{"id":219015,"date":"2025-05-02T14:51:23","date_gmt":"2025-05-02T14:51:23","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/make-your-place-in-the-art-world\/"},"modified":"2025-05-02T14:51:23","modified_gmt":"2025-05-02T14:51:23","slug":"make-your-place-in-the-art-world","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=219015","title":{"rendered":"Make Your Place In The Art World"},"content":{"rendered":"


\n<\/p>\n

\n
\n\n\n\n\n
\"Art<\/a><\/td>\n<\/tr>\n
Make Your Own Place In The Art World<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n



<\/span><\/b><\/div>\n

Here we are in 2022 and it
\nmight seem counterintuitive to suggest that there are alternatives to selling
\nyour art that can still see you earning a good standard of living as an artist,
\nby not following a traditional path through the art world. The art world in
\n2022 has changed, some might say that there has even been a reset, but just how
\neasy is it to embrace the changes and become a commercially successful visual
\nartist?<\/span><\/p>\n

<\/p>\n

Art has never been what you
\nmight call an easy business, less so as we tentatively and hopefully begin to
\nemerge from an almost three-year-long pandemic. During that time, buyer behaviours
\nhave changed almost unrecognisably and once-thriving high street galleries have
\neither made the transition online or in some cases have shuttered their doors,
\nleaving the art world looking very different from a pre-pandemic time. <\/span><\/p>\n

It’s not just the business of
\nart that has changed, businesses of every description have had to adapt to some
\nquite mammoth challenges. Migrating bricks and mortar stores into the cloud, artists
\ncancelling long-planned exhibitions, and so many businesses of every description
\nhave faced challenges that often felt more akin to the four horsemen of the
\napocalypse turning up to a Downing Street party.<\/span><\/p>\n

As some parts of the world
\nbegan to reopen, things were not quite the same as we left them back at the
\nstart of the pandemic. High streets look different, and buyers who would once
\nfill stores on a Saturday afternoon are not quite ready yet for re-socialisation,
\ninstead, choosing to continue with online purchases. <\/span><\/p>\n

Pre-pandemic, it was the
\nyounger population driving the digital economy, post-pandemic, we\u2019re much more
\nlikely to see a hybrid lifestyle emerging, with the younger generation
\nreturning more readily to the high street, and older generations keener to
\nembrace newly developed digital skills and continuing with online commerce. In
\nthe art world, that seems to be quite a seismic shift.<\/span><\/p>\n\n\n\n\n
\"Highland<\/a><\/td>\n<\/tr>\n
Highland Nights by Mark Taylor – One of my latest landscape works, prints and other collectables available to order now!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Over the course of the
\npandemic, buying behaviours that changed out of necessity throughout the past
\ncouple of years, have become ingrained and habitual, with many emerging behaviours
\nlikely to stick around rather than return to anything like pre-pandemic normal.
\nDepending on your primary audience, how you think about doing business in a
\npost-pandemic world could be very different to the world of three years ago. <\/span><\/p>\n

There is now a mix of buying
\nbehaviours that feel different. We are definitely moving towards a hybrid
\napproach in some sectors where buyers are starting their buying journey online
\nand then finishing off the process in physical stores. We are seeing more in
\nthe way of social commerce, where brands are meeting shoppers in their own space
\nallowing the buyers to discover products at home through the power of social
\nmedia and then not worrying too much about where the ultimate sale happens,
\njust so long as it does. That makes much more commercial sense for companies
\nselling products, given that they\u2019re less able than they once were to
\naccess social media user tracking data that would once drive the direction of their
\nonline business. <\/span><\/p>\n

Things are changing online
\ntoo. For the first time ever, Facebook has reported a significant drop both in
\nterms of revenue and daily active users, and that\u2019s a really big shift in what
\nwe have become accustomed to over the past decade or so. That infallible tech giant
\nseems to be creaking under the pressure of Apple\u2019s privacy war on advertising,
\nas are other social platforms.<\/span><\/p>\n

I think to some extent because
\npeople are generally pretty fed up with seeing the same old content repeated
\nover and over, especially where a lot of it has been found to be factually
\nquestionable. Quality counts on social media, today more than ever, the filler
\ncontent is becoming a very distant memory with users now actively looking for
\nthe value add, quality content that informs, entertains, educates, inspires and
\nconverts readers into buyers.<\/span><\/p>\n

I also think it goes wider
\nthan that, in part because, for businesses, social media has become an unwieldy
\nminefield over the past few years, not least, because of how little your
\nefforts seem to be amplified. There is now a wariness bought on by an inherent
\nrisk that your marketing campaign might fall foul of one of the seemingly millions
\nof unknown algorithmic rules and you find yourself cancelled, cut off from the
\nclients you have been hyper-focused on retaining since time immemorial. <\/span><\/p>\n\n\n\n\n
\"Vintage<\/a><\/td>\n<\/tr>\n
One of my most recent retro-inspired artworks showing vintage technology and media! Obsolescence is available to order online. Copyright Mark Taylor 2022 – All Rights Reserved.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Disinformation has spread
\neverywhere to the point that in some instances, it seems as if it has reached the
\npoint of normalisation. That\u2019s despite
\nsome rather weak attempts by the tech giants and governments to put the brakes
\non it. \u00a0That makes it incredibly
\ndifficult to find any level of organic reach unless the content cuts way above
\nthe noise. <\/span><\/p>\n

