An Artist’s Personal view on the Artist as a “Professional” (And Who and What decides this criteria, anyway?)
Part I, July 2011
Charging through channels on the TV the other day, I settled on a Gauguin biopic that culminates with the artist creating his masterpiece “D’ou venons-nous? Que sommes-nous? Ou allons-nous?” which translates into “Where do we come from? What are we? Where are we going?”. I have been asking myself these questions in more detailed personal form for the last few years: What is my relationship to the world around me that has grown so technically oriented yet is still so much about nature, biology, and history? Who are we as a human race and why do we bully and threaten each other even during small day-to-day activities? How will our emphasis on money and power leave the world of tomorrow? As an artist I tend to go deep into myself to find my humanness and express it through autobiography and stories in the world near and far. As a visual artist and maker of objects (versus a conceptual or performance artist), I do wish to bring my work to the world outside my studio for viewing and procuring by others. This aspect of an artist’s life is about “the profession” of showing and selling. In my life this activity is separate from the creation of my work and a task that often feels uncomfortable, as I become the “sales person” of my work.
I began to explore my relationship to salesmanship more deeply during a recent art business discussion online when members were asked what criteria designates an artist as professional and how important is it be defined “professional”? Do qualifications include, critic’s views, sales, gallery connections, where art is placed, or sponsors? My mind was immediately seized by a series of questions that needed to be scrutinized: 1. How does the label of professional connect with the activity of an artist? 2. What qualifies a person to declare herself or himself an artist? 3. How does the world certify a person as an artist and does that matter? 4. How has the role of artist or “artist as professional” changed since the beginning of the “modern era” of art (which I place at the beginning of the 20th century for this conversation)?
How one answers these questions is relevant to a person’s time in history, place of growth, and manner of gaining knowledge and skills. The following biographical information is given to place a context to my views on this subject. I also invite others to forward their stories and opinions on the subject.
I grew up in the era when Pop Art was developing and Abstract Expressionism was waning. My teachers and mentors spoke about the process, excitement, and, history of art as well as the importance of working in the studio, but not the business of career paths. As a student and young artist I lived in Italy for 2 years and studied great works of art first hand without a thought of what my future would bring as a “professional”. I was dedicated to painting, drawing, learning, and studying important works. My fellow students and colleagues felt the same way. Most of my early work, as a beginning independent artist away from school, was thrown away until I began to develop my skills and learn where my interests led. There was a fair amount of sexism and prejudice at this time as female artists and artists of color struggled to be recognized in a white male dominated world. On both coasts in the US strong feminist movements were declaring a stand for woman artists. I was aware of these activities but not part of any group. This did not stop me from working hard and building knowledge and a skill base. Typical technology in the art world at this time was use of a camera and word processor.
After living in Italy, Philadelphia, and Boston I returned to my roots in the NYC metropolitan area. It was here that my work began to develop more focus and maturity after years of painting. My mind became a depository of ideas and interests. During this time my art career began to flourish. I was invited or curated into many different exhibitions and had press articles, interviews and mentions in local papers including The New York Times. I was interviewed for various video series about artists and my work and studio was the background for a Moody Blues Video. Yet, as years passed and New York became the riotous “center of the universe” of the art world and Wall Street discovered the contemporary art market, buying “blue chip” art as a commodity, something changed.
