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What to Do if Your Art Stops Selling

Last week an artist told me he was suffering. His sales were way off, and the steady income he had become used to had suddenly come to a stop. He also told me his galleries were not selling much of his work anymore.

I asked him what he thought the problem was, and he told me he is doing everything he can to generate income … more workshops, working on a book, working on a video, getting into more plein air events, doing an online mentoring program and an online school, and trying to schedule some gallery shows.

As I probed this with him, I asked which came first … all the activities or the slump in sales? His answer was no surprise. “I was doing really well and hardly had to do anything to sell paintings, but I wanted to make more money, so I started working on these other projects.” When I asked him if he was painting as much and sending as much to the galleries, he said, “Well, no. I don’t have as much time.”

This is going to sound absolutely counterintuitive, but less is more.

The disease many of us have is thinking we have reached a peak with our income and that therefore we need to start doing new things to bring in more money.

An example is my buddy Jim. Jim owns a coffee pot business. It’s a pretty big business. He has pots made in China with his brand, and he sells them on Amazon. He has made a lot of money, but when we last met, he told me he was getting out of the coffee pot business and getting into the vitamin business. 

Why? Pots had stopped selling as well, and he sees lots of people making a lot of money in vitamins. 

The grass is always greener. Someone else looks successful doing other things, yet we forget that when we do new things, there is a tremendous learning curve, time to understand it, and often it’s not naturally in our skill set. Someone else might be successful, but we don’t know how many decades of struggle they went through to get there, or how much money it cost them to start.

Any time you start chasing shiny objects, you suffer somewhere else. I should know. Success magazine called me the “Shiny Object King,” and it was not necessarily a compliment, though their point was that some shiny objects turned out to be better businesses than what I had.

As an artist selling art, you are a small business. All businesses have up and down cycles. Sometimes those downs are caused by the economy, sometimes they’re caused by a change in the industry or business, sometimes they’re impacted by events like the California fires or election fears. Sometimes we don’t know.

Something I do know: In Ecclesiastes it says there is a time to reap and a time to sow. I find that when business is off, we have to put the shiny objects aside and protect our core business. 

My friend Jim is giving up because he is in a down cycle and moving to something else, forgetting that startups are hard. I think that instead he needs to keep his head down and stay completely focused on solving the problem.

We all love to place blame. It’s a lot easier to place blame on other people, or other things or conditions. But my friend Jim is to blame for his own problem, as is the artist who got so distracted by shiny objects he failed to protect his core business. 

There are two issues with shiny objects. First, they are a distraction. Second, they send signals to the market. With social media, people know everything. This artist used to post paintings and thank customers for buying, but for the past year or two, all of his posts have been about his shiny objects. That’s sending a signal to his market that he’s bored with painting and has moved on to other things. I’ve been seeing this a lot lately.

There is no problem with wanting more income, but you want to start with this question…

If I focused more energy on my existing business, could I find a way to grow it to the level of income I want from all my other shiny objects? The answer is yes, and if you don’t know how, all you have to do is find out. There are plenty of experts out there to help.

What if, right now, you had every customer you’ve ever had?

Most people buy one painting from you. But what if 50 percent of the people who bought one painting from you bought one painting a year? Would that change your income? Of course.

The solution to every problem is found in a series of questions. If you ask great questions, and you try to come up with 50 answers for each question, and don’t just pick the first few easy answers, you’ll solve any problem.

The same day this artist told me that nothing is selling, his friends aren’t selling, and he thinks we’re in a bad economy, another friend told me he sold more art this year than any year in his career and that a lot of his friends were thriving too. Hmmm.

Lots of artists I know are coasting and in the danger zone. 

Some things to consider if things are not going as they should:

  1. Am I as focused as I should be?
  2. Am I doing all the things I have normally done to keep business strong?
  3. Am I too reliant on others for my income? Should I control it more?
  4. Am I being distracted by shiny objects?
  5. If I could pick only ONE thing to work on for the next two years and could not work on any other thing, what is that one thing?
  6. What questions should I be asking myself? (There are probably dozens.)
    1. How have things changed, and what do I need to be doing differently?
    2. Has my worked changed, and do people want it?
    3. Is my work still relevant? 
    4. Is my category of art still hot?
    5. What could I do to get income out of past buyers?
    6. Am I sending bad signals to the market?
    7. Am I willing to work as hard?

If or when you see things changing, get focused on solving the problem and keep your head down. A concentrated effort can make a huge difference toward solving any problem.

By |2019-11-04T10:11:07-05:00November 1st, 2019|Business, Sales|0 Comments

Why I Hate Marketing

Dear Artist Friends,

I hate marketing.

There, I feel better now that I’ve said it. 

I hate marketing when it’s sleazy. I hate marketing when it’s dishonest. I hate marketing when it exaggerates. I hate marketing when it lies or it misleads.

Most of the artists I know also hate marketing. They think it’s dirty.

In fact, most of the artists I know believe that art should sell itself. That someone should see it, respond to it, and buy it.

I’d like that too.

I’d also like it if I sat down at the counter of a soda fountain in Hollywood and had a producer walk in, discover me, and make me famous. That’s what supposedly happened to Lana Turner, a 1940s Hollywood star. But it turns out it’s a myth — it never happened. It was crafted by a Hollywood PR agent so people would feel more connected to this new star as “one of them.”

Tens of thousands of young wannabe stars show up in Hollywood hoping to be discovered. And those tens of thousands get whittled down to a few hundred who ever get a part, a few who become famous, and a tiny number who stay famous.

Though most in Hollywood want to believe that luck plays a role, most Hollywood agents will tell you that the ones who succeed make their own luck because they outwork everyone else. These “lucky” people do 20 times more auditions, they meet 20 times more people, and they work 20 times as hard. And once they get famous, they keep working 20 times harder because they know that Hollywood is littered with out-of-work “has-been” actors who got lazy once they got famous.

It turns out that marketing your art is similar. The ones who succeed, the ones who get “discovered,” work 20 times harder than most. The ones who succeed continue to market for as long as they plan on selling artwork.

In Hollywood, once you get one part, it helps you to get another and another, if you keep working the system. Art, too, has momentum. Sales lead to sales, as long as you remain visible and continue to get attention.

Marketing is NOT about luck. It’s also not about needing to do anything dirty, sleazy, or dishonest. Most marketing isn’t that.

It’s also not always about talent. There are lots of success stories about people who are not the most talented.

Like the Hollywood actors who are showing up and promoting themselves, it’s the same for artists. Show up and promote yourself. Do it over and over and over.

