Art Print Issues by Barney Davey

Exploring Open Edition Art Print Market Opportunities

Art World News Reports on the Fine Art Print Market

The article here is reprinted with permission from the September issue of Art World News. The publication is must reading for visual artists, fine art photographers, art publishers and galleries. This is the first of two articles I wrote on the subject of how artists can benefit from working with open edition prints.

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Exploring Open Edition Art Print Market Opportunities

Reviewing the history the art print market reveals its growth has been fueled by both limited edition and open edition prints. In recent decades, the market divided into camps of limited edition and open edition print publishing models.

Whole cottage industries of art print publishers matured around one model or the other. When managed properly, both models have proven to be successful. This is due to mainstream art buyers rarely favoring one model to the exclusion of the other. Such openness fueled opportunities for both limited and open edition print business models.

Limited editions were borne from necessity.

When the first prints were made, printing techniques forced small print runs. For instance, because etching plates degrade with each press pass, only a small number of high quality prints are possible. The practice of numbering prints was a natural evolution. Art sellers instinctively realized numbered limited editions created a powerful marketing tool, one still used in modern fine art print marketing.

Although there are no limitations to producing very high quality digital prints, many artists and publishers, who have grown their business with limited edition prints, continue to use them to market gicleés. It is easy to understand why these marketers reject upsetting a profitable working model to move into open edition prints. Nevertheless, there are untapped prospects for them in the open edition market.

Massive Change Creates Chaos and Opportunity

Changes in the art print market over the past decade mirror other industries. Major factors include worsening economic conditions, changes in both wholesale distribution and consumer buying habits. Big box retailing, foreign imports, and the growth of e-commerce with its comparative shopping power and purchasing ease compounded the deviations. The speed of changes and widespread acceptance to them completes a picture of chaotic market disruption.

Changes such as these have closed the doors on old business practices while creating new ones. The swift shuttering of 135-year old Decor magazine and its once dominant Decor Expo Atlanta tradeshow is a prime example of how quickly a business can become irrelevant and obsolete. On the upside, artists and publishers are finding new ways to use the significant advantages of print-on-demand (POD) technology, social media, online galleries, personal websites, blogs and more to create new marketing opportunities.  

Print-on-demand Technology Forever Altered the Music, Book Publishing, Film and Art Industries

Smart art marketers use POD technology to meet consumer demands as never before. Although adopting the idea of offering open editions that come in multiple sizes has not come easily to some limited edition art publishers and galleries, it’s time they take note. The future is calling.

The success of Artaissance.com, a publishing company owned by picture framing manufacturing and distribution giant, Larson-Juhl, demonstrates how to take full advantage of POD technology. It encourages buyers to choose canvas or paper. Artaissance understands the importance to buyers of being able to order their art in the size they need to fit their unique spaces. This is a consumer benefit and sales and marketing opportunity rolled together. It’s no surprise the company uses www.ArtThatFits.com to promote its offerings.

Many of Our Most Revered Artists Have Leveraged the Art Print Market

There is a rich history of artists whose works made the case for the open edition print market long before the advent of digital printing. Imagine how the estates of such print market giants as Maxfield Parrish and Ansel Adams would have suffered, as would have millions of their art buying fans, had either chosen to sell strictly limited editions of their images.

The huge success of Art.com verifies art can effectively be sold via e-commerce. Since its business model is nearly all open editions, it also proves strong buyer demand for them. Interestingly, if you research top selling prints on Art.com, you find a mix of classic works by artists such as Van Gogh, Picasso and Monet along with contemporary pieces. This illustrates the interest in quality, both old and new and eclectic buyer tastes.

It's About the Art - Open and Limited Editions Both Sell Well

These observations confirm that quality compelling work, whether old or new, and whether an open or a limited edition, can always find a market. And, they further demonstrate consumers are less concerned about open versus limited editions than wanting to own and live with an image special to them. Limited edition digital prints are not driven by consumer demand. While limiteds offer sales support in a closing room, it is the art itself, whether original, limited or open edition that brings buyers and sellers together.

The achievements of Jen Bekman’s 20x200.com limited edition print online gallery attests to efficacy of the limited edition model.  An April 12, 2010 article on the FastCompany.com website reports, “Since its launch, 20x200 has sold more than 65,000 prints by both emerging and established artists, and in 2009, 20x200 received $885,000 in funding in a Series A round led by True Ventures.”

Marketing Decisions Are Personal Business Decisions Only the Artist Can Make

These are impressive results, especially given recalcitrant market conditions. Such success aside, the question remains whether the site’s accomplishments come at the expense of profits left on the table for those artists whose work would sell well for years to come in open editions.

