46. It Takes Only a Few People to Make a Career, How to Be an Artist

46. IT TAKES ONLY A FEW PEOPLE TO MAKE A CAREER

Exactly how many? Let’s count.

Dealers? You need only one—someone who believes in you, supports you emotionally, pays you promptly, and doesn’t play too many mind games; who’ll be honest with you about your crappy or great art; who does as much as possible to spread the word about your work and tries to make you some money from it, too. This dealer doesn’t have to be in New York.

Collectors? You need only five or six collectors who will buy your work from time to time and over the years, who really get what you’re up to, who are willing to go through the ups and downs, who don’t say, “Make it like this.” Each of these six collectors might talk to six other collectors about your work. Or not. Six collectors should be enough for you to make enough money to have enough time to make your work.

Critics? It would be nice to have two or even three critics who seem to get what you’re doing. It would be best if these critics were of your generation, not geezers like me.

Curators? It would be nice to have one or two curators of your generation or a little older who would put you in shows from time to time.

That’s it! Twelve people. Surely your crappy art can fake out twelve stupid people! I’ve seen it done with just one or two! The late, visionary gallerists Colin de Land (of American Fine Arts) and Hudson (of Feature Gallery) often exhibited artists that only they had seen, artists who’d never shown anywhere else.

Here’s the one condition: You have to put yourself out there. No matter how hard it is for you. You have to show up, apply to everything, go to openings even if it’s just to stand around feeling inadequate. (The secret is, 80 percent of us are doing exactly this at most openings—and we often end up meeting other interesting artists there, commiserating, sharing thoughts about the work.) Talk to the other wallflowers! Most galleries, curators, collectors, and critics learn about artists through other artists. Pay attention to what the galleries are showing; figure out which ones might like what you do. Forget about the mega-galleries; look for places and people who might see your work as an opportunity. Don’t overprice your work when you’re getting started, either—that only makes it harder for anyone to take a chance on you. (Jeff Koons priced his early work at less than fabrication cost.)

I can’t sugarcoat this next part: Some people are better connected than others. They get to twelve supporters faster. The art world is full of these privileged people. It is unfair and unjust. It’s still a problem for women and artists of color especially, not to mention artists over forty. The road is rougher for these artists. This needs to be changed. By all of us.