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To be successful, an artist should either make art in a particular style, about a particular subject, or by distinct series.

This is my top 100 list paying tribute to the kings, legends, heroes and lords of DeviantArt. If you know of a deserving artist not on the list don’t worry, I plan on expanding to 200 artists in the near future.

It is here that we find the basic difference and juxtaposition between his film aesthetics and those of Pasolini and Fellini. Pasolini raises the language of film to that of literature, writing, with its syntax, semiotics, etc. Fellini’s method, where each scene is put together in the same way as a painting is on canvas, was even more unacceptable to Tarkovsky. What will you have if, instead of a figure drawn on canvas by the artist we see a live actor? This is a surrogate painting, a “live picture”.

Saint Sebastian, from the painting by Antonello da Messina

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Most artists harbor the fantasy that if they could only find one art dealer that loved and believed in their work, their career would be set. They secretly believe that there exists a special person that can catapult them to fame. Many artists spend most of their careers searching for "the perfect gallery." And, as all quests towards perfection, it is never ending. If they already have a gallery, it's not good enough; if they are looking for their first gallery, they dream about the moment when someone sets eyes on their work and offers them a solo show immediately. The harsh reality of the situation is having a gallery love your work, is only one very small part of what goes into the decision to represent an artist.

From a gallery's point of view, adding an artist to their stable is much like adding a stock to one's portfolio. There are many complicated factors to take into consideration, and liking the "stock" usually has very little to do with the decision.

Too Experienced

Pirates of the Caribbean You hardly ever get to pillage, your roomates hate it when you sing sea chanties and you don’t know where to find one of those awesome hats with the big feathers in ‘em. To top it all off, you think you might be coming down with scurvy. That’s 3 points for the pirates and 1 big healthy point for you. Arrrr! Go have another orange, then sail the high seas in your very own Pirates poster, matey. Make your own Pirates of the Caribbean Poster

Too Similar: A gallery looks at the group of artists they represent, much like an artist looks at a painting. It is not so much the individual artist that is considered, but, rather, how that art fits into the existing group. Often galleries are reluctant to take artists that are too similar to an artist they already represent. Too Different: All galleries try to create a niche for themselves by representing artists that are stylistically similar and would appeal to their core group of collectors. If your work is outside the arbitrary parameters they have established, you are out of luck. Too Far Away: Unless you have already established a reputation elsewhere, galleries are reluctant to work with artists outside their regional area. Issues surrounding shipping costs and the inconvenience of getting and returning work in an expedient manner make it often not worth it. Too Fragile/Difficult to Store: Regardless of how big a gallery is, there is never enough storage space. Galleries shy away from work that is 3 dimensional, easily breakable, heavy or hard to handle. Too Expensive: Most artists undervalue their work. But, occasionally I will come across an artist with a totally unrealistic sense of how to price their work. Prices are established by the law of supply of demand (Read Pricing Your Art). If a gallery feels they can not price your work fairly and still make a 50% commission, they will not be willing to take a chance on you. Too Cheap: Artists who only do works on paper, photographers, etc often can not generate enough income from sales to make an exhibition worth it to a gallery. If you have 20 pieces in a show, and each piece sells for $500, and your show completely sells out…your gallery has only made $5000… barely enough to cover the costs of the postage, announcement and opening reception. Too Difficult: Entering into a relationship with a gallery is in many ways similar to entering into a marriage. It's a relationship that needs to be able to endure candid dialog about the things that are often the most difficult to discuss with anyone…your artwork and money. Both the artist and the gallery need to have a level of trust and comfort that will guarantee honest communication. If a gallery perceives you as being a difficult person to work with, they tend to veer away. Too Inexperienced: Many artists start approaching galleries too soon, before their work has fully matured. Most critics and curators say it takes an artist several years after college for their work to fully develop stylistically. Galleries want to make sure that once they commit to you, your work will not make radical and/or unpredictable changes. Even if a gallery LOVES your work, they may want to watch your development over a period of years to confirm their initial opinion. Artists must also have enough work of a similar sensibility to mount an exhibition. Too Experienced: The gallery fear of failure is strong, particularly in this economic climate. Careful to be sensitive to a price point that is right for their audience, galleries may not be financially able to risk representing artists who are farther along in their career, therefore demanding higher prices, than emerging younger artists. Artists with a long sales history of gradually appreciating prices may find themselves priced out of the current market.