Art Space Talk: Dan Duhrkoop (EmptyEasel)

EmptyEasel, founded by Dan Duhrkoop, is an online art magazine that contains practical advice, tips, and tutorials for creating and selling art. The goal of EE is to publish helpful information for both new and professional artists—without any of the vague or confusing “artspeak” common to the art world. EmptyEasel helps new or unknown artists reach a wider audience by encouraging ALL artists to use the internet to promote and sell their artwork. Since 2006 EmptyEasel has become one of the most visited advice sites for artists on the World Wide Web.

www.emptyeasel.com

Brian Sherwin: Dan, EmptyEasel is an online art magazine with practical advice, tips, and tutorials for creating and selling art. The site also features reviews of social art sites and other online art communities. Can you give our readers a brief history of Empty Easel-- how long has the site existed and why did you decide to establish it?

Dan Duhrkoop: Sure—I started EE near the end of 2006, so it's been going for just over 2 years now. My original idea was just to share information about oil painting techniques and feature some of my favorite artists, but I began adding art marketing tips and some business advice when I realized that many artists were looking for information on selling art as well as making it.

Then in early 2007 when several big-name art-startups began picking up steam (Redbubble and Imagekind in particular) I started researching and comparing various internet art galleries in addition to my other articles.

Mid-2007 I redesigned and enlarged the site, and opened up EmptyEasel for article submissions. A lot of folks have gotten involved and I've been posting at least one reader-submitted article just about every week in addition to everything else published on EE.

BS: Who is Empty Easel—as in, who are your writers?

DD: All of my writers are also artists: Dianne Mize has contributed a lot of the recent painting tutorials found on EE, Margot Dinardi explains the digital side of things (GIMP help) and Denise Telep covers art marketing, motivation, and a lot more.

I focus most on where to sell art online and how to optimize your blog for search engines, but I also write the weekly featured artist section and dabble in everything, really. I'm working at lining up a few more writers for 2009 as well.

BS: So how can individuals interested in writing for Empty Easel contact you? Are there any specific topics that you prefer to include on the site?

DD: Anyone can submit an article via our article submission form—it's a great way to introduce yourself to a pretty big audience of artists and art lovers while promoting your art blog or art profile at the same time. Every author gets credit for their article and two links back to their own web page.

Suitable topics for EE range from tutorials on any medium (pencil, pen & ink, oils, watercolors, acrylics, etc) to business advice, art product reviews, or just opinion articles that relate to the world of art. Pretty much anything goes if it's on topic, interesting, and well-written.

BS: Dan, you are an artist with extensive knowledge of selling art online. Do you have any general advice concerning online exposure and promotion for artists? What do artists need to know in order to take full advantage of what the internet provides as a tool for success?

DD: You know, you've hit the nail right on the head. The internet is a tool, not a pre-packaged solution. I guess I have two pieces of general advice for artists who want to start selling online. First, it's not going to happen immediately - it may take months or even years to become successful. That's OK though. . . I'm a big fan of the slow and steady approach, and I really encourage my readers to stick with it and make it work. Second, the level of success you reach has EVERYTHING to do with the effort you decide to put into it. No one else will do it for you, but you CAN do it yourself. That's what's great about the internet.

For example, imagine two artists, one who pays for a premium listing on some big online art gallery, and another who does their own thing, blogging each day, posting new paintings, learning about the internet and search engine optimization, and so on. At the end of the year, I'd put money on the dedicated art blogger, not the artist with the premium listing. Effort gets you farther than anything else will, and I know that both from my own experience with EmptyEasel and by looking at other successful artists who have done exactly the same thing.

BS: With that in mind, can you point our readers to any specific articles on Empty Easel that you think would be helpful?

DD: Well here's an article which shows EmptyEasel's own visitor numbers from 2007 and gives a good idea of what to expect from your own efforts if you stick with blogging for a whole year. A while back I also posted some tips for creating an authority art website that are just as true today as they were when I published them in 2008. Both of those articles are great places to start.

BS: In regards to buying and selling art online do you have any specific suggestions? For example, is there anything that an art buyer should look out for when purchasing original art online?
DD: Just little things. . . make sure you know the size of the piece you're purchasing, whether or not it comes framed, and if you're responsible for paying shipping and insurance. See what the seller's return policy is, too, since some artwork can look different in person. You should always be allowed to return the artwork for a full refund within 7 days, if not longer.
That being said, there isn't (in my opinion) a whole lot to worry about when purchasing art online. Most folks aren't trying to scam you, and if they are, you'll probably know it just from looking at their website. Misspelled words, requests for money transfers to Nigeria, hard-luck stories, and anything else that seems shady should be avoided. If you're an art seller, take a good look at your blog or website to make sure that you're not scaring people away yourself. Accepting PayPal for payments is a good way to ease a lot of fears right off the bat.

BS: Can you give our readers some general advice about starting an art blog? In your opinion, why is it important for artists to maintain an art blog today?

DD: If you're just now starting an art blog, my first recommendation would be to go to Wordpress.org and download the files for your own self-hosted blog. You'll need to buy your own domain name and sign up for a paid hosting plan if you decide to go this route, but it's hands-down the best blogging solution anywhere.

Understandably, a lot of artists are a little nervous about buying a domain name and hosting and uploading files, etc. If that's you, I'd point you toward Blogger or Wordpress.com (note the ".com" not .org). Either of those are extremely simple to get started on.

Once you've got your blog you should set up a consistent posting schedule (3 posts per week, for example). At the same time, do whatever you can to start networking online. This may include joining art forums, Twitter, social media sites like www.myartspace.com, etc. Everywhere you join, make sure to leave a link to your blog—especially in forums and blog comments. These are the basic building blocks of internet art marketing. There's a full-length article at EmptyEasel explaining how to develop your own online art marketing strategy if you want more information on how to go about it.

In answer to the second part of your question, the reason why blogging is so helpful to artists is that it gives you an even footing with the big guys out there. Over the course of a year, for example, your blog could easily grow to encompass 150-300 posts. That's 150-300 chances for someone to find your website, and the more posts you publish the more likely you'll be found. When you think of the millions and millions of searches that people type into Google every day, I'd say that it's nearly impossible for a determined blogger NOT to be successful at gaining traffic and exposure online.

BS: What other advice do you have concerning social media marketing for artists?

DD: Don't spread yourself too thin. After 3-6 months of networking and getting your link out there, pull back to your own blog. You should have some decent traffic by that time (a few hundred visitors per day, perhaps) and you can focus on creating high-quality posts and more art. If you've done your social media marketing correctly, others will now be promoting your blog for you.

Of course, if you find that Twitter, Stumbleupon, or some other social site is working really well, you don't have to stop using them. Just start focusing your efforts there towards a specific goal, like getting people to sign up for your blog's email list.

BS: It appears that sometimes fans of specific social art sites and other online art communities are not always happy with the reviews that you post. I suppose one could say that there will always be controversy with criticism. With that in mind, do you see your site reviews as a form of feedback to help those specific sites improve? Have you been known to change your opinion of a site after improvements are made?

DD: I definitely see my reviews as feedback, and if they help spur a company towards better service and better results for their artists, then I'm more than willing to go back and update what I've written.
Ultimately, however, EmptyEasel has a responsibility to the individual artist, not to the big companies—so when it comes down to either writing what I believe and making some people upset or glossing over the truth just so they're happy, I've got to stick to my guns and point out whatever flaws I see (and how to correct them).

BS: In your opinion, how will the internet change the art world of the future? For example, do you think that brick & mortar galleries will eventually catch on to eCommerce and other aspects of the internet that artists have been exploring in mass?

DD: You know, it might be too late for the B&M galleries. Just like the music industry is seeing a surge of independent, self-marketed artists, so is the visual arts community. The power is shifting to the people now, and although we're just getting started, we're learning fast.

If traditional galleries ARE going to successfully transition to the internet, they'll need to start adapting and listening to what both art buyers and art sellers want. The prestige of being shown in a gallery isn't as important to artists as it once was. Now we're looking at page views and sales. We're looking at reach and engagement of our viewers.

Buyers, on the other hand, are looking for everything—all types of art. The internet is simply making it possible for them to find what they're looking for, no matter how obscure. It's a very different world than what it was 20 years ago. With such a large community of artists online who are determined to figure out how to make things work for themselves, I don't see the traditional art establishment catching up anytime soon.

BS: Finally, do you have plans to expand Empty Easel? Can you give us some insight into your future plans for the site?

DD: Well, beyond adding more articles and tutorials, I do have a super-secret project in the works that will be launching within the next few months (hopefully by March 1st). I don't want to say too much until we've finished it, but as you might expect, it's geared toward helping artists succeed online. Anyone interested in learning more about that can sign up for EE's free weekly newsletter and I'll keep you posted on our progress.

You can learn more about EmptyEasel by visiting the EE site-- www.emptyeasel.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews.

Take care, Stay true,

Brian Sherwin

Senior Editor

myartspace.com

www.myartspace.com

New York Art Exchange

www.nyaxe.com

London Calling

www.myartspace.com/londoncalling

Art Space Talk: Alan Bamberger

Alan Bamberger is an art consultant, advisor, author, and independent appraiser specializing in research, appraisal, and all business and market aspects of original works of art, artist manuscript materials, art-related documents, and art reference books. He has been selling art since 1979 and rare and scholarly art reference books since 1982, and has been consulting and appraising for artists, galleries, businesses, organizations and collectors since 1985.

Bamberger has appeared live on CNN's Daywatch, KTLA's Making It (Los Angeles), and KRON-TV in San Francisco, and answered art business questions on New York City Cable TV's Project Art Show. He's been quoted in numerous media including the New York Times, The Wall Street Journal, Great Britain's Guardian Unlimited, Marketplace (National Public Radio), the Los Angeles Times, New York Newsday, the San Francisco Chronicle, Esquire, ESPN Magazine, Real Simple, ARTnews, The Arizona Republic and Wired and has been featured in the Chicago Tribune, the San Francisco Examiner, Kiplinger's Personal Finance, Your Money, and other publications.

Bamberger is the founder of ArtBusiness.com-- a website that provides complete art services, art appraisals, art price data, news, articles, and market information to art collectors, artists, and fine arts professionals

Brian Sherwin: Alan, you are an art consultant, author, advisor, and independent appraiser. You specialize in appraisal, research, and the business and marketing aspects of original works of art. You also have extensive knowledge of artist manuscript materials, art-related documents, and art reference books. Can you give us a brief history of your background in this field?

Alan Bamberger: I began in the art business around 1980 selling old paintings and other original works of art. During that time, I would purchase reference books for my library. That gradually evolved into purchasing duplicate reference books and selling them to other dealers and collectors. After a while, I moved almost entirely into selling rare and hard-to-find reference books on the fine and decorative arts.

My education around art comes not only from books and catalogues, but also from artists, art gallery owners, and other fine arts professionals. During this time, I also became a member of the Antiquarian Booksellers Association of America and the International League of Antiquarian Booksellers.

BS: You maintain www.artbusiness.com. Can you give us a brief history of the site? Why did you decide to create it?

AB: My original idea for www.artbusiness.com back in the late 1990s was to use it as an online portfolio of sorts-- to show samples of my writing-- in hopes of getting more writing jobs. Putting the writing samples online was easier than sending them in the mail (how writers used to query publications back in the good old days). Anyway, I realized when viewing my website statistics that quite a few people were finding the site and reading my writings, so I started putting more and more of my articles online. That's pretty much how things started.

BS: You have written about the art business since 1983. How has the art market changed in your opinion since that time? Would you say that it is easier to be successful as an artist today due to the advent of the Internet?

AB: I think the main ways the art business has changed are that knowledge is easier to come by and, more significantly, that artists can expose their work internationally with little or no effort. This is particularly advantageous for artists who do not live in major national or international art centers, but have talent. And some artists manage to get known simply by establishing online presences. This was not possible just a few short years ago.

BS: What advice do you have for artists who strive to gain exposure online? Do you have any marketing tips for artists who are focused on selling art online?

AB: A few quick tips-- price your art, have plenty of contact information, make your art easy to buy (accept credit cards, Paypal, etc), don't show a lot of sold work, show your most recent work, don't show a lot of old work (particularly if your current art is very different). I have several articles for artists online about how to approach internet selling like this one for example-- www.artbusiness.com/webworks.html.

BS: What about art collectors? Do you have any general advice for art collectors concerning buying art online?

AB: Know what you're buying, know who you're buying from, don't buy big name art at online auctions like eBay unless you are an expert in whatever artists you're shopping for, make sure you can return whatever you buy if it turns out to look different than it looked online, read and get informed about what you're buying before you buy-- not after.

BS: Can you point our readers to any specific online articles that they may find of interest concerning these topics?

AB: I have plenty of articles for collectors online here-- www.artbusiness.com/collectors.html. And my book, The Art of Buying Art, covers everything collectors need to know about how to buy art. It's easy to understand and anyone who buys art can benefit from it.

BS: Giving the state of the economy… do you have any general advice for artists, gallerists, and others who are focused on the business of art?

AB: Selling art is more challenging now than it's been in quite some time. It's important for anyone selling art to demonstrate the value of that art-- not necessarily in terms of dollars, but also in terms of meaning, significance, and similar intangibles. People buy art because it enriches, beautifies, and enhances their lives. Be able to show how your art (or art that you're selling) does that. Here's an article that kind of sums it all up-- www.artbusiness.com/osoquunewec.html.

BS: Speaking of the economy, there has been some debate online concerning the potential for brick & mortar galleries embracing the internet for an alternative way of selling art. Many traditional art sellers scoffed at the idea of selling art online during the 1990s. Have you observed a change in opinion concerning this as far as gallerists are concered?

AB: Yes. The large majority of galleries have online presences. In fact, some galleries and dealers sell almost as much and sometimes even more art online than they do out of their physical galleries. An online presence is particularly beneficial to galleries that sell art by artists with national or international followings-- avid collectors scour the market for the art they collect, and the internet is one of the best ways to get a quick overview of who's selling what.

BS: Speaking of the art world in general, do you have any concerns about the art world at this time? For example, there has been a lot of debate concerning the potential of orphan works legislation being passed. What are your thoughts on that issue?

AB: I can understand both sides on this one, but I am for the legislation because of the incredible difficulties entailed in figuring who, if anybody, holds the rights to reproduce so many works of art from all nationalities and all time periods. Of course, the person reproducing these works must do due diligence in this regard before reproducing them. That must be made very clear in any such legislation-- and the penalties should be significant for those who don't.

BS: I understand that you are a member of the Association of Online Appraisers. Can you give our readers some insight into the goal of that organization?

AB: The goal of this or any appraiser organization is to educate, promote uniform standards of appraisal, and to give everyone access to professional appraisers, not only for art, but for all forms of personal property, and not only for purposes of insurance, inheritance, donation, and the like, but also for buying and selling. For example, a gallery might represent a work of art as being a bargain when in fact it is overpriced.