As an independent artist, all
\nof this change is challenging. Pre-pandemic, there were a lot fewer people than
\nthere are today who were willing to make substantial online transactions in
\nreturn for art, and even fewer who would be willing to consider purchasing art
\nthrough non-traditional routes to ownership. Then, the world changed and buyers
\nbecame much more accepting of doing things differently, and mostly they have
\nsurprised everyone by embracing new ways of doing almost everything we once
\nthought they wouldn\u2019t. <\/span><\/p>\n

So maybe it\u2019s time we looked
\nto the future and asked the question, how can we sell more art in the future
\nand will we need to change our traditional approach to the transactional
\nprocess of swapping our art for cold hard cash? Just how different do we need
\nto be successful artists in a new world?<\/span><\/p>\n

Many alternatives to the
\ntraditional art sale transaction approach already exist today, we just tend to
\nfavour the traditional way of moving art onto walls which has historically followed the \u2018you give me money and I give you
\nart\u2019 model, with no intermediate complications beyond having a website and a
\nsocial media account. <\/span><\/p>\n

Traditionally, you develop a
\nfollowing through exhibitions and galleries and then buyers turn up to a show,
\nfall in love with a work and then make the transaction. There is nothing simpler,
\nbut buyers for the artwork of the majority of working artists, are now willing
\nto look at alternatives to the traditional art buying process in order to
\npurchase and consume their art. They\u2019re not looking in the usual places and
\nspaces, and they\u2019re looking at alternative ways to pay for the work.<\/span><\/p>\n

As artists, we will need to
\nadapt. Maybe we tend to favour the traditional approach to selling art because
\nwe\u2019re so much more comfortable with that, know where you are approach, or we
\nthink buyers are more comfortable with that approach. I think buyers are not
\nonly embracing new ways to transact, they\u2019re actively looking for new ways to
\ntransact that make the whole process of buying art and everything else, simpler
\nfor them, and not necessarily us as artists.<\/span><\/p>\n

The
\nNormalisation of Selling Online\u2026<\/span><\/b><\/p>\n

I
\nremember not all that long ago when you were expected as an artist to be
\nrepresented by a gallery. That\u2019s how I began my art career, it was a linear
\nroute that had been followed for centuries, and that\u2019s what we were told to do
\nas artists. Today, there\u2019s a huge blurring of the lines between physical
\ngalleries and the online space, particularly as many galleries have been forced
\nto go down the online route. <\/span><\/p>\n\n\n\n\n
\"audio<\/a><\/td>\n<\/tr>\n
Tools of the Trade by Mark Taylor – Copyright 2021 -2022 – Available from my online stores now!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Buyers
\nwho make purchases from the majority of working artists who are either not in
\nthe high-end fine art market or who are not represented by the mega-galleries are less likely to be swayed to make a purchase because the item is for sale
\nhere, rather than there. They just want great art, great quality, and even at
\nthe higher value end of the market, they want to find great value, and that\u2019s
\nnot to say that they\u2019re looking for great value in a monetary sense, it\u2019s much
\nbroader than that.<\/span><\/p>\n

What has
\nexcited me more than anything over the past couple of years is just how well
\nknown some artists have become despite the lack of professional representation.
\nI take a look through the likes of Etsy and notice small micro-communities of
\nfans getting behind their favourite creators, anticipating their next release
\nand then making a purchase and leaving reviews before going on to become brand
\nambassadors of real people and extolling the virtues of their favourite
\ncreators online through social media. It\u2019s not the galleries who do the
\ndiscovering today, it\u2019s communities of people who might never have previously
\nstepped through a gallery door.<\/span><\/p>\n

Creators
\nseem to be finally waking up to the 21st<\/sup> Century\/Post-Pandemic, need
\nfor them to become the brand of me, and it\u2019s awesome. So how are these up and
\ncoming creative superstars pulling it off? They\u2019re doing things differently, they\u2019re
\nbeing more human-like than corporate-like, they\u2019re being way more authentic and
\nthey\u2019re going direct to the buyer and making the process easy. So how do us
\nmere mortals get anywhere close to doing that?<\/span><\/p>\n

Rip up
\nthe rule book!<\/span><\/b><\/p>\n

I firmly
\nbelieve, just as I always have, that independent creator’s can shake off the
\nstarving artist image and become successful artists if they first shake off the
\nbelief that they need things like gallery representation or the thinking that
\nthey absolutely must follow the norms and rules of the traditional art world to
\nbe successful, or that they first need to wait around until they are discovered
\nby the establishment. Top tip here, there were never any rules, just a bunch of
\nover-confident people telling you that there were.<\/span><\/p>\n

This
\nis exactly why you don\u2019t have to follow the traditional transactional process
\nof getting your art on people\u2019s walls. There are no rules that have been etched
\nin stone to say that you need to sell through a physical store, a gallery or at
\na show, it\u2019s perfectly okay to get your art on walls in a way that works for
\nyou and your buyer without worrying that the sale doesn\u2019t count because you cut
\nout the middleman, or because you decided to take three turtle doves in payment
\nfor your work instead of cash, so long as it works for you and your buyer. It
\nis though, probably worth bearing in mind that as cute as Turtle Doves are,
\nthey\u2019re not great at paying the bills.<\/span><\/p>\n

