Category Archives: Art Help & Info

Art Help & Info

Turning the Tide

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"The United States of Consumerism" by Amy Guidry; acrylic on canvas; 30"w x 24"h; Private Collection; (c) Amy Guidry 2012

First, I should apologize for my absence last week.  I have lots going on and much to share, which I will be doing over the week so be on the lookout.  As some of you may know, last week the arts community of Louisiana received some sad news- legislators approved a 1/3 cut in Decentralized Arts Funding (DAF) and Statewide Art Grants (SAG).  This affects an estimated 148,000 jobs, Louisiana’s tourism industry, as well as artists, teachers, museums, libraries, theaters, art centers, festivals, among others.  The news is grim, especially given the fact the Arts tend to be the first that are cut and already do not receive enough funding.  I personally know of small museums and art centers that have been struggling to get any kind of funding and risk closing.

So what can we do?

The most obvious answer deals with how we vote and voicing our opinion to local and national politicians.  Thanks to the internet and groups such as Louisiana Citizens for the Arts, you can stay up to date on these issues and contact the appropriate individuals with the click of a button.  And don’t worry about writing the most profound letter, either.  My thoughts are as long as you are writing something, even if it’s just to send the form letter already provided, it will make a difference.  All correspondence adds up.

That being said, politicians need to see numbers.  Letters and phone calls are great, but it also boils down to whether the public is willing to put their money where their mouth is.  You say you love art, but do you really?  They need to see the numbers.  Numbers being the tourism dollars, the tax revenue, the number of people attending arts events, and so on.  If you want to prove that these artists and organizations matter, as well as support them along the way, you need to do the following:

Buy art— Seriously.  This is not some propaganda I’m passing along because I’m an artist.  If you buy art you’ll support artists, galleries, museums, and art centers so they can continue to thrive in your community rather than closing down or moving somewhere else where they appreciate art.  In turn, those sales taxes and income taxes from art speak highly in the eyes of the government.  Funding goes to those that make money and are a good investment.

Attend events— Support your local arts community by attending performances, exhibit openings, lectures, and so forth.  You’ll have an entertaining evening and know you’re making a difference in the process.  Even if it’s a free event, you’re still helping because those numbers matter.

Sign the guestbook— So many people attend an event and pass by the guestbook without signing.  Maybe you don’t think it’s important or you are weary to share your information.  Whatever the case may be, you need to sign the guestbook.  Those names translate to numbers.  Museums and art centers report those numbers in order to prove their importance and receive funding.  No one wants to support a museum if they have no visitors.  So sign your name- you don’t have to give any other information unless you want to- as long as there is a name, it adds to the numbers.

Become a member— Aside from government funding, these organizations receive funds from, well, you!  Paying for an event is great, but if you really want to help, become a member.  You can join any or all, and there are various levels for joining most groups.  Many museums and art centers offer general membership at reasonable rates, some offer rates for students and seniors, so check their websites.

How do you support the Arts?  Feel free to add ideas in the comments section.

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Art Help & Info

Donations, Charities, Auctions and Art

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I’ve discussed donating art a few years ago on this blog, but since this is such a debated topic, I thought it would be useful to revisit it.  It’s great to have someone think so highly of your art that they believe it would help their organization to auction it off.  On the other hand, as your career progresses, you’ll find that you are being asked to donate your work to auctions A LOT.  Sometimes one a week.  At that rate, you won’t have any art left to sell.  So what’s an up and coming artist with a heart of gold to do?  Well it won’t be easy, but you’ll have to pick the ones you want to help (and feasibly can) and politely let the others know that you can’t.

Sounds simple enough, right?  There are a few considerations to keep in mind first.  Obviously if the auction/charity/event is to benefit something close to your heart, then those are the causes you’ll want to start with.  Some causes may not be in line with your beliefs- for example, I am a vegan, therefore I will only donate to charities that do not test on animals.  While you are narrowing down your favorites, also take a look at the event details:

Where is the event venue?  Is it a venue that you are proud to be associated with?

