This episode is a solo episode in which Alyson Stanfield, of Art Biz Success, reveals the details of the new Art Biz Accelerator program.
It was recorded during an info session for members of the Art Biz Connection community and includes:
First posted: https://artbizsuccess.com/podcast-accelerator
A video, complete with slides and the PDF download of all the information is available at artbizaccelerator.com right now.
And if you’re listening to this later in the year, chances are good that much will still be applicable.
Putting Artists First in Curatorial Projects with Melissa Messina
Today’s conversation on The Art Biz is packed with tips and insider info. In my conversation with independent curator Melissa Messina, we discuss what an independent curator does, how Melissa finds and works with artists, and what happens during a studio visit to an artist she is (or might be) working with. You won’t want to miss the insights she shares about common mistakes she sees artists making, as well as how to correct them. Above all, Melissa shares the empowering reminder that the artist is at the center of all a curator, a museum, or a gallery does.
“I think that curator gene has always been in me.” (1:55)
Melissa’s work as an independent curator. (5:32)
How does a curator find their artists? (9:00)
The importance of your network. (14:37)
Insights from the details of Melissa’s standard project. (18:46)
Scheduling projects and finding funding with fellowships. (23:55)
Curating an artist's estate is the joy of Melissa’s life. (26:53)
What piquesMelissa’s interest in the artists she encounters? (32:01)
The cities, websites, publications, and galleries where Melissa looks for artists. (35:00)
Working with galleries as an independent curator. (38:04)
The role that studio visits play in a curator-artist relationship. (40:54)
What curators are looking for from a studio visit. (48:51)
Correcting the mistakes that too many artists make. (50:54)
This Week’s Assignment
Research my guest Melissa Messina and start following her on social media. Then start researching independent curators in your area and start following them. Consider inviting them into your studio for a low-stress visit—and don’t forget to offer them a drink.
“I’m constantly making calculations to see where an exhibition or project might percolate out of my experiences and relationships.” — Melissa Messina
“Your network is everything.” — Melissa Messina
“There are some really good artists with bad attitudes, and I would much rather give the opportunity to someone who is a joy to work with.” — Melissa Messina
“I think artists would do better to let go of their expectations in a studio visit.” — Melissa Messina
“Without the artist and their work, there wouldn’t be anything for us to do.” — Melissa Messina
About My Guest
Melissa Messina is a nationally recognized arts professional who has developed thought-provoking exhibitions, dynamic site-responsive projects and engaging educational public programming both independently and in leadership positions at museums and non-profit arts organizations. For 20 years, her work with regional, national, and international artists has been presented in the U.S. in Atlanta, Kansas City, Miami, New York, New Orleans, Richmond, Savannah, and Washington, D.C., as well as in Bermuda, France, and Hong Kong. She has lectured extensively and published widely, and her research has been funded by Creative Time and The Andy Warhol Foundation, as well as by fellowships at Emory University’s Stuart A. Rose Library, Atlanta, GA, and the Crystal Bridges Museum of American Art, Bentonville, AR.
In addition to serving select public and private clients, she is the curator of the Mildred Thompson Estate. She has also recently served as guest curator at the Virginia Museum of Contemporary Art, Spelman College Museum of Fine Art, the Visual Arts Center of Richmond, and the New Orleans Museum of Art, and was the co-curator of the 2018 and 2020 Bermuda Biennials. In 2017, she co-created Magnetic Fields: Expanding American Abstraction, 1960s to Today, an intergenerational exhibition highlighting 21 Black female abstract practitioners that traveled from Kemper Museum of Contemporary Art in Kansas City to The National Museum of Women in the Arts, Washington, D.C.
Alyson Stanfield walks you through her thoughts on reviewing your year.
There are 3 reasons to bother reviewing your year: (1) To honor life, (2) to remind yourself of what you have accomplished, and (3) to prepare for the New Year. Look at the year holistically in terms of personal, art, learning, and business.
Your written account of the year will be something you can return to in the future as a reminder of what you accomplished, what you experienced, what you learned, who and what you encountered, and more.
The Artist's Annual Review
Today’s conversation is a first. In this episode of The Art Biz I talk with Rebecca Welz, an artist who claims she’s not all that interested in the art business. But Rebecca, with her many accomplishments, still had plenty of wisdom to share. Our discussion centers around how she sees her art as part of the continuum, and how she encourages her students at Pratt Institute to think holistically about their careers. We discuss meditation, biomimicry, her projects in Guyana and Guatemala with her students, why she’s uninterested in the art business, and what she thinks artists would benefit from focusing on instead.
“It’s like drawing in space.” Rebecca’s sculpture and gallery representation. (2:44)
Teaching art students and exploring the unknown through meditation. (6:22)
Thinking is the most important part of the creative process. (11:15)
Finding art inspiration in Guyana and Guatemala. (17:04)
Biomimicry—innovation inspired by nature. (22:10)
The importance of experiencing inspiration from cultures outside your own. (25:35)
Taking a holistic approach to your art. (31:13)
Rebecca isn’t all that interested in the art business. Here’s why. (36:24)
This Week’s Assignment
Consider how your work is connected to forces outside itself. How is it connected to art history and to other artists? Think of all the people who make your art possible. Who made your supplies? Not the companies, but the people behind the companies. Who gathered natural pigments or precious metals? Who mixed the paints, spun the yarn, stretched the canvas, stocked the paper, or assembled the camera?
Who are the people supporting your efforts?
“Meditation gives me a lot of peace and equanimity and helps me deal with being a human on the planet.” — Rebecca Welz
“Good artwork comes from that place of the unknown.” — Rebecca Welz
“I can’t just focus on my art career because there are so many other things that I’m interested in.” — Rebecca Welz
“How are you tapping into your own continuum and how’s that working for you?” — Rebecca Welz
About My Guest
Rebecca Welz makes steel sculptures inspired by natural wonders and ecological processes that combine to give us biodiversity. She is represented by June Kelly Gallery in New York City, where she has had numerous solo exhibitions. She has also shown at Grace Borgenicht Gallery and Bernice Steinbaum Gallery, also in New York.
