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 An archive of articles with tips and information about art as a profession.
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| Leaving a Legacy Great art is often considered priceless, but collectors and dealers know better: Art is priced not only on quality but also on how it is perceived as fitting into the art-historical continuum. And, sometimes, a dealer's determined efforts to promote a client can help secure his or her place in history. Take dealer John Driscoll of New York City's Babcock Galleries, who firmly believes that 95-year-old Massachusetts artist Will Barnet, whom he has represented since 2004, is one of the most important contemporary artists working today. "I define an artist's importance by three criteria: How much he or she captures the soul of a moment, how much he or she influences subsequent generations of painters, and how much he or she expresses an individual style," the dealer says. "Barnet succeeds in all three of these areas, and I believe that when the history of this artistic era is written, his work will be remembered." Daniel Grant is author of The Business of Being an Artist, The Fine Artist's Career Guide, How to Start and Succeed as an Artist and The Artist's Resource Handbook, all published by Allworth Press.
Sell Your Art Without Feeling Like a Salesman The author, Constance Smith, has devoted the last eighteen years to publishing art marketing information, researching and networking with art world professionals nationwide. Previous to that she represented fine artists in the San Francisco area. www.artmarketing.com Art Marketing 101, distributed by F & W Publishing, is available at bookstores nationwide or you can order directly from the publisher, ArtNetwork at 800/383-0677 or 530/470-0862; by fax at 530/470- 0256; PO Box 1360, Nevada City, 95959. artmarketing.com/books Latest edition publishing date: 2004; 8x10" format, 336 pages, $24.95 + $4 shipping, ISBN: 0-940899-32-9.
Persistence Pays Off For Determined Artists I am always interested to hear how artists succeed in selling their work in the art world, which lately has been up and down. Most artists don't have an advisor to help them, galleries don't seem to have as much time for career development and unfortunately the days of being discovered are over. Therefore, I have come up with some tips to help artists succeed. SET YEARLY, FIVE-YEAR AND ULTIMATE CAREER GOALS - The goals that you plan are a road map for your career. Be realistic but at the same time don't be afraid to dream about your goals. Be prepared to change and re-prioritize your goals as different opportunities arise. Identify both 6 month goals and yearly goals that you want to reach. © Geoffrey Gorman is a sculptor living in Santa Fe, New Mexico. He also teaches artists how to market their art, offers workshops around the country, and has written about the business of art for Art Calendar, The Pastel Journal, and The Artist's Magazine. Before starting Artistcube.com, an online membership marketing program for artists, he was a gallery dealer in Santa Fe. To register for his newsletter or class, go to his web site at www.artistcube.com or contact him at Geoffrey Gorman + Associates, 2013 Kiva Road, Santa Fe, NM 87505. (505) 982-4016.
Make EVERY DAY an Artist Retreat Day What do you enjoy most about going on an Artist Retreat Day? For most of us it's getting away from our "normal routine", having our creativity sparked by new surroundings and having the luxury of "open time" to work on our creative projects. A retreat gives us the opportunity to step outside the day-to-day and look at the big picture of our creative dreams. It gives us freedom from obligation and responsibilities and guidance from a facilitator and/or our artist peers. © Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. To find out more about her Artist Retreat Guidebook, visit: www.artistretreatday.com.
Art, Artists and Vocation How many times have people been told that "You can't make it as an artist."? How many times when you've told someone that you are studying theater, dance, the visual arts, do people look at you and cringe; feel sorry for you, and feel that you and your family have wasted a great deal of money, and that you have wasted years of your life. © Mary Baker, http://www.marybakerart.com/blog
Where to Display Your Artwork Even with the increase in the numbers of art galleries exhibiting photographs, it is still difficult to get art gallery representation and exhibitions. You should consider and look into the following list of potential art exhibition spaces: Commercial Galleries: These galleries are sales oriented and take a commission on all sales. Sales are usually split 50/50 with your artwork being represented for a period of time. Exhibitions are usually scheduled twelve months or more in advance and normally there are no additional fees for exhibiting work. Most of the galleries you encounter will be this kind. Artist Co-Op Galleries / Membership Galleries: Usually you have to become a member of their group to exhibit. Members will sometimes have to work part time in the gallery or offer some other kind of support to the gallery. Group shows are common in this type of art gallery. Sometimes you will find Co-Op Galleries affiliated with an artist studios. © 2006 by Dan Fear & Art-Support.com. All Rights Reserved.
Exhibiting Your Artwork After completing a body of work, the goal of most artists is to have their artworks featured in a exhibition. However, finding good art galleries and exhibition space is not an easy task and it takes time and effort. This article features ideas and information on how to locate art galleries and exhibition space to display your artwork. First, identify a few art galleries where you would like to exhibit. After identifying potential galleries or exhibition space your next task is convince the decision makers that your artworks should be exhibited. It is important to carefully figure out the best way to introduce yourself and your artwork. This is also where a good carefully planned and organized artist portfolio comes into play. © 2006 by Dan Fear & Art-Support.com. All Rights Reserved.
