Tag Archives: galleries

Artists and The Business of Doing Art

Last night I went to a talk hosted by WNYC’s Leonard Lopate at the Greene Space that was a discussion about what it’s like to be an artist in New York City. I had been pretty excited to go to the event all week and apparently I wasn’t alone; the event completely sold out.

The vast majority of the audience members were fellow artists who seemed eager to unearth some insight about what it takes to be successful in the Art Capitol of the World. All of the panelists were well known artists that include the likes of Fred Wilson and Jean Shin as well as  curator Sean Kelly from the Whitney Museum of Art. Many of the comments were interesting, some amusing, but a lot of what was said didn’t seem new to me.

My biggest issue with the event was that it was told from a perspective from people who had “made it” in art world; i.e. they had gone to art school and had gone on to have their works featured in major museums, art galleries and were selling or being commissioned by people with deep pockets. What about people like me, who didn’t go to art school and have decided not to wait for validation for galleries and are making fostering their own art career, grass roots style?

Aside from this qualm, I did appreciate a few points that were made about some artist realities. Peter Campus, one of the featured artists observed that the artist world has become too “artist-oriented” in that students feel like they should become stars and making art becomes less important. His point goes back to a fundamental ideal about artists; that they create because they feel they have to, not because it will make them famous but because it’s about self-expression. Nowadays, everyone is caught up in being on the front page of every magazine or being the toast of the town. His point reminds me of an idea I was getting that in a prior post.

Another good point that artist Joan Snyder made was that the astronomical cost of living in New York City made it impossible for artists to devote a significant time to their creations because they were too busy trying to make a living. She argued that artists need that solitary, uninterrupted time to create. While that’s true, I still don’t believe that it diminishes you as an artist. What makes you an artist is not the fact that you do it as a 9-5, it’s the fact that you’re doing it, period. Making a living from your art is a luxury that many of us can’t afford, no matter where we live.

The overall panel was informative but what I really took away with from it was that you don’t need a bunch of curators, collectors and other artists to determine whether or not you’re an artist. You don’t need a gallery show to validate your abilities (and here’s a little tidbit of information that I learned last night: collectors and gallerists usually rely on other collectors and fellow artists recommendations to “discover” potential artists for their shows). You have to make your career and your passion what you want it to be, even if it means hosting your own shows and creating your own opportunities.

So with that said, take my observations with a grain of salt and go create and share!

Stupid Artist Stereotypes

A few weeks ago, I found this pretty informative and amusing article about common artist misconceptions. It got me to thinking about other stereotypes that I’ve encountered in the art world.  A lot of them are total myths but there are some out there that are pretty true and have occupied a nagging space in the back of my mind, so I thought I’d finally get them out there in the open:

1. You’re not a real artist if you have a day job.

I’ve touched on this subject a few times but let’s be clear: it’s not easy making a living off of art alone. It’s not impossible but more often than not, you have to have something else going on to put food on the table and pay for rent (especially if you live in New York), a mortgage, etc. Furthermore,  you don’t even have to have a crappy day job you hate just so you can do your art; some people just like to create art  to add another dimension to their life or to express themselves. It’s even arguable that people who do have day jobs have it easier because they aren’t under so much pressure to produce art so that they can support themselves and can experiment and create more freely. Different strokes for different folks.

2. You’re not a real artist unless you dress like a hipster and have a massive attitude problem.

Now, I realize hipster-bashing is practically a sport these days but I do find it interesting that people who fall into that category do have certain group traits that are noticeable and at times, seem pretty irritating. I’ve noticed, at least here in NYC, that these folks seem to go to great lengths to dress in ways that they perceive as unique because they think it looks funky, or it came from the same flea market that all the artsy types shop at, or it’s vintage or something. But what kills me about this is that in their quest to look unique, THEY ALL END UP LOOKING THE SAME. Don’t believe me? Go hang out in Greenpoint, Brooklyn and you’ll see what I mean.

