09/04/2006: "Clients, Rich and Otherwise"

Whether you're representing yourself, or whether a gallery represents you, you will in time be dealing with a variety of clients-assuming that you want to sell your work. As you deal with them, remember this: the wealthy collector, the moderately wealthy collector, and even the not-so-wealthy collector all have one thing in common: they want to connect with your work. The somnolently wealthy you can forget about, since they likely won't come around in this lifetime, nor possibly even the next.

But for the ones who are awake, to connect with your art makes them feel more alive, even rebellious, especially after all the years of dull, repetitious, mind-numbing work many of them have had to do in acquiring their wealth. Unfortunately that kind of money-chasing often compromises growth, and can create an imbalance that is reflected by harsh acquisitiveness, appalling selfishness, and virtually no awareness.

When you meet certain of these people, you may see how their dignity suffered as a result of that chase, how all too often their goals were misplaced, weren't sufficiently rewarding, or were assigned undue priority. This may make them depressed, half-alive, or primitive in outlook, consumed by the misery of their greed. All too often this is the case. Their fixation with money likely screwed up their marriage, their kids, their own lives, leaving them drained of humanity, outside the feast of life, with them now trying, through art, to reach for greater meaning.

Or perhaps they care nothing about a life of meaning, and are simply insatiable consumers who can never have enough stuff-paintings and sculpture included.

Or perhaps they're just sophisticated lovers of art, leading lives of consideration and generosity, reaping the rewards of their hard work, and enjoying the life of plenty that can sometimes be achieved in this curious, wonderful, overwrought land.

Whatever their individual natures, the rich do have a place in our system, and while it might not ultimately be as important as many of them think it is, it is still significant. Their businesses help create jobs, many of them passionately support the arts, and, when of the visionary sort, they do things for the underprivileged that you and I can only dream of. Regardless of who they are, and how benevolent they may or may not be, you must not judge them, you should never envy them, and you certainly should never allow yourself to be intimidated by them.

Be cool when dealing with the rich, be confident, but be humble. Like anyone, they are only looking for acceptance. Accept them if they behave themselves. If they do not, if they offer you absurdly low prices for work that you know is fairly priced, quietly decline. They'll respect that, and will probably come back later. But if they become insolent and disrespectful, show them the freaking door. On occasion it feels good to do this to those who so rarely have it done to them. It will be good for you, and possibly later even good for them.

Then there are other clients: teachers, physicians, small businessmen and women, architects, housewives, househusbands, lawyers, bankers, stock brokers, priests, rabbis, and a whole range of other people who are potentially interested in what you do.

Some of these people may know nothing about art. Good, don't play the snob game with them (not everyone needs to be versed in the arts); instead, kindly teach them. As I've already mentioned, anyone can respond to art. It is your job, and your dealer's, to help the less educated of your clients do so. The art world should not be a coded society where only those with the proper enunciation, attire, and hip phrases of the moment are allowed entry. That sort of exclusion only perpetuates the ignorance, when the point should be to eradicate it.

It may be that several of your potential collectors can barely afford art. Fine, allow them to make payments. For some of these people it might be their first acquisition, and the first in a series of steps where they open that window to the soul-the creative one I mean. Art can help them do this, whether they're acquiring or creating it. Congratulate them on having vision.

Still other clients may live lives that are already full and flowing, where their lifestyle is virtually a work of art itself. Maybe they're more alive than even you or I. Wonderful, then buying your work will only complement what is already impassioned.

Treat all of these clients well, regardless of their monetary status. They'll appreciate that, and will express the appreciation by buying more work, and by sending friends and relatives who will do the same. The best of them will share their wealth rather than horde it, and the circle of prosperity that they help perpetuate is one you may well be grateful to be a part of. Some of these people, the rich included, can be incredibly open and generous; allow them to be, allow them to help you, since you'll never achieve all of your goals on your own.

