Art Biz Podcast

I can’t resist legal cases about art, from thefts and forgeries to copyright infringement to gallery dealers and so-called experts who end up in front of a judge for defrauding collectors. While most artists will never see the inside of a courtroom, you might be concerned with copyright infringement or receive unsettling news that someone is using your creative work without your permission. Every artist (you) should know the basics for protecting their art. In this episode of The Art Biz, I am joined by Kathryn Goldman, an intellectual property and internet law attorney who helps creative professionals protect their work so they can profit from it. She is the founder of The Creative Law Center website and membership program, which offers understandable information, actionable strategies, and easy to use tools for the development of creative businesses. Our conversation focuses around Kathryn’s Four Step Framework to help you identify, protect, monitor, and enforce your creative rights. Highlights Kathryn is

An artist’s best resource is another artist. And to really know what a real artist’s life looks like on a daily basis, you have to study and talk to those artists. You can read their biographies, watch their videos, and listen to them on podcasts, including this one. In this episode of The Art Biz, I talk with Geoffrey Gorman about what it’s like to be a working artist, an identity he came to later in life and has sustained for nearly two decades. Geoffrey and I discuss his background as a furniture maker, gallery dealer, and artist consultant and how each role has contributed to his life as an artist. He also reveals how he approaches his work, where he finds inspiration, his take on how the art world is changing, and his advice to artists in the rapidly-evolving market. Highlights “You can make something from anything.” The evolution of Geoffrey’s process. (2:35) Journeying back into the arts after a 30-year break. (8:45) Geoffrey’s timeline from furniture maker to gallery dealer, artist coach to full

If you have ever wanted to shoot the breeze with a gallerist, you will want to pay close attention to this episode of The Art Biz. I’m joined today by Jeremy Tessmer, the gallery director at Sullivan Goss Gallery in Santa Barbara, California. In our conversation, Jeremy shares his views of artist’s professionalism, what he thinks of online platforms, and how he taught himself art history (and why that was important to him). Jeremy describes Sullivan Goss as an on-ramp for collectors and artists—one that connects their roster of local, regional, national, and international artists. You’ll hear him discuss 3 qualities that he looks for in artists, two of which are non-negotiable, and how he views the artists in his gallery as a family. He says that “dealers should have some sense of responsibility for the well-being of their artists,” and, as you listen to our conversation, you’ll understand why that has become so important to him. Highlights The niche that the Sullivan Goss Gallery fills and Jeremy’s role wi

The resources you have for art business and career development are endless. In that respect, you are incredibly fortunate compared to artists of the past who had so little to help them make a go of it. And there is a downside. There are so many choices to grow as a professional artist that it’s difficult to decide where to spend your time and money.  How do you decide? How do you know when to invest, and when to save your money? Let’s pretend you are my coaching client and you’re debating adding something to your calendar. I caution all students and clients to be judicious about adding more to their already full schedules.  This episode is focused on the questions I’d ask to help you decide whether or not a program is right for you. These include ... What do you want to get from this program? Is this program a shiny distraction? Are you in a place to receive the guidance? Do you respect the presenters, teachers, or leaders? How is this program different? Are you willing to devote the time to the lessons and h

We usually start a long-term project with a specific goal or set of expectations in mind. Rarely does the project turn out the way we thought it would. More often than not, it’s better than we had imagined. But before we can get to that point of admitting that the change might have actually led to an improvement in the original plan, we have to struggle, to question our assumptions or to ask for more help or more money. We recognize we can’t continue working in the same fashion as before, and often we are forced to adjust to outside forces, like a worldwide pandemic. In this episode of The Art Biz, I’m joined again by Eve Jacobs-Carnahan. She was a podcast guest over a year ago and has come back to offer an update on her project, Knit Democracy Together, which was developed to discuss the U.S. electoral system within the context of knitting circles. Today Eve is sharing a look at how such a long-term project evolves. She outlines the 5 indicators she is using to measure effectiveness, and even if you don’t ha

