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“If I Don’t Get My Way, I’ll Take My Art & Go to Hell.”

There seems to be a rising tide of this around artist venues on the Net these days.  Visualize a grown man throwing himself on the ground and screaming and kicking like a tot in tantrum frenzy.  And not just one or two, but more than several.  Arrogance?  Definitely.  Petulance?  Exactly. Shooting self in foot?  No.  More like the head, but that’s a good thing…for other artists.  ”Don’t let the door hit you on the hindmost as you leave, and please do take your art with you!”

Artists, be advised, please.  There are a million-million of you out there all wanting your chunk of the consumer’s dollars.  If you think for one minute that any company or dot com has to pay any attention to you as an individual, or even you as a group, you are mistaken.  These are not the days when the little guy or even a bunch of little guys can get their way by screaming and pounding their fists on the table.  And a class action suit is not going to net you ground within a decade of filing it, especially when the contract you agree to doesn’t expressly say you get what you are demanding.

Companies, domains and websites are owned.  It’s the owner’s name on the bottom line.   If they allow you to show in their gallery, in their venue, on their websites, you are there in accordance to their terms, which can change at any time.  You are not there on terms dictated by you.  You don’t own the real estate and the operation.  It runs by owner’s, organization’s, or corporation’s dictate, not yours.  Get used to that fact, and do, by all means, get your own operation going where you dictate the terms, too.  That way you can do it your way…and use what other services are around to enhance your enterprise.  Otherwise, you are just throwing yourself down the tube, and that tube heads “south.”

 

zentao.com trademark and logo

Time to debunk some fallacies.

Heard in passing: I am guessing… that dealers are amongst those checking out my site.

Umm…nope.  Guess again. Art dealers and art agents are not actively seeking your work.  Honest.

I’ve said it before, and it bears repeating, there are a million-million artists out there — a dime a dozen.  If you’re going to make a career out of art, you need:

  • a plan,
  • to work that plan,
  • luck,
  • talent,
  • charisma.

Built in leverage helps, too. 

Art agents and dealers “find” artists in several ways:

  • art majors from prestigious schools who get spot-lighted as having ”the right stuff”
  • the sons and daughters of celebrity and wealth
  • prestigious art shows
  • prestigious art contest winners
  • the choices promoted by art organizations (organizations sometimes funded by NEA grants)
  • submissions of art portfolios by artists soliciting them by appointment and by snail mail

The best, most prestigious dealers and agents go after the cream of the crop as measured by themselves and others they trust to judge the trends and mark who’s exceptional.

Fallacy Two: In my experience there are always those folks monitoring new trends and looking to make money on the back of it.

Well, yeah. …If you’re a budding entrepreneur.  But if you’re a “mover and shaker,” you SET the trends…or try to.  Occasionally, some maverick artist will shove him or herself into the limelight from nowhere, upsetting the well-laid plans of everyone, but not very often.  When that happens, that’s when the dealers and agents get to work, dropping their business cards.  Once the maverick is rolled into the system, order returns.

What’s that you say? You want to be that maverick?  How’s your luck quotient?  Because the dice are loaded against you.  Odds are perhaps similar, maybe worse, than winning the New York Lottery.

zentao.com trademark and logo 

There are some artists stirring the waters on various forums I keep an eye on.  Their pointed and caustic pursuits in these conversations are narrowly focused on…

“what YOU [insert various dot com names] should be doing for ME.”

What they want is that dot com to give them a formula and function that will allow them to reach the top of the heap of artists seeking recognition.  They specifically want the dot com to provide them the means to make a lot of money and get name recognition, all on the company’s dime, not theirs.

I keep pointing out that, no, X dot com is doing what they say they will do.  Your irritability and persistent pesky communication at and to them is not going to get them to do what you desire — to, on their own and on their dime, make you a “name” artist.  In fact, what you are doing could very well spell an end to everyone’s ability to use their services. 

