Throughout its four historic decades in contemporary and fine art, Artexpo New York has hosted the likes of Andy Warhol, Robert Rauschenberg, Keith Haring, and Leroy Neiman; intensifying the discourse on today’s industry challenges and magnifying the very best the fine art world has to offer.

This year’s Artexpo New York takes place April 7-10, 2022, at Manhattan’s newest destination for art, Pier 36. Each year, the fair’s special programs range from immersive artist-led Art Lab experiences to compelling Art Talks and exciting Meet the Artist sessions.

From the amazing list of exhibitors, Artexpo’s curators present their Spotlight Program, providing collectors a focused look at several cutting-edge galleries and artists recognized for their skill and achievement in the visual arts.

Check out this year’s Spotlight Program recipients below!

Will Schmahl – Works By Will – Booth S110

From his unusual use of colors, Will creates a psychological narrative within each piece depicting his journey in life. Once you follow Schmahl, you will find a recognizable style of abstract paintings that have a way of making you feel something. Whether it’s a sense of pain, a burst of energy, or a memory that is relatable. His works have the ability to transform a room and get you excited about art.

John Dowling – John Dowling Fine Art – Booth 325

Dowling’s art odyssey began in the ’80s. While recovering from a devastating illness he spent time painting his photos on his laptop as art therapy. Dowling was and is a preeminent photojournalist and fine art photographer and has photographed countless celebrities, models, politicians, executives, wildlife, landscapes and nature, high-profile events, and life in general. What makes Dowling’s work so unique is his extensive use of layers that cause each viewer to have different perceptions of what they see. A unique technique of leading the viewer to have false affirmations of what they see, as well as challenging the human conscious mind to see what actually exists. What will you see?

Jeremiah Heller, Curator – End to End Gallery – Booth 104

End to End, E2E is a Graffiti & Street Art term that refers to a huge graffiti piece that covers a wall from one end to the other. On a subway train, it refers to a piece that covers the entire train, end to end. The street abbreviation is E2E.

This lexicon has been the inspiration behind End to End Gallery in our Downtown Hollywood Florida Showroom. We have curated an End to End space featuring a curated collection of modern and urban contemporary art from Jeremiah’s personal collection that truly embodies the meaning of the term and creates a unique viewing experience. Placing works from our personal collection allows the works to be viewed publicly and allows us to educate and share our passion for the works within the collection.

Gregory Bedford – Bedford Fine Art – Booth 237

Gregory Bedford’s wide sphere of life experiences fosters his creativity and design, all of which are major elements in his abstract paintings. This multi-talented artist began abstract collage painting during his breaks from acting. Painting provided Bedford with another outlet to release his creative energy, as well as to experience alternative methods for his creative process. His passion for the arts began as a ten-year-old. His introduction into stage and the arts came naturally: his father was an art teacher for 30 years. A method actor by trade, he becomes one with his work not only in the moment on stage or in film but also in his art studio.

Mikheil & George Mikaberidze – Mikheil & George Family Art – Booth S903

A father and son art team formerly from Tbilisi, Georgia, now reside and create their works in Brooklyn, New York. They have participated in various international exhibitions in Germany, Belgium, Netherlands and USA. The art exudes a sense of hidden depth in character masked by an almost childish playfulness in color and theme.

Erick Picardo – Picardo Colors – Booth S410

Picardo is a multidisciplinary Afro-Caribbean artist based in Michigan, whose work makes a statement about the mystic order of existence and its relationship to everyday life. Using a combination of oil and acrylic, Picardo portrays figures using color to entrance viewers, drawing them into a world of music and dance. He envisions his paintings serving as a reminder of all that humanity is capable of being, inspiring viewers to strive toward a better self and better world.

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The traditional way of selling art through brick-and-mortar gallery works. But if you find yourself creating marketing materials, building websites, packing boxes, and accounting for your sales when you’d rather be painting, sculpting, or blowing glass, then it’s time to consider selling to the trade.

Also known as wholesaling, selling to the trade is commonplace in the commercial marketplace, and it’s been around for decades among fine artists who see it as a means of expanding their reach and collector base. And in today’s marketplace, it can provide income via multiple distribution channels. 

