How do you measure success as an artist?
A fellow artist Pauline Woolley (who does some fascinating work) recently asked on fb how people measure success as an artist - sales, shows etc. I've been thinking about it for a while and this was my response
My main definition of success as an artist is sustaining
work and continuing to question and critically evaluate work – not to give in
and just make what people ‘want’. I see it as an inevitable journey – I have to
do it – so when things get tough I know I’ll have to find a way of getting
through it. (I see that as success too).
Showing work is important – if I lived on a desert island I
would still draw etc. as I need it to make sense of my world, but I don’t - and
communication is an important element of my definition of ‘art’. Exhibiting
work mean I’m not always talking to myself (which as we know is the first sign
of madness!!) but I don’t want to talk to everyone all the time, and some
people it’s not worth talking to so there is a selection process involved in
what shows to participate in. High
profile shows are good as they can give access to a wider/ specific audience and help (on
c.v. etc.) when applying for further exhibitions and opportunities to continue
the conversation – but small, unknown venues can also do that. I’m aiming for
an audience that is open to a dialogue about the content of the work rather
than whether it will match their settee. Some of my work will never be seen but
it has inevitably informed the work that will so is equally important. The ‘success’
of being selected is irrelevant to how I view my success as an artist.
Selling work – I’ll happily sell work and I’m happy when
people want to buy work – but I won’t make work to sell. (If I did that I would
consider myself as unsuccessful.)
When I did my degree (back in the late ‘70s) it was
considered bad to get a first on the fine art course as it meant you fitted too
well into the ‘establishment’. ( 2:1 was ideal as it meant you could apply for
an MA if you wanted to – not sure if it’s still the case but back then you could
only apply if you had a first or 2:1). When I did my MA 20 years later the
final mark was not a measure of my success on the course – what mattered to me
was that I moved my work forward and entered into a regular dialogue which at
the time was much needed. I consider that it was very successful for that
reason (I see the distinction as a result of ticking the right boxes).
The main problem is that ‘artist’ covers a very diverse
range of people and different aims and objectives. A commercial artist will
absolutely measure success by sales because they want to appeal to a wide range
of people. I’m happy to finds a few people who get what I’m doing J.
I think it is a really interesting question - and could have spent a lot longer and written a lot more answering it. One of my day jobs involves selling cards etc. which I design and make. This is a completely separate business (none of the designs are related to work I produce as 'Kate Smith - Artist') - purely intended to make money for day to day living. I am thinking about the customer and what they want when designing products and if they don't sell - I stop doing them. Many people I know don't see a distinction - Kate is an artist, she draws, she makes cards and jewellery. I see them as very distinct - with completely different aims, objectives and indicators of success.
Now you see it, now you don't....
Goodness Me!
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| Activity, Year 3, 13.09.2012 |
'fade' drawing
Drawing Paper #6 and other stuff..
Can't believe it's been so long since I last posted - time really does fly when you're not enjoying yourself! The usual reasons - day job one, day job two, blah, blah.... Today, however I have a couple of hours in my studio to update, plan and prepare. A few things to share:
Drawing Paper #6 is on it's way to Derby! As usual I will have copies at the Crompton Tavern (46 Crompton Street, Derby DE1 1NY) and will also distribute to other venues in Derby and surrounding areas. If you want some let me know. This year it has been co-curated and funded by Tate Liverpool. Such a great publication (I was in # 2) and I'm thrilled to see it going from strength to strength. Best of all it's FREE!!
Another publication - The Fabelist online issue 3 is available here with some really interesting responses to the theme 'Connect' (music, visual art, writing etc.). The next project is about to start and the theme is 'Synaesthesia and the Senses'. Initially I wasn't sure but I've decided I'm going to concentrate of the 'senses' bit and use it as an opportunity to give further thought to the idea of Touch & Trace - in particular the idea of haptic memory and how it relates to both traditional and digital drawing. This may just end up as a series of ramblings...
ZAP Open - this new open is nearing it's deadline for submission. I am tempted by this because it is an upfront, transparent application process - follow the link for details. If I get my act together in the next couple of weeks I may well apply - still a lottery but at least you know what you're paying for. The downside is - all my large drawings are too big. I particularly like the fact they accept optional statements which will be reviewed anonymously if needed - sometimes a bit of explanation is necessary. To put it mildly I don't subscribe to the idea that all visual art should speak for itself, I think the sentiment is often an excuse for laziness. This is not the same as saying there shouldn't be a space for the viewer to interpret work - I just happen to think that space should be constrained. (But I'll save any expansion of that thought process for a future rant....).
I was searching for antique pencils (who needs shoe shops) when I came across the above image on this site http://www.wallwork.me.uk/floorboards.html. I want a house like that - all I have under my floor boards is electrical wiring and dust!
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