Comments on: What You’re Not Doing: 7 Mistakes Artists Make

By: Alyson Stanfield

Thu, 10 Jul 2025 01:18:47 +0000

In reply to Meg Black.

Meg: I wish! That would be amazing. In the meantime, I’m most interested in the new book about Edith Farnsworth called Almost Nothing. I may have to buy it.

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By: Meg Black

Fri, 04 Jul 2025 23:38:40 +0000

As always, I appreciate the reminder to be consistent with mailing my list, I have a few ideas to share y readers this month-I’m on it thanks to your reminder, In the meantime, I’m loving the photo of you at the Farnsworth House. Great story about Mies and Dr, Edith. I visited Weissenhofmuseum im Haus Le Corbusier in Stuttgart, Germany last week. Thought of you and your admiration for early modern architecture, Have you seen it? Mies’ contribution did not disappoint,

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By: Career in Art

Wed, 18 Nov 2020 23:48:54 +0000

[…] niche industry. However, very few have been able to turn their dreams into reality. Whether it’s lack of direction with their respective styles or their inability to find gallery representation, many fail long […]

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By: One Page You Absolutely Must Have on Your Art Website - Art Money Provenance

Sat, 22 Aug 2020 13:00:20 +0000

[…] email list. In fact, art marketing guru, Alyson Stanfield says that neglecting a mailing list is THE Biggest Mistake artists make when it comes to marketing. But why do I insist upon an automatic system? Trust […]

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By: Sara Millett

Wed, 19 Aug 2015 17:06:09 +0000

I’m a bit confused about number seven. What would responding promptly to phone calls or e-mails mean. Does it mean they day they’re received or just whenever I’m able to, or someone working for me is able to. I’m asking because from what I’ve heard, if I reach the level of success in my art business that I want to, answering all correspondence super quickly, probably won’t be feasible. Is it about figuring out what correspondence needs a quick response what doesn’t? Thanks.

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By: Kelly Borsheim

Wed, 19 Aug 2015 14:04:45 +0000

RE: Author: Suzanne Powers’ comment
You certainly do NOT want to bite the hand that feeds you! Nor do you ever want to engage in dishonorable behaviour. However, there is an interesting and perhaps delicate balance in the artist/gallery relationship and each artist must decide how to run his own business… as the gallery runs their own.
The problem lies in that galleries close, retire, or move, or whatever. Also, the galleries promote many artists, not just you. It is important that the artist know who bought the work for at least a couple of reasons:
1) If my art is sold to an important collector or location (such as a public space), this enhances the career and must be bragged about by both gallerist AND artist.
2) If something happens to the gallery, the artist has the ability to keep making a living. We KNOW that a person who buys once is more likely to buy again statistically. Plus, it is easier to sell to a known fan than get a new collector. If the gallerist actually cares about the artist and he retires, would he not want the artist to be able to sell his own work or at least KNOW where his art has gone?
3) I have had galleries tell me that they will not even consider representing me if I sell my art myself. Right or wrong, my feeling is that THAT is a behaviour based in fear and I do not appreciate fear making decisions for my life. Unless that gallery gives me a stipend to live on, how dare they tie my hands.

In the end, my belief is that we EACH run our own businesses and we come together as partners to make something bigger than both of us happen. To do that, we must trust each other. I must trust the gallery to care for my art when it is in their possession and to share with me information about our sales, as well as pay me the agreed upon amount and in a timely fashion. The gallery must trust me to give new art when they want it and to give them a commission when/if their client comes directly to me to buy and that I will honor my own work by selling at the retail price for consistency and moving my career ahead… and to be respectful of all of my collectors, past, current, and future. Frankly, if the artist and gallery do consider themselves equal PARTNERS, the collector should enjoy buying from either one.
Maybe I am an idealist, but I live that way with my dealers, as far as my end goes. But in the end, I market my work more than they do. I must, it seems.

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By: Suzanne Powers

Wed, 19 Aug 2015 12:57:46 +0000

In reply to John Morfis.

I think you need to revisit the reasons you would want to be in competition to the gallery that is doing such a good job of selling your work. From the information I have read you don’t want to ruin a good thing once you obtain the list of buyers from the gallery. Why would you want to cut out the gallery that has worked to gain you clients?

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By: Alyson Stanfield

Sat, 15 Aug 2015 17:19:17 +0000

In reply to Julie Day.

I’m so happy you’re here, Julie, and that I’m able to help.

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By: Julie Day

Sat, 15 Aug 2015 13:11:29 +0000

Thank you for your articles. I am new at all this so your information is very helpful.

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By: Merlin Porter

Wed, 12 Aug 2015 22:20:45 +0000

Hi all. J Millington I don’t think you have to have a newsletter. I don’t and I make sales and I know artists whom sell well without them…the post on this site about there is no big magic bullet that sorts everything out comes to mind. Saying that I may have a go at one if it seems right as it sounds potentially lucrative. I am learning most of these pitfalls now and realising how much I need to refine in every area to be truly professional and dedicated to being a successful artist. Burying my head in the sand with finances is my worst and a.big challenge, the time is right to take it on though and luckily I have a good friend whom is streamlining his business whom is a good sounding board.

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