Art Print Issues

Wired Art Marketing Idea

About a year ago, Wired, a leading tech publication, offered its readers, anyone actually, the chance to create their own personalized cover, like the one pictured here, in a promotion sponsored by Xerox.

Good Ideas Never Go Away

Then as now, I thought it was a great idea. But, I put it away in lieu of other blog post concepts. It's stayed with me and I present it to you today as a way to stimulate your own thoughts on how you might think of creative ways to interact with your collectors and prospects.

The promotion was done as a creative way to show off the Xerox XMPie™ product line, which it had acquired in 2006. Specifically, it allows users to implement its Image Personalization tool to create the personalized headline and illustrate the versatility and ease-of-use of the program. I'm not sure what the price is for the program. It doesn't say on the product's Website. For those of you who own Adobe Creative Suite 2 or 3, you can download a free 30 day trial.

Employ Creative Borrowing to Invent Your Personalized Promotion Ideas

What's more important than the technology to readers of this blog is the concept behind the use of the technology. That is, borrowing on the concept to help you use whatever means, technology or otherwise, available to you, get in gear to think how to personalize your art for your collectors is what is important.

Giclées Are Just One Way to Personalize

The giclée process with its variable size capabilities is just one way you can personalize art for your collectors. I think this alone is underutilized as a way to truly serve customers' specific needs. Substrates are another way to personalize your work. New products are frequently being announced. These are but two examples of how technology can be used to personalize art. Can you imagine collectors willing to pay a nice premium for something personalized for them? I can.

Personalizing on a Small Scale Is an Advantage

If you are able to use the XMPie program to let your collectors and prospects have fun with your art and create a personalized printable product like the one pictured here, wouldn't that be way cool? How much good will, promotion and publcity you can generate with an ideal like this? In the right hands, the possibilities offer great promise on multiple levels.

Dont' Sweat the Small Stuff

Don't stress if you lack the tools or budget to use this program. The idea behind how to reach and influence your customers is the important thing. With a bit of creativity, you can come up with your own unique ways to get personal with those important to your career.

Drawing the Line on Reproductions

Technology for better and worse...sometimes a little of both

For as long as the ability to reproduce art has been available, there have been those who have sought to use it for legitimate purposes, and unfortunately also for ill-gotten gain. There were numerous reports last month about a ring of crooks busted for selling $7 million in fake Picasso, Miro, Dali and Chagall prints, including a post here. These details come nearly on the one-year anniversary of the announcement of the conviction of Kristine Eubanks and her husband, Gerald Sullivan. That pair had been charged with selling $20 million in bogus art prints, many of which were made in their own professional giclée printmaker studio.

(This content is republished from the April 3, 2008 Absolute Arts blog where I am a guest blogger and where you will find an interesting running commentary on it.)

Personally, I quite enjoy that visual artists can reproduce their work and thus create a secondary cash flow from it. It gives them another price point and allows them to introduce their work to many more collectors as well. Seeing cases of fraud, as mentioned above, concerns me visual artists creating legitimate reproductions can sometimes find themselves under unwanted unnecessary scrutiny. As if making a go of it for most artists was not already difficult enough.

What Is Art?

Part of the romantic allure of the art business – yes folks, it is a business – is it is kind of Wild West when it comes to what one wants to do and what one wants to call it. By golly, the debate over “What is art?” rages on and has never really been satisfied. Surely, the folks at the NEA (National Endowment for the Arts) can attest from regularly coming under siege for funding controversial works can tell you there is a wide range of sentiment regarding the question of “What is art?”

So, if we can’t decide on what is art, is there any chance we can decide on what is a print? The short and correct answer is no. The mixed use of terms in the business creates confusion that leads to anxiety and distrust.

What Is Investment Art? Can Giclées Be Considered Investment Art?

For many, buying art is more intriguing because one can also hope it may appreciate in time. Ask any of those folks taking part in the $200 million dollar class action suit against the Park West Galleries for its cruise ship art auction tactics. You can bet all bought with the idea of getting a great deal. Unfortunately for them it was only after being shorn did they realize they overpaid for art. It is the same mentality and likely the same herd, only on terra firma, that were taken in by the aforementioned couple of Eubanks and Sullivan who foisted their fraudulent works on their “Fine Art Treasures” cable TV show. In fairness, savvy buyers through the centuries have capitalized on buying undervalued art...and still do today. Tennis great, John McEnroe, says he's made more money in the art market than on the court.

