14 Things I wish someone told me when applying for art jobs

Finding a job is hard; finding a job in the arts is even harder.

When I think back to my early years of applying for art jobs, it feels like a different lifetime. I had just finished my studies, armed with what I believed was a solid degree, sending out applications from crowded coffee shops — hoping that somewhere between the CV and the cover letter, someone would notice that I cared. Looking back now, I was doing only a fraction of what I would do today. But I was young, and I didn’t know any better.

Paradoxically, that helped. Had I understood the full scope of what it means not just to work in art, but to exist within its ecosystem, I’m not sure I would have continued. Sometimes, a certain naivety is what carries you forward.

Every year, art-related degrees produce more and more graduates who want to find placement in the art world. The art industry is also growing, with new ventures and businesses, experiencing a “democratization” that is driving a surge in new entrants, smaller, more agile galleries, innovative digital platforms, and so on. Yet so many graduates still struggle to find a job.

I often get asked about this, so I decided to gather the notes I have mentally accumulated over the years and share them with those who feel its intensity and are not ready to give up yet. Think of this as a loose gathering of notes from someone who has spent the past decade in the industry: working across galleries, spending time at Sotheby’s, and eventually building an independent practice.

These are the things I wish someone had told me back then.

A degree is not everything

One of the quiet truths of the art world: where you studied matters far less than what you do an WHO you know afterward. There’s a difference between the academic foundation of places like the Courtauld Institute of Art or Oxford and the market-driven programs at Sotheby’s or Christie’s Institutes. Both can be valuable, but neither guarantees a career - although I have my opinion based on personal experience about these two. I won’t be getting into it now but if you are interested please feel free to comment or DM me privately. The reality is that individuality and who you meet along the way ( unless you are one of the lucky ones who already comes with a backlog of connection due to family status).

Big names, small traps

At larger companies — and yes, even at the blue-chip galleries — you might be asked to complete a “test.” It happened to me both at an auction house and at an art dealer. It’s less about your knowledge and more about your alertness. One of mine involved spotting misspelled artist names in a document, which sounds silly until you’re doing it under time pressure with eyes darting across text which you don’t really know the purpose of.

Smaller art businesses, galleries, dealers, private collections (you name it!) on the other hand, tend to lead with character. I remember interviews where the conversation would drift toward books, exhibitions, or the last time I’d seen something that moved me. These were people hiring for curiosity, instinct, and taste — traits that don’t fit neatly into a CV but matter more than most bullet points ever will.

Building your own CV

Take your time. The art world moves at its own rhythm, and your career will, too. Unpaid positions can sometimes open doors when chosen strategically — especially at smaller galleries, advisories or private collections where proximity turns into opportunity. One of my earliest positions started by buying coffee and milk; a few months later, I was being entrusted with research on artists.

And don’t just apply to the obvious places. Beyond the gleaming white cubes are countless independent projects, consultancies, and hybrid art businesses that operate semi-invisibly. Many don’t advertise roles because they don’t have an HR department — they rely on people who show up, ask, network and express genuine interest.

Find your niche

This is maybe the most important advice: find something to care about deeply. I am not saying it will magically get you a job but it in the long run it will help to form your path, it will make you talk to people with similar interests and ultimately will lead to opportunities. Whether it’s postwar Italian art, outsider artists, or the economics of the secondary market — specialize. Let it become your compass. The art world is full of generalists, but it remembers the people who have a point of view.

Train your algorithm (seriously)

Social media can become a tool rather than a distraction. Start following galleries, residencies, non-profits, and curators, then intentionally look up job postings by keywords and once you view a couple of job postings, the algorithm will begin to reward you with relevant content — including job postings you’d never find elsewhere.

You won’t please everyone

The art world is opinionated, and not always generously so. There will always be people who question your background, your choices, your taste, or your affiliations. Certain schools will be dismissed, certain paths undervalued, certain aesthetics criticised. That is part of the landscape. The important thing is to remain steady in your direction — to stand by your experience, your interests, and your developing point of view. In time, that consistency becomes your identity.