Who Wants to Join the Circus?

We dream about it.  We sometimes say it: I want to run away and work full time in my studio.  I’ve said it, because it makes not having a paying job right now feel less distressful.  But the truth is – starting an art career is not as easy as running away to join the circus.

I frequently get questions from readers of Ancient Artist, asking about the best way to work full time as an artist.  They are ready to leave their jobs and embark on this new adventure – should they move to another city? Find work in an arts related job? How much money should they expect to make?

I want to be encouraging because it’s a difficult step to take. 

I don’t want to be misleading.

There’s enough of that out there already.

So if you’re thinking about running away to join the circus, here are a few thoughts before you pack your bags.

The primary cause of new business failure is undercapitalization.  This means not enough money coming in and too much going out.  This also means that if you’re just starting out, don’t quit your day job unless you have this base covered without needing any income from your art sales.

Most Success Stories no longer relate.  We all like to read about artists who achieve success. It makes us feel like we can succeed, too.  Take time to read between the lines.  When did this success happen? What was going on then that is – or is not – going on today that could affect the outcome - like the economy? How long did the artist actually work before achieving success?

Because it takes a long time.  Time to get your technique up to competitive levels.  Time to learn the ins and outs of your particular niche.  Time to make important connections. Time to build your name recognition. Time to build an enthusiastic collector base. 

However,

You can incorporate art into your life now, by finding time to work in your studio, to build a body of work, and to take advantage of the name recognition you have within your own community.  You can enter juried shows, send out press releases, and ask other bloggers to write interview pieces about your work.  You can begin to build your collector base, find local galleries interested in what you do, and educate yourself about the business of art.  You can take control of your future without risking it and still accomplish what you want according to your own terms.  It is possible.  I’m doing it.  Hundreds of other artists are doing it.

And we’re not all shoveling that elephant poop. 

Well, not all the time. Actually I prefer the monkeys…

Smaller poop.

 

Comments

[valerie]

juried shows are great. Start at the national level where if they laugh you don't know anyone and no one will tell you but keep submitting. Workshops once in a while to connect and then local so much fun and plein air is funner.

[S. Tschantz]

You do have to determine for yourself just what "success" means.

Few people make big bucks in art, if you can accept that you can be happy with small successes.

But you have to know exactly what success means to you, and decide just what you are willing to do and put up with to get it.

[Sue Smith]

You have an excellent point about the Big Show circuit. A mentor of mine - a well-known, successful artist teaching at the Art Students League in NY, once told me the best thing I could do was get my work out there into juried shows where it would be seen. He felt that had worked the best for him.

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[Robert Mazerolle]

I was doing ok as a printmaker in my 20's, Then switched to advertising/marketing. I have returned to the (so called) market as a sculptor at age 56. I found the 'market' as immature as when I left it- (compared to the established channels we see in writing, crafts, kitchen gadgets and accessories, furniture etc.) One exception- coming out of the deep freeze- I am impressed with the 'Big Show' circuit which is developping an alternate fine art channel of distribution ( alternate to gallery system, that is). Another observation- Tatooing and graffitti are somehow being recognized as art. ( mutilating self or architecture). That is taking some getting used to!

[Sue Smith]

Thanks, Susan!And congratulations on that new studio. Looks lovely.

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[Susan]

Great post!

[Sue Smith]

Whew! I wondered why all those other artists were so fond of the elephants :) They are my new best friends.

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[Chris B]

You have made some good points here about the difference between dreaming and reality.

FYI - monkey poop may be smaller, but it is smellier and "stickier" - I'll take elephant any day. And elephants are just generally nicer people to be around. (grin)

I actually DID run away with the circus one time (the REAL circus) so I just had to throw in the gratuitous kinda off-topic comment here!

[Sue Smith]

Thanks, Patrice! And I should also point out that there is a wealth of good information out there, and consistently, the best and most useful comes fromAlyson Stanfield, Aletta de Wal, Ariane Goodwin, Barney Davey, and Fine Art Views newsletter from Fine Art Studio Online.

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[Patrice Federspiel]

Good advice Sue! While I am glad I started my art career the way I did, I'm always cautious when giving advice to anyone wanting to begin. Art is a tough business, both from the business end of things, and from the personal, attitudinal side. We must always keep our attitude up, even when times might be in disagreement. Staying the course, going the distance, persisting. Art is not for the faint of heart!