IRIT KRYGIER: THE RULES FOR ARTISTS
The art world can be a daunting place. Especially when you are getting started. Assuming that you have talent and intellectual prowess and strong artwork, how do you break through as an artist and get your work recognized? Let's face it, I've been around the block a few times in the art world and I've watched a lot of art careers rise and fall and others rise and keep rising. What mistakes do people make that keeps them in obscurity? What makes others succeed? We all know about “The Rules,” the pop phenomenon that is helping women everywhere snag the man of their dreams. Can we use similar principles to apply to artists' career success? I think so. So, I present you with: The Rules for Artists, Secrets to Art World Career Success.
Rule #1: Other artists hold the key to your success.
Artists hold the key to the art world. They make the art. How strong a career you have and how far you will go depends upon one thing: the esteem in which other artists hold you. How strong your influence is on the work of other artists makes the difference as whether you will be in the history books or not. Of course, everything flows from the work and its ambition and strength. But it becomes stronger when it is in dialogue. When I was a gallery owner and now as a curator, I always look at artists who other artists tell me are important. When curating a show, I ask other artists who they think should be included. I know that all serious curators and dealers operate this way as well. They ask artists they respect to suggest artists and they earnestly consider those suggestions. Dealers may tell you that they are not looking for artists, but I promise you, they always are looking. Therefore, Rule #1 is to invite other artists to your studio and stay in dialogue with them about your work. This is the way you will be included in group shows or find a dealer. And never stop doing this throughout your career.
Rule #2: Befriend people that you admire.
Be friends with people who fascinate you. You will learn a considerable amount. That is not to say that they should be a guru or you a follower. However, if you have interesting friends, they will stretch and challenge you. Compliment other artists whose work you admire and are even in awe of and ask if you can visit their studio. Usually, they will say yes. Discuss issues of art making with them. Your life will become much more exciting and your work will improve. Also, as art is about ideas, your ideas will be stimulated if they are challenged. The opposite is true as well: surround yourself with people who flatter you but are less talented than you are, and you will stagnate intellectually and that will reflect in your work.
Rule #3: Context is the Key.
If you are not seen in the right context, create your own. Group shows are crucial to any career. Do not think that one-person-shows are enough. They are not. I once represented an artist who refused to be in any group shows. Big mistake. She was huge for a while but she is now wallowing in obscurity and she'll probably stay there. And her work got stale because she was not in dialogue. Without group shows you have no career. You want to be in shows where you are seen in the context of artists that you think are significant. You want to be in a gallery showing work that you identify with and are proud to show next to. If you are not currently in any shows, be proactive. Show your work to curators and ask them about exhibitions they are putting together. If you are
showing in a gallery, make sure other dealers know about your work as well, so you can be considered for group shows in their galleries. If other curators won't include you in shows, curate shows yourself or co-curate them with other artists who you respect. Then invite curators and dealers to see those shows. You'll get the ball rolling. Also, if you are already showing in group shows, don't only show with the same group of artists over and over, you'll get stuck in a rut. Try to expand your horizons. Always look for better and better shows to be included in.
Rule #4: Don't slobber over curators, critics, collectors or dealers, but be friendly.
Don't be too needy when approaching people in power. They are constantly being hit on. Show some restraint. Get to know them before asking them for anything and keep your requests reasonable. Be friendly and speak with them as an equal. Keep it light! Tell them what you are up to--if they ask--but in a brief and succinct manner. You can build relationships over time. Focus on them and not yourself. If you see an exhibition you enjoy, compliment the curator and tell him or her your thoughts. If you read an interesting article, discuss your opinions with the writer, etc. Try to find a neutral subject to talk about at openings such as the exhibition you are at or other exhibitions you have seen recently. Keep conversations at openings to less than ten minutes each and move on to the next person. Always end the conversation first. The busier you look, the more appealing you are. Also, if it is clear that the person is not interested in speaking with you, move on to the next person.
Rule #5: Don't moan and groan about being passed over, you'll stay that way.
Everyone hates a whiner. There are many artists who are constantly bitching about how everyone is ignoring them and how their careers are going nowhere. Of course, when I am putting an exhibition together, I make sure not to include them. If you need to whine, do so in therapy or in 12 step meetings or call a psychic hotline, but keep it out of the art scene. It's very unattractive.