Rebecca’s sculptures have been in solo and group exhibitions in venues such as the Oakland Museum of California, the Heckscher Museum of Art (Huntington, NY), Butters Gallery (Portland, OR), the SciArt Center (Easton, PA), the Cherrystone Gallery (Wellfleet, MA), and Sculpturesite Gallery (San Francisco, CA). Her work can also be found in private and corporate collections, including those of Goldman Sachs, Pfizer, Merck, Prudential Life Insurance Corporation, and Sabre Corporation.
Not too long ago, artists didn’t have to worry about things like their brands. But in an increasingly competitive market, and the noisy online space, we will do better when we know where we fit. Your art is created in the studio, while your brand is created in the minds of viewers, buyers, collectors, gallerists, and curators.
When you know your brand, you know how you want to be perceived in the eyes of others. Your brand helps you make decisions. If opportunities aren’t aligned with your brand, you say no. My guest for this episode of The Art Biz is Alexandra Squire. She has a clear, intentional artist brand, and knew from the get-go what she wanted her business and career to look like. She hired professionals to help her pull together a branded identity to present her work to the world, and it has paid off. Alexandra and I talk about her decisions, marketing, and how she finds time for her painting and business while raising three young girls.
Alexandra’s long and winding road to becoming an artist. (3:25)
“I looked at myself as a brand.” (7:09)
Marketing yourself effectively. (11:26)
Hiring professional help for your photography. (14:03)
Your brand exists in the eye of the viewer. (18:42)
Making the trade offs that pay off. (22:16)
The moment when you identify your artist brand. (26:20)
How Alexandra shows and sells her work. (28:15)
Keeping an artist’s schedule while raising a family. (33:38)
This Week’s Assignment
Consider your artist brand. In particular, think about and even write in your journal about this one question: How do you want to be perceived in the minds of others? If you want to take it to the next step, consider whether your social media, newsletter, website, marketing material, and exhibition venues are aligned with how you want to be perceived.
“I decided from the beginning I wanted to be a certain type of artist.” — Alexandra Squire
“You have to present yourself in a certain way, and that’s how people will view you.” — Alexandra Squire
“I turned down a bunch of opportunities that I felt didn’t best reflect my brand.” — Alexandra Squire
About My Guest
Alexandra Squire is an abstract painter defined by the pairing of vibrant colors and muted tones to create simple yet deceivingly complex works. She focuses on blending and layering to make pieces that are rich in color and depth with unexpected palettes. Her paintings serve as a metaphor for life in that they depict the multitude of ways in which our experiences meld together. Alexandra’s work has been exhibited nationally, and her paintings are a part of private and corporate collections throughout the United States.
Anyone can open up a gallery—real or virtual—and start selling art. I mean anyone. You don’t have to hold a degree or pass a test. You don’t have to have ethics or morals or know anything at all about art. But I am impressed by what UGallery is doing and the services they have been providing artists and clients since 2006. Everything about them feels different.
On this episode of The Art Biz, I’m joined by Alex Farkas, founder of UGallery.com. Their business model is different from others in that online space. They know art. They curate the work so there aren’t thousands of random artists competing for eyeballs. UGallery is paid on commission, so they only make money if art sells.They invest in marketing to help sell more art. They are looking for relationships with their artists and nurture their artists to help them sell better online. The focus of UGallery is on painting, but you should listen to their story even if you are not a painter because you need to know that there are people and companies out there who are on your side and doing things the right way.
This Week’s Assignment
About My Guest
Alex Farkas is the Gallery Director of UGallery. His love of art traces back to his hometown, Jerome, a tiny arts community in northern Arizona. Alex grew up creating sculptures in his uncle's woodworking studio and learning about the art business in his mother's gallery. He co-founded UGallery in 2006 with the goal of helping emerging artists connect with patrons. As one of the first ever online art galleries, UGallery significantly improved the opportunities available for artists. The gallery has been featured in the New York Times, Vogue, and Art in America. He currently lives, and UGallery is based, in San Francisco.
The photographer Sally Mann has said that it never occurred to her to look outside of her home, family, and immediate vicinity to find inspiration. So many artists feel they need to travel to exotic locations to find their inspiration, never exploring what is right in front of them or what they encounter in their daily lives.
In this episode of The Art Biz I talk with Sara Lee Hughes, an artist who is deep into a body of narrative paintings with recognizable imagery that is steeped in her personal story—going so far as to include her self-portraits in many of them. We talk about making such personal work and whether there is a market for such work. Sara Lee says her ultimate intention is that she gets under your skin. That when viewing her paintings, you start to question your actions and might find yourself reflecting on the encounter weeks later. We discuss the genesis of this body of work, how she is looking at her art in terms of the long game rather than seeking quick gratification, how she keeps her ideas, and how she has created a discipline that balances motherhood with her studio practice.
