How to Write Your Artist Statement

I've had a lot of requests lately from artists asking for help with writing their artist statements, so I'm reposting this article on the subject that I wrote several years ago for Art Calendar magazine. I hope it helps make the writing process easier for some of my followers!

Writing Your Artist Statement

By Annie Strack (c) 2007

Sooner or later every artist is asked to provide an artist statement. If you sell your work through galleries, you’ll find that most of them will ask you to provide a statement that they can refer to when talking about you and your work to a client. Art festivals sometimes require artists to display their statement in the booth. If you find yourself being interviewed by the media, the information in your statement helps to provide them with your background information and serves as a written resource for them to garner direct quotes. More importantly, buyers like to read them. As an artist, people are interested in you and what you do, and genuinely want to know.

There used to be a time when artists would fold their arms across their chest and haughtily say “my work speaks for it’s self.” In today’s world, that attitude and response finds little acceptance. An artist who is prepared and willing to talk about themselves and their art has a distinct advantage when it comes to promoting their art. The artist statement conveys that you are professional and serious about your career, passionate about your work, and dedicated to your creative mission.

The Artist Statement is one of the three basic building blocks of your marketing plan, the others being your resume and your biography. Your Statement is an essential component of your overall plan, explaining who you are, what you do, how you do it, and why you do it. It clarifies and explains your artistic mission, philosophy, and ideas to the reader, and also sometimes to you.

You can start the process of developing your Artist Statement by answering four basic questions:

•  Who you are
•  What you do
•  How you do it
•  Why you do it.

Write your answers in first person, using descriptive adjectives but leaving out any technical jargon that the reader may not understand.

Who are you?
Think about what has influenced you and your work. Have you lived in interesting places? Have family, friends, mentors, or schools influenced you? Have you had a life altering experience? Write a few sentences about how these, and other things, shaped who you are or guided your work. For example: “In the course of building my own boat and sailing it around the world, I spent several of the most inspiring years of my life on the islands of the Caribbean. The people I met and the places I visited influenced me tremendously, and stimulated my desire to record my travels in the form of art.” Or maybe: “As a child living in the remote mountains of Montana, I grew up surrounded by the unspoiled vistas of the wilderness. At an early age I acquired a passion for the environment, and often hiked the verdant trails sketching and painting the beauty of nature.”

What do you do?
Now write a few sentences about what you do; the style, genre, and subject matter of your art. For instance, “I paint tropical landscapes in an impressionist style, hoping to convey the beauty and lushness of the hot steamy jungles and sun drenched beaches.” Or, “I paint wildlife in its natural setting, to share with others the majesty of these creatures and the splendor of their environment.”

How do you do it?
Write a few sentences about your artistic process, from start to finish. Do you work in the studio, or on location? What media do you use, and how do you use it? Why do you prefer this media, subject, and style? For example: “I paint in the studio using reference photos gathered from my travels through the Caribbean. I choose to paint in oils because the richness and thickness of the paint allows me to build up the texture of the painting and express the vibrant deep colors of my subjects. I prefer to paint in the impressionist style, using broad loose brushstrokes to convey the sultry hot breezes of the tropics, and the dancing light and shadows of the tropical sun.” Or, “I travel the world on photographic safaris with my camera, to seek out my subjects in their natural habitat. I prefer to work primarily with colored pencils because it affords me the control to accurately capture details and to effectively portray the individual character and personality of each animal.”

Why do you do it?
Write a few sentences about your life as it relates to your art, and what message you are trying to convey to the viewer. Explain what you find to be rewarding or meaningful about your work. Think about your own emotional connection to your art, and what you want viewers to think or feel when looking at your art. Maybe you have a personal philosophy about life or art that you can share in your statement. Here are a few examples: “Each painting portrays my own private sanctuary, and I hope to share with others the peace and serenity I feel when I paint. I want the viewer to be able to take a vacation in my paintings, to escape to my tranquil beaches and stand with me under my swaying palms and tropical skies.” Or, “Each of these wildlife paintings is a way for me to share my passion for nature and the environment with others. I strive to raise the viewer’s awareness of our environment, and share with them the fragile and fleeting splendor of our natural resources.”

