Copyright © 2018 by Caroll Michels All rights reserved Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan American Copyright Convention No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles All inquiries should be addressed to Allworth Press, 307 West 36th Street, 11th Floor, New York, NY 10018 Allworth Press books may be purchased in bulk at special discounts for sales promotion, corporate gifts, fund-raising, or educational purposes Special editions can also be created to specifications For details, contact the Special Sales Department, Allworth Press, 307 West 36th Street, 11th Floor, New York, NY 10018 or info@skyhorsepublishing.com 22 21 20 19 18 Published by Allworth Press, an imprint of Skyhorse Publishing, Inc., 307 West 36th Street, 11th Floor, New York, NY 10018 Allworth Press® is a registered trademark of Skyhorse Publishing, Inc.®, a Delaware corporation www.allworth.com Cover design by Mary Ann Smith Library of Congress Cataloging-in-Publication Data Names: Michels, Caroll, author Title: How to survive and prosper as an artist: selling yourself without selling your soul / Caroll Michels Description: Seventh edition | New York: Allworth Press, 2018 | Includes bibliographical references and index Identifiers: LCCN 2017051395 (print) | LCCN 2017051788 (ebook) | ISBN 9781621536185 (e-book) | ISBN 9781621536130 (pbk.: alk paper) Subjects: LCSH: Art—Vocational guidance—United States | Art—Marketing Classification: LCC N8350 (ebook) | LCC N8350 M46 2018 (print) | DDC 702.3—dc23 LC record available at https://lccn.loc.gov/2017051395 Print ISBN: 978-1-62153-613-0 eBook ISBN: 978-1-62153-618-5 Printed in the United States of America WITH GRATITUDE To Monika Verma of Levine Greenberg Rostan Literary Agency for all her support and assistance, and to Tad Crawford, founder and publisher of Allworth Press, where the new edition of my book found its real home Contents Chapter Career Development for Artists: Then and Now Chapter Launching or Relaunching Your Career: Overcoming Career Blocks Chapter Launching or Relaunching Your Career: Setting Up Shop and Entering the Art World Chapter Presentation Tools and Packages Chapter Exhibition and Sales Opportunities: Using Those That Exist and Creating Your Own Chapter Art Marketing: Digital, Print, and Social Media Chapter Public Relations and Press Relations: Keep Those Letters and Emails Going Out and Coming In Chapter Pricing Your Work: How Much Is It Worth? Chapter Dealing with Dealers Chapter 10 The World of Grants and Other Fundraising Resources Chapter 11 Generating Income: Alternatives to Driving a Cab Chapter 12 Rationalization, Paranoia, Competition, the Overwhelm Factor, and Rejecting Rejection Appendix of Resources Notes About the Author Index CHAPTER Career Development for Artists: Then and Now In the late 1970s, I began counseling visual and performing artists and writers on career management and development, an occupation that I am credited for inventing Originally, I called myself an “artist’s consultant.” In 1990, I changed my title to “career coach and artist-advocate,” a description that succinctly describes the work that I Prior to inventing a new occupation, I worked in a collaborative of artists and architects, HausRucker-Co, that was founded in Vienna, Austria Three members of our group, including me, moved to New York, where we formed a nonprofit organization, Haus-Rucker-Inc We were primarily involved with public art projects and also performed a study on ways to utilize urban rooftop space for cultural, recreational, and commercial facilities The study was funded by the National Endowment for the Arts in conjunction with The Cooper Union for the Advancement of Science and Art Before Haus-Rucker-Inc disbanded, we had a solo show at Centre Georges Pompidou in Paris; Archéologie de la Ville was one of the museum’s inaugural exhibitions Our work has continued to be recognized well into the 21st century, with a retrospective exhibition in 2014–15 at Haus am Waldsee, Institut für Internationale Kunst in Berlin This book contains information and advice derived from all my experiences when I was working as an artist, as well as those of my clients, and most certainly some subliminal messages that I received from my childhood and adolescent years I have offered perceptions, observations, and advice that would have been invaluable to me when I first started working as a visual artist Although I am no longer doing artwork (I am an obsessive dance student), I have always been proud that I was able to live off my earnings as an artist I established a track record for winning grants and corporate sponsorships I developed my own public relations campaigns and was regularly published in newspapers and periodicals Managing my own career was something that no one person taught me I learned from several individuals, positive and negative encounters, trial-and-error experiences, and intuition Measuring my success as an artist’s career coach is very similar to measuring my success as an artist In both professions I have achieved immediate success, long-range