Given there is ample evidence of potential success with both limited and open edition models, artists frequently ask if they can use the same image both ways. There is no consensus about this question. It’s an ongoing debate leading to a personal decision only the artist can make.

Why Should Visual Artists Be Saddled with a Business Model That Limits Their Income?

I believe visual artists should not be forced to accept artificial caps on the potential income from their works. There is no model in any of the other arts where artists’ works are limited. You don’t find it in films, books, music or theatre. Nor is there any “sold out” backlash when a book, film, or record sells millions of copies. Visual artists should not have artificially imposed limitations on their income when more profitable options are available.

Given digital printing dominates the print market, and has no constraints on endlessly producing pristine reproductions, the idea of using only limited edition digital prints seems arcane and not the best model for the print market in the 21^st Century. I believe artists can succeed with the same image in both limited and open edition prints, if done with honesty, integrity and transparency.

A Workable Model to Sell Both Open and Limited Edition Fine Art Prints

A limited edition of 100 prints in one size on one substrate, hand-embellished by the artist is suggested. This would serve gallery or collector demand for limited editions with full disclosure about open editions. Such an exclusive edition would create a collectible print edition and potential secondary market for the image.

Open editions of the same image could then be offered on a variety of substrates and sizes. They would be of stated lesser quality than the limited edition. Because there are no industry standards on how to manage such practices, artists and publishers need to be transparent with their actions, including publicly posting notices of their publishing practices. 

Reputation Management is the Key to Success Building Repeat Buyers.

How a publisher or artist manages providing full disclosure to all buyers of availability of both limited and open editions is crucial. Treating your buyers, prospective buyers, galleries and dealers with honesty, integrity, and consistency is how to succeed in the print market with open and limited editions.

Savvy consumers have easily available powerful research resources, leaving no room for shabby marketing practices. By the same token, if artists conduct their business in a way that exudes high quality and high integrity, they can build a business model that will allow them to profitably sell their images in both open and limited edition markets without losing sleep or collectors.

A second part to this series will appear next month. It will cover how open editions can affect an artist’s career and legacy. Readers will learn about the hidden costs in limited editions, and get details on artists who have had success being in both limited and open edition print markets.

Art Business Brightened by Uptick in Luxury Home Magazine Ad Sales

The print magazine business is just another sector that has been unmercifully hammered by the convergent effects of tech-driven changes in consumer information consumption and purchasing habits and a perilous economy.

I am an example. Not that long ago, I read every issue of numerous magazines cover-to-cover, including news magazines, trade magazines, art magazines, woodworking magazines and design magazines.

With 24-hour news and a wealth of information on the Internet, I have considerably cut back using print media. And, overall I spend more cautiously. It's obvious my changes are reflective of national trends in consumer habits.

If you’re riding ahead of the herd, take a look back every now and then to make sure it’s still there. ~ Will Rogers

No matter how successful you are, you are not immune to changes. This means if visual artists have game and can bring it, they can grow their art business at the expense of leaders whose market share once seemed bullet proof.

As an example of how things change, look at the magazines that cover the home and interior design field. They have seen the worst of times with ad page sales and circulation lows not seen in decades. Not that long ago smart money would have given long odds that Architectural Digest would be ever be surpassed by Elle Decor. And, it would have been wrong.

Vision, planning and execution are the tickets to success

I note the venerable Magazine Publishers Association (MPA) has changed its name to the Association of Magazine Media, which lacks a ring to my ear. No doubt, this is part of its effort to keep abreast of an evolving situation for print media. It will take more than a name change. Success comes from visionary thinking, smart planning and great execution. These are what makes the difference and cosmetic name changes without it won't save the day. It won't for visual artists either.

It's not just a good time to make changes, it is a necessary time to make changes

A recent story from the Associated Press titled Luxury Home Magazines Get Facelifts offers a positive spin on improvement in the luxury home decor market. The piece reports how changes at top interior design publications are being implemented. The idea is for these properties to try new things so they can stay relevant and keep ahead of the herd without losing it. Readers here should take note of this lesson and consider changing things up to try new things as well.

Ad page sales figures portend well for the art print market

What is truly heartening is the reports of advertising page growth in Architectural Digest, Elle Decor and Traditional Home in 2010. That is a sign that bodes well for the art market. If money is flowing into advertising in the "shelter books", as the home magazine category is nicknamed, then there has to be confidence the consumer is loosening the wallet and may be ready to spend more liberally in 2011.

I have reports from friends in the decorative art market that the poster business improved in 2010. This is encouraging sign for all visual artists. Still, it's not all hearts and roses in the art print market. You can look at the trade magazines that serve the art print market and know things remain anemic. For instance, Decor magazine hasn't had a digital issue or any changes on its website since December.