What is to become of your donated art- is it going to be hung on a museum wall or is it being used in an auction?

If it is an auction, what happens if the work is not sold– do you get it back?

Do you like the other artists’ work that will be seen with yours?

If it is an auction, is the starting bid price at a reasonable rate so as not to devalue your work?  Can you set the starting bid price yourself?  Can you set a reserve amount?

Do you get a percentage of the sale?

Will you receive free tickets to the event (presumably for you and a guest)?

If you cannot answer these questions, then don’t be shy- find out from the event organizer or coordinator.  Many organizations, while they mean well, do not realize that artists get these requests quite often and that they are essentially asking you for a donation worth hundreds or thousands of dollars, so don’t feel bad about looking out for yourself.  Also, be aware many organizations will try to sell you on the idea of donating as a tax write-off.  This is only partly true.  You can only deduct the supplies/materials used to create the piece.  You cannot write-off the actual art donated.  (This only applies to collectors of art that has appreciated so they donate to museums and get out of paying income tax on the appreciation.)  It’s unfair, I know, but that’s how it works, at least in the United States.  If you’re looking to get some sort of deduction, you should just write a check to the organization.  If you are happy with the event parameters and have available work to donate, go ahead with it, attend the event, and do some networking. Perhaps the auction winner will become your next collector…

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Art Help & Info

Field of Dreams

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Artist Amy Guidry with her work at the Slidell Cultural Center at City Hall
Artist Amy Guidry with her work at the Slidell Cultural Center at City Hall

I decided to re-post this since it was a popular post I had done awhile back. So for those of you that are new or may have missed this, I hope you find it inspiring!

No one cares about your art more than you do. It’s true. It’s not unlike showing your vacation photos to everyone. They mean well, but after about two minutes, the enthusiasm wears off and their eyes glaze over. I was inspired to write this after going through some old art magazines to clear out the mountain of periodicals I’ve saved. I came across a rather disheartening article in a very popular magazine. The author was giving advice on how to be a successful artist. Some of the author’s tips? Paint what sells- not more “complex” paintings, don’t bother showing in libraries or university galleries since they don’t generate sales (museums usually don’t either, but I don’t know an artist alive that wouldn’t jump at the chance to show in a museum), and sell on Ebay- specifically bright, colorful, quick paintings- no drawings. I know better than this and even I found it depressing! I can only imagine what other artists must think.

So this is what leads me to my frustration. I don’t care who they are or if they mean well, no one truly cares about your art or your art career as much as you do. This is why you are the only one that can determine what your goals are and if, at the end of the day, you’ve done all that you can to achieve those goals. Don’t listen to the naysayers, the haters, the critics, the cynics, or the non-believers. What do they know anyway? Even some of the experts can’t always predict what you, personally, need to do. That’s why it’s up to you to take in all this information and filter through it and find what is applicable and toss away what’s not. You know what you need to do. You know if your work is the best it can be. You know what you should create. If you try to “paint what sells,” you’ll be chasing your tail for quite some time. Popularity changes as do marketing trends. Something that sells one day, won’t the next. That’s why there are trend analysts that make a living at this. Great work is great work and it will attract its own popularity. And while I’m at it- if you were to avoid university galleries, libraries, museums, or any other venue for fear of little to no sales, you wouldn’t be an artist, would you? I couldn’t imagine not having the experience of seeing art, especially when I was a student, at a university gallery or museum. Some of the most significant shows of our time come from these venues.

In my own personal experience, I’ve heard it all. I’ve been told what I should paint, how I should paint, and I’ve even had a drunk non-artist tell me what is and isn’t art. When I made the decision to paint and to try to get into a gallery exhibit, even one of my “good” friends told me that I couldn’t do it. It’s a good thing I didn’t listen to any of these people, otherwise I may not have even been an artist at all. Anyone listening to that kind of advice would quit before even starting. Don’t make that mistake. If you’re already a working artist, just keep on trucking. If you’re just starting out, stay focused and put your blinders on. And maybe invest in some good ear plugs.

