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. [...]

Time ain’t money when all you got is time. [...]

Don’t you wish that I would give you concrete, bullet-pointed, step-by-step instructions for how to increase art sales? I’ll never do that, you know, because I won’t deceive by promising easy answers to complex problems, but if you really want these tips, there are numerous groups, speakers, writers, magazines, social-media resources, and programs out there that will -- for a price. [...]

I find that most of my plein air works could have been greatly improved in compositional choices. This is one of many reasons my plein air work serves mostly as studies and not as finished paintings. If I do a very large canvas, I wouldn’t want to consider it a mere study. I would want a finished painting. But with all the visual stimuli out there and quickly changing light, most compositions aren’t as well thought out as they could be. [...]

We often forget that even the most praised artists created 'lesser' works. The works we view in the books -- and at museums -- likely reflect only a small percentage of what the artist created throughout his or her life. They tend to be the 'best of the best'. You have to step back and think of all of the 'failures' that led up to those works. Don't be fooled into thinking that those praised artists created one masterpiece after another. Heck, even the Old Masters made mistakes... so it is safe to assume that even they faced doubt while chasing perfection. [...]

I realized that the artists who managed to fight through this recession have a better shot at longevity than most. The recession was a test of your resolve and passion. I think as we come out of these rough times we will be more adept at survival and will have gained the skills necessary to make a long fruitful artistic career. There will still be those that fade away but we are more likely to grow and bend with the times and prosper. [...]

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... [...]

Fifteen minutes of fame doesn’t make a career. An article in a magazine, newspaper, interview on television or multiple print ads may stroke your ego, but nothing much else. An artist’s career is a lifetime venture. Just because an artist is on top doesn’t mean they are sheltered from a crash. As has been stated, the higher you climb, the harder you fall. [...]

Because we’re supposed to -- because the normal way of going about things is to join prestigious groups and enter prestigious shows and try to catch the attention of prestigious galleries and not even dream of doing things on our own. In order to sell artwork, we are told, the quality and beauty of the artwork itself is the last thing we’re supposed to consider. We need the right group, the right publicity, the right show, to make it all happen. And in order to be in the right place at the right time, we need be joining those groups and buying those ads and entering those shows -- consistently writing out checks to other people in the belief that they will do something for us in return. [...]

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! [...]

A word about unsuccessful paintings - yes they do happen, more times then I would like to admit. Artists do not allow themselves to practice. Every time we stand in front of our easels, we feel we must complete a masterpiece. If only we could. I take all those paintings of mine that just did not work, for whatever the reason, and I do not look at them as failures but just as practice, a learning experience. Artists are human and not perfect, so why do we expect our work to be perfect? [...]

In the weeks ahead, I’ll share animal fables, showing how each artist…er, I mean, animal… dealt with this calamitous time in history. Ants, beavers, spiders and ostriches, all have a tale to tell. [...]

Life in the real world often feels like Looking Glass land, in that when we approach a project directly -- like, a really good painting; or marketing that painting -- we often seem to be back where we started. [...]

This is the way I view it: The artwork used on an album cover will no doubt help to brand the band. Furthermore, the artwork may end up used on merchandise. Think of some notable bands – for example, Pink Floyd... I'm willing to bet that some of you instantly 'pictured' some of the artwork and designs associated with the band in your mind (specifically those created by Storm Thorgerson). The artist behind the artwork -- behind that aspect of the 'band image', if you will -- deserves a 'cut' of the profit if the band is unable to pay adequately from the get-go. Never forget: What you do is just as important as what they do... don't allow yourself to be treated poorly. [...]

These artists seem to think that they don’t know how to sell. While I will be the first to admit that selling art is not the same as selling hula-hoops, selling art is still selling and artists do know how to sell. After all, they’ve been selling their whole life. Let me repeat that and direct it toward you. You’ve been in sales your whole life. [...]

The business-minded artist is technically operating a small business. Thus, the conflict over how 'fair use' should be interpreted is a business issues as much as it is an issue surrounding copyright itself. I, for one, think that an artist should be able to protect his or her business (which clearly involves being able to protect his or her creations – at least while living). Copyright -- strengthened by copyright registration -- is one of the best ways to do that... unless we sit back and allow a wide interpretation of 'fair use' to become the standard. [...]

When you know your work sells, then seeking a gallery or outdoor show is fine. Then, if an event or art gallery kicks sand in your face don’t give up, keep moving forward. Use your brain and eliminate a lot of your personal agony. There are times when you should not take NO for an answer. But there are others when you should never put yourself in the place to be rejected to begin with. Seek the wisdom to know the difference and then go for it. Persevere in the face of disappointment. [...]

You’re not abandoning people all together; family members love and need you, after all. You are simply allowing yourself time, as an artist, away from outside voices and influence so that you can focus on that small, quiet, patient inner voice that gets drowned out by all the external shouting. [...]

