How to Make Money As an Artist: The 7 Winning Strategies of Successful Fine Artists

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Not for Artists!

The Cliff Notes for How to Survive and Prosper as an Artist

How to Make Money as an Artist

no news flash

This book gave me some direction

How to Make Money As an Artist: The 7 Winning Strategies of Successful Fine Artists
Sean Moore
Manufacturer: Chicago Review Press
ProductGroup: Book
Binding: Paperback
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How to Survive and Prosper as an Artist, 5th ed.: Selling Yourself Without Selling Your Soul

187 Tips for Artists: How to Create a Successful Art Career - and Have Fun in the Process!

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The Artist's Marketing and Action Plan Workbook

ASIN: 1556524137

Book Description

How to sell one's art isn't taught in art schools, yet it's an essential ingredient in getting work displayed and attracting art commissions. This straightforward, inexpensive guide is written for artists who want to present themselves and their work in the best possible light to the largest possible audience. Topics include creating a winning marketing package, getting a gallery, finding an artist representative, and obtaining free or low-cost advertising. Also included is a thorough resource listing that includes inexpensive sources for slide development, contact information for artist representatives, suggestions for durable mailing packaging, and contact names for foreign news media.

Customer Reviews:

Not for Artists!.......2004-10-13

If you are a college freshman, this book may be useful. For anyone who is out of school, there are many better books available. One that has some depth is How to Survive and Prosper as an Artist. How do I know? I purchased both at the same time.

The Cliff Notes for How to Survive and Prosper as an Artist.......2004-07-29

I've been raking the bookstores in search of all the information I can find regarding the subject of making a living as an artist. I've already read through two excellent books:
"How to Survive and Prosper as an Artist" AND
"Taking the Leap: Building a Career As a Visual Artist"

Both of those books had a wealth of information, and although they overlapped in some areas, they both brought their own perspectives, tips, and information to the table - and a lot of it at that. This book, "How to Make Money as an Artist" is a much thinner book, and only seems to overview a lot of key topics. I found the book too lightly skimmed the surface of many important issues that really do require a more in depth review.

I personally wouldn't recommend this book because I think you can get a lot more out of the other two books I suggested. If you only need a little guidance, and don't have a good grasp of the basics and common sense, this might be a place to start.

How to Make Money as an Artist.......2003-12-27

As an student of art, I found "How To Make Money As An Artist" highly informative. I will definitely use the book as a useful and needed reference. Mr. Moore's sound, artful insights are practical, his advice is based on successful experience and his book is written in a refreshingly readable and natural style. I particularly appreciated his motivating and respectful tone; one from an artist to his fellow artists. I could relate to this writer.

I take issue with a person who wrote that artists would do better buying a book on how to start up a small business. I question whether the reviewer is, in fact, an artist at all because clearly, he or she misses the point. Artists, like all professionals, relate to their own kind. Mr. Moore's expertise as a successful artist is directed at, and appeals to, artists who, like all of humankind, learn best from their contemporaries.

Any one can open a mutual fund. It takes a special sense to impart the nuanced wisdom that Artist Moore has done for his colleagues so masterfully in this book.

no news flash.......2003-11-06

It's no secret that if you're an artist (or do anything of an "artsy" inclination) that, sadly enough, sometimes what you're selling has little to do with your product (err, art) but rather your package (that would be you). I think most of the advice given in here is common sense, like you need to market yourself and act professionally. I also believe that this book could benefit from the use of anecdotes -- I would like to hear some stories of successful fine artists. Now for the specifics. The author's gems of advice for your resume are "Don't set your resume on a typewriter" (yes! a typewriter! I checked to make sure that this book was really published in the year 2000 and indeed it was) and "Use serif type. This is the most important advice you will ever get about typography..." He then goes on to state that the reason that print media often uses serif type is because it is "easier" to read -- right here is where the author starts losing credibility because usability studies have shown that actually sans serif fonts are the ones easiest to read. But no, he claims that sans serif is good only for "art directors and graphic designers" -- and naturally, no self-respecting artiste would want to be confused with a designer now, would they?! Another point of contention (out of many) is that he is a proponent of artists using free website hosting services such as Compuserve or making use of your space on AOL. I don't know if anything would scream "I am an amateur hack" then having your "professional" website hosted on Geocities, complete with annoying pop-ups. I'm sorry but to make your sale and complete your marketing package, you've got to be professional, and professionals are willing to shell out a little money to get something that looks like you've got it together. Another favorite piece of advice is that the artist should chop up color photocopies (or something printed from your all-in-one home fax machine/copier -- horrors!) to create business cards. Believe me, I know that artists are on a tight budget and all, but again, that is not the image you want to be projecting. Lastly, if you are an aspiring artist and did not get your BFA/MFA in Art, and have never had a gallery show in your life, this book is not going to help you break into the business in any way.

