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The classic handbook for launching and sustaining a career that "explodes the romantic notion of the starving artist," (The New York Times) with a brand-new chapter on Internet art marketing
Now in its sixth edition, How to Survive and Prosper as an Artist is the definitive guide to taking control of your career and making a good living in the art world. Drawing on nearly three decades of experience, Caroll Michels offers a wealth of insider's information on getting into a gallery, being your own PR agent, and negotiating prices, as well as innovative marketing, exhibition, and sales opportunities for various artistic disciplines. She has also added a new section on digital printmaking and marketing in this emerging field.
Most notably, this sixth edition contains an entirely new chapter: "Art Marketing on the Internet." Michels offers criteria for selecting an ideal Web designer for your online portfolio and for organizing your Web presence, and shares proven methods for attracting curators, dealers, and private clients to your site. She also addresses vital legal concerns in the age of e-commerce, including copyrighting and registering your art, and finally, the appendix of resources, consistently updated online at Michels's site the Artist Help Network, is fully revised.
- Sales Rank: #481144 in Books
- Brand: Michels, Caroll
- Published on: 2009-06-09
- Released on: 2009-06-09
- Original language: English
- Number of items: 1
- Dimensions: 7.95" h x 1.09" w x 5.43" l, .75 pounds
- Binding: Paperback
- 400 pages
Review
Praise for the fourth edition:
"Provides the best overview of political and other aspects of the art world that I have ever come across. . . It is a bible that every artist should have." --Shannon Wilkinson, president, Cultural Communications, New York
"This book should be required reading for every exhibiting artist." --Ellen Rixford, Graphic News
"This self-help career book is the pick of the litter." --Donna Marxer, Artists' News
"Michels is filled with energy and ideas. . . Her experience is the reader's bonus." --American Artist
About the Author
Caroll Michels is a successful sculptor whose artwork has been exhibited in museums worldwide, and she has worked as a career coach on behalf of thousands of artists since 1978. She lives in Sarasota, Florida.
Excerpt. © Reprinted by permission. All rights reserved.
Introduction: An Overview In 1978 I began counseling visual and performing artists and writers on career management and development. I set up my own business and called myself an "artist`s consultant." Today, I refer to my profession as a "career coach and artist advocate," a job title that better describes the work that I do. Ranging in age from twenty-one to eighty-five, clients have included painters; sculptors; printmakers; fiber artists; poets; playwrights; novelists; cartoonists; journalists; photographers; craft artists; theater and film directors; film and video artists; performing artists; choreographers; dancers; classical, jazz, and pop musicians and composers; and opera singers. They have included well-known artists, unknown artists, beginning artists, self-taught artists, midlife career changers, artists fresh out of school, and college dropouts. My clients have also included groups of artists, artist couples, arts administrators, curators, gallery dealers, art consultants, critics, arts service organizations, and theater and dance companies. I have assisted a rabbi, a retired executive of Macy`s department store, a retired host of a television variety show, a gossip columnist, ex-offenders, corporate executives, physicians, surgeons, architects, psychiatrists, psychologists, lawyers, and editors. When I first began working with artists, the majority of my clients lived in the New York City area. However, today, through phone consultations I help artists nationwide, as well as those who live in Canada, Europe, Japan, and South America. I also meet with many artists in person in Sarasota, Florida. I have advised and assisted artists in developing such basic career tools as résumés, artist statements, biographies, and brochures. I have provided information and advice on exhibition, performance, and commission opportunities. I have advised and assisted in the preparation of exhibition proposals, book proposals, and grant proposals, and public relations campaigns. I have advised artists on how to negotiate with art dealers and to prepare for studio visits. I have also counseled artists on complex and seemingly less tangible career problems such as developing goals and helping artists learn to see themselves in relation to the world at large and as participants in the specific world of art and its various components. I have also counseled artists on handling rejection as well as success and on maintaining momentum and overcoming inertia. However, the most significant aspect of my work is helping artists to take control of their careers. Calling myself an artists` consultant and "hanging out a shingle" was not an easy task. For valid and comprehensible reasons, deeprooted skepticism was intrinsic to all arts communities. Initially, it was difficult to reach artists and convince them that what I had to say and offer was worthwhile. I jumped this major hurdle when a writer from the Village Voice wrote an article about me and why my services were needed and necessary. It was only one journalist`s opinion, but the endorsement was set in type, and I was deemed legitimate! Literally an hour after the Voice article hit the newsstands my life changed drastically. I was swamped with phone calls from artists eager to set up appointments. Nevertheless, after more than thirty years of counseling artists, I still find it is not uncommon to be questioned about why I am qualified to give artists advice. Some of my specific accomplishments are sprinkled throughout this book, cited to make or emphasize a point or convey an experience. Although I am no longer doing artwork, I have always been proud that I was able to live solely off my earnings as an artist. I exhibited at museums and cultural institutions throughout the United States and in Europe. I established a solid track record for winning grants and corporate contributions. I