We Should Rethink Limiting Digital Prints

I have for years championed the idea of abandoning limited editions for giclées. In fact, I blogged nearly three years ago on Absolute Arts with a post titled “Limiting Success” about it as well as on my own Art Print Issues blog. It just doesn't’t make sense to me for a variety of reasons; including it begs the question of why limit that which can endlessly be reproduced perfectly or as improvements come along all the better.

Limited editions also nicely lend themselves to some of the schemes mentioned here. I contend if the art is good enough, people will pay a fair price for it knowing it is in unlimited supply, which might help thwart some phony print schemes. Do I care if a recording artist sells millions of copies? Why should I care how many a visual artist will sell? If I want truly intrinsic value from a limited supply, I will pony up for an original, which is why many galleries have left the print/giclée market. They are tired of romancing the artist to a prospective collector only to lose the sale via the Internet when the buyer shops it. Selling originals avoids this problem, but it puts a kink in an artist's ability to leverage his or her work in the print market, which creates just another problem.

Regardless of what I have had to say, the fine art digital reproduction limited edition business remains strong, if not as vibrant as in its glory days. But then, you can say that about all kinds of businesses these days struggling to figure out how to survive in challenging changing times. Today, you can find many artists raking in big bucks selling limited editions in all manner of limited edition configurations. And, their galleries and they are not about to abandon a successful situation. Who can blame them? I merely argue they are leaving money on the table in the long haul by limiting editions.

How much did Greenwich Workshop & Bev Doolittle leave on the table?

Bev Doolittle's first giclées sold out nearly 4,000 pieces in a short time. Could she have sold more and still be selling them if they were merely numbered, but not limited? I contend yes. The early low numbers would ultimately have collectible value if the art is truly appreciable and not being Ponzied up by a limited edition marketing scheme. In Doolittle's case, I think the art would stand up to being open and sell well for years making he and her publisher more money with more happy collectors in the program as well.

A great image might sell well for years just as the back catalog of recording artists do. These steady streams of income could make a striking financial difference for popular artists and their families. Some, like the gifted watercolor artist, Steve Hanks, have retired huge editions on paper and are now releasing the images on canvas. I think Hanks would have never had to quit selling his work if the editions were they open and sequentially numbered because the work is enormously popular, timeless, compelling, representational and surreal at once. Instead, he’s had to resort to putting his watercolor work on canvas, which hardly reproduces as faithfully as his editions on paper.

Someone commented on my blog recently that giclées cannot be considered limited editions unless they are all produced at one time. The contention is they are a limited series instead. Once again, an interesting arguable take that further muddies the waters and heightens the desire for a ruling body to take hold.

Dead Artist's Estates Are Still Cranking Out Editions - So Are the Crooks - Who is Gary Arseneau?

To further stir the pot, there are many dead artists whose estates continue to print reproductions of their work. This, of course has been going on for years with the big names like Dali, Picasso, Miro and Chagall. While long gone, these artists remain in the news for the sale of both legitimate and fake reproductions of their work. Now along comes Gary Arseneau, he is a self-styled independent scholar, an artist, printmaker of original lithographs and a blogger. He is also the self-published author of books such as The Monument to the Victor Hugo Deception.

We ought to be asking, “Who is Gary Arseneau?” Is he a gadfly, or a crusader tilting in the wind trying to stem the tide of fake reproductions? You can only decide by spending time on his blog where he outlines in great detail his argument that the works of Rodin, Degas, Matisse, Duchamp and even Dr. Seuss that are being reproduced by their estates and heirs are fakes. He makes a heck of an interesting argument. Certainly, if you care about reproductions, buy them, produce or market them, you owe it to yourself to study his findings, read his arguments and come up with your own conclusions.

Is Having a Set of Enforcable Understandable Standards Too Much to Hope For?

Regardless of your personal opinion, the can of worms opened by Mr. Arseneau hastens the idea that establishing and enforcing true standards in the art world would be helpful. It is a crazy notion, I agree, but until a line is drawn on reproductions, the visual arts community will carry the burden of proving itself beyond reproach each time art of any value goes to market.

Artists Who Establish Authenticity and Transparency in Their Business Practices Will Win

As the world shrinks due to instant information and communication, being authentic and transparent becomes imperative. For those artists who find a way to embrace authenticity and transparency in how they create multiples or reproductions of their popular work and manage and market their business, there is ample reward awaiting them and their rightful heirs.