Aside from these nit-picky details, there is the fact that this is ostensibly a book about making money. But really it's not. Essentially an artist is an entrepreneur, and any basic business book is going to tell you that to have a successful business, you will need a business plan, some sort of way of tracking your finances/expenditures, profit loss statements etc. How else will you even know what is making money and working for you? I know it's unsexy as hell but any smart and savvy artist would need to know these basics if they really want to make it (it's a pity that they rarely mention this reality in school). I would recommend that you steer clear of this book and check out some really basic entrepreneurial books with an accounting bent instead. And pick up a couple of basic graphic design ones too to understand how to put together a compelling marketing package.

This book gave me some direction.......2002-08-24

I bought this book a couple of weeks ago. I haven't read any other titles about making money at art but I found that this one has a lot of good tips in it and it's an easy read. I really liked the part about building your own website. My only dislike is that all the links/resources at the back of the book is for American artists. I think they should have included resources for Canadian artists too.

How to make money as an artist: Commercial art, arts & crafts, fine art

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How to make money as an artist: Commercial art, arts & crafts, fine art
Brice Belisle
Manufacturer: Brice Creations
ProductGroup: Book
Binding: Unknown Binding

General | Arts & Photography | Subjects | Books
ASIN: B00072Q348

Book Description

With Paintbrush and Shovel showcases the botanical watercolors of Bessie Niemeyer Marshall, a Virginia artist who received scant recognition during her lifetime. Reproduced for the first time in this volume, Marshall's beautiful paintings are the primary surviving record of a unique WPA project that put women to work creating a wildflower sanctuary in Petersburg, Virginia, during the 1930s.

Nancy Kober affectingly recounts the story of this fascinating project and the women involved: the horticulturist Donald Claiborne Holden, who directed the sanctuary's creation; the women of the Petersburg Garden Club and of Petersburg's African American community, who worked hard, in spite of segregated tasks and facilities, to establish a botanical preserve in the city's Lee Park; and the artist Bessie Marshall, whose difficult personal circumstances kept her in obscurity during her lifetime despite her obvious talent and repeated expressions of interest from curators and benefactors. Marshall eventually produced 238 watercolors for the Lee Park collection, 222 of which appear in full color in this book.

With exquisite detail and a subtle palette, the paintings depict a host of native flowers, shrubs, and trees, including some rare or imperiled species. Here, arranged by habitat, are dogwood and cat-tail, pokeweed and passion-flower, angelica and witch-hazel, redbud and rattlesnake-master. Although many of these species still grow in the vicinity of the former sanctuary, the collection is a reminder of the precarious state of many wildflower habitats and the need for continuing efforts to preserve our botanical and historical heritage.

As a gift, a reference, or simply an inspiring read, With Paintbrush and Shovel is a fittingly beautiful representation of a unique meeting of the forces of nature, history, and art.

Customer Reviews:

With Paintbrush and Shovel.......2001-05-02

With Paintbrush and Shovel is certainly a unique book. The beautiful paintings of wild flowers - 238 in all- really look more like high quality photography, they are so exquisitely detailed. The story that goes with the paintings tells an unknown story about work done by WPA women during the depression. One of the projects fostered by Roosevelt, the WPA gave work to unskilled African-American women and it was these women that cleaned up this willderness and brought the wild-flowers to Bessie Marshall to be reproduced in watercolor. The book is well-worth owning.