When you don't know that much about what you're buying, it's always a good idea to consult an appraiser first-- for a no-conflict-of-interest second opinion. Likewise, private parties who are considering selling art need professional opinions as to how much it's worth before offering it for sale.

BS: What about other organizations and projects that you are involved with. Would you like mention anything about them?

AB: My main project these days is comprehensively documenting the San Francisco art scene with exhaustive coverage of gallery shows. It not only helps artists and collectors now, but I also intend it to be an archive for the future. This May will mark the sixth anniversary of this project which I began in 2003. Over the years, I have also volunteered my time and knowledge to help several local non-profit organizations.

BS: Where can our readers purchase your books online?

AB: You can read brief chapter summaries of The Art of Buying Art here-- www.artbusiness.com/basynop.html
You can order a signed copy of the book here-- www.artbusiness.com/bookorder.html

BS: Finally, is there anything else you would like to say about your profession? Any closing advice for buying or selling art online?

AB: As someone who knows a lot about art and how the art business operates, I can't stress enough that when you're just starting out as a buyer (or seller), talk to professionals, educate yourself, and get second opinions as required before going ahead with purchases or putting art up for sale in the marketplace. It is simply too easy to make very expensive mistakes when you don't have that much experience.

In closing, I'd like to say that it is my great privilege and pleasure to work with as well as serve artists, dealers, collectors, and creative people everywhere. My main goals in life are to make art more accessible to everyone, and to help everyone-- buyers, sellers, and artists alike-- to do whatever it is that they want to do.... better.

You can learn more about Alan Bamberger by visiting the Artbusiness.com website-- www.artbusiness.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
New York Art Exchange
www.nyaxe.com

Basic Advice for Promoting Your Art Online

Basic Advice for Promoting Your Art Online

It is important for an artist to think like an online entrepreneur when it comes to promoting his or her art online. One must be relentless if he or she desires to be successful selling art online. Thus, it is important to devote time to online promotion. In the past I have discussed several effective ways to promote art online. Below are some of the topics that have been discussed on the Myartspace Blog in the past. This list is in no way complete, but it may be helpful to artists who are new to promoting their art online. Feel free to comment with any advice that you have.

Join social art sites -- Joining social art networks, such as myartspace.com , is an effective way to promote your art online. A successful social art site will normally have a high traffic ranking-- which can potentially bring traffic to your personal website if you have it listed on your social art site profile.

These online art communities are different than mere art registries due to the fact that they utilize aspects of social networking-- such as the ability to leave comments-- and often involve an onsite messaging system so that users can communicate with each other on the site. This form of interaction can be vital as far as promoting your art is concerned.

Social art sites can be very useful if you are selling art online. Most social art networks offer an eCommerce platform. There are hundreds, if not thousands, of social art networks to choose from. Each site will offer different opportunities. However, some social art sites have limitations compared to others. For example, Artwanted.com currently sets a limit as to how many images a free user of the site can upload per month-- in order to have unlimited uploading capability on Artwanted you must become a Premium user. Other social art sites, like myartspace.com, offer unlimited uploading to free users.

It is also important to remember that some social art sites have a general community theme. For example, deviantART.com tends to promote fan art-- art involving characters from popular cartoons, movies, and graphic novels-- so it may not be the best site to promote yourself on if you are a fine artist. It is also important to remember that the level of professionalism varies from one site to another. Some social art sites cater to young teens while others are designed for career-oriented adults.

Join social networking sites in general -- Joining social networking sites like Myspace.com and Facebook.com can be an effective way to promote your art online. Most of the top social networking sites allow you to create groups and fan pages. Thus, you may consider creating a group for your art along with a fan page.

The interaction you have on social networking sites can potentially introduce your art to individuals who may not frequent social art sites. In other words, by being active on sites like Facebook and Myspace you may open doors to potential buyers who you would not have met otherwise. You may also meet curators and members of the press who can give you advice.

Establish a newsletter (e-Letter) -- Establishing a newsletter is a very effective way to promote your art online. Companies promote their products and keep a steady flow of traffic coming to their website by utilizing this tactic. The business-minded artist should take advantage of this marketing strategy by adding interested individuals to his or her newsletter or by offering a way for individuals to subscribe to the newsletter if they desire.

There are three things to remember when establishing a newsletter. 1.) Regulate how often you send updates-- you don’t want to annoy your subscribers by flooding their inbox. 2.) Remember to offer a way for subscribers to unsubscribe if they desire-- work within the law. 3.) Stay on topic. The newsletter is about your art... not the movie you watched last week.

Create an art blog -- Maintaining an art blog that is focused on your practice is an effective way to promote your art online. As I have mentioned on the Myartspace Blog in the past, Blogger and Wordpress are two good options to consider if you decide to create a blog for your art. It is important to post regularly if you decide to take this route for promoting your art online. Strive to post at least two entries per week-- if possible try to post daily.

Maintaining an active blog can be a great way to increase the traffic ranking of your personal website and art social network profiles that you maintain. Using sites like Pingomatic.com can help you to spread your blog across the World Wide Web like wildfire. You may also consider using social networking sites like Facebook and Myspace to further exposure for your blog. Twitter.com is also a good option to consider.

My advice is to keep your art blog focused on art. Write about your art practice, post images of works in progress, post press releases for any exhibit that you are involved with, and write about issues that concern you within the context of the art world. Remember that writing about fellow artists can be helpful as well-- they may even decide to write about you.

Utilize social bookmarking -- There is a reason why most websites offer social bookmarking tabs-- it is an effective way to promote the site and is also an effective way for site users to promote their interests. This is important for an artist who desires to promote his or her art online. By utilizing social bookmarking you can increase traffic to images of art that you have uploaded or increase the flow of traffic to your art blog. The possibilities are only limited by how active or inactive you are in promoting your art online.

Participate in art forum discussions -- Participating in art forum discussions can be a very effective way of promoting your art. There are many online forums that focus on art. Wetcanvas.com is a prime example. You will also find art forums on social networking sites such as Myspace. Many online art communities have forums as well. Some art forums focus on specific themes or forms of art-- the forum on Conceptart.org is a good example.

Remember to take advantage of your art forum participation. An effective way to drive traffic to your personal website or art profile is to include a link to those respected sites in your forum signature. In other words, each comment that you leave increases exposure for your art online. You never know who may discover your website while visiting the forum.

Other Art Advice Articles:

Stop Complaining and Focus on your Online Presence!

Just another starving artist?

Should I send a gallery a link to my art or images of my art by email in order to be considered for gallery representation?

How can I make a living off of my art?

Should I invest in my career?

How do I market my art?

Should I be worried about my images being 'stolen' online?

The Artist Statement

The Art Portfolio Serves Many Purposes

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace
www.myartspace.com
NYAXE
www.nyaxe.com

Advice for promoting and selling your art online

Below are some suggestions on how to improve your online presence-- these suggestions can be helpful in planning your strategy for promoting and selling art online:

1. Post links to your art!

Include a link to the art site(s) that you are using on every profile that you have-- every site that you are involved with. For example, if you have a profile on www.myspace.com or www.facebook.com make sure to include links to the sites where your artwork can be found. Thus, if you have an account on www.myartspace.com be sure to include that link on your Facebook or Myspace profile. If you are managing a New York Art Exchange (www.nyaxe.com) store from your myartspace account be sure to include your store link on those sites as well.

You will also want to include a link to your art on every post that you make-- be it a blog entry or comment on social networking sites. Be sure to include links on any email message you send or reply to. You can even use html code in order to place something like 'View My Art Here' or 'Buy My Art Here' on your profiles so that people will click on 'View My Art Here' or 'Buy My Art' in order to be taken to the site you desire people to view.

2. Build multiple online networks to promote your art!

Build networks on sites like Myspace and Facebook. By building networks on several social networking sites you will be able to use each of those sites as a vehicle for your art. Most of these sites will allow you to send links to several people at once in the form of bulletins, shared links, or group messages. Take advantage of that! However, don’t abuse it. You don’t want the site to mistake you for a spammer nor do you want to annoy people. Sending a weekly update about your development as an artist will suffice. If you are selling art online you may want to inform your networks of new listings. Maintaining social networks is a great way to reach hundreds or thousands of people at once.

3. Write about your art!

Use a service like www.blogger.com or www.livejournal.com in order to create a blog/journal about your art. Post entries about your art, exhibits that you will be involved with, and your thoughts about the direction of your work-- include links to your artwork on every entry that you make be it a comment to another user or a journal entry about what you ate last night. Do the same on any art site that you are involved with if they offer blogs or journals. As mentioned before, it is always good to end an entry with your name followed by the links you desire to promote.

Remember that you don't always have to write about yourself. Anything you mention in an entry can help improve your placement in search engines. If you associate yourself with a specific artist, style, or movement be sure to write about that and the connection you feel that you have. By doing that your name may show up on searches for those respected influences on search engines like Google. Again, by including your name and links to your art on these entries you will greatly improve your search placement. In other words, each entry will help improve your online presence. Remember that establishing your online presence will improve your chance of selling art online.

4. Alternative press is a good thing-- Seek it!

Seek out art zines that may feature your work online. There are hundreds, if not thousands, of these to discover-- and don't dismiss art blogs! As you can tell by my interviews(www.myartspace.com/interviews) artists from all walks of life and stages of career have found value in what bloggers, such as myself, can provide as far as exposure is concerned. I've interviewed artists who are virtually unknown and artists who have had their work sell for over a million dollars at auction. These artists may not share artistic direction or financial status, but they all share an acknowledgment of what online exposure can accomplish and a desire for the recognition that the Internet can provide.

Many art bloggers will be more than happy to make a post about your art if you contact them. Sure, you may desire to be covered by a major art magazine... but until that day comes-- if it comes --the art blogosphere is the next best thing-- if not the best! An art blog article, review, or interview can bring a continuous flow of traffic to your website for years to come if you include links to your art. In other words, an article about your art on an art blog will most likely be viewed by more people than an article about your art in a magazine. Recognition is just a few clicks away! The times have changed.

5. Combine efforts, work together with fellow artists!

Forming an alliance of sorts with like-minded artists can benefit you greatly as far as online exposure is concerned. If you admire the art of your friends be sure to include a link to their work on your profiles and make sure that they do the same. Working together you may decide to create a profile, blog, or website that represents all of the artists involved in the group. A page that includes links to each respected members art is of great value-- especially if each member includes that link along with their personal art links when posting on the sites they are involved with.

Art groups have popped up all over the net alongside self-declared art movements. Artists unified under a common goal-- in many cases exposure for each member --have worked with great success on auction sites and other online resources. There are other benefits to a union like this... for example, if you are unable to find time to go online you will know that your name is still being spread by your friends. Gaining exposure online can sometimes be a battle... it may very well be a fight that is best not fought alone.

6. Find the time to promote your art online!

Some individuals feel that the Internet is an addiction best left avoided. However, if you want to gain exposure for you art-- both online and offline --you really need to find enough time to promote yourself. Spend some time each day posting links to your art, uploading images of your art, commenting on the work of others and building networks on the sites you are involved with. A half hour of concentrated promotion of your art each day will really pay off as the years go by. After-all, you can't build your online presence if you are not online.

One of the best ways to promote your art online is to maintain a blog that is focused on your artistic practice and interest. If you are actively writing about your art on a blog you will be able to take advantage of Search Engine Optimization (SEO). In other words, you will increase your chances of being indexed by search engines. Again, this is time well spent.

7. Avoid throwing money away on 'how-to' art marketing books!

Don't waste your time and money on 'how-to' books that are focused on gaining exposure for your art online. I'm sure there might be some that are worth your time and cash, but I've yet to find any. That money is better spent elsewhere for your online marketing/exposure efforts. For example, you could spend the money on website construction or a premium account on www.myartspace.com. There are many online art communities... find the one that works best for you.

I've mentioned my dislike for 'how-to' art marketing publications in the past and have received some delightfully angry responses from authors of these types of books. Why do I say to avoid them? Because they are often over-priced for the information they contain-- information that is often not current with the times and that contains 'helpful' links that are no longer active... which is not very helpful at all-- especially when a $19.95 price-tag is involved!

I take this position because if you do a Yahoo or Google search for 'art marketing advice' or 'gaining exposure for your art online' you will most likely discover everything mentioned in these books and more-- for free. True, those books may contain personal experiences that the author has had researching (note, researching) online marketing and exposure tactics, but more often than not you will discover that the author is not an artist and therefore has not had any direct experience marketing or gaining exposure for art online.

Many of these books are also written by authors who have a business motive hidden within the pages of their book-- that being their $100+ per month art consultant service which is often mentioned in one of the final chapters. This is why I take a hard stance against these books and in many cases their authors-- and before you say that I have a motive note that I make it very clear that I write for www.myartspace.com. Also note that you did not have to pay $19.95 to discover that fact. Also remember that membership on myartspace is free. Premium service on myartspace is just an option.

Instead of buying a collection of art marketing books you would be better off researching online art marketing and exposure on your own. Discussing marketing and exposure tactics with other artists that you meet online is also a great way to discover free information about promoting your art online. The only thing it will cost you is the price of internet connection and time.

In closing, there are many things you can do to promote your art online. Each step can improve your chances of selling art online. This includes, creating free accounts on every art site that offers free membership, creating a blog or two about your art, using social networking sites to build a network, posting links to your art on art forums, and if you must invest money, invest it in a personal website or paid-membership on an art site that you deem worthy of your hard earned bucks.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

how to gain exposure for your art online

How to gain exposure for your art online

It is common for me to receive dozens of questions each month concerning advice on how to develop or improve online presence. There are many artists who want to improve exposure for their art by utilizing the Internet. The problem is that most do not know how to do it efficiently. True, there are many books about this subject on the market. However, there is also a world of information online that one can obtain without cost. It all starts with a simple search.

Search ‘online exposure for art’, ‘how to gain exposure for your art online’, or any number of combinations and you will most likely find some useful information. Google searches for ‘art business’, ‘art market’, or simply ‘online exposure’ can also be helpful. Below I will provide some general advice about obtaining exposure and creating presence online for your art.

One of your main goals will be to obtain traffic to your personal art website or the profiles that you have created on online art communities such as www.myartspace.com. This is a task that will involve some organization if you desire to do it well. Thus, be prepared to spend 15 minutes to an hour each day updating specific online efforts and posting links. The sacrifice of time is minimal when compared to what can be achieved.

Many artists make the mistake of thinking that the effort involved in gaining exposure and presence online is a one trick pony. These artists will create profiles on select online art communities or create a personal website thinking that alone will build their online presence. They create a personal site and online art community profiles-- but fail to update or promote them. Again, that tactic is a one trick pony that will have mediocre results at best. It is kind of like going to the gym only to leave shortly after setting up equipment. In other words, creating a personal website or online art community profile is just the starting point.

True, those minimal efforts will certainly help with online exposure and presence, but it is not an efficient way to establish yourself online if you allow them to gather cyber dust, so to speak. In order to receive a steady flow of traffic to your art online you must spread your links like wildfire on the World Wide Web. There are several ways to go about it. For example, if you visit an online forum you will want to include a link to your main art site at the end of any comment you make. Often there will be a space provided for the URL. If so, use it! This goes for Myspace bulletins, Facebook messages, Livejournal entries, blog comments… and so on.

