Is there a market for Art Quilts?
In the comments of my last posting I raised an issue that has been occupying my mind quite a bit recently.
In regards to the SAQA auction and the low price much (40% in the first round) of the auction work is selling for ($50 for a 12″ square piece) and the fact that just about the only people buying the art are other quilt artists – I wrote the following:
What all of this makes me really wonder is – is there really even a market for art quilts? The only folks that seem to buy them are other art quilters and only then at prices that are not sustainable.
Are we all fooling ourselves? Could be saqa is just pointing out the obvious – that there is not an art market for quilts.
Maybe we should just pick up a paint brush instead.
A few weeks back Karen Jacobs took a mid year inventory of your art career. To date she had sold 27 paintings.
Are there any quilters out there selling this quantity of work?
The theme I hear over and over in the art quilt world is that you can not make a decent income selling art alone and that teaching is the best way to generate the cash needed to keep afloat. Many teachers report that most of their sales are to students (themselves art quilters).
If one doesn’t teach is there a market for art quilts?
I have no doubt there are a large number of painters that are unable to make a living from their art even though they are trying. Are the chances of success higher for a painter? There are painters making a living solely from their art work.
Are there quilt makers making a living solely from their art work?
Do you know of any?
These are some thoughts that have been running through my mind recently. My recent plans to attempt to generate income from the artwork has made me question if it is something I want to do or might even succeed in doing. As with any business a market analysis is a good idea. If you have information you are willing to share on this issue it would be most appreciated.
While I doubt I will stop making contemporary art quilts, given my love of the process, I do need to figure out what my big goals are for my art career. I used to think I knew but lately it seems the more I make decisions the less I’m sure of them.
Posted by Lisa in: Art Marketing, The Art World
My own belief is that there is not enough of a market to make a reasonable living from art quilts alone – except for a handful of artists. I think that the exception can be either top end, or bottom end – i.e. work of such aritist merit and reputation that it commands high prices, or work of great mass appeal and popularity.
At the top end I would give as an example Pauline Burbidge who does not rely on a husband’s support (he is also an artist), and who does not teach even her few classes any more, but has had a book published. She lives very frugally, living for her work, and having sacrificed much of what we take for granted in easy living for it. She has no children. It has taken Pauline a long time of high regard in the studio crafts world even to reach this stage, and many others have fallen by the wayside.
Pauline Burbidge has turned to a more commercial line of practical quilts: Quiltline http://www.paulineburbidge-quilts.com/quiltline.html – still of fine design and quality – priced lower than the art quilts to try to increase her income. This innovative approach has also had the effect of enhancing the perceived quality of her art quilts while in no way devaluing the practical ones. I think that this solution is much more true to creating art than making small ‘bits of art’ in order to sell at a lower price. Small pieces of work should be small because that’s what was appropriate for the art.
The market for art quilts and studio crafts generally is much better in the USA than in the UK; but on the other hand there is far greater competition there too. I think that one of the greatest difficulties is making a name for oneself: exposing the outstanding quality of the art. It is rather like showing off the perfect round pebble on a beach – unless it shines distinctly, it will probably be overlooked. And in today’s world either time (which is money) or money is needed to establish a shine.
The other way of course is to go for the mass market by for instance developing original designs which are sold for production. One could say that the art is thereby diluted, but it seems to work for Matisse and O’Keeffe – but then, perhaps that also means one has to be famous and dead!
Sorry this is so long, but you will keep posing these interesting questions!
Lisa, there are so many variables we have no control over that I have to believe that there is as much luck involved as talent/skill. I’m first to admit to lots of luck in my favor. However, as I try to point out in my post (thanks for the reference,) galleries are essential to sales and decent prices for our work… and we are partners with our reps and must work together toward that goal. The artist (and make no mistake, you are an ARTIST!) relies on the rep for guidance… if the artist feels this isn’t appropriate, then move aside and let the next in line take your wall space.
There are galleries in Santa Fe that exhibit only fiber arts. Get to know them, get to know their artists… if you can’t sell art quilts (or anything else) in Santa Fe, all is lost.
A last note… art tastes are determined by trends… either go where the lemmings are or wait for them to find you.