Showing up in the case of an artist means being seen and finding appropriate and tasteful ways to get noticed. Nothing more.

Showing up can mean mounting an exhibition or show and making sure the world knows about it. It can mean advertising. It can mean social media. It can mean direct mail … postcards, letters, personal notes.

Of course, massive action can work best … doing them all (and more) all at once. 

Luck comes in when you get fast results, which is rare. Most get lucky by building and keeping momentum … showing up again and again, day after day, week after week, year after year.

I watched an artist’s career launched by massive action … showing up constantly and consistently for about five straight years. 

Then I watched that career decline because the artist decided he was famous and known and no longer needed to do all that hard work. Today no one knows his name, and he is broke. We mistakenly believe that we can market till we see success, then stop.

A commitment to marketing is no different than opening the doors of a store. If your doors are open, the store has to work hard to keep people walking in those doors. Than means continuous advertising, creative promotion, and other things to draw attention for as long as you want customers. When you stop, they stop showing up.

Believe it or not, people are not thinking about you or me all the time. In fact, if we’re not visible, we’re out of mind. (We mistakenly think we’re being seen on social media, but social isn’t being seen by everyone, or even everyone on your friend or follower list.) Therefore we have to determine who the buyers are, where they spend time, and that’s where we need to be … constantly. 

In Hollywood it’s considered career death if your face stops appearing in People magazine. As an artist, if they’re not writing about you, if you’re not advertising and not being seen by the people who continually spend on art, if they are not reading about you (people often confuse advertising with editorial, and that makes them feel like they’re reading about you), and if you’re not staying visible and generating publicity with new shows and exhibitions, you can easily be forgotten.

If you’ve ever found yourself confused about marketing or what to do, just know that anything consistent and frequent is better than waiting around doing nothing because you’re not sure what to do. I’ve built entire careers on advertising alone, which is the most powerful form of marketing other than editorial. The difference is that you can’t get publicity consistently and can’t control if or when you get it. But you can control your advertising.

Consider this. If you want to make a living as an artist, you have to open the door to your “business” and continually work to get people to walk in the door. You can do it tastefully or distastefully. You can blend in by being like everyone else, or you can stand out. But if you do it consistently and never stop, you will be the success you’ve always dreamed of.


By |2019-07-15T12:06:01-05:00July 15th, 2019|Business, Sales|0 Comments

What One Marketing Method Would You Use If You Were Just Getting Started?

Louise Murphy of Fredericksburg, Texas, asks, “What one marketing method would you use if you were just getting started?”

Well, I know you’re eager to get out and start marketing.

But Louise, before you do anything, before you get your work out there and start selling, you need to know where you want to go — before you go there. You don’t get in your car and start driving before you have a destination in mind. Same for this: Before you start marketing, you need to set your goal. Then you’ll build a strategy and tactics to get you to that goal.

I suggest starting small, and building out from there. When getting started, you just want to focus on a couple of things — the important first steps, so to speak. I’d suggest setting one, maybe two goals for things you’d absolutely die to achieve in the next six months.

For instance, if you haven’t sold any of your paintings before, maybe you’d like to sell your first painting and get some money for it. That’s an admirable and achievable first goal; it’s always a really good starting goal for a painter. Or maybe your goal is to find someone to sell your art for you, like an art gallery, or perhaps you’d like to find a partnership where you could display your art for sale in a local restaurant.

It’s so important that you set some basic goals before you do anything.

Secondly, you need to find three really honest people who are professionals and will tell you the truth. People who will tell you if your art is ready or if it still needs some work before you’re ready to start selling. I don’t recommend asking family or close friends; rather, I suggest that those three people could be fellow artists, art gallery owners, or other professionals who know what makes a market-ready piece of art. It’s critical to know if your work is ready for prime time, so to speak. If all three are saying it’s ready, then you probably should have been selling already. If two out of the three really honest people say it’s ready to go to market, then you should try to fix the problem identified by the person who disagrees, but you should still try to start selling while you work on it.

Once you set a goal, then you start to collect the e-mail addresses and mailing addresses of people interested in your work.

One strategy that will be important for your goal of selling is sending people to a website to view your art, so you’ll need to start building a site to show your finished work. You’ll want to get comfortable talking about your work and telling the stories behind your paintings, and maybe blogging about your work as well. These are all important things for new artists getting started.

Building a website, talking about your art, making e-mail and mailing lists of the names of people who like your work … these can all be goals for an artist who’s just starting out. And they’re all things that other successful artists did at some point in their early career.

There are lots of companies that can build a website for you — you don’t have to become too technical or build something from scratch all on your own. Work with people who work with other artists; you’ll want to be sure you’re showcasing your best work.

Once you’ve got a website and a handful of people who are interested in your work and are on that list of yours, you can start working on getting those people to visit your website, and then, hopefully, getting them to buy your artwork.

To summarize: Set goals. Keep them achievable. Make sure your artwork is good enough. Accumulate and capture a list of people who like your art. Build a website, get comfortable talking about your art, and start directing people who have an interest in your work back to your website.

I hope, Louis, that helps you understand a solid art startup.

Interested in growing your art sales and income? Read my best-selling book Make More Money Selling Your Art: Proven Techniques for Turning Your Passion Into Profit.


By |2019-01-24T14:07:06-05:00August 22nd, 2018|Business, Sales|0 Comments

Are First Impressions Killing Your Art Sales?


Last week I gathered my family for our annual visit to a local history museum that we love very much. We’ve been members for years. In fact, I’d received a membership renewal e-mail the week before, which is why the museum became top of mind, prompting us to visit. Thinking I’d be at the front desk to check in anyway, I’d simply renew my membership on the spot, which would probably be faster than taking time online. (I know, it sounds backward.)

We arrived, were asked if we were members, and of course I said we were, and that I had just received a renewal notice. “Sir, you’re not a member. You must be mistaken. You don’t show up in our system.” I was frustrated, but I recognize that people often spell my name wrong, or try to use the name on my credit card, which is not what I go by. Still no results. The looking went on for 10 minutes while my family waited impatiently. Finally, the woman at the desk, sounding angry and frustrated herself, said, “You’re not a member, never have been a member. Would you like to become a member? All you need to do is fill out this form.”

Not wanting to take more time, I simply said, “I’d just like to buy tickets.” At which time I was told, “You’ll have to go to that line over there.” I said, “There is no one at that desk.” “Oh, she’s around somewhere, you’ll have to wait.” I waited, the employee returned, and I overpaid for tickets because I didn’t have my membership.

