She shares how consistent newsletter practice, working with non-artists, and dedicating twenty hours per week to studio time transformed her visibility and opened doors she didn't know existed. Her approach proves you can build a sustainable career from anywhere.
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]]>What does it take to build a sustainable art career when you don’t live in a major art center?
Interdisciplinary artist La Vaughn Belle has been figuring that out from her home in St. Croix, US Virgin Islands. Building visibility from the Caribbean required strategy.
La Vaughn has built her reputation through three consistent actions.
- She has maintained a newsletter practice for over twenty years, sending monthly updates and always asking people to subscribe.
- She is committed to strategic networking, traveling and reaching out to build relationships, starting with other Caribbean islands and expanding outward across continents.
- She collaborates across disciplines with writers, philosophers, anthropologists, and scientists to expand her reach and access different funding streams.
The key is being intentional. Strategic networking means knowing what you’re asking for and following up with genuine curiosity.
Listen
Pick one relationship you already have—maybe someone who expressed interest in your work, a curator you met once, or an artist in a different discipline—and reach out this week. Not with an ask, but, following La Vaughn’s example, with genuine curiosity.
Invite them for a coffee chat or Zoom conversation and see where it takes you.
La Vaughn Belle Quotes
“I see myself as living in the world. I think maybe others may project onto me provinciality or smallness, but I always see myself as being an integral and vibrant part of this planet.”
“Iron sharpens iron. What we looked for in each other was a sharpening of each other—intellectually, artistically, creatively, relationally.”
“Sciences tend to get a lot more funding than arts organizations do, but what’s interesting about working with artists is that we’re able to translate some of their data in ways that they have certain limitations on.”
“I was like, let’s just go big or go home. We want The New York Times, we want CNN, we want the The Guardian.”
“I swear I Am Queen Mary will probably be on my tombstone. It’s such a defining project for me and for my collaborator too.”
“If you are not able to at least put 20 making hours a week, you cannot compete on an international level.”
“It isn’t just networking. It’s strategy. Be very strategic in your networking.”
Mentioned
About La Vaughn Belle
La Vaughn Belle makes visible the unremembered. Working across painting, installation, photography, writing, video, and public interventions, she creates narratives from fragments and archival silences. Her practice moves between myth and mapmaking, constructing new cartographies of freedom, care, and belonging.
Recognized for her explorations of colonial histories and Caribbean memory, she has exhibited widely across the Caribbean, the United States, and Europe. Her studio is based in the Virgin Islands.
Follow La Vaughn on Instagram: @lavaughnbelle
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]]>Learn what conscious connections are, why they matter more than ever, and how to start cultivating your own unique network—the one only you can build.
The post You don’t need a gallery, you need conscious connections (238) appeared first on Art Biz Success.
]]>Nobody seeking to run a profitable business can afford to wait to be discovered regardless of how good their product is. There’s simply too much noise and competition for attention in today’s world. We have to make our own opportunities.
For artists, that often means rethinking the belief that gallery representation will solve everything. Or that posting on Instagram every day will magically get you what you want.
You can’t afford to wait for someone to stumble across your website or Instagram profile and offer you representation, a commission, or some other opportunity. That’s where conscious connections come in.
Listen
Or listen and subscribe on your favorite app by searching The Art Biz with Alyson Stanfield.
What Are Conscious Connections?
Conscious connections aren’t transactional. They aren’t about “getting,” although they are often mutually beneficial. They are intentional relationships that help you achieve specific goals.
They go beyond casual acquaintances and require a deeper and more personal level of engagement and commitment. This is what they look like:
- A collector who bought from you years ago and still raves about your work, but hasn’t heard from you in a while.
- A realtor who commissions small works from you to give new homeowners, putting your art into dozens of homes.
- A podcaster looking for fresh stories. Your journey could be just what their audience needs to hear. (Ahem … )
- A young curator eager to build a resume. Supporting them now could mean exhibitions or introductions later.
These are conscious connections. Not casual contacts, but intentional relationships that expand your reach and open new doors.
Why They Matter
Back in episode 93 of The Art Biz, artist Michael Gadlin said: “You cannot be a one-person band and succeed in your art business.” He was sooooo right.
Conscious connections give you things that may be impossible to find on your own or that you didn’t even know you needed. Things like:
- Resources. Access to funding, expertise, materials, or venues.
- Opportunities. Calls for entry, residencies, or commissions you learn about before they go public.
- Momentum. Not shortcuts, but a network that helps you move faster.
- Knowledge. Staying connected helps you learn what’s happening in your medium, your community, or the art world at large.
- Sales. People who know you are far more likely to buy from you and to share your art with others.
- Collaboration. Partnerships with artists or organizations multiply your reach and introduce you to new audiences.
Conscious connections are the lifeblood of your career. They keep you visible, relevant, and supported in ways no single gallery or social media post can deliver.
Barriers to Connecting Consciously
If connections are so important, why don’t artists prioritize them? Maybe it’s:
- Fear. Reaching out feels awkward. There’s risk of rejection or worry about bothering people.
- Logistics. Geography or not knowing where to start.
- Avoidance. It’s easier to post on social media and feel like you’re making progress. Disorganization and overwhelm also get in the way.
The longer you delay your people work, the longer you delay results.
To overcome these challenges, focus less on yourself and more on others.
Think about how connecting with them can enrich their lives as well as your own.
Who to Focus On
I wish I could wave a magic wand and hand you the perfect list of collectors waiting to buy your work. But it doesn’t work that way. And besides, it’s much more interesting and sustainable to build a network across a wide range of people.
In my Followers to Collectors workshop I share 31 categories of people to consider. Here’s the simplified version of four bigger buckets:
- Supporters. Past buyers, students, family, friends, and even your social media followers.
- Sellers and Venues. Gallerists, nonprofit directors, curators, interior designers, realtors, consultants—anyone who can buy, display, or recommend your art.
- Influencers. Writers, bloggers, critics, politicians, business leaders, clergy, board members, or local entrepreneurs.
