A lot of us may think that artists are the only ones in the art world that are struggling with the changes, happening via social media platforms, online sales platforms and other PR, marketing and advertising related content, that now have to be made in addition to the work we do in our studio, but it’s actually a global phenomena.
If Martin Luther King had Snapchat, do you think he would be taking selfies with his new Air Jordans rather than fighting for his cause? But what if YouTube channel Unbox Therapy’s Lewis George or “Lew” didn’t have YouTube? Would he still be spreading his love and passion for opening boxes?
Yesterday evening I attended an exhibition opening titled [“Happiness for you and your family”](https://mgml.si/en/center-tobacco/events/531/2019-04-18/17-00/guided-tour-of-the-happiness-for-you-and-your-family-exhibition/). It was a show about the problems of immigration and deportation and tried to showcase the issues of inequality among people in our region.
While the cause is surely a valiant one, the whole execution of the message was far from it and the issue lays not with the message, but the context in which it was presented — the gallery.
No sane business owner has ever said: “Let’s sell this doohickey here at a 10% loss and make absolutely no calculations as to how much we need to make to stay afloat with our rent payment and other expenses.” But artists on the web debate whether or not to charge 2€ or 3€ an hour in places where the minimal hourly rate is about 10€.
The first painting I actually sold was done at a live-painting performance; me and my friend were part of an awards ceremony in high-school and had a live-stream of us painting and creating clay sculptures that was projected in the hall, where the ceremony was taking place.
It was a 100x120 cm colourful canvas with pop-art style pigs painted upside down, and the word “Klabase” (meaning sausage in a rural Slovenian dialect) written in giant bold letters across the whole canvas — you can probably tell I was on a rigorous intellectual path back then.
Cars can sometimes be confusingly used to extend ones, well, let’s call it perception of self to be kind. Art on the other hand, cannot only provide us with a symbolic extension — sometimes it’s even made in the literal shape of one. But today’s podcast is not so much about sizing-up as it is about putting a price tag on it, so brace yourselves, because we’re going to explore the pricing-by-size model of art evaluation.
Pricing our art — especially at the beginning — can be a daunting task and while numerous factors have to be taken into consideration, there is one that doesn’t get talked about that much. The problem is though, it’s one of the most important ones!
Regardless whether you’re aiming to take your art directly to the market and sell on Etsy, SaatchiArt or on your website, or if you wish to go the longer path of getting a gallery to represent your work, a solid base price for your work is imperative.
As art is subjective, we can never really take full control over how a viewer of our show or a customer who bought one of our pieces will understand the work’s narrative. A description of the work might help, but some actually prefer to make up their own mind about what a particular art piece means to them on a strictly personal level, rather than listening to the artist describe what it should mean. And there is absolutely nothing wrong with that in my opinion.
The number of people producing art has never been higher and with everybody including your aunt trying to sell their work and get exhibited, only the best actually manage to do so in the end.
But the issue with art is that beauty is incredibly subjective and there are more concepts and ideas than there are beliefs in the world, so defining the best people in the art business is incomparably harder to do than finding the winners of any sports competition.
There is a wonderful analogy used at the beginning of the book [The E-Myth](https://amzn.to/2USEQbL) by Michael Gerber, where the author describes any entrepreneur as a company of three strongly distinct individuals: the entrepreneur, the operator/manager and the technician/craftsperson.
When we start to offer our skills and services to others, we inevitably become all three, but one of the biggest problems for a lot of us artists (pretty much the majority, really), is that we love the craft and enjoy it immensely, but have no clue or even desire to do the business part and management of our small business.