Venues

Artist Carol MacConnell

The Art Biz ep. 171: Self Sales, Open Studios, and Relationships with Interior Designers with Carol MacConnell

A lot of artists say they’d like to work with interior designers, but few artists have been able to crack the code for doing so. Carol MacConnell is one of them. In this episode, we discuss her income streams, how she, as an artist who is legally deaf, navigates conversations, and how she finds, nurtures, and works with interior designers.

You’ll also hear me plead my case for contracts. Always.

The Art Biz ep. 171: Self Sales, Open Studios, and Relationships with Interior Designers with Carol MacConnell Read

Artist and instructor Adele Sypesteyn

The Art Biz ep. 163: Leaving Gallery Representation to Reach More Art Buyers with Adele Sypesteyn (remix)

Have you ever been so focused on a goal you thought was right for you that you missed opportunities that might have been better?

You just knew that this one direction was the path you needed to take. And you might have ignored that it wasn’t working or didn’t feel like the right fit. Adele Sypesteyn discusses adjustments she has made to her art business over the years.

The Art Biz ep. 163: Leaving Gallery Representation to Reach More Art Buyers with Adele Sypesteyn (remix) Read

Oil painting of young girl and boy digging in the sand on the beach | on Art Biz Success

The Art Biz ep. 129: Seeking Validation and Earning Credibility as an Artist

Artists crave validation by others. You want your work to be appreciated. This is perfectly normal. You wouldn’t be human if you didn’t.

All of that validation adds to your credibility and must begin in the studio. Ultimately, you need to understand that your work is valid by the mere fact it exists. Outside validation is more likely to come after you find self-validation.

The Art Biz ep. 129: Seeking Validation and Earning Credibility as an Artist Read

Jeremy Tessmer, gallery director at Sullivan Goss

The Art Biz ep. 123: Qualities Galleries Are Looking For in Their Artists with Jeremy Tessmer

If you’ve ever wanted to shoot the breeze with a gallerist, this one’s for you.

You’ll hear how Jeremy views an artist’s professionalism, what he thinks of online platforms, and how he taught himself art history (and why that was important to him). He also shares the 3 qualities he looks for in artists he represents.

The Art Biz ep. 123: Qualities Galleries Are Looking For in Their Artists with Jeremy Tessmer Read

Art of the State Arvada Center 2022 | on Art Biz Success

The Art Biz ep. 116: How One Curator Works with Artists at a Regional Art Center with Collin Parson

Most people enjoy their visits to art centers and museums without much thought as to how the art got into those spaces in the first place.

Who decides on what to show and when to show it?
Who selects which works of art are next to one another and where to put the labels on the wall or a pedestal on the floor?
Who is the lucky dog who has the the ultimate say on the color to paint the walls?

All of these decisions, and more, fall under the purview of curators in those non-profit spaces.

The Art Biz ep. 116: How One Curator Works with Artists at a Regional Art Center with Collin Parson Read

Virginia Folkestad Exhibition at Sandra Phillips Gallery in Denver | on Art Biz Success

Why Artists Should Embrace Galleries

The way we promote, sell, and buy art is rapidly changing, but there are still many good reasons to consider gallery representation.

Here’s a list to remind you of the upside of working with a gallery. . . .

A gallerist acts as your agent. A good gallery will be your advocate and business partner. They will work to manage your career and help you raise your status and prices.

Why Artists Should Embrace Galleries Read

film noir painting by Leslie Peterson Sapp

How To Discuss Slow Sales with Your Art Gallery

Sales from your art gallery are not what you expected or need them to be.

They sold a lot of your work at one point, but sales have dropped off significantly in the past couple of years—especially during the pandemic.

So what now? Do you ask for your work to be returned?

Not quite! Before you take such drastic measures, do the hard, but professional thing. Talk.

Opening a dialogue is your first course of action, but I don’t want to get ahead of myself. First things first.

Assess Your Relationship with the Gallery

The conversation you have with your gallerist about slow sales depends on the answers to a number of questions.

How long have they have represented you?
How much work have they sold for you in the past?
What are the terms of your agreement with the gallery?
What is the nature of your past relationship?
What is the current state of the gallery’s business? How has it been affected by the pandemic?
What is the demand for your work outside of their venue?

