Getting a leg up

Love what you say, Robert, about getting a leg up…I save great reverence only for the masters of old, actually, because of their skills (those I have seen when I have been fortunate enough to travel to where their works are hung), and respect and admiration in degrees, for present day artists who work hard at it – maybe for the money but essentially because they love what they do. Nowadays, I even think art college was good only because it forced a discipline/habit to continually be doing something about art, and, not necessarily for the lessons offered.

I have to respond to this letter on two counts. The first was a self-styled music director (working professionally) with whom I worked many ago. He was simply awful, incompetent, devoid of ideas. He did little more than beat time, most of his flapping gyrations being accompanied by little jumps from the podium, which became big jumps when the music got louder or he completely lost control. All forgivable maybe, but in his resumé he had recorded that he was a student of Herbert von Karajan, who, as musicians and music lovers know, was a really great music director who did not resort to such antics and certainly didn’t teach them. In fact, this “student” had once sat in on a workshop (in music workshops you can be an active or passive participant – I expect that’s possible in art, too???) and built his entire conducting career on that claim. My second incident concerns a young woman who came to me for voice lessons. It turned out out that she had no sense of pitch or rhythm, and after struggling to impart a little of each for many months, I sent her away. A few years later she had found a soulmate, an amateur actor, and started a small review theater with him (on the side). I was told that she was using my name in her CV as her voice teacher and mentor. Since this woman could absolutely not sing, it was casting a negative light on my work as a teacher. I wrote to her and told her to remove my name. It must be annoying for any skilled teacher to be confronted with the fact of having ostensibly taught someone who is not able to produce the goods. I know I was disgusted! The problem is that, whatever you are teaching, you are only going to get about 5% talent alongside 95% would-bes. As a self-taught painter I would definitely count myself as a would-be (hopefully borderline) and feel most uncomfortable with the idea of claiming to be the product of the artists I admire and try to learn from. In my view as a musician, it’s fine to make music, but unfine to claim a musicianship/skill you do not have.

PS The number of singers leaving music college with a qualification who actually pursue a professional singing career of any note is put at about 1% – and that’s a generous estimate. I should think that proportion also applies to those who attended an art college or the equivalent. The proof of the pudding….

Very well said dear sir, I too am an autodidactic artist ( oh there’s the spin) Ha ha. But I have done well. MY community thinks of me as a professional artist, I have teacher with Degrees invite me to teach in the AP classes in high school. I have had art chosen to hang in National Shows and am always being asked to teach someone. But I have had the OH it when I am asked to par take in government sponsored things. They do not like non educated artist. I feel good about what I do and have brought to my community as well as what has come to me after years of painting and sculpting. The only regret I would have is I would love to sit in on a college class to see what I missed. Other than the paper to carry I wouldn’t know. I do know this. That the people I have spent tie with to help get into the “art world” who have degrees typically ( not saying all) are very rigid and usually are uncomfortable stepping outside the classes room and trying new things. Kimberly

I have degrees and some credentials, I think it helps when you want to teach classes or workshops. People like to have some way of knowing if you can teach them something. On the other hand, I think it is true that too many classes and credential chasing can inhibit creativity and prevent the artist from trying new things. Human nature I guess, even though judges usually reward creative pieces. I have been teaching and still want a couple credentials that I don’t have yet, but at some point, want to just paint for myself.

Two sad stories. I had a friend who painted funky simple animals. She approached the wonderful Visionary Art Museum in Baltimore with her work. They said she was too educated. That made both of us laugh. It was in that same museum that I read the wall text about an artist who said he buried his work after he did it, because he thought you had to have a license to be an artist. That made me cry.

Credentials look good, and they’re often the only way bureaucrats decide who will be considered for the job. But as most of us know, an art education can be wonderful or useless, depending on who your teacher is. There are so many really silly ways that art is evaluated; the worst, I think, is the idea that art isn’t any good unless you need a translator (art critic) to understand it.

Ars gratia artis…

“getting a leg up” is such a strange expression…you must have heard it from Dorothy.

I’ve been doing a self-published art magazine for over 20 years. No credentials. Works & Conversations has been coming out since 1998 [ it was preceded by an earlier magazine]. As for my own art, no credentials, no mentors etc.

Of all the galleries I’ve shown in– California to Georgia, Florida to New York, Taiwan to Germany — none has ever asked if I had a degree or what art school I attended. I don’t and I didn’t.

