(in photo: clients with 3 Geometry Totems by Linza)
On a Monday in May, I happened to be alone in the gallery. This isn’t usually the case, but my gallery director, Elaine, was out of town, and with the with the work schedule that week, it turned out that I was flying solo. This didn’t present a big problem because we were coming to the end of our spring busy season, and traffic had already begun to slow down.
I arrived at the gallery around 7:40 a.m., which is pretty typical, and began tackling a couple of big projects. After a while, I heard a rattling at the front door, and realized it was after ten and I hadn’t yet unlocked the front doors (evidence that perhaps I shouldn’t be allowed to fly solo!). I rushed to the front door just as a couple was walking away. I quickly unlocked the door and beckoned them back. It turned out that the had driven to the gallery from an outlying suburb some 35 miles away, on the recommendation of a friend. They had just purchased a new home and were looking for art.
I began showing them around the gallery and telling them about the artwork on display. We had a great visit and they found the work of a particular artist that really spoke to them. I carefully began working toward a close. After they had selected three pieces they particularly liked, the wife said, “This is our first time in Scottsdale, we want to visit a few other galleries before we make any decisions.”
I understand this desire, and Xanadu was their first visit. I used a soft-close to get them to put the three pieces they liked on hold, and they told me they would be back after spending some time on the street looking at art. I also gave them a recommendation for lunch.
One never knows what’s going to happen in this scenario. After all, I’m on a street with over 50 other galleries – there’s always the possibility that the client might find something they like better than what they’ve seen in my gallery. Fortunately, I don’t have to worry about this for several reasons. First, my highest priority is making sure that clients find the perfect piece of art for their home, even if this means that they find it in another gallery. Sure, it’s hard not to feel a bit envious when that happens, but I know that this attitude and approach creates positive energy and good karma. I’ve sent clients to a specific gallery before when I knew that the gallery had exactly what the client was seeking.
The second reason I didn’t worry too much in this particular case was that the pieces the couple was interested in are very unique and striking. This art would compete extremely well with anything else the couple was likely to see in another gallery. I could tell that the couple were in love with the artist’s work.
The third reason I didn’t worry was because it was Monday morning, and I have a competitive advantage on Monday mornings because a large number of galleries on Main Street in Scottsdale (where my gallery is located) are closed on Mondays!
Sure enough, several hours later the couple came back. “Were you worried we wouldn’t return?” the wife asked.
“Not at all!” I said, “I knew you would be back.”
They laughed, and then said, “We saw some good art, but nothing compares to these. We’ll take them!”
As I began writing up the sale, the wife commented to me, “A lot of the galleries were closed. I guess it’s worth being open on Mondays for you!”
I agreed as I ran her credit card. Definitely worth it.
Because the couple was driving a small sports car, I told them I would be happy to deliver and install the pieces the next morning. They were thrilled.
I asked if I could bring out any other pieces so they could see how they would look in the new home. There were several pieces by the same artist they had just purchased that they liked, but they weren’t sure they wanted to have more work by the same artist.
Several hours later, however, the husband called and said they did want me to bring the additional pieces out when I came – if I was driving all that way, I might as well.
Not bad for a Monday morning!
The day wasn’t over, however. Mid-afternoon another couple walked through the front door. After welcoming them I learned that they were collectors who had purchased a number of pieces from us previously. They were just in town for the day and were interested in adding another sculpture to their collection. It turned out we had just the right piece, a life-size child sitting in a rocking chair, reading a book. We negotiated a bit on the price, and I wrote up the sale and made arrangements to have the piece delivered to their home in the Midwest. As soon as we finished they were on their way out the door to head to the airport.
Tuesday morning I drove out to the first clients’ home, a beautiful house on a golf course, and installed the pieces they had purchased. I then brought in the additional pieces the husband had called to request. We found the perfect spot for them. “Would you like to try them?” I asked.
“No,” the wife said, “I don’t want to try them, I want to buy them!”
“Great, I’ll hang them!” I said. When I was finished, the husband gave me a credit card, which I processed on my phone, and I was off.
As I drove back to the gallery, I couldn’t help but think about how right the wife was when she said being open on Monday was worthwhile. This particular Monday resulted in the sale of 6 paintings and a major sculpture.