You can also take advantage of email. When you write or reply to someone you will want to include links below your name at the bottom of your message. That will hopefully spur curious readers to visit your personal website or the profiles you have on online art communities. Email can be a powerful tool for gaining exposure. Especially if you establish an e-letter in order to keep family, friends, past buyers and other interested individuals current about your art practice, exhibits, and updated about your website and online efforts.

My point in all of this is that you can't simply create a personal website or community profile for your art thinking that the site(s) alone will do all the work for you. True, having your work on any site will bring visitors to your art, but you need to do some work yourself in order to maximize that traffic. You need to have your name and links to your art on as many sites as possible. You need to pass those links on whenever the opportunity arises. Remember that there is nothing wrong with promoting who you are and what you do. There is no room to be shy-- especially when we are talking about the internet.

On a side note, artists also need to think about Search Engine Optimization (SEO). That is a topic that I will go into further detail about in the near future.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

My Art Advice: Contacting an Art Dealer by Email

If you read this blog you know that I sometimes give advice on what artists should not do. I know, I know, we are all focused on what we should do-- like gaining exposure online, social networking, and creating the best art that we can. However, many artists make simple mistakes that can reflect poorly on their professionalism. An example of this is contacting an art dealer whom you don’t know personally in the hopes of gaining gallery representation. Edward Winkleman, a gallery owner and art blogger from New York, recently posted a perfect example of why artists should not contact art dealers by email in this manner. Winkleman handled the situation well in that he could have criticized the artist harshly for sending random solicitation. To read the story please visit Edward Winkleman’s blog, HERE .

It does not surprise me that an artist would contact Ed out of the blue. It happens to art dealers often and is commonly viewed as desperation. As Winkleman points out, the action sends a red flag message that the artist in question may be more trouble than he or she is worth-- professionally speaking. After all, art dealers are like anyone else in that they don’t want to take on the extra burden of an artist who is desperate or insecure. In other words, it is not an art dealers business to improve the esteem of a hopeful artist.

As I’ve mentioned before this issue is very delicate. Most people, including art dealers, don’t want to offend someone concerning the caliber-- or lack thereof-- of their art. Thus, contacting an art dealer without knowing him or her creates an awkward situation for both the art dealer and the artist. Most art dealers are likely not to respond to the unsolicited message-- which furthers the doubt the artist may have for his or her art. Unfortunately, lack of response spurs some artists to send even more unsolicited message. It is a lose-lose situation for the artist. In other words, this form of solicitation is almost always met with failure. Therefore, it is important for artists to not give in to the urge.

Most artists desire to be represented by a gallery-- specifically a gallery in New York. With that said, there is a key step to remember when pursuing gallery representation-- be it in New York City or anywhere else for that matter. So what is this step? Simple. An artist will want to attend openings at the gallery he or she is interested in. The artist will want to learn everything he or she can about the gallery-- attending exhibit openings can be one of the best ways to do that. Thus, it is a good idea to take that step before contacting anyone at the gallery by email.

While attending exhibit openings you will want to keep an eye out for the type of work that is displayed at the gallery. If possible, try to speak with artists who are already exhibited at the gallery and be friendly to the gallery staff. You want to become a familiar face without being overly familiar-- such as sending an email that is doomed for failure. In a sense, you want to know exactly what you are hoping to get yourself into-- you want to know if it is right for you. Simple conversations can help you to find out if you are right for the gallery and visa versa.

As I have mentioned on this blog before, getting to know people and being friendly I does not mean that you should go up and say, "I really like this space. Are they looking for new talent?" or "Can you get me in here, my work is great!" to everyone you meet! Just enjoy yourself... be yourself-- leave the 'I'm a brooding artist' or 'I'm better than this place' persona at the door. If needed imagine yourself as a ronin observing the force that you are interested in joining. In other words, silence is a virtue and speaking when spoken to-- or when the opportunity arises-- is always a good tactic.

In time you can slide the fact that you are an artist into the conversation, but keep it short. Business cards that contain a link to your personal website or accounts that you have on art sites like www.myartspace.com can come in handy if a conversation goes well-- be prepared! Don’t be afraid to ask for the art dealers card after you have become a somewhat familiar face. You may even want to ask him or her if it is OK for you communicate by email just to observe the reaction on his or her face. Just remember that fake smiles are often a business trait of the profession. If you don’t believe me simply attend an art fair as a member of the press and you will know exactly what I’m talking about.

As mentioned before on this blog, the question of when to contact an art dealer by email reminds me that the world wide web is sometimes a double-edged sword for artists just as much as it is for anyone else. On one side you can cut yourself short by annoying galleries and other exhibiting venues by emailing them random information about your work. On the other side you can carve out your career by building your presence online. In regards to this question, be careful which way you swing the blade-- especially if you are just starting out. Artists want to land gallery representation, but that does not mean that every gallery wants to be baited by a thousand emails from hopeful emerging artists each day-- yep, you are not the only one contacting them.

Before you send a random email to a gallery about your art remember that there might be hundreds of other artists doing the same thing at the same time. What will happen? You will most likely have your email marked as spam or blocked. If you are not blocked and you continue to send messages about your work you will most likely become an inside joke at the gallery rather than land representation. I’ve seen that happen. Worst case scenario... you will annoy the person on the other end and they will end up telling their associates about you. Word can travel fast and in the art world-- even on the most basic level --everything is about presence. You want to put your best foot-- and face since you will be attending exhibit openings-- forward. You do not want to create obstacles by sending an unsolicited email message. Annoying gallery owners can be career suicide depending on the status of the gallery and the disposition of the owner.

Artists often forget that a gallery is a business. In fact, the business side of being an artist shares some similarities with the business of running a gallery. For example, an artist tends to not want someone to barge into his or her studio-- the same can be said for art dealers who are just as focused on their work. An artist probably does not want to deal with unsolicited email messages and the same goes for art dealers. Remember that an art dealer does not display art simply for the viewing pleasure of visitors. No, the art dealer has paychecks to write and lights to keep on-- it is a business just like any other. While it is true that galleries need artists to run their business, you need to remember that they already have a stable of artists-- they need art, but that does not mean that they need your art.

You might be thinking, " If that is the case, why do the galleries have their email listed if they don't want artists to contact them?". Do you want the truth? In most cases a gallery has their email listed for two reasons. 1.) They can send out exhibit information to their email list from that account. 2.) A random collector can write to them with questions about an artist that the gallery represents-- though most will call the gallery before writing them. Having an email address listed does not mean that the gallery is offering an open invitation to hopeful artists. In fact, the important email address are rarely listed on a gallery website.

There are always exceptions. Some galleries want artists to send examples of their work by email. Many of those galleries have ads in art publications stating that fact (just as galleries that do not want artists to send samples of their art by email will often have some fine print-- sometimes BIG print --stating that they do not read unsolicited messages under their contact information!!!). As stated, I think it is better for artists to attend openings at the gallery they are interested in instead of sending a desperate email to the gallery about their art and the possibility of representation. As I mentioned before, there could be thousands of artist worldwide sending emails to the gallery with the same desire. As artist wants to be a face in the crowd... not a random name listed in the galleries email inbox-- or trash bin for that matter.

Some of you might be saying, "But I live hundreds of miles away! Sending an email is my only option!". Well, if that is the case you might want to ask yourself if you want to be represented by a gallery that you can't visit in person at least once per month, especially if you are new to the scene. With a ton of luck your email effort might land you gallery representation, but if you are not able to actually visit the gallery you will not know if your work is actually in sight of gallery patrons or somewhere in a backroom waiting to be pulled out when-- and if --someone wants to view it. That is not to suggest that galleries are shady, but they do tend to cater to the needs of represented artists who can actually visit the gallery often. Thus, you might want to focus on exhibiting opportunities near you or at online venues that specialize in giving opportunities to artists who would otherwise be isolated.

Keep in mind that I'm mainly talking about city galleries. Rural galleries might have a different outlook on 'view my art' solicitation sent by email. With that said, I still think that getting to know more about a gallery in person, no matter where the gallery is located, is the best choice for an artist if he or she is seeking gallery representation. As always, I suggest seeking regional success before going after the big dogs. Yes, there are some advantages for artists who do not live in one of the hubs of the art world-- I'll save that for a later topic.

Also, remember that you do not exactly need to rely on brick & mortar galleries ... you can always represent yourself by utilizing sites like www.myartspace.com, www.youtube.com, and www.myspace.com as tools for exposure. Remember that most of the artists represented by Steve Lazarides (he represents Banksy and Mark Jenkins, among others.) started out by spreading their influence online. My point-- Don't sweat over gallery representation. Don’t make a fool of yourself or place yourself in an awkward position by contacting art dealers you don’t know personally. If gallery representation happens, it happens. If not you can always go it alone.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

The Art Portfolio Serves Many Purposes

The Art Portfolio Serves Many Purposes

It is often suggested that it is imperative for an artist to maintain an art portfolio in order to document his or her growth as an artist. Gallery owners and curators tend to expect it. An artist who presents his or her work with a well maintained art portfolio is more likely to obtain gallery representation and more apt to be included in other exhibit venues. This is due to the fact that by having a portfolio reviewers will have an idea of where the artist is going with his or her work. In other words, it is assumed that the artist is serious about his or her art if he or she takes the time to document it in a portfolio. It is also a lot easier to transport photographs of specific works rather than the work itself. That is the basic reason for having an art portfolio. However, I would like to make some points that focus on other positive reasons for maintaining an art portfolio.

The art portfolio speaks for the artist: I’ve been around long enough to know that people, in general, don’t like to speak about their talents. We tend to be humble about what we are able to do. Part of this is due to social conditioning that dictates that to state your skills or talents is a form of bragging. Thus, professionals from all fields often avoid direct discussion of that manner. Therefore, maintaining an art portfolio may very well do most of the talking for you when meeting with gallery owners, art collectors, and other interested individuals. If anything the portfolio will serve as a point of discussion-- a focus on the work itself.

The art portfolio serves as a point of reference and reflection: Maintaining an art portfolio can be a great source for future reference and reflection. With a portfolio an artist can easily observe his or her past works during the throws of the creative process. In that sense the documentation contained in the portfolio may very well serve as a point of origin for future works upon reference. The portfolio also allows an artist to reflect upon what he or she has accomplished visually-- which can come in handy when one is in a creative rut or feeling a bit unworthy to continue. Looking back on documentation of past works can be a good motivator for further exploration. It says, “This is what I’ve done. I can push it more.”.

The art portfolio can serve as documentation (your best friend) if legal issues arise concerning ownership of your art: Maintaining a portfolio that contains photographs of your past work can become a legal cannon that can blast would-be art thieves who attempt to infringe upon your protected works. It would be very hard for an infringer to claim that he or she owns the rights to the work when you possess the work or know who purchased the work AND have a portfolio to back your claim as well. Trust me, if someone tries to profit off of your creations you will want to be ‘packing’ some form of documentation. If you have one of the more expensive portfolios there will most likely be areas for you to keep other documentation as well concerning each piece-- where it has been exhibited, where it has been published, if it has been purchased-- that is represented in the portfolio. Do it!

In closing, having an art portfolio can serve an artist far more than its basic function of displaying examples of your work. A portfolio containing photographic documentation of specific works can help to make a good impression when the actual art-- paintings, sculptures, what have you-- is not available for direct viewing. However, the portfolio can also help the artist to communicate efficiently, reflect upon and reference past works, and protect ownership rights during legal disputes.

Links of Interest:

The Artist Statement
www.myartspace.com/blog/2008/09/my-art-advice-artist-statement.html

The Artist Statement… Again
www.myartspace.com/blog/2008/10/artist-statementagain.html

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Avoid Pipe Dreams: Visual Artists need to take Advantage of Reality

Avoid Pipe Dreams: Visual Artists need to take Advantage of Reality

I recently read an article about the struggles that artists tend to have due to their choice of being steadfast in their artistic practice. The article strengthened the stereotype of the ‘starving artist’ image by blaming everything from a lack of parental support to specific politicians for the downfall that so many artists have experienced when it comes to failing to exhibit or to obtain grants. While it is easy to blame social, economic, and political conditions for the struggle that artists may endure I think it should be pointed out that people who do not explore their creativity endure some of the same social, economic, and political strife. Many of us are in the same boat regardless if we paint, sculpt, and so on. Those outside factors do contribute to the problem, but they are not the only reason for the problem. In fact, some of the hardships artists face happen because of their lack of action and their failure to take advantage of opportunities that are within reach.

The article suggested that every artist should be funded by the government in order to work fulltime on art due to the lack of available opportunities. While that is a wonderful fantasy it simply is not realistic nor should it be considered the only solution. That fantasy will never happen and if it did it would be twisted to the point that it would hurt the creative community as a whole. For example, if the government were to support every visual artist they would no doubt have to implement policies that would decide who is an artist and who is not. In that scenario they would probably regulate museum and gallery exhibits as well-- meaning they would have to dictate what is art and what is not. Thus, a plan like that would never be efficient and it would do more harm than good to the creative community. To put it bluntly, be careful what you wish for!

While I would like to see the government do more for visual artists in general I will not allow myself to fall for the fantasy mentioned above. I accept the fact that I will never be able to paint fulltime on the governments (tax payers) dime year after year. I think it is time for more artists to face this reality and to accept it rather than live in a world of pipe dreams and noble fantasies. While my words may seem harsh I can promise you that they are backed by the experience of what I‘ve observed from peers. For example, I know that many artists do not take advantage of what is already offered by the government and art organizations that support artists. In a sense, they avoid-- or fail to act on-- available opportunities. Thus, in many cases artists are ‘starving’ due to their own lack of ambition and failure to take initiative as well as responsibility for their art and practice.

I have heard countless stories of hardships from peers. While I do have empathy for their struggles I can’t help but place those struggles under a scope. Further investigation often reveals that a mirror lifted to their face provides the best answer as to why they have experienced failure. Upon listening to their hardships I often ask them if they have pursued grants or local exhibit opportunities-- the answer is always “no” or “I did not think about that“. Thus, I think that is the main problem with this situation. Artists need to take advantage of reality. They need to take advantage of opportunities that are within reach rather than being encumbered by the fantasy of total support. This involves making time to step outside of the studio in order to network and to discover opportunities. Fortunately, many art opportunities can be discovered online which makes the task more convenient.

If you are reading this there is no excuse for not being able to find art opportunities in your area. Do some research online and you will no doubt find regional exhibit and grant opportunities as well as national exhibit and grant opportunities. Take advantage of what you find. Look into it! Avoid pipe dreams and reach for what you can realistically grasp.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

My Art Advice: The Artist Statement

I’ve received several questions concerning the need for having-- and the frustration of writing-- an artist statement. This is a topic of interest to me. I find the fact that there is debate over whether they are of importance or not to be fascinating. It amazes me that there are so many people with strong opinions involving the composition of a relatively brief text-- in some cases less than 100 words. I think the blunt of the loathing is due to the fact that an artist statement demands a lot from the artist writing it. The artist statement is pushy-- it demands that the artist justify his or her art and to reveal the intended purpose of said art. In other words, the artist statement can push artists out of their safe zone. This is very true when you consider that most people are their own worst critic. That said, I think writing an artist statement is important for that very reason. Artists need to critique themselves.

