Thursday, April 29, 2010

I met with Hyperion Bank's marketing director on Wednesday. She wanted to understand what I was doing there and why Hyperion would want to buy a painting that hasn't even been made yet. I said that this project was about sending a message. Artists pioneer an area and initiate its revitalization and development. When an institution like a bank moves into that area, it confirms and strengthens that revitalization. This project is a way to acknowledge this synergy that continues to happen in developing areas. It's a way to encourage artists and institutions alike.

The piece I'm selling hasn't been made yet. It's essentially a commissioned piece. Since each monochrome is so different from the next, I understand that they're challenging to imagine. But that adds to the excitement of the piece. What I'm offering isn't something made independent of the stewards of the work. I'm offering an interaction, something unique to the stewards and their environment, something they contribute to. We talked about using the color orange and the sun design in their logo. I think we both started to picture something and got excited. She said she would talk to the owner and give me an answer Friday.

Wednesday, April 28, 2010

Bonding Agents

There are rules for making a monochrome. All materials have to be found or second-hand. Objects have to be predominantly of the designated monochrome color. Adhesives, however, (anything used to bind these materials for the assembly of the piece) are the exception to this rule. They have to be found or used but don't have to be any particular color (a rusty nail, for example). Before the color of the little berlin piece is designated, I ask that people start collecting anything that can be used to fasten or bind...glue, thread, nails, screws, string, fishing line...anything. Please let me know if you have any questions.

I look forward to hearing about what people start finding!

Monday, April 26, 2010

I was talking to a regular at Johnny Brenda's last week. He handles art for museums and private collectors. He said he did a job once for the CEO of Aramark, Joseph Neubauer, and that Neubauer and his wife were art enthusiasts. So I went to the Aramark building. I hadn't really been able to find any information online on who does what at the company so I just asked the woman at registration if I could talk to someone in Marketing. She was more in charge of security and signing people in. She said I could try the information desk next to her. I went through my same spiel. They said I might be able to talk to Kennedy Wilson. They run the building and were around the corner.

I went into the Kennedy Wilson office. The receptionist was laughing about something with a co-worker, which was nice. I spieled her, and she got the Operations Manager. I spieled him, and he said gave me the name and number of a woman in Corporate Services, who handles all the artwork and stuff like that, he said. She was essentially the Art Consultant for Aramark.

He said he was going to call her and let her know I would be contacting her. So I waited and called the next day. Her receptionist told me she was in a meeting and put me through to voicemail. My phone cut out during my message. When I called back to leave another message, she answered the phone herself. She listened patiently to my spiel, mentioned it was somewhat aligned with Aramark's involvement with Earth Week, and then put me in contact with someone in Community Relations. I called and left a message. Someone else called back the next day, and we set up a meeting.
Jenna Wilchinski, working on Copper Monochrome

Saturday, April 17, 2010

I contacted one of my sales mentors, Charisse, for advice on cold calling. She works for one of the biggest biotech companies in the world and recently won an award for being #1 in sales in the nation for four straight quarters. I told her I was thinking about approaching banks. She said it's important to talk to the decision maker. With a bank, I should go in and ask for the Branch Manager. She said to be direct and make it as easy as possible for them. If they say they aren't the ones who can make decisions about things like buying a painting, then I should ask who does and get their contact information.

Yesterday, I went into 3rd Federal Bank. I went up to the teller and asked to speak with the Branch Manager. She wanted to know why. I told her I was organizing a collaborative art project in the area and wanted to involve local businesses. I sat down with the Branch Manager and told her about the Monochromes Project. She said she was interested. She didn't have the authority to make the decision to buy the piece, but gave me the information of someone at home office who did, someone in marketing. I called and left a message.

After 3rd Federal, I went to Hyperion Bank and sat down with their Branch Manager. She was also interested and receptive. She started talking about possible colors, using either the blue or the orange from their logo. She liked how the project and the gallery's values coincided with Hyperion Bank's, which has been recognized and awarded as a symbol of revitalization in the community. She told me to follow up with her, but that I also needed to speak with someone in marketing. I happened to meet their marketing director as she was leaving for the day. I got her information, and will contact her to schedule a meeting next week.

Thursday, April 15, 2010

Philadelphia artist, OJ Briggs, flying in for pink monochrome

Wednesday, April 14, 2010

I'm an assistant to artist, Candy Depew. When I saw her today, I told her about the show. She suggested approaching art buyers for companies. She also said I could time a company's payment with the end of their fiscal year. Departments have budgets and if they don't use them up, they get a lower budget the following year. So they're looking for ways to use up their budget. Helping artists and an organization seeking non-profit status in an up-and-coming area might be something they would be interested in financing and becoming involved with. They could put down a deposit on the piece, or sign a contract, and then pay when it's fiscally convenient. They could also pay over time, like a $100 a month.

After working with Candy, I met with Masha at little berlin. We picked out the space where we'll build the monochrome during the exhibition. It will basically be a 10ft cube delineated by tape on the floor and wall. Everything will be done in that area next to the other artists' work in the show. Masha wanted to know what the color would be. I said I didn't know yet. I wanted the buyers, the people that become involved, and other things that happen before the show to dictate the color. People really just need a couple days to scavenge. Although, a week would be nice.

Brown detail

Tyler art student, Kiriko Brindley, working on Brown Monochrome

Monday, April 12, 2010

I talked to Masha today. She told me the show is called "Value City." It starts May 7th, I think. So I have until then to pre-sell this work. I think I want to sell it for $500. I'll ask for that and maybe people could pay part of that as a sponsor, but then they'd have to share the painting. And if someone ends up offering the full amount, the sponsorship is void. Or they can outbid the other buyer, or put their offer towards something else. I want to start approaching businesses tomorrow or Wednesday. Maybe it can be a tax right off for them. If it is I can ask for more. I was going to start small. But I think I should start big. Maybe I'll approach some art institutions in the city, or in other cities. They might be a little tight with their budgets, though, or slower to move. Organizations and businesses in general might feel it's last minute. I can address that by stretching the sales cycle past the show, and tell them any kind of involvement before and during the show would be a part of the exhibition at little berlin. They can also, like everyone else, work on the piece and have a say in the final product. I also want to approach individual buyers.