Instead of relying on their own sales and gallery consignments, successful artists have entered the world of wholesale and are building a distribution network of publishers, gallerists, dealers, consultants, decorators, and designers who provide a professional skill set in dealing with the art world, from marketing and selling to packing and shipping. And today, online marketplaces have become another means of expanding your distribution.

The more places your art is on display, the better chances it has of it selling. So let’s look at four types of art industry trade distribution and what they typically charge for services.  

PUBLISHERS

An art publisher is not unlike a book publisher. A book publisher (think Simon & Schuster) manages the careers of many writers, while an art publisher manages the careers of many artists. Not only does an art publisher provide operational, promotional, and financial guidance, but also, and perhaps most importantly, a publisher maintains a client list of galleries and retailers around the world in which to sell the art they “publish.”  

A typical art publisher needs to buy at a deep discount so they can sell the art wholesale to a retailer (i.e., a gallery owner). For instance, if the retail price of a piece is $5,000, the retailer will expect a discount of 50/10, which means the publisher usually asks for a discount of 50/50/20: $5,000 less 50 percent is $2,500 less 50 percent is $1,250 less 20 percent is $1,000. 

This is a wonderful relationship for artists who can paint quickly. Let’s say you can paint 100 pieces annually. How many can you sell on your own? Not many. However, the publisher’s distribution network of dealers, galleries, and trade professionals does the selling for you, leaving you with more time to paint.  

GALLERISTS AND DEALERS

Otherwise known as gallery owners or art dealers, they account for 51 percent of art sold annually. Gallerists and dealers are the business side of the industry, acting as the retailer, curator, accountant, marketer, and sales team all in one. 

“It’s not an easy business,” says Eric Smith, president, and CEO of Redwood Art Group. “When you’re dealing with a gallery owner, I encourage you to work with them, create a long-term relationship. They are your partner, and you never bite the hand that feeds you.” 

Gallery expenses include rent, power, sales commission, advertising, marketing, events, and more, so a typical gallery needs to buy or consign the work at 50/10 to 50/20. On a $3,500 piece, this translates to $3,500 less 50 percent is $1,750 less 10 percent is $1,575, less 20 percent is $1,400.

Also remember, when you work with a gallery, your distribution is almost always limited to the area they occupy in order to protect your relationship. Even if the gallery is in Los Angeles or New York, you’re still relying on foot traffic — so be patient.  

DESIGNERS AND DECORATORS

Interior designers and decorators can be a significant source of distribution for some artists, and they often don’t take as large a piece of the pie. That’s because designers and decorators are not guiding or assisting you; they are simply selling directly to their client — the collector. You have to be out there in order to connect with the designer or decorator, so you’ll still have to capture the image of the piece, post it on your website, and provide the marketing. 

Typically, a designer works on a 25 to 30 percent margin. For instance, if the sale price of a painting is $4,000, you’ll receive anywhere from $2,800 to $3,000 for the piece. Then they resell it to their client for the full price or maybe slightly more.

ONLINE PLATFORMS

Selling online has become a mainstay for many artists, whether on their own website or in affiliation with one of the many online platforms. Of course, selling directly from your website or your own social media platforms gives the potential of interacting directly with buyers, creating a relationship much like you would do at an art fair or gallery opening.

Having your own site gives you complete control over presentation and sales, but the challenge is having a well-designed website that’s easy for search engines to rank. Merely uploading your work on your website won’t get you noticed. You’ll need to have an aggressive marketing plan of blogging, emailing, and social media to engage followers and potential buyers.

You might choose to partner with a platform like SaatchiArt, DeviantArt, or Redwood Art Marketplace. Each of these platforms markets aggressively and manages the sales process entirely. You can expect them to take between 35 to 40 percent of the sale. If your work sells for $2,500, you’ll receive between $1,500 and $1,625 for it. 

