While many people want to work in the art industry, however, not a lot of them actually achieve that goal. The tech industry has a respectable 46% success rate based on childhood dreams, but only 21% of those wanting to work in art and design made it as professionals. The good news, though, is that a career in art isn’t the least achievable dream either. Only 3% of would-be entertainment professionals and 2% of would-be writers made it in their dream industry.

So, while it will take a bit of effort, a splash of creativity, and a heap of persistence, a career in the arts may just be within reach. Whether you’re a current art student, a recent graduate, or a mid-life career changer, you may find the following tips useful for breaking into the art industry and making your dream job a reality.

1. NETWORK WHENEVER AND WHEREVER YOU CAN

Whether you’re looking for new ideas, commercial exposure, or just some periodic moral support, networking in the art world is a must. Connecting with other artists and professionals helps you grow your reputation and expand your reach exponentially. If you know enough people, your name will eventually come up. A museum director may consider you for a local exhibition. An artist friend who isn’t a good match for one venue may recommend you instead. A podcast host may call you up for an interview.

The potential benefits of networking with art professionals are nearly endless. Fortunately, so are the ways to connect with others in the modern world. You can choose to attend meetings of a local artist’s group, join a national organization online, stay active on social media, touch base with old art professors, mingle at industry events, or even just pop by to visit that small gallery in your neighborhood. And don’t forget to pay it forward: genuine relationships with others will take you farther than one-sided efforts to market yourself.

2. GET YOUR ART (AND YOURSELF) OUT THERE

If you didn’t love to create, you probably wouldn’t be an artist. However, creativity is only the first half of the equation. The second half involves getting your art in front of an audience. Luckily, we live in an era where that’s easier to do than ever before.

Thanks to the internet, social media, and even “old-fashioned” email, you can get your art out to the world without leaving your studio (you do eventually have to leave, however, but more on that later). Follow, join, and scour art-related media accounts, and then take action! Respond to open calls for new artists, participate in contests, sign up to show your work at fairs, and apply to exhibit at events. Not only will these occasions give you the chance to showcase your art, but you’ll likely make new connections in the art world as well.

If you can’t find enough existing opportunities that suit you, then create some! Contact community groups with their own neighborhood spaces to see if they contract local artists. If self-promotion isn’t your thing (yet), join forces with other artists to form your own group exhibition or event. Group ventures not only take the pressure off you, but may also draw a wider audience thanks to a variety of styles and skill sets.

3. DO MORE THAN JUST MAKE ART (BUT DO THAT TOO!)

While the studio may be your safe (and productive) space, the business side of a career in art will eventually call you to do other things. If you feel comfortable in front of others, try leading workshops at your local recreation center, teaching classes with an area artists’ guild, or giving a talk either in person or online. Don’t forget to make yourself accessible afterwards—chit chat with attendees or answer questions at the end of your event.

If you’d rather let your art do the talking, look into expanding your options by experimenting with joint projects with other artists, accepting commission work, selling prints or other merchandise, or joining print-on-demand sites. Remember to do your research up front with these strategies to make sure that the investment in time (and sometimes money) will be worth it to you in the end.

4. MAKE YOUR ONLINE PRESENCE KNOWN

While its importance depends partly on your particular audience and medium, there’s no doubting the power of social media. It takes effort to open and maintain effective accounts, but you may find that a strong social media presence helps you implement all of the suggestions above. Social media can act as a one-stop artist’s shop, allowing you to showcase your work, market yourself, network in the community (and across the globe), announce upcoming events, and sell merchandise all in one place.

Which platform you choose is mostly up to you. While the visual nature of Instagram lends itself most naturally to artists, you may also have accounts on Facebook, TikTok, Twitter, or all of the above. Whichever channel you choose (including your own website), make sure to have a professional presence, post/update consistently, and engage with your followers. Perhaps the only thing worse than having no online presence is having one that makes people question your professionalism, dedication to your audience, or even whether you are still in business.

5. GET READY!

As they say, “Luck is what happens when preparation meets opportunity.” While working to expand your opportunities in the art industry, make sure you’re prepared to take advantage of them when they arrive. Focus on honing your artistic vision and style, putting together a strong body of work (and professional portfolio), and polishing your online presence. It never hurts to have a stack of business cards and a short elevator speech at the ready.

