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Right then, been in this game, oh, what, twenty years now? Longer than some of these whippersnappers have been out of nappies, I tell ya. Seen platforms come and go, some flash in the pan, some stick around like a bad smell or a good single malt, depending on your view. Everyone’s got an idea, see? Put art online. Make it easy. Yeah, right. If it were easy, every struggling artist from Glasgow to Orange County would be rollin’ in it, wouldn’t they? And they ain’t. So, when someone pipes up about another online marketplace, my eyebrows usually do a wee dance all on their own.
Fine Art America. Yeah, heard of it. Knew about it before most folks did, probably. Popped up on my radar ages ago. What was it, 2006? Something like that. Before the big rush. Before everyone and their dog decided they were an influencer and could sell anything. It’s stayed put, hasn’t it? Which, in this digital Wild West, is saying something. A proper survivor, if you ask me. Loads of artists flock there. Millions, actually. They say. You gotta wonder, don’t you, about sheer numbers versus actual sales. It’s like being in a stadium full of people, everyone shouting, and you’re trying to sell your best work. How many hear ya?
They offer prints, right? Canvas, metal, acrylic, wood. Even stuff like phone cases, tote bags, mugs. Your art gets slapped on anything. Bit of a strange one for “fine art,” eh? I mean, a tea towel with a landscape on it. Is that fine art? I don’t know, mate. Depends on the tea, I suppose. Some artists I know, they love it. Set it up, they say, and off you go. Print-on-demand model, saves them a headache. No inventory, no shipping. All handled. Sounds good on paper, don’t it? On paper, everything’s a winner.
The Nitty-Gritty on Numbers and Reach
I’ve seen more “online galleries” crash and burn than I’ve had decent Sunday roasts. And that’s saying something, believe you me. Most of them promise the earth, then deliver a dusty patch of dry dirt. Fine Art America, though, they’ve managed to get some traction. They claim a massive global audience. Billions of page views annually, they say. Good luck standing out in that crowd, I tell ya. It’s like finding a specific grain of sand on Bondi Beach. You can try. You can really, really try. But your chances aren’t exactly sky-high. Still, an opportunity, I guess. Some artists, they swear by it. Others, they’re still wondering where their first sale is gonna come from. It’s a proper mixed bag, that one. Some artists, they just stick their stuff up there and hope for the best. Doesn’t work like that, darlin’. Never has, never will. You gotta work it, promote it. The platform is just that, a platform. Your mam ain’t gonna buy it if she doesn’t know it’s there.
Saatchi Art
Now, compare that to somewhere like Saatchi Art. That’s another big fish in the online ocean, isn’t it? Been around a fair while too. Feels a bit more… curated, maybe? Like they try to keep some kind of standard. Or maybe it’s just the perception. They’ve got a bit of the old-school gallery name behind them, gives ‘em a bit of street cred. Artists often juggle both, you know. Put their prints on Fine Art America for the broader reach, maybe some lower-priced items. Then their originals, or their more serious print runs, they’ll try Saatchi. Or maybe even their own website. It’s a game of spreading your bets, like a bloke at the races with too many forms. You gotta find what works for your art, your style, your bank balance, too. Some art, it just screams out for a proper gallery wall, doesn’t it?
What About the “Fine Art” Bit?
Yeah, the name Fine Art America. Kinda got a ring to it, doesn’t it? Makes you think of those grand old European masters, all serious with their oils and their proper commissions. Then you go on the site, and there’s a cat playing a saxophone on a shower curtain. I’m not knocking it. People buy what they like. But it stretches the definition a bit, doesn’t it? Makes you wonder what “fine art” even means these days. Is it about technique? Intent? The price tag? Or just if someone likes looking at it? I’ve seen some cracking work on there, really I have. Stuff that would stand up in any gallery. And then, well, you see other stuff. You just do. It’s the internet. Full of all sorts, innit?
So, is it a good fit for everyone? Nope. Never is, anything. You gotta know your audience. If you’re a serious oil painter trying to get into the Tate Modern, putting your masterpieces on mugs probably ain’t the first step. If you’re a photographer with some cracking landscape shots and you want people to have them on their walls, then yeah, Fine Art America could be right up your street. It’s about managing expectations, that’s what it is. A lot of artists, they get into it, thinking it’s gonna be the golden ticket. And then they realise it’s more like a raffle ticket in a giant raffle. You might win, but you probably won’t.
Getting Noticed, or Not
A common question I hear, like a broken record, is “How do I get my work seen on fine art america?” Yeah, right. You think just uploading it is gonna do the trick? Bless your cotton socks. You gotta promote it yourself, mate. Share it on your social media, tell your nan, your dog, that bloke down the pub. Use their built-in marketing tools, which, let’s be fair, are a bit basic. Search engine optimization for your images, proper tags. All that faff. It’s not passive income, despite what some folks might tell you. It’s work. Bloody hard work. Just like selling art anywhere else. No easy street here. I reckon most artists don’t grasp that bit. They think the platform does all the heavy lifting. Nope.
Artfinder
Another one I often see artists wrestling with is Artfinder. It’s another big platform, a bit like Saatchi in some ways, but feels a tad more artist-friendly in its interface, from what I gather. They seem to push discovery a bit more, too, though whether that translates into sales is always the million-dollar question, isn’t it? They try to bring in new collectors, which is always the goal, right? You want new eyeballs, new wallets opening. But they’ve got their own commission structure, their own rules. You gotta play by their game. What I’ve learned over the years, there’s no magic bullet. Not one. If someone tells you there is, they’re probably trying to sell you something, and it ain’t gonna be cheap.