How To Get Into A Gallery Let me start by stating that you are an artist and this is not a war between the dealer and you. The dealers are there to work with you. So please do not have an attitude when you speak to a dealer; even if they tell you bad things. More than likely, you will learn something from a dealer that may help you in some way. Really. © Julie Rico, www.weeneez.com
Jumping the Great Divide: © Jezli Pacheco,www.geocities.com/jezli
Figuratively Speaking
Frank Bruno (www.artistfrankbruno.com) is a career coach and working artist who has had 27 exhibits in NYC within the past 15 years. He may be contacted for consultations and coaching at frank-bruno@comcast.net.
Artist Defection: Shrugging aside fears of inadequacy, many artists, myself included; sorely lack the business acumen to market their art successfully. Bringing into their careers just creative skills leaves them floundering once out of art school. From personal experience art school was just a preliminary of what the art world is like. The ordinary art teacher is your future artist competitor. Sometimes you will find that they will be a great hindrance to you and others they will remain in your artistic life for years to come. Mentors and competitors alike they are not the only people that should be part of the artists schooling. Mandatory classes, seminars, and workshops on marketing and business should be the norm not the exception. © Jezli Pacheco,www.geocities.com/jezli
From the Studio: Selling from the Home Gallery Don’t treat this, however, as a way to unload hard to sell works or to simply get rid of old stock. Rather, this should be a special invitation for a private showing to introduce a newer set of works, to launch a retrospect of your style, or to give a certain selection of potential buyers a sneak preview of perhaps a new direction in your art. Frank Bruno (www.artistfrankbruno.com) is a career coach and working artist who has had 27 exhibits in NYC within the past 15 years. He may be contacted for consultations and coaching at frank-bruno@comcast.net.
The Creative Edge, Part 2 They call the common art gallery “The White Box,” due to the almost always painted white plaster walls and extremely basic rectangular shape. Most are plain in appearance and always echo in their unfilled ambiance. Most would say fine…it should be this way so that nothing detracts from the art about to adorn the wall space. This is all true but it also should act as an empty canvas for the exhibitor to create with. In this part two of “The Creative Edge,” I’d like to share more examples of maximizing our temporary stay during the show’s term. Frank Bruno (www.artistfrankbruno.com) is a career coach and working artist who has had 27 exhibits in NYC within the past 15 years. He may be contacted for consultations and coaching at frank-bruno@comcast.net.
Supercharge Your Art Sales I had no idea there would be a marketing lesson in store as I headed across the Mississippi River on my way to a country fair in Millstadt, Illinois, located just across the river from St. Louis, Missouri. Once there, I saw the expected: pony rides, face painting and strawberry picking ... but what really caught my attention was the arts and crafts area. About a dozen or more tables and tents were set up to sell everything from country wood crafts to scented candles to hand-sewn clothing. Bob Baker is the author of Unleash the Artist Within, Guerrilla Music Marketing Handbook and Branding Yourself Online. Get a FREE subscription to Bob's newsletter, Quick Tips for Creative People, featuring inspiration and low-cost, self-promotion ideas for artists, writers, performers and more. Visit www.PromoteYourCreativity.com for details.
Top 10 Reasons Why Galleries Reject Artists Most artists harbor the fantasy that if they could only find one art dealer that loved and believed in their work, their career would be set. They secretly believe that there exists a special person that can catapult them to fame. Many artists spend most of their careers searching for "the perfect gallery." And, as all quests towards perfection, it is never ending. If they already have a gallery, it's not good enough; if they are looking for their first gallery, they dream about the moment when someone sets eyes on their work and offers them a solo show immediately. The harsh reality of the situation is having a gallery love your work, is only one very small part of what goes into the decision to represent an artist. From a gallery's point of view, adding an artist to their stable is much like adding a stock to one's portfolio. There are many complicated factors to take into consideration, and liking the "stock" usually has very little to do with the decision. There is no doubt that while liking the artists work is certainly the first criteria, there are several other hurdles that must be overcome before a gallery will commit to an artist. Understanding those hurdles will help you to effectively present your work to galleries and detach yourself from the inevitable sense of personal failure that follows when a gallery rejects your work. © Sylvia White, www.ArtAdvice.com
What Makes Your Art Different: The Art of Self-Promotion Although most artists, writers, and musicians wish for an agent or manager to help them promote and sell their work, most must first prove their worth in the marketplace. Only when they have leveraged themselves financially and promotionally will an agent or manager take them on. This is because an agent or manager’s income is dependent on that of the artist: if the artist makes money, so will they. If an agent or manager earns an average of 15% of a writer or musician’s gross income, and her or his annual projected gross income is $30,000, the agent or manager would make $4,500. Usually an artist must earn twice that or show the potential of earning twice that to make it worthwhile for an agent or manager to represent that person.