success, and no success I have received direct feedback, indirect feedback, and no feedback I have felt successful in my work when my clients have followed up and used my advice, leads, and information that led to invitations to exhibit and perform; were awarded commissions, grants, and fellowships; received press coverage; and were successful in their negotiations with art dealers Although many of the examples and anecdotes I use to illustrate or make a point involve visual artists, performing artists and writers will also be able to identify with many of the situations This book does not provide all the answers an artist is seeking, nor does it contain everything an artist needs to know about the art world However, it fills in the gaps that have been omitted, overlooked, or ignored in other publications; it elaborates on subjects that have been inadequately covered and challenges some basic notions about what an artist’s career is all about It contains advice, opinions, and impressions that will not be particularly palatable to members of the art world —including artists, the media, funding agencies, art collectors, art dealers, arts administrators, curators, and critics—because it also explores the ills and injustices of the art world and sheds some light on who is responsible When the first edition of this book was published in 1983, there was only one other book on the market that offered career advice to artists It was titled The Artist’s Guide to His Market, and it was published in 1970 Although in subsequent editions the sexist title was changed to The Artist’s Guide to the Art Market, in all the editions the author consistently advised that it would be unrealistic for artists to believe that they can earn a living through art sales.1 Many more books on career management are now on the market Some of the books express sentiments that are optimistic and empowering Other books continue to put art dealers in the driver’s seat and believe that dealers know best Some books were written by people with little or no experience in the art world and approach art marketing in the same way one would go about marketing a new restaurant or selling underwear online! This book addresses artists’ roles in advancing and bettering their lot and taking control of their careers What artists need most is objective advice, but what they usually receive is reinforcement of a myth of what it is like to be an artist All too often artists are characterized as underdogs, and accordingly this image is strengthened throughout their careers I can’t promise that all of my advice is objective, since my own personal experiences come into play, but the original incentive to write this book came about when I realized how much underdog philosophy was being published under the guise of “nuts and bolts” career management You will rarely find the word talent used in the forthcoming pages The belief that an artist has talent is a subjective judgment, and there is no guarantee that a talented artist will be successful or that a successful artist is talented CLIENT PROFILES My clients range in age from their early twenties to their late eighties When I started working with artists, most of my clients were women This substantially changed in the 1990s, and today genders are equally divided Clients have included painters; sculptors; printmakers; fiber artists; installation artists; poets; playwrights; novelists; comic strip artists; graphic novelists; journalists; animators; photographers; craft artists; theater and film directors; film and video artists; performance artists; choreographers; dancers; classical, jazz, and pop musicians and composers; and opera singers Clients have included well-known artists, unknown artists, beginning artists, self-taught artists, artist couples, arts administrators, curators, art dealers, art consultants, art critics, art service organizations, and theater and dance companies I have assisted a rabbi, a retired executive of Macy’s department store, a retired host of a television variety show, a national gossip columnist, a Time Magazine “person of the year,” prison inmates and ex-offenders, physicians, surgeons, architects, psychiatrists, psychologists, attorneys, and book editors Clients have included artists who have just graduated from art school, self-taught artists, midcareer artists, artists who have surpassed the designation of “midcareer,” career changers, and artists who are concerned with their “legacy” (see page 45) When I first began working with artists, most of my clients lived in the New York City area However, today, through phone and email consultations, I help artists nationwide, as well as those who live in Canada, Europe, Japan, South America, and Central America I also meet with artists in person in Sarasota, Florida, where I am currently based I have advised and assisted artists in developing such basis career tools as fine art résumés, résumés to secure teaching positions, artist statements, and biographies I have provided information and advice on exhibition, performance, and commission