Thriving Artists Project – From zero to profit in one year – a conversation with painter Ann Rea

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San Francisco based Artist Ann Rea

San Francisco based Artist and CEO Ann Rea

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Listen to Artist Ann Rea’s Interview

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About Artist and CEO Ann Rea

by Melissa Dinwiddie

Ann went to art school, but abandoned her art career and didn’t paint or draw for over seven years while working a variety of jobs in tech, investing and disaster relief. An encounter with two stage IV breast cancer survivors finally made her realize that life is too short to avoid pursuing her dream.

In late 2004 Ann moved to San Francisco to paint full time, and within one year she’d created a profitable business from her art. (So much for the “starving artist” myth.) A profile in Fortune Magazine refers to Ann as “the practical painter,” and Jonathan Fields writes about her blue ocean business strategy in his book, Career Renegade.

As her art career flourished, other artists started asking Ann for coaching. She now has an artist business coaching and consulting practice and works one-on-one with a a select number of artists in all media across the globe. She started an online community, ArtistsWhoTHRIVE, in order to reach a broader audience and attract other thriving artists to possibly profile in a future book.

Ann’s intention with ArtistsWhoTHRIVE is to cultivate a positive and productive online global community of thriving artists and to provide guidance through a series of Q&A posts. (Yes, your questions are welcome, but be advised, ArtistsWhoTHRIVE is a whining-free zone!)

Here is Ann’s first draft of The Artists Who Thrive manifesto:

  • We believe that we have shaped our artistic voice and that we have something to say.
  • We believe we offer creative expression that adds value to the world and therefore the marketplace.
  • We believe that we are creating and growing a business.
  • We articulate our unique selling proposition to our defined market.
  • We believe that we will not be discovered but our value can if we promote it.
  • We believe that the traditional model of artist representation is too often broken so we represent ourselves using effective strategic marketing.
  • We believe in getting a nice piece of the pie in the art market.
  • We are confident and optimistic that we are in control of our destiny.
  • We know that in the new economy “the right brainers will rule the world.”*

* “A Whole New Mind” by Daniel Pink

“What other work do you do? You know, for yourself?”

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San Francisco based Artist Ann Rea

San Francisco based Artist Ann Rea, CEO of Ann Rea, Inc.

 

 

 

 

 

 

 

 

 

 

 

 

 

I still get this question.  The paintings that I paint are the paintings that I want to paint.  I can’t even imagine having it any other way and calling myself an artist.  Otherwise I would call myself an illustrator.  Who I have a great deal of respect for, by the way.

Now I am very mindful that if I want to exchange my creations for payment then I have to add value beyond selfish self-expression.  I’m not criticizing self-expression as selfish. I’m just saying that as an artist, interested in building a strong business and brand, clearly I have to think beyond me.

This Friday I was at a reception at an incredible contemporary estate in Napa Valley.  And ironically it was two “artists” who asked this question. “What other work do you do?  You know, for yourself?”
One a photographer and her husband, a sculptor, a retired physician.  So I’m assuming that their monetary concerns have been different from my own and that has shaped their perspective.

A former art director,  along with another guest, then asked if this was what I did “full time?” Another asked “Ann, are you here to show your work?”  “Actually, I’m here to develop a strategic partnership with the host.” I responded.

I can’t pretend that I’m not irked by these questions.  I’m a serious full time artist and entrepreneur.  Imagine that!  Is that not obvious?  Or are the stereotypes about artists just too strong for this to be as plain as the nose on your face?

But I accept the perspective of these relatively affluent people who, like many, see art making as an indulgence, maybe a career, and a business, “oh really?”

In my experience I’ve observed two distinct camps.  Those interested in art and music making in exchange for money and those that don’t believe this should happen or have enough confidence and skill to make that exchange.  Guess which camp I belong to?

I know that my brother, the former Dean of a business school, did not take my venture very seriously until my business was profiled by Fortune magazine.  Then suddenly I was a teaching moment, an example of how to live your passion and earn a living.

It’s not only possible, but given the opportunity, I believe that it’s our obligation to live our lives to the fullest, to be fully self expressed, and to provide value so that we can earn as much money as possible doing it.  Then we are in a better position to live a prosperous, healthy, and responsible life. And then to give back.

Artists Need Legal Contracts even more than most Business Owners

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I’m writing this post in response to an artist’s post in Florida.