Finally, when a client buys a piece, it is cause for rejoicing- and I mean for everyone involved. A sale should never be seen as a one-sided victory for the artist or gallery, where perhaps a client was fleeced, paying excessively for a work that will never maintain its assigned value. Unfortunately, I've been in many galleries who deal in just this way. People who view each success in one-sided terms tend to lead unbalanced, one-sided lives. I advise you to avoid this, and avoid galleries that function under this narrow view. You'll only find misery with that attitude, never contentment. After all, how do you think so many of the rich wound up being so miserable?

AUTHOR BIO
Paul Dorrell is a novelist and gallery owner. He founded Leopold Gallery in
1991. As an art consultant, his clients include H&R Block, G.E., the Mayo
Clinic, and hundreds of others. His guidebook for artists, "Living the
Artist's Life," took him on a tour of 60 cities. He's been interviewed on
numerous NPR stations, in dozens of newspapers, and now teaches career
seminars for artists. He's also a writer for "The Artist's Magazine."

327 East 55th St. Kansas City, MO 64113 .
(p) 816-333-3111 . (f) 816-333-3616
www.leopoldgallery.com

Replies: 25 Comments

on Tuesday, October 3rd, shailendra said

Selling is basicaly a barter between what customer lacks and what you posses. Art is representation of inner perception of artist of his own time , a wealthy customer may like to buy his lost time which might be captured accidently in the work of art.

shailendra
Artist & art critic From BHOPAL india

on Tuesday, October 3rd, shailendra said

on Saturday, September 9th, Joan said

I have learned to take my hat off as the artist and put the hat on of the seller when I show my work to clients. I help the client feel very comfortable saying what they like and dont like. Sometimes we have to go through a lot of inventory to find a connection but 90% of the time I make a sale because the client enjoys the experience. I encourage them to buy what they like. If there is a sense of being unsure I take it out. When in doubt take it out. That leaves the pieces they really liked and then they love them and me!
I get a lot of return business this way as well.
I have the biggest sale pending of my career this weekend and I am trying to take off the artist hat as best I can this time. It is for two huge paintings (120" x 96") and there aint no other inventory in that size!! They liked the photos so here goes...I loved painting them and just want to sell them to make more!

on Thursday, September 7th, Mark said

My wife and I raised a son and daughter, both grown and both doing well. My son is a musician and he draws and pastels as well (He works a regular job as well)and my daughter paints and quilts and till our beautiful, perfect human being of a grandson came along worked as a designer for high end rugs and stained glass (two different jobs).

Raising kids and trying to make it as an artists was tough, my wife and I shared many tasks, and as I worked many regular jobs I painted at night and weekends when I could, but always my studio door was open to my children. Hard yes but wondeful too and worth it. They do get older and you have more time to work and more time to share with them what you do.

on Thursday, September 7th, jos� said

could I also exchange my 3 euros for a bourbon, please?

Olga, I can understand your dilemma, since my wife has been at her new job I�ve taken over the habitually female responsibilities within the household. it all takes a lot of time and energy. fortunately my girls are now growing to be more independent at 16 and 14 and time for art is growing back to what it used to be before they popped into my life. Paul Klee took time out for his small children, nothing to be embarrassed about there, what you are doing is tremendous.

on Wednesday, September 6th, Olga said

I would give you a gold medal, Andrew! BTW, speacking of reach buyers. My former boss recently bought 2 quite expensive (for me:)) bronze sculptures of dolphins. Artist - Wyland. He bought it not from artist - this is for sure, I think through E-bay. I was pointing out to your web, but he already had the wish to have dolphins. This my former boss is a scientist who spent all his life in the lab and in front of his computer. Only now after retirement he started to travel a lot. He loves an ocean and everything connected to it, and he is so proud that he could have Wyland dolphins in his home in Florida.