Artists as Businesspeople © Diane Rapaport, www.dianerapaport.com, is the author of How to Make and Sell Your Own Recording and A Music Business Primer.
The Artist / Dealer Relationship - 26 Questions to Ask The Gallery How often have you heard such words as: “We don’t need a written contract. In all the years I’ve been in business I’ve never used a contract with my artists. You can trust me.” Did you refuse to challenge the person who said this? Do you have any regrets for not speaking up and taking action to protect yourself? Even if the gallery has a contract keep in mind it has been prepared by their attorney with their interests in mind, not yours. © Renée Phillips, Manhattan Arts International. This is an excerpt from her book Presentation Power Tools For Fine Artists and an article online at www.manhattanarts.com/pages/magazine.html.
Artists and Taxes Artists and taxes don’t seem to mix very well. Taxes and administrating the business of art are often last on the list of concerns for the visual artist. The artistic temperament simply does not interface well with the exacting rule-filled world of federal and state taxation. Artists tend to avoid the whole matter and consequently leave themselves vulnerable to bad advice. The secret to overcoming this phobia is to develop an understanding of the mechanisms of the tax code and some simple, effective ways of complying with this onerous task. I often use the analogy that you may not need to know how to fix your car but it is helpful to know how it basically works. In so doing you will pay less in taxes and you will be less likely to fall prey to erroneous tax information and disreputable or ill-informed advisors. A majority of visual artists are considered "self-employed" in regards to filing their taxes. In a legal and taxpaying sense this means that your "business" as an artist and you as an individual taxpayer are one and the same. There is no legal separation, such as one would have in a corporation, partnership, LLC or other legal entity. The artist usually files a "Schedule C" as part of their regular 1040 income tax form, which is where you report your art income and expenses. The artist may file a form 8829 for the home office (studio) deduction and will also be required to pay self-employment tax (Schedule SE) on your net income (profit) as well as federal income tax. All these forms are part of the year-end 1040 income tax filing. As a self-employed artist, you will usually be required to pay estimated quarterly taxes using Form 1040-ES if your Federal tax liability is over $1,000 for the year. © Peter Jason Riley, CPA, www.artstaxinfo.com
Paying To Show A lot of artists pay for shows because they are weary of getting rejected by other galleries, or their collectors won't buy from them unless through a gallery. More often, artists living outside the U.S. use New York vanity galleries to make an impression at home. A critic friend of mine said whenever he notices a vanity gallery on an artist's résumé it tells him the artist is paying to get their ego stroked. © Renée Phillips, www.manhattanarts.com
The End of Slide Projectors? Chicago art dealer Rhona Hoffman has a slide projector--"it's probably 50 years old," she says--and she hasn't used it for "quite a while." The Barbara Krakow Gallery in Boston has a slide projector "somewhere, but I'm not sure where it is," according to gallery director Andrew Witkin. Still, for hopeful artists sending slides of their work to dealers, those responses are more promising than that of Roberta Brashears, the director of Nedra Matteucci Fine Art in Santa Fe, who states flatly, "No, we don't have a slide projector, but artists still send us slides." And the future doesn't look very bright for slides. Kodak, the largest producer of slide projectors in the world, recently stopped production, concentrating on digital representations, leaving only a handful of smaller producers (Eiki in Japan, Simda in France, Leica in Switzerland, and Vivitar in California) to supply the dwindling market. "We used to sell thousands of slide projectors a year," says Howard Winch, the national sales manager for Elmo Manufacturing Corporation, in Plainview, New York, "and we still have some inventory. We may sell between 20 and 50 a month, but our production has ceased." Though they will no longer make projectors, Kodak will continue to produce color slide film, as well as provide service and parts for its projectors until 2011.
Networking: Relationships Build Your Power Base The single most valuable part of your career may be the relationships you develop. Think of key events in your professional life that marked a turning point - your first sale, a great exhibition, or receiving a distinguished honor or award. When you examine the circumstances, you will realize that it would not have occurred without the help of someone - an artist, a gallery owner, an art buyer or a juror - making a decision or taking an action that would forever change the course of your career.
© Renée Phillips, www.manhattanarts.com
The Creative Edge, Part I The most exciting news for most artists is having been granted a solo exhibit. I myself have had quite a few and have always come up with ways to maximize the creative edge for presentation. I've consulted with many artists in my Art Marketing seminars about ideas for distinctive receptions and memorable experiences at the galleries. Use your imagination. After all, we're artists! Of course the gallery director or owner must accept your idea and most of the time in the form of a proposal.
Frank Bruno is available for consultations and coaching. You may e-mail Frank Bruno at frank-bruno@comcast.net
Get a Crew As I write, I am in the backseat of a stationary SUV in the middle of the Rocky Mountains. The technology is at odds with the gorgeous natural environment, but I'm inspired, so I write. In line with my previous newsletters about Lance Armstrong and mountain climbers, I have another sports analogy for readers. ©Alyson B. Stanfield, Stanfield Art Associates. This article first appeared in Do This!, a free weekly newsletter for visual artists available at www.artbizcoach.com.
