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ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career [Kindle Edition]

Heather Darcy Bhandari , Jonathan Melber
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"This book is a should be required reading in fine arts curricula." -- Santa Fe New Mexican

"I'll bet this powerful little paperback finds a permanent home on the list of best business books for artists.... The contract, invoice and inventory templates alone are worth the cover price." -- The Artist's Magazine

"Together [the authors] make for a powerful combo, offering both extensive knowledge of the gallery system and the ins and outs of art law, for some well-founded tips on how to succeed in the art's the perfect gift for anyone working in a creative field." --

"This book is filled with the kind of nuts-and-bolts business advice every artist needs to read." --

"Bhandari and Melber, both Brown University graduates, have drawn on their own experiences and interviews with 100 curators, dealers, and other arts professionals to offer advice on everything from preparing artwork for shipping to coping with rejection." -- Boston Globe

"Emerging curators, along with established curators who work with living artists, would do well to read it, as would art dealers and workers at nonprofit spaces or organizations.... One unique aspect of the book is the quotes in the margin -- from high-profile artists and well-known professionals who've been around the block. Shamim Momin from the Whitney Museum and Peter Eleey of the Walker Art Center talk about how they meet new artists and visit their studios, and Seattle gallerist James Harris underscores the importance artists' websites have when he looks for new work to show." -- College Art Association News

"...even those who have no interest in the art world may find Art/Work of use. Their instructions on how to pack objects for example, are so thorough, only the most dexterously challenged will find difficulty executing them. What's more, should this book reach the majority of working artists today, the quality of gallery staff life would improve by a level of magnitude..." -- Paddy Johnson for The L Magazine


Find Out What They Didn't Teach You in Art School

The most comprehensive guide of its kind, Art/Work gives artists of every level the tools they need to make it in an art world so competitive one dealer likens it to "The Sopranos, except nobody gets killed." Whether you're an art school grad looking for a gallery, a mid-career artist managing a busy studio, or someone just thinking about becoming a professional artist, this indispensable resource will help you build your career and protect yourself along the way.

Unlike other creative professionals, visual artists don't have agents or managers. You have to do it all yourself, at least until you find gallery representation -- and even then, there are important business and legal issues you need to understand to stay in control of your career and ensure you're being treated fairly. Heather Darcy Bhandari, a gallery director, and Jonathan Melber, an arts lawyer, walk you through these issues so that you can essentially act as your own manager and agent. They show you, for example, how to tackle business basics such as tracking inventory and preparing invoices; how to take legal precautions like registering a copyright and drafting consignment forms; how to use promotional tools like websites and business cards; and how to approach career decisions such as choosing the right venue to show your work.

In addition to drawing on their own experiences, Bhandari and Melber interviewed nearly one hundred curators, dealers, and other arts professionals, in cities across the country, about what they expect from and look for in artists. The authors also talked to a host of artists about their careers and the lessons they've learned navigating the art world. The book is full of their entertaining anecdotes and candid advice.

No matter what kind of artist you are -- or want to be -- this book will help you. Art/Work covers everything you need to know to succeed, saving you from having to learn it all the hard way -- and letting you spend more time making art.


  • Format: Kindle Edition
  • Dateigröße: 7166 KB
  • Seitenzahl der Print-Ausgabe: 304 Seiten
  • Verlag: Free Press; Auflage: Original (5. März 2009)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B001ULOPT0
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Nicht aktiviert
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: #397.831 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

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5.0 von 5 Sternen good 1. Januar 2014
Von 111
Format:Taschenbuch|Verifizierter Kauf
Ich mochte dieses Buch
Sowohl der Deckel fühlt sich sehr Textur oder Inhalt
Die Inhalte können sehr aufschlussreich als schönes Geschenk für jemand anderes zu sein
vorgeschlagene Kauf
War diese Rezension für Sie hilfreich?
Die hilfreichsten Kundenrezensionen auf (beta) 4.6 von 5 Sternen  57 Rezensionen
70 von 73 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Definitive Resource for Artists and Art Professionals! 18. März 2009
Von Shaun Irving - Veröffentlicht auf
I'm an emerging artist who's been shooting for the past couple of years. I've done some shows in the non-profit realm, but only in the past few months have I been actively trying to figure out the ins and outs of the gallery scene.