Artists need legal contracts more than most business owners.  Why?  Because artists get taken advantage of more than most business owners. And because many artists don’t consider themselves business owners so they allow themselves to be taken advantage of.  Notice I said “many”, not all artists.

One obstacle for many artists is that legal advice is expensive and they don’t know where to start to draft the legal agreements that they need. Nolo Press publishes a book called “Your Crafts Business” and it include basic advice and sample agreements. This is a good place to start but it is by no means the be all and end all.

You must know your terms before you ever engage another in business.  In fairness to them and to you.  For example, do you accept commissions?  Does your patron have to pay up front?  What happens if they write you a bad check?  What happens if they think they own the copyright and they start printing your image on cheap tee shirts without your permission, or worse yet, without paying you?

Think of all the possible scenarios.  Start with a sample agreement in “Your Crafts Business” and then list all the things that could go wrong.  Plan like your getting married but also plan what you will do if you need to get a divorce.

Why?  Because written agreements preserve relationships.  They confirm each party’s understanding.  Agreements around art are highly charged if they are not defined in writing because the product is so personal for both parties.

Once you have an agreement drafted you must have it reviewed by a business attorney, not a real estate attorney or a family law attorney, or a friend who happens to be an attorney. You don’t want to wear out your friendships or be consulting with an attorney outside their area of expertise. The law is too vast and you need the benefit of specific expertise in each area of law.

I use affordable Pre-Paid Legal services to review all of my business contracts.  One of their copyright attorneys even coached me through a small claims court case that I filed because of my previous client’s copyright infringement.  I won.  And guess what?  The client kept infringing!  So I sued again and I won again.  The second time, I think she got the message.  I also received a nice settlement, twice.  So the low monthly fee I’ve paid to Pre-Paid Legal has already been returned to me many times over.

In the interest of full transparency, PrePaid Legal is a multi-level marketing product.  So when I was first presented with the service I cringed.  However, it has been of such great value to me that I’m now an agent.   I’m not planning on getting rich off of my ity bity Pre-Paid Legal sales commissions. But as an agent I’m in a better position to advise artists on the plans that fit them best.  And I know I’m going to save several artists some serious grief and arm them with a vital tool they’ll need to success.

Click here to learn more and email my assistant Amy at [email protected], if you would like me to recommend a plan to you and or enroll you.

Money and Stomach

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texas-cowboy
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.

 

Quick Insights after 12 Coaching Sessions with Ann Rea

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Once I’ve worked with an artist for six months I like to ask them what they’ve learned.  Obviously, it helps me help other artists, it lets us both know what progress they’ve made, and it helps reinforce what they have learned.

So I asked Colleen Attara, a Mixed media eco-artist from Philadelphia, to share at least ten things that she’s learned in the last six months or insights that she has gained.  I suggested that she not labor over this exercise but simply rattle off what popped into her head.

I asked for ten, she gave me sixteen, quoted below.  Colleen agreed to share what she learned so that other artists in this community could also benefit from her experience.

  1. Know what unique value you bring to the seller.
  2. You run your own show.
  3. Talk size, not price.
  4. Never discount your work; it is unfair to your collectors.  Instead offer value; i.e.:  shipping, cards etc.
  5. Your website design should not overpower your art.
  6. Write down your policies and how you do business; this will allow more time to create and sell.
  7. Write your bio in 3rd person; let others speak highly for you.
  8. Write down six things you are going to accomplish before going to bed.
  9. It is hard to control time, but you can control your priorities.
  10. *Positive energy sells art.
  11. *See what you want to be as an artist.  Have that vision, put it on paper……and watch what happens.
  12. Protect your art and your images.
  13. Make the buying process as easy as possible.  Wine and credit cards are very good.
  14. Position yourself as an authority. Talk to groups of people.
  15. Contact interested buyers and past buyers once a month.
  16. Showing art and selling art are two different things.

* knew this; needed the reminder

Do you think that these insights have helped Colleen’s business and increased her sales?  You bet!  So if your ready to invest in your career, applying for coaching, click here.

Should I discount my art?

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First I’m assuming that your artwork is a luxury item.  If so, then the answer is NO.  If you’re not sure if it’s a luxury item then you have bigger concerns and need to clarify your market.
Discounting luxury items is a very big mistake.  You’re asking people to pay a big premium for something that they don’t need and then changing your mind.  It’s very confusing.  No wonder people are reluctant to buy art.