Waiting, Father Daughter Dance, and other pieces inspired by Sara Lee’s life. (1:55)
The family letters that have helped Sara Lee navigate her true self. (6:57)
Sara Lee’s 12-ft superhero cape and what it represents. (9:05)
Painting from experiences results in sincerity. (11:15)
Asking yourself questions can lead to your next inspiration. (14:55)
Sara Lee’s decision to use her own face in her paintings. (18:19)
The value of painting the part of your history that isn’t talked about. (21:32)
There are parts of your story that anyone can relate to. (25:17)
Using a list—rather than a sketchbook—to keep your ideas. (27:04)
Does personal work sell? (30:20)
The evolution of Sara Lee’s approach to her art business. (32:39)
Finding time for the most important work. (34:32)
“These tossed-off sketches are seeds for the work that I’ve done in the last five years.” — Sara Lee
“When I paint from my own experience, there’s a sincerity in my paintings.” — Sara Lee
“All of my work is my personal experience, so who better to use than myself? — Sara Lee
“My intention is to resonate with you through the works that have inspired me to be an artist.” — Sara Lee
About My Guest
Sara Lee is a narrative painter living and working in Lockhart, Texas. Her representational narratives are influenced by growing up in the south during the 1970’s and 80’s with divorced parents and operate as metaphors for discovery, other-ness, identity, connection, balance and truth. As a body of work, they highlight moments, memories and ideas that mark a journey of navigation through the differences between her gay father, straight mother and the socio-cultural norms of the era and those proceeding. In her work she is most interested in exploring and sharing the connection she had with her father before his death of AIDS, the profound guidance it had on her life, and how this personal experience fits into our country’s broader social and cultural heritage.
Sara Lee studied classical drawing and painting at the Pennsylvania Academy of Fine Arts, where she earned a certificate in painting and printmaking. She earned her MFA in painting from Pratt Institute. Sustaining herself through scenic painting and teaching, her work brought her back to Lockhart, Texas where she has lived since 2008.
There is no denying the importance of video these days. Whether you're chasing the Instagram algorithm for reels, streaming live on YouTube, or pulling together a video bio for your website, it's more valuable than ever to make good videos. My guest on The Art Biz is Zach Wolfson, a filmmaker who has seen all kinds of artists' videos—the good, the bad, and the cringy. He has joined me to discuss four of the most common mistakes he sees artists making with their videos, and he also shares simple tips that will greatly improve your videos with just a little bit of tweaking. It’s definitely worth the effort because, as he says, it is so important to leave behind a legacy that extends beyond your artwork.
Zach’s career in filmmaking led to teaching artists how to make mini art videos. (1:50)
Horizontal or vertical filming—which does Zach prefer? (5:50)
Mistakes artists make when editing transitions in videos. (7:38)
Overproducing filters, text, and other distracting elements. (10:52)
Slowing down to capture the perfect shots. (13:53)
The best POV in your art films. (17:52)
Tips for overcoming your fear of the camera. (20:15)
Does Zach recommend time-lapse videos? (23:34)
The importance of sharing your story in your videos. (27:31)
Leaving the legacy of your art through videos. (32:55)
“Too many elements can be overwhelming for both you when making the video as well as for the people watching it.”— Zach
“Just record for longer than you think you should. Your future self will thank you for it.” — Zach
“Your videos themselves don’t need to be art because your art is art.” — Zach
“If you can find ways to include yourself in your videos, it will attach you more to your art so people can connect with you.” — Zach
“Let us into your world and be able to see you in the context of your space.” — Zach
“People aren’t following you because of how well crafted your videos are. They’re following you because of your art.” — Zach
About My Guest
Zach Wolfson is a filmmaker who helps artists make simple art videos to market their art. He is dedicated to empowering artists, and believes everyone can make “mini” art videos that document your journey with ease and joy.
Zach’s greatest passion has always been working directly with artists. He has shared the stories of dozens of artists through his video series, Beyond the Gallery, and taught hundreds more through his blog, in-person training, and now inside his membership community, Ready to Record.
In addition to his work with artists, Zach has made videos sharing human-centered stories for galleries, museums, and companies that include Adobe, Discovery, and Sony.
Artists crave validation by others. You want your work to be appreciated. Being validated by others helps build confidence and shows us we’re on the right path. But are you looking for validation in the right places?
In this solo episode of The Art Biz, I address validation and earning credibility—where you are probably seeking it, where you might want to look for it instead, and what it really means about your art. Ultimately, validation only comes from within, and others are more likely to pay attention knowing that you value your own work. I want to help you realize the various ways it is possible to earn credibility for your art, many of which you will see that you are already doing.
Defining validation, self-validation, and credibility. (2:02)
The wrong places to turn for self-validation. (3:40)
The ultimate expression of validation for an artist. (5:15)
Non-social media examples of validation in the art world. (6:43)
The pinnacle of exhibition venues—the art museum. (9:45)
The value of writing about speaking about your work. (10:55)
Seeking validation from the media on a broader level. (11:45)
Achieving a higher level of self validation. (14:08)
Detour travels to communities all over to paint socially impactful murals, but he also works on canvas, and in music, installation and sculpture. How does he do it all, and do it all by himself?
In this episode of The Art Biz, I talked with Detour about his various income streams from prints and murals to corporate sponsorships and grants. He is adamant that he doesn't want to be limited by what he currently knows, so he's always learning how to use new technologies that will help him land complex opportunities. He's not afraid to admit that the best way to approach an artistic problem is probably something he hasn't done before. And Detour is big on collaboration and presenting himself in the most professional light because, as he says, you never know who is watching. Be sure to listen for the questions he asks himself before agreeing to take on new work. This is an inspiring conversation that you won’t want to miss.
Carving out new and alternative paths in the art world. (5:00)
Merging your career skills with your creative opportunities. (9:09)
How Detour found his artist voice while creating interactive art ‘for the people.’ (11:40)
Detour’s active and passive income streams. (17:22)
Planning for sporadic paychecks in advance. (22:15)
How Detour’s MBA has benefitted his artist endeavors. (25:38)
The importance of building relationships with everyone in your artist community. (28:09)
Collaborating with other artists to add value to your work. (32:24)
Questions to ask when considering—or turning down—opportunities. (34:53)
A look at Detour’s typical week. (37:05)
Finding fun and balance in the work of every day. (40:18)
Why is it important to be an artist who helps other artists? (44:44)
“I want to make sure when I’m presented with an opportunity to solve an idea creatively, I’m not limited by what I’m used to doing.” — Detour
“You never know what will work until you throw something out there and it sticks.” — Detour
“When you do art you never know exactly who’s looking at it.” — Detour
“Everything I do in life is related to art making and sharing.” — Detour
Thomas Evans, a.k.a. Detour, is an all-around creative specializing in large scale public art, interactive visuals, portraiture, immersive spaces, and creative directing. His focus is to create work where art and innovation meet. A born collaborator and “military brat,” Detour pulls from every conceivable experience that shapes his landscapes and perspectives. Explaining Detour’s work is no easy task, as ongoing experimentations in visual art, music, and interactive technologies have his practice continually expanding. With his ever-evolving approach to art, Detour’s focus is on expanding customary views of creativity and challenging fine-art paradigms by mixing traditional mediums with new approaches—all the while opening up the creative process from that of a singular artist to one that thrives on multi-layered collaboration and viewer participation.