If
\nthere was any kind of etched in stone rule in the art world, it should be that
\nindependent artists should stop worrying about what the not-so-independent art
\nworld hierarchy is telling them to do. If you\u2019re worried about how you are
\nviewed by the purists, I\u2019m not convinced you\u2019re at that point, any more independent than an artist who is tied to a gallery contract. You have to dare
\nto be different. \u00a0<\/span><\/p>\n\n\n\n\n
\"Toucan<\/a><\/td>\n<\/tr>\n
Toucan Play This Game by Mark Taylor – This fun piece is available from my online stores! Copyright 2022 – All Rights Reserved.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

What
\nall of this means, of course, is that you now have a duty to be less corporate
\nand more you, and that goes for everything you do including how you present
\nyourself online. From emails to your website, people are looking for authentic you
\nrather than boardroom you.<\/span><\/p>\n

Do you
\nwant to know what kind of emails I stop what I\u2019m doing to read? Those that aren\u2019t
\nfilled with generic corporate B\/S sent out multiple times a day. You don\u2019t have
\nto follow a traditional corporate template that sounds like it was written by a
\ndeskbound robot. The difference between pre-pandemic email and email in the new
\ndawn of independent creators is in the tone of the email and the frequency. <\/span><\/p>\n

This
\nmorning I checked my emails and found three from the same company that had
\narrived overnight. This afternoon, another three from the same company. Sure,
\nthey were all trying to sell me different versions of the same widget, but I
\ndon\u2019t have the time to be reminded every 90-minutes about a widget I didn\u2019t
\nsign up to hear about in the first place. <\/span><\/p>\n

The
\nemail I did read was one that I get in my inbox maybe once a month, sometimes once or
\ntwice a week, depending on the story the author of the email is sharing with me.
\nI can relate to the author, we share the same interests, the communication is
\nless corporate and more friend, I can get behind that, it feels more personal,
\nless like I don\u2019t have a choice, and it\u2019s not screaming desperation. <\/span><\/p>\n

I do get
\nit, you sign up to an email marketing platform that gives you maybe 500, 5,000
\nor unlimited emails a month to send out to potential clients, that\u2019s not a
\ntarget you need to strive to meet, it\u2019s an arbitrary number linked with
\nwhatever price tier you subscribe to of the email service you use.<\/span><\/p>\n

I once
\nread something that suggested that an average year of emailing has the same
\necological impact as driving a couple of hundred miles by a gas-guzzling car. If
\nthat truly is the case, then just the act of cutting down on the number you
\nsend will have an impact on the environment. Instead of the typical, do you need to print
\nthis message off, save the trees, straplines, you can at least highlight the
\nfact that you are reducing filler content\/spam. If you are sending emails, you
\nabsolutely have a responsibility to respect peoples time.<\/span><\/p>\n

The
\ncompany that sends me at least nine emails a day must be surely responsible for a
\nbig chunk of global warming. I\u2019m not sure how accurate those figures are, but
\nnot having to think for five minutes about filler content that absolutely no
\none reads will gift you with some time back that you could spend doing
\nsomething useful, or having a nap, both equally less corporate than buy this, or
\nthis, or that, and make our shareholders happy.<\/span><\/p>\n\n\n\n\n
\"Hot<\/a><\/td>\n<\/tr>\n
Hot Flamingo by Mark Taylor – Available to order now from my stores! Image – Copyright Mark Taylor 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

There\u2019s
\nsomething else that these superstar creators are all doing in this new world,
\nand that is, they are giving themselves permission to think of their art
\npractice as being a business rather than a hobby. There\u2019s no room for the meek
\nto hide away thinking that if they come out and announce to the world that they
\nare a business owner they will be laughed at by the purists, or they will be
\nseen as being a sell-out. In the art world, you really can\u2019t win either
\nargument, so don\u2019t even try. Think of your practice as anything less than a
\nreal business and it will always be less.<\/span><\/p>\n

We
\noften talk about finding our place in the art world, but I am a big believer in
\nmaking your own place in the art world. Stop falling in line with the safe
\ntrends that everyone else is doing and following, that\u2019s not how you create a
\nwhole new art movement, and it seems to be a much less useful approach in a
\nworld that has changed so much. The world this side of the pandemic is far more
\naccepting that you can define your own place in the art world by being your very
\nown kind of weird. <\/span><\/p>\n

There
\nreally is no point in simply trying to fit in. Do that and you will blend into
\nthe background along with everyone else. Follow your weird and stand out
\nbecause as an artist, that\u2019s your mission, to be honest, it always has been.
\nThat\u2019s how much the art world has changed in the past couple of years, buyers
\nare being less safe in their choice of art and someone has to feed their newfound appetite for different. In fact, I\u2019m not even sure all that much has
\nchanged in that respect, maybe what has changed is that buyers are more
\naccepting of not following the current trend or the most well-known name.<\/span><\/p>\n