Being a true artist takes grit. There’s a lot of blood, sweat, and tears, and you’ll need to develop a thick skin. However, I can’t imagine a more rewarding experience. I always like to think of these words by Ralph Waldo Emerson: “Nothing great was ever achieved without enthusiasm.”

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Art Help & Info

You Like Me, Right Now, You Like Me: The Case for Social Media

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SPIKE
Sally Field\’s 1985 Oscar Acceptance Speech
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Spike Full Episodes Spike Video Clips Spike on Facebook

With all the social media sites out there- Google+, Facebook, Myspace, Twitter, Pinterest, etc.- it has a lot of us all wondering if we really need to be on these sites.  As an artist, I have to say yes… I can hear the groans now… Does it really matter?  In short, absolutely.  Not that this is a popularity contest, but those likes, plus 1’s, and tweets are important.  Sure, they give you a boost of confidence and let you know that someone out there is taking notice to the work you’re doing- everyone wants to have their “Sally Field moment” – you “like” me.  But more importantly, it’s about trust.  Social media sites, time-suckers that they are, actually help build brand trust.  They allow people to get to know you, get better insight into your art, see what you are doing with your art career, and it also gives them confidence to buy your art when they can see that others like you as well.  In fact, the number of fans you have on Facebook, for example, builds confidence among other fans and potential buyers.  All the social media kudos you receive show that they are not alone- that others like your work and buy it, too- therefore they should join the club.  Because of these sites, others are able to vouch for you.

So how to manage all these sites?  And is one more important than the other?  Well, I have to admit that I do have my personal preferences when it comes to social media, however, I do think it is important to be present on all of them to some extent.  To keep things from getting out of control, I would recommend that you first set time limits.  Don’t get distracted with reading posts and watching videos.  Limit your social media time to only work-related posts and interactions when you are on the clock.  You can always go back later at the end of the day to do your personal posts, etc.

I know some of you may frown upon this, but copy and paste is your best friend when it comes to posting about your art.  I see no harm in replicating posts from one site to another.  It will save you time while maximizing your reach.  More than likely no one is going to be seeing the same posts from one site to another anyway.  Not everyone is on all social media sites and even if they are, they still may not see all your posts due to their short shelf-life as well as Facebook’s use of EdgeRank (which filters out 99% of posts by friends and businesses).  It really is best to cross-post in order to broaden your audience.

One last note- this may sound contradictory given your time restraints, but do try to respond to your fans’ comments in a timely manner.  If you post a painting or you ask a question, people are going to respond rather quickly, so be around to give them a response as well.  If you find that this is exceeding your time limit, perhaps find a way to wrap things up and exit the conversation.  You could thank everyone and say that you are going back to the studio now.  Or maybe entice them to come back by saying that you’re off to work on a piece and will come back with a “sneak peek” photo later.  Speaking of which, I need to get back to my easel as well.  If you have questions or comments concerning social media, feel free to to share them here!

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Art Help & Info

What It Takes

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I wanted to take a moment to discuss some concerns that I hear repeatedly amongst artist friends and online.  If you are reading this post, then more than likely you are an artist or maybe an art enthusiast.  Some of you may have embarked upon making a career of your art while others are afraid to do so for various reasons.  And of the ones that are currently working on their art careers, you may find yourselves discouraged at times or frustrated that things are not going as planned.  So what do you do about it?  Well, I am here to say that first of all, don’t give up.  And don’t be scared, or discouraged, or angry, or sad, or frustrated, etc., etc., etc.  This is a subjective business and not everyone will feel that your work suits their gallery or their living rooms.  And that’s okay.

Let’s face it.  This career is not for sissies.  But if you love your art, which I’m sure you do, then the other stuff won’t really matter.  Take pride in your work and take pride in all that you have accomplished.  Even if you’re just starting out, you have a lot to be proud of just in taking the first step to starting your career.  Shockingly enough, most people do not take those first steps (and that’s including those that are not even artists).  It takes guts to make the first move.  You’re getting out of your comfort zone.  And even once you are well into your career, you will find that you still have to shake things up and get out of your comfort zone again and again.  As the stakes get higher, you need to do more as well as reach more.  But that’s okay because you love what you do.