Add to that “look”, you’ll also have the whole attitude problem that ranges from  the dismissive to “I’m really deep because of the way I dress and my zip code”.  I’ll end this point with an amusing little personal story.  A few months ago I went to investigate an art space for a possible solo show out in Long Island City. I went over there straight after work and was decked out in my little office gear. As I sat there waiting for the gallery director, a small group of 20-something hipster looking people walked in to set up their installation. They gave me the once over, where at least one of them looked at me like I was Satan’s shepherd, and then walked off. Later on, when they realized that I was also an artist, they tried to warm their chilly reception with some fake smiles. Too late! Y’all get an F.

3. Artists are flaky/never show up on time for anything/ureliable

Being a Type B+ kind of person, this is a stereotype that I would like to see die but quite frequently come across it a lot. It’s not to say that all artists are hippies who plan their activities around the alignment of the planets, but I have seen quite a few that are just a little too laid-back and passive and let opportunities pass them by, thereby irritating  others by not meeting deadlines or appointments  not showing up when they’re supposed to, and generally being oblivious to common courtesy  and practical skills.  Some of that may be tied to personality but I also think that a lot of art education programs drop the ball on that. As a result, they come out of school clueless or they’re trapped in this whole “I’m an artist. I just want to create” mess. I’ve encountered this issue when I’ve proofread proposals, helped plan  group exhibitions, art charity events or helped  artists go over their contracts.  I have nothing against being a free spirit but if you’re really serious about taking it to the next level, you have to step up your game and get some practical skills in your arsenal.

4. Artists don’t read the fine print in their contracts

Please, for the love of Sweet Minty Jesus, read the fine print.

5. Galleries are perfectly entitled to take huge commissions because they validate you as an artist and are doing you a favor.

The great thing about the art world is that there are a lot of artists out there. The bad thing about the art world is that there are a lot of artists out there. Because there’s such a surplus, galleries can afford to be selective and demanding when it comes to what they’re willing to do for artists and how much of a commission that they’ll take from sales.Since so many  artists are dying to get noticed, they often put up with it. They don’t have to; there are a variety of alternatives, which also include putting your foot down and negotiating for a better deal. Don’t let fear of pissing a gallery director off keep you from standing up for yourself.  You’ll be happier for doing so. (This is also why it’s not such a bad idea to have a day job. See point #1)

I’m sure that over time this list will grow and I repeat, this doesn’t apply to ALL artists, galleries or hipsters. Nevertheless, I still might have to dodge some angry comments and hate mail but I had to get this off my chest.

I feel so much better for doing so.

 

Everything is Changing

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The title of my post is the name of a song by one of my favorite bands, Groove Collective. The lyrics go:

Everyday people

Keep doing what they got to do,

Everything is changing,

And it’s up to you

Everything is changing. I know it’s cliche and everything  is built on change but now, more than ever, I feel like I’m in the midst of a huge paradigm shift. Just the other day, I was talking to some coworkers at the day job about how the  concept of being middle class, based on what our parents have achieved, doesn’t seem to be translating too well to people to our generation. The stability and “comfort” of staying in one job forever and earning enough to own a home, one (or two) cars and the 2.5 kids seem to be more of an anomaly. Of course I could attribute this to living in New York City, but I get the feeling that this shift is being felt all over the country. Times are a lot leaner and now it seems like success hinges on survival of the fittest hustler.

Being a good hustler requires a lot of creativity. Making do with less and turning a seemingly nothing into something requires a lot of thinking outside of the box and innovation, which is why I think the merits of being an artist are really important survival skills. To be able to make a living off of your creations is a blessing that many of us don’t have the luxury of enjoying so in the meantime, we have to juggle various hats and scrape along , go the extra mile and hustle to be able to do what we love while surviving and thriving. Because a lot of artists have had to do that for so long, I think they’ve developed a certain resiliency and imagination that has been long lost by many others.

