You Gotta Read This! Vol. 2

Recently, a friend of mine reached out with a very good question. She sent me a simple text which read: 

“I want ______ [gallery] to look at my work and see if they’ll show it. But I have no idea how to do that.”

This is a great question and one I think a lot of artists secretly have. The sad truth is that, while there are a lot of resources floating around out there for artists regarding the creation of art, tangible information on “showing” and professional practices remains shrouded in mystery. Fortunately, I just happen to have a fantastic book on such things! And you know what that means *drumroll please* - it’s time for another installment of You Gotta Read This! In this post I’ll be discussing the book Art/Work - Everything You Need To Know (and Do) As You Pursue Your Art Career. Art/Work is an invaluable resource and, in my opinion, is an absolute “must own” for any aspiring artist. Just as it advertises on the cover, this comprehensive reference covers just about everything one might encounter in the enigmatic realm that is the Fine Art World. The book tackles everything from practical questions like: “how do I write up an invoice?” to more complex and philosophical topics like: “how do I ensure that my goals as an artist are in alignment with my personal values?” …this baby has it all!

*A quick note before we really “get into it”: I am not affiliated with this book in any way. I did not write it, I do not know the authors, nor am I receiving any kind of kickback for promoting it. This is simply a book from my personal library, which I have found really useful and want to share.  

Ok, let’s get back to it. 

I’m only half joking when I refer to the Art World as an “enigmatic” place. Truth be told, the Art World can be quite mysterious and intimidating even to art school graduates and professional artists. The authors of Art/Work, Heather Darcy Bhandari and Jonathan Melber, put it very succinctly in the introduction when they said that there are no hard and fast “rules” in the Art World “but there are general customs… and widespread expectations” (Bhandari and Melber, pg 2). Boy, is that the truth! I love the use of the word “customs” in this context. In my mind, it conjures associations with long-distance travel to exotic lands. This is a great way to look at the world of Fine Art and gallery showing - like an exciting foreign culture.  

My Viennese subway pass 

Me and a Fountain photo c. 1989 (Vienna Austria)

When I was young, my family spent a lot of time traveling abroad. We trekked all over Europe soaking up the history and visiting countless art museums (which I loved) but by far the most foreign of the foreign countries we visited was Japan. I will never forget how completely out of place I felt, as though we had just stepped off the plane onto Mars. Fortunately, my parents love books and they had the foresight to purchase all sorts of books on Japan. We had books on culture (both ancient and contemporary), books on art and ceramics, travel guides, maps, and even Japanese phrase books. Because of these resources our family was able to mentally prepare in advance for our journey as well as look up anything that mystified us in our day-to-day adventures once there. I view the book Art/Work in very much the same way as those priceless books on Japanese culture - it is like the ultimate travel guide to the exotic land of Art.

Ginza Lights at Night 1, 2001 

(Tokyo Japan) 

photo by Angela Durst

Old and New, 2001

(Aoyama Japan)

photo by Angela Durst 

I have been a practicing artist for over 20 years and I have traversed the strange and beautiful landscape of the Art World both with and without the “travel guide” …and let me tell you, it’s waaaaay easier with the guide book! One might assume that this title exists in my library as a result of my college days, a remnant of required reading lists, but alas, no such luck. In fact, I did not encounter this book at all during my art school years… mainly because it had not been written yet. I believe one of my knowledgeable professors would have prescribed this comprehensive guide had it been a thing. I  happened to “randomly” run across Art/Work (a.k.a. God put this book in my path) while stumbling around on the internet and the bright yellow cover of Art/Work has graced my shelf ever since. Over the years, this guide has come in handy as a quick reference for a multitude of weird little questions. Inquiries like: “I wonder if there is an official height for hanging pictures at and, if so, what the heck is it?” The answer is “yes,” by the way, the standard hight is 57” measured from the floor to the center of your piece. You can sleep soundly now. 

