A Site for Emerging Artists
Posts tagged launching your career
Top 10 Articles on Artsy Shark this Year
Dec 29th
A countdown of the most popular articles on this blog, by readership, in 2010:
10. Art Website Basics: What Every Artist Should Know – Marketing strategist John R. Math’s excellent article on how to construct an effective web presence
9. A Gallery Director Speaks: What Artists Must Know – Robert Patrick, gallery director and artist advocate gives a 3-part interview about how to present to a gallery, and their inner workings. This is part one – don’t miss the whole series! Here are links to Part 2 and Part 3.
8. How to Fail as an Artist – a tongue-in-check list, with links.
7. What you Didn’t Know About Starting a Greeting Card Line, Part 1 – a primer for the card entrepreneur. What sells; what doesn’t; how retailers work; how to balance your line. This is the first article in a 3-part series. Check out these links to Part 2 and Part 3.
6. How to Sell Your Work to Art Publishers – interview with Harriet Rinehart Flehinger of Bentley Publishing Group. A how-to guide for artists looking to work with art publishers. Business Cycles, what they are looking for, and how to create the right art.
5. How to License Art to Manufacturers – Joan Beiriger’s article on how to create art for the licensing market, plan strategically and approach the right prospective clients. Lots of links to resources.
4. Vision and Strategies for Artists – This is part one of Rhonda Schaller’s outstanding four-part guest article on DIY strategies for artists; alternative opportunities for exhibitions, and taking control of your art career. See also Part 2, Alternative Opportunities for Artists, Part 3, Discover Your Market and Part 4, Strategies for Self-Producing Artists.
3. 25 Ways Artists and Craftspeople Can Market Their Work – a checklist of different ways to sell your work, with lots of links to resources.
2. Greeting Card Biz Insider Secrets, Part 1 – Creative Director Don Ruge’s outstanding 3-part guest article tells you how the card business works, and how to design great sellers, whether as an entrepreneur or licensor. Read Part 2 and Part 3 for the rest of the series.
1. Selling Your Work in New York Galleries/An Insider’s Story – Rhonda Schaller hits a home run again, with a guide to artists who want to sell to top galleries, from a coach, gallerist and pro. How to approach this market, and what you should never do.
Developing Clarity, Intention and Business Strategy
Dec 23rd
The smARTist Telesummit has been around since 2007, but I first heard about it earlier this year from Lindy Gruger Hanson who raved about her experience and how much she had learned. I contacted Ariane Goodwin, Ed.D, the passionate writer and art career coach who runs this learning extravaganza for artists, and we spoke on the phone recently.
The first thing we did was throw out the written questions and simply talk about her vision and her methods. She asked if I had read The Big Leap: Conquer Your Hidden Fear and Take Life to the Next Level by Gay Hendricks, a book which states, among other things, that whenever we break through the ceiling of success, we end up getting sick, hurt, having a fight, or another experience which takes us back to the familiar, the comfort zone, our “cage.”
It is that cage that the smARTist Telesummit is freeing artists from – and shaking it up by taking the artist past their starting point, that exciting place where we make a few sales and realize that others respond to the art we feel so passionate about making. It can come as a shock to us to realize that as we were caught in the momentum, we were turning a corner and starting a business without knowing it.
An artist taking the leap from having a “day job” or other means of support, to a business and then a career, may feel unsure or even scared about marketing and the everyday tasks involved in the business world. They don’t have clarity or intention; their definition of “success” may be undeveloped or not defined at all.
The smARTist Telesummit helps artists create a path for their career. A Vision Questionnaire completed before the event establishes a benchmark from which the artist can grow. A private conference website with a forum – where artists share resources, stories and feedback from each other, as well as have direct access to Ariane – creates community and relieves the isolation so many of us experience. The question “What is Success?” could be answered very differently by the artists throughout their career life.
Historically, artists have existed outside the mainstream, and even embraced this mystique. It wasn’t until the 1970s and 1980s that “artist as businessperson” became a mindset and a model for success in the arts today. Now the next age is upon us.
Ariane says, “The internet has created a different universe with different rules of gravity. Things don’t fall down, they expand infinitely. If you don’t participate, you handicap yourself with self-imposed limitations. Online, every imaginable interest is available. There are millions of people, and you can find the exact audience that resonates with your art in ways never before conceived.”
A Gallery Director Speaks: What Artists Must Know
Oct 18th
By Carolyn Edlund
Artsy Shark is pleased to present Part One of a three-part interview with Robert Patrick. He is currently the Director of Marketing and Wholesale (and in-house blogger ) for Linda Jones Enterprises in California, dedicated to the art of legendary film creator Chuck Jones. Robert has a long history of curating and producing shows, tours and events, including 12 years as a very successful gallery director at the Walton Street Gallery in Chicago. Robert graciously agreed to an interview focused on what artists must know about galleries, collectors, selling, and making presentations.
AS: Collectors need to know about artists to be inspired to collect their work. What information do you suggest artists prepare to inform prospective collectors?