PATIENCE PAYS OFF

We like the way this quote from Cory Huff, CEO and Founder of The Abundant Artist, sums it all up: “The final decision on what to do and how to do it comes down to you as the artist. It’s your work and your life. Artists remake new markets and forge ahead into areas that others can’t see. That’s what makes artists unique and interesting. As with any business strategy, the best strategy to selling art is the one you can maintain. Be patient. Take some time and plan out your strategy. And, most importantly, give yourself room to have fun and experiment.”

LEARN MORE

You can learn more about selling art in the art industry’s wholesale marketplace at the Topics & Trends Educational Series seminars at Artexpo New York, running November 18-21, 2021, at Pier 90 in Manhattan.

For more information on Redwood Art Group’s fairs and how Redwood can help you develop your career and grow your business, visit https://redwoodartgroup.com/.

About the author:

Linda Mariano is the Editor-in-Chief for Art Business News and Managing Director of Marketing for Redwood Art Group. With a career that spans 30 years, Mariano is a leader in marketing, brand management, e-commerce, and promotion initiatives for major retailers, specialty retail, art industry, licensing partnerships, media, and entertainment, as well as entrepreneurial business environments. For Redwood Art Group, Linda oversees the marketing and brand extension efforts of the company.

All photos courtesy of Redwood Art Group.

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1. Create a Signature Style

If I’ve said it once, I’ve said it a thousand times, what makes an artist stand out at exhibition—anywhere really—comes down to one thing: You need a signature style. Every great artist you know about has a recognizable style, technique, color palette, or subject matter. You can look at the work and know immediately who did it. Make sure the work you select reflects a streamlined style.

2. Select Only Your Best Work

Although there may be a desire to show off your entire range of abilities and interests—don’t. At least not at a show. Unless you’re a gallery owner representing many artists at once, don’t fill up the booth with a variety of work and styles. Buyers and collectors are informed. They don’t want a one-and-done painting. They’re looking to see if an artist has staying power and a signature. If you are working with a gallery, make sure you send them your best and most current work.

3. Presentation Is Everything

Art shows are a great opportunity to expose your artwork to masses of potential new clients and trade buyers, but there is always A LOT going on. Maximize your booth. Create beautiful wall layouts that don’t overwhelm the visitors. Letting a few pieces shine makes an impactful statement to the buyer.
Preparation is key. Come ready with handouts that have a description of your work, an artist statement, and your contact details. Make sure you spend some money on quality framing and hang your work properly. Presentation is everything. You need to give your art—and buyers—room to breathe.

4. Build Relationships with Clients

Becoming a successful, well-known artist is not something that happens overnight—for anyone. You need to build relationships with your buyers. Take time with your visitors. Get to know them and what they’re interested in. Exchange cards. Encourage visitors to follow you on social media or sign up for your newsletter. Don’t sit down in your booth. Don’t eat in your booth. Don’t look at your phone. Give visitors your full attention. They may not buy this time, but if they come back, they will be more likely to come to your booth again because they have built a rapport with you. Your buyers want to know you as an artist with staying power. They are investing in you and your work. Give them a good reason to.

5. The Price Has to Be Right

Another key aspect of success is pricing the work. Every piece of work should have a title, artist, size, and price information clearly labeled. Don’t go to a show not knowing how much your work (and time) is worth. This is always a starting point and encourages the consumer to ask questions such as: Where did the title of this piece come from? Who is this artist? Where are you from? Questions such as these open the piece for discussion and allow you or your dealer to engage the consumer, encourage sales, and get a feel for the type of pricing the market will support. A piece that you feel was priced on the higher end might be a no-brainer for an interested and seasoned collector. Or, perhaps you’ve out-priced yourself, given the reaction of passersby. Either way, you’ll know for next time what works best.

If you’re thinking about attending a trade show but the logistics (setting up and selling the work), not to mention the cost of attending as a solo artist, intimidates you, consider partnering with a gallery to show your work. My team at ADC and I have been doing it successfully for years. We work hard to prepare the booth, ship and install the art, and spend every minute of our day during the trade show making your work stand out to buyers. We can focus on selling your work so you can focus on creating more of it.

Let us take care of all the details for you! To learn more, visit blink.adcfineart.com/pages/shows or contact Chelsea Tucker Moore, our artist relationship director, at chelsea@blinkartresource.com.

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