Procedures for Art Show

1

PROCEDURES

FOR CHA ART SHOWS

http://art-cha.com

The Coalition of Hispanic Artists, Inc. (C.HA.)

Post Office Box 152324

Tampa, FL 33684-2324

2009-2010

��

The mission of CHA,

the COALITION OF HISPANIC ARTISTS, is

to promote, stimulate,

enlighten, excite and

educate the public about

the history, cultural

values and diversity of

Hispanic art. CHA also

connects artists with the

overall community in

the Tampa Bay Area and

beyond so that art

admirers can enjoy the

versatility of the

Hispanic artists and

their range of cultural

backgrounds.

��

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2

Forward

In March 2008, the COALITION OF HISPANIC ARTISTS (C.H.A.) was created to

provide members with the necessary exposure allowing their talents to be enjoyed and

appreciated by art admirers; and to have the Coalition creations exhibited so that art

admirers could enjoy the versatility of the Hispanic artists and their various cultural

backgrounds. Upon its inception, its mission was defined as follows: The mission of CHA,

the COALITION OF HISPANIC ARTISTS, is to promote, stimulate, enlighten, excite and

educate the public about the history, cultural values and diversity of Hispanic art. C.H.A.

also connects artists with the overall community in the Tampa Bay Area and beyond so

that art admirers can enjoy the versatility of the Hispanic artists and their range of

cultural backgrounds.

To facilitate the exhibition of art on behalf of the member artists (Chamigos/Chamigas),

the Board of Directors (2009-2010) has noted a need, due to recent demands for art shows,

to streamline the method by which the member artists can access the requisite forms to

participate in a timely manner, especially when the demand for shows have been

extraordinary. It has also formalized a logo, through a contest among the membership.

This handbook is designed to meet this need and to make known the new log to enhance its

marketing potential. The streamlining will be an ongoing process as business standards

change or are modified.


Board of Directors

Damaris Soto Frassica, President

Diana Posada, President Elect

Lydisabel Ruiz, Vice-President

Luz Pennington , Treasurer & Newsletter

Manuel Portales, Ass't. Treasurer

Magdalena Negron Matias, Secretary

Dora Iregui, Ass't. Secretary I

Alcira Levy, Ass't. Secretary II

Armida Nagy Stickney, Web Administrator

Augustin Negron, Vocal

Delia Canela Senior,Vocal

Maria Esther Carrillo, Vocal

Ismael Gonzalez-Celimen, Vocal

Prof. Agustín Mercado Rosa, Vocal

Sarita Paccini, Vocal

Luís F. Rodríguez, Past President

Patricia Gómez, Esq. Legal Adviser

Coalition of Hispanic Artists, Inc. (C.H.A.)


Tampa, FL 33684-2324 [email protected]

Main contact Damaris Soto, President e-Mail address [email protected]

Telephone/cellular numbers 813.831.3730 or 813.966.7612

Alternate contact Diana Posada, President Elect e-Mail address [email protected]

Telephone/cellular numbers 813.766.3180


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Index

Membership Applications 5-6 Benefits 7

Renewal Application 8 Official CHA Logo 9

Call to Artists by C.H.A. 10-13 Negotiating Art Shows 14-17 Indemnity Agreements 18-19 The Entry Application 20-21

The Artist’s Biography and Photograph 22-23 The Invoice 24-25

The Art Card 26 The Inventory 27

The Newsletter 28 Presentation 29

Social Network (Web Site) 30 Featured Artists – Article 31-32

APPENDIX A PRIMER: HOW TO PRICE

A PAINTING OF FINE 34-38


Please complete in its entirety for full consideration

Name

Street Address

City, State, and ZIP Code

Telephone No

Cellular No.

e-Mail Address

Country of Origin

From what source (e.g., word of mouth, article in print, etc) did you learn about

C.H.A.?

What is your art form (e.g., dance, poetry, playing the piano, etc.)

Interests (Please tell us in which areas you are interested in volunteering?

___ Administration/Clerical ___Public relation Committee

___ Events/Programs ___ Website updater

___ Secretary/Treasurer ___ Newsletter production

___ Fundraising ___ Communications

___Board Member ___A Committee

___Performer Committee

COALITION OF HISPANIC ARTISTS, INC. (aka C.H.A.)


