text:
Official Trailer for Thriller 'Nothing But the Blood' with Rachel Hudson
"What can wash away my sin?" Gravitas has released the official trailer for an indie horror thriller titled Nothing But the Blood, a creepy name for a "controversial church" horror. This hasn't hit any festivals, but it will be hitting VOD next month. Jessica is a small-town journalist sent to cover the grand opening of a controversial new church. As the ministry digs its roots into the town and its residents, Jessica's life begins to take an unexpected, and violent, turn that will shake her foundations to their very core. "Don't miss this thrilling, dramatic look inside violent religious indoctrination, set against the eerie, idyllic backdrop of rural Texas." Starring Rachel Hudson as Jessica, with Jordan O'Neal, Nick Triola, and Les Best. This looks like a chilling new entry in the church horror subgenre - them small town religious folks are nuts. Very nuts.
Here's the official trailer (+ poster) for Daniel Tucker's Nothing But the Blood, from YouTube:
A small-town journalist is sent to cover the grand opening of a controversial church. As the ministry digs its roots into the town and its residents, her life takes an unexpected, violent turn that will shake her foundations to their very core. Nothing But the Blood is both written and directed by American filmmaker Daniel Tucker, his second feature film after making Ashes to Ashes previously, as well as a number of other short films. Produced by Daniel M. Armendariz, Joan Hudson, Paul Hudson, Rachel Hudson, and Rod Meek. This hasn't premiered at any film fests or elsewhere, as far as we know. Gravitas Ventures will release Tucker's Nothing But the Blood direct-to-VOD starting August 4th this summer. Visit the film's Facebook.
Find more posts: Horror, To Watch, Trailer


Do you remember your first love? Kent Huffman remembers his all too well. For years he has been haunted by unrelenting dreams of her. He often wonders if he had swallowed his pride and simply made the call that day, his life might have turned out differently. Set amid the burgeoning areas of Orange County, CA in the 1970s, What Love Looks Like begins when Kent is sixteen. At that age, he is not exactly the all-American type. His long blonde hair, passion for surfing, smoking habit, and motorcycle make him just the sort of guy parents love to hate. Growing up in a violent, secret-laden family, his world is anything but loving—until he meets her. Opal Milton is quite the opposite; she is wealthy and well educated, and the Miltons adhere to the principles of the church. She battles between tradition and the reality of Kent's love.