opportunities I have advised and assisted in the preparation of website content planning, exhibition proposals, book proposals, grant proposals, and brochure development I have advised artists on how to negotiate with art dealers and to prepare for studio visits I have also served on a team to assist a client with a complicated copyright infringement lawsuit, which was successfully settled I have counseled artists on complex and seemingly less tangible career challenges such as helping artists learn to see themselves in relation to the world at large and as participants in the specific world of art and its various components I have also counseled artists on handling rejection as well as success and on maintaining momentum and overcoming inertia However, the most significant aspect of my work is helping artists take control of their careers THE CHANGING APPROACH TO ARTIST CAREER DEVELOPMENT Calling myself an artists’ consultant and “hanging out a shingle” was not an easy task For valid and comprehensible reasons, deep-rooted skepticism was intrinsic to all arts communities Initially, it was difficult to reach artists and convince them that what I had to say and offer was worthwhile Another factor that enhanced skepticism of my newly invented occupation was that I crossed the sacred line of discussing money, marketing, and self-promotion, and challenging some very basis perceptions about the art world I would go as far as saying that to some people I was considered a “witch.” To a large extent these career development topics remained controversial throughout the 1970s, and well into the 1980s and 1990s Things began to change when the century changed Today, career development programs and resources for artists are plentiful and address artists at all career levels For example, the Mint Artists Guild in Detroit sponsors a program to help teenage artists develop career and business skills The program was founded in 2015 by writer and journalist Vickie Elmer Young artists receive training in business and career strategies and receive exhibition experience by showcasing their artwork in public spaces New Business Models: Going to the Extreme On the other hand, in certain ways career development tools for artists have gone to the extreme, mirroring a prevalent political philosophy that corporations are people and people are brands This has happened by well-intentioned individuals who know little about the art world or the special challenges fine artists face It has also happened by some leading artist service organizations who have joined the bandwagon and are naively encouraging artists to implement strategies and methods borrowed from the business worlds of nonartists Many of the strategies have no relationship to how artists within the art world really function The new business model has embraced the commercial vocabulary of advertising agencies Artists are addressed as if they were a new energy bar about to go on the market and need a “brand” to be successful For those who understand the inner workings of the art world and the mysterious and varied reasons why art sells, the simplistic and gimmicky emphasis on “branding” is insulting and crass As one of my clients commented: “I cringe each time I hear the word ‘branding’ when it refers to an artist I keep seeing the image of a cow whose skin is being seared with a branding iron.” Some websites that focus on art marketing offer artists reams of advice about “branding” and “rebranding” their image, promising fame and fortune if they use “branding” techniques In stressing the importance of “branding,” the author of one such article writes, “What you think of when you hear, ‘Have it your way’? How about, ‘The real thing’? If you said Burger King and Coke, you’ve already been swayed by the lure of branding.”2 Most unfortunately, the author seems to think that marketing fine art and marketing hamburgers are one in the same Benny Shaboy, who for many years served as a career coach to artists and as editor and publisher of the monthly Art Opportunities Monthly, pointed out that Fine artists may be impressed with the credentials of members of various business communities at first and believe there must be something to what those people say Once they think about the application of the recommended marketing techniques and business strategies, however, most realize the advice just doesn’t fit the way in which artists’ careers work or the way in which the art world operates.3 Regional and national artist service organizations are producing webinars and videos that advise artists on career development One video series4 is divided into four topics: business, finances, social media marketing, and legal I watched the video about business and thought that the counselor’s advice could very well be pertinent to the business of art if the business were, for example, an art supply store or frame shop, but certainly not the occupation of a fine artist It is doubtful that visual artists and performing artists would relate to much of the advice—especially when the counselor entered