At First Nations art galleries in Vancouver, Mitch and Diana Adams have a reputation as an effective sales team. Being the artist, Mitch does much of the talking, but because Diana at one remove from the discussions with gallery owners, she is an astute observer of what is happening, and is actively involved in strategic planning.
Several weeks ago when I was in Terrace for the Freda Diesing School graduation ceremony, I asked her what advice she would give young artists about dealing with galleries. Diana responded in detail as we had dinner at Boston Pizza, with Mitch throwing in the occasional comment.
Diana is able to contribute because of her own lengthy experience in sales. “I grew up in a family restaurant business,” she says, “So selling comes naturally to me. As a waitress, my job was to sell the meal. My favorite situation was when people would go, ‘I don’t know. What do you recommend?’ I’d find out what don’t they want to eat, what’s their budget, what they are allergic to, and take it from there.”
Some of what she knows about sales comes from observing her father. However, Diana has been selling her own bead work for several decades. She still remembers her first effort at a Tupperware-like party, where she sold $450 worth of merchandise, confounding her parents’ expectations.
Since then, Diana and Mitch have sold regularly at music and craft festivals through northern British Columbia. For seventeen years, they have been regulars at the Terrace farmers’ market, during which time they have fine-tuned their partnership in sales.
Preparing and handling anxiety
Some artists, especially established ones, can sell to the major galleries in southwest British Columbia without ever visiting Vancouver or Victoria. However, the business of First Nations arts remains very much a face-to-face proposition, and young artists in particular are more likely to make sales when they talk to a gallery’s buyer directly.
Asked how she approaches selling Mitch’s work to a gallery, Diana emphasizes a strategic approach. “I take it on as though I’m applying for a job,” she says. “I do my background homework. I’ll look at a store or a gallery that I want to deal with. I will go in, and not tell them that I’m looking to sell to them. I will observe how they treat their customers. I’ll also see the quality of what they sell. If they have a pamphlet, I will take one, or Google them on the Internet.” She does not worry much about prices, figuring that is not her concern, but she will note at the quality of what is sold, and how staff treats customers.
The point of this research is to decide whether they want Mitch’s work in that gallery. “What a lot of artists don’t understand,” she says, “is that they have an option of deciding whether this is a gallery to deal with or not. I want to know that I’ll be dealing with someone who is dependable, approachable, fair to deal with, and able to give criticism. If I offer them something they’re not interested in, I want to be able to dialog about it. As much as I might want to be a client of theirs, or leave works on consignment, I need to know that I can have a professional working relationship with them.”
Before approaching a gallery’s buyer, Diana and Mitch discuss what pieces to show, their prices – both the price they want, and a bottom-line figure that they will accept as a last resort – and what to say about each piece. This preparation, she stresses, is absolutely essential. “Gallery owners have told us that’s one of their pet peeves, when artists approach them and they don’t know the price of an item. That’s a death-sentence, right there.”
She also notes that, on an introductory visit, artists can expect a lot of questions. Galleries “want to make sure that you are the artist, and not someone else. If you’re the artist, you would know the answers right down to the details.” Forgery and theft are regular events in local First Nations art, so galleries want an indication that the seller truly is the artist.
Another reason for preparation is that it helps to reduce nervousness. “It’s always nerve-wracking. I’ve done it countless times, but there’s still that excitement and anxiety, because you want to do well. But you can’t be overly anxious or insecure, or you’re going to fall flat on your face.”
Another way to reduce anxiety is to take someone with you. However, Diana immediately adds, “Don’t take anyone who’s going to undermine you. don’t take anyone who does know anything about your art or will second-guess you.”
Instead, the second person should be either silent, or an active partner. “There’s been times when Mitch has forgot something,” she says, “but I always give him a chance to speak first. But if he forgets something, I’ll come forward. I’ll look at him, and if I know that he’s done talking, I will say my piece.”
According to Diana, planning not only relieves anxiety, but also helps to present yourself as a professional who is easy to deal with. She suggests role-playing the presentation of your artwork, and even approaching galleries you do not plan to deal with so that you can rehearse and prepare yourself for visits to the galleries you hope to work with.
Making the visit and the first impression
“We don’t expect a sale on first visit,” Diana says. “We hope we make a sale, but the whole point is making contact.
