Comments on: 1,000 True Fans

By: LShores

LShores — Fri, 28 Mar 2008 22:33:38 +0000

This is not news; artists have existed this way since the dawn of time. Although there have been several periods when artists were considered powerful….like, ah, like, yeah, in prehistorical times when artists started recorded history in cave dwellings and then again around the rennaissance, when it became fashionable to “own” artists, commissioning them to create whatever you liked. Beethoven put an end to that by demanding to walk in at the front door – damn his insatiable ego.

By: Charley Parker

Charley Parker — Fri, 07 Mar 2008 23:27:56 +0000

I think the important thing here is that this be looked as a particular business model. Like all business models, it has some requirements that make it suitable for some people and not for others.

There can be multiple different business models for how you might run an art supply store or a graphic design business, for example, that vary widely in terms of size, aggressiveness of approach, amount of initial investment, scale, etc., and would be suitable for individuals of differing temperaments.

By: Davinci990

Davinci990 — Fri, 07 Mar 2008 08:59:02 +0000

Kelly has hit on the Next Big Thing: a wired world where I have access to ONE fan in each of a 100,000 cities. Internet has proven that the Delivery portion of the Sales Cycle is now the easiest part…

Money wants to flow. Contemplate if EVERYONE was a Fan for one other Fan– Kelly’s price is only $1,000 per year for any of us. One problem is herd instinct. Millions of us want to give our 1,000 to the same usual suspects year after year, while some potential Producers are eating dog food and sleeping on sidewalks.

By: Clive

Clive — Fri, 07 Mar 2008 01:31:21 +0000

Great post and obviously well recieved; very interesting slew of comments as well. Obviously struck a chord with this one!

I agree the model is exellent at describing how many ‘independent’ artists make a living of sorts. I think many of the visual artists who work the art fairs and their own studios use this model, whether they are aware of it or not.

But it’s very true, as the item points out, that it requires an enormous amount of work. And sacrifice. Having tried it unwittingly for a few years with the art fair scene found I just wasn’t up to it or willing to make the kind of sacrifices required, let alone deal with the equally challenging task of coming to terms with my actual abilities. Managing mailing lists, mailing mailings, packing and unpacking, doting, being constantly available and, by far the worst of all, trying to be like so many artists who are successful or apparently on their way to success; a relentlessly self inflating and self promotional tedious salesman playing a kind of confidence game to part people from their hard earned money almost every time you make a sale. Apparent failure, a day job, and the peace, quiet, freedom and obscurity that are it’s faithful companians can sometimes actually be a blessing in disguise.

By: Big Tall Ken

Big Tall Ken — Thu, 06 Mar 2008 23:19:31 +0000

FYI – This model also applies to retail. My friend and major patron used to manage events for a major department store chain. They held events for the store’s select customers. These customers accounted for the majority of the store’s sales. In essence they were “true fans.” They received special treatment, passes, sales, etc. in appreciatation of their patronage. So if you happen to be lucky enough to have a large number of fans, it may help to do special things for your small group of “true fans” who probably put you there.

By: Frank Gardner

Frank Gardner — Thu, 06 Mar 2008 04:13:33 +0000

Hi Charley,
I agree with the true fan mentality 100% and Colin is right about the trick being in getting access to those fans. Different approaches work for different people. Some can self represent well, others prefer a middle man.
I have self represented my work for about 12 years with some gallery representation as well. I show my work in my own studio/ gallery, which accounts for about 85% of my sales. I spend a lot of time there, and I meet people who are interested in my work. I started by selling “underpriced”, as you say about Colin. Priced to sell. I found a lot of true fans that way and many of them have stuck with me as my prices have raised.
I treat those true fans well and with respect. You must continue to nurture what you have while always seeking to expand your base. One fan at a time.
One more thing, Colin’s work is still well priced. I wish I could have afforded a few last year, but I have some now, and he has one more true fan.

By: TedMcDermand

TedMcDermand — Thu, 06 Mar 2008 02:38:31 +0000

This is a very cool blog. I believe I will enjoy it for a long time. Many thanks for all your work. My blog is not work, just fun.I don’t sell any thing just enjoy the doing of them. I mostly draw and sculpt, seldom paint.
I enjoy looking at what other artists are up to.
peace, Ted

By: Charley Parker

Charley Parker — Wed, 05 Mar 2008 21:48:59 +0000

Thanks, oakling. I think you’re right, as artists we don’t often look to the experience of those whose endeavors are similar to ours in in some ways, but not quite the same. We lose sight of a lot of potentially valuable knowledge that way.

By: oakling

oakling — Wed, 05 Mar 2008 19:26:08 +0000

That is so true and so great. I have a friend who has ridden on her True Fans for years. She has a clothing/accessories business she is in the process of selling; she’s designed more comfortable patterns for her clothes, designed great art to go on the clothes and accessories, traveled around to local fairs, et cetera, and has a regular customer base of (iirc) right around a thousand names which has supported her very well for well over a decade.

Now she’s moving into producing more of her own artwork, not in conjunction with clothes, taking that business energy and putting it into her art along with a day job to support the transition. It helps me see the connection between the “true fans” concept and the way that, say, a therapist or personal organizer or other established small business/service provider works. We KNOW that someone who is charging appropriately (that is, charging well for great services) and has enough loyal customers can make a very comfortable living indefinitely; we’re just not used to thinking that that also applies to artists of all kinds.

By: Charley Parker

Charley Parker — Wed, 05 Mar 2008 18:55:19 +0000

Thanks, Colin. It’s particularly interesting to get your comments on the idea, as I’ve had the pleasure of seeing your work on display at the F.A.N. Gallery here in Philadelphia, in addition to the work I’ve seen on your site. At the time of the one-man show, I thought your work was underpriced. Just my opinion, of course, and perhaps I should consider that fact that the show, which was ending when I caught it, was sold out to a high degree.

You’re certainly right that selling art is an odd business, though it is a business, and some of us may benefit from looking at it that way a little more clearly, particularly in terms of long term planning. I appreciate having your point of view on the subject.

Other readers may want to see my post on Colin Page.