An Artist’s Personal view on the Artist as a “Professional”
(And Who and What decides this criteria, anyway?)
Part II
Part One Here
August 2011
Recently piqued by a discussion on an online art business site about what criteria designates an artist as professional and how important is it be defined a “professional”, I developed a series of questions that need to be answered around this topic.
1. How does the label of professional connect with the activity of an artist?
2. What qualifies a person to declare herself or himself an artist?
3. How does the world certify a person as an artist and does that matter?
4. How has the role of artist or “artist as professional” changed since the beginning of the “modern era” of art, which I place at the beginning of the 20th century (for this conversation)?
The first two questions ask: how does the label “professional artist” connect with the activity of art-making and what qualifies a person to be identified as a “professional”? The most important qualification and connection is the thousands of hours of creative activity, self-knowledge of work/ work habits, and experience in the world that gives an artist the confidence to create, demand and command from oneself a high level of work and trust in the process of pursuing ideas and risk-taking. What follows is public exposure and the experience of others looking and engaging with the artist’s ideas and passions. Over the years bodies of work are developed, connections are made with art institutions and other artists. A continued exhibition record is built up that defines both a personal and professional identity. Some artists opt out of showing for many years, tiring of the “distractions and intrusions” of the mechanisms of the commercial art world. Their need to focus on the activity of the studio is more important than a “professional identity”. For many artists, gallery representation, critical attention, and sales is important because it is allows feedback, income, and outside relevance to a usually solitary activity. There are also exceptional stories of artists such as Bill Traylor, an ex-slave, who at 85 years old was discovered drawing on a street corner in Montgomery, Alabama. The fact that he hung up his work to display to the world, again, emphasizes the artist’s need to bring visual art to the public. He may be labeled an “outsider artist” but the drawings of his world are wonderfully playful and animated and demonstrate to me an exceptional gift and drive.
The third question asks what criterion certifies an artist as a professional in the art world community and is this certification important? Included in this community are curators, gallery owners, consultants, art museum experts, art critics, writers, collectors, and peers. The attention, notice, and connections of the artist from any number of these groups can create a career that gives the artist the title of “professional” as a resume of exhibitions, press, and name recognition is built. How well known an artist becomes has many ingredients that may include, the number of connections, place, timing, art form, who in the art hierarchy is promoting the individual and their art, and what talent and level of skill is shown in the work. Artists who do not have to earn a living outside of art-making may have more time to create outside connections that can move their professional career to another level. Attending as many art events as possible is important for networking and takes time and energy.
The second part of the question asks how important is it to be viewed as a professional artist? Today, becoming a “professional” is the avenue to presenting art to 
the world. A system has been in place for a long time that dictates how artists must approach the business of art. This includes the showing of strong photographic images of work, a clear artist statement, networking, an Internet presence, gallery introductions, and computer skills. An Internet identity is now a large part of art business. Web sites, links, and blogs, bring attention and exposure. Gallery shows, press, video interviews, and, work in collections are part of the measure of “success” that signifies “professional”. The business of art takes time and often money and can take away from studio time. Some artists can hire business agents but many must do the work themselves.
A successful career may not necessary signify high quality work for many reasons: a greater focus on developing a career than art-making; lack of commitment to the rigorous time, energy, knowledge and years that are necessary to create high level work; and current trends in the art world that overlook stronger artwork. Today, many young artists jump onto a career path immediately after school because that is one of the dictates of the art world. Their work may not be ready to exhibit but there is an enormous pressure to show and have a career immediately.
There are also business’s that surround the art business system that advertise “career development” courses, exhibition possibilities, and consulting help for large sums of money. I recently received an online invite for a 12 week webinar career building course that costs $900-$1200. This is an example of how far the business of art has woven into our culture of moneymaking at the expense of the artist.
The last question asks how the role of “artist as professional” has changed since the beginning of the 20th century. David W. Galenson, writes in his book Conceptual Revolutions in Twentieth-Century Art, that Picasso was the first true gallery artist to exhibit in new commercial establishments that sold art starting in the early 1900’s.
As this system evolved, artists and their work began to be associated with galleries, commerce, and collectors. Critics and writers (media) wrote about exhibitions that publicized galleries, museum shows, and the artists themselves. Individual patrons began to buy series of works from various artists as exhibitions were advertised and celebrated in the press and by word of mouth. The creation of the gallery system changed the manner in which art was seen, collected, and documented. Artists held a new place in society as interesting outsiders who could move in many circles as they became more famous and daring. Groups were formed dedicated to new movements such as cubism, fauvism, and surrealism.
After WWII the gallery system became more formalized as Jackson Pollock emerged with a new generation of artists that placed New York City as the nucleus of an art mecca that grew quickly and “rocked” the world. New galleries opened; artists came to New York to find their place in the exciting new environment; and critics, writers, and museum directors found themselves gaining great importance, as the business of art became big business. It was during the 1980’s that the idea of artist as “professional” became important. Wall Street “discovered” contemporary art and the term “blue chip art” (the “best and most expensive) was birthed based on critic reviews, gallery showings, and the “buzz” on the street. The business of art became as important as the art itself.
Throughout the 20th century many artists pushed the boundaries and flirted with the idea of art and commerce. In the early 1900’s to mid century, Marcel Duchamp was the master of asking what is art and who decides what is important in critical and historical terms. Andy Warhol exploited the exploited market place and mocked the artist’s place in the world as “sacred beings”. Mark Kostabi created Kostabi World, a production factory of artwork signed by Kostabi but made on a production line. He later sued his assistant for making “fake” Kostabi’s. So this kind of activity can take art to the ridiculous and absurd for fame and recognition.
I grew up in New York City at a time when galleries and museums presented new artists and art in an era when business was more behind the scenes and art was the top priority. Gallerists such as Alan Stone took chances on newcomers such as Wayne Thibaud and gave stipends to young artists that allowed them to create work and possibly have a show. We are living in a very different world today because money is the great motivator of art and the business of art.
I do feel the tug and responsibility to present myself to the world as an artist of ideas and quality- a “professional” who has earned the right to be called professional. At the same time, I am irritated that for the most part, money, power, and recognition (the art star) have become greater attributes of my profession than the work itself. I have many internal conflicts about an ambition to have a career versus the making of my work. My wish is to have someone else take care of all the art business. Muddling around my studio is where I want to be when my focus is completely enmeshed in the process and problem solving each new piece demands. It is a very humbling activity that begs for patience, perseverance, and, reflective and thoughtful care. My attention and spirit move to a place of focus that removes everything else. After years of working, my priorities are my interior and exterior observations and thoughts that are automatically placed into a kind of “cerebral think tank” that sorts through how I may use information for my work. I look forward to stepping into my studio to problem solve. If I have a short deadline for a show, though, stress may creep into my process as I worry about finishing work that needs to be completed before being viewed by others. During these times, I am more aware of my identity as an artist who struggles to place new, finished work into the world. It is a bit like letting a genii, I do not know well, out of the bottle.
Yes, in today’s world I am a professional with a resume, exhibition record, web site, reviews, and all the requirements. But what really excites me is that tiny voice and tingle of excitement that happens when a new idea begins to emerge between head and heart.