How to Be Objective About Your Own Artwork How can you be objective about such subjective stuff as your own artwork? It’s not too hard, but it takes some self-discipline. The first step to being objective about something as subjective as your own creative output is to feel good about being an artist. The first step in comparing yourself to other artists is to not feel threatened by comparisons. The first thing to realize is that you are where you are at in your abilities and your career at this moment and you should applaud yourself for at least that much. So many people don’t listen to their desires, follow their dreams, or have a direct line to their muses and you do. You have the courage and fortitude to be an artist. Countless others have given up along the way. Alexandria Levin, www.paintedjay.com
Speaking From Within: Writing the Unforgettable Artist Statement It’s a chore as necessary and inevitable as cleaning paintbrushes. I remember quite clearly the first time a gallery asked me to write a “description of my work and my thoughts about it.” As hours passed, as my mind and fingers cramped over the keyboard, I began to swear that I could make out the “perfect” words, like gremlins, darting just out of reach, sticking out their tongues and thumbing their noses. I think most artists wonder why in the heck they’re wasting their time writing artist statements. It’s easy to believe that no one really responds to them, anyway. After all, viewers come to SEE the art—not READ about it. And so many artists grumble, throw together a few sentences, or omit the statement entirely, demanding that the “work speak for itself”. Unknowingly, a precious opportunity to connect with the viewer is lost. Of course, strong art, by itself, will evoke a profound emotional response. But when an artist speaks from the heart about how this art came to be and why it had to be made—this is when art changes minds, moves people, and even becomes unforgettable. Author Cory Jaeger is the owner of italics, an art relations and resume service, that assists artists in marketing their work. She writes a monthly art column for the Billings Outpost, and her deeply psychological paintings have been seen in venues throughout the nation. More about her work can be found at www.italics.us. She may be contacted at jewelboxstudio@yahoo.com.
Becoming a Prizewinning Artist
Collaborate A couple of weeks ago I received an offer I couldn't refuse. American Craft magazine called and asked me to review an exhibit of weavings that were on exhibit in the Denver area. Weavings? I haven't even sat at a loom and can barely tell you the difference between a warp and a weft! But the magazine wasn't interested in the technique, per se. They were interested in the fact that the weavings existed only because two artists came together and collaborated.
©Alyson B. Stanfield, Stanfield Art Associates. This article first appeared in Do This!, a free weekly newsletter for visual artists available at www.artbizcoach.com.
Smell Like Success Ah, the sweet smell of success. Everyone loves a winner. I don't know if you followed the Tour de France, but I confess that I've had nearly every minute of it on. Lance Armstrong, a cancer survivor, went into the record books by winning his 6th straight Tour. Convincingly. He also had millions of people around the world (including me) wearing yellow bracelets with the words "Live Strong" imprinted on them. They are a fundraiser for his foundation, which raises money for people living with cancer. His goal was not only a 6th win at the Tour, but to raise $6 million for a worthy cause. And he couldn't have done it without being a winner. ©Alyson B. Stanfield, Stanfield Art Associates. This article first appeared in Do This!, a free weekly newsletter for visual artists available at www.artbizcoach.com.
Affordable Art The term “affordable art” is used often and loosely as a selling point. What is the meaning of the word affordable? The dictionary definition is: When the cost of goods or services fits within the financial means of the purchaser. It is when something sells for an amount that one can afford to pay. Then how does one quantify what is affordable? For one person, $2,000 is a small fortune and not the least bit affordable, especiallywhen there are bills to pay and mouths to feed. For someone else it is petty cash and easily spent without thinking. For a third person, $2,000 might be just right for their budget, a sizeable investment, but one available to their means. It’s all relative. Alexandria Levin has been painting since 1975 and exhibiting since1981. Over the years, she has been deeply involved with most phases of both the business and creative ends of being an artist. Hopelessly organized, outrageously creative, naturally perceptive and always ethical, her main goal in writing this and other books is to change and improve things in general for all artists. This article is excerpted and paraphrased from Pricing Your Artwork with Confidence, ISBN# 0-9743267-0-4, Published 2003. Ordering and other information is available at www.paintedjay.com or by writing to: Painted Jay Publishing, P.O. Box 2234, Jenkintown, PA 19046-0834. Also available: Creatively Unblocking Creative Blocks.
