This post is part of a series of blog posts about Seeking the Hidden Path of a Fine Art Career. You can read the introduction to the Hidden Path here and read about Taking Your First Steps here.
Art careers are very exciting early on. Everything is new and shiny. Everything is emotional and fun. Encouragement from anyone sends you soaring into the clouds.
If I could talk to every new artist and tell them what to watch out for in their art careers, this blog post is what I would tell them.
The Danger of Being “Discovered”
Art galleries and dealers frequent BFA and MFA showcases from the top art schools and pick a few artists to represent. In a lucky few instances, they’ll offer some financial support while that artist develops. Sometimes that works out amazingly well and a new star is born.
Often, however, that artist’s work gets sold to the dealer’s contacts as the latest Next Big Thing. The artist is often sold as part of a trend in the wealthy circles of the elite, which might be the result of the work of a single brilliant artist, but is often the result of a wealthy dealer picking a new trend, having nothing to do with believing in the artist or the artist’s message.
Being discovered in today’s art gallery climate often means having a huge influx of cash for a few years, then getting dropped when your art falls out of favor, or when the market inevitably corrects because collectors realize that there are other artists doing interesting things.
Being discovered is the biggest reason that the artist’s career path is so obscured. The noise around it is deafening. Despite the fact that, in the USA, more than 20,000 artists graduate with art degrees every year, and there are only 6,000 art galleries in the USA. Those 6,000 galleries are picking through not just those new artists but the hundreds of thousands of other artists who are trying to get in the door.
Being discovered isn’t actually being on the path at all. You don’t learn anything about how to grow your own audience or how to connect with collectors directly.
And once those who discovered you are done with you, you’re on your own. Hopefully you saved some of that cash.
The problem with being discovered is that the stories from the New York Times and the art press make it seem like this is the only way to make a living.
Artists who are selling pieces for $10,000, directly to collectors, with no gallery intervention, don’t make the Times. These artists exist. I’ve spoken to many of them, and it kills me to see young artists who are eking out a living on scraps while they try to get into a gallery. The middle-aged artist, once very promising, who has given up on their art career because they think their shot at being discovered is gone, is equally sad.
So don’t depend on being discovered. Learn to connect with collectors directly and grow your own fan base.
False Paths: Juried Shows and Awards
There are many organizations that will take your money and promise you a chance at winning an award. A few of them may lead to a legitimate opportunities – cash prizes big enough to make a difference, retreats, solo shows with major galleries or a formal mentorship. But most of them are just a way for that organization to make a few dollars.
While it’s nice to have the recognition and it’s nice to be able to put those awards on your website, in the end these awards don’t mean you’ve sold anything. The average art collector doesn’t care if you won prize x or prize y. In most cases an award will help a skeptical collector feel reassured that they’re not the only one who likes your art.
For the most part, juried shows are a distraction from building a long-lasting art business. They look like a branch of the path, but really they’re a dead end. Go too far down that path and you’ll end up lost, wondering where the path disappeared – and why you spent so much money to get where you are.
If you’re just getting started and you are looking for feedback on your work, participating in a few juried shows can get you some interesting feedback on your technique and ideas, but it won’t tell you if collectors like your work enough to buy it. Only talking to collectors will do that.
False Paths: Thinking You’ve Made It
It’s usually around the time that you’ve done your first solo show and had a few sales that the galleries start approaching you. You might be asked to join an artist co-op. It starts to feel like you’ve finally arrived.
The false path here is thinking that you’ve made it. You take your foot off of the gas and stop working so hard. After all, these gallery owners and other artists will start to sell your work for you, right? You can just make art and hand it off to the sales professionals.
As mentioned above, some of these galleries can be quite lucrative. Some of them will be “vanity galleries” that will ask you to pay a fee to show your work. They don’t actually have any foot traffic and they don’t have paid staffers who know how to talk to art collectors.
Some of those co-ops sound pretty great until you realize that most of the artists in the co-op are amateurs who won’t sell your work even when a collector walks in the door. You might notice that the only time you sell anything from the co-op gallery is when you’re taking your scheduled turn manning the front desk.
