“One Question” with Caroll Michels
Caroll Michels has served as a career coach and artist advocate since 1978. The author of the classic handbook How to Survive & Prosper as an Artist. Selling Yourself without Selling Your Soul (Henry Holt & Company, New York), which is now in its 5th edition, she has helped thousands of beginning, mid-career and established fine artists launch and sustain their careers — with art marketing, art business, and career advice.
Neoteric Art: What is one of the most important things artists can do to promote themselves?
Caroll Michels: Promotion is a multi-faceted activity and requires a blend of maintaining patience, perseverance, and a sense of humor. Art marketing is not an exercise in instant gratification. In most instances, the only time instant gratification occurs is when you are in your studio creating. So, for the purpose of this interview, if I have to narrow it down to one thing that an artist can do to promote herself/himself, it would be to keep in mind that the “middle people” – the ones who sell art – are not the brightest or most sensitive creatures inhabiting planet earth. Nor are they savvy at sales or promotion (so why are artists paying them a 50%? commission fee?). Consequently, the more opportunities artists generate to physically meet the art-appreciating public/art-buying public without the interference of an art dealer (I refuse to call them “gallerists”), promotion becomes an organic endeavor and a “win-win” situation for all parties involved.
Category: One Question 18 comments »
September 9th, 2008 at 8:59 am
Caroll is wonderful and she really knows her stuff—I would strongly recommend doing some one-on-one sessions with her and also buying the book. She has a real down-to-earth sensibility and I greatly benefited from her this year.
September 9th, 2008 at 12:31 pm
great words! i am often frustrated with the %50 fee gallerists take. they only demand 50% because ‘everyone else is doing it’ – but rarely do they put in the work deserving of that much.
Ann Nathan is one of few galleries ive seen in action that are busting their asses for that %50, and in my mind, she is the gold standard for the way things should be done.
Ive turned gallery shows when they tell me of a 50, or even 40% fee – “and what will you be doing for that 50%?” – “umm.. send some emails, maybe a press release, and make a card..?” – thanks, i can do that myself…
September 9th, 2008 at 12:59 pm
I bought the book and heartily recommend it to anyone that is serious about pursuing an art career, especially those that may not have the “right” degrees/connections.
I agree that 50% is a lot, however there may be times when a high percentage is appropriate. Unfortunately, many people buy art because of its importance as an object and not because of a deep connection one may have with a particular work. This importance comes from the stature of the artist. If the artist does not have any reputation yet, it is the reputation of the gallery/dealer that the person is paying for. (BTW — 50% still feels like too much. 30 sounds more reasonable at this stage)
Of course, as time goes on, it becomes all about the artist’s reputation. Unless the dealer is really trying to move the artist up in the art world, they are usually just giving the artist regular shows. Should the dealer still take a big cut?. Absolutely not. At this point, the dealer is acting more as an agent than anything, so his or her take should be more in line what agents in other fields get, 10% – 15%
September 12th, 2008 at 10:20 pm
I just wrote a post about self-promotion too.
I did not even think about the money aspect and the, sometimes, lax promotion we get from galleries.
Thanks for the info.
Hope you will visit Joyce Owens on Art and comment there, too.
http://monroeanderson.typepad.com/joyce_owens_on_art/2008/09/if-not-you-then.html
February 20th, 2009 at 9:50 am
How does one determine if they’re good enough to be considered an ARTIST, or have work accepted by galleries and the public? I think I’m on the cusp of all that, but may not be at all….
February 20th, 2009 at 10:14 am
If you believe and have faith in yourself and your ability you are an artist already. Maybe being accepted by the galleries and the public is not that important. If it is, then keep trying to get your stuff out there. One day it will happen. Tenacity does pay off!
February 20th, 2009 at 11:32 am
I agree with Norbert. If you have a body of work, I’d say now is the time to start getting it out there. It can be a while before you get something. While you are pushing your finished work, you can be addressing those areas you may feel need to be resolved on your current work. Who knows, maybe your stuff is better than you think.
February 25th, 2009 at 5:12 pm
Galleries give you cachet.
I read a blog last week by a guy named Uncle Paulie who wrote a great post about work he saw of mine and some other artists in NYC. He said I was with Parish Gallery, (D.C.) a space that shows the best African American artists!
My work did not change, but being at this gallery gives it more weight.
The better galleries like Ann Nathan treat artists better and earn their keep.
We do need galleries. They are not all idiots.
We do have to do some of the work ourselves.
I think of the gallery as renting a room to my work, utilities included, plus bathroom facilities, etc. for a month.
If the gallerist is knowledgeable, pays without discounting and hiding your collectors’ names from you and does an ad or two I am happy to do some work for myself.
