“If you curse the rich, you’ll never be one of them.” -Rev. Ike

I recently posted this quip from Revered Ike on the Artists Who THRIVE Face Book page and it received a bit of backlash.

That bitter backlash, typically born of feelings of failure, didn’t really surprise me. That backlash just reminded me of another one of my favorite quotes.  This quote from Oscar Wild is one that artists who curse the rich should keep in mind, “When bankers get together for dinner, they talk about art.  When artists get together for dinner, they talk about money.”

Obviously the artist and the patron have a symbiotic relationship as patrons of the arts are generally wealthy and artists, not so much.

I know that there are exceptions to every rule so please just hold your commentary.

If you curse the relationship between the artist and the patron, I can guarantee you that you’ll jack up your prospects of being an artist who successfully sells their work.

If you embrace wealthy patrons, like I have, I know that you’ll be pleasantly surprised.  Why?

Because the fact is that over 95% of the wealth earned in this country was produced by self-made folk who come from middle class upbringings.

Luxury Marketing surveys and my experience confirms:

• that these wealthy folks are generally rooted in their middle class values
• they’re pretty grounded and down to earth so they have a finely tuned BS meter
• and they are charitable not only with their money but also with their time

Revered Ike and Oscar Wild speak the truth.  Don’t be a hater.  Let the truth set you free.

“One day Alice came to a fork in the road and saw a Cheshire cat in a tree. “Which road do I take?” she asked. “Where do you want to go?” was his response. “I don’t know,” Alice answered. “Then,” said the cat, “it doesn’t matter.”" — Lewis Carroll

Coming across this quote was very timely.  I had just received a message from a young artist that I coached.  I met her at an Artists Who THRIVE seminar in Berkeley sponsored by the Small Business Development Center.

She was struggling.  She had artistic talent and drive but she had no direction.  My counsel to her was that she must know what she wants so that she could decide what direction to take her life.

We had to start with where she was.  She knew she wanted to celebrate her culture and that she wanted to express and refine her artistic talent.  But that knowing was too vague to provide her with direction.  She had to commit to a SMART goal and take action.  She did.  And here was her message to me.  But it may be a message to you.

Dear Ann,

I’d like to thank you for helping me create one of the best years of my adult life.

If you recall, you coached me for six months at the beginning of this year in which I went through ups and downs, I learned to create a dream map, a SMART goal, and an action plan….

Well the action plan didn’t fully happen as planned, and my SMART goal changed, but I stayed true to myself and did what I could to realize my ambitions.

I just returned from a five-month journey through Eastern Europe, (mostly Ukraine) and brought back a new set of skills, amazing experiences, new relationships, inspiration, and my best work yet!

I can honestly say that I had the best time on my life!

Not only because I got to travel and paint for 9 to 16 hrs a day, but also because some of the images on my dream map actually came to life.

Yet perhaps the biggest reward is the feeling of freedom and empowerment after I learned to pursue art projects that were true to me and yet at the same time they were beyond myself, projects that would bring value not only to me, but to my potential clients, my community, and my cultures.

Thank you for teaching me to dream big and for warning me that failure is inevitable.

I failed many times toward and during this journey, but now as I reflect back, lessons from failures and disappointment led to new opportunities and pathways.

I am excited to be back, to continue to clarify my dreams and goals, to fail and to continue creating my own path of creative freedom while inspiring others to live fully and pursue their own dreams.

Below are a few photos from my journey. Thank you again and I look forward to staying in touch with you in the upcoming years.

All the very best!

Nataliya Tyaglo
Independent Artist

I rarely tip toe into discussions about the quality of an artist’s work.  There are plenty of talented art teachers whose full time job it is to do just that.

I never offer to critique an artist’s work. Even though I’m asked allllll the damn time.

Why do striving artists ask me?  Because they want me to assure them that there is a market for their work and I can’t tell them that.

Because even if there is a market for their work, there is no way of knowing that they’ll be willing and able to develop it.

I’d really need to critique the artist’s business and marketing plans.  And typically they don’t have those.

The only way to know if there is a market for an artist’s work is to know that they can produce it AND that they are willing to pursue that market like a rabid crazed entrepreneur.

If I were to critique an artist’s work I would look at three elements.

1. Do they have serious talent?
2. Is their work original or just a copy of someone else’s style?
3. Is their art clearly identifiable and consistent and easy to differentiate from other art?

Think of the music you dig.  Doesn’t a successful musician’s music possess these three elements?

Here’s the part where I set you free.  Come on now.  You can dig deep and answer these questions.  You know if you have serious talent. You can see it.  You can feel it.
We’ve all been influenced by other artists but are you making original work not just making copies?

• Have you found your voice?
• Do you have a message you are clearly communicating and therefore your style stands out?
• Are you consistent?
• Can you produce or do you have just a handful of work?

Well then.  If the answer is yes to 1-3 and the bullets above, then establish or pursue your market.

If the answer to the above is no, then don’t quit your day job. It’s cool to, and completely respectable to, make art for art’s sake.

“Talent is cheaper than table salt. What separates the talented individual from the successful one is a lot of hard work.”-- Stephen King

These quips of wisdom are nothing that most of us don’t already fully realize.

It’s just useful to be reminded every now and then so that we can consider whether or not we are running our lives according to this wisdom.

So yes talent is important but without hard work it means little.

But there is a vital third component that they don’t even bother to teach you in art school.  It is not only vital to an artist’s success, it is vital to an artist’s very survival. What’s that?  A market.  It’s talent, hard work, and a market.

Art schools argue that they are not business schools and so at best they glance or skip over this subject.

At worst, condescending art professors degrade the very notion that an artist even needs a market and label pursuing one as “selling out.”  Whatever the heck that means!

This leaves the majority of art students completely disoriented and later disillusioned.

Here’s what’s real.  It’s incredibly expensive to attend the top rated art schools.  My alma mater, The Cleveland Institute of Art, is currently charging over $50,000 a year. Yet only 20% of experienced professional artists will be lucky to make $20,000 from their art.

The admissions application should disclose that somewhere around seven years after graduation 90% of fine art majors aren’t even making any art anymore, never mind selling it.

So even though artists just spent a serious fat wad of money on tuition, or their hopeful parents did, and they may have tremendous student loan debt that they’ll never escape, 9 times out of 10 their art career is totally screwed within 7 years of graduation.

I can hear it now.  But I don’t know how to define a market for my art work.  I know! I didn’t either but I learned and that’s why I started Artists Who THRIVE.

Because not only did I get tired of hearing artist’s frustrations about establishing a market, I frankly tired of the general perception that artists can’t possibly wrap their pretty little heads around all this business mumbo jumbo.  F that!  Yes you can!

And guess what, you should.  Why?  Because people are still buying art.  Yes.  I know.  It’s a fact that we are just grasping for air from a major economic recession and all categories of luxury have declined significantly.

Except one.  Which one?  You guessed it. Fine art.  The “market” for fine art sales actually increased during the recent recession.

So wipe your tears and get crackin’.   Take charge.  Learn everything you can.  Gather positive and intelligent influences around you and drop the rest.  You can’t afford to be around nay sayers.

Apply yourself to the business of art as you did to mastering painting or drawing.

Reality TV shows like American Idol or Scouted about models gaining instant fame, feed an unrealistic fantasy that an artist’s success could be offered in one instant.

In fact, we all know that success will be earned over time with as many opportunities as you can cultivate and satisfy.

When I coach or consult with creatives I always tell them, “No one is coming to save you, no one is going to discover you. So get very clear on your SMART goal and then build and maintain an Action Plan to get there.”

