Six Things each Day – Balancing Creativity and Business

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I’m often asked, “How can you make art and run a business at the same time? How do you balance your creativity and business?”  My answer, “I have to manage my priorities.”  Notice I didn’t say, “I have to manage my time.”  That’s impossible.  We’re always interrupted.  The phone rings, the FedEx deliveryman is knocking on the door, or this morning there was a Great Blue Heron walking slowly on top of the carport. I had to stand for a while and watch him.

So I focus on my priorities and those priorities are six action steps that I’m going to complete each day, action steps that will move me towards attaining my annual goal.  My annual goal is my company’s 2010 sales goal, which I aim to at least double.

Each night before I go to bed I list six action steps that I’m going to complete the following day.  They are numbered one through six in order of their priority.  I get up and I focus on the first one and I work on it until it’s done. Allowing for appointments, I move to number two. I try my best to get through all six but if I don’t, I at least know that I have worked on the most important action items first.

Generally I like to divide my day in half.  The mornings are for left-brain related business and marketing tasks.  Then if I have time, I go for a run to help shift into my creative right brain.  I find the repetitive and meditative motion of running, and the tranquil natural setting of The Presidio, to be very helpful.

When I return, it’s time to paint.  Painting is not always listed as number one and I don’t spend every afternoon in front of my easel. But as I get closer to my sales goal, it will be number one most every day.

 

Ann Rea (Inc)

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Many people ask me, “Who’s your representative?”  The answer is that Ann Rea, Inc. is the legal entity that represents the artist Ann Rea.

How did this come about?  Well, while I was being mentored by American art icons Wayne Thiebaud and Gregory Kondos they encouraged me to make a go of it and to explore my talent full time, and to quit that boring and unrelated day job that I wanted quit.  “It’s not too late” they both advised.  But each of them began their careers as academics.

“How do I make a living?” I asked of Wayne Thiebaud.  Mr. Thiebaud replied, “I don’t know, I’m not a business man. But I can give you a letter of recommendation and refer you to some galleries, one in particular. You can use my name, you’ll probably get in. But the owner, I’ll warn you, she’s a pill.”   A pill, that was a very polite understatement.

Wayne Thiebaud’s letter did get me an entrance into that gallery to review my work.  But when the gallery owner revealed her terms, actually illegal but common terms, it was no wonder  why artists are starving.  The gallery owner insisted on geographic market exclusivity, and demanded that the best of my painting inventory was left on consignment.  The art gallery may never sell a thing and I was handcuffed from selling my own work through other galleries.

It gets better.  I would be paid 50% of the sale price or less because the gallery owner wanted the right to negotiate a discount to patrons, a discount that I would have to eat.  I could not work with any other galleries in Northern California even though this gallery may or may not sell a thing and they could give me the boot at any time they pleased. The gallery also wanted to be listed as the single representative on my website and she really didn’t want me selling from my own site.

And the art galleries illegal demands are common terms demanded by many galleries.

So I thought, “Oh, I don’t think so!  I want to make a living.”  And no profitable business would agree to these terms.  “I’ll make my own market, thank you very much. I don’t know how, but I’ll figure it out.”

I was advised by the successful artist Donna Billick, yes the sister of the famed football coach, “Take the reins, it’s the only way you’ll succeed.”  How true!

So I reflected on the lack of business advice from Wayne Thiebaud, and from my brother, the Dean of a business school, and my sister, a self made multi-millionaire.  Then I decided to write a business plan and a marketing plan anyway.  I sat with a dear friend to do this.  I didn’t have experience in writing business plans but realized that it was an unconventional approach for an artist that could offer a distinct advantage.  Why not try?

They all thought that she I crazy.  But then, they always did think she I crazy.

So in 2005, I launched my business as a sole proprietorship. And without the benefit of a PR agent my business was profiled by the national media, including, “Fortune”,  “The Wine Enthusiast”, “Practical Winery and Vineyard Management” magazines, and the “Fine Living” channel.

So I’m is happy to work with art galleries and art consultants but only if the terms are profitable and mutually beneficial, like any good business owner.

