A 2016 survey of “American Attitudes toward Art” found that age is a major factor in art discovery and art buying practices and preferences. Compared to their Baby Boomer elders, Millennials are much more likely to discover new art through social media. In terms of art buying, Millennials are also more likely to purchase art through an online marketplace or website.
The survey of nearly 5,000 U.S. adults was commissioned by Invaluable, a leading online marketplace for fine art, antiques, and collectibles.
Survey findings show that social media channels such as Instagram and Pinterest were the preferred art discovery tools of Millennials. Nearly half (44.3 percent) of young Millennials (ages 18-24) and 33.8 percent of older Millennials (ages 25-34) indicate that they discover new art through social media. This compares to 29.5 percent of older Baby Boomers (age 65+) who prefer a more traditional discovery path of finding new art through museums.
Overall, 37 percent of U.S. consumers said they would buy art online. More than half of Millennial respondents (59.9 percent for ages 18-24 and 51.6 percent for ages 24-34) said they would purchase art online. This is much higher than the 19 percent of older Baby Boomers (age 65+) who said they would purchase art online.
In fact, roughly one in four Millennials age 18 to 24 prefer to purchase art through an online marketplace or website.
“There has never been a more critical time for our industry to prepare and execute digital strategies that engage, inspire, and capture the next generation of art buyers — Millennials,” said Rob Weisberg, Invaluable CEO.
While findings reveal that Millennials aren’t purchasing art as frequently as Baby Boomers, the survey shows Millennials see long-term value in purchasing art. Roughly 42 percent of young Millennials and 37.2 percent of older Millennials surveyed believe that buying art is a good investment, compared to roughly 32 percent of Baby Boomers.
“These findings not only reveal the importance of connecting and assimilating new generations and first-time buyers into the art ecosystem, it also spotlights a tremendous growth opportunity in reaching new segments of buyers,” said Weiseberg. “As digital-first preferences continue driving more interest from Millennial buyers, we know that technology will play a critical role in engaging and connecting this generation to the art world.”
Art Appreciation: Almost one-half (48%) of all respondents said they like or appreciate art. About 55% of the respondents over the age of 65 reported an appreciation of art.
Visiting Cultural Institutions: Consumers continue to visit museums and galleries, with 38.6 percent visiting once a year and 14 percent visiting monthly. About 15 percent admitted they don’t visit museums and galleries.
Purchasing Art: Overall, 37 percent of respondents said they would consider buying art online. Survey respondents are mostly likely to buy art at an art fair (26.2 percent), gallery (19.2 percent), flea market (16.2 percent), other sites (15.9 percent), and online marketplace or website (15.2 percent). Only 7.3 percent said they buy art at an in-person auction.
Visit www.invaluable.com for more information about the “American Attitudes Toward Art” survey.
ARTISTS. Art discovery options are expanding with the launch of the Acanvas art-streaming app and self-charging art-display platform. Acanvas is making it possible for art lovers to display a steady stream of classic or contemporary art from Fine Art America. Acanvas developed the art discovery platform to making learning about new artists as easy and as accessible as streaming music.
“With Acanvas, interior design and technology come together to bring millions of works of art to empty walls everywhere,” said Dan Lee, CEO and co-founder of Acanvas. “Our self-charging battery system makes our display as easy to hang as any traditionally framed print or painting.”
The display platform consists of a Wi-Fi connected, 23-inch, high-definition display from LG Electronics USA. The onboard, battery system features a motorized, retractable cord that connects to a portable charging dock. The slim, easy-to-mount display can be customized with matte frames that match the owner’s décor.
From the Acanvas app on an iOS or Android mobile device, users can select “Art Stations” curated by Fine Art America and stream a continuous flow of art to the display. From the app, users can control how long each piece is displayed before it is replaced by another one.
While viewing art in a Pandora-like “art station” such as seascapes, bold primaries, and dynamic abstracts, users can learn more about different genres of art and discover new artists.
Users can also browse for specific art to add to their personal libraries within the Acanvas app. Or, users can hang and showcase personal photos from anywhere, either within the home or remotely. The first units are expected to ship during the fourth quarter of 2016. Pre-orders are currently being accepted.
Acanvas is an emerging start-up based in Santa Clara, California. The independent company began as a research project within the LG Silicon Valley Lab (SVL). The Acanvas platform is supported by a partnership with Fine Art America.