I know.  I’ve been featured in the national media.  And although it can give one some street cred it doesn’t necessarily result in a wind fall of sales.

I also know how to get things done, that have not been done before, within a certain time frame.

My last straight job, seven years ago, was as a project management consultant.

This is one transferable skill that comes in very handy from my years dwelling in a corporate cubicle.

A SMART goal may be, “I’m so happy that in 2012 my art sales exceeded $80,000.”

What is required of successful artists is the faith and the fortitude to claim and then create what they want by taking constant action.

However big or small it may seem, stretch and heed the Greek sage Epictetus “First say to yourself what you would be; then do what you have to do.”

Fame comes from a lot of  media exposure.  And Public Relations is an important marketing strategy for all small businesses, but you really can’t control it.  You can only control planned and measured efforts towards a SMART goal.

Epictetus taught us that suffering arises from trying to control what is uncontrollable, or from neglecting what is within our power.  So what I can control, what is within my power, is keeping a list of potential media opportunities and contacting so many every week.  My SMART goal is to, have 3 or more favorable national press spots in 2012.

By striving consistently, it eventually pays off.  This is the key lesson.  Success is incremental.

“No one is coming to save you, no one is going to discover you.”

We all know of the artist who is the wife of a rich man or the kept creative of someone or another.

There’s a common myth that if you are going to be a successful artist you’ll need a sugar daddy or mama to keep you going financially as your build your list of collectors.

Well, my sugar daddy never showed up. Not that I was ever looking for him or that I would have even wanted him if he did arrive.  I wanted to create art and create a profitable business.  They are both vital expressions of my creative self.

My good friend Tamar Gellar, famed dog trainer to the celebrities, and NYT best-selling author, often quotes her mentor Tony Robins who says, “You don’t have to be rich, you just have to be resourceful.”  This is soooo very true.

This January will mark the start of my sixth year in business. Six years ago this month, I moved to San Francisco to start painting full time.  This place is one of the most, if not the most, expensive cities in the nation.  A zany move. I know.

Tamar’s reminder about resourcefulness made me recall some of the ways I intially secured resources.

First, this artist took care of her body.

I ran on the beach in front of my live/work studio every day.  I was stressed with the effort required to shape a profitable business painting.  So I knew that I could either let that build up in my body or channel the energy in a healthy way while breathing in clean ocean air.

Then she took care of her mind.

I audited a class for free in biofeedback at San Francisco State University and later practiced neuro-feedback.  Why?  Because I learned that star athletes and performing artists used this to gain states of optimal performance.  I knew that to succeed I needed to be on my A game and be prolific in order to be profitable.

So that I could take care of business.

I tapped all of the resources that I could at the Small Business Development Center.  They offer free or low cost support to small businesses.  Although I created my Blue Ocean Strategy, with the help of a good friend, the SBDC helped me learn more about operating a profitable business.

Note, none of the above cost anything.  I wasn’t rich.  I was just resourceful.  And I was very clear on my SMART goal.

You are chasing an aimless target if you are trying to appeal to the masses.  Successful artists appeal to a specific target.

There are no musicians famous for both their classical and country performances.

You know, the bull’s eye in the middle of the target.  Try to hit the whole thing and you’ll hit nothing.

Successful artists create a consistent body of work, and have a unique voice that offers a value to a target market.  Once they have gained a reputation in a specific space they can broaden their efforts.  This is marketing 101.

I first established a reputation as the “Wine Country It Girl” by creating strategic partnerships with prominent wineries.  I created several series of vineyard paintings.

Since then I’ve branched out and painted the aspens in snow, private gardens, and ranches.  With each of these new series my artistic approach remains the same, it’s only the demographic market profile that has changed.

Before I made these shifts into other markets, I first had to establish a reputation and gain recognition in one space.  This was a deliberate and targeted effort.

So if you think your art must appeal to the masses, think again.  And ask yourself, on what authority did your receive this information?  Who are the “masses?”

The good news is that you should first please yourself.  Then you are much more likely to please a few others.

You can’t and you don’t want to please everyone.  Be true to thyself, create with passion, heart, and authenticity.  This will increase your chance of success.

Remember, the work of copycats is dead on arrival.  Even if a copycat artist’s work is superb it will first compared to the more creative artist’s previous success.

To quote Comedian Bill Cosby “I don’t know the key to success, but the key to failure is trying to please everybody.”

As I go about my daily life in business as an artist, I encounter a number of myths.  These common mis-perceptions about artists are so pervasive that I thought they deserved their own series of posts.

I thought it would be particularly instructive to share these myths on Artists Who THRIVE because a lot of these false legends come from artists themselves.

So let’s address the first myth,“artists must suffer for their art.”

Are you kidding?  Really?  Suffering is optional.

Now, I get it.  If you are struggling financially and or creatively, you will suffer.  I know.  I’ve been there.  I didn’t paint or draw a single thing for over seven long years.  During this time I developed severe anxiety and chronic clinical depression.  Notice.  I wasn’t an artist then.  I wasn’t expressing myself and that was one of the main reasons why I was suffering.

The depths of those feelings certainly inform my painting today.  And that is the silver lining in the very dark cloud I lived in for years.  But had I not focused my full attention and energy on improving emotional health and finding my artistic voice, I would certainly have continued to suffer.

Just ask yourself.  How would suffering support you in any way to be a thriving artist and entrepreneur?  Really.

Art is no doubt about feeling.  It is emotive, not literal.  Suffering transformed can inspire.  But there are healthy boundaries between your creative focus and your business enterprise.

The successful artists that I know are certainly not suffering nor are they horribly dysfunctional. I meet a lot of successful entrepreneurs.  Most of my collectors are self-made.  The successful artists that I know are just as, if not more, enterprising.

These successful artists are marketing savvy. These artists are also keen on maintaining a healthy life work balance and I find them to be generous and highly intelligent.  Is that a profile of the mythical suffering artist?  I think not.

I’ll admit.  Selling art can be a very difficult endeavor.

But I never let my frustration outweigh my gratitude for the opportunity I have to earn my living through my art.  This is bliss.  Yet it wasn’t always this way.

I’ve had to struggle and work hard to get where I am.  And I’ll have to continue this to get where I aim to go.

Every time I make a sale I am grateful.  Very grateful.  And I express this very clearly to my patrons.

In fact, I stay in touch with them each year and express my gratitude by offering them a small gift such as calendars or note cards.

Notice, I’m not giving away original oil paintings or fine art prints. These are thoughtful, affordable, and tasteful tokens.

I recently sent a patron a small package of note cards.  I had no attachment or expectation of a response.

To my delight she asked if she could purchase a custom order of these note cards.  My investment in a small gift resulted in an immediate $2000 sale.

Again, I wasn’t attached to the outcome. I considered this a gesture of good will and simply a good customer relations practice.

Good will is very important because most of my business comes by way of referrals.  Outside of my website, I do not advertise my art.

What are you grateful for?  What patrons have supported you? What can you give to express this?

Give and receive freely. Practice gratitude.  What you focus on will multiply.

1.   Your creative talent
2.   artistic ability
3.   and prolific creative output will only get you so far

And by the way you’ll need all three to be a successful artist.

1.   Artistic mastery of a certain technical standard is expected, just like a singer must hit all of the notes. If, for example, you are a glass blower, you had better know how to grind and polish the bottom of your vessel to perfection.  If you are an illustrator of architect you had must have mastered three-point perspective.

2.   Creative talent, your unique voice, must be clear enough so that work is recognizable as your own and can not be mistaken for another artist’s.  Then it must inspire, make people feel.