text:
NY Sports Betting Firms Spend…
The Case for a Fully Integrated Sponsorship Model
December 17, 2018 2:00am
NASCAR intends on replacing its current title sponsorship model with a multi-tiered offering (similar to the NCAA or IOC), to "make it easier for sponsors to work with" the stock car racing series, prior to the start of the 2020 season. NASCAR President Steve Phelps explained that the multi-tiered model is "far more efficient and allows our (50+) sponsors to activate intelligently against the assets that they have" because for the 1st time, the racing organization will package assets that have historically been negotiated individually. Tier-1 sponsorships, expected to pull in $20 million/season, are said to include $15 million worth of exclusive circuit and track promotion (think: race title sponsorships, TV signage) and a $5 million media spend. NASCAR has plans to include team specific assets in top-tier sponsorship packages, though it remains TBD how that will happen due to competitive balance concerns. Monster Energy's contract as the Cup Series title sponsor expires following the 2019 season.
Howie Long-Short: Historically sponsors have bought I.P. from NASCAR, media from Fox and NBC, digital from NASCAR Digital Media, audio from Motor Racing Network and Performance Racing Network, did track deals with International Speedway Corporation and Speedway Motorsports Inc. (plus Dover, Pocono, Indy) and then negotiated their individual team deals (remember: in Big 4 sports team/stadium IP is one in the same), so a fully integrated sponsorship model, where all assets can are acquired through NASCAR, certainly appears logical.
At $20 million/season, the cost of a single top-tier sponsorship (aka premier partners) rivals Monster Energy's current annual spend and NASCAR plans to sign 5 premier partners. On the surface, it would appear NASCAR would be dramatically increasing sponsorship revenues, but under NASCAR's old system the circuit owned the assets it sold. The new tiered model, "takes the assets of the majority of the stakeholders in the sport and packages them together", so everyone (see: NASCAR, tracks, media partners) shares in the revenue generated.
Sponsorship revenue is going to grow, but Steve Phelps explained this move wasn't fiscally driven. Phelps said, it's about "finding long-term partners that are committed to this sport, committed to activating the sport and our drivers on whatever channels of distribution they're doing business. That's what we need to grow the sport overall, the revenue will follow."
The tiered model is logistically more efficient and NASCAR is going to increase sponsorship revenues, so it's fair to wonder why other pro sports leagues don't operate under a similar model. The NFL, NBA, MLB and NHL are financially healthy, so there's little reason for them to revamp what's working, but smaller leagues and start-up leagues (think: XFL, AAFL, PLL) would seem to benefit from a fully integrated sponsorship model. I reached out to Michael Neuman, Founder, EVP and Managing Partner for Scout Sports and Entertainment, the in-house sports sponsorship and marketing division of Horizon Media (largest independent media agency in the world) to find which model he would advise his clients to pursue if they were launching a league today?
Michael: If you're a new property and you're trying to win over the traditional sponsors and the agencies they work with, I would recommend making the sponsorship and advertising opportunities as cost efficient, and as buying efficient as possible; the tiered model makes perfect sense.
Fan Marino: Samsung has renewed its top-tier partnership with the IOC through the '28 games. While no formal terms were released, it's been estimated that the IOC rakes in $50 million/year from top-tier partners. With Samsung on board through the Los Angeles Games, the IOC now has 9 of its 14 top-tier sponsors signed through the '24 Paris Games; only Atos, Coca Cola (considered a near lock to be a NASCAR top-tier sponsor as well), Dow, GE and P&G have pacts set to expire after the '20 Games. The willingness to commit so much money, so far out, speaks to the long-term confidence brands have in the Olympic movement (and to the requirement that they sign on for a minimum of 2 quadrennials).
It's not just NASCAR and the IOC that are using fully integrated sponsorship programs. Following the '20 Tokyo Games, a new entity called United States Olympic Paralympic Properties (USOPP) will be formed to negotiate sponsorships on behalf the United States Olympic Committee (all existing deals expire after '20 Games), the U.S. Paralympic Committee, the Organizing Committee of Olympic Games, all national governing bodies and the participating athletes through '28. I asked Michael Neuman why the USOC and US Paralympics were moving towards a fully integrated model?
Michael: Standard operating procedure when a city is awarded the games is for the host city, the NOC (National Olympic Committee) and the IOC (International Olympic Committee) to enter a joint venture with the power shifting from the NOC to the new JV, specifically to the host city organizing committee; the creation of USOPP is a simple consolidation of the marketing arms.
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redpajama_set_name: RedPajamaCommonCrawl


The Architectural Engineering Senior Design Laboratory is the modern version of ARCE's "senior studio." This newly remodeled computer laboratory, located at 3101 Learned Hall, is for priority use by architectural engineering students enrolled in the ARCE senior design courses. The lab is also for use, at a lower priority, by graduate architectural engineering students. The lab, for 24/7 use, has reference materials, many PC workstations, color and black/white laser printers, a high speed wide-format color plotter for drawings, and a dedicated, student-built ventilation system.


