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High-Hanging Fruit

Once upon a time, there was a magical oasis in the desert where a grove of giant apricot trees grew.  Merchants from the nearby city often trekked to the oasis to harvest the fine apricots for sale at the bazaar.  The merchants only harvested the low-hanging fruit, for the trees were so plentiful and productive that there was no need to work any harder, and each merchant could harvest apricots more quickly by simply taking the ones within reach.  The trees were so bountiful that the merchants soon grew lazy, and came to expect that the low-hanging fruit would always be there for them.

One young ambitious boy also sold apricots in the bazaar.  Each day he visited the oasis and would climb to the top of the trees and spend hours harvesting mostly the high-hanging fruit.  His apricot harvest took longer than the other merchants and it was always much smaller.  Consequently, his "harvest" of gold at the bazaar was also small.  The other merchants would marvel at the boy's stamina and athleticism which they surely did not possesses.  Even so, they would laugh at the foolish boy and often wondered why he didn't just take the easy, low hanging fruit like they did.  After all, they could all afford the finest things in life and didn't have to work hard at all.

One year a horrible drought came over the land and the oasis shrank considerably as did the harvest of apricots.  Suddenly the harvest of low hanging fruit was tiny, and not enough to support the opulent lifestyle of the merchants.  The merchants sat and tore their clothes and gnashed their teeth in despair, praying to the gods for rain.  They complained that factors beyond their control had made business impossible.  While the merchants were busy complaining about the state of things and "the economy", the ambitious boy climbed the trees as he always had and continued to harvest the high hanging fruit from every single tree in the grove.  Soon the boy was the only apricot merchant in town and became very successful and wealthy.

Since the "economic collapse" in 2008 I've been told that many galleries have gone out of business.

But I do know of a select few that are doing quite well.

What's the difference between the ones who have closed their doors and the ones that are thriving?

I used to own an art gallery, so I have a theory about the difference.

To a gallery, especially those in resort towns, a customer who walks in the door, money in hand and ready to buy is "low-hanging fruit." And, when the economy entered this downturn much of that "low hanging fruit" dried up.

"High-hanging fruit" means maintaining detailed contact lists, keeping track of customer interests and nurturing relationships.  It's learning to send paintings out of town "on approval" and learning how to sell over the phone.  It's utilizing photographs and an up-to-date website to keep prospects excited, even when they're not on vacation in a resort town.  A gallery that pursues "high-hanging fruit" makes sales even when customers don't walk in the front door.  I know.  My gallery was nearly impossible to find if you didn't know its location.  "Low-hanging fruit" almost never walked in our door, so, consequently, we never relied on it.

But many galleries grew reliant on the low-hanging fruit and when we entered the "drought", they, like the rich merchants in the parable, didn't know any other way.  But the high-hanging fruit it still there for those with the skill and tenacity to go after it.

For artists who aren't in galleries, here's the thing:  There usually is no low-hanging fruit. [1]    Most of the time, you will have to be willing and able, like the boy in the parable, to climb to the highest branches and harvest your bounty.  But make no mistake, there is a bounty to be had.

Sharing Art Enriches Life.

Sincerely,

Clint Watson

FASO Founder, Software Craftsman, Art Fanatic

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[1] On the rare occasions a "gimme" falls in your lap, by all means, make the sale and thank the heavens for it.  But, for most artists, there isn't much low-hanging fruit, at least in the early days of marketing. 

 

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Comments

 

Love this parable Clint and your wisdom and expertise. You are absolutely correct. This gives me some ideas about which galleries to avoid - if I choose to go with galleries.

A gallery owner in CT has an extremely small space. She takes paintings to New York City where the majority of clients are, and that alone has made all the difference for her and the artists she represents. She also sells from her website.

Lori - glad you love the parable. I have several copies of a world wide best selling book and the main character in the second half of that book is famous for teaching in parables.

I figured if that method of teaching worked for Him, it was a good way for me to make a point.

:-)

;-) Well, it had me riveted to the story, and now it's an idea and point that I won't forget because the visual story is etched in my memory. High hanging fruit.