- Peripheral Potential. Parents at your kids’ school, members of your congregation, coworkers, niche-market colleagues, even the barista or hairdresser you see regularly. Karen L. Fingerman coined a term for them: “consequential strangers” and they can be powerful bridges to new audiences.
Framing your network this way keeps it simple and actionable. Instead of chasing everyone, focus on one bucket at a time and deepen those relationships.
Take Action
This is an ongoing process, not a race.
To begin, pick one relationship to nurture this week — one note, one call, one reconnection. That small step is enough to keep momentum going.
Conscious connections aren’t optional. They are the foundation of a thriving art career — more reliable than a gallery, more enduring than an Instagram post. These are the people unique to you. Nobody else could create the same list.
And if you’re ready to see how those conscious connections fit into the journey from follower to fan to collector, check out my Followers to Collectors Workshop where you will map out how people discover your art, how you build trust, and how you turn casual interest into lasting patronage.
Don’t wait for a gallery to make things happen. Build your own ecosystem of conscious connections. When you nurture them, opportunities multiply.
The post You don’t need a gallery, you need conscious connections (238) appeared first on Art Biz Success.
]]>He was neglecting his important business relationships at the most basic level. He said he was tired of being the stereotypical bohemian artist and ready to hone his business chops. Skip understood that the place to start this new commitment was with his network.
The post How to guarantee people remember you with Skip Hill (187) appeared first on Art Biz Success.
]]>My utter bliss is to help artists make business systems that streamline their lives so they can spend more time in the studio.
So when Skip Hill said he needed a system for following up with his collectors and important relationships, I knew I wanted to help.
In this encore episode of The Art Biz, I walk Skip through the steps to create a plan for nurturing his relationships.
We go through these steps to create his plan:
- What do you want to happen?
- By when does it need to happen? Or … How frequently does it need to happen?
- What do you need to have/acquire/learn to make that happen? And/Or what tools and technology will you use for the process?
- Who do you need to enlist to help?
- What are the exact steps needed to make this system hum?
The steps in that last question provides the fuel. Miss a step, and your system crashes. Find Skip’s specific steps below.
This is a remix of episode 147, one of my most popular shows of 2023.
Listen
One of my four core beliefs for art business success is that your network is your #1 marketing asset.
[ Read or listen to my core beliefs for art business success. ]
Skip's Steps for His Relationship System
These are SKIP’s steps—specific to his goals. You will need your own set of steps, which I walk you through, and give you the tools for implementation, in my Followers to Collectors workshop.
The steps here have different numbers than those on the recording because I reorganized them to make better sense.
Skip’s to do first:
- Block off time on your calendar every week. You wanted a whole day for this.
- Decide how you will use the various tools (MailChimp, Artwork Archive, Google Sheet).
- Input contact info for new people that you’ve been keeping but doing nothing with.
- Update your Google sheet to have proper fields. Add fields for the next date to follow up, last contact, mutual contact, and notes.
- Start using a daily task list in your journal. Don’t leave anything in your head.
On your “relationship day”:
- Open your spreadsheet. Sort it by the date to follow up field.
- Open Artwork Archive and your collector list.
- Reach out to at least 5 people you need to stay in touch with from those lists. Note that reach out in your Google sheet.
- Consider: Who needs to know about me and my art? Add them to your list and/or reach out today.
To use your email list:
- Begin storing ideas for what to send to your list. Decide where you will keep those ideas so you can find them.
- Send one email every month to your list. Start with a Tuesday or Wednesday (your relationship day), mid-month.
- Your first email (in a very long time) will be a re-introduction to warm up the recipients to hearing from you more often.
Build your unique relationship-centered marketing process —>
Mentioned
- Acuity online appointment management (my scheduling service)
MailChimp email marketing platform
- Zapier and IFTTT to connect apps (I can’t see that you’re able to do this with Artwork Archive)
- Notion – my favorite thing to organize artist businesses
- 2 Free reports: No longer available
Highlights
3:27 Skip Hill’s artistic journey and philosophy
7:43 Creating a system for art business success
11:58 Identifying the components of Skip’s new system
28:07 Finalizing the plan: Steps towards a systematic approach
28:28 Crafting your contact strategy: Calendar blocking and tools
29:15 Organizing contacts: From MailChimp to Google Spreadsheets
31:34 Personalizing your outreach: Keeping track and making connections
32:46 Updating and maintaining your contact lists
33:48 Strategizing collector engagement and follow-ups
41:45 Exploring automation and re-engagement strategies
51:05 Final thoughts and next steps
Quotes
“I’ve done the Bohemian thing for years. That’s the area where I really am looking for your help and guidance in developing systems to maximize business potential for my art.”—Skip Hill
“Intention, that’s the operative word.”—Skip Hill
“Choose one day in the beginning and then know that when you’re starting a system, it’s always gonna take more time in the beginning.”—Alyson Stanfield
“You have to distinguish the purpose for each app you use because there isn’t one app that’s going to do everything for you.”—Alyson Stanfield
“Before I find that magical someone I haven’t identified to help me with my business, I have to clarify what the tasks would be.”—Skip Hill
“You dictate who you want to have your art, as opposed for waiting to whoever comes along.”—Skip Hill
Related Episodes
These episodes focus on business systems.
About My Guest
Visual artist Skip Hill creates colorful, lyrical art that exudes moods of epicurean delights and layers of sensory experiences.
Some of the most captivating parts of his mixed-media collages are in their peripheral details – expressive patterning, looping graphic lines, kinetic scribbling, Kanji calligraphy and African motifs. Like a shaman, Hill communicates freely between dreams and reality, while managing to artfully coordinate his visions with his hand. Working out of his studio in Oklahoma, Skip Hill’s art is influenced by literature, music, art history and his travels through Europe, Southeast Asia and Brazil.
Follow him on Instagram @skiphillart
Build your unique relationship-centered marketing process —>
The post How to guarantee people remember you with Skip Hill (187) appeared first on Art Biz Success.
]]>Heather has learned to navigate the art world with intention, which has led to her current solo show at the Chrysler Museum of Art. We discuss funding, being prepared for opportunities, and building authentic relationships.
