The Thriving Artist

Peter Trippi is editor-in-chief of Fine Art Connoisseur, a bi-monthly magazine for collectors of representational paintings, sculpture, drawings, and prints. He’s also the president of Projects in 19th Century Art Inc., the firm he established in 2006 to pursue a range of research, writing, and curating opportunities, including the recent traveling exhibition, Lawrence Alma-Tadema: At Home in Antiquity. Topics include:Lawrence Alma-Tadema: At Home in Antiquity ExhibitionFrom obscurity to resurrection:  “The resurrection is only partial, let me be clear. Interestingly, Alma-Tadema has been doing just fine on the commercial market.”“His pictures, the major ones, now sell in the millions of dollars, at Sotheby’s and Christie’s and Barnham. In fact, there is respect for him, and that has been the case since the 1970s, on an ever-growing basis.”“A lot of museums around the United States, Canada, Western Europe own his pictures, but they don’t really know what to do with them.”“We decided to tackle him in a new way, and the paintings that we selected reflected that different vantage.”The Divide Between Collectors and Museums/Galleries:“The likability factor of some art is worrisome to some intellectuals. They feel like [some art] is just too accessible to be good.”“Alma-Tadema certainly was criticized that way over many decades. People felt that they were well-crafted pictures, but they were too likable, too charming for serious museum display or exhibition. Therefore, they were kept in storage and not really talked about.”“It denies the public a chance to see things that they enjoy. Now, balancing that is a little tricky… there is a kind of line where you need to track the balance between popularity and quality.”Fine Art Connoisseur Magazine:How to get featured in Fine Arts Connoisseur and their “Three to Watch” featuresWhy do some artists make it and others don’t?“I’m very much a curator on paper. I am thinking about how this is all going to look together and also what is the message of the article.”“We don’t just do features on individual artists. We also do themes, and we do a series of hidden collection articles… We’re trying to get people interested in the passions of other people.”“Coming to my own little world, with the magazine, absolutely, we want to encourage collectors to collect more discerningly.”“Our role is to go one notch down on the fame chart, not on the quality chart, and put in front of our readers those names–whether they’re historical or contemporary–because that’s more of a service.”“We’re telling stories, highlighting individuals who are not so familiar. We don’t need to replicate what the mainstream media is doing already.”“I felt that this was right because it was very much going to be advocating for quality in the kind of art areas that I support, personally.”Legacy:“All of the issues of legacy are in flux enormously, right now. Part of that has to do with this huge generational shift. As the baby boomers come into legacy planning, there is this frenzy of anxiety about how that’s going to all be rolled out.”“How do the works of art get preserved, as people grow ill and pass away? And how does the next generation take care of them and celebrate them, and so on?”People who are working today, in their prime, need to be thinking one step ahead as well, because there’s this tidal wave occurring now with that generation of baby boomers.“The art world, as interconnected as...

Ryan Brown is an artist who works in the naturalist tradition, studying figures, still life, and landscapes. He’s dedicated himself to the methods practiced by the masters of Western European art and has established the Center for Academic Study and Naturalist Painting in Utah to continue this tradition.In this hour-long show, Ryan talks about his intention to have a long-term art career, how he sustains himself, his current work at the Center for Academic Study and Naturalist Painting, and how he markets and brands his work. Topics Include:Center for Academic Study and Naturalist Painting:Establishing a foundation in the academic tradition of paintingImportance of developing skills rather than meeting deadlinesGaining non-profit status and moving to France“Starting a school on my own seemed like the only option because it had to have an infrastructure or a way of organizing it that was more geared to student progress than it was to the machine of the university.”“There’s a great amount of discipline and a good training required to work at the highest levels.”Career Insights:“Art is a really expensive profession.”“Be clever with how you manage your funds and manage your business and understand that there are ups and downs.”“You never want to cut corners when you’re trying to be professional. You always want to use the best materials for shipping and framing frame so it doesn’t get damaged.”“As an artist, you’re a small business owner and you’re in charge, you’re the boss, and you have to manage that like any other small business would be managed. You have to keep your books organized, plan for big expenses, and plan for investing in those big projects.”Marketing as an “Honest Dialogue”:“You’ve got to put it out there and you have to find an audience.”“If you can develop a social media presence it’s not artificial. It’s a very natural form of marketing because what it allows you to do is just share your perspective on your work.”“Marketing is a huge part of becoming financially successful. Even more so, I would say, than good skill development.”“My balance is maybe a little offset to doing great work but it absolutely cannot deny the need for marketing it.”Finding Your Brand:“My brand is a non-brand.”“Some people want financial success a lot earlier on so their efforts to brand themselves early are more focused in.”“If I choose to brand a little bit less I know in the long run, there will be a common thread and the brand will be more recognizable so I have invested in the long game.”Working with Galleries:Starting out, “the only real option that seemed viable was to sell in galleries. That was the epitome of making it as an artist was to get in a good gallery and sell with other good artists.”“I knew that I wasn’t doing the quality of work that I wanted so that’s when I went and studied at the Florence Academy of Fine Art and really developed those skills.”“The goal then was still to try and make a name in galleries and sell for a good amount of money and gain the respect of my peers and be in big shows.”“When I got into it and was selling well and a part of that world I realized that’s not actually my definition of success. Selling well in galleries isn’t the ultimate for me. The ultimate is doing really great work.”Filler art vs. Fine Art:Using sketches as learning tools – sellable ones“When I was in galleries I felt like I had to sell it all like it was the most amazing thing. You’re trying...

Alan Bamberger is an art consultant, advisor, author and appraiser who specializes in research, business management, the marketing of original art, and art-related documents, but he is best known for his regular post to ArtBusiness.com, which he also manages. With nearly 40 years of experience in the art world, Alan works with artists, collectors, other art professionals and galleries to solve difficult art situations. Topics Include:Price Consultations with Artists:Problem solving using available images, background info, and the piece of artRecommends price structure for individual pieces and overall collectionsExplains how they can defend their prices to interested partiesOlder Art vs. Contemporary:Older art has a secondary market in place with a finite quantity of pieces availableOn older art: “I price based on the moment, based on available information, and based on primary market information.”“When an artist is still active, it’s not clear what the future trajectory of that artist will be, where their prices will go, or what they’re going to do” all of which can change the value of their art.Artists as Sole Proprietors:Step into the role that you want to fulfill“I’ve met so many artists who know so little about business, and business was not something that was taught in art school or even discussed.”“You can’t survive as an artist if you’re not selling enough art to pay for food and rent.”“Artists have become far more aware that it is not simply a situation where you sit in your studio and paint or create or sculpt…”“I focus on what happens when the art is done, when it’s ready to go out into the public, now what?”“Artists have never had more opportunities to advocate on their own behalves, to get their work out there, to talk about what’s behind it, to talk about themselves as artists.”“If you can’t sell your art, you’re not going to survive as an artist.”Common Mistakes of Resumes & Portfolios:The artist website as the portfolioImportance of having an identifiable brand“The artist has to present themselves in ways that pretty much anyone can understand and connect with and appreciate.”“Having confusing online profiles or presentations would be, I think, the most common mistake”Don’t leave it to your audience “to figure out the brand of this artist, what’s their unique voice, where are they coming from, what’s the story that this artist and the art, what’s the narrative, what are they trying to tell us?”Increase the Value of Your Artwork:The characteristics that make famous artists famous“Document everything that you’re doing.”“Narrative makes a piece more buyable.”“Take a photograph of it, take some notes, write down a couple of sentences, keep decent records, because if it turns out you’re a long running success, at some point, institutions or collectors or whomever will want to explore and learn the whole story.”“You can’t take long sabbaticals between individual works or series or bodies of work.”Getting Your Collection Appraised:Things to consider when purchasing a piece of artwork.“Contact your insurance company and ask them what they need in terms of an appraisal in order to insure your art.”“At the beginning, you can, for a while, just use the cost of goods as the approach.”“Monitor market activities for the artists you collect just in case there is a substantial price fluctuation, you may just want to have those pieces revalued for insurance purposes.”