Breath taking wildflower paintings.......2001-04-19

The wildflower paintings in this book are absolutely unbelievably beautifully detailed. When you see them you will not believe the artist could so accurately paint the tiny delicate features of each flower and could so accurately recreate the wonderful colors. If you like, forget about the wonderful story documenting the WPA project in the 1930s to create a wildflower park and document the flowers with paintings. But, if you are an artist or a wildflower lover or both you must check this out just for the wonderful paintings.

Additionally, the printers spared no expense. They used high quality paper and achieved exquisite reproduction of the paintings. I'm sure they were fearful they would be totally out classed if they did not.

With Paint Brush and Shovel Preserving Virginia's Wildflower.......2000-11-30

This book provides a rare glimpes into the WPA projects especially designed by women. The book also illustrates the history of the park and chronicles the work of a diverse group of women who established a botanical preserve in a City Park during the 30's. The project, of national significance, was part of the WPA that provided work for African Americans and White Women during the depression. How intersting to read that the park provided an income for these deprived women, who created a wildflower/bird preserve for a small city. The beautiful botanical illustrations by B. Marshall are exquisite and the story to follow only enhances the charm of this well documented history.

Painting Wildflowers in Watercolour (Leisure Arts Series, No 28)

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Painting Wildflowers in Watercolour (Leisure Arts Series, No 28)
Benjamin Perkins
Manufacturer: Search Press(UK)
ProductGroup: Book
Binding: Mass Market Paperback

General | Instructional & How-To | Arts & Photography | Subjects | Books

Watercolor Painting | Instructional & How-To | Arts & Photography | Subjects | Books

Watercolor | Painting | Arts & Photography | Subjects | Books

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Painting Flowers in Watercolour (Leisure Arts Series, No 6)

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Painting Flowers in Watercolour (Leisure Arts Series, No 6)
Sarah Jane Coleridge
Manufacturer: Search Press
ProductGroup: Book
Binding: Mass Market Paperback

General | Instructional & How-To | Arts & Photography | Subjects | Books

Watercolor Painting | Instructional & How-To | Arts & Photography | Subjects | Books

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Wildflowers in Watercolour
Philippa Nikulinsky
Manufacturer: Fremantle Arts Center Pr
ProductGroup: Book
Binding: Hardcover

Watercolor Painting | Instructional & How-To | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books
ASIN: 1863683208

Book Description

This digital document is an article from San Fernando Valley Business Journal, published by CBJ, L.P. on February 17, 2003. The length of the article is 776 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: In-house resources key when developer changed plan. (Commercial Real Estate - Best Moves/Top Movers).(J.H. Snyder Co.)
Author: Shelly Garcia
Publication: San Fernando Valley Business Journal (Magazine/Journal)
Date: February 17, 2003
Publisher: CBJ, L.P.
Volume: 8 Issue: 4 Page: 18(1)

Distributed by Thomson Gale

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No opinion either way.

Slumming academics

Good in spite of itself

One-sex theory? Anal birth?

She just does not get horror movies, that's all.

Men, Women, and Chain Saws: Gender in the Modern Horror Film
Carol J. Clover
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Paperback

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Similar Items:

The Dread of Difference: Gender and the Horror Film (Texas Film and Media Studies Series)

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Recreational Terror: Women and the Pleasures of Horror Film Viewing (Suny Series, Interruptions - Border Testimony(Ies) and Critical Discourse/S)

The Monster Show: A Cultural History of Horror; Revised Edition with a New Afterword

The Horror Film (Inside Film)

ASIN: 0691006202

Amazon.com

Before Men, Women, and Chain Saws, most film critics assumed that horror (especially slasher) films entail a male viewer sadistically watching the plight of a female victim. Carol Clover argues convincingly that both male and female viewers not only identify with the victim, but experience, through the actions of the "final girl," a climactic moment of female power. As the Boston Globe writes, Men, Women, and Chain Saws "challenges simplistic assumptions about the relationship between gender and culture... [Clover] suggests that the 'low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity." Be forewarned, though: Clover addresses an academic audience, so her language can be heavy going.

Related title: The Dread of Difference: Gender and the Horror Film by Barry Keith Grant

Book Description

Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression.