I’ve given you a few examples, now it’s your turn. Think about these four basic questions and jot down your own answers. Once you have all of your ideas written down, it’s time to string them together and arrange them into meaningful sentences and paragraphs that will fit onto one page as your finished Artist Statement. Compose it as if you were writing poetry, using descriptive words that paint an image in the readers mind of who you are, what you do, how you do it, and why.

Don’t forget, your artist statement, resume, and bio are useful tools that you can use and refer to when creating other promotional materials. Once you have these materials prepared, you can excerpt information from these documents for your future press releases, brochures, flyers, interviews, etc., making each of these processes simpler to accomplish.

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This article was first published in Art Calendar magazine in 2007 and reprinted in the book (The Artists Guide To) Art Business and Marketing in 2008. Annie Strack is an Official Authorized Artist for the U.S. Coast Guard and has earned Signature Membership in dozens of artist societies. Her artwork has received hundreds of awards and hangs in more than 1,000 public and private collections worldwide. In addition to being a highly acclaimed juror for art shows and popular workshop instructor, she is the producer and host of Painting Seascapes in Watercolor, which is broadcast on television stations worldwide and also available on DVD. Annie draws experience from her former career in corporate management to build a successful art career, and she shares her knowledge of business and marketing in her articles for Art Calendar, Professional Artist, and The Crafts Report magazines. 

Art Show Etiquette: Professional Behavior Will Garner More Respect than Hissy Fits.

One of the Watercolor Societies of which I am a Board Member has published their list of artists who have been juried into their annual exhibit, and once again, it has become apparent that some artists need a reminder about professional artist etiquette. Most importantly, artists need to remember that the person they send a "poison pen letter" to today, might remember that letter the next time their artwork comes before them for a review. Rejection is always hard, but artists need to understand that it's not personal and learn to move on from it.

Art Show Etiquette

By Annie Strack ©2008

The spring season is upon us once again, and for artists it’s often our busiest time of the year. The season brings us pleasant weather, and with it comes the stacks of entry forms for art shows, festivals, and other events.     

Over the years, I have chaired or served on the committees of dozens of art shows. Every time, I hear complaints from artists, and I hear longwinded explanations about why the show’s rules shouldn’t specifically apply to them. You’d be amazed by the complaints I’ve listened to from some of the artists. 

At a regional juried show I recently chaired, I received up to a dozen phone calls a day from artists complaining because they didn’t hear about the show sooner. It wasn’t enough that the call to artists was published in several newspapers and dozens of artists newsletters months before the deadline, or that thousands of entry forms were prominently available at all the local art supply stores and galleries, or that the prospectuses were handed out at every art show, art festival, and art club meeting within the region for the last two months. These artists were complaining that they weren’t personally notified and asked to enter the show.

(Annie Strack receiving a special plaque commemorating her decade of service as Show Chairman and other Offices in the St Bernard Art Guild)

Other artists called to complain that they didn’t like the juror’s credentials. One of them told me that she believed that all art shows, in general, always choose the wrong jurors. She qualified this by saying that she knows her art is good, because all of her friends tell her so, and yet she never wins any awards at any art competitions. She didn’t think it was fair that well-known top artists were consistently winning awards at various shows, and that art shows should try to find jurors who had taste more akin to hers and her friends. She went on to tell me that she felt she should have been the juror because she knows what good art is. 

Other artists complained about the scheduling of events. Some were too busy to deliver their entries on the allocated days; others complained they would be too busy to pick up their work at the end of the show. My advice is simple; if the schedule of events is too much of an inconvenience, then don’t enter the show. Every artist needs to make their own arrangements for the delivery of their artwork on time, and exhibit calendars cannot be changed to accommodate the personal schedule of every artist who wants to enter. 