Aside from loving your work, you have to be consistent.  That is the one thing that I see so many artists drop the ball on.  Consistency is key.  You can’t expect to accomplish everything overnight.  You will have to slowly build and take each step towards building your exhibition experience, your portfolio, your sales, your awards, etc.  And just because you accomplish one goal, doesn’t mean you can stop.  You have to keep on plugging away at your career.  You can’t just coast or rest on your laurels.  You’ll need to have new work to show, you’ll need to expand to other cities, other states, other countries even.  You’ll need to keep moving.  How many bands can you think of that were one-hit wonders?  How many actors can you think of that were popular and then seemed to disappear from the face of the Earth?  You may find it hard to even think of examples but once you do, you’ll be thinking, “oh yeah… whatever happened to…?”  Don’t be one of those cases.  You are not a flash in the pan.  You’re serious about your career and you are here to stay.

The good news is it’s not about luck!  Sure, sometimes you may happen to be in the right place at the right time, but that won’t be often.  And even if it does happen, it won’t necessarily make your career.  Even for the positive things that happen in your career, if it wasn’t directly related to your doing, if you trace it back, you will probably find that it was thanks to one of the “seeds” you planted in the first place.  You don’t need to buy a Magic 8 ball or get a tarot reading.  Just keep putting yourself out there, creating more, improving as much as possible, marketing, networking, exhibiting, etc.  You don’t need luck- luck is hard to get anyway.  Consistency is easy enough to do and is a sure bet.

Stay strong, be consistent, and be professional.  The rest will follow.

————

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Art Help & Info

Signing the Dotted Line

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A recent online discussion regarding gallery contracts reminded me that this is something I should have posted awhile back.  There are surprisingly a lot of artists that avoid showing with galleries for fear of the contract.  In actuality, the contract is what keeps you protected and prevents anyone from running off with your money.  In fact, if there is a gallery you are interested in working with that does not “do contracts,” you should either make your own for them to sign or else leave.  It’s wise for both parties to have a legally binding document that ensures that everyone involved is covered.  Art is money, so when you’re handing over your work to a gallery, you’re essentially handing them hundreds to thousands of dollars and hoping they’ll take care of it for you.  With that said, here is a list of most (I may be forgetting some things…) of the issues that should be covered in your contract.  Most of these pertain to a gallery that is representing you, but much of this applies to short-term gallery exhibitions as well.

Commission: The standard here is 50/50, but can vary depending on your location.  This absolutely must be covered in any contract with any gallery, no matter if they represent you or not since this is what determines exactly how much you receive from the sale of your work.  And on a side note, it is perfectly fair for a gallery to get half of the sale since they are the ones that have to pay for your exhibition, advertising, rent and utilities for the building, catering, etc.  If a gallery isn’t doing this for you, then they are not earning their share, which in that case, I would recommend going elsewhere.

Payment: Another must.  When will payment be made?  Some galleries may wait until the end of an exhibit to send you your check, while others may pay you immediately.  Sometimes this is determined by how the customer paid, especially if they are on an installment plan.  Usually to cover all bases, contracts will state that payment is made within 30 days from the end of an exhibition.  Just so long as it clearly states that you are going to get paid within a reasonable period of time, then it should be fine.

Insurance: This is another must in my book, however, I have seen some great spaces not offer insurance, so I can’t say that I haven’t taken a risk at times myself.  However, you should be seeking out galleries that provide insurance while your work is on their premises, especially if they are representing you.  If your work is there long-term, odds are greater that something may happen- fire, theft, etc.  You can look into getting your own insurance coverage, but it won’t be cheap, so you may be better off leaving it up to the gallery.

Framing: Frames are not generally required for all artwork, but this should be laid out in the contract.  If frames are required, it needs to be clearly stated who covers this cost and what type of work- drawings, paintings, printmaking, etc. or just certain types of work?

