There is a common hesitation among artists when writing their biographies or CVs. It usually stems from a sense of modesty or a fear of appearing pretentious. The question often bubbles up: “Is it okay to mention the names of my instructors or mentors? What if they aren’t famous? Is it just gratuitous name-dropping?”
The answer is a resounding yes. You absolutely should include them.
In many creative fields, listing your influences is standard practice. A musician will almost always list the conservatory they attended or the master maestro they studied under. Actors list their acting coaches and directors. This isn’t viewed as vanity; it is viewed as pedigree.
Visual artists often shy away from this, but it is time to change that mindset. Listing the artists you have trained with is not about bragging; it is about establishing your professional lineage.
The Myth of Celebrity
One reason artists hesitate to list their teachers is the worry that the names won’t ring a bell. You might think, “My teacher is a master of this technique, but the average person on the street has never heard of them.”
That is perfectly fine. In fact, it is the norm.
If we look back at art history, specifically the late 1940s through the 1960s, we saw a unique period where artists were genuine celebrities. Figures like Jackson Pollock, Willem de Kooning, and Andy Warhol were on the covers of Life magazine. The general public knew who they were.
Today, however, the art world is vast, fragmented, and decentralized. There are very few visual artists with that level of household name recognition. The reality is that your potential collectors—and even gallery owners—likely won’t know every name on your resume. But that shouldn’t stop you from listing them.
Backfilling Credibility
When you list a mentor or instructor in your bio, a psychological shift happens for the reader.
Even if the gallery owner or collector doesn’t recognize the name, the fact that you listed it signals importance. Their internal monologue shifts from “I don’t know who this is” to “If this artist is citing them as a mentor, perhaps I should know who they are.”
It invites them to become educated. They may look the artist up, which enriches their experience. But even if they don’t, the presence of the name “backfills” your credibility. It shows that you are not operating in a vacuum. You are standing on the shoulders of giants. You have been trained, you have studied, and you are carrying on a tradition.
The Etiquette of “Name-Dropping”
If you are ready to update your bio, here are a few rules of thumb regarding permission and protocol:
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Instructors and Mentors: If you paid a fee to take a class, a workshop, or a master course with an artist, you have explicit permission to list them as your teacher. They provided a service, and part of the value of that service is the reputation they pass on to you. You do not need to call them to ask if you can list them in your CV.
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Collectors: This strategy also applies to your collector base. Listing prominent collectors helps establish social proof. However, the etiquette here is different. If you are going to list a private collector by name on your website or public biography, you must reach out and ask for permission first. Most will be flattered and agree, but you must respect their privacy.
Your History Adds Value
Ultimately, art is about connection. When a collector looks at your work, they are often looking for a story. By weaving your history—your teachers, your influences, and your past collectors—into your bio, you add depth and richness to that story.
You aren’t just selling a pretty object; you are inviting the collector into a world of technique, history, and tradition. Don’t be afraid to open that door for them.
What about you? Do you currently list your mentors or teachers in your artist statement, or have you hesitated to do so? Let me know in the comments below.
I do, since Agnes Martin was a mentor and friend until she passed away. I was friends with Friedel Dzubas in Ithaca when he was teaching at Cornell where I was pursuing my masters in Fine Arts. I have no problem with listing those names, but what about having had dinners repeatedly with Clement Greenberg at Friedel’s home. There were many heated discussions about art but I dont know whether I can add that or not. I also dont know if I can add Robert Rauchenberg with whom I spent many evenings at art openings, and after parties where I live now in SW Florida. Yes? Can you list acquaintances who, through conversations had a big influence on you?
I currently do not list teachers or mentors in my artist statement. First I never even gave it a thought as to that being a thing to do. And also as you stated in the post I don’t feel comfortable name dropping.
Yes, but have now added more to my resume after reading this. Not enough room in the bio.
I took a wonderful workshop with Ansel Adams in Yosemite NP in 1978. When I first wrote my artist bio, I did not mention it. My husband disagreed. Now on my artist statement/bio I mention him as well as a couple of other mentors who are known in the photography field. I get a lot of comments on that, especially Ansel Adams, people are usually amazed. For some reason, I feel that gives me a bit more validation as a fine art photographer.
This is something truly to consider especially at a New Year when perhaps adding mentors and teachers, influential artists might add some context to what are my extremely heavy artist statements. Remembering good experiences and exchanges between teacher mentors can adjust the flavor and tone to include things that one should’nt omit from their statements but in fact share. But here I wonder how many other painters experienced having two simultaneous artistic paths? One being my formal artist training with some very excellent teacher-mentors and the second road being ” the what I should be painting about and whom I should be exhibiting with path” In the city of Los Angeles, I exhibited beside some very big Latino artist names! John Nava, Carlos Almaraz, John Valedez, Frank Romero, Gilbert Lujan, Gronk and others. To then hear — “You arent Chicano ENOUGH.” Ha,ha,ha – I laughed so hard sharing with the gallery director saying: “I’m a Texan, but, I’ve been a Mexican all of my life – what do you want?” Coincidentally, that very date was 11 September 2001. I joined the Army the next day. But I think its clear as to why I felt not to express my ethnic background in my art. Thank you and Happy New Year.
In the 1970s I took a course in drawing and painting by mail at the Famous Artist School at Westport, Ct. One of my instructors was Norman Rockwell. Should I mention that in my biography? I did not finish the 24 lesson course and he only critiqued one of my lessons.
Question, two of my paintings were purchased by a well-known tech giant. The family has a wing named for them at the Seattle Art Museum. Is it necessary to ask for permission to use their name given they are already well known collectors and philanthropists?
In college back in the mid 1970’s, I took a sculpture course. The professor was Wendell Castle. That would be a pretty good name to drop. By the way, it was a great course, he was very low key while being a great instructor. I learned a lot.
I don’t have this problem. I had no teacher except YouTube for the last two years. Before that, I was learning through trial and error.
Yes. It is important to asked people permission before Name Dropping. I learned that the hard way. I applied for this group exhibition which required to named 3 collectors. Which I did. The gallery in turned started to contact them again and again, to sell them more work. Prior to opening, I called the 3 collectors to informed them of the exhibition. Their were not happy. Well it took me about 2 years to get our relationships back on track but has never been the same.
I am a PhD engineer and academic and self-taught artist.
While I am told that I have forebears with artistic tendencies, I’m not sure that I could name them.
Perhaps it is interesting that I have left-brain and right-brain skills in equal proportions, enabling me to promote my artworks on my own website, but that can consume huge amounts of time.
In summary, I agree with your arguments in this thesis, but struggle to apply them to myself.