Avatar has always been a favorite movie of mine. And I really did not expect myself to be a fan at all, but after seeing it in theaters in IMAX, I got obsessed. The storyline isn't highly original or anything, (nothing is original anymore), but just the absolute precision and attention to detail and voice acting and artwork of the film is second to none.
James Cameron did an incredible job producing the film and I love watching it whenever it's on TV. It's on quite a bit, actually.
Recently Disney rolled out a Pandora and Avatar themed part of their Animal Kingdom park. It looks so incredible. I really want to go and see it in person.
From the videos on YouTube that I've watched, I'm so impressed. Even the food at the park is themed to match that of the land of Pandora. So cool.
"Guests enter Pandora via Alpha Centauri Expeditions, a sort of intergalactic travel agency; there they learn about the work of the Pandora Conservation Initiative. The preservation theme loosely connects the fantasy land to Animal Kingdom, which emphasizes environmental restoration and the efforts to save endangered animals from extinction.
On Pandora, for instance, the winged, dragon-like "Avatar" creatures called the banshees are now near extinction — a key component of the land's thrill ride, Avatar Flight of Passage. Close to the entrance of the park is a giant, bulbous plant with a fire-red top known as the "flaska reclinata," the last of its kind. Joe Rohde, lead imagineer on the project, stressed that even though the sci-fi world is far from "edu-tainment," all of it works to give Pandora a sense of fragility, attempting to draw parallels between this alien world and our own.
Disney had one primary goal for the Na'Vi River Journey: "Just plain beauty," said Rohde.
The boat attraction floats calmly through a bioluminescent forest, culminating in a visit with the Shaman of Songs, a Na'Vi woman who serenades guests as they pass by. It's intimate, with boats seating only about six to eight people at a time and two boats loading at once.
Floating jellyfish creatures soar through the sky, wolf-like predators trot off in the distance and other four-legged animals puff up their feathers as guests roll past. Above, glowing blue plant leaves reveal the footprints of small animals as they run across the fronds.
But the star of this show is the Shaman of Songs. She is Disney's most lifelike audio-animatronic created to date, with near-human-like fluidity in her movements. The first time you see her you don't know where to focus. On her singing? Her arm waving? The wagging of her tail?
The two attractions in Pandora don't come with typical theme-park-like signage. The entry to the River Journey queue is a woven monument to the Shaman of Songs, and Avatar Flight of Passage greets guests with a sculpture of a banshee designed to look like an ancient carving.
Sightings of Pandora natives, the Na'Vi, are relatively rare. They can be spotted on the two attractions, but throughout the grounds of Pandora their presence is treated as more of a special experience.
Disney Imagineers explained that it simply wasn't practical — or realistic — to have the Na'Vi wandering the land or doing meet-and-greets with guests. Part of that is due to their specific look. The Na'Vi are tall — generally towering over humans by 3 to 5 feet. They also have a very sleek bone structure and wildly active tails; it's not as simple as painting someone blue, Rohde explained.
Disney has long played up the bioluminescent nature of Pandora, and in the film we see the forest floor react to each step of the Na'Vi. Pandora isn't quite that responsive, but there are multiple ways in which the land reacts to guests.
