Here’s a little Oz behind the Alli Harvey Art curtain: I have this strange conundrum, which social media tells me is shared by other artists, where I – Alli – both create a product and I am the product. I paint paintings that are their own thing out there in the world, but people typically buy my paintings because they somehow connect with me.
Or, you know, in the immortal words of Jay Z: I’m not a business man, I’m a business, man.
I’m not coming from a place of bravado (although it does feel good to say that line). I’m always learning the shape of this thing – this business, this thing I’m trying to do where I create art and make money at it – as I go. And one thing that’s had staying power is identifying and fostering where the Venn diagram of me, Alli, overlaps with my art, and bringing that to light through my writing here, the decisions I make for where/how I show up for events, social media, etc.
The tricky part here, and I’ll share this for fellow artists/creators especially, is figuring out which slices of myself I’m up for sharing with the world. I’m someone who produces quite a bit. I wrote an outdoors column 3x/monthly for ten years that was often much more about my life and experiences than it was purely the outdoors. I share a lot through social posts; I share a lot through this blog! Part of my entire mission in doing art is to inspire awe and connect, and I’ve discovered that formalizing the presence of me, Alli, as a human in her business helps me sell art. But where’s the line between public and privacy? What does it mean for people to get to know me, when I may not know them? And at what point does it feel smarmy to amp up the artist-behind-the-art spotlight, knowing that it helps me make sales?
What I go back to is that the line isn’t fixed. It’s always changing, and it’s case by case. There’s plenty that I do share, and I poke it a bit before I do – if I’m uncomfortable with it, why? Is it because it feels too personal and should probably therefore happen in my journal or talking with friends/family? Or, does it feel vulnerable in a way that might actually be helpful/important for people, like me, fumbling around for meaning in the world? Again, the foundation of the aim with my art is to inspire awe and connection. I can help foster and model that, which might feel awkward at points. But awkward is different from exploitative. It’s the former I can figure out how to navigate; the latter I want to avoid.
Food for thought. No fixed answers here, but I’d love to hear responses/feedback.
In related news (see: vulnerability, awe, business decisions) I JUST completed my very first horse portrait. Some paintings I can knock out in an amount of time/effort that surprises me, and others – like this one – take significantly more time and effort. What’s fascinating to me is how much I learned through this portrait. Am iiiiiii a nascent horse girl?! I came to really appreciate form and expression through this commissioned piece, and can’t believe I’m writing this, but would gladly take on another one. (For more info on commissions/to get started, here you go!).
Pics below. I’m not sharing the original reference pic because it has a person in it. It’s a little complicated of a backstory, but suffice to say I don’t feel comfortable sharing it without permission (and won’t ask for it).
One response to “A business, man”
[…] I’m a business, man. I unabashedly work to make money at my art. I refuse to buy into the notion of the starving artist. And, I don’t go traditional artist pathways for the most part, skipping many juried opportunities, museums, grants, residencies, and galleries in favor of operating like a small business. This sets me apart, but maybe the brazenness with which I promote Alli Harvey Art somehow undercuts the “art” because I am doing my damndest to both create and survive – thrive, actually – within this money structure we humans have set up. Shouldn’t my art be more pure? Shouldn’t it need to exist simply for the sake of itself to be “true”, to be real?! […]