I think the discernible difference is this: marketing art to collectors through e-commerce sites is entirely different from marketing art to people who do not necessarily think of themselves as collectors.
I no longer try to sell my work through e-commerce sites. What I have learned through Substack is that the number one reason a subscriber buys one of my paintings is because she has come to know me, trust me, and value what she has received from my writing.
I pair the art with the written word, so the art becomes a visual supporter of the message. In doing that, the work acquires greater meaning and, therefore, greater value in the eyes of the buyer.
Thank you, Monica. I think you've put your finger on something many artists miss. People aren't simply buying a painting—they're buying a relationship with the artist behind it. Your writing gives people context, trust, and a sense of connection, so when they choose one of your paintings, it already carries meaning. That's a very different experience from listing artwork on an e-commerce site and hoping someone discovers it. I appreciate you sharing your experience because I think it's an important lesson for artists considering Substack.
It's not the size of your list. It's the value of your connections.
A number of artist colleagues have asked me whether they should be posting on Substack like I do, so I recently shared a Substack piece on the real mechanics and truths of social-media sales. Your post gave me an expert opinion and timely follow-up I can pass along.
I’ve been on plenty of platforms that shifted business models—or changed ownership—and I ended up having to start over. For now, I use Substack as a sort of steady “ride-along” social media because it’s convenient and accessible, sharing my art along with my stories—just in case it scales too fast until there’s a better option that comes along.
Hi Frank, Thanks for your comment and perspective. I always appreciate your interest, support, and kind words about my work. Your Substack use case sounds ideal for you and likely many other artists, too. You can grow into it. Like any platform, it’s as much about your understanding of the culture and what you bring to it as it is about the platform itself.
I’ve seen a few artist colleagues who post fairly often on Substack. I think it’s working just as well, if not better than other social platforms because it’s a quieter place… and… I get their posts in my email where I see only their words and art.
Hi Lori, thanks for commenting. I see the same thing. There's something refreshing about the slower pace and the focus on ideas instead of algorithms. It feels more like a conversation than a performance, and I think that's one of the reasons artists are finding a home there.
Thank you Barney for the mention! How delightful.
It's my pleasure. And it was enlightening to learn that you were selling more from Substack than before through e-commerce sites.
I think the discernible difference is this: marketing art to collectors through e-commerce sites is entirely different from marketing art to people who do not necessarily think of themselves as collectors.
I no longer try to sell my work through e-commerce sites. What I have learned through Substack is that the number one reason a subscriber buys one of my paintings is because she has come to know me, trust me, and value what she has received from my writing.
I pair the art with the written word, so the art becomes a visual supporter of the message. In doing that, the work acquires greater meaning and, therefore, greater value in the eyes of the buyer.
Thank you, Monica. I think you've put your finger on something many artists miss. People aren't simply buying a painting—they're buying a relationship with the artist behind it. Your writing gives people context, trust, and a sense of connection, so when they choose one of your paintings, it already carries meaning. That's a very different experience from listing artwork on an e-commerce site and hoping someone discovers it. I appreciate you sharing your experience because I think it's an important lesson for artists considering Substack.
It's not the size of your list. It's the value of your connections.
Thank you, Barney, for putting this so clearly.
A number of artist colleagues have asked me whether they should be posting on Substack like I do, so I recently shared a Substack piece on the real mechanics and truths of social-media sales. Your post gave me an expert opinion and timely follow-up I can pass along.
I’ve been on plenty of platforms that shifted business models—or changed ownership—and I ended up having to start over. For now, I use Substack as a sort of steady “ride-along” social media because it’s convenient and accessible, sharing my art along with my stories—just in case it scales too fast until there’s a better option that comes along.
Hi Frank, Thanks for your comment and perspective. I always appreciate your interest, support, and kind words about my work. Your Substack use case sounds ideal for you and likely many other artists, too. You can grow into it. Like any platform, it’s as much about your understanding of the culture and what you bring to it as it is about the platform itself.
I’ve seen a few artist colleagues who post fairly often on Substack. I think it’s working just as well, if not better than other social platforms because it’s a quieter place… and… I get their posts in my email where I see only their words and art.
Hi Lori, thanks for commenting. I see the same thing. There's something refreshing about the slower pace and the focus on ideas instead of algorithms. It feels more like a conversation than a performance, and I think that's one of the reasons artists are finding a home there.