Discounts: It is not uncommon for a gallery to offer discounts to their regulars or for a purchase of multiples.  This practice is normally only done in representing galleries as they are the ones with a particular roster of artists that they deal with on a regular basis.  Discounts can range from 10 to 20%.  The contract should clearly cover what the discount is or what the range may be and how it is divided- evenly between the gallery and artist or does the gallery take that out of their cut entirely?

Shipping: For those that are out of the area or state, shipping costs need to be covered as this can be very costly.  Shipping policies vary among galleries, so I can’t say that there really is a standard here other than that if it is a short-term exhibition in a non-representing gallery, typically the artist pays for shipping their work to and from the gallery.  For a representing gallery, the artist may be responsible for to and from shipping, or only shipping the work to the gallery, or the gallery may cover all shipping costs.  As far as shipping the work to a client, the gallery will either pay or the client will, not the artist.

Outside Sales: This could be a post in and of itself given the discussions with other artists.  The gallery that you work with may allow you to sell work on your own through festivals, studio, etc. and I have yet to see a gallery that doesn’t.  First, be sure that your work is priced consistently with that of the gallery.  Typically if a sale is made to a client from the gallery, then the gallery will get a commission, usually their standard rate.  However, if the client is someone not affiliated with the gallery and did not see your work via the gallery, then the gallery may only require 20 or 30% or often times, there is no commission.  Point being, if you had to do all the leg-work to get that client, then you would get the entire amount of the sale, but again, that would apply to people unaware of the gallery.  This should be covered in your contract, including the commission rate, if any.

Exclusivity: Typically galleries only require exclusivity to the city they are in.  However, some require exclusivity to the region, state, and even the entire nation (though these are generally “blue-chip” galleries dealing with work that goes for hundreds of thousands to millions of dollars).  Again, this is another issue that should be clearly spelled out in your contract.

Loaning Work: This is usually only an issue for those represented by more than one gallery or those that enter work to juried shows in which the same work is already in a gallery.  If work needs to go from one show to another, the gallery that currently represents that work may require a commission if that work sells in another gallery.  Both galleries would get a commission, for example, each gallery may get 30% while the artist gets 40%.  This rate varies among galleries, though, and should be clearly stated.

Length of Contract: Most contracts remain active so long as the artist is with the gallery.  Generally there is an “out” for each party with a 30-days prior notice, again, this may vary, but 30 days is usually all that is required.  In the event that the relationship is not working, either party has the option to end it.

Exhibitions: This only pertains to representing galleries in which your work is there long-term.  What type of exhibitions will the gallery guarantee and how often?  Will you have the opportunity to have a solo exhibition and will you also be given group exhibition opportunities?  Where will your work be when it’s not being exhibited- typically galleries have a salon in which a mix of works by the gallery’s artists are featured in the back room or even in their project space.

Most importantly, take your time and look over your contract before signing.  There’s nothing wrong with asking to have a day or two to look it over.  You could even run it by someone you trust just to make sure there’s nothing you’re missing.  As I said, if a gallery doesn’t have a contract, tell them you would like to make your own and be sure to cover all of these aspects mentioned.  If you’re uncomfortable telling a gallery you want to make a contract, just put it in benign terms such as that it’s how you keep track of things, or that you might forget (not that you want to appear stupid to these people but put it off on yourself if you need a cover).  If you feel any amendments need to be made, write it up and send a proposal to the gallery.  More than likely they will oblige and add it to your contract.  Above all else, if you are not comfortable with the arrangements, do not sign and look somewhere else.  There are plenty of other fish in the sea.