3.   Once you have creative talent and artistic ability down, are you ready to sell?  Maybe, if you can produce consistently.  Why?  Just like there is no use in opening a store if you are going to run out of inventory, you must produce, you must be prolific.  If you don’t, you’ll only disappoint and confuse potential collectors and your disappointment will become frustration.

And now for the big question.  Do you have a unique value proposition and a target market?  This is basic requirement for any business to thrive, creative or otherwise.

For example, what was Andy Warhol’s unique value proposition and target market? Warhol’s unique value proposition was that he celebrated the consumption of fame.

His primary target market? Distinguished intellectuals. Hollywood celebrities and wealthy patrons. He was a master of PR and networking.

So let’s get real.  The odds are very slim that anyone will make a living through their creative endeavors.

But if you have creative talent, artistic ability, and you are prolific you are half way towards success.

Successful artists take planned action towards a specific goal.

The artists that I have met  choose from one of three modes of operation.

1. whine – where time, focus, and action evaporate
2. procrastinate – which takes a serious toll
3. action – towards a specific goal

I too often witness a combination of 2. & 3.

Actually there’s an unproductive hybrid to “3. planned action” and that is, busy or confused non-directed action.

The key words are “planned” action.  Lots of very busy non-directed work may yield some results but are they the results you want?

Success is about being really clear about what you are working towards and why.

The artists I coach must commit to a SMART goal that they really want.

Then these artists build and maintain an action plan to achieve that goal within a specified amount of time.

There are those that 2. procrastinate.

We all know what that leads to, a big heap of nothing.  Rather then waist anymore time, let me just say, if really want it, you get off your “*%+!”.

It’s mode #3 that leads towards success, and not surprisingly, peace of mind and satisfaction.

And it’s mode #3. that is the only antidote for #1 and #2.  I’ve seen it work over and over again.

Artists who take “planned” action hum right along.  They report their accomplishments each week and the opportunities that are presenting themselves.

The good news is that I also witness artists moving out of unproductive modes 1. & 2. and maintaining mode 3.

So we can all change and evolve, once we commit to a specific goal that we really want to achieve.

Because when we really want something we find the time, focus, and energy to get it.

Which mode do you operate in most often?  Be honest.  The truth will set you free.

Angela Granger

“How will you live, knowing that you will die?”  What?!  Yes, death and taxes, two things of which we can be certain.

What does THAT have to do with the business of art?

Well, for me, everything.  Because that’s the question I asked just before I decided to commit to becoming a successful full time artist.

How did I come to ask that question?  I was toiling away in a cubicle that makes the movie “Office Space” look like a party.  I was a project management consultant working at the California Franchise Tax Board.  And it was beyond dull. It was seriously depressing.

I remember two stark details.  The mound of staples that carpeted the floor removed from millions of tax returns, the evidence of why the returns have “do not staple” printed in the upper left hand corners. And I also recall the image of  two slow moving female government employees who were so fat that they had to enter the bathroom stall sideways. Clearly they ate their pain and boredom.

But I digress.  I also worked with two wonderful colleagues who were the source of profound inspiration. Both were stage IV breast cancer survivors. And naturally, while working there, we would bitch about our jobs.

But one day I asked one colleague, Angela, “What would you do if you were guaranteed success?” She said, “I’ve always wanted to be an interior designer.” I replied, “You’ve just dodged death. Why don’t you just do it?”  Her answer, “Fear,” with a capital ‘F’.

I was stunned.  Is following your passion really any scarier than the certainty of death?  I realized that continuing to toil in that cubicle, while it was a choice, was certainly scarier than death.

It was in that moment that I decided that I was not going to leave this life without giving it my very best.  I was determined to live my best life. This was my responsibility to myself, my purpose.

After I made that decision I stopped bitching about my job and I started working on my escape plan to build a life as a successful artist.  I didn’t know exactly how I would do it but I was committed, so I just knew that I would figure it out.

Now answer the question.  How will you live, knowing that you will die? And what are you waiting for?

In honor of my friend and inspiration, Angela.

Do you have, or have you had, someone in your life whose full time job seems to be to nit pick, criticize, and point out the down side of almost every opportunity or point that you make?  Are they sarcastic and try to pass it off as “funny”? Aren’t they a joy to be around?  Not!

Here’s the real question.  Does that persona exist within you?  Does Negative Nancy or Ned emerge sometimes when you contemplate your artistic enterprise? It’s bad enough when someone else infects us with their negativity or fear, it’s worse when we do it to ourselves.

Why am I talking about this within a blog on business and marketing art? Because whether you fully realize it or not your inner dialog is driving your results.

The good news is that it if you are having trouble with this bitchy little voice you can manage it. I’m constantly witnessing artists changing their mind, changing their lives, and growing their businesses.

I have an artist client who is a painter.  Her unconscious negativity has limited her opportunities for much of her life. When Negative Nancy chimes in it usually goes something like this.  “That didn’t work before so it’s not going to work now.”   The antidote she now applies is to flip it.  “That didn’t work before.  What could I do differently to make it work now?”

I heard the Dalai Lama speak last year.  He suggested that one key to happiness is to become conscious by listening carefully to your thoughts. If they are negative then simply do some logical investigation. Ask yourself, “Is that really true? What solid evidence do I have?”  When either of the negativo twins show up insist that they show you their evidence.

I’m not advocating positive thinking, just truthful investigation.

You have currency sitting around your studio. In a sense, you may have stacks of money or you can even manufacture it.  How?  What?

Is there a particular good or service that you need, or just want, but you just can’t afford right now?  Maybe it’s graphic design, massage, editing, consulting services, a haircut, or even medical treatment? You get the picture.

Try bartering.  This is an ancient system of exchange that many creative folks still use today.

“Barter is a method of exchange by which goods or services are directly exchanged for other goods or services without using a medium of exchange, such as money.”

When I created my initial business offering for wineries I needed a credible brochure. So I gave painting lessons to the CEO of one of the very top graphic design firms in the US.  He was so happy that he took his lead graphic designer off of a deadline to design my brochure.  The result, I had graphic communications that made my new enterprise look like I’d been a success for years.

My recommendation.  Put this agreement in writing and have each party sign it.  So that there is no room for misunderstanding, spell out:

1. specifically what you are trading
2. when it will be delivered
3. and for what dollar amount

I suggest keeping it simple, for every dollar of good or service you’ll trade a dollar’s worth of your art.

Make sure that you state that each party will treat this transaction with the same level of importance as any other.

What do you need?  Think of one or two things. Then start asking around  your network. Asking is free.

“The greatest investment you can make is in yourself.” Billionaire Investor Warren Buffet

Most successful people have had mentors along the way. I’ve worked with career, life, and business coaches, and with the exception of one, they each served me very well.

These investments in myself are now paying great dividends.

Unfortunately these coaches and business consultants did not posses the experience to coach me around developing my art business.

Most artist coaches will try to guide you through the traditional permission and scarcity based art business model, exemplified in traditional publishing, music, film, and gallery representation.

There are many artist coaches who have very little direct experience in the art world.  Probe and find out what specific experience they have.

Ask if they have marketed and sold art themselves.  How much?  What?  To who?

Ask what they’ll be coaching you on.  Are they “creativity coaches” or “business coaches?”  Both are valuable but there is obviously a big difference.

Find out how they structure the coaching, the price, the terms, payment.  You know, all the nitty gritty details.  It’s your time and your money.  Get the facts.

A good coach or consultant is not going to be cheap.  But how much do you spend on supplies and equipment?  How much was art school tuition? Still paying back loans? This investment could actually help you make money.

Coaches should not be representing you too.  Why?  If they are coaching and representing you they cannot be objective about your concerns because their own financial interests are at stake.

I’ve been asked to represent artists countless times but I won’t.

