Ancient Artist: Developing an art career after 50

Trends and the Changing Art Market

The May issue of Art Business News published an excerpt from the Gallery Roundtable held at Artexpo New York 2008, and I thought I would share with you some of the interesting points that jumped out at me.

• Small paintings are gaining popularity, as clients opt for filling large spaces with "a collection of small pieces by the same artist or by several artists."

• There is a return to Contemporary Realism, figurative work, still lifes and representational work in the style of the old Masters or traditional approaches.

• The internet is driving sales on reproductions, prints and giclees, so many galleries are countering the trend by focusing on originals or very limited editions.

• More young people are entering the market as collectors, generating a sense of energy,  "a new kind of celebrity" similar to that seen in fashion, music, and technology.

• Relationships - between galleries and their clients, and galleries and their artists - matter: "At the end of the day, it's about the relationships we create and how we build them."

You can read the Gallery Roundtable excerpt here, if you don't subscribe to the free magazine. 

Breaking the Glass, Continued

Last Friday I came across a thought provoking post on Seth Godin's Blog about a beautiful glass sculpture that contains a clock stopped at 0:00.  The clock is real, waiting to start ticking.  But in order to start the clock you must break the fragile glass sculpture.  That was your choice.  You have something beautifully constructed, a work of art, but time will not start unless you "break" your comfort zone and be willing to start new in the unknown. 

Seth has a way with words, and in his post he asked "analogy, anyone?"

We receive messages all the time.  Sometimes, the message is so familiar to the messages we've received in the past we "tune it out" the way our kids do when we tell them to clean their rooms. 

And sometimes a message comes through that rings such a bell of authenticity within your personal psyche that you suddenly "get it."

This is one of those messages for me.

Although it seems logical that life should proceed in a linear fashion, with one accomplishment leading naturally into the next, more often it becomes a spiral.  Each rotation of "learning" comes back to the starting point and we are faced with the choice of standing there admiring our beautiful glass sculpture or breaking the glass.

Starting that clock requires that we "break" with the past, or safety, or the comfort zone we've created.  Maybe, like me, there is fear beneath the hesitancy.  What do I risk if I do this?

But turn the question around and ask yourself, what have I compromised in order to keep this security?

If you have compromised your artistic dreams, then you have no other choice but to lift that hammer.

The Indisputable Creative Advantage of Older Artists

When I owned my business, there was a rule everyone accepted: If you survived five years, you were successful.  Try to get credit, or open an account , and you could hear the tension:  how long have you  been in business?  Always followed by relief when told five, ten, or eighteen years.  Time, it seemed, was the primary predictor of success.

According to AGING, CREATIVITY, AND ART, A Positive Perspective on Late-Life Development, by Martin S. Lindauer,  this rule holds true for artists, too.

I discussed Lindauer's findings in an earlier post titled The Seven Characteristics that Distinguish Older Artists over their Younger Peers, and I wanted to follow up with more encouraging conclusions.

The statistics Lindauer used were gathered by art historians looking at artists from the past who had created masterpieces.  The data included working lifespan, when masterpieces were created in relation to death, and reflected activity from the past few centuries.  A second data set included women,  and finding artists working closer to the modern age, the last 100 years or so. Earlier assumptions about creativity being a "young man's game" had been based on research flawed in Lindauer's opinion, because it revealed that artists "peaked" in their late 20's or 30's, without considering lifespan (most of the artists died in their late 40's or very early 50's).  When research expanded to include artists with longer lifespans, something interesting emerged.

"Bursts of creative activity varied for 45 well-known artists; peaks were found in nearly every decade of their lives: in youth, middle-age, and old age.  Despite differences between individual artists, creative output generally occurred relatively later in life than earlier; and creative productivity continued into old age in nearly all cases.  Youth is therefore not the only or even the predominant period in which creative productivity was maximized (pp 123)."

I like that: "Youth is therefore not the only or even predominant period in which creative productivity is maximized."

So youth is not a pre-condition to becoming a successful artist.