David Byrne's Business Strategies for Artists

David Byrne is perhaps best known as the front man and driving force for one of the most influential bands of the 1980s, The Talking Heads. A quick look at his Web site reveals a multi-talented artist with interests and success in music, art, books, theater, performance and film. In his erudite manner, Byrne penned a concise article for the December issue of Wired magazine. 

The article is titled, David Byrne's Survival Strategies for Emerging Artists — and Megastars. Whether you have a passing interest in how the music business is changing, or an abiding interest in how the models he discusses might affect you as a visual artist, I commend it to you. As a bonus, you can hear a track from a recent recording and other recordings of conversations and thoughts from him on this topic.

The #7 point on my recent post, Ten Points to Ponder for Your Art Marketing Plans is:

If you haven't already, start making plans to set up your own distribution. This could be online sales, alternative spaces or other inventive ways you can conceive to get directly to new collectors. The future success for many artists depends on their ability to deliver directly to their customers. The sooner you comprehend and act on this concept, the better off you'll be later on.

I hope you took that thought seriously. There are opportunities opening up with more on the way, But you have to have your head up to see and figure out how to capitalize on them. There are direct correlations between what is happening in the music business and with the distribution of art in the print business. The distribution breakdown has not come as far and galleries are still more important to visual artists than record stores have become to musicians. Nevertheless, the changes wrought by the intertwined evolution of the Internet and print-on-demand technology are significant. Galleries are abandoning the print market because of the commoditizaion of the giclee process and the proliferation of prints available online. Despite monumental changes, we are still in a nascent state of evolution in how visual art is sold as reproductions. And, regardless of change, reproductions, or prints if you will, are still the best way for most artists to gain financially from their creativity.

Over the past decade, we have seen the rise of the giclee as an important exciting development that overcame initial resistance because of its techno-component and colorfast issues, to go on and become the dominant form of printing for artists in the limited edition print market. It's now gone so far that I posed the question in a post last year titled, Is Giclee Passe? It is a legitimate question to raise now that we have seen the arrival of faster and less expensive equipment with the market evolving around the development.

Giclees are made by the boatload in Asian countries just like cheap oils are these days and with very good quality to boot. What was once a pricey commodity because it was rare and expensive to make has become something that is easy and inexpensive to make. Basically, digital printing capabilities are within the grasp of just about any artist interested in producing his or her own prints. As the printing prices go down and printing speeds have gone up, the artist's ability to price garden variety giclees at premium prices is evaporating.

The rise of open edition online one-stop marketing and fulfillment operations such as Image Kind, Red Bubble and Art.com's Artist Rising, and even Cafe Press to name a few, have made it very easy for any visual artist to sell their work online. Sites such as these are wonderful and freeing for many artists. But, their development further commoditizes the giclee process. it means those visual artists with a following and a vision or desire to grow a collector base are looking for new ways, or should be, to separate themselves from the masses. It's why, in part, I have lobbied for stopping limited editions of giclees for most artists. If you have some ideas on where this is going, I invite you to share them with this audience. I will over the coming weeks weigh in with my thoughts and research on how the market is evolving and where the pitfalls and opportunities might be.

Barney Davey Featured in Great Output Magazine

I was honored to be invited for a Q & A interview with Eileen Fritsch, the editor of Great Output magazine. It is the cover story for the July/August issue. Although I primarily work with painters, I've lately found many photographers and convergent media artists interested in learning the nuts and bolts of the fine art print reproduction market. This feature story is an example of the growing interest in developing a following from photographers in the art print market and art marketing, primarily in the form of giclees.

Here's the description provided on the publication's Website:

GREAT OUTPUT is our bi-monthly printed publication for photographers who want to know more about how to print, finish, display, and sell digital images. Eileen Fritsch continues her leadership role in compiling and editing newsworthy and commentary content that has, over the last three years, earned a quality reputation and built a loyal following.

Paint Outside the Frame - Digital Painting Comes of Age

If you have been reading along with this blog, you've seen posts questioning whether the term giclée is passé, rhetorically asking "What Is a Giclée?" and suggesting the term, "Convergent Media" is more appropriate than digital art. The situation is that digital media and communication continues to take a larger role in our lives. The blog you are reading now is a cool by-product of digital media and Web development. The picture below is the work of Convergent Media Artist, Steven Friedman and is featured on the home page of the Digital Painting Forum.