There is no single success formula that works for every artist, but every artist needs some sense of order in their business and life so that they’re ready to respond to opportunities that come along. My guest for this episode is Maria Brito, award-winning New York-based contemporary art advisor, curator and the bestselling author of How Creativity Rules The World. A Harvard graduate, originally from Venezuela, Brito has been selected by Complex Magazine as one of the 20 Power Players in the Art World. She has also been named by ARTnews as one of the visionaries who gets to shape the art world.
Maria has worked to demystify the art world for people who might be otherwise intimidated to enter a gallery, and is an advocate for democratizing the art world for artists and collectors who might be interested in buying art but are not ready to spend tens of thousands of dollars. Maria shares how she works with artists, galleries, and collectors and why she thinks there has never been a better time to be an artist. You won’t want to miss her tips about Instagram and why you can’t afford to ignore this valuable platform.
Maria’s career was born from what is missing in the art world. (2:35)
Democratizing and demystifying the art world. (6:29)
Making your own rules when using the free marketing tools of Instagram. (12:32)
There is more than one right way to be an artist. (16:06)
Maria’s daily interactions with artists. (19:20)
How does Maria decide which artist offerings to pursue? (24:22)
The role that a curated Instagram feed plays in discovering artists. (30:24)
Additional online details that attract Maria to an artist. (35:27)
Curiosity and the original artist's mind. (46:36)
“One of the things that helped me succeed was that I was so interested in portraying artists in a different light.” — Maria Brito
“We have to acknowledge that, for the most part, these buckets of technology have definitely helped us democratize and streamline and find clients and find collectors that otherwise would be impossible.” — Maria Brito
“There hasn’t been a better time in history to be an artist.” — Maria Brito
Being able to have control over how you present your message is just a gift.” — Maria Brito
“Artists have to treat their Instagram account as their own gallery.” — Maria Brito
“The point of being curious is to find more opportunities.” — Maria Brito
Maria Brito is an award-winning New York-based contemporary art advisor, curator and the bestselling author of How Creativity Rules The World. A Harvard graduate, originally from Venezuela, Brito has been selected by Complex Magazine as one of the 20 Power Players in the Art World she was named by ARTnews as one of the visionaries who gets to shape the art world. She has written for publications such as Entrepreneur, Huffington Post, Elle, Forbes, Artnet, Cultured Magazine, Departures, and more. In 2019, she launched “Jumpstart”, an online program on creativity that has been taken by over 1000 people ranging from artists to entrepreneurs.
There’s always plenty to be learned from artists who have been making a go of it for decades. Just think about how much has changed in 30 years! In this episode of The Art Biz, my guest is Willie Cole, a self-described perceptual engineer with an impressive list of collaborations under his belt and even more in the works. Together we talk about the faith he has in his work as a result of being consistent throughout the years. And why he says work is a bad word and prefers to approach his studio in the spirit of play.
We discussed his art and why he challenges people to perceive recognizable objects, like shoes and musical instruments, in new ways. You’ll hear how one of his Instagram posts — where he mocked up his art as if to appear on the cover of Vogue — led to collaborations with major fashion brands. Such opportunities continue coming his way, which might be the result of his faith in his practice. Spoiler: Visualizing success plays a role.
Willie calls himself a perceptual engineer, but what exactly does that mean? (3:12)
The importance (if any) of showing the materials Willie uses to create his work, including 75 cut-up guitars. (5:35)
“Planning makes it feel too much like a job.” How Willie approaches his work instead. (11:02)
A peek inside Willie’s studio. (13:58)
Work is a bad word, but play can make your business better every day. (15:55)
Staying in a playful mindset in every stage of production. (19:15)
The value of improvisation and the value of not knowing everything. (21:08)
Willie feels like the luckiest business person in America. (23:40)
The business-minded people that makeup Willie’s team and insights into his collaborations. (25:36)
Propelling yourself forward in spite of your fears. (35:24)
The difference between fashion industry collaborations and gallery relationships. (37:51)
The music on Willie’s current playlist and what is coming up next in his work. (40:28)
“Play is play, and the opposite of play, I guess, would be work.” — Willie Cole
“It becomes work rather than play when it becomes a money-making business.” — Willie Cole
“Knowing has limitations because once you find something, you only see it as that.” — Willie Cole
“I feel like the luckiest business person in America.” — Willie Cole
“When passion marries intention and it can be monetized, it’s work but it’s also just joy.” — Willie Cole
“To proceed with confidence and fearlessness, I have to believe that opportunities connect.” — Willie Cole
“Connections open up so many doors, they keep the fear way behind me.” — Willie Cole
Willie Cole calls himself a perceptual engineer. Whether he is using the symbolism of a steam iron or the shapes of high fashion shoes and recognizable musical instruments, he challenges how we look at things. While he has had solo exhibitions at esteemed institutions such as the Museum of Modern Art, Miami Art Museum, and Montclair Art Museum, Willie embraces nontraditional avenues for his work, such as collaborations with major fashion brands. He is represented by Alexander and Bonin Gallery in New York, Maus Contemporary Gallery (Alabama), Gavlak Gallery (Los Angeles/Florida), and Kavi Gupta Gallery (Chicago). Willie lives and works in New Jersey.
