Is Your Ability to Sell Your Art (and Yourself) Affected by Your Body Language?

(Brought to you by our friend Jason Horejs of Xanadu Gallery)

You may not realize it, or may not want to admit it, but as an artist, salesmanship plays a big part in your success. Artists who are selling their work directly to collectors at shows and art festivals are the most directly involved in the sales process. Even artists who are working with galleries, however, have to sell themselves and their work to potential galleries, and to collectors at openings and other events.

I’ve written books for both types of artists – those who are looking to build or strengthen relationships with galleries (“Starving” to Successful) and those who are selling directly (How to Sell Art). In these books I talk about a number of different factors that play into becoming a more successful salesperson and artist.  I share the importance of projecting confidence in yourself through both verbal and nonverbal language in both books.

Recently, I listened to a talk by Amy Cuddy that provided great insight and reinforcement into the importance of body language in social interactions.  Cuddy, a social psychologist, researcher and professor at Harvard Business School, gave the talk at the TED conference this summer, and her findings related to body language are fascinating. I encourage you to watch the short video of the talk which I have included below.

Though there’s a lot more to it, Cuddy postulates that successful, powerful people have relatively high levels of testosterone and low levels of cortisol. Testosterone is a power hormone, and cortisol is produced when we are experiencing stress. Cuddy says that researchers have shown that this correlation between control and lower stress levels are key indicators of how successful a leader will be (you can also listen to this NPR story for more on executives and stress: http://www.npr.org/2012/09/26/161836823/ceos-may-find-it-lonely-at-the-top-but-not-stressful).

Cuddy has also done research demonstrating how dominant figures, both in the animal and human world project their dominance (and confidence) through what she calls “power poses,” stances where the body opens up and fills more space (watch the video below for examples).

Taken together, one would expect that a confident, successful woman or man would have higher levels of testosterone and lower levels of cortisol and would communicate this to their social peers through their power body language. All of this happens at a subconscious level, so a successful person will likely not be aware of their behavior, and certainly not their hormone levels.

None of this is particularly earth-shattering, but the fascinating findings came when Cuddy basically reversed the process and asked what would happen to a person’s testosterone and cortisol levels if they were directed to take a power stance.

In lab experiments, Cuddy asked subjects to strike either high-power or low-power poses for two minutes and then ran a series of experiments to measure confidence and risk-taking, as well as hormone levels. She found that there was a dramatic and direct correlation between posing and hormone levels. In essence, the subjects who physically pretended to be confident and successful had a physiological and mental reaction that made them more confident and successful!

Her conclusion? When it comes to body language, we should not only “fake it till we make it”, we should “fake it until we become it.”

Cuddy used the example of people being more successful when subjected to a stressful job interview after spending two minutes doing a power pose, but I would suggest that this would be effective for an artist or art salesperson going into a sales opportunity, when approaching galleries looking for representation or any other time a boost of confidence is needed.

Reposted By:
Adam Brown
Osio-Brown Editions Website
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My Views on the State of the Art Fair Business

By Greg Lawler, Editor and Publisher, The Art Fair SourceBook

Things are definitely changing. If you’ve been exhibiting at art fairs for the past several years, you already know this.

While there are still exhibitors who report that their sales at shows have never been better, my impression, from booth-side, phone, and email conversations with exhibiting artists, is that most are struggling with declining sales, skyrocketing costs, and the new challenges that digital and ZAPP application processes bring.

Sales have declined...

Since the year 2001, the average sales at the top 300 shows nationwide (according to AFSB statistics) have declined by 22%, while costs have skyrocketed

Average net revenue at these shows has gone from $3,568 in 2001, down to $2,977 in 2011, with a more pronounced decline at the smaller shows. Factors likely include the challenging economic environment, a continued lack of consumer confidence since the Great Recession, cut backs in promotional efforts by fairs... hence less patrons, and the dilution of the market through a proliferation of art fairs, in many formerly lucrative areas (South Florida, West Coast Florida, California, Chicagoland, etc).

Costs have skyrocketed!

During the period from 2001 to 2011, the average booth space fee + application fee at the top 300 shows nationwide has increased from $322 to $462 – an increase of over 40%.
In addition, the price of fuel, airline passenger fares, air cargo, hotels, and the cost of materials have all doubled, or worse. Plus, the overall cost of living has increased significantly in that decade.

Predictability has plunged – the ZAPP attack...

