Being active online is crucial if you desire to 'connect' with your target audience. You may want to think about participating on online forums / blogs that cater to the scene or interest that you regularly explore with your artwork. [...]

If you are an exhibiting artist you likely have some understanding of who, in a sense, you are creating your artwork for. In other words, you have likely 'picked up' on the type of individuals who tend to frequent exhibit openings at your gallery. That information may be deceptive in that the visitors are likely gallery regulars who show up to every exhibit at the gallery regardless of what is being shown. There may be a combination of factors -- not just YOUR art -- attracting them to that specific art gallery in general. You need to dig deeper if you wish to determine -- and target -- YOUR audience. [...]

I'm tempted to say that every artist should choose the follow-up method that feels easiest and most comfortable for them, but in reality for many artists, no method of follow-up feels easy or "right" at first. Just like with learning to create art, learning to network effectively requires an investment of time and energy to get past that awkward beginning stage. [...]

Banksy gave his target audience what they wanted. What did they want? The answer is simple. His early admirers wanted affordable artwork that contained a social message they could sink their teeth into. He filled BOTH needs - he did not care about what other artists, collectors, and galleries were doing. He focused on HIS audience... and it paid off. The popularity of Banksy's artwork - spurred by a legion of dedicated fans - eventually forced prominent art galleries to see what all of the fuss was about. His artwork is now worth millions... BUT his target audience is still intact - still 'fueling' his name. [...]

No matter how successful you become -- people will respect you if you still take the time to reach out to others. The snappy 'Do you know who I am!' remarks don't win fans... remarks like that tend to push away even the most dedicated supporters (we see that happen often with actors and musicians). Thus, strive to be as humble as you can be. [...]

Over the course of this series of 3 blog posts, I'm going to dig in and break down the "why" and "how" of networking and why artists should get a grasp on just how beneficial genuine networking can be over the course of a long art career. [...]

It is true that some art collectors don't care about artist statements -- or details about artistic process, for that matter -- but others DO care. They WANT that information. In my opinion, it is better to have that info -- cover all the bases -- than ignore it outright. The art collectors who don't care about said info will likely avoid reading a statement if it is provided. Fair enough. That said, the collectors who WANT to read your artist statement WILL end up searching for it on your website. Imagine their disappointment when said info is not provided. They may look elsewhere... [...]

If you ask 10 artists about commissioned artwork you will likely receive several variants on how art commissions should be handled. It appears that there is no 'cookie-cut' solution as to how commissions should be handled in general. Each art commission is unique... because each client is unique. Thus, each commission involves unique factors /problems that must be worked around. That said, there are common factors that should be considered. These common factors can serve as a foundation for how you choose to handle the commission process. [...]

Don't forget that the Studio Hop is a community event. It may attract people from all walks of life – and incomes. Thus, you may want to think about offering affordable art. For example, you may want to consider creating an affordable series of quick drawings, monoprints, or small paintings on various surface if your 'regular' artwork tends to be priced in the thousands. You might be surprised by how much profit can be made by offering works priced between $5 and $20 at events like this. I know an artist from Jacksonville, Illinois who walked away with over $500 in hand after offering affordable / quickly created small works during a local event! [...]

This ruling won't serve the majority of artists. After all, most artists don't rely heavily on direct appropriation in the first place. In other words, I would argue that the majority of artists don't work from images they find online or elsewhere. This ruling serves a small percentage of artists... in some cases supporting their market while hampering YOUR market. I will go as far as to suggest that court rulings like this are a direct attack on self-representing artists. Pointblank, this decision is a major defeat for the majority of artists working today. [...]

The online art world has provided me with the perfect 'jumping point' for communication about art. I'm certain that many of you feel the same way. That does not change the fact that the art world can be a lonely place if your connections exist primarily online. Don't get me wrong... solitude is not necessarily a bad thing. That said, 'cultivating' offline art world connections can become a strong source of inspiration and professional growth. [...]

What do art writers want? I'll tell you. We want information. Repeat: We. Want. Information. (Art collectors want information as well!). You, the artist, can provide this information easily. After all, YOU know your art better than anyone else. YOU know what drives you. YOU know the context in which you create your art. YOU know if you embrace specific art theories. YOU know the parameters of your art practice. YOU know what you would like us to write about. Tell us about it! Guide us. Anything less is a 'guessing game'... which can lead to missed opportunities. [...]

A legitimate art coach won't promise you millions of dollars in art sales. He or she will be realistic AND tailor specific financial goals (if at all) on a case-by-case basis. If the art coach uses a pitch that reads like a 'get rich quick' scheme... it likely is -- and you will just be out money after everything is said and done. Seek legitimate art marketing coaches... avoid the art marketing roaches. [...]

Anyone who adds these desires -- the desire for fame and fortune -- to the top of their priority list from the get-go is likely doomed for failure (at least in the way they interpret life and success). You can easily defeat yourself with flights of fantasy -- daydreams can easily become nightmares. Stay focused on the 'here and now'. Focus on what you are doing today. Don't allow the art world 'rich myth' to consume you. [...]

There is NO golden art marketing plan to follow. There is NO guaranteed art marketing strategy. There is NO $19.95 magic ticket. What works for one artist may work for you... or not. I'm placing my money on 'not'. That is the reality of the situation. If a 'golden art marketing plan', 'guaranteed art marketing strategy' or '$19.95 magic ticket' existed... every artist would be rich because that information would have been leaked a long time ago. You may learn something from those tips... but don't expect to be swimming in money. This 'loud' myth -- the idea that ALL artists want to be rich -- creates a lot of useless 'noise' within the world of art marketing. [...]

