While this advice may work for some, I would like to point out that this person is making very popular art. This type of art is most likely easier to sell than what most contemporary artists produce.
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.
On the other end of the spectrum, "experimental artist" (whatever that is) Lawrence English wrote "A Young Person's Guide to Hustling (in Music and the Arts", which seems more like what you're after.
> 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.
> 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.
I don't think author hides the fact. It's plain as day that to make a living, you need to sell art which resonates with people. You can still find room to be creative within that constraint, but you can't ignore the audience.
Artists should quit the illusion that they can create whatever they please and expect the income to automatically follow.
But that isn’t really true, per se. It depends on your definition of “people” – the mass market? High end collectors and galleries like Gagosian? Very different audiences, and appealing to one is probably the opposite of the other.
As a resident of SF I've only ever heard of fnnch in the context of people hating his art (I still don't understand why). Is it a case of any publicity being good publicity?
> The Beatles wrote 227 songs, but only 34 hit the Top 10. Do you think they would put out a song that they didn't believe could be a hit? Mozart wrote over 600 songs, but only about 50 of them are widely played. Do you think he purposefully wrote duds? Of course not.
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.
Writing a song is just the beginning. Then there is all the massive effort with the arrangements and polish for it (see George Martin). I doubt the Beatles would make the effort unless they thought a song was worth it.
being “worth it” and being “a hit” are two different things. the parent is trying to point out they made songs knowing full well those particular song would never be a hit, but they definitely thought it was “worth it.”
many artists do things often knowing they won’t make money from that piece. and some artists believe money should never drive why you create a piece of art, different reasons should be at the forefront, should be the driving force, some force other than widespread success.
the beatles were well known for making thing they did not water down for the masses, knowing it would likely not be a commercial success. and conversely they were also known for intentionally watering things down so the masses would take it. it’s one part of why they have stood the test of time.
In the days of the Beatles, and throughout the heyday of the recording industry, the artists and their management pursued "hits", to be sure, and wanted to be seen on the Billboard charts and in rotation on the radio. But that was secondary to sales figures.
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.
I had never thought about it, but The Beatles toured almost constantly from January 1961 until late January 1965. Then they played a few concerts in summer and early December, before their last tours of Germany, Japan and the Philippines and the US in 1966. At the same time they released 7 full length albums. Crazy!
The work rate was quite something, as was the natural talent backing it up. If you somehow have nine hours to spare it's well worth watching the "Get Back" documentary, which is very fly-on-the-wall.
Off topic but always incredible to remember the Beatles only recorded for what 7-8 years. Incredible what a legacy that is for such a short period of being a band
The irony is that knowing all the other things that were going on during that period, it sure is good that they were not at all artificially promoted for social engineering purposes, and we can totally be sure of that without any shred of doubt or question.
The breakthrough realization for me was that all businesses are fundamentally similar. They have the same knobs just configured differently. The knobs are things like product, sales channels, marketing, PR, and brand. A jeweler might have high material costs (gold and diamonds), an artist moderate material costs (paint and canvas), and a greeting card company low material costs (paper), but they all have "material costs". These knobs are what you see through the business lens, and when approached this way it is clear that there is nothing magical about being an artist — it is simply a different configuration of those knobs.
Hard, hard disagree.
Art and art-adjacent fields (storytelling in print and film, music, videogame design, etc.) are working with intangibles. The best artists wield qualities such as technique, perspective, charisma, zeitgeist and so on.
They build their creations in ways that they can't truly explain, and the resulting "product" generates emotions in their audiences - pleasure, sorrow, joy, energy, nostalgia, melancholy - and bonds that are so strong that they can't help but be drawn to the works.
Another way of looking at this dynamic: No one needs to listen to a favorite song, or visit an art museum, read a book by a talented author, or replay a beloved game in the same way that they may purchase a light bulb or sign up for a SaaS subscription. Yet TFA is treating art as merely another type of manufactured product.
Businesses have tried to harness art for millennia. Sometimes the businesses succeed. But where they often fail is assuming that art is a fungible commodity that can be created through an algorithm or assembly line, with the creative flame locked down and bent completely to the will of a business executive or technical product manager.
