TPI - 2002

Strategizing a Career as an Artist

Susan kae Grant

Grant Synopsis (Strategizing Career)

by Paul Melhado

In this presentation, Susan Grant outlined the seven areas she believes are crucial to developing a successful career as an artist.

She began by discussing the issue of fear and the role it plays in impeding growth, affecting self-esteem or confidence and preventing risk taking. A satirical song by Katie Lee called “Will to Fail”, was used to set the tone for this discussion.

Next, using handouts, she outlined “the seven significant areas in strategizing a career”. These included; inspiration, courage and experimentation, production, confidence, portfolio, networking and professional practices, all of which was clearly defined and later discussed in details. For example, with regards to the first construct (Inspiration), she provided a working definition of this concept based on the process of keeping a journal. Here she suggested that as artist we should make use of a journal to keep a log of ideas, provide written context for the work and personalize the work. On the idea of networking she said that, “all you have to do to be successful as an artist is to make work and have a network.” This statement was used to emphasize the importance of developing and maintaining personal and social contacts within the art world. Cheryl seconded the motion by reminding the audience that the art world is a very small place, and that “it is not hard to meet most of the major players because many of them are fairly accessible”.

Thinking and working in abundance was another aspect of success that was discussed as well as the idea that most successful artists are also very prolific. In other words, the more you work, the more choices you will have when it comes to editing your work and also the more work you have the more current it will be. She pointed out that many artists work from a scarcity of work, which is an obstacle to creating good art. An abundance of work not only helps in developing your ideas, but it also helps in articulating them to others. She reminded us that successful artists are also good sales people who are able to discuss and promote their work.

On the issue of courage and experimentation, she reminded the group that there is no “right way” to make art. For some the idea must precede the object and for others it is the reverse. Additionally, she cautioned against doing what you already know or doing what you know people will accept. “Keep making and sharing your work with others, no matter what the feedback and acknowledge yourself for what you have done,” Grant said.

While some of the participants expressed an air of familiarity with most of these ideas, few have ever connected them as a holistic approach to being an artist. Still others expressed some degree of resistance to the value or importance of networking, citing that their work stands on its own merit and that it is the art, not the artist, who develops a following. Disagreement about the separation between the artist and the work ended the presentation.

Grant Analysis (Strategizing Career)

by Henry Tsang

Susan kae Grant’s presentation was significantly different from the previous presentation by Mary Virginia Swanson who argued for a balance between commercial and fine art practice for photographers. Grant focused on how to survive as an artist not only financially but also psychologically and spiritually.

In some ways, the lecture functioned as a pep talk with words of encouragement for budding graduate students on the verge of entering the art world. There was much advice shared: like keep trying new things, make lots of work, don’t be afraid to fail, look at art magazines to keep abreast of current trends, and listen to inspirational songs like Katie Lee’s “Will to Fail” (which was played for us). She also stressed the importance of working and garnering achievements in order to build up our sense of self-confidence--a crucial survival technique. I could certainly identify with her difficulty in portraying herself positively when not involved in projects and when one’s mental and physical state declines as a result. Her suggestions on learning how to say “no” is particularly useful for those who could either use more fine-tuning in personal time-management or for those who are not clear about what activities or causes are most important to them. One has only so much energy to offer, and cannot support and contribute towards everything, so knowing where one’s ideals and priorities lay can help determine when best to say “yes.”

Her strategy during the talk was to offer various options for young artists to consider in their years to come. However, perhaps the contents of the presentation could have been adjusted to address a less mature audience, given that our group’s average age was thirty years of age or more. Some of us have had a bit of life experience as well as an exhibition history, whereas the talk seemed to be geared towards a more general graduate or senior undergraduate perspective.

Another topic that was presented was that of acquiring business skills. It is important to understand what one does within a financial and economic perspective, especially for those who need to worry about paying for food and rent or are too lazy to collect receipts for the tax people. However, there seemed to exist a presumption that all artists desire to align one’s self with the art market and that there is no alternative to the commodification of one’s work. While the advice not to make anything that cannot be stored or that is ephemeral may be pragmatic, this also implies that it’s disadvantageous and perhaps a bit irresponsible to make art that is noncommercial, idealistic or visionary. Nevertheless, this was useful in that it exposed the contradiction that artists live with in trying to find one’s own way of weaving strategies for economic and professional survival with the ideals and idiosyncrasies of personal artistic practice.