For months now, I've been scrounging for the most basic information: How do for-profit galleries operate? What kind of contractual/financial obligations are required? How do you properly document your work? I've gone to workshops, interviewed artists, and dug through a lot of junk on the internet...

Only to find that everything I needed (and lots more) was in this book.

This is the definitive how-to book on running a fine art business (from the artist's side), specifically in regards to working with galleries. They don't offer any secret formulas for success, but instead dish out best practices for presenting yourself as professionally as possible.

What amazed me most was the depth of subject matter this book covers. It offers everything from sample legal forms to explicit instructions on how to pack your work for shipment. They use a very open and honest writing style throughout. Instead of coming across as preachy or snobbish, the authors sound more like a good friend letting you in on the secrets of the industry.

An interesting device they use throughout is to include relevant quotes from art professionals on almost every spread. These tie in directly with the subject matter of each section and represent the perspectives of artists, curators and gallery owners. It's one thing for the author to say what he or she thinks, but another thing when you get other voices add to the mix.

My only complaint about the book is a very minor one. While the book is striking in its design, I question the use of a bold sans serif for the body text throughout the book. There's enough white space and leading to make it work, but it seems a choice of aesthetics over practicality.

I don't often get this jazzed about books (especially not over a how-to manual). But I've seen firsthand what a lack of comprehensive resources there are for artists trying to figure out the how's and what's of the art world. This book does a magnificent job of filling that void and I'd recommend it to any artist who's trying to get established.
32 von 33 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Useful but don't make this your only resource 18. März 2011
Von Heather Leigh - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
This book is a useful resource because of its simplicity. It's easy to flip back and forth to find templates for things like consignment agreements and the like. I would agree with another reviewer, however, that the book is biased having been written by young gallerists working in New York for only the past decade or so.

It offers a picture of the way galleries on the East Coast function at the moment. This is evident in the many quotes along the margins by few artists but more often gallery owners. I found some of these comments to reveal a disparaging - even snotty - tone about working with artists, despite the fact that artists are the people who create the work keeping them in business. It is helpful to know that these attitudes exist because you may have to face them in your career.

Look for other more encouraging resources in addition to this book. I recently picked up "How to Survive and Prosper as an Artist: Selling Yourself Without Selling Out." In tone, this is a much more empowering book and it has a great many more resources contained within its pages and appendices. The author, Caroll Michels has been working with artists throughout the country (not just in the distorted East Coast art scene) since the 1970s. The book has been through several editions and has clearly been updated and expanded to reflect the changes to the art world. In that sense, a greater depth and breadth of experience is brought to bear on the topic.
How to Survive and Prosper as an Artist: Selling Yourself Without Selling Your Soul
190 von 228 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Please remember WHO is writing the artists? No. By gallery workers, yes... 12. April 2010
Von GroveCanada - Veröffentlicht auf
It's all very well to write a book for artists, but if you are working for galleries, you may have a bias.

This bias is actually a Huge problem...

In the art world, when an artist gives a work to a gallery on consignment, the gallery is not putting any cash into the artist's hands...

Traditionally, this meant a ONE THIRD COMMISSION to the gallery if the work sold...

No cash outlay for any commodity on the open market, only gives a fraction of what a retailer might get if they bought the commodity wholesale...

In fact, if a product is bought at a wholesale price, the retailer has tremendous powers to mark up the price- this is how the art market has become such a wild ride...

Now, back to the book...The book talks about 50%...But the authors have not the age or perspective or wisdom in business to understand the ethic of 50%...

50% is the wholesale price of the art work...At a 50% discount to the gallery, the gallery should be BUYING the work outright...

No other product sells for half price unless it has been purchased wholesale...

Those that know art & the art market know that one third was standard. They know that 50% without cash down is exploitative...They know that young artists don't know any of this...

