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.

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.

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.

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.

Ancient Greek mythology tells of the Muses, the goddesses who inspire the creation of literature and the arts. They were considered the source of the knowledge.

Let’s face it.  Our creative inspiration can ebb and flow.  But if you’re making your living from your creative output you can’t always wait for the Muses to show up.  We need to get crackin’.

I don’t believe in forcing one’s creative expression.  If you’re just utterly exhausted or you are just not feeling it, then you’re not.

But I have found that nine times out of ten, if I just show up in front of my easel, supplies out and brush in hand, the Muses shows up.  Yes.  The energy to create appears.

This discipline is vital as I have a commissioned based art business and I have deadlines and obligations that must be met.

Now there is that one in ten chance that I’m still not going to feel it. That’s fine.  I just let myself off the hook, go rejuvenate, and come back later.

Do you know what rejuvenates you? Is it a bubble bath, a walk around the block, a good book, and chat with a friend?

If the muse is not there then just go plug into what gives you energy or what relaxes you.

But if you are not feeling it, just try.  Prepare to create and then see if the muse shows up.

If you keep an open mind, the energy can show up.  If it’s just not there then go refuel.

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.

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.

“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.

“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.