Common Excuses
Everyone who comes before you is a potential customer. If you have excuses, it
is because you don't want to make the effort to sell to them. When you are in a
confident mood, you will not make up these excuses. Practice not having these
excuses if this is your problem.
- He doesn't look like he has any money.
- He doesn't look like someone who buys art.
- She is not avant-garde enough for my art.
- Her fingernails are not polished. She doesn't have any money.
- No one off a tour bus ever buys.
I was a juror on a court case. The prosecutor was a mild-tempered lawyer-you
could barely hear his voice. The defense attorney was a power-infested madman.
No one on the jury liked the defense attorney, although he appeared more like a
winning lawyer. None of us wanted to listen to this disgusting defense attorney.
I believe he lost his case mostly because people didn't like his personality.
Likewise, if you sound like a car salesman, people will walk away from you in an
instant. Be natural, honest and kind, and you will sell more art. Pretend you
are talking to someone in your own home about your artwork.
Salesmen
Keep in mind as you study the market which salesmen you would like to sell like.
When you go to galleries, study how they do it. When you visit outdoor shows or
an exhibit, see how they do it. Write your comments down. Make a special effort
to study this topic. You will want to observe all types of salespeople and see
how you react.
You will find some common denominators in the people that you can deal with
comfortably:
- You trust them; somehow they have gained your confidence.
- You like them-you might even consider them as a future friend.
When you hold a show, or exhibit at an outdoor show, the people attending are
all potential customers. Perhaps, however, they've only purchased prints or
limited editions previously. Most of the people you will encounter do not go
into galleries. Galleries intimidate them. They go instead to outdoor shows or
open studios where the setting is more comfortable, i.e., no salesmen.
Art is a unique commodity. People want to fall in love with an artwork. They
want to show it off to their friends. If you know why it's good to own original
art, it will be easier to convey this to new buyers.
Solving your customer's problems
Think of selling rather as solving a potential client's problem: some of them
have an easier time letting themselves being rewarded with artwork, some don't.
For some it is a new problem and they don't feel too confident. For others,
someone else has imposed the problem; i.e., they have reached a certain
financial status and people expect them to be owners of original artwork. They
really don't know what they like, what they want. They want to be told, but want
to trust the person telling them.
Establishing confidence
Your initial presence and stature must insure confidence. If you sell at an outdoor show for several years standing, this insures
confidence. You are not an art peddler: you are an art dealer, which requires a
relationship on an ongoing basis.
- You've been referred by a friend or associate.
- Someone else has bought from you.
- The local arts council or museum has a piece of your work.
- They saw your name in an article in the local paper.
Sell the Benefits
People want to be sold benefits. Buyers want to know the benefits of owning your
artwork. So make a list of them-right now! A benefit generally saves time,
energy or money while still appealing to the ego. Right color, right size,
joyous feeling, the artist is collected by a loyal following, confidence due to
critics saying good things about the artist, nicely framed with high-quality
materials. All are benefits of owning a piece of your work.
Handling objections
Unless someone is ready to make a purchase, there will generally be objections
to handing over the cash. As you proceed with your sales you will become more
familiar with what is a normal objection and what is the difficult objection.
One way to get around objections is by changing the subject and simply not
answering them, or by asking another question.
- Some people might not be sure if they actually like the piece. They need
reaffirmation-from a bystander, their mate, friend, etc. In this case you could
offer to them a money-back guarantee. They can display it for two weeks in their
home, of course with payment and the normal agreement. That way they'll have a
chance to hear comments from friends and neighbors.
- A common objection is, "The price is out of my budget." Your answer would be,
"How about a lease?" or "Why don't you join my patron program and pay by the
month?" or "I do have a layaway plan." If you accept VISA/MC you might even feel
secure with giving them the piece with three installments on a VISA.
- Price is too high. They are not familiar with the serigraph process and think
it is a poster. Educate them. Suggest they compare your prices to the artist
down the path, that you just sold a piece to so-and-so or that your prices have
risen slowly over the years because you are more in demand.
- The colors clash with my room. Show them a different but similar piece. Teach
them an art piece is what sets off a room, not the couch.
- They don't feel they deserve such a fine piece. This might not be said in
words, but it is how some people have been trained to feel, especially new
collectors who haven't had time to begin to appreciate art in their homes.
Explain that everyone deserves to have a reviving impression to view daily.
- I can't make up my mind. Make them feel confident in their choice. Introduce
them to the patron program.
- Silent objection. They won't look you in the eye, they have nervous energy,
their arms are folded, they won't shake your hand. Make them feel confident in
their choice. Show them your portfolio, explaining what museums collect your
work.
Closing lines
When it comes down to the nitty-gritty, you have to feel comfortable with your
closing. You have to do what is natural for you. Adding a little intelligence to
the matter never hindered. Don't be too passive during the closing moments.
People can like a passive, timid type, as he or she is less threatening.
- Did you want to pay with VISA or Mastercard?
- Did you want me to help you choose a frame?
- Can I help you hang it at your office?
- Which one can I reserve you for? I have a red dot you can put on it.
- I think you are making a wise choice. Did you want to pay with a check?
- Why don't you take both works since you can't decide? We can do a three-month
payment through your VISA.
- If you want this work, I would advise you to at least make a deposit so I can
hold it 30 days for you. Otherwise, it might sell.
After you close the deal, shake hands and shut up! Let him say the next words!
Desire is one of the strongest motivators there is. If you have the desire to
sell something because your rent is due tomorrow, you will be much more
successful. Aggressive salesmen seldom accomplish more sales. Even car
dealerships are finding this out. When a person likes a car, he decides without
assistance if he's going to buy it or not.
The author, Constance Smith, has devoted the last eighteen years to publishing
art marketing
information-researching and networking with art world professionals nationwide.
Previous to that she
represented fine artists in the San Francisco area. Art Marketing 101 is
available at bookstores
nationwide or you can order directly from the publisher. The most current
edition was published in
2004; 8x10" format, 336 pages, $24.95 + $4 shipping, ISBN: 0-940899-32-9.
ArtNetwork, PO Box
1360, Nevada City, 95959 800/383-0677 530/470-0862 530/470-0256 Fax
www.artmarketing.com <info@artmarketing.com>
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Check out these recommended resources:
·
Art Marketing 101: A Handbook for the Fine Artist
·
Art Office: 80+ Business Forms, Charts, Sample Letters, Legal Documents & Business Plans
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