But the amount of time spent creating art is.

And what does this mean for the Ancient Artist?

The older you are, the longer you've been painting.

And the longer you paint, the better you get.

Indisputable.

Imagine.  What could you do if you knew that you had at least one "peak" ahead of you, and if you exercise and eat right, there's the possibility of two?

I'm heading to the kitchen right now for some  broccoli to eat with my coffee.

Here are some interesting sites mined from my bookmarks. 

Creative Aging's Blog

edward_ winkleman

New York Art News

Have You Discovered Your Hidden Support System?

I spent most of yesterday gathering up the courage to call my photographer and set an appointment to bring in the ten new works on paper that I've been staring at for the past few months.  When I finally called, he answered on the first ring.

Yes, he remembered me.  And how did those photographs he took a year and a half ago work out for me?

Very well, I politely told him, and could he possibly have some time today or tomorrow.

Yes. He could.  So I was stuck, committed.  I kept telling myself that all I was doing was getting professional shots taken of pieces that proved too difficult for me to shoot, with their reflective surfaces and subtle colors.  It wasn't like I had to follow through on anything else, like sending them off to that juried event with the deadline in two weeks.   

I do this to myself on a regular basis, I realize, having no legitimate reason to feel so insecure.  But that seems to be the nature of my particular creative beast.  Give me a compliment or accept me into some organization and immediately the tiny voice in my head starts crowing over the imminent discovery that I am, yes, an artistic fraud. 

But he is expecting me.  We have a nice visit, I leave the work with instructions to return today. 

What can I say?  The meeting today was wonderful. Not because he thought the work was so fantastic that he couldn't breathe -- no.  I think it was because he's also an artist, working on his own version of that creative dream.  We were two creatives meeting where our paths crossed, and paused to share a moment of encouragement and support.  He told me how he had started doing stock photography; his wife called while we were talking to share the news that one of his images had earned a "Flame."  (Apparently, when an image has been downloaded 100 times, it earns a flame.)  We talked about the art market in general and artists we both knew, how everyone was feeling the slowdown and looking for answers.  Then he sat me down in front of his computer and we collaborated on the presentation of my images, while he instructed me on some new tips and tricks in Photoshop, and how to save the files on my desktop.

When I left two hours later I couldn't understand why it had been so difficult for me to make that initial call.   

Creating art is often an isolating experience. At times, we might forget that others are feeling equally isolated.  Our fears keep us from opening up to the very people who understand exactly where we're coming from, and we miss opportunities to discover our hidden support systems.  Yes, there are scary parts to success and to failure that isolation magnifies,  but just beyond that studio door there are hundreds of hidden sources of creative support.  We are not on this journey alone. 

Believe it.

The Seven Characteristics that Distinguish Older Artists over their Younger Peers

I went back to college when I was 51.  I sat in chairs designed for the young, next to my fellow students who were also...well, young.  Adding insult to injury, I needed tutoring -- from the young -- to learn the new technology that these kids in their late teens and twenties grew up with and used as casually as I once used the rotary phone.

It was culture shock.  But more than that.  It was the shock of realizing I was rapidly approaching the gray realm of Old Age.  My first small encounters with...ageism.

Ageism is insidious in that it is so acceptable.  Logical.  It is also based -- at least with regard to late-life creativity -- on scientific research that reinforces traditional views about aging and the mental and physical decline models.

Even when it comes to "creativity" -- something that can't be touched, tested, or accurately measured, let alone understood --  the scientific community  still relies on research that is "objective" and "measurable" -- sort of like trying to catch a fish with your hands.  The easiest one to grab becomes the archetype for the "Creative Old Guy."

But I recently started reading a book by Martin S. Lindauer, titled AGING, CREATIVITY, AND ART, A Positive Perspective on Late-Life Development.

This is a very recent book, with a copyright date of 2003, and reads like a research paper with numerous citations.

It is still worth the effort.