The Art of The Reception For all of my adult life, I have been attending art shows/receptions. I have made the rounds for a variety of reasons: to check-out others work, get ideas for future art work, see how my work compares to others and occasionally to buy art work. Though it may seem as though there should be some easy equation for a great reception, I continue to find it is hard to figure. I have been to great shows with very few people in attendance and many well-attended but not so great shows. With the start of my own arts-related business, my attendance to these events has doubled within the last few years. So, in addition to my long-standing interest in artists and galleries, I have a growing interest in what constitutes a successful reception as well as in those in attendance. Sure, you have your variety of artists, family and friends, perhaps a few curators, but who are the others? Are they art buyers, art patrons, art lovers, novices to the arts, or merely someone who just walked in from the street? Is there an art to the reception? Do we or should we dedicate just as much time in preparing our guest list as we do with the show itself? Reprinted with permission from Malik M. Lloyd, Find Art Information Bank
Say Thank You Saying thank you, sincerely and in a meaningful way, should be ingrained in your business practices. Besides the usual thanks to people as you go through the day, you should be giving special attention to those who take the time and care to help you with your career and business. ©Alyson B. Stanfield, Stanfield Art Associates. This article first appeared in Do This!, a free weekly newsletter for visual artists available at www.artbizcoach.com
Art Career I have heard many artists speak of their anger, frustration and pain about being an artist. I can understand this because it was not too long ago that I was frustrated, plagued with self-doubt and more then a little lost, but that has changed for me. I am writing to share some of what I have learned with those who are willing to listen. Reprinted with permission from www.picklebird.com
Organize your Art Office: Paperwork Could you be better organized? Do you want to take your art more seriously as a business? It is never too early or too late in your career to work on organization. Reprinted with permission from www.woodlandwatercolors.com
Being Grateful Being an artist Being an artist is not a hobby, but a vocation, a calling and a passion that we must respond to. We have an inherent need to visually interpret the world by using our hands, minds and certain materials to create art. I often say that the only choice I have in the matter is to choose to follow this calling or to deny my authentic being the only thing it really wants. Alexandria Levin has been painting since 1975 and exhibiting since 1981. Over the years, she has been deeply involved with most phases of both the business and creative ends of being an artist. Hopelessly organized, outrageously creative, quite perceptive and always ethical, her main goal in writing this and other books is to change and improve things in general for all artists. This article excerpted from Pricing Your Artwork with Confidence, ISBN# 0-9743267-0-4, Published 2003. Ordering and other information is available at www.paintedjay.com or by writing to: Painted Jay Publishing, P.O. Box 2234, Jenkintown, PA 19046-0834. Also available: Creatively Unblocking Creative Blocks.
Consistency in the Pricing of Artwork Being consistent with your pricing structure Consistency is one of the benchmarks of professionalism in the visual arts, especially when it comes to pricing your artwork. Your pricing structure cannot be based on roller coasters, whims and random pork bellies. Being an artist is too personal a business. It is not just the product you create that interests buyers, but often your reputation and persona are part of the deal. If you want your art to have great value in the eyes of others, then you must behave in a way that demonstrates a high level of value. If you want to be taken seriously, then you must act seriously. Alexandria Levin has been painting since 1975 and exhibiting since 1981. Over the years, she has been deeply involved with most phases of both the business and creative ends of being an artist. Hopelessly organized, outrageously creative, quite perceptive and always ethical, her main goal in writing this and other books is to change and improve things in general for all artists. This article excerpted from Pricing Your Artwork with Confidence, ISBN# 0-9743267-0-4, Published 2003. Ordering and other information is available at www.paintedjay.com or by writing to: Painted Jay Publishing, P.O. Box 2234, Jenkintown, PA 19046-0834. Also available: Creatively Unblocking Creative Blocks.
Copyright Infringement and Your Creative Health Q: I'm getting ready to sue a person for blatant and willful copyright infringement of my art. He's using my images, but says he's not and refuses to do anything about it. I can't get anywhere by talking to him and I am so upset that I'm losing motivation to finish my art projects. I will follow the path of fighting for my copyrights, and am ready to hire a lawyer. What's the best way to do this? A: Step back and take a deep breath. Before you go legal, figure out what's at stake and whether it's worth fighting for. You've been wronged, you're angry, your art is suffering, but that does not necessarily mean it's attorney time. This goes for you as well as any artist contemplating legal action on any aspect of copyright infringement. Reprinted with permission from ArtBusiness.com
Changing Your Inner Vision The author, Constance Smith, has devoted the last eighteen years to publishing art marketing information—researching and networking with art world professionals nationwide. Previous to that she represented fine artists in the San Francisco area. Art Marketing 101 is available at bookstores nationwide or you can order directly from the publisher.Published in 2003; 8x10" format, 336 pages, $24.95 + $4 shipping, ISBN: 0-940899-32-9. ArtNetwork, PO Box 1360, Nevada City, 95959 800/383-0677 530/470-0862 530/470-0256 Fax, www.artmarketing.com
Closing A Sale The author, Constance Smith, has devoted the last eighteen years to publishing art marketing information—researching and networking with art world professionals nationwide. Previous to that she represented fine artists in the San Francisco area. Art Marketing 101 is available at bookstores nationwide or you can order directly from the publisher.Published in 2003; 8x10" format, 336 pages, $24.95 + $4 shipping, ISBN: 0-940899-32-9. ArtNetwork, PO Box 1360, Nevada City, 95959 800/383-0677 530/470-0862 530/470-0256 Fax, www.artmarketing.com
Why is Marketing Important? Every artist should take a direct and personal interest in the marketing of their career. This dictum applies regardless of whether an artist is just beginning their career, is a seasoned journeyman or is a widely acclaimed master. It applies if the artist has no representation or has distribution for their works in abundance.
