Customer Reviews

How to Survive and Prosper as an Artist: Selling Yourself Without Selling Your Soul

5 star:		(42)
4 star:		(10)
3 star:		(5)
2 star:		(5)
1 star:		(2)

 

 

This book is great for someone who needs a broad overview of the fundamentals of creating a career as a freelance artist. It is basically a checklist of what you need to know and do to be successful as a self-employed artist, in other words: the business side of art. As a 32 year old man who has always been one of those 'talented' amateur artists, but didn't know squat about the business side of being an artist, this book was exactly what I needed to read in order to help me draw out a roadmap towards achieving my longtime dream of being a freelance artist. Caroll points out that even people like me who do not have an extensive background and education in fine art, still have the ability to create a career in the visual arts.

Caroll begins by tearing apart the myth of the 'starving artist' or the 'poor but noble artist'. She basically discusses common psychological pitfalls that many artists fall into (including myself), believing that it is not possible to have a successful career as a freelance artist. Let's face it, all our lives we have been told how a career as a freelance fine artist is a career in futile struggle and poverty. We have been brainwashed with the belief that a degree in fine art is not worth the paper it is printed on. And we have been constantly reminded that if we are stubborn in our choice to be a fine artist, then at least have a 'backup plan'. We have even been told, "It is better to major in something else, and just do a minor in fine art". (I have also gotten these types of comments in my choice to study music). I actually didn't realize the degree to which I have been brainwashed into believing that art is not a valuable profession. Caroll points out that if you believe it is not possible to make it as an artist, then you have already severely handicapped your chances of making it. In contrast she discusses how in having the self-confidence to believe you are just as good as any other professional, and worth being paid, this will automatically lead you to making the right positive steps towards having a sucessful career. In essence: if you can convince yourself that your skills as an artist are valuable, you will have the ability to convince others that you are valuable. On the other hand, if you go into a situation and believe you are not worth being paid, your potential client will also believe you are not worth being paid, hence continuing on with the negative stereo-type of freelance art not being a serious or valuable profession.

She uses a an excellent example of two of her clients: one was a 40 year old woman with no professional or educational experience in fine art, who decided she wanted a career change. At her first art exhibit, she sold about $18,000 in paintings, the average price of her paintings being about $5000. The second client was also a 40 year old woman and had an extensive background and education in fine art. The experienced artist was also able to sell her paintings at an average price of about $5000. This brings up the question, "why was the woman with essentially no artist resume, able to sell her paintings for the same price as the woman with years of experience and art degrees?". The answer is simple: the first woman believed she was worth being paid a professional wage, and because she believed it, her clients also believed it! In other words, she wasn't tainted with the myth of the 'poor starving artist', she had created an image of herself of a professional, and successful artist, and it worked! It is also worth mentioning that the first woman's previous career was in selling real estate. It goes to show that one of the primary ways in which you can achieve success as an artist is simply being a good salesperson.

Caroll then lays out the fundamental business must-knows of being an artist. It is more of a broad overview at this point, and she gives some detailed examples, but still leaves plenty of room for you to do more research and reading on the topic. A good 220 pages of the book is her advice and insights, and the last 120 pages or so are all names, adresses and websites of organizations that can further help you learn your profession, and make professional contacts.

The reason I gave this book 4 stars instead of 5, is because there certainly was plenty she could have elaborated on further, and given more specific information. As one reader above mentioned, I too sat down and read this book in one sitting. This shows how captivating it can be to someone like me who just didn't know alot of these basic 'must-knows'. But on the other hand, it also shows that it is a relatively quick read, and could have been packed with more detailed information to read and study.

Overall I must give this book two thumbs up and a recommendation to every serious artist who has always wanted to have a career as a freelance artist.

I plan to re-read this book SEVERAL more times, in order to ingrain the information in my brain, and make it second nature with how to deal with various basic problems. I most likely will use it as a checklist everytime I am about to take a serious move towards promoting and developing my career as an artist.

I like this book so much I am going to buy a second copy and give it to a friend of mine who has a BFA and MFA in sculpture, and yet he works as a dump truck driver!!!! He really needs this book!

A big thankyou to Caroll for writing this wonderful book.

This is one of those books with exciting chapter headings like 'the mysterious world of grants' that you expect will de-mystify the process- but basically it is train station schedule telling you about different trains you can board to reach a destination (this book contains no destinations)... what I mean by that is this book is basically a reading list of a million other books. The information that is in this book is very minimal, everytime you think she is about to tell you something valuable she says "to learn more read this book or visit this website". She doesn't provide the information from those books in hers. For a 300 page book, the only meat it provided in and of itself was a soapbox for the author to dog the whole gallery system and encourage artists to sell their own work. Which is lovely but I felt like I wasted time reading her big book when I should have been reading the other books that actually have the information I am looking for in them.
If I was this author and had read all of those books myself, I think I would have written a more comprehensive one-stop guide for the artist to save them some time and energy- but maybe her book was sort of a collaborative effort where she gained something from mentioning these other books as opposed to learning from them. That is really what it felt like- a bound collection of buisness cards.
If you really want to do a lot of reading- this book is certainly a reading list, but I would bypass it and go straight to some other books.