Some artists just know what they want, and some know what they don’t want. My guest for this episode has a lot of clarity about both. On this episode of The Art Biz, I’m talking with Alicia Goodwin, who worked as a jewelry designer for a number of individuals and companies before transitioning to her own full time jewelry business, Lingua Nigra. As an encourager, Alicia wants artists to go for it. She doesn’t believe in even considering a plan B in case the art thing doesn’t work out. She encourages artists to “find your people” because she knows what it’s like to be an artist and misunderstood by those closest to you. She found support in an online community filled with people who were making things and talking about business. Even if you’re not a jewelry artist, I know you will be inspired by Alicia’s desire to continually improve her circumstances and grow her business. You especially won’t want to miss her insights into finding the right balance in your online presence. As she says, “You don’t need a lot

Have you ever experienced success in any area and then realized it wasn’t exactly what you wanted after all? My guest today experienced unexpected and surprising growth as her Instagram following quickly grew from 10,000 followers to over 70,000 followers in just a few years. In this episode of The Art Biz, I’m talking to Sara Schroeder. We talk about the creative way that she overcame her fear of selling and what she wishes she had known to do differently while in the throes of that success. For more than a year, Sara has been using tools like journaling and the Enneagram to discover more about herself and explore where she wants her work to go, and now she's looking for more. She knows there's a deeper level of fulfillment beyond posting and looking for sales online, so she has stepped back and reassessed. You'll hear Sara mention her upcoming solo show, which is part of a challenge that I issue to students in my seasonal programs. We also discuss why her Instagram strategy has changed and what her new appr

You are not alone. It may seem like you are at times because you do so much work by yourself in the studio, but the art ecosystem is enormous and you are not alone. There are so many good people who are advocating on behalf of and supporting artists in their businesses and careers. I want you to know about these resources so that you can tap into them. They’re waiting for you. In this episode of The Art Biz, I’m talking with Louise Martorano, the Executive Director at RedLine Contemporary Art Center in Denver, Colorado. RedLine is a nonprofit whose mission is to foster “education and engagement between artists and communities to create positive social change.” In many ways, RedLine behaves like a traditional arts council. But they’re far from it. Louise and I discuss their artist-in-residence program, affordable studio space, and how they collaborate with other art organizations in the U.S. and beyond.   Highlights The history and mission of RedLine Contemporary Art Center. (1:45) The local and global nee

Artists need writers. They are a critical part of the art ecosystem. Look back on any art movement from the past century in the U.S. and you’ll find a writer behind its day in the spotlight. My guest for this episode of The Art Biz is artist and writer Philip Hartigan. As you’ll hear, he’s not quite sure what order those labels should be in. In some respects, the writing came first, but the art has always been there. We talk about his writing life, the role that blogging has had for him, and how he came to be a correspondent for Hyperallergic online art magazine. You’ll also hear about how writing has helped him make inroads into the art world. My hope is that you will consider writing more about not just your art, but about other artists’ work, possibly for publication and definitely for connections within your art community. First posted: artbizsuccess.com/art-reviewer-hartigan-podcast  Highlights James Joyce, literature and Philip’s journey as an artist. (1:54) The subtle narrative of Philip’s current

Members of the general public 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 decides what works to put next to one another and where to put a nail in the wall or a pedestal on the floor? Or even what color to paint the walls? All of these decisions, and more, fall under the purview of curators and exhibition directors in those non-profit spaces. In this episode of The Art Biz I talk with Collin Parson, the Director of Galleries and Curator at the Arvada Center for Arts and Humanities in the Denver suburb of Arvada, Colorado. Collin reveals how the exhibition process works at their venue: his timeline, rotating gallery spaces, and the decision makers at the organization. We also discuss how he selects artists for shows, what makes an artist easy and fun to work with, and why it’s important that artists keep him informed. Be sure to pay attention to some of the big mistakes he see