I am really puzzled by this degree versus “self taught” controversy. Since when does a degree deliver a state of accomplishment, other than the act of paying a certain amount of money and attending a predetermined number and kind of classes. I suppose if I had a degree in art I would be tempted to use it to step over the heads of others, but we all know that there are plenty of people running around with art degrees that can’t find the broad side of a painting. An art degree doesn’t make a good potter, why would it make a good painter? The problem with not having a degree in art is we don’t have an advocacy group. We don’t get the benefit of the doubt or a leg up from those who attended the same school. We don’t come before the Judges with a stamp of approval. What we need is a juried society, guild, or other organization open only to those lacking a formal, preordained, structured education in art. That would be an interesting thing to see!

I really liked your advice not to play in either sandbox! You are so right!! Once someone asked me to write a resume – and I said that the only resumes that count is the one that the artist writes when he has the brush in his hand.

Unfortunately, its true that some collectors and galleries want a resume to bolster their opinion and it seems to justify the prices paid. At some level a price may become a throw away type item, and you may get materials cost or a little more and that may keep you working. Some galleries specialize in outsider art – specifically those without the formal training. It is true though you can “breakthrough” without the degree, and its also true the degree will only get you so far. If you can do them, art and wine festivals can be a good way to develop a following and it is sometimes possible to graduate from them. No doubt about it though, art for art’s sake is tough. There is so much competition – TV, movies, music, books, theater and small things like food, clothes, shelter, cars, education, cheap art found in Wal-Mart etc., family pictures, friends pictures, posters of the masters, magazines etc. ….. and then art and art appreciation is not taught in schools and times are tough. Then too you need something that people respond too, want on their walls, and …….. Its tough but you have to find, collect and cherish fans. Hopefully a couple of them will be influential/trend makers and willing to push for you.

I would suggest that some of both is the better scenario. Credentials AND hard work tend to make the better artist. There is far too much work showing publicly that has too little of either. How does the public know what is good work if we don’t educate them? A few art classes and enough money to buy paint doesn’t make a good artist.

Why do people bother with shows anyway? I like a quote from a Woody Allen movie when he said that ‘he would never want to be part of a group that would have someone like him as a member!” So many amateur and professional painters abuse themselves with this show process and to what end? There rarely are sales of any kind and usually plenty of expense. Absolutely no one cares if you get in or don’t get in. It’s a lose/lose situation. I would hope your writer, Donna, could find other ways to gain satisfaction from her considerable and laudable efforts at improving her artwork. It’s really about gaining satisfaction in the end. If you get satisfaction, you will continue in art. If not, you won’t.

My take on the credentials issue is that novice collectors, especially those for whom the purchase price is a stretch, use credentials to help convince them of the value of the art they are considering buying. If an artist does not have “instant name recognition” or an arts pedigree of degrees and awards, the potential buyer may not feel that the work is really worth the price, regardless of their own enjoyment of the piece. I suppose this could occur at any price point, but I know it happens fairly often at our local, cooperative gallery.

A few classes at the neighbourhood art supply store are about the extent of my official studies, so a lack of confidence has been a big factor for me. What to put into that sales pitch – the “artist’s statement”?

My freshman advisor at Yale (1959) was Neil Welliver- the “Dean of American Landscape Painting”. I met him once, during freshman orientation week. Since he is now deceased, I am free to drop his name with impunity. . . I have enjoyed your twice weekly letters for a number of years, and always find them useful.

I thought I had caught you out on your spelling of practice today; in England “practice” is a noun and “practise” is a verb. But it seems that in the States “practise” applies to both verb and noun. As Oscar Wilde wrote: “We have really everything in common with America nowadays except, of course, language.”

Instead of a resume, why not create a short bio/philosophy. Include only where you are from, possibly how long you have been painting (here you can add workshops or private study) and a bit about what inspires you and how you feel about your work. It should flow like you were explaining yourself to someone. This is more interesting to someone interested in your work and in the end, the work speaks for itself!

I LOVE what you say about resumes and credentials – I feel completely redeemed! One of the worst tortures I could think of as a younger artist was to have to try and come up with some kind of pile of words that some hooty-tooty gallery owner or critic could accept. It didn’t help that I’d gone to 4 different institutions of artistic learning and had 12 years of elementary through independent and master training – but no degree. What could I list? I felt like more of a failure than anything. I finally started talking about how I felt about what inspired me to do a piece and what I loved about my work, and that seemed to work fine. Degrees, credentials, be damned.

