WHAT I LEARNED FROM CHARIOTS OF FIRE

I’m reprinting this article I wrote on June 2, 2005, because it bears repeating. (And because it’s so hard to find on my old blog at RadioUserland…)

I’m doing a series of articles at Fine Art Views, an art marketing blog I write for. I realized this post is still timely when talking about marketing our art.

CHARIOTS OF FIRE and the World Batik Conference
In a few weeks I’ll be presenting a speech at the World Batik Conference at Boston College of Art.

I’m speaking on self-promotion for artists, specifically the art of press kits and press releases.

The time is limited, and the message must be succinct. I asked one of the organizers what she felt I had to say would be the most value to their audience.

She didn’t even have to think about it. She said, “In other countries, there is a huge cultural bias against putting your art forward, of appearing too proud of your work. It’s seen as bragging or being boastful. People have a difficult time thinking about promoting their art and themselves. Can you address that?”

I’ve been thinking of it ever since. It’s not just artists in some other countries who have that bias.

It can be very hard to convince most people—especially women, especially artists—that it is not only desirable, it is essential we put our art out into the world at every opportunity. That it is not a selfish act, but an act of generosity.

In fact it is the greatest gift–the ultimate gift–we can make to the world.

My favorite line from the movie “Chariots of Fire” is when the missionary/runner Eric Liddell explains to his sister why he will indeed compete in the 1924 Olympics, though it seems to conflict with their religious goals and plans:

I believe God made me for a purpose; but He also made me fast. And when I run I feel His pleasure. To give it up would be to hold Him in contempt; to win is to honor Him.

When we are given a gift, we must remember that the pleasure the giver gets is anticipating and enjoying the pleasure the gift will give us.

To renounce the gift, to deny its potential, is to ultimately negate the spirit in which it was given. No good comes of that. Love, real love, is not served by that.

I truly believe it is the same with the gifts we are born with. Whoever/whatever you feel is the source of that gift—God (by any name or names), nature, DNA, random chance, the Force. It appeared in Y*O*U. It’s part of what makes you…you know…YOU.

And note that the gift may not simply be what we are good at, but what gives us joy. Don’t confuse talent with passion. They may both be involved in the gift. But what really drives our watch is not the precise movement of the second hand but the spring inside. (Or the battery. Or the electricity coming through the cord. Oh, never mind….)

Find what you are put here on earth to do. Find what gives you joy. Do it, and share it whenever possible with others. Tell it to the world. Show us. Don’t even pretend you know what ripples it will make, or how it will all play out—we can’t know that.

But know that whatever creative force in the universe you celebrate, will be pleased.

SELLING YOUR WORK: Far Afield? Or Close to Home?

There are pros and cons to being a ‘local artist’, and many artists opt to ‘get out of Denver’ as quickly as they can. But there are deep reasons to building a local audience first.

I got an email newsletter from artist and writer Robert Genn. I always enjoy his thoughts on making and selling art. He’s a good writer, and a thoughtful one.

Today (insert link here) he tells why he decided to skip a local market, and developed more distant venues to sell his paintings.

I felt the same way when I started out with my art. I feared that ancient ponies and bone awls would never find a hold in a traditional New England marketplace. I did a few local shows, just to prove to myself I needed to go further afield. And then I did just that.

But I’m here today to eat my words. (I do that a lot.) There are lots of good reasons to start local. And I’ll give you suggestions on how to make it work.

You’ll learn how to talk about your work.

“I hate talking about my work!” “I don’t know what to say.” “My work speaks for itself.” “I’m shy–I just can’t talk to people!” I’ve heard–and said–these words so many times. Let’s cut to the chase. Art rarely ‘sells itself’. Somebody has to talk about it. If it’s not you, then it has to be your gallery or sales rep.

And how are they going to know what to say about it unless you give them a clue? If a thousand artists paint a picture of a tree in a field, then how will someone decide yours is the one that goes home with them?

If you believe that artistically knowledgeable people can tell the difference between your tree and 99 others, or a thousand others, or 10,000, then you’re going to have to be the absolute best painter out there.

In reality, many collectors aren’t looking for ‘the best out there’. They want to believe the one they like best, is the best one.

And your job is to tell them why your painting is the best for them.

You can do it with credentialing–art school degrees, awards, honors, solo shows, etc. You can do it with publicity–press releases, getting your work published and exhibited, etc.