Olga thank you for the thoughtful comment. I agree with you on your assessment of Pauline. I took a class with her years ago when she was still teaching and have always respected her approach to her art and her life. I’ve given serious thought about going down the same line that Pauline has with her quiltlines work. Over the past 5 years when I’ve discussed this dilemma (lack of a market for my art) with non-quilters the solution they tend to recommend is lower priced utilitarian quilts with a flare that do not detract from the main artwork. Interesting that the non-quilter world tends to recommend functional craft as the solution for income. It is definitely an idea I have not discounted yet.
KJ – I agree – I think galleries are the sure fire way for a steady income stream for an artist. Problem is I know of few art quilters that are achieving this (Tim Harding, Frank Connet, not sure who else – hm look at that men). Thirteen Moons, the fiber gallery in Santa Fe, used to exhibit exclusively art quilts. Now they exhibit all fiber arts and all manner of studio craft – because they wanted to make a profit. It was a fairly big blow to the art quilt community when this gallery made the switch. I can certainly understand why they did it but if this is any indication even the gallery admits you can’t sell very many art quilts in Santa Fe.
I sell about $5,000 — 8,000 worth of art quilts a year, most of them priced under $1000, and I have been working to sell for 3 years or so. NO way I could live on that income. But, I haven’t tried 1. licensing (in particular trying to sell designs to manufacturers) 2. a major push to find and get into high end craft galleries, 3. commissions for public art and or corporate art placement possibly through an art consultant. MAYBE if one did one or more of these really well you could support yourself without the teaching income. But I think the market is eccentric and many of the art quilts sold are sold “within” the community,
I don’t think that one gallery’s experience with selling art quilts is adequate to make a case that art quilts don’t sell enough — or that they won’t sell enough in the future. Too many factors.
Besides, isn’t there some saying in business that if a market doesn’t exist, then make a market? I’m all for shifting the paradigm if something isn’t working. I have no specific experience in the field , but I would think that a first step might be to move away from the seeming groupiness of the art quilt genre. If a gallery has yet to represent an art quilter, then let yours be their first!
Pat
You always write such thought provoking posts, Lisa. I really hear you thinking out loud and you voice concerns that cross mediums.
I guess a question or two & some suggestions:
Do you have gallery representation right now/ or have you in the past. If you haven’t, try it and see what happens.
Have you ever applied for grants and or public art commissions?
Licensing, selling patterns etc. may be a way to generate the income to transition to a full time career as an artist.
Teaching is a calling, and if you think you’d like to try it, call the Art Student’s League, their fiber art department is sorely lacking. From what I understand, the pay is not too bad for the hours put in. You could end up with a larger local reputation and yes, you would probably make some sales to students. My friend who used to teach ceramics at the league has sold a lot to students. It’s a weird position, but people buy the work because of the relationship they’ve developed with her (not to mention that it’s really good too!)
I still suggest writing – you’re a great writer and prolific too.
I do rely on my S.O.’s income to survive and pay the bills at this point, but I have high aspirations to have my career become sustainable in the event I ever found myself single again for whatever reasons. (My father died when he was 44 leaving my step mom to raise us girls and go back to work full time following the loss of his income – I think about that from a practical stand point, not a morbid one since I’ve witnessed the financial hardship it can cause).
I know you primarily make large work, and are selling smaller work on Etsy. I would continue making a variety of sizes with different price points.
Have you ever applied for some of the better known out door art venues, such as the Cherry Creek Arts Festival or even the Downtown Denver Art Fair locally, or any nationally? It seems to me that you really want to break out of the Art Quilt world and what better way to do it than to approach multi-media events? It’s hard work, but it’s also a chance to speak with people about your story and process. People love that!
Just a couple of thoughts…
Asheville, NC, is also big on art quilts… the Santa Fe of the East in the fine crafts dept. and growing. I’d certainly look into galleries in that area.
Hi Lisa
I check your blog first thing every morning and really study what you are writing.
I have long felt , were I to really want to do work to sell in any volume other than here or there, I would try to develp a relationship with home decorators. Independents or high end furniture stores.
I feel this area is untapped.
I think there is definitely a market for quilts as art.
Somehow you need to overcome consumer ignorance about quilts…let me explain.
