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“Most
artists do not have the luxury of an agent, spouse, or
supporter to raise their
value in the art world, so they
are left to their own devices to create a
marketing plan that
best positions them in the highly competitive world of
fine-art sales.”
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You
may have heard marketing experts tout the importance of self-promotion in an
artist's career. The common thinking is that there's nothing wrong with tooting
your own horn because, after all, if you don't get your name and artwork out
there, how are you going to sell paintings? Most artists do not have the luxury
of an agent, spouse, or supporter to raise their value in the art world, so
they are left to their own devices to create a marketing plan that best
positions them in the highly competitive world of fine-art sales.
I
think a certain amount of self-promotion of one's paintings, accomplishments,
and working methods is necessary for artists to retain a viable place in today's
market. But a problem arises when artists spend more time marketing or
promoting themselves than they do studying, painting, or participating in
enriching experiences that inform their work. What eventually starts to happen
is they become more focused on recognition and commercial success than they are
on the craft of painting and growing beyond their current level.
I
was recently talking with a gallery owner and art-club director, and we were
discussing the downside of artists who are over-promoting themselves-they are
essentially becoming overexposed. These artists seem too accessible, available,
and mainstream, and therefore they start to loose some of the exclusiveness
that makes their work stand out. On the flip side of this are the painters who
retreat so far from the public eye that they run the risk of becoming an
artistic recluse, more or less only painting for themselves because they are
too far off the radar for anyone to notice.
I
could argue this topic from both sides, but personally, I always find it
refreshing to discover a relatively unknown gem of an artist hidden away
somewhere painting for the pure love of it, with no other motives in mind. Such
a stance can actually work in an artist's favor. The artists who are standing
at their easels day and night are the ones who tend to win the respect of
fellow painters. Those painters, in turn, make sure that gallery directors,
dealers, collectors, and critics know who these artists are, and this word of
mouth can bring about a tipping point for the artist's reputation.
Although
this kind of attitude toward art making may be the antithesis of Marketing 101
and likely won't help pay the bills, there is something about this stance that
I respect. These types of painters are devoted wholeheartedly to their art, and
they let the resulting work speak for itself. If the art world listens, so be
it. If not, so what? They are accomplishing their personal goals for themselves
as painters and people and basing their worth not on volume of art sales or fame
but by the artistic standards and values that matter most to them.
I know the ideas of self-promotion, marketing,
public relations and, all the other business-related responsibilities that goes
into an art career is a sensitive subject for painters, and it is one that they
grapple with daily. I'd love to hear your thoughts on this topic, and I encourage
you to leave a comment.
Allison Malafronte is the
senior editor of American Artist.