Trade magazines serving the art print market still hurting

The most recent electronic Art Business News January issue had only 30 pages with many devoted to the Toronto Art Expo, which it is promoting. The digital version of Art World News is a bit more robust with more print advertisers, but still only has 40 total pages. In years past, those books would have carried more than 40 pages of advertising in a January issue.

Ad sales figures like that cannot support a full-time magazine staff. So, we are still not out of the woods with the fate of art print publications, which a terrible shame because when they function as they are capable, they offer the industry leadership, experience and opportunity. The good news from the luxury home publications means if their page growth trend holds up it will help the art print and decorative market as well. Let's hope so.

Art Expo New York remains an industry bellwether

The 32nd Art Expo New York convenes at the end of March. It is aiming for 400 exhibitors. The Toronto Art Expo has about the same target. These are well off the peak years, especially for the New York show. Let's hope for good weather in New York and a decent turnout from buyers. Should these factors occur and the trending good news from the shelter books continues, the result could significantly boost morale and outlook for the remainder of 2011in the art business.

How to Profit from the Art Print Market - 2nd Edition sales are robust

From the very positive sales figures of my newly published and completely rewritten second edition, it appears artists are hungry for useful timely information to help them navigate the art print market today. I can't complain about the book zooming to a top spot on a couple of Amazon.com categories, "Business of Art" and "Prints." 

Sales through this blog and my www.BarneyDavey.com website have exceeded my expectations. Naturally, that is good news for me. Moreover, I believe the optimism shown by the sales of the book is a good harbinger of improving opportunities in the art print market.

Win “To Inform and Delight” Milton Glaser documentary on DVD

To me, as with many in the art and design community, Milton Glaser is a hero. I have written about him many times. This post, Milton Glaser - 10 Things I Have Learned - The Secret of Art, has had more hits and retweets than any of the other nearly 300 I have published since 2007.

Previously I have been honored to be asked to help promote the theatrical release of the documentary on him, To Inform and Delight. In a raffle for my blog readers, I gave both a copy of his book, Drawing is Thinking, and his iconic Bob Dylan poster to the winners who were announced in a later post.

Now to help celebrate the April 27 DVD release of To Inform and Delight, you have a chance to enter and win a copy of the DVD version of this inspiring documentary. Click the sign up button and add your name and email address to be included.

If you have previously registered, send me an email to barney @barneydavey.com and let me know you want to included in the raffle for the DVD drawing. As before, names will be added to a spreadsheet and a random number generator will choose the winner. The drawing will close in two weeks on April 19. The winner will be announced on April 27, the date of the the release.

Because the film is so entertaining and offers so much to learn, I have watched a preview copy twice. Art is all around us. You see it in supermarket signs and restaurant windows. If you live in or visit New York, you see the effects of it everywhere and undoubtedly much that comes from the fertile mind and hand of Milton Glaser. The New York Times had this to say in a review of the film:

"The hallmarks of his work are its simplicity, wit and elegance; it may be commercial art, but with a capital A. One of his strategies, he says, is to appeal to the problem-solving part of the brain by creating simple visual puzzles."

I love the cleverness of his way of thinking. often presented, much like the man, in a compelling and unassuming manner. Milton Glaser is a born teacher and we, his students, are so much the better for it. Film critic, Paul Brenner, offered these observations about Glaser and the film:

At one point in the film, Glaser takes a swipe at 'fine artists' who work in solitary confinement to create artworks that find their way (hopefully) into the arms of single purchasers: 'I could never get the idea of making a painting that somebody would then put in their house. It seemed weird to me. I wanted to do work that was public, that was on the street, that people saw.' And, although Glaser himself possesses fine art that hangs from the walls of his apartment -weird -- as far as New York City is concerned, he has kept to his vision as a public artist and has made his stamp on his hometown as pervasive as Robert Moses, only less Hitleresque. Glaser has an unfettered love for New York City and this love is reflected in his designs. He remarks,'New York does the job that America is supposed to do.' And, at least for Glaser, his designs do the job that art is supposed to do.

Finally, here is a description from NewVideo.com, the company releasing the DVD:

For many, Milton Glaser is the personification of American graphic design.  Best known for co-founding New York Magazine and the enduring I ♥ NY campaign, the full breadth of Glaser's remarkable artistic output is revealed in this documentary portrait, MILTON GLASER: TO INFORM AND DELIGHT.  From newspapers and magazine designs, to interior spaces, logos, and brand identities, to his celebrated prints, drawings, posters and paintings, the documentary offers audiences a much richer appreciation for one of the great modern renaissance men.

Artfully directed by first time filmmaker Wendy Keys, the film glances into everyday moments of Glaser's personal life and capture his immense warmth, humanity and the boundless depth of his intelligence and creativity.

