Juliette Wolf-Robin travels the U.S. asking art buyers, editors and industry insiders how artists can market their businesses more effectively. I’ve combed through dozens of podcast interviews Juliette has conducted with influential art buyers and creatives. In this article, art buyers talk about whether artists gain an edge when they send elaborate and novelty promotional materials.
Juliette Wolf-Robin: Do you like chotskies? Does a really complicated, beautiful piece make you stop and say “wow, that’s impressive”? Are they effective in getting you to look at the work of the artist?
“Honestly, no. It’s not worth it. I’d say even a postcard or a small booklet [is better]. The quicker I can look at it, the better.” – Aylin Koker, Art Producer, Cole + Weber United
“I think that if people spend a lot of time on their promotional piece, [the reaction] can go either way. You can look at it and say, ‘Oh, they spent a lot of time. Good for them.’ On the flip side you can say, ‘That was a waste of paper and a waste of time.’ One of the best promo pieces: A gentleman sent his name on a postcard with a dollar bill. It said: ‘This would have cost me at least a dollar to send to you, so here's the dollar. Take a look at my website.’ Everybody went to his website to check him out.” – Lisa Matthews, Manager of Art Production, Team One Advertising
“I have received a couple of things that were unusual. [One photographer sent a viewmaster and slides.] When he gave it to me I thought ‘Wow, this is something I can definitely pass around to my art directors… it's like a little toy.’ I love the little books because I can throw them in my bag and read them on the bus or take them with me, just like I would a magazine. – Lori Walker, Art Buyer, Butler, Shine, Stern, & Partners
“I actually like the little chotskie mailers. If they’re really clever and kind of cute, I will keep them. I have a yoyo on my desk and a little desk calendar. But those photographers aren’t people that I’ve ever hired. They don’t have anything to do with what I work on.” – Wini Barron, Senior Art Producer, McCann Erickson
“I’m still a fan of a single image or a small stack of cards or a little book.” – Dave Lewis, Managing Art Buyer, Fallon
“I think that an expensive piece–a bound book or something that’s very fancy–does have a wow factor to it and will catch my attention. The work has to back it up. People are collectors. If it's the right piece they’ll keep it around and display it.” – Dan Southwick, Executive Art Buyer/Print Production Manager, Goodby, Silverstein & Partners
“There are usually a couple of different types of printed pieces. One is just a reminder that says ‘Hey, here's a latest image’ with contact information, URL, and who and where you are. And then there are other pieces. People are sending a lot of books and I love those because they’re something I hang onto and refer back to. And it shows a broader range of work. But you can't just do one or the other. You really need to do both.” – Kat Dalager, Manager of Print Production, Campbell Mithun
“Agents, primarily, send mini-books of all the photographers they represent. I also just received a beautiful Martin Schoeller published book as a gift… [a promo piece] from an A-list photographer. I also get clever books, clever calendars, well executed, something you’d want to have on your desk. [The artist] can get called in but it's about the image, the work.” – Marni Beardsley, Head Art Buyer, Wieden + Kennedy
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