I’m reading more and more in the newspapers and magazines articles about the economy and that the funky job market will push people to pursue more entrepreneurial ventures, and  dictate their own path instead of following the traditional arc of working for someone else or a faceless corporation. With that in mind,  artists really need to take control over how they want their art to be seen and shared. I was especially inspired with this feeling after reading this great post by Baang & Burne.  The post talks about really taking your career by the, ahem, balls and aggressively going on your own campaign that doesn’t necessarily mean getting shown in a gallery and thinking outside of that box. Too often we allow getting in a gallery to define whether or not we’re artists. In order to evolve, we’ve got to get leaner and meaner with our thinking.

For me, I have a meeting next week with a non-traditional artist space in LIC, Queens. I’m exciting about pitching my exhibition proposal because the space isn’t just interested in shows that involve meandering around the room, sipping wine and trying to look cool. They want artists that will put on shows that get the public actively involved with the exhibit, whether through hands-on learning or taking the time to listen to the artist’s presentation on what makes their work tick. I’m pretty excited to pitch to this place and it feels good that I have so many options beyond the typical gallery.

So to dump all the cliches on table: change is good, change is inevitable, things change. I’m learning to change my way of thinking to pursue new experiences, stepping outside of my comfort zone, and embracing my inner-hustler.

I hope you are too.

Trading Crayons for Paintbrushes?

 

My cousin recently posted a news story on her Facebook page about a 4-year old little girl who’s paintings are being featured in a high-priced art gallery in New York. Apparently this girl’s paintings are selling for $30,000 a pop and she’s achieved global fame. According to the story, her parents “discovered” her “gift” when one day, her father, who is also an artist, had some paints and canvas laying about and his daughter started playing with them. Now she is a sensation in the art world and people are shelling out big bucks to own one of her works.

At the risk of sounding snarky or catty, I use “discovered” and “gift” in quotes  with massive amounts of skepticism. Admittedly, if I was at this gallery and saw these pieces on the wall, I wouldn’t have guessed that they were done by a four-year-old. This isn’t because I think her pieces are impressive or outstanding (because I’ve seen other artists create stuff like this all the time and it’s hanging all over the gallery walls in Chelsea and I’ve often thought it was overblown), it’s because most 4-year-olds don’t have access to canvas and acrylic paint. Most kids her age are creating the same kind of renderings except they just do it with crayons and construction paper. In this case, Aelita Andre has the fortune of having two artist parents that have this kind of stuff laying around the house for her to happen upon. If she was doing the same thing with crayons and paper, I seriously doubt that her stuff would be gracing major galleries in New York.

The whole fervor over this girl also demonstrates some of the hypocrisy and hype that is rampant in the art world and particularly in art galleries. Like I said, there’s nothing new or particularly innovative about her pieces; I’ve seen grown artists do the same thing and they can’t even get arrested. I’ve seen artists (like my cousin) who spent many years studying and working to perfect their craft and do a damn good job at it but can’t get arrested, let alone sell a piece for $30,000. So what, then,  justifies the massive price tag for her pieces? I’m guessing it’s because it’s being done by a little girl working with on canvas and with paint, which compels the conclusion that this is all about packaging. I’d be more far more impressed if this girl was creating drawings that were accurate renderings of still-life scenes with detail given to  scale, perspective, etc. That types of work takes time, discipline and work. In short, this looks like much ado about nothing.

I’d also like to add that stories like this often get recycled. Not too long ago, there was another little girl selling her paintings for thousands of dollars in galleries around the world and her works looked pretty much like what this new girl is doing. Eventually, it came to light that this girl wasn’t doing these paintings at all; her artist father was actually making the paintings and trying to pass them off as his daughter’s with the hope that people would buy into the hype and also buy these expensive paintings. I’m not saying that is the case here; the last thing I need is to get sued for defamation by this girl’s parents who don’t appreciate mean little artist-lawyers like me saying libelous things about their kid on a blog. However, the footage that I’ve seen in this news article doesn’t show the girl working on a painting from start to finish. I did find some videos on her on YouTube, including this one, that, quite frankly, creeps me out a little. Its presentation seems somewhat contrived, as if this girl, who is merely painting and having fun, is being groomed and hyped up to be a prodigy or something. Talk about a marketing strategy.