Her emphasis is on professionalism throughout. “Dress as though approaching a job,” she advises, “as though leaving a resume. Make sure that the work is well-presented, not carried in a garbage bag. Because if we have no respect for the art, it’s going to show. We use an artist’s portfolio, because presentation is everything. Some of the people we’ve approached have been quite reserved, but we still put on a professional smile, and say what our purpose is.”
Diana also suggests that body-language is important. “Smile,” she advises. “Have good eye contact [with the buyer]. “Don’t cross your arms. Remember to breathe.”
After the introduction, the actual presentation of the pieces is left to Mitch, on the grounds that as the artist he is the one best qualified to talk about them.. “I try to be halfway through explaining the piece as I hand it to them,” he says.
He also gives some thought to the order of presentation. “What I like to do is not give them my best piece right off the bat. Instead, I lead up to it. And I think they see it, too, that the best piece is still to come. But they’ll be lining the pieces up, and hopefully they’ll be being wowed by the pieces that aren’t the best ones.”
If the discussion turns towards the price of any of the pieces, the Adams’ policy is to hold firm to their original asking price, falling back slowly to their minimum only if they strongly want the sale.
“You can’t be desperate,” Diana says, adding as a warning, “never say to anyone, ‘I’ve got bills to pay. Never say that because, really, it has nothing to do with the gallery owner. That’s a form of manipulation. It’s a really poor sales technique, because the person who’s being spoken to feels bad and put o the spot. It leaves a bad taste in their mouth, and makes them want to avoid you in the future.”
Some buyers, according to Diana, will claim to find flaws as a tactic for lowering the purchase price; they should be ignored and not cause you to waver in your price. Others may mention what they perceive as flaws as explanations as to why they are not buying; their criticism can be considered later. In fact, once or twice, Mitch has gained credibility by acting on such criticism and taking a piece back to the criticizer for another look.
Many inexperienced artists are disappointed when they fail to sell after a first visit. Many will give up and avoid that gallery. However, as Diana emphasizes repeatedly, you shouldn’t count on making a sale after a first visit.
In fact, at one gallery, the Adamses visited three times before making a sale. “But we kept going back, introducing ourselves, and reminding the purchasing agent who we were. We didn’t take [rejection] personally; we just thought they weren’t able to purchase.”
The truth is, you may never know why most sales fail. Often, the reason will have little to do with you or the artwork, or only in the most indirect way. For example, “there’s some galleries that only buy big items, and Mitch does only miniatures. We needed to keep that in mind, and not take it personally. There’s no reason to be rude, even when they’re rude; we just stay professional, and thank them for their time.”
After an initial visit, Diana and Mitch discuss the experience, and decide whether they want to continue trying to sell to a particular gallery. Sometimes, they may decide not to return, even if the buyer seemed interested in Mitch’s work, because they have decided to deal with only a limited number of galleries so that they can focus on building long-term rapport.
If they do return for another visit, they prepare for subsequent visits in much the same way as the first. The main difference, Diana says is that “we’re not so tense.”
Also, the introduction may become more personal and friendly. “I try to remember something about that person that they shard with me,” Diana says, such as the birth of a grandchild or a trip they have recently taken. But “the contact is still professional. It’s intimate, but it’s not stepping over a line.”
Trying to sell your work to a gallery can often be difficult and full of anxiety. Unsurprisingly, mistakes can be made. For instance, Diana recalls “one time when Mitch got so nervous that he put his hand over his mouth, and what he was saying came across as very muffled. All I could do was reach over and pull his hand down, and he kind of looked at me like, ‘What are you doing?’ Then he realized what he had done.”
Diana continues, “Some people beat themselves up about moments like that, but there’s nothing you can really do except laugh.” She advises other artists not to dwell on such circumstances, but to focus on being prepared and professional, focusing not just on a first sale, but on a long-term relationship that will also eventually produced a second and a third sale, and many more over their career.
That is the approach that Diana and Mitch are taking, and so far it seems to be working. Listening to their war stories, it is obvious that it hasn’t always worked exactly as they hoped. However, it has worked well enough that Mitch is well on his way to establishing himself as an artist.
Much of the credit is due to his finishing skills and original designs – but at least as much should probably go to the successful sales strategies and partnership that Diana and Mitch have developed. Watch them even once, as I have done, and you’ll know how professionals deal in the world of First Nations art.
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