Thoughts on the National...

[whodey14]

Graig,

Was trying to not put a price on your full scale paintings, was unaware if they were $1,500, $15,000 or $150,000 haha. However using your number of $10,000 a guy who is a card/memorabilia collector on a $10k budget is like you said buying that iconic gamer, card, signature ect. It will take the guy that has everything else or big pockets and a $100k budget for the weekend to buy a $10k painting on a whim. One other thing to keep in mind is it sounds like your full scale paintings are quite large, a card can be put in a box and stored in a very small space where as your paintings take a large financial and space commitment. Hope I have positively influenced you to come to the national! Haha!

-Adam

[GKreindler]

Adam,

Trust me, you didn't need to influence me!

Graig

[YankeeFan]

Graig -

I don't know if the rules of the National would allow it, but what if you ran one or more raffles, like the one done here on N54 recently, while there?

I'm thinking something like $5 or $10 a chance, with a limited number of tickets sold. The prize could be a choice of one of those $599 paintings you mentioned. As you pointed out, the number of people who could or would make a $600 purchase is limited. But everyone there has $5 - $10 bucks to spare.

Depending on the price per ticket you could pick a winner after every 60 or 120 tickets sold, for example. There's a chance you could "sell" a few of those paintings each day that way.

You could also do a "larger" raffle, just like the one done here. $20 per entry and the winner gets a "painted to order" 16 x 20.

I'm sure you and Dean can come up with other workable variations.

[thecatspajamas]

Not speaking from my own experience, but one guy that I know who sets up at the National every year does so more for making contacts and getting leads than for trying to realize sales. He deals primarily in game-used items, and will take some pretty high-end stuff for show, but doesn't necessarily expect to actually sell much at the show. I would think your paintings would be the same way, in that you might not sell many (or any) large pieces at the show, but through lots of hand-shaking and pressing the flesh, would expect to come away with some commissions or at least having made contacts that would yield commissions down the road. As far as the larger pieces go, I really don't think you or Dean should be expecting spur-of-the-moment purchases, as to me, that sort of purchase requires a bit more planning and forethought, not just because of the $ involved, but also because the personal connection with the subject and involvement in its selection seems to be a much more integral part of the process.

On the other hand, if you're looking for something to specifically fund the trip and make it immediately pay for itself, I would think that smaller pieces or something like the forthcoming book (*ahem* any updates there?) would be ideal for bringing to the National as those would fall closer to the spur-of-the-moment purchase category. They would also be much easier for buyers to transport back home than the larger pieces.

That's my 2 cents anyway. (And glancing back at the thread, I see that I'd better go ahead and post this before EVERYTHING gets restated pre-stated in more eloquent fashion )

OT question: What is that little standee/statue thing on the table in the shot from 5 years ago? It looks a lot like the things George Burke used to make for players occasionally (I know, I know, it's the one thing in the photo that is NOT an awesome Kreindler painting, and I'm sure many fists are shaking with utterances of "If he mentions George Burke one more time...")

[parker1b2]

I agree with most of what everyone is saying. I think getting people to see your paintings in person would generate sales down the road.

Last year me and a few buddies went to a wine festival where they had various wineries and vendors set up. This one guy had very high end wine themed furniture, wine racks etc. It was a 3 day festival and we were there late day two. We were talking to the guy and he said he didn't make any sales, but a lot of interest and contacts. We took his, card and a few months later my friend made a large purchase from the guy for his backyard. My friend probably would never have sought out that type of furniture, and was not going to make a purchase like that at the festival, but by seeing it in person, he decided to buy it later on.

[Bicem]

Originally Posted by parker1b2

I think getting people to see your paintings in person would generate sales down the road.

This. The marketing and creating awareness of your work to the perfect target audience I would think would be worth the price of the trip (even if you were to not actually sell a single piece at the show).

I for one fell in love with your work only after seeing David's Smokey Joe in person at one of the Nationals.