Why?  Because I have my own art business to run, Ann Rea, Inc., and this demands most of my energy.  And the mission of Artists Who THRIVE is to advocate for artists’ creative freedom and  business savvy so that they can stand on their own two feet and thrive financially.

Bottom line.  A coach should be working their way out of a job.  Be clear on your specific objectives sooner rather than later, or you’ll be paying for coaching endlessly.

Remember these things when hiring an artist coach:

1. You only get what you want, when you know what you want.
2. Keep your expectations in check.  A coach can’t help you solve challenges overnight that you may been grappling with for most of your life.
3. Do the work.  It’s like hiring a personal trainer.  They can’t exercise for you.

“Doing business without a contract is like building a house without a blue print.” Mark Monlux.

It is naïve to think that you don’t need a contract if you are a creative.  If money is changing hands, you’re in business. Therefore, you need a written contract.

Without a written contract the terms are open for interpretation, and too often it’s misinterpretation when it comes to selling art.

“What if I’m doing business with a friend or family member?” Then you need a contract even more to preserve that important relationship if and when an issue arises.

The single most horrific transaction I’ve had in over five years in business was with a “friend.” She turned Psycho as she absurdly ignored terms of the contract she signed.

She actually accepted the commissioned painting, kept it for three months, and then announced that she wanted to return it and have me paint another one, and yet she had damaged it.

It get’s worse but I’ll spare you the details.  I’m not kidding.  You can’t make this stuff up.  Ironically, this crazed “friend/patron” was a frustrated artist who now represents artists.

Without the contract I’m certain that the situation would have deteriorated even further.  With the contract in place my losses were limited to the extend that I had defined them in the agreement.

Make it clear to friends and family that the rules are the same for them.  If they show any resistance don’t do business with them.  It’s not worth the risk.

“Why are artists adverse to contracts?” I think it is simply a lack of confidence because they don’t yet believe they are successful enough to ask for what they want.

This is stinking thinking. If you want others to respect you and your terms you must have a contract.  It’s business 101.

If the other party is reluctant to sign a clear and fair contract then that’s a big red flag waving, “Don’t go down this road!”

Make sure that you discuss each aspect of your agreement before you present the written contract so that there are no big surprises. Communication is a key to success.

One of the best pieces of advice I’ve heard about writing a contract is to outline it as if you are getting married and as if will be getting a divorce.

Some things to spell out include:

1. When will the work be complete?
2. Who owns the intellectual property?
3. What it will cost?
4. When the money is due?
5. What form of payment will you accept?
6. What if payments are late?
7. What’s the sales tax?
8. What’s the scope of the work, what’s included and what’s not?
9. What if the patron doesn’t like it?
10. What happens if you want to end the contract?  How and when can you?
11. What if there is a conflict that you can’t resolve?

The Graphic Design Guild’s Annual Pricing and Ethical Guidelines is a great place to start.  But you really need an attorney, who is licensed in your state, to review your contracts.

I use Pre-Paid Legal for this.  I’ve found this service to be so cost effective that I distribute it to artists.

Using contacts is not a sign of mistrust, it’s a sign of good faith and professionalism.  Contracts help preserve relationships by providing a tool to prevent misunderstanding and mitigate conflict.

A good bit of my coaching artists involves me telling artists, “Do not give up.”  Persist ahead, if you do give up you’re guaranteed failure.

Santa Barrios, my fabulous hair stylist, is the proprietress of Sophistafunk, a hair styling salon in the Mission District of San Francisco and a line of handmade fashion accessories.

Sophistafunk accessories are born from Santa’s unique personal style and creative point of view.  This line is urban, hip, funky, and yet sophisticated.

But that’s not really what I’m here to talk about. I want to talk about Santa.  Santa runs her own hair styling salon and she designs, manufactures, and sells her own line of fashion accessories.

And she travels back and forth to Los Angeles every month to take care of her mother with advanced Alzheimers.  This is a tough gig.

Santa dreams of launching her line of handmade fashion accessories on a big platform so that celebrities are dawning Sophistafunk.

And because Santa keeps creating and inching her business ahead, despite the demands of her personal life and business, it will happen.

How do I know?  Because she’s committed.  She’s not giving up.

First rule of success, don’t give up.  Disabled parent? Don’t give up.  Have to live in two cities?  Don’t give up.  Already running a business?  Don’t give up.  Limited resources? Don’t give up.

But don’t just keep going if it’s not working.  Get help.  Find resources.

Define a SMART goal and then lay out an action plan to get from where you are now to where you want to be.

Fortitude alone won’t get you there.  Be very specific about what you want and then work SMART, not hard, to get there.

I leave you with a French proverb. “One may go a long way after one is tired.”

Licensing images is typically what an illustrator does, a fine artist, like myself, not so much.

There’s no right or wrong here, these are just two very different business models.

An illustrator is hired to execute someone else’s vision of a subject.  A fine artist is commissioned to execute their vision.

Fine art is a luxury product.  A luxury product is diluted as it becomes more common and less exclusive.

I have chosen not to license my intellectual property for four main reasons.

1.   It would interfere with communicating exclusivity, a requirement for a luxury brand

2.   I have found it to be too much work to explain licensing to inexperienced licensees

3.   It doesn’t pay all that well and I believe in going for the “low hanging fruit”

4.   The three times I did license my images, it was an enormous pain in the *#<!

The last licensee, a small winery, helped themselves to my image and illegally applied it to their poorly designed website and sign walk sign.  Although these applications were specifically prohibited in the contract.

I sued them twice and I won twice.  But this is not the highest or best use of my time and the financial settlement certainly didn’t make up for all the trouble.

If you are thinking of licensing to gain “exposure”, think carefully. Exposure is often over sold to eager artists.

“Exposure” can be translated into the artist giving a lot for a little to nothing in return.

My first of three wine labels sold a lot of wine and it was prominently featured in wine shops on the end caps.

But I did not profit from the winery’s profit.

I realized quickly that if I was going to license my images for wine labels that they should be the labels on my wine, not someone else’s.

My income has come primarily from the sale of my original oil paintings and the Giclée prints that my company manufactures and sells directly.

Licensing can be profitable, but if you are just starting out, tip toe very cautiously into this realm.  And make darn sure that it supports your long term strategic objectives.

"Pacific Ocean Deep", Ann Rea, oil on canvas

Most artists are trained in art school to swim with the sharks in an ocean of blood unconsciously competing for the scarce kill. But only a few will ever feed.

The alternative is to swim in a blue ocean far away from the kill zone, making the competition irrelevant.  How?  By creating a Blue Ocean Strategy.

What’s this?  It’s when a business creates unique value to serve a target, making the competition irrelevant

When I’m working with artists to help define their Blue Ocean Strategies we have to first get to what’s unique.

The only place to start is the artist’s life purpose, passions, interests, and values so that we know who they are as an artist and a person.

This is not life coaching this is the beginning of defining truly unique value.

Take a jeweler I’ve been coaching for example.  This creative, like many, had to work a long while before we arrived at her new Blue Ocean Strategy.

The first thing that she had to learn was that she had to get out of the business of selling jewelry, a Red Ocean, and get into the business of celebrating friendships.

What? Are you scratching your head?

After much exploration she realized that one of the most important aspects to her life is her long-standing and close relationships with her best friend and other women in her life.

They all have stories and a history that they have shared over the years. And they have been her main collectors.

Her Blue Ocean Strategy?  To create a line of unique charms that mark the most meaningful milestones in a women’s life.

What’s different?  You can collect the charms, customize the bracelet or necklace, and an individual story is beautifully packaged with each charm.