Writing an artist statement forces an artist to critique his or her practice and artwork in as few words as possible-- few words that can say a lot. One could say that writing an artist statement demands the artist to expose himself or herself to a tightly controlled frame of writing that spurs self-reflection. Almost as controlled as some of the brief conversations we may have about our art during chance introductions if there is an opportunity to do so. In that sense I think the artist statement can be a powerful tool in developing the ability of an artist to communicate verbally about his or her art during certain encounters. Writing an artist statement can help prepare an artist for situations when he or she may need to speak clearly and concisely about his or her art. Stumbling with your words can make you appear foolish, correct? Writing an artist statement is the perfect training ground for learning how to speak about your art without pause. Thus, I think it is good practice to write an artist statement-- to tackle what may seem difficult-- even if the artist never reveals the statement to anyone else.

I’ve noticed two opinionated sides when it comes to the need for an artist statement. The supportive side will claim that the artist statement is of importance because it helps guide viewers so that they have a better understanding of the art they are viewing. In the extreme people will go as far as to say that the artist statement is a reflection of how well the artist in question can communicate both verbally and visually-- implying that an artist who writes a poor artist statement is at least partially discredited as an artist-- as in the validity of his or her art may also be questioned.

The opposing side will claim that the artist statement is not necessary because the artwork should be the statement. People who oppose artist statements generally feel that the statement can become a distraction as far as the artwork is concerned. In the extreme those who oppose artist statements will go as far as to say that the statement is an insult to all visual artists because it cheapens the value of visual language by projecting the idea that visual art fails to communicate openly with viewers.

Regardless of your opinion about writing an artist statement you must acknowledge the importance of having one in the sense that artists are often required to submit a statement in order to be considered for an exhibit or to apply for residencies and other forms of financial or material support. Thus, it is often necessary to write them and to write them well. The artist statement is not going away any time soon as near as I can tell. Thus, artists need to consider that at some point they may have to write one. So why not just get it over with and do it, right?

There are good ways and bad ways to write an artist statement. The success of an artist statement, based on my experience, often depends on what the artist leaves out. I’m not going to claim to be an expert on the subject, but I will say that I’ve read thousands of statements as the senior editor for Myartspace. Thus, I have a few suggestions. Avoid cookie-cutter statements! It might be OK to observe a sample artist statement, but don’t simply change a few words and call it your own. Chances are that others have had the same idea. You risk appearing very unprofessional. Instead, try to write a statement that is unique. Just be honest. For example, if you don't talk with 'big words' in person try not to use them in your statement. You want your statement to be a reflection of who you are-- not what you can look up.

With the above in mind, you should also avoid services that provide a statement for you. If you do a few searches online you will find companies that offer artist statement services. If you are stressed out about an artist statement you might be tempted to use those services. DON’T. It will not look good for you if people find out that you hired someone to write your statement. If exposed you risk damaging your reputation… especially if you try to use that statement when applying for a residency or school. You must also consider that most likely those companies shell out cookie-cutter statements in the first place-- all warning signs scream SCAM. Save your money while securing your dignity at the same time!

In regards to writing your artist statement there are other issues to avoid within the context of the statement itself. For example, don't mention your childhood unless it is relevant to your work today-- and even if it is be careful about going into details. People don't care that you picked up your first crayon at age 1 nor do they care if you started drawing circles at age 3. The same goes for mentioning grade school art awards or even high school art award-- no one cares! You would be surprised how many artists mention these rather trivial events as if they are markings of genius -- and they are trivial. Who cares. Including pointless information like that will make it appear as if you are mentioning your childhood because you have nothing else to speak of. Again, if your childhood is relevant to the art you make today… make the mention of your childhood relevant in your artist statement!

Avoid bravado charges such as, "I was born an artist!". How do you know that you were born an artist? Can you remember thinking that far back? Did you come out with a brush in one hand and a palette in the other? Perhaps you had a tiny camera in your hands? I think it is safe to say that there are millions of artist statements containing the ‘born an artist’ line. Again, you want your artist statement to be unique AND to be taken serious.

Some other things to avoid concerning your artist statement:

1. Depending on the situation you want to avoid "I try", "I want", or "I hope". You want to avoid them if it makes you appear negative or insecure about your art. For example, you don't want to say "I hope that the viewer will see...", you want to say "The viewer will see...". You want to use words that show that you are the master of your work instead of your work being the master of you. You want to show that you are in control and that you have confidence in your ability. Just be wary of coming off arrogant. It is a balancing act.

2. Avoid projecting the idea that your work alone can change the world. Even if your art has a positive message you will want to avoid being overly positive-- as in sappy. "My art will bring love to the world" or "my art will bring peace to the world" should NEVER be in a statement-- and yes I have seen statements containing lines like this. You will find that most people will not take that serious. You don't want to come off as if you think your art will change the world because at that point you have to defend the reason why you think your work is so great and so inspiring compared to hundreds of years of art history and compared to other contemporary artists-- which number in the millions if not billions.

3. Avoid the superhero/mystic complex. Don’t mention things like, "my work is magical", or "as if by magic", or “my art has the power to” because most people simply won't buy into it. They will simply see it as fantasy. You may honestly feel that your art is magic or that it has power-- maybe it does-- but that does not mean that you should mention that in your statement-- especially if you are writing it for an application. I suppose it does depend on the context. Still, you would be better off mentioning those things in your other art writing instead of your artist statement. Be tactful.

4. Avoid being the leader of your own rebellion. The rebel image has worked for several artists, but that does not mean that it will work for you. Thus, you should probably avoid mentioning things like, “my art is a revolution“, or “I’m searching for a new art!“, or “my art will awaken the masses”. Honestly, can you defend your art as being the art of tomorrow? Can you honestly say that your art is a sign of the direction the art world is going? Can you say that your body of work will cause a revolution while keeping a straight face? I hope that you can defend all of that.

5. Avoid pointless information about your process. You should focus on the here and now when writing an artist statement as far as your process is concerned. You want your statement to be fresh-- to reflect what you are doing now. For example, there is no point in mentioning that you worked in a different medium a decade ago unless it is relevant to what you are doing now. If you were a painter who now focuses on sculpting there is really no reason to mention your experience as a painter unless it is directly linked to your work as a sculptor. You don’t want to confuse people about what exactly it is that you do today. In other words, you don’t want them to ask “where are the paintings?” when they should be concentrating on the sculptures you have been creating for the last decade.

6. Avoid displaying an outdated artist statement on your website. I see this often. Someone will have an artist statement that they posted a few years ago on their website only to tell me during the interview process that the statement is no longer a valid representation of their current art. If your artist statement is no longer valid you should probably update it with one that is. In that sense, your artist statement is an on going process. You can’t simply write it, post it, and forget it without causing confusion at some point.

7. Avoid remarks that readers may find offensive. For example, if you have a degree in art you probably don't want to come off as if you think that you are better than the next artist because of that fact. The same goes if you consider yourself a self-taught artist in that you don't want to downplay the education that others have received. Avoid mentioning things like, "as a self-taught artist my work is more pure", or "as a self-taught artist my art has not been stained by art school". You never know who will be reading your artist statement and you don't want to get off on a bad start by offending someone who does not share your elitist views-- whichever side they fall on.

In closing, artist statements come and go. Your statement should change as much as you do. After all, it is a reflection of who you are and the work that you are creating at this time. Thus, it is vital to keep your artist statement up to date. Don’t post it online, use it for an application process, or hand it out at an exhibit if it is not relevant to your current work. Remember that you don't have to lay everything down on the line with your artist statement. It should not be considered the final answer as to who you are or what your art is about. In fact, it should spur readers to ask further questions about your art and process. View your artist statement as an open invitation to the reader to learn more about you and your work. If anything you may want to write an artist statement simply to document where you were at with your work at a specific time.

Take care, Stay true,

Brian Sherwin
Senor Editor
www.myartspace.com

Art Competition Fraud: The Art of Cheating?

I read a story today about a dispute between a model and a photographer. Disputes between models and artists are not all that uncommon, but this one involved an art competition so it caught my interest. The model claims that the photographer entered a photograph involving him into the competition without permission. Apparently the model was upset because he is nude in the image and feels that he is being punished for something he did when he was ‘young and wild‘. The contract/release between the model and photographer-- if there even was one-- may not be an issue as far as the competition is concerned. However, the fact that the model claims that the competition entry that included him was created over a decade ago is an issue. That information is important because the competition clearly stated in the rules that all entries must have been created in the last year. If the claim is true that would mean that the entry is fraudulent.

There is more to this story. The model-- perhaps out of spite-- is calling for the photographer, who won a top slot in the competition with the photograph in question, to be stripped of his award. If the photographer knowingly violated the terms of the competition that may very well be the solution. However, the facts are not out yet on this story and the competition rules were not exactly clear in the article. Thus, I’m hesitant to mention names because of that lack of information. I can’t say that someone is guilty until I know the facts, right?

For example, what if the photographer-- depending on what the rules implied and the understanding the photographer had of said rules-- simply photographed one of his old photographs? If the rules simply stated that the work itself, as in the creation of the photograph and not what is depicted in the photograph, must be no more than a year old would an act like that be considered cheating? Would it be an exploitation of the rules? Or should it be considered a legitimate new work of art if that is the case? After all, in that scenario the new photograph may very well fall into the accepted time line, correct? That said, the facts surrounding this dispute, based on the article I observed, are not exactly clear.

This story caused me to reflect on two concerns. The first being the rights of models with or without a contract/release and the second being the fact that some artists are willing to cheat or manipulate rules in order to help their chances in art competitions-- artists that practice the art of cheating, so to speak. If an art photograph of a nude person from years ago harms the reputation of that person today how should it be handled in your opinion? If there is proof that an artists has ‘cheated’ or manipulated the system, so to speak, in an art competition how should that be handled by the competition sponsors or others involved with the artist-- such as the gallery representing the artist? Should the artist be widely exposed for his or her deception? Should legal action be taken? What are your thoughts on these issues?

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

My Art Advice: How can I make a living off of my art?

Q. I am writing to you, as I need some advice, and I hope you can help me. I am an artist, predominately a painter/sketch artist, and have been exhibiting frequently for the past two or three years. I have multiple websites, online galleries, and have joined many artist networking sites. My activity has gained a fantastic response for my artwork. And that is great! It keeps me optimistic. However, I am having a major issue with sales, or lack thereof. I can't seem to sell anything! I wouldn't dare say that it's not worth it to keep pursuing my dream of making a living from my artwork. My ultimate goal is to be able to quit my day job, though I'm not expecting to become a millionaire. I just don't know what I am doing wrong here.

I calculate the cost of a piece by cost of supplies, size of the piece, and time spent on each. My range is from $75 to $2,000 per piece. I advertise constantly, physically and online, but I just can't seem to get a sale. Any thoughts? Words of wisdom? Anything you may be able to provide is greatly appreciated!

A. I’m concerned about your price range. Being consistent with your price range is a must. The range you mentioned has a fairly wide gap. Thus, I’m wondering how many works are in the $75 to $100 range compared to the number of works that you have priced $1,000 and up. More often than not artists will hurt the foundation of their marketing plan by charging more for pieces that they feel a strong personal connection to. Emotive pricing can quickly become an obstacle that blocks your goal. $75 here, $150 there, followed by $1,000 and another piece for $4,375 may look good on paper, but in the mind of someone interested in your work the wide range of prices may cause some confusion-- leaving them to ask what exactly they are paying for compared to the next piece.

True, every piece you make is personal to a degree, but if you are pricing works that you are really attached to for $2,000 or more you may very well be pricing yourself out of the range of what most people are willing to spend-- especially if you have yet to make a name for yourself with a consistent history of selling your art. In other words, you might want to think about not selling certain works if your attachment to them results in prices that are several hundred dollars more than paintings that you are willing to let go for $75.

If you want to make a living off of your art you need to be business-minded. One of the basic rules of business is to buy low and sell high. Thus, you should think about your expenses and find ways to lower your financial burden. For example, if you work with expensive materials you might consider downgrading to something that is more affordable so that your art can be more affordable when you sell it online. Save the expensive paints for works that you plan to exhibit in brick & mortar galleries-- and just so you know, you always want at least 20 good paintings on hand for when you land an exhibit.

There are other ways to save money-- and if you plan on living off of your art you will want to save as much money as you can. For example, if you paint on pre-stretched canvas you may want to learn how to stretch your own. Paying between $5 and $10 for each 16 x 20 pre-stretched canvas that you use can add up really quick. In other words, you can save thousands of dollars per year just by learning how to stretch your own. You may also consider experimenting with other surfaces that are cheaper than canvas. These choices will allow you to price your work lower while still making a profit. Again, save the good materials for the art you plan to exhibit in brick & mortar galleries or until you establish a base of collectors who are interested in your more expensive works.

You will want to keep your business face on at all times, so to speak. That involves following your intuition and preventing yourself from spending money on services or information that you don’t really need for your marketing plan. For example, avoid the ‘how to make a living off of you art’ books-- I can‘t stress that enough. I know people who have spent hundreds of dollars on those books only to find out that they could have learned some of the same information online for free. Most of those books are written by ‘art coaches’ with the full intention of luring readers toward their services-- this is not football… you don’t need a coach. However, you may need a team… so remember to help your peers out where you can so that hopefully they will return the favor in your time of need.

Now for the most important advice I have for you-- Don’t jump the gun at the first sign of success. The last thing you want to do is to quit your day job only to discover that your art is not making enough to pay your monthly expenses. You have big dreams-- but forcing those dreams to happen is not worth the loss of your car, home, or anything else. Success rarely happens overnight. Even if you have success you must realize that making a full-time living off of your art is always a gamble. However, there are other options. For example, if you work full-time you could try to save some money up so that you can work part-time instead. With that option you will still have a sense of job security-- and hopefully some benefits-- while allowing yourself the extra time that you need in order to focus on your art, your marketing, and your dream.

On a side note-- if you take that option you may consider applying for a part-time job at an art supply store-- that way you can obtain discounts on art materials in order to further lower your expenses. Also, you may want to consider selling prints instead of original work-- just know that finding an affordable printing service can be tricky. Just remember to have a little nest egg saved up no matter what you decide to do.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

My Art Advice: Just another starving artist?

Q. I’ve created art for over a decade and have an MFA to back my professionalism as an artist but I‘ve not had any real success. I can’t believe that I’ve devoted so much time, money, and resources only to be another starving artist. I don‘t want to waste time exhibiting in galleries unless they represent artists that are on the same level as me academically. Do you have any advice for people in my situation?