Add to the above challenges the increased uncertainty of getting juried into profitable shows, and you have a situation that is challenging even the most successful exhibitors.

Trends indicate that artists are applying to 50% more shows than ever before, in order to insure having a venue - any venue at all - at which to try to sell their art on a given weekend, and this means the added cost of an increased number of jury/application fees to pay.

Why has it been so challenging for so many to jury into good shows?

The complaint I hear most frequently is about the digital jury processes, including Juried Art Services, Zapplication, and others. Many artists, formerly “regulars” at the better shows, no longer have confidence that they will regularly be accepted to exhibit at any of the ZAPP shows.

The increase in the number of applicants, the ability to “doctor” images of ones work digitally so it looks better than it really is, and the overwhelming number of applications that jurors must now process have led to a broken jury system.

While shows that convert to digital jury systems have reported that the number of applicants (read: revenue) has increased by 15 – 50% in their first year using one, I have yet to see a show that has increased the number of jurors hired by a similar percentage, nor have I observed that jurors’ stipends, and potentially the caliber of jurors has increased.

The increase in the numbers of images to be viewed by the typical juror, due to the increase of applicants with the ZAPP process, has contributed to an increasing denigration of the jury process, and a steady erosion of the quality of their selections.


Even at the top shows it has become commonplace to find amateurish work of very questionable quality; jurors appear to be so overwhelmed by the sheer number of images they have to view, that it is compromising their ability to make sound aesthetic judgments, to the ultimate detriment of quality at the show.

With digital images it can be easy to fool the jury with 3 or 4 that are tweaked in Photoshop to really POP for the jury, though they no longer accurately represent the body of work that will end up being displayed at the fair.

This can result in amateurs earning the spaces that once belonged to fine artists; overloaded jurors, wading through the increased volume of ZAPP images, can’t see straight after the first thousand or two images have been viewed, are most susceptible to this digital trickery.

In some cases, instead of increasing the number of jurors, shows are instituting the mysterious pre-jury process. Leaving artists to wonder if the “real” jury is not viewing their work because some other entity has taken them out of the running before the actual jury process begins.

Shows have an ethical responsibility to invest their jury/application fees in paying for enough qualified art experts to properly jury their shows, not to use the “application fee” money to fund other projects.

This means hiring jurors, not asking for volunteers, and hiring enough of them to significantly reduce the visual load on jurors. Also, jurors should only be asked to judge what they are qualified to judge; this means at least two jurors who are experts in their field should be judging each media category.


The funds for this exist. The average jury/application fee revenue at the top 300 shows in 2000 was $10,871; by 2007 it had increased to $15,312; that’s a whopping 41% increase in jury fee revenue!

Meanwhile, 70% of those 300 shows spent absolutely nothing to hire a competent jury; the average show spent less than $500 of the $15,000+ jury fee revenues on their juries. That’s disgraceful.

What can be done?

Shows must be encouraged to set aside a specified percentage of an event’s spaces for professional artists; “professional” can be determined in the following ways:

1) Street juries Re-invite up to 50% of the exhibitors from the show each year, like Old Town Art Fair in Chicago does. This allows shows to base their exhibitor selection on the entire body of work exhibited, not just on three to five images.

2) Resumes Require newly jurying applicants to list their last ten shows. This will make it difficult to fake your way into a show as a professional if you’ve never exhibited before.

3) Limit “emerging” artists New exhibitors are necessary for art fair vitality, and should be able to gain entrance, but only up to a set percentage, for instance, 10%. This will ensure new blood without contributing to a show being overtaken by amateurish exhibitors.

Using a system of criteria will provide shows with the necessary balance of new and returning artists, keeping the lifeblood of the show flowing, but allowing it to change and evolve over the years.

Why should art fair directors care about all of this?

Sadly, for too many formerly top shows, the directors seem to have decided that filling their show with eager applicants is a higher goal than filling their show with quality fine art.

Shows need to rely on a pool of high quality artists from which to select a dynamic and stimulating group of exhibitors for their constituents. When the business of art fairs becomes unpredictable and prohibitively costly for professional artists, a phenomenon that is happening even as I type, the available pool of quality, professional artists shrinks steadily, leading to the decrease of quality art fairs, and, eventually, the loss of interest from serious patrons.

Sure, for a while shows will be able to replace these professionals by weekenders and one-timers, but by eliminating the steady supply of professional applicants over time, the quality of the pool will degrade to the point where even the best jury won’t be able to find a qualified collection of exhibitors for their show.