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Art Help & Info

Exposure- Need it, Want it, Grow it

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Lately I’ve noticed a surge in questions by artists regarding internet exposure.  I think everyone can use more exposure, even if they’ve been at their careers for awhile.  You have to “feed the machine” as I always say and continually add to your internet exposure.  If you don’t consistently provide the public with new information, they will soon forget you unless you happen to be Damien Hirst, for example.  Given the short shelf-life of posts to Facebook, Twitter, etc., it’s especially important to keep the news coming.  So here is a list of my favorite and most useful recommendations:

Website– This seems to be the most obvious but there are many artists out there that don’t have one.  This should be your #1 priority over all other ideas listed here.  Cost can be a big factor, so if you can’t afford to hire a designer, talk to talented students or freelancers that do this as a side career.  You can probably get a better deal– just be sure to look at their portfolio beforehand.  If this is not an option, you can also use WordPress to create a site in which you feature galleries of pictures.

Blog– Again, you can use WordPress for this, but there are many other options out there.  Blogging is important to help build your name, increase your SEO ranking, and gives you an opportunity to connect with fans.

Facebook– I see many artists using Facebook, which is great, but far less have an actual Fan Page.  First, Facebook expects that you will promote your business and conduct sales through your Fan Page, not your personal profile.  Sure, Fan Page posts tend to get filtered out of the news feed, but in all fairness, Facebook is not taking a cut from your sales made via your Fan Page.  Drive traffic to your Fan Page via your website, blog, etc. and include links to your Fan Page on other websites.

Twitter– Personally, I find Twitter to be overwhelming, but no matter your social media preference, it is important to be present on any and all.  I have found that fans/collectors/potential collectors all have their own personal preference for following you, therefore you need to reach them through all of these sites.

Google+ – Some people still don’t know what Google+ is.  To me it is just another version of Facebook, except without all the “flash.”  No ads, no news feeds, no news feeds in your news feeds (haha), and it makes it much easier from the get-go to control your privacy settings and even per post.  As far as I know, you still have to be “invited” to join so if you haven’t already, ask a friend to send you an invitation.

Blogrolls– Besides your own blog, increase your exposure by getting your site included in the blogrolls of blogs that you like.  These are lists of sites that are recommended and tend to share similar interests with the blog listing them.  Ask to trade links with your artist friends- their link listed on your blog and yours on theirs.  You can also approach bloggers that you like to trade links.

Comment– One of the best ways to get noticed is to leave a comment.  So many sites feature like buttons or share buttons, which are great, but don’t forget to leave a comment.  If you have something valuable to add, do so!  You don’t have to agree with the writer, either, just be civil.  When posting, depending on the site, you may have the option of adding a photo of yourself- a Gravatar– or if you can sign in via Facebook or Twitter, use one as long as there is a photo.  People are visual creatures.  You’ll also have the option of including your website or social media link, too.

These are my best recommendations, but there are new sites being created all the time.  If you have any ideas you’d like to recommend, please add them to the comments section!

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Art Help & Info

Marketing vs. Studio Time

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Since we are in the midst of the holiday season and there never seems to be enough time in the day, I was inspired to write about a popular question… How much of your time should you spend in the studio and how much should you spend marketing?  I’ve heard everything from spend most of your time creating to spend 80% of your time marketing.  I can’t say that any one answer is the correct one, however I personally lean towards the marketing end these days.  Unless you are a true beginner with a handful of work to your name, you should be marketing your work.  Sure, if you don’t have work to show, you can’t have an exhibit.  However, you won’t get any exhibits if you’re not marketing your work.  And it’s not just shows you will earn, but publicity on the internet, magazines, tv, radio, etc.  So back to the big question- just how much and how do you balance it all?

-It’s best to do a little each day (as far as marketing goes) but if you are the type that won’t be consistent, it would be better to do your marketing all in one day (or 2…) than not at all.

–Gauge your deadlines.  If you have a show scheduled, clearly you will need to devote a lot of studio time.  Figure out roughly how long it will take you to do the desired amount of work and plan your schedule accordingly.  Any remaining time should be spent marketing, especially when you have a show to promote to collectors, the media, etc.

–Set limits.  It’s easy to lose track of time if you’re buried in paperwork, doing research, or networking via social media.  Set a reasonable time limit for each task and stick to it.

