You want to sell your work online. Why not, a sale is a sale, right? But the world of online galleries can be complicated to steer. We talked with the owners of some of the web's most respected sites — Paintings Direct.com, Next Monet.com, Solid Expressions.com, and the Guild.com — and asked them what they would tell artists to look for before signing up for online representation. What follows is their advice, which, despite the fabled diversity of views on the internet, was surprisingly uniform.
In Festivals, artists can sell work in a juried venue directly to the buyer. Table or display space is rented. Generally take place yearly and on a state or regional level. Art Fairs on the other hand are held for dealers and collectors, and often are international.
Once you have an exhibition venue, make sure you find out the answers to the following questions, and follow the suggested timeline below. Choose the questions that are applicable to your project and the venue.
• Dates for the exhibition.
• Date and time of the opening reception.
• What is the honorarium or artist’s fee?
• What are the responsibilities of the venue or gallery?
• What are your responsibilities as the artist?
• Who is the main contact person for the venue?
You've scoured through the brochures, filled out the applications, wrote those navel-gazing essays about why you want to be an artist, but now the worst seems to loom over you. You have to present a portfolio of your work. It's difficult to trust your belief in your own art when you wonder "Am I good enough?" The key to your portfolio is to convey not only your skills, but also your potential to do more.
Are artists really, well, crazier than regular folks?
"Hi, I'm Christopher. I'm an artist." Exhale, run my fingers through my hair. "What do I do? Oh, I paint. I'm a painter. Yeah, I'm an artist."
I tried it out every now and then, in front of the bathroom mirror. It sounded all right. But when I introduced myself as an artist outside my bathroom world of make-believe, I always felt false. I was like Magritte labeling a pipe. If I said I was an artist, I was an artist, right?
The College Art Association (CAA) came into existence in 1911 as a professional organization for both art historians and artists, in particular those who teach at the college level. What are the benefits to artists of belonging to an organization like CAA?
The carpeting is soft underfoot; the lights are dim except for those illuminating the paintings on the wall; the room hums with people crowding around the canvases, murmuring their approval and delight. You stand at the center of a group of admirers, glass of champagne in your hand, receiving praise and congratulations on your latest show. It's already an unprecedented success, which even on this opening night has brought you many thousands of dollars in terms of sales and dozens of requests for interviews in international art magazines.
Does it sound like a dream? It may be just a dream at this moment. But it can happen. However, before it does, you have to want it to happen. And that means setting goals.
In order to succeed in your career some financial investment is usually necessary, and the career of the fine artist is no exception: art supplies are expensive, art schools can be astronomical, and finished works may have to be framed, crated, shipped, and insured. There are outlays for postcards, postage, portfolios, brochures, slides, and even perhaps a website. And then there's the question of vanity galleries.
Congratulations! After all the hard work of compiling and sending out your portfolios, you’ve finally got people interested in coming to see your work first hand. Studio visits are the best way to introduce people to your artwork and they allow you the opportunity to discuss your concepts, process, materials, and more. Here are some things to keep in mind for a successful studio visit.
Eungie Joo: When NYFA Quarterly editor Alan Gilbert approached me to do a piece on independent curating, I thought we should have this conversation together, because we’re all doing related work and our practices appear to be linked—we often write about and work with the same artists, we’re all about the same age, and each of us is publishing a bit. But we each have very different emphases and starting points, and I want to talk a little about how we all began in this field.
Each year the Hotline receives hundreds of calls from artists who are desperate to exhibit their work. They are sometimes willing to do literally anything, which includes paying huge sums of money. Vanity galleries, national competitions, and unscrupulous dealers profit handsomely from this desperation. For this issue, Dr. Art has invited author and artist advisor Renee Phillips of Manhattan Arts International to discuss her views on artists paying to exhibit their work.
Part 1: How Much Can You Afford?
How many artists reading this article own their own home? Personally, I don’t know very many. I can probably count them on one hand.
You are not alone! No matter which discipline you work in, you will find comfort in knowing that many artists face the same challenges. These include being able to define their vision, evaluate their career, and set and achieve goals.
What is venture philanthropy? Do any of these funders make grants in the arts?
Venture philanthropy shares many characteristics with the “venture capital” model of the for-profit sector. With a final goal of sustainability and organizational capacity building, venture philanthropy combines active relationships between funders and grantees with carefully considered investments in initiatives that have measurable potential.
I am sitting at Torreo Coffee shop in Center City, Philadelphia, with Chamyang "Wojo" Uknow, whose photographs — most of lonely men on lonely streets captured in classic browns and whites — grace the chartreuse walls. Wojo is talking about coffee and art, in particular, his own luck at getting shows at many Philadelphia coffee shop/galleries. "I prefer my work to hang in cafes rather than galleries," Wojo says, "I'll put my stuff in galleries, but I'd rather have everyone see my photographs every day than have those closed doors.
By analyzing and looking at the careers of other successful artists I have identified the habits that help them succeed.
An artist who wants to get her or his work noticed must enter the marketplace with a good plan and set of tools. The Internet has become an essential channel for distributing traditional artist marketing tools such as résumés, press releases, work samples, and business cards. This essay provides basic advice about using the Internet to enhance your marketing efforts.
Can an artist Website bring you fame and fortune?
The simple answer is no! Artist Websites work best as an extension of traditional marketing efforts and can save time and money.
I am always interested to hear how artists succeed in the art world. Most artists don't have an advisor to help them, galleries don't seem to have as much time for career development, and unfortunately the days of being discovered are over. Therefore, I have come up with my ten tips to help artists succeed.
A little grant writing advice can go a long way. In the following article, Shakurra Amatulla outlines some of the basic information necessary for researching and writing grants.
So you want a grant—that chunk of money that’s "out there" just waiting for your request? But you’re impatient, sometimes believing that the road to success must open before you faster than Moses parted the Red Sea. In your search for grants, you buy and read everything about this free cash, continually look for people to guide you to said loot, and still you haven’t gotten any closer to it.