And what I get via email or forum private messaging from several of these agitators is a scalding accusation that I don’t want them to “win,” or that I’m undermining their efforts to sway X dot com.  When I reply, I then receive remarks back similar to…

“I’m not going to speak with you in private by email because it is obvious that you’re working for [insert dot com name].” 

Excuse me?  I don’t work for anyone except myself, thank you, and, like I said, I don’t need more business…as I told yet another would-be client this morning.  What I am doing is pursuing a dialogue about something which I feel they…and you, as artists, are misconstruing and pursuing to your (and every other serious artist’s) detriment.

A business only maintains a client, a customer, a service or a product which is profitable for them.  Once overhead and/or effort overtake profitability, then the service, product, and/or customer/client is divested.  Effort in the form of greasing that squeaky wheel – the agitating artist — requires man-hours — paid man-hours — where busy employees must take the time to respond and sooth that artist, simultaneously doing damage control so other artists don’t jump on the bandwagon.  These “soothsayers” have to come up with just the right platitudes verses information.  They have to run their replies past management who makes very sure that they use double-speak to avoid compromising the business plan and its proprietary methods developed and instituted to achieve company success.  (Don’t want everybody’s dot com or brick and mortar store owning their ways and means if they want to get somewhere, you know.)

Artists, remember, please: If it pays a company to make you, the artist, believe they will “make your career,” they’ll infer it…lead you to believe it (but not say it outright).  In actuality, they will only do what is in their terms of service, and they can change those terms of service at any time.  (Yes, it’s legal for them to do so.  It’s their company, remember?  Not yours.)   Don’t irritate that company because they aren’t providing you with every other thing you think they should be doing to give you the “edge.”  You’ll just shoot yourself and everybody else in the head by chasing the company into closing its doors on you and others similar to you — in this  case, the self-representing artist.  Remember, artists like writers are a dime a dozen.  You’re worth less than a U.S. penny to them until and unless your work proves valuable enough or potentially valuable enough to make somebody else some serious money.

If you want a chance at a “name,” at money and fame, there are services and art agents out there who can “make” you.  Don’t bludgeon the dot com whose service provides you the means to help yourself, but refrains from promoting you to your satisfaction.  Stop trying to mold their business decisions based upon your persistent demands for them to provide you your desired service and result.  All you are doing is driving them closer to divesting you and other artists like you.  If it’s not specifically outlined in their terms of service, then it’s not their job.  Seek elsewhere.

BTW, for those seeking a promo venue, as of August 1st, 2007, I’ll be reopening http://www.zentao7.com as an art showcase and artist showcase, with free accounts as well as paid accounts.   

zentao trademark & logo“Nobody I’ve talked to until now has ever told me any of this!  They all made it sound so easy and…er…bright.”

That’s because they have an agenda — to sell you on their services or product.  I don’t have an agenda.  I don’t need your business, thank you very much.  I pick and choose my clients, and I’m expensive…and sometimes free, but that’s another subject.  Back on track.

The simple truth is, as an artist, you have to identify your goals, then pursue them in a manner which will accomplish those goals.  Yet most artists, like most would-be website owners, have no idea whatsoever what their actual goals are, much less how to go about achieving them.

For all my writing, all my correspondence, all my replies via telephone, email, blog, and forum, the persistent delusions remain.

“The Internet will make me rich and famous.”

It can, but, chances are, it won’t.  Because you don’t have a goal and a plan. First the goal — identify it.  Then, with help and knowledge from people who have the means and method, learn the how-tos and build your plan.  Now, carry through.

 

zentao trademark & logoThink about this before setting your prices to compete with every publisher dump of “fine art prints,” or painting canvasses in assembly-line fashion and auctioning your work at EBay. 

If you are a graphic artist or poster artist, you price your masters according to the income they potentially will prove to produce as net profit, but set your print prices comparable to the competition…and you’d better be good, because you’ve got a LOT of competition.

If you are a fine artist, however, you price yourself INTO the market, not OUT of it. You do this by pricing high, not low. There isn’t a legitimate gallery, collector, investor, or art agent out there interested in someone who gives their work away for pennies, yes, even their prints/reproductions of the originals.