Elizabeth Corkery is a large-scale installation artist and the founder of Print Club Ltd., a limited edition print making company. Her most recent and ambitious project to date is a spatially transformative sculptural exhibition called Ruin Sequence at Tower Hill Botanic Gardens, opening October 8th. The project is funded by the Clark Hulings Fund Business Accelerator Program. Topics Include:Preparations for Ruin Sequence:“I started conceiving how I might make a body of work that was sculpturally-based and that could be presented alongside the plants.”“Probably about a dozen of the pieces were made at a residency in London. Then I would say another dozen have been made since coming home.”“This is my first foray into a new series of work that was sculpturally based rather than starting from print as the medium.”“Navigating the materiality of the pieces and how I wanted to construct them was probably the most challenging part.”“It’s not a conventional art world or gallery site, so it is going to expand awareness and hopefully appreciation of my work to a group of people that would otherwise not necessarily have encountered it.”Clark Hulings Business Accelerator Program:CHF funded the “fabrication of modular pedestal supports and also the transport of those and some of the marketing materials that are being produced in tandem with the show.”The Business Accelerator Program allowed me to “discover how applicable a lot of those strategies would be for promoting my personal work as well. That’s definitely a take away that I’ll be putting some of those strategies into place when I’m promoting this show and sharing imagery of this new work.”Print Club Ltd.:The salability of my art is what “prompted my decision to start Print Club because I really enjoy the act of screen printing and making prints on a regular basis…”“Print Club has become more of the commercial aspect of my work more so than my bigger installation practice.”“I was inspired by how easy it’s become to set up a nice looking online store and market yourself online.”“The next phase for Print Club is that I’m actually moving into inviting specific artists to do collaborative editions with me. It will be their designs, and we will work together to realize them as screen prints.”Protecting the Integrity of a Work:Importance of inventorying and tracking large pieces of work“When you sell a work, you can’t always have that control, if it’s heading off to a place that you can’t accompany it to.”“This work that’s going into the greenhouse, as I said there’s going to be a big of unpredictability about how it’s going to survive the next six months. I plan to make it available for sale, and I also am confident that it will survive the winter in the greenhouse.”Cross-over between Commercial Art and Fine Art:“The two can feed each other. I’ve learnt about marketing and about communicating the work online can be used to help promote my personal work as well.“They require some specific strategies for each of them. I’m still figuring out, as I said, how some of those marketing strategies could actually live for my own work as well. That’s a work in progress.”“I think having a business that’s run by an artist that has a career in their own right beyond the work that they’re making for that business only stands to raise the profile of the more commercial prints.”

Ghost of a Dream, a moniker for the collaborative duo Adam Eckstrom and Lauren Was, create large sculptural installations, collages, and immersive texts made from lottery tickets, romance novels, playing cards, and other raw or discarded materials.Most recently, Ghost of a Dream has been working on a project they call The Fair Housing Project. They’ve created a house from art fair materials, which they’ve immersed in a sea of fog and filmed documentary style. The house, film, and other works created by this duo will be showing at Smack Mellon from September 24 -October 30, 2016. They’re also Clark Hulings Fund 2015 Business Accelerator grant recipients, which means they participate in the educational program of the fund, and they’re also receiving critical funding for The Fair Housing Project. Topics include:The Fair Housing Project:Dealing with project challenges: original goals vs. realityCollecting and reusing materials as a part of their Studio PracticeCommentary on the contemporary art world, art fairs, and the environmentShowing at Smack Mellon this fallBusiness Accelerator Program funded the transportation of the house and video equipment for the documentaryProject management as an impressionistic art form.Art Fairs: A Double-Edged SwordGalleries make over three-quarters of their annual sales from art fairsA vital part of the art marketArt fairs challenge the way we see art, both for environmental reasons and just seeing that much art packed into one space.Necessary evil: helps pay artists’ bills and offers exposure but not great for viewing individual worksBusiness of Large-Scale Installations:Unintended lags in sales: making business sustainableWorking w. 3 different types of work simultaneously“We’re able to get people really excited by these huge projects but then also have something that you can put in your living room.”Being type-cast vs. brandingImportance of “not being limited by our materials or the processes that we know how to do.”“We’re always learning new tools and new ways to make things, to do these things we haven’t done before. That keeps it fun.”Romance/Work/Collaboration:Learning to compromise“There’s something really lucky about having two of us working together because one person can be focused on that part of the day while the other person is getting work done in the studio.“I think we make better art because we’re really truthful with each other, and we can tell each other exactly how we feel something is being read or how it gets taken.”Working with other artists to start ArtGarda, a residency program.Art for Artists, a curated opportunity for artists to exchange their work with other artists.Benefit of living and being around artists communities.Teaching:Great networking tool.“Learning comes from teaching, so it’s exciting to share with people because new things just come out of that.”“Teaching just gets me really invested in process and how to inspire and create people to start from the beginning.

What is patronage; and who can be a patron of the arts? For Shannon Robinson, curator and chairperson of Windows to the Divine, wants everyone to understand that they can become a collector regardless of financial means or cultural biases around the art market. She does this through Windows to the Divine’s educational programs that teach about patronage, the art industry, and philanthropy. Topics Include:Collectors & Patrons:“We use the term ‘collector’ or ‘patron’, and it feels like you’re being an elitist.”“Patronage is for everyone; I believe it’s a moral imperative.”“Everybody has to do collect in order to make sure that the visual arts thrive and survive.”“This is the best time in human history to be a collector because anyone can do it.”Getting started as a Collector:Regardless of financial means, anyone can become a collectorBecoming a collector is a “wonderful lifetime journey.”“Go to art shows, get involved in an art museum, subscribe to magazines, take an art history class, consider going to your local art student’s league and take an introductory class…”Create a “mental bank of things you’ve seen, good versus bad, so that you can sit there and compare and make some sort of judgment.Forming a cohesive collection:Benefits of buying original artDetermine your direction and goals as a collector: recreational vs. legacy vs. investment collectingCollecting deceased vs. living artists“Collecting is a lifelong journey and it’s going to take years for you to have any real acumen.”“Art collecting in and of itself is a creative endeavor.”Online Art MarketBe wary of fraud, work with reputable vendors“There’s no substitute for seeing it live, looking at the texture, looking at the brush strokes, being able to really examine the work.”“The notion of a direct tie between the collector and artist is one that is changing every day and the whole gallery paradigm is changing.”“The advantage of online art markets is that it could cut out the middleman for some artists. It could mean that some artists might have great opportunities they didn’t have before.”“There’s just a lot of different economic paradigms out there and I think that’s exciting and that’s good for the consumer, and hopefully will be good for the artist.”“Due to globalization, the internet there is original art in every possible price range and media out there.”