Such efforts from the likes of game studios or a record company or AI are derivative by nature and rarely inspiring. The exceptions are those built by creators whose intangibles still manage to shine through, despite the harnesses placed upon them.
I'm speaking from the perspective of someone who has worked in book publishing, news media, and pop music over many years (including a stint working for The KLF's record label, see https://news.ycombinator.com/item?id=10932055)
> Art is absolutely an expression of yourself. But your art is not you. Try not to entangle your ego with your art.
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've seen too many times in real life people who do arts and want to try to sell it not understand that once you switch from a hobby to a business, you need to spend at least 50% of your time on the business/marketing/logistics/etc side of things, hence failing miserably. The best possible outcome that I've seen is that they miraculously hit a nerve on the first hit, become famous, and at some point realize they need to pay taxes and do so in a decent timeframe.
So I found this article great to explain those things, and also how it's not just "you", but it's "the part of you that people need to buy" to make it into an actual business the thing that it's important. I'll be sharing it a bunch, I'm so happy fnnch wrote this!
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.
> “These bears have become synonymous with gentrification in San Francisco,” he told fnnch, “and the displacement of the artists that come from here.”
I have mixed feelings (i.e. I understand your boredom) of his honeybear art from a pure aesthetic pov. However, (as any modern viral influencer knows), any successful artist will invite haters. This article reinforces the notion that fnnch is very successful...
As a father of two small children during COVID, I can't begin to thank fnnch enough for his Honey Bear Hunt project: https://upmag.com/honey-bear-fnnch/
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!"
Variants of this were in NL as well, but it was just stuffed animals (I believe in support of health care workers); people went out for walks to go and spot them.
I wish stuff like that would happen again, it was an interesting time where people actually stayed home and explored their environments, their home and themselves a lot. Before that (or at the same time?) it was AR games like Pokemon Go. I'm out of touch with what's happening now, it just feels like people have reverted or gone into a new normal. Or maybe that's just me.
> A jeweler might have high material costs (gold and diamonds), an artist moderate material costs (paint and canvas), and a greeting card company low material costs (paper), but they all have "material costs".
There is a great line in the book Narconomics [0] that compares the "value added" of creating high end paintings to narcotics. He points out that the input (paint, coca leaves) are VERY cheap. The end product (high end paintings, cocaine) is very expensive.
(I believe he makes this point to show that raising the price of inputs slightly has no real bearing on the price at the end given the size of the margins)
Maybe I'm being thick here, but i still dont quite get how does he earn money from his artwork?
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
In the blog post he also mentioned doing commissions.
As for the public art, I don't think he was directly paid for the initial honey bear, I think it was just marketing - that is, its popularity boosted his following.
Art is basically a value tokken store for the super wealthy and they keep it valuable by limiting the supply to what is "valuable" art by forming one huge cartell. Gallerys, museums, art brokers are either in this cArtel or they are not.
Your value as an artist depends not on the quality of your art, but mostly by your ability to sell yourself to and into service to these cArtells. Like any scam demanding free labour and enthusiasm by the young, the art industry has an aura that it projects to scoop up daydreamers and those rebelling.
I'd say painting is quite a different business model than making music. There are different channels, people nowadays don't understand the value of music because they "have" everything on Spotify/Apple Music/whatever and there must be a huge tech behind you to sell good quality of sound. You also can't make your own CD (yes you can, but will it work with a CDR recorder?) and sell it progressively for $100 then for $500...
Good post. I'd argue this is very similar to solo game development. There's a lot of extra administrative stuff that simply has nothing to do with actually making games and a lot more to do with making a real business. So the framing there is accurate.