You
\nalso have to put the hours in\u2026<\/span><\/b><\/p>\n

In
\nknowing your place you also have to look beyond your talent and just get on
\nwith putting the work in. That\u2019s how these superstar creators are suddenly
\nbuilding tribes. They\u2019re figuring out that the world changed and people are
\nmore into making deep connections with other people today than maybe they ever
\nwere before. Hey, we\u2019ve all been mostly locked inside for a few years, now we
\nyearn for that human interaction again. <\/span><\/p>\n

These
\ncreative rockstars are suddenly working out that relationships matter. Be it by
\nemail or on social media, there is less of a distance between the buyer and the
\ncreator. More than that, these creators know that building relationships are
\nnot only the key to bringing people on board, they understand that any
\nrelationship is better if it is built on trust, and that takes a little time to establish.<\/span><\/p>\n

Look
\nthrough the comments on social media, through the interactions in the creator’s
\nonline presence, the creators are talking directly to the buyers, more
\nimportantly, they are responding and respecting that someone has given up their
\ntime to engage. What you will also notice is that tribes are talking to each
\nother, there\u2019s way more interaction than there was before.<\/span><\/p>\n

What
\nthese rockstar artists are more aware of is that they are competing, not with
\nother artists, but for peoples time and attention. They are competing to be
\nheard and noticed and not to be drowned out by all of the noise. They\u2019re listening
\nto their tribe and they\u2019re telling their story, and if they\u2019re not telling their
\nstory, they\u2019re at least telling people how and why they\u2019re creating what they\u2019re
\ncreating. They\u2019re absolutely talking about the \u2018why\u2019 their art exists.<\/span><\/p>\n\n\n\n\n
\"Adrift<\/a><\/td>\n<\/tr>\n
Adrift Under a Neon Sky by Mark Taylor – Available on a wide range of products, even jigsaws! Image copyright Mark Taylor 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

That\u2019s
\nsomething that feels completely different in the new world, \u00a0this engagement alone is as much a part of the
\nart as the art itself. The art is only half of the conversation the artist is
\ntrying to have with the world. If we were to simply post our latest creation and
\nthen move on without saying a word, I\u2019m not sure at that point we can even say
\nthat the artist matters. The art could have been created by a robot, and it is
\nbeing noticed by buyers more than ever before. <\/span><\/p>\n

Many
\nbuyers are going to the exact same places as they did before, but now we have
\nnew buyers who might have discovered art for the first time during lockdown.
\nThey\u2019re certainly still looking in the traditional places, especially where
\nthose places exist online, but they\u2019re also more accepting that great art isn\u2019t
\nexclusive to a gallery, and they are most definitely finding out that the most
\nunique art is rarely, if ever in a gallery.<\/span><\/p>\n

More
\nand more people I talk to have been mentioning just how much they\u2019re looking
\nfor unique works through platforms that might not have been front and centre
\npre-pandemic and one of those platforms is Patreon. It\u2019s a whole new way (that
\nexisted before) of engaging those who are moving away from the traditional
\ntransactional process of acquiring art.<\/span><\/p>\n

Back
\nin the day when artists were artists, and the plague ran rampant throughout the
\nworld, artists would have patrons who would support them so that the artist
\ncould spend their days creating masterpieces and they would be fully funded to create
\nwhilst taking steps to avoid catching the plague. What a time that must have
\nbeen.<\/span><\/p>\n

Okay,
\nnot much has changed really, apart from fewer artists today can rely on a
\ntraditional patron funded art career. Where traditional patronages exist today,
\nthey\u2019re also a lot different to patronages of the past, they often come in the
\nform of residencies, or through brand collaborations, and that also means that
\nthe artist tends to now have to do a lot more than simply focus on creating.<\/span><\/p>\n

What
\nyou can do today is crowdsource a group of patrons to cover your costs and fund
\nyour art career using the power of modern technology and a platform called
\nPatreon. If people like what you do, they can each pay a small (or large) sum
\nof money to support you and in return, they will claim rewards for backing you.
\n<\/span><\/p>\n

Patreon
\nis something that as an artist, I can get behind because it takes art back to
\nits very roots in society. This is how artists would be more typically funded
\nat one time. Today we tend to focus on the artist who creates the artwork but
\nduring the renaissance, for example, it was the patron or a collective group of
\npatrons who would dictate the cost, materials, size, location and subject
\nmatter of the artwork, the artist would be almost secondary. <\/span><\/p>\n\n\n\n\n
\"Mountain<\/a><\/td>\n<\/tr>\n
Mountain by Mark Taylor – This is one of my older works, it’s also my best selling work ever! Copyright Mark Taylor 2015 – 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Today,
\nartists are mostly in control of the entire creative process, Patreon doesn\u2019t
\ntake any of that benefit away from artists. The creative process is still mostly
\nowned by you, you determine what you create, but your backers will generally
\nonly back whatever resonates with them, so you will need to take their lead.
\nThey can pick and choose what and who to back, and that\u2019s the key, whilst the
\ncreative process is entirely your own, you will need to keep backers hooked.<\/span><\/p>\n