I can’t resist legal cases about art, from thefts and forgeries to copyright infringement to gallery dealers and so-called experts who end up in front of a judge for defrauding collectors. While most artists will never see the inside of a courtroom, you might be concerned with copyright infringement or receive unsettling news that someone is using your creative work without your permission. Every artist (you) should know the basics for protecting their art. In this episode of The Art Biz, I am joined by Kathryn Goldman, an intellectual property and internet law attorney who helps creative professionals protect their work so they can profit from it. She is the founder of The Creative Law Center website and membership program, which offers understandable information, actionable strategies, and easy to use tools for the development of creative businesses. Our conversation focuses around Kathryn’s Four Step Framework to help you identify, protect, monitor, and enforce your creative rights.
Kathryn is an intellectual property attorney who helps creative professionals protect their copyrights, trademarks and brilliant business ideas. (2:45)
The four step framework that helps artists know what, when and how to take action. (4:45)
Copyright 101- identify the rights that a copyright protects and what is not covered. (7:13)
Protect your artwork with a copyright registration. (12:25)
Filing in small claims court for infringement can result in $15,000 payout. (15:33)
Trademarks are source identifiers that protect against consumer confusion. (18:31)
Keith Haring, Banksy, and other famous artist trademarks. (21:00)
Does an artist need to register a copyright for every single thing they make? (30:35)
Protection is the combination of copyright, trademark, and contract. (33:05)
FARE contracts keep the right to control a piece in the hands of the artist. (35:09)
Artists with a secondary market stand to benefit greatly from a FARE contract. (39:10)
Monitoring your work to determine if it’s been stolen is up to you (and your tribe). (41:30)
How I handled copyright infringement of my writing. (46:24)
The ladder of enforcement offers options for reaction when someone is stealing your work. (49:55)
The recipe for registering your most valuable work is essential. (57:07)
Kathryn’s upcoming programs and workshops. (59:05)
“I like it when artists understand when they need to take action, what action they need to take, and how to do it effectively and efficiently.” — Kathryn Goldman
“The right to control those kinds of changes to the art comes from the copyright.” — Kathryn Goldman
“A lot of working artists have trademarks, especially those who are building a business on licensing their art.” — Kathryn Goldman
“Copyright is not as strong as trademark, and trademark is not as strong as a good contract.” — Kathryn Goldman
“With this combination of tools, I think we really are going to start seeing some interesting things happen with contracts in the art world.” — Kathryn Goldman
“The best infringement protection is going to be your tribe.” — Kathryn Goldman
Kathryn Goldman is an intellectual property and internet law attorney who helps creative professionals protect their work so they can profit from it. She believes sustainable businesses are built on properly protected creative assets. Kathryn runs the Creative Law Center website and membership program. The Creative Law Center provides innovative creatives with the affordable business and legal resources they need when evolving from artist to entrepreneur. The Creative Law Center offers understandable information, actionable strategies, and easy to use tools for the development of creative businesses. Kathryn practices law in Baltimore, Maryland.
An artist’s best resource is another artist. And to really know what a real artist’s life looks like on a daily basis, you have to study and talk to those artists. You can read their biographies, watch their videos, and listen to them on podcasts, including this one. In this episode of The Art Biz, I talk with Geoffrey Gorman about what it’s like to be a working artist, an identity he came to later in life and has sustained for nearly two decades. Geoffrey and I discuss his background as a furniture maker, gallery dealer, and artist consultant and how each role has contributed to his life as an artist. He also reveals how he approaches his work, where he finds inspiration, his take on how the art world is changing, and his advice to artists in the rapidly-evolving market.
“You can make something from anything.” The evolution of Geoffrey’s process. (2:35)
Journeying back into the arts after a 30-year break. (8:45)
Geoffrey’s timeline from furniture maker to gallery dealer, artist coach to full-time artist. (11:08)
What does being an artist look like in Geoffrey’s material-driven world? (16:02)
Carving a whale and honoring the passing of time. (23:21)
Tactics for increasing your credibility as an artist. (28:02)
Evolving with the demands of a constantly changing art world. (31:16)
Navigating your relationships with dealers. (36:02)
Feedback worth soliciting as an artist. (38:55)
The importance of connections as a small business owner. (43:00)
How can artists utilize social media to find collectors and curators? (48:00)
A look at where Geoffrey is putting his efforts next. (50:22)
“I realized I had to create this world that I was producing.” — Geoffrey Gorman
“You are the number one expert about your work in the world.” — Geoffrey Gorman
“A lot of old benchmarks are now gone for artists.” — Geoffrey Gorman
“There are so many opportunities for us as artists out there.” — Geoffrey Gorman
“Your best resource is another artist.” — Geoffrey Gorman
Geoffrey Gorman was born in Paris, France, but eventually moved to and grew up on an old horse farm in the countryside near Baltimore, Maryland. The dilapidated architecture and abandoned quarries of his childhood influence and inspire the found material sculptures the artist creates today. Gorman has worked as a contemporary furniture designer, gallery dealer, curator, and art consultant before becoming a full-time professional artist. He has exhibited nationally and internationally, including in China and South Korea. Gorman’s work is in public and private collections, including the Racine Art Museum and the University of Colorado.
If you have ever wanted to shoot the breeze with a gallerist, you will want to pay close attention to this episode of The Art Biz. I’m joined today by Jeremy Tessmer, the gallery director at Sullivan Goss Gallery in Santa Barbara, California. In our conversation, Jeremy shares his views of artist’s professionalism, what he thinks of online platforms, and how he taught himself art history (and why that was important to him).
