Special Topic: The Artist as Entrepreneur

by Ian Mooers, Director, Entrepreneurial Programs

Fairfax, VA – This past Spring, George Mason University displayed the artwork of David Amoroso (BIO) during a reading from "The Devil's Highway" by author Luis Urrea. David's artwork is very captivating, and attemps to tell a much deeper story about the Latino culture. I have wanted to explore for some time the concept of the artist as an entrepreneur. When I look at a broader definition of entrepreneurship, it becomes very clear to me that art can be an expression of your entrepreneurial spirit. "Reflecting the degree to which the entrepreneurial spirit permeates more and more of society, the definition notes that entrepreneurship can be applied to both business and non-business ideas," writes the Public Forum Institute. As I got to know David during this interview, it was obvious that he was much more than an Artist and an Entrepreneur:

David, I was very impressed by your artwork and I immediately felt that there was a strong message being sent here. I want to explore that message in a moment, but I would like to start by asking you what you think of the concept of the artist as an entrepreneur? Are they really being entrepreneurial or innovative? Or both?

I believe that an artist can be either, but I believe that an artist needs to be both. There is such a stigma regarding the “business” side of art. Many artists fear “selling out” or creating work that is too “commercial.” If by definition an artist is creative, I think that it is possible to be creative and commercial at the same time. Artists, especially new artists, are tasked with representing themselves. This means that we have to be entrepreneurial and creative in the way we make our art and represent ourselves. Many artists believe that gallery shows are the only way to become established. Although a gallery can certainly add to the credibility and success of an artist, most artists struggle to get shows. Faced with the same challenge, I began to hang my work in alternative spaces such as restaurants or embassy events, and even parties where I felt that prospective buyers might be. I think that artists need to identify what is unique about their work and develop it as much as possible. Then they must identify WHO would buy or appreciate their art and uncover/discover their market. Otherwise, your work will just take up valuable space in your studio. As I began to paint for “Viajeros,” I did it for myself. I hoped that others would want to hear the stories I was sharing, but I honestly didn’t believe that there would be any sales. I was surprised when several sold at the University of Maryland show.

When we spoke recently, you mentioned that you struggle with how to push your art into the public realm while maintaining a full-time job? Are there not enough venues for artists to display their work in the DC area? Or, is it simply, a case of time and effort? Are you familiar with the Hamiltonian Gallery that was started by Mason Professor, Paul So? What are some of your plans to get your artwork displayed?

If I used the word “struggle,” I did not mean to. I try not to use that word because I whole-heartedly believe that I am either putting enough energy into my art and “doing it” or “not making the necessary effort.” The whole concept of struggling artist bothers me because I’ve been connected to the visual or performing arts for the majority of my adult life. I have been able to observe a lot of people in the business. I’ve found that most of the people who are “struggling” are inert and lack the entrepreneurial spirit. They say that they are struggling, but they’re really not exploring their options. Complaining is not the same as doing. When I want opportunities, I have to find them or sometimes make them. If there are “no opportunities for me,” I have to be more creative in the way I look for them.

Balancing a full-time job and my art is not as challenging as it sounds. I believe that it’s more about effort than time. Although I would like a few extra hours on some days, I find that when I am inspired, I make the effort to paint. I stop watching TV and talking on the phone, and I find that I become a very bad consumer because I don’t go to the stores except to buy food or painting supplies.

It seems like a ”quick fix” to say that we need more venues for artists, but in reality, I think that as artists, we need to be more proactive. Networking is the best way to find opportunities. I try to say “yes” to as many opportunities as possible because they may lead to the following month’s show. For example, last summer I was contacted by the University of Maryland regarding the “Visualizing El Barrio” exhibit. The concept was to explore how Latinos define and refine their neighborhoods. The curator was originally disappointed that I was not a Latino, but I sent him examples of my work as well as the names of other Latino artists. By maintaining this relationship, even when it did not seem like I would be able to participate, I was invited to participate. This led to an opportunity to teach art to incarcerated Latino youth in Maryland, which led to an opportunity to speak with students at a High School in Wheaton about my art. This almost led to a chance to design Latino-themed cards for a large organization. Recently, the Inter-American Development Bank posted a call for entries for Latino artists to share their immigration experiences. Several other artists forwarded the call for entries to me because “it was a perfect match for me.” Then I wasn’t selected. The thing that I’ve learned over the years is that you never know what will work out, so it’s important to have “several logs on the fire.”