The post Overcoming anxiety about making art world connections with Heather Beardsley (160) appeared first on Art Biz Success.
]]>Heather Beardsley’s art has been influenced by extensive travel and residencies in diverse cultures. This started with her year in Vienna as a Fulbright Scholar and then continued for several years until the pandemic shut down her residency in Kyiv, Ukraine.
Like everyone else, Heather had to pivot upon returning to the U.S. She used the downtime to her advantage by getting organized and shaping her career path.
In our conversation in this episode of The Art Biz, you’ll hear how she managed to transform her social anxiety into opportunities—realizing that real growth could only happen when she overcame the urge to play it safe by sticking to open calls for entry.
Heather has learned to navigate the complex art world with intention while connecting with institutions and curators to propel her career.
She shares her experiences of the following:
- Securing exhibition fees, grants, and residencies while managing expectations.
- The importance of being organized and ready for opportunities.
- Using Microsoft OneNote to organize opportunities and deadlines.
- Building authentic relationships within the art world where so much can seem transactional.
You’ll also hear about Heather’s current solo show at the Chrysler Museum of Art and how it came about.
Listen
One of my four core beliefs for art business success is that your network is your #1 marketing asset.
[ Read or listen to my core beliefs for art business success. ]
Mentioned
Quotes
“I think it just forces you to grow as a person being in other cultures constantly. It’s very easy when you’re in one place to surround yourself with people who are like you, who think like you, and so it takes much more effort to force yourself out of your comfort zone, but when you’re traveling that just has to happen.”—Heather Beardsley
On anxiety about reaching out to art world players: “The people that reach out too much, they’re not worried that they’re reaching out too much. So the fact that we’re conscientious enough to have some concerns and think through it means that you’re probably okay.”—Heather Beardsley
“You have to just keep applying year after year. And in the meantime you still need to be doing things.”—Heather Beardsley
“There’s a difference between making professional connections and using people.”—Alyson Stanfield
Related Posts and Episodes
These are related to curating and museums.
About My Guest
Heather Beardsley creates mixed-media projects at the intersection of art, science, and environmental issues, resulting in her first solo museum exhibition, Heather Beardsley: Strange Plants, at the Chrysler Museum in Norfolk, VA in 2023.
Upon receiving her MFA in fiber from the School of the Art Institute of Chicago in 2015, Heather spent a year in Vienna, Austria on a Fulbright Scholarship for Installation Art. She has shown her work both nationally and internationally, including group exhibitions at Science Gallery Dublin, Museo del Traje in Madrid, the Virginia Museum of Contemporary Art, and Museum Rijswijk in the Netherlands.
Follow her on Instagram @heather_beardsley
The post Overcoming anxiety about making art world connections with Heather Beardsley (160) appeared first on Art Biz Success.
]]>Wishing away the responsibilities only leads to frustration and anxiety.
When you decide to turn your art into a business, do it wholeheartedly—finding joy in the journey rather than grumbling about the hard work. It's a matter of deciding how you want to navigate through life.
The post 6 Ways to Be [Even] Happier About Running Your Art Business (155) appeared first on Art Biz Success.
]]>It’s no secret that we love some parts of our business more than others.
There is no way I can say with a straight face that I enjoy marketing and bookkeeping as much as leading my classes like Create Opportunities or coaching my dedicated private clients.
I don’t expect you to like everything you have to do.
I can, however, say with confidence that artists who happily embrace their role as CEO of their businesses do better than artists who fight it and wish they didn’t have to deal with the grind. Wishing won’t make it go away. It only makes you more frustrated, anxious, or resentful.
This doesn’t mean that you need to fake joy whenever you’re paying bills.
It means that you accept that it comes with the territory. You rise to the challenge because you know it’s a necessary step toward achieving your goals.
There are ways to be happier about running a profitable art business, but first you must decide that you want a business on top of making work in the studio.
I will continue to remind anyone who will listen that not every artist should turn their art into a business. It’s a whole different game when you start asking for money for your art, and many artists don’t feel the same about making art once they start offering it for exhibition and sale.
But if you choose to go the route of earning money from your art, do it wholeheartedly. Own it.
You can be pouty and grumble about all of the hard work necessary for something you said you wanted. Or you can find ways to enjoy the journey.
How would you rather go through life?
Listen
I choose to find ways to be happier, and to remind myself to be grateful for the incredible opportunity to control my destiny. To work with talented, generous, and inspiring artists.
I want to tell you what makes me happy about running my own business. What helps me get through the rough patches, and there are plenty of those! Then I’ll share some ideas for you.
On-demand workshop :: $37
ELEVATE YOUR ART
Museum-quality standards that convey higher values and allow you to confidently charge what your art is worth.
What Makes Me Happy About Running My Business
Running a successful business means long hours and many sacrifices, but the rewards are unparalleled.
I am over the moon happy …
That I can work anywhere in the world and at any time of my choosing.
When Clients have Aha! moments. When they really get what I’m encouraging them to do or try. And then …
When students and clients implement what I’m teaching and start seeing results. We celebrate client results frequently as a team.
That I can introduce students and clients because I believe they might collaborate or inspire or motivate one another. And that later, sometimes years, I receive a photo from them after they finally meet in real life—often going out of their way to pay a visit on the other side of the country or even world.
When I receive an email or card full of gratitude from a client who took the time to write.
That I could go almost anywhere in the U.S.—and almost anywhere in the world—and meet up with someone who has read my book, listened to The Art Biz podcast, or been a student in one of my online programs.
All of these things make me ecstatic to have my business.
You Should Be Happy About
If you are listening to this you are likely an artist who can express yourself freely. Millions of people in the world face jail or worse for self-expression. Forgive me for should-ing on you a bit, but you should be a little happier to remember that you have this freedom.
Moreover, you should also be happy that you have the autonomy to start and run a business that focuses on something you have such a passion for.
If you have created a business from your art, you should be happy and extraordinarily proud that you took this initiative and built it from scratch. It’s a huge, brave step. You’re not just making money. You’re also building a legacy.