Jeremy describes Sullivan Goss as an on-ramp for collectors and artists—one that connects their roster of local, regional, national, and international artists. You’ll hear him discuss 3 qualities that he looks for in artists, two of which are non-negotiable, and how he views the artists in his gallery as a family. He says that “dealers should have some sense of responsibility for the well-being of their artists,” and, as you listen to our conversation, you’ll understand why that has become so important to him.
The niche that the Sullivan Goss Gallery fills and Jeremy’s role within it. (2:37)
Sullivan Goss is an on-ramp gallery with the aim of expanding the art world. (7:49)
The different art world need to become more aware of each other. (10:05)
Jeremy’s journey from writer and tech specialist to art gallerist. (14:04)
Is it important for artists to be steeped in art history? (23:34)
Overcoming the anxiety of influence to connect with other artists. (26:21)
The 3 qualities Jeremy looks for in the artists he represents. (33:30)
The responsibility a gallery has for nurturing its artists’ careers. (36:10)
The value of understanding the long game and defining your real interest in an artist’s career. (41:11)
Things an artist should never say or do to gain the attention of a gallerist. (46:18)
Jeremy Tessmer is the Gallery Director and Curator of vintage American art at Sullivan Goss. He has been with the firm almost 20 years, working in every area of the business, including: curation, sales, marketing, and design of everything from exhibition spaces to internal databases and processes. He has special knowledge of the American Modern movement, especially as it occurred on the West Coast. He has also been heavily involved with the gallery’s publication program, helping to produce nineteen books and numerous catalogs, including those on local artists Ray Strong and Hank Pitcher.
The resources you have for art business and career development are endless. In that respect, you are incredibly fortunate compared to artists of the past who had so little to help them make a go of it. And there is a downside. There are so many choices to grow as a professional artist that it’s difficult to decide where to spend your time and money.
How do you decide? How do you know when to invest, and when to save your money?
Let’s pretend you are my coaching client and you’re debating adding something to your calendar. I caution all students and clients to be judicious about adding more to their already full schedules.
This episode is focused on the questions I’d ask to help you decide whether or not a program is right for you. These include ...
What do you want to get from this program?
Is this program a shiny distraction?
Are you in a place to receive the guidance?
Do you respect the presenters, teachers, or leaders?
How is this program different?
Are you willing to devote the time to the lessons and homework?
See featured artists, read, and leave a comment >> TRANSCRIPT+POST
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In this episode of The Art Biz, I’m joined again by Eve Jacobs-Carnahan. She was a podcast guest over a year ago and has come back to offer an update on her project, Knit Democracy Together, which was developed to discuss the U.S. electoral system within the context of knitting circles.
Today Eve is sharing a look at how such a long-term project evolves. She outlines the 5 indicators she is using to measure effectiveness, and even if you don’t have an art project focused on making a social impact, these indicators will be useful for appraising the successful reach of your exhibition, event, program, or teaching.
“It all took on a new significance.” Eve’s project changed after the 2020 election. (4:27)
The reasons behind improvements in the knitting circle. (8:11)
The mindset shift that created positive changes to the project format. (10:02)
Eve’s preparation helped secure her fellowship. (11:41)
Collaboration changes and letting go of tight control over the project. (13:28)
The topics that the project covers now are not the same as the initial intended ones. (19:25)
5 indicators to measure effectiveness in any project. (24:44)
Applying these tools to measure other areas of success. (31:40)
A look at what’s coming next for Eve. (36:40)
The evolution of Eve’s expanded exhibition. (39:11)
“I have definitely let go of some control, and that’s been good.” — Eve Jacobs-Carnahan
“I realized that I wasn’t going to be as effective by myself.” — Eve Jacobs-Carnahan
“I’m talking about what people can do to help strengthen the system so we don’t have chaos, all while knitting.” — Eve Jacobs-Carnahan
“Change can happen step by step, stitch by stitch and with many people working together.” — Eve Jacobs-Carnahan
“Artists who want to do social impact work definitely can be using these tools.” — Eve Jacobs-Carnahan
“Think about the people you know, think about your relationships with them, and be willing to ask for help.” — Eve Jacobs-Carnahan
Eve’s work appears in Astounding Knits! 101 Spectacular Knitted Creations and Daring Feats by Lela Nargi and garnered First Place in National Fiber Directions 2015 at the Wichita Center for the Arts. She was named a Creative Community Fellow: New England by National Arts Strategies in 2021.
Eve knit away stress while earning a B.A. in History with Honors from Swarthmore College and a J.D. from the University of Chicago. She lives in Vermont.
As an encourager, Alicia wants artists to go for it. She doesn’t believe in even considering a plan B in case the art thing doesn’t work out. She encourages artists to “find your people” because she knows what it’s like to be an artist and misunderstood by those closest to you. She found support in an online community filled with people who were making things and talking about business.
Even if you’re not a jewelry artist, I know you will be inspired by Alicia’s desire to continually improve her circumstances and grow her business. You especially won’t want to miss her insights into finding the right balance in your online presence. As she says, “You don’t need a lot of followers to make a lot of sales.”
“I was always plotting for the next thing.” (2:44)
Alicia’s transition from FIT to in-demand jewelry artist. (10:56)
Finding the people who share your passion. (19:05)
The origin story of Lingua Nigra (24:48)
Alicia’s forgiving etching and molding processes. (28:50)
What is considered costume jewelry? (33:31)
Alicia encourages ambitious artists to just get started. (37:30)
Taking the first step toward your next big thing. (42:05)
Finding a mentor, a support group, and the right sales outlets for your business. (48:50)
Growing your studio and your team to match your big ideas. (52:30)
A look at what’s coming up next for Alicia. (57:36)
Alicia Goodwin is a Chicago based jeweler who specializes in adding unique textures to her sculptural jewelry. A graduate of New York’s Fashion Institute of Technology., Alicia applies her knowledge of ancient techniques like reticulation and acid etching to her more contemporary designs.
