As it says over in that sidebar to the left on our homepage, the IAF is dedicated to “the study, support, and promotion of interstitial art.” It’s a tall order. As I’ve written elsewhere, interstitial art is uncategorizable, and the reason we dragged ourselves into the non-profit world was to try to create a public consciousness that this utterly unmarketable stuff exists. It’s a lofty sentiment – but in the end, you need to find a way to get the word out. You need . . . a marketing plan. For each unmarketable, uncategorizable interstitial work.
Do you try to find something well-known to compare it to, although it’s nothing like your own work? Find a niche audience for one aspect of the work and hope word spreads? How do you identify the audience for your particular Weirdness and round up that particular herd of cats?
British artist/author/bookcrafter Paul Watson ponders the question of marketing in his latest blogpost:
“When you’re trying to sell or promote artwork (or indeed anything) the first thing you need to understand is your potential audience, because this usually dictates how and where you market your artwork. There are many existing routes you can use if your work fits neatly into a genre or discipline, but if your work floats between established definitions then it’s far more difficult.”
Watson’s ‘s The Book of the Erinyes “draws influences from classical mythology, the growing tradition of artist’s books, and altered books, graphic novels, the underground popularity of Letterpress printmaking and hand-bookbinding, and authors such as Jorge Luis Borges, Neil Gaiman, China Miéville, and Gene Wolfe . . . written in the style of a late 19th century description of pursuit by the [Furies] transcribed by an opium addict.”
You see the problem. And maybe some solutions?
|Neil Gaiman’s American Gods invisible to “modern literary ghetto”?||East Village Interfictions 2 reading on Thursday!|