When I stumbled across this site I had never considered a quilt as art. My home is filled with art; sculptures, furniture, pottery, and of course paintings. My immediate thought was wow these are gorgeous.
My next thoughts were how do you display this? How do you maintain this? Do they fade if placed near a window with to much light? Do I need to have it dry cleaned? Do I need to worry about bugs? Are these archival?
These questions may seem ridiculous to you but to a new collector they may not be uncommon.
With most art this would not be an issue because you can go to a near by gallery and ask. Over the years I have been in hundreds of galleries and I can’t remember seeing one quilt. I have no trouble asking a gallery tons of questions and walking out without purchasing a single thing. My experience is collectors will not ask artist those same questions because they feel obligated to buy afterwards.
So now what? I turned to this site. As great as this site is, I could not find anything to help me as a COLLECTOR. I looked for posts about maintenance and care or photos of quilts displayed in collections. Nothing?
I turned to Google. Trusty Google. I found tons of articles on hanging quilts but not a single photo. I want to see how it would look displayed in a beautiful home.
In one article it says to not display the quilt for more then 6 months at a time. Why would be nice? One article recommended displaying it on an unused bed. How many people have unused beds lying around? One article recommended “sewing a four inch wide tube to back” to hang the quilt. How many collectors sew? Limits your demographic doesn’t it? Who do you hire to do this without ruining the quilt?
Collectors can be lazy and want to buy something take it home and hang it. Done!
How many would be collectors needed those questions answered before purchasing? Get collectors and galleries educated and then let the art stand up on its own. When consumer’s questions are answered then the only think they need concern themselves with is…Do I like it and Can I afford it?
My two cents…
Lisa, have you thought (like I have) that pictorial quilts sell much better than graphic ones. Like you, I prefer to make the latter but often wonder what the outlook would be like if I did hula girls and sea animals like others. I’ve talked to several gallery attendants lately and they seem to think that it’s all about creating a following. If that were true, you seem to be doing the right things, and you keep a mailing list (I’m pretty sure you do), you have a blog and work at connecting with people that comment on yours. I’m sure there are other things to do. In the end, I think not only do you want to knock their shoes off with good work, but you also want to create a name for yourself and a following. Keep up the good work!
Robin’s comment is interesting because I often find myself wondering if I would be more successful making abstract rather than figurative work!
The most telling comment to me is Elio’s. I think that we studio artists are too bound up in our own little making world and should present ourselves more in the real world – and not fall back on exhibiting only to the art-quilt-wannabe world.
Years ago I curated an exhibition which was presented as a real home, with rooms containing furniture, wall art, throws, ceramics, and garden art to show how people can live with studio crafts. It was the most successful show that that gallery had had. Not much sold at the time, but the show is still remembered more than 10 years afterwards, and artists are still getting queries. I called it Arts in Context, and it really brought me sharply up with a reminder of this when I read Elio’s contribution above.
We should take a note to include on our websites images of the work in the context of a collection or public display etc.
Hi Lisa,
Both Nancy Erickson and Faith Ringgold come to mind as artists who sell art quilts.
Wow everyone – thank you very much for very well thought out comments and suggestions. Elio your comment was very enlightening and I really appreciate you sharing your thoughts. You are so right and one of my goals with my blog was to make the art quilt more transparent – and I can tell by reading your comments I’ve really not done that as well as I could so I will look to incorporate your suggestions.
As I work through my plans and thoughts on marketing my work I’ll be sure to share that with everyone.
Again – I can’t thank you all enough for taking the time to respond with your thoughts.
Lisa,
No problem! Let me know if I can help.
E
I agree with one of the commenters about applying for a grant. Nancy Crow recieved several grants (at least one from Ohio Arts Council) and I’m sure it helped her to be able to spend more time in the studio. I would buy a coffee table book that you wrote with pictures of your quilts in it so I think writing is also a good idea.
As far as selling art quilts, yes they are worth every penny you have priced them at, but only collectors could afford them, and then you have to be the one they want to collect. I think smaller pieces in the same style and with the same kind of quilting would sell easier and faster and be a more steady income. I think if all of your prices are out of the reach of ordinary people, it will only make you angry when nothing sells, where a steady income from smaller pieces might make you smile.