Then there’s the artist who asked me about the framing requirements for the show, and wanted to know if he could bring his artwork in unframed because he had a lot of other things to do and he didn’t have time to go out and buy a frame. At least he called and asked, and he did end up bringing his paintings properly framed.  Another artist wanted to enter an extra painting by claiming that the two of his entries were actually one diptych, despite that the two paintings were obviously separate and were even priced separately.  Other artists, who couldn’t be bothered with rules, were sent away from the show for bringing unframed paintings.  

(New Orleans Art Association Exhibit Chairman Annie Strack hanging an exhibit)

At one recent show an artist entered a three dimensional artwork but demanded that it should be included in the two dimensional artwork category. Naturally, the exhibit committee ignored her demands and the artwork was placed in the 3-D category for judging (which by the way, had far fewer entries and therefore gave her better odds of acceptance and winning, anyway). When the artist found out at the reception that she didn’t win any awards, she thought that it was because her piece was judged within the larger competition of the larger 2-D category. So then she changed her mind, and complained that her artwork should have been judged against the smaller 3-D category.  

But the best one is the story of the gallery owner, who wanted to enter paintings from her store’s inventory.  Not only were the artworks not her own original creation and created prior to the date allowed for recent works, they were also created by an artist who was deceased. Sounds surprising, doesn’t it?  And yet, this is not the first time this situation has come up. A few years ago I was on the committee of a juried exhibit that was only open to artists who lived within a local zip code. One woman came in and wanted to enter the artwork of her friend, who had passed away years ago. When the rule was pointed out to her that only local residents could enter, she replied that her late friend is a local resident, she resides in the cemetery down the street! 

(Exhibit Chair Annie Strack with Juror Steve Doherty)

Now that you have a better understanding of what the exhibit committee has to deal with, I’d like to offer a few tips about artist etiquette. First off, I can’t stress enough the importance of reading the show’s rules before you enter. If you don’t understand the rules, either call or email the organization for clarification. 

Please don’t complain because you didn’t hear about the show earlier. Most show committees send out press releases and put a call to artists in various art newsletters, magazines, websites, and emails. They really do try to get as many entries as possible, and it’s not the fault of the show committee or chairman if some artists choose to live under a rock and not read these announcements. 

(American Artists Professional League's Exhibit Chair Annie Strack at the Salmagundi Club)

Don’t complain or whine if your art is not accepted because you didn’t follow the rules! No saw tooth hangers means no saw tooth hangers. It is not the responsibility of the art show committee or chairman to frame your work or make adjustments to your framing so that it can be accepted. You must make sure that your art is within the guidelines of the rules before you enter it.

Rules that state that the entries must have adequate picture wire and screw eyes or D-rings for hanging mean just that, and if you send an artwork with two thumbtacks attached to the frame and a shoestring stretched between them, you can expect it be rejected. Same goes for bits of yarn attached with tape or paperclips, fishing line, staples, string, and other odd bits and pieces that are not screw eyes or D-rings and picture wire. 

(Exhibition Director Annie Strack organizing an awards reception at National Watercolor Society)

Shows that have weight or size restrictions have them for a reason. The facility might not accommodate artworks over a certain size, or the hanging system may not hold items over a certain weight. This restriction isn’t in the rules just to annoy some artists, it’s there because there are genuine physical limitations to what some shows can accommodate. 

(Philadelphia Watercolor Society Show Chairman Annie Strack with Co-Chair Wendy McClatchy)

The rules often require that artwork must be dry. This means that paintings with wet paint may not be entered. Please, don’t even try to sneak them in. In the last three shows I hung, wet oil paintings with gallery wrapped painted edges were entered, despite the printed rule in the prospectus which clearly stated wet paintings were prohibited. Wet paint tends to get everywhere, including the floor, walls, and on people. I don’t like to get oil paint all over my hands and clothing when I install an exhibit, and neither does anyone else.    