Her love of complex ancient ceremonial jewelry created with minimal tools such as fire, sand and beeswax led her to truly admire the work produced throughout Mesoamerica and the African diaspora—influencing her own brand, Lingua Nigra.
First posted: artbizsuccess.com/next-opp-goodwin-podcast
For more than a year, Sara has been using tools like journaling and the Enneagram to discover more about herself and explore where she wants her work to go, and now she's looking for more. She knows there's a deeper level of fulfillment beyond posting and looking for sales online, so she has stepped back and reassessed. You'll hear Sara mention her upcoming solo show, which is part of a challenge that I issue to students in my seasonal programs. We also discuss why her Instagram strategy has changed and what her new approaches for Instagram and marketing in general.
“I fell in love with making art all over again.” (2:00)
The value of finding a dedicated space for your art. (7:11)
The difference between Sara’s maximum and minimal art. (10:18)
Sara’s success on Instagram took off and quickly became overwhelming. (12:20)
When app demands take over making artwork. (18:55)
The evolution of Sara’s work since pulling back from Instagram. (24:07)
The process of self discovery through journaling, meditating, and the Enneagram. (28:01)
Details of Sara’s latest 100-piece collection. (32:00)
How Sara would have handled her initial success and systems differently. (34:49)
Sara’s modified Instagram presence and increased in-person collaborations. (39:47)
Sara’s typical work week and why she starts work at 11 AM. (46:32)
First posted: artbizsuccess.com/growing-schroeder-podcast
Sara Schroeder is an abstract painter using gestural movement, intuitive marks, and saturated colors to convey energy and emotion. Works on canvas and paper feature drips, swipes, scratching, and subtraction methods, which build upon one another to form abstractions of nature. She finds inspiration in the potent hues of tropical plant life and the subdued pastel motifs of the Art Deco period preserved in Miami. Identifying with Kandinsky’s belief that color influences the soul, Sara's process incorporates the psychology of color, intuition, and chance.
Integrating into her work what psychotherapist Carl Rogers called “unconditional positive regard”, she aims to inspire rich revelations and encounters of the human spirit. Her works are held nationally and around the world in hundreds of private collections.
You are not alone.
It may seem like you are at times because you do so much work by yourself in the studio, but the art ecosystem is enormous and you are not alone. There are so many good people who are advocating on behalf of and supporting artists in their businesses and careers. I want you to know about these resources so that you can tap into them. They’re waiting for you.
In this episode of The Art Biz, I’m talking with Louise Martorano, the Executive Director at RedLine Contemporary Art Center in Denver, Colorado. RedLine is a nonprofit whose mission is to foster “education and engagement between artists and communities to create positive social change.” In many ways, RedLine behaves like a traditional arts council. But they’re far from it. Louise and I discuss their artist-in-residence program, affordable studio space, and how they collaborate with other art organizations in the U.S. and beyond.
The history and mission of RedLine Contemporary Art Center. (1:45)
The local and global need for artist career support. (7:46)
Visual arts coalitions fill in the gaps of an artist’s career. (11:23)
The staff, budget, and $22 million re-granting programs at RedLine. (19:15)
Details on residencies, applications, and juried interviews. (25:18)
Open studio doors increase opportunities for artists. (32:03)
Commission opportunities, stipends, and other program benefits. (33:58)
How to find artist support programs in your community. (37:19)
Group meetings and other expectations of artist residents. (41:01)
Auditing relationships and leveraging your community. (45:45)
First posted: artbizsuccess.com/advocate-martorano-podcast
“Artists are really expected to be all the departments in their career.” — Louise Martorano
“Artists’ careers can live and die on the relationships they build and the opportunities they have.” — Louise Martorano
“We’re trying to link arms with each other in Colorado to see if we can create a more seamless journey for artists as they gain traction and opportunity in their careers.” — Louise Martorano
“Talking about your work is like exercising a muscle. The more you do it, the more refined your language is.” — Louise Martorano
“Artists need to reevaluate who they know and who they’re connected to and see how they can use those arteries of opportunity.” — Louise Martorano
Louise Martorano is the Executive Director of RedLine, a non-profit contemporary art center and residency located in Denver, Colorado. RedLine's mission is to foster education and engagement between artists and communities to create positive social change. Under Martorano’s leadership, RedLine has received the Denver Mayor’s Award for Excellence in the Arts (2014 and 2015), the Greenway Foundation’s “Partner in Change” award, acknowledged by Denver Public Schools for excellence in community engagement, and has presented and organized over 100 exhibitions over the past 10 years.
Martorano holds a B.A. from the University of Colorado, Boulder, and an M.H. from the University of Colorado, Denver with a focus in Contemporary Art History & Music. In 2017, she was awarded a Livingston Fellowship from the Bonfils-Stanton Foundation for promising nonprofit leaders who hold significant leadership roles in Colorado.
First posted: artbizsuccess.com/art-reviewer-hartigan-podcast
James Joyce, literature and Philip’s journey as an artist. (1:54)
The subtle narrative of Philip’s current work and his gradual return to painting. (7:19)
How did Philip get into writing about art for publication? (10:13)
Overcoming disdain for a personal art blog in favor of clarity. (13:24)
Writing for an online publication and becoming an online correspondent. (18:25)
Creating meaningful connections through writing. (24:45)
The value of blogging in an Instagram world. (30:18)
Finding your why behind writing about your art. (39:00)
What is on the horizon for Philip? (42:20)
Philip Hartigan is a UK-born artist and writer who now lives, works, and teaches in the USA.
Hartigan’s art explores half-remembered moments from a childhood in an English mining town. His choice of materials depends on the emotional state he has arrived at after thinking about these stories. But whether it’s oil painting, intaglio printmaking, or sculpture, he aims to either tell a story in visual art or look for universally-recognized symbols for memory, loss, tragedy. Hartigan has lived for short and long periods in France, Spain, Germany, the Czech Republic, and Holland.