Reprinted with permission from www.artmarketer.com, Copyright 2003, Art Marketing Unlimited.
No Respect Artists live a challenging professional life. They pour their heart and soul into their art and every time they show their work to someone their self-esteem potentially hangs in the balance. Getting the cold shoulder from dealers, or worse, from collectors, can lead an artist to share Rodney Dangerfield's lament: "I don't get no respect." But the truth of the matter often is that it is a big world, and sometimes one just has to meet a few more people before finding the ones that really appreciate what the artist is trying to do.
Reprinted with permission from www.artmarketer.com, Copyright 2003, Art Marketing Unlimited.
Licensing Your Work T-shirts, key chains, table cloths, shower curtains, photo albums, wrapping paper, figurines and Sponge Bob Square Pants. Its summer in New York City and the Licensing Show has arrived. Now, you might have a vision of the licensing world as a warm, fuzzy place where creative people get to meet and greet each other and work together on charming products we all love that can be purchased in massive quantities by everyone we collectively know, so that in a years time you, the artist, can retire early on the huge royalties you'll be receiving and move to the south of France to paint - sigh. SNAP OUT OF IT! This is business! And a nasty little business it is, too. Its Elvis, Mary Engelbreit, and Nick at Night vs. Barbie, Spiderman and Winnie the Pooh in a high stakes smack down! Lots of wheeling and dealing, lots of back stabbing, lots of flat out idea stealing. But it does have its good points, too.
Reprinted with permission from www.MindsIsland.com, an internet destination dedicated to helping creative artists grow, thrive and profit.
Earning a Living as an Artist This is a slightly revised version of an article studioNOTES ran in 1995. Its publication caused a woman who sells "career advice" to hopeful artists to complain that it was, among other things, "disturbing, . . . crude, very hard to understand, very discouraging, one-sided, illogical, demeaning and inaccurate." But the purpose of the article, then as now, was to give a sense of the amount of art you have to sell in order to support yourself. The rule of thumb is that your gross sales have to be three to five times as much as your desired income, depending on your medium and other expenses. Reprinted with permission from studioNOTES www.studionotes.org.
From Computer Illiterate to Award-Winning WebDesigner: A Visual Artists's Journey For years we had a computer room in our house, which I avoided at all costs. Rarely venturing into the room, I wanted to be as far away from this alien machine as possible. I am a visual artist and always thought my place of work was in my studio. Life began to change one-and-a-half-years ago when I decided to design an online exhibition space to feature the “Wave Series,” an ongoing painting project that incorporates mixed media. The events that transpired during the next twelve months were also a surprise; the website won nine awards. Reprinted with permission from Elizabeth Hack. The paintings of artist Elizabeth Hack have been exhibited in numerous solo and group exhibitions at galleries throughout California. She has been the recipient of nine awards for the design of her web site www.elizabethhack.com. The awards include the prestigious Golden Web Award from the International Association of Web Masters and Designers (IAWMD) and the World Web Award from Artspace 2000.
Developing a Personal Signature I learned the craft of picture framing about 25 years ago. Though I love art, I have never been trained as an artist. I know much about picture framing, frame and mat design and how to present and market different types of artwork. I know very little about how to make colors and shapes do what they appear to do on a piece of canvas. In short, I do not profess to be a professional artist, but as a professional picture framer, I know how to present and visually market a piece of artwork. I hope to use this column to inform you, as artists, about quality presentation, why it is important and how to visually market your artwork to achieve higher levels of "curb appeal" and enhance sales. Reprinted with permission from www.MindsIsland.com, an internet destination dedicated to helping creative artists grow, thrive and profit.
Maximizing Your Art's Value The author, Constance Smith, has devoted the last eighteen years to publishing art marketing information, researching and networking with art world professionals nationwide. Previous to that she represented
fine artists in the San Francisco area.
Coping with the Post Exhibition Blues Almost everyone has experienced loss in one form or another at some point in their lives. After the tragedy on September 11th, most of us don't have to look very far to find someone who has been touched by loss. For artists, learning how to recognize and cope with loss will help them in understanding the common phenomenon known as post exhibition blues. Reprinted with permission from ArtAdvice.com.
Scanning Oversized Art Before you can put your art on a web page you must put it in digital form. You can do that in several ways: You can take a photograph of the art, have it developed, and then scan the photograph yourself or at a local copy center. Photo developing companies often offer scanning services so you can have your film developed directly to a cd or disk. You could take a digital photograph of your art if you have a good digital camera. With these methods you have less control over the final results. Every step between original and digital version will likely reduce the quality of the web image. Reprinted with permission from www.ArtCafe.net.
