something. If you can get seven impressions — repetitions that are seen — within a shorter window, the process can, in theory, be sped up.


But if you’re selling art, the message has to get someone’s attention and appeal to their interest and the buyer has to be in the right mood and the timing right to buy.


Great Creative:

The problem is that most advertising is competing for the attention of the buyer. We are all exposed to thousands of ad messages every day. Which ones are going to get you to sit up and take notice?


The creative is the content of your ad, made up of your design, your headline, the art featured, the story or message you’re communicating, and the call to action.


In the art world, most ads tend to look alike.


I was once in a meeting with an advertising agency and the CEO of a company who wanted them to help him sell aluminum siding. His instructions to the agency: Don’t do a before-and-after picture. Why? That’s what all the other aluminum siding companies did.

What are you going to do to stand out? If you’re in a 100-page magazine with 40 pages of ads, why will someone stop and read your ad instead of the other 39?

The answer is in powerful creative concepts. Frankly, the most important part of any ad is the headline. Ninety-five percent of the results from an ad will come from a powerful headline that stops the reader in her tracks.


Once you have a great headline, the other elements come into play, like a great opening line, a real emotional connection through your story or message, and a call to take a specific action. Plus information on how to get in touch with you, and an incentive to do so right now.


Concentrated Audience:

Perhaps the biggest mistake people make, and one of the most common, is assuming that the people who read one art magazine read another. Though there is some overlap, it’s not all that large. So an advertiser will run an ad or two, not see results, and jump ship to a different publication. A couple of ads there and they jump ship to another, then another, and so on. It is imperative to concentrate your advertising in a single place. Otherwise you lose momentum and the opportunity to build awareness and trust.


Though using multiple publications or mediums is fine, you should only do it if you can afford to dominate and build the necessary frequency over long periods of time.


Targeted Audience:

Big audiences alone are not enough. You could go into Reader’s Digest, with millions of readers, but the chances of selling art would be slim. You could even go into an art publication with a big audience and still have a slim chance of selling. You need a publication or website or mail list that has a proven track record of selling paintings in the price range of the paintings you’re selling.

Many publications sell wholesale copies for a few dollars to build their audience numbers. Their subscribers love art, but they may not have two dimes to rub together. If they’re not buyers, the audience numbers might be good for your ego, but ego strokes won’t pay your rent.



Like friendship, it takes time to build awareness, interest, and trust before anyone will take action. People want to watch you, see if you consistently produce good results, see indicators that you are becoming successful or collectable. They might discover you, love your work and be keeping an eye on you, but are not responding because, in their mind, it’s not time yet. About the time you’re getting frustrated that you’re not getting any results is about the time people are just starting to pay attention. Marketing is a commitment of time — an ongoing commitment. As long as you’re in the art business, you’re in art marketing.


How much time? You’ll need to assume that as long as you are in business, you’ll need to keep a constant presence with the audience you have chosen. It takes about one year to start seeing results, but the second year makes up for the lack of sales in the first, and it builds on itself over time. The more your brand grows, the more trust, prominence, and collectability grow. Old Masters are famous both because they were, in fact, masters, but also because of the passage of time — their names have been known for generations. The good news is that there are many ways you can speed up time, with some good strategic thinking.


A Ready Buyer:

Art purchases are unpredictable. Sometimes the buyer sees a painting and buys it on impulse. Other times it’s because they have a need to fill — a home or office to decorate, a gift to buy. Just because someone sees your ad does not mean they are ready to buy right now. Everyone has their own timing. Maybe they get a bonus at work, they sell a business, their kids are no longer in college and they feel flush with cash. There is no way to predict this, and that is why the next point is so important.



Imagine this. Someone looks at an art magazine, and has been seeing your paintings for a few months in a row. They’ve grown to like the work, but don’t always remember the artist’s name yet. Then a new issue comes in, and they see THE painting and decide they want to buy it. They mark the page and put the magazine in a pile, fully intending to go online or inquire about the price. But they get distracted, they forget, life goes on, and you fall off their radar. Then the next issue of the magazine comes in and they suddenly remember, “Last month there was an artist in here I was interested in. Who was it?” So they flip through looking for an ad that reminds them of your name or your painting. It’s not there. They move on, and you miss a sale.


Stability means a constant presence. Understanding that people won’t remember your name and that it takes a long time to get them to remember it, so you need to be there at all times. They may have a birthday gift to buy and know their spouse liked your work, but neither can remember your name. If you’re not always present, you’re not there when they come into the market to buy.


We discovered that this is true of articles, too. If someone views your work in an article, not only do you need to be present in that issue so they know how to find you, you need to remind them of yourself for at least one or two issues after. People get busy and forget to take action, and your presence in the issue acts as a reminder.


It took me decades of mistakes and experimentation in the advertising and magazine publishing business to understand how this all really works. It really is counter-intuitive.


If you want to build an overnight success, just know that physics still apply. Though there are strategies you can employ to speed the process, it still requires all the key elements of the physics of marketing. This is the closest thing I have found to the magic lamp, and if followed, it will grant you all your wishes.

About the author:
Eric Rhoads has been a publisher of ad-based magazines for over 25 years and is the publisher of Fine Art Connoisseur, PleinAir, and Artists on Art magazines. He writes a regular blog on art marketing at and has produced five videos in the Art Marketing Boot Camp series on art marketing techniques and strategy, available at