To be clear, not every Monday is nearly this successful in terms of sales – in fact, many Mondays don’t result in any sales – but this experience points to several principles I believe in:
1. Be there! I remember an art dealer in Jackson Hole once telling me “You can’t sell if you’re not open.” There’s a lot of value in working harder and smarter, but in the retail business there’s also value in simply having your doors open. If there’s a chance a client is going to walk by, it’s in my best interest to be open and ready for business.
Obviously there are limits to this rule – I’m not open 24/7 – the gallery closes in the evening, and, in fact, I’m closed on Sundays and holidays. I’ve been in business since 2001 and I’ve experimented extensively with every combination of open hours, and what I’ve found is that if more than 50% of the galleries on the street are going to be open, I want to be open as well. Any fewer than that and I’ve learned that it doesn’t pay to be open. Hence our closing on Sundays and holidays.
One of my artists has a gallery in Prescott, AZ, a small, touristy town, and they have experimented and learned that being open on Thanksgiving Day is worthwhile for them. They end up being one of the only businesses open, and it turns out that a lot of tourists in the area have nothing else to do.
2. Provide an exceptional level of service. I mentioned my willingness to send clients to other galleries – this idea of holding your client’s best interest as your highest priority helps you build credibility. Additionally, offering to install the artwork in my clients’ home gave me the opportunity to sell three additional pieces (consequently, those three pieces were worth more than the initial three I sold to the clients!)
So how does this apply to you?
If you own a gallery, I would encourage you to push your hours to the max, to be open as much as possible. You never know when your next great collector is going to walk through the door. I do understand that being open comes with a cost – there are employees and utilities to be paid, so you want to balance your hours against the cost of those hours. Better to start with too many and work your way back, however, than to start with too few. If your are experimenting with new hours, I’ve found you have to commit to at least six month on those new hours to determine how well they will work for you.
If you are an artist participating in a show or festival, stick out the full length of the show. I know it’s a huge temptation to pack it in early, especially if the show has been poorly attended, but I can’t tell you how many times we’ve had a client come into the gallery right as we were closing and end up making a purchase. If you’ve gone to all the effort to get to the show and set up your space, you should try to squeeze every moment of possible exposure out of it. I know that most of those moments are going to be fruitless, but you just never know when a big buyer is going to show up. Over time, the cumulative effect of being more available is going to add up.
Additionally, I make the most of my time by making sure that I always have something to work on in the lulls between clients. I try never to be sitting idly by waiting for a customer to come in. I’ll work on marketing, or on following up with customers, or on any of the other projects I have going at any given time. Not only does this allow me to get a lot done, it keeps me alert and primed so that I’m ready for the next customer.
What Is Your Philosophy About Making Your Art Available for Exposure?
What do you do to maximize the exposure of your art? How have your efforts resulted in successes? What do you feel you could be doing better? Share your thoughts and experiences in the comments below.
So true! I just had a 4 day Art Market where it was slow and nothing very interesting happening, until the last few hours of the final day! 5 out of 6 paintings I sold was during those last few hours on Sunday afternoon! This is despite the fact that all the artists around me were saying that Sunday will be the worst and how they can’t wait to pack up and be the first one out. I also think, if you have a defeated attitude about the possibilities during a specific hour or day, it will show, and you won’t have that energy to close a sale. Keep your head up and be alert to any possibility and conversation! What helps me keep that energy is a feeling of hospitality and generosity. Every single person that comes through on a Sunday afternoon (or Monday) is an individual who made the effort to go through your space. Make them feel welcome and give them the attention they paid for. At events, it’s easy to start seeing the crowd as a sort of “repeat”. I did this when I was waiting tables at a restaurant, you’re so busy and pass so many people you start seeing them as blobs, not persons. So personalize with each one, and for me it worked, I had the best show of my career! It was also less boring as a I tried to connect with each visitor. A side note: I also felt more confident about my work because I had implemented some of the suggestions from Jason’s power course about quality presentation and consistency. A big thank you for that!