Enough said.

zentao trademark & logoAccording to one artist, because art.com registers some 3 million visitors per month as opposed to relative newcomer ImageKind.com or other “sell-your-art-here” websites,

“there is no ball game besides art.com for decent traffic.”

Well, let’s look at what I consider to be one of the best online artist’s services website on the Internet, ImageKind.com.

Considering that ImageKind started at zero in May of 2006 and, as of May 2007, is approaching 45,000 per month for an 20240.2% increase in traffic…and climbing, I’d say, ImageKind is a pretty up and coming good prospect for artists.  This is especially true when you consider that ImageKind has integrity and treats artists very well.  And an artist sets their own prices and retains control of their artwork.

But, then, let’s go ahead and look at the numbers, then, shall we?  Using the same service that EmptyEasel did, a site called compete.com, we do a comparison of the websites available to most artists, namely: picassomio.com, boundlessgallery.com, ImageKind.com, and artistrising.com.  We’ll throw in Sistino.com for good measure. And just for fun, I added in my own site, zentao.com, even though it is not a “sell-your-art-here” website. 

So here are the numbers according to compete.com which, by the way, cut my traffic down to unique visitors only, not return visitors, nor any traffic that comes in from the major search engines using entrances to this huge, very old, and very messy, eclectic website.  How do I know this?  Because I run extensive stats, and verify them with an independent source which I choose not to name.  (Don’t want everybody and their doggy knowing my ways and means, you know. ;) )  I’ll list these statistics from compete.com from highest to lowest traffic.

art.com 3 million unique visitors per month

ImageKind.com 42,511 unique visitors per month

My website: zentao.com 24,806 unique visitors per month

boundlessgallery.com 23,839 unique visitors per month

sistino.com 19,500 unique visitors per month

picassomio.com 14,309 unique visitors per month

artistrising.com 9,903 unique visitors per month

 Our distressed artist quoted above claims that:

“there is no ball game besides art.com for decent traffic…. the other sites dont even register basically…..  art.com…. [has] basically a monopoly since traffic is the game.  Without traffic no admin tools, excellent layout or search functionality really matters…..  you can not multiply or divide by zero”

Well, I beg to differ.  First off, 10 thousand to 50 thousand quality visitors is divisible and multiplicable, and are nothing to sneeze at, even if half the number are artists looking at the market…which is true for any “sell-your-art-here/buy-your-art-here” website.  And I’d CERTAINLY rather have 25 thousand visitors looking specifically for my website and its content.  Much better to have quality visitors, all of them looking for and at my content than to have art.com’s 3 million who number:

  • “other artists” checking out the stats and competition
  • other competing websites seeing what they’re up to now
  • and generic visitors who are just looking for “anybody’s content,” and mostly looking for CHEAP content, at that

And that is what art.com offers — cheap prints by anyone dead or alive whose work will turn them a profit at their set prices, where the artist gets 15% of a sale of a low priced print, art.com setting the prices.  I’m sorry, but the usual is for the gallery to get 15% and the artist 85%.

What’s my point?  My point is, develop your own presence, artists.  People who are looking for YOUR art need to come to YOUR website.  Brand your own name, then use services like ImageKind to sell your art to them. 

Remember, it’s not traffic VOLUME; it’s the quality of traffic — traffic that wants to look at and maybe even buy YOUR art. 

zentao trademark and logoWell, it’s official.  Sistino will be no more.  ArtistRising, merging Sistino’s good points, will be the venue for beginning indie artists and wannabes over at the Art.com empire, and Art.com itself along with AllPosters.com will be limited to artists whose sales or content are proven to be lucrative.  Makes good business sense.

The 10% royalty payments are rising to 15%, but there will no longer be a royalty paid for framing, making a potential net loss of 5% income on sales for artists who regularly sold framed work instead of just prints. 

Artists still won’t set their own prices, a downside to Art.com, AllPosters, and ArtistRising as “sell-your-art-here” dot coms.