To those born soon enough that life without Game Boys, text messaging and DVRs is inconcievable, I predict the notion digitally rendered art can be construed as fine art will go without question. The rest of us have, or will catch up in due time or let it pass as something we never got. Me, I've had maybe four text messages in my life and don't feel a need for any more any sooner...but don't think about asking me to give up my blog or Internet connection. And, don't tell me exquisite art can't be created from bits and bytes.

Convergent Media - Is It Time to Bury Digital Art?

Convergent Media

(I'm not big on double posting, but I'm going to with this one. This post was originally published on the Wet Canvas in the Digital Art forum. I present it here because it dovetails with my previous Is Giclee Passe? post. Apologies to those who have previously read this on Wet Canvas.)

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The term giclee was coined into usage as marketing jargon. It successfully allowed printers, publishers and artists get away from using the term digital art and digital printing at a time when using either was certain to cool the ardor of potential buyers of this new media.

To keep things in context, in 1990 there was no Internet to speak of, the desktop computer revolution spawned by Windows 95 was five long years into the future. Cell phones and digital cameras weren't the norm as with today. Fax machines exemplified the cutting edge of instant communication technology. (For those of us who worked in an office then, standing around waiting to send or receive a fax was the modern day equivalent of the proverbial water cooler.) So, using digital to describe anything related to art was not going to warm the hearts of any buyer and as such the usage of giclee was brilliantly, if no luckily, conceived, received and passed into the vernacular.

Is Giclée Passé?

The art market is not immune to using gimmickry to sell product. If ever there was any artist who fully understood this concept, it had to be Andy Warhol. A great part of his appeal was his ability to assess art and popular culture and make art that simultaneously illuminated and poked fun at it.

Warhol died in 1987 on the cusp on the digital revolution. it's sometimes hard to believe it's been two decades because he still represents contemporary art proving Hippocrates truncated aphorism, "Ars longa, vita brevis." (The full text is worth knowing: Life is short, [the] art long, opportunity fleeting, experiment treacherous, judgment difficult.)

It's a shame Andy didn't stick around long enough to see the rise of technology in the last decade of the millennium. One can only imagine what he would have made of and done with the Internet and digital photography, painting and printing developments, not mention You Tube and other social network media. It's easy to believe he would have utilized the new tools to put his personal mark  and make a lasting impression with them. Perhaps in ways we are not seeing today, or which aren't getting the awareness and notoriety he so effectively courted and deployed.

The term giclée, about which I have previously blogged, is a perfect example of successfully using gimmickry to solve a marketing problem. The problem was that in 1990 using digital print to describe the emerging IRIS fine art printing techniques was certain to stultify sales of prints made with this new medium and hamper its impending impact on the art business and specifically, the art print market. The marketing solution was to come up with a French term and voila "Giclee" was coined for new usage.

You can find links in the above mentioned post that provide the most accurate genesis of the giclee's usage to describe digital print. I encourage any who use giclée in their marketing parlance and haven't read and studied those links to go there and get the education. It will be a service to your collectors and the art industry to be able to offer accurate details about the origin of the usage of giclée and the process it describes.

Fine Art from England's National Gallery On the Street, Digitally

This headline from a BBC News story, Bringing Art to Life in Print -- Some of the world's most advanced printing technology has helped bring priceless art to the streets, announced the presentation of some of the National Gallery's most valuable art, including works by Constable and Da Vinci, as reproductions on vinyl displayed outdoors.

Of course, as with neary all fine art printing technology, there is controversy and discourse about the equipment and the process. Disagreements aside, the publicity and surrouding attenion can only help digital printing take on more luster. Check out the video below for more on the story:

Online Visual Artists - A Lively Discussion.

Besides blogging here and ocassionally on Absolute Arts, I like to engage the community on the some of the discussion boards. I've previously mentioned Wet Canvas. Today, I'd like to tell you about Online Visual Artists. After I published my recent post just below, I made note of it on the appropriate OVA board. It started something that unfortunately doesn't hapen here. That is a lively discussion of a post.  Please don't be shy, If you read something I publish, add your thoughts in the way of commentary. It makes for a better environment all around. Here's the link to the thread in question: http://onlinevisualartists.com/forum/index.php?topic=691.0 

I just posted a reply there longer than my original post here. I hope some of you will join in there or here with your thoughts on the subject of open edition reproductions that are digitally printed.

What Is a Giclée?

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.