NY Art Commentary - World Artists

The Life Narrative of the Artist

The New Symmetry

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Finding a balance between the Artist's Romantic Notions and their financial life can be a daunting process during his or her growth and creative career.

Most artists need to articulate their needs in order to come up with a plan that determines their life actions.
Yes, we are born to live out stories: personal stories and public stories.

In these life narratives, our classical ideals can get lost in favor of the value of short-term profits over long-term wealth.

Then there is the creative community that can work together. Hashtag - Collaborate -- an overly-used word, in the decade of the 2015s, with a straight-away vortex of getting stuck into near extinction. However, the existing concept still has some remaining attractive merits.

An artist's business life aims to be cultivated into progressive levels of intentions such as working on the improvement of acquiring intellectual and personal financial asset skills. An artist must become skillful in basic professional business attributes, that may also require a comprehensive understanding of standard policies and management of world arts and culture.

An individual artist, however, might wish to accomplish this endeavour in his or her community. In this way, every artist in this group would take on an assignment of a specific aspect of their views of the arts.

Artists are often in pursuit of available opportunities without regard to their current resources that need to be restrained. However, in the world of the artist-business person, this concept suggests the the creative impulse is at the initial core of his being. Another outside construct is the Mentorship, a strategy which can be of a relational guidance. However, for Mentors, their priorities lie in the direction making the pathway for a cultivation of independence.

An artist can make a Learning Contract with himself. In this way, one would write essays on their career aspirations and goals, often documenting their work, and then at a later time, reflecting on their parallel progress in the engagement of their known goals. Often, in this type of self-training, it would be advantageous to obtain feedback while attending a coaching workshop concerned with portfolio presentation, along with the cognizant progression of attaining skills in a positive community engagement.
The landscape of an artist's career is contained in a perfect storm of converging pressures, ridiculously high costs, along with a driving competition among artists for exhibitions, projects, commissions and jobs.
There exists a desperate, but positive, climate of concern about the future audiences for the world of arts and culture.

As a key point in the world of business, one would wish to restore a financial balance. Referring to this type of business language, artists would have to create fewer products or increase products consumption. The best solution is to create additional consumers and expand the market. Research and education can often help business-oriented artists increase market size and develop local and world-wide audiences. As we are aware, often the personality of a business person is usually at odds with the artistic minded one. Then a business-minded solution may not seem to be appropriate.
However, there is a need to analyze risk and reward, for an artist, before action is taken.

From the first day that an artist is smitten and overwhelmed by his or her discovery of the art within the self that is driving one with great motivations and intents to serve their creative needs and generally operate within the defined limits of their artistic abilities. On the other hand, business people are trained to answer a need within a promising market. Artists measure their success in a more subjective manner than business people. They yearn for superior artistic merit, audience appreciation, peer recognition, and fame as salient indications of thier success as financial gain. Business people are more predisposed to measure financial gain as a primary indication of success.

Artists can create a personal chart to design a formulation that can help themselves evaluate their opportunities by managing their art process within the framework of a business process. It is a repeatable progression of analysis that can systemize a plan of action.

There are several key areas of self-analysis to be concerned with: attentive goals, market studies, asset evaluation, acknowledgement response, and upward flight.

We can begin by appraising the artist's personal goals, lifestyle needs and creative temperament through an attentive meditative analysis. It is a first step for an individual to assess his or her own needs and wishes. Meeting these needs should be the basis for all personal endeavors. It is helpful if the artist has established a basic set of short-term and long-term goals.

Market Studies can be utilized to understand the prospect of an artists potential marketing experience, including art collecting data, as well as, demographic data to provide insight into knowing one's audience. Asset Evaluation will include financial resources that can be tangible, as well as, intangible assets. They can consist of personal attributes, educational attainments, and any resources that can be leveraged in the pursuit of an opportunity, with appropriate restraint. An acknowledgement response, that would be considered acceptable, would include giving no response, or perhaps an intuitive guess to proceed or not, developing a suitable study of a business plan. For the most part, it may be desired to articulate an acknowledgement response, coinciding with the strategy of a business plan. This can give the artist a greater ability to attack unforeseen interruptions or obstacles.

Now we are at the final stages of an upward flight into the desired accomplishement. Many artistic speculations summit into mature growth or an exit strategy; after the undertaking is fully completed, whereas sustainability meets forecasted growth, it will be sold for profit. This final step encourages the continual evaluation of an opportunity to ensure that the opportunity-at-hand continuously provides for the needs of the artist. It can be a recurring process. The question is, at what point will the artist know enough about the opportunity in order to reach the upward flight. However some artists experience a circular self-analysis paralysis, whereas one perpetually overanalyzes observations and facts to avoid making a final decision about making the opportunity under consideration.

However, with the above strategy in mind, the artist may become assiduously competent to be able to bring about a new and brighter artistic experience for ourselves and the mileiu in this many faceted world class art world.

- Elgin Tarlow


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