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Art Marketing Blame Game

Updated: Nov 18, 2020


This article has been edited and published with the author's permission.


Roberta Murray is an oil painter and master photographer. Until recently, Roberta and I were only Facebook acquaintances. I enjoy the wonderful photos and paintings she posts. Recently, she wrote a piece for her blog that resonated deeply with me. It's a subject I have spoken about many times and I think she has summed it up very well and wanted to share it with you.

Since the economy took a downturn I have watched many artists struggle while others carried on as usual. Listening to various conversations can reveal clues as to why many artists are struggling. I’ve been following several conversations over the past couple of years from artists bemoaning the difficult state of the economy and the effect that has had on an already challenging business.


There is a common thread amongst these conversations which amounts to laying of blame. They name amateur artists for creating a glut on the market, China for its cheap knockoffs, artists selling miniature works or small studies at a low price (I may resemble that comment), and more. But a surprising number talked about the scarcity of wealthy people. There is an attitude among many artists that the only people who buy art are wealthy.


Purchasing art has nothing to do with the depth of a person's pocket, and everything to do with the depth of their soul (and their priorities in life). Rich and poor alike buy art, so if artists assume their only market opportunity are the wealthy, no wonder they are having problems selling. That type of elitist attitude is what distances the everyday person from learning about art, developing an appreciation and value for art.


Blaming low priced artwork on their lack of sales is also hard to accept. People can judge quality and value well and know the difference between a painting by the two-paintings-a-year hobbyist and one created by the master painter dedicated to the study and passion of their practice. To blame the lower priced amateur art on their lack of sales is like Nordstrom’s blaming Wal-Mart for a lack of sales.


My local art market is not a healthy one. Most artists sell their work for prices that barely recover their material costs. I want to be a successful artist but know I can't at the prices the local economy supports. My solution was to not focus my attention on the local market and cast a bigger net.


One of my markets caters to people who want large showcase paintings to fill the wall of their home or office. I am always being encouraged to paint large paintings, but I don’t. Or at least I don’t paint many big paintings in a year.


By offering a range of sizes I may sell those couple of big pieces, but also have a lot of work for the passionate person with shallower pockets. My prices are formula driven based on size - length x width x my experience factor (which increases every year), creating a logical and stable pricing structure which is easy for customers to understand.


With more and more people living in condos or apartments, there is demand for smaller paintings. One of the other benefits of smaller work is commissions. I was just commissioned to paint a big version of one of my paintings. The buyer isn't wealthy and needs to make instalment payments to afford the bigger piece. Being flexible and offering payment option opens up many more opportunities for sales.


Artists should review their career with honesty and some tough questions. Why did you become an artist? Was financial success at the top of that list, or is it because of passion and the need to tell your story? If it is passion, have you lost touch with it? The fact remains that if an artist is struggling to sell, the only blame that should be laid is on themselves.


My methods won’t be the answer for everyone, but they do show the need to think about your market and where you fit in it. Be as creative in marketing your artwork as you are in creating it. If you aren’t successful with existing results, re-evaluate and search out the right market.


Cheers,

Roberta Murray.

38 Comments


The conversation around “Art Marketing Blame Game” often highlights how people focus too much on outcomes and not enough on process. Interestingly this idea of blaming results instead of understanding systems also appears in industrial productivity discussions. When we shift attention from judgment to analysis we start seeing how structured methods can actually improve both creative and operational work environments.


In productivity improvement studies one important concept is most. In work design MOST is used to break down activities into measurable motion sequences so that performance can be standardized. This connects surprisingly well with creative industries too because even artistic workflows involve repeated actions like editing reviewing and publishing. By understanding these patterns organizations can reduce inefficiencies and create smoother…


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The conversation around Art Marketing Blame Game often highlights how people tend to shift responsibility when results don’t match expectations. Interestingly this idea of looking for quick answers or shortcuts is not limited to marketing alone. It also reflects in daily lifestyle choices especially when it comes to health. Many people expect instant solutions but real change in the body works differently. This is where understanding immunity and long-term habits becomes important.


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Art Marketing Blame Game often revolves around how audiences perceive value versus presentation. In many ways the same idea applies beyond marketing and even connects to how people make decisions in real estate and construction. When individuals or families begin exploring long-term investments like housing or hospitality spaces perception clarity and practical understanding matter far more than surface-level trends or promotional claims.


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Conversations about art marketing often show that success is rarely determined by a single factor. Some people blame promotion while others believe the quality of the work is the only thing that matters. In reality most successful projects are built on careful planning understanding the audience and choosing the right strategy for a specific purpose. Interestingly this same way of thinking can be applied far beyond the creative world.


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