The shift for me was the enormous amount of time artists spent on “working” their careers. The buzz through the art community in the late 1980’s and 90’s was to connect to the important people, attend the “right” parties, create a unique resume that would stand out with color, font, or format, and find a way to get noticed. I worked very hard in my studio in Hoboken, NJ across the Hudson from NYC, went to many openings, partook of open studio tours, visited with gallery owners, worked for a gallery, taught art in a prestigious prep school in NYC, and immersed myself in the world of art in New York City. At one point I had 7 teaching jobs that included colleges, art centers, a YWCA, a local art store and private lessons. My enthusiasm for my work never wavered but my inner voice began to feel very uncomfortable with the “art scene” that was becoming more and more exclusive and unpleasant. I began to avoid openings and art events. I remembered what Clement Greenberg preached at my masters graduation from Rhode Island School of Design: “Make sure you have a life away from art because I have seen too many friends destroy themselves over their careers”. Eventually I “walked away” from the life and contacts I had built up in the NY art world and moved myself to a place of space, beauty, animals and of course, art. Essentially I started over in a new land and culture that could bring me other elements of life that I missed as I continued to make my work. Living and working in New Mexico has given me space and time to interact and live in awe of the natural world. Taking care of creatures, planting gardens, and quietly observing the world around me has taught me about patience and growth and given me room to explore ideas for my work. I do miss my New York museums and east coast art friends but the Internet and visits allow me to stay in connect with that world as I continue to enjoy my life and friends in New Mexico. The next segment will discuss the questions raised about artist and artist as professional.
Part II
Recently piqued by a discussion on an online art business site about what criteria designates an artist as professional and how important is it be defined a “professional”, I developed a series of questions that need to be answered around this topic. 1. How does the label of professional connect with the activity of an artist? 2. What qualifies a person to declare herself or himself an artist? 3. How does the world certify a person as an artist and does that matter? 4. How has the role of artist or “artist as professional” changed since the beginning of the “modern era” of art, which I place at the beginning of the 20th century (for this conversation)?
The first two questions ask: how does the label “professional artist” connect with the activity of art-making and what qualifies a person to be identified as a “professional”? The most important qualification and connection is the thousands of hours of creative activity, self-knowledge of work/ work habits, and experience in the world that gives an artist the confidence to create, demand and command from oneself a high level of work and trust in the process of pursuing ideas and risk-taking. What follows is public exposure and the experience of others looking and engaging with the artist’s ideas and passions. Over the years bodies of work are developed, connections are made with art institutions and other artists. A continued exhibition record is built up that defines both a personal and professional identity. Some artists opt out of showing for many years, tiring of the “distractions and intrusions” of the mechanisms of the commercial art world. Their need to focus on the activity of the studio is more important than a “professional identity”. For many artists, gallery representation, critical attention, and sales is important because it is allows feedback, income, and outside relevance to a usually solitary activity. There are also exceptional stories of artists such as Bill Traylor, an ex-slave,
who at 85 years old was discovered drawing on a street corner in Montgomery, Alabama. The fact that he hung up his work to display to the world, again, emphasizes the artist’s need to bring visual art to the public. He may be labeled an “outsider artist” but the drawings of his world are wonderfully playful and animated and demonstrate to me an exceptional gift and drive.
The third question asks what criterion certifies an artist as a professional in the art world community and is this certification important? Included in this community are curators, gallery owners, consultants, art museum experts, art critics, writers, collectors, and peers. The attention, notice, and connections of the artist from any number of these groups can create a career that gives the artist the title of “professional” as a resume of exhibitions, press, and name recognition is built. How well known an artist becomes has many ingredients that may include, the number of connections, place, timing, art form, who in the art hierarchy is promoting the individual and their art, and what talent and level of skill is shown in the work. Artists who do not have to earn a living outside of art-making may have more time to create outside connections that can move their professional career to another level. Attending as many art events as possible is important for networking and takes time and energy.
The second part of the question asks how important is it to be viewed as a professional artist? Today, becoming a “professional” is the avenue to presenting art to the world. A system has been in place for a long time that dictates how artists must approach the business of art. This includes the showing of strong photographic images of work, a clear artist statement, networking, an Internet presence, gallery introductions, and computer skills. An Internet identity is now a large part of art business. Web sites, links, and blogs, bring attention and exposure. Gallery shows, press, video interviews, and, work in collections are part of the measure of “success” that signifies “professional”. The business of art takes time and often money and can take away from studio time. Some artists can hire business agents but many must do the work themselves.