Also your goals for how much money you think you need to accumulate for college tuition and old age will figure into the picture. I have learned to live simple and economically in my retirement and don’t regret not having money. You have to decide how much money is enough.
Wow!! What great thoughts and discussion here .. not be able to stop by for a few days and it is amazing.
I think I agree with people that there isn’t a huge market, but I think the ideas for working within and expanding how things are are great.
I would question your assumption about painters. In anything I have read or taken a class in art marketing, they stress that almost all artists have another income – through another job, partner, inheritance – or something. Some people do make it – but it is not the norm. Lisa, I think someone with your combo of intelligence, thoughtfulness, energy!!!, initative, way with people, the following you are developing with your blog – I think you can be the exception.
There are more painters than quilters making a living – but there are many, many more painters than art quilters. I wouldn’t be surprised if the proportion making good money were similar.
Thank you for your stimulating topics!
~ Diane Clancy
http://www.dianeclancy.com/blog
Is there a market for art quilts? No, not really.
Hi Lisa,
there is a little present for you over at my blog
http://www.dianeclancy.com/blog
~ Diane Clancy
Lisa, it’s true about teaching…sort of. I don’t teach anymore, and have only taught a few classes, but i still sell about 1/2 of my art to other artists that have never met me that visit my blog. My own house is filled with original art. I think a good market to focus on is the art student, particularly those that are not in art school, but middle-aged to retired, that are dabbling in art later in life.
it’s a a real “Market’. I hate to call it that, sounds so impersonal, these are real people that are working on their own artistic growth.
Good luck! I tried for three years to make a living, and really couldn’t, although I have to say now that I don’t think that I was ready (in terms of skill).
I don’t see enough of a market to earn a living with art and it isn’t for want of trying (I am represented by two galleries-soon to be three) for 10 years. My friend in Santa Fe creates fabulous work and faces the same problem. That just seems to be the reality of the art market. Having said that, like you I am not going to stop trying, and the thing is one never knows when our work might just hit the right nerve or pulse in the marketplace. So I try to be pragmatic about it, and just plod on trying to create the best I can.
Have really appreciated the frank discussion you have generated, Lisa. I thnk without some teaching, I would not be able to sustain myself or my dh. It is a dilhemma. Over this side of the pond, the opportunities are more limited than in the US. I am often comforted by the thought, Van Gogh only sold one painting in his life……. and look how famous he is now and how rich he would be if he were not dead! I have sold more than that…. but not enough to live on. ‘Tis the way of the world.
Best wishes
Maggie
Read this post and the comments with interest, and though I have nothing against things like the utilitarian line of quilts that Pauline Burbdge has produced and goodness knows I love her work I think it’s sad if you potentially end up making work that is not your first choice just to make a livng when the point was to make a living doing what you love. I am one of the students buying a quilt from one of my mentors Leslie Morgan and she is letting me do this over a long period because she appreciates that I am have a badly paid job ( I’m a vicar) and spend most of my spare income on my own art. Now because I appreciate the amount of work that went into this particular quilt and that has gone into making Leslie the artist she is I happy to pay this price so my suggestion is that many more ’students’ or less advanced quilters would buy work from quilters like you if they could pay for it over a long period of time. Over here in England the government underwrites a scheme to buy work like this through galleries, but of course how many art quilts do you see in galleries? But with the appropriate agreement between the parties this is quite feasible and in case you’re wondering I will be taking delivery of my quilt next May when I’ve finished paying for it. The advantage to the artist is a regular if small income stream from each quilt over a period of time, you only need to get several people buying quilts from you in this way and you can safely begin to cut down your hours from your other job. We, the quilting public get the pleasure of buying something whose value we really appreciate and love. It strikes me that with ‘collectors’ there is something of a vicious circle, since they partly at least I assume need to believe their collection is an investment and without a thriving market in art quilts this is difficult. But this way you get to sell to people who have some understanding and appreciation of what you’re trying to do and love your work. Of course other suggestions made above have potential too but I hadn’t seen this mentioned elsewhere so thought I’d put my pennyworth in, please feel free to contact me if you have any more questions about it.
Lisa and I have been working at this for many years, so is there a market?
We know all the galleries out there who are receptive to fiber, in Santa Fe and in other cities. We’ve even been in shows in many of them. But, I’m really starting to scratch my head about why the work doesn’t sell.
