Because we're supposed to -- because the normal way of going about things is to join prestigious groups and enter prestigious shows and try to catch the attention of prestigious galleries and not even dream of doing things on our own. In order to sell artwork, we are told, the quality and beauty of the artwork itself is the last thing we're supposed to consider. We need the right group, the right publicity, the right show, to make it all happen. And in order to be in the right place at the right time, we need be joining those groups and buying those ads and entering those shows -- consistently writing out checks to other people in the belief that they will do something for us in return. [...]

Don't forget that the Studio Hop is a community event. It may attract people from all walks of life ? and incomes. Thus, you may want to think about offering affordable art. For example, you may want to consider creating an affordable series of quick drawings, monoprints, or small paintings on various surface if your 'regular' artwork tends to be priced in the thousands. You might be surprised by how much profit can be made by offering works priced between $5 and $20 at events like this. I know an artist from Jacksonville, Illinois who walked away with over $500 in hand after offering affordable / quickly created small works during a local event! [...]

In the weeks ahead, I'll share animal fables, showing how each artist?er, I mean, animal? dealt with this calamitous time in history. Ants, beavers, spiders and ostriches, all have a tale to tell. [...]

This is the way I view it: The artwork used on an album cover will no doubt help to brand the band. Furthermore, the artwork may end up used on merchandise. Think of some notable bands ? for example, Pink Floyd... I'm willing to bet that some of you instantly 'pictured' some of the artwork and designs associated with the band in your mind (specifically those created by Storm Thorgerson). The artist behind the artwork -- behind that aspect of the 'band image', if you will -- deserves a 'cut' of the profit if the band is unable to pay adequately from the get-go. Never forget: What you do is just as important as what they do... don't allow yourself to be treated poorly. [...]

These artists seem to think that they don't know how to sell. While I will be the first to admit that selling art is not the same as selling hula-hoops, selling art is still selling and artists do know how to sell. After all, they've been selling their whole life. Let me repeat that and direct it toward you. You've been in sales your whole life. [...]

When you know your work sells, then seeking a gallery or outdoor show is fine. Then, if an event or art gallery kicks sand in your face don't give up, keep moving forward. Use your brain and eliminate a lot of your personal agony. There are times when you should not take NO for an answer. But there are others when you should never put yourself in the place to be rejected to begin with. Seek the wisdom to know the difference and then go for it. Persevere in the face of disappointment. [...]

These words resonate with me. Now, I will admit, I have had my fair share of excuses. And who knows what opportunities I have missed because of them. But, I have also seen the other side ? and I try to stay on this other side. I know of the opportunities that will arise by not making excuses. [...]

As a result of these strict guidelines, there is now a movement of artists turning their back on these accolades. In the artists of my generation, people rarely talk about how an award or one man show will make their artistic career. The conversations are all about how to build relationships with collectors and those who appreciate art. We believe these relationships will make our career more than anything else. And a lot of the most exciting work coming out today is originating from these artists. [...]

Behaviors that we might tolerate in our teenage boy (because he's "that age" and we love them) don't look good on grown-up men. Don't give fair organizers a hard time just because you're not getting your own way?most of them are/were artists themselves. It's not a "we vs. them" situation. We need them, they need us. Don't expect preferential treatment because you're a big name (or think you are.) We're all here to sell our work today! You can have a different opinion without the other person being "wrong". [...]

And it's what an artist must do to succeed. Put out little tendrils of hope - blog, enter a competition, update your website, give a workshop, join a great art group, give lessons, design a new business card, try a new technique, send out a press release, write an article, and: keep a running list of all these "ingredients." [...]

For me, becoming an artist called for many deep changes. Putting myself out there with?and for?my art. I had to take initiative. Make decisions with no guaranteed success for outcome. Taking risks, like paying out big money for big shows, advertising, marketing materials, websites. These were not traits that "nice girls" were encouraged to show in the 50's, 60's and even the 70's. So? [...]