Sign up now for your chance to win this DVD

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West Coast Art & Frame Show & SmARTist Telesummit week.

Last week was a bit hectic. It started Monday with a presentation to the 2010 SmARTist Telesummit attendees on my topic of creating a second income through the art print market.

While I have conducted many seminars via the telephone and Internet, this one was different. After a brief introduction from show producer, Ariane Goodwin, I was off to see how deep into a 41-page slide presentation I could get in 45 minutes.

What made this unique was I talked with no feedback as the attendees' phones were muted. Like most speakers, I prefer getting vocal or visual clues, so this was a challenging way to present. I trust my listeners took value from the presentation. The talk was intended to be enlightening regarding the print market with some basic art marketing concepts included.

Finish one presentation and hit the road for the WCAF Show

Once the SmARTist seminar was over, my wife, Mary, and I jumped in the car for the 300-mile trip to Las Vegas where the first day of the Ninth Annual West Coast Art & Frame Show was underway. There were lots of old friends to see from the art print market, including many I had not seen in years.The print side art business is still in flux and I was eager take the pulse of the market.

Hat's off to the Gherman family and their long-time employees for producing another consistent show in Las Vegas. Watching them and their staff from Picture Framing Magazine interact with exhibitors and buyers was educational in itself. They work very hard at maintaining high touch relationships with all their constituents. The results are proof their efforts pay dividends. I did not encounter sour grapes anywhere, which is remarkable for any tradeshow at anytime. At this juncture, I suppose exhibitors are pleased for a decent chance to get exposure to buyers.

Seeing old friends still producing great work with a hopeful attitude was invigorating

Since I sold John and Laurie Chester of Wild Apple Graphics their first ads and tradeshow spaces, I was thrilled to help them celebrate 20 years in business at their booth. I also realized I was the rep to first sell trade ads and show space to to Michael and Susan Singleton' for their Sagebrush Fine Art and likewise to Nasser Shortorbani and Laurie Downing of Poems Art Publishing. Those companies are just a few years junior to Wild Apple. To find myself decades later still in the art print business with such friends is a precious rewarding experience.

Trade media promoting new venues for Decor Expo Atlanta and ArtExpo New York

This show offered a chance to visit in person with the intrepid bunch from Next Step Media. These former workmates included Kim Feager, Kim Klatt, Renee Pinner and Kristin Stefek Brashares. With Kim Feager's leadership as publisher and new CEO, they salvaged Decor Magazine and the Decor Expo shows from being shut down and put out of business. Fred Rogers also was there. He recently joined the Decor team after years as an exec with former owners Pfingsten Publishing LLC and Summit Business Media LLC.

This group is rightfully excited about relaunching Decor Expo in Atlanta on September 11-13. They are equally thrilled to be back in the refurbished America's Gift Mart running concurrent with the Atlanta Gift Show. It would be a great tribute to them and a sign of industry resilience to see Decor Expo Atlanta roar back to life this fall. They have my fondest wishes for huge success there.

Eric Smith was there representing his Redwood Media company which rescued ArtExpo New York from letting its former owners put it out of business. Like every show producer these days, Eric has his hands full trying to put together a strong enough lineup to draw buyers. In 2010, there are no sure things in the art print market. The recent history of art business tradeshows and art consumer shows proves it.

While I have had issues with ArtExpo's previous investment banker owners, I, then as now, believe losing ArtExpo New York would be a stinging blow to artists, art publishers and the industry at large.  As such, my hope for Eric and his exhibitors is the show does well this coming March. It was a pleasure to visit with both John Haffey and Sarah Seamark who were there to cover the show for Art World News. Their trade publication has been an important voice in the art print market for decades.

In these tough times hope springs eternal ... and it is more than just wishful

Just as my experience with art print exhibitors was fun and inspiring, I found it invigorating to connect with colleagues and friends who remain stalwarts in the art trade media and art tradeshow business. Changes in market conditions have been very hard on art print publishers and harsher yet on the trade media and tradeshows supporting them. So, it was delightful to observe a universal dogged determination to succeed among these long-time industry veterans.

Despite our very difficult economic times, and with other challenges around, these professionals maintain a palpable and realistic positive outlook as they demonstrate their belief the industry they serve is prepared to create new opportunities in bringing the art print market to a new era of prosperity.

Remembering Vivian Kistler

I doubt many reading this post knew Vivian Kistler, which is a shame. You can learn more about her life and contributions to the picture framing industry here. Nevertheless, I want to offer a few words of condolence to her family, friends and co-workers. She was a remarkable dynamo who for 30 years worked tirelessly at educating picture framers.