A. The first step is to stop thinking on terms involving the ‘starving artist’ image that you have accepted for yourself. The problem with the ‘starving artist’ image is that it is a romanticized view of what it is to be a painter, sculptor, what have you, who is struggling to establish a market for his or her art. It has become an easy to obtain label that many people suggest should have some form of respect granted to it. In other words, people decide that if they can’t be a successful artist they might as well address themselves as a ‘starving artist’ because it sounds better than accepting failure directly. In my eyes, calling oneself a ‘starving artist’ can make an otherwise creative lion appear to be nothing more than a paper tiger. Do you want to appear weak? Or do you want to accept your assumed failure and advance from there?

Artists rarely accept the fact that they can fail-- you are not alone in that regard. Some choose to sugar coat their lack of success by accepting ‘starving artist’ as some form of noble title-- at least that is what I‘ve observed. Thus, I think it is vital for artists to accept their marketing failure and to try and figure out why they have failed. You need to think about your marketing plan and ask yourself questions based off of your experiences. Yes, you will need to critique the business of your art if you desire to overcome the label that you have willingly embraced. Instead of thinking like a starving artist you need to think like an entrepreneur as far as marketing your art is concerned. For example, if brick & mortar marketing has failed you perhaps online marketing is a better option-- or vice versa. Many artists who have not had success in brick & mortar galleries have went on to have great success marketing and selling their art online-- it can happen. You need to discover what works for you and not let your MFA get in the way-- more on that later.

Before you think about your plan of action as an entrepreneur you must first think about your idea of what failure and success is to you. For example, if your idea of success as an artist involves exhibiting at a high profile gallery, having a group exhibit with Damien Hirst and Tracey Emin, or earning millions from your art there is a chance that you will never reach your vision of success. Waiting for those dreams to become reality will only serve to place you in the confines of constant failure-- you will end up restricting yourself and in the end you will place your art under the lock and key of dreams that will most likely never come true. Thus, you may need to rethink your position concerning art marketing success so that your goals are attainable… and dare I say, realistic.

Being realistic about your art and your market will involve conditioning yourself to take advantage of situations that you may-- with your current train of thought-- view as mediocre experiences. To put it bluntly, you need to get over yourself and realize that perhaps your work is not ready to be marketed on a high profile scale-- you must accept that you may never reach that level. True, artists reach that level everyday with little to no experience backing their movement in the art world. However, you need to remember that you are not those people and that you may not have the same experiences they have had-- so take advantage of the experiences you could be having instead of waiting for your big day to come.

Unfortunately, the fact that you have worked on your art for over a decade does not matter as far as marketing your art is concerned. It is not like you work to a certain point before the golden gates of marketing success open with trumpets blaring in the background. I know artists who have worked for decades with little to no marketing success simply because they adhered to the ‘staving artist’ mentality as you have apparently done. They stayed in that safe zone waiting for a miracle. They failed to realize that any success is good success and that the success we have is largely based on the actions that we take. On the other hand, I’ve known artists who have established themselves in less than five years due to accepting opportunities that were within their reach. Forgive my bluntness, but it seems that you need a wake up call before you end up on the Island of Starving Artists waiting for a ship that may never arrive.

You have an art degree. Great. I’m sure that you worked hard to earn your MFA. Education is important and you can utilize what you have learned and the connections that you have made to advance yourself toward marketing success. However, you must realize that not everyone views an MFA as a sign of professionalism. In fact, your bold statement could be seen as arrogance or insecurity-- take your pick. If you are as vocal about your MFA in person as you are with stressing that fact in online messages I can see why you have found it difficult to market yourself.

No, I’m not suggesting that your MFA is worthless… I’m simply pointing out that it should not be the sole point that you make in order to validate yourself as a ‘professional’ or as an artist. Be careful of doing that. It may work in some circles that view an MFA as the end all-be all of accomplishments, but more often than not it will do more harm than good if you make that accomplishment your strongest pitch, so to speak. In other words, sometimes stressing the merit of your professionalism based on your educational experiences-- which I assume occurred years ago-- can make you appear unprofessional in certain situations. Especially when you downplay the work of other artists simply because you hold an MFA and they do not.

I realize my answer is probably not the answer that you were hoping for. I try not to cater to fantasy. So if you feel that my response is rude that only means that maybe, just maybe, I’ve given you some things to think about. Where you go with that is up to you.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

My Art Advice: Should I invest in my career?

My Art Advice: Should I invest in my career?

Q. I’ve been working two jobs saving money so that I can buy a larger house. Lately I’ve been thinking that I should invest some of that money into my art career as well. I’ve known other people who have done this and the outcome was good. One friend opened a gallery and has been very successful with it. She has a studio in the back room and displays her art in the other room. What advice do you have?

A. You have to remember that investing in anything is a gamble. I’ve not seen your work so I can’t tell you if your career investment is a viable solution for successful expansion, so to speak. I also don’t know how much money you are talking about. With that said, there are a few things you should consider before deciding what to do with your hard earned money. First, there are ways to gain exposure without investing money-- though you will need to invest time. Second, you need to have some honest feedback about your work before you make a leap like that-- family and friends will always say that they “love’ your art, but that does not mean it will be marketable elsewhere. Most importantly, what worked for your friends may not work for you.

There are many ways to gain exposure online for your art without investing a dime-- aside from Internet fees-- and I assume you already have a computer and access to the Internet. Do you have an online presence? Do you interact with online art communities? Even if you are a novice with a computer you can still do many things online that will help establish or strengthen the market for your art. Years ago art professionals scoffed at the idea of selling art online. Some have yet to get over the stigma of past online failures as far as the art market is concerned. However, times have changed and there are thousands of artists earning a decent profit by selling art online or selling with the help of connections they have made online. Needless to say, I’d invest time before money if I were you.

Create free accounts on sites like www.myartspace.com, www.facebook.com, and www.myspace.com so that you can network with artists, curators, and potential buyers. Posting videos of your process on www.youtube.com can also be a very good way to gain exposure-- just try not to be tacky about it! You will be surprised how many curators and collectors can be found on the Internet. Just make sure that you focus on building good rapport-- you don’t want to be annoying nor do you want to appear desperate. “Hi, I’m an artist. Will you represent me” or “Hi. Would you like to buy some of my art.“ is NOT a good first impression offline OR online. Again, I don’t know every aspect of your situation-- maybe you already have a market for your art? If you have already established an online presence I suppose there are a few ways you could invest in your career. However, regardless of what you do you will still need to network with other artists and curators-- and doing that online is the most time effective option.

You might consider opening your own exhibit space like your friend. However, there can be unwanted consequences from doing that. The simple truth is that artists who run galleries almost always end up being just an art dealer-- and more often than not they become shoddy art dealers. Running a gallery-- even if it is just for your art-- is very time consuming. Even with assistants it can eat away at your day. How much time does your friend actually spend in her studio? How does she define success-- financial wealth or simply the joy of doing what she wants to do? Are you prepared to socialize instead of working on your art? Are you prepared to cancel plans due to the need to have regular business hours? Can you handle creating art, running your space, and working a day job as well-- in your case two jobs? Again, I don’t know the specifics of your scenario, but these are issues to consider.

If you do open a gallery you may also want to consider the geographic location of your gallery. You will want to open a space in a community that is known for supporting art. For example, having a gallery in a small town is not a financially sound choice in the majority of cases. You will also want to consider the expense of running a gallery-- utilities, shipping, fine wine for all… and so on. In the end you will be investing more into your exhibit space than your initial investment. Running a co-op in which you share the burden of monthly expenses with fellow members might be a solution for that. However, if you take that path you must come to terms with the fact that your art will not be the main focus of the space-- which may defeat the purpose of your original intention. Running a co-op gallery can be a MAJOR hassle… especially when half the members decide they can’t pay dues all at once.

There certainly are some things you should definitely avoid as far as investing in your art career is concerned. For example, don’t allow yourself to be seduced by vanity publications. True, those publications might end up in the hands of potential buyers, but your art will also end up in the same pages as artists you may not want to associate with. In most cases anyone can be published in a vanity art publication simply by paying the fee. Those publishers often do not care about the quality of the art submitted as long as their own wealth is increased. The outcome can be very embarrassing-- do a few searches online about vanity publications and I bet you will find hundreds of horror stories. Vanity art publications will not validate you as an ‘artist’. They are more apt to become an obstacle later down the road as far as success is concerned.

What about your studio space? Do you have enough room? If you buy a larger home, as you mentioned, you will hopefully purchase one that allows you room to create in comfort. Buying a larger home might give you the opportunity to create the studio space that you have always wanted. If you are working in a space that you enjoy you will most likely be more productive. A larger living space will also allow you to invite more guests if you decide to host an open studio visit or something along those lines. In that sense, a larger home might be the best investment you can make for your art career and for your lifestyle-- though one could say creating and selling art is a lifestyle, correct? Just remember to set aside a specific area for your studio.

Another thought… if you honestly want to invest some of the money you have saved into your art career why not use it so that you have more free time? Perhaps you could drop one of your day jobs or simply work less hours? Having some money in the bank will no doubt take away from some of the stress of economic woes. Instead of being worried about bills you can focus on your art. In the end you will have to rely on great art in order to be successful. Again, I don’t know your situation and maybe that is not an issue for you, but it is something to consider. The extra money could also be used to explore new materials or to buy extra supplies for your creative purpose.

To sum this up… it is your dime, your time, and your decision in the end.

Take care, Stay true,

Brian Sherwin

The Myths of Gallery/Artist Relationships: Biting the Hand that Feeds / Feeding the Mouth that Bites

The Myths of Gallery/Artist Relationships: Biting the Hand that Feeds / Feeding the Mouth that Bites

It is safe to say that most of us have heard an artist complain about a gallery owner or a gallery owner complain about an artist at some point during our art careers (even if you don‘t view it as a career). Others have no doubt read horror stories online-- specifically on forums and blogs devoted to art-- involving a disgruntled artist who is unhappy with his or her gallery. The same dialogue-- reversed-- can be found on the other side of the aisle-- with gallery owners and staff ranting about experiences they loathed involving artists they once represented. Both parties tend to post their frustrations anonymously. The remarks fueled by said frustration can enforce negative opinions about the artists and gallery owners involved in these rants. They can also strengthen the mythical image of the gallery/artist relationship in popular culture as well as the stereotypes of ‘the artist’ and the “gallery owner” as dictated by popular culture. These myths have teeth and both artists and gallery owners are sometimes more than willing to bite-- more than willing to spill their share of the bad blood.

We all know the mythos of the gallery/artist relationship-- that it must be filled with some form of hellish drama and that the ‘artist’ is almost always on the receiving end of the emotional and financial beating stick. The majority of novels, films, and other forms of media that depict this relationship do so in a negative manner such as this. The ‘artist’ is seen as a rebellious hero or heroine caught in a position that threatens his or her passion-- his or her drive to exist. The gallery owners are depicted as heartless, passionless vampires who strive to suck the creative blood of their victims in order to obtain financial and material success. Needless to say, popular culture dictates that the stability that should arise from gallery representation eventually causes instability for these societal underdogs. Sadly, people tend to associate with this manner of thinking when debating the gallery/artist relationship and when dealing with the reality of their own situation regarding galleries in general.

One outcome of this media enhanced myth is that the image of ‘the artist’ and the ‘gallery owner’ and their failed or complicated ‘relationship’ tends to sway the opinion that people have concerning galleries and artists in general. The consensus online (which is why I’m writing about this topic) seems to be that gallery owners are the natural enemy of artists. I’ve witnessed this manner of thinking on art blogs and forums on several occasions. It even played out in the comments at Ed Winkleman’s blog not long ago after he released an artist from his stable. Again, the majority of the negative comments were made anonymously.

Based on my experience it seems that a countless number of artists, most of whom have never experienced gallery representation to begin with, habitually rant about the exploitive nature of gallery owners as if they were booted by a mainstream gallery just the day before. They fall victim to the myth. They get angry by the myth. They show their teeth over the myth. There is no doubt in my mind that this apparent hatred stems from the myths that have been created and shaped by movies and other aspects of popular culture that I’ve mentioned.

The negative myths of the gallery/artist relationship can be dangerous for artists and gallery owners-- as well as for how the public views both. These myths can enforce an attitude that leads to a lack of opportunities and total cynicism-- specifically in the minds of emerging artists-- because said myths fail to reveal the one truth that artists and gallery owners tend to share in that they both want stability and success. I would go as far as to say that the negative myths concerning this professional relationship has caused many to unknowingly accept a defeatist approach to career advancement in the professional art world-- which is no advancement at all! In other words, if we can’t respect both the positive and negative aspects of our work… why should anyone else?

Popular culture teaches us that galleries are to be feared and that the motives of gallery owners should be questioned. Instead, we should be learning how galleries work. We should learn how they function and remain open. We should take note of how they remain successful and respected. We should remember how they benefit their artists… and most importantly, how they benefit each other within the context of the gallery/artist relationship. On that same note, gallery owners who have experienced difficult artists should remember that not every artist shares those same traits. True, there are petty artists and petty gallery owners. However, those same conditions can be found in any profession. Biting at each other with harsh words is not exactly the way to go about understanding our shared desires.

I think part of the battle that I’ve observed-- both offline and online-- is due to how closely related one is to the other. No, I’m not talking about the obvious need that one has for the other. I’m referring to how close our paths are as far as our work is concerned. Your average gallery owner has many things in common with the average artist. Both work long hours for something they believe in. Both do something that the majority of the population would never consider doing. Both are faced with financial burden based on the career choices they have made. Both rely on a degree of networking and positive exposure in order to position themselves for career success. Few have assistants. Few have great wealth. Both desire-- for the most part --to be published and reviewed. Both must endure criticism. Both must make some form of investment--be it time, money, or both-- in order to gain ground. Both fight to keep a roof over their heads. Both hope to still be doing what they are doing five years down the road. Both can be drained physically and emotionally by their work. Both have bouts of doubts-- though they may not acknowledge it to others. In other words, one could say that the majority of artists and gallery owners live very similar lives.

Perhaps that is why so many artists and gallery owners seem to snap back and forth about this issue? Perhaps that is why we choose sides? Could it be that artists and gallery owners are so close to being the same in ideology-- in work ethic and ambition-- that they will always endure some form of professional or personal conflict-- a conflict enforced by aspects of popular culture and the myths that stem from that source? The myths of old revealed the flaws of humankind--- the burden of professions and passions. Perhaps that is what we fear and why we react as we do? Perhaps that is why so many rant without adding anything new to the dialogue and with no willingness to understand the position of the other. Perhaps this is why both sides sometimes ban together like a pack of wolves to the slaughter. Is this clash over the gallery/artist relationship as troubled as I assume? Or have I fell victim to the myth in my own way?