“Acanvas allows us to further our mission of connecting people to the art and artists they love,” said Sean Broihier, CEO of Fine Art America.
Fine Art America, which was established in 2006, has become one of the world’s largest online art marketplaces. Hundreds of thousands of artists and photographers have uploaded millions of images to the Fine Art America website and thousands of new members and images are added each week.
A group of artists, investors, philanthropic funders, and social innovators have launched Upstart Co-Lab. The collaborative arts organization is designed to:
Increase opportunities for artists as innovators by encouraging greater recognition of artists’ accomplishments in the private, social and public sectors;
Catalyze more capital for creativity by making creativity investable through public equity, debt and venture capital investment products;
Enable sustainable creative lives by equipping artists with crucial skills for executing their ideas, and linking eligible artists to existing social services and subsidies.
Upstart is funded by Ford Foundation, The Rockefeller Foundation, The Andrew W. Mellon Foundation, and Surdna Foundation with in-kind support from the F.B. Heron Foundation. Upstart is a sponsored project of Rockefeller Philanthropy Advisors.
“Artists are the original social entrepreneurs. They make our society stronger because of who they are, how they approach the world, and the risks they are willing to take,” said founding partner Laura Callanan, the former senior deputy chairman of the National Endowment for the Arts. “But because other social changemakers don’t realize what artists are doing, artist-innovators often have to go it alone. By creating this national collaboration between artists, impact investors, sustainable companies and other partners, we can fix this.”
Upstart Co-Lab will be based in New York but is national in scope. Upstart Co-Lab has conducted hundreds of conversations with arts and innovation leaders to inform a portfolio of projects and develop the partnerships that will advance them.
Upstart will work in three ways:
Adapting successful models for the arts and creativity. By repurposing models from impact investing, community development and social entrepreneurship, Upstart will catalyze fresh opportunities for artists. By emulating the Social Capitalist Awards that popularized the concept of the social entrepreneur, Upstart will recognize artists and designers who have launched innovative companies such as Kickstarter, AirBnB and Jeni’s Splendid Ice Creams. Upstart will also recognize artists working on issues such as environmental conservation, criminal justice system reform, and effective government.
Integrating the arts into existing systems and standards. Today there are no options for the mission-related investor committed to the arts and creativity. Upstart will launch a Creative Economy Index Fund of U.S. public companies across the creative industries, enabling targeted investment in creativity for the first time. This product will integrate values of sustainability by focusing on companies that lower the cost for the design, fabrication and distribution of creative work, or that enable individuals to be creators, not just consumers.
Developing new initiatives designed to respond to gaps and market failures. Artists face some unique challenges. For example, to address the persistently low rate at which arts graduates actually make their living by working in the arts, ArtPath will rethink the resources and skills artists need at every stage of their career life cycles – to launch new projects, start commercial enterprises, and better manage their careers.
“The creative economy is all around us, but the problem is we don’t recognize it,” said Veris Wealth Partners Partner Anders Faijersson Ferguson. “Because we don’t understand how big a difference artists and innovators make in our local and global economy, their role is somewhat invisible. By helping their contributions be better understood and valued, more investment capital will be made available. And the catalytic role artists play in achieving impact and bringing positive economic change will increase.”
To implement these initiatives, Upstart Co-Lab is engaging with arts organizations, social innovators, impact investors, universities and others. To date, Upstart’s strategic partners include Arizona State University, Artspace, B Lab, Bennington College, Calvert Foundation, Foundation Center, Global Development Incubator, Maryland Institute College of Arts, McKinsey & Company, Oberlin College, Veris Wealth Partners, and Yerba Buena Center for the Arts.
A portfolio of five projects is under development and will be implemented by the end of 2016. More information about the organization can be found at http://www.upstartco-lab.org.
If the thought of pricing and promoting your art makes you profoundly uncomfortable, check out the business consulting services of artist Laura C. George.
Laura C. George is a business consultant for artists who want to “price to sell without being a sleazeball” and “make a profit, without ripping off your customers.” She also helps artists who aren’t sure how to promote themselves in the ever-shifting landscape of online communications.
George believes that technology has so thoroughly transformed the art market that some artists are losing ground because they don’t know how to navigate the new landscape.
