ArtId Art Blog
In going on ten years, my company, ArtREPS, has advertised in the classifieds of leading national art magazines, such as The Artist's Magazine, Art in America, ARTnews, and American Artist, and in every single ad, we__™ve used the expression ___breaking into the print market___ to describe the task at hand for fine artists when approaching fine art royalty publishers.
Why is this? The competition is fierce__"that__™s why. There are so many wonderful artists out there who want to participate in this giant, lucrative market, who are on the outside looking in and want a piece of the action, and so it would appear that publishers have the upper hand and can pick and choose, or may have a closed-door policy. The fact of the matter is, as a fine art agent, I've found that it's not that way at all and publishers are always very interested in the new talent we present to them.
New talent is the lifeblood of any art publishing company__"whether small, medium, or large in size, whether a new company or an established company. Without new talent there can be no exponential growth. There can be no viable capability to respond to print industry trends, which shuffle around yearly. New talent is critical as well to respond to other publishers that are competitors, that every year add to their ___stable___ of extraordinary artists.
Some publishers add one or two new artists yearly, some add none, and some add as many new artists that are a good match for their needs as they can find and as their capitalization allows. Thus, there's never a shortage of opportunity in the print market for artists__"particularly for artists who recognize the opportunities that do exist and make the decision to do something about bringing their work to the attention of the publishing industry.
Where the idea came from that being marketed worldwide with prints, whether limited editions, posters, or open editions, is going to somehow denigrate an artist's reputation to the point that gallery sales will suffer is very much a misappropriation of the truth. If anything, it's the completely opposite dynamic that drives the market for originals when an artist becomes well known in the print market__"what can be called The Positive Domino Effect.
Galleries can use the ___sizzle___ that goes along with having a published artist to legitimately hype, talking it up to collectors who just might get excited to know that this particular artist's originals are very reasonable right now. As the publishing industry drives that artist's name to new heights of recognition, these same originals are going to appreciate and it's a smart investment move to get in on the ground floor now.
Any good "art rep" knows these basic principles of marketing art, and there are many other legitimate and sound marketing reasons for emerging and established artists to pursue getting their work into the print market. We'll cover those and more in our next installments. But for now, I'd urge you to not go gently into the night, good artist, but rather rail against the inequity of the status quo!
In other words, do something proactive to try to get published.
Richard Brooke, Pres., ArtREPS