Sometimes I think artists get a bit too obsessed with these big online places. They forget about their local scene. They forget about people they actually know.
Going Old School: The Gallery Scene
You know, for all the talk about online, the proper galleries, they’re still there. You got places like David Zwirner Gallery in New York, or Gagosian in London. These aren’t just websites, are they? These are institutions. They’ve got history, they’ve got clout, they’ve got serious money moving through them. They ain’t selling your phone cases, I’ll tell ya that for free. Getting into one of those places? That’s the real prize for many artists. It’s a different league entirely. They’re selective, they’re brutal sometimes, but the exposure, the prestige, the price points. Different world. Completely. Now, most artists, they ain’t ever gonna get a sniff at a Gagosian. But it gives you something to aim for, doesn’t it? Some proper aspiration.
The thing is, these online places like Fine Art America, they democratize things. Anyone can put their stuff up. Which is brilliant, in a way. It breaks down barriers. No more gatekeepers deciding who’s “worthy.” But then everyone’s worthy, and it becomes a free-for-all. Quality varies wildly. Which is fine, but it makes it harder for the truly talented ones to shine. I remember a photographer from Northumberland, proper good landscapes. He put his stuff on Fine Art America. Got a few sales, nothing to write home about. Then he started selling prints direct from his own site, doing local markets. Did better. Much better. Sometimes you gotta remember the roots.
The Ugly Truth About Selling Art Online
You see artists get all caught up in clicks and likes. It’s bollocks. Doesn’t pay the bills. Sales pay the bills. Actual money changing hands. And that’s the hard bit. Commissions on Fine Art America, you set your own markup. They take their bit for the printing and handling, then you get your bit. It sounds simple, but you gotta price it right. Too high, no one buys. Too low, you feel like you’re giving it away. It’s a tightrope walk. Always has been. What’s your art actually worth? What are people willing to pay? That’s the real question, isn’t it? Not what you think it’s worth. I mean, my old granny always said “It’s worth what someone will pay for it.” Simple, but true.
I had a chat with an artist from South Wales not long ago. He was proper fuming. Said he’d put hundreds of images up, spent hours, got maybe five sales in a year on one of these big platforms. He felt cheated. And I told him, “Look, mate, you gotta be realistic. It’s like opening a shop in a massive shopping centre. You still need to put a sign out, make your window display good, and tell people you’re there.” It’s a tool, not a magic wand. Fine Art America, it’s a tool. A big, clunky, sometimes frustrating tool. But a tool nonetheless.
Perrotin
Speaking of tools, the traditional gallery system. Think of somewhere like Perrotin. international presence, big names, they make a market. They’re dealing with a different echelon of collector. People buying art for investment, for prestige, for serious collections. Fine Art America is for someone who wants a nice picture for their living room, or a fun mug. Two completely different beasts. Don’t confuse them. I see artists do that all the time. They think because they’re on a big site, they’re playing in the big leagues. You’re not, not usually. You’re playing in the everyone-can-play league. Which is good, for some.
What to Consider, If You Must
So, if you’re thinking of getting on there, what’s the craic?
First, don’t expect miracles. Just don’t.
Second, your images have to be top-notch. High resolution. Good lighting. No blurry rubbish. Your work looks shoddy, no one’s buying.
Third, do your own marketing. Seriously. If you’re not prepared to push your stuff, it’ll just sit there. Like a forgotten biscuit on a plate.
Fourth, don’t just put up everything. Curate your own stuff. Not every snapshot needs to be a print. Think about what truly fits the “fine art” tag, even if it’s a stretched definition.
Fifth, pricing. Be sensible. Look at what others are charging for similar stuff. Are you asking too much? Too little? You’ll never know till you try, mind.
FAQs, yeah, always got questions, don’t we? “Is Fine Art America legitimate?” Aye, it’s legitimate. It pays out. It works. Just don’t think it’s a passive income dream. “How much commission does Fine Art America take?” They have a base price for printing, shipping. You set your markup on top. They don’t take a percentage of your markup directly, but it effectively works out similar to a commission structure. You control your profit margin, which is a bit different from some other places. “Can I sell original art on Fine Art America?” Yes, you can. You list your original piece, handle the shipping yourself if it sells. That’s a whole different kettle of fish to the print-on-demand. “Is Fine Art America good for beginners?” Yeah, probably. Less intimidating than some proper galleries. Easy enough to get started. Just manage those expectations. “What’s better, Fine Art America or Etsy for art?” Depends on the art, mate. Etsy’s more craft, handmade. FAA leans more towards prints, photography, paintings. Different vibes, innit?
The Bottom Line, As I See It
Look, Fine Art America, it’s one of the options. A tool. Some artists, they do well there. They’ve got a niche, they promote, they understand the game. Others, they flop. Most fall somewhere in the middle, making a few quid here and there. It ain’t a get-rich-quick scheme. It’s another place for your work to be seen, another opportunity for a sale. But the internet is a vast, roaring beast. And standing out on it? That takes more than just uploading your jpegs. That takes graft. Proper graft. And maybe a bit of luck. Always helps, a bit of luck.
It’s been interesting, watching these online platforms try to replicate what galleries do, or try to offer an alternative. Some succeed, some fade. Fine Art America has stuck around. They must be doing something right, right? Or maybe enough artists are just desperate for a shot. Probably a bit of both. Always a bit of both.