The easiest thing, of course, is to just tell them. You share your technique, your process, your story. Whatever works best to connect them to your work. (You know I vote for ‘story’, but if it feels safer to start with ‘process’, go for it.)

Of course, a gallery will do this for you. But who tells the gallery? Yup. Y-O-U. I got practice talking to my customers. By the time I talked to gallery owners, I was comfortable and confident.

You’ll discover what people love about your work.

I talked easily and readily about why I loved my work, once I got used to the notion. It’s when I shut up and listened that I found out why others loved it.

What other people say about your work is powerful. People overhearing someone else saying something wonderful, is even more powerful.

People saw things in my work that astonished me. As they told me how it affected them, what it meant to them, I became even more dedicated to making it. I realized I need to make it. And others need to see it.

That’s hard to do when your work–and your audience–is a thousand miles away.

And it’s powerful to be able to say to a prospective gallery, “This is what people say about my work….”

You’ll perfect your booth, your display, your signage, your entire presentation.

Let’s say you do get that perfect out-of-state show with the oh-so-sophisticated audience, or the super duper gallery with the big name artists roster. What will they say when they see your awkward framing? Your lack of support materials?

What do you do when your far from home and realize you’re missing a critical piece of your booth? It’s one thing to run home and grab it. It’s another to be looking for the nearest Home Depot at night, in a cab.

Doing local shows was an education. I learned the hard way how to streamline my set-up and breakdown (as much as I can with jewelry cases, table top AND wall displayed items!) I learned they hard way what was essential and what wasn’t. I learned through practice the best ways to display my work.

And then I did my first big out-of-state show. When I did, I hit the ground running. (Well. Running, yes. But there was still a lot I had to learn!)

You’ll generate enough money to keep going.

Getting into an out-of-state art exhibit was exhilarating. It forced me to get good images of my work, and to go looking for opportunity.

But it wasn’t great for sales.

It was a small but steady stream of local sales that kept me going. My local collectors supported me just enough for me to always take the next step. And that was really all I needed.

You’ll learn that you are responsible for your success.

Local market or farther afield, it still takes dedication and work to build your name as an artist. It’s easy to say, “Oh, no one around here appreciates good art” or “People here are too cheap to buy real art.”

I would have an easier time believing that, if I didn’t hear artists from around the world say this. All. THE. TIME.

We all like to blame others when our efforts don’t fly. I do! I want to blame everybody except myself.

I know we can’t control everything. I know we can’t command success. I know sometimes even the best efforts fail.

But we are responsible for doing the best we can.

As I learned how to do better–as I knew better–I did better, and I got better. My presentation improved. My ideas grew. My self-promotion got better. I learned how to believe in myself, and my art.

And I found it a lot easier to learn how to do that, with local venues and local customers.

The biggest reason I’m glad I started local?

When times got hard, I had a safety net.

When the recession hit, and the sales at big shows fell off, when galleries were closing left and right, my local audience saved my ass.

In all the years I’d bemoaned the lack of a ‘local audience’, my small band of collectors and supporters was actually growing quietly and steadily.

My open studios became more successful. My sales at state craft venues climbed–the League of NH Craftsmen’s Annual Fair; the League shops: the Sharon Arts Center. Each year, just as sales tapered off at one venue, another would leap ahead. (For various reasons, my work tends to ‘cycle’ in popularity. Instead of despairing when sales falter, I now know to sit tight and come back with new work in a year or two.)

I now feel honored and supported by my local community.

As I said in my article about local self-promotion, publicizing your successes goes a long way to building that local audience. But I’ve learned it’s well worth the effort.

With the ease of discovering new markets and venues on the Internet, I don’t feel any artist is limited anymore to a local market. But I wouldn’t discount them, either.

Put your eggs in both baskets, and see what happens.

RUNNING WITH DOGS

Last week I made my first little dog artifacts.

My very first little dog artifact, in faux green soapstone.

Today I have pics of my very first dog pack. I love them so much already! I stayed with a very ancient-looking prototype, with long snout, upright and slightly cocked ears, and a curly tail. The curling tail seems to be the discerning characteristic of a dog versus a wolf or coyote. I could be wrong, but I’m going with it for now.

A whole pack of ancient dogs!

Running with the dogs. For Joanne!

