The Art Biz

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 MENTIONED Optimize Your Online Marketing The Art Biz Connection membership community Tom Kuegler's LinkedIn Sprint

We usually start a long-term project with a specific goal or set of expectations in mind. Rarely does the project turn out the way we thought it would. More often than not, it’s better than we had imagined. But before we can get to that point of admitting that the change might have actually led to an improvement in the original plan, we have to struggle, to question our assumptions or to ask for more help or more money. We recognize we can’t continue working in the same fashion as before, and often we are forced to adjust to outside forces, like a worldwide pandemic. 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. Highlights “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)   Mentioned The Art Biz ep. 64: Knit Democracy Together (first interview with Eve) Priya Parker’s The Art of Gathering book National Arts Strategies Creative Community Fellows New England Foundation for the Arts Public Art Grants LBJ speech introducing Voting Rights Act in 1965 Eve Jacobs-Carnahan Knit Democracy Together   The Art Biz Connection Join Optimize Your Online Marketing starting May 26, 2022   Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership   Quotes “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   Guest Bio   Eve Jacobs-Carnahan makes mixed media knitted sculpture exploring democracy. She uses the comforting quality of yarn and the charming attraction of birds to tell allegorical stories.   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. First posted: https://artbizsuccess.com/effective-projects-carnahan-podcast

Some artists just know what they want, and some know what they don’t want. My guest for this episode has a lot of clarity about both. On this episode of The Art Biz, I’m talking with Alicia Goodwin, who worked as a jewelry designer for a number of individuals and companies before transitioning to her own full time jewelry business, Lingua Nigra. 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.”   Highlights “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)   Mentioned Lingua Nigra Fashion Institute of Technology Roxanne Assoulin (was Lee Angel) Stella & Dot Housing Works National Museum of African American History & Culture   Sign up for the next Artist Planning Sessions May 10-13, 2022 Join Optimize Your Online Marketing starting May 26, 2022   Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership   Guest Bio 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  

Sara Schroeder, an Instagram artist with unexpected growth, talks about overcoming fear of selling, the value of dedicated art space, the difference between her art styles, and the overwhelming demands of Instagram. She explains the evolution of her work after stepping back from Instagram, discovering new approaches to marketing, and the process of self-discovery. The chapter descriptions include exploration of themes, defining collections, continuation of an art project, and the importance of structure and planning.

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.   Highlights 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)   Mentioned RedLine Contemporary Art Redline Art on Instagram Oklahoma Visual Arts Coalition Kansas City Artists Coalition Chicago Artists Coalition   Resources Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership First posted: artbizsuccess.com/advocate-martorano-podcast   Quotes   “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   Guest Bio 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.  

Artists need writers. They are a critical part of the art ecosystem. Look back on any art movement from the past century in the U.S. and you’ll find a writer behind its day in the spotlight. My guest for this episode of The Art Biz is artist and writer Philip Hartigan. As you’ll hear, he’s not quite sure what order those labels should be in. In some respects, the writing came first, but the art has always been there. We talk about his writing life, the role that blogging has had for him, and how he came to be a correspondent for Hyperallergic online art magazine. You’ll also hear about how writing has helped him make inroads into the art world. My hope is that you will consider writing more about not just your art, but about other artists’ work, possibly for publication and definitely for connections within your art community. First posted: artbizsuccess.com/art-reviewer-hartigan-podcast  Highlights 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) Mentioned Philip’s blog Philip’s website Philip on Instagram Hyperallergic James Joyce’s Portrait of an Artist as a Young Man An Art Mediation from U.S. Catholic Magazine Time Out online magazine Resources   Show notes, images, and listener comments How to Price Your Art free report Art Biz Connection artist membership   Guest Bio 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.

Members of the general public enjoy their visits to art centers and museums without much thought as to how the art got into those spaces in the first place. Who decides on what to show and when to show it? Who decides what works to put next to one another and where to put a nail in the wall or a pedestal on the floor? Or even what color to paint the walls? All of these decisions, and more, fall under the purview of curators and exhibition directors in those non-profit spaces. In this episode of The Art Biz I talk with Collin Parson, the Director of Galleries and Curator at the Arvada Center for Arts and Humanities in the Denver suburb of Arvada, Colorado. Collin reveals how the exhibition process works at their venue: his timeline, rotating gallery spaces, and the decision makers at the organization. We also discuss how he selects artists for shows, what makes an artist easy and fun to work with, and why it’s important that artists keep him informed. Be sure to pay attention to some of the big mistakes he sees artists making. Highlights 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) Mentioned Collin Parson Charles Parson Arvada Center Galleries and Exhibitions Meow Wolf in Denver Kirkland Museum of Fine & Decorative Art Steve Farland’s warrior chair-sculptures Resources   artbizsuccess.com/curator-parson-podcast How to Price Your Art free report Art Biz Connection community   Guest Bio 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