	Strategizing a Career as an Artist Susan kae Grant Grant Synopsis (Strategizing Career) by Paul Melhado In this presentation, Susan Grant outlined the seven areas she believes are crucial to developing a successful career as an artist. She began by discussing the issue of fear and the role it plays in impeding growth, affecting self-esteem or confidence and preventing risk taking. A satirical song by Katie Lee called “Will to Fail”, was used to set the tone for this discussion. Next, using handouts, she outlined “the seven significant areas in strategizing a career”. These included; inspiration, courage and experimentation, production, confidence, portfolio, networking and professional practices, all of which was clearly defined and later discussed in details. For example, with regards to the first construct (Inspiration), she provided a working definition of this concept based on the process of keeping a journal. Here she suggested that as artist we should make use of a journal to keep a log of ideas, provide written context for the work and personalize the work. On the idea of networking she said that, “all you have to do to be successful as an artist is to make work and have a network.” This statement was used to emphasize the importance of developing and maintaining personal and social contacts within the art world. Cheryl seconded the motion by reminding the audience that the art world is a very small place, and that “it is not hard to meet most of the major players because many of them are fairly accessible”. Thinking and working in abundance was another aspect of success that was discussed as well as the idea that most successful artists are also very prolific. In other words, the more you work, the more choices you will have when it comes to editing your work and also the more work you have the more current it will be. She pointed out that many artists work from a scarcity of work, which is an obstacle to creating good art. An abundance of work not only helps in developing your ideas, but it also helps in articulating them to others. She reminded us that successful artists are also good sales people who are able to discuss and promote their work. On the issue of courage and experimentation, she reminded the group that there is no “right way” to make art. For some the idea must precede the object and for others it is the reverse. Additionally, she cautioned against doing what you already know or doing what you know people will accept. “Keep making and sharing your work with others, no matter what the feedback and acknowledge yourself for what you have done,” Grant said. While some of the participants expressed an air of familiarity with most of these ideas, few have ever connected them as a holistic approach to being an artist. Still others expressed some degree of resistance to the value or importance of networking, citing that their work stands on its own merit and that it is the art, not the artist, who develops a following. Disagreement about the separation between the artist and the work ended the presentation. Grant Analysis (Strategizing Career) by Henry Tsang Susan kae Grant’s presentation was significantly different from the previous presentation by Mary Virginia Swanson who argued for a balance between commercial and fine art practice for photographers. Grant focused on how to survive as an artist not only financially but also psychologically and spiritually. In some ways, the lecture functioned as a pep talk with words of encouragement for budding graduate students on the verge of entering the art world. There was much advice shared: like keep trying new things, make lots of work, don’t be afraid to fail, look at art magazines to keep abreast of current trends, and listen to inspirational songs like Katie Lee’s “Will to Fail” (which was played for us). She also stressed the importance of working and garnering achievements in order to build up our sense of self-confidence--a crucial survival technique. I could certainly identify with her difficulty in portraying herself positively when not involved in projects and when one’s mental and physical state declines as a result. Her suggestions on learning how to say “no” is particularly useful for those who could either use more fine-tuning in personal time-management or for those who are not clear about what activities or causes are most important to them. One has only so much energy to offer, and cannot support and contribute towards everything, so knowing where one’s ideals and priorities lay can help determine when best to say “yes.” Her strategy during the talk was to offer various options for young artists to consider in their years to come. However, perhaps the contents of the presentation could have been adjusted to address a less mature audience, given that our group’s average age was thirty years of age or more. Some of us have had a bit of life experience as well as an exhibition history, whereas the talk seemed to be geared towards a more general graduate or senior undergraduate perspective. Another topic that was presented was that of acquiring business skills. It is important to understand what one does within a financial and economic perspective, especially for those who need to worry about paying for food and rent or are too lazy to collect receipts for the tax people. However, there seemed to exist a presumption that all artists desire to align one’s self with the art market and that there is no alternative to the commodification of one’s work. While the advice not to make anything that cannot be stored or that is ephemeral may be pragmatic, this also implies that it’s disadvantageous and perhaps a bit irresponsible to make art that is noncommercial, idealistic or visionary. Nevertheless, this was useful in that it exposed the contradiction that artists live with in trying to find one’s own way of weaving strategies for economic and professional survival with the ideals and idiosyncrasies of personal artistic practice.