These words resonate with me. Now, I will admit, I have had my fair share of excuses. And who knows what opportunities I have missed because of them. But, I have also seen the other side – and I try to stay on this other side. I know of the opportunities that will arise by not making excuses. [...]

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. [...]

I often warn artists -- specifically younger artists --not to be taken advantage of by musicians concerning album cover art. I have taken this stance since the early days of Myspace.com. The offers I observed on Myspace made me sick. Thus, I took it upon myself to openly and actively warn artists to stand up for themselves before creating anything for a band. My position has caused some people to think that I look down at artists who create album cover art. That is not so. I just don't want to see artists duped out of hard work. [...]

Behaviors that we might tolerate in our teenage boy (because he’s “that age” and we love them) don’t look good on grown-up men. Don’t give fair organizers a hard time just because you’re not getting your own way—most of them are/were artists themselves. It’s not a “we vs. them” situation. We need them, they need us. Don’t expect preferential treatment because you’re a big name (or think you are.) We’re all here to sell our work today! You can have a different opinion without the other person being “wrong”. [...]

The initial problem lies, however, in accepting that being alone is not weird. Too often, when we embark upon a creative outlet or a new lifestyle or gluten free eating or knitting socks from the toe up as opposed to top-down, or whatever it is that we want to get really good at, we seek out a group, because, we tell ourselves, “I will learn so much from other people, and that will help me advance.” And so we start attending this group, monthly or weekly or every two weeks, and while we do learn good things from others around us, we also pick up -- and reinforce every time we attend the group -- not so good things as well. [...]

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. [...]

Someone recently asked me for guidance on how to develop a personal style. The short answer is not to worry about it too much. It will come naturally with time. The caveat, though, is that you need to let it develop. This leads me to the long answer. [...]

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. [...]

The secret of selling is continuing to ask questions that cannot be answered with a yes or no. Get your client talking and then listen, CAREFULLY. If you will listen judiciously, your client will tell you what you need to know to close the sale. I wish you good questions, happy listening and lots of closed sales. [...]

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. [...]

Since that day, I realized that so often we drum the creative spirit out of children and out of adults. When folks come into my booth at art fairs and tell me that they are not creative, I always disagree. I know, beyond a shadow of a doubt, that they are creative. They simply have not found their medium nor have they been encouraged to try different mediums until one resonates with them. The bottom line is that we are all artistic. We are all creative. None of us are "those people." We need teachers, mentors and friends who care enough about us to not categorize us, to not put us in the "those people" category. [...]

For me, becoming an artist called for many deep changes. Putting myself out there with—and for—my art. I had to take initiative. Make decisions with no guaranteed success for outcome. Taking risks, like paying out big money for big shows, advertising, marketing materials, websites. These were not traits that “nice girls” were encouraged to show in the 50’s, 60’s and even the 70’s. So… [...]

As I said last week in Evangelista Arcadia Salome is Not a Real Person, there is nothing wrong with exerting ourselves to be slightly different than we are -- walking forward confidently, hand outstretched, when we would prefer to shrink into the corner; or taking two breaths before speaking, or maybe not speaking at all, when we have a tendency to dominate the conversation -- these little steps, practiced enough, add to our base personality and improve it by diversifying it. The problem arises when we act so totally contrary to who and what we are that our own mother would not recognize us in the grocery store as the same person who just drank coffee with her in the kitchen. If Mom has to flip back the plastic Halloween mask to see if that’s her kid, then we’ve gone too far. [...]

I didn’t (and still don’t) want a fish, I wanted to learn how to fish. For me, specific techniques, methods, materials, etc. are fishes. On the other hand, learning how to fish is a combination of learning the basic foundation (the fundamentals) coupled with learning how to see and respond emotionally to your subject. [...]

Personally, I’m a bit old school. I like to focus on the task at hand and take care of business. I like being efficient and productive. I tend to apply this to most any activity that I am involved with, but I am especially rigorous about being on task in the studio. I don’t want distractions that will pull me out of the dialog with my work. Painting itself is a multitasking activity that demands doing and paying attention to many things at once. The required skills set becomes part of the necessary mindset, and there is no room for intrusions from the outside world. Focus is required to make everything work. [...]

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. [...]

Simply paint what moves you to paint. What do you see and love? What moves your soul? You cannot go wrong when you see and paint something that touches your soul. Stop glancing over to the side at what others are doing. Sure, you can learn from others - take the art classes or workshops, study other art works, go to museums, art exhibits, workshops, all that kind of thing - but learn to express what is in your own heart. Learn to appreciate what you can do. [...]

“Do we have to be someone we are not in order to succeed?” First of all, let’s define what we mean by being “someone we are not.” [...]

So, some of you may have painted for many years. You have taken workshops in the past. You might even teach them now. But if you have reached a plateau or you simply want to understand art at a higher level, then consider attending another workshop. [...]