Clover, a medievalist, had written extensively on the literature and culture of early northern Europe, especially the Old Norse sagas. From her expertise in formulaic narrative grew her interest in contemporary cinema, which is, after all, yet another form of oral storytelling. Men, Women, and Chain Saws investigated the appeal of horror cinema, in particular the phenomenal popularity of those "low" genres that feature female heroes and play to male audiences: slasher, occult, and rape-revenge films. Such genres seem to offer sadistic pleasure to their viewers, and not much else. Clover, however, argued the reverse: that these films are designed to align spectators not with the male tormentor, but with the female tormented--with the suffering, pain, and anguish that the "final girl," as Clover calls the victim-hero, endures before rising, finally, to vanquish her oppressor.

The book has found an avid readership from students of film theory to major Hollywood filmmakers, and the figure of the final girl has been taken up by a wide range of artists, inspiring not just filmmakers but also musicians and poets.

Customer Reviews:

No opinion either way........2005-04-04

The book is undeniably well written. Alot of the author's points are valid, and her(?)ideas about the role of gender in horror films are interesting. What really burns me is that I'm not too sure that she actually watched some of the films she mentions. Or if she did, she didn't really pay too much attention.

I think that if one were to write a book about character study, they should probably pay closer attention to the characters they study. Make sense to me.

Overall, reading this book was helpful in the way it describes a relativly small audience....not horror fans, but people who want to pick apart horror movies in order to make sense of horror fans. For the academics, who don't know how to shut their brains off in order to just kick back and enjoy a good old fashoined "Killin' Movie", this book could really come in handy. For those of us who need no help in enjoying the genre, this book might help you speak the language of people who don't. This new ability could be useful when you get dragged into either an argument or a sophist's conversation on the subject. (Sophist being different than sophisticate...sophists only pretend to know what they're talking about when they are around people whom they believe to not know any better.)

All things being equal though...its an allright book.

P.S.

I secretly wonder sometimes, when people talk about how its always women being beaten, tortured and killed in horror films.

99% of these slasher films are about slashers. Duh...ok with that out of the way, let's ask ourselves who these slashers are.
Maniacs, (Almost always male) with some sort of abhorrent social disfunction. Sounds alot like our real life serial killers.

As bad as Jason Voorhese is, he doesn't even compare to the Green River Killer, or Edmund Kemper. As witty and Terrifying Freddy Kruger might be, his evil genius pales in comparison to guys like Carl Panzram or H.H. Holmes. As ruthlessly deranged Michael Meyers seems to be, he can't hold a candle to guys like Richard Speck or Richard Ramierez. Now, what do all these fellas, (real or screen character) have in common? THEY ALL KILLED WOMEN. Point of fact, our onscreen killers are much more equal opportunity than our real life madmen. So, is it any wonder that women are victims in these movies? Also, the women in most of these films tend to get off with just a nasty death. In most instances, the real life killers would do some fairly terrible things to their victims before they killed them.

Slumming academics.......2005-01-01

It's amazing that horror films, of all the genres, have undergone such 'serious' analysis in the academic film studies arena. It tells you a lot--considered to be a kind of low art form, it attracts serious scholars who, rather than applying common sense or rational thinking, literally invent whole vocabularies to disguise their utter lack of knowledge and general cluelessness with regards to these staples of 'pop' culture for the 'little people'.

It's classic academic constructs. It's obvious that Clover, and she's not alone, is either incapable or unwilling to just say what she means. Instead, and in order for a university press to pick these things up, the ideas have to be draped in dense, unreadable, and often laughable language.

Are there interesting ideas here? Yes, certainly. Are they easy to understand? They can be, but not here. You may feel like a moron after reading about your favorite slasher, but don't worry--you haven't been exposed to the careerism and isolation of the cinematic ivory tower yet.

The book can be half as long if they tried to make it accessible to the people who actually WATCH horror films, but it is instead geared toward people who want to study the people who watch horror films, from a detached perspective, armed with a dictionary and a black turtleneck.

I would actually recommend this book for horror fans, but with reservations. It does try to get at what is happening in this genre, and why we watch these movies. But don't feel bad if you laugh at some of it--that's part of the real world.