Galleries have been getting away with this scam for the past decade because since 9/11, artists have been desperate to accept any offers, no matter how ridiculous, many idiots actually paying to show...

Is it right to take money from an artist to pay for their own show? No. But people do it.

Is it right to get a half off price from an artist without any cash payment? No, but people do it...

This is a flaw in this book. A fatal flaw.

Do the authors know this is a flaw?

Possibly. But their bias is For the gallery, not for the artist, so they will argue in defense of the practice, saying everyone is doing it.

I do not read books to know what everyone is doing. I read to learn. To be taught.

I am disappointed that the authors do not know the rules. The real rules. Not the ones made up in the past ten years.


50% is only if they buy the work from your studio to re-sell...

If they don't give you cash in hand, they don't get 50 percent. That is wholesale.

Once they buy it from you wholesale they can mark it up as they please.

But for Gosh sakes, don't give more than a third to a gallery if they don't buy the work from you...It is highway robbery. Ask an old person, they will set you straight if you don't believe me...

& beware of books for artists written by galleries...(though there were some good parts to this book- the commission thing sort of kills it)...sorry...
7 von 7 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A necessity for artists at any level of their careers. 5. Januar 2011
Von Hunter Rauso - Veröffentlicht auf
It may sound strange, but I haven't read this book in it's entirety yet because of how excellent it is. What I found myself doing, right off the bat, is implementing many of the suggestions into my art career. A lot of what's mentioned, especially in the myriad quotes from interviews with various artists and gallerists, is simply stuff to keep in mind while engaging in this or that element of the profession. What's been making me put down the book is a multitude of vital recommendations that I can bring to bear immediately. The reason I can't make it through the whole book is that these recommendations are so pertinent that I've been having to step back and actually work on them and put them into practice. For instance, I have been in the process of developing my website, but once I read the relevant chapter in Art/Work I found that I had to modify a lot of what was going into the site to account for all of these different elements of which I simply couldn't have been aware before reading this book.

All in all, I have to say that Art/Work is a necessity for beginning and even mid-career artists. Yes, a necessity. I didn't even bother recommending it to my friends, I just bought several copies and handed them out. If you take seriously what the authors say, the advice in this book could increase the success of your career by magnitudes. This book is probably most valuable to those of us who think we have it all under control, because it really will open your eyes to things you couldn't possibly have known you were missing or doing wrong. Don't waste another day fumbling through your professional art career. Get Art/Work immediately.
6 von 6 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A Very Useful Book (Sadly!) 3. Oktober 2012
Von Real New York Painter - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
This book gets five stars for the valuable insight into the psychology of the art world. Every artist needs to understand just how grossly the supply of artists outstrips the demand for their work in the marketplace. The many quotes from the people in the art world who control access to it (namely dealers, curators, non-profit employees, etc.) show how much they enjoy the power they have over artists. You don't even have to read between the lines very closely to see this. Their conceit and arrogance is fairly transparent, even when they're attempting to demonstrate their benevolence. One of the stupider ones even uses the pyramid metaphor to explain how much his life depends on artists. How? by placing himself at the top and the artists at the base!

But that is exactly what gives this book it's value. It's written by people from the other side of the aisle, and they discuss all the conventions and strategies that govern the art world today. Artists are famously vulnerable and they need to understand just how bad it is, and this book helps. It's not a mean book. It goes out of its way to be friendly in fact. But the message is clear. The artist needs to accept that there are hundreds of steps he needs to take before he's even ready to approach the bottom of the pedestal he has to climb just to kiss the droopy asses of the people who hold the levers. And he also needs to understand that even if he dutifully has taken all the steps, from the $200,000 MFA to flushing out his CV with a hundred dreary little shows, he may still never reach the the bottom of the pedestal that matters most to him.

In the end it benefited me greatly to read this book, because it helped me to understand that the people in the art world (even the B-level of the art world where most of these people are) are no different than people who populate other areas of humanity where there is far more supply than demand. It has helped me to practice my art more peacefully in fact, and to have a more methodological attitude toward allocating time to the business end of it, distasteful as it is!

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