Tampa, FL 33679

http://art-cha.com

MEMBERSHIP APPLICATION

Artistic Category(ies): � Poetry/Writing,

� Performance (specify)_____________________________

� Music, � Sculpture, � Jewelry,

� Crafts, � Visual Fine Arts,

� Other (specify)__________________________________


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___Myspace/Facebook Committee

___Other (please specify)

What Special Skills or Qualifications You Wish to Bring to the Group?

Agreement and Signature

I affirm that the facts set forth on this application are true and complete. I understand that

if I am accepted as a member, any false statements, omissions, or other misrepresentations

made by me on this application may result in the loss of my eligibility for membership in

the COALITION OF HISPANIC ARTISTS. *Due date of renewal is on the anniversary date

of this application.

Signature Date

Membership Fee $50.00 (Individual) and $80.00 (spouses) Check or Money Order payable to C.H.A.

Mail application

C.H.A., c/o Luz Pennington, Treasurer

7912 Heather CT. , Tampa, FL 33647

For additional information, contact [email protected] (813) 885.2907

Mission Statement

The mission of C.H.A., a non-profit organization, is to be the heart of every Hispanic artist;

to provide the stage--a secure environment and a team concept-- which will attract and allow

artists, regardless of language limitations, to exhibit their art; to promote, mediate,

stimulate, enlighten, excite and educate people about the history, cultural values and

diversity of Hispanic art; to connect artists with the overall community and the community

with the artists’ creations.

Thank you for completing this application

and for your interest in joining C.H.A. 7/2009


Benefits

The following lists the benefits, although nota ll-inclusive, to be gained by being a member

of the Coalition of Hispanic Artists, Inc.:

• Card from ID membership CHA • Current notification of events sponsored on behalf of CHA • Informed of art shows and contests—open—that are sponsored by other

art groups • At a mínimum, two General Assembly meetings for artists to participate

directly with the Board Members • Opportunity to participate in committees and subcommittees • Opportunity to be featured in the Quarterly newsletter • Right to vote for or against members of the Board of Directors

• Plein Air events in the Fall, Winter, and Spring (paint outdoors

with other artists and friends • Learn about clases in Spanish (some are fee based or free to members) • Receive an e-Directory of all CHA members • Join the social network, http://art-cha.com and design your own web

page and post your artwork • 10 percent discount at AOE, a local art supply store • Press releases to promote group events • More to come—

Juried shows with chance to win prizes One-person show (lottery based)

Recommendation: Become proficient in using http://art-cha.com since this will be the best source of direct information on all things CHA.


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Renewal Application

Mail to— C.H.A., c/o Luz Pennington, Treasurer

7912 Heather Court Tampa, FL 33647

From— Date— Name

Street Address

City, State, and ZIP Code

Telephone No

Cellular No.

e-Mail Address

Country of Origin

I, the undersigned, am renewing my membership and submitting my

membership dues (� check no._____) or � money order in the amount of US $_________.

Signature of Independent Artist

Note: Make membership dues payable to C.H.A. or Coalition of Hispanic Artists, Inc. The dues

are US$ 50 for individual artists; US$ 80 for spouses. They shall be paid in March of each year. Only new members who join after the month of July shall pay half of the dues amount. A new member is considered a first-time member or a returning member after three (3) years absent from C.H.A. (9/2009).


Official C.H.A. Logo (formally adopted on July 6, 2009)

To minimize the waste/cost of printing forms, it is recommended that forms be prepared, using the black-and-white versions of the official logo. For formal announcements and the like (for public consumption at large), the logo should be in color.


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Call to Artists by C.H.A.

All Call to Artists will be sent via e-Mail from the President only once to alert the members that a call for artwork is being announced. For details, the members should go to http://art-cha.com for the forms.

All calls via e-Mail will be made in the following fonts for uniformity: Times Roman. All forms available will be prepared using Garamond and/or Century Schoolbook with an auxiliary font that lends itself to the design of the document.

E-mails will be transmitted, using the following format for uniformity to facilitate the viewing of subsequent calls to artists (see following sample).

This format has a dual purpose. It can be used as a checklist when negotiating an exhibition/art show and as a call to artists.


Call to All C.H.A.