When I
\nmentor new (mostly younger) artists, setting up a Patreon account is often one
\nof the first things they think about doing, and this is where I always advise a
\nlittle caution. Namely, that Patreon is just as uncertain as any other sales
\nmethod, until such time that it\u2019s not. <\/span><\/p>\n

You will
\nhave way more flexibility to be able to build direct relationships with
\ncollectors rather than irregular or casual buyers which in itself sounds like
\nany artists ultimate dream, but the keyword here is relationship, and Patreon
\nrequires you to build and nurture relationships over the long term. It\u2019s not a
\nfive-minute fix to fund your previous or current poor life decisions before becoming
\nbored with the whole thing and moving on when the money doesn\u2019t flow in
\nimmediately. Think of it as sowing a seed in the spring, it could very well be
\nnext spring before you see green shoots.<\/span><\/p>\n

Patreon also isn\u2019t something that should be taken lightly. Supporting different tiers
\nof donation requires you to do something other than just create art, it
\nrequires you to invest time in making sure that any rewards are indeed rewarded
\nto those who have shown support for you and your work. You will also need to
\nmake sure that rewards reflect the level of contributed funding. If I\u2019m
\npledging five bucks a month, my expectations are that my reward should be
\nsomething worth less than five bucks, if anything at all other than the
\ncreative output and knowing I have supported a creative. If I\u2019m pledging a
\nthousand bucks per month, my expectations might be a little different, it\u2019s
\nsubjective, it depends on the audience. Some backers (as in, few) will be happy
\nto pay a thousand bucks a month for little to nothing other than a feeling of
\nsupport in return, others might expect a vial or two of blood. <\/span><\/p>\n

If you
\ndon\u2019t have enough time or think you won\u2019t have enough time to fully commit to
\nPatreon or any other service just like it, don\u2019t do it, or at least limit what
\nyou do with it until you can support your supporters properly. You will need to
\ngo into any Patreon activity in a position of being prepared. I know of far too
\nmany creators who have signed up to the platform, suddenly gained traction, and
\nthen had no plan at all to deal with rewards and it has turned out to become an
\nunmitigated disaster with plenty of disgruntled backers deciding not to back
\nyou at all. <\/span><\/p>\n\n\n\n\n
\"empty<\/a><\/td>\n<\/tr>\n
A Perfect Day by Mark Taylor – Available on a range of archive-quality print mediums, and now, as a jigsaw too! Order from my online store today! Image: copyright Mark Taylor 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Patreon
\nis also not some golden panacea to riches either, I can\u2019t stress this enough. It
\ntakes an insane amount of effort on your part to set up and own a process that
\nbackers can trust and find value in, and an insane amount of effort to fulfil
\nrewards once you start to build up the number of backers. You might even need
\nto think about outsourcing some of this work down the line.<\/span><\/p>\n

It
\ndoesn\u2019t at all, negate the need to carry out marketing which will be a bit of a
\nblow to those who already struggle with the work involved in surfacing your art
\nin front of potential buyers through more traditional approaches. It\u2019s also worth
\nbeing mindful that any serious level of income is not likely to happen
\novernight. Patience is itself an art.<\/span><\/p>\n

When
\nsetting up your Patreon campaign, never, ever, over-promise, and never
\nunderestimate just how much work is involved in making sure that rewards are
\nsent out in a timely manner, particularly where a physical process is involved
\nin delivering physical items. <\/span><\/p>\n

Just
\nin terms of shipping, you will want to make sure that you are not spending more
\nmoney on getting a product into people\u2019s hands than you earn from the campaign because that would mean that you become the backer of your supporters, and
\nthat\u2019s also not how it\u2019s supposed to work. You really need to have the mindset
\nof a CEO to create a successful Patreon campaign, and that means being
\nrealistic, robust, resilient, and willing to put in a heap of effort for
\nany level of reward, small or big. <\/span><\/p>\n

That
\nlatter point might sound blindingly obvious to most folk, yet there are creatives
\non Patreon, even today, who can\u2019t possibly be making more in income than they
\nspend on outgoings. This doesn\u2019t surprise me one bit, humans don\u2019t much like
\nplanning, and fewer still like to get to grips with how to run a business
\nbefore they begin to run a business. Top tip here too, learn the basics of
\nbusiness before you start any journey towards selling your work, in whatever
\nway you sell it, you should even approach Patreon with a business-first mindset.<\/span><\/p>\n

You
\nshould also never underestimate the sheer amount of work that is involved in
\norganising the logistics of any physical shipping method. Patreon is a global
\nplatform and as such, your logistical issues become global logistical issues as
\nsoon as you go live. You also need to ask yourself some very probing questions
\nsuch as, how do I scale if it takes off, what\u2019s my plan B, and am I exerting
\nway too much effort\/funding\/energy\/will to live, for what I get in return, and
\nif so, can my energies be refocussed on doing something else that has a better chance
\nof reward.<\/span><\/p>\n\n\n\n\n
\"artwork<\/a><\/td>\n<\/tr>\n
1 UP – A classic retro-inspired vintage gaming technology artwork by Mark Taylor – Copyright 2021 – 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Can it
\npay off? I know of a growing number of creators who now solely generate their
\nentire income through using Patreon and some of them live very well on the
\nmodel, some can even afford to live in proverbial palaces in the Bay Area of
\nSan Francisco, yes the rewards can be that good. <\/span><\/p>\n