She recalls working with an artist who was huge in Boston the ’80s. According to George,”She would just walk into galleries and they were thrilled to be able to put her work up. She never wanted for money. But over the last 10 years, her sales have tanked because she didn’t have a professional-looking website or an email list. And she didn’t know how to connect with and approach people through the internet. She was relying on outdated and ineffective strategies such as press releases and hoping a gallery would call her.”
As a result of this experience, Laura George has made it her mission to help educate artists in similar situations, and those just starting out and are unsure of best practices. She wants artists to find ways to promote themselves in a way that feels natural, not soul-killing.
“I want artists to feel in control of their businesses,” explains George. “I want them to feel like their success is in their own hands and not handed to them by a gatekeeper gallerist, agent, or rich collector.”
To help artists see what’s possible, Laura has posted two free webinars that you can download and view at your convenience.
The Art of Getting Press: Making the Media Love Your Art
In this 90-minute webinar, Laura explains how you can start getting the media attention you deserve. She explains how to find the right publication and write an effective pitch. She also talks about what to do after you’ve sent the pitch and presents examples of artists who have successfully gotten the attention of the press.
Art in Your Inbox: Email Marketing for Artists
In this 80-minute webinar, Laura discusses why email works and how you’ll benefit. She explains how to lay-out your emails for maximum effectiveness and how often to send emails. You’ll also see how email fits into your overall marketing strategy and get a step-by-step formula for writing fantastic emails. A bonus worksheet can help you plan out all your emails for the year.
Looking professional matters, says George, because people are more likely to buy from artists who don’t appear flighty: “When most people first get to an artist’s website, they’re looking for some sort of proof that the artist will actually ship the art if they buy, that the art will actually look like it did in the picture, that there won’t be any hassles through the process, and that if something goes wrong, the artist is going to fix it” To sell your art online, it’s not enough that people love your art. Art buyers need evidence they can trust you to deliver.
Studio F is a new art marketing platform through which artists can sell their work as high-quality vinyl decals and wrapped canvases on fathead.com. Part of the Fathead family of companies, Studio F uses the marketing prowess and reach of the Fathead brand along with Fathead’s digital graphic technology to reproduce curated artists’ work as decals that buyers can display as frameless wall art, furniture enhancements, or window art.
Colorful Launch over Thanksgiving Weekend
To demonstrate the full potential and scale of Studio F’s creative capabilities, Detroit artists Ellen Rutt and Patrick Ethen were commissioned to create RADIANT CITY, a large-scale public art installation that in downtown Detroit. The artists were commissioned to help create an exciting experience to unveil Studio F and the transformative nature of the product.
The installation was open November 25-27 during the festivities surrounding America’s Thanksgiving Parade presented by Art Van.
Rutt and Ethen designed over 300 one-of-a-kind patterns that were sampled from Detroit architecture, printed on Fathead vinyl, and applied to the tops of tables by IKEA, the world’s largest furniture retailer. Using downtown Detroit’s beautiful, historic Grand Circus Park as their canvas, Rutt and Ethen arranged the tables to form an enormous mosaic and immersive color field around the Russell Alger Memorial Fountain.
“The patchwork quilt is a powerful metaphor for Detroit,” says Ethen, “there are so many people, ideas and cultures at play. This city is best understood as a plurality—nothing less than the sum of its parts.”
The duo explored Detroit to archive a collection of patterns from all over the city. “It’s important for us to make work that’s imbued with a sense of place,” adds Rutt, “There’s such a rich creative history in Detroit, so much inspiration surrounding us already, that sourcing patterns from local architecture was an obvious choice. RADIANT CITY symbolically references the present cultural climate, the energy and passion that is so tangible here.”
After the exhibit closed, some of the art-topped tables in RADIANT CITY for Studio F were donated to Humble Design, a non-profit group that provides furnishings and design services to families transitioning out of homeless shelters. The remaining tables will be sold on December 1 in celebration of #GivingTuesday, a global day dedicated to giving back. All proceeds will go to Humble Design.
RADIANT CITY for Studio F was a colorful launch celebration for Studio F. Fathead worked with Minneapolis based advertising agency Fallon Worldwide to develop the launch idea and choose Ellen Rutt and Patrick Ethen as the first artists to be featured on the Studio F website.