Sadly, when I get frustrated or disquieted, I lose my joy for a few minutes, and I was grumbling under my breath about the museum. And I kept finding problems. Ultimately, though we go there every year, we decided it was not all that great anymore, so we probably won’t return. And I started to question my own memory. Maybe I wasn’t a member. Of course, that changed today, when another membership renewal notice came by e-mail.

What has this got to do with marketing art?

Every first impression matters. It sets the tone.

If someone goes to your website and can’t find what they are looking for, it sets a tone of frustration. They may have gone there looking for a particular painting, or to check you out, and the second they get frustrated, they leave, and they probably won’t come back.

Or you’re in a booth in a tent show. Someone sees something they want to buy, but you’re busy with a line of other customers and they can’t get your attention, or they hear “I’ll be with you in a minute.” They may wait, or they may tell themselves they will come back later, or they could leave in frustration. Maybe they are in a rush and can’t wait. In any case, you may have lost a sale.

Maybe someone sees your work somewhere and sends you an e-mail, but you’re out at a show and not checking your in-box. What you don’t know is that they are having a big party on Friday, they want that big painting on your website, and you’re not responding. Or perhaps they call and get your voicemail and they don’t leave a message, or they find your message box full — or they simply want to talk to you right now.

You may be thinking, “I’m only human. I can only do so much.” True, but customers think differently. And in these days of instant communication and Amazon purchases, they expect what they want, exactly when they want it. Not five days from now.

In person, first impressions matter too. You’re at an art show and the customer doesn’t feel you’re dressed appropriately, doesn’t like the quality of your frames, thinks the lighting in your booth is bad. Little things have a big impact.

Though you can’t please everyone all the time (and some people are just cranky), just remember that first impressions set the tone for your brand in the customer’s mind. You may have spent thousands of dollars over many years building a brand in a customer’s mind, yet once they decide to take action, their impression changes based on their first real encounter. Either it reinforces your reputation and brand, it’s neutral, or it hurts.  

Though you’re “just one person” and “just an artist who can’t do everything and can’t afford help,” know that you could be losing business. If the phone rings three times and isn’t picked up, they may call the next artist on their list. If you answer “Hold, please,” you’ll lose half of the people who call. If the type on your website is too small to read on a phone, they will probably leave.

To solve this, do a first impressions audit. Ask yourself about every customer entry point and if it is customer-friendly and fine-tuned to give customers what they need the moment they need it. Ask some friends to evaluate everything. See if you can improve it. Though it may cost you money to fix any issues, consider it money well spent in order to capture customers.

First impressions matter, and if you’re in the business of selling art, you’re in business — and that means customers expect the same from you as they would any other business. One painting sale lost a year is too many. If you do an audit, you can fix a lot of little things, and that could mean a change in your sales.

By |2019-01-24T14:13:15-05:00July 26th, 2018|Business, Sales|0 Comments

How to Destroy Customer Relationships in Four Words

Just four little words can turn a happy customer into an unhappy customer. These words, when uttered, send a signal that you don’t care about your customers and that your business is screwed up.

These four little words wound customers and tell them you won’t do whatever it takes for them. They also say you hate your job, hate your company, and are very self-centered.

What are they?

“It’s not my job.”

I was mortified when I was in a grocery store recently; I asked a question, and the man I approached said, “It’s not my job. I don’t actually work for the store, I work for one of the vendors.” Yet he had a store apron on.

The right response might have been, “I’d be happy to help you. Even though I don’t work for the store and I work for a vendor, let me take you to someone who can answer that question.”

You may, in your company or business, have employees who have very distinct roles. In fact, if they encounter a customer who asks them to do something, it may not be their job.

The problem is that if the employee says that, it makes the customer feel unimportant, unheard, and as though employees are unwilling to help. And that sends a devastating message about company management.

The correct response is always, “Yes, how can I help you?” or, “I’d be happy to help you.”

Everyone on the team needs to know that every customer pays their paycheck and that when customers have a negative experience with your company, they’re likely to tell 10 people, who may each tell 10 more people. Suddenly you’ve lost customers, and you may not even know why.

“It’s not my job” leads to “I’m outta work.”

Smart companies need to coach their team to always do what it takes, never pass the buck, to help whenever possible or find someone who can help. Management should also make it known that if they hear of someone using those words, that person will probably be working elsewhere soon.

Treat people the way you want to be treated.

By |2019-01-24T14:45:32-05:00March 9th, 2018|Uncategorized|0 Comments

The Empty Building: What You May Be Missing as an Artist

Minutes from my home, in a very popular part of town, I’ve watched a new office building go up as I pass when driving our kids to and from school each day. Now, after months of construction, the building is ready and available for tenants. The sign went up long before the building was finished, and yet today, months after it’s been finished, it sits empty.

Keep in mind that Austin is booming, companies are leasing space like crazy, and all the neighboring buildings are full.

So what’s the problem? And what does this have to do with marketing art?

Several weeks ago when looking for space for a new studio to shoot art instruction films for Streamline Art Video, I decided this would be a great building to lease part of the space. So I decided to call. But driving by the building, I couldn’t read the phone number. My vision isn’t perfect, but it’s not that bad. So I had to drive into the lot, get close, and copy down the number. That’s mistake number one. Designers tend to go for beauty over practicality. Make sure you understand the distance when someone is viewing your ads, website, etc. For instance, on the phone most websites look bad, but they look good on a computer screen. Problem is that 80 percent of all Internet use is on the phone.

The Phone Call

My call went like this…

“XYZ Properties, can I help you?”

“Yes, I’m interested in the building on 123 Street. Can you tell me something about it?”

“Hold, please.”

Ring … Ring … Ring … Ring… “Hi, this is Bob from XYZ Properties. Please leave a message.”

“Bob, my name is Eric and I’m interested in renting your building at 123 Street. Please phone me — I am ready to move in as quickly as possible.”

Bob never called. Not an hour later. Not a day later. Not a month or now, even two months later.

Oh, I may have missed his call. It’s possible it’s in my phone somewhere. But I looked and I didn’t see it there, nor did I see any additional missed calls.

Now perhaps Bob has a deal and has the whole place rented and decided there is no reason to call. Yet there it sits, two months later, with no cars outside and the “Now Leasing” sign still up.

If Bob does have it rented, a call to me is still important because … you should always return calls. Even if you think there is no reason to. What if I wanted to hire the company to manage my real estate? What if they had a space in another building that was perfect for me? What if I wanted to buy their company? What if I wanted to reach Bob to offer him a job? Sometimes the message left is a smokescreen for the real reason behind a call.