MAKE YOUR DREAM JOB A REALITY

While some artists enjoy the more commercial and practical aspects of marketing their work, others find it a chore that takes time away from their craft. If the latter describes you, it may help to think of the business angle of your art as just another venue for your creativity.

You may discover that you have another skill that’s sought after in the arts industry, such as graphic design or digital marketing. If not, then hopefully these tips will help you make it in the art world until you can afford to hire your own business manager!

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Author Bio: Kelli Mason has been a leader in workplace inclusion throughout her career. As a Stanford Law student and Silicon Valley-based corporate attorney, she led Building a Better Legal Profession, a nonprofit that encouraged top law firms to increase diversity and pro bono participation. Kelli is a co-founder of JobSage, an employer review platform focused on what matters most to today’s jobseekers and professionals.

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The artworld is rich in complexity and diversity. While several art enthusiasts believe that artists make work that only their contemporaries can appreciate, this isn’t always the case. A great art journalist should be able to look beyond the work itself and identify what is important about it and why. And that’s the art journalist’s job to present this information compellingly to the public.

This guide serves as a directory of some of the top names in art journalism. It is a useful starting point if you are interested in becoming a journalist.

Top Eight Picks Worth Studying

To better understand art journalism, it’s essential to know the contributing writers to this field. Here are some of them:

Tyler Green — Photo Credit: Our Choices

 Tyler Green

Let’s kick off the list by mentioning this prominent figure. Tyler Green is considered one of the most important art critics of the 21st century. Through his work as a historian and author, he has brought the arts to light in various publications, especially when it comes to the impact of artists on national histories. Most notably, he is the producer and host of popular arts audio program: The Modern Arts Note Podcast. In his books, including Carleton Watkins: Making the West American, he takes a critical view of writing and art analysis.

Jerry Saltz

Jerry Saltz, the art critic for the Village Voice, has written extensively on contemporary art and criticism since the 90s. His articles have appeared in numerous publications, including New York Magazine, where he joined in April 2007, and Vanity Fair. Saltz has also published several books, including Seeing out Louder, Beyond Boundaries, and How to Be an Artist. His co-authored book De Kooning: An American Master has earned him the Pulitzer Prize. One thing’s certain, Saltz’s harsh criticisms are interesting to read and he is not afraid to call out the “pretentiousness” that plagues certain elite circles.

Christopher Knight — Photo Credit: Los Angeles Times

Christopher Knight

American art critic and writer Christopher Knight is recognized for his Pulitzer award-winning works, ranging from his critic note on LACMA’s precarious restructuring proposal to a Betye Saar’s artwork review. The L.A. Times’ art critic, Rabkin Foundation award winner, and three-time nominated finalist has made several appearances on such media outlets as CNN, PBS, and CBS. While covering global art, the Hartwick College alumnus centres on the California scene.

Robin Cembalest

Award-winning investigative journalist and one-time, long-serving ARTnews editor has covered art for over two decades. Some of her previous works have appeared in publications as varied as the Wall Street Journal, the New York Times, and The Village Voice. The Yale graduate has earned a reputation as a social media consultant and mentor for digital content creators. Among her initiatives is Art Writing for Art Professionals.

Jason Farago — Photo Credit: Apollo Magazine

Jason Farago

Art historian, editor, and Critic, Jason Farago, has carved a niche for himself in the art world. A regular contributor to The Guardian and other publications, the Even co-founder covers art and culture within and beyond the U.S. His sharp wit and insightful perspective have earned him wide acclaim from art enthusiasts. The New York-born art journalist has won the inaugural Rabkin Prize award, a prestigious annual international prize recognizing excellent art writing. He currently writes for the New York Times.

James Elkins — Photo Credit: Instituto de Historia de Arte

James Elkins

Art historian and critic James Elkins has been active for more than two decades. Known for being a theorist and practitioner of modern and contemporary art, the Ithaca-raised author also specializes in structural criticism. Elkins has published extensively on issues of art criticism, often incorporating the insights of philosophers, art historians, and literary critics into his books. He lectures at the School of the Art Institute of Chicago. His works include Pictures & Tears, Why Art Cannot Be Taught, and What Painting Is.

