Artexpo CEO Interviewed in Artist Advocate Magazine
Do you subscribe to Artist Advocate Magazine? It’s a terrific publication devoted to getting artists in front of galleries that sell original artworks. It’s also a great read, with helpful, industry-related articles–for instance, an interview with Artexpo CEO Eric Smith in the Winter 2009 issue.
The interview goes into Artexpo’s history–and Eric’s role in it–and also explores the value of trade shows in today’s growing online art marketplace. You can read the full article here. For now, here are a few highlights–starting with a few words on selling art in person:
Trade shows are a proven ground for any product, not just art. As an artist, there’s no better way to sell a piece you’ve just painted than by standing in front of it, meeting a gallery owner, and telling your story about the piece right there. Every work of art has a story behind it, and that’s a really strong part of the appeal. Then there are the colors and textures of the piece. Seeing a work of art in person versus on-screen is a whole different world. There’s nothing better than seeing it person.
And here’s a little blurb about our SOLO show, where countless emerging artists have been discovered and launched their careers:
One of the biggest developments with Artexpo is that we now have many artists in the show representing themselves independently, especially in our SOLO pavilion. It’s a less expensive booth space that’s designed for emerging and career artists to put their work on a national stage in front of art industry experts, buyers, and consumers. From the perspective of someone running the show, it’s a wonderful thing to see an artist get discovered, and in the SOLO pavilion we’ve had many, many artists who’ve been discovered.
That’s the point of exhibiting: to have somebody find you, take you under their wing, publish you, represent you in their gallery. We really do have a huge turnover. A lot of our SOLO artists get discovered, and they don’t come back because they now have representation by galleries and publishers. Some of them do come back, though — for instance, if they’ve found two galleries to represent them, and now they want 10.