Many people will never have the guts to do what you’re doing.
Yes, there are things you have to do in your business that you won’t love, but avoiding them will only hold you back. Try to have fun along the way. Try to smile more, and remember your blessings and all you’re grateful for.
Discover the little things that bring you joy, and do more of them.
Because I’ve been working with artists like you for so long, I have an idea or two (6, to be exact) that might make you even happier about running an art business.
1. Go complaint-free.
Stop complaining about being so busy or about doing work that you don’t like. It’s exhausting to be on the receiving end of this, and it feeds a negative mindset.
Complaining is an enormous waste of energy–yours and that of those around you. Nobody wants to be around a complainer, and the complainer just keeps digging a deeper hole for their woes.
It’s easy to jump on the whining bandwagon, and more difficult to ignore the noise and irritations. Notice the things that are riling you up and practice ignoring them. I say practice because this is a muscle you will build.
Stop complaining. Period. Then get to work.
On-demand workshop :: $37
ELEVATE YOUR ART
Museum-quality standards that convey higher values and allow you to confidently charge what your art is worth.
2. Raise your prices.
There are few things more dispiriting than selling your art for a price lower than what it’s worth.
[ Free report: How to Price Your Art ]
You’ll be happier when you place a proper value on your time, talent, and effort. Low prices hurt other artists as much as they hurt you.
I love it that two members of my Art Biz Accelerator just held virtual hands and raised their prices 20%. Together. They each knew they needed to do this, but it was a big deal for each of them. They took the plunge because of the extra support and accountability, and they’re both doing better than ever.
3. Collaborate more often.
I seem to have to remind students and clients how important their network is, and that they need to make a point of seeking collaborations.
I use the term collaboration broadly to refer to working with other people to advance your goals as an artist. Any. Other. People.
Seeking collaborative relationships is some of the highest level thinking I’ve witnessed in the thousands of artists I’ve encountered over the past 2 decades.. Artists who collaborate simply have more ambitious goals.
I’ll give you four quick examples from The Art Biz.
In episode 27, Jill Powers talked about how she collaborated with volunteers, chefs, scientists, venues, and more for a single exhibition.
In episode 86, Jerry McLaughlin and Rebecca Crowell discuss how they collaborate on a learning platform for artists.
In episode 126, Willie Cole reveals how he collaborates with top brands.
In episode 153, Danielle SeeWalker discusses a long-running photo and film documentary with a fellow artist.
All very different collaborations designed to help the artists fulfill their creative visions.
I know it can sometimes be frustrating working with other people, but the potential reward is too promising to overlook. As curator Melissa Messina said in episode 136, your network is everything.
Not only will you be happier when you collaborate, you will also stretch your business muscles and expand your audience when you bring more people in on what you’re doing.
That brings me to my next idea for how to be happier about running your art business.
4. Find your (artist) people.
I don’t have to tell you that the artist’s life can be solitary. You might be okay with that. I know how much I value my alone time.
But there is no reason you should try to figure out all of the pieces of your art business on your own. Your people—other artists who get you—are out there somewhere.
Within the right artist community you will:
- Learn about opportunities before they are ever made public.
- Find understanding for your challenges.
- Get help figuring out strategies for your next move.
- Celebrate your wins with like-minded spirits.
- Be inspired by artists you admire.
Artists’ communities are everywhere, but you must make the effort. It might be a local artist group or perhaps an online community like our Art Biz Connection, which you’ll find at ArtBizConnection.com.
As I like to say, it’s fine to DIY (Do It Yourself) but you don’t have to DIA (Do It Alone).
5. Encourage someone else.
Be happier by making a fellow human happy.
Send a direct message to tell someone what a great job they’re doing. Brag on your students. Brighten someone’s inbox, Facebook page, or mailbox with your art.
I’m not encouraging you to spam people with your art, but if you make uplifting art, send images of it along with sincere love and gratitude to your friends and family. Imagine their joy when they receive your message.
This should make you smile.
6. Get your art and yourself out of the studio.
There are stretches of time when you must disappear into the studio—laser focused on making new work. Eventually, you have to come out of hibernation.
Too much time alone in the studio isn’t good for your mental health, your creativity, or your prosperity.
What happens when you’re in the red and unfulfilled? Disappointment, negativity, gloom.
Getting your art out of the studio and in front of people gives you a greater chance of selling it. The circle of creation is complete because people are viewing and responding to it, and you are connecting with those people.
This leads to greater happiness.
Connection is the Strongest Theme
The strongest theme that emerges from this list of 6 ways to be happier about running an art business is connection.
Connecting with the right people can lift your spirits—whether you’re initiating collaborations or being a valued member of an artist community.
And remember that you don’t have to do all of this. It’s what you said you wanted.
You have freely created an art business where none existed before. Be proud of all that you have accomplished on your own while knowing that you don’t have to do it alone.
If you have been missing that community of artists, but haven’t found your people, we’d love to have you join us in the Art Biz Connection.
This post was originally published on May 5, 2016, updated May 1, 2019, and has been updated significantly with original comments intact.
The post 6 Ways to Be [Even] Happier About Running Your Art Business (155) appeared first on Art Biz Success.
]]>But confidence in your art is necessary when you want to share it with others.
I share 6 tips to help you project confidence even when you're questioning your talent and place in the world.
The post The Art Biz ep. 150: How to Project Confidence Even When You’re Not Feeling It appeared first on Art Biz Success.
]]>I don’t know exactly what it’s like to move your art from the safety of the studio and put it on view for the world to see. As a non-practicing artist, I have only entered my art in a show one time—a fiber sculpture that was juried into an annual exhibition.
Because it was a juried show, there were many artists, so I could slip in under the radar at the same time I was comforted that not all eyes (if any) were on my piece.
Since then, I have felt the discomfort of the spotlight on a regular basis. In a different way.
I’ve sandwiched this solo episode of the Art Biz in between two episodes about artist residencies to discuss a huge barrier that we’re faced with when unveiling our work or, say, applying to residencies: lack of confidence.
Listen Now or Keep Reading
You need …
Confidence in your art.