Adrian Searle

British art critic Adrian Searle’s career in art journalism spans over two decades. A one-time painter for the Nigel Greenwood Gallery, the art journalist took a different path when he became a contributor for Artscribe magazine. He has had works featured in Time Out, The Independent, and the Financial Times. Adrian refers to his transition from painting to art journalism as somewhat conflicting as he enjoys both disciplines. His curatorial projects include Glad That Things Don’t Talk and Promises Promises. Adrian has been a part of The Guardian’s establishment for 26 years, currently serving as its chief art critic.

Roberta Smith — Photo Credit: Artforum

Roberta Smith

A contemporary art critic for the New York Times, Roberta has written on art and culture for 40 years. Her essays on contemporary and visual art have been featured in various publications, including one from the National Gallery of Canada. The three-time award winner and wife to Jerry Saltz approaches her job with a fine-tooth comb, using her journalistic skills to uncover and highlight compelling works of art, from museum exhibitions to gallery shows.

The individuals represented here are just a few of the most successful art critics out there. Considering how challenging this discipline can be, their achievements are all the same remarkable.

Elements of Art Journalism

It is challenging to conceptualize art journalism, as it is a field that combines elements of art criticism and art history. However, at its core, it is a journalistic discipline that reports the creation, practice, and history of art. Below are some important elements of art journalism:

Research

This is the most crucial step for any journalist, especially those in art journalism. You can’t write anything that you haven’t researched. It is important to study works of art that interest you, even though you might not understand them initially. Doing so will help you to identify what is good about them and what may need improvement.

Analysis

Art critics are encouraged to interpret art. This means that they can present the artist’s work in a certain way to highlight their strengths and weaknesses. But it doesn’t mean that they have to interpret art in a negative light. A critic should always maintain objectivity. Research and analysis should be conducted to highlight a work’s merits and challenges. In that sense, art critics are artists too. That’s what makes them different from the average writer.

Contextualization

To fully understand art, it’s necessary to see it in the context of its history. It is also important to appreciate art within its cultural, economic and political environments. Without context, a work of art is meaningless. While it may seem easy to draw connections between artworks, their interpretations vary in many ways. You have to understand what motivates an artist to create a particular piece of work. That way, you can bring an average reader to appreciate it.

Conclusion

Becoming a great art journalist requires more than excellent writing and presentation skills. It demands a deep-rooted understanding and application of art history, techniques, and forms. Consider majoring in art history to ingrain yourself in the historical and cultural significance of art. You should also have a deep interest in various artists and their works. Develop additional skills, like reporting and researching, via journalism courses. This will prepare you for a career as a skilled art journalist.

About the Author: A professional academic writer and researcher, Laura C. Fields is the founder of BetterWritingServices, a platform that provides review services for students at all levels. Her passion for closing learning gaps has helped improve countless academic papers. She is the go-to expert on all things related to essay writing.

The post A Comprehensive List of Famous Art Journalists You Should Read appeared first on Art Business News.

The traditional way of selling art through brick-and-mortar gallery works. But if you find yourself creating marketing materials, building websites, packing boxes, and accounting for your sales when you’d rather be painting, sculpting, or blowing glass, then it’s time to consider selling to the trade.

Also known as wholesaling, selling to the trade is commonplace in the commercial marketplace, and it’s been around for decades among fine artists who see it as a means of expanding their reach and collector base. And in today’s marketplace, it can provide income via multiple distribution channels. 

Instead of relying on their own sales and gallery consignments, successful artists have entered the world of wholesale and are building a distribution network of publishers, gallerists, dealers, consultants, decorators, and designers who provide a professional skill set in dealing with the art world, from marketing and selling to packing and shipping. And today, online marketplaces have become another means of expanding your distribution.

The more places your art is on display, the better chances it has of it selling. So let’s look at four types of art industry trade distribution and what they typically charge for services.  

PUBLISHERS

An art publisher is not unlike a book publisher. A book publisher (think Simon & Schuster) manages the careers of many writers, while an art publisher manages the careers of many artists. Not only does an art publisher provide operational, promotional, and financial guidance, but also, and perhaps most importantly, a publisher maintains a client list of galleries and retailers around the world in which to sell the art they “publish.”  