Art on art.com which hasn’t sold as of June 30, 2007, will be expunged from the art.com database.  This means an artist with no sales who has work on art.com will lose their place in that venue.  Artists who have sold will remain.  In order for new artists to get on board art.com, they will have to have a good sales record or their images be considered content that would sell well on the art.com market — trendy in home decor.

Does this make sense for art.com?  Yes. 

Is this making indie artists unhappy?  Yes and no.  At least they know where they stand, though many are very unhappy with what they consider to be the high-handed methods art.com has employed towards them during this transition period.  Some are rather upset that they are losing the framing royalties.

What do I think?  I think that artists are much too focused on someone else’s business model rather than on their own.  …And, remember, there’s always ImageKind.com, an up and coming online market venue which, so far, at least, is very “artist friendly” in its attitude.

zentao trademark and logoArt contests, valid or rigged, honest evaluations or peer accolades?

Yes and yes.

I watched with interest several nearby “real world” art contests.  Three were “juried,” two were “open,” and one was held by a gallery.  I also have watched with interest several online contests over the last months, two sponsored by A Singular Creation and some others which will remain unnamed and unlinked.

And the results?

Predictable.

  

Results of the Real World Contests

Two of the real world juried art contest were too obviously rigged. Respectively, the results were:

  • the art chosen for the prizes of first, second, third, and runner up, all by artists who were members of importance within the membership ranks of the sponsoring association,
  • the art chosen for prizes were all based upon the popularity of the individual instead of upon the merit of the art

Another real world juried art contest obviously wasn’t rigged, the sponsoring association having no vested interest in art, but rather in community, and the artist’s works placing highest, judged by art experts hired to do so, holding true merit.  Even while I would have, in some cases, chosen differently, I couldn’t argue with the judge’s decisions…which, by the way, they enumerated.

In the two open shows:

  • Again, one of them showed obvious predetermined agenda, the agenda being the promotion of one particular company’s product which, upon deep research, proved to be a sustaining sponsor of the organization holding the contest.
  • The other demonstrated just and fair adjudication based upon merit of the art.

 Now, the gallery show:

The art which won here was all art by artists who, though prohibited by the rules from being artists affiliated with the gallery, either had been previously affiliated with the gallery prior to the contest or became affiliated with the gallery after the contest.  No artist unaffiliated with the gallery, either before or after, won any prize.

  

Results of the Online Art Contests

Looking at the results of the online contests, the contests came in two forms:

  • those judged by popular vote,
  • and those judged by qualified, independent judges.

Predictably, art which was judged by electronic voting by visitors instead of by independent judges wound up being a popularity contest for the most part.  The one exception was A Singular Creation’s contests which, while still suffering the “by popular vote” syndrome of friends gathering to pick friends, were fairer in that votes cast by the same IP were thrown out.  However, by and large, these contests aren’t fair and unbiased venues.

The one art contest I watched with interest was one which didn’t require an entry fee, offered no cash prize, but was judged by a panel of independent artists.  The results were fair and unbiased, except that it was obvious which media was most favored by the panel of judges.

  

The Bottom Line

Contest results aren’t always about whose art is best, or even an equitable venue for all artists entering them.  Be aware, and only enter those which suit your needs and goals.

zentao trademark and logoFor the artist looking for online exposure and sales, as well as POD printing and/or framing, one oft-used venue is the “art-for-sale-here” and “sell-your-art-here” dot coms.  There are a few critical things an artist should explore and understand before joining either of these types of dot coms, though.

  1. As with the gallery mentioned last week, who is the dot com’s customer?  The artist, the art buyer, or both? 
  2. Do you, the artist, retain complete control of your work? (Nothing like having copies of your work remain on the website after you no longer belong to the venue, and, worse, having your artwork proliferated around the Net completely beyond your say so and control at Amazon.com, EBay, or… because your “Sell-Your-Art-Here” dot com has an affiliation with these companies.)
  3. Do you, the artist, retain your copyrights, the dot com only permitted limited publication rights to display and rights to print-on-demand for a buying customer?