Good in spite of itself.......2004-08-09

The author is obviously an academic, and seeks to dignify her pop-culture subject with ludicrous rhetorical tropes borrowed from the grad school version of pop psychoanalysis. She says "gender" when she means sex. She is capable of writing phrases like "the killer's phallic purpose. . ." and sentences like "What -is- clear is that where there is -Wiederholungszwang- there is historical suffering --- suffering that has been more or less sexualized as 'erotogenic masochism.'" Clarity, it seems, ain't what it used to be. Charlatans like Gilles Deleuze and hatemongers like Susan Brownmiller appear in the bibliography, and the book is obviously addressed to an audience that has not yet learned to laugh at them.

Still, the central thesis of the book is in fact a cogent analysis of the ritual of the 1980s variety "slasher" film, and if you overlook the bogus jargon she gets it mostly right. The book convincingly goes through the rituals involved in this highly stereotypical variety of film. Even the vaguely radical academic version of sexual politics has some purpose in this: these slasher films, like all accepted exercises in gore and the temporary suspension of tabooed subjects, attempt to justify their existence by claiming in some obscure way to reinforce social norms. It would be a much better book if it were written in workaday English, but it is nevertheless an interesting read, and insightful almost despite itself.

One-sex theory? Anal birth?.......2004-01-02

Really doesn't sound like the beginnings of a discussion of horror films. The language used in this book is so far over my head that I begin to feel stupid, and that what I thought I knew about movies (which is more than most people I know) must certainly not be enough to even be allowed to watch them. What's disappointing is that I want to agree with the theories in the book. Clover's premise is that watching horror movies is not a sadistic act, and that the young men who watch them are really identifying with the female victim-hero, instead of just gawking at boobies. I like the idea that the viewer identifies with the monster and the victim. But I don't think the author can really identify with... humanity! The word 'psychobabble' does come to mind. It makes me wonder what she's hiding from, or who she's trying to impress. I don't think she has any grasp at all of these films or why I watch so many of them.

It just seems to me like this woman has put every word she knows into a theory I think I can sum up in less than fifty pages. Sentences don't need to be that long to get a point across.

To sum up, if you are a horror film fan with an IQ of 160 or less, do not read this book! It was written for high-brow, academic types who are fascinated by the rituals and habits of us lower creatures, but wouldn't be caught dead in a theatre with less than eighteen screens. However, if you are a high-brow, academic type who is fascinated by the rituals and habits of us lower creatures, but wouldn't be caught dead in a theatre with less than eighteen screens, you might like it.

She just does not get horror movies, that's all........2001-02-26

I bought this book hoping to read a balanced and insightful analysis of gender in horror. What I got was the same trite "analysis" that seems so fashionable today. This book is profoundly feminist, in a very offensive sort of way. I am terribly sorry, but the author really needs more than a few months' worth of watching horror (see her own admission on p.19) and more than rudemintary understanding of pop psychology, to make a compelling case.

Briefly, her "analysis" of the female in modern horror slasher movies goes like this. Clover begins with the observation that most of these (American) films concentrate on the abuse, victimization, and triumph of a woman. The author then asks (i) why a woman and (ii) why do mostly male viewers watch these films. Her interpretation is that the "Final Girl" in these movies is really a male! It seems that in Clover's world, most males are homosexual, or at least bisexual, and they seem to have some bizarre beating fantasies. Because showing a male in this position would be uncomfortable for the male viewers (it would expose their forbidden fantasies too close for comfort), an unfemale female is substituted.

Clover simply misses several very simple things, which leads her to the mental acrobatics necessary to account for the phenomenon. Why does she dismiss the directors when they say that having a woman suffer is essential to horror? I don't know, but it is obvious that (i) out culture regards men as active, that is, when men are victimized, there's little sympathy for them---we expect them to react, strike back, and die in the attempt---which means that if you want emotions in the audience, you better go after a girl; (ii) our society focuses on female beauty much more than male beauty---from an aesthetical perspective, destroying something beautiful is much more painful; (iii) the reason why The Final Girl is not too feminine is because these horror films are American---one characteristic trait of this culture is the belief that the outcast, the underdog, can succeed through his/her own efforts---that's why the main character is seen as an outcast; (iv) the basic plot of these films is a variation on the ancient myths of the hero---someone who goes through incredible ordeals, and wins against all odds---this sort of story, however, is mostly attractive to males, which is why you don't tend to see many women at these films. This is a brief synopsis of a larger argument where every step is substantiated, but it illustrates why Clover's view is plain wrong.

