Where Can I Find a List of Corporate Art Buyers
Email and Mailing Lists
of Art Galleries, Dealers, Consultants
Are They Worth it or Non?
Q: What do you think about buying email and mailing lists with names of art dealers and collectors? I heard near a visitor that sells these kinds of lists. I can also buy lists of hundreds of galleries, consultants, corporate art collections, museum curators, and more in all parts of the country. I programme to buy several lists and so transport emails and maybe even mailings of information nigh me and my art. They don't cost very much considering how much you lot get.
A: Start off, you lot tin become much of this information FREE and make your ain targeted e-mail or mailing lists, either online or by accessing databases through public libraries. These databases and references include The Official Museum Directory (fee-based database of American Museums, but may exist free through a public library), Fine art Gallery Guides, Artnet Gallery List, and The American Art Guide containing names and contact information for 3000 galleries, museums, private dealers, consultants, and more. You lot can too notice local and regional gallery database sites like Visual Art Source which lists galleries throughout the Western United States. But know going in that using any fine art dealer or gallery or other kind of email or mailing list is not necessarily a productive use of time and coin, and in the big majority of cases, they'll practice very little for yous.
Let's say for instance you alive in Texas and buy a list of 500 art galleries in Texas. That listing will include all kinds of galleries that sell all kinds of art-- much of that art bearing admittedly no relation or resemblance to yours-- art by living artists, fine art by deceased artists, abstract art, representational art, European art, Latin American art, Asian fine art, limited edition prints by famous artists, paintings, sculptures, photographs, experimental art, drinking glass and ceramic art, art past Houston artists, art past Dallas artists, art with Cowboy and Western subject matters, fine art with Texas discipline matters, and so on.
But wait; it gets worse. Some of these lists can exist terribly outdated. I once asked for a list of local gallery names from a website that claimed to get the word out well-nigh your fine art to thousands of galleries, museums and arts organizations beyond the country. What did that listing include? Expressionless people, galleries that were no longer in business concern, galleries that were still in business organisation but no longer at the listed addresses (some addresses were ten years or more out of date!), and other completely useless contact information. Some lists are relatively updated, just keep in mind that individuals and businesses change their addresses all the fourth dimension and keeping everything up to date can exist challenging to say the to the lowest degree. And at present for the odds of an email or mailing list paying off large for you...
No matter what kind of art you brand, only a pocket-size fraction of the galleries on whatever listing will probable sell it-- considering e-mail and mailing lists tend to be general, not specific, and tend to include all kinds of galleries selling all kinds of art. Only a fraction of that fraction will be looking for new artists to bear witness. And only a fraction of that fraction of that fraction volition have unsolicited submissions from artists who they've never heard of or who haven't been personally referred by people who the gallery owners already know and trust. Then out of that list of maybe hundreds of galleries, no more than than a handful will even bother to wait at annihilation you lot ship them. That's often your best-example scenario.
And think about the money you lot'll spend afterward you buy the list-- especially if yous decide to mail materials rather than make contact by email. The list itself might exist relatively inexpensive, but designing and printing up hundreds of brochures or other promotional materials, putting them together, addressing the packets, and mailing them out tin hands toll several thousand dollars if you lot want to practise it right, not to mention the many hours of time you lot'll spend. The bad news is that no matter how much fourth dimension and money you put in, about of your materials go straight from the mailbox to the circular file without ever getting looked at. Why? Because many of the galleries you'll be sending to to know the difference between serious solicitations and spam... which is basically what your mailer will be.
Speaking of spam, mass emailings don't fare much improve. Galleries tin almost always tell the departure betwixt mass emailings and serious artist inquiries, and it's fifty-fifty easier for them to press the delete button than information technology is to physically toss something into a wastebasket. And these days, spam filters have gotten so practiced that many unsolicited mass emails are automatically sent to spam or junk folders. Galleries never even see them unless they check their spam, and most don't.
About the last affair galleries are interested in is artists who send mass mailings or emailings. Galleries like to feel the artists who contact them are being relatively discreet, sectional and limited in who they're contacting. They prefer artists who appear to intendance nearly them, empathize their histories, know the types of art they sell and the types of artists they show, not artists who wait like they're sending the same exact information to every other gallery in town.