Vivian was a larger-than-life smart, funny, sassy, no-nonsense woman who produced books, workshops, seminars, videos and other materials for the benefit of those in the picture framing business. You did not have to know, or want to know anything about picture framing, to enjoy watching her put on a seminar. It was guaranteed to be lively, humorous and spot-on with great common sense business advice. Hers is a voice and legacy that will never be known again in our industry.

Milton Glaser Documentary Premiers May 22: Register to win a poster or book!

Register to win a Milton Glaser Poster or book from Art Print Issues (Ed. note, the drawing has concluded and the winners notified)

For many, Milton Glaser is the personification of American graphic design.  Best known for co-founding New York Magazine and the enduring I ♥ NY campaign, the full breadth of Glaser’s remarkable artistic output is revealed in this documentary portrait, MILTON GLASER: TO INFORM AND DELIGHT.  From newspapers and magazine designs, to interior spaces, logos, and brand identities, to his celebrated prints, drawings, posters and paintings, the documentary offers audiences a much richer appreciation for one of the great modern renaissance men.

Artfully directed by first time filmmaker Wendy Keys, the film glances into everyday moments of Glaser’s personal life and captures his immense warmth and humanity, and the boundless depth of his intelligence and creativity.

The documentary premiere is set for May 22. Look for it at an arthouse theatre near you. You are certain to be delighted. 

Last year, I wrote a post reprinting, with Mr. Glaser's kind permission, his iconic 10 Things I Have Learned. To help illustrate the post, he kindly provided a marvelous image titled The Secret of Art. It neatly showcases his  eye and elegance, and his wit and wisdom.

Register to win a Milton Glaser poster like the one above or or a copy of his book, Drawing Is Thinking from Art Print Issues (ed. note The drawing closed and the winners have been notified.)

In honor of the film premiere, and to help raise awareness for it, we are conducting a no-obligation raffle where you will have the chance to win a poster like the one above or a copy of Drawing is Thinking.

 

The rules are simple.

• To register, follow this link and enter your name and email address.
• All entries will be placed in a spreadsheet. A random number generator will be used to determine the winners.
• Winners will need to provide a valid USPS address for free shipping. 
• Multiple entries, duplicate names and email addresses will be disqualified.
• The drawing will take place on May 31.
• Winners will be annouced here and notified by email in early June.

Jack Vettriano Paints Sexiness, Establishes Heartbreak Publishing

The Temptress - Jack Vettriano

"Jack Vettriano is the nation's most successful living artist – his prints outselling the likes of Klimt and Monet. In a frank interview the 'people's painter' talks about his obsession with women of a certain type, why he felt he had to leave Scotland and his ongoing battle to be taken seriously" -

 

Anne Mackenzie in Scotland on Sunday, March 18, 2008

 

Jack Vettriano is more than Scotland's most successful living artist. He is one of the most successful living artists of his era. Sales of his most famous work, The Singing Butler, are reported to make it the best-selling print in the world.

 

As with virtually all visual artists who have enjoyed astronomical art print sales, Vettriano has the uncanny knack of communicating viscerally, emotionally and cerebrally with his collectors. There is no way to fabricate such a connection. It has to come instinctively from the artist.

 

I paint what moves me - sexiness

 

In an article titled, "I paint what moves me - sexiness - Jack Vettriano interview", and from which the opening quote is taken, the painter has this to say, "I could turn out an abstract painting for you but it wouldn't be coming from the heart. What I paint is what moves me." With the sales of his prints and licensing deals that move astonishing amounts of work, it is apparent what moves Vettriano also moves many consumers worldwide as well.

 

Jack Vettriano establishes new art publishing company, Heartbreak Publishing

 

In February 2009, Vettriano established his own publishing company where he is co-owner. It is appropriately named Heartbreak Publishing.Unlike the most typical pattern of many successful artists who go off to start their own solo publishing venture, Vettriano's business model was established to publish his works  and other artists, photographers and designers including: Johanna Basford, David Brayne, Michael Clark, Jacqui Denby, Paul Manousso and Fredi Marcarini. Given the degree of difficulty in launching any publishing business, it is a remarkable and commendable undertaking for Vettriano to cast his net and include other artists.

 

It seems unlikely to me Jack Vettriano plotted to make paintings that would tap the zeitgeist of a generation in such a way to sell incredible amounts of prints and simultaneously pull in a half million or more in USD for his originals. It seems equally unlikely any artist could successfully calculate and execute such a plan. As with great success in any of the arts, there has to be an intersection where talent, ambition, the ability to touch and influence buyers and a bit of luck all come together to produce it.