In our UK gallery we started by being open 4 days per week, gradually building to 7 days including Holidays, apart from Christmas Day. Being open on a Monday when other galleries were closed was a great plan, as visitors wanting a destination could chose us. (We were the only art space in the surrounding area so we didn’t have the same consideration of other local galleries being open or closed that you have) For the first couple of years we closed over the Christmas/New Year holiday, but one Boxing Day morning I saw people knocking on the gallery door wanting to get in. We found that just after Christmas in the UK was a time when visitors wanted to spend on themselves after buying presents for others before the festivities, so it was a good time for the gallery. It also turned out that staff were keen to keep earning so they worked out their rota to suit their circumstances.
We found it best to be consistent on opening hours, not opening and closing at different hours on different days. We kept to the same hours every day making it easy for visitors. There is nothing worse than arriving somewhere having forgotten that they close early that day.
In terms of opening hours at the gallery and when I do art shows, the previous commentator is so right, you have to be open and available for every minute of published times, no packing up early on the last day. We made a point of doing additional publicity to remind visitors when exhibition was due to close and found that many visitors to the gallery came on the last day having looked at the work over the exhibition period and needing to make their purchase before the works were changed for a new exhibition.
We used to find that we had less visitors in the first and last hours of a day, so we had discussions about whether we should be open for less hours because of this. However, if we did that, visitors still avoided the first and last hour, meaning that our effective opening hours were further reduced. My feeling about the last hour ‘problem’ was that visitors didn’t want to feel rushed, and so didn’t come late in case they didn’t have time to enjoy their visit experience and make purchasing decisions (unless they knew what they wanted and it was a quick visit). I was also strict with staff that they didn’t make visitors leave if it was closing time but the visitors were still seriously looking, or do obvious gallery closing jobs until the last visitor had left. As a visitor there is nothing worse than feeling pushed out and rushed, you are less likely to make a purchase at that point and less likely to go back to that gallery in the future.
I wholeheartedly agree, I am an artist and am constantly open, to inspiration, work, which in my case is pure delight and pleasure. I LOVE what I do. Painting is what makes my heart sing.
You as a gallery owner, most probably. love art and when you love something, you wish to share it with as many people as possible.
I salute you and your dedication and love of the Arts.
Most of the art galleries in Santa Fe (the 3rd largest art center in the U.S.) were always closed on Sundays and Mondays, the traditional days. I understood. It gave the owners 2 consecutive days off a week. However, for over a decade, I was open 7 days a week – did not want to miss a sale. But when I decided to reduce staff, I needed to reduce my days, so I checked my bookkeeping and discovered that my slowest days were actually Tuesdays and Wednesdays!! People came on weekends, and often extended for a day to include Monday. So I began to close Tues and Wed to coincide with what my books told me. I did this for another decade, with NO drop in income. Now, many other galleries on Canyon Rd. in Santa Fe have followed suit and also close midweek instead of the traditional Sun-Mon. P.S. I have owned galleries for over 40 years.
Loved the article. I wish our gallery would take your advice. They are non-profit and do not take advantage of all the excellent opportunities of being open in their building. It would not reduce their rent or utilities, and I believe their sales during that time would pay for their labor. I’m going to quote your Jackson Hole contact, “You can’t sell if you’re not open.”
I live in a small tourist town, Port Townsend, Washington, which gets a lot of day trippers and folks who stay over on long holiday weekends. A large percentage of sales happen on Mondays. The visitor may come in the gallery on Saturday or Sunday and then prior to leaving for home on Monday, they make the decision to come back and make a purchase.
A good set of lessons here for gallery and artist alike. The last point is especially important.
A busy is much more engaging than an idle one.
It’s true not only in the arts.
The adage, “If you need something, ask a busy person”, is pretty much a truism.
Plus, in the retail and production universes, there is always something that needs doing.
The other part to all of this is that one of your eyes, and a part of your brain is always scanning to make sure no opportunity goes unnoticed.
Thank you for sharing your journey and lessons.
Thanks for publishing your articles. I find them very interesting and helpful.
I’m in Las Vegas, so most of our visitors are tourists. As soon as I opened my gallery, I decided to be closed Tuesdays and Wednesdays. To stay with the tourist flow. It really works for me, as most of the other galleries in my building are closed on Sunday and Monday, so I reap the traffic. As an artist, there are no bad days. Even if it’s slow, I can get a lot of work done.