I used to do the juried all art quilt shows and did ok selling (much of that work was sold to other quilt artists). Then I went over to fiber/mixed media type shows and did so-so. Now I’m concentrating exclusively on fine art venues. Am I selling? Other than a very fortunate public art commission, no. I have several agents, fine art gallery (not all fiber gallery) and museum representation, have been published in numerous art and fiber publications, have 2 solo shows next year so I’m quite successful as far as that’s concerned, but if I had to exist on what I make yearly, I’d starve.
There is a genuine stigma attached to the word “quilt” which is unfortunate. I don’t even call myself a quilter anymore (Lisa is braver than I am) and use the term mixed media textile artist since I do use other materials in my work.
For my solo show in Santa Monica next year, the gallery owner wants the work mounted/stretched like a painting. He thinks his clientele will be more receptive to something familar to them. Is it the answer?? Have no clue, but I’ll do it. I’ve done that with smaller work, so large work shoudn’t be a problem… except for shipping!
Elio,
Lisa and my work isn’t any more fragile than a painting, we always include the hanging sleeve, and most of the time we even include the hanging bar apparatus. I have several pieces on my site in client’s homes (below the library installation), if you want to take a peek on my commissions page.
Interesting questions, Lisa. I don’t think there is much of a market for art quilts, however I am in a group that does a show every year at which we all sell very well. Go figure. I have never understood why the same work sells at that show/venue, but no where else.
I see that quilt artists who seem very tied to the “quilt” world seem to feel that teaching is essential in their quest for recognition. I disagree. I feel, if anything, it firmly establishes you in that world and makes it even harder to break into the Fine Art world. I also believe that being an artist and being a teacher are quite different skills. I came to this belief after a year of teaching art in the public schools! Teaching also is so demanding (if you do it well) that it leaves you little time for creating your own art.
One final thought. Lisa, I believe your work has a lot of potential for commercial sales. I can see it used very effectively in public places as well as residential placement. I think you need to connect with some interior designers.
As already mentioned, there are many examples of painters who did not become famous/sell much work until dead. While following this thread of comments, I ran across an article on Edward Hopper in the Smithsonian Magazine (go here for the full text http://www.smithsonianmagazine.com/issues/2007/july/hopper.php), and this section in particular leaped out at me:
“Hopper sold one painting in 1913 but didn’t make another major sale for a decade. To support himself, he continued to illustrate business and trade journals, assignments he mostly detested. In 1915 he took up printmaking as a way to remain engaged as an artist. His etchings and drypoints found greater acceptance than his paintings; and at $10 to $20 each, they occasionally sold.” He specialized in illustration, by the way, as a condition set forth by his parents if he wanted to study art so he would have a means of making a living..
The article goes on to say that between 1923 & 28, he devoted his time to watercolors, and that after a New York art dealer “mounted a Hopper watercolor show in October 1924 that was a critical and financial smash, the artist quit all commercial work and lived by his art for the rest of his life.” We should be so lucky…
As for Elio’s observation about consumer ignorance about quilts – that is spot on. Much of the info Elio found on quilts refers specifically to bed quilts or is geared to makers of quilts, not buyers of quilts. In the past I have noted with my sale information that each quilt comes with a hanging sleeve and label with artist information. I have recently drawn up an information sheet that I include with each quilt I sell (and will go on a website if I ever get one up). It is titled “Care of Textile Art” and covers the issues of display to avoid fading, cleaning and storage. I list at the end several websites with additional information and supplies. I think this is more than I would get if I bought any other type of art (with the possible exception of pottery which now indicates if it’s dishwasher/microwave safe).
And I agree with Terry about teaching. At least in my experience, it diverted me from doing the type of work I really wanted to do and sucked up so much time and energy for so little reward.
.
As a painter, I’m not completely familiar with the quilt market, but some of these same questions you pose are the same I ask of myself about my work. I thnik most artists, en route to being “full-time”, may pose these or similar questions. I’m definitely an artist in search of a market. (though my work is alwayd transitioning, so maybe I’ll forever be a lost soul) The answer I must come up for myself must always be, “There HAS to be a way.” If I don’t believe it, then it’ll never happens.