Press clipping from my first art showt at Gaskill Olson Gallery, 2001

Most recently, I used this book to help me prepare for my art show at Lyfe. Lyfe may be a little coffee shop but this show was a big deal for me. It was my first ever public exhibition as a Christian artist, which was a really significant milestone for me and I wanted to do it right! My preparation for my “big show” began long before I ever set foot in the gallery much the same way that my family’s journey to Japan began long before we disembarked the plane at the airport in Narita. Art/Work suggests that the best way to prepare for a show is to assemble and create all of your submission materials long in advance, before you ever even contact the gallery. This strategy allows you to compose your ideas and your work in a thoughtful manner, free from stress and deadlines. What a concept! This approach worked like a charm. It removed a tremendous amount of stress and gave me the appearance of being super prepared… because I was. 

Me & my art at my first Christian art show at Lyfe Coffee, 2022

It’s been a “minute” since my time at art school and I found it extremely helpful and comforting to have in-depth walk-throughs on topics like; writing cover letters, selecting samples of my art, and just good old fashioned gallery etiquette. Art/Work also presents a fantastic breakdown on artist statements, “what is an artist statement? How long should it be? What does it need to say?” as well as some really helpful strategies on how to approach the task of writing one… again, in a slow and reasonable manner (vs. the traditional approach of scrambling to put your life’s work into words the night before you set up your show, while simultaneously pulling all your hair out). I particularly appreciated Bhandari’s list of phrases to avoid when writing an artist statement entitled, “Give Us a Break.” (Bhandari and Melber pg 79). 

So who are the mysterious experts behind Art/Work and how do they know all this stuff anyway? Why, I am so happy you asked ;). Art/Work is the brainchild of Heather Darcy Bhandari and Jonathan Melber. Bhandari and Melber have over 30 years of combined experience in the Fine Art realm. Jonathan Melber is an arts-and-entertainment lawyer who has represented artists, galleries, and collectors, to name a few. He is also a business-development director. Currently, Mr. Melber handles monetization strategies and digital licensing for Turner’s entertainment networks. It’s safe to say this man knows his business (which is business) and can speak with authority on contracts and how to protect your work legally. Heather Darcy Bhandari is a gallery director, curator, and arts consultant in New York. She is an adjunct lecturer at Brown University and participates in portfolio reviews all over the country. (Bhandari and Melber pg 2 and back inside cover). This woman is literally the person sitting on the other side of the table reading submission letters and deciding who gets the gig. Trust me, you want to hear her perspective. Reading what these two had to say was like being a fly on the wall during the gallery selection process.

Aoyama Cemetery, 2001

(Tokyo Japan) 

photo by Angela Durst 

Art/Work is composed in a very thoughtful manner and has a lovely progression. The chapters are structured roughly chronologically, in order of how you would go through the experiences (and encounter potential problems). The book walks you all the way through laying the groundwork of your practice in the chapter entitled “Groundwork” (chapter 2); through “Submission Materials” (chapter 3); “Promotion” (chapter 4); all the way to “Sustaining Your Practice (with Money and Stuff)” (no joke, that is the actual title of chapter 6); and ultimately concludes with the nuances of “Representation Agreements” in chapter 14.

In addition to the wealth of information within the chapters themselves, there are also wonderful gems to be found in the margins of this book. For the revised edition of Art/Work, Bhandari and Melber interviewed approximately 140 professionals in the industry and included a bounty of quotes from said interviews in the usually vacant space of the margins. This is a very cool element that adds a 360º perspective on topics. It really feels as though you are sitting in a room full of Art World pros just casually chatting (about everything) over a cup of tea. Some of the margin quotes are inspiring, some are funny. Some quotes exist in seeming opposition to one another. I believe this is done in an effort to showcase that different people have different views and opinions based on the topic. 

Getting Dressed Up, 2001

(Omotesando Japan) 

photo by Angela Durst  

There are also funny little line-art cartoons sprinkled strategically throughout the book.  This helps to break up the dense information and ward off the feeling that this is homework. These random spot illustrations often point out the over-the-top absurdity of the Art World (when it is taken to extremes). They seem to pop up just when things are getting too heavy and they act as a reminder that it’s ok to laugh and not take yourself so dang seriously. 

Why Are Foreign Countries So Foreign? 1 , 2001

(Ginza Japan)

photo by Angela Durst

At the end of each chapter you will also find a checklist so you can make sure that you  have accomplished all the steps advised in that section before moving on to your next phase. I can almost sense my completionist friends vibrating with excitement right now over the prospect of a checklist hahaha. Art/Work does not, however, need to be read in chronological order like a novel and it has a fantastic index for quick information on the fly. So you can breathe easy, my rebellious freedom-loving art friends, this book is for you too. You do not need to read every page and tick every little box to utilize Art/Work and reap a reward. 