 

Talent of another sort is required to continually create new works that sell well

 

The trick is to not be a one-trick pony, but rather to continue to mine the mother-lode. That requires staying in tune with collector tastes and  keeping interest in continuing to create new interesting compelling images that reflect an artist's style, but which also show growth. I don't think there is an art school or a business school that can teach such skills. Some of it is inherent or instinctual, some of it comes from gaining business knowledge, some comes from being managed in a way that leverages the interest in the artist's work without overcooking it, but rather a steady simmer.

 

At the end of the day, no one can simply coach Vettriano or any other really successful artist to flatly follow some pre-disposed plan marketing plan to create success. That is well and good, but it takes more. The smart artists take clues from wherever they come. It can be from family, friends and rivals. It can be from business partners, the daily news or notes from collectors. However, ultimately when Vettriano or any other artist sit at the easel, it becomes a solitary task to wring an image from imagination and talent.

 

The desire to sit at the easel and work on the painting has to be compellingly strong. In Vettriano's case it pulled him away from an engineering career and a marriage. You see it over and over where the need to create is so compelling it is life altering. Under the right circumstances you get a Jack Vettriano, or maybe a Bruce Springsteen who reportedly wrote 1500 songs before breaking into the big time with his music career.

 

The best bait will not make the fish bite. They come on their own terms.

 

When the magic that is in a would be best-selling image is released to the public, it gets a life of its own. Yes, it can be expertly advertised, publicized and skillfully promoted, but if the fish aren't biting, no amount bait will bring them in. Vettriano is a perfect example of that notion that the most successful artists help us define ourselves, express ourselves and connect us in communal ways.

 

Jack Vettriano has proven the community that shares an interest in his work can be vast and be vastly profitable for him. It will be fun to observe the success of his new publishing venture boldly launched in a most financially disturbing time. I wish him well and hope his success helps keep the interest in the art print market strong for artists, dealers, retailers, consumers and other new publishers too.

Visual Artist Entrepreneur Seizing Opportunity

Do you blog? Do you post frequently? If so, where do you get your ideas for topics? I don't have a method for finding topics,most of them find me.

I always try to stay open to opportunity. To do that, I read lots of things completely unrelated to the art business. My previous post about using the Ferrari model of selling limited editions of its $600,000 Enzo model is an example. It provided a spark of an idea that could just as easily be applied to the art print market despite the obvious price differences.

Besides finding inspiration in odd places, I usually have a few ideas for posts cogitating and rumbling around my brain and my other brain all of the time. Sometimes they are just waiting for the right stimulus to provoke the post. Such is the case today. My friend Mike Geraghty was one of the first to purchase my book. It was through the book and my newsletter that our friendship evolved into mutual admiration. Enough to survive agreeing to disagree about politics.

I have had the idea to write about Mike's intrepid adventure into another facet of the print market for some time. Alyson Stanfield's recent post, which mentioned a NYTimes.com story, Lucrative Art Careers, on her Art Biz Blog lit the fire for today's post. Alyson is having a BIG SALE on her I'd Rather Be In the Studio book with a whole bunch of freebies good only until December 21. Check out the image on the right sidebar for more details.

Mike is an extraordinarily gifted painter. He is an avid sportsman as well. Hailing from the Baltimore area, site of the Triple Crown's famous Preakness, he gravitated to painting thoroughbreds. You can see his work at his www.ipaintchampions.com Web site. Some say faces or hands are the hardest to draw and paint. But, there is plenty of argument for the degree of difficulty in painting horses as being the hardest. Put them in motion if you want to up the ante. However you come down on that debate, there is no denying Mike's obvious talent.

To say Mike is a smart guy is a given. He did after all jump on my book early on. In the book, I talk about unsung artists who have managed to carve out a successful career selling a steady stream of art prints, but outside of the spotlight that shines on such artists as Thomas Kinkade, Wyland, Robert Bateman, et cetera. Mike is that quintessential artist. Turning out the work, finding his own markets and managing nearly every aspect of his business singlehandedly. My hat is off to him for his success and perseverance.

Mike is an artist entrepreneur who keeps an open mind and looks to seize opportunity when he sees it. A few years ago, he encountered Andy Moursund, who owned a bookstore in a nearby Washington DC suburb. As a hobby, Andy had built up a collection of vintage college football posters. He had a developed a sideline business of inexpensively reproducing them for his customers. When the two met, Mike knew what he was looking at...OPPORTUNITY.

These posters are works of art just as vintage posters are. They may not be of the same quality as a Norman Rockwell Satruday Evening Post cover, but they nevertheless carry great nostalgia and significance, which makes them ripe for the collectible market.

These posters came from a day when illustrators were abundant and worked cheap. It was not huge cost to have original art created for each game poster. Mike and Andy have worked diligently to turn this sideline into a thriving print business. They have secured a professional distribution company and gone about getting proper licensing for each image. This in itself was a huge undertaking. You can see the result of their efforts on their site: www.historicfootballposters.com.

