| To the online artist, it might seem a paradox, at first | | | | and it's time for the show to be opened to the general |
| glance, to hear a recommendation to hold back work. | | | | public.A Middle Gallery is for works that didn't sell in the |
| The artist on the Internet often overproduces and | | | | Preview, but are only available to those who have |
| displays their entire body of work. In essence, by | | | | registered in the Guest Book and agree to receive |
| placing it for casual viewing, known as "shopping" the | | | | future newsletters and updates. Finally, there is an |
| work, devalues its worth by defying the Law of Supply | | | | Outer Gallery, that is for browsers and only contains |
| and Demand.How can the artist benefit by applying the | | | | images that have been sold, their price, but never to |
| advantages of the Internet with the successful | | | | whom it was sold.Although there will be many |
| business practices of the traditional gallery? Let's look | | | | window-shoppers, as the exclusive nature and as the |
| at the traditional gallery's sales structure.At the | | | | reputation of the site grows, the more exclusive |
| Preview, in an inner gallery, and by invitation only, | | | | collector will come to the site, sign the Guest Book, and |
| previously unviewed works are presented to the | | | | come to the Preview ready to collect.Perhaps |
| gallery's selected collectors. The works are tagged as | | | | Museum Directors, Curators, Critics and Reviewers |
| sold, but left for viewing. An aspect of human nature, | | | | could be contacted as well. Given passwords, they |
| wanting what one cannot have, has been | | | | could actually look at the work online, without the artist |
| accommodated as well as a relationship to supply and | | | | having to physically move the works as in a |
| demand.To paraphrase Israel A. Kirzner, the, almost, | | | | land-based gallery. Their reviews could be then added |
| universally accepted theory of supply and demand | | | | to the Preview Page and the artist's resume for future |
| shapes production and consumption, and is, not only | | | | use.Anyone with experience on the Internet knows |
| the skeleton, but the flesh and blood of the economic | | | | you can't just create a web site and expect people to |
| system which determines the artist's survival in the | | | | show up. The site must be properly marketed as well |
| marketplace.["The Law of Supply and Demand", by | | | | as have something the web surfer desires. Go to |
| Israel Kirzner At the time of publication Kirzner was an | | | | ARTNews and see how the ads are structured. Ask |
| economist at New York University. and The Freeman, | | | | yourself what it is about that ad that makes you want |
| a publication of The Foundation for Economic | | | | to visit that gallery. What makes it desirable?Look at |
| Education, Inc., January 2000, Vol. 50, No. 1.]The show | | | | the size of the images in the ad. Are they thumbnails |
| opens to the general public. As the show closes, | | | | or full-size images and details? Collectors want to see |
| unsold works are then considered shopped, since the | | | | brush-strokes and have the monitors to do so. |
| public has viewed them. Then, they are placed in an | | | | Remember, that the majority of the nation's assets lie |
| outer gallery for the casual onlooker. Those traditions | | | | in the hands of those over fifty years of age. Many of |
| have held true, stemming from the basic nature of | | | | them wear eyeglasses. Accommodate their eyesight. |
| human beings and how market prices are | | | | Bigger is better.Of course, not all artists who put up a |
| determined.This brings us back to the question of how | | | | web site are going to be worth collecting, just as |
| might the traditional practices be adapted to the | | | | galleries will not find all artists suitable. Not all collectors |
| Internet? The artist could, for instance, set up a number | | | | will want a given artist's work. Without demand there |
| of galleries.The Inner Gallery would contain works | | | | are no sales.Therefore, critical analysis of the web |
| previously unseen. A collector might pay a one-time | | | | statistics should be carefully monitored. If you get a lot |
| fee, the purpose of which is to discourage | | | | of hits and no sales then the problem is not in the |
| window-shoppers. The fee could then be applied to | | | | marketing. Conversely, no hits, or very few, would |
| their purchase. Those who purchase are the collectors | | | | indicate poor marketing. At some point you have to |
| who go into your special Guest Book to receive | | | | figure whether or not you're no good at marketing or |
| Preview invitations, thus, eliminating the major pitfall of | | | | the work is not collectible.As for meeting with the artist, |
| current Internet based galleries, the | | | | the web cam, if not a personal visit, makes for an |
| window-shopper.How does one structure a Preview | | | | enjoyable time. With the development of Japanese |
| Page? Obviously, for your Preview Page you wouldn't | | | | graphic technology, one day soon the collector and |
| want just anyone dropping in. This could be | | | | others members of the art community will view the |
| accomplished through a member login given only to | | | | minute details of the artist's work in truly a virtual |
| your private collectors. By closely monitoring their login | | | | gallery without defying the laws of human nature |
| dates, you can determine when the Preview is over | | | | which drives all mankind. |