You then give a bracelet or necklace to yourself and one to your friend, or friends, to celebrate the history of your friendships.

Rather than one sale she has built in two or more immediate sales and ongoing charm sales as new milestones are celebrated.

Notice we didn’t start with how to build in multiple sales. We started with the artist’s unique value.  The unique value is a reflection of this artist’s very personal purpose, interests, and values.

This Blue Ocean Strategy is something she’s passionate about and her excitement is giving her the energy to execute on this strategy.

It took time, effort, and patience to arrive at this Blue Ocean Strategy.

She’s had to work through some key frustrations that had limited her thinking. But she stuck with it until she was open to exploring marketing solutions in non-convention ways.

What happens if artists come sniffing around her waters to copy her?  We’ll create more unique value and they’ll will sink to the bottom of the ocean because they won’t be able to match her energy.

“Be a first rate version of yourself, not a second rate version of someone else.” – Judy Garland

Many artists are desperate to arrive at an answer. So they put the cart before the horse. If an artist is not open, patient, and trusting in the process, or they are clinging desperately to the traditional scarcity and permission based model, I just can’t help them.  I can’t get past that negativity.

It takes trust to surrender the fight for the kill when you’re hungry.

But in order to sustain your drive to be an artist and to build a business you must first know your purpose, passions, interests, and values.

You must “know thyself” so that you can know what unique value you can offer the world.

Note. Your compensation will be in direct proportion to the value you offer.

My artists ask me about how to sell art.  How to sell art is a big and complex question that is very difficult to answer in the space of one post.

I can tell you where to start.

And I can give you the short answer to “How do I sell art?” It’s simply this, don’t.  What?  Yes. Don’t sell.

Start by building rapport and bonding.  This is where it can be very helpful to like people and to be naturally curious about them.

Engage your potential collector by asking them questions, then listen.  Let them talk.  They should do most of the talking.  80%.

You can usually determine quickly if they are actually a prospective collector of if they are just an admirer.  Don’t assume.  Find out.

Always start the conversation by simply developing rapport.  Maybe ask:

How did you hear about this event?

What brought you here?

Are you visiting from out of town?

You know.  Make the questions your own and just let the conversation flow naturally.

If you have developed rapport then you can engage your prospect further and determine if they are a prospect.

Why start with bonding and building rapport?

1. Because people like to buy from people that they like.
2. Rapport eases communication.
3. It actually makes the exchange much more pleasurable and rewarding for you and your collector.

If you find a business endeavor daunting the very best solution is to develop or to adopt an effective system, whether it’s marketing systems, financial systems, or sales systems.

I use the Sandler Sales system which  breaks the sales cycle into seven sequential steps.

1. Bonding & Building Rapport
2. Up-Front Contracts
3. Uncovering Pain
4. Uncovering the Prospect’s Budget
5. Identifying the Prospect’s Decision Process
6. Fulfillment
7. Post Sell

Look for future posts on the second step, establishing “up front contracts.”

Before you sell to an art collector get an “up front contract.”  In other words, get permission from art collectors to sell to them.  Then you will not be selling.

What is an “up front contract?”  This is a term coined by the Sandler Sales Program.  The sales methodology that I encourage in my artist coaching program and the one I use.

Essentially it goes like this.  When you are pursuing a prospect you want to first get permission to qualify them and give permission for them to bail if they are not really interested in buying.

You might say something like this.  “If you don’t mind I’d like to ask you a few questions.  And of course you are welcome to ask me questions.  Then when we are done talking I’d like to agree that we take the next step or we agree that it’s just not a good fit.  Is that okay with you?”

This offers mutual consideration, to you and to them.  And it lets you both off the hook.

What have you done here?  You’ve done a few things:

1.   You are inviting the prospect to ask you questions.

2.   You are getting permission to ask them questions and to qualify them.  They make be just an admirer or they may be an interested collector.  Wouldn’t it be good to know this sooner rather than later?

3.   You are taking the pressure off by giving them a way out.  No one likes the pressure of being sold.  So don’t do it.

4. You convey confidence rather than desperation to close a sale.

5.   Most importantly, at the end of the meeting you’ll know if they are a prospect, a new collector, or if they are just not qualified.  Qualifying meaning that they have the money, the authority to spend it, and enough interest in buying.

Why is the latter so important?  I don’t believe in expending limited energy pursuing prospects that will not yield sales.  Let them go and confirm who you should court.

Take your energy and attention back and focus on viable sales to collectors and your creative productivity.

I talk a lot about how to sell art. Referrals, hands down, are the easiest way to sell art.  You can very likely prove this to yourself if you do what I suggest that each of my artist coaching students do.  Keep track of how they found each of their collectors.

Some of the ways that collectors find their way to me is through events, press, annrea.com, or by seeing my prints and wanting an original.

What is the very top marketing strategy? Referrals.  How do I know that?

Because each year when I update my company’s business plan I crunch the numbers and I determine exactly how many collectors each strategy yielded.

Why do I do this?  Because this is the only way I can know what marketing strategies to focus on in the coming year.

• Collectors who arrive through annrea.com, site are wonderful. Because they can collect when I’m sleeping and I may have never even met them.
• Press is fantastic too.  In fact it’s the best form of advertising and it’s free. It also conveys credibility and gives collectors confidence.  But I can’t guarantee that this strategy will be consistent.  And marketing is like breathing.  It has to be consistent.
• Events can be very effective because I’m meeting prospective collectors face to face when celebration is in the air.  But again, they’re not always consistent.
• Referrals are not only are the most effective marketing strategy, they are the very easiest and they are free.

Think about it.  When someone refers you to a business aren’t you much more likely to buy?  Don’t you just have more confidence in doing business? Don’t you take less time to make up your mind?  I know I do.

I’ve often already made up my mind to buy when I have a referral.  I’m just going in to confirm my decision.  So that’s what you want to cultivate.

How do you get referrals?  That’s easy.  Ask. Here’s what I actually say…

“I don’t advertise.  So most of my business comes from people just like you.  Can you think of one or two other people like you who might also like what I have to offer?”

Notice I didn’t say, “Can you think of some people?”  No. I gave them a very specific assignment.  I asked for one or two prospects.  If I leave the number vague their thinking will follow suit.

So just ask.  Ask every single collector or prospect. Ask when you have established a rapport. Ask during the sale or after, just ask.

That’s all there is to it.  No advertising budget required.

Why do people buy art?  Why do they buy anything? Because the pain of not having what is being sold is greater than parting with their money.

So what is your mission when selling your art?  You might think that it’s communicating the value of your art.  Yes and no.

Remember.  During a conversation with a prospect, you’ll want to talk about 20% of the time. Your prospect should speak about 80% of the time.

So how do you convey the value of your work and not talk so much?  You ask questions.  What kind of questions?  Leading questions.

Remember the show Columbo? Peter Falk played a private investigator who asked suspects leading questions.  That is what you want to do with your prospects.

What questions do you ask?  First, relax.  Selling is simply having a conversation.  Your first job is just to establish rapport.

Once you have established rapport  you may find that your prospect has just remodeled their dinning room, they have a celebration coming up, or they have been looking for something special for the wall in the den for a year.

Selling art is not  a manipulation.  Who likes that?  You are simply helping your prospects come to their own conclusions. And if you’re effective they will conclude that what you have to offer will solve a particular pain in their life.

Please note.  Everyone’s pain is different.  Your job is to uncover it.