At night, a significant number of the land's plants light up. But the effect is not as simple as, say, turning on Christmas lights. The hope is that the glowing plants will feel natural. To that end, every plant in the land was hand-sculpted, and Rohde demanded that they be photo-realistic.
Outside of the controlled experiences, the bioluminescent plants are mixed in with real plants that thrive in central Florida. When the land opens later in May, the plan is for plants to react to Pandora wildlife. Guests will hear animals rustle beside the path, and the lights will flicker as the unseen animals push them aside.
There's even a set of plants that can be played like drums. They weren't turned on for the media preview, but when they're operational the plan is for the lighting of the land to respond to guests playing them. Throughout the day, "professional" plant drummers will also give performances for guests.
Even the aforementioned flaska reclinata is interactive, releasing mists of water into the air.
Throughout Pandora, multiple Disney cast members — employees, in park parlance — act as expats who are there to educate tourists on Pandora plant life. Visitors should also expect to encounter some Pandora creatures in the water. Though parts of Pandora were still being worked on and were off-limits to the press, there looked to be aquatic creatures situated in the river. And a sign warning guests in the splash zone.
Pandora's thrill ride is big — really big. To reach it, guests must trek up a Disney-constructed mountain. Consider it a light hike, but the queue path wraps around the "natural" Pandoran flora and fauna.
Once guests reach the top of the mountain, they enter caves that house giant paintings depicting the banshees and colorful, ancient-looking murals. Slowly the queue transitions to what feels like an abandoned military base, with hints of once-dangerous experiments conducted by humans on Pandora, only to eventually open up into a full-fledged research center.
This is where guests become avatars — that is, they go through the process of entering a Na'Vi body — to help the natives study and repopulate the endangered banshee species. The transformation is the story line of the attraction, complemented by the famous Na'Vi host body tank from the film and copious sci-fi details. In one room each rider is assigned a number and told that they are being scanned for the avatar process.
Early on the tour of Pandora, Rohde cautioned that those who venture into the land simply to ride two attractions and bolt are making a mistake. You're "wasting your time," Rohde said.
Among all of Disney's themed lands in North America, Pandora stands out for its emphasis on individual experience rather than a linear story. Neither the Na'Vi River Journey nor Avatar Flight of Passage come with a straight-up plot, allowing visitors to take in the sights and sounds and write their own story. Though tied to the newer "Avatar" film, the Pandora rides recall the Disney of old — the take-it-all-in scenes of Pirates of the Caribbean and the Haunted Mansion, where fans to this day still debate the ins-and-outs of the story.
Plus, the real-life nature of it should encourage guests who fall for the land to linger. The floating mountains, for instance, are an impressive sight. Guests can walk under them and view them from multiple locations in the land. Each one is natural wonder, even if at its base it's constructed of steel and the mountains float due to some expertly disguised vines.
They look like something that should be in a national park rather than a theme park" (LA Times).