on Wednesday, September 6th, Andrew said

With a nearly two year old and a five month old, balancing art and family is no easy trick. But like all challenges, you always have the opportunity to rise to the occasion. In my own case, as a single I found I was getting slow, and the needs of the family sort of supercharged me. Olga, the rubles are fine...last time my house was robbed, the thief got away with thousands of them. Your task is tougher than mine, juggling three things like that...family, art and a job. And Paul, single malt Scotch, thank you very much, the beer will do for breakfast the day after.

on Wednesday, September 6th, Olga said

Mark, - thank you. Well...I do not think that I am the only one here balancing. Paul, add please 10 cents more to my account:) and make sure that you did not forget to award Andrew with 100 rubels (it's on me):).

on Wednesday, September 6th, Mark said

Olga has brought a good subject for another blog, our desire to create and family. It is tough to balance the two.

I'll go for one of those bourbons Paul.

on Wednesday, September 6th, Paul Dorrell said

Andrew: Two bourbons and a beer back.

on Wednesday, September 6th, Andrew said

Paul; what's my input worth to you?

on Wednesday, September 6th, Paul Dorrell said

Olga: That was 10 cents worth.

Jose: Three Euros for you.

on Wednesday, September 6th, Olga said

Jose, my guys - it's my husband and daughter. Both are extremely busy and I do understand this and have to help them by being "normal" wife, house-wife, cooking, cleaning...whatever. But I am not, I am working at University doing some science..At the same time I have this passion, to paint but it is considered as something additional, not very important for the family (because it's not a source of income). Bottom line, my artistic interests are the last on this scene. And, partially, I agree - I have to put most of my energy in providing success to my daughter who is quite talanted young pianist. My husband does the same. Concerning the last question, yes...I considered...theoretically:)...but it does not look right to me. At work, it's different - I enjoy going for lunch with other people, but evenings and weekends - it's family time.

on Wednesday, September 6th, jos� said

Interesting point you mention there Olga. I'm not much one for parties either, but those opportunities - especially if the people are nice as you say - are good for the pr side of our job. of course, if the invitations become too numerous to the point of being a burden that is another matter. I'm sure that if you were to explain your friends would understand... if thier intention really is maintaining friendship with you as an artist and not merely as an 'attraction'. I know it is hard sometimes to get our better-halves to join us on these things but hey, if we don't get out there once in a while we slowly run out of opportunities to meet new people who might just want to make it to the next show. Ever considered going without the guys?

on Wednesday, September 6th, Olga said

I would like to add my 2 cents to the discussion. It's about direct contact with the client. I've had one case when I sold my painting to a nice couple who visited my place and they were too nice...They started to invite me and my family for dinner. But! My guys are not very much interested in having dinner with some new people even they are nice. My guys are very busy and me too, and it's always hard to find time for something like this except regular parties with our close friends in our place. Bottom line, I had to say "NO" and to find a lot of excuses. I felt bad and still feel like I've hurt these nice people.

on Tuesday, September 5th, Andrew said

I treat buyers according to how much they're likely to spend. In general, I have found that the ones who spend the least often are the most troublesome, the ones who ask for the biggest percentage discounts, and the ones least likely to come back. I have negotiated the most for sales in the hundreds of dollars, and the least for sales in the hundreds of thousands. For those likely to buy my biggest works, I am the most likely to call off another something I had planned to do. I meet the heavy hitters on their terms, at their most convenient times. If you think about it, I'm just doing what any smart person does in business. I'm investing the most in the things that pay off the most.

on Tuesday, September 5th, Paul Dorrell said

Mark: well put. In my gallery, everyone is made to feel welcome, everyone invited to openings, regardless of their income level. Sure, we might spend a little more time chatting with the millionaires, since that pays the bills, but no one is neglected or made to feel inferior.

Hell, money's got nothing to do with inner worth. Most artists know that. Nor does it have to do with wisdom, compassion, moral character, etc. It only has to do with material wealth, which has absolutely nothing to do with contentment, love, or selflessness.