How can an artist ensure that their art career is a sustainable enterprise long into the future? Carla Crawford is a figurative painter and Business Accelerator Program participant. She works in the classical tradition and focuses her latest works on displaced migrants.In this nearly hour long show, Carla addresses the importance of making your art career sustainable, how to address lags in sales, and the cross-pollination of traditional and contemporary. This is such an incredible talk that the topics are best expressed as quotations from Carla herself:Establishing a Sustainable Art Practice:“We all want to spend all our time in the studio, but how are you going to sustain that over your lifetime? It’s such an important thing to be able to master.”Mastering the business side of art is “a completely different scale from what you’re doing in the studio, but it’s essential.”On starting over after completing a solo show or big project: “I think it comes back to that idea for me of having a sustainable practice. Obviously, I want to be working as an artist for my whole life.”On formulating a business strategy: “how I run my business has been based on advice from other artists, which is, of course, priceless. People who have gone before you and tell you how they’ve made it work.”“You have to figure out how you’re going to tailor your business to make it work for you.”“Business training is essential to making your practice sustainable.”Sales:“When you create, you try and create with that authentic spirit, where you really are just engaging with what intrigues you, but then, of course, you do have to switch mindsets and think in that business mode, again, if you want it to be sustainable, if you want to be able to do work that can sustain itself.“Sometimes things sell like hotcakes and sometimes they don’t.”“It’s all about just finding a new audience and finding the right audience for a painting to move.”Cross-pollination between Traditional & Contemporary:“I don’t think that I really came up with a branding strategy when I started out as an artist. I think that’s not exactly what draws you to being an artist.”“Studying realistic painting, studying these traditional methods is this counter-cultural choice, but there’s so much in the art world at large to learn from and grow from.”“There’s 2 different brands, 2 different modes of thinking, where one is the studio brain, where you’re thinking, you’re in the creative mindset, and the other one is the business mindset.”Honing Skills with the Business Accelerator Program:“I really appreciate that there’s this training with Clark Hulings of the business side of your art career. ““I was trained in layering paint, in anatomy, in underpainting and traditional drawing methods. Running a business and learning how to make your art business sustainable, that’s a whole other skill.”On Business Accelerator Program workshops: “I’ve loved just being able to participate in the community, taking part in the classes, the business support. It’s so helpful and I do think it’s something that I need that training as I’m moving forward.”Ateliers, Residencies, & Arts Education:To determine your desired art career path: “You have to go out and figure out where you’re going to get the skills you want to have.”“I decided not to do a traditional MFA program simply because I wouldn’t be getting those figurative skills that I wanted to have.”“I wanted to spend 8 hours a day in front of the figure doing...

In this 40 minute interview, the listener will learn about building and maintaining a commercial mindset, the importance of networking and marketing, while creating pieces you love. As a bonus, learn about the CHF Art-Business Accelerator™ Program and the importance of combatting sexism and racism within the art industry.Funding your passion:Use existing networking mechanisms, such as your galleryExploring your artistic interests while creating a sustainable and well-funded productAlways be willing to sell your works independently of the gallery network through commissions, local events, social media, and email newslettersSubject matter does not determine salability – there’s someone for everythingBranding:Artists as inventorsMaintain the integrity of the archival qualities of your workDocument the processes and don’t be afraid to share with other artists and your audiencesRemaining authentic in your work: “The uniqueness of my brand is something that I actually don’t worry about”“Create what you love but balance that with what will also sell”Marketing:Art fairs as an opportunity to put your works in front of national and international audiencesUtilizing demonstrations to show techniques and processesResidencies vs. awardsCrossing-over from commercial art to a fine art careerSeeing through the eye of a graphic designer (commercial art)“Insanity is a requirement,” only requires small doses“Don’t give up your day job until you have some indication that your work will sell, otherwise you might starve.”“I do not change my art to cater to what might sell” but it’s okay to have a commercial attitudeArts Education and its influences on the studio practice:“I’ll invent an exercise [for my students] that will lead to a whole series of new artworks for me or vice-versa”“Not only does teaching keep my fundamental skills sharp, it also helps me articulate my thoughts”“Teaching balances the solitude of the studio by giving me a socially gratifying experience”“At this stage in my career, I can make as much money from selling art as from teaching that same amount of time.”“Teaching gives me contact with new ideas that are very valuable.”Demonstrations vs. TeachingBusiness Accelerator Program & Grants:Career-focused grant programAs a pilot program, the artists participating are able to collaborate with the CHF team to form the programLessons learned: importance of social media marketing to grow your business

Increasingly, artists are being asked to professionalize their art business, but as Cristina DiChiera so aptly recognizes, “In some instances, combining arts and business can be putting a square peg in a round hole,” but it doesn’t have to be with the right resources and training.In this hour-long interview, Cristina talks about her career creating and implementing business workshops for artists with the Rhode Island State Council on the Arts and Mass MOCA, and her recent shift to Visual Arts Development Manager at Brown University. She underscores the importance of tapping resources at the local level through arts councils, professionalizing business practices, and incorporating them into studio time. With the advent of technology and the internet, it has never been easier or more imperative that artists take full advantage of the resources available to them and craft an art business that is sustainable through their artworks sold. She also gave us insights into using crowdfunding as a marketing and fundraising tool and how to choose between grants, competitions, and residencies.Advice for our Business Accelerator Program on how to run a good business workshop for artists:Glean topics from artists themselvesUnderstand the artist’s’ goalsGive good overview of the topic/overwhelming overview (make it brief)Tease out each person strength – suggest areas where they can start to run their own affairsRespect the time of participants – want to see artists succeedService providers are responsible to provide value in our workshopsArts organizations as a tool for artists to up their business gameLearn more about CHF’s Business Accelerator Program and how you can participate.Artists and organizations are increasing their awareness for business training:Increased ease of usability for social platformsArtists have an increased capability to be their own marketing engineEvolution in business to incorporate a more creative approachArts have started to change the way we perceive and understand businessArtist’s approach problems in a different way that others might not consider – this is a benefitMuseums vs. Arts CouncilsTechnology as a catalyst in this shift toward business:More flexibility to manage their own affairsArtist as marketer and business personRelationships shift between artist and collectorRelationships shift between artist and galleryUniqueness of the art professional:Their business and products are a deep reflection of themselvesCustomers are intrigued by the artist, their background, and the details of their processThe actual work is about connection with an audience and building their marketMaking crowdfunding productive:Set attainable financial goalsTo succeed, the artist must dedicate a specific period of time to promote the projectAn artist should think of it as a challenge to connect with people, tell their story, and get an audience excited about the project.Crowdfunding as a step toward becoming marketing savvyGrants, competitions, and residencies – how to choose?Applying for competitions, grants, and fellowships should be a part of an artist’s professional practice.Residencies are about “getting out of your current environment to dedicate your time to your artwork”Buyer beware:...

Taking the leap into fine art after having a 9-5 job is a difficult decision, but this is exactly the leap that thriving artists need to make. For Leslie Hirst, a multi-media artist with over 30 years of experience in commercial and fine art, tells us about her recent CHF-funded exhibition “Objectively Speaking,” the importance of continuity between shows, following the inspiration without losing the nuts and bolts of actually doing the work, and her transition from graphic design to fine art and teaching Experimental and Foundation Studies at the Rhode Island School of Design.Preparing for an Exhibition:Learn about the supply chainDetermine location, transportation, target audience, and space restrictionsEstablish relationships with suppliers and potential partnersThink about your presentation as you’re thinking about creationPlan ahead for unforeseen complicationsOn her recent exhibition “Objectively Speaking:”Interpreting the world and language through visual senses – synesthesiaInspired by Ludwig Wittgenstein’s famous quote, “The world is everything that is the matter,” and its implications for visual art and craft.Exhibition is about “Seeing the world through the physicality of language and bringing the presence of experience into play through language”Artist as inventor, engineer, and problem solver.How the CHF Business Accelerator Grant funded materials, shipping, and transport.Components of brandingInternal motivation in brand identity: “My understanding of the world comes from a variety of sources that are uniquely me…”Strong personal characteristic to a work: Commercial graphic design and cross-over to forms of languageMaking your interests viable and ensuring you’re the inventor of your careerCrossing media without losing your brand identity“Every work that you create should extend into the next thing that you do.”Making the leap from commercial art to fine art:Digital art vs. tactile and manual artDrawing from commercial art experience in your fine art practiceInherent need to communicate with the audienceTeaching as a method to afford artworkRecognize the “relationship between lace and digital code” and the core of “all textile work is built upon the same systems that we recreate digital code with.”What’s next:Stronger engagement with the community through public art workReaching a broader cultural spectrum, more ages, more socio-economic levels, people of different education levelsEstablishing a solid track record as a fine artist

