Art of the Sale: Pricing Creative Work
For years as co-owner and director at Blue Spiral 1—one of the Southeast’s most respected galleries—Manes consulted on hundreds of art sales across nearly every medium: painting, prints, ceramics, fiber art, glass, and more. That experience gave him a deep understanding of art, and of the psychology behind buying it.
Today, Manes lives in High Point, North Carolina, where he and his wife Hanna serve as executive directors of Cohab Space, a creative workforce development nonprofit that encourages and supports the creative community to build sustainable careers. Manes sees artists as small business owners, and like any entrepreneur, understanding how to communicate value is essential.
Recently, Manes led an interactive session at Cohab as part of their Work of Art Series, exploring one of the most challenging topics for creatives—pricing.
He began with a question for the room:
What is the hardest thing about pricing your work?
The responses came quickly:
- “Not knowing my worth.”
- “Justifying the price.”
- “There’s no clear model.”
- “Comparing myself to others.”
- “Market value.”
- “Fear of rejection.”
- “The emotional connection to the work.”
Manes followed with another question: What is a fair price?
His answer surprised many in the room.
“There is no such thing as a fair price,” he said. “There is a price that works.”
Michael Manes, executive director at Cohab, encourages artists to price with confidence. PHOTO: BILL GREEN
Much of his talk focused on the psychology of pricing. When artists offer three levels—for example $350, $850, and $1200—the middle price often sells the most.
“Know your middle,” Manes advised. “That middle ground is the sweet spot.”
The numbers themselves matter. According to Manes, a price like $612 can feel overly calculated, while $600 communicates confidence. From experience, he noted that $950 often performs better than $1000, while $10,000 feels better than $9,950, which again feels overly considered.
Manes encouraged artists to offer a range of sizes and price points, giving collectors multiple ways to enter the market.
One of the most useful takeaways: price is a communication tool. Price sends a signal about value, confidence, and positioning. Undervaluing work can unintentionally send the wrong message.
He explained that pricing is both objective and subjective. The objective side includes material costs, time, overhead, gallery commissions, and comparable work in the market—essentially the math behind the piece. The subjective side is where storytelling enters. It’s also about reputation, scarcity, presentation, and even the setting where the work is shown can all influence perceived value.
When the conversation turns to discounts, Manes suggested artists think creatively. Offering a break to a loyal collector can make sense, but new buyers may appreciate other forms of value—framing the work, delivering it personally, hanging it, or offering a payment plan. “We don’t gain success by diminishing ourselves,” Manes said.
The most memorable advice of the afternoon, however, was refreshingly simple.
“You know exactly how much it costs,” Manes said. “When someone asks the price, say, ‘The price is X.’ And then stop talking.”
Silence, he reminded the room, can be a powerful sales tool.