Artists

Llamada The Coalition of Hispanic

Artists, Inc.

http://art-cha.com

[email protected]

Date

A not-for-profit organization, founded in March 2008, to serve the Hispanic artists and the community at large in promoting the arts

� Proposed Show � Final Call to CHA Artists

Name of Art Show/Exhibition/Event—

Evento

Exhibitor/Sponsor—

Patrocinador

Beginning Date of Event—Fecha de

Comienzo

Ending Date of Event—

Ultimo Dia

Address of Event (location)—

Dirección del evento

Application Fee—

Tasa

Application Deadline—

Plazo de solicitud

Mailing of Application

Enviando solicitud por correo

Date and time of Delivery, including Address if Different from Address of the

Event

(CHA to Deliver to site)—

La Entrega de las Obras

Date/Time of Installation—

Fecha de Instalación


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If Artists’ Reception, Time/Date—

Si la recepción, cuando

Pieces of Art Work Per Artist—

Piezas de obras por artista

Dimenions in inches— dimensiones

Minimum-Maximum (height x width) Minimum-Maximum (altura x anchura)

Date/Time of breakdown and Pick-up by

Installation Committee—Fechara de la ruptura y Pick-up por el Comité de instalación

.JPEG files (details)—

Detalles para Versión Electrónica

Brief Biographty of Artist? (details)—

Breve Biographia

Indemnity Agreement between Artist and/or

Exhibitor—

Acuerdo de indemnización entre el artista y / o expositores

Guides and Rules of Gallery (Exhibitor)—

Guías y normas de la Galería (Expositor)

Commission to

Exhibitor—

Comisión para Expositores

C.H.A. Contact Person(s), e-Mail and

Telephone No(s).—

Persona de Contacto

For deliver: Exhibitor’s Contact Person,

e-Mail and Telephone No(s).

For Breakdown/Pick-up,


Exhibitor Contact Person, e-Mail and

Telephone No(s).

How Will Sales be Handled? –

¿Cómo se Manejará las Ventas

Under What Circumstances Can a

Work be Removed before the Exhibit Ends?—

Bajo qué Circunstancias Puede una Oobra ser

Removida antes del Último Día

Other (details)—

Otros Detalles


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Negotiating Art Shows – Board of Directors

The members of the Board of Directors who are directly responsible for negotiating art shows with local businesses and organizations will use the form, similar to the Call to Artists, to capture all the necessary information that is needed by CHA members in planning to participate in art shows.

This form can be given to the representative(s) of local businesses and organizations to assist them in determining what information they need to provide to the CHA membership. This form is merely a tool.


Call to All C.H.A.

Artists

Llamada The Coalition of Hispanic

Artists, Inc.

http://art-cha.com

[email protected]

Date

A not-for-profit organization, founded in March 2008, to serve the Hispanic artists and the community at large in promoting the arts

� Proposed Art Show

Name of Art Show/Exhibition/Event—

Evento

Exhibitor/Sponsor—

Patrocinador

Beginning Date of Event—Fecha de

Comienzo

Ending Date of Event—

Ultimo Dia

Address of Event (location)—

Dirección del evento

Application Fee—

Tasa

Application Deadline—

Plazo de solicitud

Mailing of Entry Application

Enviando solicitud por correo

Date and time of Delivery, including Address if Different from Address of the

Event

(CHA to Deliver to site)—

La Entrega de las Obras

Date/Time of Installation—

Fecha de Instalación


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If Artists’ Reception, Time/Date—

Si la recepción, cuando

Pieces of Art Work Per Artist—

Piezas de obras por artista

Dimenions in inches— dimensiones

Minimum-Maximum (height x width)

Date/Time of breakdown and Pick-up by

Installation Committee—Fechara de la ruptura y Pick-up por el Comité de instalación

.JPEG files (details)—

Detalles para Versión Electrónica

Brief Biographty of Artist? (details)—

Breve Biographia

Indemnity Agreement between Artist and/or

Exhibitor—

Acuerdo de indemnización entre el artista y / o expositores

Guides and Rules of Gallery (Exhibitor)—

Guías y normas de la Galería (Expositor)

Commission to

Exhibitor—

Comisión para Expositores

C.H.A. Contact Person(s), e-Mail and

Telephone No(s).—


Persona de Contacto

For deliver: Exhibitor’s Contact Person,

e-Mail and Telephone No(s).

For Breakdown/Pick-up, Exhibitor Contact Person, e-Mail and

Telephone No(s).