Problem? Most barely do that! I am shocked that galleries charge for credit card usage out of the 50% I get which means I am paying THEIR expenses for running the gallery and getting less than 50%!
February 25th, 2009 at 9:54 pm
Besides providing facilities, a dealer provides the unknown artist with credibility that she or he doesn’t have. It’s not a stretch that a large part of the value of the work is based on the dealer’s reputation rather than the artist. In which case a higher cut of the proceeds is warranted. It’s more of a partnership in the artist’s career. The artist brings the work. The dealer provides the sales network and his or her reputation. In the world of art, reputation is what drives the price of the work.
However, as the artist’s career grows, the source of reputation shifts more toward the artist. The dealer’s role becomes more of an agent rather than partner, therefore, perhaps the split of the procedes should change to reflect this change in this source of reputation. If the career is growing, so are the prices, which may help lessen the effect of a lower percentage going to the dealer.
I agree that dealers are important. Art as a commodity is largely a retail situation and in retail there is usually a middleman. The gallery, then, is the retail outlet.
The cost of running the gallery, such as credit card fees should be covered by the dealer. It’s his or her business and the cost of advertising, etc. should come out of the dealer’s cut. After all, the artist pays for materials, etc. out of her or his cut.
March 7th, 2009 at 2:25 pm
Carol , I could tell much more about my art more less inbreaded with-in me but self taught. I want to ask how does one correct a dryed painting when there was to much paint applied or pegments of paint. I have some paintngs that may be worthless due to this error.
Thank you and I want you to know I am loving your site.
March 7th, 2009 at 11:21 pm
Without knowing your work, it’s hard to help. I personally use a heavy paint layer. The more I pile on the harder it gets to correct and change things. In some cases, I’ve been able to cut off some of the peaks of paint with a palette knife and paint on top. Also, since you seemed to already think these paintings are worthless, perhaps you can cut a new painting out of the ruined pieces and remount the new work. Other artists have painted on the backs of old work. A large part of being an artist is experimentation, which means there will be failures. I personally have a huge stack of work that I feel is inferior. I think the trick is to get your work out in the world before you judge it to be less than what it could be. Let the art historians look back at what you’ve done and judge what is important and not. They might even be able to track your growth as an artist.
As an artist, you can’t worry about failure. There is a lot of shit that passes for good work. Learn from your mistakes and trust that you’ll do better on the next piece.
The “40″ in the spray-lubricant WD-40 stands for the 40th formula. During research, the first 39 formulas were a failure. The 40th was a success, so never give up. Put the messed up work aside, look at it. If you can’t paint on it, maybe you can do something with it. Play with it.
March 8th, 2009 at 12:20 pm
Verna, you can actually sand your paintings down…just like you sand wood.
Bill made some great points too. I would just keep the paintings and move forward.
May 13th, 2009 at 10:56 am
How many pieces of work- in my case, paintings – is enough to be considered a “body of work” that can now be marketed/sold?
May 13th, 2009 at 11:29 am
Hello Barbara,
That depends. For larger paintings a body of work could be 6 or 8 pieces. For very small work it could as many as 30 pieces. On average a body of work is around 20…give or take.
Some artists paint in the same style and subject matter for years so their body of work just keeps growing and growing.
May 13th, 2009 at 5:48 pm
Hi Barbara,
I would add that it would be a good idea to start promoting your work as soon as possible, perhaps not wait until you feel you have a complete body of work, but maybe a few pieces that you feel are strong examples of where you are going. It can be a long road, so it’s best to get started as soon as possible. Good luck!
June 10th, 2009 at 4:48 pm
I have studied art most of my life and have started recently promoting my work. Art gives much joy to my life. I have lived in New Engalnd and work very hard to try to get my work out there but I am having a hard time getting a break! I am a member of OPA,juried into,and several other national organizations. I would like to very much get into a good gallery, I am in a small gallery in western Mass. but need to make it into something a little more high powered! I had a chance in late winter to try out of J todd in Boston but it was the wrong time for me! I keep a positive attitude with lots of hope but need “the break” Would know of any galleries that might be interested in my work? Could you give me any tips that would help me personally? I do have your book and it is wonderful! Warm Regards, Linda Leonard Hughes
June 10th, 2009 at 8:09 pm
It is best if you contact Caroll Michels directly – -
March 20th, 2011 at 4:22 pm
hi im a disabled ny artist, im just starting to like my art, you can view my art by going into youtube then typeing in artist jack bauer, or yahoo then typen my name artist jack bauer, im so frustrated as i have right sided brain damage, due to 4 strokes, but i keep on painting, why i have no idea, probaly because i do have some faith in myself as an artist, staten island artist jack bauer, im probaly the only other artist that has spent so much time re painting the mona lisa on a wood panel,