Confidence in sharing your art with others.
Confidence in your direction.
And confidence, as you have no doubt discovered, is slippery. It sticks around for awhile and then suddenly disappears for no good reason.
While I’m not an artist with a committed practice …
I know what it’s like to put my thoughts, ideas, and opinions out into the world in the form of this podcast, articles, videos, social media posts, my programs, and my book. I know what it’s like to feel shaky about my efforts. To wish I had a few more hours or days to massage my message.
I know what it’s like to work really hard on something and feel you weren’t properly acknowledged or rewarded for that work. To wonder why the heck you even bother making and promoting something if nobody—or fewer than you’d hoped for—responds to it.
I know what it’s like to look at your social media feed and try your best to resist comparing yourself to others.
And I know what it’s like to have naysayers and even haters. I don’t do well with negative feedback, and it’s taken me a lifetime to realize how important it is to divorce myself from my work and all feedback—positive or negative. I have been helped along by Tara Mohr’s book, Playing Big. In particular, the chapter titled Unhooking from Praise and Criticism.
She says, “Feedback is vital … because it tells us whether we are reaching the people we need to reach.” And adds that feedback is “just useful data, nothing more…. Feedback is emotionally neutral information that tells you what resonates for your desired audience, what engages the people you want to engage, what influences the people you want to influence.”
I’m getting a little off-track, but I wanted to put in the plug for Tara’s insights. The bottom line is that feedback and, worse, silence or indifference, can be confidence killers.
Fortunately, periods of confidence and lack thereof are intermittent.
Confidence is boosted when we make a sale, enroll a new student or client, or are invited to join a gallery or be in a show.
The doubt and fear come when we change course or try something new. They show up when sales are slow.
They never really go away because, as an artist, you are constantly reinventing yourself and your art. Every time you do this, you open yourself up.
This vulnerability is what makes you good at what you do. It is part of your authenticity.
If you’re playing it safe by staying in your comfort zone, you’ll avoid the bouts of doubt and fear. But when you stretch, when you try something new, and when you grow, you can bet your last dollar that the troublesome duo won’t be far behind.
You are bound to go through peaks and valleys as you’re experimenting with your art and business decisions.
You need to learn to be comfortable with the discomfort when it appears. It’s a muscle you build, which is easier to hone when you expect it and can prepare for it.
That’s why I want to emphasize that crashes in confidence will happen. They happen to everyone—even those artists you would never suspect. You are not alone. You’re not going through anything that others haven’t gone through before you. And you’re going to be okay.
Lack of confidence gets in the way of your success.
You are more likely to get the commission, sell the work, fill your classes, gain social media followers, and have your proposal accepted if we believe in you.
And we are more likely to believe in you if you believe in yourself and your art.
Next time you find yourself in the center of a confidence crash, use these tips to work your way out of it one step at a time. They will help you project confidence even when you’re questioning your talent and place in the world.
Load up on experience.
The best potion for exorcising fear and doubt is experience.
Experience builds confidence 99x faster than walking on hot coals or loading your shelves with self-help books.
Make more art. And more art.
Enter more shows.
Apply for more grants and residencies.
Rack up the rejections. Keep counting the Noes so you can get to the Yeses.
I promise your confidence increases and you are less concerned with what others think as you become more experienced.
Spiff up.
Increase your confidence by honing your professional presentation.
Consider making these improvements.
- Rewrite your artist statement with language that guides people to look more closely at your art.
- Improve how you introduce yourself to people in order to pique interest.
- Update your bio to better highlight your accomplishments.
- Freshen up your website and branding to reflect your ambitions.
- Engage art viewers at a deeper level so that they spend more time with your art.
Consider joining my Magnetic You program to help with all of these.
In Magnetic You, I walk you through a process of creating or refining your artist statement and bio, developing stories around your art, and clarifying your visual branding. And you have the support of my team, our community members, and me for feedback and accountability when you need it. MagneticYouArtist.com
Work on the outside.
Looks shouldn’t matter, but they do—mostly because they affect how you feel about yourself. Little adjustments can go a long way.
A new outfit can do wonders for your esteem, as can painting your nails, shining your shoes, or getting a new hairdo.
Wear your “power color” or a good-luck necklace. Or hold a talisman in your pocket.
Update your website and branding.
This isn’t gender-specific. Anyone can do this.
Anything that improves your appearance and presentation will give you a boost.
Stand up straight. Or sit up straight. Don’t slouch in the back of the room. Or hunch over your desk while on a Zoom call.
Pull your shoulders back, hold your head high, and introduce yourself to people.
Remember that everyone at an art opening or on a livestream is there for the same reason.
Act like you belong there. Because you do.
Visualize the situation.
As you are preparing for an event that puts you in the spotlight, visualize how you want to show up. Imagine yourself firmly planted in the room, be it live or virtual.
Again, you belong there.
Anticipate the questions that might be asked, prepare talking notes, and know that you will rely on your experience, professional presentation, and preparation.
Consider: “How would
I love Adam Grant’s interview on the Rethinking podcast with Steve Martin and Adam Gopnik, when Martin says: “ I think the advice of “be yourself” is the worst advice for humanity” and reveals how he channels Carl Reiner’s charisma in social situations. [ Transcript and No. 18 in 2023 ]
Try the charm offensive.
Introducing yourself to strangers is a quick way to relieve any anxiety around an event with lots of people that you’d like to connect with.
As you meet someone new, look them in the eye, smile, and call them by name. Repeat their name a couple of times as you’re speaking so you remember it.
Focus on listening—listening to connect and to understand rather than half-heartedly listening to respond with your own stories.
Confident people are comfortable enough to focus on others rather than talk about themselves all of the time. They leave space for conversation.
Now for my final tip.
Never belittle your work. Never apologize.
When someone says something kind about your art, all you have to do is say Thank you. Don’t giggle and brush aside their compliment. Don’t look down at the floor and say, Aw shucks.
Look them in the eye and express your gratitude.
Don’t apologize for poorly cut mats or the dirty display pedestal. There’s no need to call attention to imperfections.
