It happens. While not self-taught I took an alternative route and don’t have an art degree – so I had to build up my resume with local shows (restaurants, small local art groups, cafes, tourist info building, libraries, etc) and some juried exhibitions.

I did eventually get to the point where the lack of art degree became irrelevent, though I still do have to stress that I did train for several years in a structured way (I trained with an artist rather than at art school). Another way to boost this is to take classes – I took a lot of drawing, painting and printmaking courses (usually 8-12 week classes, though there was one that I took continually for about 2 years) at various art schools. While I didn’t get a degree with any of them the fact that my private study was supplemented with formal courses also seemed to help. Also having other degrees again seemed to help me – I had a very concrete reason why I did not opt for formal art school that art people also could understand (I had recently finished 7 years of academic study when I decided to take up painting).

As I say, it didn’t matter as much once I had established a list of exhibitions even if they weren’t galleries. They still *asked* but the value of an art degree was balanced against a stronger background and the work itself. Galleries wanted to see that I had been producing work consistently for some time and had built up to a certain level of showing and was ready for a gallery, even a small local one.

Reception will vary by geography. I’m in London so it was a large obstacle at first.

My message in all of this is essentially that you must form your responses to these questions. Can you confidently and professionally describe why you did not attend art school? In a way that shows how you chose this profession in a directed way? Can you show a history of your solid work – either shows or engaging in art events in some way? Can you talk about your work confidently so as to divert attention from your educational record? Can you build an impressive resume while leaving out education completely?

These are the things to focus on. And remember – a gallery that is only interested in your degree or lack of one is probably not the right gallery for your work anyway. Working with galleries should be a mutual relationship, not an unbalanced power relationship.

Tina.

I won’t add too much because Tina pretty much said exactly what I agree with. I don’t have a degree, but have pretty much done what Tina suggests for you.

I am a bit stunned by the attitude though as being self taught can be a huge selling point.

Hi,

I live in Portugal, but most galleries that I see on the net are, of course, american.
The really good ones (those who present quality work and not by acquaintance) care about the quality of the work most than anything; this of course when choosing new artists. At least this is the impression that I have.
I believe that a good exhibitions and sales curriculum is far more important than a degree. With this I don’t want to say that a degree is not important. Of course it is because a degree in Art like any other degree or study is always important and it should be taken in consideration.
Good luck !

Kind regards,

José

While not self-taught I took an alternative route and don’t have an art degree – so I had to build up my resume with local shows (restaurants, small local art groups, cafes, tourist info building, libraries, etc) and some juried exhibitions.

I find it so bizarre that in a field like art, which is filled with people who are a bit unconventional and follow the beat of a different drummer, that formal art schooling is still considered so important, as is “building up a resume” and so on. So doggoned… conventional…

The only thing that should ever matter is your PORTFOLIO of past and current works! Art students can graduate into crappy artists and fab artists might not have ever been to art school.

Interestingly, I was self-employed in commercial art, and nobody ever asks to see a resume, or asks me where I went to school (I didn’t, not for art), and few even asked to see a portfolio (although I would ask them to look at it to make sure they knew what kind of art and design I did!). All that mattered was the ability to deliver well, and the fact that their buddy so-and-so had said I was good and to call me.

I think it’s the societal-wide “guild” system at play- those who have done the academic hoops insist that they’re a crucial part of becoming an artist (or whatever), and are in enough positions of power that they perpetuate the requirement and the ridiculous concept that it’s the only way.

We’ve all been convinced school is the only way to learn, when indeed it’s only one way, and rarely the best or most efficient way.

It’s also important to remember that we can’t look at this from a personal, emotional point of view. We must view it from the viewpoint of the gallery, as a business. Different galleries will also differ in their approach, the kinds of artists they represent – most likely because their CLIENTS do! If a gallery will not take on a non-degreed artist this may very well be because their clientelle expect a certain level of artist CV-wise.

The only thing that should ever matter is your PORTFOLIO of past and current works!

OF COURSE IT ISN’T! This isn’t a business working on quality alone. It really really isn’t. I think you agree, of course, because you too see work that seems inferior. There are brilliant artists creating masterpieces that will never be seen. There are artists churning out decorative wall-hangings that may become rich on it. It’s all about marketing yourself and the work.

Are galleries snobbish? Of course! Though a better word is selective. Or focused. But that happens in lots of professions. This is just another profession. Galleries are trying to run businesses and taking a risk on a artist that doesn’t fit the profile they need is not always worth it – sometimes they will take the risk, but they have to balance it against their costs and possibilities of selling. They select what fits their business plan and chosen market. Despite what we may wish to think, they are not in it out of a love for art most of the time.

They may not be right, your work may have sold out! But we all make business decisions by weighing the pros and cons. So do they. As Susan found, a different gallery may be very happy to take a risk and show your work! (and showing any artist’s work involves some level of risk on th gallery’s part, even well-established artists)

This is one very important reason for approaching galleries that show work of artists in your genre and career level. Approach galleries whose business plan, whose risk assessment, you fit into. (not to say you can’t try others too, of course!)

Tina.

Unfortunately it still does matter. To be honest, I would not have gotten as far in terms of resume building , a museum history, being a listed artist and so forth without my formal art school credentials.

That has nothing to do with skill level of course but rather to do with an entre’ into the fine art establishment.

There are many different levels for artists, and in my opinion they are all equally legitimate, but, there are many art snobs out there who do rely on art school credentials for their opinion making.

I’m sorry to say that much of the snobbery in art is perpetuated by the artists themselves. I know painters who will not paint with non-professionals, or who won’t show wth painters they feel are inferior. I am disgusted by this attitude. I will paint or show with any artist and regularly paint with hobbyists.

It’s a mean ol’ world out there unfortunately. Kick that gallery to the curb and go foward. You will eventually succeed on the merit of your work. May I suggest that you refer to yourself as an emerging artist rather than self taught? In the fine art world, self taught has a negative connotation. Not my opinion but others’.
Love,
Linda

… First, perhaps you need to develop your “story” I suggest this because that’s what the gallery is looking for when they ask about your education anyway, your “story.”

It’s also very important to make sure your whole package – how you present yourself – is in order so that the gallery ONLY has the question of your education to overcome when showing and selling you.

In the mean time, trust that everything happens for a reason, grow from it, accept it as a lesson that you have an information gap you need to fill and continue to put your heart and soul into your art KNOWING it will all come together in your highest good and it will!

SC took the words out of my mouth….and said it much better than I could!
I know the first inclination is to dwell on the feeling of rejection & become either depressed or indignant, but, what good does that do anybody?!
Instead, choose to learn- and this gallery may teach you how to get into the next. For your next presentation, make an appointment and walk in with confidence- with a presentation book in hand, ready to leave it with the person in charge. Have matching business cards & letterhead, with an Artist’s Statement and Resume or CV and several images on CD and printed out in your book- and have the professional attitude to go with it!
**Many others have done this and succeeded- you can too**
Act like a pro and you will become one.
FWIW, I spent 20+ years in textile design, working as Creative Artist, then Art Director for very large companies, and in all that time only had one Recruiter react to me with “How the h** have gotten the positions you’ve gotten without a degree in Art?? Those are Masters level positions!!”
It can be done if you’ve got the talent and professional attitude to do the work. God will put you where you need to be.