How Will Sales be Handled? –

¿Cómo se Manejará las Ventas

Under What Circumstances Can a

Work be Removed before the Exhibit Ends?—

Bajo qué Circunstancias Puede una Oobra ser

Removida antes del Último Día

Other (details)—

Otros Detalles


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Indemnity Agreement between C.H.A. and Member

Each CHA artist must have on file an INDEMNITY AGREEMENT between him/her and the Coalition of Hispanic Artists, Inc. This INDEMNITY AGREEMENT is only required once per calendar year. Since this requirement is new, all CHA artists are to submit the INDEMNITY AGREEMENT with the next entry application they submit. See below.

Every organization exhibiting CHA.-generated artists requires their own INDEMNITY AGREEMENT. These documents will be forwarded along with each Call to Artists.

Artists are encouraged to purchase insurance for his/her work of art to be in effect while a work of art is being exhibited.

Although CHA will take every measure to handle each artwork with the utmost care, unanticipated problems may arise. This, there is a need for Indemnity Agreements to be signed between CHA and the artist.


INDEMNITY AGREEMENT

WHEREAS, the undersigned

(Independent Artist) desires to place on

display his/her works of art as a member

of the Coalition of Hispanic Artists with

the assistance of the COALITION OF

HISPANIC ARTISTS, INC., (C.H.A.) of

Hillsborough County, Florida; and

WHEREAS, by and through the Board of

Directors of CHA, and/or a designee, and

by and through the CHA representative(s)

of any of its Committees, the Independent

Artist has been advised that CHA will

handle, transport, ship, and/or arrange

artwork, as applicable, to be placed on

display at various sites throughout the

fiscal year, provided the undersigned

indemnifies and holds harmless all CHA

members from and against any and all

liability for damages occasioned by or to

the said works of art submitted in the

fiscal year of March 2009-February 2010.

The Independent Artist appoints CHA as agent for the works of art for the purposes of this agreement, for the purposes of exhibition and sale. Moreover, the Independent Artist hereby warrants that he/she created and possesses unencumbered title to the works of art, and that their descriptions are true and accurate.

NOW, THEREFORE, in consideration of

the premises and the permission by CHA

or any agency thereof, including any

handling by any CHA members, the

undersigned hereby agrees to indemnify

and hold harmless the said CHA, against

any and all liability, loss, damages, costs

or expense occasioned by or to the said

artwork which the undersigned may

hereinafter incur, suffer, or required to

pay, said artwork to be displayed.

By signing this Agreement, I agree I

have read and fully understood the terms

of this agreement, and I agree to the

above terms this the______day of

_____________________, 20_______.

_____________________________________

(clearly printed name of Exhibiting,

Independent Artist)

X____________________________________-

(signature of Exhibiting, Independent

Artist)

Address_______________________________

_______________________________________

_______________________________________

Telephone _____________________________

Representative of Independent Artist

_______________________________________

(clearly printed name of assigned

representative of Independent Artist)

X____________________________________-

(signature of representative)

Address_______________________________

_______________________________________

_______________________________________

Telephone _____________________________

Date____________________


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The Entry Application

This form is uniform and self-explanatory. However, note that the first column of the ENTRY APPLICATION is for you to record the important dates and information. Once you complete your application, make a copy for your files and mail the original with whatever other documents are required. Every effort should be made to use the ENTRY APPLCIATION.

E-Mail applications will need to be followed up with a paper ENTRY APPLICATION and postmarked on or before the deadline date. The e-Mail applications will serve to alert C.H.A. how many members plan to participate. It also helps to begin the inventory form that will accompany any paperwork to be submitted to the Gallery/Host/Sponsor.

Any incomplete ENTRY APPLICATION will be denied. A notice may or may not be sent to cure the ENTRY APPLICATION. Therefore, prepare a checklist so as not to submit an incomplete ENTRY APPLICATION. Remember that the deadline date means just that—no further activity, it is as good as dead.

All works of art must be original works. Some galleries stipulate that the original art must have been completed within a certain period of time. Copies, including published photographs, or work done under instruction in a classroom are not permitted or acceptable.

Note: Dimensions of paintings should always be recorded as height x width.

Usually art is to be displayed for the duration of the exhibition. In some instances, substitution can take place if a piece sells. However, this varies from place to place, and this situation should be noted when calls to artists are made.



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The Artist’s Biography and Photograph

It is important the artists provide a brief biography of themselves and their relationship to their art as soon as they become members. The biography needs to be limited to 350 words or less. This will enable C.H.A. to prepare any press releases, portfolio and e-magazine for its members. The biography and photograph are useful marketing tools.