highly subjective territory, warning viewers that their product or service has to be “excellent, of high quality, and good.” I asked one of my clients to screen the same video Because he wears two very different hats, as a fine artist and a consultant to business start-ups unrelated to the arts, I was interested in feedback His response: Clearly a business person wrote this script without consulting any artists As an artist, some of it seemed ridiculous … “know your customer,” for instance … kind of true but not realistic Knowing the customer takes lots of sophisticated expensive research and it’s often wrong New titles for artists have been invented to coincide with the new business models, with an underlying insinuation that when artists refer to themselves as “artrepreneurs,” “artist-entrepreneurs,” or “creative entrepreneurs,” this will lead to career success The reason why these “entrepreneurbased” titles evolved and why fine artists are encouraged to use them is directly related to a lack of Heron, Molly, 252–254 HigherEdJobs (higher.edjobs.com), 307 Hire Culture (hireculture.org), 58, 250, 307 Hiscox Online Art Trade Report, 2017, 133, 146 hobby loss rule, 48 home page planning, 87–88 “How to License Your Art Successfully” (Schlackman), 125 How to Make Things Go Your Way, 22–23 How to Profit from the Art Print Market (Davey), 280 How to Sell Art to Interior Designers: Learn New Ways to Get Your Work into the Interior Design Market and Sell More Art (Davy and Harrison), 280 How to Start and Run a Commercial Art Gallery, 280 How to Write About Contemporary Art (Williams), 280–281 Howarth, S R., 281 Hubspot (blog.hubspot.com), 307 Huffington Post, 104 Hurst, Steve, 113 Hyperallergic (hyperallergic.com), 60, 281 I “I’m Somebody,” 32–33 Immigrant Artist Program Directory, 60 Impressions on Annie Dillard’s The Writing Life: Works on Paper by Molly Heron, 253–254 income, generating apprenticeships, studio assistants and internships, 249–250 artist-in-residence employment, 248–249 career-related opportunities, 250–251 compatible dual careers, 251–254 conventional jobs, assets and drawbacks, 246–247 teaching, 247–248 income taxes, 46–47 Independent Curators International (curatorsintl.org), 296 Indie Publishing: How to Design and Publish Your Own Book (Lupton), 139, 281 InformArt Magazine (informartmag.com), 123, 281 “information overload,” 58 Instagram, 146, 196 installation and performance artists, compensation to, 112–113 installations, 89 insurance, studio and artwork, 54 Interior Design & Architecture Press List (carollmichels.com), 310 internal press releases, 151 Internal Revenue Service (IRS) (irs.gov), 46–47, 296 International, National, and Regional Art Press (carollmichels.com), 310 International Association of Art Critics United States (aicausa.org), 296 International Directory of Corporate Art Collections: A Global Tour of Art in the Workplace (Howarth), 117, 281 International Directory of the Arts (Saur), 111, 281 International Facility Management Association (ifma.org), 118, 296 International Herald Tribune, 150 International Licensing Industry Merchandiser’s Association (licensing.org), 296 International Sculpture Center Sponsors Portfolio (quickbooks.intuit.com), 296 Introduction to Podcast Technology: Discover the Essential Tools and Techniques You Need to Record, Produce and Launch Your Podcast (Power), 141, 281 Irving Sandler Artists File, 142 J Japan-US Friendship Commission Sponsors the US-Japan Creative Artists’ Program (jusfc.gov), 296 Jerome Foundation, 35 Jewish Museum, New York, 213 Joan Mitchell Foundation (joanmitchellfoundation.org), 46, 297 Jobs Listings, New York Foundation for the Arts, 58 Journal of Artists Books (journalofartistsbooks.org), 124, 281 juried exhibitions benefiting from, 105–106 prestigious judges, 105 pros and cons, 103–105 K Kansas City Volunteer Lawyers and Accountants for the Arts (kcvlaa.org), 49, 297 Kavouklés, Nikitas, 167 Kentucky Educational Television (KET), 110 Kessler, Zoë, 268 Kickstarter (kickstarter.com), 297 The Kickstarter Handbook: Real-Life Success Stories of Artists, Investors, and Entrepreneurs (Steinberg), 281 Kieffer, John, 283 L labels, career-level, 34–36 Lateral Action (lateralaction.com), 308 launching your career, 38–39 The Law (in Plain English)® for Crafts (Duboff), 282 The Law (in Plain English)® for Photographers (Duboff), 282 law, knowing, 42–43 Lawyering in the Digital Age clinic, Columbia Law School, 46 lectures, as revenue-gathering opportunities, 250–251 legacy programs and projects art donation and placement programs, 107–109 posthumous exhibitions, 110 posthumous websites, 109 Legal Guide for the Visual Artist (Crawford), 43, 48, 108, 282 Leland, Caryn R., 124–125, 282 letters of recommendation, 240–241 Levin, Alexandria, 284 Levine, Mark, 138–139, 279 Liberatori, Ellen, 234, 280 Licensing Art 101: Publishing and Licensing Your Artwork for Profit (Woodward), 282 licensing art and design, 124 Licensing Art and Design (Leland), 282 Licensing Photography (Weisgrau and Perlman), 282 Lieberman, Annette, 28, 283 “Life After Art