What can an artist do about it?

Amazingly, in spite of the incredible challenges faced by artists over the past + years, I’ve spoken with many who have just had their best year ever. What do these artists have in common? Here’s what I’ve observed ...

• They pay attention to the presentation of their work in their booth, by making the layout simple but visually appealing, create space in the booth to maximize traffic flow, and actually try to engage those who enter.

• They offer a wide selection of items in a broad price range, so they create the widest possible market for their work. This approach will usually work best when selling work that has very wide appeal (functional craft, wearables, photography, etc.), and the artist must target shows with a large – very large attendance.

• OR, they concentrate on the high end of the market, who seem to always have money, even in a Great Recession. This can be a risky adventure, and usually results in some ZERO shows, as well as some where the artist really hits the jackpot. One must really target their market carefully with this approach so as to maximize the chances of finding those few collectors who have the means to make a big purchase.

• Marketing efforts such as mailers & broadcast emails to past customers in the area of the show are given high priority. E-mails can be effective, but as we all know, it’s all too easy to throw emails in the “Trash” without even opening them. Believe it or not, a physical mailer (usually just a postcard with an image of your best work) is more likely to be noticed in this time of communications overload.

• Artists who actually stand or sit/stand in their booth and speak with potential customers (instead of hiding out in back reading a book, or sitting across the way watching their booth from a distance) are most likely to be on the list of “Best Year Ever” exhibitors.

Reposted By:
Adam Brown
Osio-Brown Editions Website
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Fail-Proof Business Advice for Artists

(Brought to you by our friends at Art Biz Coach) Today, let’s look at some sound business advice that it pays to review from time to time. 10. Proceed with caution when donating your art. Most artists can’t afford to run a charitable business at a loss. Artists in the U.S. can’t even write off the full-market value of donated art, which is a fact that most non-art organizations aren’t aware of. Donating too frequently (1) lessens the value of your art; (2) weakens the art market in your area; and (3) encourages people to wait to buy at the next event you donate to – when they think they can get a bargain. 9. Challenge yourself. Nobody ever got anywhere by playing it safe. Break out of your rut. Stop showing in the same locations and entering the same juried exhibits. While you’re at it, try a different medium or work with your eyes closed. Grow! 8. Acknowledge your achievements. It’s too easy to focus on everything that you want or have to do. When you get into the habit of writing down your achievements (daily, weekly, monthly, and/or annually), you learn to give yourself a break. You know that you didn’t waste your time on Facebook or reruns of Seinfeld. 7. Ask a lot of questions. Don’t accept things at face value. Don’t trust your interpretation of a situation (an exhibit agreement, a gallery contract, a commission arrangement) that isn’t clearly defined. Trust other people, but verify what they say by asking a lot of questions. This is key for maintaining control of your career. 6. Figure out how you will make money. Saying you’d like to sell $50,000 worth of art is one thing, but getting there is quite another. How much art do you need to make in order to reach this goal? Is this possible? What must your marketing machine look like to get you there? Drill it down! 5. Express your gratitude. Say Thank You often in handwritten notes, short emails, and via social media. Write silent gratitudes to yourself in your daily journal. 4. Under-promise and over-deliver. I believe in this business commandment so much that I think about it before ever promising a deadline to anyone. No one likes to be disappointed, but everyone likes a pleasant surprise. 3. Get (or Put) it in writing. This goes along with #7 above. Don’t assume anything. See it for yourself in black and white. If there is no written agreement or contract, make one of your own and get the parties to sign off. This isn’t just legal protection. It will deter potential headaches and might just save a friendship. 2. Treat your art like it belongs in a museum. It’s appalling to see artists schlepping their art around in plastic tote bags and framing work with crappy mat board that looks like it’s been cut by a child. Until you start treating your art like it has value, why should anyone else? 1. Break the rules. I give you advice for best practices in my book, in this newsletter, on the blog, and in my classes. They’re just starting points. You have to figure out what’s best for you and your situation at this time. Great artists throughout history didn’t become known because they did what had always been done. They made a name for themselves because they did something different. © 2012 by Alyson Stanfield Reposted By: Adam Brown Osio-Brown Editions Website Giclee Printing FAQs

Could You Publish or License Your Art? : Experienced Artist Jan Weiss Flips Open Her Brain

by Guest Blogger, Jan Weiss

In the art business or when I meet artists and tell them I am a published artist, I typically end up with a load of questions and they ask to “pick my brain”. So over coffee I lay the groundwork; an overview of publishing and licensing and how to get found in a sea of artists all wanting the same thing.