As an artist who follows the inspiration as it strikes, Etsuko Ichikawa works in a variety of media from performance, sound, and film to glass installations, sculpture, and drawing. She’s known for her pyrographs and aquagraphs, or drawings made from fire and water. She’s also a 2015 Clark Hulings Fund Business Accelerator Grant Finalist.We had a chance to sit down with Etsuko and talk about her next career move as she rebrands herself and her artwork. Her nearly hour-long interview offers an insightful look into public art commissions, the importance of vetting galleries before you work with them, and how to tackle brand management even as your career evolves.Re-Branding Your Art and Business:Following the inspiration vs. following the moneyHow to maintain the momentum of your career without losing your soulMarketing and sales as key components of your business planControlling and budgeting for your artworkBreaking into new mediums as alternative sources of revenueCreating sustainable financial systems out of your art careerChanging the direction of your work can result in more value being placed on your ‘limited edition’ productsProject Management in Public Works Commissions:Know the mission behind your commissionCollaboration with organizations, architects, and engineersUse public works as an opportunity to reach beyond the gallery and meet new audiencesPublic works and grants as alternative sources of incomeAudience Building:Incorporate a performance element in your artworkDon’t be afraid to include your audience in your processAttend events as shameless promotion of your workNetwork amongst local galleries, get your face out thereGalleries:Creating & maintaining relationships with galleriesVetting galleries you want to work withEstablish trust with your galleryCutting ties with galleries without burning bridgesGalleries vs. art fairsFuture Directions:Re-Branding and ending previous worksFeature Length FilmsKeep an eye out for Radiating Echoes – What is Beautiful? Determining what is really important in your life’s work?

“The creative legacy is not necessarily an issue of résumé, but about the creative spirit itself shown through your works,” states Jennifer Cohen, POBA‘s Co-Managing Director, about their mission and dedication to preserving the creative legacy of artists irrespective of the measure of success attained during their lifetime.In this full hour show, Jennifer underscores the importance of maintaining artistic legacies for artists living and dead, as well as the subtle nuances involved in preserving the integrity and value of artistic works. She also acknowledges the importance of artistic legacy to living artists and collectors.What happens when the artist or art collector is gone?Appraisal, Insurance, and InheritanceShared Legacy ManagementEmotional vs. financial valueResponsibility to preserve the work’s valueBulk selling and charity auctions as potentially harmful“You have to educate yourself as to how to protect art from dust, from humidity, from light, all these things that will degrade not only its value, but its look over time.”The Importance of the “Great Amateur”Creativity vs. Commercial SuccessArt vs. CraftArt Collectors and heirs as partners in an artist’s legacyProtect Your Artwork:Physical vs. digital storageInventorying and Archiving Your ArtworkEstablishing Provenance through documentation of location and critical datesParenting your own creative works: “We’re putting a tremendous demand on artists not only to create their art but also to manage and market it.”Preservation and Reversion of CopyrightsImportance of the preservation of artistic intentPreservation of Copyright – Copyright Reversion Act of 1976 gives all artists and their heirs the rights to recapture copyright and to renegotiate the terms of licensing agreements

“I would encourage everyone to buy the work that they love and that they can afford,” says Tim Newton, an art collector, Advisory Board Member at the Clark Hulings Fund, and the Chairman of the Board at the Salmagundi Club.In this full-hour show, Tim underscores the importance of collecting art to appreciate beauty, while also recognizing the role of art collectors as stewards of the arts. For Tim, this means curating shows of artwork he owns and encouraging others to do the same.Starting your collection:Buy what you can affordQuality over quantityTake time to learn about art“Every collector should have a mentor”Good art stands on its own regardless of the artist’s level of artistryArt Buyers vs. Art Collectors“Collecting artwork should be about the artwork – not investment, not the artist”Current Art Market:Art fairs vs. exhibitionsDigital media & virtual artwork vs. the tangibility of artworkPassing on art collecting to the next generation as a great love affairSocial media as a tool for art exposureStewards on a Revolving Basis:Planning for your collection’s futureCurate your collection in shows & exhibitions as a service to the rest of the worldArt is created for its social impact – let the public appreciate itArt Collectors have a responsibility to their art and the artistWhy Artists and Collectors Need Each Other:“The more artists are educated about the things that they could be and should be doing in their art endeavors, it’s a big deal. It does have a ripple effect that is beneficial to collectors as well.”Artists need to create the work and be business savvy enough to make it sustainable.Partnership between artists and collectors is essential to ensuring that the kind of works you enjoy continue to be made“Collectors have a vested interest in supporting the work of The Clark Hulings Fund because what goes around comes around in the collecting world.”On Clark Hulings:“Clark was just one of the most extraordinary painters of the last century.”“He was a genius in the way he did his art and the way he did his business.”On the Clark Hulings Fund’s Mission: “As a collector you may be collecting a terrific artist that really has enormous potential and does wonderful work, but if they can’t make it from the business side and they fold up their easel, that’s unfortunate for them and for the collector that began collecting their work. We need each other.”

Working artists can be both student and teacher; this is the basic premise of Art Cantina, an online portal described as the Match.com of arts education. For Carolyn (Charlie) Bogusz and LaVonne Ewing, artists need a platform to market and brand their skills as potentially both experts and instructors. Meanwhile, students want easier access to arts education. Art Cantina allows students to find workshops in their local area and desired discipline, and helps them establish (if they wish) a teaching business to support their studio practice. Topics include:Business DevelopmentMarketing your own classes & finding studentsWhy the art world needs its own Airbnb or Match.comPricing your work and pricing your classesFrom selling expertise to selling art onlineDisruption, Connections, and SilosThe “starving artist” stigma and alternative income sourcesThe stigma of online art marketsContinuing Arts EducationThe working artist as studentArt schools vs. informal arts educationLaVonne EwingLearning and marketing vs. creating and studio timeKnowledge sharing amongst professionals & the elevation of artwork through studyArt Cantina is a natural partnership for the Clark Hulings Fund: We equip artists to up their business game through education, introductions, tools, and critical project funding, but there is no business without a well-crafted product. For more information on how you can hone your craft and build your business through skills-based workshops, check out ArtCantina.com.

