- The path to success in the visual arts profession is strewn with obstacles, and only a small percentage of artists turn stumbling blocks into stepping stones.
Those who tread the path will eventually realize that success requires much more than talent. Other essential ingredients are creativity, tenaciousness and maturity. But even more important, the artist must be a survivor.For many, the path begins in high school. During those years, artistic promise often emerges and is recognized. Spurred on by awards, some students begin to think seriously about pursuing art as a profession.
Anyone who visits the annual Salt Lake City School Art Show currently at the Utah Museum of Fine Arts will have a chance to view art work by high school students and speculate which students have what it takes to succeed in the art world.
Competing for top awards were students from East, Highland and West High Schools. The jurying and judging duties were handled by University of Utah art professor Robert S. Olpin.
This year, the juror's awards went to Scott Moss (East High School), David C. Babcock and Richard Ordonez (Highland High School) and Jennifer Worsley (West High School). Olpin also chose 10 artworks for merit awards and 18 for honorable mention.
Timothy D. May must have been highly pleased and encouraged when his watercolor, "Pumpkins and People," was chosen by the Salt Lake City School District to receive the purchase award.
Several of these artists also fared well in the 18th Annual High School Show at the Springville Museum of Art. In fact, Babcock won a master's award in that competition.
Winning awards is pretty exciting, but students should not interpret it as a sure ticket to success. There are still many more hurdles to clear.
Neil Hadlock, a sculptor and owner of Wasatch Bronzeworks, said, "Young artists want to be successful overnight. It's a long, hard road and a lot of people bail out."
High school students bent on becoming artists must realize that even after years of art classes in colleges and art schools, they still have a long way to go.
Along the way, some artists join organizations where they can relate to other people sharing the same dreams and aspirations. The three major ones in Salt Lake City are Associated Utah Artists (AUA), the Intermountain Society of Artists (ISA) and Utah Watercolor Society (UWS).
AUA and ISA continuously display their members' works in the Salt Palace. And it isn't difficult to pick out those artists who are stuck on a plateau and others who are mastering mediums and developing styles.
Potential and struggling artists who are looking for tips to succeed should have listened to a panel discussion on March 17 at the eighth annual Utah Arts Council Conference. The topic was "Visual Arts: The Survival of the Fittest." Part of the six-member panel were four visual artists who have been highly successful in the art world. And they willingly gave pointers on "How to Succeed in Art - With Really Trying."
They were Hadlock; Gary Smith, painter; Anna Campbell Bliss, artist, architect and consultant on color and design; and Richard Johnston, sculptor and art professor. And they were eager to share some words of advice and wisdom.
Hadlock said that early in his life he made a decision that he wanted to make art the rest of his life. His goal was not to be successful, but to be faithful to his ideas. After he started along the road, he never looked back.
Smith echoed Hadlock's words when he said, "I determined from the very beginning that I was going to be a painter." He said that although the road was filled with discovery, it was also punctuated with hard times.
A number of factors contributed significantly to Smith's success. One of the biggest, however, was finding an agent. "I am fortunate to have the ideal agent who promotes my work and gives me national exposure. All I do is paint and ship."
He said many artists spent 50 percent of their time producing art and the other 50 percent promoting it.
Smith warned artists to beware of the commercial world. "It robs you of your creativity." He emphasized that an artist needs to know how far he has to go without compromising his integrity.
He urged artists to keep a good portfolio, document their work and keep a good representation of it.
Bliss announced that she is a survivor.
Her advice to young artists is to start at the local level and develop a track record. However, in her own case, she found that Salt Lake City did not provide the support base for her, so she had to look to other cities.
She scanned art magazines and newsletters for national competitions in which she could enter her work. "But be selective," she urged.
She kept her eyes open for fellowship opportunities. The fellowships she received over the years "have given me a tremendous boost."
And through her consulting work she has traveled widely and made a lot of important contacts.
Johnston found that, in order to be successful, he had to stop "changing hats too often." To accomplish this, he bought an old building 20 years ago to house both his studio and his home.
When submitting proposals to corporations, he builds miniature models. "It's understood that these models will remain my property. If I don't get the commission, I can sell them. That way, I am not wasting my time."
Although Johnston is not only a sculptor, but a teacher, he says, "I don't teach for money. I teach for the energy I get from the students."
Members of the panel emphasized that very few stars are made overnight. Success is elusive, but it's out there - for those who are willing to pay the price.