If you’ve shown your work a few times, you’ve seen how people react to your work. You know who is likely to react well to your work and who is likely to buy. Trust your instincts. Be skeptical of those who want your money. Ask questions about what they’ll specifically do for you and how they’ll help your art business. Ask them about their clients and audiences. Talk to other artists and get the behind the scenes chatter. Get contracts with galleries.
Bottom line: if a gallery hasn’t sold any work for you in 6 months, it’s time to make a change.
Finding Your Way Back
Getting over the hurdle of showing your work is probably the most difficult mindset and emotional shift in an emerging artist’s career.
Avoiding the twisting path of the small gallery world, when you’re just starting to build a following, is probably the most intellectually challenging part of building a business. Everyone wants you to go their way.
Look for the path you want to walk and don’t veer from it.
If you find yourself thinking, “I’m doing everything right, why isn’t it working?” then you’re probably on one of those false paths. Back track for a bit. What could you be doing that you’re not doing? Where are you leaving your business to chance or to other people’s actions?
What’s your experience with false paths? Are there other false paths you would identify?
I have spent lots of time on those false paths. Vanity gallery, juried show, collaborative arts group. They take up a lot of time with little return. this year I’m knocking most of these off my plate (it’s actually what I’ve been thinking about this past week) and step back a wee bit to clarify who I am as an artist, but I will still stay in the large art shows that will get me face to face with collectors and where I’ve made connections with art buyers.
Hi I’m Dave were are the big art shows and how do you get a place
I to have tried to achieve these things about twenty years ago. In referring to galleries, look at the activity in within those galleries or how many people on average actually go there. You will find the majority of the time it is empty or a couple of people looking, unless there is an event of some kind or a grand opening. There are always favorites within any gallery and if you are not one, your pieces will be sitting and usually at the expense of the artisan.
Galleries are a great way for any artisan to both be seen an make some money. But finding the right one for you takes a lot of time, patience and denials.
I recently have been emailing galleries because I’m new to Maine, and just want to start a line of communication and one was actually was kind enough to respond and unfortunately misunderstood me thinking that I wanted to be in the gallery.
This blog is correct! The answer is complicated because it varies depending upon the individual artisan. It just seems that the more people that can see your work, regardless of how, the better off you will be. Know one will fight for you like yourself, someone else can, but at what cost?
Take care and be excellent!
Im kenyan and it is great to learn and get inspired by your insights regarding the pros and cons in the fine arts industry.It is pretty much the same in africa interestingly we pass through same struggle, but im optimistic to always hear from you.The knowlege that you istill in us will one a day make us prevail.thank you cory melissa and ‘crew.’
I absolutely agree with this, Cory. I’ve been in some excellent galleries, but sales were sporadic at best. I began to doubt my work…until I had the opportunity to sell directly to a collector. The same painting that gathered dust in a gallery sold immediately when I showed it to someone myself.
However,I’m at a stop, business wise. What I want to do is to open my own shop. I like people, and find I sell best when I can speak directly to people about my work and they can see it in person.
I’ve been writing a blog and maintaining a website for over a year. I get lots of positive feedback, but virtually zero sales.
It gets pretty discouraging at times, Cory. I’m thankful for your blog for lighting up pathways and providing encouragement.
“The same painting that gathered dust in a gallery sold immediately when I showed it to someone myself.” Exactly.
Theres plenty you can do without opening your own shop. You can do pop up shops, either solo or with other artists. You can do temporary shows at coffee shops and other high traffic retail locations. You can do private shows in wealthy homes. Plenty you can do.
Never thought of ” private shows in wealthy homes,” interesting idea.
Melissa –
You don’t need a physical space (your own gallery) to sell your work. My artist husband is old school and has had numerous galleries in the past 20 years – none of which succeeded financially.
Cory’s advice is so spot on… My husband is finally starting to listen. Save your time and money and skip that false path altogether!
All the best,
Shae Uisna
At my first solo show I sold 3 works. The opening was packed and after the opening speech had happened I invited everyone, especially those who I did not know, to please come and talk to me if they wanted to know more about the work. I circulated and spoke to everyone there that evening. The show was up for 3 weeks and I did not sell another work in that time. Why? The gallerist just wasn’t doing the job of selling my work.