developed and implemented all of my own public relations and publicity. And I was regularly published in newspapers and periodicals. Managing my own career was something that no one person taught me. I learned from several individuals, positive and negative encounters, trial-and-error experiences, and personal intuition. My father was an artist and studied at the Art Institute of Chicago. He earned a living as a graphic designer for the U.S. government. Early in his career he also worked as a freelance political cartoonist. In the evenings and on weekends he would design all sorts of "products"—ranging from a line of greeting cards with rather offbeat messages to T-shirts and other paraphernalia with messages that espoused his political point of view. Although he was jubilant about each and every project and would go as far as having everything printed without a marketing plan, he "froze" when it came time to make business contacts and organize sales. Some of the cards and T-shirts were distributed free of charge to friends and relatives, but basically our basement became a huge repository for what might have been. When he retired, he started painting profusely. And although he read every word in each edition of my book, he never asked me for advice on how to get his watercolors beyond the walls of his house nor did I ever hear him mention that he submitted his work for exhibition consideration. Only in recent years did I finally make the connection between the work I do with artists and my family background—that I am helping artists achieve what my father was unable to do: enter the marketplace. This book contains information and advice derived from all of my experiences when I was working as an artist, as well as those of my clients, and most certainly some subliminal messages that I received from my childhood and adolescent years. I have offered perceptions, observations, and advice that would have been invaluable to me when I first started to make a career as an artist. What artists need most is objective advice, but what they usually receive is reinforcement of a myth of what it is like to be an artist. All too often artists are characterized as underdogs, and accordingly this image is reinforced throughout their careers. I can`t promise that all of my advice is objective, since my personal experiences come into play, but the original incentive to write this book came from realizing how much underdog philosophy was being published under the guise of "nuts and bolts" career management. Much of the reading material published in the 1970s and 1980s flatly stated that the way the art world operates will always remain the same, and it is naive to try to change it. Other publications were more subtle, but the tone was patronizing: "Yes, artists, you might be creative, talented, and have a lot to give to the world, but there are `others` who really know what is going on, others who know best." A book published in 1970 used the sexist title The Artist`s Guide to His Market. Although the title of subsequent editions was changed to The Artist`s Guide to the Art Market, the author advised that it would be unrealistic for artists to believe that they can earn a living through art sales.1 Although, in the 2000s, books on career management for artists are more plentiful and some publications emit tones that are more optimistic and empowering, the attitudes displayed by artists and many members of the art world continue to reek of the master/slave and victim/victimizer mentality. This book addresses artists` roles in advancing and bettering their lot, taking control of their careers, learning to market their work, learning
Most helpful customer reviews
131 of 133 people found the following review helpful.
A Must Read for All Artists
By L. Deleon
This book is great for someone who needs a broad overview of the fundamentals of creating a career as a freelance artist. It is basically a checklist of what you need to know and do to be successful as a self-employed artist, in other words: the business side of art. As a 32 year old man who has always been one of those 'talented' amateur artists, but didn't know squat about the business side of being an artist, this book was exactly what I needed to read in order to help me draw out a roadmap towards achieving my longtime dream of being a freelance artist. Caroll points out that even people like me who do not have an extensive background and education in fine art, still have the ability to create a career in the visual arts.
Caroll begins by tearing apart the myth of the 'starving artist' or the 'poor but noble artist'. She basically discusses common psychological pitfalls that many artists fall into (including myself), believing that it is not possible to have a successful career as a freelance artist. Let's face it, all our lives we have been told how a career as a freelance fine artist is a career in futile struggle and poverty. We have been brainwashed with the belief that a degree in fine art is not worth the paper it is printed on. And we have been constantly reminded that if we are stubborn in our choice to be a fine artist, then at least have a 'backup plan'. We have even been told, "It is better to major in something else, and just do a minor in fine art". (I have also gotten these types of comments in my choice to study music). I actually didn't realize the degree to which I have been brainwashed into believing that art is not a valuable profession. Caroll points out that if you believe it is not possible to make it as an artist, then you have already severely handicapped your chances of making it. In contrast she discusses how in having the self-confidence to believe you are just as good as any other professional, and worth being paid, this will automatically lead you to making the right positive steps towards having a sucessful career. In essence: if you can convince yourself that your skills as an artist are valuable, you will have the ability to convince others that you are valuable. On the other hand, if you go into a situation and believe you are not worth being paid, your potential client will also believe you are not worth being paid, hence continuing on with the negative stereo-type of freelance art not being a serious or valuable profession.