What if an artist treated her project like a project, her business like a business, and became the CEO? Vanessa Diaz is an interdisciplinary artist specializing in sculpture and site-specific installations created from discarded furniture. She reimagines architectural pieces to distort conventional perceptions of how rooms and physical spaces should be used. She is also a 2015 CHF Business Accelerator Grant Recipient. The Clark Hulings Fund is funding and supporting her work “Possibility of an Exit” – an immersive installation that re-contextualizes a house impacted by natural disaster in the upper half of a 5,000 sq. ft. room provided by ArtsUP!Neil Ramsay the head of ArtsUp! says the artist is the “CEO of the project” – specifically that the artist – in this case, Vanessa – is coming in and designing the whole environment. We found that idea so intriguing that we devoted almost the entire show to it. Topics include:Scaling an artist’s business at the pivotal career moment.What does it mean to be the CEO of an art project?The path to being a self-sustaining artist.The bottom line business impact of an art project.Creative control as the CEO.Collaboration as the CEO.Collaboration and branding.Installation art in particular.For more information on Vanessa Diaz, visit vdiazart.com, and be sure to check out ArtsUP! as well

Residencies, shows, and travel require forethought and planning for an artist to reach an international audience. Lauren Frances Adams is a painter and mixed-media installation artist, incorporating traditional designs and decoration with contemporary Americana. Her wallpapers depict class struggle and labor movements. She also works as a Full-Time Painting Faculty member at the Maryland Institute College of Art in Baltimore and was one of our first CHF Business Accelerator Grant Recipients in 2013. Lauren lays out some of the critical issues in arranging travel for an art business.Art that Crosses MediaCross-media work as an academic distinction vs. real world experienceTotal installations and breaking the boundaries of the picture planeTechnology, mass-production, and artThe function of labor as a theme‘Career impact of social issues as subject matter“Those that produce the work are often the least in control of what happens to that work.”Art that Crosses the Atlantic (The Travel Side of an Art Business)International shipping – e.g. when the gallery won’t payWho pays for insurancePlanning ahead financiallyVisas & travel papersBudgeting time for residencies & travel with studio time and marketingMaking art vs. managing the businessPainting vs. teaching – cynicism vs. realityTeaching vs. the gallery systemCrossing the Hurdle of Grants & FundingWhy writing grants is essential – formalizing your project definitionWhere CHF’s grant has been pivotalThe end goal of a grant project – e.g. being polishedLastlyFor more information on Lauren Francis Adams, visit lfadams.com

Despite our playful double entendre, the business of securing commissions requires taking proposals and contracts seriously. Large-scale artist Molly Dilworth explains the challenges of both producing such works and operating the professional side of the business for scale. Molly’s geometrically inspired site-specific installations across the United States highlight invisible structures and hidden motivations. Her insights on a range of topics from proposals to contracts are crucial:Creating Large-Scale WorksMaking big paintings to be seen by Google EarthSpecial challenges of large-scale workDealing with outdoor work and site control (e.g. timing, weather, and location)Technology and remote art creation [see also a previous broadcast]Using under-appreciated spaces, everyday spaces, accessible spacesOperating the Business for ScaleRFPs, proposals, and the business of finding commissionsContracts and when you get paidEnsuring clients pay vs. getting burnedContingencies and budgeting for materials, mishaps, and take-home payGetting a lawyerResponsibility for maintenance and limits of liabilityContracts as a conversationDealing with damage and insuring the workLastlyMolly Dilworth is currently a fellow in the first year of the Tulsa Artist Fellowship and. on April 23rd, will unveil her sculptural commission for a new Denver Light Rail station at 40th and Airport.For more information on Molly, visit mollydilworth.com

“You can’t make full time money doing part time work. I paint every day.” – Robert C. JacksonRobert C. Jackson (or Bob, as he goes by in conversation) is a painter who uses his subject matter of balloon dogs, Oreo skyscrapers, and toy dinosaurs to highlight the satirical complexities he sees in the world. He has interviewed 20 contemporary representational artists for his book Behind the Easel, around which the Delaware Museum of Art is forming an exhibition this Fall. Bob explains exactly what it means and digs into what it takes to be a five day a week working artist.This is such an amazing talk that the topics are best expressed mainly as quotations from Bob himself:Getting Started“I was surprised at how many rules people do have – I thought art was supposed to be open-ended.”“I think it’s up to other people to label you.”“Most artists never talk about business and, as a result, most artists never make a living from their art.”If art schools were judged by how many of their graduates made a living from their art: “I couldn’t fathom an engineering department graduating people and saying the majority of our people never get jobs.”CHF and the implied dual major of art and business.“I needed to work five days a week painting to make five days a week salary.”“I thought when I jumped into this career, that there would be a lot more peers.” (who make art as their sole living)“There are no do-overs…. When you make art as your sole living, you’re highly motivated to make it work.”“I don’t feel like there’s a lot of luck in (making a living as an artist); there’s a lot of effort and work to make it happen.”“I can’t believe how little artists are willing to hustle; …as soon as you let your career go stagnant, it’s ending.”“It’s not like people say that when the artists die they get more famous; when they die, they die.”Running Your Business“If you can buy someone cheaper that looks the same, why not do it? Uniqueness is the biggest thing.”“The last gallery you should approach is the one with work that looks like yours.”Making “art that screams for attention.”“I’m not going to paint without a concept or a narrative.”“Realize, when you paint, there’s an audience in the room.”“I need 30 sales a year…”“One of the giant taboos was humor; you’re certainly not supposed to do humor with a still-life, but I’ve had a lot of fun with it.”A Practical Education“I didn’t go to art school; I learned by going up to New York and going to art shows.”“I have never had a collector or a gallery ask me where I got an art degree. They look at my work.”“It matters much more who the teacher is; the degree means nothing, but the learning means an awful lot.”“As for working in the marketplace, (art schools) aren’t teaching that at all.”Selling Your WorkKeep nothing sitting in inventory. The most expensive mistake is keeping your costs tied up in inventory.Showrooms and selling one of a kind work: “Art is still a visible, tactile experience.”“The galleries are people like you and I; artists are notoriously difficult. The galleries are my salespeople – my representatives.”“Most artists underprice themselves; I don’t think they do the math.”“No one is chasing you down. If you sit and wait for a gallery to call you or someone to discover you, no one comes knocking at your door.”“You’re remembered by the bigger pieces.”LastlyWhy Bob wishes he was The Flash.Why Bob likes podcasts (like this one): “I love what I do, but it’s one isolating career… Listening lets me glean little tidbits of...

As a painter, illustrator, and storyteller, Cheryl Gross combines her signature humor and urban appeal to create intense narratives. Currently, she is working on a large project titled: The Z Factor, a fictional work of drawings and text depicting the persecution of a new race and a resulting third civil rights movement. She is also 2014 Clark Hulings Fund Grant Finalist. What are the challenges when a fine artist wants to cross illustration, graphic design, film, poetry, blogging, and the graphic novel, all in a way that takes on current issues.ContentsBlending fine arts and commercial artsParsing an art career as a way to make a living: "Sometimes you just need money"Mitigating genre bias by breaking barriers between types of mediaCrossing media from visual art, to the graphic novel, blogging, and filmThe catch-22 of crossing genres and not having a pigeonhole to hide inBeing "Dr. Seuss on crack"!Using the online art marketsPricing commissioned workCheryl's insights on the fundamental struggle of refusing to be pigeonholed while seizing a place in the market are a valuable addition to the learning program of CHF. More info on Cheryl Gross and her work, as well as her blog and book are at CMgross.com

"I started painting bananas to exoticize myself; it started as a joke and developed into a commentary on belonging.' Gonzalo Fuenmayor is a multi-disciplinary artist who has worked in painting and photography, but is best known for his charcoal drawings which, in their precision, resemble black-and-white photographs. He is also a 2014 CHF Grant Finalist. His comments on the role of the artist in an emigre environment (and in general) are fascinating.ContentsArtist as foreigner/diaspora: exoticizing oneself & belonging to a placeArtist as historicist: the banana trade between West & Central/South AmericaArtist as commentator: the role of the artist in politics and art as vicarious subversionArtist as tease: playfulness and deconstructing the phallic imageMarketing yourself in an environment of creative misunderstandingA public internal conversation vs. dialogue with your audienceThe fear of prostituting oneself by entering the marketplaceDiscipline and Ambition - the habits of consistencyFor more info on Gonzalo and his work, visit gonzalofuenmayor.com

"When people sheared sheep 100 years ago, it wasn't just work, it was their life; work wasn't a separate thing.' Art and business are like that. Laura Petrovich-Cheney is a sculptor whose work mirrors the human experience, full of transformation, second chances, reinvention, and resilience. She is also a Clark Hulings Fund 2015 Business Accelerator Grant Recipient for her current solo exhibition at Salisbury University Art Galleries, "Piece by Piece". Her comments on building a self-sustaining art career are profoundly on point.ContentsIncreased sales by adapting art format to the marketArtist security through multiple income sources around the artThe preeminence of the toolset for managing an art businessThe pivotal moment when funding makes the differenceThe vision of Clark Hulings for working artistsPlanning an art career backwardsHoofing it - marketing prior to a showMarketing as sharing your story"There's no separation between work and life anymore."Creating an "authentic conversation" with collectors and an audience#abstractartist #americanrealismGood old fashioned business networkingNot flinching from rejectionFor more info on Laura and her work, visit lauracheney.com. Laura’s exhibition runs from Jan 15 thru Feb 25 at SU art galleries in Salsibury MD. If you’re on the eastern seaboard or have a friend or relative in MD, have them stop by the exhibition. The show runs from noon to 5pm each day and information is on the Clark Hulings fund website.