Before the show opened I had offered to participate in a “meet the artist” night for his serious collectors at which I would give a talk about the genesis and creation of the work and then spend some one-on-one time. They had never done anything like it before and so they declined my offer. I could have made more sales if I had been allowed more of a physical presence, but the gallerist’s inertia prevented me from doing so. The gallerist went out of business – who out there is surprised?
I know that my work is quality and that it strikes a chord with potential buyers. I also know how to communicate engagingly about my work. I have done a lot of research regarding art marketing and creating an online presence. I know who my target market is , but the problem has always been “how do I reach them”? That’s why I’m doing Cory’s HTSYAO course at the moment. I’ve done my background research, I just need to solve the last piece of the puzzle.
Hi Cory, I think this is a really important article. I’m so glad you wrote it. Thank you. I think you are bang on. I think galleries can work but yes at the end you are responsible for yourself and you just have to promote yourself even if you are in a gallery.
Cory, what is your opinion on galleries like Grumbacher, that claim to review and list your work for a small yearly fee?
Every gallery is a judgement call. Most galleries don’t charge a fee for an online listing, but if they have proof or case studies of past success, check those out. Also, if they have hundreds of thousands of artists listed, I imagine that they’re not that exclusive, and their business model is predicated on fees from artists rather than sales commissions.
You are so right Gareth. You can not drop the ball on self promotion just because a gallery is hosting your show or offering you representation. As Cory has pointed out, galleries and gallerists are fickle. They are always ready to jump to the next new shiny thing if they think it will benefit their bottom line, regardless of whether your work is selling or not, and often it’s not because even if they are trying to sell your work, no one can sell it like the person whose passion and time went into creating it.
I have had one experience with a vanity gallery and from that experience, I have found that the vanity gallery didn’t make any investment of time or money in selling my art. I invested my time and money in them with each payment I made to their cause (just so I could say that I was in a gallery). Poor choice on my part.
A traditional gallery earns every penny they get. They invest in the artist. Their money and their time goes to promoting the artist and the artist’s work. I am almost certain the costs incurred come out of their commission fee. And, believe me, they earn it! Sadly traditional galleries are disappearing. I have spoken to many artists who think it is terrible to pay a 50% commission to a gallery when a painting is sold. I say, if a painting sells, and I didn’t have to spend my time and my money promoting it, then I am more than happy to pay the gallery 50% for their hard work. It gives me more time to paint and it reduces my stress level of getting things sold. That’s worth a lot to me! If this path exists for me I will certainly give it strong consideration.
I do a few local juried shows just for the exposure. The cost is minimal but it keeps me in the loop locally. I don’t want to be the world’s best kept secret especially in my hometown!
I now have a website and I am doing more and more social media marketing to let the world know that I actually have a website. I feel this is beginning to gain me some regional recognition, a step beyond my local recognition. I think, if I continue my social marketing efforts, that I can build on this small progress.
I have spent my entire adult life in the work force but I never stopped being an artist. Now I can spend my time painting while searching for the right path. Until I find it, I will continue to paint and have fun doing it! If I come to a fork in the path, I plan to be armed with enough knowledge to make an educated choice on which direction to take. Thank you for providing your words of wisdom!
Well said, and good reminders at any stage of the game. My false path was being so excited about the interest people were showing, that I sold off my paitings before series were complete, sometimes straight out of my studio. I didn’t realize at the time that I needed those works to inspire the next and complete a series or “thought.” My subsequent shows were disjointed, parts of various series, and overall, less engaging. Parting with works before “completing the thought,” so to speak, sort of took the stuffing out of me and squashed those ideas. In the end, I didn’t make much money from them. They would have been far more valuable as a whole. The second mistake I made was not documenting them properly. I have a quick snap shot of most, nothing that can be reproduced in print, and no record of who bought them. So, my false path was jumping before I could swim. I just painted and sold happily with no concern for the business end if things. Live and learn!
This is **SUCH** a great lesson C. Thanks for sharing this!