Rules and restrictions regarding the age of the artwork are common. Art competitions are generally meant to showcase current or recent works, and works that are old and have already been in several shows over the course of many years are rightly discouraged. Those paintings that were done in art class fifteen years ago need to be retired! Also, the rule stating that all work must be original means that an artist can’t copy someone else’s painting or photo out of a book, magazine, or anywhere else, and rules that state that the work must have been created without supervision means that you can’t enter something you made in a workshop or class. 

(Annie Strack planning the Brandywine Plein Air Festival with other committee members ) 

You may think that you or your artwork should be granted an exception to the rules because of your special circumstances, or that the rules don’t specifically apply to you for some reason.  Think again! You are not entitled to special treatment, and arguing with the show committee or chair is not going to get you anywhere. On the contrary, bad behavior is more likely to make you more memorable to other artists, and not in a good way.

If your art is rejected by the juror or doesn’t win an award, please don’t whine to the show committee or chairman. They did not make that decision, the juror did. Nor will they override the juror’s decision, no matter how loudly you complain or how many of your friends agree with you. Not everyone will get accepted to every show, or win an award. The juror merely liked other things better than yours, this time. Rejection eventually happens to all of us; accept it graciously, and move on.

I know many of you are shaking your heads in disbelief, thinking that surely these scenarios must be few and far between. You’re probably thinking we are all professional artists, and we all know these things already. If that were the case, then everyone would be following the rules and graciously accepting the occasional rejection. Unfortunately, these shocking scenarios are more common than you think. In my decades of experience involving hundreds of exhibits, I’ve found that at least twenty percent of the artists entering a show try to get around the rules. That may not sound like a lot, but in a show with 200 entries, that’s 40 artists. That’s way more than any show should have to deal with. 

One thing I’ve noticed from chairing all these shows, is that the more experienced and professional artists are the best at following the rules, and they are the least likely to demand special treatment or complain when they don’t win an award. One amateur artist recently stomped towards me at a reception with her nose in the air and barked at me in a huff, “How could my piece have been rejected!? It’s been well received elsewhere!” 

(Louisiana Watercolor Society Show Chair Annie Strack handling out awards)

In a juried show, the entry fee is for the opportunity to have your work considered for inclusion by the juror. It does not guarantee acceptance into the show, and it is not refunded if the entry is rejected. There are plenty of small local shows around the country that are not juried; these shows are less prestigious than juried shows, but they are the right choice for artists who may be offended by rejection. Remember, our behavior affects how others perceive us. If an artist wants to be perceived as experienced and professional, then they must behave in this manner. Plus, one will gain more respect in the art world by being polite and gracious, than by being a sore loser. 

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Copyright 2008 © Annie Strack. The edited version of this article was first published in Art Calendar magazine in 2008, and the original version was published 2008 in the book (The Artists Guide To) Art Business and Marketing by Annie Strack. Visit the author at www.AnnieStrackArt.com.  

Annie Strack is an Official Authorized Artist for the U.S. Coast Guard and has earned Signature Membership in several artist societies. Her artwork has received hundreds of awards and hangs in more than 1,000 public and private collections worldwide. In addition to being a highly acclaimed juror for art shows and popular workshop instructor, she is the producer and host of Painting Seascapes in Watercolor, which is broadcast on television stations worldwide and also available on DVD. Annie draws experience from her former career in corporate management to build a successful art career, and she shares her knowledge of business and marketing in her articles which are in many publications, including Art Calendar, Professional Artist, and The Crafts Report magazines. 

Developing a Strategy for Successful Pricing

How to create a sensible formula for pricing your artwork.