-Prioritize your marketing goals.  There are a ton of things you can be doing to promote your work, so much so it’s overwhelming.  But you won’t be doing all of these things everyday, nor do you really need to.  Decide what is most important and allot a day or days to accomplish those goals.  For instance, how many times a week do you want to post on your blog?  Pick the days of the week you wish to do so and keep the remaining time free for other marketing efforts throughout the week.

-Marketing is especially important when you have something to crow about.  If you go pretty light on marketing, then you should at least devote more time to it when you have a big announcement.  If you have a show coming up, won an award or grant, did a big interview, were on tv, spent time in Paris painting for the summer, etc., etc. then you need to up your marketing efforts to announce these accomplishments to your local media as well as your mailing list, email list, etc.  These are the things that people want to read about.

-It takes a village (well, sort of…).  We rely on galleries, collectors, reporters, etc. to talk about us and get our work “out there.”  It’s great having this team of supporters, however, some artists think that this is all they need to market their work.  Not so.  You have to be a team player.  Your mailing list is different from everyone else’s on your team, not to mention, you frequent different places- stores, doctors, salons, gyms, etc.  And even if someone is already familiar with your work, reminding them that you’re out there only helps to reinforce your brand.

–Write it down.  This is actually the most important tip I can give so I don’t know why I didn’t think of it first.  As mentioned before, it can be overwhelming trying to accomplish everything.  Make a list of all your goals- sketching, painting, blogging, gallery proposals, etc., etc., etc.  Break it down into a smaller list so that you know what you need to do from week to week, or day to day even, depending on your list.  Then just cross them off as you get them done.  Personally I like to do all the little things first just because it makes me less stressed when my list is suddenly a lot shorter.

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Art Help & Info

Narrowing Your Focus

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A little while back, I wrote about goals and formulating your strategy to meet them (which you can read here).  I had also mentioned that part of that process involves revisiting your goals and reworking them.  So as I am revisiting my own, I thought it would be helpful to go through some steps and specific examples.

No matter where you are at in relation to your goals, let’s stop for a minute and revisit them.  This is something you should do every few months, but even if it’s been years, now is the time to go over your list.  What is it that you set out to accomplish?  There should be a list of several things that will lead to this accomplishment.  Whether you have completed a task or not, here are a few things to consider:

– Out of the tasks that you’ve completed, what were the results? Positive?  Did they help you get any closer to your goal or not really?  If it’s the latter, you may want to alter it or even consider removing it from next year’s goals.  Example: You get your work featured on a website you’ve been submitting to and it doesn’t lead to any website hits.  Maybe the website is not worth your marketing efforts so you might not want to submit in the future.  Maybe reconsider the types of websites you are submitting your work to.

– Of the completed tasks with positive results, what worked the best? What resulted in the most contact/sales/exhibits, etc.?  When you are making your new goal list for the following year, be sure to include those tasks again and add similar goals to increase those results.  Example: If a certain exhibit yielded many sales, what contributed to this and how can you do it again?  Show at the same venue next year, do the same type of promotions and broaden the range, or maybe the exhibit was during the holidays.

– What can be improved upon? Maybe some tasks are not quite what you expected but still have some benefit.  Is there anything you can do to improve this or is it time to cut bait?  You want to spend your time on the things that are improving your career and get rid of the time-wasting tasks that are of little or no benefit.

– What is missing from the list? Before completely writing off one of your goal tasks, is there anything you may not be doing to help bring that goal to fruition?  Example: If an exhibit didn’t go as well as expected, was there anything on your end that should have been done to make it a success?  Did you attend the opening?  Did you promote the exhibit?  Did you send out press releases?

– Focus on your “best bets.” Maybe you are hoping to get an exhibit or find gallery representation.  While this is a great goal, you should focus your efforts on the venues that will be the best fit.  Example: If you are an abstract painter, you should focus on galleries that predominantly show abstract work.  What sells well for the gallery?  Where are they located?  What direction are they going in?  Just because it is a well-known space, doesn’t mean it’s a good fit unless it meets these criteria.  Focus on the ones that do.