Thank you for posting this comment. I have almost completed the first piece in a series and I have been puzzling over whether to show it by itself before the rest is ready or wait and send out the whole batch at once. Now I think I will do the latter.
Timely advice as I just started a whole new series too. I have a show coming up in May at my own gallery and will hold them for that. Although I like to post them on social media to see what reaction I get so some get out there. Teasers I call them. I think that’s ok.
Definitely do not show work from a series until you have the series complete. Why? It was conceived as part of a series. While each work in a series should be able to stand on its own merits, it will not achieve it’s true power until it has its place within the conceived “whole”. I think buyers like to buy a part of something “bigger” more than a one-off idea. It also gives the buyer more of a story to tell their friends eg “this work is part of an amazing series in which the artist…blah, blah, blah….it was really hard to choose one, but this one was just so powerful/beautiful it seemed to be speaking directly to me and I had to have it. You should check out the other works”. So you end up with a very happy client and a potential sales referral.
Cory,
I appreciate this post as well. I have followed your site for years, and watched several of your in-depth videos, including the ones with Owen Garratt. I am so relieved that I do not have to go chasing after galleries in order to make a good living.
My challenge for me now is to build up an inventory of work, which I am in the process of doing.
Keep up the good work of helping artists be successful.
Great article Cory. Of course the underlying question is whether the gallery system is really the artists’ best friend. And is seeking out a gallery the best “hidden path” to pursue. It is a yes and no question. Those artists who can establish themselves in galleries may say yes and those who can’t connect may say no. But I think the underlying question is whether the gallery system will continue as the best marketplace for buying and selling art. In this time of the growing importance of the internet there are plenty of signs that gearing up one’s efforts to sell online may be a better path than spending time, money and effort approaching galleries.
Of course the appeal of galleries is that they appear to take the burden of marketing off the artist. Who would not want someone else to do the heavy lifting for you. Or so the prevalent thinking goes. But many artists do not understand that the gallery is a business and that their art has to fit into that business. A gallery may like the work of an artist but they have to believe they can sell it. And if they can’t an artist will not be long in a gallery.
I tend to think it is wise to take control of one’s destiny. Even artists. Yes if an artist can get accepted or invited to some prestigious shows it may help. But more and more I think that in the future art will be sold outside the gallery system, by means of the internet. And the artist will have to build their own following outside the gallery. The handwriting seems to be on the wall.
My experience has been that all of the above can be successful elements in the building of your brand and recognition, which hopefully leads to a collector base. Galleries have to be chosen carefully so that there is a good match. Upfront analysis of the gallery is essential, including talking to other artists feedback who have shown there. You are right, if they don’t sell, cut your losses and move on. Eventually you will find a good match. Shows have been very successful for me. I win awards from time to time with cash prizes, which is nice because you still have the chance to sell the piece. And I advertise those awards, which in my arena does lend credibility to the artist, and often times those awards create demand at the show and following the show. We often see immediate sales from those award winners. Shows have to be chosen carefully too, and if they don’t produce sales, don’t go back. But galleries and shows are just one part of the marketing strategy for me, of course there’s my website, social media, direct sales, maintaining a relationship with my collectors, editorials and occasionally advertising. In my world, all of these things contribute to the building of my brand, recognition of my work and a successful collector base. You gotta keep trying new opportunities and you can’t let up.
For those who don’t know, Jeff is a real pro. He’s been making money from art for a while. Take his advice to heart! Thanks for the comments Jeff.
Thank you for this insight. I am new to this journey and am just now gaining confidence to start trying to sell/show professionally. Your advice has been so helpful already.
Cory, what are your thoughts on online galleries?
The same as online galleries: they’re not a panacea. Some of them can be great. Most are terrible. Do your homework.
C sherlock. Thanks for this comment. I too have sone exactly the same as you. Ive sold work just for that satisfying appeal of thinking yes people like ut enough to pay. The result has only just occurred to me that it gas left the series incomplete. This is great to share here with like minded folks on the same tread.
Thanks Cory and Sherlock.
I related SO much to everything in this article and all of the comments too.
Going down the “false paths”, trying to be optimistic every time, left me in debt and doubting if my work was worth while. I got discouraged and wondered if the problem was… that my work wasn’t “good enough” yet. I was renting a studio and imagined I would die buried under a pile of paintings.
