5 Strategies Successful Artists Follow to Thrive in Their Careers

GallerySquareI’ve had the privilege of working with and observing artists for a long time (I’ve been in the gallery business for over 20 years, but who’s counting!?) As a gallery owner, I’ve been particularly interested in watching the careers of artists who have built strong sales of their work. These artists are able to generate sales that allow them to devote all of their time to their art. They have found ways to make a successful living while at the same time pursuing their passion.

Today I would like to share some of the strategies I’ve observed these artists following to achieve this level of success. A successful fine art career depends on many factors. The strategies I will share here are certainly not the only ones that are important for an artist to consider, but these core strategies will have a huge impact on your success.

Strategy #1: Successful Artists Define what Success Means to Them

Before we can even begin talking about how an artist can build a successful career, I understand that the definition of success can vary dramatically from one artist to the next.

For some artists, success has nothing to do with money. Success for these artists can come from the satisfaction of creating work that is unique and innovative. Other artists enjoy the thrill of sharing their talents with others and the adulation they receive for their work. These artists seek the intangible benefits that come by sharing their creativity.

I’ve developed this venn diagram to help illustrate the different motivations that can drive an artist.

Artistic Motivation Venn Diagram
Artistic Motivation Venn Diagram

I see three key areas that can motivate an artist to create: artistic excellence, recognition and financial stability. As you can see in the diagram, the three can overlap. The greatest success can come to an artist who achieves a balance of all three, but achieving success in all three areas can take a lifetime.

Determining where your motivation lies will help you prioritize your efforts. For example, an artist who is focussing on artistic excellence may put all of her effort into studio work. She may spend very little time attempting to expose or sell her work. This artist may have to find other ways to subsist – taking jobs on the side to survive and buy supplies.

For an artist who is pursuing recognition, the priorities will be different. No artist creates in a vacuum, and many would argue that no work is complete until it has been shared with an audience. Many artists hunger for the opportunity to share their work. Art is communication at a very emotional and elemental level.

For some artists, the prospect of an award or critical praise of their work is more important than any monetary gain that might come from the sale of the work.

Finally, for some artists, I’ll call them entrepreneurial artists, it feels most natural to focus on creating work that will appeal to a broad audience. These artists align their passion and sales efforts and focus not only on creating, but also on getting work in front of potential buyers.

Determining your underlying motivation can help you direct your efforts for exposing your work. If artistic excellence is most important to you, you may focus on sharing your work only to mentors, critics and museums – you might not even try to sell the work.

Artist’s interested in recognition might focus on applying to shows and on achieving signature status with national artist societies. Again, sales may not be the highest priority.

An artist is who is seeking to build a business of his or her artistic work, will pursue opportunities to sell artwork. Art festivals and gallery representation might be the highest priority.

Only you can decide what success means to you. As a gallery owner, my focus is on selling artwork, and so my post today is going to center on principles that have helped artists become more successful in selling their work. I want, however, to acknowledge that sales are not the only worthy goal for an artist. With that said, this post is directed to artists who wish to sell more work.

It’s also important to point out that achieving success in any of the three areas listed above takes time and tremendous effort. An artist should be prepared to work hard and make sacrifices in order to achieve success.

Implementing this Strategy

Decide what your primary motivation is using the venn diagram. Your motivation will help you set your priorities.

Strategy #2:  Successful Artists Dedicate Regular Time to Production

Xanadu artist Dave Newman in his studio. Dave is one of our best-selling artists, and is also one of the hardest-working people I know. If I want to reach Dave just about any time of the day or night, I call his studio where I'm always most likely to find him.
Xanadu artist Dave Newman in his studio. Dave is one of our best-selling artists, and is also one of the hardest-working people I know. If I want to reach Dave just about any time of the day or night, I call his studio where I’m always most likely to find him.

As I mentioned above, building a successful career as an artist takes time and hard work. A lot of time and a lot of work.

If there’s one common trait I’ve seen among successful artists, it’s that they aren’t afraid to work. Successful artists are dedicated to their creative efforts. The are consistently and constantly in the studio producing.

Selling art is a numbers game. In order to generate steady sales, you need to have your work in front of a large number of potential buyers in a variety of venues (more on this below). In order to sustain multiple venues, you have to have a strong, large body of work.

Ultimately, the best way to achieve this is to pursue your art full time. The vast majority of successful artists I’ve met over the years had taken the plunge to produce their art full time before they found financial success in their career.