Collin’s background of artists and his work as a curator. (1:30)
Curating a massive space and Collin’s approach to rotating exhibitions. (10:50)
Scheduling artists into a gallery’s calendar isn’t as simple as it seems. (19:15)
Why Collin generally doesn’t accept exhibit proposals. (22:52)
What makes an artist fun to collaborate with? (26:48)
What Collin wishes every artist would do—and not do. (33:03)
Studio visits and what curators expect from artists. (38:25)
Finding inspiration for the most memorable shows. (45:35)
Details about juried shows and artist rosters. (48:55)
Balancing curating exhibits, making art, and a personal life. (55:03)
Born and raised in Denver, Colorado, Collin Parson currently serves as the Director of Galleries and Curator for the Arvada Center for the Arts and Humanities in Arvada, Colorado and is a former member at the historic Pirate: Contemporary Art cooperative and past artist-in-residence at RedLine Denver. An arts administrator, artist, curator, and designer he received a Bachelor of Fine Arts in Theater Design and Technology with emphasis in Lighting and Scene Design from the University of Colorado at Boulder and his Master in Arts in Visual Culture and Arts Administration from Regis University in Denver. His creative work involves the control of light and color to create vivid geometric light and space works. He has had the privilege of jurying many arts festivals and exhibitions and has received numerous awards and recognition for his curatorial projects. He was awarded 100 Colorado Creatives by Westword magazine in 2013 and featured in many television and print productions. Parson is the son of Colorado sculptor Charles Parson, whose experience with the regions arts community helped Collin long before his professional career began. Growing up in a family of artists, Collin is proud to be continuing the educational and creative traditions.
First posted: artbizsuccess.com/curator-parson-podcast
What do I think? Do you really want to know what I think?
In this solo episode of The Art Biz I want to talk about feedback. When you ask people ‘what do you think’ you are asking for their feedback, whether it’s intentional or not. We are often too quick to ask for feedback, and we ask for it in ways that can be more damaging than anything. In this episode, I’ll share what I’ve learned from wise women and from paying attention to my students and clients. I’ll give you tips on the right way to ask for feedback—in the right environment and with specificity. I’ll also share with you how to handle unsolicited advice and the best way to offer advice to others, all so that you can get better feedback when you are seeking to improve.
The best time and way to ask for feedback. (1:36)
4 criteria to meet before asking for feedback. (2:25)
You don’t really need feedback from everyone else. (5:35)
When feedback actually becomes necessary in order to improve. (7:45)
Asking for feedback from the right people. (9:15)
How to ask for feedback with specificity. (11:14)
The right way to offer feedback to others. (12:38)
How to respond to feedback graciously. (14:33)
“We’re often too quick to ask for feedback, and we ask for it in ways that are damaging.” — Alyson Stanfield
“You shouldn’t care what everyone thinks.” — Alyson Stanfield
“You need time to figure out what you think about your art before you ask others what they think about it.” — Alyson Stanfield
“At some point, feedback is necessary when you want to improve, but you have to set up the parameters.”— Alyson Stanfield
Risk is scary. Rejection stinks. Resilience seems elusive. When I think of these three R words, the word practice comes to mind. Taking one step at a time over and over again because we know it is the only way to make big progress. In order to embrace risk, we have to practice. We step into it, try it on, and, almost always, discover that it isn’t as bad as the soundtrack we were playing in our heads. Rejection is also a practice. We build up emotional muscles after receiving disappointing news. After years of accumulated rejections, we begin to understand that they are rarely, if ever, personal. And finally, resilience is something we have to work at. We were born resilient, but, over the years, life beat us up. But rejections give us courage muscles we never had before. And, because we paid attention, we pick up on a number of tools that help us become more resilient.
My guest for this episode of The Art Biz is Christine Aaron. You’ll hear how she embraces risk and has come to understand the role of rejection in her art career. She also shares the tools she relies on to act with resilience, to get back in the studio and do it all over again.
The unusual motivation behind Christine’s first watercolor class selection. (2:08)
Taking risks and challenging yourself in a rewarding art career. (5:31)
Refining your art by sharing it with and soliciting critique from others. (12:45)
Identifying your safe zone and moving beyond it. (21:45)
Taking on the work that pushes you out of your comfort zone. (25:12)
Name the risks to work your way through the potential rejection. (32:57)
What rejection really means about the work that you’re doing. (39:46)
Honing your resilience skills amid rejection. (40:35)
Stop comparing yourself to other artists and remember how far you’ve come. (45:45)
Reflecting on your work, your processes, and your improvement. (47:06)
The risks that Christine is going to take in 2022. (48:00)
“There’s not one of us that hasn’t experienced disappointment and loss in life.” — Christine Aaron
“I make work ultimately because I want it to resonate with someone else. And the only way to do that is to get it out there.” — Christine Aaron
“Think beyond what you can imagine now and know that you’ll have the ability to get the resources you need to do it.” — Christine Aaron
“Every artist I know gets way, way more rejections than they get acceptances. But nobody is talking about that.” — Christine Aaron
Christine Aaron is a conceptual and material-focused artist. Her work is exhibited nationally and internationally. Aaron received an artist’s grant from ArtsWestchester — New York State Council on The Arts, a Surface Design Association grant, and a residency and grant from Vermont Studio Center. She presents talks at The International Encaustic Conference in Provincetown, MA, received awards in printmaking and mixed media, and had a solo exhibit of The Memory Project at California Museum of Art Thousand Oaks.
Aaron holds a BS in education from Cornell University and a Masters in Social Work from Hunter College. She lives and maintains a studio in New Rochelle, NY.
First posted: artbizsuccess.com/rejection-aaron-podcast