Episode 60: Saying Yes And No




The Messy Studio with Rebecca Crowell show

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