Because here is the good news.  According to Lindauer,  new research reveals that over time, creative people increase both the quality of their artistic output, and the quantity, over their lifetimes, with productivity peaking during their 60's, but the quality of the output remaining steady at the lifetime highs well into the 70's.

Even for artists working in their 80's, their quality ratings were higher -- get that, higher! -- than when  they were in their 20's and 30's.

How can this be?   

According to Lindauer, there are seven characteristics that distinguish "old artists and late art from young artists and youthful efforts." 

• "Older artists have more knowledge and are less career oriented.
• "They also have less energy - the only case where older artists were at a disadvantage to younger ones..."
• "...which they compensated for with greater maturity, concentration, and self-acceptance."
• "Older artists were also less critical than their younger counterparts."
• "However, in two areas, creativity and experimentation, older artists were seen as equal to younger practitioners." (2003, pp.187-188)

Further, while discussing the age at which an artist's "Old Age Style" might emerge, Lindauer wrote, "...the 60-year-old artists, and many of the 70-year-olds who were studied, were 'too young' to have an old-age style."

Re-read that last part again: even the 70-year-olds were too young to have an old age style!

Sometimes the challenges of reinventing yourself at mid-life can seem so daunting that you want to give up.  I know that for me, discouragement became my constant companion to the point where I nearly gave up on the whole "career" idea, caught up in my fear of having "missed the creative boat."

But knowing that, at 60, I am still decades away from having an "Old Age Style" has renewed my energy, sending me back out into the creative world with rekindled optimism.

I hope to see  you all there!

 

How Bonnie Luria Proved 'Em Wrong

Last week I wrote a post about the slowing art market -- well, Bonnie Luria has a terrific post on her blog, St. Croix-nicity, about her nearly sold-out show held in an alternative venue. Transforming an unused breezeway into an elegant gallery space, providing wonderful, exotic food and a special atmosphere, this show was an overwhelming success - not to mention the "limited tourist season" Bonnie describes on St. Croix.

 " If you provide people with an interesting evening out, in a beautiful setting and do the appropriate outreach in forms of advertising, you can get around those details. This show was made into a very elegant, exhibition that brought in what looked like a few hundred people and within the first half hour, 4 of the 7 paintings I had on display, were sold!"

Bonnie is an extremely talented artist, and it doesn't surprise me at all that her paintings were so well received by her art patrons.  She has always been a staunch supporter of the idea that artists should take control of their creative adventure and her success just adds validity to her arguments.

"Read some of the many other suggestions on Creating Artists Space to learn what alternate paths are available. Just as you can’t stop learning new computer programs and re-programming another phone, sitting back and thinking the same old way will get you exactly that."

Get the full story by clicking on over to Bonnie's blog. You won't be disappointed.

Water Carrier @ Bonnie Luria

Inspiration and Encouragement, Plus News You Can Use

Inspiration and encouragement come from diverse sources, and I want to share two of the best examples that I've come across in this New Year.

The first is from Barney Davey's Art Print Issues, and as I read it today I realized that his post "Creative Publicity Pays" contained some of the best information on this subject that I've come across in a long time.  I have had several readers email me with questions regarding my own posting on the Best Marketing Ideas of 2007, especially regarding how to determine where to advertise.  Rather than giving you my own opinion, I am joyfully redirecting you to Barney Davey's post where you can hear it directly from one of the most articulate art marketing experts out there. 

The second story was published in the Arts/Events section of The Oregonian, titled "Lucinda Parker: A Symphony of Shapes", by D.K. Row. This 65-year-old artist, with a 40 year career, is an inspiring example of staying true to your own artistic vision while learning to accomodate the marketplace.  It shows the power of "hunger" and "desire" for the work and to seeing that work gets to the intended audience.  Ms. Parker just won the commission for a a 40-foot-long-by-10-foot-high painting on canvas for the new performing arts center in Longview, Washington.  Definately worth the read.