At the end of the day, I don’t have a problem with the little girl, she’s doing what I used to enjoy doing when I was little; drawing, playing and creating with different colors. I played with crayons and leftover computer paper that my mom used to bring home from work while Aelita has the luxury of playing with canvas and paint. However, I do  ultimately take issue with her parents and the pimps art critics that are rushing her stuff off to these galleries for massive amounts of money. What do you think?

In the meantime, if anyone has a young child around the age of four (preferably female) who wouldn’t mind being pimped out to some high-end New York galleries so that a certain artist can pay off her law school loans, please email me.

Hunkering Down and Stepping Out

Me standing in front of some of some of my pieces at a group show through Climate Gallery ("Never Think Small: Redux")

 

In addition to making more art, one of my promises to myself for this year is to get out and find new venues to do a show. I’ve done several group exhibitions here in New York but I really want to do my own exhibition so that people can see a full body of work from me. I already have an idea for what I want to do and am in the process of drafting a proposal for a show but now I’m looking for favorable venues to host. I’m gearing my search towards galleries but I’m open to non-traditional venues as well. The trick is trying to find a place that not only is aesthetically pleasing for my pieces but also one where I get treated fairly.

I think most artists can tell you some horror stories about some experiences they’ve had with different venues. One gallery owner, who is also a painter, told me how she lent her pieces to a cafe in the city for display. One day, one of her friends called her up and told her that the cafe looked like it was going out of business and by the time the artist made it to the venue, it had already boarded up its windows and disappeared with everything, including her art. I think if that happened to me, I’d be posting bulletins on “America’s Most Wanted” and would have bounty hunters scouring the globe for my stuff until finally I would have to go all Kill Bill on someone for such theft.

Luckily, I haven’t had anything like that happen to me, but I’ve had some funky occurrences with different places. Of all of these, one of the things that I encounter the most are venues that try to pass themselves off like they’re a gallery space and charge a 50% commission on sales.

Folks, 50% is a LOT (and believe it or not, there are places that charge even more) and is one of the reasons why artists charge a lot of money for their pieces. A work that I put a lot of time, energy and resources into without  such a high commission could be sold for $1000-$1500, with the idea that the artist would get a reasonable return. But when you’re looking at giving up half of your profit, you’re going to price your stuff a lot higher. In turn, art buyers, who are buying from emerging artists  can get so turned off by the high price that they refuse to buy. This causes the gallery and the artist to get left out in the cold. This is exactly what happened to me during a group exhibition that I participated in in Manhattan a while back. There were artists selling pieces for as high as $15,000 and even though they were large canvases done on oil, we were all emerging artists and buyers got turned off. The curator of the show was so perplexed that they only made one sale and kept asking the participants why we thought there  weren’t  more sales. Add to that, each artist was also expected to do all the legwork for promotions and pay money for promotional materials and print out our own price lists for distribution.  The only thing that this place did (and they weren’t a gallery, by the way) was hang my pieces and offer insurance.

Man, was I naive to go along with that, but back then I was hungry for the exposure so I went along with it. But now I know better; any time a space wants to take that much of  a commission, they’re supposed to be working as your agent. This means they should be writing up the press releases and hyping the show up with advertising and providing a price list. If they’re not going to do these things, they shouldn’t be taking that much money out of your pockets. Period.

I guess my point is that you can’t let venues take advantage of your desire to show your work in the public. I want my paintings to be seen as much as the next artist but I’m done selling myself short out of an act of desperation.

In the meantime, the quest for a good gallery space to share my paintings continues but I have faith that I will find the right venue to make my art feel right at home.