The first artist (let’s call him ‘Kwak’) faced the first dilemma: “How do I price my work?”
Kwak was a natty little Neanderthal, not much good at physical labor (and before anyone shakes a spear at us, we recognize those researchers who attribute the bulk of his work to his unsung partner ‘Wampat’), but…be that as it may: Kwak had just finished a fine head study of the Old Chief’s mastodon and was at a loss what to charge. Kwak turned to his best friend (who was even less adept at labor––but dreamed of opening a gallery), and asked him:
“So, Lug––be honest: How many seashells can I ask for this?”
Lug (a little miffed at being asked to ‘be honest’––for he was invariably honest) replied: “It’s not what you can ask, Kwak––it’s what you can get. Old Chief doesn’t like to part with his seashells.”
Well, thought Kwak: Tell me something I don’t already know.
Sensing Kwak’s disappointment, Lug said: “What if I go to Old Chief? Would you take ten seashells for it?”
“Well…” Kwak was hesitant.
But Old Chief was to be avoided if at all possible. He was a scary old guy, always asking Kwak when he planned on doing some real work.
Lug sweetened the pot: “Look––if I can get more, I will. I don’t want to leave any seashells on the seashore any more than you. We’ll split whatever I get, down the middle: sixty/forty. How’s that sound?”
“Pretty sweet,” Kwak agreed.
Now Lug was just as afraid of Old Chief as everybody else, but seashells are seashells. He caught Old Chief at an opportune time: just back from the seashore–– and loaded with seashells.Lug pointed out what a fine rendering Kwak had done; his work on the mastodon’s tusk was exquisite: worth ten seashells by itself. He also mentioned the rarity of the piece (for it was, indeed, the first piece of artwork). In Lug’s eyes, that doubled its value. Finally, lowering his voice, Lug said he hated to bring this up–– was very apologetic to Old Chief––but (full disclosure) the young chief in the next valley, Eats-Seashells-For-Breakfast, had expressed an interest in Kwak’s mastodon…
“But that’s my mastodon!” Old Chief shouted and sputtered. He was outraged.
“Yes Sir. You are quite cor-rect. Though, act-u-ally, in this case…er, by, um, tribal custom, Sir––Kwak has the rights to the image…but that is stuff for a future blog, and nothing you need worry about today…”
Old Chief grumbled…
“Eats-Seashells-For-Breakfast wants it, eh?” (Old Chief was Canadian on his mother’s side) “Well, Lug, you are a thief, but I’ll give you thirty seashells for it, and not a single seashell more.”
“Will that be cash or credit, Sir? And…um, sorry––we must remember the sales tax. We can’t forget Big-Chief-On-The-Mountain.”
Lug was very proud of his day’s work. He had done a favor for his best friend and got him some extra seashells to boot. He also had enough shells to open that gallery. He knew just the spot…right on the path to the seashore.
Kwak too was proud of his day’s work. He had gotten Lug to shake some seashells out of Old Chief. No easy thing. His work was now where other Chiefs might see it. True, he had expected ‘sixty/forty’ to be worth more than twelve seashells––he had never been good at math, having skipped school that day––but, whatever, it was two more seashells than he could have gotten on his own.
His wife, on the other hand––for reasons Kwak could not quite follow––was not happy. Not–happy–at–all. She (nee: Wampat Goody-Two-Boots) had never missed a day of school, and was quite sure Miss Google had demonstrated the concept of ‘down the middle.’
Gently, Wampat asked Kwak if he had gotten this agreement with Lug down in writing.
Kwak gave her a blank look and asked: “What’s wr…”
Wampat threw up her hands and stormed out.
Oil Painting
How is Art Like Surfing?
14×18 Oil
Try to visualize the waves as trends in art.
Surfers work hard to paddle out. Similarly, artists struggle to learn and find their artistic voice.
Surfers finally get to that sweet spot and catch a wave; those paddling stop to watch them glide by. Similarly, artists still in the water of obscurity see others riding a new artistic trend, yelling, “Here’s how to paint.” Those struggling are growing anxious, thinking “I should be on THAT wave.”
Some surfers ride a wave till it runs out; others get off the wave halfway and struggle back to a prime spot; still others catch a smaller wave halfway to their goal. Similarly, some artists hope they eventually catch a good wave and can ride out an easy career; others see the times changing, and decide to jump off the wave and struggle back to a sweet spot; still others choose a smaller wave halfway out, abandoning the difficulty of the struggle.