One difference is that video games often take a lot more investment - at least a full-size, not-a-game-jam one. That is, the risk and upfront investment can be a lot higher. But then I'm sure that with artists it's also years of slowly building up skills, reputation, contacts, etc - the author himself seems to imply he basically got lucky with the honey bear, and I feel it's the same with e.g. video games. Quality wise a lot of games are fine, but despite the hours / years invested they may never be successful. This is an issue in high-budget games too, with several high profile failures in recent years even though they did everything right. On paper.
aren't most of these just direct copies of some other game that went famous? e.g. Dark Souls set a genre "souls-like", Stardew Valley copied an old game but we can say they started the resurgence or development of cozy management games...
I worked out it's easier to make a living doing something well paid and do the art on the side. Sometimes people pay me for the art if I'm lucky, mostly photographic prints. I wouldn't want to do it the other way around.
There is a program for Basic Income for artists in Ireland, but it obviously assumes you are a legal resident of Ireland. It is limited to 2,000 artists and there are more applicants than there are spots. Property rental is expensive in Ireland. If there are people seriously interested, these links should clarify the details of the program.
Ireland is a great country but I wouldn't move here for that specific reason. There are other great reasons that would be much more important or relevant.
One reason to not move to Ireland is that housing is very expensive, there are plenty of other problems too.
It depends on your art form and what you’re trying to say. Because once you start optimizing your work for sales, you are deliberately going down a certain path.
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.
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?
great post, thank you! I recently started showing and selling my art (I do plotter art and paintings). It’s both exciting and frustrating at times to see how pieces “land” or completely miss.
Contemporary artist here, with gallery representation. I also teach on, arguably, the best undergrad "fine art" program in the world.
It is worth pointing out what this artist's practice actually is. The audience here might be afraid of conjectures around the subjective phenomena of "taste", so let me propose this:
That thing that everyone complains about here when you make an interesting app, put it up, and there's a cheaper Chinese produced version of it within a month that's got a better ranking in the app store than yours? That's what this guy is doing in art terms. The "product" is derivative, and frankly, so is the hustle. That's not why most of us make art, and his work wouldn't stand up to scrutiny by my undergrads (much less the "art world" in general) who are typically optimizing for innovation in the field.
I would argue that this guy doesn't really need to be an artist, in the same way that we don't really need the 50th knockoff of the same app. Sure he can do it and I guess good on him for making some money from it, but those are separate questions compared to those of most artists. He could use those same skills he discussed to sell used cars or vapes or something. Or maybe just be a programmer and "ship"? Notice that he doesn't even attempt to explain what is novel or contextually relevant about his work, or even where his desire to do it, as opposed to selling any other product, comes from?
Personally, I use my teaching to create economic space for myself to not need to be in thrall to a flippant and cruel "market". I have some basic rules for my gallery (no sales to arms dealers, no sales to oil industry, leaning that way towards AI/tech tbh) but one of the reasons I have a gallery, in addition to lightening my cognitive load of all the admin and sales in general, is because I suspect it would damage my capacity to make cutting-edge work if I knew how the sausages were made. It's most certainly not the only way to do it, it's just how I've landed. I usually advise my students starting out to follow the Phillip Glass method (really, the 1970s-90s method): get a part-time job that pays the most you can get but that does the work that will kill your mind the least, so you have at least 1 extra day and the mental space to do your 'real' work with that 1 day plus the weekend. Then over time, if you get paid for the art, cut down on the part-time job, and repeat. I will admit it is getting much harder to do this now, so my advice may be outdated.
Anyway, I'm being snarky, and he would correctly argue it's gatekeeping. But just a bit of context for the discussion here.
It sounds like / I feel like there's two categories of artists; the one is in it for the art (and would benefit from e.g. a patron or subsidies like the Irish one mentioned elsewhere / also currently on the front page) if their stuff isn't commercially viable.
But the other, and this is the vast, VAST majority of people, create content. Not to be too disparaging, but if the objective is a paycheck then that's what is being made. And this is everywhere - marketing, digital design, video game assets, book series, commissions, etc.
Yes it takes artistic skills to do it, but is it "art"? Is it something (as the comment I'm replying to says) "novel or contextually relevant"? Or is it doing what needs doing because the boss says so?
I think it's important to make this distinction. And that's also the gist of people who want to do art as their day job - there's plenty of work, but you have to accept you're doing what other people want you to do instead of try to do something new.