In late 2008, I learned more about our federal tax structure and the IRS code and with my CPA’s advise I changed my business structure to a corporation.

Now you know the history of Ann Rea, Inc. and you have a little insight into the art market.

And hopefully this story has encouraged you to support independent artists just like Ann Rea, who have decided to “take the reins.”

Money and Stomach

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Yesterday I had a phone meeting with a great gal from Texas.  Unbeknownst to me she’s been a fan from the Lone Star state, where I have a number of collectors, and where she’s been watching my career via annrea.com.

She and her local wine industry colleagues are interested in commissioning me to paint vineyards in Texas.  Yes, there are vineyards in Texas, not just California.  And Texas is actually an established and growing wine region with spectacular landscapes in the hill country.

She asked me how I came to do what it is that I do.  I explained how I came up with my initial marketing strategy and how I started my business.  One comment that she made, sounding like a true Texan, was that to be in business “you have to have two things, money and stomach.”  I laughed and replied “If you don’t have money you can get it if you have enough stomach.”

Many people have told me that they think it was brave of me to move to San Francisco and to paint full time.  Ironically, looking back it took more bravery to endure a disimpassioned day job and to let my passion and talents go to waste.  I simply made a choice of commitment.

The conversation yesterday reminded me of the complete commitment required to develop any enterprise and the other level of commitment required to honing one’s creative skill and artistic voice.  Despite the inevitable ups and downs of growing a business and the economy one thing remains constant, I’m committed.  And I don’t have the stomach for anything else but my art business.

 

Confidence and Personal Inner Resources

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OK I admit it. I watch American Idol.  And when I do,  part of my fascination is watching what’s required of these emerging artists.  Many haven’t found their true voice and clearly their skill requires honing.  Obviously it’s about their talent but the underlying story is their ability to weather the very public humiliation and rejection and still keep going.  It’s like being in a Roman Colosseum battling emotion and ego.

Artists engage in their craft because they are passionate about it.  It gets them high, so to speak.  What an artist shares comes from the depths of their heart.  So rejection and criticism can be biting, at the very least.  Of course, we don’t have to put ourselves out there. Except if you want to get paid, you do.  A plumber, a doctor, a financial analyst never has to deal with such deeply personal matters of rejection or acceptance.

And when we place our treasured craft into the world of commerce we are subject to the market’s whims and we have to understand and play by the complex rules of business.  This does sometimes leave me feeling like I maintain a split personality.

But I not only accept this, I embrace it.  The good news is that I’m only trying to win over a very select few, a clearly defined targeted market of art and wine enthusiasts. In fact, I thought that David Mathison, author of “Be the Media” put it well.  He said you really only need a 1000 fans.  This is also a lesson taught by Chris Anderson, author of the “The Long Tail”. Anderson explains the new economics of culture and commerce and “why the future of business is selling less of more.”

Once I read my letter of recommendation from Wayne Thiebaud in 1999, I found one part most flattering, but also the most important thing I always remember is “She has a well-developed confidence and personal inner resources allowing her to use critical confrontation for positive results.”  Without this I think I’d be headed straight for the lions.

Reach your Audience, Your Collectors

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David Mathison, author of “Be the Media”, began his presentation talking about the dwindling six major publishing houses and the troubles that they’re facing because of the fundamental shift in the publishing market.  “They’re like the Titanic. They can’t turn around.”

The opportunity to publish is no longer just in the hands of a few select publishers; it’s in the hands of the nimble artists.  The market is moving away from a scarce model of a powerful few and placing that power into the hands of a number of independent artists, including authors, musicians, and film producers.  More specifically, the power belongs to those with creative capital who effectively leverage relatively easy and free access to their audience through new media.

David Mathison intoned “Don’t chase the media, be the media.” And the artists who take the initiative to craft a meaningful message and engage their audience can do this.  I have and I will.  My website sales averaged 8% of my overall income in the past four years.  In 2009, that number jumped to 27%.  I sold while I slept.  But I had to plant the seeds for that harvest through consistent online and offline marketing.  The two work hand in hand.