A successful career may not necessary signify high quality work for many reasons: a greater focus on developing a career than art-making; lack of commitment to the rigorous time, energy, knowledge and years that are necessary to create high level work; and current trends in the art world that overlook stronger artwork. Today, many young artists jump onto a career path immediately after school because that is one of the dictates of the art world. Their work may not be ready to exhibit but there is an enormous pressure to show and have a career immediately.
There are also business’s that surround the art business system that advertise “career development” courses, exhibition possibilities, and consulting help for large sums of money. I recently received an online invite for a 12 week webinar career building course that costs $900-$1200. This is an example of how far the business of art has woven into our culture of moneymaking at the expense of the artist.
The last question asks how the role of “artist as professional” has changed since the beginning of the 20th century. David W. Galenson, writes in his book Conceptual Revolutions in Twentieth-Century Art, that Picasso was the first true gallery artist to exhibit in new commercial establishments that sold art starting in the early 1900’s.
As this system evolved, artists and their work began to be associated with galleries, commerce, and collectors. Critics and writers (media) wrote about exhibitions that publicized galleries, museum shows, and the artists themselves. Individual patrons began to buy series of works from various artists as exhibitions were advertised and celebrated in the press and by word of mouth. The creation of the gallery system changed the manner in which art was seen, collected, and documented. Artists held a new place in society as interesting outsiders who could move in many circles as they became more famous and daring. Groups were formed dedicated to new movements such as cubism, fauvism, and surrealism.
After WWII the gallery system became more formalized as Jackson Pollock emerged with a new generation of artists that placed New York City as the nucleus of an art mecca that grew quickly and “rocked” the world. New galleries opened; artists came to New York to find their place in the exciting new environment; and critics, writers, and museum directors found themselves gaining great importance, as the business of art became big business. It was during the 1980’s that the idea of artist as “professional” became important. Wall Street “discovered” contemporary art and the term “blue chip art” (the “best and most expensive) was birthed based on critic reviews, gallery showings, and the “buzz” on the street. The business of art became as important as the art itself.
Throughout the 20th century many artists pushed the boundaries and flirted with the idea of art and commerce. In the early 1900’s to mid century, Marcel Duchamp was the master of asking what is art and who decides what is important in critical and historical terms. Andy Warhol exploited the exploited market place and mocked the artist’s place in the world as “sacred beings”. Mark Kostabi created Kostabi World, a production factory of artwork signed by Kostabi but made on a production line. He later sued his assistant for making “fake” Kostabi’s. So this kind of activity can take art to the ridiculous and absurd for fame and recognition.
I grew up in New York City at a time when galleries and museums presented new artists and art in an era when business was more behind the scenes and art was the top priority. Gallerists such as Alan Stone took chances on newcomers such as Wayne Thibaud and gave stipends to young artists that allowed them to create work and possibly have a show. We are living in a very different world today because money is the great motivator of art and the business of art.
I do feel the tug and responsibility to present myself to the world as an artist of ideas and quality- a “professional” who has earned the right to be called professional. At the same time, I am irritated that for the most part, money, power, and recognition (the art star) have become greater attributes of my profession than the work itself. I have many internal conflicts about an ambition to have a career versus the making of my work. My wish is to have someone else take care of all the art business. Muddling around my studio is where I want to be when my focus is completely enmeshed in the process and problem solving each new piece demands. It is a very humbling activity that begs for patience, perseverance, and, reflective and thoughtful care. My attention and spirit move to a place of focus that removes everything else. After years of working, my priorities are my interior and exterior observations and thoughts that are automatically placed into a kind of “cerebral think tank” that sorts through how I may use information for my work. I look forward to stepping into my studio to problem solve. If I have a short deadline for a show, though, stress may creep into my process as I worry about finishing work that needs to be completed before being viewed by others. During these times, I am more aware of my identity as an artist who struggles to place new, finished work into the world. It is a bit like letting a genii, I do not know well, out of the bottle.
Yes, in today’s world I am a professional with a resume, exhibition record, web site, reviews, and all the requirements. But what really excites me is that tiny voice and tingle of excitement that happens when a new idea begins to emerge between head and heart.
