We do archival quality large format fine art printing, we’ve been doing it since 1989 and we do it for 10 cents on the inch.
This is not your run of the mill giclee knockoff reproduction service, we offer industry leading, state of the art color fine art prints for fine artists, photographers and anyone else that appreciates the power of big art.
Assessing value has and will forever be the intricately difficult yet pivotal component to ensured success in the art industry.
The days of arbitrary appraisal and curation are dying fast.
A great deal of eternal influences over the past decade have shaped the industry into something unrecognizable from what it used to be. Some hinder, some revise and some provide opportunities to capitalize on that were not present in recent years. Yet with all that is changing, many professionals in the industry refuse to adapt to the new world order and cling to the archaic guidelines that have protected them for so long. It has stagnated many areas of the market, now flooded with unsubstantiated values and ubiquitous work making it near impossible to find and appreciate truly special artwork.
The rules of the game have changed and to bring life back into the market,
one must be as creative in managing art as it is to create it.
What I aim to do is challenge the status quo and make some new rules of the game to share with the rest of the industry with the ultimate goal of revitalizing parts of the market that have fallen short and show the immense untapped potential in many unacknowledged opportunities. This is the beginning of a series of postings identifying these shortcomings and hopefully providing some answers on how to differentiate oneself within the market.
In order to understand where the opportunities lie in the market, one must identify the biggest factors that have shaped it to its current state. Let’s get down to brass tax and establish a few of the biggest issues.
Compiling a cohesive yet eclectic collection of artwork is a skill that takes decades to perfect, yet the expectations of curation have changed a great deal. Consumers in both the private and commercial sectors have become more skeptical of the source of the artwork, and demand to know the where the art was sourced from and why. There used to be an inherent credibility associated with a single professional individual putting a collection together but now consumers expect a more collective approach of multiple influences collaborating to compile the body of work. But how can one establish credibility in such an unstructured expectation? There are a few ways that I will get into when we start talking solutions.
We don’t need walls or warehouses anymore. Gallery space and/or exhibition locations are definitely an added benefit but they are more of a luxury than a necessity. The purchasing environment is no longer done over a glass of wine at an gallery opening and like many other industries has moved to an online environment. Consumers don not feel the need for the most part to be able to walk up within inches of the artwork to make a purchasing decision. The bulk of art sales are now made without ever seeing the art in person, making the capabilities and features of the website absolutely critical to even get close to emulating the first person buying experience.
In the late nineties and early two-thousands, reproduction capabilities were king. Not only was the demand extremely high for well-priced archival edition reproductions as opposed to original artwork, but very few distributors had the means to create these reproductions. Understandably with improvements in large format printing technology and innovation, high quality printers, scanners and software have become much more accesible to smaller enterprises but has also widen the gap between mid to small sized distributors and the behemoth printing specialists.
Those that chose to focus on solely the printing of reproductions gained the capability to keep prices extremely low but lost the ability to source quality artwork. Meanwhile those that chose the path of growing printing capabilities while spending proportionate efforts to seek out artwork have become unable to compete at the commercial price-points but have been able to remain a credible source to obtain art. The issue now is at what point does one stop being a knowledgeable art dealer and into a profit-driven distributor? And with the demand for reproduced art falling, where to the opportunities lie for both parties?