Don't get me wrong. I realize that both artists and gallery owners can have good reason for their opinions and concerns. I understand that some artists are poorly represented based on gender, age, and other factors that should not matter as far as the message their art conveys and the respect that it should have-- just as I understand that some gallery owners try hard to endure professional relationships with artists who are reckless, to say the least. However, it does seem that these concerns have been beat into our minds to the point that we come to expect those specific outcomes no matter who we associate with. The evidence of that fear can be discovered in the conversations we have, the rants that we read, and the opinions we overhear.

Consider this an open debate about gallery/artist relationships. Feel free to offer your experiences as far as this issue is concerned. Anonymous posting is an option if you wish to prevent yourself from being identified.

Take care, Stay true,

Brian Sherwin
Senior Editor
www.myartspace.com

Adel Abdessemed Exhibit Spurs Bill to Stop the Harm of Animals in the Name of Art

Adel Abdessemed Exhibit Spurs Bill to Stop the Harm of Animals in the Name of Art:

A committee in San Francisco’s city government has introduced a bill with the hope of stopping the abuse, suffering, or death of animals in the name of art. The proposal is a response to a video installation by Adel Abdessemed which involved documenting traditional methods of food production in Mexico. The installation contained graphic imagery involving the death of six farm animals. The installation, which went on display at the San Francisco Art Institute, was canceled abruptly after the artist and others involved with the exhibit received death threats from animal rights extremists. The exhibit involved several sponsors, including the Andy Warhol Foundation.

The bill is still in the process of being drafted. If the bill passes artists who have harmed animals-- and anyone funding or housing the work --will be charged with a misdemeanor or felony. My understanding is that the bill will make it clear that artists can be criminally charged even if the work is ‘created’ in another country where harm to animals is not considered an offense. I have also read that it will be illegal for artists to take advantage of conditions that permit the death of an animal. For example, if the bill passes it would be illegal for an artist to photograph or record a pet being euthanized by a veterinarian-- assuming a vet would allow that in the first place.

Supporters of the bill are concerned that artists will create works that involve harming animals simply to gain the same media exposure that Abdessemed accomplished-- regardless if he wanted it or not. I think the bill is a great move. However, I’m sure there will be some buzz against this bill before everything is said and done. It all depends on what exactly the bill entails-- and how it develops over time. I can see how the bill could end up-- or trigger-- more harm than good if it is not carefully observed.

For example, politicians hoping to win the favor of animal rights groups and other supporters of the bill may push the bill beyond its original intention. That is why people need to pay attention to how this bill shapes. You never know what direction a new bill can take. Will it prevent hunters from having ’trophies’ mounted? Will it prevent grannies from having Fido stuffed? Are those not forms of expression in their own right? Will the bill be strictly against artists who utilize images of abused, suffering, or dead animals that they have caused or taken advantage of as a means of expressing an idea / concept… or will it result in fictional depictions of abused, suffering, or dead animals being illegal as well? I don’t think people will be happy if a student ends up in a youth detention center because he or she drew a cartoon of a dead animal in his or her notebook.

Again, I think the bill is a good step if it is done in the right way. However, politicians tend to drop the ball at the worst of times. At the same time I realize that some people feel that attacking any form of expression is wrong no matter what ethical standards are violated. What are your thoughts on this bill and the Adel Abdessemed exhibit?

(On a side note, I contacted the David Zwirner gallery in April hoping to schedule an interview with Adel Abdessemed. I wanted to offer him the chance to give his side of the story and to discuss his motivation for the installation. Unfortunately, the Press Assistant for David Zwirner informed me that Adel was not interested.)

Take care, Stay true,

Brian Sherwin

My Art Advice: Is Creativity linked to Mental Illness?

Q. I've been told that there is a link between creativity and mental illness. In school we learned about Van Gogh and other artists and how their mental illness enhanced their artistic ability. I've found some blogs that discuss this. Is there any truth to it?

A. This is a question that I can sink my teeth into-- it is also a topic that needs to be explored in detail rather than the half-baked theories that one can find scattered througout the net about this issue. I have some thoughts about the link between creativity and mental illness, but I can't promise you a clear answer. I do hope that a good debate will come from this.

As you may know, I have two main interests… art and psychology-- specifically mental illness and the insane. In many ways art and psychology share a strong connection. One could say that you can’t explore one without exploring the other. Thus, it goes without saying that I enjoy reading about both and how they may or may not be linked. However, I am often alarmed by the material I find online that attempts to prove the link between creativity and mental illness-- articles suggesting that all artists are mentally ill and that great artists are insane. I am also alarmed by the number of people who tell me about their experiences in school learning about artists like Van Gogh, the mental illness that they had, and the assumed connection between creativity and mental illness. Thus, I would like to know the opinions of others about this subject. Do you think there is a link?

As for me, I know from personal experience-- having worked with mentally ill individuals-- that one could easily establish a link between creative prowess and mental illness or complete insanity, but that is not to say that the link would be based on fact nor would it be an honest reflection of every artist. In my opinion, these links often serve no purpose other than to enforce a stigma about artists in general-- stereotypes that are fueled by popular culture and people who emulate what they observe on TV.

Based on my work in the field I can say that the artwork created in institutions and rehab centers for the mentally ill can spur us to think about our own state of being-- but not anymore than the art we observe from mentally healthy (if there is such a thing) individuals outside of the institutions and rehab centers. We often attach some form of mystery to the art of these institutionalized individuals instead of accepting that someone in an institution can be talented or skilled in a subject such as art-- just as artists outside of the institutions are often associated with having some form of devine gift instead of being acknowledged for the years of experience and practice that they have embraced.

Don’t get me wrong… as a former mental health professional I have personally observed some captivating artwork as it was being created. At one time I pondered the idea that perhaps those individuals were exploring truths beyond my recognition. However, I reminded myself that the individuals I worked with often displayed total disregard for cultural convention and what you and I may consider ’normality’-- both in their lifestyles and in the manner in which they created art... among other things. Thus, that 'extra spark' or 'enhanced ability' that I discovered in their work was nothing more than a reflection of that-- enhanced by my own desire to discover something more than just a person creating a painting or drawing.

The individuals I worked with were free from inhibitions as to how they expressed themselves with a chosen medium. They were not confined by the studio inhibitions that an art student may spend years breaking him or herself from after graduation. However, that is not to say that all of the work was great. The majority of it was mediocre at best… but for whatever reason I had focused on specific images that had caught my eye. I found that we should approach these works as art created by individuals rather than viewing them with the hope of discovering signs of any specific mental illness or aspect of insanity-- OR hidden truths.

With that said, the unconventional nature of the individuals I worked with would often influence their ability to push the limits of the medium of their choice, so to speak. The individuals I worked with, some of whom were criminally insane, would take chances with their art that some of us would never consider. Thus, it is easy to see why some people view artwork created by the mentally ill or insane as overly unique compared to other art that they have viewed… and thus associate creativity-- or high creativity-- with mental illness. It does not shock me that so many people gaze upon these works with amazement. However, it is dangerous when we attempt to project facts based on our curiosities alone-- and that is what I find so many people doing in regards to this subject online, in classrooms, and elswhere.

People tend to have a romanticized image of mentally ill individuals in general… and an ever growing collective curiosity for the ‘genius’ of the insane. In my opinion, this is largely due to the roll that mentally ill characters have played in popular novels and films... and the fact that so many of us emulate what we observe on the screen or take what we see as truth. Think about the popularity of ‘Girl, Interrupted’, ‘Silence of the Lambs’ and other novels and films that portray creative individuals with various forms of mental illness and insanity and you will find exactly of what I speak. I think it is obvious why the public associates creativity with mental illness and genius with insanity. However, I also know that the history and debate concerning the connection between mental illness and creativity can be traced back long before the first television. Is there a link? You tell me.

(I'd like to add that I don't think it is fair when people try to say that creative individuals-- artists, musicians, poets... etc.-- are more apt to be mentally ill when compared to people who rarely tap into their creative-side in that way, so to speak. I think it is safe to say that we all have some form of mental illness. We all have personality traits and experiences that we have to deal with. We all have flaws. An artist might suffer from depression or some other issue... and he or she may explore those problems within the context of his or her art-- which makes the issue more public than private-- but think about how many other people may suffer from the same problems in private. Just a thought.)

Feel free to comment if you have an opinion about this issue.

Take care, Stay true,

Brian Sherwin

My Art Advice: Stop Complaining and Focus on your Online Presence!

Q. I read about an artist who sells work daily online. It was frustrating because I'm lucky to sell once per month and my paintings are better than his. Am I doing something wrong?

A. What works for one person may not work for you. It is also tough for me to give you ideas when I don't know your strategy. Being successful in marketing your art online can be like entering an iron man competition-- you will be tired at the end of the day and you will most likely have a few bruises... both physical and mental.

The strain of trying to discover the online marketing plan that works for you can prove to be very taxing. The key is to not set your expectations too high. Just because you have not sold many pieces online so far does not mean that you will not be successful later down the road. You also want to make sure that you don't distract yourself by wishing you were at the same place as another artist-- you can end up wishing all of your time away.

While it is important to have ambition it is also important to be realistic-- leave your ego at the door. Just because you have read about an artist who sells thousands of dollars worth of art online each day does not mean that you will have those same returns starting out nor does it mean that the artist is being truthful in the first place. Also, remember that just because you think that your art is just as good as the work by this individual-- or better --does not mean that success will come easy for you.

Don't waste your time complaining-- you will find little sympathy. You need to remember that most of the successful artists who sell online had a collector base offline to begin with. Other successful artists online have had to work long hours both online and offline in order to reap the fruits of their online marketing effort (that is where the bruises come in... if you were wondering). One could say that a great deal of luck is involved either way.

The best advice I can give you is to be relentless in your online marketing efforts. Join social networking sites. Create accounts on art sites like http://www.myartspace.com/. Post videos of your art on http://www.youtube.com/. Place links to your personal website-- or the main site that you use to sell your art-- on the profile of every website that you have joined. Communicate on those sites and include links to your art. Maintain a blog about your art and comment on other art blogs. If you want to market your art successfully online you need to establish an online presence. You can't expect a website and one post to do all of the work for you nor can you establish an online presence if you are rarely online... so spend some time each day and post, post, post. If it is important you will find time.

Starting a blog about your art-- and art in general-- can be a very interesting venture. For example, if you honestly feel that the artist you mentioned does not deserve the credit and collector base that he has obtained... why not review his work on your blog? Don't be nasty about it or do some sort of 'his art, my art' comparison-- just critique his work and see what kind of reaction you get. You never know, the artist in question might end up returning the favor which may result in his blog readers-- and collectors -- visiting your blog... at which point they can make the decision about who creates 'better' art. Shifty? Perhaps. However, throughout history artists have reviewed their peers. Trust me, you won't be breaking any rules of etiquette. Isn't that a better idea than simply complaining?

If you establish an online presence other avenues may open as far as selling your art is concerned. I know a few people who have been invited to exhibit their work after someone observed their work on a forum. It can happen. The hard truth is that you won't get anywhere if you spend your time complaining about what others have accomplished. That goes for online art marketing as well as offline art marketing.

Take care, Stay true,

Brian Sherwin

My Art Advice: I hope this does not sound selfish. How will donating my art to charitable fundraisers help my professional career as an artist?

Q. I hope this does not sound selfish. How will donating my art to charitable fundraisers help my professional career as an artist?

A. Well, you could have put it a different way. It is hard to donate anything without having some form of good intention, true? Dr. X is not going to destroy the world by donating something to charity, right? I suppose that could be debated. Actually you hit on something here... artists often mention the fundraisers they have been involved with and are apt to include those ventures on their resumes. However, few are willing to reveal that in the back of their mind they hope a collector or curator will notice their work during the event. If they value their art they obviously value what people think about said art and of them, correct?

The idea is that you will do a good deed and may very well do good for your future at the same time-- two birds with one stone, so to speak. That idea is not exactly something to feel guilty about because you are-- I hope-- donating to a charity that you agree with... and with any luck you will have future success with your work so that it earns more when you donate art in the future, right? Charitable events can be great for making connections.

As for how donating art might help your career... well... who is to say. In other words, don't donate art to a charity if your only goal is to garner fame and fortune. The reality is that you will leave with one less piece and hopefully a burst of warmth in your heart (come on guys, I'm not all bullets!). That said, if you choose to donate for the right reasons it is acceptable-- in my opinion --to hope that maybe someone influential will admire your art beyond the charitable action that you have taken. Also, If you are just starting out and have had few exhibits donating art to charitable events can be a great way to add something to your resume. If you happen to have dozens of paintings, sculptures, what have you, just sitting around... why not donate a few to a charity that you believe in?

To sum this up, the best expectation that you can have is that you will help someone or something in need. Leave your flights of fancy at the door... but keep an eye open for future possibilities.

Take care, Stay true,

Brian Sherwin

My Art Advice: Ask a Question

I don't know why I did not think of this before! As you may know, I ask people to send My Art Advice questions to my email or to my account on www.myspace.com, www.facebook.com, or www.myartspace.com. For now on simply ask your question here. It will be easier for me to keep track of what has been asked. From this point on I will include a label 'Ask a Question' on all My Art Advice posts so that everyone can refer to this post to see what has been asked already and add new questions if they want. I moderate comments so if you have a question that you do not want me to make public be sure to let me know or comment anonymous so that it can be made public without being attached to your identity, so to speak. You can still contact me by email or on one of my profiles, but I can't promise that I will read it.

Take care, Stay true,

Brian Sherwin

My Art Advice: Why do so many people view artists in a negative manner?

I did not really want to go into this issue. However, several people have sent similar questions to me... so I guess writing about it is 'now or never'. This is a question that has a number of answers and I do hope that you will all give your thoughts on the issue. One could say that the popular image of artist as 'rogue' or 'anti-hero' can be traced back generations-- the issue can actually be complex in its simplicity. However, I will focus on more recent times and how movies have shaped this 'image' in contemporary culture. In my opinion, movie depictions of artists can be credited for enforcing the negative stereotypes that some people have about artists in general.

It is no secret that movies about fictional artists often portray the characters as drug fiends hampered by emotional instability and fueled by lust. Even when a film is about a historical artist it seems that individuals with the most volatile or disrupted personalities are selected. Picasso, Modigliani, Pollock, Van Gogh, Goya, Warhol are the usual suspects as far as these movies are concerned and they are often the base for fictional artists in movies as well. Think of an artist who endured some form of strife in his or her life due to addictions, mental disorders, lifestyle, or a combination of the three and most likely there is-- or will be-- a movie about that artist if he or she has had any success with his or her art. In other words, negativity sells and in this case it can feed our collective 'image' of what it means to be an artist.

These artists and their traits are selected because each had specific flaws that are embraced by our inherent need to observe negative situations, places, and themes-- a need that is often enforced by the media. In other words, their lives-- and fictional characters structured from their lives-- are marketable as a plot due to their struggle and our desire to observe said struggle. The challenges-- both inward and outward-- that they faced invoke our curiosity... kind of like how people tend to take a few extra glances as they drive by a burning house or vehicle accident. Just look at the negative stories that dominate newspapers and news channels and you will find proof of how marketable negativity is. Positive aspects of life are often considered boring by media standards... and 'boring' does not earn big ratings.

