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