After a 7 year break, I’ve decided life it too short to not make the art. It is what my heart is calling me to do.
The new path I’m trying is to find collectors/buyers on my own using the web & social media. So far this path is difficult and very slow. Cory, I’ve taken your class as a guide line to follow in putting my work out in the world. Although, I have made progress, it is a learning curve to follow and implement all the suggestions. I find being an abstract artist makes it difficult to identify my niche and that makes all marketing efforts a bit confusing going forward.
I have learned a lot from your site and class. Thank you!
I’ve recently received emails from art book publishers and found competitions online that, at first, looked exciting and promising. When I looked into it, it seemed all or most of them wanted an entry fee or some kind of payment (buy two copies of the book, etc) without promise of anything in return. Thanks for writing clearly and in detail about this, it helps a lot to know that trusting my gut was a good thing, and I’m not missing out on potential opportunities.
I have been an artist for years, but only in the past year or so I have made an effort to sell my work. At this amateur stage of my art career, the best opportunities find me through connections: people who knew me in college, friends of friends, coworkers. One commission leads to another and a trickle is building into a stream. But every day I have to remind myself (and it gets easier day by day) that I deserve to be paid fairly for my work.
Oh how I love this! it is exactly the experience I have had. I spent 20 years trying to find of finding the perfect gallery, spending money on art shows and vanity events, doing the artist co-operative thing and pretty much everything else you mentioned! I was simply not confronting the fact the fact that I was perfectly capable of making my own sales. I changed that and withing two years am finally making a living as an artist! Thanks for this! Gill Bustamante XX
Eye opening and encouraging! I had an epiphany the other day that it is better to start at the bottom and work your way up. Starting at the top can lead to a great fall. Working your way up allows you to build a strong foundation and with each step or hurdle we encounter prepares us for the success. This is the path that will help us grow and understand our own individual road to success.
Thank you Cory!
Definitely agree, Deborah. Starting at the bottom also makes you appreciate the hardships one has to endure to reach the top, and makes reaching it all the sweeter.
Hi All,
It’s interesting to see the degree of consistency in the responses. I’ve been down the traditional gallery route numerous times. Mostly they try hard for you because that means money in their pocket too. An exhibition, either solo or shared has been the most profitable experience in galleries but I found that it was too long between drinks just having a few pieces on their walls surrounded by many other works, often made up of pieces that had been created to fit in with that years interior design colour schemes and priced accordingly. (‘Art doesn’t have to match the sofa.’)
Pop up shows of my own have been good to me. Interestingly I sell only a few during the two week show that I put on entirely with my own money and time. Most sales come after the event after people have had time to think about a particular piece in their home, or they realise that they just can’t live without it.
The tricks of the new media trade that I am learning on this course will enable me to magnify the benefits I’m sure. So I’m thinking that a number of arrows in the quiver is essential……
* A couple of really good galleries in premium places that invite you to have a solo exhibition or group showing once a year;
* one or two pop up shows a year in a suitable spot in a town near you (empty shops in a main street are great and cheap);
* an enthusiastic well networked agent (I asked a bright young girl who worked in visual merchandising/interior design/blogging to be my agent in a city 3,000 miles from home and she has been fantastic for me);
* maybe one suitable art competition a year (I find art competitions expensive and often depressing);
* and back it all up with the content marketing strategies for online sales and marketing.
The scariest bit for me is allowing the time to manage the business without losing time in the studio, but then being busy with my art is what it’s all about, and I can pay for help with the technology if needed.
cheers
Lew
Lew,
Thanks for your great comments! I’m curious how you found your ‘bright young girl.’ Is she someone you just happened to know, or do such people have listings somewhere? I have a few extra arms and legs I could give to meet someone like her!
Weezie
Great advice Cory. When I started out I did all of the above – threw myself at everything to see what worked and what didn’t. 3 years later I am much more selective and go into targeted shows and venues. I am one of the lucky ones that has a great relationship with a gallery and they sell a lot of my work however, they own the customer list. Now I am trying to build my own customer list so I can target them directly and run my business parallel to the gallery sales. Your articles have been a tremendous help. Thank you.