Today is the day Van Gogh died, under a wide- blue sky ever alive in ‘Starry nights and wheat fields, yellow Sun, Communion~ Daring Spirit, he lives in hearts aflame, burning passions and peace in silent Creations, very early morning~ akin to the feeling of Art as Life!!!

I agree, that, while a degree and college costs do put a lot of pressure on the artist, it does make one more aware of the price a student is required to pay and usually that they want and need this kind of training in their craft. Most apprentices accept that they must attend an established trade school to get their qualifications and are there to obtain a certificate of recognition. Not so with self-taught artists who assume they do not need any kind of training. I do envy them for their amazing self confidence because I did not have this kind of secure feelings about my work after graduation. I attended summer school classes where I could honestly practice my own skills. I loved to be off doing the experimental stuff. However had I not had the grounding in the basic skills I would not have done so well as a self taught artist.

You are right as rain Robert..Amaze the natives with your class prowess..or better yet, your pieces!!! Good photography is the key to getting into stuff…..go forth and create, then photograph!!!!”

Dear Robert, In the art world, there is this bizarre misconception that there is some contract for fame and fortune you will sign if ONLY you could get a break. 90% of the money is made by 10% of the artists. Artists STILL have to put their art in galleries on consignment and trust me, getting paid is another battle in itself. 90% of the population, won’t like your work. Yeah, I said 90% and of the 10% left over, only 5% can afford it. Artists need to paint like nobody is watching, and sell their work like they don’t need the money. Most of the artists I know that I deem a success all say the same thing “It is just more work”. They key to success is to do what you love. That is to say, go into a studio with no agenda except to communicate through their work. “Do what you love, the money will follow” is a great way to live. But NOTHING is the beginning and NOTHING is the end. It is all just part of an incredible journey. I am about to turn 50 this year and while I have had some success and notoriety in my career, I am more excited about the acres and acres of canvas I have ahead of me. And I haven’t got a clue what I will be painting when i get to it. John Ferrie

I think that Donna has a legitimate concern with her question to Robert, but I don’t think it’s been adequately addressed. There are actually two concerns: Resumes and what to put on them, and being excluded from shows, representation, etc. because of lack of ‘proper’ credentials. First of all, a resume is an important tool: it is simply a record of what you have done as an artist and what you did to get you there. Listing classes at workshops and local art classes are perfectly fine, but unless you really have studied extensively with a particular instructor, and your work has been changed by doing so, I would not encourage you to list instructor names specifically (especially if the instructor would feel comprimised having ‘turned you out’ as his student, as was previously mentioned). Listing shows you’ve participated in, galleries you’ve been involved with, awards you’ve achieved, and anything else involving your work as an artist has the following effect: It lets people know that you have been doing this for a while, that you are serious about being an artist, and that you have had some accomplishments. Even if you are just starting out showing, any place you have had an exhibition (libraries, banks, Uncle Mort’s bagel place…) show that you are trying to get your work out there. In the real world, if you want to get selected by a jury for a show, or considered for a show in a gallery, your history IS important. Obviously, your actual artistic output is the most critical, but most art professionals try to avoid anyone who does not appear professional or seems like a diletente. The other part of the question is about the perceived or actual rejection based on not having the proper credentials: BFA or MFA degree. Yes, in some situations that will be a problem. If you want to teach art in post-secondary education (college or university), you will need an MFA degree, unless you are famous or started teaching years ago. However, there are many venues, galleries included, which are only interested in how much they like your work, and how committed you are. It is sometimes political; it is more usually financial. No gallery will support an artist with shows and advertising if they feel the artist is not as committed as they are, and up to the task of producing a steady stream of consistent work. As far as juried shows go, there are often parameters that, if not made explicit in the prospectus, may show the bias of the juror or jury. Believe me, we all have had to deal with that. However, having no degree (BFA, MFA) does not deter the many artists who still manage to have careers in art. The main thing is to not give up entering shows and trying to get your work out there. Occasional rejection is part of any artistic field, but put your best foot forward and create an honest, even if short, resume. And when you have to come up with an artist’s statement, write something simple and straightforward that anyone can understand- nobody likes reading hyperbolic artspeak anyhow.