It’s an organic visual loaded with metaphor, isn’t it.
The tide that pushes against every artist is the fear that the best things are passing us by. Steven Pressfield personifies it as an enemy called Resistance in his book “The War of Art”. He says, “Resistance has no strength of its own. Every ounce of juice it possesses comes from us. We feed it with power by our fear of it. Master that fear and we conquer resistance.”
One example of an artistic trend is the American “plein air movement”. It’s on a bell curve just like everything else. It will change (already it has different regional expressions), and most likely it will, like all waves, sink in the ocean to manifest another day.
16×20 Oil
Fortunately, there’s a bigger wave building that we can be excited about—it’s the interest in art in general! There’s still a ways to go, but the swell is evident. It’s a great time to be an artist. It’s a great time to be studying and growing. It’s a great time to teach. Today’s students of art are the future art collectors. There’s an awesome set of waves coming.
The more I’m in this career, the more I feel this growing wave. I want to be out front.
If you feel it too, here’s what I recommend: know art history intimately; don’t stop studying it, and be respectful of ALL OF IT. The history we’ve been dealt is a proverbial pearl of great price. We’re not innovating; we’re standing on tall shoulders. There comes a time to wean yourself from just painting for the “love of it.” It’s something to take seriously. Look to artists that don’t appeal to you on the surface. Read about their lives. Your work will have a deeper look and meaning if you let diverse stories and styles influence you.
Degas and Corot were two artists known for this kind of profound reverence. From the book “Corot in Italy”, it was said that his great accomplishment during his formative Italian journey was to “…fuse the empirical candor of outdoor painting with the pictorial rigor of the classical tradition.” He was respectful of the traditions he came from, and yet, before nature, he looked with fresh eyes and produced work way beyond his time.
In the book Degas by Jean-Jacques Leveque, it was said, “Like Manet, he (Degas) was torn between his reverence for the past and his visions of the future.” While others like Monet and Pissaro were dismissive of the romantic traditions in the Parisian art scene, Degas was respectful of it and payed homage to it, and yet fused it with his growing love of the Impressionists broken color. He implored his peers to temper their reactionary speech.
This is important to note because some artists and art movements today want to react dismissively to the art movements of the Twentieth Century. How will we ever have real conversations with the curators of the avant-garde if we don’t have a healthy respect for what they represent? But that’s a discussion for another time.
[One way you can catch this vision is to join me and Jason Sacran in Italy the summer of 2017 as we introduce you to one of the most influential communities in the world of representational art, JSS in Civita, through our workshop “In The Birthplace of Outdoor Painting”. Go to lasaterart.com/workshops to learn more.]
Let’s get ready for the big wave! HANG LOOSE my friends.
John P. Lasater IV has had many awards at plein air events and national exhibitions, and has been featured in Southwest Art and Plein Air Magazine. He also served as a
speaker and demonstrator for the 2015 Plein Air Convention and the 2016/17 Plein Air South Conventions. He will be demonstrating at the 2017 OPA National Exhibition.
speaker and demonstrator for the 2015 Plein Air Convention and the 2016/17 Plein Air South Conventions. He will be demonstrating at the 2017 OPA National Exhibition.
Where did all the color go?
Not this year. After years of California drought, off-shore weather systems were now massing early off the coast. My favorite location had lost most of its sparkle and all of its high color. I am committed to this location at this point, however.
The next task was to paint my large studio piece. I used the same process as with the Plein Air studies—limiting my pallet, holding very tight with Grey mixtures, then adding color to complete San Mateo Coast.
After completing my work for the museum show, I decided to apply the strategy to another painting at a different site. I was especially happy with Point Lobos Calm No. 2 and have since been using the limited pallet with a couple of accent colors for all of my Plein Air work.
I have just received notice that Point Lobos Calm No. 2 has been accepted to the Oil Painters of America 26th Annual National Juried Exhibition of Traditional Oils.
I think I’ll stick with this approach for awhile!
Getting Outside Support – "Finding A Jen"
“Everyone needs A Jen”
I have heard from artists countless times…
“So……who is A Jen and why do these artists want one?”