School: Disappointments and Future Plans,” 25 A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists (Maisel), 19–20, 282 Linder, Vicki, 28, 283 Linklater, Richard, 23 Lipp, Kathy, 267, 283 listing press releases, 156–157 Lists and Dreams (Fry), 140 LiveBooks (livebooks.com), 308 Lloyd, Carol, 28, 278 Local Artists (local-artists.org), 142, 297 Lombardo, William, 85–86 London Art and Artists Guide (Waddell), 211, 282–283 Looksharp (looksharp.com/s/art-internship), 308 “Lost Watches” (Finelli), 161 low income expectations, 24–25 Lupton, Ellen, 137, 139, 281 M MacTavish, David, 284 Mad Mimi (madmimi.com), 139, 297 Mail Chimp (mailchimp.com), 139, 297 mail presentations, snail and email creating a brochure or card, 92–94 need for, 91–92 mailing lists art galleries list, 62–63 ideal, 63–64 more tips, 64 using, 61–62 Maisel, Eric, 19–21, 282, 286–287 market value considerations, 183 Markoff, Barbara, 117, 276 Marquis, Alice Goldfarb, 274 martyr syndrome, 202–203 Maryland Art Place (mdartplace.org), 60, 297 Maryland Artist Registry, Maryland Art Place, 142 Maryland State Arts Council (msac.org), 142, 297 Maryland State Arts Council Resource Bulletin, 60 Materials for the Arts, Monroe County Solid Waste Management District (mcswmd.org), 298 Materials for the Arts, New York City Department of Cultural Affairs (mfta.org), 297 McCann, Michael, 56, 275, 280 McMahon, Kathleen (kathleenmcmahon.com/info/scammer-names.html), 52, 285, 307–308 McMeekin, Gail, 24, 260 McMurrough, Micaela, Melamid, Alexander, 167 Mellon, Susan, 275 menu suggestions, website about the artist, 89 blogs, 91 contact page, 89 home page, 87–88 installations, 89 news, 90 podcasts, 91 portfolio (gallery), 87–91 press, 90 retail price list, 89–90 secret link, 90–91 video presentations, 91 Metropolis, 150 Metropolitan Transit Authority (MTA), Arts and Design Program (web.mta.info), 121, 298 Michel, Karen, 280 Mid-America Arts Alliance, 110 Milo, Victoria, 54 Mint Artists Guild (palmerparkartfair.com/teens), 5, 298 money issues, confronting, 27–29 The Money Mirror: How Money Reflects Women’s Dreams, Fears, and Desires (Lieberman and Linder), 28, 283 moods, reliance on, 260 Mountain Living, 150 Moving Image Art Fair, 217 multitasking and the overwhelm factor, 266–267 Museum and Independent Curators (carollmichels.com), 310 museum shops, 128–129 Museum Store Association (museumstore association.org), 128, 298 museums curators with autonomous power, 101–102 getting shown, 100–101 MuseumsUSA (museumsusa.org)., 62, 101–102, 308 My Next Move (mynextmove.org), 250, 308 myth of artist, 20–21, 246 myth of scarcity, 37–38 N NAIOP, Commercial Real Estate Development Association, 118 Nashville Arts (nashvillearts.com), 60, 283 National Artists Equity Association, 104, 126 National Arts and Disability Center, University of California Los Angeles (semel.ucla.edu), 61, 298 National Assembly of State Arts Agencies (nasaa-arts.org), 60, 120, 142, 298 National Association for the Self-Employed (nase.org), 57, 299 National Endowment for the Arts (NEA) (nea.gov), 1, 26, 233, 248, 299 National Exhibits of Blind Artists, Inc (nebaart.org), 299 National Institute of Art and Disabilities (niadart.org), 61, 299 “The National Park Series” (Rudisill), 150 National Park Service, US Department of Commerce (home.nps.gov), 299 NEA See National Endowment for the Arts (NEA) (nea.gov) Nest Builder (Fry), 140 New York Architectural Design, 150 New York Area Press List (carollmichels.com), 310 The New York Artists Circle (NYAC) (nyartistscircle.org), 265, 299 New York Arts and Cultural Affairs Law, 15–16, 205 New York, awe of, 33 New York Foundation for the Arts (NYFA) (nyfa.org), 233, 299 New York Health & Hospital Corporation, The Art Collection (building.nychhc.org), 108, 299 New York Times, 12, 21, 108, 150, 196, 206 New York Wa$teMatch (wastematch.org), 300 news and opportunities, keeping abreast, 60 Nueva Luz (enfoco.org), 283 NYFA Source See New York Foundation for the Arts (NYFA), 60, 119 O Obamacare, 56 occupation, art as, 21–24 Ohio Alliance for Arts Education, Artists-in-Schools (oaae.net), 298, 300 Ohio Arts Council Sponsors Ohio Online Visual Artist Registry (ohioonlinearts.org), 142, 300 Ohio Wesleyan University (nyartsprogram.org), 300 Onboardly (onboardly.com), 308 online galleries, marketing through, artist registries/nonprofit online galleries, 141–143 open-studio events, 115–116 Orland, Ted, 31, 274, 287 Ormont, Ronda, 247, 278 OurGoods (ourgoods.org), 300 overhead expenses and retail price, separating, 186–187 overreacting to competition, 264–266 overwhelm factor, 266–267 Overwhelmed: How to Quiet the Chaos and Restore Your Sanity (Lipp and Gregory), 267, 283 Owen, Catherine, 146 Oxoart (oxoart.com), 63, 308 P paid advertising overview of, 169–170 should artists buy advertising, 170 The Painted Word (Wolfe), 166 “Painters Deserve Their Deduction” (Rips), 108 “Paintings at the Detective Office” (Ziff), 161 Palmer, Daniel S., 213 paranoia, 261–263 Paris Match, 150 Pastel Journal (artistsnetwork.com), 60, 283 pay to play, reviews, 168–169 Perlman, Francine, 243 