In ceramics (and in the field of Studio Art in general) pricing work can be tricky. Developing a pricing sensibility and straightly takes time. There is a lot of conflicting information about this, these sources may be helpful, research as much as possible and decide for yourself. Please read Sandy Simon’s, Avra Leodas and Jeff Guido’s interviews in Chapter 9 for more information about working with galleries.
Studio Potter, Volume 38. No.1 Winter 2009-2010 Issue was called Money. An must read issue addressing issues surrounding selling work.
A blog about the Negotiating and Discounting to sell your artwork on the red dot blog. This blog is for art marketing and news for artist
Thoughts about selling & pricing work
“Deciding on pricing is not one of those enjoyable parts of being an artist. Even after many years, I sometimes get stumped if I make something completely different. I know some people have a mathematical breakdown of total hours spent, etc, to calculate a “price”. However, my process of making work is not so cut and dry that I can use that method.
“As promised, I am back to talk about pricing. I have thought about it over the past couple of weeks. I realized that this is an enormous topic, one that should not be summed up on one person’s blog post. Oh and one more thing. I am only stating my views on the topic of pricing. These are some of the rules of thumb that I have learned from others along the way and through my own experience. I salute and honor all creativity however one expresses it and feel it all has value. How much is it worth monetarily in the that big world out there? Well. lets try and figure that out together!
In addition to her own studio work, Jill runs the gallery at Red Lodge Clay Center in Montana and works with many artisans about pricing work and all the issues that come along with creativity and commodity.
Pricing Your Work: two cents worth of observation and advice: There is really a great deal of personal philosophy tied up in pricing one’s work, particularly in ceramics. Usually when artists ask for my input on pricing it makes me cringe. There just is no hard and fast rule. It really helps to be self-aware, even more than it helps to be market aware.
Below is an excerpt from an interview with Ayumi Horie where she discusses some of the business of being a potter to be. For the entire article, click here: ACC Interview: Ayumi Horie
What is your relationship with galleries (on and offline)? How has that relationship changed over time? What role does the internet play in your work?
I have several galleries that I have casual relationships with and several wholesale accounts, but I’ve tried to keep these limited. Over the past few years, I’ve found myself being over committed and overwhelmed so I now try to be realistic about how much I can produce while keeping the quality of work high and carving time out for research. Unlike industry, which makes a commodity, a handmade pot coming out of an individual studio is made with a different intention. Profit is not unimportant, but the relationship created between object and maker, object and user, maker and user are key. Recently, I’ve made a conscious commitment to put even more time and care into each piece, so that the fact that it’s handmade becomes even more crucial.