RP: As a matter of course, they should prepare a short, one page biography accompanied by a C.V. (curricula vitae) that would include education, exhibitions, press articles and awards. A current photograph of them, perhaps taken in their studio while they are at work would be an excellent addition. If they are emerging artists, I would recommend an artist’s statement, written in concise terms about what their art means to them, their artistic influences and how they answer the question that is a blank canvas.
If and when an artist begins a relationship with a gallery, it should be an imperative for the gallery owner/director to visit the artist’s studio (if possible.) They should take the time to understand their creative process, their technique, and their intent. The artist should understand that collectors want a story; it can be how & where they purchased a work of art, it may include a story about the art consultant or gallery director, but most importantly they will want to tell their friends why this work of art means something to them. And to do that, the artist must help the gallery by providing insight into what their work means to them.
An artist working without gallery representation is going to have to ‘sell’ themselves to a prospective collector. They are going to have to listen to what the collector is telling them and take that information and show the collector how what he wants is present in their work of art. They should consider comparing and contrasting their work with artists of note (“I’ve been influenced by Cézanne, but what I’ve done is taken his structure and freed it from its formality, making it less rigid and more fluid,” for instance.)
AS: What is the process that an artist goes through with a gallery to establish a working relationship? How is this similar to a sale to a collector?
RP: There are three rules that I believe artists often ignore when approaching a gallery and that I would like to reiterate:
- Carefully consider how your art will fit with the art exhibited in the gallery. If you paint flowers in vases in a photo-realist manner, it’s more than likely that a gallery which shows only abstract or conceptual work may not be interested. Find a gallery that carries work similar to yours. Research the gallery’s artistic philosophy before you submit your work; the internet was made for this kind of search.
- Never submit your art for consideration without following the gallery’s guidelines for submission which are more often than not posted on their website. If they aren’t I recommend a phone call to the gallery and politely ask for that information.
- Drop-in cold calls are unwelcome.
But let’s say, Gallery XYZ has called you after receiving and reviewing your portfolio and they say, “Let’s talk further.” You make an appointment, and then what do you do? They’ve called you for a reason: they like your art; they think it may have a place in their collection. Hurray! But now you have to close the sale. The steps of selling yourself to the gallery are identical to those of a consultant selling art to a collector.
- Greet: I don’t want to change your personality (or for that matter your personal habits,) but I do want to suggest that you take a good look at yourself before you leave the house for this important meeting. Present yourself as you would want your art to be presented. Professionally. Introduce yourself. Shake hands. Look the owner/director in the eye. Smile. Use their name immediately (that way you won’t forget later when you want to ask them to represent you.) Sit down when offered a chair. Be gracious. You may be doing business with these people for a long time (fingers crossed!)
- Mini-presentation: This step, along with #3 Qualifying, may be interchangeable or happen at the same time. It will include idle conversation on topics perhaps unrelated to you or your artwork. The weather, the local sports team, a compliment from you to them about the gallery. This is the time that you want to listen very deeply, your attention focused, laser-like, on everything they are saying (or not saying.) Of course, before the meeting you’ve done your homework on the gallery. Exhibition schedule, frequency of publication of exhibit catalogues, artists they represent, how long they’ve been in business. It’s okay to ask them about their gallery; how business is these days. This could be the time you say how happy you are to be here to present your art to them and how well you feel your work will enhance what they have been doing all these years.
- Qualifying: See above. Steps #2 & 3 are a time for you to establish your reputation, knowledge, ability, interest (as it will be for the gallery.)
- Major presentation: You should be prepared to speak about your work not only in the vernacular that is particular to this business, but also in a way that conveys your emotion and passion for what you do. What does a line mean to you? Why do you use a particular totem or fetish, what that means in relationship to the rest of the painting or works. What motifs are recurrent and why. This is also the time to brag about your successes: awards, exhibits, sales, and collectors of note (corporate and personal.)
- Answer objections: The gallery may not have any objections, but they may ask if you’re willing to paint larger, smaller, make prints, use a different color palette and you should be prepared to answer these questions truthfully, maintaining the integrity of your vision. At the same time you will want to make sure that if by painting on a larger canvas the gallery would be ready to take you on, that you don’t forego the opportunity. You might say something like, “I’ve never worked in that size before, tell me why you feel it would make sense for me to do so,” and listen to the answer.
- Trial Close: Trial closing is an important part of any sale; it is usually a statement or a question that implies ownership. “Tell me why you like my work.” “How do you see my work fitting in with your other artists?” “When could I expect a solo exhibition?” A trial close can happen at any time during your ‘sale’, I always liked to think that my “Hello, welcome to our gallery,” was a trial close.
- Close: Of course, it may not be necessary to ask them to represent you; after all, they called you. But, at some point, after all of the above has happened (or not) you might just ask them what their plans are regarding you and your art.
One caveat about submitting your art for consideration: It may take the gallery two months before they even have a chance to look at your work (the submission guidelines may give you a clue regarding receiving a response.) But I think if you have not heard back from them within 4 weeks, it would be perfectly acceptable to call and ask for your status. Be polite, not petulant (I know you know that, but it’s important to remember that a good, positive attitude will reward you.)