Now, I'm outa here so I can get some of that fruit.
Thanks Clint for taking the time to make this memorable.
Lori

Your message reminds me of Seth Godin's book "The Purple Cow," which is 10 years old.

Clint,
As a marketing consultant in a NorCal vacation town, your message (and parable) really resonates with me. Many of my clients (including artists and galleries) would rather wait around for the traffic that comes during the winter ski season, or the July 4th weekend than invest in strategies and tools that will help them build year-round relationships with prospects and customers. It's no wonder the town has a poverty consciousness pervading it.

I've enjoyed discovering that the FASO community of artists embrace the business of art and don't view "marketing" as a dirty word. Because when it comes to sales (art and otherwise), the meek shall NOT inherit the earth.

Clint:

I, too, have copies of that world wide best selling book! As I was reading your parable, I couldn't help but wonder if you were using it as your example for this story. (:

You made a strong point - stopped me in my tracks and reminded me of some goals I once had, but got side tracked from and forgot about them. Thanks!

So first, what book are you referring to?

Second, more importantly, there's a lot of truth here. The money is out there, it just takes a lot of effort and commitment to identify those folks and to sell smartly.

I like the parable. But at the same time, sales don't happen magically. It takes work, cultivation, and a lot more...especially today.

My wife likes to joke around that if I were to put my paintings on a stick, they'd sell well at the "art shows" in our hometown. There's little art there and a lot of things on a stick.

But the reality is, I need to start fishing where people who want to buy PAINTINGs are, and, at least here in Buffalo, the local art show / scene is almost all crafts now.

(I don't get the fascination with things on a stick).

Anyways, just adding to the moral of the story that sometimes we have to learn to harvest in completely different areas and in new ways.

thanks Clint.

Wonderful parable...I wish a couple of my galleries would read it. I also have that best seller book...

Great parable. I have an Artist friend who chose to pick the top of the tree. He got into a gallery that had mostly landscapes ( low hanging fruit) but he got in because he did great still life paintings, so his work stood out from the rest and his first month he sold all 5 of his pieces.
The Gallery owner was so excited about all those sales that she called all her other artists and told them to do still life's .
And so they submitted like crazy. That now made still life's "the low hanging fruit".
Sales stopped even though my friends art was above the average still life, there were so many still life's now it just got lost in the shuffle, maybe because most people couldn't distinguish between a good piece and an excellent piece. Because to them, it all looked like low hanging fruit.

Wow Ron, that's an interesting, but sad story. Sometimes I'm glad I am not working with galleries anymore. I got tired of them telling me to paint what they were sure they could sell.

I'm coming to the conclusion that marketing art is not about artists chasing the current market... It's about creating the best engaging work i can, and then building an audience for it.

Thanks Ron for taking the time to share.

Ron:

I agree completely with your comment "so many people can't distinguish between a good piece and an excellent piece."

I've seen that myself over the years, as have other artists. We've all heard the story about the person(s) looking at the artists' work, then telling that artist their grandmother ( or uncle, sister, brother, friend) can do the very same thing! Proud smile on their face - or -they imply you need to drop the price some. LOL!!!

Hi Lori:

I like what you say about creating the best work you can, and then building an audience for it. Although, sometimes I still think I would love it if someone else was selling for me so I could just paint?! But in this day and time, it does seem smarter to do it ourselves!

I hear ya Marsha! I recently tried to re enter the gallery system, but was unsuccessful. Artists much better than I are having trouble getting gallery rep, so yes, you're right, it might not only be smarter, but necessary to do it ourselves.

I'm doing OK on my own, but there seems to be a price ceiling without gallery representation. I'm OK with that as long as I make a steady profit.

I'm curious to read about artists' expectations after getting into a gallery. What the artist could/should do to help the gallery, when to call it quits, etc. I have a hard time finding much on this.

Thanks Clint, for such an enlightening and encouraging parable...we just need to keep keeping on.....As for me I will paint even if they are stacked to the rooftop because it is my passion and is so healing...Thanks again for your inspiring words... Janis Tafoya


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