Acquiring art is not unlike purchasing a home — photos reveal the broad strokes, but an in-person visit shows a great deal more. In our digital age, artists are able to reach collectors globally in minutes. This has given way to an ocean of online galleries, allowing you to view and acquire in a few clicks.

Depending on your collecting experience and targeted market, proximity may force you to rely on jpeg alone… after all, it doesn’t make sense to pay $1,000 for a flight to view a $6,000 painting. But if you have the opportunity to travel, or better yet, live close to an artist you enjoy — a studio visit is the truth.

The Obvious

Viewing a painting online is the best way to establish material interest. If you see it, and can’t get it out of your mind — you must dig further. The primary reason for sharing my process in great detail is to provide a window into the work… how it was created and why.

As a self-represented artist, my gallery openings serve as what amounts to an in-person, live-marketing experience. You get to see the texture, brush strokes, presence…

But I’m busy spending the evening with the beautiful people who came out to share their love and support — so I have no time to discuss the work in-depth.

But when you come to the studio, you get to sip a cocktail (or coffee, or water) and truly get a closer look without dozens of people standing behind you. This is the time to lean in and experience the minutia.

And see where the work was created… feel the energy, understand the light, atmosphere. Ultimately, collectors fall in love with a piece of art, but acquire a story.

Hear a Story, Make a Story

If you are between two paintings, choose the story you connect with most. That’s a massive element in collecting. Of course, visiting the studio will create another story in-of-itself.

There are often works done under the public radar, such as my Michael Jackson painting.

For those who dropped by the studio prior to March, they were able to see the pre-Simon & Schuster approved picture, which will now be the cover for Zack O’Malley Greenburg’s book — Michael Jackson, Inc.

You will be the first to see the latest work (or a work-in-progress) before the rest of the world… and thus have early access.

You may visit with one piece in mind…

But fall in love with another.

And, now that you are at the studio, so you can find out every detail and acquire not only your favorite work, but the best story. And, of course, when someone asks about a piece in your collection, recounting an afternoon spent with the artist will make for some fine discourse.

Let’s Talk Money

Give me this painting or you are going to be sorry! Worry not, negotiations are typically much smoother. When it comes to buying art, I see it from two perspectives: the artist and the collector. First, you must know what type of artist you are visiting. Here are a few archetypes:

1. The Businessman: I list this artist first, because that’s who I am; expect coherent, market-driven data about pricing, contractual discussions and logistical details right down to the delivery of the painting.
2. The Represented: You probably went to their contact page and were redirected to a gallery… if so, don’t contact the gallery, rather find the artist on social media and contact them directly. Unless they are the cream of the crop, they will most likely be #3.
3. The Represented but Disgruntled: Many artists with representation go through an initial period of euphoria… they are fresh to the gallery, popping-off sales like crazy and feeling fine. This, of course, wears off… it’s like an athlete switching teams every few years. You outgrow systems. These are great artists to visit, because if a gallery is selling their work for $15,000 a piece, you can likely get away with buying a similar work direct-to-artist for between $6,000 – $8,000.
4. The Aloof: Likely trust funded or supported, it is nearly impossible to even arrange a studio visit. If you do, expect to enter a World of chaos… and conversations about the esoteric nature of the work. You can end up frustrated, but simultaneously make a killing on many pieces of work for a low price (always visit this artist closer to their rent due-date).
5. The Guarded: Some artists loathe discussing their work at all… so you may find yourself in a studio with only your wits to guide you. This artist will also likely be shaky on negotiations, but we all have to eat and you can make a calculated buy.

Here are a few tips, depending on how advanced a given Artists business model is (do they pay taxes, do they pay quarterly taxes, do they pay sales tax, do they have a form of contract, can they rattle off their last five sales?)

1. Buyer’s Assurance: If you let the artist know you are interested in walking away with something early in the visit, they will relax.
2. Patience: The longer you wait after informing the artist of your interest, the more likely you are to get a deal.
3. Timing: While this won’t work for every artist and might be considered a cynical move, go toward the end of the month when rent is due.
4. Buy Multiples: If you offer to buy two works, and ask for a price break, 9/10 times you will get it. Be reasonable in your offers: If you like two works priced at $5,000 a piece, and offer to buy both for $8,500-$9,000 — that is absolutely legit.
5. Buy Early: The price for any artist to crate, ship, display, market and promote a show is large. If a piece is listed at $8,000 pre-show, and you offer $7,000, the artist will likely take it… avoiding a show, or having pre-sales is critical, and because of the time/money saved and good PR — it’s a good deal for everyone.
6. Commission: If you love the work, but want your own subject, commission a piece. Many artists charge more for a commission, but just as many charge LESS because it’s guaranteed money.

That’s a pretty good offer… you’ve made me take pause. Don’t forget to ask a few critical questions to identify which artist type you are dealing with:

1. How is your market?
2. About how many paintings do you sell in a year?
3. Do you sell mostly spec paintings, or commissions?
4. If I wanted to make an acquisition, do you have any paperwork I need to review? If so, can I see your form of contract?
5. How many hours do you spend painting a week?
6. How much time does it take you to create a piece?

These few basic, but essential queries should reveal a great deal about the artist, how professional they are and what type of room you have to negotiate.

Conclusion

As much as an artist must hustle to survive, a studio visit is the collectors hustle. Your efforts will go a long way in developing a rapport with the artists you collect, and ultimately, will lead to a wealth of knowledge and superior deal-making.

See Also

The Art of the Art Deal…