> Mozart wrote over 600 songs, but only about 50 of them are widely played.
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.
While this advice may work for some, I would like to point out that this person is making very popular art. This type of art is most likely easier to sell than what most contemporary artists produce.
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.
I was thinking the same: we have all become pop-artists now since that seems to be what "sells".
Andy really knew what he was doing (from the classic interview): https://youtu.be/n49ucyyTB34
On the other end of the spectrum, "experimental artist" (whatever that is) Lawrence English wrote "A Young Person's Guide to Hustling (in Music and the Arts", which seems more like what you're after.
https://collapseboard.com/a-young-person%E2%80%99s-guide-to-... https://lawrenceenglish.bandcamp.com/album/a-young-persons-g...
This is much better than the post & he also sounds like a much more interesting artist.
Yeah but I mean it does make sense though right?
> 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.
> 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.
I don't think author hides the fact. It's plain as day that to make a living, you need to sell art which resonates with people. You can still find room to be creative within that constraint, but you can't ignore the audience.
Artists should quit the illusion that they can create whatever they please and expect the income to automatically follow.
But that isn’t really true, per se. It depends on your definition of “people” – the mass market? High end collectors and galleries like Gagosian? Very different audiences, and appealing to one is probably the opposite of the other.
As a resident of SF I've only ever heard of fnnch in the context of people hating his art (I still don't understand why). Is it a case of any publicity being good publicity?
Oh, it’s the plastic bear honey jar artist
Seems like a case of snobbery on behalf of these people. These are nice images but not "high art" which I guess prompts some people to scoff at them
Being critical of generic-looking murals doesn’t make someone a snob.
> The Beatles wrote 227 songs, but only 34 hit the Top 10. Do you think they would put out a song that they didn't believe could be a hit? Mozart wrote over 600 songs, but only about 50 of them are widely played. Do you think he purposefully wrote duds? Of course not.
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.
Writing a song is just the beginning. Then there is all the massive effort with the arrangements and polish for it (see George Martin). I doubt the Beatles would make the effort unless they thought a song was worth it.
being “worth it” and being “a hit” are two different things. the parent is trying to point out they made songs knowing full well those particular song would never be a hit, but they definitely thought it was “worth it.”
many artists do things often knowing they won’t make money from that piece. and some artists believe money should never drive why you create a piece of art, different reasons should be at the forefront, should be the driving force, some force other than widespread success.
the beatles were well known for making thing they did not water down for the masses, knowing it would likely not be a commercial success. and conversely they were also known for intentionally watering things down so the masses would take it. it’s one part of why they have stood the test of time.
Of course, but ‘worth’ does not encompass only monetary worth!
In the days of the Beatles, and throughout the heyday of the recording industry, the artists and their management pursued "hits", to be sure, and wanted to be seen on the Billboard charts and in rotation on the radio. But that was secondary to sales figures.
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.
I had never thought about it, but The Beatles toured almost constantly from January 1961 until late January 1965. Then they played a few concerts in summer and early December, before their last tours of Germany, Japan and the Philippines and the US in 1966. At the same time they released 7 full length albums. Crazy!
The work rate was quite something, as was the natural talent backing it up. If you somehow have nine hours to spare it's well worth watching the "Get Back" documentary, which is very fly-on-the-wall.
Off topic but always incredible to remember the Beatles only recorded for what 7-8 years. Incredible what a legacy that is for such a short period of being a band
The irony is that knowing all the other things that were going on during that period, it sure is good that they were not at all artificially promoted for social engineering purposes, and we can totally be sure of that without any shred of doubt or question.
.. what new kind of conspiracy theory BS is this, that George Martin was a lizard?
Artificially promoted (by who?) for (what) social engineering purposes?
And frankly, isn't all promotion artificial?
