Marketing Mondays: Open Studios

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Back in late May, Nancy Natale suggested I do a post on the topic of Open Studios. I decided to wait until fall, when many of these artist-run events coincide with the new art season. For unrepresented artists, Open Studios are an opportunity to show work and build a collector base. Even for represented artists, they're an opportunity to participate in a community event.

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Logo and map for the TOAST Art Walk (Tribeca Open Artists Studios) in lower Manhattan. Not a current notice; images from the Internet

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I have done exactly one open studio in my life (hated it; too much set up, too many boring questions, too few sales to make the experience financially worthwhile), but I have occasionally attended them and enjoyed the experience. .
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What I Like About Open Studios
Speaking as a visitor, then, I can say that the Open Studios I've found most enjoyable are the ones in which at least one wall is set up to show the work in a gallery-like setting, which means a white wall and good lighting. Mind you, I like seeing the studios--the tools and materials of each artist, how the setups differ from artist to artist, medium to medium, and whether the studio is a work space or a live/work space--but in terms of viewing the work, the experience is best for me when the work is easily viewable. This might mean, for instance, repainting your painting wall, since that's usually the best vertical surface in the studio.

I also appreciate when the artist acknowledges my entry. I don't necessarily want to engage in conversation with every artist in every studio (and from my one Open Studio experience, I know she doesn't necessarily want to chat with me), but when the artist is totally involved with her friends or reading a book and doesn't look up, it feels like a closed studio. I see a ton of art every month in galleries and museums. What makes an Open Studio unique for me is the peek into the inner sanctum and the opportunity to talk with the artist about her work if I am drawn to it. The artist who can speak clearly and succinctly about her work is the one who will make an impression. And it has happened that hearing an artist speak about her work, to me or to others, has sent me back for a second look even if I was not bowled over initially.

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I personally know one New York artist who ended up with a solo show and gallery representation in Berlin as a result of the exposure, and a Boston artist who's now with a Boston gallery, which then resulted in a commission for a major New England museum, so sometimes the dots do connect. And I know or know of many artists who do well enough saleswise to keep doing Open Studios on a regular basis. (Many dealers won't tell you this, but they do pop into the occasional event to see who/what looks new.)

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Business basics

. Provide information: a price list for the work on view, an artist's statement, a resume
. Give your visitors something to take away with them: a postcard, business card or (best of all) a sheet with a few images along with a statement and contact information. They may decide in a couple of weeks that they want to come back to re-view a work, and you want them to be able to contact you easily. In that same vein, have some printed images of specific works to give to someone who shows serious interest in the work during the event--4x6" photo paper is inexpensive yet provides a sufficiently large image for a collector to ponder
. Accept credit cards. Considering how many people pay with plastic, it's to your advantage to set yourself up to take them

. If you're taking cash, a sales slip is a sufficient receipt for the collector, but follow up with a PDF or a hard-copy receipt so that you have data for your mailing list

. Promote the event. Don't depend on the Open Studio promoters do it all. Put the information on your website, your blog. Send an e-mail to your list. Send a postcard. Include all the pertinent information: who, what, where, when (sounds like a no-brainer, but you'd be surprised at what gets left off the announcements). Include a phone number and e-mail address, and directions or a map if you think it would be helpful

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Pricing

. Price the work reasonably. While you don't want to give the work away, one of the draws for collectors--and artists also collect--is that the prices are lower than at a commercial gallery because there is no commission to share

. If your work is large and your prices aren't low, consider special projects at a lower price: works on paper, a print edition

. Factor in the discount. You're going to be asked, so set your prices accordingly

. Have a raffle. Hey, why not? Open Studios are a fun event. Make it fun! Make the raffle part of your advertising strategy

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Follow Up
. Consider a newsletter to stay in touch with your Open Studio visitors. Let them know when you have new work, let them know of a professional success. People who follow an artist like to know that artist's progress

. Definitely consider a wine and cheese event for collectors when you have new work to show

. Or invite your best collectors to a private studio visit when you have that new work. This is harder work for you-- it's the kind of thing a gallery does all the time: inviting collectors to the gallery to see new work--but as long as you are unrepresented, you want to represent yourself in the best possible, most professional way. When you do find representation, you want your collectors to follow you to the gallery

Over to You

. Who has had good results with the Open Studio, whether in terms of sales or attention from dealers or curators?
. Any advice, trade secrets, caveats?
. If you've got an Open Studio coming up, please post it in the Comments section

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