To answer one of Ms. Egan’s questions, I would not say on my resume or cv that I had “studied under” an artist if I had only taken one of his classes or workshops. I’m sure that some will disagree, but I think it’s only appropriate when there has been a genuine student-teacher relationship over a period of time. I’ve seen resumes with “studied under [famous artist]” when it’s fairly obvious there was nothing more than a workshop or short class and it’s unlikely that the teacher even remembers his former student, in which case it seems silly and pretentious.

I know I have already responded to your letter Robert, but I can’t help but say, I love what Mara Frietas has to say,”THE ONLY RESUME THAT COUNTS IS THE ONE THAT THE ARTIST WRITES WHEN HE HAS THE BRUSH IN HIS HAND.” My partner would often be asked, “How long did it take you to do this?” He would answer, “ALL MY LIFE.”

This is one of the best bits of information ever, ever given to artists.

I have just read your answer to Donna Egan and couldn’t agree more with what you said, especially “Resumés are for people who need to read resumés”. One can actually get around the word ‘degree’ by saying “I have studied at — ” instead of “I have a degree from — .” I have three years of a four-year degree at Queen’s University Fine Arts and, due to circumstances, did not finish the fourth year in order to get their degree. This does not mean that I did not get some benefits from those three years. Since then, I have taken art courses and printmaking workshops in both Canada and England and feel that I have more than completed the demands of an art degree. I have a deep interest in art history and a curious mind on art techniques and the knowledge that other artists impart. I always include a statement with my work, mentioning my style and other info that may seem ‘impressive’. The measure of one’s worth as an artist lies not in a degree or other credentials but rather in the personal growth that goes with it and what a person does with what she has learned. A degree often has a ‘wow’ effect but, really, this doesn’t mean that one has studied under the best teachers. Now my resumé says “I have studied Fine Arts at Queen’s University” and if that impresses the reader, so be it. If it doesn’t, well, maybe I don’t want to be part of what they offer. This may be sour grapes but they’re not the only fish in the pond.

Having struggled with Fibromyalgia for several years now, I had experienced the accompanying memory difficulty. For my own information and because I had a hard time remembering certain events of my life, I began recording the art classes I had taken in college and at local arts groups, the places I had worked, the schools I had attended and so on. As I started to show my artwork, I made a list of the shows and dates for my own information. It wasn’t a resume really, but just something to jog my memory. In the process, I recovered many events that had been lost to me. Occasionally, something will come back to me and I faithfully record it. Before I knew it, I had a “Bio” carved out of my damaged memories. I post it on my website not to impress others, but to help me remember where I have been and to stay focused on where I want to go.

P.S. Feeling the need to respond to Faith P.’s comments, I had an instructor like you who offered less than encouragement. I felt it was his own inability to teach that was the problem. I don’t remember his name, thankfully, but your student is treating you more graciously in mentioning your name than you have treated her here with your comments. Sadly you sound terribly jaded and snobbish.

I can see Faith P’s point. It’s a good caution to rising artists who may be tempted to claim too close a connection with famous artists.

I seriously think there should be a rule to have this “studied under…” banned in all resumes. The classes or seminars, conducted by some famous and not-so-famous artists, are usually just for a day or two, unlike in the olden days when a budding artist must apprentice for months and years under the old master to have the honor of name-dropping. The meaning of “studied under…” today is totally different from what it used to be. More often than not it has spawned useless seminars and sadly for the artists, wasted money in their desire to boost credentials.

The problem regarding having ‘credentials” matters only when you want to teach in an “accredited” school or academy. Then, the school can use this as a selling point to attract students. In the real world, many graduates from arts schools, know little about art or how to teach. All they know is the curriculum they learned in school. They generally have no sales/ exhibit history and also have no oeuver except their school work. I see this again and again. What is more prevalent lately is the “ethnic” teachers. Personally I have nothing against anyone’s ethnicity. I see Chinese students seeking out Chinese teachers, and Armenian students seeking out Armenian teachers which is fine with me. Unfortunately for me I don’t see many Italian students seeking me out due to my Italian heritage. I have been told by some Chinese painters I know and love, that I had a better change of being a great painter due to my ethnicity since many great painters were of Italian decent.. This is, of course, ridiculous. What I’ve learned comes from hard work and long hours being a painter.Other than that, your work and history should speak to getting into shows. Not to mention your entry fees- which, by the way, are non-refundable.

Funny, the students who couldn’t quite figure out what I taught them use my name in their resumes, but the people who copy me and mimic my style do not mention my name.