I also have two little otters who are different from their brethren. Their backs arch up. I think they look like they’re doing that thing kittens do, when they arch their backs and hop sideways. And look–see the tiny toes on this one’s feet??

Bouncy otters!

Otter toes!

TEN MYTHS ABOUT ARTISTS #5: My Art Speaks for Itself

Myth: My art speaks for itself. I don’t have to explain anything!”
Reality: Your art will sell better if you can tell your story, create an emotional connection with your audience, and inspire a desire for your work.

We all know the scene:

Artist’s work on display, artist standing off to the side, aloof and austere, sniffing at any plebeian who dares ask a stupid question like “What is your work about?” or “So why do you like to paint green people so much?”

If we can’t tell what the work is about, it’s clear we shouldn’t expose our ignorance by asking.

Here’s my own personal observation:

Artists who won’t talk about their art, often can’t talk about their art. That is, they don’t know how.

Knowing how to talk about your work will also help you write a stronger artist statement. A strong artist statement is important because it is often the first way many people will “hear” you tell your story about your art.

There are as many ways to approach making art as there are artists, and as many reasons to buy art as there are customers.

Here are some ways not to talk about your art:

PROCESS If we talk about our work at all, we often fall into the easy trap of talking about process.

Process is important, to a degree, but there’s gotta be more. I’m not going to pay you by the hour to mow my lawn with a pair of manicure scissors unless you have a really compelling reason.

Yes, some people want to know how we make our stuff, where we learned our craft, where we get our materials. But in my humble experience, many people who care only about my process, want to make something like my work, not buy it.

Here’s a good example. For years, if the first question people would ask me was, “What are these artifacts made of?”, I’d answer, “Polymer clay”.

And once I said that, rarely did the person actually buy something. Often, their first reaction was to actually put down the object they were holding.

Even talking to them at this point, telling them why, had little effect. The spell was broken, and their interest was lost.

I finally wised up. Now I say, “I use polymer clay, and if you look over here, there is a wonderful little piece I wrote on why I chose to use it as my medium.”

Now people are engaged again, reading a short but powerful sign with beautiful examples of all the artifacts I make. And this has ended in more sales. (Hint: The key to why this works is in this paragraph…)

ACADEMIC when I read an artist statement filled with academese or art speak, I sense someone who is afraid to get up close and personal about their work. That, or my eyes roll up into my head, my toes curl and I fall over from total boredom. But then, maybe that’s just me.

RESUME At most shows, when you read the accompanying artist statements, artists carefully list their education, the classes of other, more famous artists they’ve studied under, and the awards they’ve won. Most sound like they were written to impress other artists, perhaps a worthy goal, but I’m guessing most of us would rather impress our customers. They may not realize their statements sound like every other artist in the show. Or they think that’s the way it “should be done.” At the very least, they sure don’t know how to make theirs stand out.

FUN Frankly, I don’t care when an artist tells me they had “such fun” making their latest design. Because why should I care if they’re having fun?? I want to know why I should be compelled to part with my hard-earned money, and make space in my already-crowded home for something new. I can tell you it won’t be because the artist giggles while she works.

I’ve taught many artists about how to write a compelling artist statements, how to write a strong press releases, how to give a powerful interview for the media. It’s very simple, really.

All we really have to do is think about a little three-letter word….

Why?

I tell them why….this cave. Why…this point in my life. Why…I use polymer clay. Why…I use these fabrics, those markings, this presentation. I even have a story about the beaver-chewed sticks, and how they contribute to the story.

So why do you do what you do? Why do you choose to do it this way, with these materials?

Most importantly… Why should your audience care??

I believe the work I make sells to people who a) are blown away by the work itself, and b) feel a powerful connection to the stories I tell about the work.

When we talk in a deeply meaningful way about what our work means to us, other people listen. They will feel the truth of what you say. Remember all the times my customers say, “When you said that, a shiver went down my spine”…? Or, “Look, my hair is standing up!” (Yes, these are actual customer quotes.)

They are hearing the power of what my work means to me, and they are responding to it with something going on in their own lives.

That is connection. Human to human connection. Empathy, resonance, heart to heart. Inspiration. The recognition that we as human beings have these things in common: A need to love, and be loved. A desire to belong, and be an individual. A need to protect, and be protected. A desire to remember, and be remembered.

Don’t be ashamed or self-conscious about admitting your humanity. It is to be embraced and celebrated. Hey, we’re all in this together, and nobody gets out alive.