Pain?  Isn’t art about  inspiration?  Well.  That’s what I used to think, until I uncovered my collectors’ pain.  The real reasons they bought my work. For example:

1.    The real estate investment firm that needed to convey the story of their luxury resort property in a way that distinguished them from every other luxury property.
2.    The busy CEO who needed to come up with a memorable, meaningful, and thoughtful gift for his wedding anniversary to, in his words, help him “save his marriage.”
3.    The empty nester who was ready to indulge and celebrate her passion, not her childrens’ or her husband’s.  Her passion is art and color.
Note this too. If you uncover enough pain it is interesting how their budget will increase.

During this process your prospect may conclude that what you have to offer does not provide an antidote to their pain.  And that’s okay.

You can then let this prospect go and just ask for a referral.

Recently I have noticed ads from the San Francisco Art Academy promoting the tag line “Art as Career.”

Throughout art school I was constantly handed references to ones “artistic career.”

When you look at most fine artists’ websites, what do they present?  They proudly display their resume or their CV.  Are they applying for a job?  I don’t think so.

The only time you have a career is when you work for someone else, when you receive a paycheck, a W2.

Fine artists are in business for themselves.  They are entrepreneurs and they embrace that reality or they reject it and struggle. It’s simply a choice.

If you are a fine artist I’m not sure where you can go to pick up a paycheck for your talent.  And if you do you will most likely be changing gigs often.

Unless you trade your talent for its commercial application, like any small business, you’ll need to define your unique value proposition and reach your target market, even if your market is solely galleries and art consultants.

Why do I put such a fine point on artists having a business and not a career? Because until an artist embraces this fundamental reality they will be trapped by an illusive idea of success that they will never get their heads wrapped around.

I understand that this is a fundamental paradigm shift for most artists and our culture.  My own graphic designer gave me crap about putting my title “Artist & CEO” on my company’s business card.  He said, “CEO? That’s too corporate.”  I replied, “Well, I do own a corporation and I am the CEO. This is my legal title.”

I can hear it now.  But I don’t want to “sell out.” What does that really mean? Does anyone really know? The good news is that much more creative and financial freedom can be found through business savvy.

So if you accept this economic reality what do you do?  Start reading books on marketing, educate yourself about finance, taxes, legal issues, and sales.  Learn whereever and whenever you can.  And consider the fact that Steve Jobs of Apple has always considered himself an artist.

If you live near a major city you can start or continue your business education at a Small Business Development Center. They offer free and low cost services.

Sorry they didn’t clue you in art school but they don’t tell doctors or lawyers how to run a practice either.

Since I did not go to business school, and I have a long commute over the Golden Gate Bridge to Wine Country, I keep a number of business books on my iPhone.  This is often referred to as DTU (Drive Time University.)

One of my favorite audio books is by Russell Simons, one of the very wealthiest and most successful pioneering hip-hop media and fashion moguls.

I also happen to like him because, like me, he’s down with practicing yoga, meditation, anti-censorship, and he does not reserve his political or social opinions.

Simons’ book is called “Do You, Laws to Access the Power in You to Achieve Happiness and Success.”  It’s no surprise that Oprah gave him the first part of the title.

“Do you”, delivers the value proposition.  He mixes his personal philosophy and world view and breaks down how he’s applied this to building his empire of successful brands and cultivating artist’s careers.

In the world of art, what counts is unique expression.  So if an artist tries to be anything but their authentic self, they will fall short and be subject to constant comparison or remain simply irrelevant.

By “Doing You” an artist sets themselves apart, offering their market unique value.  A student in one of my Artists Who THRIVE seminars reluctantly asked, “Is there really enough opportunity for very many “Blue Ocean Strategies.”  My answer is a resounding. YES!

Does that mean that every artist with a unique and compelling expression has a market?  Not necessarily.  The artist must know, articulate, and deliver value to a target market.  The value is expression that touches, inspires, and moves that market.

It’s only when an artist remains true to themselves, their unique essence, their vision, that they stand the very best chance of connecting with and inspiring others.

And that, my friends, is the name of the game in the world of art.  And I believe it’s also the name of the game in the world of business.

My advice is “know thyself” and take Mr. Simons’ advise. “Do you.”

What I generally say to artist clients is, “No one is going to discover you.  No one is coming to save you.  So if you’re secretly hoping that your artistic talent will be discovered, forget it now. Define your notion of success then plan and build it.”

I recently read this except from an article on Psych Central.

Writer Elizabeth Gilbert (Eat, Pray, Love) italicize, relates about a friend of hers, an Italian filmmaker of great artistic sensibility, struggling to get his films made, sent “an anguished letter to his hero, the brilliant (and perhaps half-insane) German filmmaker Werner Herzog.

Herzog replied to her friend, saying something along the lines of, ‘Quit your complaining. It’s not the world’s fault that you wanted to be an artist. It’s not the world’s job to enjoy the films you make, and it’s certainly not the world’s obligation to pay for your dreams. Nobody wants to hear it. Steal a camera if you have to, but stop whining and get back to work.’

We know that being an artist is generally a tough gig. But is it smart to waste your valuable and limited energy and time complaining about it?  Accept it.

Push aside non-productive thoughts and conversations and figure out specifically what you need to accomplish next to meet your definition of success.

Maybe that’s where you need to start.  What is your definition of success? Is it crystal clear?  Like a physical fitness goal, do you want to drop 10 pounds?  Be able to bench press 50 lbs 15 times?

We are not owed anything by anyone just because we are creative.  There are many amazingly talented creative people on this planet.  What makes you special?

Be clear and confident about how your talent is different, “Do You.”

Then start laying out what success would look like as if you had a magic wand with an on/off switch.

Once you have a clearer picture of success you can break this down into bite sized pieces, milestones.

You can do this. It’s simply another creative process.

Should artists pay for advertising?  Generally my answer is no.

Why?  Because most artists don’t have the budget and there are more effective ways that are either free of relatively low cost.

Most of my business comes from the following sources and generally in this order:

1.   Referrals
2. Ecommerce site
3.   Events
4.   Press

With the exception of relatively low overhead for my Ecommerce site, each of the marketing mechanisms listed above are free and I would venture to say they are more credible.

Then how do get referrals you ask.  Well… you simply ask. How?

Here’s an example:

“I’m so glad that you like my work.  You know, I don’t advertise.  Most of my business comes by way of referrals from people just like you.  Can you think of one or two people to introduce me to who would also enjoy my work?”  Then stop talking.  This is key.  Don’t be nervous and keep talking.  Just let them say yes or no.

When they mention a name, say something like.  “What would be the best way for us to meet?”  They might say, “They’ll be at my party on Friday.  Why don’t you come?”  Or “I’ll introduce you via email.”

Your objective is to get to meet that referral in person.  Not sell them.  Just meet them.

To review.

1.   Ask for one or two referrals
2.   Ask how and when the introductions can best be made
3.   Follow up and get some face time with the referral

Asking is free. And it’s simple.  Just follow 1,2,3.

I’ve covered the “can I get a discount on your art” question before, but it’s apparent that it still haunts too many desperate artists so it’s worth covering again.

When a potential patron asks if you will offer them a discount you should say “no” or some form of “no.”

I can hear it now. “Well they are a good friend.” or “They are a repeat collector.” Yes. That’s nice. Shoot yourself in the foot, if you like.

“Good friends” don’t ask for discounts.

And if they are a repeat customer and you want to acknowledge your appreciation, fine. But do it in some other value added way, like complimentary shipping, framing, or installation.

Why do I put such a fine point on this? Because it is costing you money.

And collectors are already confused about what amount they are paying for art and why. Your lack of confidence can undermine theirs and that can compromise or squash the sale.

So have a price sheet of your art at the ready. A written price is not as easy to negotiate as the one you speak.

Art is a luxury good. Don’t forget it. During the recent economic downturn a number of luxury brands threw themselves under the bus when they desperately discounted to stay a float.

