.jpg "Untitled (Triptych), 2012 by Suzanna Raymond") |
| Untitled (Triptych), 2012. |
What New Artists Need But Their Art College Rarely Explains
Whatever kind of 'emerging'* artist you are at the moment, you probably went through some long moments wondering how on earth you were going to make a living and still practise your art. If you were lucky enough to jump straight from graduation into the spotlight of a showcase that supports your development, then well done. There are a few showcases that talent-spot and help show your work to galleries interested in new contemporary artists, you may even be spotted by a speculating collector or gallery owner keen to snap up a bargain an early exhibition of your work.
For most new artists, having studied studied Fine Art or painting and drawing at an art college, life after academia encompasses a period where they came out of it realising that, even though their contemporary art sensibilities had been polished to a shine, they were nevertheless ill-equipped for forging a career in the arts. They may not have realised there were showcases graduating students could apply for and they may have subsequently found out too late to meet those deadlines. The new artist may even be told after graduating that their last three (or four) years of degree work have little value and that post-grad work was where it started. Or they may hear from more experienced folk that an artist needs to get an MA to be taken seriously.
If that's what you experienced, this situation probably came as a bit of a shock for those of you that hadn't noted the lessons of art history or missed the confusingly vague slideshow on arts jobs offered by your university careers' advice service. If you made an appointment with a careers service advisor you probably were given the suggestion to get a job in graphic design or the like, or your tutors said you could create your work in the evenings and weekends like they did. They are probably studying for their PhD and you may wonder what that has to do with your art practice, given that it may be a requirement of their teaching position.
If you took your career seriously then you may have already invested in studio space, or started exhibiting your work at local venues. Some of you may have created your own websites, social media, business cards ready for enquiries but, unless you had a rush of visitors from some timely press coverage, you're probably still waiting for enough custom to pay your studio rent.
You should probably learn to pace yourself, as your glory days may take a while in arriving. If you're feeling frustrated by the slow rate of perceivable progress then take heart from Jeremy Deller's assessment of his own progress towards becoming a contemporary art star:
.. becoming an artist took some time. “I had no idea what I was doing basically,” he says about his twenties, when he took an MA in art history at Sussex University
- Lunch with the FT: Jeremy Deller
What Are Your Options?
So what are the realities for most artists? Art history shows that a lot of well-known artists have had to start by grafting in jobs that weren't art-related in order to pay the bills. Maybe they went back to live with their parents for a while - Turner Prize winner Jeremy Deller hosted his first exhibition at his parents' house. Perhaps they ran workshops or got their post-grad teaching diploma and went back into academia.
Taking a look at the emerging artists I know locally, many have arts-based roles work as technicians or become support staff at galleries and other local arts organizations. They may practise '
portfolio working' (a useful phrase I spotted in my university's careers slideshow), which basically means having several part-time jobs in freelance or permanent roles. You'll find that flexible part-time jobs are in demand amongst artists who want an income whilst still having a bit of time to work on their practice.
Beware the comfort of becoming someone's employee, especially in a full-time role. That's not to say you shouldn't do take a secure job, rather a warning that it can become a trap of sorts once you become dependent on the benefits of your role. One artist warned me off taking up a (temporary) council arts officer role I was applying for, saying that it would distract me from my art work. I put my tender application in anyway, hopeful of a living wage and a way of networking but, even though I felt fairly well-qualified with my prior work experience, it seems that I didn't meet their criteria.
There are lots of unpaid roles about, some disguised as
volunteer roles (you're only truly a volunteer if you don't have to work fixed regular hours or aren't a substitute for a paid employee), some roles are boldly advertised as
unpaid internships, some work is on offer for artists that (once you've paid the admin fees and for your own travel, etc.) may cost you more than the token fee offered. Prepare yourself by reading
Alistair Gentry's 'Career Suicide' blog for advice on how to avoid getting ripped off by fake opportunities, check out the
AIR - Paying Artists campaign and the handy a-n
Signposts publication.
The Business of Being an Artist
Still you may wonder where your career as an artist fits into these options and rightly so. At some point you have to concede that you, as an artist, are self-employed. Regardless of which shows you do, who supports you, which groups you join, and what else you study, you are the only one driving your practise forward now.
You are a small business and you now need to learn some small business skills.
There are plenty of resources on offer, once you accept the situation. Groups like
a-n and
ArtQuest can advise you on best practise, business tips and cheap insurance,
HMRC offers free small business courses and so on. You'll need to register yourself as self-employed once you're ready (I felt that I'd wait until I had my first freelance paid role).
I'll admit that I've been slow to take these up as I was initially fighting against being self-employed but knowing the help is out there is reassuring. Bear in mind though that, as a small business, your job as an artist will probably mean up to 70% of your time could be taken up with the machinery of running a business and so only part of your time will be left for developing your practice.
In Conclusion
The general drift of what I've seen so far is that you do need to have a 'day job' to pay the bills. Ideally you'll also avoid jobs that offer you lots of 'experience' but so little money, unless you really are learning something useful. However it seems that you must be prepared to be self-employed, or at least flexibly employed, embrace a certain amount of risk and possibly give up the day job at some point in order to have the art career you hoped for.
Notes
* Of course there is the whole question of what is an 'emerging' artist anyway and when can it be determined that we have stopped emerging, but that topic probably warrants its own article.
-----
Some Famous Artists and The Jobs They Started In
On that note, here's a reminder that you're not on your own in your winding path for recognition:
- Andy Warhol was a very successful illustrator before he moved into fine art. 1
- Francis Bacon supplemented his early income with interior design.
- Jeremy Deller, who used one of his jobs to design slogan-covered t-shirts as conceptual art, "worked at jobs including postman, driver and shop assistant at Sign of the Times, a Covent Garden clothing shop for which he designed T-shirts featuring lyrics by Philip Larkin" 2
- Jeff Koons worked in sales and finally as a commodities trader in Wall Street before he hit his stride selling flashy art to wealthy patrons.
- Richard Serra's first job was working in the steel mills, to support his studies at Yale. 3
- At different points in his life, Duchamp was the following: professional chess player, self-publisher, painter, volunteer for military service, art dealer, gambler, inventor, librarian, secretary to a French war mission in the second world war. He also dabbled in cleaning and fabric-dying businesses, thought of becoming a professional cameraman and was eager to market self-designed chess sets, optical machines and scientific toys. 4
Many of these artists incorporated the skills they gained in their early jobs into their arts practice, which only seems to have aided them in developing their ideas.
Notes
1. Warhol:early work http://www.warhol.org/collection/art/earlywork/
2 Lunch with the FT: Jeremy Deller www.ft.com/cms/s/2/1e3fbcca-f9c4-11e2-b8ef-00144feabdc0.html#axzz3Gmus5iM1
3. Man of Steel http://www.theguardian.com/artanddesign/2008/oct/05/serra.art
4 Marcel Duhamp: A riotous A-Z of his secret life http://www.theguardian.com/artanddesign/2014/apr/07/marcel-duchamp-artist-a-z-dictionary