I think the comment was intended to be sarcastic
The breakthrough realization for me was that all businesses are fundamentally similar. They have the same knobs just configured differently. The knobs are things like product, sales channels, marketing, PR, and brand. A jeweler might have high material costs (gold and diamonds), an artist moderate material costs (paint and canvas), and a greeting card company low material costs (paper), but they all have "material costs". These knobs are what you see through the business lens, and when approached this way it is clear that there is nothing magical about being an artist — it is simply a different configuration of those knobs.
Hard, hard disagree.
Art and art-adjacent fields (storytelling in print and film, music, videogame design, etc.) are working with intangibles. The best artists wield qualities such as technique, perspective, charisma, zeitgeist and so on.
They build their creations in ways that they can't truly explain, and the resulting "product" generates emotions in their audiences - pleasure, sorrow, joy, energy, nostalgia, melancholy - and bonds that are so strong that they can't help but be drawn to the works.
Another way of looking at this dynamic: No one needs to listen to a favorite song, or visit an art museum, read a book by a talented author, or replay a beloved game in the same way that they may purchase a light bulb or sign up for a SaaS subscription. Yet TFA is treating art as merely another type of manufactured product.
Businesses have tried to harness art for millennia. Sometimes the businesses succeed. But where they often fail is assuming that art is a fungible commodity that can be created through an algorithm or assembly line, with the creative flame locked down and bent completely to the will of a business executive or technical product manager.
Such efforts from the likes of game studios or a record company or AI are derivative by nature and rarely inspiring. The exceptions are those built by creators whose intangibles still manage to shine through, despite the harnesses placed upon them.
I'm speaking from the perspective of someone who has worked in book publishing, news media, and pop music over many years (including a stint working for The KLF's record label, see https://news.ycombinator.com/item?id=10932055)
> Art is absolutely an expression of yourself. But your art is not you. Try not to entangle your ego with your art.
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 not completely sure where that comes from - maybe an upbringing in a religious culture that emphasized humility?
Empasized humility or crushed any sense of self worth?
Move to Ireland apparently https://www.reuters.com/world/ireland-rolls-out-pioneering-b...
I've seen too many times in real life people who do arts and want to try to sell it not understand that once you switch from a hobby to a business, you need to spend at least 50% of your time on the business/marketing/logistics/etc side of things, hence failing miserably. The best possible outcome that I've seen is that they miraculously hit a nerve on the first hit, become famous, and at some point realize they need to pay taxes and do so in a decent timeframe.
So I found this article great to explain those things, and also how it's not just "you", but it's "the part of you that people need to buy" to make it into an actual business the thing that it's important. I'll be sharing it a bunch, I'm so happy fnnch wrote this!
Some interesting context here is that fnnch is disliked as an artist by many - https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-...
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.
Hmmmmm
> “These bears have become synonymous with gentrification in San Francisco,” he told fnnch, “and the displacement of the artists that come from here.”
I have mixed feelings (i.e. I understand your boredom) of his honeybear art from a pure aesthetic pov. However, (as any modern viral influencer knows), any successful artist will invite haters. This article reinforces the notion that fnnch is very successful...
As a father of two small children during COVID, I can't begin to thank fnnch enough for his Honey Bear Hunt project: https://upmag.com/honey-bear-fnnch/
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!"
Variants of this were in NL as well, but it was just stuffed animals (I believe in support of health care workers); people went out for walks to go and spot them.
I wish stuff like that would happen again, it was an interesting time where people actually stayed home and explored their environments, their home and themselves a lot. Before that (or at the same time?) it was AR games like Pokemon Go. I'm out of touch with what's happening now, it just feels like people have reverted or gone into a new normal. Or maybe that's just me.
> A jeweler might have high material costs (gold and diamonds), an artist moderate material costs (paint and canvas), and a greeting card company low material costs (paper), but they all have "material costs".
There is a great line in the book Narconomics [0] that compares the "value added" of creating high end paintings to narcotics. He points out that the input (paint, coca leaves) are VERY cheap. The end product (high end paintings, cocaine) is very expensive.
(I believe he makes this point to show that raising the price of inputs slightly has no real bearing on the price at the end given the size of the margins)
0 - https://amzn.to/4r8fIJP
Maybe I'm being thick here, but i still dont quite get how does he earn money from his artwork?
