Connection Is Key For The Future Of Art Fairs
The Future Of Art Fairs Depends On Collectors Experiencing Art In-Person.
*This blog was updated on September 29th, 2020
Ever since Superfine opened our doors in 2015, the future of art fairs has been deliberated over – and for many reasons. Expensive fair models were increasingly butting out smaller galleries and emerging artists, calling into question the accessibility and affordability of participation. Additionally, higher costs on behalf of art fair participants also meant higher prices being passed down the line to potential collectors in a cycle of not-so-transparent money grabs.
In fact, that entire broken art fair model is why we started Superfine Art Fair in the first place! The exclusivity of the international art fair buyers club wasn’t friendly to new and emerging collectors or artists. With so many art lovers and interested collectors with smaller but still meaningful budgets and most importantly, a genuine appreciation for art, we set out to change how things were done with our art fair focusing exclusively on independent artists.
What’s Next For International Art Fairs?
This year, the art fair model was thrown for a loop along with the general disruption of the global pandemic. A long-shaky model was finally given it’s last shake; would anyone – mega galleries and independent artists included – be able to survive such a drastic change to the art fair model?
You can’t ponder the future of art fairs without understanding that international art fairs are a huge portion of the global art economy – $16.8 billion of that economy in 2018, as a matter of fact. For blue-chip fairs that deal in ultra-luxury asset trading, buyers might not be so concerned about “feeling out” a work of art before committing to their purchase. The motivations for those sales are totally different from what your average art collector is looking to experience.
Performance art is an un-missable part of in-person art experiences, like at our Washington, DC art fair in 2019.
Viewing Art In-Person – Not Just Social Media – Is Crucial For The Future Of Art Fairs
“Seeing a work of art on the web is like having a Facebook friend you have never met. Seeing that same work of art in person is like sharing a beer together: it is a much more revealing experience. “
– John Seed, Professor of Art History
If there’s one thing we learned for certain when it comes to emerging contemporary art fairs, it’s that nothing can replace the in-person art viewing experience. Art History Professor John Seed put it perfectly in his quote above, from a December 2017 piece published in the Huffington Post, “When Appreciating Works of Art, Being There is Always Best.”
Sure, the ease and comfort of online viewing rooms is a nice band-aid as long as social distancing measures are necessary, but it’s certainly not a long-term solution. The need for work by emerging artists to be experienced in-person is backed up by friend of Superfine Art Fair, Danielle Glosser of Client Raiser. “Since artists are selling a product not a service, it’s important for collectors to see that product in person.”
When people are given the opportunity to see and experience art in-person, a more comfortable and personable environment is created for both the artist and the collector. Plus, there’s always the potential to reach people you may have never met exclusively online, which is exactly why the future of art fairs is so dependent on in-person viewing experiences and not exclusively social media sharing.
Viewing art kicks into process a long-term conversion opportunity. When people see art online or find art on Instagram, they may scroll right past it or offer a “like” and a comment, but it doesn’t necessarily plant the idea in their head that they might want to purchase that artwork. It’s easier to make a sale in-person because an emotional trigger is set off which can drive potential collectors to buy from you.
The future of art fairs depends on impactful in-person experiences, like at our Washington, DC art fair in 2019.
How Superfine Is Bringing In-Person Viewing Experiences Back To The Table For Emerging Contemporary Artists And Art Fairs
“The best part is watching as others see the patterns, textures and colors and get immersed in the piece. I love when someone stands very close and explores the layers of intricacies in my painting. I feel like I have shared my bit of total relation with someone else.”
– Mary, Superfine DC Exhibiting Artist
Superfine Art Fair is dedicated to bringing the safest, best and most comfortable in-person art viewing experience possible. Just a few short weeks ago, we launched our Superfine 2021 Art Fair Resiliency Plan in which we laid out how exactly in-person art viewing experiences will look like at our art fairs for emerging artists. Our vision of the future of art fairs includes timed ticketing, face masks and temperature checks for all, and options for artists who are unable to travel to our open air venues available at no extra charge.
As Superfine Exhibiting artist Mary said above, the best part of participating in an in-person art fair is watching as art lovers and potential collectors connect with your work. After all, when it comes to buying art you love, it’s the emotional bonding that counts. The future of art fairs depends on meaningful interactions between artists and collectors.
What Alexandria, Virginia-based Superfine Exhibitors Mary Westphal And Armand Fogels Love Most About Exhibiting Art In-Person
We’re excited to feature artists Mary Westphal and Armand Fogels on the Superfine blog, where they tell us about how they stay inspired, their art-making processes, and what it is they love most about selling their art in-person at emerging contemporary art fairs like Superfine.