And when you do that, with honesty and integrity, you will find other people will respond.

How do you know if you’ve done a great job either talking or writing about your art? Basket artist Joanne Russo passed on a terrific tip she heard: An artist statement should make you want to go back and look at the work again.

If you still don’t know what to say about your work, then invest in Bruce Baker’s CD on “Dynamic Sales and Customer Service Techniques”. It will be the best $20 investment you ever make in your art biz.

25 RANDOM THINGS ABOUT YOU: How to Write a Better Artist Statement

Use a silly little Facebook game to put more passion in your artist statement.

An article in our local newspaper discussed the current Facebook phenomenon, “25 Random Things About Me”. Apparently, it’s the most popular Facebook “Notes” feature of all time.

Why??

The article suggests it proves that we all love to talk about ourselves, especially the younger generation usually found on Facebook. (Although it turns out every age group on Facebook, including mine, is hopping on the “25 Random Things” list. I’m always amused at how we talk about other generations’ differences as if they were a different species…)

Emily Nussbaum, editor-at-large for New York magazine, says the most decisive difference is that the Facebook generation “assumes they have an audience”: They have a mental image of a large group of people interested in postings such as “25 Random Things.” Part of their identity rests on an invisible entourage that accompanies them everywhere.

It’s also an exercise to creatively select “facts” about ourselves that puts us in the best possible light. A little humor, and voila! A captivating mini-bio that reveals us as a delightful individual.

Is that so awful?

“Random Things” lister (Joe) Diorio has his own theory about why the lists and commentaries have become so popular. It has a piquant irony: “We spend so much of our lives online with Facebook, LinkedIn, and we spend so much time connected that we feel disconnected. So we tell people these little things, to feel more connected. We put a piece of ourselves out there, to give it a try.”

Isn’t this what art is all about? To connect what is in our heart to a larger audience?

Look, it IS hard to “stand out” in a world of a bajillion people. I’m a fairly outgoing person with a variety of ways to connect to my environment–parent, artist, assorted pastimes, social networks. In my own smallish town of Keene, NH, there are 25,000 people. What percentage of those people actually know who I am? Or care?

And yet to effectively market my art, to create an audience for the work I feel compelled to make, I may need to forge connections across a whole region, a country, perhaps over several continents.

So how do I make my work, and myself, stand out? How do I connect meaningfully with a larger audience?

We always assume it’s only about the quality of the work. Is it?

Good work helps. Great photography (so people can see our good work) helps. Publicity, self-promotion, advertising, exposure/exhibiting all help.

But what always grabs me is a good artist statement–an exquisite example of creative non-fiction. The ultimate “25 Random Things” list.

It should be true. But specific enough tell us something. “I just love color” or “I just love music” doesn’t tell me a single damn thing about your work.

It can be about your education or training. But that can’t be the whole thing. Typical artist statements often list the other, more famous artists someone studied under. To me that reads as, “I’m ALMOST as good as they are, but my work is a lot cheaper!”

It should be so well written as to be elegant. More often, it’s full of jargon and buzzwords (aka “artspeak”) that simply hides who you really are and what you’re really doing.

Here’s what I think it should be:

It should be aspects of the world at large that you experience through the lens of your unique perspective, your individual experience–in a way that explores, reveals and creates wonder in your audience.

It’s your honest, thoughtful explanation of why you create the work you do.

And why we should care.

Because that’s part of our human nature–to be interesting to other people. And to be interested in other people. We are social animals, after all, from the exuberant “look at me!” to the thoughtful “I never thought of it that way before….”

But if really connect with an audience, you have to dig a little deeper. Reveal a little more. Be a little more honest. Be more real.

Show us something human.

To quote the article again:

That communal aspect is what so much commentary misses about “25 Random Things.” It’s not just a list; it’s a communal exercise. Posters post, and friends comment.

What’s that commentary like? An unscientific survey of more than 30 such lists has yet to uncover anything vicious or unkind. Mostly, the virtual community is, in Nussbaum’s words, “surprisingly supportive, sweet, even encouraging.” It is nurturing, a thing friends do.

And that’s what I love about the 25 Things.

Every time someone I “know” writes one, I’m amazed at what I read. New facets of their personality, their history, their hopes, fears and dreams are revealed. They seem deeper and richer to me. I’m in awe of what has been shared.