I understand that pursuing art full time is a tremendous challenge, and sometimes the demands of life and family commitments won’t allow an artist to leave steady employment to pursue art full time.

Does this mean an artist who can’t work full time on art should give up on the dream of a successful art career? Not at all. I would encourage you to look at your available time and to set a schedule that allows you to both create and meet your other commitments. Carve out specific, regular time that you can dedicate to creating.

It will take a tremendous amount of discipline to create on weekends or after you have spent a long day at work. That discipline will be invaluable in helping you produce a body of salable art. The discipline you establish now will make you incredibly productive when you are able to take the leap and focus on your work full time.

Implementing this Strategy

Plot out your weekly schedule on a calendar or spreadsheet. Block out time that you can dedicate to your art.


Example Schedule – Part-Time Artist (Excel Spreadsheet Download)

Other considerations:

Share your schedule with family and friends, and ask them to help you protect your creative time. Tell them how important your art is to you – if you can get their buy-in, you are far more likely to stick to your schedule.

I’m often asked how many works of art an artist has to produce to be successful. This is a difficult question to answer because the number varies pretty dramatically from one artist to the next. I work with artists who produce over 100 pieces per year, and with artists who produce fewer than 30.

Some artists work quickly, but some art requires intensive detail. Instead of giving you a specific number to aim for, I encourage you to look over the last year and calculate the number of pieces you produced. Once you know how many works you produced during the last year, set a goal to increase your production in the next year by 25%.

Strategy #3: Create a Consistent Body of Artwork

As an artist, you are free to create whatever you want. You can pursue subject matter that captivates your imagination, and depict your subject in a style that excites you. I have found that artists who create work that they are passionate about are the most successful in the long run.

The challenge, especially for an artists who is in the early stages of an art career, is finding what it is you are passionate about. While some artists develop a clear artistic vision right away, most artists have to experiment and explore before discovering where their passion lies. Some artists will try their hand at various media as they are getting started, and others will explore a wide range of subjects and styles.

This exploration is healthy and necessary in an artist’s professional development. As an artist begins moving toward generating sales and building a professional career around his or her art, it becomes important that the artist begins focusing on a cohesive, identifiable body of work. If you look at the work of commercially successful fine artists, you will find that almost all of them have developed a recognizable style and have cultivated a consistency in their work that ties the work together.

This doesn’t mean that there can’t be some variety in your work, and it also doesn’t mean that you are going to spend the rest of your career producing the same artwork over and over and over. It simply means that if you want to successfully sell your work, you need to develop a style that your collectors can easily identify as yours.

When I look at an artist’s work for consistency, I use a simple, although admittedly subjective, metric that I use to judge consistency. I look at six criteria

  • Subject Matter
  • Style
  • Theme
  • Palette
  • Medium
  • Presentation

If the artist has achieved consistency in four of the six criteria across the work that is being presented to me, I will typically find the work to be consistent.

This means that you can have some latitude for variety in your work. If your subject, style, theme and palette are consistent, you can work in several different media with a variety of presentations. Conversely, if your medium, presentation, palette, style and presentation are consistent, you can explore a wide variety of subjects and themes.


Looking at several examples from among Xanadu Gallery artists we can see how consistency is achieved in a variety of ways.

Carolee Clark has a very consistent style, palette, theme and presentation, and all of her work is done in acrylic. This allows her to explore a range of subjects but still maintain consistency in her work.


Columbian born artist Guilloume creates both sculptures and paintings, but because his subject matter, style, theme, and palette are consistent, his variety in presentation and medium don’t interfere with his consistency.


Implementing this Strategy

Look at your last ten pieces and ask yourself how consistent they are in terms of the six consistency criteria. Determine which pieces are most consistent and strive to make your next ten pieces consistent with these works.

If you are having a hard time judging your consistency, bring an objective observer into your studio to look at the work for consistency. Ideally this would be someone who has some experience in the art world – a fellow artist whose work you admire, a gallerist or an interior designer.


Strategy #4: Organize your Business

salesgraphThis strategy may be the least exciting to read about, but organization is critical to the long term success of your art business. If your goal is to make sales, or if your ambition is to make a living from your art, you will need to view your art-making as a business.

Some artists find this idea distasteful. They may feel that art and business don’t mix, and that introducing business into the equation may somehow taint the purity of their art.