Several variables factor into art pricing.  To begin with, prices reflect the level of the artist’s recognition.  Paintings by well –known artists always command higher prices than work by unknown artists, often regardless of the skill involved.   Experience and credentials play a role in pricing as well, and works by artists who have acquired a history of awards, prominent collectors, and prestigious exhibits are perceived as more valuable than works by emerging artists.  Researching the prices of artists in your market who have a level of experience and style that is similar to yours can provide a starting point for formulating your prices.  

Market demand is also a large element in considering prices.  Artwork is worth what people are willing to spend on it, and the more people who want it; the more value it has.  The geographic area also plays a part in pricing, and art can be marketed easier and at higher prices in regions that are more affluent.   Art displayed in prestigious galleries in metropolitan cities is usually perceived to have more value than art exhibited in small town gift shops.  This doesn’t mean that an artist can charge different prices in different regional markets, or in different venues.  Artists should change venues as their prices rise, and recruit new sales venues and markets that can sustain those increased prices.  

Another factor in pricing is the choice of medium used.  Some mediums are perceived as being more valuable than others, and buyers are usually willing to spend much more on an original oil painting than they are for watercolors or other types of paintings.  Generally, oil paintings are at the top of the food chain, followed by acrylics, watercolors and pastels, hand-pulled prints and drawings, and reproductions.  

Most artists price their work according to size, and the most popular method is to formulate a base price unit for each square inch.  But the value of art is only what someone is willing to pay for it, and an artist needs to know what the current value of their art is in order to accurately create a formula for pricing.  A simple way to determine current value is to compare the retail prices of the paintings that have recently sold, and determine which sizes and prices are the most popular sellers.  Knowing which painting sizes are the most popular, an artist can then develop a base price unit for his work by dividing the retail price of the painting by it’s total of square inches.  For instance, if most of your sales have been for 16 x 20 paintings at around $900 to $1000 each, then your most popular paintings are valued at a unit price of about $3 per square inch.  This price per square inch can then be used as a base unit to ensure consistency when calculating prices for new artworks.  

If you compare the unit prices of the paintings that haven’t been selling as well, you may find that the reason for some of the more sluggish sales could be because some of the prices are inconsistent or out of whack with your base unit price.  Paintings that are priced considerably higher than your current unit price may be over priced for your market, while other paintings with price units that are considerably lower may be sending the wrong signals to your customers about the value of your art.  Whether too high or too low, inconsistent prices are confusing and sometimes even suspicious to buyers, and can severely hinder sales.  That’s not to say that every painting of a certain size has to be exactly the same price; allowing a small range of about 10% when setting prices provides adequate room to allow for exceptions in pricing, such as paintings that may be slightly more or less complex, or paintings that have received awards or other recognition.  Additionally, having a sliding price schedule where larger works are priced at slightly less than the base price and smaller works are priced at slightly more will alleviate huge price differences between sizes.

For instance, this sample is a sliding (10%) pricing schedule with a 10% range, and with the median painting priced at $3 per square inch.  

8 x 10 = 80 sq in, x $3.63 = $275 to $305

12 x 16 = 192 sq in, x $3.30 = $602 to $665

16 x 20 = 320 sq in, x $3 = $912 to $1008

20 x 24 = 480 sq in, x $2.70 = $1231 to $1301

24 x 30 = 720 sq in, x $2.43 = $1663 to $1838

So if the retail price of a 16 x 20 painting is $1000, and the artist pays an average of 50% commission on sales, then the artist is getting a wholesale price of $500 for the painting.  However that $500 is not all profit, there is still the COGS (Cost Of Goods Sold) to calculate before a profit can be determined.  COGS include all the supplies and materials used to create the artwork, as well as equipment, overhead, marketing, professional, and other expenses related to the sale of the final product.  To determine these costs, a business adds the totals of all the expenses for a given time period (such as quarterly or annually), and divides this figure by the number of items sold during this period.  For instance, if an artist’s business expenses were $10,000 in a year and he sold 50 paintings, then the COGS average out to $200 for each painting.  If the paintings sold at retail for an average of $1000 and the artist received an average wholesale price of $500, then he is making a profit of $300 on each sale.  Although this sounds like a successful profit, there’s still more to consider.    The sale of 50 paintings at a profit of $300 each means his total profit for the year is $4,500.  If the business is a full-time endeavor, then this breaks down to an hourly wage of a little more than two dollars an hour for the artist.  Even if we re-calculate this as a part-time business, the wage then climbs to only a little more than $4 an hour.    