This is exciting stuff.  A revolution is a foot.  And for those artists who recognize the creative capital that they hold in their hands and who are willing to do some left-brain thinking, they will rule the world.  This is also according to Daniel Pink, author of a Whole New Mind, about the current conceptual economy.

I would argue that fine artists are the last in this line to catch on to the good news.  But it makes no difference.  The internet gives us marketing tools that are available to most everyone at any time, at a relatively low cost.  I mentioned this to David Mathison and he offered to interview me on his radio show.  That proved my motto, “asking is free.”

What does this all really mean to fine artists?  The playing field is being leveled and artists do not have to chase a scarcity model of gallery representation.   You can be the media and reach your audience, your collectors.

Artists Investing in their Businesses

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CIAI was pondering the investment required for my one-on-one artist consulting and coaching services.  Recently it has been suggested to me that the cost of these services are too low for the value that’s provided.  Although every one of my artist clients is different, and so are their results, most artists increase their sales to cover the fee during the time we’re working together.  If they don’t, artists can see clearly how they will increase their sales the near future.

This got me thinking and I decided to examine the current annual cost of the fine art education that I received. I attended the Cleveland Institute of Art, established in 1882, a prestigious member of the Association of Independent Colleges of Art and Design.  This year the annual tuition is $47,780! The investment for my services? They’re a small fraction of the current annual tuition.

In 1987, the bachelors program I attended required five years.  I can’t imagine taking on that investment of money and time at this point in my life without a clear path to success in mind.  But for those students who have, I wish them the very best.  Because the odds are not good, even with the finest education from a prestigious art school.

Part of the artist dropout is simply unavoidable but tragically much of this is avoidable.  Even the very best art schools do not adequately prepare their graduates for the realities of the art market. If a student wants to become, and remain, a professional artist they’re going to have to make an additional investment.  That is an investment of time, money, and effort in learning and applying business and marketing principles to their art career, or rather, their art “business.”  If there’s no employer involved, we’re talking about a business, not a career.

I’ve said before that I believe that becoming a top artistic talent is much more of a challenge than learning about marketing and the business of art.  Evidence of this abounds.  We see mediocre talent in the art and music industries everyday. What’s happening?  A lot of mediocre does well when it is effectively targeted to a well-defined market.

Besides instruction, just think of what we must invest in art supplies, photography, framing, or show fees, etc.  Now why is it that are we not investing more in our businesses?

So you want to publish a book of your art?

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-guest post by Ralph James, an Artist Who THRIVE community member (We welcome your submissions.)

A published collection of an artist’s work can be a powerful marketing tool. But only when the publishing process is carefully planned well ahead of the actual design and printing. Lacking adequate information and a good strategy, it can be a colossal waste of time and money, time better spent on your art.

This is intended to be a brief overview of where to begin. For a more complete description of design, materials, and printing, I would like to direct you to my web site for a more extensive article I wrote on these subjects.

Learn more at…

https://ralphgradyjames.com/PrintingYourBook.html.

Your first consideration should be, why do you want to print a book and what is the end use of your book? Is it to showcase your art, or maybe to teach art technique and theory? You may think these are silly questions, but they are foundational in your planning and often overlooked or ignored. The reason they are important is because the design, the narrative, the marketing of your book, and even the type of binding and materials used should reflect and agree with these objectives.

If you plan on selling your book, what compelling reason does a customer have for purchasing your book? Let’s face it: you may be a great artist, but unless you are nationally or internationally known, basing your sales only on displaying images of your work will limit your sales. Consider designing your publication with several levels of appeal. For instance, if you also teach something new about technique or business, or share beautiful places to create art, then you’ve increased your potential market.

The last critical thing to ask is do you have the funds to finish your project? Take the time to think through your project from beginning to end and make sure not only to include design and printing cost but also think about any associated costs, such as advertising, shipping, or storage. Also, remember, because of the time required in design and print production, it may be a while before your book is ready to start returning your investment.

I want to encourage anyone interested in publishing a book to go for it! It can be a wonderful and fulfilling experience if you are willing to invest a little time and thought before beginning. It will also leave a legacy for the future, which is priceless.