Printing and Marketing Digitally Created Art There is great digital art out there. It is not by coincidence that we get a lot of mail from digital artists. So I've been putting on my thinking cap regarding marketing digital art. The purpose of this article is to stimulate creativity in marketing digitally created art. Reprinted with permission from www.ArtistPrintshop.com.
Working in Standard Sizes Introduction The artist who works primarily to standard sizes finds there are advantages to having a set of familiar sizes to work with. Pre-cut mats can be purchased in standard sizes but when cutting one's own mats, the standard sizes can help use mat board efficiently. Glass comes in those same standard sizes and the artist may find that painting to standard sizes makes framing for a show less complicated. It is possible to find good prices on standard sized ready-made frames especially when buying in quantity.
Reprinted with permission from www.ArtCafe.net.
How to Market Your Art to Collectors Develop your own marketing strategy, but focus on developing a group of customers who collect but as you do so keep these points in mind: 1. A customer who has purchased two or more of your pieces is a collector of your art. Your goal should be to increase the number of collectors of your art. Collectors of your art connect have connected with more than one piece. They like your style, your complete body of work pleases them, they may like some pieces better than others but in general they like what you do. You will want to surround yourself with these people or at least communicate with them frequently. They will buy more of your art if you treat them right.
Reprinted with permission from Artistprintshop.com.
The Dreaded Artist Statement There are many times when an artist is asked to compose an artist statement. Sometimes, it is in response to a specific inquiry by a gallery or collector, sometimes in response to a particular grant proposal or in conjunction with a curatorial statement or exhibition. Other times, artists just feel the need to explain their work. Most of the time, however, artists are not the best suited for this particular task. Regardless of one's ability to write, writing about your own work poses unique problems that very few artists are equipped to deal with. Reprinted with permission from ArtAdvice.com.
Press Releases The author, Constance Smith, has devoted the last sixteen years to publishing art marketing information, researching and networking with art world professionals nationwide. Previous to that she represented fine artists in the San Francisco area. Art Marketing 101, distributed by F & W Publishing, is available at bookstores nationwide or you can order directly from the publisher, ArtNetwork at 800/383-0677 or 530/470-0862; by fax at 530/470- 0256; PO Box 1360, Nevada City, 95959. artmarketing.com/books Latest edition publishing date: 2001; 8x10" format, 336 pages, $24.95 + $4 shipping, ISBN: 0-940899-32-9.
Selling Art The author, Constance Smith, has devoted the last sixteen years to publishing art marketing information, researching and networking with art world professionals nationwide. Previous to that she represented fine artists in the San Francisco area. Art Marketing 101, distributed by F & W Publishing, is available at bookstores nationwide or you can order directly from the publisher, ArtNetwork at 800/383-0677 or 530/470-0862; by fax at 530/470- 0256; PO Box 1360, Nevada City, 95959. artmarketing.com/books Latest edition publishing date: 2001; 8x10" format, 336 pages, $24.95 + $4 shipping, ISBN: 0-940899-32-9.
Paying a Company to Market Your Art Q: I'm in contact with a company that markets art and artists. For several thousand dollars, they create a mailer that includes a color brochure, an 8 by 10 inch photograph of my work, a cover letter and a resume. They give me several hundred mailers for my own use and they also mail them out over 500 to dealers, galleries, publishers, consultants and others who they claim will have an interest in my work. For about the same money, probably less, I can put together a really nice mailer myself. Which do yo think I should do?
Reprinted with permission from www.artbusiness.com
Take Joint Business Ventures Slowly Q: Several of us are thinking about starting a design studio with the goal of wholesaling handmade items like lamps and picture frames to galleries, museum stores and other retail outlets. I currently work in a museum store and see a potential income opportunity. How do we legally go into business? What steps are necessary in order to create a studio or company?
Reprinted with permission from www.artbusiness.com
When Your Art Sells, But You Don't Own It One of the main reasons why people buy art is they believe, right or wrong, that it might someday increase in value. They buy it because they like it, of course, but in the back of their minds they also see themselves as speculating to a certain extent on the artists' futures. That a percentage of these collectors ultimately turn big profits on their investments significantly contributes to the overall health of the art market by making news and attracting new collectors-- and that's good. Reprinted with permission from www.artbusiness.com
Learn to Sell Art Like the Galleries The following suggestions may or may not be suitable to your way of doing business, but if your goal is to increase sales, the more you can implement, the better. If none are for you, at least you'll come away with a deeper understanding of what functions galleries perform and why they exist. Reprinted with permission from www.artbusiness.com
Pricing and Selling Your Lower Priced Art Q: You often encourage artists to lower their prices in order to increase sales and become more competitive. My prices are comparable to those of other artists in my area and they always have been. Do you mean that they should be even lower? How much art do you find in these really low price ranges? Reprinted with permission from www.artbusiness.com
Take Control of Your Art Career Geoffrey Gorman, a graduate of the Maryland Institute of Art and the Boston Museum School, is a former gallery director. Six years ago he founded GG+A, an artist career development firm that works with artists individually and through workshops around the United States. His articles have appeared in Art Calendar, The Pastel Journal, The Artist’s Magazine, and numerous online publications. He also writes a monthly newsletter on the arts called ArtMatters.