Artists’ résumés are only for those pretentious people who think they are important just because they happen read résumés. For the art cognoscenti credentials are oh so important and the artists’ résumé satisfies that need. They need to know that ‘their artist has a proper solid grounding in the world of art’ & that ‘this artist is one of them’. Clearly a classically trained artist has few problems in this elite world they, their art & their collectors are from one common stock and they understand each other. After all how could they like, let alone buy, a painting from an outsider? Ordinary people just like to collect art that is for them is: well presented, well done, shows some skill on the part of the artist, the painting has some life-enhancing quality oh and it looks good on their wall. These so called uninformed art collectors simply collect art made by an artist because that art appeals to them. They do not care about their artists’ educational background or their training or their place in the pecking order; they just like the art. Résumés are often a problem for artists who lack the formal art training but none the less are competent artists’. What is there to put in a résumé? A synopsis of their artistic development from the pre-school crèche [oh look a learned accented ‘e’]oh and they are still painting but now retired aged 65…just how long is that piece of string? So do please excuse me being the philistine that I am. Pragmatism indicates their unimportance compared to the work of art itself. Are the past masters any less important because of their lack a current résumé? Those past masters only had years of experience without any formal education let alone a degree in art. An artist can opt not to bother trying to write a résumé. [Dear reader this use of these accented é is their because I remember them from my lessons in the use of the French language, its in my spell-check and it makes me seem more learned]. So, If you insist on having a resume [no pretention here]it’s okay to put in the names of those teachers from your classes but only if you think that might add that cachet to the fact that you are an artist. You may need to be careful who you ‘studied under’ and you might also have to leave a few out. Just in case they are not members of that magic circle of the art cognoscenti with credentials. Those good apples may have gone bad over the years too..

I LOVE the Bunny! The hen and chick! Fame tells a story in just her sitting alone…as did the children at the beach testing the waves. I paint to tell a story not to be perfect in application…or to get just get an image as I think others want to see it. I love to tell stories of courage and triumph in adversity with symbols hinned in plain view. I do not have a personal painting ‘style’ I am a realist and that is who I am so be it and I paint the beauty in my minds eye for MYSELF if someone else likes it I am happy for them. If not…I let it be there problem…!

Some weeks ago I sent in ( paypal-ed) $ 10 to lease (?) some space to promote my upcoming exhibit at the TMR library:silly me, I did’nt get around to sending in the required information and I guess, under normal circumstances the ten bucks drops to the ‘bottom line ‘. If possible, I would rather see that go into some non-profit activity that would benefit childern’s art education ! Yeah, yeah, I know – ten bucks – are you kidding ! No ! – consider it seed money for a project dearly needed in every Canadian province and, if promoted, maybe – just maybe, it could morph into something signifigant. The road to the mountain begins with one step ! Regards, Peter T regard,

I LOVE “Caramel Cuteness”! Perfectly captured with sure strokes. Keep painting!!!!!

Kristen, you’ve got your lights,your darks, your all the in betweens, now you can focus on YOUR “BIGS”…want big, think big, PAINT BIG…soon, you will have nourished your own self in a more grandiose way…just sayin’. Good Luck.

Work either stands on its own merits or does not. All else is someone’s personal agenda, and it’s usually not directly art related. Every year here there is an arts festival several days long, in a park set aside for special events. There is music — and a nice stage — food and some crafts. The only nod toward the plastic arts is a so called “sculpture garden.” There is nothing on paper, nothing on canvas or panel. To be fair, there is an affiliated show which is usually tucked away across town, most often in a commercial establishment, and not open for visitation on the days or times of the arts festival. If the musicians and “sculptors” will forgive me, it’s almost an arts festival without arts. But then again, people keep saying that painting is dead. That being said, there are no installations at the festival either. I wonder whose dream we’re living here?

I would suggest to this artist,to develop an “Artists Statement”. That can be a powerful tool. But then its all art-speak anyway. Let the art talk for itself!

Great newsletter and wonderful comments…

Not much to add to what everyone has said. But I couldn’t resist saying to Tatyana that horse people (and probably most people in the western US and Canada recognize the origin of the saying “getting a leg up”. It can be hard to mount a steed from the ground, so it is not uncommon to ask for a “leg up” from someone (who forms a “stirrup” with fingers laced together to help lift the off leg), or “getting a leg up” by using a nearby support, often placed there for the purpose. A good statement and bio can give a leg up by making you and your art seem more accessible to a potential buyer. As for CVs and resumes… eh. Not sure I want to go there.