Being serious about your business as an artist is more than paperwork; it's also mindset. Bette is a working artist, gallery owner, graphic designer, and author of the best-selling book: Talent is Just the Beginning - An Artists’ Guide to Marketing in the 21st Century. Sue is Vice President for marketing for the Messenger Art Collection, one of the largest, most diverse private collections in the U.S.Together, Bette and Sue are based in Santa Fe, NM, and run Ridgeway and Roderick Art Services, which provides hands-on career evaluation and marketing to artists, galleries, and collectors. Bette and Sue delve into three key imperatives for the working artist.Take Your Art Seriously As a BusinessHobby vs. Business: What Art Has in Common With Every Other EnterpriseThe Importance of a Stunning Website to Catch Collectors' EyesThe Minimum of 20+ Pieces and the Collateral Needed to Break OutMarket Yourself for the Flat WorldDevelop Communities Around Your Art PracticeDistinguish Your Appeal in a Global Search EnvironmentDevelop A Mindset for Success"Collectors Are Interested in Who Did It"Thriving Requires: Differentiation + Promotion + Multiple Income SourcesFor more information on Ridgeway and Roderick Services, visit RandRartServices.com

What drives most art collectors, and how they decide what to collect, might surprise you. Stephen Zimmerman is an art collector and co-founder of the Western Art Society of the Eiteljorg Museum. He also serves as an advisory board member of the Clark Hulings Fund for Visual Artists, and is based in Indianapolis, Indiana.Stephen explains that collecting is driven by self-made aficionados who often attain a level of education about a given artist and stewardship of a school of art that far exceeds that of the official mediators of taste. As a result, collectors are often driven by an intense curiosity, passion, and (profoundly) personal relationships with individual artists. Whether your an artist, art patron, or another collector - this episode is a joyous exploration of the a commitment that is anything but a hobby.What Art Collectors Know That We Don't Collecting as diversification, therapy, and self-education (the collector as autodidact)"The wisdom of collecting original fine art"Art patrons and art collectorsCollectors are internally driven, not externally persuaded. Art collecting is discovered, not taught.Generational differences among collectors"Anyone with a genuine interest at any economic level can acquire a collection."Art collecting is about the "subject matter & consistency of approach".The collector as rebel vs. follower. Collectors vs. tastemakers.Curation does not necessarily confer conversance in the arts.Personal relationships with artists (not curatorial direction) drive collectors' choices of whom to collect."Helping artists who need business acumen enter the ring with the world's great visual artists"Why join a non-profit board, as an art collector?Art collecting is not a hobby.Steve also discussed:The Mission of the Clark Hulings Fund:Real artists get up and work every single day; they need business training to enter the ring with the world's great visual artists... Some need legal advice, some accounting advice, some marketing advice, and some need help connecting with collectors whose acquisitions are often driven by personal relationships with artists.CHF Collector SalonsCollector salons offer collectors access to their peers (and insights into peer collections), as well as an insider's view of working artists to watch and emerging markets for new work.Indianapolis: The Best Kept Secret in Fine Arts(Except to anyone who has stepped out of the airport)! Stephen is passionate about placing Indianapolis into its proper role as a Mecca of the fine arts. Given the guests we've had from Indianapolis, and the events we've touted to our audience and supported with our media, we quite agree! With that in mind, for more information on the Eiteljorg Musem visit eiteljorg.org

Building your brand without sacrificing your craft requires both finding your public and going deep into the artist. Jane Robinson is a contemporary abstract artist, living and working in Michigan, who specializes in acrylic and mixed media. Jane also conducts workshops for other artists under the banner "The Business of Creativity" as well as a monthly meetup group. She was once, also, a felony probation officer and writing pre-sentencing guidelines helped her tap into her creative side.ContentsArt & business as different muscles"The Business of Creativity"The grant as the launching pad"No one will care about your art career as much as you"Being an "artpreneur" - integrating art and business.Beyond the canvas - creating the brand around your art.Getting ahead of your business - branding yourself as pulling the sale rather than pushing it.Quirky as an asset - the brand as both you and the work.Identifying vs. expressing your brand.Discovering your brand by other people's experience of you - art shows, art fairs, gallery receptions, open studio events...Finding your public - web as a global marketplaceSocial media as the artist's storytelling medium - going beyond posting your workBusiness building vs. sacrificing craft - the false dichotomyDevote as many hours to business building as you do studio timeReinvest 40% of your earnings into your art businessAligning the operational areas of your business and your lifeThe solo artist and the creative tribeThe essential infrastructure of an art businessBeing objective about your own workBuilding a cohesive body of workStudio time first, then find your audienceThe journey of not worryingBuilding an e-mail contact list around your showsStripping down to your soul and "selling like hotcakes"Technology on the way: virtual painting and non-local creationMore information on Jane Robinson and her work, classes, and Meetup group, is at JaneRobinsonAbstractArt.com

We all share a planet. Frank Juliano is Executive Director of Reeves-Reed Arboretum in Summit, New Jersey. He makes it his mission to bring innovation and community building to all aspects of the Arboretum’s programming and operation. He is well known in visual art circles for his curation of exhibitions at the Arboretum’s Wisner House and gardens. He lives in New York and studied Music, Theatre, and Dance at SUNY New Paltz before turning to his current career in non-profit management.Topics Include:Crossing over from performer to curator/talent acquisitionGoing in for the money: reflection and authenticityArt as social consciousness and means to a social endPurpose of art as transformativeStewardship of the planetMaking art and curriculum interactiveCuration: choosing artistsEffective art curationCollaboration between artists as a career pathBalancing mission with moneyMarket savvy art pricingThe usefulness of mistakesWhy go to Summit, New Jersey!Information about the Arboretum is here: reeves-reedarboretum.orgIf you find this content valuable and want to foster even more material like this, a modest donation would be very meaningful: click here. 

COLLECTORS, ARTISTS, and GALLERIES need to think about the future of their works and collections. In this insightful podcast, Kristin Gary, a private dealer who specializes in appraisal, bankruptcy, and related divestiture issues, encourages us to think ahead. Kristin manages Kristin Gary Fine Art, a private gallery that includes European Old Masters, 19th century European, American 20th Century and select Contemporary works. Topics include:Challenges of breaking up significant collectionsOwning art as temporary. Planning in advance for some kind of divestitureArt fairs and the auction world vs. the gallery worldThe importance of dealers banding together to create eventsThinking ahead as an artistThinking ahead as a collectorProtecting yourself and your art pieces when entrusting them to a gallery (e.g. the risk of foreclosure)The importance of filing UCCThe importance of a formal tracking systemBalancing commercial viability with choosing pieces you likeIs genre bias a problem?Essential business skills artists must acquireWaiting until the future to think about the future is a mistake. Don't miss this 24-minute podcast. Listen now, or download and take it with you on your phone or mobile device.Kristin Gary's site is at kristingaryfineart.com.If you find this content valuable and want to foster even more material like this, a modest donation would be very meaningful: click here.