Many “Sell-Your-Art-Here” and “Art-For-Sale-Here” dot coms make their money by:

  • offering premium listings and space to subscribing artists
  • receiving a commission for all art sold, either a flat rate or a percentage
  • receiving payment for “value added,” such as POD reproduction, matting, and/or framing

It is imperative for the artist looking at an online venue to figure out who reckons as that dot-com’s primary customer.  Is it the artist, the art buyer, or both?

  

The “Sell-Your-Art-Here” dot com

If the dot com’s primary customer is the artist, then, unlike the real world gallery, that’s a good thing because the dot com is going to do everything possible to keep you, the artist, happy.  You are their primary customer, the one who puts bread and butter on their table.  They aren’t going to do anything that’s going to compromise that relationship…unless you are so very difficult that you are more trouble than you’re money’s worth, or you are so very incorrigible as to bring them negative publicity. :D

  

The Art-For-Sale-Here dot com

These dot coms focus on delivering art to the art buyer.  That’s their customer, not the artist.  Getting onto a good one usually means you must be a recognized “name artist” or your work must already be syndicated to one of the big art syndicates.

  

How about those dot coms which serve both the art consumer and the arist?

Well, here’s where things can get a bit nasty for you, the self-promoting artist.  If you aren’t selling art, they aren’t making anything, now are they?  That small fee you pay to be a part of their online art venue probably only covers your space and bandwidth, so where they expect to make their money is from selling your artwork, which means that, for you and your artwork to be of value to them, you must bring buying customers to their check-out register.  If you don’t, you can pretty much figure that, sooner or later, you might find yourself persona non grata and shoved out their virtual door without so much as a “fare thee well.” (Make sure you get ALL your art off their website and all their affiliate’s websites should this happen to you.)

For dot com’s who straddle the line or are just getting started, serving both the artists and the art buying customer, keep an eye on which is proving to be their most lucrative customer.  The moment that it becomes “the art buyer,” you can pretty much guarantee that they are going to move with “what sells” rather than with the less-than-outrageously successful self-promoting artist, especially the ”non-trendy,” no-name artist and the “just starting out” newbie.  They might even go so far as to dump all their self-promoting artists, opting for strictly syndicated works.

  

Some Words of Wisdom

For most “sell-your-art-here” dot coms, the fact is, both the artist and the art buyer are their customers.  Value-added shops like ImageKind.com provide self-promoting artists with a valuable service that can, if the artist successfully self-promotes, allow them to provide reprints of their work drop-shipped right from the printer with the plus that the artist doesn’t front the cost of printing, matting, and framing.  That’s a VERY GOOD DEAL.  But DON’T expect this kind of dot-com to promote you just because you buy a premium listing.  That’s YOUR job, not the job of the value-added printer/framer.

Realize that the “Sell-Your-Art-Here” dot com wants…DEPENDS…on you marketing them to the world by promoting your gallery that resides on their servers.  They figure quite rightly that one million wannabe artists all linking their respective website galleries  is going to help get them on top in major search engine rankings.  Those wonderful postings are also going to put their website in front of potential art buyers much better than all their paid-for search engine optimizing and paid for advertising.  …And they’re right.  That’s how some of the Internet’s biggest art venues made themselves “the name dot com in online art.”  You, Mr. and Ms. Artist, are their unpaid advertising and promotional agents. 

Be aware that, once that usefulness ends or is no longer needed, you become dispensable unless your art is making them money — as much or more money than, say, Van Gogh prints are making them for the same bandwidth, space, and effort. The moment your membership fees and art sales don’t produce, proving as valuable as consistent known sellers, and especially if dealing with you and your artwork winds up becoming more trouble and effort than dealing with syndicated art, then you are more liability than asset, which makes you summarily disposable. 

zentao trademark and logoI’ve been observing more than a few conversations crop up on online artist forums concerning “successfully marketing your art.” These are “hot topic” threads for artists on the Internet. 