If you DO want to bypass the gallery system and make money off your art on your own, I recommend Brian Marshall White's book 'Breaking into the Art World'. You can read it in one night and use all the info, apply it, start earning some money from your artwork. He not only provides a useful biz plan for the artist, he also includes the numbers of all his sources for printing, packaging, credit card set-up... it is the only book you would need to start making and selling prints of your work.

As an artist, I have been following Caroll Michels' work for the past twenty years and have just re-read her fourth edition. The resources on the internet alone are an indication of just how the author wants her readers to grow with the times. In the book, Michels begins wth childhood, stressing parental and educator support and addresses how if artists don't value themselves how then will the culture take them seriously. What helped me in particular is how to create presentation tools and how to develop public relation and good business skills. What was also helpful was how to deal with one's emotions and not play the victim. I use the book as a bible, refering to it whenever necessary. I look forward to the fifth edition!

I bought this book and read it cover to cover in one sitting. Ms. Michels tells it like it is and has a refreshing writing style. I walked away with key concepts and was inspired to send out several art project proposals immediately based on her suggestions. If I learned one thing from this book that was worth the price, it would be : Don't waste time and money on Juried Art Shows With Entry Fees. The other key point was about thinking outside of the Art Establishment box (we are supposed to be creative, after all, aren't we?) to promote yourself with brochures versus slide packages. The author gives statistics that prove the success (and failure) rate of both methods. In addition, the resource lists she provides are worth their weight in gold. I highly recommend this book and have sent 4 other artist friends out to buy it.

A combination of common sense, inside knowledge, and courage bolstering; even though this book needs some updating for the computer age, Michels' observations are right on target. She tells the unvarnished truth about bad gallery practices and how to protect yourself, legal pitfalls, and the myth of not being paid "because you're doing something that you---looove." But most importantly, Michels strips away the silly notions that we artists must play the victim and give in to every unreasonable demand galleries and possible clients make. Being rolled is exactly how artists have gotten into the contemptible position we are in now, and it won't stop until we take control of our careers, make our own demands and learn to say things like "no" and "sorry, if you can't take digital images, then you aren't technically advanced enough to represent me on the level I deserve".

I am absolutely going to buy this book again when the new version comes out. One of the few "making it in the arts" books which isn't full of: New Age fluff, unworkable schemes, pompous pep talks, or half baked advice. Not for the cringing hobbiest who is willing to pay a $50 entry fee to be in a high priced street show, but very much for anyone who is serious and respectable.

This book saved me months of research. Not only does Caroll Michels unravel the myths associated with Fine Arts as a business, she also provides the names of hundreds of resources to assist in selling an artists works.

The book carefully lays out the do's and don'ts of the Fine Art business. She carefully points out that selling art is a business venture. As one who has not intention of 'starving for my art', the book is a great road map for the artist that is willing to work to make his or her art business succeed. After all, you are selling a product. Bad products fail, but good products without proper marketing suffer failure as well!

The book stresses this point throughout. Michels gives the tools to those who not only create, but want to make a mature, businesslike effort to grow that creativity into a real business.
While those who take advantage of the naivety of many artists must dislike the book immensely, it is a great business tool for those artists willing to read it.

I was disappointed in this book. Lots of "resources" listed, but the nuts and bolts boil down to the old "how to" cliches, like Get organized! A computer can help you do this! Many gallery owners are meanies! Far less than what I was looking for.

I have never been one to read self-help books, but, as an artist just beginning to market my work, I felt helpless and uninformed. I am so glad I bought this book - Ms. Michels demystifies the business process in a pragmatic and often humorous way. I now feel I have a clearer picture of where I'm going and how I'm going to get there, as well as having more confidence in myself and less awe of the art world.
This book will be well-used as I move forward.

Artists: If you are serious about gettin' famous, makin' heaps of dough, havin' all of those ... critics write about your brilliant swag, and seducin' actresses or actors, you gotta start right here with this book. Otherwise, pack it up and become an art historian or janitor at the Getty.

Seriously, this is the best book you can buy if you are considering hitting the "scene" with your goods.

Sure, she has some "cliche" statements about "getting organized" (but in all fairness, what artist doesn't need to be reminded to get organized?!) and the like, but wow...the sections on how to price your art, marketing with a brochure, the importance of contracts (!!!), grant building, etc etc. are a veritable cornucopia of practical goodness.

This book is so good that I almost burst with pleasure after reading it. I'll be willing to bet a Picasso that her consulting advise is beyond compliment.

I am supposed to be a painter. Famous? who cares. I just want to make a living doing what it is I was put here to do.

Thank you Caroll for your book. I read it the first time three years ago. This time I'm taking notes and DOING it. One thing each day to get me to a point where I could transition careers and (pretty much) paint all the live long day.

The most tragic thing in life is wasted talent. Because of this book, I won't have to TELL my children that they can do anything, I will have SHOWN them how its possible.