Another important rule in business negotiation is that you should never give away something without receiving something in return.

Another option to discounting your art is to offer a friendly service. Offer to come hang your art on their wall, or provide them with complimentary, notice I didn’t say free, shipping, maybe donate 10% to their favorite charity.  This is called cause marketing.
Artists desperate to close a sale will often discount their prices.  Rather than doing this you should provide a range of price points for your collector to reach.  I start with a note card for $5 and go to $36,000 for my largest commissioned canvas and I maintain a price point everywhere in between.  This way I can make the conversation about the collector’s selection and not the price they’re going to pay.
Open up a Tiffany’s catalog.  They get this.  Tiffany’s offers beautiful Canary diamond engagement rings or a silver key chain with their logo, which is what the key chain buyer really wants. Tiffany’s knows their market.
It’s also important to remember if you work with a gallery they are selling your work at a retail price that you’ve established.  If you discount your work then you’re undercutting your representative. And that’s not cool.
Some galleries ask if they can negotiate a discount on your behalf.  This is your call but my answer is still no.  I think that it’s worth noting that an art consultant that I worked with in Los Angeles told me that the artists that she represented who did not discount always sold more work then those who did.

I have a deep appreciation for my collectors and out of respect for them I can’t offer one price to one and not to the others.  I don’t think it’s fair.  Maintain integrity in your business transactions and reflect that in your pricing.

Showing or Selling your Art

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Do you want to sell your work or do you want show your artwork?  Pay careful attention to this question.  Let’s ask it another way.  Do you want to show your house or sell your house?  You probably want to sell your house but you’ll need to show it first.  Do want to show your used car, or sell it?

The branch manager at a local bank in St. Helena asked me if I would like to show my work at that branch. I must ask, “Have you shown art before?”  “Oh yes, for many years.”  “And how much artwork has sold?”  Her answer, “None.”

I replied,  ”Well, thank you.  I appreciate your thinking of me but my business involves selling my work.” Was I annoyed?  A little.  I was there to open a business account. But she doesn’t know me as a businesswoman yet, and she’s probably thinking that I’m a poor artist and she is trying to help.  I don’t question her intentions.

So if you’re just starting out, you may want to show it everywhere that you can and that makes sense. But if you are in business and you’re interested in profiting from the sale of your art it needs to be in front of your target audience when they are in an art-buying mode.  And that’s generally not when they are on their way to make a withdrawal or make a deposit.  So as “opportunities” arise ask if it is one that will help you to sell or show your work.

If you have excess inventory in your studio, then it’s much better to have eyeballs on it then have it stored on a shelf.  But consider if the placement of your work will reach your target market and when they are in an art buying mode.

The Power of Persistence

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The Power Persistence

Last Sunday I was sipping a hot chocolate with my man on Chestnut Street in San Francisco’s Marina district.  We were people watching, as we often do to entertain ourselves.  We frequently play “The Same Game” where we watch people walk by and remark to each other how those clustered together are “the same.”  They may have the same shoes, the same hat, the same purse, and or even the same butt.  It may sound odd but its fun and the results can be fascinating. And it proves that like attracts like.

But that’s not why I’m posting this week.  Out of the crowd on the sidewalk stood an artist who had a stack of postcards that he had hand drawn and then reproduced.  He was a clean-shaven healthy looking young man in his mid twenties.  He walked from prospect to prospect asking if they would like to buy his postcards for $2 each.  Yes $2. If they showed any interest he offered them the “deluxe” black and white booklet version that contained each image for $10.

I had to watch.  So we sat down and listened to his pitch as he engaged each target.  Eventually he wandered over to us to give us his pitch.  I listened and then admitted that I would not be buying. However, as a professional artist, marketing strategist, and business coach to artists across the globe I was very interested in his story.

His postcard drawings where quite amateur, his pitch was too close ended, and his price point was incredibly low but he shared with us that this was his full time gig.  This was how he paid the rent and put food on his table.  Do you think he was afraid of rejection?  He wasn’t a “starving” artist, he was doing his thing.  And despite his clear lack of training this guy was selling it.  He wasn’t “the same” as so many artists, so many people, reluctant to face rejection or to persist.   His persistence inspired me and I hope it inspires you.

“When bankers get together they talk about art. When artists get together, they talk about money.” -Oscar Wilde

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Sound familiar?

When I started to paint again I joined an “artist support group.” It was horrifying. All they did was whine about money.