The bottom line — making money from art…which translates to “making a living from art” — is the overwhelming desire of most who read and participate in these topics.  They are “hope-to’s” flocking with wide-eyed interest to any article and any information centered on successful art marketing and self-promotion (topics which, by the way, are often instigated and catalyzed by the owners or employees of the very online venues which stand to profit from each successful-artist-wannabe’s efforts at self-promotion).  The artists frequenting these venues and voraciously reading these topics call themselves “fine artists,” and call what they create ”fine art.” But are they, in fact, fine artists, and do they, in fact, create fine art?

Let’s explore a bit, and a good place to start might be to to look at some categories and definitions of “artist.”  Generally, here are a few:

  • print artist: someone who designs and creates art specifically for print and poster reproduction;
  • graphic artist: an artist who designs and creates images for an application or product, many times with text and images designed to communicate a message or for a complete production such as a movie, book, or CD release;
  • illustrator: creates art to illustrate a book, an article, or an idea, their own or another’s
  • commercial artist: an artist who creates art for profit, is paid to create art, or works-for-hire;
  • design artist: an artist who conceives designs and who also may develop them;
  • fine artist: an artist who is expressing from emotion or inspiration and creates with the intent of producing something of beauty or meaning, something of aesthetic value rather than something calculated to produce income or for utility for practical application (FYI, by the way, the fine arts are historically classified as visual art, photographic art, dance, sculpture, and music).

Were I to classify these in a hierarchy, I would make three broad categories, none more prestigious than another:

A. Fine artist

B. Illustrator, print artist, design artist, and graphic artist (amateur only) I can list print artists, graphic artists, design artists, and illustrators under commercial art, but I cannot list them under fine art at all.  And I cannot list them under commercial art if they are “for-the-love” hobbyists, not  pursuing steady payment from or a career in graphics and/or illustration.

C. Commercial artist

  • professional print artist
  • professional graphic artist
  • professional illustrator
  • professional design artist

(Professional means pursuing a profession in, a profession meaning that which affords them the means to make a living from their efforts.)

In this category, that is, the “commercial artist,” we have the professional painter, professional photographer, professional [insert visual media]…which is, in fact, a professional graphic artist.

Note that we do not have a proliferation of the phrase ”professional fine artist.”  Nobody claims to be a “professional fine artist.” Why?  Because linking the terms  “professional” and “fine art” is considered to produce an oxymoron by definition.

So, now, back to the question: Are people who are pursuing the “how-to-make-money-with-my-art” really fine artists producing fine art?

Some of them, yes.

Most of them, no.

And here’s the difference.

A fine artist creates art with the primary intent to create something which has intrinsic meaning to them, an expression of themselves catalyzed by inspiration, reaction, or emotion.  First and foremost, it is “their art,” not art produced specifically with the intent to produce them income and/or notoriety.

Contrast the commercial artist who creates art with the primary intent to make money and/or fame and popularity, for themselves and/or for another.

So who are most of the artists proliferating the online art venues? 

Answer that question for yourself.  Here’s the measure:

Do you create your art regardless of whether it will or will not turn a profit, be that profit fame or fortune?  Then you are a fine artist.

Do you create art to illustrate something? If so, you are a graphic artist or illustrator.  If you do this for others “on demand” and receive fame or fortune from it, you are a commercial graphic artist or illustrator.  If you do it “for the love” or to help someone…or to illustrate your own poetry, music, article or book, then you are not a commercial artist.

Do you create art for gain, specifically creating it with the intent to profit, be that profit fame or fortune? Then you are a commercial artist, not a fine artist.

So, who are the majority of artists frequenting the threads and topics about how to market their art and self-promote? 

A great many of them could be classified as fine artists, yes.  They create art first, then decide to market it after the fact.  But, at least half of them are, technically speaking, self-employed commercial artists, not fine artists.  Why? Because they are not producing art as an expression of self and/or inner vision — art first and foremost for art’s sake.  They are creating art with the specific intent to sell it, to make money from it, to produce a product that someone will pay them for with some sort of compensation, be that fame or money, preferably both.

