Also, this remark is giving away a fairly limited view on art appreciation:
> While you can learn from failures, only sales strengthen the muscle because only they show that someone actually cares about what you are making
This is obviously not the case for art projects that target only a few people, or art practices that do not result in tangible objects. (Although there are some exceptions, such as Marina Abramovich, but those are very limited.)
Great for them, but this is not about all art. It just is impossible to live of most art forms. This type of art fits well with our economy, and therefore makes a living. That fit is more important than all the business advice put on top.
The article does point out exactly this problem, but glosses over the fact that most artists don't want to change to popular art. Only a few can, and most don't want to.
https://collapseboard.com/a-young-person%E2%80%99s-guide-to-... https://lawrenceenglish.bandcamp.com/album/a-young-persons-g...
> Most people who enjoy making art should not try to make it their full time job. When you turn an avocation (hobby) into a vocation (job) you have to do new things you do not enjoy. Emails, events, meetings, accounting, and more. These are not only a drag but can actually strip the joy from the rest of your art practice.
You'll have to do things you do not enjoy if you want to treat it as a business, including changing your artistic vision if needed etc.
> Art is absolutely an expression of yourself. But your art is not you.
A pragmatic approach could be to work on commericially-proven styles for money and your own style just for yourself (and potentially others if you make a branding that's famous enough).
At the end, yeah, it's a job if you want to make a living with art. There will always be market forces and to extract value from that, you need to understand and conform with it. But that's only if you see yourself as a business and not purely as an "artist" which I think is what you're reffering to when you say "most artists don't want to change to popular art" etc.
Also I don't think it's true overall. Like you say the "person is making very popular art" and that's why they're successful but there's many like them who are also making popular art but are not successful at all. It's also the process they follow and how they approach their business that sets them apart. That part is valuable info/guidance for any artist that does want to be commercially succesful imo.
This is completely backwards. The Beatles put out songs that they didn't think were hits, and put out songs that they were conscious of being the antithesis of a hit. They wanted to freak people out from time to time. As many artists do.
Just check out Revolution 9. Pretty sure you can't get much out there than that when it comes to music of that era. And still very out there to this day.
Or for a more 'songy songs' that I'm pretty sure they didn't think at all in terms of hit material: Tomorrow Never Knows or Within You Without You. And there's dozens more.
It was the RIAA that certified sales figures and awarded the Gold Record, Platinum, and Double Platinum prizes. There were various formats that records could be distributed in, but let's simplify to the "album" and the "single".
A single was typically one song on each side, A/B, and the A-side was considered desirable and marketable. Singles were purchased first by radio and dance DJs so they could be played individually on demand. There was a secondary retail market for singles, so consumers could purchase them as well.
The record album developed from a set of many 78 discs and coalesced into a single, Long-Play, 33.33 RPM record. Its capacity was about 6 songs per side, depending on their length.
There were various strategies for collecting songs into an album, such as a sampler of the artist's best, all their performances in a year's sessions, or even various artists. During the Beatles' fame, the "Concept Album" and "Album-Oriented Radio" (AOR) came into being.
So you could sell singles with one hit song, and this would propel the "B-side" into people's homes as well, so they may get curious, flip it over, and play the B-side, but B-sides were often considered lower quality, disposable, or less popular.
An album could sell great if it had one hit track. Recording companies would usually peel off the best tracks on an album to release as singles too, so that the radio play would promote the band and drive sales of the entire album. Many people who heard a hit song would be disappointed when they spent a lot of money on an album, only to find "filler" in-between, because the album format usually guaranteed a certain runtime or number of tracks.
When the Beatles produced "Sgt. Pepper" it was a foray into the "concept album" where all the tracks contributed to a cohesive idea or theme. This tended to enhance album sales over singles, because the single would be a peek into the larger "concept" and whet the public appetite for the whole thing.
When "Album-Oriented Rock" became popular, the DJs were freed from the constraints of playing "hit singles" in isolation and they were more encouraged to explore the unreleased tracks ("deep cuts") from albums, as well as tracks of longer duration that weren't appropriate for hit radio stations. In turn, AOR bands were under less pressure to release their "hit single" for every album and shielded from the phenomenon of "one-hit wonders" while instead their audience was, again, encouraged to invest in an entire album.
