Priorities
Steve Jobs said, “love what you do…because work will consume most of your life.” The idea being that when you go to work in the morning, you should work at your passion, because time is limited. Unfortunately this does not often work for an artist. A successful artist must often juggle many things.
1. The Work
An artist must devote much of his or her time toward creating work. This is a career in itself and should be approached as a full-time job. I’m not including the act of observing, experiencing, etc. where an artist gets his or her inspiration. This is sort of an ongoing thing that creative people should be doing anyway. I’m talking about actually going in the studio and making things.
If you’re like me, you also need a little time to mentally prepare each day. This can vary from situation to situation. For me, it depends on how much non-art stuff I’m dealing with at the moment. This amounts to a lot of mental clutter that I must somehow distance myself from in order to get into my work. Sometimes I need a drink or two to shut out the outside voices, though this can be a slippery slope to getting nothing done.
2. The Support Career
Unfortunately, being an artist usually means no immediate financial rewards. For most of us, that means a second job. Now you add on another full-time job to support your primary career. If you’re lucky, you’ll be able to get by on a part-time gig that allows you more time for the studio. Usually, though, it’s more of a second career as not only do you have to support yourself, but also fund your art practice.
Ideally, the goal of a support job should be to wean oneself from it as one’s success as an artist grows. Either by doing less work in the same job or by getting lesser jobs.
In reality, it becomes more of a primary career. It takes up most of one’s productive hours. If it’s more of a white-collar position, it can be mentally exhausting. Over time, responsibilities grow as your “support” career grows. If it’s a blue collar job, it can be physically demanding. Over time, in this case, it takes a toll on one as one gets older. In either case, art is relegated to a side project, squeezing a little in here and a little there.
3. Marketing
Art is personal expression; an artist’s story; interpretation of the world, society, etc. In any case, it’s a very personal thing. Only the artists themselves and maybe close friends and relatives really give a shit about the actual art work.
However, in order to be successful, not only does the artist have to make people care, but the artist also has to create desire for their own work. This means a hell of a lot of marketing. Not only is this a full-time job, but there are a lot of long hours. It can include networking, which is a very inefficient, but perhaps necessary.
It is a lot different from marketing a commerical product or service. Since no one really cares or needs an artist’s work, an artist is often starting out in a hole. It’s such a daunting task, it is often put on a back-burner with the flame off.
4. Relationship(s)
Just as many things in nature come in pairs, we humans need to pair up. Ideally we find relationships that are true partnerships and both partners grow in ways that they couldn’t alone. When this happens it can be helpful to an art career.
Another part of many relationships is to start and raise a family. While this is not a bad thing, often times it happens at a point where the art career is fledgling at best. Not only is it another full-time job, but it also requires funding. Therefore, if an artist starts a family before the art career gets off the ground, there is more dependence on that support career. The work can really get pushed aside here.
There are also situations where the relationship is more of one person fulfilling the role that another has set up. An artist whose career is at the starting gate is in a weaker position here and the art career can be pushed aside.
5. The Rest
This is a mixed bag of everything else that demands attention from artists. It includes friendships, hobbies, causes, chores, exercise, etc. All this stuff takes time and adds to the mental clutter I mentioned earlier. Most of it is a distraction. Some is welcomed as even artists need a break from their passion from time to time. Some is not as it shoves art into the corner. Friends that don’t get “it” can be less than encouraging. Hobbies can be satisfying in a creative sense, thereby dulling one’s passion for art. Chores are, well, chores.
Anyway, an art career is different from most mid-level career paths that a lot of people seek. For non-artists, a second career is not needed. The relationship, even a bad one, has less negative effect on an early career. The marketing is not a full-time job, but more of an ongoing function of one’s job. It’s one that is demanding , but can be rewarding. Did you ever hear of an artist retiring?
Category: Articles, Essays | Tags: artist, career, commitment, day job, passion, success 21 comments »
October 20th, 2008 at 8:31 am
Great article…well said.
As you mention in #2: being an artist usually means no immediate financial rewards. Some talented artists go for years without selling a single piece. Can you imagine a salesperson or a business surviving without selling a single product. No, of course not. But artists survive by taking a “day” job, etc. Most non-artists just don’t get it.