“Studio F is the next evolution of Fathead,” said Joanna Cline, chief marketing officer, Fathead. “We can now offer our quality products, stellar marketing support and customer service to the artistic community.” Established artists and “artists to watch” will be able to expand their art collections to this dynamic new online gallery.
Information about how to apply for inclusion in the Studio F gallery and earn commissions for the sale of your work can be found on the Studio F website.
VirtuEye is a London-based company that develops non-gaming virtual reality applications.
VirtuEye is using virtual reality technology to make it possible to be in one place physically while looking around in another location. They are marketing their services to real estate companies and travel agencies who want to showcase properties and destinations and galleries and museums who want to disseminate or preserve exhibitions.
While using virtual reality to visit a location isn’t quite the same as being there, VirtuEye founders believe it can be an extraordinary and practical experience: “The times when you had to physically visit a place to see it have ended.”
They also encourage artists to consider using virtual reality technology to influence the way people see and experience the world.
On July 14, an audience in Brooklyn used VirtuEye technology to see three site-specific sculptures that artist MrToll installed in the middle of the Arizona desert as part of the Virtual Borders Arizona project. Experiencing the Arizona desert via virtual reality technology enabled New Yorkers to see that human-defined borders are insignificant in a terrain in which raw, unforgiving nature stretches for hundreds of miles. The borderless land existed long before humans arrived and it will continue to exist long after humans are gone.
The virtual reality sculpture exhibition, curated by Gabija Grusaite, also suggested that everyone who pursues the dream to succeed needs to cross a metaphorical desert. The artist believes all borders are virtual borders, and that our modern world is enabled by free movement of people, ideas, art, and cultures. Trying to control that free movement limits creativity and progress.
To learn more about how VirtuEye can help real-estate buyers visit properties from afar, view the video below.
In keeping with their mission of “changing the world through digital experiences,” Adobe has launched a milestone release of its flagship Adobe Creative Cloud tools and services. They also announced the availability of the new Adobe Stock content service.
The 2015 release of Creative Cloud includes major updates to Adobe’s desktop tools, including Photoshop CC, Illustrator CC, Premiere Pro CC and InDesign CC. It also provides new connected mobile apps for iOS and Android.
Adobe Stock is the first stock content service to be integrated directly into the tools creatives use every day.
Adobe Stock Content Service
Adobe Stock makes 40 million photos, vector graphics and illustrations accessible directly within CC desktop apps. You can launch Adobe Stock with CC desktop software, add watermarked images to Creative Cloud libraries, and then access and work with images across multiple desktop and mobile tools. When ready to license an image for finished work, you can do it directly within the CC desktop software application. You can also edit a watermarked image in an applications such as Photoshop CC. When licensed, the edits are automatically applied to the purchased full-resolution image.
Based on the acquisition of stock content provider Fotolia earlier this year, Adobe Stock is available in 36 countries and 13 languages worldwide, including the US, UK, Australia and Japan. It is expected to be available in India in the near future.
Because Adobe Stock is a standalone service, you don’t have to be a Creative Cloud member to download, purchase, or sell stock images. You can buy single images as needed or purchase a monthly plan.
If you are a Creative Cloud member, you can save up to 40 percent when you add an Adobe Stock annual plan to your Creative Cloud membership.
Adobe Stock may shake up the $3 billion global stock image market, because Adobe customers not only contribute to stock image services but are also regular purchasers of stock content. An estimated 85 percent of creatives who buy stock content use Adobe tools. More than 90 percent of stock content sellers use Adobe software to prepare photos and images.
Photographers and designers who contribute content to Adobe Stock can access a worldwide community of stock content buyers and receive industry-leading rates for content.
According to David Wadhwani, senior vice president of Digital Media, “Adobe Stock extends Creative Cloud’s value as a vibrant global marketplace.” When accessed through Creative Cloud, the new service simplifies the buying and selling of stock content.
“Our customers–the best photographers and designers on the planet–will have the opportunity to contribute millions of new photos and images to Adobe Stock,” says Wadhwani. “This is really going to raise the bar in the world of stock content.”
Improvements to Creative Cloud
Wadhwani believes Creative Cloud 2015 is Adobe’s most powerful and comprehensive release to date.