Cory,
This is exactly what I needed to hear today. I’ve been doubting myself and wondering if I should do a ton of juried shows. Thank you for the great information.
I’ve read through the comments and would love to hear more on how in the world to do a show in someone’s home. Is it a one night thing with a party or does the work hang longer?
Please and thank you, Cory!
You can do it any way you want Amantha, but usually it’s a one night thing. You invite a very select group and spend the evening talking about art with them.
Thanks a bunch! I have been trying to make it happen but have been short on follow through – does the host get any kind of bonus ? Should I give her free art? A discount? Would love to hear how it is done – I’m going to figure this one out!
Very Informative article and comments, Cory. I wish I had read this article earlier as I have just finished working on my one year plan for 2016. And of course my plan includes participating in gallery, and art shows. You and your readers have made some valid points and I will take them into consideration. I love your idea about doing home shows. Like Amantha, I plan to learn more about doing home shows.
By the way, Cory, great website!
Great article! It forces me to swallow my pride and really look at all the false paths I have taken in getting started as a fine artist. I’ve prided myself at waiting it out and to keep plugging along on these paths, hoping something will stick. But this article has made me realize that I need to get out of the 2 gallery co-ops I’m in that have done nothing for me, to stop showing my work in the local art league shows that always make me depressed when I go to see them, and to quit buying booth space at holiday vendor shows next to Mary Kay because it might give me some exposure. As I’m writing this it sounds pretty pitiful and I’m ashamed that I held onto these paths for so long. Yet I believe in my work and realize now that I deserve better. I realize that need to search for the right paths and hold out for a better fit. Thanks, Cory!
These are the kinds of realizations that give us power to make change. Bitter pills, but so good for us!
This is a great article, thank you for all of the insight.
The issue I am having is getting my artwork out there for people to see. I started my “art business” as a side gig almost a year ago now. I need to build a network of contacts and I am not sure how to do that. I have a website, did some small craft shows where I sold some original works, prints and blank note cards of my paintings. I passed out business cards for my website but have only had one small sale from someone who saw me through FineArt America.
Where do I go from here? How can I get my stuff out there in front of these “art collectors”? Thanks for any help you can offer!
I am opening to the idea that there are collectors for my work. As you know, I just found your blog, and I am appreciating it very much. Your faith and belief, is inspiring mine.
I am reminding myself, to relax, and know that I don’t have to do everything at once.
Overwhelm and fear are mother fu–ers! 🙂
Your articles are speaking to those aspects of mine, and I look forward to growing confidence and belief in my abilities.
Good stuff. I’ve chased a few rabbit trails myself, but I always have that icky feeling when I do so, so I’m trying to listen better and follow the paths that feel “right” to me. I’m on etsy, I’ve got my own website/blog, I do the social medias, I do submit work to the local art gallery/gift shop (but the fees are nonexistant or minimal), and I’m starting to do fairs this year. It all feels “right” so we shall see!
I have started on a full time Artist path in the last two years. I’ve done two group shows at a co-op and found that I was better off marketing myself. My buyers are people who know me or know a friend, and have followed me for the last 4-6 years. I realized that making connections and getting to know more people is the best way. It would be great to have a few patrons ultimately, with whom there is a personal relationship. My goals are now based on creating a direct following, talking personally about myself and branding me with my art.