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
Probably here: https://store.fnnch.com/
In the blog post he also mentioned doing commissions.
As for the public art, I don't think he was directly paid for the initial honey bear, I think it was just marketing - that is, its popularity boosted his following.
Art is basically a value tokken store for the super wealthy and they keep it valuable by limiting the supply to what is "valuable" art by forming one huge cartell. Gallerys, museums, art brokers are either in this cArtel or they are not.
Your value as an artist depends not on the quality of your art, but mostly by your ability to sell yourself to and into service to these cArtells. Like any scam demanding free labour and enthusiasm by the young, the art industry has an aura that it projects to scoop up daydreamers and those rebelling.
That is true for high end art, but there are lots of artists who make a living who mostly sell to people who like their stuff.
I'd say painting is quite a different business model than making music. There are different channels, people nowadays don't understand the value of music because they "have" everything on Spotify/Apple Music/whatever and there must be a huge tech behind you to sell good quality of sound. You also can't make your own CD (yes you can, but will it work with a CDR recorder?) and sell it progressively for $100 then for $500...
Paintings are really different kind of animal.
Music, unfortunately, has a very different business model not just because of the difference in medium, but because it's copyable.
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.
Good post. I'd argue this is very similar to solo game development. There's a lot of extra administrative stuff that simply has nothing to do with actually making games and a lot more to do with making a real business. So the framing there is accurate.
One difference is that video games often take a lot more investment - at least a full-size, not-a-game-jam one. That is, the risk and upfront investment can be a lot higher. But then I'm sure that with artists it's also years of slowly building up skills, reputation, contacts, etc - the author himself seems to imply he basically got lucky with the honey bear, and I feel it's the same with e.g. video games. Quality wise a lot of games are fine, but despite the hours / years invested they may never be successful. This is an issue in high-budget games too, with several high profile failures in recent years even though they did everything right. On paper.
> quality wise a lot of games are fine
aren't most of these just direct copies of some other game that went famous? e.g. Dark Souls set a genre "souls-like", Stardew Valley copied an old game but we can say they started the resurgence or development of cozy management games...
I worked out it's easier to make a living doing something well paid and do the art on the side. Sometimes people pay me for the art if I'm lucky, mostly photographic prints. I wouldn't want to do it the other way around.
Most artists or musicians I know do this.
They have a 9-5 and do the fun stuff on the side.
Not as fun but you gotta eat.
Move to Ireland, they just rolled out basic income for artists
There is a program for Basic Income for artists in Ireland, but it obviously assumes you are a legal resident of Ireland. It is limited to 2,000 artists and there are more applicants than there are spots. Property rental is expensive in Ireland. If there are people seriously interested, these links should clarify the details of the program.
https://www.citizensinformation.ie/en/employment/unemploymen...
https://www.gov.ie/en/department-of-culture-communications-a...
https://www.gov.ie/en/department-of-culture-communications-a...
Ireland is a great country but I wouldn't move here for that specific reason. There are other great reasons that would be much more important or relevant.
One reason to not move to Ireland is that housing is very expensive, there are plenty of other problems too.
How does that work? How does the government decide who is an artist and therefore worthy vs someone who just pretends to be one to get the free money?
It's being discussed in another Hacker News submission: https://news.ycombinator.com/item?id=46977175
Could go either way- I think that ruthless free market forces are what keeps art good.
yeah! without the threat of financial ruin we'd never get to have the brilliance of thomas kinkade and kenny g
Don't move for that; it's just $1,500/month.
https://www.citizensinformation.ie/en/employment/unemploymen...
It depends on your art form and what you’re trying to say. Because once you start optimizing your work for sales, you are deliberately going down a certain path.
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?
> While you can learn from failures, only sales strengthen the muscle because only they show that someone actually cares about what you are making
There are languages where there's a distinction between artists and painters.
They stopped being an artist with that one line.
I appreciate the time and effort they put into writing that. Interesting to see not only their own art but also the examples from other artists.