To assist you with the task, some standard questions are provided. Any editing will be conducted by a volunteer who is equipped to conduct this task. Even Microsoft word can provide this service as well as cursory translation from Spanish to English. Therefore, you can write your biography in Spanish. It is essential, however, to promptly submit an Entry Application if you want these services. Since C.H.A. consists of volunteers, volunteers have the discretion to not have to perform the service if time and circumstances are a factor.

In the event the biography needs to be shorten to 200 words, please organize your biography so that the last paragraph contains information that is less than primary and secondary information about you and your art.

A photograph of artist needs to be in jpeg format (between 600-1000 pixels). This is also true of photographs of artwork.

For example, for Visual Artists—

Name:

Country of Origin

Current community where you live

Where did you study art?

Are you self-taught?

What style(s) do you paint in?

What medium(s)?


What are your favorite themes, if any?

How many years have you been painting?

A brief statement about your art?

Anything else you want others to know about you?

What is your web site?

How to be contacted if there is a prospective buyer?


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The Invoice

Every painting should have an Invoice attached to the back of the painting to facilitate sales when delivering the art for show. See attachment for a sample of the Invoice. When attaching an Invoice, complete it as noted in the highlighted sections in orange.



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The Art Card

The Art Card is designed to provide information about the artwork and artist on the back of the artwork. When delivering the art, it should also be attached to the back of the painting to facilitate inventory and the like. The format of the Art Card needs to contain the following information:

Title of Show Beginning-End Dates of Show Sponsors Location

Name of Artist

Country of Origin

Title of Work

Dimensions

Medium

Price

Artist’s Contact Information—

Telephone:

Cellular :

e-Mail :

Best time to be contacted?


The Inventory

The inventory should be prepared in Microsoft Excel and contain the following information:

Column 1 – Artist’s Initial

Column 2 – Item No.

Column 3 – Title

Column 4 – Medium

Column 5 – Size

Column 6 – Description (if framed, genre, topic, etc.)

Column 7 – Retail Price

Column 8 – Non-English speaking (Check only if applicable)

At the bottom of each page, the footer should require the C.H.A. representative’s signature and the signature of the Gallery/- Host/Sponsor’s representative as well as the date in which the chain of custody is transacted.


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The Newsletter

C.H.A. will be employing a Microsoft Word 97-2003 template to create the newsletter.

To convert the template into a Word document, simply select, under “Save as type,” Word 97-2003 document; vice versa.

The newsletters title is to be revisited with a possible contest as to its name. It will be a quarterly publication that will be sent to all points (formalized marketing mailing list) and the C.H.A. membership. Moreover, it will be uploaded onto the web site, http://art-cha.com, and archived.


Presentation

All works of art must be stoutly wired. Wire should be securely attached, without excess wire, and placed approximately one third of the height down from the top of the piece. To reduce the chances of injury, tape the ends of rough wire. Avoid the use of plastic-coated wire as it tends to slip when the site of exhibition uses the chain-hanging system.

Sawtooth hangers are not acceptable. If the hangers are adjustable, they must be adjusted to the correct height before the work is submitted.

Generally, adjustable clips with two sheets of glass or Plexiglas are not acceptable in place of a frame. Frames must be in good condition.

Mats must be clean, in good repair and well cut and the frame, glass or Plexiglas, should be clean and unscratched. Any entry not meeting these specifications will not be accepted for any juried shows. Any work of art requiring special handling should be accompanied with all necessary hardware.

Each Call to Artists will specify the requirements that must be met.

As a word of caution: Any art that is delivered to the Installation Committee may be rejected as determined by the Installation Committee on a case-by-case basis. It is not fair or proper to expect others to do chores that should be done by the artirst in the first place. It is simply not professional conduct.


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Social Network

The web site known as http://art-cha.com is a social network designed for the exclusive use of members of the Coalition of Hispanic Artists. All new members are encouraged to join the network where they can upload their art on their very own page.

If someone does not feel sophisticated on the interest, it is recommended that this person seek a friend or family member who can guide him or her. Just like learning to drive or ride a bike, practice makes perfect.

A good example of a social network is Facebook, Twitter, or BeliefNet, etc. However, http://art-cha.com is more than a social network. It is also a centralized place to showcase the members’ art, and it is promoted through literature put out by the Coalition of Hispanic Artists.

