SCAD panel; from left to right, artists Angel Otero, Marcus Kenney, and Ingrid Calame (Photo by author)

SCAD panel; from left to right, artists Angel Otero, Marcus Kenney, and Ingrid Calame (Photo by author)

SAVANNAH, Georgia — The primary goal of any creative practitioner is to make good work — visual artists must make great art. But producing work is only the most visible part of an entire career, encompassing everything from getting your name out there to that eternal bugbear, making a living from art. An artist panel on “professional practice” at Savannah College of Art and Design’s 2013 deFINE Art conference tackled this topic with useful advice.

The panel featured three artists in different places both in their practices and geographically. Angel Otero is a New York-based painter represented by Lehmann Maupin, Savannah-based painter and photographer Marcus Kenney, and painter Ingrid Calame (represented by James Cohan), who are all featured in exhibitions around SCAD. Each brought their own perspectives on how to develop a sustainable artistic practice, but the exhortation to “be open” was the theme of the night.

Some lessons on just how to be open are bulleted below.

Angel Otero’s “Royal” (2011) (Image via Lehmann Maupin)

Engage Your Community

One of the early points of the panel was that it’s not entirely necessary to be in an artistic center like New York to launch a career. What’s more important is to be connected within your own creative community and find other artists and creators who inspire you. Kenney’s career has been more of a slow burn than Otero’s, for example, but he has discovered a supportive network within the same city where he went to school.

The artists on the panel also formed connections by working in other artists’ studios as well as museums and galleries, getting to know how the art world works and, perhaps, cultivating future fans.

Be Able to Talk About Your Work

Hosting studio visits and connecting with other artists, critics, and curators is a huge step to creating that supportive network for yourself. Fostering connections doesn’t have to mean networking — it’s about discussing what you’re passionate about and finding likeminded people. The excuse “the work should speak for itself” just doesn’t cut it and can actively turn audiences off.


As well as working in museums, galleries, and studios, Ingrid Calame was an active critic, writing for publications like Frieze. When it came to her first solo show opening, the gallery was packed with her writing community — the lights of the criticism scene in New York (some of whom actually bought work). What better way to foster critical attention than being a part of the scribbling set?

Ingrid Calame’s “#258 Drawing” (2007) (Image via James Cohan)

Artists Refer Artists

How to find a dealer is another eternal question of being a professional artist. The consensus among the panelists was that it’s not about sending out portfolios or CVs but meeting dealers and collectors through other artists. “Artists are who find you a dealer,” Otero said. “It’s through trust and relationships.”

Allow Your Work to Circulate

Potential collectors and fans could see your work in group shows or at galleries, but they might also see it at friends’ homes. Otero was a proponent of getting work out into the world; he set low prices for selling work out of his studio partly in the hope that it might be seen by new audiences. At this mature point in her career, Calame likes to give work away — it’s like “printing money,” she said. Trading is always good, too!

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Kyle Chayka

Kyle Chayka was senior editor at Hyperallergic. He is a cultural critic based in Brooklyn and has contributed to publications including ARTINFO, ARTnews, Modern Painters, LA Weekly,...

7 replies on “The Biggest Tip to Succeed as an Artist: Be Open”

  1. Not that all that stuff doesn’t have some relevance, but… ick. The music world has been overrun with people peddling this same spiel for years now — “You have to get out there and network! Use social media! Develop your brand!” Now apparently it’s overtaking the art world as well.
    I realize self-promotion has always been part of the game and always will be. But I find the ever-increasing focus on it depressing. Maybe it’s partly generational. As a Gen Xer this stuff tends to repel me, but many Millennials seem to feel completely comfortable embracing it.

      1. I should probably take back my 2-bit generational analysis. But it does seem to be a growing trend, regardless of the ages of the people involved.

    1. An artist with no interest in making others interested in their art is still making art. An artist makes art because they have to. An artist promotes their art because they need to.

  2. Nice article. The highlights are good. I would like to see more of a focus on creating value for the customer ( the collector). There are many different kinds of art buyers with very different motivations.

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