The second reason it’s important to return calls? Now his company has a bad reputation in my eyes.

The even bigger issue, and what I suspect is the truth, is that Bob is lazy. Maybe he never heard my message. Maybe he forgot to call. Or maybe he just hasn’t gotten around to it.

In the sales business, we call people like me a “hot lead.” I was interested at that moment. Fact is, I found another building and have since moved in. I’m no longer a hot lead.

How does this apply to art?

Let’s say someone sends you a note, or calls you, and you don’t know why they got in touch. They want to get a birthday painting for their spouse, but they don’t say that because they don’t want to be sold. But 24 hours pass, and you haven’t called back yet because you are busy. Or maybe you left a message and they didn’t call back, and you didn’t try again.

Finally, when you do reach them, you find out the birthday-gift need was that day, last-minute. And you not only lost a sale, you lost a customer for life.

Now you may be thinking, “I don’t want to be too aggressive,” “I don’t want to appear desperate or needy,” or just, “They will call back.” But what if they lost your number? What if they’ve got busy and have been tied up, and forgot to call you back?

When someone calls you, they are giving you permission to reach them, even if you have to call more than once. Your message might simply be, “Your call is important. I want to make sure I follow up with you.” But at least call once.

The key is to call back as quickly as humanly possible. Make them feel important. If you don’t reach them, call a couple more times at least. If you can find them on LinkedIn or Facebook, send them a message.

You never know what is on someone’s mind. Always follow up as fast as possible.

We are living in an e-mail and texting culture, and there is a generation of people who don’t use phones to call, but only text. If this is the case, the text and e-mail information should be on the sign. (Always provide multiple options to reach you on EVERYTHING you do.)

My guess is that Bob is lazy and the building will sit empty till Bob’s boss find someone else to fill it.


PS: I’m doing a weekly blog called Sunday Coffee, where I talk about art, life and just stuff that interests me. You can subscribe or read it at www.coffeewitheric.com.

By |2019-01-24T14:13:04-05:00February 28th, 2018|Business, Sales|0 Comments

The Ultimate Power of Branding: Why a da Vinci Sold for $450.3 Million

Image: Christie’s

Chances are you saw the buzz about the painting called Salvator Mundi (Latin for “Savior of the World”) by Leonardo da Vinci, which was offered recently by Christie’s auction house.

The painting was sold to an undisclosed buyer for $450.3 million, the highest price ever paid for a work of art at an auction. Prior to this, Picasso’s Le Femmes D’Alger (Version “O”)  held the record at $179 million. Willem de Kooning’s Interchange is known to have been sold privately in September 2015 to Kenneth C. Griffin, a hedge fund manager, who paid about $300 million.

The history of pricing for Salvator Mundi makes this branding story even more amazing. The painting was once owned by King Charles I of England, but after his death it was sold several times, then dropped from view until 1900, when a British collector acquired it. At the time it was attributed not to Leonardo, but to one of his students.

In 1958 the painting was sold again, and then, in 2005, it was acquired by a consortium of art dealers who bought it for less than $10,000 because it was damaged and not attributed to the master himself.

With great patience, the dealers had the painting restored and authenticated as a genuine work by Leonardo. Via Sotheby’s, they sold the painting in 2013 to Swiss businessman Yves Bouvier, who paid $80 million. Bouvier quickly flipped it to billionaire Dmitry Rybolovlev for $127.5 million, making a quick $48 million. (That transaction and others between the two buyers led to a tangle of lawsuits, still unresolved.) It was Rybolovlev who commissioned Christie’s to sell the painting, and it sold for $450.3 million.

So why did this painting sell for so much, and what marketing lessons can be learned from that?

  1. Branding
    If you were to ask people what they think is the best painting in the world, most would say da Vinci’s Mona Lisa or The Last Supper. People who know little about art will visit the Mona Lisa at the Louvre and not even look at anything else in the museum. That means the da Vinci brand is probably the most important of all artist brands. It’s the brand of the artist and his two most famous paintings that make this painting so desirable.

    But is that the only reason this painting went from $10,000 in 2005 to $450.3 million just 12 years later?
  2. Scarcity
    Part of the da Vinci brand is the scarcity of the paintings. Fewer than 20 paintings by Leonardo are known to have survived. People want what they can’t have. Christie’s referred to the painting as “The Last da Vinci” — the only known painting by the Renaissance master still in the hands of a private collector.
  3. Making the Painting Famous
    Christie’s broke all the rules for auction houses on this painting. Rather than sticking to the conventional approach to bringing a painting to auction, they hired a marketing agency, Gouzer and Heller. Christie’s knew this was a chance to make the sale of a lifetime, so, rather than relying on their own expertise, they hired professionals to make the painting famous leading up to the auction.

    The agency created a video that positioned the painting as “the Holy Grail” of the auction business and compared it to “the discovery of a new planet,” and the video soon went viral. They also brought in top experts to verify the painting and talk about how remarkable it is. Outside experts’ approval is more powerful than singing one’s own praises.
  4. Patience and Timing
    Christie’s took their time. Rather than jumping the gun and putting the painting up for auction the moment they received it, they carefully built out a series of viewings around the world. Thousands of people lined up to see the work at pre-auction viewings in Hong Kong, London, San Francisco, and New York.

    And the auction itself was timed to take advantage of the release of Walter Isaacson’s new Da Vinci biography, which was bound to help create interest in the painting (and now the painting is creating interest in the book). It never hurts to ride someone else’s wave.
  5. A Change of Setting
    Christie’s knew that Old Master paintings were not selling well and that attendance at those auctions has been thin. They determined that if they packaged this painting with the Old Masters, it might not bring the buzz and the price they wanted. So they put the painting in a contemporary auction known to attract the best collectors. Sometimes the best way to stand out is to stand where you’re not used to being seen. I always say, “Stand in the river where the money is flowing.”
  6. Star Power Creates Buzz
    Christie’s managed to get a number of celebrities to come to the auction, creating a buzz of anticipation and making the event more important. The auction ultimately had a capacity crowd and attracted the top dealers and collectors in the world. They even created special red paddles for the event, which became collector’s items.
  7. Publicity Makes a Difference
    Christie’s generated lots of press about this painting and its heritage before the event. Publicity created talk and desire to see the painting. Well placed articles by credible third parties can do more than any amount of advertising.