Perlman, Victor S., 282 Perrault, John, 168 in-person meetings meeting with out of town galleries, 216 meetings in galleries, 214–215 studio visits, 213–214 Philadelphia/Tri State Artists Equity, 126 Photocrati (photocrati.com), 308 Photograph (photographmag.com), 283 The Photographer’s Assistant (Kieffer), 283 The Photographer’s Guide to Marketing and Self-Promotion (Piscopo), 284 photographing artwork, 83–84 Picture of Health: A Handbook for Healthcare Art (Domke), 284 Pierre, Summer, 276 Pinck, Daniel, 21–22 Pinsky, Carrie, 278 Piscopo, Maria, 284 pitch letters, 157–159 Playboy, 150 POBA (poba.org), 109, 300 podcasts, 140–141 as add on to website, 91 Pogue, Dwight, 284 Pop-Up Art Loop, 100 pop-up galleries, 100 posthumous exhibitions, 110 posthumous websites, 109 Potter, Ted, 31 Power, David, 141, 281 pragmatic pricing, 180–182 Pratt, Nina, 12–13, 194, 202 presentation tools and packages artist statements, 78–81 biographies, 77–78 cover letters, 81–83 follow-up support materials, 94 need for, 69–70 photographing artwork, 83–84 résumés see résumés snail and email presentation packages, 91–94 websites as portfolios, 84–91 press lists, 152–153 press releases email subject line, 154 headings and paragraphs, 154–155 internal press releases, 151 listing, 156–157 overview of, 149–151 pitch letters, 157–159 press lists, 152–153 tips for, 152–153 visual materials for, 155–156 Pressfield, Steven, 287 prestigious judges, 105 price list formats, 184–185 “price low philosophy,” 178 pricing challenges, 177–180 Pricing Photography: The Complete Guide to Assignment & Stock Prices (Heron and MacTavish), 190, 284 Pricing Your Artwork with Confidence (Levin), 284 pricing your work conflicting agendas and advice, 177–180 developing a discount policy, 187–189 discounts on studio sales, 189–190 overview of, 175–177 pragmatic pricing, market values, sef-confidence, 180–190 price list formats, 184–185 price-related considerations, 190–191 regional pricing, 183 sales commissions, art dealers, 185–187 printed image and word, sales through, 123–124 digital prints, 122–123 Printed Matter (printedmatter.org), 123–124, 300 Printeresting Archive (printeresting.org), 308 Printmaking Revolution: New Advancements in Technology, Safety, and Sustainability (Pogue), 284 Printmaking Today (printmakingtoday.com0, 60, 284 print-on-demand, 137–139 Prison Arts Project, William James Association, 248 procrastination, 259 “product-driven” art, Professional Artist (professionalartistmag.com), 60, 284 Professionals for Nonprofits (nonprofitstaffing.com), 246–247, 300 for-profit art auctions, 126 for-profit art galleries, eliminating, 195–196 for-profit online galleries, 143–144 Project for Public Spaces, Inc (pps.org), 121, 300–301 “The Pros and Cons of Social Networking for Artists” (Owen), 146 PsychCentral (psychcentral.com), 268, 308 public and press relations critics and reviews, 166–168 exhibition invitations/announcements, 159–165 exhibition openings, rethinking, 170–171 generating feature articles, 165–166 making contacts, staying in touch, 171–172 paid advertising, 169–170 pay to play, 168–169 press releases, 149–159 Public Art Directory (public-art-directory.com), 120, 308–309 Public Art Network, 119–120 public art programs federal public art programs, 120 municipal, state and independent programs, 120–121 overview of, 119–120 for transportation systems, 121 Public Art Review (forecastpublicart.org), 121, 284 public exposure, avoiding, 260 publicity campaigns for exhibitions flying solo “to-do” list, 163–165 overview of, 162 press deadlines, 165 twelve months before opening, 162–163 Pushcart’s Complete Rotten Reviews and Rejections: A History of Insult, A Solace to Writers (Henderson & Bernard), 231–233, 269, 284–285 Putting Creativity to Work: Careers in the Arts for People with Disabilities (Scribner), 285 R Rahm, Danielle, 36 rationalization avoiding public exposure, 260 overview of, 258–259 procrastination, 259 reliance on moods, 260 search for perfect art dealer or agent, 260–261 referrals, from other artists, 209–210 “Reflections” (Greengold), 161 reforms needed in art world, 13–14 regional pricing, 183 regionalism, self-imposed, 32 rejection, dealing with building immunity to, 270–271 counteracting, 271–272 overview of, 269–270 Report Scams: A Resource Guide for Victims of Internet Scams (McMahon), 52, 285 Re-Sculpt (blog.sculpture.org), 309 reserved rights of transfer and sale agreement, 222–223 résumés creating, 70–73 less-than-thin résumés, 77 sample, 74–76 thin résumés, 76–77 retail price list, 89–90 retail vs wholesale price lists, 184–185 reuse materials programs, 58 revenue-gathering opportunities, 250–251 reviews, pay to play, 168–169 reviews and critics, 166–168 Reznicki, Jack, 43, 278 Richlovsky, Jane, 53 Rips, Michael, 108 On the Road Again: Developing and Managing Traveling Exhibitions (Buck and Gilmore), 283 Roadmap: The Get-It-Together Guide for Figuring Out What to Do with Your Life (Gebhard), 23 Rockefeller Foundation (rockefellerfoundation.org), 301 Rome Prize Fellowship, American Academy, Rome, 235 Rose, Barbara, 169 