Review: How to Become a Successful Artist by Magnus Resch

When I began my first internship at a gallery nearly 20 years ago, I was clueless about how the art world worked—like many at the start of an arts career. At that time, artists would trot in with a leather portfolio of original work they wanted to show the director in hopes of finding representation, only to walk out dejected. Needless to say, the times have changed—but in what ways?

Magnus Resch, an economist who has conducted several published studies on the inner workings of the art world, lifts the veil in his book, How to Become a Successful Artist (Phaidon, 2021). In it, he provides practical advice for artists seeking a pathway to “success” based on his years of research into the art market and interviews with those who have mastered it: a star-studded cast of rising and established gallerists, artists, journalists, auctioneers, and others.

Resch offers a dispassionate portrait of the art world’s capitalist mechanics, devoid of romanticized notions of artistic endeavor. Yet, within this unvarnished view lies a toolkit of practical advice that can empower artists and other arts professionals to navigate the art business more effectively. By offering clear strategies for brand building, networking, sales generation, and crafting a compelling portfolio, How to Become a Successful Artist serves as not only a sobering exposé but also a useful guide for those aiming to thrive in a competitive, commercially driven environment.

So How Does One Become a Successful Artist?

There are plenty of books that detail the creative journey of successful artists. This how-to guide may be the first to focus not on the art-making process but on the business side of success. Inside its bold, color-blocked pages, Resch lays out the blueprint for a solid business plan that could help any artist become “successful.” By his definition, this means earning the approval of one’s reference group while maximizing financial profit through ethical business practices (13). Interestingly, the book’s title in other languages, such as German or Spanish, more directly translates to How to Make Money as an Artist, which gets at the crux of its contents.

Recognizing that networking is crucial for artists and other members of the art world, Resch divides the book into sections focusing on different key figures and how artists can engage with them to rise in the ranks. After exploring the inner structures of the art market, Resch identifies the competition (fellow artists) and the various players who surround the artist’s studio: gallerists, collectors, and journalists. For conventional success, the book outlines, artists should move to major art capitals like New York, build their networks, and seek out representation, press coverage, and, ultimately, buyers.

Of course, we all know artists who are well connected but still struggle financially. So, how does one achieve one’s caviar dreams—earning enough to afford a Brooklyn loft and a cottage upstate? Beyond creating quality work that resonates with people (a criterion that is often subjective), Resch outlines several key ways artists have increased their profits. Essentially, this requires building and maintaining a recognizable brand—something any business owner would say is vital for attracting and retaining clients (or, in this case, collectors). Artists must craft a story with their work and persona, as many case studies in the book attest.

With its mix of data-driven research and practical advice, How to Become a Successful Artist provides a clear pathway to understanding what makes the art world function—for better or for worse.

What It Gets Right

I first came across Resch through an interview he gave on Jerry Gagosian’s podcast, Art Smack—a fitting introduction, given the book’s central argument. Gagosian frequently posts on social media about the commodification of the art world and offers advice on how artists can better navigate it.

Having worked for one of the “successful” artists quoted in the book, as well as at a gallery, for an art consultant, and in a museum, I’ve seen firsthand how much of this advice holds true in the real world. Even though my PhD dissertation focused on an artist whose mantra was “Everyone is an artist,” I can’t deny that, today, artists must be as committed to building a business as they are to developing their artistic craft if they want to pursue art as a primary vocation. Gone are the days when one could survive in a SoHo loft on saltines and ketchup while creating unsellable conceptual art. To live in SoHo—or even Ridgewood, for that matter—artists now need blue-chip representation, solo shows at reputable venues, and a strong support base that not only promotes their work on Instagram but also purchases it, driving up its value.

What I appreciate most about this book is that its findings aren’t opinion-based—they’re rooted in scientific research, published in journals like Science. This empirical approach helps to dispel some of the contemporary art world’s opacity. For example, the book breaks down different types of galleries, helping artists identify which spaces to target for representation. It also categorizes artists, from hobbyists to full-time professionals, allowing readers to better understand their own place within the larger ecosystem and set meaningful goals.

I also love that the advice is specific rather than general. The technology referenced is up to date and, even though the book was published in 2021, it still feels timely. Will it age well? Given the book’s focus on contemporary trends, it’s worth asking whether its pertinence will fade over time. Perhaps this planned obsolescence is part of the author’s strategy to release updated editions in the future. But for now, it’s highly relevant.

Another plus is the inclusion of supplementary media: the book’s advice is available as a course on Resch’s comprehensive website, along with other additional materials.

Advice for Artists About Writing

Although writing isn’t the main focus of this book, there are useful insights for artists looking to improve their writing as part of their business strategy.

I was surprised to learn that most artists and dealers operate through oral agreements rather than written contracts—something that, as a businessperson, I find to be a huge oversight. Contracts have been vital for establishing clear expectations with everyone I work with, including friends. While contracts are legal documents, asking someone to sign one doesn’t have to create an adversarial dynamic. Artists should feel empowered to protect their business interests and not shy away from formal agreements with gallerists, who certainly use contracts with other professionals, myself included.

Of course, contractual language can be tricky for nonexperts. One of the book’s highlights is its inclusion of contract templates (available online) for interactions with galleries and collectors. These would need to be customized and reviewed by a lawyer, but they provide a great starting point for artists.

Where I found the book’s writing advice a bit lacking was in the section on artist statements. Having spent years teaching this skill in professional development workshops, I could see that Resch—trained as an economist—takes a more business-oriented approach. His advice feels geared toward drafting a business plan or pitching to clients rather than communicating with audiences. I’m curious how his “elevator pitch” email strategy might work in a workshop setting, though it doesn’t address a common issue I see: artists leaning too heavily on abstract language without clearly explaining their work.

Final Thoughts

Though I’m not an artist, I run a business closely connected to the art world, and I found this book immensely insightful. I’d recommend it to anyone looking for conventional success, whether as an artist or in a related endeavor like theater, film, art consultancy, or starting a gallery. Resch excels at breaking down what it takes for independent entrepreneurs to build a strong business structure.

At times, How to Become a Successful Artist felt like a stark exposé of some of the New York art world’s more commercial stars. Indeed, Resch’s focus on the commercial side means that artists interested in alternative or noncommercial art economies may feel left out. The book is truly a product of our neoliberal context.

That said, its insights and guidance about the world it’s steeped in make it well worth reading.