As art is subjective, we can never really take full control over how a viewer of our show or a customer who bought one of our pieces will understand the work’s narrative. A description of the work might help, but some actually prefer to make up their own mind about what a particular art piece means to them on a strictly personal level, rather than listening to the artist describe what it should mean. And there is absolutely nothing wrong with that in my opinion.
I had an interesting conversation on Facebook the other day about the struggle we artists tend to go through because of the nature of our work.
Nothing to do with having to be sad and crazy to make art (a dumb myth if I ever heard one), but about the divide between the upper echelon of art consumption that is the auction market and the low end of our world, the regular Joes and Jolenes, that are selling their art on Etsy or Saatchi Art.
From linen canvases to plaster and genes, the share amount of mediums available to artists today is historically speaking at its very peak. While some prefer analog ways of expressing themselves, others like to work digitally. But have you ever considered commercials as a viable medium for your work?
If in 2007 blogs were all the rage and almost anybody that was somebody online had one, today it’s podcasts. And with platforms like [Anchor.fm](https://anchor.fm/) offering free hosting and distribution, there really are no more excuses from getting on the bandwagon yourself!
Because you could be making the most wonderful umbrellas the world has ever seen, but if you decide sell them in the Atacama dessert, you might just start believing that no-one needs and umbrella, while the guy in front of Notre Dame sells hundreds of cheap chines-made ones to tourists, the second it starts to rain in Paris.
Many of us may be familiar wit the book [Steal Like an Artist](https://amzn.to/2A28QX4) by written by Austin Kleon. In this book he describes how countless famous artists have been “stealing” other artists styles, ideas and just about anything else that they deemed valuable and used everything in their own work. But apart from a marketer’s standpoint, should this really be called stealing?
A well prepared CV is the corner stone of any application, but unlike financial advisors, marketeers and other professionals, artists can’t really do much with the standard form that so many others use — aka. we usually aren’t employed anywhere and McDonalds doesn’t really count.
You can also download my CV [here](https://www.matejtomazin.com/wp-content/uploads/2019/03/CV-Matej-Tomažin.pdf), if you’d like to see how what I yap about looks in real life.
Today, it isn’t as much about one work, or even one exhibition — what matters in the long run is the totality of our production and most importantly the regularity of our production. Rather than focusing on the importance of each piece we make, I find it more crucial to step back and observe it in the context of everything we have ever done.
Unlike our average commodities, art’s value isn’t judged by the materials used, neither by the labour it took to create it, because a quickly made blotchy cheap-paint-on-rubbish-canvas Rothko painting will be much more expensive to buy than a Koons Balloon Dog, that actually took months and thousands of man hours to create and is made out of premium, long lasting materials.
The art world is a magical place full of complex conversations about unmade beds, buttered-up chairs and urinals, but nobody seems to want to talk about how it actually works. I want to change that.
So, welcome to Surviving Art, a safe place where trigger words like job security and pension fund are strictly forbidden.
But what isn’t, is making sense of the art market; how to price your work, approach galleries and get exhibitions, as well as tips and strategies on how to sell your art directly to collectors and get your creative message across.