Multiply Your Exhibition Audience with Collaborative Programs

Jill Powers’ piece, Color in a Changing Forest, in a Live Motion performance. Photo by David Silver.

We were pitched exhibition ideas daily when I worked in art museums. When trying to decide on an exhibition schedule, we considered things such as funding sources, gallery space, scholarship, budget needs, and audience interest. But one of our biggest concerns was always: Can we program this?

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Create a brochure for your art

Laura K. Aiken asks about artists’ brochures: Do artists have brochures? What’s in them? What makes a good artist brochure?

Yes, artists have brochures. Some are better than others. Most are a waste of paper because they’re poorly designed, flimsy, look homemade (in a bad way), have poorly photographed art, or are considered by their creators to be a magic pill that will solve all of their marketing woes.

The only reason I can think of to have a brochure is if you need to give the same information to a large group of people in a compact format. Maybe you’re sending a direct mail piece to your niche market (garden centers, the wine industry, women’s groups). Or, you teach classes and workshops and want to leave your schedule at targeted locations. Or you participate in a lot

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