Carolyn Edlund is Executive Director of the Arts Business Institute, a non-profit that offers creative business solutions to artists and craftspeople. She is also the Founder of Artsy Shark, a forum that targets artists AS small business owners with marketing and sales tips. Carolyn flips a lot of the concerns artists may have about growing their careers as a business into positive opportunities for full artistic expression. Her emphasis on the lifestyle of the artist as one of glamour and freedom is insightful and balanced by the call for creating a skill set to further one's deepest professional aspirations.Topics Include:The fine arts vs. arts & crafts barrierArt for its own sake vs. art as a businessHow artists build a business without sacrificing their craftHow "repeat business builds business"The catch-22 of selling out for money or not being good enough for itThe artists' enviable lifestyle of glamour & freedomReferring to all customers as collectorsBranding: How artists create their brandMarketing: How it has changed - keeping up with the timesEssential marketing tools & skills for artistsScalability: managing audience growthThe opportunity of technology for fine art and business scale: 3D Printing, Laser Cutters, etcListen now, or download and take this 40min episode with you on your phone or mobile device.The Arts Business Institute is at artsbusinessinstitute.org and Artsy Shark at artsyshark.comIf you find this content valuable and want to foster even more material like this, even a modest donation is meaningful: click here.

Tim Kennedy is a representational painter who works to present still lifes, figures, and landscapes with immediacy and intimacy. He is also Senior Lecturer at Indiana University Bloomington and was a 2014 winner of the Clark Hulings Fund Grant. He was born in Buffalo, NY and did his MFA at Brooklyn College CUNY. Articles on his paintings have appeared in American Artist and Watercolor magazines. Tim helps us understand....Topics include:The Role of Project Funding in Boosting an Art CareerCreating a Well Defined Project Proposal for a Grant ApplicationBeing a Visual Artist in a Photographic World (e.g. Instagram)Coops and Other Gallery RelationshipsThe Challenges of Large PiecesInsider Keys to an Effective Grant ProposalListen now, or download and take this 42min episode with you on your phone or mobile device. Tim's website is timkennedypaintings.com.You can also see the video on challenges of "working large".If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page.If you find this content valuable and want to foster even more material like this, even a modest donation is meaningful: click here.

Brandon Kralik is an internationally exhibited post-contemporary figurative painter who employs classical oil painting methods “with a current vision to create a visual mythology.” Born in the US, he has spent 13years of his 20-year career in Sweden, where he currently lives and works. His work is found in the collections of Steven Tyler, The Crown Princess of Sweden, Matthew Barzun, and Carlos Santana. He studied Fine Art at Western State College of Colorado, Art History at CUNY (Manhattan), and painted under Norwegian figurative painter Odd Nerdrum for 3 years before opening his own studio.Brandon helps us understand how, exactly, one "makes it" in business as an artist.Topics include:The Tenacity of Choosing an Art Career vs. "Shadow Careers"What Does "Making It" Look Like?The Series of Affirmations That Amount to SuccessArtist As Digital Nomad!Contact Management As The Key To More Art SalesThe Role Of Semantics In Describing Your Art & 'Personal Brand'Thought Leadership As NetworkingBleeding For Your Art - As A Business!The Critical Role Of Knowledge TransferClark Hulings and Cultural Change through Business and BeautyRevising the History of Art From the RoadListen now, or download and take this 42min episode with you on your phone or mobile device. Brandon's website, where you can find his latest work and links to Facebook and Twitter, is brandonkralik.comIf you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page.If you find this content valuable and want to foster even more material like this, even a modest donation is meaningful: click here.

Philip Koch, is a professor at the Maryland Institute College of Art in Baltimore, specializing in landscape realism. He has also been a Clark Hulings Fund Grant Review Panelist for 3 years running. In this episode of the Thriving Artist Podcast, Philip talks about the significance of genre/style for an artistic career, and the business end (selling things) via galleries and dealers.Topics include:Crossing the abstract/realism divideGenre biases and reaching one's artistic/career potentialThe avante garde in light of its predecessorsEducation and the role of history and traditionGetting work into galleriesThe universal grammar of artBeing a panelist (and applying for a grant) at CHFListen now, or download and take this episode with you on your phone or mobile device. Philip's website is philipkoch.org and you can meet other members of the CHF grant review panel on our panel page.If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

Elaine Grogan Luttrull is a CPA and founder of Minerva Financial Arts, a company that increases business and financial literacy for artists and arts organizations. She also runs the Business & Entrepreneurship department at Columbus College of Art and Design in Ohio. In this episode of the Thriving Artist Podcast, Elaine provides insights on the types of financial decisions that directly impact the purity of one's art!Topics include:The big financial questions (budgeting, pricing, taxes...)Tax issues artists faceHow do artists choose an entity type?Impacts of entity types (for taxes, health care types, creditworthiness)Overcoming the emotional barrier of art vs. business concernsThe “Starving Artist” stereotypeHow financial literacy impacts artistic purityWhat financial decisions say about an artistPricing of art: intrinsic value vs. commodityFinancial literacy as a path to more moneyListen now, or download and take this episode with you on your phone or mobile device. Also, read Elaine's recent post on pricing art. Minerva Financial Arts is at minervafinancialarts.comIf you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

Jim Grace is an attorney for the arts, and Executive Director of the Arts & Business Council of Greater Boston. One of their major programs is Volunteer Lawyers for the Arts of Mass., which does free legal services for the arts including seminars on legal topics. Jim is also co-author of the Joan Mitchell Foundation's workbook on estate planning for artists. In this episode of the Thriving Artist Podcast, Jim provides insights for art collectors and artists on estate planning. It's OK to suffer for our art, but we don't want it to make others suffer. Some of the topics we must consider include:The importance of estate planning for visual artistsHealthcare proxies, living wills, and powers of attorneyGoals, options, and tools - not letting the tail wag the dogOptions for supporting causesArtist endowed foundationsWhat happens to your collection?Valuation of your art, including unfinished works in your inventory, formal appraisal, and tax consequencesWhat happens to your unfinished work?What about your collection of fellow artists' work?Representation (agents, galleries, and dealers)Document archives (image licenses, releases, gallery consignment contracts)ARTWORK ARCHIVE (tracking inventory, cataloging collections)Planning for maintenance, storage, conservation, and distribution of works & suppliesGetting approval from donee organizationsRights and joint authorship / collaboratorsCopyright is your life + 70 yearsLegal services for artists via local arts and business councilsCollaborative space for organizations and artistsHitchcockian bird attacksListen now, or download and take this 47-minute episode with you on your phone or mobile device.If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

What started as a labor of love for someone's mother, became a modern tool for art collectors and visual artists. John Feustel is co-founder of Artwork Archive, a cloud-based tool for tracking art inventory and managing consignment records, sales info, and competition history. John's solution works on any device (phone, tablet, desktop) and takes the worry and hassle out of cataloging a visual artist or art collector's works/collection, while providing solid financial intelligence and even heat-map based location maps. "Galleries love artists that use Artwork Archive, because it makes the consignment paperwork so easy,' says Feustel.The Clark Hulings Fund is sponsoring discounted access to Artwork Archive. Says Elizabeth Hulings, founder of the fund, "I have looked at all kinds of ways to track my father's work, and I love this product. I'm migrating everything of Clark Hulings onto it." Because we at the fund feel so strongly that artists can maintain control over their own work only if they track it, Artwork Archive is a natural partner with our mission, and it is the first tool that we're offering and endorsing. Topics for this podcast include:What is Artwork Archive & what does it do?Community development and artist-driven designWhy track your collection?How is art displayed in Artwork Archive?Privacy and security, backups, exportable data, and device neutralityDay in the life of an Art Collector with Artwork ArchiveDay in the life of an Artist with Artwork ArchiveHow feedback guides developmentHow to get the discount [get the discount here].John Feustel brings a lot of experience with technologies as well as business, in his own role as a startup founder. Of course, his mother is the visual artist who inspired the tool, and it was she who originally shaped it with her feedback and her own art career. The website for Artwork Archive is artworkarchive.com. If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