The Chair Project

Sparrow CLubs USA is a wonderful organization that's very active in Central Oregon.  Every year, they have a major fundraiser in the spring called Chairs for Charity, where local artists and local students take old but still useful chairs and turn them into works of art.  The chairs are placed in downtown businesses, and the public is invited to tour the "exhibit," placing bids on their favorite chair. Last year, the top chairs went for over $300, so it's a worthwhile event.   All the proceeds go to help Sparrow Kids in the area. 

I've had the wonderful opportunity to learn about some of these special kids, particularly Michael, who has brain cancer and wanted the opportunity to graduate from High School with the full deal - cap and gown, music, diploma and best friends.  Sparrow Clubs helped make that happen for Michael, and they make similar life affirming dreams happen for other kids as well.  Learning of these inspiring stories helps keep the minor disappointments and regrets of everyday life in perspective.

This past summer I was "tapped" as a potential "Chair Artist."  I jumped at the chance.  I selected a sturdy, well-loved Murphy Chair Company "School-Marm" chair for my project, and although I've had this chair since July, I haven't actually painted on it yet.   Here it is, freshly sanded and waiting on my work table for inspiration to strike.  It had better strike pretty quickly, though, since the chair is due to be donated in February. 

I'm calling this the Chair Project, and I've decided that if I have to post my progress on this blog I'll be "helped along" with the task if I don't write about it regularly.  So if you don't see any updates, send me a zinger of a comment and that'll keep me on track.

Now, if inspiration would just strike....

The Best Creative Marketing Ideas of 2007

Here are the Top Three most effective marketing ideas that I discovered in 2007

Coming in at #3:  Creating the Artist Mystique
   
In February of 2007, I joined with three other artists in renovating the top floor of an Historic, three story building in the downtown area of our town.  We called it The Loft, and had working studios.
From this, we generated loads of press.  Local Arts and Current Affairs magazine writers, always looking for a good story, slanted it toward the Chelsea meets Small Town America.  Because we also had a growing interest from downtown merchants in establishing an Art Walk monthly event, where wine, food, music, drama and the arts were presented to the buying public, there was tremendous enthusiasm.  Our open studios were packed with people enjoying an experience and purchasing art from the artists.  Or just talking to the artists.  Sadly, politics and the weather intervened, and the Art Walk will re-emerge next year as something entirely different.  Sadly, too, the artists of The Loft could no longer afford their spaces and we have all gone our separate ways.

  This idea takes a concerted group effort for it to succeed, and for this reason alone it is listed as number three.  However, as a method for promoting, generating buzz, creating name recognition, and making sales, it was one of the most effective methods I've found.

Idea #2:  Finding Alternative Exhibition Spaces

     My contemporary work had been represented by Shelley Hall Gallery before the Gallery Director closed her doors to concentrate on her art appraisal business as well as her own art career.  When it was first proposed that I hang the consigned work in a contemporary furniture store -- even one in the most exclusive retail location in a neighboring city -- I was somewhat skeptical.  However, it has developed into a perfect match.  The clients who frequent this store  - Furnish - are looking for cutting edge contemporary furniture and my artwork is the perfect compliment.  Allowing prospective clients to see the work hanging above the furniture, as it would be in their homes, has made it easier for them to see how it could compliment their own decor.  In fact, two of my biggest sales have come out of this situation. 

   One word of caution: if you find an alternative space, expect to handle your own consignment forms, communication, hanging and rotating the work, and be willing to be flexible.

And Marketing Idea #1  Advertise in the Right Place
 
For several months I ran a small advertisement in the local Arts and Entertainment magazine.  It was affordable, but over the long haul I paid $225 for what amounted to ego gratification and little else.  It wasn't the fault of the ad, which was well crafted, nor was it the fault of the magazine.  It was my fault for failing to realize that this magazine's core readership consisted of people in the business, other artists, musicians, business owners and the like.  Sure, there was coverage of the monthly art walks and pictures of the movers and shakers who attended.  There was perhaps some name recognition generated.  But sales?  It drove a few curious people to the gallery, but that's about it. 

