Episode 60: Saying Yes And No

A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST notes: Saying YES: how to decide Follow up to Pacing Podcast— Intro: A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? Talked in previous PC about pacing and our inclination to say yes ; overload from an abundance of opportunity’/ meeting your personal needs for time and energy What can you say no to and not hurt your good trajectory? What is smart to say yes to?? Best Attitude: A lot of this is guess work…do your best to research, understand -- but know we all make poor decisions at some point as well as good ones. Don’t beat yourself up for bad ones—this is all unknown territory as we go forward. Artists encounter a lot more of these kinds of decisions than many people. Many so-called opportunities are presented as sales pitches. A good sales pitch that you say yes to is aimed at something you actually want and is not inflated or dishonest Considerations that might lead to a NO: Not meant to be overly negative, just to help you make decisions. Is it legitimate? Previous PC about scams and schemes/has been discussed; avoid pay to play situations unless co-op, art fair Is it mainly Exposure: so often the carrot dangled in one form or another. Does the opportunity actually allow your work to stand out in some way? There are a lot of publications, vanity galleries, solicitations to show at art fairs etc. Will you just be lost in the crowd? Or is there something unique/better about this particular situation? Offering “exposure” alone is generally a red flag that you will not be compensated in any real way Putting up work in restaurants/banks etc. Be realistic, do your research. Donating time /art work: often uses exposure as hook. Only participate if you actually want to support the cause or there is tangible benefit to yourself. Are there other aspects of an offer that sound good that may not add up to much? Don’t be swayed by things like a New York location unless it is a recognized and legitimate gallery. A line on a resume is only that; meaningless if there isn;’t substance behind it that you can really use in publicity, self-promotion Overly time consuming: Very important yet hard to judge ahead of time if it is something new. Like house repairs—figure it will take at least twice as much time as you expect. If you suspect it will take too much time it probably will. Be wary of people trying to convince you it will be simple or easy. You have a Crowded schedule: related to the above Financial considerations: legit opportunities may still involve $ outlay—such as juried shows ---shipping, framing fees. Weigh possibilities of return on your investment (sales) or possibility of other gain. Will this take you anywhere? Example: Participating in group show at gallery—may lead to representation there, or sales. Juried show less likely. Quality of opportunity: is it respectful of your work and your experience? Will it add to or detract from your professional image? If you encounter really poor behavior once you agree, feel OK about withdrawing even if it means accepting some loss; cut your losses-- BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your focus on what you want for your art career. For ex: if trying to get into a commercial gallery, building your resume for a while with juried shows in art centers etc. is good. But you don’t need to keep entering juried shows for years. Recognize when a stage of your career has served its purpose but is over. (juried shows, teaching workshops in venues that underpay, showing in community spaces in which you have to do all the work of publicity, reception etc.) Avoid stepping down—A gallery contacts you with interest; look at their website and have doubts about the quality f work they handle. This becomes a pretty gut response over time Say YES when: You have the opportunity to do something with a legitimate, respected venue You can identify clear benefits that you can be pretty sure of happening You have checked out the situation with an objective mindset (online, talking to other artists, evaluating your own experiences) You understand and accept any risks involved The opportunity suits your overall goals It fits your schedule Your intuition says yes—that does play a role but balance it with these other considerations Wrap up: Again, be realistic about the outcomes that are likely, do your research, avoid being overly swayed by sales pitches—there are lots of great opportunities but sadly plenty that are aimed at taking your time and money.