Branding and Its Relevance in the Art World

Please know that as I write this article, I’m initially directing this to the Klimt02 extensive gallery owners’ audience, as well as the artists they represent. Those reading this article that are neither would still be wise to take the time to carefully read this piece. If you self-represent yourself, most of the principles that I refer to here will hold true and can be adapted to your own studio’s best practices.

I want to state right up front that I’m not a proponent of individual artists attempting to consciously make themselves into a brand, especially using social media. Before the buzzword branding came into the vernacular, it really was an internal word that marketing and advertisers used to strategically help an organization establish and develop a reputation that would ultimately be able to stand on its own.

Before the internet, we relied on printed materials. Monthly magazines like National Geographic were the global source for decades, as was Fodor’s. Now, we put in our pockets a world of information at our fingertips.

Regardless of the ease of use, our smartphones still don’t always tell a full, authentic picture. I live and work in the oldest capital city in the USA, Santa Fe, NM. Still to this day, visitors and guests ask where should we eat breakfast in the old town.  When we ask a highly trusted source, we acquire details in plain sight, and in fact, some of the best places that I know for breakfast aren’t on any SEO lists and most importantly are receiving a personal seal of approval.

So what does this have to do with galleries and their brands? everything. In fact, when I was Patina Gallery’s creative director, I was constantly using the food metaphor for the gallery as a world-class destination when educating new staff.  I’d say that “they” (the visitors) were coming for our world-class green chile and it’s imperative that we did not disappointment.

A gallery brand is nothing more than the reputation that you are beholden to. That reputation takes years to develop. As Mr. Buffett said above, when we brand something, we are marking our territory and space saying this is ours. We spend many years delivering on the promise we make our clients telling them stories that only we have to offer and give them experiences that only we can provide.
If you are an artist who is represented by a gallery, large or small, it’s their job to “market” and sell your works with the premise being that it’s your job to make wonderful things and have someone else sell them.

Back to an artist trying to consciously brand themselves while also being maker and seller. Two artists come to mind. One branded himself beautifully, Andy Warhol, while the other, Johnny Depp, did not. Unknown artists do not become mega brands; paying dues is always part of the equation. There’s nothing sillier than seeing a new artist force the issue by self-painting how wonderful their works are.   
Andy Warhol was a brilliant businessperson and a hugely talented artist. By the end of his life, he took on mega status, but also a fully-branded name . His life was his art and his art was his life. There still has not been a creative since who has done this so seamlessly and beautifully.


Warhol and Dylan in front of the Double Elvis


Andy Warhol came out of the gates relevant, stayed relevant, and his works are still relevant.  He had the rare ability to also be his own best friend, a promoter (in a different yet just as measured and brilliant way, Bob Dylan also did this). Finally, Frida Kahlo did not start out to be a cultural icon or the brand that her image and art became. She worked hard to become a painter who faced difficult odds. Only long after her death did the value of her paintings become a reality, unlike Warhol and Dylan, who both stayed relevant and became larger-than-life brands.


Portrait, Frida Kahlo


In the disastrous example of Johnny Depp, who burst onto the scene coined as the next James Dean or Marlon Brando, three decades into his career, he became a caricature. Depp got lazy and fell in love with the notion that his brand would carry the day. However, in a handful of years, he pretty much ruined his career. To regain one’s original cool is something that takes years if Depp is to correct. Cool is earned over time just as brand loyalty is earned. Yet in moments, it can go by the wayside.

The way we value things is the way we perceive them.
/ Youri Sawerschel

There are many thousands of galleries in the world trying to sell what they show and exhibit and hundreds of million artists in the world vying for attention. Here is a do and don’t list for sellers, whether it’s your gallery or yourself.

* Your gallery brand must have authentic meaning, and all your messaging must stay consistent.
* A great business brand delivers on the promises of its leaders and founders.
* Failing to innovate on a regular basis tarnishes a brand.
* It’s the job of the gallery to transform an artist into a brand.
* When you elevate your gallery brand story, competition becomes irrelevant.

In closing, I’d like to leave you with a favorite quote. It sums up the essence of how a brand must be treated and viewed. Remember my green chile metaphor from above? Your brand and its story are delicate, and even if you think you’ve got this your public will gradually drift away. When the care and feeding dissolves, clients won’t tell you they are drifting, this is true whether you are a gallery, a studio, or an individual creative. 

When I miss class one day, I know it, and when I miss class for two days, my teacher knows it. When I miss for three days, the audience knows it.
/ Rudolf Nureyev


© Ivan Barnett 2024, All rights reserved.

 

About the author

Ivan Barnett
I stir souls. And I know, from decades of experience, how to scale an art business from good to great. I live and work in the oldest capital city in America - “the City Different.” After 25 years, I have stepped down from being the founder and creative director of Santa Fe’s world-renowned Patina Gallery, best known for its soul-stirring works and “Beauty over Time” exhibitions. In my 25 years, I grew Patina from an unknown brand to a global storyteller, exhibiting the works of the most talented artisans in the world.
Here’s what I’d like you to know about me: - I’m a man of my word. - I deliver on my promises. - I’ve produced and directed exhibitions and events that have never been done before. - I have collaborated with some of the world’s most famous opera stars. - I love the Pareto 80/20 principle created by Italian economist, Vilfredo Pareto. - My favorite quote is “Less is more.” - I’m an INTJ. - My favorite movie is Zorba the Greek with Anthony Quinn. - My best ideas come at 3 am. - I like taking the long way around and do not believe in shortcuts. - I was taught to arrive at all meetings seven minutes early. - I make friends for life. - My forte is connecting dots and telling stories about artists.

creativemornings.com/individuals/ivanbarnett
seriousplaysf@gmail.com