I would often find a trail of our business cards on the ground when returning back to the gallery location or art fair booth space. In addition, I would often spot other discarded business cards that had been handed out by artists and galleries during the same frame of time. It was so bad at times that I would joke about not having to be worried about getting lost – I could just follow our cards back to the location. It was a trail of waste... wasted money AND wasted opportunity. [...]

The Der Blaue Reiter (The Blue Rider) and Die Brücke (The Bridge) were both known for handing out make-shift booklets about their artwork -- including detailed information about their philosophy as artists. They used the booklets to promote themselves, their art movement, and other causes. This early form of artist self-publishing can still be useful today. Furthermore, it can be accomplished with little expense involved depending on how it is done. [...]

It often seems that artists twiddle their thumbs concerning local press. For whatever reason, many artists are nervous about contacting local newspapers about an upcoming art exhibit or other accomplishment. Other artists feel that contacting local press is a waste of time (they automatically assume that the newspaper won't be interested). This much is certain: if you avoid local newspapers – don't expect them to seek you out. Put your fears / cynical attitude aside long enough to reach out to local press. [...]

As a writer I strive to offer current / factual information about artists to readers -- artists should strive to offer the same to their website visitors (which may include potential buyers, gallery owners, and art writers). [...]

I, for one, think that artists limit themselves (and their art business) when adhering to a limited view of how, when, and why a press release can be used to garner press. It is time to think 'outside of the box'. [...]

The market transparency offered by listing art prices allows art buyers to make informed purchases -- consumers, in general, desire access to information. Art buyers are no different... they want, as the Informed Collector newsletter stresses, information. It is up to YOU to provide them with specific details -- including pricing. [...]

In my opinion, it is crucial to keep things relevant art marketing-wise. You are branding yourself with every detail... even if you don't realize it. [...]

If you 'run away' from your art practice during tough times... reflect on the reason why. Take a deep look. Write your thoughts down. After doing so -- decide how to improve upon those weaknesses. Find ways to alleviate the struggle you feel when faced with specific art world related situations. You may not be able to eliminate every angle of doubt ... that said, you may -- by means of self-reflection -- be able to bolster some inner grit. A little grit can go a long way (just ask Jack White). [...]

Your artwork may be highly marketable today... but will it be next year? Will it still be a marketable force 5 years from now? What about a decade from now? You just never know for certain. [...]

When you’re working for a grade in a course, there is specific motivation to do what sometimes may seem to be mundane exercises. The truth is, though, to improve painting skills, anyone can create exercises that focus on specific areas where improvement may be needed. Singers do vocal exercises and drills to keep their voices in shape. Musicians practice difficult passages piecemeal and also in context in order to solve challenges with fingering or interpretation or timing. Painters, too, can work on specific techniques or skills through a wide range of activity that may not always result in a finished painting. The question is, what isn’t working? Next, how can that be improved? Certainly there are many options for moving forward. [...]

If you are going to 'call out' an art-related company online (or any company, for that matter) for 'scamming'... make sure that what they are doing can legally be defined as a scam (fraudulent). Dig for evidence -- discover proof beyond mere allegations. Failure to do that can result in a 'world of hurt' in court. [...]

I have worked with dozens of online art competition jurors over the last seven years -- I'm speaking from experience when I say that some jurors can be sticklers concerning the lack of supporting details. [...]

Live in a location that allows you to have an affordable lifestyle... which means more money for developing your art AND art career. Again, success does not have a ZIP code. You don't have to move to 'make it'. Remember that. [...]

In this edition of the series I will stress the fact that submitted images should focus on the artwork itself -- anything more is a distraction... and distractions rarely win online art competitions. [...]

Artists (and art dealers) need to consider -- and talk about -- options when faced with natural disasters. Hopefully more artists will acknowledge these issues BEFORE they are faced with them directly. [...]

Lighting can make or break your online art competition submission. [...]

Stay positive, there may be something great just around the corner. You cannot work in a state of panic and expect great results. [...]

Participating in art competitions can be a good source of 'press bait' -- it can offer you an angle that may help you to 'catch' some media buzz. [...]

I, for one, think that artists can learn from this story. It is the perfect example of why upholding integrity is so important. Remember: your artwork 'speaks' to people... and it is important that you live the message. [...]

I'm obviously a tad wary of art fair organizers due to my experience with Bridge Art Fair under the direction of Michael Workman. I don't miss Bridge... and I know over a dozen people who feel the same way. That said, I think it is important for experiences like this to be shared. I must stress the importance of researching art fairs – and their organizers -- before being locked into a contract. Art dealers AND artists should take note of what I have shared. [...]

The relationship between the commercial art gallery and represented artist is a business partnership. It is a relationship established with mutual financial benefit in mind – NOT charity. The foundation of the gallery / artist relationship, in this context, is a business arrangement. Artists need to remember that. [...]

I have covered several factors with this series: distance, art pricing and materials. In this edition I will tackle another important factor – that being, experience. [...]

Take the materials you use into consideration when researching an art gallery with representation in mind. [...]

In this edition I will cover art pricing and how your prices may help or hinder the goal of obtaining art gallery representation. [...]

But first, what is clean color? Clean color does not necessarily mean pure color straight from the tube. Ironically, clean color can be gray, neutral, muted, subdued, etc. Or it can be bright and pure. The color’s chroma does not determine whether it is clean or not. The Russians have beautifully sophisticated grays. Yet they are clean. How or why? In his book Alla Prima, Richard Schmid defines muddy colors as a mixture of color that is simply the wrong temperature. So, if that is true – and I agree with Richard - then it follows that clean color is simply a mixture in which the temperature is correct. The key to the Russian artists’ sophisticated grays is proper temperature. [...]