I feel more connected.

I care.

Don’t be afraid to do this with your audience, your customers. Give them something real about you to connect with.

Your homework for today, should you choose to accept it, is to compile your own 25 Random Things list about you as an artist. I compiled such a list for my biz awhile back. In it are some of the stories that compel me to make my art.

I think I’ll be revisiting this list from time to time. I think it will continue to change as I get closer to discovering what makes me tick. As I get more clear about what it is I want to say. As I get closer to figuring out what it is I want to contribute to the world.

As I begin to understand how truly and completely fallible, lovable, annoying, loving, inspirational, wicked, kind, forgiving….how human…I really am.

A SIX-YEAR-OLD CAN DO IT…You Can, Too!

Gulping my coffee this morning, watching the latest storm roll over Keene, New Hampshire, and reading our very own local newspaper, The Keene Sentinel. The Sentinel is noted for being the fifth oldest continuously published newspaper in the U.S..

I’m intrigued by an article in the business section. It’s by Rick Romell of the Milwaukee Journal Sentinel. (Aside: Milwaukee is another cold, cold city. I Googled the latitudes of both cities and found that Milwaukee is at 43.04N and Keene is at 42.933N. Brrrr!)

You can read the entire article here. It’s about a professor of marketing who conducts market research with methods that resemble psychoanalysis.

So what does a marketing research technique that uncovers the real reason “real men” buy power tools have to do with your business in art and craft?

Because the most powerful technique they used was “…a rigorous format that includes repeatedly asking “Why?” like a persistent 6-year-old.”

Does this technique sound familiar?

I’ve never heard of the ZMET technique, though I hope to learn more. I discovered the power of “why” almost eight years ago, at a gallery talk for a juried art show I was in.

I’d never been to one before, and hoped to hear what drove the passions of my fellow exhibitors. I was disappointed to hear a lot of acadamese instead. In my ignorance and eagerness to learn what “real artists” thought, I kept pressing the speakers, asking “why” over and over. To a photographer who used images from a sole Greek island as her subject, I asked, “But why this island? And why this particular point in history?”, she finally revealed her personal and heartfelt inspiration. To a fiber artist who had used unusual materials to construct a coat with an “inside story”, the question revealed what that inside story was–and it was powerful.

It was a hard process, and not appealing to everyone–the newspaper review of the show later referred to me as “the persistent woman in the audience who kept asking ‘why?'” But every single artist came up to me afterwards and thanked me. One said, “You know, at first I was annoyed that you kept asking. But then it all came pouring out…. I never really knew before what drove my work. And now I do.” Another said, “I never realized the power of speaking my own story, my own truth, til you pushed me there. Thank you!”

I have used this technique when teaching artists how to write effective artist statements. I’ve used it in workshops to develop a story hook for press releases. I use it simply talking to people who pique my interest, wanting to find out what makes them tick.

I have never been disappointed by the answers I get to this question.

Who knew that simple question of a six-year-old could teach us so much?

Another PR TIP 4 U: Wooden Horse Magazine

I’ve been a subscriber to a free e-newsletter from Wooden Horse Magazine for years. It’s filled with information about new magazines, editorial changes, and news about magazine publishing in general.

They also have a data base of over 2,000 print magazines in the U.S. and Canada, with editorial contact info included.

I just found out (duh!) that you can get a day’s access (24 hours) to their magazine data base for…$1.99 a day!

I found this out after e-mailing Meg Weaver, the owner, and asking her about what it would cost to use their lists. I was worried about the expense for a small business like me.

I’ve decided even I can afford two bucks.

You don’t even have to subscribe to the newsletter to use this feature. You simply click the “order” button on the home page, select the “Wooden Horse magazine data base”, and you are offered a variety of options–from a single day’s access to a long-term subscription.

She said there are also search features to help you focus your target magazines/audiences.

Meg says although this is not a one-time usage thing (like when you rent a mailing list, you can only actually use the list for one mailing), things like the editorial contact info can change pretty quickly–so it can be worthwhile to simply pay another $1.99 for a new search when you need it.

This is a great and time-saving way to get a grip on the magazines out there that appeal to your target audience. I’m a magazine-reading queen bee and thought I was on top of the magazine market. Yet when I flew to Las Vegas for the ACRE show last year, a short layover in Utah showed I wasn’t as in-the-know as I thought. At the newsstand were there were easily a dozen magazines about western homes and western lifestyle I’d never even heard of before.

