​What do successful artists have in common?

Artists’ careers are as unique as their fingerprints. They unfold in unpredictable ways, often without conscious planning.  We see artists showing in galleries, licensing their images on products, teaching art to the developmentally disabled, and having their first solo museum show at the age of 88.  

What can we learn from such variety?  Here are three artists whose unusual careers reveal what successful artists have in common. 

Alisa Burke (alisaburke.com)
Alisa Burke is a painter, printmaker, teacher and writer. She supports her family by running a multi-faceted art business. She offers online classes, sells books and DVDS, hosts workshops and retreats, sells her paintings and collages and adult coloring books, and even started a fashion accessory line. Alisa writes a daily blog and has 50,000 followers. 

Chris Motley (chrismotleyart.com)
Chris Motley spent 30 years in a “left-brain” job, as a lawyer in the public sector. She has no formal art credentials. After retiring from her legal career, she began to knit 3-dimensional sculptures whose originality gradually brought her national recognition. She has shown her work in galleries and art centers across the United States, and recently had a solo museum show.

Lia Cook (liacook.com)
You can find Lia Cook’s ground-breaking work in the collections of the Metropolitan Museum, the Museum of Modern Art, and the Smithsonian, among many others. She works in a variety of media, combining weaving with painting, photography, video and digital technology. She is currently collaborating with neuroscientists to investigate our emotional response to images by mapping these responses in the brain. 

​Each of these unique artists experienced a moment of insight, where they saw their future and it became possible. 

Alisa Burke had found it hard to make a living selling her paintings and drawings and prints at galleries. When she volunteered to teach at a nonprofit art center, the openness of the environment allowed her to create her own teaching style and content. Suddenly she knew she didn’t have to choose one art form over another, to become just a painter, or a printmaker, or a crafter, but that she could do it all, and share what she knew with other artists. This insight became her brand: “Redefine Creativity.”

Chris Motley never thought of herself as an artist. Her knitting was an enjoyable hobby that gave her something to do after she retired from a busy legal career. She had always had an identity as a lawyer, and when she retired she was relieved to be able to say: “I’m not doing nothing, I’m knitting.” Then she began to show her neck pieces at art festivals. Her moment of insight came when she saw a small placard placed on her table. It said: “Chris Motley, Artist.” 

​Lia Cook had also tried out several different careers. Even though she had a job showing slides in an art history class, she didn’t think of art as a career. She studied political science and thought about going into the foreign service. Then she took a bus trip to Mexico, visiting Oaxaca and Chiapas, where she saw women weaving on looms. This was her first discovery of hand-made textiles, a medium that would inspire and inform her career for decades. She later realized that the trip provided her moment of insight, and became a turning point in her career.

So think about your experience as an artist. You don’t have to call it a career, but do pay attention to your own moments of insight. They might contain the seeds of your future success. 

All the best,
Mary

Mary Edwards, Ph.D. 
Career & Life Coach for Artists
www.coachingforartists.com
​
I’m a Career and Life Coach for Artists, based in the San Francisco Bay Area and working with artists across the United States.  If you’d like to ask a question or set up a time to talk, please write to me at:
​coaching@coachingforartists.com. 

Flexibility, Persistence, and Imagination: A Positive Mindset for Artists

As we approach the end of the year and the beginning of a new one, I wanted to reach out to artists who are struggling.  The art world can be slow in dispensing its rewards, and you might not get what you want when you need it.

How do you keep going?  In my blog posts this year I’ve talked about how to develop specific skills, like talking about your work, so that people understand what your art is all about. We’ve also explored how to become more visible at each stage of your career. And you know that you have to stay connected to a wide network of personal and professional supporters, the people who can help you succeed.  

But HOW do you find the mental and emotional energy to keep doing all of this?  When we look at the careers of established artists, we find a force at work that is just as important as skills or connections. This force is like a constellation of guiding stars: certain ways of thinking, feeling, and acting that I call “A Positive Mindset.”

A positive mindset is not magical thinking, where you close your eyes, make a wish, and wait for a miracle. It is an attitude about yourself, your art, and your potential that will sustain you throughout the ups and downs of an artist’s life.

If you have any doubt that your thoughts and feelings shape your behavior, just take a look at your own habits. You feel fat so you go ahead and eat another brownie; you don’t think you’ll get into an exhibition, so you somehow miss the deadline. When you are discouraged, you stop trying, and over time you can get stuck. That’s when you need to activate your positive mindset.

A positive mindset for artists is made up of three characteristics: flexibility, persistence, and imagination. You use all of these abilities, separately and together, when you create art, but you may not remember to bring this same spirit to your art career.

As you look ahead to the new year, ask yourself: how can I be more flexible, persistent, or imaginative in developing my art career?

All the best,
Mary  

Mary Edwards, Ph.D.
www.coachingforartists.com

I’m a Career & Life Coach for Artists, based in the San Francisco Bay Area.  I work with artists throughout the United States and all over the world. If you would like to send in a question or schedule a time to talk about your own goals, please write to me at: coaching@coachingforartists.com.