It would have been helpful if she had viewed some European or Japanese horror films: she would have found out that many of the features characteristic of US films are simply missing. It would have been helpful if she did not regard horror as low art (she does, her posturing to the contrary notwithstanding). It would have been better if she avoided the turgid prose common to texts where the author either has little to say or tries to disguise wrong ideas.

Finally, Clover completely misses an important consequence of horror being made idependently of Hollywood. It's not just that it can cater shamelessly to the most exploitative taste (which some do), but low-budget cinema is a more accurate reflection of trends in contemporary society. While Hollywood produces slick and ultimately empty movies, B-flicks incorporate things the way the authors see them---the Final Girl in horror is nothing less than an acknowledgment of the achievements of gender equality. There are now female heroines (much more resourceful than the bungling males in these movies) and they triumph over adversity, and against the onslaught of maniacal males. This seems like a good statement of the fact that our society has come to accept women in roles that traditionally were not available to them.

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Men, Women, & Chain Saws : Gender in the Modern Horror Film
Carol J. Clover
Manufacturer: Princeton University Press.
ProductGroup: Book
Binding: Paperback
ASIN: B000JD2GG4

Book Description

Nine new studies address the phenomenon of the medieval pilgrimage to Santiago de Compostela, the legendary burying place of St. James. This volume is the first U.S.-published essay collection devoted to the subject, drawing on multiple disciplines--including music, history, art, and religious history--to shed new light on the Santiago Pilgrimage and its manifestations throughout Europe.

Customer Reviews:

It is a pity this book is currently out of stock.......1998-02-12

This is probably The best book I have read on the Pilgrimage Unfortunately the book itself is out of print. The publishers might bring out a reprint and then I will order two copies from Amazon. Extracts from the book can be found under the travel section of the Telegraph Online Newspaper look under Yahoo for this newspaper. There is also quite a bit of useful information on the pilgrimage to santiago under the Travel section of the Telegraph Online.

Book Description

The National Puzzlers' League (NPL) was founded in 1883 and is the oldest puzzlers' organization in the world. For over 100 years, crosswords and other word puzzles that appear in the NPL's monthly magazine, The Enigma, could be enjoyed only by NPL members. Now, for the first time, a selection of the league's favorite cryptic crosswords is available in book form for puzzle fans everywhere to enjoy.
Unlike "regular" crossword puzzles, each clue in a cryptic crossword has two parts--one that's straightforward and one that involves one or more types of wordplay--and part of the fun is determining which part is which and what type of wordplay is involved.
For example, "Shoestring allowances lead to tears (11)" is a cryptic clue for LACERATIONS. The straightforward part of the clue is "tears," which is a definition for LACERATIONS. The wordplay part of the clue is "Shoestring allowances" which can be expressed as LACE + RATIONS which "lead to" LACERATIONS. The number in parentheses tells you the number and length of the answer words--in this case, it's one 11-letter word.
Another example, with a different type of wordplay is "Rearrange, rearrange ram's front (9)" which is a cryptic clue for TRANSFORM. "Rearrange" is a straightforward definition of TRANSFORM and "rearrange ram's front" tells you to rearrange, or anagram, the nine letters in "ram's front" giving you the nine-letter word TRANSFORM.
One of most fascinating things about cryptics is that the clues are a combination of tremendous creativity and imagination, on one hand, and strict, formal rules, on the other.
This book contains 45 variety cryptics from members of the NPL, many of them by distinguished puzzle authors, as well as a foreword by Will Shortz, the New York Times crossword editor and the NPL's official historian

[PuzzleMeter: Difficulty—Very Difficult;
Style—Contemporary]

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