A Jen is someone who does whatever she/he can to take work off your plate so you have more time with a canvas in front of you, paint on your palette and with a brush in your hand. Depending on what she does for you, you can call her your advocate, your business partner, your salesperson, your marketer, your business representative or your admin person. She is with you to help you manifest your dreams.
Often artists have A Jen that is also A Spouse, A Partner or A Family Member….and for many this works well. For others, blurring the line between business and personal can cause problems. If this is the case, you may want to consider hiring someone from the outside to more fully support the next stage of growth as a professional artist.
Create YOUR Jen
One of the things that impressed me the most when I first met with the artist I represent was her clarity. She knew what she wanted and had it clearly laid out. This was useful, as it allowed us to match up my skills, knowledge and ability. For this reason I recommend you get as clear as possible about what you need and want.
- Planning/Visioning – help put your dreams into words
- Look for new exciting opportunities in the marketplace
- Create additional products to boost your visibility: books, cards, videos, etc.
- Track and document inventory – both physical (paintings) and electronic (images)
- Oversee and assure deadlines are met (entry into juried exhibitions, shipping of
paintings, etc.) - Negotiate contracts/agreements with galleries and/or other Key Partners
- Create Sales: Meet with collectors or people/organizations interested in purchasing
your work - Spread The Word͟ through social media sites, newsletters, advertisers and
local/national press, development of print materials, e-mails, etc. - Support with workshops: track registrations, send welcome and follow up letters,
material prep - Other fun stuff that will lighten your load and help fulfill your dreams!
Consider that any of these items could, on the one hand, be a stand-alone project for A Jen to do. On the other hand, if you are ready, this might be enough for a full time job! You choose.
Envision the type of person you would like to work with. Imagine what it feels like to be sharing ideas and goals with Your Jen. Do they listen? Share your passion and love for this craft? Are they responsible, reliable, creative and self-assured? Do they see opportunities to enhance your vision or just repeat back what you’ve said? Are they dependable and do you trust them?
Take the Leap
Now that you have defined your needs and set your intention, it’s time to spread the word! Tell people you are looking for your Jen. Describe this person to people. Paint it for them with your words. Keep an open mind….you never know where Your Jen is going to come from!
How I became A Jen
People often ask me how I came to being an artist representative – A Jen. It was not a conventional path! For many years, my primary work was in accounting and bookkeeping, both in the corporate arena and for small businesses. I was using my coaching and leadership training in the service of my accounting work. At a certain point, I started looking for other opportunities to bring forth my skills in the world to play a bigger game. Representing an artist was nowhere on my radar.
Little did I know, many miles away, a certain artist had decided it was time for her to take her business to the next level. She had decided to call someone into her life who could help her with the business aspects of being a professional artist. She set her intention and got clear about what she wanted this person to do.
Almost 4 years have passed since that night in Mary’s living room. We are having more fun than we ever could have imagined and there is still money in the budget! Today, I manage almost all of the above mentioned business aspects for her. This allows her to spend her creative time doing what she loves most, painting and teaching.
Only you know if you are ready to seek out Your Jen. Listen to your heart of hearts and trust what you hear. Have fun and enjoy the process!
5 Mistakes All Artists Make (And How to Overcome Them)
We at OPA are fortunate to have the enthusiastic support of many quality vendors. As such, we have decided to give them an opportunity to pass along information that is helpful to our membership. While these blogs will link to the vendors information we want the primary focus to be on supporting and informing our membership. First up, Artwork Archive.
As artists, we all experience moments of doubt along the trajectory of our career path. Moments when the sales aren’t flowing in or multiple late nights in the studio leave us second guessing our choice to follow our passion of becoming professional artists. But before you let these doubts get the best of you, see if there is an easy fix to what is keeping you from achieving your optimal success.
We outlined the biggest problems that artists face when making the transition from hobbyist to
careerist, and how to overcome them.
As a team of artists, designers, developers and writers at Artwork Archive, we have been lucky
enough to spend the last five years talking with thousands of artists about how they have grown
their businesses. Here are the five most common mistakes we hear, and how to fix them!
Problem One: You Accept Stress, Disorder, and Chaos as the Norm
One universal artist problem is that we jump from project to project, driven by sparks of
inspiration, deadlines and financial pressure. We fail to realize that taking the preliminary steps to have a strong foundation in place will make all of our future work easier.