What was your worst ever gallery experience? or one that you know of?

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All right, I’ll go first.  I have a few experiences with art galleries and let me just say they are not all bad.  But I’ll share the first one that pops into my mind. A  gallery owner asked if I would participate in a fund raising auction.  I was to receive one half of the sales price and I set the starting bid.  This is the only way to go (if) you are going to participate in a charity auction, which generally I do NOT recommend.

Anyway, one of the two framed paintings I offered sold and fetched a good price.  The other painting was actually returned to me in a perfectly sound and stable box.  But when I opened it, I discovered the frame had been shattered into smithereens and the oil painting was just laying on top of the frame fragments.  No note, no call, nothing from the gallery owner who sent it. I think the gallery owner was just being hateful and to this day, I honestly don’t know why. I wrote him emails, I left him messages, and I sent him letters trying to get an explanation and payment for the broken frame.  Again, nothing, no response.

So I contacted the Executive Director of the charity and I let her know what had happened, and I shared my obvious displeasure.   She was appropriately horrified about the way I had been treated and the charity promptly reimbursed me for the frame.  The gallery owner, I’ve never heard from him.

Needless to say, this gallery may offer excellent representation to some artists.  But just in case, I’m happy to offer fair warning below and to a provide a blog that  explores profitable alternatives.

https://www.efgallery.com/

https://artistswhothrive.com/

Time Spent Creating versus Marketing

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People often ask how much time I spend engaged in my company’s sales, marketing, and administrative work.  I would estimate that I can spend about 50%-80% of my time.

Not so romantic, but it’s vitally necessary.  The good news is that I don’t mind it.  Many years in the corporate cubicle trained me for it but I’m investing in my business now.  And its what we must do if we want to build our brands so that we can spend more relaxed time creating.  I doubt it’s much different for other young businesses.

I’m also asked “Would I rather be painting?”  The answer is, not necessarily. I enjoy business and I particularly enjoy art marketing strategy.  Again it’s not an either or proposition.

But yes, when I do paint its like entering another realm.  The time flies, I’m relaxed and engaged in an entirely different and purely creative way.  My thoughts are focused; I’m peaceful and emotionally responsive.  The skills and experience I’m drawing on and developing are entirely different.

The good news is that over the past four years my on-line art sales have averaged about 8% of my total sales.  These sales are the easiest and most profitable transactions.  But in 2009, that number jumped to 27%.  What does that mean?  I have more time to create.  And I’m very happy about that.

Biggest Mistake Artists make in their Careers

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I was recently interviewed for an article profiling successful artists.  The interviewer asked, “What are the biggest mistakes that you see artists making in planning their careers?”

That was easy to answer.  The biggest mistake that I see an artist making early, and sometimes too late, is that they do not recognize and or respect the fact that they are “in business”.  It’s not a career!

Artists are not sure how to even start to be savvy entrepreneurs.  They are trying, often without much success, to follow a prescribed career model of working solely with art galleries and keeping their fingers crossed that one day that this tired formula will work.  The problem is that this scarcity and permission based model does not work 99.9% of the time.  And if it does, too many art galleries fold.  Those are not good odds and this does not make for sound risk management.

Part of this mindset is ingrained by a cultural stereotype that artists should not, or could not, be concerned with money and business.  I can’t tell you how much I hear this disrespectful crap. So I purposely have my full title on my business cards and the footer of my emails, “Ann Rea, Artist, CEO, Ann Rea, Inc.”

One of my favorite quotes by Oscar Wilde is “When bankers get together they talk about art. When artists get together, they talk about money.”

The good news is that there’s a lot of money changing hands in the art industry, and artists can get their piece of the pie.

I’ll remind artists that I consult with that no one is going to “discover” them, no one is coming to save them.   But once an artist recognizes, respects, and embraces their business, we’re ready to work together.

And those artists who I work with have surprised and delighted me with the leaps of progress that they make.  And they even inspire me to up my game, to dream bigger, make a plan, and move into planned action.