Better yet, attend to these details before you show your work so that you aren’t tempted to focus on them anymore.
Also, don’t apologize for your pricing or offer discounts out of the gate. If you have done your homework, you understand the value of your art. Your pricing is where it should be.
As I said earlier. Confidence is a muscle that you build through experience. The experience of getting your art out of the studio and in front of people, and the process of anticipating and preparing for interactions around your art.
Everyone wrestles with periods of insecurity. Everyone! There has got to be some kind of solace knowing that you are not alone.
And that you don’t always have to be confident. You just need to play the part.
This article was originally posted August 7, 2014, updated March 28, 2018, and has been updated significantly with the addition of a podcast episode and original comments intact.
The post The Art Biz ep. 150: How to Project Confidence Even When You’re Not Feeling It appeared first on Art Biz Success.
]]>Be. You.
Having said that, here are the biggest mistakes you can make when networking.
The post Networking Errors for Artists appeared first on Art Biz Success.
]]>Meeting new people and being able to introduce yourself as an artist is essential to growing your art business.
The more people you know, the more people there are to appreciate, buy, and tell people about your art.
[ Catch my short workshop, The People Plan for establishing conscious connections for your art business. ]
The best tip I can give is just to get out! Online relationships are valuable, but in-person meetings can make an artist’s career.
[ Check out my post (with podcast episode) Being Seen: Networking for Artists for tips on where to network. ]
Be You
Putting yourself and your art out into the world doesn’t come easy. One thing that might help is to remember that you’re just meeting people. The stakes are low at this point. My best advice is to encourage you simply to be genuine.
Be. You.
Networking is a two-way street. You must care about nurturing relationships (read: you must care about the people you’re connecting with) in order to be a successful networker.
Having said that, here are the biggest mistakes you can make when networking.
Don't Do These Things
- Don’t approach new people in a transactional way. Expecting something in return for what you’re offering feels icky and doesn’t leave any room for a genuine relationship to bloom. Always meet someone first and get to know them before asking for anything.
- Don’t hang out only with artists who work in the same genre or medium as you. What fun is that?! You won’t grow until you bust out of your comfort zone.
- Don’t shove your business card at people or see how many cards you can unload at a single event. Effective networking is about the quality of relationships, not the quantity. That brings me to …
- Don’t forget to get business cards or info from the people you meet. It’s far more important that you get their information than that you give them yours. This puts you in control, which helps you avoid error #7.
- Don’t forget people’s names right after you’ve been introduced. There aren’t a lot of excuses here. Saying “I’m bad with names” is a self-fulfilling prophecy and makes you bad with names.
If you genuinely care about the people you’re meeting, you’ll make an effort. Repeat their name immediately. Use a trick from the Car Talk guys and ask how the name is spelled.
- Don’t use networking as an opportunity to tell people everything about yourself. Let the relationship unfold naturally. Besides, people love to talk about themselves (thus my caution here) and will like you more if you focus the conversation on their interests.
- Don’t sound anxious or needy. These are straight-out energy killers.
- Don’t fail to follow up after meeting people. If you follow up with a “nice to meet you” email, phone call, or note card within a couple of days, they are more likely to remember you.
If you wait too long to follow up, your communication might look more like a sales pitch than a considerate message.
First published August 27, 2015. This post has been updated with original comments intact.
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]]>There is no way around it. You must. Be. Seen. It sounds simple, but I know this is not easy for many artists.
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]]>Meeting people and building relationships is the most important thing you can do for your art career, especially when your goal is to be a full-time artist. Networking for artists means you must be social in the real world as well as online.
There is no way around it. You must. Be. Seen.
It sounds simple, but I know this is not easy for many artists.
Listen to This on The Art Biz
You know you need to get out and mingle when:
- You find yourself sitting behind your computer all day and researching, yet again, the latest magical way to promote your art online.
- You realize you’ve been attending only your own openings and shows.
- You haven’t met anyone new in more than 2 months.
- Your sales and/or opportunities are stagnant.
- You’ve been living in the same place for years without knowing your neighbors. (You never know where opportunities will come from.)
↓ I have a system to make this easier ↓
Why Networking Is Important for All Artists
One of my four core beliefs in art business success is that your network is your #1 marketing asset.
[ Read or listen to my core beliefs for art business success. ]
There are simply too many artists these days to afford you the luxury of waiting for opportunities to enter your inbox. You must be proactive.
Everyone you run into is a potential buyer, collector, friend, or fan.
Think about that for a minute. You never know where opportunities will come from.
I’ve met many serious collectors throughout my life, and a description of some of them would shock the heck out of you. You’d never pick them out of a lineup.
You. Never. Know.
Who can’t use more buyers, collectors, friends, and fans? And … If, as it’s estimated, everyone you meet knows 150 people, imagine the possibilities.
Where Artists Network
In short: Everywhere!
You should think of striking up conversations wherever you are and whoever is in front of you. (Yeah, I’m one of those people on the plane. But I can also read people to see if they want to chat.)
Become involved with an artist organization if it’s the right group for you. If you are serious about selling your art, don’t waste your time in a group of hobbyists. You’ll quickly get frustrated in groups where you’re always a step ahead of everyone else.
[ Read Dysfunctional v. Healthy Artist Organizations ]
Artist organizations can be your introduction to new opportunities that you might not otherwise hear about. In the right environment of professional artists, you will step up to challenges that you might not have confronted on your own.
It’s also worth your while to attend artist lectures at museums and galleries. In those venues, you have an opportunity to meet curators and collectors, as well as other artists—soaking in tips on how they present themselves.
It’s always beneficial to connect with other artists for the same reasons you’d join on organization of artists.
Outside of your art community, do yourself a favor and connect with other entrepreneurs. I’ll bet you know plenty of entrepreneurs, though you might not have thought of them as valuable connections.
The E word (entrepreneur) might not feel like it applies to you, but it does. Anyone who owns his or her own business (you) is an entrepreneur and probably has a few experiences you can learn from.
Think coaches, hair stylists, authors, virtual assistants, therapists, coffee shop owners, and retailers. Every one of them has to find business.