Rule #6: Don't talk about how all dealers are assholes; you'll never get one.
One of the most unfortunate aspects of the art world is the often-adversarial relationship between artists and dealers. Don't throw up your hands in the air if you don't get a dealer right away. Keep trying and follow rules 1-5. And don't malign dealers as a whole. It makes you sound like a loser! Be patient and you will get a dealer if you continue to make good artwork and exhibit in interesting group shows and you hang out with other serious artists. You only need one dealer to believe in you to get started. Most artists have difficulty navigating their relationship with dealers and visa versa. The fact remains, however, that if you want to have a serious art career, you need to have representation, at least until you are firmly established. You may think that a gallery takes 50% and isn't doing much to earn it. Think again. Start appreciating what dealers do, which is a lot.
Also, you are not going to get reviewed unless you have a gallery exhibition. And the chances are that you will not be included in any museum group shows before showing in a gallery first. There is a limit to what you can charge when selling out of your studio. If you want to have a market for your work, you have to have a dealer. And if you want a serious career, you need dealers in several cities and/or countries. Go with a dealer that you like, trust and respect and become friends. And be supportive of your gallery.
Suggest artists that you favor for them to represent as in Rule #1. Attend all of their openings. Be a team player. You will give the dealer incentive to build your art career. But you must ultimately orchestrate your career yourself (particularly in relationship to working with museums--museum curators work directly with artists although the dealers are brought on board later to help locate works, etc.). Also, once you get a dealer, do not retreat into your studio expecting them to do all the promotion for you. You must remain a player on the scene yourself. Do not
expect your gallery to find you dealers in other cities, either. Although it helps them in the long run, many galleries shortsightedly see this as a threat. Most artists do not stay with one gallery for their whole career anymore.
But you should stay for several years at each one unless you are having serious problems (the classic problem is that you are not getting paid for sales in a timely manner--say ninety days). Otherwise, you will get a reputation for
being difficult, which could hurt you-- other dealers will not want to work with you (unless you are a true genius and you are selling, in which case you can pretty much get away with anything). However, if you continually treat people badly, they will remember it, and if your career hits a valley, which most do, your support will disappear. Do not move unless you can move up to a better gallery or at least to another gallery in the same level. And make sure you do not hit on dealers about representing you at their own openings. They are too busy selling the show.
Rule #7: Never use the word "hype"
Outsiders say things like, "Damien Hirst's career is just hype." It is a very simplistic way of looking at the art world. When I hear a sentence like that out of an artist, I make sure to avoid that person. You may not like a particular artist's work but to dismiss a career of that caliber on the naive assumption that it was concocted by a conspiracy of dealers with no substance behind it is stupid. Serious artists discuss art on the merits of the artwork itself. You want to be an insider. You will not get there by making sweeping generalizations about the art world or wearing your jealousy on your sleeve. Jealousy is the one emotion that is the most toxic to career success and it permeates the art world. When you are at another artists exhibition, especially at a major gallery or a museum, try being in the moment and experiencing the art for what it is without constantly comparing it to or seeing it in reference to you or your own work. That diminishes the experience of the artwork itself and is unfair to both you and the artist.
Don't go around bitterly muttering to yourself "its just hype" or asking yourself or others why you were not included in the exhibition or why you are not as "hot" as they are. That is a recipe for failure. On the contrary, if an artist you know has a major career success such as being included in the Whitney Biennial or other important museum exhibition, receiving the Guggenheim or being written about in a major publication or even having an exhibition you know is significant at a gallery, call them up and tell them how proud you are of them and how great you think it is. That shows class. Also, great artists are excited when they see other artists produce great work. You should be too!
So there they are: the Rules for Artists. Follow them to the letter! Keep implementing them, no matter how high up on the spectrum you are. Do not stop doing them no matter what happens. But remember that true artists care about one thing and one thing only, making the work itself. That has to be your main focus. Know in your heart that you have a contribution to make and go about making it. If you keep that as your number one priority, and adhere to the Rules, you too can be a star!
First published by ArtNet Magazine © (www.artnet.com) 8/31/98
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