There is no doubt in my mind that this painting would have been the most expensive painting ever sold at auction no matter what Christie’s did, but the money spent on marketing probably doubled or tripled its value. Rather than selling for $150 million, it sold for $450.3 million. Whatever Christie’s paid for the marketing was well worth it.

This is the best example of art marketing in the history of art.

What can artists learn from this great marketing experience?

1. Understand that it is important to make and keep your reputation known. Branding is important to all artists, whether it’s done accidentally or deliberately.

2. Don’t rely on hope that people know who you are. Chances are you and I are not as well known as we think we are. Professional advertising and PR campaigns to build awareness can make a big difference.

3. Building a story, a legend, is part of brand-building. Keep your story in front of the eyes of collectors. If you stay visible over your entire career, you can leverage your notoriety into more sales and higher prices. Look for quirks and distinctions, and tell stories to build your own legend.

4. Scarcity matters. Look at artists like T. Allen Lawson or George Carlson. They don’t produce a lot of work each year, but when they do, collectors snatch it up because it’s rare. It also makes their prices higher. If you flood the market, you keep your prices down.

5. Quality matters. Always strive to be the very best you can be, and to become known as the best. Quality alone isn’t enough if no one is aware of you, but it’s absolutely important. Though one can market bad artwork and turn a mediocre artist into a success, I don’t recommend trying it.

There is ample evidence that millions of dollars have been made by artists you and I may not respect from a style or technique standpoint. Yet in most cases these artists did not get “discovered” to become famous. They orchestrated their careers with marketing by building their brands, building awareness of the importance of their work, and increasing their notoriety. The result is that many have been reaping the rewards for years. And after they become well known, they don’t just rely on the momentum they’ve created, they continue to seek ways to stay visible and well known for their lifetime. They understand that if you’re out of sight, you’re out of mind.

Is marketing “evil” or “manipulative”? Well, it can be, but I don’t recommend those approaches.

Marketing done right is really nothing more than helping others find you when they otherwise may never know you exist. Marketing can be done tastefully and with elegance, or it can be done brashly and inappropriately. You control how your marketing is presented.

Christie’s took advantage of the fact that millions of people make a trek to the Louvre each year, walk by hundreds of masterworks, and visit the Mona Lisa behind glass, take a selfie, then leave.

Though Leonardo was one of the most brilliant minds ever to have lived and one of the most masterful of artists, much of his perceived value has been driven by modern marketing efforts by the Louvre to promote the Mona Lisa, which is the biggest draw to the museum. Even still, Christie’s did not rely on that alone; they worked with outsiders to build on that and make that painting even more famous.

Never underestimate the power of a well thought-out marketing strategy. It can make an unknown artist known, or take an artist whose work isn’t selling and make it sell. It can get an artist invited to events and get people buzzing. If marketing is good enough for one of the finest and most respected auction houses in the world, if it’s good enough for Leonardo and Christie’s, it’s good enough for you.

By |2017-11-27T15:20:30-05:00November 27th, 2017|Branding, Direct Marketing, Fine Art|0 Comments

How to Kill an Ad Campaign

Why Getting Sick of Your Ads Will Hurt Your Business


“I’m sick of my ad. Can you come up with something new?” said an advertiser I was working with years ago at my radio station.


I had a choice. I could give him what he wanted and take his money, or I could tell him something he didn’t want to hear at the risk of losing his money. I decided to take the risk and provide an educational moment.


“Why are you sick of it?” I asked.


“All my friends at the country club have heard it, all my employees have heard it and are suggesting I change it. Even my kids are telling me I’m running it too much. Frankly, I’m a little tired of it.”


“Do you mind if I ask you a couple of questions?”


“Sure,” he said.


“When you see ads with a person wearing a little white moustache, what do the ads say?”


He replied, “Got Milk?”


What is it that Nike says on all their ads?


He replied, “Just Do It.”


What happens with an M&M?


He replied “It melts in your mouth, not in your hand.”


Alka Seltzer?


He replied “Plop, plop, fizz, fizz, oh what a relief it is.”


The biggest mistake advertisers make is getting sick of their slogans, their ads, their campaigns. And believe me, they have to resist: Milk processors and dairy farmers used “Got Milk” for 21 years starting in 1993, Nike used “Just do it” for 26+ years starting in 1988, M&Ms  has used the same slogan since 1954, and Alka Seltzer since 1971.


Ad agencies are notorious for destroying heritage campaigns for something fresh and new — and sales usually go down. Look how many ad campaigns and slogans McDonald’s has had — dozens. Yet the one we all still remember is “You deserve a break today.” That campaign ended in 1975.


It may take some time to get the right campaign created and tested, but your goal should be to find a slogan, a concept for your ad, that is strong enough that you can run the same concept forever.


Our friends-and-family test always fails us because they already know you, they already know your business; they already know everything they should know about you. But the person down the road doesn’t know you exist. Your job is to repeat your promise, your uniqueness, your special offer, to that person over and over again.


“But surely they’ve heard it by now. So why keep running it?”


I always get that question, and the answer is simple. In the 1980s it was believed the average person had to hear or see something at least seven times within a short period of time before they would take action on it. Today, due to all the clutter, experts believe it takes 13 times to get someone to act — it’s almost doubled.


We assume because we ran an ad that everyone saw it or heard it, but that’s simply not true. Let’s say that you’re running ads in my magazine Fine Art Connoisseur, which reaches lots of ultra-wealthy consumers. It comes out six times a year. Though people do receive it, what if they flip through it without seeing your ad? What if they are away on a business trip when it comes out and they miss an issue? No media on earth can guarantee that someone will see and absorb something.


There are three elements to the success of an ad. It has to reach the right audience (not necessarily the largest audience); it has to have creative that grabs your attention so that when someone is flipping through, taking less than a second per page, you jump out, grab their attention, and make them read it; and it has to be run with frequency.


Let’s say they flip through the magazine the first time you run it. They notice your ad, but they don’t stop to read it. The next time they flip through, they pause briefly and think, “I’ve seen this,” but then they keep going. Next time, maybe they pause and think, “Hmm, I should read this sometime.” And the next time, they pause and read it. When they see it again, they might think, “I should pay more attention to this.”


Repetition is nothing more than familiarity, like meeting a new person, seeing them time and again, and then, once you trust them, becoming friends. Then and only then does the friendship deepen enough that they enter your world more completely.


There are many other elements that ads need to contain, which I’ll touch on in the future, but the most important thing is to get people to notice and pay attention. Only then does and ad begin to do the selling.