I’m new to all of this. And taking all into account from everyone’s experience “out there”. My experience so far has been that no matter how good or bad my art might or might not be, ive found people are very,very,VERY , interested in watching your creative process from start to finish, and by being openhearted and inclusive ,( allowing them to ” peek into your world ), and to live vicariously through you, the desire to have a ” piece ” done by you however small or simingly insignificant,becomes a small rageing fire within them! . ( ive done many on the spot sales this way,and people dont quibble price) Because they’ve seen into your heart ( how you soar as they secretly long to do), and feel they can’t( for whatever holds them back) . make no mistake you’re art IS YOU! The encounter with the artist, IS most of the selling point!. If you can learn to make people smile or laugh or bring joy to there kids( I do kids art and cartoons) they WILL not hesitate to ” throw there money at you!!!” I use it all , (I followed Cory’s advice and set up the social media (s) with the back trails to contacts g- mail ,blog, ect. to keep track of customer base). Look; it has not just “fallen out of the sky and into my lap” so to speak, but I have to say I’m glad I did all the footwork so that I can direct those genuinely interested both in me as an artist , and my work, to a place where they can see and enjoy this gift placed in me. And should they desire, purchase and have for there own joy something from my heart to there’s. Break it all down it ‘s about changing and making the world a better place with something you and only YOU can do. IT’S YOUR VOICE, SPEAK!! I tested and guaged response ( and still do) by posting on Instagram, and, twitter, and Snapchat, and Facebook .(these are places to expose others to your art and THEY ARE TO A GLOBAL AUDIENCE!!!). think about that! You can reach anywhere, at anytime around the world ! that’s BILLIONS of people exposed to you’re art!! just think if only 1% bought something!!! It’s not impossible !! To sell enough to “make a living” just believe!! And get off YOUR artistic ASS and take the advice of the abundant artist website and run for the goall line !! It’s up to you !! You want to be a starving artist?? Goo ahead BUT that really is a myth that you have to starve!! Thank you Cory and Melissa!! For pointing the way!!!
I agree with you…I once went to a show and watched a lady painting a picture…it was so pretty and because I SAW her doing it, I just HAD to buy a piece of her art!
Because it was done by an “actual artist”.
Great post Cory. And reassuring. I have fallen foul of a ‘vanity gallery’ now I have a name for it!
My work didn’t sell and I know why, when I was hanging it a couple came in to buy another artists work. The woman manning the shop said that they couldn’t take it away because she didn’t have anything to fill its place! I whispered to her, ‘sell it to them, take their money, call the artist and they will almost certainly have something to replace it!’ You’re right, they have no interest in selling your work. So no more of that for me.
Online, I have sold 1 painting. To be fair I haven’t tried too hard, because I have found getting the material up online very time consuming.
My best sales have been from friends seeing my work and buying and Twitter. Yes, Twitter, I use it a lot and one day a follower emailed me and asked if a painting was for sale. She sent me the cheque straight away. The power of social media.
Competitions, I think these have to be chosen carefully as it is a great way for the organisers to make instant cash! But they may add credibility to your work. But you are right Cory, customers are the best.
It is very interesting, Cory I am amazed to the reaction to what you are trying to do to help us artists in our profession, also the feed backs. As I have said before it is like reading a book giving first class information into the facts of life (in art). I think I will try and create an illustrated diagram map of a plan showing various routes with markings on things that are positive and have been done, and what areas to avoid with recorded comments etc. Also researching new ideas of making contacts and promotions after all it is what all big companies do whatever business service they sell.
I found this article timely and very informative. I good reminder of what’s really important to one’s art career. I have recently discovered your videos and blogs and felt they addressed important key areas of building and marketing art in more current and realist ways.
Actually I have found what you have addressed to be clear sighted and inspiring so much so that it has me focused on what I can do to in key steps that are attainable with out feeling overwhelmed.
It’s the idea of always being willing to learn, adapt and feel the excitement around what I can do as an artist to build a rewarding career, taking the long view, planning and course correct as I progress.
Thanks Cory
thanks for the very good blog, Cory, it’s a copy of my life but I have never given up or ended on the street markets. I have staid true to my work for all my life and I know that a right moment, and that is not an illusion, will come.I have sold mostly large works . It is a new experience trying the e commerce and hope that I will do fine. I think also that traditional Galleries are still the best choice for exposure but very difficult to find. I must think that just going the way with upcoming artists is the wrong way. They have to establish them self first to be truly recognizable . That’s my opinion.
This was so helpful, I’ve been on a few of those paths, and I’ll try to dodge the others. It’s liberating. Thanks!
Hey everyone! Just an idea thats worked for me. Don’t think that art collectors just stay home or go to galleries. A few well jurried city arts markets can get you in front of a LOT of people in just one weekend. A white tent and a booth fee can give you some good sales and some AMAZING contacts for future sales.
Great post Cory!