– Is there anything you can delegate to someone else? Some tasks are necessary, but may rob you of the time you need to complete your high-priority goals.  Do you have an assistant that can take care of such tasks?  Or can you afford to hire one?  Do you have a business partner that can handle certain tasks better than you can?

Once you evaluate what tasks are best suited to your career goals, it will become easier to work on future goals.  You will eventually streamline your goals and learn what to focus on and get the best use of your time.

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Art Help & Info

Promotional Materials

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With the popularity of social media sites such as Facebook and Twitter, I’ve found that many artists rely upon these as tools to promote their art.  While this is great, there are also many other ways to get the word out.  In addition, many are tangible items that are especially valued given today’s internet-crazed society.  Turns out, if it’s a card or a handwritten note, people tend to pay more attention as opposed to something that can go away with the push of a delete button.  So here is a list of materials that I rely upon as well as others:

Business cards: These are the tried-and-true promotional tool for artists.  You can get cards printed up quickly and rather cheaply thanks to the multitude of online printing companies.  I feature my logo in addition to my contact information, including my website.  You may also want to include social media links where people can find your work.

Brochures: Great concise way to present a sample of your portfolio as well as your biography or even parts of your resume.  According to some surveys, galleries and collectors respond well to these due to the quick introduction to you and your work.

Postcards: Basically a combination of the business card and brochure in that you can put an image or images or one side and your information on the other.  Or even put images on both sides, depending on how much you would like to spend.  There are many options for these.  I like to send one out every quarter to announce new work or an upcoming exhibit.  Added benefit: they can be handed out without the worry of being lost in one’s wallet or purse as would a business card.

Websites: Many artists still don’t have a website and some even feel that they don’t need one since they are on Facebook, etc.  Not true.  While social media sites do help, you want your website to rank high on the web, not Facebook.  When your name stands out, it will direct traffic to your site, your available works, your shopping cart, etc.  Still not convinced?  According to The Internet & Marketing Report, your Facebook Fan Page is not enough because of EdgeRank, Facebook’s algorithm for determining which updates show up in a user’s news feed.  It filters out about 99% of content from friends/businesses. Yikes.

Portfolios: Just the word portfolio makes me think of the days when I was in school, lugging around one of those giant black portfolios full of my work.  However, there are some better options.  For a digital version, you can put all of your images on CD.  This is great to hand out to anyone and everyone.  Be sure to get the printable kind so that you can put your info on the front just as you would on your business card.  Don’t use the sticker labels.

For a more traditional approach, you can make high-quality printouts of your work on photo paper and include them in a nice presentation book with clear sleeves for inserting photos.  Also include your resume in the front as well as your contact information.  I recommend featuring 8-12 of your best images.  You can get a standard 8″ x 11″ book or even make a small postcard sized book to carry with you at all times.

Note Cards: Whether it’s a thank you card or a handwritten message, cards are a great way to stay in touch with those that buy your work or put on an exhibit for you.  The ultimate purpose of these is to show gratitude, but having your work or name on the front is a nice reminder.

Everyday items: Some artists put their work on useful items which they sell for some additional income.  Although, there would be nothing wrong with giving these items away as well in order to promote one’s work.  You could create an item with one or several images of your work, as well as including your name and website.  Examples include stickers, bumper stickers, magnets, pens, mugs, calendars, t-shirts, hats, and bookmarks.

No one idea is better than the other, so I would not say that you should rely upon some promotional tools more so than others.  Each serves a purpose and reach people in different ways, which is exactly what you need to broaden your audience.  Therefore, I strongly advise anyone to adopt all of these strategies mentioned.  That can be tough if you are on a limited budget, but as mentioned earlier, there are many competitive printing companies online that can help for very little cost.  Also look into graphic designers (or recent design grads) in your area that can work out a fair deal.  Even trading art may be an option to fund your business.  Just be sure to check out their portfolio to see if they are a good fit for your needs.

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For more information on my upcoming exhibitions, interviews, etc. sign up for my newsletter (or that postcard I mentioned above!) at http://www.amyguidry.com/contact.html