You’ll run into entrepreneurs at small business meet-ups, chambers of commerce, formal networking groups, and co-working spaces. earch “networking group” + your location to find one nearby.
Navigating Relationships in Any Art World
It is well to remember that there are many different art worlds. There is the one that Jerry Saltz calls the 1% of the 1% of the 1% of artists who are the most talked about and represented in galleries, museums, and auction house sales.
Artists: Although it’s true that maybe 1-percent of 1-percent of 1-percent of artists make tons of money from their art, many artists make just enough, somehow, to work everyday, not have soul-killing jobs, and manage to have amazing lives lived in art. I want this for you.
— Jerry Saltz (@jerrysaltz) March 12, 2023
For clarity in this discussion, I’m referring to this as The Elite Art World.
Then there are all of the other art worlds made up by the vast majority of artists: your local community, your niche, your medium, your subject matter, and so forth.
Most of the art worlds exist in their own bubble—revealed only when we turn our attention in their direction.
You have to decide who you want to have these relationships with. Who are your top prospects for professional relationships? Are they in or outside of your bubble? Who matters to you?
Part of being successful in any field, let alone having a successful art business, is learning to navigate relationships. Getting comfortable with introducing yourself as an artist is only the first step. You have to understand how people work, play, and converse together.
You discover the subtleties around art business relationships by inserting yourself (in a meaningful way) into them. By being present.
You learn to speak the language of whoever it is that matters to you and your goals.
[ Navigating Relationships is a key lesson inside of my Create Opportunities program. ]
Why IRL Networking for Artists is Critical
Because your art must be seen in person in order to be appropriately appreciated, eventually you’re going to have to be there next to your art—speaking on its behalf.
Contrary to popular belief, your art does not speak for itself.
Curators expect you to speak articulately about the work in a way that gives them reason to show and acquire your art.
They also expect you to meet their donors and collectors in the community and to represent yourself well in the process. This requires practice. Start practicing now.
You might be saying, I don’t care about museums. Fine. Substitute “gallerists” for museum curators in the scenario. They expect the same thing.
When galleries represent you, they expect you to show up at their shows. Not just your shows, but those of their other artists as well. You are expected to support their programming.
The secret door into every gallery is the other artists who already show in the gallery.
—Gallerist Jeremy Tessmer (The Art Biz episode 123)
This is why it’s so important to be connected with other artists.
Gallerists, curators, collectors, and the nice people who hand out grants and residencies like to see that you are invested in your local community.
Impress them all by showing up and being seen.
↓ I have a system to make this easier ↓
If You Don't Give a Rat's Patootie About The Elite Art World
Maybe none of this is landing for you.
Maybe you are happily ensconced in a bubble of your own making.
Or you’re perfectly happy doing the local community shows and/or participating in social media.
But I don’t want to be in galleries or to see my legacy in a museum. I want to be a self-represented artist. Fantastic! I love that! Working with self-represented artists is one of my joys. Self-represented artists are bold and creative with their businesses as well as their art.
And, yet …
Who is going to buy your art? Who is going to show it? Who is going to attend your openings? I hope you’re not waiting for them to materialize from the ethers.
Even if you don’t give a rat’s patootie about the elite art world, you need to care about reaching out and establishing strong relationships.
Networking for Artists the Authentic Way
Let’s be clear: When I talk about networking, I’m not intimating that you change your personality or adopt any kind of fake sucking up to people. I want you to be genuine in everything you do.
It should be comfortable at every level if, indeed, you care about the people you want to show, talk about, and own your art.
Again, I’m talking only about getting out and meeting people. I’m talking about being seen.
You can have a modestly successful art business by sitting behind your computer and trying to hack the latest social media algorithm and sales websites, but you will never reach the highest levels of the art world, regardless of which art world you care about, by doing this alone.
Here’s how you can reach out and start meeting more people:
- Attend your art openings alone—without someone to cling to. Or at least promise one another to break out and meet up again later to compare notes.
- Introduce yourself to strangers at your opening. This is the absolute easiest time to meet people because, technically, you’re a host at your opening. You have every reason to welcome people and talk with them.
- Invite your neighbors to dinner so you can get to know one another.
- Send an email invitation for coffee to a local artist you’d like to get to know. Your treat, of course.
Being social extends beyond the art worlds into all corners of your life.
I Know This Isn't Easy
As I said previously, you never know where a relationship might lead. You just never know.
If it’s true that everyone knows about 150 people, think of how you can dramatically expand your reach and influence just by meeting one new person every month.
That’s my invitation to you: Set a goal of meeting one new person every month.
Maintaining friendships with the 150 people you know and then frequently adding to that list can exponentially increase your sales prospects. You will be surprised at the support you receive and the opportunities you create just by being more social and introducing yourself as an artist.
Before I go, I acknowledge that this isn’t going to be easy for you. I know how nice it is to stay in the cocoon of your studio.
But you can do it. You can learn to be a more effective networker because it contributes to your long-term goals. And because nothing worth doing is ever easy.
Listen to this on The Art Biz
Related Episodes
These episodes focus on nurturing relationships.
This post was originally published on August 11, 2016 and was first updated on August 15, 2019. It has been updated again with a podcast episode added and the original comments intact.
↓ I have a system to make this easier ↓
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]]>He was neglecting his important business relationships at the most basic level. He said he was tired of being the stereotypical bohemian artist and ready to hone his business chops. Skip understood that the place to start this new commitment was with his network.
The post How to Guarantee that People Remember You with Skip Hill (147) appeared first on Art Biz Success.
]]>My utter bliss is to help artists make business systems that streamline their lives so they can spend more time in the studio.
So when Skip Hill said he needed a system for following up with his collectors and important relationships, I knew I wanted to help.
In this episode of The Art Biz, I walk Skip through the steps to create a plan for nurturing his relationships.
We go through these steps to create his plan:
- What do you want to happen?
- By when does it need to happen? Or … How frequently does it need to happen?
- What do you need to have/acquire/learn to make that happen? And/Or what tools and technology will you use for the process?