Once that trust and awareness have been established, that’s not an indicator that someone is going to buy. Now they need a reason to buy. It could be an impulsive, “I really like that painting. I want to own it.” But if they get to that point before trust is built, they will probably tell themselves, “But I don’t really know anything about this artist, so I’ll pass.”


You see, interest in buying ebbs and flows. Timing is everything. If someone is in the middle of moving or downsizing, another painting is not what they want at the moment, but three weeks later, when they are in the new condo, buying new furniture, and thinking, “We need something new for over the couch,” they might pay closer attention next time they see your ad.


In my first Art Marketing Boot Camp video, where I describe the basics, I show an escalator with people going up and going down, to represent that people are always in and out of a market. If money is tight, or if something is going on in their lives, like illness or a family issue, they are not buying. If they come into money because college bills ended, they got a bonus at work, they inherited some money, got a raise, or sold a business, they may feel the desire to spend.


Big brand advertisers never stop advertising. They understand that people are always in and out of the market. I don’t want or need a new car today, but in a year my kids will get their license and will probably get my old car. Advertisers understand that there are always changing circumstances. Though they also repeat and repeat to gain top-of-mind awareness, they also know you must be there when the decision to spend is made.


I often tell the story of my friend Raul, who suddenly found himself with a lot of money. Because he loved Sargent, he decided to buy a Sargent painting. Though he was a reader of my magazine, he called and said, “Who carries Sargent? Where can I get one?”


Ironically, the company that sold Sargent had advertised a couple of times and then dropped out because they felt they were not getting any results. A year later, I got this call and I referred him to these people. He bought two Sargent paintings, spending millions. He was lucky he knew to call me. But what about the other 500 who wanted to do the same thing and never found the seller?


Of course, today the answer is “Google it,” but how do you know who is trusted? Reviews? Maybe, but this is where brand-building is important to focus on those most likely to buy (known art buyers) so they recognize your name when they do Google something.


Another friend, a major collector and an avid reader, told me he wanted to buy a Holbein painting. I suggested he go to a particular major fine art fair in Europe. “What’s that?” he said. We were in his office and he had a stack of art magazines, including mine. I flipped through them and found an ad. “Oh I’ve seen that but didn’t know what it was.”


This is a case where perhaps the advertiser assumed everyone already knew about the event. But it had not reached him, either because he did not see it enough times or the message did not cut through. Later, I researched it and found the fair had only advertised twice, about 30 days before the event. They assumed everyone already knew them, so they were not doing enough repetition to get their message across. In a case like this, an advertiser needs to use bold, attention-getting creative.


Usually an advertiser bails out before an ad is working because they assume everyone has seen or heard it, but in reality people are just starting to see it. Great campaigns take time to get attention and rarely work instantly, but once they start working, they work forever. People may have heard the message, but not been in the market. But after years of hearing it, when they are in the market, they buy.


That’s how advertising repetition works.


That advertiser I was telling you about earlier used just our one radio station, because that was all he could afford. But with repetition, he sold so much merchandise that he had to move to a bigger showroom. Then he out grew that one, so he opened a second store, then a third, and by the time I left town, he had built to six or eight stores and was the biggest furniture seller in town.

I’ve not stayed in touch, but chances are some ad agency somewhere talked him into changing his message and his ads — but hopefully did not destroy the business we built.


Whatever you do, do it with repetition. Don’t get overly concerned that people have seen it or heard it, because they go through many stages before they are aware enough to buy, and then they need to be in the market at the right time for them.


By |2017-10-05T14:30:26-05:00August 8th, 2017|Business, Direct Marketing|0 Comments

The Land of Danger for Art Marketers


Imagine walking through the Sahara desert. In every direction you look, you see what seems to be miles and miles of sand. The hot sun is beating down on you and you’ve run out of water. You’ve slowed your pace, and you’re in danger of collapsing and baking in this Sahara oven if you don’t find water soon. Then, as you see the sunlight reflecting off water on the horizon, you muster all your energy to run toward it. But as you get closer, you find there is no water. It’s merely a mirage.

As artists working on our own marketing and branding, we often feel like we’re in the desert. We feel barely able to make it, but then something gives us hope, something gives us the feeling that we’re making great strides — but it’s only a mirage.

Recently I was having a discussion with a company and I asked the marketing team about what percentage of the market was aware of their brand. Boldly, they said, “We know that at least 75 percent of the people in the art world know us.”

It was a mirage.

I was feeling especially kind and non-confrontational that day, so instead of challenging them and giving them a much-needed dose of reality, I simply asked how they knew.

They told me about all the things they were doing and all the places they were doing them. Frankly, it wasn’t much and hadn’t been going on for long, and they had barely scratched the surface. By asking questions, I was finally able to get them to come to that conclusion on their own.

Their perception had been that they were known, even a household name, but it was all a self-imposed mirage. The reality is that they were barely known, if known at all.

As a marketer, your self-confidence (or your ego) can kill your business. When you think you’re doing well, when you think you’re doing everything you can, you start to believe that is enough.

Recently, right after I was on stage and speaking at the opening of the Plein Air Convention, a young woman walked up to me, introduced herself, and asked politely, “Who are you, and what do you do?”


I’m at my own event, with my tribe, I’ve spent tons of time and money on marketing, I’ve told my story a thousand times, yet this person was unaware.

I felt completely stupid and realized I had become overconfident.

The next morning, when I went on stage, I started Art Marketing Boot Camp with my story, because if there was one person there who didn’t know it, chances are there were others.

As someone recently told me, “You cannot tell your story enough.”

Remember that marketing team? After all my questions, I told them that there was a very big chance that they were known by only a small percentage of the entire market. Others might be aware of the company’s name but not know what it does.

We all grow so close to our marketing that we sometimes make insanely stupid assumptions, like…

  • Everyone knows who we are
  • Everyone knows our story
  • Everyone knows exactly what we do
  • Everyone has read everything we ever put out
  • Everyone has visited our website
  • Everyone has seen our artwork

But we need to understand that there are always people entering and exiting the market. Through attrition, our customer list is always changing, on average by 10 percent each year, and in bad economic years, by 30 to 50 percent.

That means you have to…

  • Constantly be telling your story
  • Constantly be helping people know your product or art
  • Constantly bring new people into your list
  • Constantly stay visible

We wrongly assume that because someone sees a story or an ad, they have “captured the message.”

The reality is that most people don’t pay close attention. They don’t read things we think they should read. They skim a lot of things.

