Have you ever wanted advice from an artist advisor who has been working in the art world and knows the ins and outs of this sometimes mysterious industry? Look no further. This month, we asked Marina Press Granger to shed some light on how to stand out as an artist, garner attention from galleries, increase acceptance rates when applying for juried shows and magazines, and share other advice from a leading advisor for emerging contemporary artists.
We had the pleasure of working with Marina for our 37th issue, which you can purchase from our shop or subscribe.
Marina Press Granger has nearly 15 years of experience working in museums and galleries in New York City. She holds a master’s degree in Art History and harbors a special place in her heart for artists. Her work has brought her into close contact with a multitude of players in the art world: artists, collectors, curators, dealers, and consultants. Granger has also curated independently and contributed to gallery exhibition catalogs. It is her advice and experience that she wishes to share with you.
Since starting The Artist Advisory in 2018, Granger has earned certifications in Classical Chinese San Yuan Feng Shui and Reiki I & II. In addition to her practical experience and analytical skills, Granger has been using these spiritual tools to guide artists and businesses towards success.
Can you tell us about your path in the art world and how your experiences have shaped your perspective on art?
I worked in NYC galleries for nearly 15 years before I started The Artist Advisory in 2018. Many of those years, I spent as a gallery director. While I worked with some fantastic people, I did see artists getting the runaround a lot. It was so frustrating seeing so many talented artists get treated like second-class citizens in the art world. Their emails went unanswered. They had no career guidance. These people were my friends and deserved better. They were all taught to make the art, and everything else would fall into place. But I knew they didn't have to sit around and hope things would happen. I wanted to show them how it could happen.
Seeing artists get the runaround made me yearn to show artists their incredible power as significant players in the art world. Without artists, the art world wouldn't exist. I realized artists could use the internet to connect with the right people to get where they want to be.
Since I started to work in galleries before Instagram, I have watched how drastically the internet and social media transformed the landscape of the art world. I suddenly realized that artists had so much more power because they could use the internet to get in front of anyone and everyone. I started The Artist Advisory because I wanted to offer clear guidance to artists on using the internet to support their career goals and navigate the art world in this new landscape.
As someone with extensive experience working with artists, what qualities do you believe are essential for an artist to succeed in today's competitive art market?
It’s important not to let the idea that the market is competitive intimidate you. It feels competitive because there’s a significant demand for art. However, many artists are taught to believe that that’s not the case. Every time someone says that being a successful artist is something not everyone can achieve - this belief is reinforced. The first step is to release this limiting belief.
Another essential quality an artist can embody is communicating their work succinctly and memorably. In other words, an artist can develop an “elevator pitch.”
When working in galleries, I worked at Art Fairs and had limited time to introduce an artist to a potential collector. So, I developed a formula for a quick and memorable introduction. This way, the potential collector would remember what the work and the artist are all about. This concise way of introducing the artwork created a story for them to share around the artwork. You can create this for your work. Here’s the formula:
Say why you do what you do + how your perspective informs your work + what you do.
So, for example, artist Katherine Mason (IG @paintedwithlipstick) would not just say, “I make large-scale realist paintings,” but instead say, “I’m interested in advocating for breast cancer research and the way breast cancer affects lives. A dear friend of mine was diagnosed with breast cancer and would put lipstick on for each chemo treatment because it made her feel beautiful and feminine. So, now I make paintings with lipstick donated to me by those whose lives have been affected by breast cancer.”
As a curator and contributor to art magazines, what criteria do you use to select artists and artwork for inclusion in exhibitions? What advice can you offer to artists who are seeking exhibition publishing opportunities?
A lot is in the images for me! It’s essential to have good photos, a consistent and cohesive selection, and a descriptive file name.
When I am curating, I always look for a consistent message in the work. Usually, it shows up visually, so it’s important for all the work submitted to look cohesive. So, in most cases, I would advise you to submit work from the same series. While you can include the message in a statement you submit, not all submissions require statements.
It’s also crucial to submit good photos of your work. If your artwork is in some way 3-dimensional, it’s important to show that with the angle you are photographing it. Or, photograph it on a white wall so it looks like it’s hanging in a gallery.
Finally, label your files with the artwork’s description—it’s vital for us to know what we’re looking at. An excellent way to do this is to have a file name as follows: Name_Title_Date_Medium_Size.jpg
On my podcast, The Artist Advisory Hotline, I did an entire episode on “Getting Into Open Calls” - and it has so many more tips!
How do you approach the process of advising artists on pricing their artwork? What factors do you consider, and what strategies do you recommend to artists in order to set appropriate prices for their work?
Pricing artwork can feel overwhelmingly nebulous. However, I aim to lighten the mood. Generally, there's an inside joke among gallerists - that pricing is arbitrary and we simply make it up! While this isn't entirely true, there's a grain of truth in it. Ultimately, the price for your artwork should be what you genuinely believe you deserve. If you're starting and haven't sold any work before, I suggest you honestly identify this figure and start with it.
When pricing work, there are certain factors to consider. If the artist has sold work previously, we need to consider three main factors: what their work has sold for before, what they feel comfortable earning for their work, and the supply and demand for their work.
Firstly, we should consider what the artwork has previously sold for, ensuring not to drop below that price.
Secondly, we must determine what the artist feels they deserve for their work. While everyone might want to command six figures for their artwork, if they believe they do not truly deserve it or don't comprehend what that amount of money signifies, they won't be able to command such prices. I always ask them to consider what non-art item their collector, or they themselves, have purchased for this amount. Do they feel their artwork is worth as much?