Since Creative Cloud was introduced in 2012, Adobe has championed the idea that mobile devices should be integral to the creative process, with free companion mobile apps working seamlessly with CC desktop tools. Adobe has now released Brush CC, Shape CC, Color CC and Photoshop Mix on Android for the first time, bringing connected mobile workflows to millions of creatives worldwide. Adobe has also updated many of its popular Creative Cloud mobile apps for iPhone and iPad, including Adobe Comp CC, Photoshop Mix, Photoshop Sketch, Illustrator Draw, Brush CC, Shape CC and Color CC.
In addition to these updates, Adobe debuted Adobe Hue CC. Hue CC provides an easy way to capture and share production- quality lighting and color schemes — for video, film and broadcast — by using an iPhone camera and then applying these light and color moods into a Premiere Pro CC or After Effects CC project.
At the heart of Creative Cloud is Adobe CreativeSync, a signature technology that intelligently syncs creative assets: files, photos, fonts, vector graphics, brushes, colors, settings, metadata and more.
With CreativeSync, assets are instantly available, in the right format, wherever designers need them — across desktop, web and mobile apps. Available exclusively in Creative Cloud, CreativeSync means work can be kicked-off in any connected Creative Cloud mobile app or CC desktop tool; picked up again later in another; and finished in the designer’s favorite CC desktop software.
Advances in Desktop Tools
With the 2015 release of Creative Cloud, Adobe magic and Mercury performance provide speed and technology breakthroughs across 15 CC desktop applications:
Photoshop CC: Celebrating its 25th anniversary this year, Photoshop CC introduces Artboards, the best way to design cross-device user experiences in a single Photoshop document and quickly preview them on a device. Photoshop CC also includes a preview release of Photoshop Design Space, a sleek new work environment focused on the needs of mobile app and website designers.
Lightroom CC: Photoshop CC and Lightroom CC both gain the new Dehaze feature, which appeared first in October 2014. Dehaze eliminates fog and haze from photos, including underwater shots, for startlingly clear images. Haze can also be added to a photo for artistic effect.
Premiere Pro CC: The new Lumetri Color panel facilitates powerful color corrections using intuitive sliders and other simple controls. Morph Cut makes it easier to deliver polished interview content. It smoothes jump cuts in talking-head shots to create a cohesive, polished sequence.
After Effects CC: A new Uninterrupted Preview allows artists to adjust the properties of a composition and resize panels without impacting playback. Also, the ground-breaking Adobe Character Animator brings 2D figures to life using a webcam to track facial movements, record dialog and apply movements in real time onto a pre-configured character.
Illustrator CC is now 10 times faster and 10 times more precise than CS6. Powered by dramatic boosts to its Mercury Performance Engine, users can now pan and zoom smoothly without delays. With the new Chart tool (preview), designers can create beautiful custom charts and share them with others via CC Libraries.
InDesign CC gets its own Mercury performance surge. Zooming, scrolling, and paging through complex documents is now twice as fast. InDesign now also allows users to publish and distribute documents with a single click.
Dreamweaver CC has new responsive web design capabilities that let designers quickly lay out and build production-ready sites that adapt to any screen size.
Adobe Muse now includes instant access to premium fonts from TypekitAdditional updates to these and other CC desktop applications make this one of Adobe’s biggest releases in years.
Creative Cloud for the Digital Transformation of Enterprises
Adobe’s expanded Creative Cloud enterprise offering includes enterprise-grade administration, security, collaboration and publishing services for design-driven brands, businesses and large organizations.
These enhancements are designed to help large commercial, education and government customers who want to speed the development and publishing of customer experiences, as part of their digital transformation strategies.
The new enterprise edition of Creative Cloud includes all the product features from the Creative Cloud 2015 release, plus expanded security options and deep connections with Adobe Digital Publishing Solution (DPS) and Adobe Marketing Cloud.
Two new security capabilities ensure protection of corporate assets, including customer-managed encryption keys and a new managed service hosting option, which offers dedicated storage behind a customer’s firewall.
Creative Cloud for enterprise also supports an upcoming release of DPS, empowering existing teams in organizations to rapidly design and publish mobile apps without writing code.
A public beta of this major update to DPS is available this week, with more information available here. Content from Creative Cloud for enterprise also syncs with Adobe Experience Manager (AEM), a key component of Adobe Marketing cloud, to accelerate marketing campaigns by streamlining creative-to-marketing workflows.