Superfine: Where are you based, and what do you love most or are most inspired by about your location?
Work by Armand Fogels, image courtesy of the artist.
Armand: I am based in Alexandria, Virginia, just outside of D.C. Virginia has a beautiful and natural vibe. Being close to D.C. with museums and galleries has many perks.
Mary: I am based in Alexandria, Virginia, in a suburb outside of Washington, D.C. I am most inspired by the cultural diversity of the area. You can be in the middle of a city atmosphere with great classical and modern architecture side by side and also enjoy beautiful picturesque natural settings including lush parks, trails and waterways.
S: What are some of the biggest influences that inform your art? For a current series, body of work, or what you do in general.
Armand: I get much inspiration from all the art that is available - museums, galleries, shows and other artists. The artistic process is so enriching and it is always great to immerse oneself in the amazing variety.
Mary: I am most inspired by patterns and textures, both man made and also those found in nature. A walk along a path can reveal the smallest details and patterns. A ripple of water, an intricate pattern in the bark of a tree, the contrast of colors in flower blossoms, interesting swirls and precise lines of a building, designs made by wind in the sand, etc., etc., etc. I love water locations, so I tend to opt for blues and greens of various shades. But I love to stretch and choose other contrasting, bold, bright, joyous colors as well.
S: Can you describe your art-making philosophy? How do you feel when making art? What are some of the most important parts of the art making process to you personally?
Armand: Remove stress from your life whenever possible. Painting is the perfect vehicle for that. I like for people to see the joy and passion in my work.
Mary: Art expression is very therapeutic for me. I can get lost in the process and all the stress of the day just ebbs away. The best part is watching as others see the patterns, textures and colors and get immersed in the piece. I love when someone stands very close and explores the layers of intricacies in my painting. I feel like I have shared my bit of total relation with someone else.
S: How do you describe your artistic process – from start to finish. What are the steps between getting an idea, putting your ideas down on paper to execution?
Work by Mary Westphal, image courtesy of the artist.
Armand: Sometimes I start with sketches, but I let the art develop depending on different variables - mood, light, atmosphere, etc. Sometimes I need to just start painting and try to surprise myself. The hard part is knowing when it is done.
Mary: I use acrylic mediums to create texture on a blank canvas. I then wash colors over the texture to create depth and interest. I typically just let the painting flow and develop with time. A piece takes several sessions to reveal itself and get to the point where I think it might be finished. I hang the painting and continue to contemplate the way it makes me feel until I am fully satisfied with it and determine it is complete.
S: What are some of the biggest struggles and/or highlights of your art business? Do you consider your art practice a business?
Armand: Success in life is having a job that you actually like doing. The passion is no problem, but making money would insure the future of my dream. It is an evolving process and the business side definitely needs more of my attention. Superfine is a big part of the evolution.
Mary: Art is a passion for me. I would love to make it my full time business in the near future. I do think of it as a business and with hard work and perhaps a little luck, I can work full time on my art career.
S: What drew you to apply for Superfine and engage with the community?
Armand: I saw Superfine on the "artist opportunities" site on my local art league page and loved what I saw. After signing up for the D.C. show I went to Chelsea and saw the N.Y. show. I was so impressed! All the artists were very approachable and I loved the way the show was structured.
Mary: I am a member of the Alexandria Art League and I saw Superfine listed as an "Artist Opportunity". It sounded like a really fun event and I decided to apply. After being accepted, I went to the Superfine NY show to see what all the excitement was about. I love that the fair is open to all and accepting of young collectors and emerging artists. The opportunity is just what I have been looking for.
S!: Where do you see your art in 10 years – are there ideas or avenues you are looking forward to exploring, mediums you want to try, places and spaces you’d like to see, or any famous people you’d like to collect your work?
Armand: I have always loved painting and always will. My hopes are that I achieve some financial success but that is not the driving force. I am happy when people see my work and share in the joy that it brings me. It would also be great to be at the 10th anniversary of Superfine DC.
Mary: In 10 years, I hope to be exhibiting my art at Superfine in each city. I hope to continue to exhibit and share my passion with many people in a variety of places. I have paint in my blood so I know I will be painting in some form or fashion. I hope to continue to develop new techniques to create more textures in my art. It would be fabulous if any famous person (perhaps James and Alex) collected my work. If he could come back to life, I would love a nod from Jackson Pollack and/or Vincent Van Gogh.