Using a data base like this is quicker than doing your own lengthy internet search and retyping all the info you find. It’s also cheaper than flying to the airports in the regions of your target audience. If you want, you can follow up with a visit the websites of the magazines you select, to make sure their mission statement and content is a good match to your work.

I am NOT affiliated with Wooden Horse or Meg Weaver in any way, just a satisfied subscriber and a soon-to-be customer.

Oh, and feel free to use my name if you talk to them. They’ll love to know how you heard about them.

HOT PR TIPS 4 U

Today is one of those days where I can’t type much. So instead, let me point you to a great article on getting the most from your e-mail press releases:

Bill Stoller’s Great Email Publicity Technique

And my second tip for you today is to continue on to check out the resource where Bill posted this great article:

The Switchboards. A large, active, very net-savvy group of new-wave craft entrepeneuers with a snappy, lively forum full of tips and useful information for growing your business. One of my favorite bookmarked forums.

Be glad I’m not writing more today, my typing is getting worse (because my latest ginormous hand bandage is slipping..!!)

SAMPLE PRESS RELEASE (FOR REAL, TOO!)

This is the actual press release I just sent out to area newspapers, magazines and professional organizations. I took out the url for my photos so people don’t sneak in and put mustaches on my horse sculptures.

I just thought of putting “tags” in the lead, as a way of letting various publications know why I targeted them. For example, I sent one to the New Hampshire edition of The Boston Globe, so their tag would be “New Hampshire”. For our local newspaper, “Keene”. For my professional groups, “artist”. Clever, huh? Hope it works….!

PRESS RELEASE: For Immediate Release October 10, 2007

Tags: Luann Udell, artist, Keene, New Hampshire, New England

NEW ARTIST’S COLUMN AT MAGAZINE

Keene, NH artist Luann Udell recently signed on for a new column at a
The Crafts Report, nationally-distributed magazine on the business of
craft.

Luann, an award-winning fiber and jewelry artist, previously wrote a
regular column “The Artist’s Journal” for the back page of
CraftsBusiness magazine. CraftsBusiness ceased publication in 2007.
Luann will continue sharing her wry and humorous observations on her
life as an artist at The Crafts Report. “I was originally offered
this at TCR several years ago, but wasn’t in a position to accept it.
I’m delighted to have another opportunity to write for them–it’s a
highly-respected, long-running publication in our industry.”

Luann’s artwork–jewelry, sculpture and fiber works inspired by
ancient and tribal art– is sold at stores and galleries throughout
the U.S. and Canada. She has exhibited her work in juried exhibits
across the country, and is a juried member of the League of New
Hampshire Craftsmen in Concord, NH. Her work has been featured in
AmericanStyle magazine, Ornament (a magazine featuring high-end
wearables and jewelry), Niche magazine, The Crafts Report, The Boston
Globe, and many other books, magazines and newspapers.

She is also a published author (RUBBER STAMP CARVING, Lark Books 2003)
and wrote an article for FiberArts magazine earlier this year.

You can visit Luann’s website at www.LuannUdell.com or call
603-352-2270 for more information.

The Crafts Report, with a circulation of 20,000, is in its 33rd year
of publishing about the business of American handcraft. It’s
available at bookstores such as Borders, Barnes & Noble, and other
stores nationwide. TCR features articles on selling, marketing and
display for artists and retail stores. You can learn more about The
Crafts Report at www.craftsreport.com or call them at (800) 331-0038 .

Submitted by:

—
Luann Udell
271 Roxbury ST
Keene NH 03431
603-352-2270 (studio)
603-352-8633 (home)
luannudell@gmail.com
www.luannudell.com

If you would like to download images for this article, you may visit
(my photo image repository url) for low-res web-ready AND
high-res print-quality photos, or contact Luann for other versions.

Thank you!

PRESS RELEASES FOR ARTISTS

Just to make it a little easier for you, here is a link to some links to past articles I’ve on creating publicity for yourself with press releases:

PUBLICITY 101: A List of Articles on Self Promotion

As always, feel free to read and peruse for your own use.. I teach workshops on this topic for the Arts Business Institute and have presented this material for various arts organizations. So sharing what I’ve learned is part of my livelihood as an artist. Enjoy!