P.A. Nisbet (pronounced "nesbit") is a painter of outdoor landscapes, based in Santa Fe, and this year he's a panelist at the Western Art Society's Quest for the West. Before his career in fine art, he was a commercial artists (illustration and graphic design). He's quoted as saying "no artist is going to survive without being a business person." In this episode of The Thriving Artist Podcast, he answers questions about the fundamental tension between being effective as an artist and effectiveness of growing and marketing a body of salable work.Topics include:Knowing your audienceBusiness best practicesCommercial viability vs. imitating commercial successThe tension between art as creation and art as business (distinct but inseparable)Artistic clarity - intrinsic personal vision as a component of commercial visibilityCollaborating effectively with galleriesDoing your own marketing vs. relying on galleriesQuantity of artists & its effect on gallery collaborationQuantity of work & its effect on gallery collaborationMarket awareness and production values: sizes, price points, speed of productionHolding your own with galleries: filling orders v.s. producing artHow to price your art: competitive pricing and transparent pricingMarket awareness and competition for gallery spaceThe working artist as social artist: the value of going to partiesQuest for the WestThis 35-minute episode is a treasure trove of critical insights for creating and managing a career as an artist. In particular, the focus on working with galleries and exploration of how to price your work are gold!Listen now, or download and take it with you on your phone or mobile device. P.A. Nisbet may be reached at panisbet.comIf you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

Meredith Bergmann is an American Sculptor who both creates public monuments & sculpts on a private scale. She lives in NYC, and has created the Boston Women’s Memorial (2003), is currently working on the FDR Hope Memorial for Roosevelt Island, and has also created the 9/11 Memorial at Cathedral of St John the Divine. In this episode of the Thriving Artist Podcast, Meredith helps us understand what goes into managing large scale art projects. Topics include:The trials and tribulations of doing commissions, especially large public art onesManaging project scope, objectives, and expectationsDependency on 3rd parties (e.g. foundries)Contracts and payment by project milestones (not time)The financial side – getting paid in chunks without knowing how long each check is supposed to lastWhy do your best work even when the money isn’t there?“The biggest skill is not to panic.”Special issues sculptors face vs. other visual artist.Not being limited by genre biasesThe influence of motherhoodMarketing strategy – then and nowMeredith Bergmann is an insightful guest, and anyone doing large, commissioned projects can’t afford to miss this 30-minute episode. Listen now, or download and take it with you on your phone or mobile device. Meredith Bergmann may be reached at meredithbergmann.comIf you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

Special Edition: 3rd Annual CHF Grant to Visual ArtistsElizabeth Hulings is daughter of Clark Hulings and Director of the Clark Hulings Foundation. In this episode of the Thriving Artist podcast, Elizabeth explains how to change the culture by funding, training, connecting, and equipping working artists. Topics include:Creating the Middle Class Artist (vs. stars and starvers)A “Kickstarter” for art and cultureWhy artists need capitalCharity vs. business development for artistsPatronage, not parentage – cutting out the middle manA big tent for artists – style agnosticismExchanging the expertise of artists and art industry professionalsWhy spread the word: Artists wanted!Elizabeth lets us see into the world of the working artist in this 22-minute episode, and explains what is needed to make thriving artists the norm. Grab the mp3 to listen on the train or the drive home.If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

Shannon Linker is VP of the Arts Council of Indianapolis and is liaison on arts issues with organizations throughout Indianapolis. She also directs the Arts Council’s contemporary fine art Gallery – Gallery 924. In this episode of The Thriving Artist podcast, Shannon helps us understand how art communities are built and economies grow by funding and training the working artist. Topics include:How are arts councils faring with slimmer budgets and fewer galleriesThe crucial distinction between an art market and an art communityHow funding individual artists (not just arts organizations) impacts a communityHow working artists begin to thriveCritical blind spots and needed business skills that challenge working artistsThe artist as small business owner (accounting, copyright, legal issues, contracts)The stigma behind art as a businessHow arts councils facilitate collaboration between artists and art industry professionals (as well as the organization itself)For the artist: ingredients of effective art exhibitions & the importance of a cohesive body of workHelping artists create a market for their work and achieving community buy-inSupporting the arts as an ECONOMIC force – how art revitalizes neighborhoods and local economiesBeing assertive, not passive in marketing yourself as an artist and putting your work out thereThe needs of the ‘barrista artist’ (the emerging artist with a part-time job)One industry leader’s personal vision and inspiration (plus Heavy Metal!)Shannon Linker is an incredibly articulate thinker, and it comes across in this substantive and inspiring 41-minute episode. If you’ve ever wondered how it actually works – beyond the rhetoric – how arts tangibly grow an economy and foster entrepreneurship, you’ve GOT to listen to this episode. Do so now, or download and take it with you on your phone or mobile device.If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

Watie (pronounced “Waddy”) White is a thriving American artist living in Omaha, Nebraska. whose works appear internationally in museum exhibitions and galleries as easily as the sides of building in public spaces. Watie creates public art and public-works related art and delivers business-oriented workshops for artists. In this episode of The Thriving Artist podcast, Watie reveals the inside realities of treating your art as a business rather than a martyrdom. Among the insights are:Who among artists gets business trainingThe advantages of smaller markets, and the importance of creating an artist community around youCreation vs. distribution, and how being an artist does not mean being a monkSelf-reliance and the artist’s identityStepping into the unknown with your careerThe allure of public art, and the ‘lurid truths’ of pulpCrossing boundaries, and interior vs. public expressionWatie’s initial marketing strategy and take on professional successThe myth of doing things differently and the significance of a watershed momentWatie is a natural storyteller, and this meaty, 48-minute episode, delivers substantive taste of business-focused commentary without setting foot in a classroom. Listen, now, or download the mp3 and take it with you on your phone or device.If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.

C.W. Mundy is a successful American impressionist painter who also routinely sells out enthusiastic workshops for professional artists. His spouse, Rebecca Mundy, is his business manager. Together, they live in Indianapolis where they’ve based their partnership and career. In this episode of The Thriving Artist podcast, the duo reveal the keys to their longevity as an art/business team and the secrets of C.W.’s reach and fame as a visual artist. We ask the Mundy’s about:The requirements for making a business out of one’s art: financial, collection tracking, marketing, fulfillment, communications, eventsThe role of teamwork and building brand recognitionHow the industry has evolved and the role of digital media, especially videoThe duty of successful artists to teach and the role of teaching in the creative processGallery divorces and the nexus of spirituality and artBucking the trend of flocking to the coasts or the temptation to join an artist colonyDefining success for yourself, and showing your art on your termsYou’ll want to sit down, or take a run or drive, with this slightly more than half-hour episode and listen to what a globally renowned visual artist is saying about thriving as a working artist.If you’re a working artist, feel free to visit our Grants page. If you’re an arts industry professional, collector, or business specialist, or a working artist who would like to be interviewed, visit our Teach and Learn page. As always, even a modest donation is meaningful; and that page is here.