This
\nis a model that has the potential to replace the nine to five and the
\ntraditional sales process, even with as few as a couple of thousand patrons
\npaying you the cost of a cup of coffee each month, but don\u2019t expect it to be
\nquite like a regular nine to five. It also scales really well, with the only
\nsingle point of failures being in your ability to keep creating and your
\nability to keep on top of getting the rewards out on time.<\/span><\/p>\n

While
\nit can pay off, you will need to take a cautionary approach to thinking about placing
\nall of your creations (eggs) in one (virtual) basket! Never think that the
\namount that has been pledged will be what you actually receive, you will need
\nto pay fees from anything you make. <\/span><\/p>\n

Another
\ncautionary note is around the level of fall off in supporters you might
\nexperience with what is essentially a slightly adapted subscription model.
\nThere will never be any guarantee that someone who pledged this month will
\npledge at all next month or ever again. So, as a single source of income, it can
\nbe unpredictable, but in fairness, that can be the case with any sales process.
\n<\/span><\/p>\n

What
\nyou are doing with these types of platforms is betting on the subscription
\nmodel staying in vogue in some of the most uncertain economic times the world
\nhas probably ever faced. What you are doing with a traditional sales process is
\nbetting on that exact same thing. <\/span><\/p>\n

As a
\nplatform, it remains only a single piece of a larger puzzle, you still need to
\nhave other elements in place such as somewhere to physically live online so
\nthat you can host content and go deeper than the platforms allow and you need
\nsomewhere where you can focus on building relationships with your supporters.
\nIf you see Patreon or any of the multitude of services like it as the only
\npiece of the puzzle that you need, it might be more prudent to find a simpler
\njigsaw.<\/span><\/p>\n

At
\nits simplest, these kinds of platforms are recurring payment systems. They essentially
\ncollect rent in return for managing payments. Signing up doesn\u2019t give you a
\nready-made audience or extend your reach further than you already have it,
\nthose elements still need you to put in the marketing work to make it happen,
\nbut these platforms will make the backers experience way simpler, and that is
\nreally, really, important. Backers are looking for the kind of simple that you
\nmost likely don\u2019t already offer.<\/span><\/p>\n

Having
\nsaid that, despite the work needed, Patreon is a platform that is well
\nrecognised but never plan on it lasting. Hopefully, at some point, you will
\noutgrow it and be able to stand alone with your own business model and your own
\npatron base. You do have to be mindful of the fees, some of my peers who have
\nfound success on the platform are paying monthly fees in the high four figures,
\nbut there\u2019s no gain without at least a little pain as they say.<\/span><\/p>\n\n\n\n\n
\"Pool<\/a><\/td>\n<\/tr>\n
Pool Party by Mark Taylor – One of my best selling works that promises to add some tropical fun to any space! Image copyright Mark Taylor 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Art
\ncollectives are becoming huge, simply because they generally offer some of the
\nmost unique art from the most unique artists but without the overhead, you would
\nfind from a premium high-end gallery. I have been a champion of art collectives
\nfor what seems like forever, where a number of artists share the workload, the
\nfee\u2019s, and ultimately, the buyers. <\/span><\/p>\n

That
\nlatter point might seem like a real rub, but there are multiple models that
\nmake sense for collaborative efforts. Online exhibitions, online auctions, even
\nart rental, but it only ever makes sense if each and every creator is signed up
\nto the same playbook and they actually contribute an equal amount of effort
\ntoo.<\/span><\/p>\n

There
\nare things that you will need in place to be able to do this, firstly, you will
\nneed to form a collaboration with like-minded artists who all share a common
\ngoal. Next, you will need to decide on a model that each of you can run with,
\nor at least live with, and finally, everything has to be done with the utmost
\ntransparency. <\/span><\/p>\n

The
\ndifficult part is in finding a collaboration that works for everyone. Sure, it\u2019s
\neasy to find artists who say they want to collaborate, it\u2019s quite another thing
\nto find a bunch of artists, all equally as committed to pouring their art and
\nsoul into a collective effort. In my experience, collaborations stem from
\nexisting relationships that have been built around mutual trust and respect,
\nand even then, it all needs to be formalised in writing, even if you are
\nworking with your best friend. Think of it as a pre-nuptial agreement, money
\ncan become quite divisive, especially if the contribution of effort has been
\nlacking from one or more sides of the collaboration. <\/span><\/p>\n\n\n\n\n
\"storage<\/a><\/td>\n<\/tr>\n
Storage Wars by Mark Taylor – Another vintage technology inspired artwork that documents computer storage media from across the decades – pre-1970s to the present day. Image, copyright Mark Taylor 2022 – Available to order from my online store!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Art
\nrentals are a great way to keep art moving, but you will also need to consider
\nthe arrangements under which the art is essentially rented. There are
\nlogistical issues, insurance, cleaning and maintenance fees, and the cost of
\nreplacement work for works that have become damaged or lost. It happens more
\nthan you would think, especially in hotels (it gets stolen) and in public
\nspaces (it gets kicked).<\/span><\/p>\n

