Promotion During a Pandemic
How are area artists able to share their art while they can’t share space with clients?
Artists are supposed to be part of Richard Florida’s so-called “creative class,” a glamorous turn of phrase that perhaps masks just how onerous it is to create art in the neoliberal city. Creatives would have a leg up on the rest of the world when it came to economic improvisation during a pandemic — they’re paid to be creative, right?
It’s true. Artists are used to the hustle, whether they want to be or not. Not that it was ever easy for artists to be compensated for their labor, which is necessarily speculative — is this anything? Even the rich patronage of aristocrats, church and state held its complications. But these days artists are expected to run their work like a business, and that’s a challenge at odds with many artists’ experience or desires.
And during the pandemic, this is more difficult than ever. Museums, exhibits, auction and parties — anything IRL is off-limits. And as anyone who has seen Kevin Garnett in Uncut Gems knows, it’s when someone sees an artwork in person that they’re most likely to go from viewer to buyer.
Enter — of course — consultants like Danielle Glosser. Through her agency Client Raiser, Glosser has been helping artists figure out how to connect with clients through the pandemic, an experience she outlined in a recent blog. We caught up with Danielle to hear more about her practice and how artists are coping right now.
730DC: From what you can tell, how has the pandemic affected artists in terms of publicity?
Danielle Glosser: On one hand, artists took a hit on the visibility front as their shows were not covered by journalists because exhibitions were postponed or canceled. Some art venues turned to online exhibitions or hung shows with timed entry passes which were sometimes reviewed by critics. On the other hand, the press covered how artists were impacted by covid by reporting on their lives and their response to the pandemic. Such exposure ultimately served as a priceless reminder about the importance of artists’ impact on our communities and culture.
Obviously not being able to do auctions and shows is tough — has it worked to try and recreate these offline events online, or does virtual publicity require a totally different approach?
DG: Visibility is visibility. By creating online exhibitions and auctions, the public had opportunities to see new artwork. Although a virtual experience certainly cannot compete with seeing art in person, these events did provide a forum to sell artwork. Whether offline or online, my experience in promoting my artist clients and their artwork was similar due to the current role of social media in garnering attention. In fact, I sold more artwork on behalf of my artist clients in 2020 then any of the prior five years that I have been in business.
What are some innovative ways you’ve seen artists (your own clients or others) successfully connect with audiences and buyers recently?
DG: As a business consultant to artists, my ultimate goal is to have them embrace themselves as entrepreneurs. The limitations on face-to-face interactions that covid presented with individual collectors and art professionals spawned some phenomenally entrepreneurial endeavors by several local artists. I especially loved that Kirsty Little created an installation of plastic clamshells on her porch entitled SAFe. Jodi Ferrier used her yard as a gallery space and invited the public to view her artwork there. Emily Strulson held a number of group shows with other artists in her neighborhood. All of these efforts either resulted in press or sales.
What was your favorite COVID-related art project of the last year?
Hands down, my favorite covid-related art project of the year was “Field of Flags,” which took place on the National Mall and coincided with President Biden’s inauguration. This installation of nearly 200,000 flags representing the individuals that we have lost due to the pandemic was beyond breathtaking.
As the city starts to think about resuming live events, what do you think the art scene needs to kick things back into gear?
DG: In order to jumpstart our creative economy again, we need for the public to make it a priority to participate in live events that are adhering to COVID safety guidelines. Individually, everyone needs to decide which venues they want to support so that the collective impact is felt by some of our precious institutions. On the community front, I think it would be fun for a government or private entity to promote a Culture Passport where locals tick off a visual art, literary, music, performing art, and cinematic experience that culminates in a big party for everyone that hits these marks.
Quick Hits with Danielle Glosser
Favorite neighborhood?
Although I have not lived there in decades, Capitol Hill remains my favorite neighborhood due to the architecture of our federal buildings, the liveliness of Eastern Market, and Jimmy T’s restaurant.
Go-to lunch spot?
When I worked at the White House, I ate lunch at Mark Furstenberg’s Bread Line just about every day. I have since followed him to Bread Furst. Their salads, sandwiches, and baked goods are divine. However, the frittata is everything. Unfortunately, it became a covid casualty, so this is my official plea to bring it back.
Favorite creative retreat in the city?
I had the pleasure of working for John Hope Franklin during my prior career in the social justice arena. The Contemplative Court, named after him at the Smithsonian’s National Museum of African American History and Culture, is a gorgeous room wrapped in inspiring quotes with a fountain raining down, which serves as the perfect site for my creativity to unfold, which solely takes place in my mind.
Unexpected item in your bag?
My paternal grandmother played a huge role in my life. She ran carnival games at shows across the country and attracted customers by blowing a whistle. In my purse, I use the whistle as my keychain. She also taught me to always carry a $2 bill in my wallet for good luck, which I am never without!
Last book/show/podcast you recommended?
As a member of ArtTable which is the foremost professional organization dedicated to advancing the leadership of women in the visual arts, I recently had the great pleasure of hearing Jennifer Dasal talk about her podcast and book entitled ArtCurious. Both are filled with all sorts of phenomenal stories about artists that are unbeknownst to most.
