As a self-represented artist, I often find myself thinking about new ways to make an impact in the art market. Much of this revolves around visibility—finding creative ways to reach new collectors and building meaningful relationships with people who are deeply immersed in the art world.
With so many artists competing for attention online, standing out has become essential. Today, it’s no longer enough to simply exist as an artist; you have to differentiate yourself in a way that is memorable and authentic.
Some artists achieve this directly through provocative or unconventional artworks—bold gestures that capture immediate attention. While I certainly have no shortage of creative ideas when it comes to the work itself, many of my thoughts focus on how the art is seen. I’m especially interested in unconventional, unexpected ways of placing artwork into the public sphere.
Below are a few ideas I’ve considered. I haven’t implemented all of them, but I share them to give some insight into how I think—not only as an artist, but also as an art entrepreneur.
A Mobile Art Gallery on Wheels
Anyone who has spent time around Miami Beach has likely noticed airplanes pulling banner advertisements along the coastline, or flatbed trucks outfitted with large digital screens facing traffic and pedestrians. That sparked an idea: what if a similar vehicle displayed original paintings instead of advertisements?
A truck of this size could potentially showcase two works on each side and another facing rearward. Each painting would be housed in a custom protective casing to shield it from the elements. I’d also want the vehicle itself to feel special—designed with intention, so it becomes an extension of the artwork rather than just a means of transport.
Each piece could be accompanied by a scannable QR code linking directly to information about the work. The vehicle could circulate through culturally dense areas such as the Miami Design District, South Beach, Palm Beach, and especially around major art events. It’s not something I’ve ever seen done, which is exactly what makes the idea compelling.
Art on Billboards
Another concept I’ve considered is placing large-scale canvases—most likely high-quality canvas prints—on traditional billboards near major cities with strong art-collecting communities. I can easily envision three or four substantial works displayed on a single billboard, accompanied by my name and website.
One creative variation would be to approach billboard companies with a commission-based proposal. Instead of paying outright for advertising space, the company would receive a commission if any of the displayed artworks sold as a result of the exposure. It’s an unconventional model, but one that aligns incentives on both sides.
Vacant Storefronts as Temporary Galleries
A few years ago, while visiting Worth Avenue—an area I frequent regularly—I noticed several vacant storefronts directly along the avenue. Although I had no intention of opening a permanent retail location at the time, an idea occurred to me.
I considered reaching out to the landlord to propose temporarily displaying a selection of my works in the window frontage while the unit remained vacant. In a sense, it would add visual interest and life to the storefront, while also allowing me to showcase my work to the steady flow of visitors in the area.
In exchange for the use of the space, I would of course offer a generous commission to the landlord if any of the displayed works sold as a direct result of the showcase. In this case, I did reach out to the realtor handling the listing. While he found the idea creative and intriguing, the landlord ultimately decided it wasn’t something they wanted to pursue.
That said, I still believe the concept has merit. With proven results or financial data showing that such an arrangement can generate income, it becomes a much more difficult idea to dismiss. Those particular storefronts are now occupied, but I regularly notice others in the same area that remain vacant. It’s something I may revisit, as it could provide landlords with a commission-based revenue stream while their spaces are otherwise sitting idle.
Elevating the Details
Beyond visibility, I also place a strong emphasis on craftsmanship and presentation. I’m currently in the process of building my own museum-ready crates for finished paintings. These crates will be included with each sale, giving collectors a secure way to transport or exhibit their work in the future. Each crate will be painted and marked with my custom “BR” initials.
I’ve also experimented with painting my stretcher bars—though I’m still undecided about continuing that practice. The idea was inspired by an interview with Steve Jobs, who once explained why he insisted the internal components of Apple computers look as refined as the exterior. When asked why it mattered if no one would see it, he replied simply: because I will know it. He traced this philosophy back to his childhood, painting a fence with his father, who taught him that quality matters even where it isn’t visible.
Quality Above All
While I wouldn’t describe myself as a perfectionist, I do believe in producing the highest quality possible in whatever I create. In my painting practice, that means using premium canvases, applying multiple layers of gesso, selecting top-tier stretcher bars, and working exclusively with professional-grade paints. My goal is longevity—creating works that can be appreciated for generations.
Creativity doesn’t stop at the canvas. As artists, many of us are constantly looking for ways to make an impression beyond the work itself. I was reminded of this recently while driving through Sunny Isles Beach, when Romero Britto pulled up beside me in a convertible Rolls-Royce wrapped entirely in his signature visual style. I later learned he does this with many of his vehicles.
That kind of thinking—turning everyday objects and spaces into extensions of one’s artistic identity—sticks with people. And in a crowded art world, being remembered can make all the difference.
– Blair