She uses a an excellent example of two of her clients: one was a 40 year old woman with no professional or educational experience in fine art, who decided she wanted a career change. At her first art exhibit, she sold about $18,000 in paintings, the average price of her paintings being about $5000. The second client was also a 40 year old woman and had an extensive background and education in fine art. The experienced artist was also able to sell her paintings at an average price of about $5000. This brings up the question, "why was the woman with essentially no artist resume, able to sell her paintings for the same price as the woman with years of experience and art degrees?". The answer is simple: the first woman believed she was worth being paid a professional wage, and because she believed it, her clients also believed it! In other words, she wasn't tainted with the myth of the 'poor starving artist', she had created an image of herself of a professional, and successful artist, and it worked! It is also worth mentioning that the first woman's previous career was in selling real estate. It goes to show that one of the primary ways in which you can achieve success as an artist is simply being a good salesperson.
Caroll then lays out the fundamental business must-knows of being an artist. It is more of a broad overview at this point, and she gives some detailed examples, but still leaves plenty of room for you to do more research and reading on the topic. A good 220 pages of the book is her advice and insights, and the last 120 pages or so are all names, adresses and websites of organizations that can further help you learn your profession, and make professional contacts.
The reason I gave this book 4 stars instead of 5, is because there certainly was plenty she could have elaborated on further, and given more specific information. As one reader above mentioned, I too sat down and read this book in one sitting. This shows how captivating it can be to someone like me who just didn't know alot of these basic 'must-knows'. But on the other hand, it also shows that it is a relatively quick read, and could have been packed with more detailed information to read and study.
Overall I must give this book two thumbs up and a recommendation to every serious artist who has always wanted to have a career as a freelance artist.
I plan to re-read this book SEVERAL more times, in order to ingrain the information in my brain, and make it second nature with how to deal with various basic problems. I most likely will use it as a checklist everytime I am about to take a serious move towards promoting and developing my career as an artist.
I like this book so much I am going to buy a second copy and give it to a friend of mine who has a BFA and MFA in sculpture, and yet he works as a dump truck driver!!!! He really needs this book!
A big thankyou to Caroll for writing this wonderful book.
138 of 144 people found the following review helpful.
A bound collection buisness cards
By Stephanie Goodell
This is one of those books with exciting chapter headings like 'the mysterious world of grants' that you expect will de-mystify the process- but basically it is train station schedule telling you about different trains you can board to reach a destination (this book contains no destinations)... what I mean by that is this book is basically a reading list of a million other books. The information that is in this book is very minimal, everytime you think she is about to tell you something valuable she says "to learn more read this book or visit this website". She doesn't provide the information from those books in hers. For a 300 page book, the only meat it provided in and of itself was a soapbox for the author to dog the whole gallery system and encourage artists to sell their own work. Which is lovely but I felt like I wasted time reading her big book when I should have been reading the other books that actually have the information I am looking for in them.
If I was this author and had read all of those books myself, I think I would have written a more comprehensive one-stop guide for the artist to save them some time and energy- but maybe her book was sort of a collaborative effort where she gained something from mentioning these other books as opposed to learning from them. That is really what it felt like- a bound collection of buisness cards.
If you really want to do a lot of reading- this book is certainly a reading list, but I would bypass it and go straight to some other books.
If you DO want to bypass the gallery system and make money off your art on your own, I recommend Brian Marshall White's book 'Breaking into the Art World'. You can read it in one night and use all the info, apply it, start earning some money from your artwork. He not only provides a useful biz plan for the artist, he also includes the numbers of all his sources for printing, packaging, credit card set-up... it is the only book you would need to start making and selling prints of your work.
87 of 93 people found the following review helpful.
Still reading it after all these years........
By Denise Shaw
As an artist, I have been following Caroll Michels' work for the past twenty years and have just re-read her fourth edition. The resources on the internet alone are an indication of just how the author wants her readers to grow with the times. In the book, Michels begins wth childhood, stressing parental and educator support and addresses how if artists don't value themselves how then will the culture take them seriously. What helped me in particular is how to create presentation tools and how to develop public relation and good business skills. What was also helpful was how to deal with one's emotions and not play the victim. I use the book as a bible, refering to it whenever necessary. I look forward to the fifth edition!
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