It is recommended that, a signature on e-mail transacted by CHA Board Members contain the web site address.


Featured Artists

To facilitate the production of FEATURED ARTIST in our Newsletter and Internet

Social Network, http://art-cha.com, following twelve (12) questions have been

formulated for your consideration. Members have one month to submit their article

upon notification. They will be published in the order determined by the Board of

Directors. Each article is to be accompanied by a .jpeg photograph of the artist

and/or artwork. Expect edits to be made appropriately.

PROCEDURE: Select five (5) of the first 10 questions. The last two (2) are required

in the write up of yourself. They must be included with the selected five (5).

1. What theme(s) inspire you to create art?

2. What are your goals as an artist?

3. Have you changed over the years in your style of painting?

4. How would you best describe your current style?

5. How did any of the Old Masters inspire you if any? Name them.

6. How did any of the 20th Century Hispanic artists inspire you if any?

Name them.

7. Do you consider yourself a self-taught artist or have you had traditional

training? How did you go about your training?

8. Do you consider yourself a “Sunday” painter or a professional?

9. Do you collect art from other artists to hang on your walls? What genre

have you collected?

10. Please describe your most recent visual experience that resulted in your

latest artwork is to Become your next artwork?

11. What is your country of origin? (Required)

12. When did you first start to create art (describe)? (Required)


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SUBMISSIONS. Via e-mail only to [person who prepares the newsletter] with a copy

to the Administrator of http://art-cha.com, [email protected].


APPENDIX


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A PRIMER: HOW TO PRICE A PAINTING OF FINE ART

(courtesy of Armida Nagy Stickney)

Pricing a painting is an arbitrary art in itself. . It is arbitrary because there are no

set rules on how to reach a reasonable figure. Most artists find the process frustrating and

intimidating. It becomes an emotional journey all of its own. Often confusion remains

without a clear indication of how to come up with a satisfactory price. In fact, emotion can

never be factored out. It remains in the background, influencing the artist’s thoughts about

the best, fair price.

There are several approaches an artist can choose from in determining a price of a

painting even though another artist may disagree with the pricing. Ultimately, an artist

will choose the approach that is most comfortable. Over time, pricing will become an easy

exercise.

Pricing for a local gallery

When a painting is taken to a gallery, one of the first questions an artist is asked is

“how much do you want from the sale of the painting?” In turn, the gallery tacks on its

commission (30-60 percent) of the sale price. After learning the commission fee, the artist

should honestly ask himself/herself “will it sell at that elevated price?” If the answer is

“no,” lower expectations and reduce the amount. If it is a “yes,” the artist is in business. If

it is a “maybe,” the artist should go for it to see if it sells.

What high-end galleries do, as a rule of thumb, is to price a painting based on

comparable works of similar size by other artists at a similar stage in their art career. The

gallery considers resumé and size. The collector, including the gallery, considers whether

or not the artist has sold anything within the past three years. If not, the artist is will be

dropped as an emerging artist sought by collectors. For this reason, it is important to

regularly show one’s paintings.


Go back to the gallery to see where the painting was placed. This is a good

indication of how the gallery feels about the painting. Check, too, to see if the price on the

painting is more than the agreed-to commission amount.

An artist should never undercut the gallery by making a private sale. This is the

quickest way to get a bad reputation by alienating the art dealer. Remember, traders talk

to each other.

Auction house

If an artist wants to be brutally awakened as to the value of a painting, he/she

should take it to an auction house. Plus, there is likely to be a fee for the service. If there

is no interest in the painting, think about it again. Perhaps the expectations are to high. Is

the artist really ready to have high expectations? Perhaps the painting is a new technique

not yet appreciated. If a painting follows a known style, the artist needs to take a serious

look at whether the work is accomplished enough.

Striking a balance

If the painting is overpriced, it is unlikely to sell; but, conversely, if it is underpriced,

the cost of producing the painting may not be recovered or the artist will not be taken

seriously. Remember, these are “if’s.” As an artist, do you want to set a price just to recoup

the cost of materials and the time spent producing it (your labor)? Some artists are willing

to do just that.

Seeing oneself as a “laborer”

This approach may not sit well with artists. After all, the artist provides not only

technique but inspiration to the beholder. How does an artist put a price on inspiration

(your creative value)? Add it into your labor calculation.