October 21st, 2008 at 8:50 am
This is also a problem when existing in the “day job world.” Other than as a hobby, most people don’t understand the idea of being a professional artist. Whenever I’m introduced as an artist, most often the first question I’m hit with is “Do you sell your work?” or “Is that what you do for a living?” People are identified by their paying jobs.
October 21st, 2008 at 9:38 am
“Do you sell your work?”
I believe Damien Hirst gets asked this question when he’s out and about too.
October 21st, 2008 at 9:45 am
The biggest obstacle for most artists is the feat of doing the work year after year after year after year without any monetary rewards. What’s that fact again…95% of graduating art students give up making work by the age of 30 – -
October 21st, 2008 at 10:12 am
Yeah, but Hirst can laugh about it.
“doing the work year after year after year after year without any monetary rewards.”
– That’s why the promotial part of being an artist is a full time job as well. One has to not only overcome a lot of indifference in the world to one’s work, but also find others that will champion the work. Plus many artists come from working class backgrounds and don’t necessarily associate with those that are patrons of the arts. It’s not the same as trying to advance a corporate career where self-promotion is wrapped up in the career itself.
October 21st, 2008 at 10:13 am
It’s because the promotional part is so difficult that many give up or don’t take the necessary steps to get a career off the ground.
October 21st, 2008 at 10:24 am
I was being totally sarcastic with my comment about Damien Hirst and his multi-million dollar ass. But you know what…maybe his jet-set peer group does ask him if he’s selling. Actually, who gives a shit anyway – -
October 21st, 2008 at 11:36 am
Bill,
What’s the difference for you when you had the “day” job and when you decided to be without? I know that you have been in both situations.
For me always having a “day” job, I think it would be very strange just being able to paint all day. Given the opportunity to skip the “day” job, I wonder if I could actually paint during the day….? Or consider myself only a painter…period. Seems weird.
October 21st, 2008 at 1:05 pm
The question I enjoy is, after seeing a price on a piece people will ask you how long it took to do it. You can hear the gears in their little minds getting ready to multiply and divide to find your per hour rate. I answer generally that I am not an employee of the culture so the question makes no sense.
October 21st, 2008 at 1:16 pm
Nice one Ted. I think it takes an artist all their years of experience to complete a piece. So yeah, an hourly rate means nothing.
October 21st, 2008 at 2:33 pm
Well I’m not going to make any friends with this comment, but … Bill I love this article, although I think we artists are making a big mistake in thinking we’ve got it worse than non artists. Everybody juggles priorities, just different things are up in the air. Maybe others don’t have to worry about money as much, but life fulfilling activities may be lacking. (I realize that comment shows what a self-centered artist I can be in thinking others couldn’t possibly have a fulfilling life in some ordinary job, but then again, I’m certain I’m just an ego-manic anyway.) And yes, I hate and snap back at people when asked questions about which paintings sell better and shouldn’t I paint colors that are more popular and so forth. Of course I’m certain to ask ridiculous questions to professionals I know nothing about in turn. This fact I try to remember before I still snap back anyway.
The tight rope to walk is not how to make money as an artist, but what are you willing to do to let your talent as an artist supply your income? The bottom line is that we have acquired a learned skill, like Joe Plumber (to borrow from our political rhetoric), now how do we choose to use it? I for one turn down commissions because it might stifle my creative voice and get my feathers ruffled when someone suggests I should try to sell my paintings through “high end” department stores. And even though my paintings do sell, other artist’s feedback seems to be that the only explanation is that my paintings must be too accessible.
So where does one draw the line?
October 21st, 2008 at 2:54 pm
It’s not any worse than non-artists…just different. I think some of it though is on the verge of absurdity. Again, there are not a lot of professionals who would work at their career for 20, 30, 40 years for no financial gain or recognition.
“The tight rope to walk is not how to make money as an artist, but what are you willing to do to let your talent as an artist supply your income? So where does one draw the line?”
Great questions.