And since the average person has to be hit over the head about a dozen times with seeing or hearing your message before they become a prospect, you have to be constantly pushing and repeating that message.

And don’t assume they saw or heard it every time you ran it.

Also, repetition fades with time, so you have to compress time by being seen more frequently over shorter time periods.

There are other critical pieces. You see, every campaign is about four things:

  • What you say and how you get attention
  • How often you say it
  • How often your target prospect sees it
  • Who you say it to, which has to do with where you say it

On stage recently I asked the audience how many had seen ads for “MyPillow.com.” In a room of 1,000 people, only about 30 hands went up.

I’ve seen these ads on TV probably a hundred times in the last year, yet only 3 percent of the room was aware of them.

After seeing the ad for the hundredth time, my wife finally bought the product.

Every buyer has their own timing. Your campaigns need to repeat your story and message to the point that you are personally sick of it and think others are as well.

Even then, you’ve tapped only a small percentage of a market, and sold only a small percentage.

It all works due to the volume of people being reached and the constant repetition of the message.

I’ll bet if I asked the CEO of the company that makes MyPillow, he would say the world knows about his product because of the thousands of people reached and the large number of orders coming in. Yet he would be embarrassed and frustrated with the 3 percent of the room I surveyed.

His marketing person, on the other hand, would probably understand that more time will be required to reach more people, and even then, not everyone will be aware.

The point?

Don’t get overconfident and think the world knows about you or knows the details about your product.

Overconfidence will lead you to think you’re big when you’re not, and will lead you to reduce or stop your marketing because you believe that, or because you’re seeing some results.

Marketing is like a jet that never lands and has to be continually refueled in the air. If you land it, you lose momentum and it’s much harder to take off again — and you’ll see a reduction in business before long.

A great marketer understands the land of danger and the mirage of assuming people know who they are and know their story. A great marketer never lands.

By |2017-10-05T14:45:07-05:00May 3rd, 2017|Business, Direct Marketing|4 Comments

How Art Businesses Die

Though we like to think of ourselves as artists, if we’re selling paintings, we are running a business.

According to trainer Tony Robbins, businesses go through the following cycle:

  • Birth
  • Infancy
  • Toddler
  • Teenager
  • Young Adult
  • Mature Adult
  • Mid-Life
  • Aging
  • Institutionalization
  • Death

Rather than explaining these cycles in depth, I’ll just say they are much like life. Each of us and our art businesses are at a different point in the cycle. If you’re just launching or planning your art business, you’re pregnant and about to give birth. If you’re a teen, you make reckless decisions. The longer you’re in business, the more you mature, until you grow old.

The part of the cycle I want to discuss today is death — when your business is no longer sustainable and there is no one to support it.

My goal is to help you, or those you know, to prevent death — to keep art selling.

All Cycles Are Predictable

One thing always follows the other. The problem is that we often cannot see when we’ve gone from one part of the cycle to another, and if we’re not paying attention, it’s often too late.

Recently I met an artist who had been a queen in the art world. She was a big seller, she’d made a lot of money, but she came to me for marketing advice because nothing is selling anymore.

How is it that an icon, a success, enters the part of aging where the breakdown in the business has been accelerated?

As I asked this woman some questions, it was clear this had been happening gradually over time, but she had not recognized the signals. And she was in denial about her current circumstances. She was placing blame on the economy, claiming that “people just don’t buy art anymore,” which is completely untrue.

In her case, her business had been aging for years, but since that fact went unrecognized, the aging continued until she may have reached the point of no return.

Though I’m always one to believe any circumstances can be changed, I also believe that once we get comfortable with a certain lifestyle, once we get to that point in our careers, we’re often unwilling to do what it takes to reinvent. We get set in our ways.

Not Seeing Obvious Signs

This lovely woman had not seen the key sign — gradually slowing sales. She had been in a number of galleries, but many closed over time and were not replaced. “People are just not buying your work anymore,” she was told.

The reality is that she did not reinvent herself when the signals of mid-life appeared, and never considered that aging would be next. She did not see that some of her galleries were dying, for the same reason she now faces … they did not reinvent themselves. Had she replaced her aging galleries with new, vibrant ones, she may still have been selling work.

“I tried to get a couple of new galleries,” she said, “but the new galleries had no idea who I was and how big I am in the art world. I tried to tell them how big I was, how I sold hundreds of paintings at high prices, but they did not seem interested.”

What had happened is that success killed this woman’s career.

What? How is it possible for success to kill a career or business?

This woman was so successful that she stopped doing what had made her successful in the first place. When I asked her about her early career and her struggles, she told me how she worked the galleries, how she advertised heavily to get collectors even when she had no galleries, and how that resulted in her getting invited to shows and events, which made her better known. It also made her known to the galleries.

Business Was Booming
Within a few years, she had several galleries, and she couldn’t keep up with all the work they were selling. This feast went on for several years. Because she sold so well, the galleries were advertising her work. That continued to build her name, which made her prices go up because she could produce only so much. In fact, demand became so high that the galleries didn’t even need to advertise. All the collectors knew who she was and wanted her work in their collections.

Over time, sales started to slow down. It took a while, but she would sell a little bit less every year. The galleries told her all her collectors were saturated and there was not as much demand for her work. Of course, they gave that as the reason they did not advertise her anymore. There simply was not the demand there used to be. Yet they still sold some — it’s rare that sales just come to a halt. Death in most cases is gradual.

From Queen to Virtually Unknown

I pointed out to her that new galleries did not know who she was because she had not worked to continually brand her name. I pointed out that as an artist, you have to take some control over your success. When the galleries stopped advertising, there was a gradual decline in her sales. I don’t believe it had anything to do with demand or oversaturation. I believe it was because they no longer promoted her.

A fact of life, as an artist or a gallery owner, is that when you fail to do the things that made you successful, you fail to get the results you used to get. When you achieve success and comfort, you can be slowly dying and not realize it.

She Killed Her Own Career
I believe this woman killed her own career because there are always new people coming into the market and other people leaving. In a typical year, it’s probably 20 percent attrition. That means you have to bring in 20 percent more people every year, because if you lose 20 percent of your customers a year, it only takes five years until you have no more customers.

Furthermore, the galleries not advertising sped up the death of her career. They were comfortable with her sales and did not feel they needed to advertise because everyone knew who she was and who the gallery was. They were dead wrong.

How Customers Act
In my first Art Marketing Boot Camp video, I show an up and a down escalator to make the point that people are always leaving and people are always coming into the market to buy. People leave because they age or die, they run out of wall space, they run out of money due to retirement or going to a fixed income or another change in their circumstances, like the loss of a job or needing to save money for college for the kids.