I would encourage you to look at it a different way. Building a well-run, well-organized business around your art will allow you to avoid the disarray and frustration that surrounds many artists as their work begins to sell. By being organized you actually free yourself to focus on creating.

The artists I work with are very organized about the business end of their art. They’ve implemented systems that allow them to keep track of all of the moving parts of their art business.

The most important areas to focus on are:

  • Inventory Tracking
  • Accounting
  • Shipping/Logistics
  • Marketing

In other posts on this blog, I’ve shared some of the tools we use to organize our business, as well as tools artists are using. Every artist is going to have different business needs and will find different tools that will work best for meeting those needs. The important thing is to make a commitment to organizing these key areas so that you can scale up your business as sales increase.

It’s also important to note that a number of the artists I have worked with over the years recognize that organization is not their strong suit. These artists have brought in assistants to help them tackle the business. Sometimes the assistant will be a spouse or other family member. For other artists, hiring someone to come into the studio several times a week to help is a better option.

Implementing this Strategy

Evaluate your current ability to track your artwork, your finances and your shipping. Do you have robust systems and routines in place that allow you to track your business activity?

Make a list of the requirements of any system that would make it ideal for tracking your business. This list of requirements will help you evaluate potential tools.

Strategy #5: Diversify your Sales by Showing your Work in Multiple Venues

Successful artists understand that in order to sell art, the art has to receive massive exposure. To a certain extent, art sales is a numbers game. In order to find buyers who will be interested in your work and in a financial position to purchase. In order to reach those buyers, you need to have your artwork on display in a variety of venues.

The successful artists I’ve worked with over the years have all worked very hard to put their work in front of potential buyers. Many started their careers by participating in outdoor art festivals and shows. Art shows are an opportunity not only to display and sell work, but an opportunity for you to build your contact list and develop salesmanship skills.

Successful artists also look for other opportunities to sell their work. In addition to art festivals, many of these artists have participated in art organizations that host open studio tours and put on other shows.

Ultimately, many successful artists have approached galleries with their work. Building relationships with galleries gives artists something that shows or personal promotion can’t, constant, long-term exposure backed by a professional sales staff.

Most successful artists are not only showing in one gallery, they are showing in a variety of galleries in diverse locations. Besides the broad exposure this strategy creates, showing in a variety of markets can help stabilize your sales. It’s often the case that if sales are down in one area, they may be up in another.

Implementing this Strategy

As you prepare to ramp up your art career, look for opportunities to show your work. Seek shows and venues that successfully attract qualified art buyers and have a track record of generating sales.

Prepare to present your work to galleries by creating a portfolio of consistent, high-quality work. Research various art markets and the galleries that serve those markets in order to find those galleries that would be the best fit for your work.


If this all sounds like a lot of work, it’s because it is! While there may be some “overnight successes” in the art business, it’s far more common to find artists who have spent years carefully building their success.

What do you Think?

What factors do you feel have been the most important in the careers of successful artists you have observed? What have been the most important factors in building your own career? Which of these strategies do you find to be most challenging?

Share your thoughts and experiences in the comments below.

About the Author: Jason Horejs

Jason Horejs is the Owner of Xanadu Gallery, author of best selling books "Starving" to Successful & How to Sell Art , publisher of reddotblog.com, and founder of the Art Business Academy. Jason has helped thousands of artists prepare themselves to more effectively market their work, build relationships with galleries and collectors, and turn their artistic passion into a viable business.


  1. Great information Jason. I only have one comment as it relates to production. As an artist I find it difficult to have a ridged production schedule. In discussions with fellow artists there seemed to be an agreement that we are creating even when we are not in the studio. I know that when I step away from a piece and come back to it, I have either solved a problem, or realized a better approach. I use to feel guilty about not finishing a piece before starting another, but no longer. That is apart of the process, just like not knowing for sure when a piece will be finished. An illustration assignment yes, a fine art piece not so much. I guess I am trying to say that daydreaming should be allowed as part of the production. Without it the creativity will never happen. Thanks for all of your good information.

    1. Steve, thank you for your comment. I completely understand and agree with everything you are conveying. This is often a source of frustration for me when dealing with people who are not artists, because I find that they do not understand the creative process. The sheer nature of creativity, in my opinion, has no borders. You must lift any constraints from your creativity in order to experience its true potential.