It had taken all my courage to put myself out there and to start painting again after a seven-year absence from the easel.  This group was doing nothing to help me feel supported and I couldn’t support them because they were so invested in complaining and being victims. I realized that keeping this kind of company would keep me in the same space.

So I dropped out and started to interview successful and reasonably happy artists.  Each was generous with their time and advice.

When I met Wayne Thiebaud he had reached the pinnacle of his career with a retrospective of his life’s work traveling the nation’s most significant art institutions.  His friend and colleague, Gregory Kondos, had a huge backlog of private commissions and real estate investments in several countries.  And when I met with Donna Billick, she told me how she had created a number of lucrative public work commissions and her gallery sales were nothing that she relied upon but simply icing on the cake.

Donna and her brother, Brian Billick, a NFL football coach, discussed their winning strategies every week.  She said that so much of success is one’s attitude.  Donna looked me straight in the eye and said, “If you want to succeed, you’ll need to take the reins.”

Standing on the street in downtown Davis, California, across from the Natsoulis Gallery, I thanked Gregory for advising me.  Then he made me promise him that if he helped me succeed that I must promise him that one day I would help other artists succeed.

In part that conversation with Gregory Kondos is what inspired me to created ArtistsWhoTHRIVE.com. My intention is to change the conversation in a virtual community of entrepreneurial creatives.  I invite you to join that conversation at ArtistsWhoTHRIVE.com

Should I license my images?

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Should I license my images?

Only if you really understand licensing and your client really understands licensing.

If the licensing opportunity is appropriate, meaning that it elevates your brand to the right audience, the compensation is agreeable, and you have a clear written contract with an experienced and reputable licensee, then it can be very lucrative.

Learn from my tribulations.  Two out of the three times that I have licensed my images have been complete disasters because I had two ignorant clients.  They had an attitude of entitlement that I believe came from their misguided notion that they where doing me a great favor by helping me gain “exposure.”  In fact, I did them a great favor, as friends of friends, by mistakenly offering below market rates.  And that is where it went to hell despite my solid contract.

The first and the last wine label I designed included an image of one of my contemporary still life paintings.  I crafted a very clear licensing agreement from the most current samples in the annual edition of the “Graphic Design Guild’s Pricing and Ethical Guidelines“, an excellent resource.  I discussed the fact that I reserve my rights to any and all reproduction of my images and my clients nodded enthusiastically.  Because they both nodded and each signed the contract, I thought we had communicated.

The scope of this limited “single use” license could not have been made any clearer.  The license allowed reproduction of a single image on x number of wine labels to be printed in a given year, only on wine labels applied only to wine bottles, and distributed within a specified geographic region.  The contract further stated that other uses where excluded, including, but not limited to, electronic reproduction.  And because the image is my property that is my prerogative.

The winemaker and his wife actually purchased the original oil painting, again with a clear second notice that I reserved all rights to reproduction. By owning the original oil painting they do not somehow own the rights to reproduce it.  Those rights are my sole intellectual property.  For example, if you purchased the original transcripts of Harry Potter, you don’t get to make copies and distribute them.  Why?  You don’t own the rights, JK Rowling does.  That’s why she is the only one who can sell the movie rights to Warner Brothers.

Anyway, the wine was a hit! And this was a new brand that we made up at the kitchen table.  That’s saying something in the over saturated market of wine.  But now my clients wanted to broaden the scope of the licensing agreement and place the image on soaps and tea shirts.  That would be fine, if the money was right and it elevated my emerging brand. But I don’t believe that anything that goes in the dishwasher or the laundry is going to elevate my fine art brand.

When I didn’t immediately agree to sell all of my rights the winemaker became  furious.  And he actually threatened to squash my emerging reputation in the close-knit wine community.

It doesn’t end there.  I’ll be in small claims court this Friday enforcing the second judgment I’ve won against the other wine label client for breach of contract, specifically copyright infringement.

Again, licensing can be a very lucrative and a very nice passive form of income.  But that’s only if you have a solid agreement, mutual respect, and experience.  Most clients and most artists do not understand licensing.

If you ever want to build your brand and build your wealth you must understand your intellectual property rights.  Start with the US Copyright Office website.  If you create the image you own the copyright but if you don’t register it with the Library of Congress the damages that you can recover will be limited.

I’ve decided since my very first wine label helped move that much wine, the next wine label that I design will be for my wine. ;)