The Hermès Group, founded in 1837, didn’t dare. They took the long view. What happened to them? They’ve maintained the luxury market’s respect and they’ve gained significant market share.

An art consultant I know, who has dealt with hundreds of artists over the years, confirmed that those artists that allowed her to discount their art sold significantly less work than those who maintained a policy to never discount.

Take the long view. Build your brand. Don’t discount your art. In the end, it will be worth it because you’ll sell more art.

Artists Earning Over $100,000

I recently received an inquiry from an artist who apparently found ArtistsWhoTHRIVE.com by searching online for “artists earning $100,000.”

This week I also consulted with another artist who asked me, “How did you sell over $100,000 in art in your first year as a full time artist?”

Apparently this is a magical number equaling success for many artists.

I found these inquiries serendipitous and a bit amusing so I knew that I must answer the question this week.

How did I sell over $100,000 of art in my first year as a full time business?

I tell you how I did it.  And I’ll share how other artists that I have coached have done it or who are going to sell over $100,000 of art.

First let me say, obviously how I sell my art will certainly be different from how you sell yours.

But after coaching and consulting artists from across the globe I have noticed that there is a basic formula for success.

1. Successful artists have a very clear and specific goal, a SMART goal.

My goal was to sell over $100,000 of art in my first year in business full time.

Notice the specificity of this statement.  Also note, I did not “earn” over $100,000, I sold or grossed over $100,000 of my art.  In fact, I exceeded this goal by 25%.

2. Successful artists are disciplined and focused.

I got up every day knowing what my goal was and I built and maintained an action plan to keep me focused.

Building an action plan was pretty easy for me as a former project management consultant.  But if this is not your natural skill set you’ll need to get some help.

3. Successful artists have a positive attitude.

This is huge.  It’s very difficult to remain focused without a positive attitude.  And making and selling art can clearly be a daunting task when you’re starting out.  A few pearls of wisdom to ponder.

Thoughts are things.

As you think so shall you become.

Stand guard at the gate to your mind.

If you don’t know where to start, I recommend starting first by:

A. Developing and maintaining a positive attitude.

B. Then define a SMART goal.

C. Take focused action on it every day until you reach it.

As I matured as an artist I came to recognize and respect that creative freedom springs forth within the boundaries.

As my creative self evolved I became more self directed and more clear about my artistic inspiration.

With maturity and confidence I was clear about and able to define the boundaries that I wanted to explore.

It has been within these self-imposed limits that my creative process flourishes.

Yesterday morning I heard a comment on the radio that mirrors this idea:

“You limit things so that you can explore their universe more thoroughly.”

Why is this take on creative freedom relevant to the business of art?  Because in order to succeed in business one most offer and communicate a well defined value proposition to a target market.

So for example, what if a musician asserted that they were a country musician and an opera signer?  It’s just hard to buy.  Right?

Can you enjoy or be inspired by an eclectic mix? Certainly.

Can you become known for both? Not likely.

Artists have to pick their lane.  This is not only a law of creativity but it is also true of business and marketing.

Now laws are indeed made to be broken.  So often, not always, once an artist has established a clear market niche they can experiment and maybe even cross over to another genre.

Bottom line.  Know thyself.  If you know yourself others can know you.  And to know you is to love you.

When I posted this anonymous quote, “I like compliments but I prefer cash” it received a whole lot of “likes” on the Artists Who THRIVE Facebook fan page.

Why?  Because most artists can relate to this sentiment. Before I received Sandler sales training this dynamic used to really frustrate me.  I’d think, “If you love the painting so much, and since you’ve been talking to me for over an hour, why the heck don’t you buy it!”

That was before I knew how to take control and qualify a sales prospect.  Before this, they were in control and I was ruled by the tyranny of hope that they would buy from me.  Now I know to start probing earlier in the conversation with “test close” questions like:

·      “Tell me about your art collection?”

·      “What rooms in your home or office would benefit from a piece of original art?”

·      “Would you like to take this painting home today?”

Notice that each question gets increasingly direct and to the point.  Do you want it?

We all admire things that we can’t have or that we are just not prepared to buy.  I had the money to purchase the hand crafted yellow pearl diamond earrings that I was admiring last weekend from the jeweler at the Sausalito Art Fair last week.

And I could have justified this purchase.  I have been longing for the right pearl earrings since I saw Dutch painter Johannes Vermeer’s masterworks “The Girl with the Pearl Earring” and it was my birthday yesterday.

But I have higher priorities for $3400 right now, regardless of the jeweler’s desires and needs for my money.

The lesson. If someone is genuinely admiring your work but they don’t buy, don’t take it personally.  This is one of the four principles of the Four Agreements by Don Miguel Ruiz.

“No more effort or energy is required in order to aim high in life, to demand abundance and prosperity, than is required to accept misery and poverty.

The difference between the two lies in your level of awareness.” – Bob Proctor

I snagged this quote by my collector Bob Proctor, author and host of the movie The Secret, because I think as artists it has so much to teach us.

Answer honestly, what are you choosing?  Is it success?

You’ll know what you are really choosing by simply noticing most of the thoughts that you entertain each day.

You know, the noise in your head, the passing remarks you make.  “As you think, so shall you become.”

If we agree with Bob’s proposition then what is the next step?

I’m not sure what Bob would say but I think that the next step is to define what success looks and feels like for yourself, very clearly.

Map it out like a drawing or a painting. Then assume full responsibility for your current circumstances and then take actions that move towards your specific goal.

Remember the common investment disclaimer, “Current results are not a guarantee of future results.”

Where you are now is not necessarily or even likely to reflect your future.

I can hear some resistance now.  “Growing up my parents did not encourage me, life as an artist is hard, and no one is buying art.”

Ya. I’ve heard it. Talk to the hand.  I used to utter the same lies until I chose success as my preferred mode of operation.

Trust me.  I was miserable so I do know that the shift can be made.

Success is a game we play between our ears.  You know that as an artist.

It’s the discipline and focus of your mind that produces creative excellence.  So it is the same for the business of art.

“The person who says it cannot be done should not interrupt the person doing it.” – Chinese proverb

This proverb really resonates with me.

This wisdom immediately reminds me of a common question that I still receive when I introduce myself as a painter in social or business settings.

The common question I receive in response is “Oh, do you make a living at that?” Ugh!

I try to maintain control over the fine muscles in my face so that I do not betray my mild disgust, frustration, and defensiveness.  This just feeds into their negative perception and energy.   And who wants to be perceived as a loser?

“Yes indeed.” I reply.  “In fact, I’ve turned a profit since my first year in ‘business’ over five years ago and my ‘business’ has been profiled in Fortune magazine, among other national media.” This quickly shifts my audience’s response to me from pity to fascination.

But that’s not the point of this post.  The point is that I don’t like to be interrupted by negativos.  Nor do I like to give them too much time or energy.  I’d rather continue to march forward and build my enterprise.

Ironically I find too many creatives even more steeped in poverty consciousness than even the general public.

To all artists I say, note to self. Marketing trends confirmed by respected research sponsored by American Express reveal that during this decade’s economic downturn sales in all categories of luxury declined, except one.  Which one?  You guessed it.  Fine art.

So yes indeed, people are buying art.  So don’t interrupt me.

Whose Rules are You Playing By?  And when did you agree to them?

I find it ironic that so many creatives assume that they must compete in the marketplace based on the same competitive factors, finding representation and critical acclaim.

Why?  Because this does not equal getting paid.

The rules of the traditional art market are completely permission and scarcity based.  I for one don’t want any part of it.