As I said last week in Evangelista Arcadia Salome is Not a Real Person, there is nothing wrong with exerting ourselves to be slightly different than we are -- walking forward confidently, hand outstretched, when we would prefer to shrink into the corner; or taking two breaths before speaking, or maybe not speaking at all, when we have a tendency to dominate the conversation -- these little steps, practiced enough, add to our base personality and improve it by diversifying it. The problem arises when we act so totally contrary to who and what we are that our own mother would not recognize us in the grocery store as the same person who just drank coffee with her in the kitchen. If Mom has to flip back the plastic Halloween mask to see if that's her kid, then we've gone too far. [...]

These days it is all up to the artist. In this economy, the galleries will rarely spend the money for print marketing unless you are a proven seller. The art organizations have lost their clout with the exponential growth of art groups. And the media has become so diversified that there is no longer one voice. The artist has to take responsibility for their own success. [...]

"Do we have to be someone we are not in order to succeed?" First of all, let's define what we mean by being "someone we are not." [...]

The Der Blaue Reiter (The Blue Rider) and Die Brücke (The Bridge) were both known for handing out make-shift booklets about their artwork -- including detailed information about their philosophy as artists. They used the booklets to promote themselves, their art movement, and other causes. This early form of artist self-publishing can still be useful today. Furthermore, it can be accomplished with little expense involved depending on how it is done. [...]

And yet they felt compelled to create themselves into something that they obviously were not, with the mistaken notion that somehow, people would be more attracted to their substitute persona as opposed to their real personality. Maybe these particular examples weren't very good, and that's why they didn't work -- and maybe there are people out there who have created really, really good alter egos that do work, but the questions for you, and me, is this -- do we need to change who we are to be successful? [...]

Despite all the types of rejection, the most important part is to keep on moving forward and to not give up. If things are getting bad, take a break and seek out people for their opinion on what you may do to improve your presentation. In the end, it is all a numbers game and it does become a lot easier. It stops becoming this big ordeal and is just part of the job. [...]

It often seems that artists twiddle their thumbs concerning local press. For whatever reason, many artists are nervous about contacting local newspapers about an upcoming art exhibit or other accomplishment. Other artists feel that contacting local press is a waste of time (they automatically assume that the newspaper won't be interested). This much is certain: if you avoid local newspapers ? don't expect them to seek you out. Put your fears / cynical attitude aside long enough to reach out to local press. [...]

I reply to the artists whose works I particularly enjoy and ask them if they have an email newsletter and let them know that I'd like to be on it. And even when I go to the trouble to beg these artists to add me to a newsletter list... they don't. I have yet to receive even one newsletter from any artist in this group. [4] Multiply that mistake dozens of times over and you're costing yourself, over your career's lifetime, thousands of dollars in sales (if not more). Make this mistake enough times and perhaps it will even cost you an art career at all. [...]

Don't make a half-hearted effort and quit halfway through. Don't slink away with your crazy horse and sigh, "Well, I tried?" Give it your full attention, your highest intention, and your best shot. Give your art the opportunity it?and you?truly deserve. [...]

This downturn is real and some sobering and tragic stories have come out of it. But many people are still refusing to acknowledge that we're in a "new normal." Now I certainly don't mean to minimize anyone's difficulties, but for many smart, talented, able-bodied folks, if they would actually accept this as the new normal and be willing to make the necessary changes, they could continue to thrive. While the economy is sluggish, it's still a huge, huge, huge, innovative 15 trillion dollar economy and you are entitled to your piece of it. [...]

I, for one, think that artists limit themselves (and their art business) when adhering to a limited view of how, when, and why a press release can be used to garner press. It is time to think 'outside of the box'. [...]

The old 'shotgun' approach of splattering 60+ artists on the wall to see what sticks, is dead. They will have to choose artists who are honest, have long term business goals and some genuine skill. [...]