Sorry I have no concrete suggestions, but did you know there’s a contemporary textile gallery in Denver? http://www.translationsgallery.com/index.html
This is fascinating. I’ve been trying to fashion my response for a couple of days. I’ll try to be gentle.
I have watched quilt artists for over a decade and, forgive my bluntness, many of them are doing more harm than good to appreciating the quilt as art. They’re participating in and organizing group, cutesy theme shows that have mass public appeal, but little commercial and hardly any fine-art value. I think I speak for a lot of people from the fine-art angle when I say that I really don’t want to hang the Jack of Spades quilt in my home. I don’t even know who did that particular quilt in the traveling Full Deck exhibit, but I can say that about almost all of those quilts–many of which are by artists whose work I admire. I saw the exhibit. They are fine quilts, but they are forced art–art that must adhere to a certain theme. The real art world doesn’t behave this way. Curators uncover consistent themes among work that is being produced legitimately–not for a traveling show that doesn’t have anything to do with the artist’s “real” work.
Lisa, you’re doing a terrific job of trying to get quilt artists to act more professional, but you can’t take on the world alone. I hate to admit it, but I would counsel almost any artist against calling himself or herself a quilter. Textile artist or just artist is my preference if only for the long-term benefit of the artist’s gallery career.
Here’s a thought: My mother owns a very successful quilt shop. She will never ever hang a quilt on her wall unless it’s behind glass or Plexi. It’s an aesthetic thing for her, but I believe it feels more like art and less like a quilt when she does this.
As for Faith Ringgold, I don’t think it’s reasonable to look to her as someone who sells quilts in the market. While she has embraced the quilting heritage, she would never ever consider herself a quilter. She’s a painter through and through and first began showing her work on hard supports. She started using soft materials because it was cheaper to mail. And she has someone else make and quilt the surfaces on which she paints.
Joanie: Your work and Lisa’s work IS more fragile than a painting. Museum guidelines are very strict about showing textile work about 3-6 months every 5 years. It’s far more susceptible to light damage.
I am so very grateful for the time and thought that each of you have put into this discussion. As my own career vacillates, your valuable experiences, perspectives and advice are important factors in my choices. Thank you for saving me from what probably would have been some very lean years.
Alyson wrote:
“Joanie: Your work and Lisa’s work IS more fragile than a painting. Museum guidelines are very strict about showing textile work about 3-6 months every 5 years. It’s far more susceptible to light damage.”
I have to somewhat disagree.
Museum guidelines are written for antique textiles. Today’s dyes are more stable. You wouldn’t hang a watercolor painting in bright sunlight, so common sense should tell you that you shouldn’t hang a piece of textile art in sunlight either.
My commission work utilizes extremely lightfast dyes on synthetic fabrics (disperse dyes using dye sublimation technology). These are the same dyes that are used on outdoor banners. Some of my other work uses pigment which is always treated with a UV coating before shipping. If I use cotton, that also gets UV treatment. If I include paper in a piece, it gets a coat of acrylic medium as does my canvas.
With just a tiny bit of precaution in avoiding sunlight, my artwork will outlive a buyer by many years. You can’t even say that about some paintings.
Joanie: I understand and can only go on what the guidelines were for the ten years I worked in museums. Perhaps they have changed or are in the process of changing. I am thrilled that artists like yourself are so aware of this issue.
If I can add my 2 cents here about art quilt sales. It *IS*a funny market, but I don’t know that it’s really any different from what any artist selling work priced over $40 is encountering these days. I’m part of a new co-operatively owned artisan’s gallery in a hopping Finger Lakes tourist town in upstate NY. We’ve been open about 7 weeks. Great publicity, great customers, steady traffic. What’s selling? $30 jewelry. Pottery priced at $8 – $50. Notecards. Prints. Everyone says the art scene is like this all over, even at top shows. The buyer walks in with $40 to spend. We “wall artists” are hurting. Some painters have sold only one small piece in the 7 weeks. Some have sold none – just prints. A wonderful hand-crafted furniture artisan has sold nothing – prices in the $2000-4000 range. Things under $100 move faster; under $40 even better.