I’m currently reading, “Finding Your Perfect Work” by Paul and Sarah Edwards. This book has reminded me that my art MUST meet the needs of others in order to be successful. This doesn’t mean that I must pander or create contrived images; it means that I must always be aware of who will be interested in my work and take every step possible to find them.

I’ve just recently learned about the Hamiltonian Gallery. I really believe that this type of guidance is necessary within the arts community. I look forward to speaking with Paul So. I think that it’s important to be generous as an artist too.

What was the message that you wanted to convey with the display that you had at Mason Hall earlier this spring? They were profile pictures of individuals. You told me that many (or all?) were immigrants to the United States. Why did you focus on this area? Is there a message of awareness? What did you want the viewer to take away from your artwork?

First and foremost, I want to share the stories of the individuals I have painted. Despite my connection to the Latino community, I was very unaware of how dangerous and difficult it is to cross into the US. Before interviewing my subjects, I have to admit that I had an almost romantic view of the “adventure of crossing into the US.” After hearing the stories in detail, this has obviously changed. I want the viewers to understand that the “Viajeros” have come in order to support their families and keep food on the table. I am continually surprised to learn that a 14 or 15 year old has come to the US alone in order to support the family. There is no welfare system like ours in Latin America. If you do not work, your family will die. I’m convinced that we would all do the same thing. I want the viewers to realize that we are all human beings doing our best to survive. I want the viewers to ask themselves, “Would I do this (risk my life) to support my family?"

The first painting was done as a reaction to the story I was told by a Bolivian immigrant. He risked his life and suffered so many atrocities just to come here and work. (He is now in the process of being deported.) There is so much bad press about immigrants who have entered the US illegally. If the tables were to turn, as they seem to be doing so now, what would we do? Where will we go to perform the jobs that nobody else wants to do?

I completely appreciate and respect the work ethic of the laborers. They do not allow themselves to visualize failure. They have demonstrated the true entrepreneurial spirit.

What advice would your offer to aspiring artists at Mason? I should point out that a large majority of the student population at Mason maintains a full time job while attending school.

Time is limited, so collaborate with other artists both similar and different to you to open your mind to different perspectives. Over the last year, I have been working with Ubaldo Sanchez, who is an up and coming Guatemalan Folk artist. By working with him, I’ve learned how to create “Alfombras de Aserrín,” which are traditional carpets made of colored sawdust for the Holy Week. He has learned more about being efficient and the business side of art from me. We have both found increased opportunities from the partnership and ultimately improved along the way.

Ubaldo is a great example of an artist who "meets the needs" of his clients. His original focus was to paint. He had created several murals in Arlington, but his "Alfombras de Asserin" were what caught the attention of the public. Although the "alfombras" (carpets) are usually only used during the Holy Week in Guatemala, he began to create them for special events. He has made them for the Folk Life Festivals in DC and VA, and more recently for the Pope's visit to DC. There's even talk that he'll create an "Alfombra" for the Rose Bowl next year. He never imagined that he would be doing this, but when he saw how the public responded to this unique art form, he pursued the opportunity.

It’s also important to be open and flexible. This does not mean that you are “compromising your integrity” or your art. It means that you will seek opportunities where you least imagine them.

As the United States continues to polarize about immigration issues, we tend to forget that the individuals who cross into the United States illegally have made this risky decision, not out of greed, but for survival. The majority of the individuals I have spoken with carry the financial responsibility of their families. While making the journey, these individuals are often robbed, sold, or violated; many others never make it to the United States and die heat-related deaths. Upon arrival, many of these Jornaleros (day laborers) often live in crowded, sub par living situations. After working long days performing jobs that others are not willing to do, they are often not paid for their work. It is my goal to tell their stories through my paintings. After conducting interviews with my subjects, I photograph them and then begin to construct their stories using images. I have found that through sharing the experiences of these “Viajeros,” the public is more accepting and compassionate about the undocumented entrants currently living in the DC Metro area.