You
\nalso need a constantly evolving inventory, but the joy of this model is that
\nyou can find repeat income from the same work. My rental works are provided
\nunder a collaboration of six artists, each of us committing to produce a
\ncertain number of new pieces each year, and we also offer a final rental price
\nwhich means that the longer the art is rented, the lower the cost of outright
\nownership at the end of the rental. The rental covers the added costs of
\ninsurance, hanging services, cleaning, and replacement.<\/span><\/p>\n

Print
\nmaterials are always at the premium end of the quality scale, not least because
\nthat reduces the ongoing replacement costs, but also because premium materials
\nattract a premium price, and very few businesses will be inclined to have a
\ndollar store quality print hanging on public display in their reception,
\nneither will they want something so small that it has little to no impact so you do
\nhave to think big. You also have to justify the price you set, surprisingly,
\nthe image alone can\u2019t do that because it\u2019s the same image that might also be
\navailable as a dollar store print.<\/span><\/p>\n

The
\ndownside to this model is that the upfront costs can be high, you\u2019re
\nessentially paying wholesale prices for your own work on top of the cost of
\ncreating it, and that\u2019s before you earn a dime. But savvy businesses are keen
\nto have truly never before seen work hanging on their walls rather than a
\ncostly reproduction that\u2019s also on display in every other hotel room and in the
\nnew world, they\u2019re super-keen to switch things around without the feeling that
\nthey need to sell an existing piece before they replace it. <\/span><\/p>\n

The
\npoint to remember with a rental model is that you really cannot skimp on
\nquality, even at the beginning. It takes a little time to recoup any
\ninvestment, I tend to place work for between 6-12 months before I see any
\nkind of profit so you will need to factor in an immediately high outlay, but at
\nsome point, it will, or at least should, become a reasonably passive income and
\nyou should then have time to focus on other things.<\/span><\/p>\n

You
\nwill also be approached by artists who want to join the rental scheme and offer
\ntheir work. Think of this as the equivalent of someone buying into your
\nbusiness, (most are put off when they realise there are costs) and it will water
\ndown any income if it is equally shared. Only encourage this if you need more collaborators
\nwho will collaborate and be part of an overall collective of artists sharing
\nthe work\/costs equally. \u00a0<\/span><\/p>\n\n\n\n\n
\"retro<\/a><\/td>\n<\/tr>\n
Tun it Up by Mark Taylor – Another classic piece that will transport you back to decades gone by! Available to order from my online stores! Image, copyright Mark Taylor 2021-2022<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Art
\nauctions, both physical and online can also work well for an artist collective
\nto engage with, particularly where those auctions also support wider community
\ncauses. Whilst there is nothing stopping a solo artist from going down the route of
\nauctions, it does become a richer experience for the buyer if they are able to
\nsee and select from a wide range of work created in different mediums, at
\ndifferent price points and from a selection of genres.<\/span><\/p>\n

The
\nshift towards homemade, quality and local\u2026<\/span><\/b><\/p>\n

Maybe
\nbecause we couldn\u2019t travel for a couple of years, but the pandemic and the
\nassociated lockdowns began to drive local trade, the search for unique quality
\nproducts, and a realisation that people are putting way more thought into
\nsustainability. <\/span><\/p>\n

Community-based art projects that raise local awareness of issues and initiatives can be
\na vehicle, as an artist, you are not only in a position where you can
\nvisually document what\u2019s important in your community, you can become a vehicle
\nof change within your community, raising your own artistic profile on the way. Bear
\nin mind that community projects should be more community, less you.<\/span><\/p>\n

I have
\nsaid this many times over on these very pages, but if you are not engaging your
\nlocal community with your creations, you are missing out on one of the best
\nsources of exposure, repeat business, and gaining recognition for what you do
\nwhich may then be more widely recognised further afield. <\/span><\/p>\n

Artists
\nhave been at the heart of communities for centuries, yet in the 21st<\/sup>
\nCentury it seems easier to find yourself serving a global market than a local
\none, and that could mean that somewhat ironically, you are missing out on many
\nmore sales. <\/span><\/p>\n

That
\ntoo might seem counterintuitive, but to compete in a global art market is
\ndifficult. Despite the relative ease of entry, given all of the online tools
\nartists now have at their disposal, the act of working in a global space makes
\neverything more challenging, not least in the amount of more nuanced,
\nhyper-focused marketing effort that you need to put in. <\/span><\/p>\n

Your
\ntarget market might be similar in other territories and regions but the
\nmarketing message will very likely need to be different to match what
\ngeographically disparate cultures respond better to. If you\u2019re struggling to
\nfind sales with the odd scattering of social posts, here, there, and everywhere,
\nin the hope that anyone and everyone will see and respond to that post while making
\nyour message resonate with twenty different cultures, you need to be mindful
\nthat sending a coherent marketing message that resonates in each community, is
\ngoing to be a whole new level of character building. <\/span><\/p>\n