Many of my wealthy clients are great people: generous, kind, humble, grateful. Some are the complete adverse of this. But that could be said of all income levels. I just try to treat each browser well--unless they're interrupting my writing, at which times I'm not so sociable.

on Tuesday, September 5th, Mark said

I agree with you Ellen let the galleries and dealers deal with the buyer, that is my preference. But maybe we need to educate the galleries and dealers on how to treat each person as an equal and not just as potential buyers, who may or may not be rich.

on Tuesday, September 5th, Mark said

I treat all potential buyers the same, in fact I seldom know if they are rich or not, and I do not care. All that matters is that they have connected to the work. Selling a work on a payment plan is fine with me, in fact when some one does buy a work who does not have much money it is often a greater compliment as they are willing to pay with what they have worked hard to gain, some rich don't work hard, some do, but a purchase is easier for them. Nor do I ever take a sale lightly.

The problem is, and this has been discussed in other blogs, is we must de-mystify art for the common person (if the rich want to have others think they know more then others, when they often don't, let them). I have stated before that in the forties, fifties and sixties, artists, galleries, dealers, critics put art on a higher level, that it does not belong. They made the common person, the un-art educated person afraid of art, and it still goes on. The actor Vincent Price (who was a big art collector) once said that "Just knowing what you like is not enough" well thats crap.

I hate dressing up, I am a jeans and T-shirt kind of guy and when my wife and I are in a new place or old place we often check out the galleries. As I enter looking more like a construction worker then rich art buyer I often get a cold reception, icy stares, they watch me as if I may grab a painting and run out the door, when they relise I will not be buying they become even colder at times. No insult ment to you Paul as I do not know how you treat the casual looker and I assume from your blogs that you treat all with equal respect. All the while I am amussed by this but saddened as well. Some times, not often I will tell them I am an artist and ask questions to test them and they get even huffier, great fun. If we want to sell to the average income person we need to let them know it is OK not to know much about art, that if they like a work and connect to it that is what realy matters. If they want I will gladly help educate them in art, and I will always take payments.

Some will disagree, but I often think that even though an artist puts his/her soul on the line with each work, (and I take what I do very seriously) that it should also be treated more like selling a car. I don't know what makes a car run or how all the parts come together and I don't care, (I even look under the hood as if I know what I am looking at) but I know what kind of car I like. I have never bought a car right out either, always making payments, but so long as I take care of it, it takes care of me and I am happy. Perhaps that is a bit simplistic but then maybe the whole art buying thing should be simple.

on Tuesday, September 5th, Ellen Fisch said

Great blog, although I have found that some rich people are quite pleasant to deal with. Others are consumed by their money and the power they think they have over others. They are people. There is a priceless scene in Woody Allen's movie:Hannah and Her Sisters in which an artist is approached by an extremely rich rock star who wants "art" for a house in the Hamptons. The artist, a serious and intellectual tpye, shows the rocker some drawings. The rocker tells the artist, who needs the sale, that his decorator said to get a BIG, puce work. Said rocker keeps repeating "BIG." The artist shouts: "I don't sell my work by the yard." It is a classic client/artist scene that could describe many encounters that artists have suffered.
I have done commissioned pieces during which the client has taken every opportunity to express his/her needs and wants. It is always up to me to draw the line regarding how far I will go in order to complete the commission so that I will get paid for my work. Getting paid is the next to my last goal or my realistic goal. The ultimate goal of improving my work and becoming a better artist does not pay my bills. I try to be cordial to clients, but, as Vic said, mostly let the galleries deal with it. I am actually glad to give the galleries their cut so that I don't have to deal directly with sales. While I'm not intimidated in asking/demanding payment, I find it tiring and I'd rather put my energies into my work.

on Tuesday, September 5th, jos� said

sorry folks, i would woo them, not woe them, into buying.