For too long I have been noticing artists posting things like this on social media: ‘Fresh off the easel! What do you think?’ or ‘I'm experimenting with . Let me know what you think!’ 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. Highlights 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) Resources artbizsuccess.com/feedback Art Biz Connection   Mentioned Stumbling Toward Genius podcast with Cynthia Morris Playing Big: Practical Advice for Women Who Want to Speak Up, Create, and Lead by Tara Mohr The Art Biz Episode #61 — The Value of Critique Groups for Artists with Patirica Miranda Quotes “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 First posted: artbizsuccess.com/feedback

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. Highlights 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) Mentioned Christine Aaron Christine Aaron Art on Instagram Weaving as Metaphor by Sheila Hicks B. Avery Syrig Patricia Miranda: CritLab Resources   Show notes, images, and listener comments How to Price Your Art free report Create Opportunities for Your Art Quotes   “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   Guest Bio 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

Why is it so hard for us to take care of ourselves? We all get busy. We feel a sense of urgency to keep up and do more. But if we're honest, we realize that very little is really urgent. Still, all of this hustle means we neglect habits and routines that will keep us well and give us energy for work in and out of the studio. And it's even harder when you're also responsible for caring for others. Whether you're a parent with growing children or an adult with aging parents, caregiving can take a lot out of you. It's hard to spend time on yourself when you're maxed out on so many levels. It's no wonder that self-care takes a backseat to other priorities. On this episode of The Art Biz, I’m joined by Shimoda Donna Emmanuel. Shimoda has been the caregiver in her family, primarily for her mother Izola who recently passed after living with Alzheimer's, but also for an ailing sister. In 2020, Shimoda wrote Sacred Stitches: The Art of Care Giving, which has tips for stitching yourself together when caring for someone with Alzheimer's, but can also be useful to other caregiving roles. Together Shimoda and I talk about her routine, how she keeps her home to maintain a high vibration, tools she uses to de-stress and to stay calm, and how gratitudes and "the rage dance" fit into her self-care routine. Highlights The fiber collages, jewelry, circles of love and sacred stitches of Shimoda’s work. (2:13) Shimoda wrote Sacred Stitches during the pandemic while caring for her mother. (7:29) Key tips for de-stressing as a caregiver artist. (14:20) How to keep your energy high so you can stay positive and productive. (24:52) Spring cleaning takes on a new meaning with self-care. (28:40) Finding a support group that can give you the support you need. (31:16) Handling emotions might mean screaming, crying and doing a rage dance. (34:51) How to cultivate a space that helps you destress. (36:30) Making time for sleep and watching your diet. (40:45) ‘Let this be easy’- Shimoda’s mantra for hectic days. (46:05) A peek at what Shimoda is looking forward to in the New Year, and where her name came from. (49:10) Mentioned Sacred Stitches: The Art of Care Giving - Tips for Stitching Yourself Together When Caring for Someone with Alzheimer's by Shimoda Donna Emanuel Illusions: The Adventures of a Reluctant Messiah by Richard Bach Mama Gena’s School of Womanly Arts CaringKind in NYC Resources   Show notes, images, and listener comments Artist Planning Sessions Create Opportunities for Your Art Quotes   “I’ve got to take care of myself. The caregiver has to take care of themselves.” — Shimoda Donna Emanuel “I’ve got to keep my energy high and keep my vibration high. That’s what’s most important to me.” — Shimoda Donna Emanuel “It’s just not good to hold it all in. I can get through emotions quicker if I just let myself deal with the feelings.” — Shimoda Donna Emanuel   Guest Bio Shimoda Donna Emanuel is a mixed media artist living in Harlem, N.Y. Shimoda Accessories has a range of work that includes intuitive jewelry & fiber art. Her art has been on HGTV as well as the covers of Essence magazine and other publications. Her art is available for purchase at The Smithsonian National Museum of African American History and Culture. As a caregiver of her sister and her 97-year young mom with Alzheimer’s, Shimoda wrote Sacred Stitches: The Art of Caregiving. This colorful book offers tips for other caregivers. She found solutions that worked for her with creative exercises, rituals, and more. Shimoda also published Sacred Stitches: Fiber Art Dolls for the Soul and Sacred Stitches, an inspirational 25-piece card deck. First posted: artbizsuccess.com/caregiving-shimoda-podcast