Any recommendations for getting exposure to other on-the-way-to-being-popular artists like the X-Ray one that was highlighted?
I really enjoyed this post. Nice balance of pragmatism while enjoying the enjoyment of a craft in itself.
great post, thank you! I recently started showing and selling my art (I do plotter art and paintings). It’s both exciting and frustrating at times to see how pieces “land” or completely miss.
Contemporary artist here, with gallery representation. I also teach on, arguably, the best undergrad "fine art" program in the world.
It is worth pointing out what this artist's practice actually is. The audience here might be afraid of conjectures around the subjective phenomena of "taste", so let me propose this:
That thing that everyone complains about here when you make an interesting app, put it up, and there's a cheaper Chinese produced version of it within a month that's got a better ranking in the app store than yours? That's what this guy is doing in art terms. The "product" is derivative, and frankly, so is the hustle. That's not why most of us make art, and his work wouldn't stand up to scrutiny by my undergrads (much less the "art world" in general) who are typically optimizing for innovation in the field.
I would argue that this guy doesn't really need to be an artist, in the same way that we don't really need the 50th knockoff of the same app. Sure he can do it and I guess good on him for making some money from it, but those are separate questions compared to those of most artists. He could use those same skills he discussed to sell used cars or vapes or something. Or maybe just be a programmer and "ship"? Notice that he doesn't even attempt to explain what is novel or contextually relevant about his work, or even where his desire to do it, as opposed to selling any other product, comes from?
Personally, I use my teaching to create economic space for myself to not need to be in thrall to a flippant and cruel "market". I have some basic rules for my gallery (no sales to arms dealers, no sales to oil industry, leaning that way towards AI/tech tbh) but one of the reasons I have a gallery, in addition to lightening my cognitive load of all the admin and sales in general, is because I suspect it would damage my capacity to make cutting-edge work if I knew how the sausages were made. It's most certainly not the only way to do it, it's just how I've landed. I usually advise my students starting out to follow the Phillip Glass method (really, the 1970s-90s method): get a part-time job that pays the most you can get but that does the work that will kill your mind the least, so you have at least 1 extra day and the mental space to do your 'real' work with that 1 day plus the weekend. Then over time, if you get paid for the art, cut down on the part-time job, and repeat. I will admit it is getting much harder to do this now, so my advice may be outdated.
Anyway, I'm being snarky, and he would correctly argue it's gatekeeping. But just a bit of context for the discussion here.
It sounds like / I feel like there's two categories of artists; the one is in it for the art (and would benefit from e.g. a patron or subsidies like the Irish one mentioned elsewhere / also currently on the front page) if their stuff isn't commercially viable.
But the other, and this is the vast, VAST majority of people, create content. Not to be too disparaging, but if the objective is a paycheck then that's what is being made. And this is everywhere - marketing, digital design, video game assets, book series, commissions, etc.
Yes it takes artistic skills to do it, but is it "art"? Is it something (as the comment I'm replying to says) "novel or contextually relevant"? Or is it doing what needs doing because the boss says so?
I think it's important to make this distinction. And that's also the gist of people who want to do art as their day job - there's plenty of work, but you have to accept you're doing what other people want you to do instead of try to do something new.
I kind of think that “art” that is about repeat sales and branding is really more craft than art.
I don’t mean that it’s without merit just that although these things live in the same space they are not the same.
> Mozart wrote over 600 songs, but only about 50 of them are widely played.
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.
He also did some neat obscene works, like his classic Eat my ass:
https://www.youtube.com/watch?v=C78HBp-Youk
Awesome post - really insightful!
Selling unique works is harder due to sentimentality. Easier to sell replicated works, like digital music.
I compose all sorts of music but the only music people really like (and give me money for) is pirate music.
Not pirated music. Pirate music.
shrug
hey at least someone is listening to it XD
I've got multiple hours of music in different genres and get 50 views in 10 years...
What's pirate music?
Running Wild.
https://runningwild.bandcamp.com/album/crossing-the-blades
So he's basically saying that artists should use vandalism to become successful? Kind of a very bold proposition.