On the other hand, new people are coming into the market because their kids got out of college and they have money again, or they got a raise, or a bonus, or an inheritance.

New people coming into the market don’t know you exist. They don’t know that galleries that have been around for decades exist. They don’t know who has a good or a bad reputation. They have all of that to learn.

A Million Bucks and Nowhere to Spend It
I once met a collector who asked me who to call because he had a million dollars to spend on art and wanted to buy a John Singer Sargent painting. Imagine that. There were people who had been known for many years as experts in Sargent, yet he was not aware of them because they had not been advertising for decades. I had to tell him where to go. (He bought two Sargent paintings.)

Habits of New Buyers
When new buyers (they are not collectors yet) start to get interested in art, they start picking up books or magazines, or start Googling and studying what they find. They discover artists or galleries that are visible at the time they enter the market. New people enter every day, yet most artists or galleries are not there when those people begin to look. Those who happen to be there at the right time start branding themselves and eventually, over time, get a chance at a relationship with that new buyer. Those who are not there stay invisible.

Of course, there are years when 20 percent is a low attrition rate. In a year like 2008, there may have been a loss of 60 or 70 or 80 percent of customers who never returned to the market.

The Impact of the Election
We’ve seen this happen in election years. Both sides play up fears that the world is not going to survive if their candidate is not elected. Consumer confidence is everything. State of mind impacts spending if you think everything is about to get bad. So people lay low for six months or a year, and sometimes even for a few months after the election, until the sting disappears. In fact, we know a lot of artists who had not seen any significant sales for months and only just recently started to see things selling again.

People with art businesses need to anticipate this and be ready for the storm, whether it’s a short- or long-term storm.

In every storm, there are always people spending money, but you have to hunt them down and find them.

Taking Advantage of a Crash
I know of a very smart and successful couple who started a new gallery in 2008, after the crash had happened. Everyone thought they were insane, but they understood human nature. In 2008, almost all the galleries and many artists stopped advertising because business was bad. This couple doubled down on advertising and managed to draw massive attention from the people who were still spending. The environment was less cluttered, too, so they got more value out of their ads. Like a giant magnet, they drew customers away from other galleries that were quickly forgotten because they were out of sight, and out of mind. This gallery was booming as a result.

It’s counterintuitive to spend when things get bad, but there are always buyers. Even the Depression saw massive spending among the wealthy.

Success as a Sign of Near Death?
My dad, a successful business guy, always told me that companies often go from having their best months ever to having their worst months ever almost overnight. The reason is that they hadn’t recognized problems when those problems were revealing themselves. Plus, when times are good, people tend to take more time off, take longer vacations, do more remote management and more spending, and put less money away for a rainy day. Plus, business is so good they assume they don’t need to advertise or even do as many shows. They don’t follow the practices that made them successful.

Momentum Is Powerful
What they fail to understand is that success is the culmination of momentum created by years of doing things right. Momentum does not stop immediately, but if you don’t continue to feed it, your business starts to slowly die, because you’re not staying visible, and not bringing in enough new customers.

By the time they recognize the problem, it’s usually too late. There is no money or no energy or desire to work as hard as they used to.

Uphill, Downhill

It’s like a car that chugs up a hill, but keeps trying till it gets to the top. Then, once at the top, it heads to the bottom, going faster and faster until it’s going so fast the driver doesn’t need to do anything. But if the driver fails to keep the gas on, they’ll coast until the next hill slows them down and, eventually, they stop.

Death can happen to any business, including yours, whether you’re an artist, a gallery, or any business outside of the art world.

Clues Even When You Are Thriving
The best time to pay close attention to the danger signs is when you’re thriving. Because once you hit your mid-life crisis, things begin to break down. Entropy begins. You have to decide if you are going to reinvent yourself and rejuvenate your business by getting aggressive again, by promoting again — or will you decide to just ride it out as long as you can? That is when you really begin to die.

Once things get bad, you’re in denial. You can’t see the problem clearly, and tend to blame the market, the election, “people not spending anymore,” the state of the art world, etc. You feel like a victim, and you begin to attack and blame others. That’s when good employees bail out, because they’ve been saying it all along: “We need to do things differently.”

Death is usually self-imposed.

It’s rarely about market conditions alone. You see smart operators who are ready for the storm of a bad economy or changes in technology or changes in consumer behavior.

A Tough Decision

My friend was faced with a decision and had a tough pill to swallow. Once famous, once rich, once world-renowned as an artist, she was no longer known by the galleries or collectors, and a whole generation of people in charge of art shows and events had never heard her name. She had not been visible for about five years, and she had been forgotten.

To her credit, she did not just lie down to die. She asked what she could do and said she would do everything she could to get another decade or more out of her art career.

We’re working on a plan, and soon the world will know her again. I’m convinced her wonderful art will sell and she will be embraced as she once was. She is fortunate to be in a position where she is able and willing to work at and invest in her career. And she now wishes she had never stopped promoting herself and given up control of her own career.

How to Prevent Death

Whether you own a gallery or are an artist, your best chance for survival is to always assume people are in and out of the market and that you’ll need a plan to stay visible, stay relevant, and bring new people into the fold each and every day. You need to return to the things that made you successful, and you must always be paranoid and never get too comfortable, no matter how well things are going.

You and I both know artists who have been relevant and at the top of their game for decades. It does not just happen. They work hard at staying visible, doing shows, and continually reinventing themselves and exposing their work to new people coming into the market. If they did nothing, they would be unknown today as many once-famous artists are.

Lifetime Commitment
If you’re young or if you’ve got a lot of years ahead, you need to assume that visibility is a lifetime commitment. Too many people think they can run a couple of ads and everyone will flock to them. Your career is a marathon, not a sprint.

Just like you pay the electric bill every month of your life to keep the lights on, you need to pave the way to keep customers flowing to you for a lifetime. When you slow down, the customers may keep coming for a short period, depending on how much momentum you’ve built, but when the momentum ends, there are no more customers.

Death in life isn’t preventable … but it’s preventable in business.

Even old, established companies can die because they get comfortable and arrogant and don’t continue to do what made them successful in the first place. Yet those in a continual state of customer acquisition and occasional reinvention stand a chance of a long and healthy business life. The same is true for artists and galleries.

I wish you great success.

By |2017-06-13T08:57:45-05:00April 16th, 2017|Uncategorized|7 Comments