[Kawika]

Graig: Five years ago you were just bursting on the scene. Your amazingness hadn't sunk in yet. At the best of times it's a lot to expect the average show attendee to buy a 5 or 10 $K painting on impulse so it's no wonder you didn't have great sales. But the exposure to your works and the opportunity for folks to meet the artist has got to be a positive even if you don't sell many paintings. Anybody who hasn't seen your works in person is missing the better part of the experience - I just look up from my keyboard and Smokey Joe Wood is looking back at me and I am blown away every time. And you can remind Dean that the Cobb Sliding piece did sell as a result of the Cleveland National. I wasn't there but when I saw it on a post about the show I jumped on it. As for the small studies, I understand that you don't want to be a starving artist, and Dean doesn't want to be a starving agent, but to me it just cheapens things a little bit. Keep on painting masterpieces and leave the tchotchkes to Dick Perez.

[Leon]

That is a great painting!!

[billyb]

Graig,

Definitely show your paintings at the National. I would also take a look at whose signing at the National. Maybe select a couple of the top stars, get the okay from the National Organizers and ask of you could display, your painting, of the star when he is signing. The cost of the 200 smaller paintings would probably be the same as a couple larger pieces you could display.
And you have enough credibility to approach MLB about paintings done by you for the MVPs of each league. I think you are that good.
Aim high my friend, you have the talent. The smaller pictures, I would avoid selling too many of those (the 200 mentioned).

[timzcardz]

Originally Posted by prestigecollectibles

I first met Graig at the National in Cleveland and although I did not purchase anything at the show I am proud to currently own three paintings and a few studies. Having seen his work in person made it easy for me to make future purchases.

Originally Posted by Kawika

And you can remind Dean that the Cobb Sliding piece did sell as a result of the Cleveland National. I wasn't there but when I saw it on a post about the show I jumped on it.

I don't know what more could be said. It's all about targeted exposure. The direct/indirect benefit from that exposure is difficult to quantify.

A was mentioned elsewhere here, the coffee table type book that you have mentioned previously would be an ideal quick sale at The National. Autographed and personalized to collectors would be provide incredible targeted exposure. How many fellow collectors would the books sold be seen by? How many commissions would it lead to?

There are sales, and then there's marketing. For you, I would think that The National would be more about marketing . . . and marketing is about future sales.

[perezfan]

I work for a major food company who participates in dozens of trade shows every year. We rarely (if ever) sell enough product at these shows to recoup the booth fees and sample product given away.

It's all about the PR and building brand awareness. It is a long-term investment. If you look at the immediate term, and only "turning a profit", you are missing the boat. Same seems true for your situation. The Coffee Table Book signing idea is a great one. Something classy that people could easily afford... and would undoubtedly lead to future sales. I much prefer this option to selling the small studies (and potentially cheapening the "Kreindler brand").

That said... I am intrigued by the Agent/Artist relationship dynamic. Who makes the final call in the end... you or Dean? I'm pretty sure most of us are hoping it's you

[Runscott]

Originally Posted by Kawika

As for the small studies, I understand that you don't want to be a starving artist, and Dean doesn't want to be a starving agent, but to me it just cheapens things a little bit. Keep on painting masterpieces and leave the tchotchkes to Dick Perez.

David, your comparison to Perez' work is completely invalid - Graig's small studies are much better quality than anything Dick Perez does, and there is nothing cheap about them.

[Runscott]

Graig, I think 200 is way too many - that changes them from 'studies' to something else. I would go all-out as you did in the National 5 years ago, bringing some of the larger paintings, but also bring maybe 20-50 of the smaller studies to gauge interest in that sort of thing.

[Kawika]

Originally Posted by Runscott

David, your comparison to Perez' work is completely invalid - Graig's small studies are much better quality than anything Dick Perez does, and there is nothing cheap about them.

Agreed with you on the quality of Graig's works. Matter of semantics. My yiddische mama (no joke here, I really had one) referred to little incidental things as tchotchkes, no value or judgement necessarily implied. (The real crap was chazzerai, fit only for pigs).