  2. Great post Jason. The 6 criteria you outlined in strategy 3 on consistency is a very helpful way of thinking about defining what you are known for as an artist. I would also add for strategy 4, that if artists need help on inventory management, your Artsala service is available.
    After 14 years of tracking the old fashioned way with paper inventory sheets that I made for each painting and kept filed in a binder, I knew I wanted to switch over to something more automated. I did research for a long time on the different options available and finally chose Artsala . I began recording my inventory there in January of this year and have been very happy that I made the switch. Updating those inventory sheets at the end of each month was my least favorite task to do and now I just upload as I complete each painting and it makes inventory management a lot less labor intensive.This time of year is a good time for artists to transition if they want to move to a new system. I clearly know work before 2015 is in the old binders and anything 2015 or later is on Artsala, so Jan 1 is a good time to start fresh. Thanks for offering this service to artists.

    1. I agree with Pat about using ArtSala. Putting my work into the inventory and keeping track of various places and times for each work becomes a doable task with ArtSala. It is also very affordable–and saves a great deal of my time. Printing reports on each venue’s holdings with reference pictures and other relevant information, simplifies all sorts of inventory problems.

  3. Thanks for laying this out so clearly! As you say, the most successful artists I know are in the studio all the time. I’m going to have that time to produce beginning with the new year. I know what I will be working on. The most challenging aspect for me will be finding other opportunities to exhibit outside my current circle. I am thinking of having occasional open studio events, for example, when I finish a certain number of related works, and trying to develop a list of potential clients by asking collector friends for suggestions. Does anyone else have experience with this?

    1. Hi Carol;
      I live in an artist community building. We each have live in art studios. We have group events where we open our studios. These are really fun, but there are rarely any sales. In our case, I think people are just coming to see how artists live rather than being interested buyers.
      I hope this helps.

    2. Hi Carol,
      I’ve been holding open studios for a couple of years now as well as participating in any local art organization studio tours. My goal is to meet new potential collections, as well as keeping in touch with current collectors. I typically piggyback on a holiday or special town event happening so that I can attract new clients. It’s a simple coffee & cookies affair. I will send my list a stamped invitation in an envelope. There is also a free drawing of a print or calendar to capture more names and addresses. Any sales are just icing on the cake. I find the studio tours fun and rewarding. Go for it!

  4. Hi Jason;
    Thank you for this excellent article. I have been painting for many years, and I am eager to begin developing a more consistent style. I belong in the group of artists who would like to experience monetary success 🙂

    To raise my skill level, I have continued to experiment with various styles. Not long ago when I was in a local show, they asked me to bring everything I have. I even dug out the old paintings I had under the bed.

    When the paintings were on the wall I experienced a sad moment as I realized I would never get anywhere if I couldn’t focus on a direction. Viewing the work at a whole, it was a real mess.

    Your article highlights my discovery and helps me write my new business plan.

    Merry Christmas,

    1. Dear Sierra,
      I have been in the same position with my work. The styles were all over the place for years, bringing me doubt. What changed was finding a class on “the Artoists’s Way”. It has helped me definne my art and love my art with my personality at center. Try meetup for a class

  5. Excellent article. Thanks for sharing your wisdom and experience.

    Many artists struggle with the business details. I think that some of us try to do everything all the time. Sometimes the business end can consume too much time and creativity suffers. I’ve found that it becomes necessary to enlist help to do some of the bookkeeping, website maintenance, shipping, and other details. The artist is the one person who creates the art. Others can do the support work. It might be friends, family, art students or even temporarily help from an agency. As you’ve said, it all has to be done. Trying to do it all yourself all the time may limit success.

  6. Jason, another great article. I measure success by $$ in the bank…I want to paint, so I need to support that addiction. Under the category of Organization, I’ve made it a habit of keeping up with all of my past collectors. I keep up with email addresses, and I reach out at least twice a year with snail mail (usually announcing on of my bigger shows and again at Christmastime). If the Post Office sends me an address change for a customer, I immediately update my records and send the card out again, so they don’t miss out on hearing from me. In tracking my sales, I can see that I have repeat business, sometimes as much as 3 years apart. I send them a Thank You card and I mention the older painting(s) in my note, which shows I care about their personal art collection. It’s all about the little things, and about caring enough to do just a little bit more than is expected. I let them know which galleries they can find my work in, and encourage them to stop by if they’re in that town. It’s kind of a grassroots way of growing my business. Thx again, Jason, and Merry Christmas!