    Then I had an opportunity to split the cost of an ad with my gallery, and place it in a very high end, slick magazine catering to a very wealthy lifestyle. It's the kind of magazine that sits around on the coffee table for months, or can be picked up in the waiting areas of accountants, designers, lawyers offices... This ad cost me $221.  Two months after we placed this ad, a collector from another resort area saw the painting and called about it. He not only bought that painting, but two others. This $221 investment netted a sale of $3000.

Reclaiming the Passion

Over the past few days I have been caught up in a discussion about art reminiscent of those exciting art school days: debating theory, exploring new ideas, an Internet version of what my friend Bill describes as the "bohemian" lifestyle.  All that was missing was the absinthe.   And while the discussion eventually moved on and I stayed behind, I realized how important those intellectual interactions were to me in rediscovering my passion.  Suddenly I was excited again.  I was thinking about my art in formal terms as well as creative ones. And I was regaining a perspective that was empowering.

Developing a career, no matter what you choose to do, depends on many external factors over which you have no control.  The business nuts and bolts can drain your energy as well as your finances, and people with wonderfully valid and creative ideas fail every day because the traffic patterns change.  Maintaining your passion gets lost beneath the worry of how to pay your bills.

An art career is no different, although many of the costs associated with a bricks-and-mortar business don't exist.  But the definition of that career, which is so unique to each individual artist, is often vague and unformed.  Do I want to approach galleries?  Juried shows?  Should I take the Internet and Art Fair route?  How can I make a living doing what I love to do?  Beneath all those avenues and choices lurks the isolation that artists often experience, and with isolation comes the slow draining of purpose, of value, even forgetting what compelled you to create art in the first place.

Finding creative ways to interact with other artists should be a high priority in any artistic "business plan."  The Internet is one avenue, because you can share ideas with artists from around the world, and depending upon the message boards, get fairly specific about the topic of discussion.  Forming an Artist Collective can be another way, although as with any group, the "personality" that emerges might not be the "personality" you expected.  And when people are in the same room together, they often don't maintain the respect for equality that usually exists through the Internet.  Teaching and blogging can be sources of inspiration.  As for me, the first few tries didn't yield what I was looking for, but I now realize that positive interaction is so vital to my artistic passion, I'm not willing to let the idea go.

I would encourage any of you, no matter where you see yourselves in your artistic careers, to find ways to communicate with like-minded artists.  Discuss the current trends in Art in America, or color theory, or whatever inspires you and makes you question where your own art fits.  Reclaiming your purpose and your passion should be at the top of your to-do list. 

"Chicago"  2005  30 x 40, oil on canvas   Copyright @ 2005

Where did all this passion go?  How did I lose it?  "Chicago" sold right away, not at any fantastic price, but the buyers were so excited about this painting that when I saw them earlier this year, they told me how they had repainted their entire living room just to complement this work.  Nearly three years after purchasing it, they were still excited.   That's what I want to recapture.

"Modern Discourse"  2005  24 x 36  Oil on Canvas Copyright @ 2005

I loved this painting.  I was in the midst of my Georg Bazlitz  period.  Actually, it was a break-through piece.  I remember feeling like I was stepping through a door into another room, another level of thinking.  I was no longer cautious, worrying about whether or not it was "pretty."  It's an upside down figure screaming.  I guess it was me, trying to find my way.  Anyway, another student,  my daughter's age, loved this painting.  Every time she saw me, over the course of that year, she begged me to sell it to her.  I finally got to the point where I felt I should let it go, that it wasn't a talisman any longer.  I told her I would sell it, and simply told her to pay me what she could afford.  She didn't have much money, so I know that it was a real sacrifice for her to come up with the $100 that she offered.  That was the real value, I think.  When someone responds to art to the point that they pay what is -- to them -- a significant amount of their hard earned and often already spent money.  When she took it down off the wall she was so excited - "My first real piece of art!"  That was a moment!  How did I forget that?   

Reclaim your passion.