on Monday, September 4th, Gabriella said

I have had the good fortune over the years to acquire works of art from artists who were generous enough to realize that the depth of my pocketbook was outstripped by my desire to have one of their works - thus was able to pay over a period of time. I truly value these works, not as possessions, but as reflections of another individual's ideas that resonate over a period of time for me. Time marches on and the works in my caretaking gain lustre and meaning with the passing years. My son expresses his affection for these works in my care, so they will be well housed when I move to a different plane. As an artist I realize that this kind of consideration for our works is what makes it possible for most of us to be separated from the progeny of our heartfelt efforts ( to make objects that have potential meaning for others). Individuals who are respectful and sensitive to this process will not dicker for discounts, will not try to cut out galleries from the sales equation nor will stiff an artist of what is due by way of payment. I do not compromise with the demands of others who do not respect the seriousness or sincerety of my efforts as an artist, so while I may not make many sales, the work that does make its way out into the world finds really good homes. Suits me just fine!

on Monday, September 4th, jos� said

A good blog Paul, I enjoyed reading your views. the $$$ signs some clients seem to flaunt on their foreheads have stopped to impress me as the years advance, it's the manners I respond to regardless of the wallet. Proper - or at the least adequate - manners will meet with my total engagement and desire to woe them into a purchase, lack thereof meets with my utter indifference to the point of rather not having such a person possess my work.

Vick put it well, it sometimes 'feels ugly' and I'd rather not carry that feeling within me in exchange for money - I have even gone as far as repossessing a work because the buyer kept delaying a last downpayment (not more than $100 dollars left on a $900 purchase) and kept insisting on a discount 6 months after the exhibition: I returned all the cheques I had not yet cashed to his wife and took the painting... as I was leaving she said he deserved it. Talk about a healthy marriage, last I heard his wealth didn't manage to secure that either.

on Monday, September 4th, Vick said

I enjoy the tenative collectors, the truly open minded who are new to the art scene. Sometimes I think many artists do a real disservice to these folks by writing pompous artist statements that alienate rather than welcome a newcomer. Art can be intimidating to those who didn't grow up with it. They deserve a medal for taking it upon themselves to just visit a gallery on their own and make that exploration. Hopefully they encounter a helpful staff and not a snooty one, or they probably won't be back.

I don't like dealing with clients. I don't mind talking to them about work, and the influences of the work and engaging in a dialog about what the work might mean to them, but my experience has been that if clients are contacting me directly, it's because they saw my work at a gallery and their sole reason for a studio visit request isn't to see the current body of work, it's to cut out the gallery commission on a sale. My feeling on that is--they needed the validation the gallery gave them to like and experience my work, but now they want to save a few bucks. I feel the gallery earned that commission if that client first saw my work at that gallery. The client will always get sent back to the gallery. I don't undersell my galleries and I don't know why clients think they deserve to pay half price on a piece because they had the ingenuity to type in my name in a search engine. It feels ugly, too. I had one very wealthy patron in San Francisco who had already purchased 2 pieces through my gallery try and bypass them for a 3rd piece. These people owned real estate in SF and Palm Beach, Florida, two very pricy zip codes. They were a miserable couple, tight faces, unhappy, meeting them in person made me not want to have my work in their house! They picked out a new piece but they were sent to the gallery for payment and to close the deal. I have also had contacts with purchasers of my work and heard about how much the piece has meant to them. There is never any talk of money with those folks. They are the ones who make it worthwhile, along with the curious newbies, I like them, too.

on Monday, September 4th, Andrew said

The rich are often kind, grateful for the hand that life has dealt them, and eager to explore what others have to offer, and pay for it. On the other hand, they are aware through experience that they are most often sought after by people who want their money. As such, it requires some effort on their part to place a correct value on the things people are offering them in exchange for their money, sometimes artists offering art. The power of the work becomes an artist's best ally, speaking volumes when words alone just don't have much effect.

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09/04/2006: "Clients, Rich and Otherwise"