It may be an unwise man who doesn't learn from his own mistakes, but it's an absolute idiot who doesn't learn from other peoples'
~ Frasier Crane
June 7, 2019 10 Comments
The things we most regret are the things we never tried.
Oh, do I disagree with that one.
Disagree because the older I get, the more I lament over the moronic, humiliating, devastating blunders I committed as a young artist.
Things that I never should have attempted, but did anyway, emboldened by the rationale, Ah, what the hell.
I can hear the consoling voices now...
But we learn from our mistakes.
Nothing ventured, nothing gained,
and so on.
Agreed, but I believe we learn a helluva lot more from achievement. Which is wonderful to experience and just as nice to reflect on.
Or as the holiday advertisers say, it's the gift that keeps on giving.
So if you're launching an art career of your own, I invite you to learn from some of my dumber mistakes.
This, in the hope that you won't have to go out and make them all yourself, only to learn that you shouldn't have made them in the first place.
Besides, you'll have your own whoppers to learn from in time:
Thinking Your Gallery is Your Friend
It's easy to delude yourself into believing that the artist-gallery relationship is a friendship. Especially when you're new on the scene and everyone in the place is going nuts over your work.
Heads up—your gallery is not your friend. Doesn't matter how friendly they are.
Not unless you're a veteran enjoying a 10 to 20-year run with the same gallery. In which case, you're on firm enough ground for a friendship to blossom and endure some challenges.
Usually, it's only a business partnership.
But your gallery isn't your enemy either. They want you to flourish. They want you to produce. And they to profit from your work.
So don't ask them for favors and don't burden them with whatever personal tales of woe you might have (and we all have them).
Failed romances, financial troubles, health issues, are to be discussed with close friends or life partners, not with the gallery management or staff. Galleries can interpret an artist's troubles as signs of instability, pegging you as a risky investment.
And to a gallery, every artist is a good or a bad investment.
Anticipating Collectors' Tastes
Painting what you expect others to love is another great way to self-sabotage.
For example, everyone loves flowers. So beautiful floral paintings are easy to sell, yes?
No, not if you suck at them.
Never sold a floral in my life (haven't done so many either). Because my heart isn't into painting them. So how can I compete with some of the freakishly-talented masters of the genre out there?
If You Don't Love Your Work,
Someone Who Loves Theirs
Will Beat You Every Time
Lucian Freud: Reflection (Self-Portrait), 1985
Oil on canvas,
Private Collection, Ireland
Another example: how many people dislike Lucian Freud's paintings?
I don't know either, but I'd guess quite a few.
And how successful was he?
Point is, what matters most is your passion for your subject. That's what enlivens your work. That's what distinguishes you. If the passion is missing because you're painting what you "should", the work will go flat.
So scan your surroundings for the things you love. Then paint the hell out of them, no matter how unusual they may seem, no matter how exposed you may feel.
And don't ever fear the naysayers or the critics. Because the stronger your work, the stronger the reaction to it, positive and negative.
Rubber Gloves, 2005
Oil on wood panel, 8 x 13 in
Private Collection, Dallas, TX
Not Preparing for an Artist Talk
Few things are more traumatic than showing up for an artist talk, brimming with confidence that you're going to knock it out of the park, and then going blank.
What happened? How did you lose the ability to speak? Why did your IQ drop 30 points?
You're on unfamiliar turf.
Cold, expressionless faces glaring at you, adrenaline racing through your system, and worst of all, the haunting echo of your own voice. Which for some strange reason doesn't sound like yours anymore.
If you're talking for one hour then prepare for two.
Rehearsing will make you sound stale, but do know your material backward and forward. This way if you forget something, and you will, you can always grab hold of something else. You'll be 100% more relaxed and spontaneous if you're overflowing with information.
Artist talks are an excellent way to get involved and build your career, so don't shy away from them. But unless you're a natural speaker, don't try to wing them either.
Overpricing or Underpricing Your Work
A director at Hirschl and Adler Galleries once said that overpricing one's art shows a lack of confidence. Which makes sense.
Because if you feel that you can't surpass your strongest, work you might cling to it with an unreasonable price. Or agonize over finding that perfect dollar figure.
Chuck Close likened his paintings to grown children who need to leave the nest and get lives of their own. And, like your children, your art will always be yours, no matter where it lives. Clinging is the sign of an amateur, and it can hold you back.
Underpricing also stems from feeling unworthy. Make it a habit, and unworthiness become ingrained. Same goes for giving too much of your art away.
I find the best pricing strategy has no emotion to it–not the rush of going for the jackpot nor the comfort of the easy sale. Find that unremarkable middle zone. Stay in line with the competition, you can always adjust the numbers later.
Let Your Art be Extraordinary;
Let Your Prices be Typical
Saying Yes to Every Opportunity
Tenth Avenue Crosswalk #4, detail
Charcoal and graphite on paper
Work in Progress
Why would you turn down a collector who's willing to pay good money for that "special" art project, just because the project is a little out of your realm?
It could be a lousy fit. Lousy and doomed to failure.
Someone wants you to paint their swimming pool filled with inflatable toys. Or their high school sweetheart from an old yearbook photo. Or their dog wearing pajamas and a hat.
Should you do it?
Should anyone do it?
Only if your heart is into the project. Otherwise, you're asking for trouble and likely to disappoint the collector. You'll hate the project and you'll kick yourself for accepting it. And you'll always feel underpaid.
Sometimes you have to refuse, without the guilt over being fussy.
But here's the good news...
A high-quality no, the kind that's respectful of the other, is empowering.
You'll feel your confidence rise when the wrong commitments are off your plate. And you'll be dying to dive into your other projects.
Most people in the workforce have a specialty. Find yours, work like mad at, and do it better than anyone else. Only then will the right opportunities find you.
Resilience is King
If you're like the rest of us, your first attempts at painting were humbling. Putting yourself out there is no different.
You'll feel lost at first and you'll get knocked down a few times. Even the big names can fail miserably, and they have big reputations on the line.
But no setback is permanent, not for any artist.
And while you can't avoid all mistakes, you can minimize them, and take years off your career-building time.
More artists than ever are becoming successful, even before becoming household names.
So why not avoid the obvious pitfalls?
Why not get there a little faster?
Why not you?
Don't worry if you haven't paid your dues yet; you can always pay them later on.