So listen to all of us here who write for FineArtViews. Some of us think one thing, some of us another. Maybe they're right for where you are now. Maybe I'm right for where you'll be in a few years?or never! Some things will sit well with you, some things won't. The one thing you can bet on? It's all good. For somebody, somewhere, sometime. Maybe even you. Right here. Right now. [...]

But this principle doesn't just apply to those of you who teach. It also applies if you just simply sell the work you create. When I first learned this principle, I thought, "That applies to services, like teaching, mentoring, coaching, etc. But not to selling products like my paintings." But I have since learned that I was wrong. It does apply to my art and it applies to your art. [...]

While deception is not consistently easy to spot, identify, or label (it hides itself well), this doesn't mean that it doesn't exist, and it doesn't mean that we can't make an effort, as individual businesspersons, to grapple with the concept and determine that we will conduct our affairs honestly and honorably, at the same time that we use our intelligence and acumen. [...]

What all of these different rendering engines mean is that the only way to be sure your email newsletter looks correct is to stick to a small, safe subset of HTML and then to rigorously test each design in every major email program...and different versions of those programs...and with images blocked...and with images enabled. One option for artists would be to pay a designer to design your email designs and test them in all of these email programs. Then you could use the same design over and over, being careful to only change your content and none of the HTML itself. Like I said before, it's a quagmire. [...]

The person who asks you NOTHING about your work, your goals, your needs, will probably not give you advice worth listening to. [...]

Sure, it's "smart" to figure out how people think, but when you use that knowledge to manipulate people into doing what is best for you and not necessarily best for them, this becomes questionable. And when people find out that they've been used -- and believe me, truth comes out, and usually at the most inopportune times -- they feel stupid, and that ultimately is not good for your business. [...]

Whiteism: Rejection can be painful, but never fatal. [...]

While it is very easy to envision the perfect world, it does nothing to help you in the world of today. The only way to survive is to intently focus on how the art world operates. Once you understand how things work, you can find a solution to the problems you are facing. [...]

While none of us likes to be classified as an idiot, or think of ourselves that way, it is too easy to fall in with contemporary society's belief system of doing what it takes to get to the top, regardless of what it takes to get there. [...]

Seven things learned from one artist's personal experience - remember this when having your next solo show. [...]

You're creative, and you're you -- if you give yourself a break and let yourself speak, you may learn some surprising new skills. But you'll never really know until you ask, and the best person to ask is yourself. While this sounds obvious, very few people actually do ask themselves hard, honest questions -- inside their head where nobody is going to overhear and scold them for the very thought -- and the first and most important step to being to thine own self be true, is getting in touch with thine own self. [...]

I use a large, expensive piece to draw people into my booth. But I don't make it easy to see its price. Once they're in my booth, they'll see a wide array of pieces, at a variety of prices. Once they realize they'll find something affordable, they relax. They shop. And they fall in love with that one special piece. Then they can decide what's "affordable" and what isn't. [...]

This was my shot at a custom piece - which I must say made me nervous. Custom work is not the easiest since you can never completely see what someone has in mind. [...]

I had a hard time deciding to write about this strategy. I firmly believe we should NOT underprice our work. I believe discounts, "seconds" sales and such can undermine our efforts. We could disrespect our customers who were willing to pay our full price for our work. [...]

How do we ask the same question, repeatedly, without seeming like we are nagging? [...]

Every sale takes an extraordinary amount of work and promotion. I am a product of the recession. I need to push constantly to move forward and think in new ways and make an effort to meet collectors to get out there. I think it is easy to resent the present state of the market, but I don't have any bitterness. I realize that this experience has really been a trial by fire where you must be strong and work hard to sell your work. I think I have gained skills I would have never learned in a strong market. [...]

The secret is planning your work and working your plan. If you don't know where you are going, how will you know when you arrive? You can't stumble upon your destination. [...]