text:
License Our Health News
Blood DisordersBlood PressureCardiovascular DiseasesHigh Blood PressureDiabetesType 2 DiabetesHormonesGeneral HealthScreeningMental HealthStressMenopauseWomen HealthWomen'S Health
'Benign' Adrenal Gland Tumors Might Cause Harm to Millions
Dennis Thompson
Adrenal glands situated atop the kidneys. Image: Adobe Stock
WEDNESDAY, Jan. 5, 2022 (HealthDay News) -- Millions of people are at increased risk of type 2 diabetes and high blood pressure and don't even know it, due to a hidden hormone problem in their bodies.
As many as 1 in 10 people have a non-cancerous tumor on one or both of their adrenal glands that could cause the gland to produce excess amounts of the stress hormone cortisol.
Up to now, doctors have thought that these tumors had little impact on your health.
But a new study out of Britain has found that up to half of people with these adrenal tumors are secreting enough excess cortisol to raise their risk of diabetes and high blood pressure.
Nearly 1.3 million adults in the United Kingdom alone could suffer from this disorder, which is called Mild Autonomous Cortisol Secretion (MACS), the researchers said.
Anyone found with one of these adrenal tumors should be screened to see if their health is at risk, said senior researcher Dr. Wiebke Arlt, director of the University of Birmingham Institute of Metabolism and Systems Research in England.
"People who are found to have an adrenal tumor should undergo assessment for cortisol excess and if they are found to suffer from cortisol overproduction they should be regularly screened for type 2 diabetes and hypertension and receive treatment if appropriate," Arlt said.
These tumors are usually discovered during imaging scans of the abdomen to treat other illnesses, said Dr. André Lacroix, an endocrinologist at the University of Montreal Hospital Center, who wrote an editorial accompanying the study. Both were published Jan. 4 in the Annals of Internal Medicine.
Adrenal glands primarily produce the hormone adrenaline, but they are also responsible for the production of a number of other hormones, including cortisol, Lacroix said.
Cortisol is called the "fight-or-flight" hormone, and can cause blood sugar levels to rise and blood pressure to surge -- usually in response to some perceived bodily threat.
Previous studies had indicated that about 1 in 3 adrenal tumors secrete excess cortisol, and an even lower number caused cortisol levels to rise so high that they affected health, researchers said in background notes.
But this new study of more than 1,300 people with adrenal tumors found that previous estimates were wrong.
About half of these patients had excess cortisol due to their adrenal tumors. Further, more than 15% had levels high enough to impact their health, compared to those with truly benign tumors.
MACS patients were more likely to be diagnosed with high blood pressure, and were as much as twice as likely to be on three or more blood pressure medications.
They also were more likely to have type 2 diabetes, and were twice as likely to require insulin to manage their blood sugar, the study found.
"This study clearly shows that mild cortisol production is more frequent than we thought before, and that the more cortisol you produce, the more likely to you are to have consequences such as diabetes and hypertension," Lacroix said.
About 70% of people with MACS were women, and most were of postmenopausal age, the researchers said.
"Adrenal tumor-related cortisol excess is an important previously overlooked health issue that particularly affects women after the menopause," Arlt said.
Lacroix agreed that guidelines should be changed so that people with adrenal tumors are regularly screened.
"Everybody who is found to have an adrenal nodule larger than 1 centimeter needs to be screened to see if they're producing excess hormone or not," he said. "That's very clear."
A number of medications can reduce cortisol overproduction or block cortisol action, if an adrenal tumor is found to be causing an excess of hormone.
People with severe cortisol excess can even have one of their two adrenal glands removed if necessary, Lacroix said.
"It is quite possible to live completely normally with one adrenal gland," he said.
The Cleveland Clinic has more about adrenal tumors.
SOURCES: Wiebke Arlt, MD, DSc, director, Institute of Metabolism and Systems Research, University of Birmingham, U.K.; André Lacroix, MD, endocrinologist, University of Montreal Hospital Center; Annals of Internal Medicine, Jan. 4, 2022
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TRACEBACK aims to reduce the incidence of BRCA1/2-related cancers in Australia via identifying woman with a history of ovarian cancer that missed the opportunity for testing.
About 15% of all women with the most common types of ovarian cancer in Australia carry the BRCA1/2 gene change which can be passed on to family members. Importantly, if people that have these gene changes are aware, they can choose to undertake strategies to reduce their risk of developing cancer significantly. Certain new drugs also work more effectively in women with BRCA1/2, and therefore results also have important treatment implications for woman with ovarian cancer.
It is estimated that 12,000 women have been diagnosed with ovarian cancer in the last 15 years, but not tested. TRACEBACK, which will commence in early 2018 will test about 1500 of these patients, focusing on deceased women who missed the opportunity for testing. Patients will include those a) already enrolled on previous research studies involving genetic risk, b) referral through relatives, and c) through working with clinicians in specialist centres.
A family member will not be told of results directly but rather asked if they wish to learn more and if so, will be guided to centres that can provide this information and guide them through the processes of being tested themselves if needed. In addition, TRACEBACK may assist woman with a personal history of ovarian cancer to access testing.
TRACEBACK will be testing for BRCA1/2 mutations and other ovarian cancer susceptibility genes including RAD51C/D, BRIP1 and mismatch repair genes, and a number of low risk genes. Findings may relate to any of these mutations.
IMPORTANT: The information on this blog is for informational purposes only and not intended to be a substitute for professional medical advice, diagnosis or treatment in any manner. Always seek the advice of your doctor or other qualified health provider with any questions you may have concerning your health or anything related to it.