In the 1980s, a 45 RPM single may cost $1.50 or $2, while a full-length album was $8.99 to $12. The format switch to cassettes was sort of masterful, because for a while, the 2-track single format was abandoned, and consumers were kind of forced to get the entire album on cassette.
Yes I've ignored a lot of rough edges here, like the older 78s, and 8-track cassettes, and classical radio, but that was basically the landscape for pop artists, who needed hits but first and foremost, needed sales. The Beatles also capitalized on another enduring method of driving record sales: live performances and world tours. It wasn't called "The British Invasion" for nothing.
This is something I wish I could impress upon 23-year-old me. I had all the drive in the world to create, and made some things I knew would (to the right market) sell - and I was, in fact, proved right, a few times - but I felt nothing but embarrassment about the actual selling. It wasn't even that I feared rejection - quite the opposite! I was an actor; rejection is, like, 90% of the job - and I had no problem selling other things, or others' work, just my own. Saying "I've got something great, you should buy it" about my own stuff felt unbearably egoistic. To be honest, it still makes me cringe. I'm not completely sure where that comes from - maybe an upbringing in a religious culture that emphasized humility? Anyway, I certainly don't have a "hustle" mentality, and can't quite bear those who do. Nevertheless, I'd have got a lot further in that career if I could have let go of that particular inhibition.
I’m somewhat of two minds of the whole thing. I don’t blame the guy for making an income, but yeah, the honey bears are kind of boring, and especially w/ this post he comes off as a bit of a sellout. Art is weird.
Paintings are really different kind of animal.
You can share a photograph of a painting, but it's, just, not the painting. A rip of a CD is nearly identical experientially.
There are many who, however, sell tapes, MiniDiscs, SD cards and other obscure formats with a small but serious following.
For example, how does he earn from the Honey Bear murals? does the city or building owner commission him for the murals? If so, does he do some kind of outreach or sales call to the building owners or is it the other way round?
Not an artist and nor am I in the art world, just curious how does business work in there
Hundreds (if not thousands) of honey bears were posted in windows around SF. It was one of those things that happens in SF every now and then, a mix of whimsy and hustle and unexpected joy. We couldn't take our kids to school, we couldn't take them to the park. Instead, we would drive them around town and have them point out all the honey bears they saw. "Honey bear! Another one!"
I don’t mean that it’s without merit just that although these things live in the same space they are not the same.
There are languages where there's a distinction between artists and painters.
They stopped being an artist with that one line.
One reason to not move to Ireland is that housing is very expensive, there are plenty of other problems too.
https://www.citizensinformation.ie/en/employment/unemploymen...
I don’t want to criticize that path - because being paid as an artist is a millennia-old thing. The idea that true artists don’t work for money is something that came out of the Romantic era, and many, many world famous historical artists like Da Vinci or Michelangelo were doing a job for rich clients. But it seems to lock you into a path where you need to replicate the same style over and over again, because that’s what you’re known for.
There’s a great little scene in the Basquiat movie about this:
I'm talking about the same kind of work. The same style, so people can recognize you and don’t get confused. Once you’re famous, airborne, you gotta keep doing it in the same way. Even after it’s boring. Unless you want people to really get mad at you…which they will anyway.
https://youtu.be/hfI1YAo32fc?si=05msdQY9-SCJAMhX
I think the Phillip Glass solution of doing a completely unrelated job is probably a better solution, IF you’re trying to focus on expression. It also gives you more material for creating; if you read many writers and artists’ bios, their day jobs directly impacted their work.
My favorite example being Moby Dick - could someone without years of whaling experience even begin to conceive of that book?
Any recommendations for getting exposure to other on-the-way-to-being-popular artists like the X-Ray one that was highlighted?
Calling Mozart’s works “songs” is ignorant.
Mozart wrote some songs (“lieder”, or art songs for voice and piano), but his work spans operas, symphonies, concertos, chamber music, masses and other sacred music, and solo piano works.
Not pirated music. Pirate music.
shrug