Why?  I enjoy freedom, financial and creative.  And lets face it, these freedoms walk hand in hand.

No money, no art supplies.  No money, no time to create.

So what do you do?  Question the rules.  Isn’t this what artists do best?!

What is your measure of success?  Gallery representation?  Okay.  If that’s working for you and you’re making money hand over fist, go for it.

But if that is not working? Then you, like any other person peddling their wares in an overcrowded market, must find a target market and compel them to buy from you by offering them unique value.  That, my friends, is the Blue Ocean Strategy.

The first business profiled in the book the Blue Ocean Strategy, Cirque du Soleil, ironically, is a theater company.  Cirque du Soleil reexamined the competitive factors of their industry.

Then they looked at what they could subtract and what they could add to a circus.  They asked themselves, “Do we really need animals?  They are messy and animal rights activists are on our case.”  So they subtracted the animals.

Then they looked at the multiple performances.  Then they added an elevated quality to the performance and got rid of the three-ring circus, adding focus.

What can you subtract?  What value can you add?  Are you looking for approval or for a market that will support your creativity and your financial well-being?  That is the business of art.  And that is the best business I know of.

Sometimes I’ll say something to an artist that I’m coaching that strikes a cord of truth in them that brings their thoughts, and therefore their actions, into clear focus.

That’s what happened after I responded to Nicolette, “Fear creeps in when you’re not present.  Stick to your plan, stop trailing off into the future.”

Nicolette is an artist client, turned graphic designer, who wants to return to fine art.

She hasn’t worked on her fine art in several years so she needs to get back into her creative flow to build a representative body of new work.

Frankly, she’s been dragging her feet a bit on getting this work done. Her mind has been winding around her unique value proposition, target market, and distribution channels.

She is thinking about selling her work before she’s actually made it.

Is it any wonder that the work isn’t yet done and she’s beginning to freeze up in fear?

Look. I’m not a life coach, but I do know from my own experience as a fine artist and entrepreneur that fear and frustration, creep in when you are not present.

Why is she not present?  She’s not focused on the task at hand, which is simply to produce a dozen pieces that are strong representations of her new artistic concept.

That means she may need to produce 30 pieces and scrap 18.  Her perfectionism had better make a quick exit.

Once this “product development” is done we can examine potential markets and value propositions.

Until a cohesive body of work is complete, focusing on marketing would make a case of the tail wagging the dog.

Or another way of saying it is, focusing on marketing before finding your artistic voice, is placing the cart is before the horse.

Take it one step at a time.  Focus on completing each step in your Action Plan within a reasonable amount of time and then get on to the next step.

I’m not sure why so many creatives are tortured by planning but once they learn this skill they soar.

I just returned from traveling for a press event at Scarpetta’s in New York City to promote the new Montage Deer Valley Residences.

Before this event met up with my friend Jonathan Fields for lunch at Soho House, a hip kind of country club for creatives.

Jonathan has just authored his second insightful book “Uncertainty, Turning Fear and Doubt into Fuel for Brilliance.”

If you are involved in any type of entrepreneurial endeavor or if you are a creative who makes their living by way of your creative output. Get the book!

Jonathan has outlined clear and useful insights that should be part of every MFA and MBA program.

I met Jonathan a few years back when he was writing “Career Renegade, How to Make a Great Living Doing What you Love.”

I’ll admit it.  I am biased because my company was profiled in Career Renegade, but I can tell you that each story was inspiring, as was my discussion with Jonathan last week.

As we talked about our creative process as it relates to our uncertainties and fears we also explored the antidote, which seems to be both acceptance and ritual.

My ritual takes this form.

• Before I start a painting I put my studio in order. It has to be clean and free of distractions.
• Then I will light one stick of sandalwood incense.
• I’ll meditate in silence for about 15 minutes.
• I pause in gratitude for the privilege and opportunity to make my living painting.
• Then I set my intention to do my best work that will inspire and move others.
• Before I pick up the paintbrush I’ll put on some soulful music that might include Amy Winehouse.

This creative ritual drops me down into a familiar mode.  I know, and I accept, that sometimes it works and sometimes it doesn’t.  I remain loosely attached to the outcome.

I do know that each time I preform this ritual and I get into a familiar headspace, I’m increasing my chances of creative satisfaction.

Are you so productive that you never get anything done?  This is can be a professional artist’s dilemma.

Do you know why?  Are you clear on your goal?  Have you made your goal your priority?  Focus.

Here’s the big question. Are you avoiding the responsibility of reaching that goal?  Maybe you need support?

It’s only when you make your goal your priority that you’ll reach it.  Until then you’ll be distracted with busy work.

Busy work could be digital habits that include checking emails, Facebook, and Twitter.

Are you ready to put aside what is distracting you from reaching your goals?  Great!  Because life is short.

Maybe your next question is “how?”

Much of our distraction comes from our physical environment.  Is your studio a mess?

Make yourself a de-clutter date.  If this is something you struggle with then either hire a personal organizer or enlist a friend.  And most importantly give yourself a deadline to get your supplies and paperwork in place.

The next step is to turn inward.  Our thoughts either distract or shape our focus.  And thoughts are things.

What do I do?  I meditate for at least 15 minutes a day. Its like erasing the chalkboard.

Many people say that they have difficulty committing to a mediation practice.  I look at it this way.  If you can brush your teeth each day then you can meditate.  Mental hygiene is as important as dental hygiene.

But if you’re struggling, actually try steadying your mental focus while you are brushing your teeth.  You know that you are going to brush your teeth each day so start by associating these habits.

It’s no accident that Jonathan Fields refers to Attention Management and focus in his new book Uncertainty and that the billionaire Venture Capitalist who reviewed my business plan evaluated its singular focus.

Multitasking dilutes your attention and it is not productive.

Know your priorities and focus on one thing at time.  Target your attention.

When is an artist ready to sell their work? An art gallery owner or art representative will determine this based on an artist’s answers to a few questions:

1. How much similar art work do you have in inventory? Art representatives will want to know if they can come back for more.
2. What other art galleries do you work with? They’ll want to have a monopoly on a certain geographic area for your work and want you not to work with anyone else in that market.
3. Do you retail your work through art galleries for more than you sell to art collectors directly? This is a no no.  If you have done this, then it demonstrates a lack of integrity because you are willing to undercut your art representative and compromise the value of your own work.
4. Do you have a website that displays your retail price or allows visitors to purchase online? Again, many art galleries not going to like this because you are eating into their market.
5. Do you accept commissions? It’s easier to sell your work if you are willing and able to do custom work and to deliver it on time.
6. Have you given your art away as gifts to your friends or family? They’ll want to know if you value your work or if you have compromised its value by gifting it.
7. What retail price do you want to sell your art work for? You need to know the answer.  That’s not their job to determine this and it will demonstrate your professionalism.  You’ll receive 50% to 60% of the retail price.
8. Do you make art full time or part time? If you make art part time, how much do you make?  What is your part time job?  The catch is that you can be judged as a hobbiest for making art part time.
9. And here’s the kicker question?  How much work have you sold your art for  for how much? If you haven’t sold anything you are far less appealing.

My answer to the question, When is an artist ready to sell their work? Anytime you have a buyer.

When you build your own market, you have control.  No one can claim a monopoly on a market where the terms are consignment, a common practice that is unethical at best and illegal at worst.

Am I slamming art galleries and or art consultants?  No.  I’m just relaying the questions that I was asked when I worked with art galleries.

Once I realized that I could develop ongoing relationships with my collectors, keep control and all of the money, I stopped working with art representatives.

When is an artist ready to sell their work? I’ve found that I’m always ready to sell my work.  But a representative may be involved in selling another artist’s work.