The business continues to grow and I predict it will be a cash cow for them for years to come. When you think about it, it is a near mortal lock type of business. There is a constantly replenished built-in audience of sports fans who love their college football teams -- show this work to some of them and they are going to have to own it. What is great is there is no competition. The images are vintage, the licenses from the universities involved is very hard to achieve, so there will be no knockoffs of this art. I wish them good luck, but am convinced they have already earned it.

As another example of seizing this type of opportunity, I have another friend who has secured the artwork for hundreds of garden and flower seed packets, all vintage. I predict he won't do as well as Mike and Andy, but he's got a potential for doing his own licensing and creating a print catalog that still will be timeless.

Keep your own mind open to opportunity. You might just find a great blog topic. Or if you are really lucky and truly paying attention, you might just find a fun lucrative side business of your own that will help take the pressure off having your art sales carrying your entire overhead.

HDExpo Puts Art in the Hospitality Picture

Changes in the tradeshow scene regarding the art business have been frequently reported here. The traditional industry shows such as ArtExpo and Decor Expo are well off their peak years in size, as are the publications that support them. And, the total number of shows serving the industry are at lows not seen in decades. No matter what factors you use to account for the downward trend, they are sadly there and showing no signs of resurgence.

Tradeshow Woes Are a Problem Across Many Industries

It's not just art and picture framing shows that are on their heels. You needn't look hard to find evidence of contraction in all kinds of industries. Given such a multi-industry trend is surely a cause to wonder if there are alternative shows worth either attending or exhibiting for artists and publishers.

There Are Bright Spots To Be Found

One growing show growing increasingly important to many art publishers and self-representing artists is the HDExpo. It is the sister tradeshow to Hospitality Design magazine, which also is growing in size. These entities primarily serve complete design needs for hotels, restaurants and corporate centers.

Gaining traction in this market is a way to create a steady cash flow from a distribution source outside the gallery and online channels that are top of mind for most artists. Not to say the field isn't competitive. It is, but I have always maintained there is ample room in the most crowded fields for artists who bring a fresh perspective to the scene.

Hospitality Design Magazine Publishes Largest Issue Ever

As a former trade magazine rep, I drooled with lust when I saw the most recent at-show copy of Hospitality Design. At 448-pages plus cover, it resembles a mid-size city phone book. I hadn't seen a trade pub that size since the heyday of Decor magazine's show issues for New York or Atlanta many moons ago. The combination of growing importance of the HDExpo show and the size of the magazine puts an exclamation point on their momentum and the market they represent.

Las Vegas Is a Boom Town for Home Furnishings & Hospitality Design Shows

Las Vegas is also home to the World Market Center. It is the host site of the Las Vegas Market, which also is bucking the downward trend as a huge fast growing international home furnishing marketplace. The common wisdom for decades was no venue could successfully compete against the IHFC show and the concurrent shows in High Point, NC for the home furnishings market.  In just a few short years, the Las Vegas Market has proven there can be a viable alternative to the IHFC.

To Be An Effective Marketer in an Industry, You Must Be a Student of It

Effective marketing is a multi-year strategy. The first stage is to become educated about potentially lucrative markets important and new to your business. If you have your own designs on seeing your originals and reproductions used in the hospitality industry, learn all you can about the shows mentioned here and the markets they represent. You likely don't have the budget to tackle them all. But spending time studying them is a great first step towards getting your foot in the door at one of them at the appropriate time.

On the HDExpo Web site, go to Expo/Exhibitor List/Product Category Search. Start with the Artwork: Prints/Reproductions/Photography category and work your way through all the other appropriate categories for ideas on companies to approach, or to see what those exhibiting are doing on their on Web sites. It will be time well spent to study this terrific resource. And, of course, if you can actually go there, all the better. This year's May 14-17 conference and May 15 -17 exhibition dates are upon us. If it's too quick for this year, tickle it as a must for 2009.

Surtex Offers Artists Yet Another Alternative to Galleries and Selling Online

The Surtex show runs May 18 - 20 at the Jacob Javits Center in Manhattan. Surtex bills itself as a licensing show for original art and design and offers a different kind of distribution and income from the hospitality business. Surtex is a terrific venue for artists who want to license their work. It's a show to walk the first year and then to decide if paying for exhibit space makes sense. Many artists are able to make connections there by respectfully and tactfully approaching publishers and licensors when they are not otherwise busy in their booths. The better you prepare for these shows, the better your experience will be.

Is the Next Big Thing About to Happen?

I've been a huge fan of futurist Watts Wacker since I first heard him speak to a group of tourism executives circa 1999. His presentation was fascinating and full of compelling information.