  7. You have re affirmed my motto, work hard, consistent, do better, my last 24 years as a very successful Canadian artist has been accomplished because of the methods you write about and happy, cheerful, whimsical art. Thanks for writing this.

  8. wonderful thought- provoking article! Strategy #3 regarding consistency generated quite the conversation around the breakfast table this morning. The difference between subject matter and theme really made for a lively discussion with no clear cut final answer. What are your thoughts on this, Jason?

  9. Jason, I find your wisdom invaluable and encouraging. I have kept your blog posts and reread them. This past year I have changed addresses. I am helping out my daughter with her son at night so I stay with her and go home on weekends and holidays. I have had a difficult time breaking into the art market here in Richmond. But I have a studio in a gallery . The have juried shows and personal shows. I have been accepted in every show I have entered, and had a one man show.They have openings every month. I have received nothing but good feedback about my work and yet I have only sold cards and ornaments. Your blogs are very encouraging to me . Thank you for your willingness to share your experiences.

  10. I can say that getting your work out and having it seen by a variety of people is paramount. I am learning this the hard way since our building was just sold, it is in the heart of the art district, we have very vibrant 1st Fridays and well attended openings during these times we always have our studios open. Now we are casting around trying to find more venues, before I was doing many more local holiday shows, and trying various coffee houses and those types of venues which can be good too. Our studios literally paid for themselves in sales. So my priority is sales, to be able to pay for what I love to do. This article was very helpful and focused me forward, thanks Jason this blog post was very clarifying!

  11. Jason, very helpful. I do agree overall but I would suggest some additional tweaking. Regarding #1 I think that most artists want all three, excellence, recognition, and monetary gain. The challenge is balancing them so that all three are achievable. But with #3, consistency, I have issues. I understand that to gain a reputation and for sales probably consistency is important. But I think that an artist can burn out if they do one kind of art over and over again, perhaps for sales or to please their followers or for galleries who want this. Many artists will say they want to develop both artistically and technically throughout their lifetime, even if some of their explorations do not earn them much attention or financial gain. The bottom line for me is that as an artist for over 50 years I look at my accumulated work and I think that the real reason for being an artist for a lifetime is that it brings one pleasure and a sense of fulfillment in life.

    1. Thanks Stan – I think we’re actually on the same page about consistency. I’m not suggesting that an artist has to do the same work over and over, just that the work should evolve slowly and that the artist should strive to retain some continuity through the work of a given period. In other words, work that you are doing today might be very different than work you were doing 20 years ago, but if you look at the work in between you will see a recognizable progression. What you want to avoid is have a work that you produced 20 days ago from being very different from the piece you finish today.

      I also hear what you are saying about motivation as well, but I do know artists who really aren’t concerned about the financial aspects of creating and others who are only concerned about the $. You are right though that many artists are aiming for that balance of the three.

      Thanks again for your comments!

    2. Consistency is not important to me as I love to explore and my art grows with me…
      As long as it is consistently good the other is not a goal. I try new subject matter and materials all the time…also fluctuate between doing visual art…music….writing…..the challenge is to get the flow of new ideas and creativity out. About 5% or less becomes a product. ..the rest is a spin or sometimes rapid succession of images..poems…thoughts…music in my head. Life constantly interrupts and rather than be totally frustrated I believe taking Mia my husky for a walk etc. Is j
      ust a part of the process…it’s all there for a reason.

  12. Thank you so much for all your advice Jason. I am in this moment for six months in Curacao, to prepare for a solo exhibit. It is also the marking of the end of my employment years, and I can now totally focus on my art. I am grateful for any marketing advice that you share with us.
    Working on consistency is a priority, but also is very hard to do, because it feels like I am losing a bit of the fun of experimenting. But since I have been painting from morning to evening the last months, I can see that a certain consistency is developing. I took your book with me on my trip, so that I can read it again. Thanks for all your help.

