Buying Artwork | Part II: Commissions
Welcome back to my “Buying Artwork” blog post series! The first post addressed purchasing artwork at an auction, and today’s post (part II) is dedicated to higher-end, large-scale commissions. Above is an artwork I commissioned from artist Eleanor Scott Davis for our breakfast nook. It is paired with Schumacher’s “Marigold” wallpaper, created by Molly Mahon.
There’s nothing like a summer getaway to get your creative juices flowing again! If you’re like me, you may find yourself returning from travels that inspired you to add some more art to your walls. It’s our way of staying on vacation when we’re unable to get away during the year. Last summer, I was in this exact position and commissioned an artwork for our breakfast nook because of a great wallpaper I saw while I was in Kiawah.
If you’re in the same boat post-travels, then today’s post is timely! It’s ALL about commissions, and I’m leaving no stone unturned. In it, I’m chatting about what you need to have clear communication with artists (read: how to go about the commission process and end up with something you love!); a checklist for the materials you should hand over; recommendations for how to approach a commission with an emerging vs. established artist; and finally, I wrap things up with the amazing artist Eleanor Scott Davis, who was so kind to share her perspective on successful commissions.
How to Communicate with Artists
Let’s hop to it. Have you done a commission before and gotten stuck? Maybe ended up with no real progress––or not the piece you really wanted––half a year later? This happens more than you might think! Instagram makes it easier than ever to find a work by an artist you love and approach that artist directly for a commission. It seems like the process is easy, but in fact it can be quite tricky.
One common thread I recognize in stalled projects is the wrong kind of communication. In a commission, the roles of the client and artist are both essential, but instead of running in tandem they should be viewed more as sequential. When a client understands what they need to bring to the table, then the bottleneck is cleared.
Sometimes the client tries to speak in the artist’s language––a visual language––in an attempt to communicate clearly. However, the challenge is that commissions don’t happen frequently, so a typical client isn’t practicing this kind of communication often. This often leads to miscommunication.
It’s not a client’s job to speak the visual language, but rather to give the artist the right kind of information to complete the job.
I want to give an example of a client trying to communicate in the visual language so you can see what that looks like. “I’d three rectangles on the upper right corner just like you did on this piece. I want the top one to be the biggest and I think it should be in blue. I want that blue to match this fabric on my sofa. Can you also change the color of these lines to green?”
You wouldn’t realize it at first, but this interaction removes the artist’s ability to create scale and balance: two parts of the visual language. When we can identify what artists really need from us, then we can overcome miscommunication and project delays.
Trust
The great news is there are simple ways for clients to communicate in this new language without having to learn how to speak it. I believe the most important key to unlocking better communication with artists (and designers, hint hint!) is trust. Trust is what allows clients to compensate for not knowing the visual language.
A client can establish trust by doing a thorough job researching the overall style of the artist. Trust is gained through managing expectations consistently. If you only like a few things out of an artist’s greater body of work, then it’s risky to embark upon a commission. It should feel more exciting than scary to hand over the reins to an artist to create something fresh for your space.
It’s human nature to feel that we gain trust through control, as well. Whether it’s true our false in reality, we can feel that through control we are capable of achieving the same or preferred outcome. However, in a commission, you do not have as much control as you may think. Control cannot be part of trust, because control forces the client to try to speak in the visual language.
If you are willing to relinquish control and let the artist create, then a commission is right for you.
And it’s perfectly fine if that doesn’t fit your personality! If you find yourself in that position, I recommend purchasing something the artist has already created. This is the only option that gives the client the most control.
A bonus of purchasing artwork that has already been created is that the client does not risk tampering with the artist’s creative process. However, the client also expands their creative role to include how they will present this new piece in conjunction with other design decisions or collecting goals. (Truth be told, I often prefer this method over commissions. It allows for new interpretations and unexpected storytelling. And it protects the artist’s creative process.)
Read more below to see what the client’s role is and how trust comes into play.
The Client’s Role is at the Beginning
The beginning phase of a commission is crucial and it’s where the client needs to do some homework. I encourage clients to pass along everything that they want the artist to consider (don’t worry, I’ve got you covered with specifics in the following section). It’s better to pass along too much information rather than too little. Think of this phase as the research phase for a paper you are writing. It’s so much easier to whittle down what you don’t need rather than go back to the library to gather more materials.
Allow the artist to be your editor.
The amount of information you pass along is not a problem. But once you send it over, then your phase is complete and it’s time to let the artist do their job. Ask the artist if there is anything else they need from you before they begin. And then let them know that you’ll step away unless they need something else from you. This is where trust takes over! Now, let’s talk about what’s super useful to pass along.