text:
package ignition

import (
	"fmt"
	"regexp"
	"testing"

	"github.com/coreos/ignition/config/v2_1/types"
)

func TestIngnitionDirectory(t *testing.T) {
	testIgnition(t, `
		data "ignition_directory" "foo" {
			filesystem = "foo"
			path = "/foo"
			mode = 420
			uid = 42
			gid = 84
		}

		data "ignition_config" "test" {
			directories = [
				"${data.ignition_directory.foo.id}",
			]
		}
	`, func(c *types.Config) error {
		if len(c.Storage.Directories) != 1 {
			return fmt.Errorf("arrays, found %d", len(c.Storage.Raid))
		}

		f := c.Storage.Directories[0]
		if f.Filesystem != "foo" {
			return fmt.Errorf("filesystem, found %q", f.Filesystem)
		}

		if f.Path != "/foo" {
			return fmt.Errorf("path, found %q", f.Path)
		}

		if f.Mode != 420 {
			return fmt.Errorf("mode, found %q", f.Mode)
		}

		if *f.User.ID != 42 {
			return fmt.Errorf("uid, found %q", *f.User.ID)
		}

		if *f.Group.ID != 84 {
			return fmt.Errorf("gid, found %q", *f.Group.ID)
		}

		return nil
	})
}

func TestIngnitionDirectoryInvalidMode(t *testing.T) {
	testIgnitionError(t, `
		data "ignition_directory" "foo" {
			filesystem = "foo"
			path = "/foo"
			mode = 999999
		}

		data "ignition_config" "test" {
			directories = [
				"${data.ignition_directory.foo.id}",
			]
		}
	`, regexp.MustCompile("illegal file mode"))
}

func TestIngnitionDirectoryInvalidPath(t *testing.T) {
	testIgnitionError(t, `
		data "ignition_directory" "foo" {
			filesystem = "foo"
			path = "foo"
			mode = 999999
		}

		data "ignition_config" "test" {
			directories = [
				"${data.ignition_directory.foo.id}",
			]
		}
	`, regexp.MustCompile("absolute"))
}

redpajama_set_name: RedPajamaGithub


UPDATE : We have moved to a new office space at Royal Victoria Dock. You can find our new address in the contact page.
The 9 Trevor Place project has been finished and photos will be uploaded soon.
New works will be added on the website soon, in the meantime please have a look at our newsletter.
GLS Architects keep on enjoying hosting business lunches and dinners on the Thames Sailing Barge "Phoenician" featuring a very pleasant saloon, which can seat 24 people comfortably for a sit down meal.


text:
Essex Merchants Group
Business Services & Associations
44 Main Street Essex MA 01929
See our website http://www.VisitEssexMA.com for a directory of business & their hours of operation.
Essex, Massachusetts is 30 minutes north of Boston. Take Route 128 to Exit 14 (Route 133W), Exit 15 (follow Southern Ave. to Route 133) or Exit 18 (Route 22) to Essex.
Antiques, Specialty Shops, Restaurants, Museums, Recreation, Services and Accommodations on Boston's North Shore: Shop 25+ quality stores - most within walking distance of each other. Savor fine food and drinks throughout Essex and overlooking the Essex River. Explore Essex's pristine estuary, unique museums – Essex Shipbuilding Museum and Cogswell's Grant Folk Art Museum – and get outside on our scenic walking and biking trails.
Essex Merchants Group's mission is to increase, support and promote business in the Town of Essex, Massachusetts by promoting the Town as a destination for shopping, dining, museums and recreation, historic sightseeing and the enjoyment of open space.
Essex Antiques
Dining in Essex
Essex Arts & Culture
Stay & Play in Essex