Little Pots, 2001

(Kamakura Japan) 

35mm photo by Angela Durst

Make no mistake though, this book is more than just a list of answers to questions about gallery showing dressed up with inspirational quotes and sassy cartoons. Art/Work definitely has a deep side. One of my favorite exercises is actually at the very start of this book, in the initial Groundwork section. Authors Bhandari and Melber  walk you through how to draw a “map” from your personal value system to your desired goals. Bhandari and Melber open the “Goals” section by pointing out that, “you can’t give someone directions if they don’t know where they are going.” (Bhandari and Melber pg 12). 

School Girls, 2001

(Tokyo Japan)

photo by Angela Durst

Just a Couple Things, 2001 

(Akihabara Japan) 

photo by Angela Durst

The exercise begins by asking the reader to identify and list their top five values. The book provides this prompt for folks who may not be in the habit of verbalizing their values, ”What do you consider being critical to being a good person, or leading a commendable life? What do you stand for?” (Bhandari and Melber pg 14). This might sound like a very rudimentary task but I found it to be quite thought provoking and informative, especially since I first did this exercise early on in my walk with God. Next in step two, the book asks you to articulate your “motivation,” your “purpose,” and your “vision.” Each is described thusly: “your motivation is what currently drives you. What are you passionate about?” Purpose is described in this list as, “what you want to do with your art, or perhaps more accurately, what you want your art to do.” And lastly, your vision, “what you see in the future. What sort of life do you imagine for yourself? What sort of role do you envision for your art?” (Bhandari and Melber pg 14). 

Temptation Waits, 2001

(Ginza Japan)

35mm photo by Angela Durst

Walking through this process was a real defining moment for me (literally) as it gave me the courage and inspiration to label myself as an “Evangelical Artist.” My desire is to bring honor and glory to God with my art, my process is my way of celebrating His gifts, and the end product is my way of communicating God’s goodness to others (sharing the Gospel). There is just no mistaking it and no other way of saying it - I AM an Evangelical Artist, and thus my title was born. Steps one and two can wade into some pretty deep philosophical territory but I believe that formulating answers to these questions is paramount to creating art (and a life) that is representative of who you are and what you believe in. 

Harajuku Kids, 2001

(Omotesando Japan) 

photo by Angela Durst

Step three addresses the more practical side of how to translate your motivation, purpose, and vision (i.e. your beliefs), into goals. Specifically, how to create achievable goals that you can define and measure. These three steps are each interesting on their own but when taken into consideration as a whole they can act as an amazing safeguard! When you stand back and review your answers from this process, you can’t help but ask: “do my goals actually align with my values? Or is my motivation somehow out of whack with what I claim to believe?” A heavy question for sure but one that I believe is worth asking, regardless of whether you are creating art or not. This exercise is a wonderful self-check that will keep you honest and true to yourself.

Self Portrait in God’s Light, 2021

Vine and willow charcoal on newsprint

18” x 24”

While the “values to goals” exercise might take some serious time and thought, believe me when I say that it can produce some serious fruit. Along with my fancy-schmancy title, FaithfullyDrawn.com (the blog which you are reading right now) was also inspired by the very same hard-hitting soul-searching questions proposed in the values to goals process! 

So if you have ever stood in a gallery and wondered, “what does it take to get an art show? How do I take my paintings from resting on the easel in my living-room to hanging on the walls of this gallery?” If you have ever been intrigued and/or intimidated by the exotic Land of Art and its inhabitants, or if you have ever desired to dig deeper into your practice, then this book is for you! I invite you, Art Blog friends, pick up a copy of Art/Work. Let’s embrace the spirit of January - a time for setting resolutions and starting afresh. Join me in considering the possibilities, and contemplating our values. There is no need to let the fear of the unknown keep you from your calling. Let’s set some achievable goals and go out and make some art work!

Why Are Foreign Countries So Foreign? 2, 2001

(Omotesando Japan)

photo by Angela Durst 

P.S. If you missed You Gotta Read This! Vol. 1 click here to check it out :)