Thus, the issue of how the 'image' of the artist has been shaped negatively is actually an issue involving how we view the world as a whole based on what we are subjected to viewing and our natural curiosity for destruction. That said, the problem with movies like Lust for Life, Surviving Picasso, and Modigliani is that they rarely reveal the brilliance of the artist at work. They may offer scenes that depict the artist in his or her studio, but they tend to favor personal drama-- specifically self-destruction or the destruction of others by the hand of the artist-- over artistic creation. These films often remind me of watered down soap operas with a few brushes thrown in for good measure. The art, which is what made the individual famous and 'movie worthy' in the first place, is often excluded throughout most of these films.

Viewers end up learning very little about the artist or his or her art from watching these movies because focus is often placed on a single aspect of the artists life-- drinking problems, sexual addictions and abuse, self-harm and so on-- not to mention the fact that these movies are often historically flawed in the first place. Someone with little knowledge about art or the artist in question may end up associating the creative strength of that specific artist with the addictions and flaws that said artist lived with. At that point the viewer may think that an artist-- every artist- must rely on addictions or endure great strife simply to create. Need proof... ask a dozen people about Van Gogh and I bet you that more than half of them will mention something about his ear before saying anything about his paintings or technique. Due to these stereotypes being enforced people sometimes forget that a work of art is created by a person... not by sex, drugs, and empty bottles.

Picasso was not just a self-centered womanizer. Van Gogh's greatest achievement was not self-harm. Modigliani liked his drink, but that was not the only focus in his life. These artists are known-- or should be known --because of the art they created... not their personal lives. Their personalities and lifestyle simply add an extra spark of interest in what they left behind-- I don't think it should be the focus. Unfortunately, movies often focus on these specific traits/events as far as these artists are concerned and as far as fictional portrayals of artists are concerned. Even more unfortunate is the fact that some people view these movies and form opinions about every artist based on what they have observed. Even worse, some artists emulate what they have observed to some degree in the hopes that they can be 'famous' as well. Personality-- both the negative and positive aspects of personality-- can have an influence on how popular or accepted an artist is, but in the end the art should be the focus because the art is the reason for remembering. People need to think about what an artist has to offer-- or has offered-- to society due to their art instead of what he or she did in the bar or bedroom.

One can find these artist stereotypes on television as well. For example, if you turn on HBO tonight you may stumble upon a documentary about the artist Chuck Connelly titled, The Art of Failure: Chuck Connelly Not for Sale. Insiders who have viewed this documentary have stated that it is one-sided as to how the artworld functions and that it, like the movies I mentioned, focuses on specific negative aspects of Connelly's life while leaving questions about him unanswered. So, to answer your question directly... people often view artists negatively because of the negative 'image' that movies, television shows, and other aspects of the media have created by focusing on traits and personality flaws that fuel artist stereotypes. So if you are an artist watching a movie like Surviving Picasso just remember to survive the stereotypes.

Take care, Stay true,

Brian Sherwin

My Art Advice: My art does not seem to be noticed much online... how can I improve my presence?

"My art does not seem to be noticed much online... how can I improve my presence?"

This is a common question and one that I've covered before with past answers. I will discuss this issue again since it is a common question and concern for artists utilizing the Internet for exposure. It is simple really... if you want exposure online for your art you must have traffic and in order to get traffic you must get your name and links to your work seen! You can't simply create an account on an art site and hope for the site to do all the work for you. True, having your work on any site will bring visitors to your art, but you need to do some work yourself in order to maximize that traffic.You need to have your name and links to your art on as many sites as possible.

Here are some suggestions on how to improve your online presence:

1. Post links to your art! Include a link to the art site(s) that you are using on every profile that you have-- every site that you are involved with. For example, if you have a profile on www.myspace.com or www.facebook.com make sure to include links to the sites where your artwork can be found. Thus, if you have an account on www.myartspace.com be sure to include that link on other sites. You will also want to include a link to your art on ever post that you make. You can even use html code in order to place something like 'View My Art Here' on your profiles so that people will click on 'View My Art Here' in order to be taken to your www.myartspace.com account.


I'll use my myartspace url as an example:



a href= "http://www.myartspace.com/balhatain" > my art < a


When doing this you will want to type '<' before the first a and '>' after the last 'a' or it will not work. ALSO, I had to place spaces in several places... if you type it with your url the only space you will want is here-- 'a href'. In order to show how to do it I had to remove '<' and '>' and make the spaces between the other text or else it would have shown up like the example below... which is what you want if you do it.


my art


If you do it correctly it should work like the example above. This comes in handy because it will make your url active on the majority of forums and blogs that you might visit online. If you make a post on a forum right now with your link included someone searching the forum years from now may end up finding your post and clicking on the link. I've been contacted by people who observed links to my art on sites that I've not been involved with for over eight years! This is why it is important to get your name and any links to your art posted as much as possible. Think of it as a paper trail that leads to you and your current body of work.

2. Build multiple online networks! Build networks on sites like Myspace and Facebook. By building networks on several sites you will be able to use each of those sites as a vehicle for your art. Most of these sites will allow you to send links to your art out to several people at once through bulletins or posts. Take advantage of that!

3. Write about your art! Use a service like www.blogger.com or www.livejournal.com in order to create a blog/journal about your art. Post entries about your art, exhibits that you will be involved with, and your thoughts about the direction of your work-- include links to your artwork on every entry that you make be it a comment to another user or a journal entry about what you ate last night. Do the same on any art site that you are involved with if they offer blogs or journals.

You don't have to write about yourself. Anything you mention in an entry can help improve your placement in search engines. If you associate yourself with a specific artist, style, or movement be sure to write about that. By doing that your name may show up on searches for those respected influences on search engines like Google. By including your name and links to your art on these entries you will greatly improve your search placement. In other words, each entry will help improve your online presence.

4. Alternative press is a good thing-- Seek it! Seek out art zines that may feature your work online. There are hundreds, if not thousands, of these to discover-- and don't dismiss art blogs! As you can tell by my interviews(www.myartspace.com/interviews) artists from all walks of life and stages of career have found value in what bloggers, such as myself, can provide as far as exposure is concerned. I've interviewed artists who are virtually unknown and artists who have had their work sell for over a million dollars at auction. These artists may not share artistic direction or financial status, but they all share an acknowledgment of what online exposure can accomplish and a desire for the recognition that the Internet can provide.

Many art bloggers will be more than happy to make a post about your art if you contact them. Sure, you may desire to be covered by a major art magazine... but until that day comes-- if it comes --the art blogsphere is the next best thing-- if not the best! An art blog article, review, or interview can bring a continuous flow of traffic to your website for years to come if you include links to your art. In other words, an article about your art on an art blog will most likely be viewed by more people than an article about your art in a magazine. Recognition is just a few clicks away! The times have changed.

5. Combine efforts, work together! Forming an alliance of sorts with like-minded artists can benefit you greatly as far as online exposure is concerned. If you admire the art of your friends be sure to include a link to their work on your profiles and make sure that they do the same. Working together you may decide to create a profile, blog, or website that represents all of the artists involved in the group. A page that includes links to each respected members art is of great value-- especially if each member includes that link along with their personal art links when posting on the sites they are involved with.

Art groups have popped up all over the net alongside self-declared art movements. Artists unified under a common goal-- in many cases exposure for each member --have worked with great success on auction sites and other online resources. There are other benefits to a union like this... for example, if you are unable to find time to get online you will know that your name is still being spread by your friends. Gaining exposure online can sometimes be a battle... it may very well be a fight that is best not fought alone.

6. Find the time to promote your art online! Many say that the Internet is an addiction best left avoided. However, if you want to gain exposure for you art-- both online and offline --you really need to find enough time to promote yourself. Spend some time each day posting links to your art, uploading images of your art, commenting on the work of others and building networks on the sites you are involved with. A half hour of concentrated promotion of your art each day will really pay off as the years go by. After-all, you can't build your online presence if you are offline.

7. Avoid throwing money away on 'how-to' art marketing books! Don't waste your time and money on 'how-to' books that are focused on gaining exposure for your art online. I'm sure there might be some that are worth your time and cash, but I've yet to find any. That money is better spent elsewhere for your online marketing/exposure efforts-- website construction or a premium account on www.myartspace.com for example. I've mentioned this before and have received some delightfully angry responses from authors of these types of books. Why do I say to avoid them? Because they are often over-priced for the information they contain-- information that is often not current with the times and that contains 'helpful' links that are no longer active... which is not very helpful at all-- especially when a $19.95 price-tag is involved!

I say this because if you do a Yahoo or Google search for 'art marketing advice' or 'gaining exposure for your art online' you will most likely discover everything mentioned in these books and more-- for free. True, those books may contain personal experiences that the author has had researching (note, researching) online marketing and exposure tactics, but more often than not you will discover that the author is not an artist and therefore has not had any direct experience marketing or gaining exposure for art online. Many of these books are also written by authors who have a business motive hidden within the pages of their book-- their $100+ per month art consultant service which is often times mentioned in one of the final chapters or pages. This is why I take a hard stance against these books and in many cases their authors-- and before you say that I have a motive note that I make it very clear that I write for www.myartspace.com. Also note that you did not have to pay $19.95 to discover that fact.

You would be better off researching online art marketing and exposure on your own, discussing marketing and exposure tactics with other artists that you meet online, creating free accounts on every art site that offers free membership, creating a blog or two about your art, using social networking sites to build a network, posting links to your art on art forums, and if you must invest money, invest it in a personal website or paid-membership on an art site that you deem worthy of your hard earned bucks.

Take care, Stay true,

Brian Sherwin
www.myartspace.com/balhatain
www.myartspace.com/interviews
www.myartspace.com/blog
www.myartspace.com

My Art Advice: How do I market my art?

This is another common question that is asked of me and it is a very difficult one to answer because there are several directions and modules that one can take in order to have art marketing success-- you have to find what works for you. There are also a few pre-marketing steps that must be considered. I suppose the first issue to consider is that it seems that artists often lack business savvy. I base this assumption on some of the responses I've had in the last few years from artists who take on art marketing like a deer caught in a headlight.

Emerging artists often expect a gallery or art dealer to do the marketing for them. The only problem is that most of the emerging artists that write to me do not have gallery representation and are not in contact with an art dealer. These artists spend their time sending messages to galleries and dealers that will never respond to them-- this is a grave error and is often a complete waste of time. By not grabbing the bull by the horns and representing themselves they miss out on opportunities that others take advantage of-- and have great success with --on a daily basis.

People tend to dream about their future... but dreams can place reality within a cell. It is OK to dream about gallery representation, exhibits at top venues, and respected art publications knocking on your door, but you can't expect to establish yourself on dreams alone-- you can waste your life doing that! The simple truth is that waiting for dreams to come true is often the first step toward failure-- that goes for every aspect of life.

Sorry if I have popped your dreamworld bubble, but I've known many dreamers in my years and the majority of them end up living a real nightmare on down the road. While you dream about the future that you feel you are destined to have, others are relying on their own grit and ambition to carve out their own destiny. So what is the solution? How can one market his or her art and make the dreams a possible reality? Simple. Artists need to think of themselves as a CEO of a corporation-- they need to think on terms of business.

I realize that many artists are wary of the corporate mentality-- the public in general is suspicious of those towering economic power-houses.Thus, I want to make three things clear before the hate mail flows to my inbox. First, I'm not suggesting that artists should create work as if it is on a production line (though some artists enjoy doing that). Second, I'm not suggesting that artists should emulate some of the dark qualities of big business (...though it might help!). Finally, you don't need a degree in business to understand basic business modules (though some of us may regret not having one). So what am I suggesting? I'm suggesting that every artist should develop-- and utilize --a basic marketing strategy. Artists should observe some of the tactics used by corporations and adhere to them as far as developing their art career is concerned. In order to have success you must embrace some basic principles of business-- if not, you leave yourself open to being exploited.

When we think of art marketing on terms of corporate business practice we must understand that there is a lot of pre-marketing steps that go into the bigger picture. A successful corporation does not invest in marketing an item that is costly to produce. Corporations make a profit by keeping their production cost low and their merchandise price high compared to the production cost of the item. If you have not noticed, buying low and selling high is the foundation of business. This is a basic aspect of business that every artist should be aware of when creating, pricing, and marketing their art. And yes, creating and pricing come before marketing! It is best to have those issues worked out before placing yourself into a market.

Many emerging artists make the mistake of investing more money into the creation of their art than they should-- this is a bad business practice. Emerging artists need to think about the long-term cost of the materials they are using. For example, painters will often buy pre-stretched canvas-- a single 16" x 20" pre-stretched canvas can cost up to $7 depending on where you shop. Anything larger can cost as much as $60! Thus, it would be more cost effective to buy the loose materials and learn how to stretch your own canvas. With a little effort you can learn how to build your own stretchers and stretch your own canvas.

This is the best economic choice to make. Rolls of canvas will be far cheaper than buying pre-stretched canvas one after the other... and wood from your local lumberyard is often cheaper and of higher quality when compared to those easy-snap stretcher kits found in most art supply chains-- they tend to warp easily. Again, think Big Business, by buying in bulk you will keep your long-term cost even lower and your profit higher. You may have to spend a little money on tools to get started, but in the long-run you will be saving money-- a corporation needs a factory or two, correct?

After you have thought about your product-- in this case your artwork --and have kept the cost of production down while maintaining a high degree of quality (you want to be known as a good business person, right?). What is the next step before marketing? Pricing. Again, take note of what the corporations do... before pricing your artwork you need to think about the hourly wage of your employees-- in this case yourself --and other company expenses... utilities for example. Don't be afraid to consider the hours that you have spent on a piece and the cost of lighting and other utilities when thinking about a price. I can't tell you what your time is worth-- but I will suggest that you keep that added fee realistic. Estimate how much you spent on creating the piece in regards to material cost, energy cost, and time-- make sure that you get as much of that money back as you can!

Once you have a figure in your head after considering the cost of materials, energy use, and time... increase it. You want to do this so that you leave some room for bargaining leverage. For example, if you are wanting $150 for a small sculpture you might want to ask $300 instead. This will leave you some room to negotiate with potential buyers-- you might end up earning more than what you had planned while making the buyer feel as if she or he got a great deal. Never go below your intended price-- in this case $150 --you want to make a profit! You want to earn enough to cover the expense that went into creating the piece AND have a profit on the side. With a little business savvy you might earn a few hundred more than what you had originally intended!

Keep in mind that once you establish a price you must be consistent with it. Nothing turns off past buyers more than to know that you are selling new work to new buyers for less. Collectors who have bought from you in the past want to know that they have invested in something that may increase in value over time. By pricing your work lower for certain individuals you do two things-- first, you lower the collective value of your work as a whole. Second, you damage the integrity of your business. Anyone who wants to be successful with their art-- as far as profit is concerned --will often have an uphill battle to fight... don't take the hill one day only to run back down it the next!

