Commercial representation offers many advantages to the craft artist and designer and is a mutually beneficial relationship worth developing. For the practitioner it provides the benefit of increased sales and the provision of promotional services. It is well worth putting in the effort to identify outlets that suit your work and, ideally, match your career trajectory; to establish a relationship with that outlet; and to work at nuturing this relationship once established.

Arrangements for commercial representation can be many and varied. This can range from inclusion in one-off, group exhibitions to longer term relationships which can include solo exhibitions, retention in the gallery's representative stable of artists, inclusion in national and international art fairs and other promotional events.

Retail plays a vital role in the commercial sector. The retail sector provides a significant means of income generation for many craft artists through work placement in high-end retail and commercial gallery shops. This article focuses on retail as an aspect of the commercial sector.

Retail outlets for contemporary craft are wide-ranging. They can be found as part of large, commercial galleries such as Beaver Galleries in Canberra, are part of medium specific galleries often run by artist/directors such as Gallerie Funaki in Melbourne and Metalab in Sydney and as high-end retail shops such as Aspects in Perth, Planet in Sydney and the Department of the Exterior in Canberra

I spoke with staff from a range of commercial galleries and retail outlets around Australia as well as craft artists experienced in working within the retail sector, to draw on their knowledge of what is required to establish and maintain a successful retail work practice. A number of themes emerged and are covered in this article. What I was told is not rocket science but advice borne of experience.

The process of working with the retail sector can be divided into three broad areas. The first is the challenge for artists to identify potential outlets for their work. The second is how artists can best present themselves and their work to these outlets and the last, how artists can ensure an effective on-going relationship with retailers.

Identifying potential retail outlets

There is no substitute for taking the time to thoroughly research the sector. For artists this means getting to know the outlets, galleries and shops and their exhibition philosophies, policies and practices; their programs; and to look at the type of work specific outlets focus on.

Many of the shops and galleries to whom I spoke said they were always impressed by artists who had taken the trouble to get to know them and their programs. If possible, nothing beats visiting the galleries and shops in person as part of this preparatory research. When investigating outlets outside your region, interstate or even overseas, websites are a good place to start. However, it is worth noting that a number of experienced retail artists stated that they only ever place work with outlets they have actually visited and that the expense of taking a research trip to another region or interstate had always proved to be worthwhile.

How artists can best present themselves

When approaching the potential outlet it is advisable not to cold call. It is a mistake to assume that shop or gallery staff are available to talk at any time. It is preferable for artists to introduce themselves by first sending an email expressing their interest, a succinct work history and artist's statement and attaching a few high quality images of their work. This could then be followed up with a telephone request for an appointment with the director or manager. And remember they see many potential clients so do not be disheartened by knockbacks. Finding a fit between artist and outlet may take time.

It is important for artists to prepare thoroughly for this initial appointment. Treat this meeting as a selling/business opportunity making sure the material presented includes an up-to-date curriculum vitae, a concise artist's statement, high quality images of work and if appropriate, actual pieces of work. The importance of artists being able to present high quality photography of their work was emphasised by everyone I spoke with. This has the twofold benefit of showing work to its best advantage whilst conveying the artist's commitment to a high level of professionalism. Many retail experienced artists suggested obtaining the highest quality photography and rehearsing the process of talking about their work to ensure they are able to discuss the work and its intent with clarity and conviction.

Outlets receive many approaches from practitioners so it is important for artists to make a strong initial impression. Retail personnel I spoke with emphasised that in addition to a high quality art practice, they wanted to be confident that artists are reliable, could meet deadlines and deliver on time, have established work/selling histories and are committed to their art practice. In other words are high-standard, professional practitioners.

Effective on-going relationships with retailers

Artists acting professionally and ethically in their dealings with the commercial retail sector are well received. As a general rule, practitioners spoke of the need to keep their exhibition work clearly distinct from production work which was available for retail placement. They spoke of practical issues such as scheduling studio time to ensure on-going capacity to adequately supply retail re-orders while also dealing with other art work pressures.

Retailers and artists agreed that it is essential for both parties to maintain good communication. Artists working in the retail sector talked about the arrangement as a two-way street with obligation and expectation on both sides. Retailers stressed the importance of artists keeping them informed of progress on deliveries of work and advising promptly when delays occur as they are best able to make adjustments to accommodate change with as much notice as possible. The onus is on practitioners to always deliver on time if they wish to maintain their professional reputation.

Retailers spoke of the value of being informed of other activities undertaken by the artists, for instance, being selected for inclusion in an exhibition or winning a prize. Being kept abreast of this type of information was a potential selling tool for retail staff when discussing work with buyers.

Having a clear understanding of the expectations of the retail outlet as well as contractual aspects such as commission and consignment arrangements and the duration and nature of their agreement was deemed important, as was outlets providing written contracts covering these aspects.

Pricing

Pricing is an issue which both retail outlets and artists spoke of as a potential stumbling block. It is important for artists to consider not just their time, costs in making a piece and its worth as an art work but also comparative prices in the market place when they are establishing a price point.

There is much advice from experienced practitioners on the subject of pricing. A strong argument was made for artists to maintain the same price for work across different retail outlets to ensure perceived fairness in their dealings with outlets and buyers. Also, for artists to ensure they are up to date with sales and prices in the commercial sector and retail area in which they are also offering work for sale. This gets back to the issue of thoroughly researching and maintaining a knowledge of the sector.

Retailers and artists spoke of the possible advantages of discounting work to achieve initial sales and begin establishing a sales history. Retailers spoke of the difficulties associated with re-educating buyers to an increased sale price after initial discounting. Conversely, some artists and retailers noted the importance of not undervaluing work as a lower price point can give the wrong impression about the artist's professionalism. Retailers and artists alike spoke of psychological price barriers to sales and the need to be aware of this issue when setting prices. The staff in retail outlets can offer useful advice on this topic.

Using the Craft Australia website

The Craft Australia website is a useful place to commence research into the commercial sector. The website carries listings of commercial galleries and retail outlets for contemporary craft with links to their websites.

Thanks

I would like to thank individuals and outlets that so generously gave me their time and the benefit of their experience in researching this article. Thanks to Kay Faulkener, Peter Minson, Christo Kuber, Jane Barwick and Gregory Gilmour, Ceasar Cueva of Metalab in Sydney, Helen Aitken Kuhnen of Workshop Bilk in Queanbeyan NSW, Karen O'Clery of Narek Galleries in Tanja NSW, Georgia Gabriel of Urban Cow in Adelaide, Sarah Ross of Studio Ingot in Melbourne, Kate Daniels of Planet Furniture in Sydney, Sherilee Lynch of Aspects in Perth, Jenny Shaw of The Hive and Susan Taylor of the Department of the Exterior in Canberra.

Jenny Deves
September 2007

Jenny Deves is a contemporary craft writer with a background in arts management. She is a past director of Craft ACT and is currently undertaking research for Craft Australia.