Planning for Successful, Stress-Free Studio Visits
Opening your studio doors doesn’t have to be stressful with these tips from four professional artists.
Studio visits are crucial in garnering interest, sharing your approach, and — of course — sales. In this lively conversation, John A. Parks talked with four successful artists about their tips for preparing for studio visits and opening the doors to collectors and curators. Read on for nuts-and-bolts advice on how to make your studio and your work shine, and a handy checklist.
The Studio as Showroom
At some point, your working studio must become a showcase for a visiting client, dealer, or curator. It’s the moment when all the countless hours of work in solitude might translate into attention and financial reward. But because it’s so important, the studio visit can also generate more than a little anxiety. What’s the best way to present yourself and your work to a prospective client?
I asked four professional artists to share their expertise in handling these situations. Patricia Watwood, Gregory Mortenson, Marlene Wiedenbaum, and Marvin Mattelson are all successful representational painters. Mattelson is primarily a portrait painter and so regularly entertains potential clients. The other artists are represented by galleries but find that they must also invite clients to the studio as part of the sales process.
What’s your principal concern in preparing for a studio visit by a potential client?
Marvin Mattelson (MM): My intention when potential clients visit my studio is to have them become so excited at the prospect of my painting their portrait that they offer me the commission on the spot.
Gregory Mortenson (GM): Keeping the studio tidy and presentable. It’s always clean because I don’t want a dusty studio or dust in my paintings. The problem is that I tend to have multiple projects going at the same time; I might have a still life set up in the corner as well as several model stands in various places. Mine is a decent-size studio for New York City, but when I have all that going at the same time, it can feel small.
Patricia Watwood (PW): The first thing I do is to clean up the studio and make it look (mostly) orderly. I declutter the space by putting things away. Then I clean the floor and surfaces, and leave some clean, open space for any belongings visitors may have. I leave some artwork, like sketches or drawings, for them to see — I think one of the treats of visiting an artist’s studio is to see works-in-progress and learn about how the artist proceeds. However, I tuck away any work that’s still in “hot-mess” stages and only keep out things that are finished or unfinished in a “lovely” way. Lastly, I’ll put out for viewing several finished works (that might be in a rack for safekeeping).
Marlene Wiedenbaum (MW): My main concern is that I know ahead of time what clients are looking for and that I’ve chosen works that appeal to them.
What kind of overall impression would you like to make on your visitor?
MM: I want my clients to feel they’re dealing with a highly creative and professional artist whose intention is to create a classical portrait that will exceed their expectations.
GM: I want the client to leave with a good sense of my painting process and the craft that goes into it. My studio walls are covered with drawings, preliminary paintings, and color studies, all of which go toward creating a final painting.
PW: First, I want the visitor to leave with the impression of professionalism and organization. The studio itself always tells a story about who the artist is. Mine is relatively homey, with tables and chairs for sitting and talking, and objects that have been used for still lifes or props. Photos and reproductions of artwork also tell about my interests and inspirations. I want visitors to feel comfortable, so I make sure there are chairs available and not too many fragile things. Then, I want to have out whatever artwork or other materials the visitors are coming to see. I’ll also have a catalogue from a recent exhibition and promotional postcards handy. I want them to leave feeling as though they’ve had a special experience — and to take an image of my artwork home.
MW: It’s important to me that a client knows that I’m a professional, that I respect myself and what I do. The relationship that develops needs to be one of mutual respect in order for it to work for both of us.
Is there anything you would try to conceal from a visitor?
MM: My studio is on the smallish end (12×20 feet), so I want to make sure that it’s neat, clean, and presentable. Clutter and piles create a claustrophobic feeling. I also place on my easel a portrait that’s close to being finished (as opposed to a painting that’s at an awkward stage) to help people envision how an unfinished painting will ultimately look. I want my clients to harbor no doubts that I’m up to the task.
GM: Maybe I’d put out of sight some of the dorky audio books and podcasts I listen to as I work.
PW: I definitely hide any artwork that I don’t think is my best. Sometimes I have a new project underway that still feels too fresh and even vulnerable to share.
MW: My studio is attached to my house, so I try to keep my office and living areas free of any personal items.
Is it important not to show too many paintings to a potential client?
MM: Quality is more important than quantity, to me. I believe it’s a good idea to show paintings that are as similar as possible to what the client is interested in, particularly in subject and size. On occasion for that very purpose, I’ve even borrowed a painting I’d previously sold.
GM: Most of the paintings that are in my studio are figure studies and process paintings. They help the client understand the amount of work that goes into a final painting.
PW: Looking at a large number of artworks can be overwhelming and even confusing. I’d say that three to eight of your very best paintings is about right — on the lower side if they’re large. Narrow the selection to focus on your strongest area and primary subject. One caveat: I recommend that you have one or two small paintings “just sitting around.” There can be a little magic involved in visitors noticing a painting they love, and you can often sell a small work through a client’s impulsiveness this way.
MW: It can be overwhelming if there’s too much to see at once. If collectors know what they’re looking for, a smaller, careful selection is helpful to me. However, I might put something into the selection that the client didn’t request, just to open a door. For clients who just want to “see my work,” I select examples of different series or subject matter and offer that we can look further.
Last but not least — how do you handle the subject of money when it comes up?
MM: I’m very transparent with regard to my fees. I post my price list in my portfolio and on my website, so most of my clients are familiar with my pricing structure before we meet. I think it’s very important that, when we get around to discussing the commission, there are no big surprises.
GM: I just tell them exactly what the painting is worth. I don’t want to tiptoe around the matter in an apologetic way. I want the collector to know how much it’s worth, and how much work goes into creating a work of art.
PW: Ahead of the visit, think about what you might sell something for. If you’re feeling nervous, write it down so that in the moment you don’t suddenly say, “Oh, you can have it” or “It’s $40.” I know that sometimes when I’m in front of clients, I can suddenly feel the artwork has no value at all (just a little garden-variety artist neurosis)! You could even prepare a price list. The clients will feel more comfortable if you can give them the information directly. Stating a price can open up room to negotiate by saying, “I can offer a discount when I’m selling out of the studio.” But do not listen to that demon telling you your artwork isn’t valuable. Silence the demon and stand by your price.
MW: This is an uncomfortable area for me, so I try to be as prepared as possible. I might print a price list beforehand. If clients have seen a particular painting that’s currently at a gallery, I send them to the gallery. It might mean I’ve lost a sale because they wanted a bargain, but it’s better than possibly losing a gallery. If they saw my work online because they liked what they saw at a gallery, I honor the arrangement I have with that gallery for outside sales. Commissions and direct client sales may sometimes be discounted, bartered for, or handled on a payment schedule.
Studio Visit Checklist
- Create a professional appearance by presenting a clean, neat, and welcoming space.
- Sketches and props can help create an interesting and unique environment, but don’t let things get too distracting.
- Have catalogues, reviews, articles on your work, and printed announcements of exhibitions at hand.
- Offer light refreshments as you would to any guest. Make sure there’s room for your visitors to move around and sit comfortably.
- Don’t show too many artworks. Focus on the client’s interests if you know them.
- Don’t leave works around that can confuse the client; paintings in difficult stages or completely different genres can distract.
- Be clear and forthright about prices. Make sure you know what you’re going to ask ahead of time. A printed price list can be helpful.
- If you have gallery representation, clarify the agreed-upon financial arrangements for selling out of the studio.
John A. Parks is a painter and writer based in New York City, where he teaches painting at the School of Visual Arts. He’s represented by 532 Gallery Thomas Jaeckel in New York’s Chelsea District.
A version of this story appeared in Artists Magazine.
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