A Gallery Director Speaks: The Psychology of Selling Art

by Carolyn Edlund

Part Three of a three-part interview with Robert Patrick, Director of Marketing and Wholesale for Linda Jones Enterprises in California, dedicated to the art of legendary film creator Chuck Jones.

 

 

Robert has a long history of curating and producing shows, tours and events, including 12 years as a very successful gallery director at the Walton Street Gallery in Chicago. He graciously agreed to an interview focused on what artists must know about galleries, collectors, selling, and making presentations.

AS:  There is a psychology in getting customers into a gallery. Could you describe that?

RP: Getting people to walk into your gallery, in essence, is about their perception of who you are when they pass your gallery. Yes, it may have something to do with the art they see in the window. There is a visual attraction, but it’s not just that they are responding to. Without bowing to a New Age aphorism, I believe your gallery has an aura that people either connect with or not. I think it’s important that gallery owners/directors are conscious of the subtle subliminal message they send out into the world.

You are responsible for establishing an aesthetic viewpoint. This should appeal to the person walking down the street as well as to the kind of collectors you want to attract. There are many factors that first come into play here. They include location, business plan, type of gallery, the demographic of the consumer you desire. But let’s say you have made those decisions; I believe that there are four simple and logical questions that you’ll want to consider.

• What does the storefront of your gallery say about you?
• How do you dress your windows?
• Is it easy to find and open the door?
• What is the first impression when they enter?

I know it seems simple, but just as you only have a few seconds to positively connect with someone you meet, the same holds true for the front of your business. You want it to radiate the same essence that you and your staff do. That essence includes friendliness, intelligence and cleanliness (mind, body, spirit.)

AS: What was your experience running an urban gallery?

In Chicago, my gallery was on a side street in the Gold Coast just off Michigan Avenue. Our client base was about 70% local, 30% tourist. We left the front door open as often as weather would permit. This was not only because it weighed what seemed to be 100 lbs., but also because an open door says, “It’s okay, please come in. We welcome you.”

Our windows were designed to appeal to a fairly broad range of consumer. We were playful when the art suggested it and more sophisticated when appropriate. Our windows went down to sidewalk level. In Chicago, weather often dictates that people walk with their heads down. So we used the lower window space to grab passersby attention. Lettering or objects might catch their eye and make them stop, consider, and walk in. We made sure the sidewalk was always swept clean and that the windows sparkled.

Once someone has entered, what is the first thing that happens to them? Are they greeted by a staff member or left alone? What art do you use to introduce them to what they will see throughout the gallery (the window design will also comes into play here). Regional differences may dictate a different gallery aesthetic. But part of what you’re doing as a gallery owner/director is elevating the dialogue about art and leading people to accept and understand new levels of creative endeavor.

AS: How did you make the gallery experience visually enticing?

One of the great sins of gallery design is placing a barrier at the entrance. Sometimes it’s architecturally necessary, but oftentimes it seems deliberate. A tall desk at the front door staffed by a gallerina welcomer, an exhibit wall, or any number of deterrents to the easy access of the gallery can inhibit or outright stop people from coming into your space. You’d be surprised how many people fall prey to this easily avoidable hindrance to conducting business.

In Chicago, when a customer entered our gallery they were immediately confronted by a solid railing that separated the staircase from the street level. They could turn either right or left. Only if they turned right could they then access the rest of the gallery. Then they still had to climb a flight of about 10 deep, low steps to reach the main level.

Talk about obstacles! These were all structural issues that we could not alter. So to make that transition as easy as possible, we made sure we weren’t looming at the top of the steps waiting to “pounce” on them. Our desks were located at the back of the space, and we kept the stairs free of clutter. The wall and floor palette was kept neutral, which lessened the visual differences in levels. We were sure to place a visually stronger work of art just beyond the lower level to tempt buyers up into the gallery space.

We always opened our crates and shipments to the left of the door. It was clearly visible to passersby on the street. We knew that activity breeds activity. “Look what just arrived in the gallery!” “Something is going on in here. Let’s go in, they’re too busy to talk to us. We’ll be able to browse without being bothered.”

AS: How did you overcome shopper hesitation?

Even today, I think some people are still afraid to go into an art gallery. They’re afraid they may not ‘get it’ or that they’ll be deemed ignoramuses. Part of that fear is due to the intangible quality of art. Part is due to the galleries themselves. Both of these problems should be our priority to dispel. Collecting art is one of the greatest joys a person can experience, whether it’s a fifty dollar print or a five million dollar painting. It doesn’t matter; it’s the act of acquisition and ownership that make it so unique. It says so much about you, helps tell your story, and enriches your life experience.

AS:  Selling art is like selling an intangible item. What are your thoughts about why people purchase art?

RP: Two questions should determine whether a work of art is right for you: Do you love it? Can you afford it?

Fortunately, I am an altruist. I want to believe that people buy art for the same reasons that I do, because they love it and it enriches their life. Obviously that is probably not always the case. There are those that need something for “over the sofa” and those who “only buy for investment” (oh dear!) But let’s not talk about them, let’s talk about the collector who looks at a work of art and says, “I understand what the artist was saying when they painted this,” “I empathize with the emotions expressed in this work of art,” or it may be as simple as “That painting is really beautiful, it makes me happy,” (beauty for its own sake.)

It does not matter what genre, what medium, what level of taste. All that matters is that they have formed a connection with the work of art, because the artist was able to successfully share an emotion or idea, and that is important to the viewer right now.

I recently saw three exhibits at LACMA (Los Angeles County Museum of Art) all in one day: the John Baldessari retrospective, an exhibition of Thomas Eakins’ sport paintings, drawings and photographs plus an exhibit of Catherine Opie’s photographs that depicted high school football players and teams.

Each artist had their own story to tell. Each artist told their story in a fashion unique to them and their body of work spoke to me directly, personally. It also spoke to my companions, but oftentimes we each heard something different. As viewers, collectors, what-have-you, we bring our own experiences with us when we look at art. Could you ask for anything more wonderful than that?

Don’t miss Part One and Part Two of Robert Patrick’s interview series.

 

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