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. [...]

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 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. [...]

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. [...]

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. [...]

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. [...]

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. [...]

As a result of these strict guidelines, there is now a movement of artists turning their back on these accolades. In the artists of my generation, people rarely talk about how an award or one man show will make their artistic career. The conversations are all about how to build relationships with collectors and those who appreciate art. We believe these relationships will make our career more than anything else. And a lot of the most exciting work coming out today is originating from these artists. [...]

I'm sure most of us complete a piece of artwork, make sure we have natural light and take digital photos, then load them to a computer, do some kind of cropping for clean edges, save the photo, go to FASO, to our Facebook fan page, our Facebook wall and upload the photos, write all the descriptions and move along to the next piece of artwork. For me, this process could take more than hour especially if the digital camera and I were not getting along and if the photos were blurred, I'd have to repeat part of this process at least once. The app ended a lot of this work. [...]

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… [...]

These days it is all up to the artist. In this economy, the galleries will rarely spend the money for print marketing unless you are a proven seller. The art organizations have lost their clout with the exponential growth of art groups. And the media has become so diversified that there is no longer one voice. The artist has to take responsibility for their own success. [...]

I reply to the artists whose works I particularly enjoy and ask them if they have an email newsletter and let them know that I'd like to be on it. And even when I go to the trouble to beg these artists to add me to a newsletter list... they don't. I have yet to receive even one newsletter from any artist in this group. [4] Multiply that mistake dozens of times over and you're costing yourself, over your career's lifetime, thousands of dollars in sales (if not more). Make this mistake enough times and perhaps it will even cost you an art career at all. [...]

Don’t make a half-hearted effort and quit halfway through. Don’t slink away with your crazy horse and sigh, “Well, I tried…” Give it your full attention, your highest intention, and your best shot. Give your art the opportunity it—and you—truly deserve. [...]

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). [...]

Creating is a very personal inward endeavor. We, as artists, create from within. “You” focus on what “you” want to say with “your” art. “You” get inspired by “your” muse. “Your” work is an expression of “your” emotions or ideas, etc. And it should be. Your art needs to be genuine. Just as the desire to teach needs to be genuine. But how do you bridge that gap between creating for self yet focus on your collectors? [...]

This downturn is real and some sobering and tragic stories have come out of it. But many people are still refusing to acknowledge that we're in a "new normal." Now I certainly don't mean to minimize anyone's difficulties, but for many smart, talented, able-bodied folks, if they would actually accept this as the new normal and be willing to make the necessary changes, they could continue to thrive. While the economy is sluggish, it's still a huge, huge, huge, innovative 15 trillion dollar economy and you are entitled to your piece of it. [...]

The old 'shotgun' approach of splattering 60+ artists on the wall to see what sticks, is dead. They will have to choose artists who are honest, have long term business goals and some genuine skill. [...]

So listen to all of us here who write for FineArtViews. Some of us think one thing, some of us another. Maybe they’re right for where you are now. Maybe I’m right for where you’ll be in a few years—or never! Some things will sit well with you, some things won’t. The one thing you can bet on? It’s all good. For somebody, somewhere, sometime. Maybe even you. Right here. Right now. [...]

I think that establishing a consumer friendly / transparent environment for art buyers is a vital step for the majority of business-minded artists and art galleries...IF they desire to thrive in the future. [...]

But this principle doesn’t just apply to those of you who teach. It also applies if you just simply sell the work you create. When I first learned this principle, I thought, “That applies to services, like teaching, mentoring, coaching, etc. But not to selling products like my paintings.” But I have since learned that I was wrong. It does apply to my art and it applies to your art. [...]

Art is like making love - if you're not having fun, you're doing it wrong. [...]

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. [...]

I believe that when work is not well received it is 100% my fault. I failed in my part to connect with the viewer. There are reasons that it did not resonate with people. It is easy to say that people are not sophisticated enough to appreciate a piece. However in my opinion, people are a pretty good judge of authenticity. Even without any artistic training people know what they like and will not buy anything that does not speak to them. It is all feedback in the end and the best artists use this feedback to make the next piece something that will really touch people. [...]

While deception is not consistently easy to spot, identify, or label (it hides itself well), this doesn't mean that it doesn't exist, and it doesn't mean that we can't make an effort, as individual businesspersons, to grapple with the concept and determine that we will conduct our affairs honestly and honorably, at the same time that we use our intelligence and acumen. [...]

Some critics feel that the United States art market needs to be regulated by the government in order to halt what has been described as rampant consumer discrimination. I can't help but wonder if these arguments will eventually be applied to self-representing artists and the way they conduct business. [...]

Despite what inspired you to create your work, despite your intentions, each viewer will complete the artwork in his or her mind. It may be similar to your intentions, but it may be vastly different. [...]

The person who asks you NOTHING about your work, your goals, your needs, will probably not give you advice worth listening to. [...]

Sure, it's "smart" to figure out how people think, but when you use that knowledge to manipulate people into doing what is best for you and not necessarily best for them, this becomes questionable. And when people find out that they've been used -- and believe me, truth comes out, and usually at the most inopportune times -- they feel stupid, and that ultimately is not good for your business. [...]

This article is not to tell you that you should lower your prices...nor is it telling you not to raise your prices. But I sometimes meet artists who feel that they made a mistake in their pricing and wish to lower prices but don't because of the old "never lower prices rule." This post is for those artists. [...]

Whiteism: Rejection can be painful, but never fatal. [...]

While it is very easy to envision the perfect world, it does nothing to help you in the world of today. The only way to survive is to intently focus on how the art world operates. Once you understand how things work, you can find a solution to the problems you are facing. [...]

While none of us likes to be classified as an idiot, or think of ourselves that way, it is too easy to fall in with contemporary society's belief system of doing what it takes to get to the top, regardless of what it takes to get there. [...]

There is no one thing that will make you or break you. There is only you, and your work. And an audience, somewhere, that will welcome you both with open arms. [...]

So here's something that surprises me: I see some other artist website services recommending you use their software for your blogging solution, but, for their own company blogs, they use Wordpress or Blogger. That should tell you something. How do they find the pain points? How do they know what to fix? [1] Why don't they think their own software is good enough for their own use? [2] [...]

Three simple tips for your art business. [...]

The truth is you cannot possibly do every idea that you come across. There are a gazillion great ideas out there (and a gazillion bad ones). [...]

I recently read a great article by Cory Huff of The Abundant Artist. Huff's article, titled The Myth of "Good Art Sells Itself", challenged several myths about selling art (both online and offline). I've tackled some of these same myths in the past. It is important to keep these topics at the forefront of debate concerning art marketing in general. I must tip my hat to Cory for targeting the issue. Artists need to discuss these myths now more than ever. [...]

The question you need to answer is this: are you having fun playing with the 20% on Facebook, while ignoring the much larger network of people you can reach via the "dark social network?" [...]

I usually make a lot of my income from one major show. I set aside money for next year’s show expenses, then restock my inventory of supplies. When I realized my cost of goods sold was about to go through the roof, I decided to take a closer look at the materials I already had on hand. I found ways to repurpose a lot of my “out-dated” inventory. I kept my restocks to a minimum, while enriching my design vocabulary with items I’d reworked, reformed or simply turned in for cash. It forced me to think “thrifty” instead of “let’s try this and this and this and oooh look at these, let’s get some!” [...]