Now that you have a price in mind you will want to market the piece. If you are an emerging artist I would strongly advise that you avoid certain avenues of art marketing. For example, buying an ad in a popular art magazine can cost you as low as $300 and as high as over $1000 based on the prices I observed-- that will not amount to much if you have yet to make a name for yourself! Another tip? Avoid vanity galleries like the plague. That money would be better spent elsewhere. You would be better off displaying your work online and investing in business cards that include a link to a website that contains your art.

Focus on traffic to the artwork that you are displaying online. There are millions of people online that might end up viewing it-- which can lead to a piece being sold. Keep the business cards with your website handy. If you don't want to bother building a personal website there are other options that you can utilize if you are seeking an extra edge in your marketing plan-- such as a Premium account on www.myartspace.com-- (www.myartspace.com/premium). Having an online presence is very important-- it makes it easier for people to learn about your work. I know an artist who recently had a sold out exhibit after she posted links to her art and exhibit information online. A collector observed one of the posts and attended the show with credit card in hand. You can't knock that kind of exposure!

The Internet has opened a world of opportunities for corporations and self-representing artists alike. The difference is that corporations spend millions on online ad space... you can find ways to advertise for free! Sites like www.myartspace.com, www.youtube.com, www.livejournal.com and www.myspace.com have allowed artists to display their art to viewers who would have otherwise never viewed it. These sites offer free resources for artists who want to market their art online-- and they can be intertwined in order to increase the exposure that you gain for your art. I realize that big numbers don't always mean big results, but you will have a better chance at marketing yourself if you have all the online contacts that you can obtain.

For example, you could place a link to your www.myspace.com account on your www.myartspace.com account, embed your www.myartspace.com gallery on your www.myspace.com profile, and place your myspace and myartspace links on your www.youtube.com account. Once you do that you can place all those links onto your www.facebook.com profile... and after that, make a post about it on www.livejournal.com or any other site that you are a member of-- it is a chain reaction of exposure for your art! Don't put all your eggs in one basket... smash the eggs and allow the yoke to flow-- fill every online crack that you can.

To sum this up-- try not to get caught up in day dreaming about how you think your art career will mature-- make it happen and do not allow yourself to be discouraged. Rome was not built in a day-- neither was Walmart. Artists will face uncertainty until they learn to build their careers from the ground up. A corporation can be a success over night-- this is why it is important to understand how basic principles of business can help in marketing your art. However, I don't want to trade one hope for another-- realize that any business can go under and that you will need to put a lot of work into getting it off the ground. With that said, it is better to base your art career on terms of business rather than on flights of fancy.

Take care, Stay true,

Brian Sherwin
www.myartspace.com/balhatain

My Art Advice: If I post my work online doesn't that mean that someone is more apt to steal my style? I don't want people to paint like I do!

This is another common question that is asked of me. It can be hard to define 'style', it is one of those issues that can be debated. With that said, your use of 'style' implies the manner in which you paint, the methods you use, the marks that you make with your brush, and the fear that someone will create images utilizing those same kind of marks and methods. With that said, if someone steals your style you should feel honored-- it must mean that you are doing something right in the eyes of someone. More power to the style 'borrowers', 'thieves', and 'cutthroats'! Why do I declare this? Because if you observe this issue within the context of art history you will find that this 'visual theft' of style gives rise to new movements in art and to new styles all together. So this fear of having your style 'stolen' should not be your main concern when uploading art online. In other words, you should focus on doing what YOU are doing and accept the fact that you are part of a visual tradition.

This concern over 'style theft' is common. I frequent several art forums and find that many artists think that they own their 'style'. These artists get very upset when another artist decides to work in a similar manner. Legally speaking, you can't copyright an artistic style. The image itself is copyrighted, but not the manner in which you created it-- the methods you used and the marks that you made. Allow me to repeat that in bold-- YOU CAN'T COPYRIGHT AN ARTISTIC STYLE! For example, if you paint blue figures with white backgrounds you can't file suit if someone else does the same unless the paintings are very close to being identical. There is not much that you can do legally if an artist utilizes the same types of marks, the same colors, and even similar subject matter. If this was the case people would not bother to paint!

Still worried about people stealing your 'style' if you upload your work online? Think of it this way, are you influenced or inspired by another artist or perhaps an art movement from the past? If so, in some way-- even if it is buried in your mind --you are 'stealing' from those styles... those ideas. You are utilizing similar marks and taking a similar direction with your art-- marks and direction that you may not have taken had you not had knowledge of that artist or art movement. By doing so, you add an authentic touch to that visual tradition-- but you can't deny the debt that you owe to those who have came before.

Styles and methods of creation have been 'borrowed' throughout time. One artist will 'take' ideas from another artist or a group of artists and build upon it. We all owe a certain debt to artists who have came before... so it is naive to think that your 'style' is free from the observation and exploration of others-- I would go as far as to say that it is a sign of insecurity if you feel that way. Thus, who are you to say that your art should be free from the observation and exploration of your peers?

I will go further with this! I think it is safe to say that every artist has told visual white lies with their work-- we are all inspired or influenced by someone-- and those ideas are molded into our practice-- even if we are not aware of it. One could say that this is a glorified type of theft. In that sense, every artist is a thief. So if you are worried about someone 'stealing' your 'style'... step back-- view your work --and ask yourself how many artists you've stolen or borrowed from. After giving this some thought... ask yourself how many artists they have stolen or borrowed from. At that point you will see how the cards are stacked and you will be less likely to conceal your hand.

We do 'borrow' or 'steal'-- though steal might be a bold choice of word --from other artists regardless if we admit it or not... or are even aware of it. Show me your work and I can show you the work of a dozen artists who worked in a similar manner-- artists who have had a lot of exposure... meaning that at some point you have probably observed their work in a book, magazine, or on TV. Think of it this way, when we are young a peer draws a smiley face in class-- what happens next? A dozen kids end up drawing a smiley face and each add their own bit of truth to it. However, the original motivation to draw the smiley face was 'borrowed' or 'stolen' from the kid who did it first. Each child adds his or her own perspective to the original image that had been etched into his or her mind, but the foundation for that creation can be traced back to the child who drew it first in the classroom. Those of you who have taught will know exactly what mean. Is that not theft of style on its most basic terms? Does it matter?

I'm not suggesting that people should openly steal styles, but if someone does it to you... don't feel so bad. As I mentioned, it obviously means you are doing something right. Your focus should be on creating new works. In a sense, we humans are conditioned to borrow ideas, to steal ideas, to build upon the information that we have observed-- and make it our own. This is not exactly a negative trait... and none of us are above it. As far as art is concerned, we experience this theft in our youth the first time we draw a smiley face... so why do we feel that we are above it later in life? Why feel that your art should be protected from the thoughts and actions of others?

Here is my direct answer to this question-- if someone wants to 'borrow' or 'steal' your 'style'-- let them without a second thought. Chances are they will not have the same energy in their work that you do. Who knows... maybe they will end up utilizing the skills they have learned from 'borrowing' in order to develop their own visual direction. Perhaps they will end up doing what you do-- better. That is how art movements are made and shaped. It is the foundation of art history! To fear this is nothing more than a sign of insecurity. Again, that is my opinion-- and I understand that it is a philosophical one --take it for what it is worth.

Take care, Stay true,

Brian Sherwin
www.myartspace.com/balhatain

My Art Advice: Should I send a gallery a link to my art or images of my art by email in order to be considered for gallery representation?

I get questions like this often from emerging artists. This is a delicate issue. This question reminds me that the world wide web is sometimes a double-edged sword for artists. On one side you can cut yourself short by annoying galleries and other exhibiting venues by emailing them random information about your work. On the other side you can carve out your career by building your presence online. In regards to this question, be careful which way you swing the blade-- especially if you are just starting out. Artists want to land gallery representation, but that does not mean that every gallery wants to be baited by a thousand emails from hopeful emerging artists each day.

Before you send a random email to a gallery about your art remember that there might be hundreds of other artists doing the same thing at the same time. What will happen? You will most likely have your email marked as spam or blocked. If you are not blocked and you continue to send messages about your work you will most likely become an inside joke at the gallery rather than land representation. Worst case scenario... you will annoy the person on the other end and they will end up telling their associates about you. Word can travel fast and in the art world-- even on the most basic level --everything is about presence. You want to put your best face forward-- not blow it off with one quick letter. Annoying gallery owners can be career suicide depending on the status of the gallery .

Artists often forget that a gallery is a business. Galleries do not display work simply for the viewing pleasure of visitors. They have paychecks to write and lights to keep on-- it is a business just like any other. While it is true that galleries need artists to run their business, you need to remember that they already have a stable of artists-- they need art, but that does not mean that they need your art. You might be thinking, " If that is the case, why do the galleries have their email listed if they don't want artists to contact them?"... In most cases a gallery has their email listed for two reasons. 1.) They can send out exhibit information to their email list from that account. 2.) A random collector can write to them with questions about an artist that the gallery represents-- though most will call the gallery before writing them. Having an email address listed does not mean that the gallery is offering an open invitation to hopeful artists.

There are exceptions. Some galleries want artists to send examples of their work by email. Many of those galleries have ads in art publications stating that fact (just as galleries that do not want artists to send samples of their art by email will often have some fine print-- sometimes BIG print --stating that under their contact information!!!). However, I think it is better for artists to attend openings at the gallery they are interested in instead of sending a desperate email to the gallery about their work and why it should be represented. As I stated before, there could be thousands of artist worldwide sending emails to the gallery with the same hope that you have at the same time. You want to be a face... not a random name listed in the galleries email inbox-- or trash bin for that matter. Brick & mortar galleries do not have the manpower to address thousands of emails like that.

So what can you do? Attend openings-- get to know the people who are already exhibited at the gallery and be friendly to the gallery staff. By getting to know people and being friendly I do not mean that you should go up and say, "I really like this space. Are they looking for new talent?" or "Can you get me in here, my work is great!" to everyone you meet! Just enjoy yourself... be yourself-- leave the 'I'm a brooding artist' or 'I'm better than this place' persona at the door. Eventually you can slide the fact that you are an artist into the conversation, but keep it short.
Business cards that contain a link to your personal website or accounts that you have on art sites like www.myartspace.com can come in handy if a conversation goes well-- be prepared!

Some of you might be saying, "But I live hundreds of miles away! Sending an email is my only option!". Well, if that is the case you might want to ask yourself if you want to be represented by a gallery that you can't visit in person at least once per month, especially if you are new to the scene. With a ton of luck your email effort might land you gallery representation, but if you are not able to actually visit the gallery you will not know if your work is actually in sight of gallery patrons or somewhere in a backroom waiting to be pulled out when-- and if --someone wants to view it. That is not to suggest that galleries are shady, but they do tend to cater to the needs of represented artists who can actually visit the gallery often. Thus, you might want to focus on exhibiting opportunities near you or online venues that specialize in giving opportunities to artists who would otherwise be isolated.

Keep in mind that I'm mainly talking about city galleries. Rural galleries might have a different outlook on 'view my art' soliciting. I still think that getting to know more about a gallery in person, no matter where the gallery is located, is the best choice for you if you are seeking gallery representation. Also, remember that you do not exactly need to rely on brick & mortar galleries ... you can always represent yourself by utilizing sites like www.myartspace.com, www.youtube.com, and www.myspace.com as tools for exposure. Combine your efforts-- place links to your art accounts on your Youtube and Myspace account and place links to your Youtube and Myspace accounts on your art accounts. Be active online... network with artists and curators that you meet. Keep in mind that many established artists started out this way. Don't sweat over gallery representation.

Take care, Stay true,

Brian Sherwin
www.myartspace.com/balhatain

My Art Advice: Should I be worried about my images being 'stolen' online?

I receive a lot of emails from emerging artists who want advice about marketing themselves online. Thus, I've decided to start yet another series on the blog which I will call, My Art Advice. In this series I will tackle some of the questions I've been asked and I will give my advice about how emerging artists-- and artists in general --can utilize the Internet in order to gain exposure for their art.

The first topic I will deal with is copyright concerns and the fear of having work used without permission. A lot of artists that have contacted me are wary of the Internet in regards to how their uploaded art can be used by others. These artists know that they can gain exposure by uploading and displaying their art online, but they also have concerns that people may 'steal' or 'rip' their images. Thus, I will tackle this issue-- take my advice for what it is worth-- an artist giving advice to other artists. In other words, I'm not asking you to live by what I write... you must draw your own conclusions (no pun intended).

Let us look at this concern at face value. An artist desires for his or her work to be seen, but at the same time is wary that his or her work will be used without permission. While there are ways to protect your art online the simple truth is that if someone wants it bad enough they can work around any security guard that you have in place-- or they can find someone who can. Nothing is 100% safe on the world wide web. That is a risk we all take by uploading our work online-- it is a valid concern. However, by not displaying our work online we risk not being seen. Personally, I would rather run that gambit than risk total obscurity.

Allow me to explain... if I only displayed my art in brick & mortar galleries my work would only be viewed by a few hundred people per year depending on how many times I exhibit and where. By uploading my work to art sites and social networking sites I greatly increase the number of people who view my work at any given time. I know artists who rarely exhibit... yet they have had over 100,000 people (and growing) view their work online after being involved with the 'online art community' for just a few years. I won't drop names, but these artists went from having only a few hundred people viewing their work per year in person to having thousands view their work per month online. Would they be so well-known had it not been for uploading their work online? No. They took the risk and it paid off.

So here is my advice in regards to concerns about images being 'stolen' or 'ripped' online. Sometimes you just have to throw caution aside and look at the bigger picture (no pun intended). Displaying art online is vital to artists today-- especially for emerging artists, artists living in a rural or isolated area, and artists who have to work a day job and don't have the time to seek out brick & mortar opportunities. There is no excuse not to upload your work somewhere on the web when one considers all of the positive outcomes that may occur. Don't allow the fear of having an image used without permission keep you from having your work viewed by thousands that desire it and want to pay you for it -- or simply view it. This is crucial!

Experience tells me that there are really not that many major cases of artists having their work used without permission after uploading their work online. It is very rare for an individual or company to rip work online in order to profit from it. If it does happen and is discovered there are many legal steps that you can take if your images are used for profit without your permission. I'm not a lawyer-- do a google search for art law or copyright law.

Think of the Internet as a train that is heading toward the happy town of Potential Success. Thousands of artists hop aboard each day... do you want to be the one left behind? Don't get caught in the negatives. The success that can stem from displaying your work for the world to see far out-weighs the fear of someone abusing your images. The Internet allows artists to create a network of potential buyers/collectors and to keep in contact with other interested parties-- fellow artists... gallery owners. Those are opportunities that one can miss out on if he or she fails to take advantage of what the Internet can provide.

Don't like my train example? Fine... think of the Internet as a 'tool kit' for success. The features and capabilities of websites are all tools that you can use to 'build' your presence-- and dare I say, business. The tools are before you-- use them! You can worry about (and cash in on) copyright issues when and if someone earns a profit from your work.

Take care, Stay true,

Brian Sherwin
www.myartspace.com/balhatain