Any art gallery possessor will tell y'all that big numbers of artists continually approach them looking for representation or wanting shows, and that many of those artists take no idea whether their art even remotely matches what the gallery sells. They'll also tell you that exhibiting the piece of work of artists who walk in off the street is highly unlikely, and that exhibiting the work of artists who ship data in the mail, cold-call them by phone, or email them out of the clear blue is as unlikely. And geographically speaking, unless yous're already well-known or established in the region where y'all live, the further away a gallery is mileage-wise from your abode base, the less likely they are to have any interest in your art no matter how you contact them.
Your best bet is to forget most email or mailing lists altogether and combine whatever online presence you already have with a more easily-on approach. To begin with, start close to abode and get free lists of all art dealers and venues in your expanse either online from arts and entertainment sections of area calendar or result websites, from local arts associations or organizations, or from difficult-copy art publications that comprehend art in your area. If yous're interested in showing your fine art in nearby cities or regions, do the aforementioned for those areas every bit well. The less well-known you are, though, the more than you should focus on working your firsthand area, and do your broader networking online rather than gallery by gallery.
If the identify where you live has niggling or no fine art scene and yous're determined to be an artist, show wherever you lot tin-- galleries as well as alternative venues-- and supplement that with social networking activities. The mere fact that yous regularly post updates and regularly show your work at physical locations as well as online demonstrates your commitment and dedication to beingness an artist. If you take your social networking and exhibition opportunities seriously, you increment the chances of getting positive responses to your work (hopefully including invitations to show, and fifty-fifty making sales). Do a practiced chore of getting the word out and people volition begin to find... and follow your progress. If good things outset happening and you begin to feel more confident about your potential for success, you might consider moving somewhere with a more substantial arts customs at some indicate. But don't exist hasty; make sure your career is off and running first.
In the meantime, accept your local art dealer list, visit each gallery website, learn about what types of art and artists they sell or stand for and see how closely they match with your fine art. Personally visit those venues that seem appropriate for your piece of work, get a amend feel for what they're like and if they seem correct for you, become on their email lists and start attention their openings and events. You lot don't accept to introduce yourself or start talking virtually your art the start time you see them; consider initial visits more than every bit information-gathering and getting familiar with the territory than annihilation else.
At the same time, begin to immerse yourself in your local art community. The best way by far to become your name and your art out there is to regularly attend art openings, lectures and events, and to become involved with local arts organizations, museum groups and non-profits. Eventually people will get to know you and y'all'll outset hearing about opportunities to evidence your fine art, simply over again, have things tedious and get to know people gradually get-go. All this may sound a little on the labor-intensive side-- and it is-- merely it's what you accept to do in social club to become noticed and establish yourself as a working and exhibiting creative person. There's no quick-fix in the art world, only good old-fashioned hard piece of work.
If you like where you live in spite of a limited local arts scene, focus your engergies online and experiment with ways to publicize your art such as actively participating in groups or websites focused on your type of fine art. Put your art upward for sale on your ain website, at art or creative person sites that bear witness similar work, and perhaps at online auctions too. Don't go too heavy-handed or engage in hard sells, but rather use social networking to bulldoze traffic to your website or online store, and occasionally make mention of available art. In short, try everything. Sooner or later y'all'll figure out what works all-time. Sure, this all takes fourth dimension, effort, experimentation and dedication-- practically as much time every bit networking in person, especially if you're just starting out-- merely if you hang in there and do it correct, you'll make headway over fourth dimension. Sooner or later people will begin to recognize who you are. And if there's any way y'all tin can combine your online activities with local or regional shows at physical locations-- gallery or otherwise-- practice information technology.
Buying and working off of highly targeted email or mailing lists might make a little more than sense if y'all're already an established artist, but just if you're experienced at researching and identifying new opportunities, approaching the people in charge, and finer presenting your fine art. Then once more, if you're at that level already, you lot probable don't need lists and tin can find out who the master players are without too much difficulty from people you already know. Plus you can become names from social networking contacts, online art blogs, calendar sites, publications and magazines, fellow artists, fine art organizations, dealers yous already know, and other art community resources.
However you lot discover potential exhibition or representation opportunities, focus specifically on those galleries or dealers who prove your kind of art and really get to know them earlier presenting non merely your art, but also your resume and sales history so they can get some sense of how things might go if they decide to piece of work with yous. The closer you can come to providing them with complete background data as well as suggestions for organized shows of your work, the greater your chances of success. Know going in that in the finish, but a small fraction of galleries volition be right for yous, but no thing how many may plow you lot down, never ever give up. Rest bodacious that sooner or later you'll be hearing the almighty "Aye".
(sculpture by Joseph Havel)
Source: https://www.artbusiness.com/maillist.html
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