Motive and intent are the measure, and only the artist really knows the answer.  However, a skilled eye can tell the motive and intent behind the art by studying the works as well as looking at the methods an artist uses to ”market” their art.

Does the artist change their original artistic expression until they find one which “catches on” and consumers or collectors buy?  Or is the change in their artistic expression due to “periods” or exploring different expressions and styles? The former means the artist is  commercial; the latter, a fine artist.

Does the artist produce works specifically to sell, or are they selling prints and ancillary products containing their art as incidental or secondary to the creation of original work? If the former, the artist is a commercial artist; if the latter, a fine artist.

Do buyers or collectors seek out the artist to ask if they have produced any new art rather than the artist “hawking” their originals to potential buyers and collectors? If so, the artist is a fine artist.  If the artist specifically and repetatively campaigns their art, producing it with intent to sell, they are a commercial artist.

Fine artists will enter contests, will show their works in galleries, will specifically produce works for a collector (occasionally), but what they won’t do is just  paint/photograph expressly to sell. In fact, often a fine artist won’t sell a work, simply because they want to keep it.  They might agree to sell prints or reproductions, and they might be induced to sell a work they love simply because the collector or buyer is persistent or offers them something they need/want enough to part with the work.  What they don’t do is to specifically create artwork for sale.

Ultimately the measure of whether what you do is fine art or commercial art comes down to calculation.  If the artist creates the work with the calculated intent of producing something to trade for fame and/or fortune (money), they are a commercial artist. If the artist creates because of inspiration, reaction, or as the result of emotion, expressing that inspiration into their chosen media, be it photographic, painting and drawing, sculpture, or any other media, then they are, in fact, a fine artist.

Which are you?  And did you start out as a fine artist, then, when your work didn’t sell, change your work in the hopes of producing something that would sell?  Then you may have started as a fine artist, but you became a commercial one, whether you are in fact successful or not.

It’s all in the motive; it’s all in the intent.

To quote from one post on one online forum:

“Good or appropriate marketing is often indicated as making what you can sell[,] not selling what you can make[.] -

“…Some organizations make their products[,] and then try to pursuade the potential customers to purchase what they have made.

“Other organizations[,] and often the most successful ones, make what they can sell[.] [I]n other words[,] they create products and services in response to what the customers need

Walter Paul Bebirian
http://forum.imagekind.com/comments.php?DiscussionID=257&page=1#Item_0

I would add, “what the customers need or will desire,” but this basically demonstrates the point.  The commercial artist is an artist whose intent is primarily to create art to profit by, rather than the art which “lives inside them, demanding expression.”

Now the question that really drives the point of calling oneself a “fine artist:”

Isn’t it better  to be a fine artist rather than a commercial artist?

Not in my opinion, no.  Again, intent and motive defines the difference, and, many commercial artists are also fine artists, that is, they create commercial art, but, in their leisure, they create fine art, as well.  What they honestly do, however, is to differentiate their commercial art from their fine art.  While both might be for sale, they actively “market” their commercial work.  Their fine art, however, might or might not be presented for sale, but it isn’t “marketed” in the same way as that which they create for the express purpose of turning a profit.

“But…,” say you.

I know. It sounds better to call yourself a “fine artist” as opposed to a “commercial artist.”  “Commercial” sounds so…so…mercenary.  There’s this stigma against “making money.” 

Well, that’s a false stigma, because, in truth, the majority of people want to make a living at what they love doing, not what they have to do to live well and happily.  Just because you want to call yourself a “fine artist” doesn’t change the fact that, if your art is created, not as art for art’s sake, but, instead specifically with the intent to profit, you are a “commercial artist.”  You can lie about it all you want, but those are the facts.

Now I suppose we could come up with a new category, the “commercial fine artist” (though, again, we create an oxymoron), but then what do we call what traditionally is defined as a “fine artist?” 

Your suggestions may be posted as comments below. I look forward to seeing them, because I certainly can’t think of any which roll well off the tongue.  “Purist fine artist?”  Ugh.  Nope.