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When Bonnie Leyton opened her art gallery in downtown St. John's in 2004, she did so with the best of intentions. An artist herself, she knew how difficult it could be for the "creative class" to break into the business.
"At that time - and I believe this is still true today - very few dealers in the city were willing to take the risk of presenting emerging or experimental works from local or regional artists," Ms. Leyton says.
"My hope was to provide these extremely deserving people the opportunity to have their talents recognized and appreciated by a broader audience."
True to her word, Ms. Leyton has showcased many of the province's finest young abstract visual artists.
Sometimes shocking and often ethereal, the colourful canvases range in price from $600 to $5,000, and are a far cry from the traditional landscape-based works that have defined Newfoundland for generations.
However, even after years of working both sides of the industry - including the assembling and overseeing of collections at other local galleries - she admits she had little understanding of what she would be up against when she went into business for herself.
"Everyone told me that I was crazy," she says with a laugh.
"They cautioned me that there wasn't a large demand for this kind of art, and that I would be hard-pressed to make any money, let alone survive."
In spite of the warnings, Ms. Leyton refused to compromise her ideals and continued to present many of the province's lesser-known names, including Michael Pittman, Audrey Feltham and John Haney.
Several of her protégés have gone on to exhibit at galleries across Canada and in the U.S, France, Italy and Ireland.
While she gets satisfaction from being a cultural springboard for others, Ms. Leyton admits she could be doing more to build her business.
"I have a fairly steady client base from both here and away," she says, "but I am no longer interested in merely surviving.
"I'd like to expand my reach in order to better bring the work of our wonderful young artists to the world."
What the experts say
"It certainly is a very good time to be an art dealer," says Patricia Blakney, manager of the long-standing Diane Ferris Gallery in Vancouver's South Granville Street district. "Business is booming these days, as more people are recognizing the inherent value of art both for personal reasons and as an opportunity for investment."
Ms. Blakney believes that businesses like the Leyton Gallery are in a good position to cash in on the boom. "The key to success for a younger gallery is to know the potential of its marketplace," she says. "And watching current and future trends in the art world to see what styles of works are selling is easier than ever with all the online and print resources at one's fingertips." Dealers can now adapt quickly to the changing needs and wants of consumers.
"Credibility plus diversity equals profitability in this business," Ms. Blakney says. "While it is essential that we continue to support our younger artists, unless there is a strong supply of independent capital to prop up those well-meaning objectives, being a niche venue can be quite tricky. A setting like the Leyton Gallery might still need a stable of established local and national artists in order to ensure a steady flow of traffic."
Ms. Leyton might consider stocking an array of arts-related products as a complement to the artists' works, Ms. Blakney adds. "Not everyone can afford an original work of art," she admits. "However, many people still want to take a piece of the gallery experience home with them. Selling prints and posters, and literature on art history or about particular artists, can keep the capital flowing."
Ms. Leyton can also take advantage of her unique space. "Hosting art classes, workshops, seminars or even establishing regular theme nights replete with activities and refreshments are some creative ways of generating more exposure for her primary products," Ms. Blakney says. "In an industry that is visual by nature, anything she can do to increase her visibility will be beneficial."
Michael Gibson agrees. The president of the Art Dealers Association of Canada and owner of the Michael Gibson Gallery in London, Ont., says that in an emerging global economy, there are all sorts of new opportunities to get art to market.
"At one time, the world of fine art was mostly accessible only to the wealthy or to collectors," he says. "And though we still read about the outrageous prices being paid for some of the world's more renowned works, the truth is that today's buyers come from all backgrounds; they are no longer limited by things like income, social caste or geography."
While Ms. Leyton has a strong downtown location, her gallery is small, so she also needs to reach out and make a name for herself in the larger marketplace. "The best way to do that today is with a good, dynamic website that is easy to navigate and that is filled with information on the artists, accompanied by high-resolution images of their works," he says.
Beyond these measures, he says, all of Ms. Leyton's marketing efforts should be pointed in one direction. "Business cards, newsletters, direct-mail invitations, e-mail-outs, advertising in select industry publications and linking to other websites are all cost-effective ways of driving traffic to her site and generating sales from outside of her immediate area."
Networking is also essential. "There are a great variety of arts organizations out there that exist to support what we do," Mr. Gibson says. "Getting involved would afford her all sorts of new opportunities to grow her business."
In a nutshell
Trends
Adapting to changes in consumer preferences will keep the Leyton Gallery au courant in the art world.
Diversifying
Offering a variety of art-related products and services will augment Ms. Leyton's primary source of income.
Visibility
Creating and promoting a high-end website will make her gallery's works of art accessible to larger markets.
Networking
Connecting with others in the industry will help her to uncover greater opportunities for growth.
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