Rosen, Bruce, 110 Rosen, Mark I., 286 Rosen, Maxine, 110 Rosenberg, Gigi, 234, 275 Rossol, Monona, 55, 275 Rudd, Eric, 46, 275, 286 Rudisill, Anthony J., 150 RxArt, Inc (rxart.net), 119, 301 S Saatchi Art (saatchiart.com), 309 sale of artwork, contract, 221 sales commissions, art dealers, 13–14, 185–187, 227 Saltz, Jerry, 126 San Francisco Study Center (fiscalsponsordirectory.org), 301 Saur, K G., 281 scarcity, myth of, 37–38 Scheuerman Building, Seattle (Good Arts, LLC), 53 Schlackman, Steve, 125 Schneider, Tim, 194 School of the Art Institute of Chicago (SAIC), 25 SchoolShows (schoolshows.com), 248, 309 Scott, A O., 21 SCRAP (Scroungers Center for Reusable Art Parts) (scrap-sf.org), 301 Scribner, Paul, 285 Sculpture (sculpture.org), 60, 285 Sculpture Center, New York, 171 Seeing Power: Art and Activism in the Twenty-first Century (Thompson), 6–7, 285 Seiter, Bill, 279 Self Publishing Advice Center of the Alliance of Independent Authors, 138 Selling Contemporary Art: How to Navigate the Evolving Market (Winkleman), 217, 285 selling from websites, 8–10, 133 Senior Artists Initiative (seniorartists.org), 301 Shaboy, Benny, 6–7, 103, 106 Shaking the Money Tree: How to Get Grants and Donations for Film and Video (warshawski.com), 285 Sherwin, Brian, 169 Silverman, Ronald H., 24–25 Skyhook Studios, 85 Sloan, Barbara A., 48–49 SmART Space Studios (smartspacestudios.com), 54, 301 smartphone website compatibility, 84–85 Smith, J’net, 125 Smith, Roberta, 196 Smithsonian Museums Shops, 128 snail mail, email and social media marketing blogs and newsletters, 139 brochures or cards, as marketing tools, 135–136 email marketing, 136–137 email marketing programs, 139–140 online galleries, marketing through, 141–144 overview of, 134–135 print-on-demand, 137–139 for-profit online galleries, 143–144 social media, 144–146 videos and podcasts, 140–141 Social Art Practices (scoop.it/t/social-art-practices), 309 social media see also websites, selling from Instagram, 146 as marketing tool, 11, 15 overview of, 144–146 social media explosion, 11 Social Media Scams: Protect Yourself on Facebook, Twitter, eBay & More (McMahon, Kathleen), 52, 285 social practice art, 10 Social Art Practices (scoop.it/t/social-art-practices), 309 Social Practices Art Network (SPAN) (socialpracticesartnetwork.com), 10, 301 Society of Professional Journalists (spj.org/fdb.asp), 301–302 software programs and business forms, 59 South Arts, Inc (southarts.org), 142, 302 Southwest Art (southwestart.com), 60, 285 SpaceFinder, 54 Speak Up UnderConsideration (underconsideration.com), 310 special challenges, artists with, 61 Springboard for the Arts (springboardforthearts.org), 302 Square Feet Chicago: An Artist’s Guide to Buying and Renting Space (chicagoartistsresources.org), 54, 286 Squarespace (squarespace.com), 309 St Louis Volunteer Lawyers and Accountants for the Arts (vlaa.org), 49, 54, 228, 302 stable of artists, 21 Starting Your Career in Art Education (Stern and Zealand), 286 starving artist, 21 State Arts Agency Directory, 60 State Percent for Art, 120 Steinberg, Don, 281 Stern, Emily, 286 Stern, Maurice, 251 Sterns, Jamie, 127 Stim, Richard, 278 Stop Art Scams (McMahon) (stop.artscams.blogspot.com), 52, 309 Storefront (blog.thestorefront.com), 309 Strategies for Serious Older Artists (Rudd), 46, 286 Studio in a School (studioinaschool.org), 302 Studio Protector™: The Artist’s Guide to Emergencies, 55 studio space, finding, 54 studio space, securing, 52–54 studio visits, from dealers, 213–214 successful artist, 34 Sullivan, Missy, 206 Surface Design Journal (surfacedesign.org), 60, 286 SwapRight (swapright.com), 309 T talent, caveats on, The Tax Advisor (thetaxadviser.com), 309 teaching, 247–248 Teaching Artists Guild (TAG) (teachingartists guild.org), 302 TEDx (youtube.com), 309 “Teen Financial Education Day,” 22 templates, website, 85 Texas Accountants and Lawyers for the Arts (talarts.org), 49, 302 Thank You for Being Such a Pain: Spiritual Guidance for Dealing with Difficult People (Rosen), 286 Theatre Communications Group (tcg.org/artsearch), 302 Thompson, Nato, 285 ThoughtCo Resources (thoughtco.com), 268, 310 Time Magazine, Time Management: Screw Self Discipline with this Uncommon Guide (Adams), 286 training, insufficient, 25–27 Trans Artists (transartists.nl), 302 TriMet Public Art Program (trimet.org), 121, 302–303 Tuska, John Regis, 110 Tuska, Seth, 110 Tuska: The Human Condition, 110 The 12 Secrets of Highly Creative Women: A Portable Mentor (McMeekin), 24, 260, 286 The 12 Secrets of Highly Successful Women: A Portable Life Coach for Creative Women (McMeekin), 24, 286 U “umbrella organizations,” 234 UrbanArt (urbanartcommission.org), 142, 303 US Copyright Office (copyright.gov), 43, 303 US Department of State The Art in Embassies Program (AIE) (aieregistry.org), 111, 303 US-Japan Creative Artists Exchange Fellowships, 235 V Vaks, Zacher, 248 validation, need for, 31 The Van Gogh Blues: The Creative Person’s Path through Depression (Maisel), 286–287 vanity galleries, beware of, 106–107 “vanity press,” 137 Vermont Studio Center (vermontstudiocenter.org), 