  13. Jason, regarding of an artist maintaining a “recognizable progression” in their work over a period of time, I think that is more a conceptual idea than a reality. Some artists may do that and maybe not vary much from where they start in their art career. But many others will just go all over the place and pursue many variations, looking for new directions and inspirations or delight in trying new media or techniques and creating bodies of work that seem totally different from anything else they have done. Now if they do that then they probably run the risk of confusing their followers and perhaps collectors who may hold an image of them as the producer of one kind or style of art. But my point about this is that I find that as I get older I look back on all the art paths I have followed and in the end what I value is not what path(style,media,look) got me the best attention and income but overall how much I have enjoyed and been excited about the path of being an artist. Now I understand that some may not agree with this, like those artists who are wanting to make their living as an artist and feel they need a consistent style to sell their art, galleries who need for their artists to have a recognizable style (brand?) for selling their work, and art historians who also want to be able to describe artists in a tighter box to be able to place them in the history of art. But as an artist approaching the latter end of an art career and lifetime I would rather be able to look back and say I really enjoyed going all these different directions in my art, followed all the varied ideas and directions I followed, and I really have had a ball doing it, and would do it again if I could.

    1. Exactly, even in the commercial realm I found it difficult to wear two hats in the same space and time. Although I could create the entire project in my head after a client meeting, driving back to my studio. Sitting down to produce it was nearly impossible. Knowing that it may be necessary, accomplishing the business of art and following through on the creativity is very difficult for me to switch rolls. The information in this article is very, very important. I just believe that perspective is needed because at the end of the day we want to create and be thankful for the Jason’s in the world.

  14. Dear Jason,
    I find your articles very helpful since you describe how things work in real life and most importantly, how they could improve. Thanks for sharing your experience!

  15. I agree with all 5 strategies. I find #4 the hardest. And for the first time in my life i am suffering with artist block. Usually I can sit down and paint every day. For the past two weeks I cannot get myself to start. I am hoping once the Holidays are over my Muse will come back ready to work again.

  16. E. Raelene Ash
    Thank you for information that I can understand. lam one of five local Minnesota artist that ” display and sell their art work, gain business and marketing skills. We mentor and empower each other to increase artist’s exposure and income. We promote opportunities and we are a diverse community that have challenged poverty and/unique life challenges.”
    This is part of our Mission of The Art Shoppe at MGM.
    One of our artists Susan Gainen I want to thank you for sending reddotblog.com.
    Thank you Jason Horejs for sharing a important part for me to add to my journey.

  17. I love your continuous feed of information to help artists, Jason. It shows real compassion. I would add to the discussion that in regards to marketing one’s work, content matters. I live near the seacoast, and many collectors most often gravitate to subjects that relate to the coast: boats, ocean, beach, etc. So, in the long search over time for a balance between my own passion and my defined market, I have a split approach of doing coastal / nautical themed art in my style (consistency) and then also create art that might not necessary fit my local geography. Thinking of my art as a business (as you pointed out) forces me to make considerations on different fronts. Thanks again for reaching out to us artists.

  18. A perfectly timed article, thank you. I’ve just taken the plunge, leaving an 18 year career to focus full time on my Photographic Art. I (think) I’ve found my style / consistency after many years of experimentation and am working on getting the balance between creating works and driving the business side of my art. Still lots to learn, loving every minute and continue to be amazed at how generous everyone is with their knowledge, insight and expertise, thank you and Merry Christmas !

  19. Your data is solid. I would add artists also have to be proactive in doing outreach. When showing in a gallery, the smart artist will let people know that their art is in the gallery.
    I don’t show in a gallery at the present time, so I do my own outreach by snailmail. I send career updates to my art people. Making the art is only half of the job. People like to know what an artist is up to. I have a collector who sends me a US Grant every December just because I stay I touch with her. I will end here by stating, labor,effort will gain results.

  20. Hi Jason, I enjoyed reading your ideas and as I have just gotten back into creating again, after 20 years away it is very addictive and very enjoyable. But I am having difficulty in getting my work out there for buyers and collectors to see and purchase. You have given me several ideas to try. As I have a very limited time each week to create my sculptures I am slowly building a small collection of completed works. I have delved into art exhibitions in the last year with limited success and recently toured New South Wales local and regional galleries with the view of holding a solo exhibition, I live and work in Western Australia. As you have outlined it is a lot of hard work not only creating but trying to organise a business of art as well. Once again thanks for your article it is very helpful to me and I will be exploring some of those ideas into 2016. Hope this year is all you desire and more.

  21. Great information for any artist at any level. I find being a mid career artist, I like to check back with blogs like this to remind myself of keeping on track. I use Arwork Archive to inventory my work. It can also create comprehensive lists that galleries may request. In my studio, there are days of voids. As an abstract artist, that can be normal. A good way to get into the groove is to just start doing something, like cleaning brushes. Pretty soon you receive inspiration.

Leave a Reply

Your email address will not be published. Required fields are marked *