Many artists choose to supplement their sales income by providing art related services, such as teaching lessons or workshops, painting custom ordered paintings, consulting, and other services.  Just as with anything else, artists need to figure out just how much time and expenses are actually involved and calculate an acceptable wage for their service.  

Artists also need to understand the differences between wholesale prices and retail prices, and what circumstances are appropriate for wholesale.  Many artists mistakenly set higher retail prices on works that they place for sale in galleries and other venues that charge a commission.  This unprofessional practice of wholesaling directly to the public results in artists underselling and alienating their galleries, and even alienating their customers.   Artwork should only have one retail price, regardless of where or how it was purchased.  Some artists try to justify the practice of setting duel retail prices by believing that direct sales encompass fewer sales related expenses, such as paying sales commissions.  However the actual costs related to selling still exist, even when selling directly to a customer.  For instance, direct selling at an art festival has the expenses of the booth fees, travel and lodging, equipment and merchandising displays, marketing, and other costs that can quickly add up to hundreds  of dollars or more per festival.  Not to mention, for every festival an artist attends, he loses four or five working days that could be spent on production.  These extra costs of sales can easily equal or even exceed what an artist would pay for sales commissions to galleries.    

When to discount artwork, and by how much, is another axiom that artists often face in routine business.  It’s perfectly acceptable to offer a wholesale price to galleries, decorators, and other professional retailers.  And if a retail customer is purchasing three or more paintings, I have no objection to offering them a ten percent discount for a preferred or loyal customer.   But an artist can’t discount everything for everybody who asks; the profit margin simply isn’t large enough to allow for this, and consistent discounting can have an adverse effect on the value of the artist’s work.  When bargain shoppers ask me if I can give them a discount, I politely tell them that I have some paintings that are similar but less expensive, and then direct their attention to those instead.  Another alternative that I’ve found effective is to counter-offer a discount request with an offer of something else instead, such as free shipping or an upgraded frame.  This type of negotiation allows the price of the artwork to remain constant, but still lets the customer believe that they’ve still managed to bargain for a better deal.    

Knowing when to raise prices, and by how much, can be a bit trickier.  All artists want to get the maximum price for their work, but raising prices too high or too quickly can cause sales to stagnate or fall.  Ideally, prices should rise when they are justified by a steady and sustainable market demand.  In my own art business, I consistently raise my prices once a year.  If I’ve had a particularly good year, I might raise them as much as a whopping five or six percent, while in slower years I might only raise them one or two percent.  These small increases may not sound like a lot, but they add up over time.  The knowledge of impending price increases also increases customer confidence in the value of the artwork, and helps them to self-validate their purchases.  

There are no set rules for pricing artwork, and there is no single formula that is going to be perfect for every artist.  But these examples and guidelines can assist you in developing or adjusting your own pricing formulas and standards.  By adhering to policy standards you will ensure consistency in your pricing, and portray your business in a professional manner that will help to instill your customers with confidence in their purchases.  

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Copyright:  Annie Strack 2008©. A professional artist specializing in seascapes and maritime paintings, Annie Strack has earned Signature Membership in numerous international artist societies and is an Official Authorized Artist for the USCG. She draws from her previous career in corporate management to build her successful art career, and since 2005 she’s been sharing her business and marketing expertise with the readers of Art Calendar, Professional Artist, and other magazines. This article originally appeared in the May 2008 issue of Art Calendar Magazine.