In this approach, the artist assigns an hourly rate to the labor of painting. If the

hourly rate is $15 an hour, for example, and it takes 10 hours to complete a painting, the

painting can be priced at $150.00, plus inspiration at $100, plus supplies at $25: $275.00,

etc. The following paragraphs make this clearer.

Record how long it took to make the painting. Since time also costs money, the

artist needs to place a value on his/her time. The artist’s experience and reputation needs

to be added to the value of his/her time. It is important to be realistic about one’s


36

reputation and experience. An artist who is merely starting out cannot expect to command

the price of an artist with an established reputation.

It is essential to work out how much was spent in making the painting, excluding

time. Include not only the cost of the canvas, paint, brushes but also overheads such as

electricity, rent of studio space, or use of a model. If there is money spent marketing for an

exhibition or promoting an open-studio day, add an amount to the price.

In other words, the pricing reflects the complexity of the art piece, both in the medium, (e.g., watercolor or oil) and in the subject matter (e.g., number of people, detail rendered in background). A rule can be, add 50% more for each extra person in a painting and 50% more for a complex background.

Having made all the above calculations, the artist needs to look at the final price

and to compare it with local prices for comparable pieces.

The artist now needs to honestly ask himself/herself: “Is it realistic given the

market and my reputation?” At this point, the price can be adjusted.

Once an artist makes an assessment and realizes he/she paints a standard size,

pricing becomes easier.

Researching the marketplace

Find out what other artists are charging in the local area. Realize, too, that prices

will be higher in big cities such as San Francisco, London, New York, or even Miami. It is

essential that the artist price for the local market and the current economy.

Pricing for family and friends

Artists have a tendency to lower their prices for family and friends. The word is

don’t if you will regret it later. Otherwise, an artist should always show kindness and

appreciation. However, the artist should let family and friends know that there is no free

lunch. Let them know you expect something in return. For example, how about making a

referral and vowing not to disclose the amount paid for the painting. While at it, give them

the actual value that they can quote to friends and acquaintances as having “paid.” Don’t

worry, people like to brag. If they have scruples, they will probably say, “This is worth so

much ($xxxxx)!” People tend to buy art because they want others to believe that they can

afford it.


Following the Ten Commandments

If following a list of ten rules is helpful, Canadian artist Robert Glenn offers his “10 Commandments on Art Pricing” to artists on the internet because, as he puts it, "Art, particularly rare and hand-made art, doesn't price out in the same way as donuts. It needs to be somewhat inflationary, have the slight patina of investment, and yet have perceived value for the type of art and the life-station of the artist." Therefore, he advises:

Thous shalt not—

• one price for Maria and another for Jose • lower thy prices • easily discount thy prices

Thou shalt—

• start out cheap • publish thy prices • raise thy prices regularly and a little • control agents and art dealers • deal only with those who will honor thee • seek to end up expensive

Every artist should seriously consider each of these rules, print them out, stick them up in the studio where they can be read regularly. Read them until they become a mantra for recitation.

What the pocket will bear

An artist once told me he prices his art depending on how deep the prospective buyer’s pocket is. If he sees that someone is deeply moved by his painting but cannot afford it, he will consider lowering the price for this person.

Afterthoughts

An artist should only sell his/her best work, because the artist is trying to establish a good reputation and to maintain it.

An artist should never sell a copy of another artist’s painting as his/hers. People are

visual creatures with memories to boot.


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An artist should not put a high price on a painting in an exhibition/art show because

he/she does not want to sell it. What if it sells? Simply state in lieu of the price, “NFS” (not

for sale) or “Contact the Artist.”

The artist should create a price list, work with it for six months to a year, and adjust

it after another six-month period as necessary.

There are artists who are not particularly interested in selling their art. Their art is

a spiritual journey rather than a material one. In this case, asking price maybe less

important. There is a lesson here for artists, in general. All artists have to decide “will I

benefit more from putting my energy into my art rather than the selling of it?”

Of course, artists have a hard time pricing art—dealing with the reality of daily commerce is not their playground. The artist needs to be free to create and distance himself/herself from the marketing world. By doing this, the artist creates better art, rewarding collectors and art dealers with the magic of creation.

Perhaps this is the best of times and worst of times for artists. Paintings may not sell, but artists can insulate themselves to create new visions. When the economy is down and discretionary income is not available to spend, paint, paint, paint! (2009)


Documents

Procedures for Art Show