I’d rather have a “day” job than sell my work for $75, or do street fairs, or hang in a coffee house or do that “painting-a-day” baloney.
October 21st, 2008 at 3:17 pm
What about for $1000 or $2000, then would you do the painting a day baloney? I already know the answer of course, but what does this mean? Are there limits to who we will share our art with? Are there boundaries to how we will end up spending our lives? What if you love painting soooooo much that income from a coffee house is plenty to keep your bills paid and everyday you get to wake up and do something you love?
One other thing, my nephew and two other of his 25 year old friends saw a need and did something radical and started a non-profit to support artists. Check it out. http://www.wonderroot.org/wonderroot_about.html
October 21st, 2008 at 3:41 pm
Karen, thanks for sharing that link.
I don’t think any of those painting-a-day artists who are painting 6″ x 6″ paintings of an apple, cup cake, etc. are getting $2000 for their work…they all seem to go for that $75 to $100 price range. And that’s my point. Again, if an artist wants a serious career, sell work for $18,000, get written up, maybe have a retrospective one day, well then, the painting-a-day and coffee house stuff, etc. will not cut it.
I think we artists love what we do…that’s not the problem. The problem is attaining that “real” career. I’ve had this discussion a lot the last few years with other artists in person (Karen, you know all too well!) and on this site.
I’ve learned a lot in the last few years and have a stronger direction for myself as an artist. It wasn’t easy and I had to overcome some old baggage but it was worth the effort.
October 21st, 2008 at 8:23 pm
Artists that are trying for that “serious career, sell work for $18,000…” (those that haven’t made it yet) DO have it tougher than most. I’m talking about what amounts to trying to manage what should be 3 full-time jobs, PLUS juggling the rest of life’s responsibilities. That’s not to say that artists aren’t the only ones. Anyone trying to start a business while working a day job faces the same thing, including a lot of the uncertainty. In a sense that is what a “serious” artist is trying to do.
October 21st, 2008 at 8:39 pm
“What’s the difference for you when you had the ‘day’ job and when you decided to be without?”
It took me a while to really find my direction. At first I thought I had to give the pursuit of freelance jobs priority over painting. I felt guilty painting during the day. After working jobs since high school, it was hard to break the thinking that I had to be working for someone and a paycheck.
I did get into a groove though, and would work a few days in a row. If I had a decent income from the painting, I would have no problem getting up every day and painting. Without the day job or supporting freelance gigs, I could probably have more of a “normal” five day work week.
I do agree though, that it’s tough to paint for long stretches. In that case there may be more time for experimentation in other mediums.
What I got out of it was a better sense of direction and who I am as an artist, even though finding opportunities is still a challenge. I learned to put the art first (and that includes not doing crappy shows).
Had I done that from the beginning, I wonder where my art career would be. Of course, it’s not healthy to have regrets, so I don’t regret anything and just keep moving. forward.
October 21st, 2008 at 8:53 pm
“…what are you willing to do to let your talent as an artist supply your income?”
That’s a great question! For me, if I had even the slightest amount of embarrassment, felt the work would be under-appreciated or if it was in danger of being lost or destroyed (such as showing in a bar).
Another artist may be perfectly happy and successful doing the itinerate art fair scene.
You can’t do community-type art shows and sales and expect to have that serious career that Norbert mentioned.
October 22nd, 2008 at 5:15 am
Some of the last comments also relate to Bill’s article from September 4th, ATC or MOMA.
Being an artist is one thing. Being a successful “serious” artist in today’s art world is a totally different thing.
March 16th, 2009 at 5:39 pm
The success as an Artist comes from doing it. It must be for love and money is the gravy on your potatoes.
March 17th, 2009 at 9:53 am
“The success as an Artist comes from doing it. It must be for love and money is the gravy on your potatoes.”
That’s the way any career should be approached. Otherwise, it’s just a job.
March 17th, 2009 at 10:47 am
I paint because I do love it and I wouldn’t give it up but that doesn’t equal success to me. Just because I do it doesn’t mean I am a success. Success is big galleries, big collectors, big write-ups, etc. Those are the facts. Most artists never come close to that so they need to feel success in other ways. Whatever.