How to Become Almost Famous in Your Town Reprinted with permission from www.artistsmagazine.com
Sell Art Successfully In Tough Times Now is a difficult time for Americans as well as for people in many other parts of the world. The horrific tragedies of recent weeks have further weakened our already faltering economy as unemployment rises and recession appears likely. None of these trends bode well for the art market. Selling art is never easy, even in the most robust of economies, and at times like this, it can seem nearly impossible. But confronting adversities is a fact of life and any artist who expects to be successful must adjust to prevailing conditions in order to survive. Reprinted with permission from www.artbusiness.com
A Turning Point Geoffrey Gorman, a graduate of the Maryland Institute of Art and the Boston Museum School, is a former gallery director. Six years ago he founded GG+A, an artist career development firm that works with artists individually and through workshops around the United States. His articles have appeared in Art Calendar, The Pastel Journal, The Artist’s Magazine, and numerous online publications. He also writes a monthly newsletter on the arts called ArtMatters!
Marketing for the Millennium…e-commerce and the Internet Reprinted with permission from ArtAdvice.com.
Getting Public Art Grants Reprinted with permission from Suite101.com and Cecilia H. Lee.
More on Press Releases Reprinted with permission from Suite101.com and Cecilia H. Lee.
Writing Press Releases Reprinted with permission from Suite101.com and Cecilia H. Lee.
The Elements of an Effective Portfolio Reprinted with permission from Geoffrey Gorman.
Creating a Professional Portfolio Reprinted with permission from Geoffrey Gorman.
Copyright and the Artist (Part 2) Reprinted with permission from Suite101.com and Cecilia H. Lee.
Copyright and the Artist (Part 1) Reprinted with permission from Suite101.com and Cecilia H. Lee.
How to Choose the Right Shows This article was reprinted with permission from The Crafts Report Magazine. It was originally printed in The Crafts Report's March 2000 issue, and was written by Carrie Groves. www.craftsreport.com
The Benefits of Teaching One-Day Workshops Reprinted with permission from www.artbusiness.com
Writing Articles for Extra Income This article was reprinted with permission from The Crafts Report Magazine. It was originally printed in The Crafts Report's February 1999 issue, and was written by Barbara Brabec.www.craftsreport.com
Keeping Up With a Changing Wholesale Market This article was reprinted with permission from The Crafts Report Magazine. It was originally printed in The Crafts Report's October 2000 issue, and was written by Bernadette Finnerty. www.craftsreport.com
Assure Positive Outcomes When Working on Commission
Make Open Studios Work for You
Innovative Ways to Increase Income
What Steps to Take When Your Work is Plagiarized
Responsibilities of the Ideal Gallery
Tips On How To Successfully Photograph Your Own Artwork - A Last Resort
Tips on How to Conduct Studio Visits and Gallery Interviews
Tax Filing for Artists Once an artist jumps into the commercial arena, the most important aspect of the artist's business (besides making a profit) is the filing of taxes. This article will explain the various types of taxes affecting an artist and give some general guidelines on certain pitfalls to avoid. This article was reprinted with permission from ART PAPERS magazine, which can be found on the Web at http://www.artpapers.org/.
Guide to Approaching Galleries
How to Decide Which Galleries Are Right For You to Approach
Surviving Rurally
How to Handle Rejection
Artists' Web Sites
Price your Art Realistically
Why Do We Do This?
Proper Care and Labeling for Slides
Your Secret Weapon: The Artists Statement as a Marketing Tool
Scam Alert: Warning for Artists Recently, a scam has been circulating aimed at artists. It involves the purported purchase of artwork, payment by cashiers check, a family emergency and the request for a refund of the funds represented by the cashiers check. Here is the scam. "Mary" calls artist enthusiastic about a painting that she saw in an art magazine, brochure or on the internet. It is late at night and she is leaving for England early in the morning and wants the painting for her daughter's birthday present, or something similar, such as anniversary, birth of child, or graduation. "Mary" is sending a cashiers check by overnight express and wants the painting, and maybe a second one, shipped to England, France, South Africa, Nigeria, etc., at once. This is an urgent transaction, and she is sending extra money for the expedited shipping or second painting. The cashiers check arrives and is deposited in the bank. The timing is important and well choreographed. About the time of the deposit, she calls back to relate some family tragedy resulting in her need for a refund. Artist is ready to send a check back because she feels sorry for "Mary" who has been so friendly and excited about the art work. Montana Arts Council, art.mt.gov/artists/artists_alert.asp
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