303 Very Special Arts (VSA) (education.kennedy-center.org), 61, 303 video presentations, 91 videos and podcasts, 140–141 The View from the Studio Door (Orland), 39, 287 Visual AIDS (visualaids.org/artists), 61, 303 visual art, as intimidation, 29–31 Visual Art Source (visualartsource.com), 63, 310 A Visual Artist’s Guide to Estate Planning (Marie Walsh Sharpe Art Foundation), 45–46, 287 visual materials, press releases, 155–156 Visual Studies Workshop (vsw.org), 303 Vitae (chroniclevitae.com), 310 Volunteer Lawyers for the Arts’ Artists Over Sixty program, 46 Volunteer Lawyers for the Arts (vlany.org), 49, 303–304 W Waddell, Heather, 282–283 W.A.G.E (Working Artists and the Greater Economy) (wageforwork.com), 15, 112, 304 Wallace, Judith, 205 The War of Art: Break Through the Blocks and Win Your Inner Creative Battles (Pressfield), 287 War Toys, 113 website sales, 8–10, 133 websites, selling from, 196 websites as portfolios purpose of, 84 smartphone compatibility, 84–85 website planning and menu suggestions, 87–91 website templates, 85 working with website designers, 85–87 Weisgrau, Richard, 282 Wells Fargo Bank, 22 West Hollywood: The Creative City (weho.org), 310 Western States Arts Federation (WESTAF) (callforentry.org), 60, 304 “What to Charge for Art Licensing—Royalties Advances and Flat Fees” (Brophy), 125 “What’s the Best Print-on-Demand Service for Self-published Paperbacks?,” 138 “When Artists Get Together They Talk about Real Estate” TEDx lecture by Richlovsky, 53, 309 White Columns (whitecolumns.org), 304 Whitney Biennial, 269 Whitney Museum of American Art, 254 A Whole New Mind: Why Right-Brainers Will Rule the Future (Pink, Daniel), 21–22, 287 wholesale vs retail, 184–185 White Columns, Curated Artist Registry, 142, 304 Wild West Magazine, 150 William James Association Sponsors the Prison Arts Project (williamjamesassociation.org), 248, 304 Williams, Gilda, 280–281 Wilson, Lee, 44, 279 Winfrey, Oprah, 21 Winkleman, Edward (edwardwinkleman.com), 217, 280, 285 Wix (wix.com), 310 Wolfe, Tom, 166 “Women Under Siege,” 243 WomenArts (womenarts.org), 243, 304 Woodblock (woodblock.com), 310 Woodward, Michael, 282 Work with Passion: How to Do What You Love for a Living (Anderson), 37, 287 Work with Passion in Midlife and Beyond: Reach Your Full Potential and Make the Money You Need (Anderson), 287 The Writing Life (Dillard), 252–254 Writing the Artist Statement: Revealing the True Spirit of Your Work (Goodwin), 288 Y Young Audiences, Inc (youngaudiences.org), 305 Z Zealand, Ruth, 286 Art as Social Action by Gregory Sholette, Chloë Bass, and Social Practice Queens (6 × 9, 256 pages, paperback, $24.99) The Art World Demystified by Brainard Carey (6 × 9, 308 pages, paperback, $19.99) The Artist-Gallery Partnership by Tad Crawford and Susan Mellon with Foreword by Daniel Grant (6 × 9, 216 pages, paperback, $19.95) The Artist’s Complete Health and Safety Guide (Fourth Edition) by Monona Rossol (6 × 8, 576 pages, hardcover, $34.99) The Artist’s Guide to Public Art (Second Edition) by Lynn Basa with Foreword by Mary Jane Jacob and Special Section by Barbara T Hoffman (6 × 9, 240 pages, paperback, $19.99) Business and Legal Forms for Fine Artists (Fourth Edition) by Tad Crawford (8ẵ ì 11, 160 pages, paperback, $24.95) The Business of Being an Artist (Fifth Edition) by Daniel Grant (6 × 9, 344 pages, paperback, $19.99) The Creative Path by Carolyn Schlam (6 × 9, 256 pages, paperback, $19.99) Fund Your Dreams Like a Creative Genius by Brainard Carey (6⅛ × 6⅛, 160 pages, paperback, $12.99) Learning by Heart (Second Edition) by Corita Kent and Jan Steward (7 × 9, 232 pages, paperback, $24.95) Legal Guide for the Visual Artist (Fifth Edition) by Tad Crawford (8ẵ ì 11, 304 pages, paperback, $29.99) Line Color Form by Jesse Day (7 ì 8ẵ, 144 pages, paperback $19.95) Making It in the Art World by Brainard Carey (6 × 9, 256 pages, paperback, $19.95) New Markets for Artists by Brainard Carey (6 × 9, 264 pages, paperback, $24.95) The Profitable Artist (Second Edition) by The New York Foundation for the Arts (6 × 9, 240 pages, paperback, $24.99) Selling Art without Galleries (Second Edition) by Daniel Grant (6 × 9, 256 pages, paperback, $19.99) Starting Your Career as an Artist (Second Edition) by Stacy Miller and Angie Wojak (6 × 9, 304 pages, paperback, $19.99) Where Does Art Come From? by William Kluba (5ẵ ì 8ẳ, 192 pages, paperback, $16.95) To see our complete catalog or to order online, please visit www.allworth.com ... their hands They want stability without savings They want to be poor and righteous and generous of spirit on the one hand and they want to be rich and fabulous on the other They want to wonderfully... in Manhattan for twenty-five years and then moved to East Hampton, New York, a small town at the end of Long Island I then moved to Sarasota, Florida, a small city In East Hampton and Sarasota,... money: how much you want to earn as an artist, and how much you are willing to spend to earn it It is also very important to really understand that art marketing is not an exercise in instant gratification,