The
\npoint here is, if you had any sense of dislike for marketing before, try doing
\nit properly across multiple territories. Despite the saying that goes something
\nalong the lines of, the art will sell itself, yep, no, it doesn\u2019t, even if you’re pretty darn close to being the next Matisse. Art will sell itself, is just
\nabout the biggest myth there is beyond, your creativity will be discovered very
\nquickly.<\/span><\/p>\n\n\n\n\n
\"Pisces<\/a><\/td>\n<\/tr>\n
Pisces by Mark Taylor – Like a fish out of water, this work is also available from my online store! Copyright Mark Taylor 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

I
\nthink, we truly are witnessing a seismic shift in the behaviour of buyers, we\u2019re
\ncertainly seeing a democratization of the art world and we are finally seeing
\nindependent artists find the level of success they deserve. There have been
\nplenty of creatives who have proven throughout the pandemic that it is possible
\nto generate a good living from their creative endeavours by embracing change
\nand adapting to have a much more entrepreneurial spirit.<\/span><\/p>\n

I so
\noften speak to independent artists who feel like they are running on the spot
\nand getting nowhere fast. Art has always been a long game, especially for those
\nartists who are chasing the unicorn we call, \u2018getting discovered\u2019 as if that in
\nitself is some kind of golden ticket. What the pandemic has shown us, is that
\nthe art world that the majority of working artists create within, has embraced
\nsome seismic changes and it is entirely possible to have a successful art career
\nwithout the pursuit of stereotypical discovery, but you will have to be willing
\nto embrace difficult and challenging and put your business front and centre of
\nwhat you do. You are not selling out by making a living.<\/span><\/p>\n

When
\nyou talk to or read about those previously unknown creatives who have found a
\nlevel of commercial success throughout the pandemic, the one thing that you
\nmight notice is that their attitudes towards running their art practice as a
\nbusiness have been a departure from pre-pandemic times where waiting to be
\ndiscovered was their primary objective. Top tip here, no one gets paid to wait around.<\/span><\/p>\n

Now,
\nthose creatives are more like CEOs of startups, embracing entrepreneurship and
\nactively doing things that get them noticed, things that we\u2019re not all that
\ncomfortable with, and things that make you get up at 5am, the difference is
\nthat you will want to get up at 5am if you get it right. <\/span><\/p>\n

Those
\ncreatives are also more likely to have a plan, and they\u2019re more likely to spend
\ntime searching for things that will make them stand out rather than searching and waiting, for the golden ticket that is discovery. They are being discovered
\nin a totally different way, and more importantly, on their own terms. That my
\ndear friends sums up just how much the art world has changed. <\/span><\/p>\n\n\n\n\n
\"Dry<\/a><\/td>\n<\/tr>\n
Glow Over A Dry Stone Wall by Mark Taylor – one of my favourite paintings that I created a couple of years ago. Also available on jigsaws, and the ultimate in luxury, museum-quality acid-free prints! Copyright Mark Taylor 2022<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Hopefully,
\nthis post has got you thinking about how the world has changed and given you a
\nfew new ideas about how you might want\/need to engage with your market in the
\nfuture. It\u2019s difficult to predict with any degree of accuracy what might happen
\nthis time next year or even next week and less so in the art world, but there
\nis little doubt that buying behaviours have changed dramatically and we really
\nneed to respond differently. <\/span><\/p>\n

There
\nare so many marketing guides out there on the \u2018tinternet\u2019 that have been
\nwritten by marketing gurus and huge organisations who will all readily share
\nmost (but never all) of their secrets to success. They\u2019re often brilliant, even
\ngenius, and tell you exactly what you need to do to get results. Except, they
\ndon\u2019t really tell you anything that is relevant because you\u2019re not playing in
\nanywhere near the same space. A giant corporations marketing budget is likely
\nto be more per week than most working artists make in a year, so following the
\ncorporate master plan is more likely to frustrate rather than help.<\/span><\/p>\n

I come
\nto this from a lived experience perspective. Three plus decades in, there\u2019s a
\nheap more I probably got very wrong than I got right along the way, and I never
\nonce followed the fail-fast method of learning. I often failed slowly, frequently,
\npainfully. What has though become more and more obvious throughout that time,
\nis that when your market changes for whatever reason, you have to change, adapt,
\nand embrace it.<\/span><\/p>\n

About
\nMark\u2026<\/span><\/b><\/p>\n

I am
\nan artist and blogger and live in Staffordshire, England. My days are filled
\nwith art, dog walking and Teams Meetings, while still being stuck somewhere in
\nthe eighties. You can purchase my art through my Fine Art America store or my
\nPixels site here:\u00a0https:\/\/10-mark-taylor.pixels.com<\/a>\u00a0\u00a0\u00a0and you
\ncan purchase my new works, special and limited editions directly. You can also
\nview my portfolio website at\u00a0https:\/\/beechhousemedia.com<\/a><\/span><\/p>\n

If you
\nare on Facebook, you can give me a follow right here, \u00a0https:\/\/facebook.com\/beechhousemedia<\/a>\u00a0
\nYou can also follow me on Twitter @beechhouseart and on Pinterest at\u00a0https:\/\/pinterest.com\/beechhousemedia<\/a><\/span><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Make Your Own Place In The Art World Here we are in 2022 and it might seem counterintuitive to suggest that there are alternatives to selling your art that can still see you earning a good standard of living as an artist, by not following a traditional path through the art world. 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