2 Options for Opening a Conversation with Your Gallerist

Based on how you respond to the questions above, consider 2 options for opening a conversation about slow sales from the art gallery.

How To Discuss Slow Sales with Your Art Gallery Read

Metro State Gallery - Denver

What To Include In An Art Exhibition Proposal

Exhibition proposals sound formal and intimidating, but they don’t have to be. This outline for writing an exhibition proposal is easy to follow and will help you gain confidence in proposing art shows to a variety of exhibit venues.

What Is Your Curatorial Thesis?

When you ask to show your art at a venue, you need to be very clear about what you are offering. People don’t often say Yes to vague offers.
Think about what ties the work together. This is your curatorial thesis – your big idea. Writing it out, as you’ll see below, helps you find the clarity you need.

Before sitting down to write your exhibition proposal, ask the venue if they have a particular exhibition proposal format they prefer. If they do, follow their instructions. If they don’t have specific guidelines, you’ll have to compile an exhibition proposal for yourself.

The details of your proposal will vary depending on whether you’re proposing a show at a coffee shop, a pop-up space, or a nonprofit gallery. You will have to judge what is appropriate for your situation.

Here are major components you’ll include.

Introduce Yourself in a Cover Letter

Personalize your cover letter with the correct name and spelling of the manager, exhibitions director, or curator. It’s much nicer to show you have done your homework than to start off with a generic To Whom It May Concern salutation.

I like to begin cover letters with an acknowledgement that I know something about the recipient. You could compliment them on a recent exhibition or say that you’ve been reading about them. You should also mention anyone you know who is associated with the venue – a patron, board member, or artist.

Thank the recipient for considering your proposal.

Document for Your Exhibition Proposal

The meat of your proposal is a document that outlines the particulars of the exhibition.

  1. Explain why your art is a good fit with the venue’s exhibition program.
  2. Describe the exhibition contents and

What To Include In An Art Exhibition Proposal Read

The Art Biz ep. 29: When the Commissions Gig Dries Up with Leslie Neumann

What do you do when one of your major sources of income disappears?

I wish I kept track of how often I have heard this story. It goes something like this.

Artist gets a really juicy gig. Maybe they have a wealthy collector who buys tons of their work to outfit all of their offices and homes (because of course they have more than one). Then the collector is done, dies, or disappears.

Or they have one gallery that is selling their work like hotcakes. Until the gallery doors close or the director skips town because of back taxes owed.

Bottom line: The gig dries up. You have placed all of your eggs in one basket and, due to circumstances beyond your control, what was once reliable income is no longer available to you.

This is what happened to artist Leslie Neumann.

She had a sweet deal going with Firebird Restaurants for more than four years. Their purchases of her original paintings accounted for 50-60% of her income during that period.

And then it stopped. But there’s no need to feel sorry for her! As you’ll hear in this episode of the podcast, Leslie rose to meet every challenge. She does, however, have a cautionary tale.

The Art Biz ep. 29: When the Commissions Gig Dries Up with Leslie Neumann Read

Karen Lynn Link painting

How Much Will That Juried Art Show Cost You?

Those in charge of juried art shows have made it stupid easy for you to enter.

Step 1: Upload images.

Step 2: Complete form.

Step 3: Enter credit card and click the submit button.

The wise artist will pause before that last step and ask these questions.

  • Does this show contribute to my goals?
  • What do I want to accomplish by being in this exhibition?
  • Aside from the nominal entry fee, what are the other costs that are involved if my work is selected?

There are many other things to consider, but these are at the top of the list. And it’s the final bullet point that I want to address.

The Costs of a Juried Art Show

You won’t know if a show is worth your financial investment until you do the math.

Back in 2012, an artist sent me an email about a  painting she was sending to a juried art exhibition that would sell for $1200.

She outlined the fees involved as follows,

How Much Will That Juried Art Show Cost You? Read

Scroll to Top

Your Artist Mailing List: Rethinking + Assessing

Get a transcript of episode 182 of The Art Biz (Rethinking Mailing Lists for Artists) followed by a 3-page worksheet to evaluate the overall health and usage of the 3 types of artist lists.

Where can we send it? 

To ensure delivery, please triple check your email address.

You’ll also receive my regular news for your art business.

Privacy + Terms