In my last blog post we looked at different ways for established artists to get noticed. This process is known as "getting on the radar." Today we will take a look at the next level, which I call "making it."

If you're just joining this discussion, you can catch up by downloading my free handout below. It shows four levels of exhibition opportunities available to artists, presented as a staircase. You can also find blog posts about each level.

 Stages of an Art Career (52 KB)

Use the staircase to figure out where you are right now in your art career, and where you want to go. The opportunities listed at each level will help you become an artist whose name and work people start to recognize. As you put yourself out there, you gradually build your career.

At the higher levels, the first thing to remember is that the kind of art you make matters. In the contemporary art world right now, artists receive attention for breaking new ground. Their art often explores social, political, or aesthetic ideas. They use their medium in new and experimental ways. Artists are recognized for combining and collapsing the boundaries of traditional media. This work is experimental and interdisciplinary in the broadest sense of the term.

At the higher levels, gallery representation becomes important because of what a good gallery can do for you. They can give you a solo show of new work every few years, present your art to collectors, and take your work to the national and international art fairs. If your gallery is well connected, your work will be reviewed in art magazines and shown in museums.

Another key factor in "making it" is your network. Artists get ahead through their contacts with curators, gallerists, museum directors, arts writers, and other leaders. These people often nominate artists for the major awards and fellowships.

Since these opportunities are announced and some even solicit applications, you might think it is an open process, but often a short list exists where well-known artists are invited to apply. Before you spend valuable time applying for a Guggenheim, research the artists who were awarded the Fellowship in the last few years. You will find that they have very strong resumes and are well connected. If you're ready for a residency but don't yet have such credentials, apply for the many fine residencies that are open to applications. (See the Alliance of Artist Communities for a comprehensive list.)

Many artists think that they need an MFA to succeed in the art world. Having the degree will help your career primarily because of the contacts you make. The faculty at art schools often know the people at galleries, museums, art publications, etc. Their contacts are not just local but reach across the country. They meet each other at conferences, travel to art fairs, read art magazines, and stay on top of trends. Sometimes they can introduce you to a gallery, recommend you for an award or residency, or promote your work to a curator or writer.

If you are already an established artist, don't think you have to go back to school for an MFA. Concentrate on building your reputation by using your own network of relationships.

So far I've been describing a traditional, even old-fashioned path towards "making it" in the art world. Today you have alternative ways to succeed, depending on your goals. Many excellent artists have established themselves entirely through their online presence, including active use of social media to promote themselves and their work. Other artists are successful by selling their work on Etsy, or on home décor sites, or through licensing agents and art consultants.
Alternative art fairs have popped up in New York, Los Angeles, and Miami, so that individual artists without gallery representation have a chance to participate. Often these events run parallel to the major art fairs, and add fresh energy.

So, think about it. What does "making it" mean to you? Then begin to take the first small steps on your own path.

All the best,
Mary Edwards

I'm a Career & Life Coach for artists and other creative people. I’m based in the San Francisco Bay Area but work with artists throughout the U.S. and all over the world.

If you’d like to schedule a time to talk, please write to me at coaching@coachingforartists.com.

How do you get on the radar of the Art World?

We've been talking about four levels of exhibition opportunities available to artists, presented as a staircase.

 Stages of an Art Career (52 KB)

Look at the various levels to figure out where you are right now in your art career, and where you want to go. By taking advantage of these opportunities you become an artist whose name and work people begin to recognize. As you become more visible you will move on to the next level, so that you gradually build your career as an artist.

Today we're looking at Level Three, which I call "Getting on the Radar." When you read the announcements of artists chosen for major art awards, you'll see that a small number of well-known artists seem to get picked. Check out the artists selected for the Artadia Awards, for example, or the Whitney Biennial. Google their names to find their resumes, and you'll see how they got there. None is an unknown artist who came "out of the blue." They were already on the radar of the Art World.

So what you do to get noticed? The first thing to remember is that galleries, critics, curators and magazine writers want to "discover" artists, rather than be bombarded by your marketing campaign. Most decision-makers in the art world ignore emails from artists they don't already know.

The opportunities listed in Level Three are legitimate ways for you to get on the radar. Let's start with group shows at local or regional museums. Often these venues have member programs for local artists, where you can join for a fee and become eligible for "member shows." Make sure these are juried, so that the quality remains high. Also check to see if they sponsor national juried shows. While they are harder to get in, these exhibitions are often juried by a prominent curator or gallery owner, so your work becomes visible to them. Some museums also review artists' proposals for solo exhibitions.

Another way to access museum shows is through your professional art organization, like Oil Painters of America, the National Sculpture Society, the National Watercolor Society, etc. These organizations partner with museums (and sometimes galleries) to sponsor juried shows for their members. While these exhibitions are highly competitive, they give you access to major museums who wouldn't otherwise know about you. Sometime these exhibitions travel to a number of different venues.