Staying organized is crucial for those of us who want to make a living doing what we love, and to actually have the peace of mind to enjoy the process along the way. Without something in place, we run into the same problems day in and day out, wasting valuable time searching for information and perpetuating a cycle of stress when we should be making work.
Fix: Find a system that works for you and that you will actually use. There are many productivity, inventory management, and financial tracking programs that can help give your business structure.
We suggest setting aside one night a week to download and compare these programs. Then, and this is the hard part, take the time to determine which one is right for you.
Evaluate whether or not the system is making your workflow easier, or if you can see it benefitting your business. Most of the time we try these apps in a crisis moment, but then never follow through fully to see how beneficial they can be.
Problem Two: You Let Deadlines Slip By
We’ve all been there. You wrote all the upcoming important dates on a whiteboard in your studio.
You thought you were on top of this year’s applications and events. Then, in passing, a friend asks about your submission that was due … last week.
Half the battle in making it as an artist is applying. You need not only to apply yourself to your craft but also apply to every opportunity out there… the residencies, grants, juried shows, and fairs. There is a lot to keep track of in an art career.
Fix: Get in the routine of setting reminders for yourself. If you aren’t already using a system that keeps you up to date on important deadlines set reminders on your phone, on your computer, on an old-fashioned paper calendar, everywhere and anywhere that you will actually look to see what you have coming up.
Problem Three: You Don’t Know What Artwork You Have Available
So, you just heard from a potential collector that they are interested in your work—and you are ecstatic! You get to talking and they love all your artwork, but one series in particular. Here’s the problem: you don’t remember which gallery those pieces are in, or even if you’ve already sold them.
The more work you make and the longer you practice your art, the harder it is to keep track of
everything. OPA member Jane Hunt shared this all-too- familiar story with us. “As my art business has grown, it’s been increasingly difficult to keep track of everything. I’ve also entered a painting into a show when it was actually unavailable in a gallery. It was very stressful not knowing where everything was. I kept feeling like I was going to mess up.”
Fix: Start tracking your artwork from the start. Or, if it’s already past the beginning—start now! The sooner you start tracking your work (where it is, which galleries it’s been in, who you sold it to, when and for how much) you will be able to not only build a comprehensive overview of your inventory, you will be able to make more informed decisions about your art business.
Then, check out these 5 FAQs about art inventory management systems.
Bonus: Did you know an accurate and up-to- date provenance makes your artwork worth more? According to Christine Guernsey, ISA CAPP, “Solid and documentable provenance increases the value and desirability of an artwork.”
Problem Four: You Waste Time
You don’t have to be producing all the time, but learn to waste time productively. Taking breaks is absolutely essential, and can be a healthy way to stay creative and rested. However, many of us waste too many hours or days or weeks doing administrative tasks that steal away our energy and only lead to frustration and burnout.
Fix: Take time to plan your week, work around your peak creative time, set a timeframe and take breaks, use productivity tools, then reward yourself and recover for the night. We are most productive when we don’t take work with us everywhere and we actually take the time to relax.
Problem Five: You Don’t Appear Professional
Notice that we didn’t say you aren’t professional. Even if you are at the top of your game skill-wise, if you don’t make a good first impression with potential clients or galleries, you won’t appear professional.
Collectors want to purchase artwork from someone they feel confident in, and can see they are on the path to success. They want to know that you will be around in a few years, and perhaps the value of the artwork will increase. Galleries want to know that you are easy to work with and will follow through on your word.
Fix: Have inventory reports, invoices, and consignment sheets ready to hand over to clients. Before you head out to meet with a gallery or collector, bring along a list of your current works available to present them with. Make it as easy as possible for the other person to say “yes” to a purchase.
Don’t make a potential client do the leg-work to get the information they need to make a decision about acquiring your artwork. Having professional reports that include details like contact information, images, price, and creation date help buyers understand the big picture of your work and help you make the sale.
The good news is that these are all fixable. The main takeaway is that having a system in place frees up a lot of your time tracking down information and a reduces the stress of trying to remember things or find things. With these fixes, you’ll be more productive and have more peace-of-mind.
One inventory system that can help you accomplish all these goals is Artwork Archive, an online inventory system used by many OPA members that gives you the tools to track your work and contacts, manage your time, print professional reports at the click of a button, and gain insights into your career.