A typical art publisher needs to buy at a deep discount so they can sell the art wholesale to a retailer (i.e., a gallery owner). For instance, if the retail price of a piece is $5,000, the retailer will expect a discount of 50/10, which means the publisher usually asks for a discount of 50/50/20: $5,000 less 50 percent is $2,500 less 50 percent is $1,250 less 20 percent is $1,000. 

This is a wonderful relationship for artists who can paint quickly. Let’s say you can paint 100 pieces annually. How many can you sell on your own? Not many. However, the publisher’s distribution network of dealers, galleries, and trade professionals does the selling for you, leaving you with more time to paint.  

GALLERISTS AND DEALERS

Otherwise known as gallery owners or art dealers, they account for 51 percent of art sold annually. Gallerists and dealers are the business side of the industry, acting as the retailer, curator, accountant, marketer, and sales team all in one. 

“It’s not an easy business,” says Eric Smith, president, and CEO of Redwood Art Group. “When you’re dealing with a gallery owner, I encourage you to work with them, create a long-term relationship. They are your partner, and you never bite the hand that feeds you.” 

Gallery expenses include rent, power, sales commission, advertising, marketing, events, and more, so a typical gallery needs to buy or consign the work at 50/10 to 50/20. On a $3,500 piece, this translates to $3,500 less 50 percent is $1,750 less 10 percent is $1,575, less 20 percent is $1,400.

Also remember, when you work with a gallery, your distribution is almost always limited to the area they occupy in order to protect your relationship. Even if the gallery is in Los Angeles or New York, you’re still relying on foot traffic — so be patient.  

DESIGNERS AND DECORATORS

Interior designers and decorators can be a significant source of distribution for some artists, and they often don’t take as large a piece of the pie. That’s because designers and decorators are not guiding or assisting you; they are simply selling directly to their client — the collector. You have to be out there in order to connect with the designer or decorator, so you’ll still have to capture the image of the piece, post it on your website, and provide the marketing. 

Typically, a designer works on a 25 to 30 percent margin. For instance, if the sale price of a painting is $4,000, you’ll receive anywhere from $2,800 to $3,000 for the piece. Then they resell it to their client for the full price or maybe slightly more.

ONLINE PLATFORMS

Selling online has become a mainstay for many artists, whether on their own website or in affiliation with one of the many online platforms. Of course, selling directly from your website or your own social media platforms gives the potential of interacting directly with buyers, creating a relationship much like you would do at an art fair or gallery opening.

Having your own site gives you complete control over presentation and sales, but the challenge is having a well-designed website that’s easy for search engines to rank. Merely uploading your work on your website won’t get you noticed. You’ll need to have an aggressive marketing plan of blogging, emailing, and social media to engage followers and potential buyers.

You might choose to partner with a platform like SaatchiArt, DeviantArt, or Redwood Art Marketplace. Each of these platforms markets aggressively and manages the sales process entirely. You can expect them to take between 35 to 40 percent of the sale. If your work sells for $2,500, you’ll receive between $1,500 and $1,625 for it. 

PATIENCE PAYS OFF

We like the way this quote from Cory Huff, CEO and Founder of The Abundant Artist, sums it all up: “The final decision on what to do and how to do it comes down to you as the artist. It’s your work and your life. Artists remake new markets and forge ahead into areas that others can’t see. That’s what makes artists unique and interesting. As with any business strategy, the best strategy to selling art is the one you can maintain. Be patient. Take some time and plan out your strategy. And, most importantly, give yourself room to have fun and experiment.”

LEARN MORE

You can learn more about selling art in the art industry’s wholesale marketplace at the Topics & Trends Educational Series seminars at Artexpo New York, running November 18-21, 2021, at Pier 90 in Manhattan.

For more information on Redwood Art Group’s fairs and how Redwood can help you develop your career and grow your business, visit https://redwoodartgroup.com/.

About the author:

Linda Mariano is the Editor-in-Chief for Art Business News and Managing Director of Marketing for Redwood Art Group. With a career that spans 30 years, Mariano is a leader in marketing, brand management, e-commerce, and promotion initiatives for major retailers, specialty retail, art industry, licensing partnerships, media, and entertainment, as well as entrepreneurial business environments. For Redwood Art Group, Linda oversees the marketing and brand extension efforts of the company.

All photos courtesy of Redwood Art Group.

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