Robert Patrick has agreed to speak individually with Artsy Shark readers who are seeking consultation about pursuing gallery connections and building their art careers. For a free initial conversation with Robert, contact him at rpatrick@lje.com.
Be S.M.A.R.T. about your Art Business
Sep 19th
Artsy Shark is pleased to present a guest blog article written by Aletta de Wal, a career coach and consultant. Her company Artist Career Training has helped many emerging artists plan and execute strategies to build their businesses and put their careers on the fast track! Aletta de Wal inspires fine artists to make a better living making art in any economy. She makes art marketing easier and the business of art simpler.
- Please join me on a FREE teleconference call with Aletta coming up in October.
- ART MARKETING Q & A – Use Marketing Effectively to Grow Your Business!
- October 13, 2010, at 7:30 p.m. Eastern Standard Time, 4:30 p.m. Pacific Time
- Register HERE to join us and be part of the conversation!
Be S.M.A.R.T. about your Art Business
New Year’s resolutions typically fizzle out as fast as the champagne bubbles from the holiday celebrations. You will get more lasting results from a little planning.
It helps to have a system. Artists in the A.C.T. Community learn how to set S.M.A.R.T. goals to focus their business instincts. The acronym S.M.A.R.T. describes how to write your goals so that you have a better chance of succeeding. Each letter directs you to one of the five elements of getting things done.
Just follow the template and soon you will get the hang of it.
| Write S.M.A.R.T. Goals | ||
| S | = Specific | Set your intention and describe precisely what you will do; |
| M | = Measurable | Decide how you will know you have been successful; |
| A | = Attainable | Stretch your comfort zone but not too far that you scare yourself; |
| R | = Realistic | Assess whether you have the skills and the resources required; |
| T | = Timed | Set a time frame to take these actions and review your results. |
Three Rewards to reap for your efforts
Writing S.M.A.R.T. goals has its own rewards, aside from creating a way to manage your year.
- You increase your results. You find previously overlooked opportunities to bring yourself closer to the achievement of your goals.
- You decrease your distractions. You filter out activities, obstacles and people who do not support your desired direction.
- You increase your confidence and your competence. You develop the attitudes, abilities, skills, and financial capacity to achieve what you want. Nothing reinforces your motivation better than getting results.
Three Mistakes to avoid a planning hangover
Every system has the possibility of “operator error.”
- Setting goals beyond your abilities or resources. Being impatient acts like retardant and slows your progress on all counts. What’s worse is that you usually berate yourself for not achieving them even though they were unachievable in the first place.
- Setting goals too low for your career stage. Playing safe sends you (and others) the message that you aren’t very capable or confident.
Growth requires “stretch” goals. - Setting goals without scheduling action. Without an end point, the commitment is too vague. It tends not to happen because you feel you can start at any time. Nothing is achieved without action.
Research has proven that it really does help to write down what you want to achieve. Make sure to add enough sizzle to make it worth giving up chocolate, shopping or whatever else distracts you. Put in enough sensory details that your artist mind can enjoy the process of mining your resolutions for goals. And remember to monitor your progress – it’s half the fun of getting there.
Here’s to your success!
Starting a Greeting Card Line? Here’s Your Bible
Jul 18th
By Carolyn Edlund
Receiving a package in the mail this week with a copy of “Pushing the Envelope” inside by Rob Fortier and Meryl Hooker was a real highlight. Meryl is a rockstar legend in the sales rep business (she wrote a guest blog for Artsy Shark recently) and Rob is the creator and owner of Paper Words, which manufacturers greeting cards and personalized stationery. I knew they had great credentials, but I wanted to see for myself what all the hype was about with their new book.
Having been a card rep myself (and curiously, a direct competitor of Meryl’s in the MidAtlantic), and also having been a self-employed artist with a production jewelry line for twenty years, wholesaling and hiring my own reps, I felt that I had enough experience to evaluate how complete this book is for the new entrepreneur. And guess what folks – I actually learned a thing or two myself!
“Pushing the Envelope” is written in plain English and takes the aspiring greeting card entrepreneur through the whole landscape of setting up shop, and getting ready to have their line exposed to a huge new audience through hiring sales reps. It talks about the challenges and rewards that go along with this important business decision, including:
- How to find and hire sales reps
- Pros and cons of working with reps
- Creating business systems ready to sell to the wholesale market
- Goal-setting, commissions and making a profit
- What to expect at trade shows
- Your company’s online presence
- Industry standards and terms – even a useful glossary
- Growing your business
Even with all this helpful information, it will still take guts, persistence and a passion for cards to make it in this business. That involves a lot of hard work on your part. If you have great ideas, and a willingness to make your business work, stop the presses and invest in this book. It will teach you things no matter what your level – rank beginner to those pros already in the business.
“Pushing the Envelope” can be purchased at www.CenterAisleGroup.com. I highly recommend it to my readers, and ask them to pass it on to others who can benefit as well.
Print
Digg
StumbleUpon
del.icio.us
Facebook
Twitter
Google Bookmarks
Reddit
email
FriendFeed
LinkedIn
Tumblr






Featured Artist Leah Jay