- Who do you need to enlist to help?
- What are the exact steps needed to make this system hum?
The steps in that last question provides the fuel. Miss a step, and your system crashes. Find Skip’s specific steps below.
Listen
Skip's Steps for His Relationship System
These are SKIP’s steps—specific to his goals. You will need your own set of steps (which I’ll walk you through in my upcoming The People Plan workshop).
The steps here have different numbers than those on the recording because I reorganized them to make better sense.
Skip’s to do first:
- Block off time on your calendar every week. You wanted a whole day for this.
- Decide how you will use the various tools (MailChimp, Artwork Archive, Google Sheet).
- Input contact info for new people that you’ve been keeping but doing nothing with.
- Update your Google sheet to have proper fields. Add fields for the next date to follow up, last contact, mutual contact, and notes.
- Start using a daily task list in your journal. Don’t leave anything in your head.
On your “relationship day”:
- Open your spreadsheet. Sort it by the date to follow up field.
- Open Artwork Archive and your collector list.
- Reach out to at least 5 people you need to stay in touch with from those lists. Note that reach out in your Google sheet.
- Consider: Who needs to know about me and my art? Add them to your list and/or reach out today.
To use your email list:
- Begin storing ideas for what to send to your list. Decide where you will keep those ideas so you can find them.
- Send one email every month to your list. Start with a Tuesday or Wednesday (your relationship day), mid-month.
- Your first email (in a very long time) will be a re-introduction to warm up the recipients to hearing from you more often.
Mentioned
- Acuity online appointment management (my scheduling service)
MailChimp email marketing platform
- Zapier and IFTTT to connect apps (I can’t see that you’re able to do this with Artwork Archive)
- Notion – my favorite thing to organize artist businesses
- 2 Free reports: No longer available
Quotes
“I’ve done the Bohemian thing for years. That’s the area where I really am looking for your help and guidance in developing systems to maximize business potential for my art.”—Skip Hill
“Intention, that’s the operative word.”—Skip Hill
“Choose one day in the beginning and then know that when you’re starting a system, it’s always gonna take more time in the beginning.”—Alyson Stanfield
“You have to distinguish the purpose for each app you use because there isn’t one app that’s going to do everything for you.”—Alyson Stanfield
“Before I find that magical someone I haven’t identified to help me with my business, I have to clarify what the tasks would be.”—Skip Hill
“You dictate who you want to have your art, as opposed for waiting to whoever comes along.”—Skip Hill
Related Episodes
These episodes focus on business systems.
About My Guest
Visual artist Skip Hill creates colorful, lyrical art that exudes moods of epicurean delights and layers of sensory experiences.
Some of the most captivating parts of his mixed-media collages are in their peripheral details – expressive patterning, looping graphic lines, kinetic scribbling, Kanji calligraphy and African motifs. Like a shaman, Hill communicates freely between dreams and reality, while managing to artfully coordinate his visions with his hand. Working out of his studio in Oklahoma, Skip Hill’s art is influenced by literature, music, art history and his travels through Europe, Southeast Asia and Brazil.
Follow him on Instagram @skiphillart
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]]>We talk about how she works with artists, galleries, and collectors and why she thinks there has never been a better time to be an artist.
The post The Art Biz ep. 127: She’s the Link Between Artists, Galleries and Collectors with Maria Brito appeared first on Art Biz Success.
]]>The art world is notorious for being opaque and aloof.
Art is shown and sold without a price made public and galleries train their salespeople to ignore viewers who enter their sacred space.
It’s enough to discourage most people.
My guest for this episode of The Art Biz is Maria Brito, award-winning New York-based contemporary art advisor, curator, and bestselling author on the topic of creativity.
Maria is working to demystify the art world for people who might be otherwise intimidated to enter a gallery. She is an advocate for democratizing the art world for artists, and for collectors who might be interested in buying art but aren’t yet ready to spend tens of thousands of dollars.
Maria and I talk about how she works with artists, galleries, and collectors and why she thinks there has never been a better time to be an artist.
You won’t want to miss her tips about Instagram and why you can’t afford to ignore this valuable platform (no matter how much you want to).
Highlights
- Maria’s career was born from what is missing in the art world. (2:35)
- Democratizing and demystifying the art world. (6:29)
- Making your own rules when using the free marketing tools of Instagram. (12:32)
- There is more than one right way to be an artist. (16:06)
- Maria’s daily interactions with artists. (19:20)
- How does Maria decide which artist offerings to pursue? (24:22)
- The role that a curated Instagram feed plays in discovering artists. (30:24)
- Additional online details that attract Maria to an artist. (35:27)
- A look into Maria’s new book How Creativity Rules the World. (40:15)
- Curiosity and the original artist’s mind. (46:36)
Maria Brito Quotes
- “One of the things that helped me succeed was that I was so interested in portraying artists in a different light.”
- “We have to acknowledge that, for the most part, these buckets of technology have definitely helped us democratize and streamline and find clients and find collectors that otherwise would be impossible.”
- “There hasn’t been a better time in history to be an artist.”
- “Being able to have control over how you present your message is just a gift.”
- “Artists have to treat their Instagram account as their own gallery.”
- “The point of being curious is to find more opportunities.”
Related Episodes
Laurence de Valmy discusses how she boldly reached out to art world influencers.
Art gallery director Jeremy Tessmer talks about what he looks for in artists.
Art center curator Collin Parson on how he works with artists.
Problem solving and the life of an artist with Michael Gadlin.
About My Guest
Maria Brito is an award-winning New York-based contemporary art advisor, curator, and the bestselling author of How Creativity Rules The World. A Harvard graduate, originally from Venezuela, Brito has been selected by Complex Magazine as one of the 20 Power Players in the Art World, and she was named by ARTnews as one of the visionaries who gets to shape the art world. She has written articles to help demystify the art world for numerous business and cultural publications. In 2019, she launched “Jumpstart,” an online program on creativity that has been utilized by over 1000 people ranging from artists to entrepreneurs.
Follow her on Instagram @mariabrito_ny
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