CLG’s Commission Checklist: Materials a Client Should Provide
I’ve pulled together a quick checklist that will help get you started! If you don’t have the answers to a few of these, then that’s okay. The artist can help you fill in missing gaps based on your overall goals.
Let me show you how the checklist can turn this problematic submission into a successful one:
Problematic: “I love all of your work so much. I have no constraints and just want you to make whatever speaks to you. You’re great at using color. This is for a wall in my breakfast nook. I’m not sure what size I need, but I want it to be pretty big.” This is an example of the client asking the artist to take over a part of the process that should be handled by the client. Artists need direction and guidelines from the client to begin a project. If not, then the artist is imagining what will make the client happy, and the client is left with too much uncertainty about what can be expected. Use my checklist above to avoid this dangerous and costly position!
Successful: “This commission is for the wall in my breakfast nook which is a main focal point of the downstairs and can also be seen from our backyard. This will be the only artwork on that wall. I’ve attached a few recent examples of works you did that I love. I am particularly drawn to your use of [layers, mark making, certain shapes, background color, negative space, etc.]. Some color families I am interested in are [blue, lavender, and yellow]. I’ve included photos of my space to help show how this piece will function in the room. The work needs to be oriented horizontally and I’m looking for the approximate dimensions to be 5 ft wide x 4 ft high (but am open to your suggestions if you feel the design dictates a different size). I want to see it unframed first before making my decision (now the artist knows to finish the sides of the canvas if it’s a painting).”
Commissions with Established vs. Emerging Artists
It is always helpful to understand how your request for a commission aligns with an artist’s personal goals. Depending on which one you approach, you may want to tailor your request for a commission differently.
Emerging Artists and the Commission Process
The benefit of a commission to an emerging artist is different than it is to an established one. Emerging artists are still identifying their own style, audience, and collectors. Commissions are time-consuming, and emerging artists may have more availability to squeeze in commissions between exhibitions and other projects. An emerging artist may also view a commission as a good source of income.
Established Artists and the Commission Process
Landing a commission with an established artist is more complicated. Artists like to create and are excited by new opportunities––that’s why they continue to produce new work consistently. Those who have a passion to create are experimenting with stepping stones that will lead to future collections. An added challenge for established artists is that they need to figure out how they can make different work while honoring their previous works that allowed them to gain their following.
A successful commission with an established artist leaves room for growth for the client and the artist.
The artist’s growth also helps the client grow. If the client leaves space for the artist to create, then the artist will provide the client with something that is inspired, ever-changing, and always specific to their space.
An Established Artist’s Perspective on Commissions: Eleanor Scott Davis
Eleanor Scott Davis’s work is colorful, abstract, activating, balanced, and modern. Eleanor Scott and I collaborated last summer on the aforementioned breakfast nook and we both left the project feeling inspired. I wanted to get her feedback on how she views commissions as an established artist, and I am grateful to ESD for sharing her insights with us!
CLG: Do you feel that commissions impede or enhance your creative process?
ESD: Art created intuitively and without direction will always be more honest. With that being said, another set of eyes and client feedback can be invaluable to an artist. We grow through critique and I often learn what others like and don’t like about my work through the commission process.
CLG: Do you have advice on whether someone should move forward with a commission vs. select a piece from a collection that an artist has already created?
ESD: If you are interested in going the commission route, it is very important to spend time studying the artist. (This is where Instagram can be a great tool!) Take the time to understand the growth that is taking place and try to keep pace with [the artist’s] evolution when you make your requests. The biggest issue I have in creating commissions is that it often feels like I am being forced to go backward in my work. If you have an understanding of the artist, where they have been with their work and can anticipate where they might be going, together you could create something truly amazing with a commission.
CLG: Aside from sending dimensions and highlighting a desired style (ex. abstract landscape), do you have a few recommendations on what clients can provide to help the process run smoothly?
ESD: I always say the more information you can provide me with in the beginning, the better. And then get out of the way! I like to see photos of the room where it will hang, photos of the sightline you will view the artwork from, other pieces of art in the room, and pieces of my art that you are most attracted to (please try not to go back more than two years or provide works by other artists you wish to duplicate). Another thing to note is that if you are commissioning a custom piece of art, the most important decision you can make is the size. This is where a designer's knowledge can be so important. Don't choose a size based on how much you want to spend. In 10 years, you won't remember the difference in price but you will remember if you got the scale wrong. I am an advocate for going as big as the space can handle.