If you want to be an artist and become known as one then you need to commit your self to the idea. Make a decision to make art. This may sound obvious but it is not always as easy as it appears to make art or be an artist. Being happy about the title of artist is a beginning and knowing that this is the path for you will help you to motivate and concentrate your thinking to do what is needed to see this happen. There is a great bit of wisdom in the bible. It says that “without a vision the people perish”. Without a goal you can easily be blown around by the wind of whatever is happening at the time. You can be ruled by circumstance instead of soaring above them to claim the prize of the path you are taking.

After deciding that this is the path you want to take, then you need to make art regularly. Don’t leave it until you have the time, such as when you retire. Doing a little often is better than waiting for the time when you have time, which tends to be never. You may have to plan this. Set aside time, write it in your dairy and do all that is needed to secure this time for making art. You may need to turn your phone off. You may need to pay someone to look after your children or business for a few hours or a day. You may need to plan your holidays to ensure that you do make art. Try planning an art retreat. There are many online opportunities.

Persevere, with your art. Practice will improve it. If it doesn’t seem to be improving then find an artist who can help you or a workshop. Visit an art gallery. Study art that is similar to yours to see how others have dealt with similar problems such as techniques of paint application or lack of inspirational. Talk with other artists. The people you mix with can positively or negatively influence how you see yourself. As the saying goes, you cannot change your family but you can choose to spend time with people who motivate you on your chosen path. Find an art group to join, or start one youself.

Think about why people should buy your art. Ask yourself why your art it is valuable and worth someone’s while to buy it. If you don’t value it, why should anyone else? Make art that you can be proud of.

Meeting with other artist is one way of “getting your name out there”, even if you find that they are not your type or not that motivating. Don’t “hide your light under a bushel” as the bible saying goes. Once you have even a small portfolio of work that you are reasonable happy with, you need others to see you and it. Keep your eyes and ears open for opportunities.

I always carry in my bag, a little A6 size book that has copies of my images in it printed onto glossy photography paper. I add to it as I complete each work. This enables me to show people my art when they ask what kind of art I do. I have a business card as well so that I people are able to contact me later or view my work online. You need to get a website to show your works even if you do not have an online payment system such as pay pal on it. There are many free websites hosts available and a lot of free help is also available.

Search your local community for places where you can display your work. Build up some permanent display places such as universities, hair salons, restaurants, cafes, shops, clothing boutiques, hotels, bed and breakfasts, and showrooms and book shops. If people see your work in a range of place they begin to value your work more and think of you as artist, even a well known one.

Join some art groups that hold exhibitions, even if that is all you do in the group, it is one way of building your art presence. As soon as you have enough art works, have a solo exhibition. You can apply for grants to fund the opening and the space, or find a display space that is free and hold it there. Exhibitions are a great way of promoting your work. Make a catalogue. If you have a computer you can create it yourself. You will need to write a small art biography and make sure you have your contact details so that people can contact you later if they like your work. Create a flyer or postcard to email to people and to hand out around the place. This should look professional. Keep one or two with you to give to people you meet in your day. Make appointments with your local papers to let them know about your exhibition. Send them an invitation. Generously advertise your event. The more you advertise, the more people will start to think of you and your art even if they do not attend the opening. Take photos of people looking at your art at the opening, to display on your website or to send to your local paper. Even if only 3 people turn up, ask them if it is ok for you to have them looking at your art for your website. Be positive about the event. Others are more likely to come to another of your exhibitions if they hear a positive report. Find someone to do a review and send it into your local paper.

Keep a record of your art and art events. Be diligent in your record keeping. List buyers name and contact details, the size and date you completed the art and always take a photo of it before it sells. Professional photos are best but if you cannot afford this take your own. When I first selling my work, I did not take photos and now I have only the memory of what they were like and memories cannot be trusted to serve you faithfully throughout your life. Your memory or talk will not be enough to let others know of your ability.

There are a lot of online art communities and galleries where you can show your work free of charge. Search these out or ask someone who belongs to some to share their experience and links with you to the sites that they have found useful.

There are many other was that you can build your reputation as an artist. Set aside some time to build a list of them. You can more of the ideas I wrote down at: http://citwings.com/art_promotion.html

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Ryan McGinnessâ??s work resolves the clinical graphic aesthetics of media as vast, contemplative fields of intimate meditation. Under Five Chairs Psychiatrists Wink is set across three panels, each beaconing with a baroque entrancement. Woven together with delicate intricacy, McGinnessâ??s forms converge in a kaleidoscope of free-flowing associations: Stylised motifs, calligraphic patterns, and abstracted tattoo-like insignia overlap in arabesque mandalas. Framed within rich black and red planes, McGinnessâ??s painting is reminiscent of ancient tapestries, fabricating the iconography of contemporary experience as spiritual and timeless.

Extending beyond Popâ??s elevation of marketing logos to art, McGinness pushes his work into the realm of the commodity. His output spans from traditional paintings to video, installations and a range of consumer products, fusing high and low culture through the language of advertising. In MKULTRA â?? titled after the 1950s CIA mind control project â?? McGinness presents a trippy amalgamation of symbols and patterns on a circular panel. Set on a red background, McGinnessâ??s entwined logos concentrate sensations of uneasy exotica in their Eastern influenced aesthetic. Using graphic design as subterfuge, McGinness explores the intrinsic cultural narratives contained within generic form.

Partaking in mark-making as a timeless form of communication, McGinnessâ??s process of painting is devoid of the artistâ??s exclusive gesture. His ultra-smooth surfaces are embellished through veneers of spray paint and silk-screen, coining seamlessly manufactured fields free from personal contact. Although he replicates styles and designs that seem innately familiar, McGinnessâ??s iconography is entirely his own. Effecting a â??copyâ?? for which there is no original, McGinness presents a system of signs and signifiers that are infinitely unfixed and universal. Using typography as a tool of abstraction, McGinness exceeds the notion of painting as objective field; instead, his work reconstitutes beauty and spirituality as a bi-product of technology and virtual experience.

In An(n)us Mirabilis, Ryan McGinness wittily subverts the title of Einsteinâ??s pivotal publication with abject humour. Spiralling from a central â??orificeâ??, McGinnessâ??s scrivenery exudes a hypnotic quality as flourishing interlaced scripts create a beaconing pattern in their subtle shift of colour. Replicating the corporeal reference of hair and visualising the virtual field of information, McGinnessâ??s An(n)us Mirabilis seduces with its graphic perfection. Expanding in a field of weightlessness and disorientation, An(n)us Miraibilis frames desire and detachment as an aperture into the infinite.

Read Entire Article about USA Artist Ryan McGinness paintings and artwork at The Saatchi-Gallery http://www.saatchi-gallery.co.uk/artists/ryan_mcginness.htm

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