This article is very informative. Thanks Cory
Thanks for a very informative post, Cory. I’m a total beginner at this, although I’ve been an artist all my life. Will take my time and try to find the right path.
A very informative article and valuable interesting follow up comments. One “False Path” so to speak that I have found was expecting any returns from exhibiting at Libraries. My exhibition in the local library ends today. I do not want to sound as if I am an ingrate. They gave me the space, created two posters and circulated it in the monthly newsletter. No attempt to invite the media or publicize it for educational purposes. The only visitors to my opening were my friends, old coworkers and family. I did not expect to make any sales there, but was hoping for more exposure, and in order to not just be “self serving” I had hoped the community would get some educational benefit from my show, but I doubt it did. So if you just want to feel you have exhibited somewhere, do it, but do not expect great returns from a show at a library.
In response to your statement …”For the most part, juried shows are a distraction from building a long-lasting art business…I have to say that .my biggest break came from a national juried show and landed me two awards. I am now selling my prints through a major publishing house.It took me three years to get to that win but was well worth it. National competitions also help build a solid resume.
Certainly there are some juried shows that are great wins. The challenge for many artists is figuring out which juried shows are worth their time, and which ones are just sucking down entry fees.
Thank you Cory. Lots of insight in this article. I’m 50 at just started exposing my work. I’ve had a long career/sideline as a contemporary music composer, so I have a lot of experience and contacts in the arts industry. My main source of money is a full-time job as an Software Engineer in the financial sector. Not the most hip career out there. I don’t have a lot of time for my work, but I don’t struggle to make a living at it. My work is created my software that I write, so I’m also lucky to have some overlap with my money-making career. I live in the Albuquerque/Santa FE area in New Mexico, which is not a major population center, but does have a thriving arts scene.
I’d be interested in anyone’s opinion of posing oneself as an “outsider”– as someone who doesn’t seem dependent on getting attention as an artist. Is that just a dead-end or could that generate some interest? Rather than discovering some up and coming struggling artist, maybe excitement can come from finding someone who doesn’t appear to care if their work is successful. Just a thought, or two.
Hi Paul,
I am in a similar spot, but have managed to find a career where my art can overlap into my skillset. As a graphic designer, I can make a decent living and have been able to for many years, but even though I have had the opportunity to illustrate some books, as far as selling original art works, my experience has been dismal at best. I joined a local community arts group… but it proved to be a dead end. I had work hanging in a local gallery for two years – no sale. Lots of praise, even did demos, but no sales. I would like to be able to retire within the next 8-10 years and just sell my art. I know that there are better ways to do so, and Cory has some very good suggestions here. I go to local festivals where the artists (locals) have their booths set up and mingle. Get to know them and take some photos of my work, they often are warm, receptive and supportive. That might help you to network a bit. Of course, I too live in a thriving art community near Asheville, NC. That certainly doesn’t hurt! 🙂
Another great article. It gave me good ideas about finding the right path. I do think we have to be active in selling our own work. It’s hard to figure out who and where our market is. But certainly now a days, social media can be a nice path that just didn’t exist 30 years ago. I think we might need to try many paths, myself I think I’m going to try online, some local shows and some local shops, and maybe advertise in specific magazines. And I do think the public likes to know something about the artist and the process so there’s a “story” to go along with their purchase.
Dear Cory!
You are so right about this.
I wish someone would have told me right at the beginning of my career that art prizes and juried shows are almost always a waste of time.
I am more clever now 😉 and therefore I focus on my own path. Your articles give me a lot of inspiration. Thank you!
Laumee
I’m really enjoying this series on the path/”hidden path” of the artist. I am pretty satisfied with my life as an artist and having a decent day job to pay the bills. Each year I make new artistic goals for myself and usually achieve most of them. My problem is that I live in a city with a very limited collector base. I get into plenty of shows locally every year (San Diego) and I have been in a few shows in Mexico and this year will finally be in a show in L.A. But I don’t have that many sales. People love my work though! So, not sure which steps to take next. I keep getting invited to participate in shows, but I almost feel like I’ve reached a career plateau so-to-speak. How does one meet collectors in a collector desert?