However, in these 7 weeks, I did sell one $375 piece and one $150 piece. Much to my surprise. I also now sell greeting cards of my art quilt designs to help pay the rent. In the 5 weeks I’ve had them there, I’ve sold about 40 cards. I figure if someone can’t afford my $1600 quilt, maybe they can afford a $3.95 card of that image to take home with them. I’m very appreciative of them wanting a little piece of my art, and they feel happy walking home with it. It won’t pay my bills, but it helps me to stay in this gallery space.
AND… also ironic is that we have a wonderful art quilter who had several large quilts not move *at all* in another similar gallery an hour from here, for a few years. She started making purses to pay her rent, because they move quickly. They’re beautiful and inexpensive. So what happened? She put her large art quilts in our gallery and in 2 weeks she sold 3 of them, worth approximately $5,000. Woah! She hasn’t sold any large ones in a month now, so who knows if she will again, but talk about a boost!
She could have decided not to exhibit them ever again, thinking fine art quilts don’t move in this area, but instead she chose to try them out here. It could be a fluke. She may never sell another one for a year. Who knows? I swear so much of this is being in the right place at the right time, with the right buyer. No matter how much planning you do – if that buyer isn’t physically in that shop at that time, oh well.
Btw, one of her buyers was local and one was a tourist from the Philadelphia area. My buyers were also tourists – one from Manhattan and another from out-of-state.
What’s working for us? I’m hearing that people are liking to take home a “piece” of the area with them. If you work realistically, landscapes of the area are doing better than generic pieces. Aside from the more inexpensive items, that do move quickly.
Holly Knott in upstate NY
~~~~~~~~
http://www.HollyKnott.com
There is so much to consider when speaking about selling art. Begin with the economy and the current down-turn. If people are in danger of losing their homes (the mortgage crunch), they aren’t likely to spend large sums of money for any art. Thus, the smaller, inexpensive purchases. And yet, there are some “collectors” who will continue to buy.
In a local gallery I have observed that not everyone follows his heart when buying. Instead, he follows the current trend if he has the money. A local oil paint artist is making a small fortune, selling every painting displayed in a local gallery, thanks to a doctor who hung one of his paintings in the waiting room. Now the crowds line up on the street outside the gallery whenever there is an announced opening of a show of his new works. And they walk in with checkbooks open! His work is distinctive, large, and the prices have climbed with each show.
What is his secret? I can only conclude good fortune, excellent marketing, and a recognizable style. He gives the gallery maybe ten very large works and two or three 8X10’s. At least three five-figure paintings will sell opening night. The small ones will sell because people want to own his work but can’t afford more than an 8X10. The gallery gives him a show every six months.
Does the artist know his market? You bet! Will his popularity last? I’m guessing his star will fade in a few years, when another artist will take his place.
The gallery is also an important factor. This particular one opened with a mixed variety of artworks—pottery, sculpture, jewelry, paintings, and furniture. They nearly went under in the first year, decided to carry only work by “wall” artists, and worked to attract a particular market. Art will not sell in this town unless it is pictorial and alludes to water. The owners caught on in time to become successful.
I personally believe that fiber art needs to be accepted as art, in order to sell. Some people are already being accepted for their distinctive work/style. Most of us could walk into a room and recognize a piece done by Hollis Chatelaine. The same is true of Caryl Fallert, Inga Mardal and Steen Haug, and Cynthia England. We have to educate the public, convince them this is Art worth hanging on a wall.
We’re not “quilting” to wile away our retirement years, we are pursuing our own passion to create Art! But if we need to make a living at it, we have to play by the business rules: establish a recognizable style, learn the market, and seek both financial and creative advice.
I know when I did my first business plan in 1997 or 1998 part of my strategy was identifying a price range that almost anyone could afford in good times and in the bad times at least those more well off could afford.
My prices are relatively low (because I am selling cards and prints right now) and that means many people can afford them. Perhaps over time I will sell higher priced originals, but I am still working on licensing them.
~ Diane Clancy
http://www.dianeclancy.com/blog
Great discussion! I started quilting in the 80s and came to the same conclusion, that there wasn’t really a strong enough market to support myself especially since I’m not a marketing whiz. Since I’ve always been interested in fashion, wearable art seems a natural fit but probably not sustainable.
Hey, I see you are in Parker. I’m just up the toll road from you in Aurora.