text:
Accelerate Your Art Business in 2023 (#137) 0
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:
3 Success Workshops during the year
Open office hours with Alyson
The Salon, a group for discussing art ideas and happenings in the art world
Full membership in the Art Biz Connection community
Additional training as needed
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 (#136) 0
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.
First posted: https://artbizsuccess.com/curator-messina-podcast
"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.
ArtBizAccelerator.com
Valerie Cassel Oliver
Tyson Scholars of American Art Program at Crystal Bridges Museum of American Art
Melissa Messina
Melissa Messina on Instagram
How to Price Your Art free report
Art Biz Connection artist membership
"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
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.
Your Life is a Work of Art: Annual Review (#135) 0
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
Focusing on the Art, Not the Art Business with Rebecca Welz (#134) 0
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)
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?
June Kelly Gallery
Patricia Johnson, Rhode Island School of Design (RISD)
Jay Harman: The Shark's Paintbrush
Biomimicry: AskNature.org
Rebecca Welz
Rebecca on Instagram
"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
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.
How You Want to Be Perceived as an Artist with Alexandra Squire (#133) 0
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)
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.
https://www.alexandrasquireart.com/
https://www.instagram.com/alexandrasquireart/
"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
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.
Not All Online Galleries are Created Equal with Alex Farkas (#132) 0
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.
The beginnings of the UGallery journey. (2:53)
Storytelling to promote UGallery artists and their work. (4:39)
Curating art on the website in non-traditional ways. (7:19)
The process of finding and connecting with artists. (11:05)
Working with artists to help them succeed. (16:10)
What is selling at UGallery? (19:09)
Finding and marketing to clients. (20:36)
Artist to customer—the order fulfillment process. (23:09)
Maintaining ecommerce platforms and client relationships. (28:00)
Mistakes that many artists make when applying to UGallery. (33:55)
Tips for a better online presentation and ecommerce platform. (36:22)
What's coming next for UGallery. (38:30)
Assess where you show and sell your art. Consider what venues you are (and aren't) working for and why? How can you find more of the right places? What venues aren't working for you and why? Make a plan to move on from those.
UGallery.com
New York Foundation for the Arts (NYFA)
What is Your Art Business Costing You?
Are your online art marketplaces profitable for you?
Ensuring a Profitable Art Business (Episode 96)
Advocating for Artists in Their Communities with Louise Martorano (Episode 118)
"It's important that we find ways to combine the old school aspects of a gallery with the new school aspects of the technology that we use." — Alex Farkas
"We see this as a partnership. We don't succeed unless the artists succeed." — Alex Farkas
"Part of the relationship is making sure that artists understand if they put the time and money in upfront, it comes back out later." — Alex Farkas
"Think about what you're trying to accomplish and what your goal is, and then work from there." — Alex Farkas
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.
Injecting Personal Narrative into Your Art with Sara Lee Hughes (#131) 0
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)
Saraleehughes.com
Sara Lee on Instagram
Moleskine Cahier notebook
Episode 72 with Dawn Williams Boyd
Bo Bartlett
The Art Biz Connection
Systematize Your Art Biz for Business Efficiency
"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
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.
4 Video Mistakes Artists Keep Making with Zach Wolfson (#130) 0
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)
Beyond the Gallery series
Making Mini Art Videos workshop
Zach Wolfson on Instagram
The Wildly Productive Get Organized Challenge for Your Art Biz
"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
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.
Seeking Validation and Earning Credibility as an Artist (#129) 0
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)
Episode 123 Qualities Galleries Are Looking For in Their Artists with Jeremy Tessmer
Episode 124 Being an Artist with Geoffrey Gorman
Episode 118 Advocating for Artists in Their Communities with Louise Martorano
Episode 116 How One Curator Works with Artists at a Regional Art Center with Collin Parson
Episode 63 Pitching Your Story to My Podcast, or Anyone Else's
Episode 110 An Unusual Path to Finding Art Commissions with Leisa Collins
Episode 87 Secrets from Copying a Masterpiece with Liliane Milgrom
"Stop Seeking Validation from Others" by Sherry Gaba in Psychology Today
Expanding Your Skillset to Respond to Opportunities with Detour (#128) 0
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)
Detour's book, Be The Artist
Hiero Veiga
IamDetour.com
@Detour303 on Instagram
I Am Detour on YouTube
