On misconceptions about being an artist in NYC and how they’re making it work:

Christine Stiver (MFA 2017, Art Practice): When I graduated from the low-residency MFA program at SVA, I was still living and working in Baltimore. The New York art world seemed impenetrable to me at that time, and I couldn’t imagine how I would ever get my foot in the door. A few years later, we moved to the city, and that impression didn’t immediately change, but over time, light started peeking through the cracks. New York is a huge city with nearly infinite art worlds. If you keep showing up and, more importantly, care about what other people are doing, the door will open. It turns out, what’s more difficult is figuring out which doors to walk through. 

Gabrielle Benak (BFA 2019 Fine Arts): I am a teaching artist, and it is the closest I have felt to my original goal, being able to exist as an artist more holistically. There are imperfect aspects to any job, but after trying on so many other hats, you learn that everything is a give-and-take, and you must evaluate and prioritize within that spectrum. I am so happy to be among people teaching what I love and even find that it is enhancing my own art practice, which can now finally exist in the forefront.  

Georgia Lale (MFA 2016 Fine Arts): I find that the SVA curriculum, especially the MFA Fine Arts program, puts a lot of focus on how to prepare the artist to perceive their studio practice as a small business, which involves how to promote yourself, how to write newsletters, how to do outreach, how to write your artist statement, your resume, how to archive your work. The skills I applied in my own practice, I made my work. Little by little, I began building a clientele of diverse artists who required those services. It works for me because, as a freelancer, I can make my own schedule and take breaks from work when I need to focus on my art or when I need to travel. 

Paul Rho (BFA 2019 Photography and Video): Creating art doesn’t guarantee an income, and sustaining yourself often means finding other work. At one point, I had a full-time job and two or three part-time jobs just to make ends meet. During that time, I couldn’t make art for almost a year, and I began to fear that I might stop creating altogether. Eventually, I started carving out small pockets of time to work again. Little by little, I rebuilt my practice.

Alex Cassetti (BFA 2016 Photography and Video): It was a challenge to ask for guidance on how to move forward, as I had limited spaces to create and to exhibit. It takes a while for the work to succeed [and] to make sense, and for myself, to take risks.

On early career lessons they learned:

Christine Stiver: I learned from other artists that we actively create the art world we want to participate in. So, if you wish for a world where your ideas make sense, resonate, and matter to someone else, work toward building that world with others. Contribute in any way and in whatever capacity you can. This doesn’t require grand gestures; it can also mean visiting other artists’ studios and spending time with them in their world for a little while. This goes a long way in bridging gaps of isolation. Sitting idly by, waiting to be plucked out of obscurity for your genius, only works for a select few. Many of us show up for our people as much as we show up in the studio for ourselves. 

Georgia Lale: Use your disadvantages and your limitations as your material. That’s also part of what makes the work unique and interesting. For example, if you don’t have enough space, consider creating smaller works. If you work from your bedroom, use non-toxic materials. I know, sometimes we have ideas about our art and like big projects, but we cannot do them because we don’t have the financial means, space, or time. We get stuck to it, and then we start resenting ourselves and society for not being able to reach our dreams and goals and express ourselves. For me, the most important thing is to keep creating art, whether small or big; it doesn’t matter. The art will find its way. 

Paul Rho: As an emerging artist, you have to keep putting yourself out there—applying for open calls, grants, residencies, exhibitions, and every opportunity you can find. It’s a long, exhausting process filled with rejection, but rejection doesn’t mean you’re a bad artist.

On what they wish people knew or understood better about being an artist in New York City in 2025:

Christine Stiver: You’re an artist even if you spend the majority of your time doing something else. It’s okay to figure out how to pay your bills and make art fit the circumstances of your very real and complicated days. That doesn’t make you less serious.

Gabrielle Benak: I wish people would regain patience to look at work or discover new artists. This is an age-old issue, but it’s especially prevalent today, as we are inundated with content, images, and overall visual stimulation. We also live in an entrepreneurial hotbed, which is motivating but can also result in everyone trying to do everything, making it feel overwhelming.

Alex Cassetti: Having consistent studio time is only one part of being an artist… Try to go to as many gallery openings and screenings as possible. We are very fortunate to be surrounded by such amazing galleries.