College and University galleries are another great place for you to find Level Three opportunities. Start with those in your state or region, as these galleries often feature local artists. They attract a serious audience because of their affiliation with an educational institution, and curators and gallerists pay attention to what is shown there.

Some commercial galleries offer exhibition opportunities for artists. These galleries do not take submissions from artists, but use an "open call" to survey a large group of artists whose work they might not otherwise see. Be highly selective in responding to these open calls. Only submit to galleries where you see a good fit with your own work. Take a look at the artists shown on the gallery's website. What do they have in common? Is there a particular look (often called their "aesthetic") or a conceptual focus? If your own work doesn't match their interests, do not apply to these calls.

Your social media presence is another good way for you to get on the radar. Many artists are using Instagram to heighten their visibility. It is important to be regular and consistent in your posting, and to build your art story over time. Do follow the galleries and museums you admire. Feel free to "like" and comment on what they are doing, but do not post your own work on their wall. Your genuine interest will gradually make your name familiar to them.

Finally, get out there in the real world of art, whenever and however you can. Go to openings, visit museum exhibitions, talk to other artists, visit your friends at open studios. You never know who you might meet and what you will learn.
Next time we'll take a look at Level Four opportunities, which I call "Making It."

All the best,
Mary Edwards

I'm a Career & Life Coach for artists and other creative people. I’m based in the San Francisco Bay Area but work with artists throughout the U. S.and all over the world.​

How do you become visible in the art world? Early in your career this is your most important task. You want to find opportunities that will help your art become familiar to the people who might buy it or show it in their gallery or write about it in a magazine.

Here’s a handout describing four levels of exhibition opportunities available to artists, shown as a staircase.

 Stages of an Art Career (52 KB)

You can use it to figure out where you are right now in your art career, and where you want to go.

Today we’re talking about Level Two, which I call “building a resume.” This is how you establish yourself as an artist whose name and work people begin to recognize. Your record of accomplishment helps you move on to the next level, as you gradually build a career as an artist.

When you’re ready, start by entering juried shows at nonprofit art institutions. These are art centers, community centers, and small museums who offer group shows for artists. These venues have given a career boost to many artists who have gone on to gain national recognition. If you look at the resume of a well-known artist, you will often find that their first exhibitions were in nonprofit art venues.

Start local! Consider the art opportunities in your own town or region first. The best ones are juried, often by a gallery owner or curator. Sometimes you’ll be asked to bring your art in person to be juried, but that is unusual. Most likely you’ll need to enter your work through an online portal, where you upload your images. If you are new to such a process, don’t wait until the last minute to enter. Allow time to learn. If you are “digitally challenged” ask for help from the sponsors of the show or from a friend or family member.

Choose exhibitions specific to your medium, whenever you can. If you’re a photographer, look for photography shows. If you’re a sculptor, look for exhibitions featuring 3D work. You might also consider themed exhibitions, like a landscape show. By focusing in this way, you’ll improve your chances of getting in and you’ll be included in a group of your peers. Avoid entering exhibitions open to “all media, all artists 18 years old and over.” This language suggests that the sponsors of the show are primarily interested in collecting fees from a large number of artists.

After you have gotten into a number of local shows, start to consider regional and national juried exhibitions. These will be competitive because they attract a large number of artists, but they add weight to your resume. Consult state-wide listings. West Coast artists can find opportunities listed on the California Arts Council website (www.cac.ca.gov). East Coast artists should visit the New York Foundation for the Arts (www.nyfa.org). Your own state may have a similar arts council that serves as a clearinghouse for art opportunities. For a listing of national and international exhibitions, visit www.CallForEntries.com. This is an excellent curated site, where the opportunities are divided into separate listings for artists and photographers.

At the beginning of your career, enter as many of these juried shows as you can afford. If you are able to enter several a month, you increase your chances of being accepted. Some nonprofit venues also have membership programs for local artists, where you join for a small fee and become eligible for “member shows.”

If you’re interested in finding your first solo show, consider libraries, hospitals, and bookstores with art programs. These spaces offer a quieter and more serious venue than the cafes and restaurants in Level One. If your local library or bookstore doesn’t yet offer shows for artists, talk to them about the possibility.

You might also take a look at your county fair. Some of them include juried shows of local artists, and award prizes and ribbons just as they do for other categories. County fairs attract a large and diverse public for your art. If you are considering a county fair but are not sure about the quality of the art, go to the fair and check it out, and then apply next year.

What about juried shows offered by galleries? Since they represent a higher level of opportunity and exposure, I’ve included them in Level Three, where your goal is “Getting on the Radar.” I’ll talk about those opportunities in my next blog post.

All the best,
Mary

Mary Edwards is a Career & Life Coach for artists and other creative people. I’m based in the San Francisco Bay Area but work with artists throughout the U. S. and all over the world.