"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.
She's the Link Between Artists, Galleries and Collectors with Maria Brito (#127) 0
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)
A look into Maria's new book How Creativity Rules the World. (40:15)
Curiosity and the original artist's mind. (46:36)
Alma Woodsey Thomas
Art Basel and UBS Global Art Market Report 2022
SPRING/BREAK Art Show
MariaBrito.com
@MariaBrito_NY on Instagram
"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.
Play Tops Work, Connection Tops Solitude, and Confidence Tops Fear with Willie Cole (#126) 0
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)
Willie's collaboration with Tod's
Willie's collaboration with Comme des Garçons
Armando Cabral
Money Good by Megan Thee Stallion
Joan Armatrading concert on YouTube
Vogue covers by Black artists
"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.
How to Legally Protect Your Creative Work with Kathryn Goldman (#125) 0
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)
Copyright Claims Board
Google Alerts
FARE Contract
Kathryn Goldman's Creative Law Center
Grow Your List
"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.
Being an Artist with Geoffrey Gorman (#124) 0
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)
Geoffrey Gorman
Geoffrey on Instagram
Lewallen Galleries
Allan Houser Estate
Valley of the Temples in Agrigento, Sicily, Italy
Optimize Your Online Marketing
"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.
Qualities Galleries Are Looking For in Their Artists with Jeremy Tessmer (#123) 0
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)
Sullivan Goss Gallery
Alfred Stieglitz's Gallery- An American Place
Milton Avery exhibition at The Wadsworth Atheneum
David Zwirner's Platform
Harold Bloom's Anxiety of Influence
Susan McDonnell Art
Sullivan Goss on Instagram @sullivangoss
Jeremy Tessmer Arts on Instagram @jeremyarts
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.
How Do You Know if a Class or Workshop is Right for You? (#122) 0
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
The Art Biz Connection membership community
Tom Kuegler's LinkedIn Sprint
Guaranteeing an Effective Project with Eve Jacobs-Carnahan (#121) 0
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.
"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)
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
Join Optimize Your Online Marketing starting May 26, 2022
"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 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
Always Looking for the Next Opportunity with Alicia Goodwin (#120) 0
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."
"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)
Roxanne Assoulin (was Lee Angel)
Housing Works
Sign up for the next Artist Planning Sessions May 10-13, 2022
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
Growing Beyond Being an Instagram Artist with Sara Schroeder (#119) 0
Have you ever experienced success in any area and then realized it wasn't exactly what you wanted after all? My guest today experienced unexpected and surprising growth as her Instagram following quickly grew from 10,000 followers to over 70,000 followers in just a few years. In this episode of The Art Biz, I'm talking to Sara Schroeder. We talk about the creative way that she overcame her fear of selling and what she wishes she had known to do differently while in the throes of that success.
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)
Lisa Congdon's illustration classes
Andy J. Pizza
Art:21
Natalie Goldberg's Freewriting
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.
Advocating for Artists in Their Communities with Louise Martorano (#118) 0
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)
RedLine Contemporary Art
Redline Art on Instagram
Oklahoma Visual Arts Coalition
Kansas City Artists Coalition
Chicago Artists Coalition
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.
A Dual Path as an Artist and Art Reviewer with Philip Hartigan (#117) 0
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
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's blog
Philip's website
Philip on Instagram
James Joyce's Portrait of an Artist as a Young Man
An Art Mediation from U.S. Catholic Magazine
Time Out online magazine
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.
How One Curator Works with Artists at a Regional Art Center with Collin Parson (#116) 0
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.
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)
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
artbizsuccess.com/curator-parson-podcast
Art Biz Connection community
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
How to Get Better Feedback When You Want to Improve (#115) 0
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 <this or that>. 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.
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)
artbizsuccess.com/feedback
Art Biz Connection
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
"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, Rejection, and Resilience with Christine Aaron (#114) 0
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)
Christine Aaron
Christine Aaron Art on Instagram
Weaving as Metaphor by Sheila Hicks
B. Avery Syrig
Patricia Miranda: CritLab
"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