Next, we examine the quantity of work they produce (supply) and their audience. The higher the supply and/or the lower the demand, the lower the price. Conversely, the lower the supply and/or the higher the demand, the higher the price.
Do they have a waitlist for artwork? Is their artwork sold in multiples or as editioned prints? The price point can be lower if they have a lot of work. The price point will be higher if they have very little work, for instance, because it takes a while to produce. Their pricing can be lower if they have a lot of work and aim to sell it. But it also depends on how much work we believe they have available. An artist doesn't need to show everything!
Usually, if they're working with galleries, I tell them to discuss their pricing with their gallerist, who knows their collectors the best!
With your background in Art History, how important do you think it is for artists to have a deep understanding of art history and art movements? How can this knowledge influence an artist's practice and career?
Yes, the importance of historical knowledge is universal. Just as it's vital for doctors to know the history of medicine, architects to understand the history of architecture, and lawyers to grasp legal history, artists should also be well versed in their field's history. This knowledge allows one to avoid redundancy and missteps, and to contribute to the history of art.
Now, you don't need to know all of art history, but I believe it's crucial to understand the art history relevant to your work. This understanding will enable you to contextualize your work within the broader art history narrative. You can start by looking at survey textbooks that cover a large span of art history, then narrow down to the artists and movements that interest you the most.
This knowledge can bolster your career because you can speak about your work within the context of art history, an approach many contemporary artists employ.
Could you share some success stories or examples of artists you've worked with, highlighting the strategies or approaches that led to their success?
I have worked with many artists and have countless success stories that I could highlight. I am so proud of all of them! While my method and strategies are universally applicable, everyone's path is unique, much like their artwork. I'll provide a few examples:
Alannah - This emerging artist worked with me to shift their mindset and comprehend all the possibilities within the art world. Once they clearly understood their intention and the significance of the message behind it, their drive to spread the message and build a community around it surged. Using the strategies I taught them, they now have gallery representation on both coasts of the US and a waitlist for their artwork.
Linda - This artist had been painting in her basement for decades. She is a talented painter but was unsure about how to present her work to a wider audience. After developing her elevator pitch and defining her "social media voice" with my assistance, she went from 44 followers on Instagram to over 80,000. She is now working with several galleries and selling her artwork.
Another artist, who prefers to remain anonymous, came to me with a body of work about which they could have been more passionate. After learning their elevator pitch, they developed a completely new, much more aligned body of work that was very detail-oriented. It took them about a year to create three paintings. This artist then connected with a prominent gallery on Instagram, exhibited at a major art fair, and sold their artwork for more than they ever dreamt possible.
The art market is in constant flux. How do you stay up-to-date with the latest trends, developments, and opportunities in the art world? What advice do you have for artists who want to stay informed and adaptable in this dynamic industry?
Stay conscious! I strive to keep my ears open and my eyes peeled. I enjoy listening to art podcasts such as Create!, Talk Art, The Art Angle, The Great Women Artists, The Art Career, New Visionary Podcast, among many others. I also read art publications like ArtNet, Art Forum, Brooklyn Rail, and Art in America, as well as newspaper art reviews. I suggest reading these in the regions where you wish to exhibit your work. For example, the NY Times features gallery reviews every Friday.
As for discovering opportunities - one of my favorite ways to look for them is on Submittable.com, using the keyword 'Art'. You'll find many more results here than anywhere else, as many art submissions use Submittable.
In your experience, what role does networking and building connections play in an artist's career? What strategies can artists employ to expand their networks and establish meaningful relationships within the art community?
You've likely heard the phrase - "you're the sum of the five people you spend the most time with." Well, networking is all about that. You want to surround yourself with like-minded artists and people in the art world. When you do this, organic connections form. The starting point for this strategy is to understand why you do what you do and find those who align with the same goals—those working towards delivering the same message.
Social media is a wonderful place to begin networking. Start by sharing others' posts in your stories and tagging them. This action demonstrates that you are amplifying their message to your audience, regardless of its size.
What advice would you give to artists who are looking to collaborate with galleries, collectors, or other industry professionals? How can artists approach these potential partnerships and ensure mutually beneficial outcomes?
First, it's critical to understand the intentions of the galleries, collectors, and other industry professionals. After that, you need to ensure you know your message and that you're embodying it in your online presentation of your work. You can then begin to engage lightly on social media and, where possible, in person. Finally, you can reach out and initiate conversation. Always ask "how" rather than "if"!
Once you understand their intentions and how these align with yours, you can establish a connection based on that. For example, a gallery's primary goal is to sell artwork, but they often have a deeper interest in a specific message or theme of the artwork they showcase. Recently, a gallery named FORMah opened up on the Lower East Side. Their mission is to showcase artwork by female and female-identifying artists. Before you reach out to a gallery like that, you want to clearly understand their mission. You can then explain how your messages align and why you should collaborate.
You can start this process by first engaging with them on Instagram or another social media platform. Observe what they are posting on their grid and in their stories. You need to recognize the value of the content in stories - it is the most personal. So, when you respond to those stories, you instantly start to build a connection with them. I advise doing this for a little while and then sending them an email. This way, you're not reaching out out of the blue. They are already familiar with your name.
As an advisor, what is your ultimate goal for the artists you work with? How do you define success in your role, and how do you measure the impact of your advice and guidance?
My ultimate goal is to ensure that the artists I work with understand the motivations of everyone and anyone in the art world. At the core of my work, I teach artists what galleries, collectors, industry professionals, museums, and other art-related institutions are looking for. Why do the various movers and shakers of the art world do what they do? Thus, it is a significant success when the artists I work with no longer need my advice. They understand how the art world works, how to position themselves, and are confidently moving toward their desired destination.