I have been in this business for over fifteen years with experience in publishing, wholesale and retail sales, ecommerce and licensing; in addition I blog regularly about artists – especially emerging artists as I feel they need the most exposure right off the bat.

The questions I receive generally fall into these categories:

• What is publishing and licensing?
• Is there much money?
• How can I get posters made of my art?
• What are the latest trends?
• Do you think my art is publishable?
• How can I get noticed?

I’m going to review all of these questions and give you a simple straightforward – and honest answer to each of these questions.

What is publishing and licensing?

Publishing and licensing is about making your art available for derivative products. Art publishing is about turning your art into a poster or limited edition art print. You can publish them yourself by working directly with a printer or licensing your images to a publisher who will pay all the up front costs including printing and marketing and pay you a royalty on the sales of the print; usually 10 to 15%.

Licensing your images to a product manufacturer is another way of earning royalties from your creations. These images may be licensed for product such as textiles, table-top, home accessories and apparel. The manufacturer pays you or your agent/ publisher a royalty and you receive a percentage of that royalty.

Is there much money?

There can be. I have known some artists who earn $75,000 to a $100,000 a year but they are the rare ones. Royalty payments generally run $200 to $1000 a month and if there is an order for a high volume sale you may go much higher than that. Truthfully – most artists have other jobs to supplement their art income.

How can I get posters made of my art?

You can have posters made of your art through online sources such as Imagekind.com, Fineworks.com or Artistrising.com. Artists do not go through an approval process for Imagekind and Finerworks – you simply upload your high res file and pick a size for the art.

You or any customer can go through these sites and purchase your art and you will receive a royalty. Artistrising.com requires an approval process so be patient. It is up to you to market your work for on-line publishing sites such as these so be persistent. Post on Facebook, Twitter, blog about it and include it in newsletters.

What are the latest trends?

I use catalogues such as CB2, West Elm and Crate and Barrel for trend inspiration, and it is well worth your time to read design blogs. A complete list is on my site, The Art Planet – just scroll down the left navigation bar; these sites are filled with inspiration, ideas and design trends.

Do you think my art is publishable?

This question is the hardest and requires direct and sincere answers. The fact is – not everyone who wants to be an artist has the talent to get there-be objective and proceed with caution. Ask yourself if your work is unique and original or is simply an interpretation of the hottest trend so it will sell because right now everyone wants that look?

Have you had professional instruction? Learning from professional artists is worth every dollar spent. These people have their experience to share and will teach and instruct in styles and techniques that you may have no experience with yourself; benefit from the knowledge of others. I have had many people tell me they are self-taught and display this as a badge of honor but what publishers really want is someone with a firm grasp in techniques and execution – skills taught in the classes and workshops.

How can I get noticed?

And finally we come to social networking – one of my favorite subjects. This subject cannot be understated – it is truly essential and imperative that you do this…daily.

Take advantage of sites such as Facebook, Twitter, Stumbleupon, Google, Orkut, Digg, Delicious, Kaboodle and many many others. When you upload a new poster or add products to your Etsy site or Zazzle site tell people about. The best art in the world will never be found unless consumers and art lovers are allowed to see it through the art of social networking.

Start a blog and upload your work; share your inspiration for the piece and medium and price. Blogger offers a very easy, intuitive free blog site. The more sites you post on the more your name will show up in search engine marketing and the better chance you have of being discovered.

Creating art is like using your muscles – you must create continually. Be inspired by others, learn from others and build upon your experience to become a brand on all your own.

© 2011 Jan Weiss

Artist Bio – Jan Weiss

Jan Weiss, a northern California native is a freelance writer and artist specializing in home decor. With a strong background in art publishing and art trends, Jan shares this knowledge with the trade as well as individual artists.

Weiss has just completed her first eBook for artists, titled: The Coexistence of Art and Money; interested buyers can find this book as well as her art through several on-line galleries such as Artist Rising, Image Kind and Etsy. Jan’s style is a mixed of collage, digital creations and abstract landscapes that will appeal to the hospitality buyer. She lives with her husband, cat and dog in the Bay Area and enjoys organic gardening, cooking, reading and making stuff.

Reposted By:

Adam Brown

Osio-Brown Editions Website

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