He was as riveting a speaker as any I've heard. That he managed to mesmerize his audience of business executives while wearing long hair, shorts, sockless loafers and a rumpled button down shirt made him more interesting. It was a rare encounter where I found myself thinking, "How fun it must be to be that smart, that cool, that self-confident and worthy of having organizations fly a person in and pay them thousands to hear their ideas for a mere 90 minutes?"

At the time, his international bestselling book, co-authored with Jim Taylor, The 500 Year Delta: What Happens After What Happens Next was riding high on the charts. And, his subsequent books, Visionary's Hand, and The Deviant's Advantage plus his latest, What's Your Story?: Storytelling to Move Markets, Audiences, People, and Brands provide more profound and practical insight from this informative oracle.

Finding a Way to Fill the Yearning for Authenticity Can Drive Your Art Career

A key fact I landed on from The 500 Year Delta was in the monumental changes we are living through, there is a societal yearning for authenticity. Today's digital world, including giclees, doesn't allow much for it. If you can figure out how to create true authenticity in your art career and properly promote it, you will reap great rewards.

Wacker's always thought provoking monthly newsletter is penned by him and published by his company, First Matter LLC. The essay most apropos to this blog is from the February 2008 issue. It does not disappoint. With permission, here it is:

Keep Your Eyes Open I’m Convinced it’s About to Happen by Watts Wacker

I can’t help but keep thinking about this being the 40th anniversary of the ’68 Chicago convention and the tragedies of both Bobby Kennedy and Martin Luther King. Especially now that so many have suggested that we are at the same, or at least, similar crossroads today, I just keep thinking about it.

I actually disagree with the assessment of similarity to the two periods of time. In 1968 the social mood was much more “down with authority” ... today? ... it’s much more like “are you prepared? ... and is there such a thing as being an authority?” We want our institutions to be prepared for the future and we’ve not so sure they are so.

There was an artist who captured the ‘60’s, Peter Max. Peter’s an amazing man. Philanthropist, humanitarian, environmentalist and philosopher ... he is the most successful living artist in the world. He truly was the catalyst for connecting art and business. Max was the first person ever to have his work placed upon everything from bed sheets to sneakers. His product was out-licensed to the tune of $1 billion (yes, billion) before 1970.

While he would likely refer to himself as a neo-expressionist today, he has traveled from realist to pop artist (maybe archetype on this one) to his latest definition. His prescience in seeing how “the poster” was on the cusp of unprecedented ranges and intensities of color (all at inexpensive and high quality) allowed him to connect romantic, playful and psychedelic. He created the yellow submarine for the Beatles. Toulouse-Lautrec would have been proud. Peter readily says that his love of the cosmos and childhood expectation of becoming an astronomer was a major source of inspiration for the art of the 60’s. He captured a period of time.

Today, we should be looking for “that look”. What I mean is, what is the look for today? We’re far enough “in” to the 21st century. And, like Peter, I believe it will be somebody born in Europe ... developing years in Asia ... than blossom in the USA. However, in the 2010’s it will be some other order and more than likely an artist who blossoms in Asia. Keep your eyes open ... I’m convinced it’s about to happen.

I'm in agreement with Watt's observations and predictions. If you want to read my TalkBack comments on his site and peruse some very interesting links related to Watts' commentary, go here.

This post comes on the close of the 30th Annual ArtExpo New York show where in its heyday none other than Peter Max used the venue to further his career. Wouldn't it be great if the artist whose talent will rise to grab our collective consciousness as Watts' envisions was exhibiting there this year? That fantasy aside, given the changing dynamics of the art market, I wouldn't bet on such a notion. It's far more likely the art print market and its primary venue will undergo untold major changes before the next big thing comes calling. Just as The Beatles and Peter Max helped revolutionize music and art by being different and not of the status quo, I believe the next big thing will break out of some yet unknown venue or channel.

Art is Work - Milton Glaser - More Artist Inspiration

It is not a regular practice to immediately follow up with a second post on the same subject. There is so much to say, and I don't want to bore you dear readers with too much of a good thing. This follow up is, however, worth breaking all those rules.

Hillman Curtis is a gifted designer, creative source and founder of the eponymous hillmancurtis, inc. It has grown to become a video design and communication firm helping to create some the Internet's most trafficked sites. That it cares about and honors leading lights in the visual arts community is borne out by its illuminating Artist Series short documentaries. Certainly the one created for client, Adobe Systems, on Milton Glaser fits that category.

To be able to watch and listen to this man, born in 1929, still enjoying the fruits of his labor and passing on wisdom that comes with age and experience is immensely rewarding. You have my assurance all the hillmancurtis, inc. documentaries presented are worthy of your time.