For too long I have been noticing artists posting things like this on social media: ‘Fresh off the easel! What do you think?’ or ‘I'm experimenting with . Let me know what you think!’ What do I think? Do you really want to know what I think? In this solo episode of The Art Biz I want to talk about feedback. When you ask people ‘what do you think’ you are asking for their feedback, whether it’s intentional or not. We are often too quick to ask for feedback, and we ask for it in ways that can be more damaging than anything. In this episode, I’ll share what I’ve learned from wise women and from paying attention to my students and clients. I’ll give you tips on the right way to ask for feedback—in the right environment and with specificity. I’ll also share with you how to handle unsolicited advice and the best way to offer advice to others, all so that you can get better feedback when you are seeking to improve. Highlights The best time and way to ask for feedback. (1:36) 4 criteria to meet before asking for

Risk is scary. Rejection stinks. Resilience seems elusive. When I think of these three R words, the word practice comes to mind. Taking one step at a time over and over again because we know it is the only way to make big progress. In order to embrace risk, we have to practice. We step into it, try it on, and, almost always, discover that it isn’t as bad as the soundtrack we were playing in our heads. Rejection is also a practice. We build up emotional muscles after receiving disappointing news. After years of accumulated rejections, we begin to understand that they are rarely, if ever, personal. And finally, resilience is something we have to work at. We were born resilient, but, over the years, life beat us up. But rejections give us courage muscles we never had before. And, because we paid attention, we pick up on a number of tools that help us become more resilient. My guest for this episode of The Art Biz is Christine Aaron. You’ll hear how she embraces risk and has come to understand the role of rejecti

Self-Care for Caregiving Artists with Shimoda Donna Emmanuel Why is it so hard for us to take care of ourselves? We all get busy. We feel a sense of urgency to keep up and do more. But if we're honest, we realize that very little is really urgent. Still, all of this hustle means we neglect habits and routines that will keep us well and give us energy for work in and out of the studio. And it's even harder when you're also responsible for caring for others. Whether you're a parent with growing children or an adult with aging parents, caregiving can take a lot out of you. It's hard to spend time on yourself when you're maxed out on so many levels. It's no wonder that self-care takes a backseat to other priorities. On this episode of The Art Biz, I’m joined by Shimoda Donna Emmanuel. Shimoda has been the caregiver in her family, primarily for her mother Izola who recently passed after living with Alzheimer's, but also for an ailing sister. In 2020, Shimoda wrote Sacred Stitches: The Art of Care Giving, which has

We need art. Some of us need it more than others, and for some of us, it's as necessary as the air we breathe. My guest on this episode of The Art Biz is Rich Simmons, a London-based artist who insists that art saved his life. Rich is not an art therapist, but he is an advocate for the therapy of an art practice. He knows from first-hand experience that art heals. Rich has struggled with depression and was eventually diagnosed with Aspergers. The realization that making art could make him feel better was life-changing, and he wanted other people to know about this. In 2008 he started Art Is The Cure to inspire people to turn to creativity in times of pain. Art has given his life purpose. In our conversation, you’ll hear that Rich has many balls up in the air. He makes murals, gives workshops, sells prints, has recently entered the NFT market, and is starting a podcast. And that is just scratching the surface of his inspiring ambitions. Highlights “I was thrown into the deep end.” Rich’s unusual entry into t

There is an urgency to making the work and getting it out there so that you can find the people who respond to it, but it becomes much harder to accomplish much of anything if your body aches from the physically demanding work you do, or your shoulders are tense from hunkering over the computer all afternoon, or you're living on caffeine and wine, or especially if you aren’t sleeping. If you want to improve your productivity, and your health, then it’s time to focus on your self-care. What are you doing to take care of yourself? To keep up your energy, maintain a positive mindset, balance out the hours in the studio and on the computer? Is balance even necessary when you’re doing what you love? In this episode of The Art Biz, I talk with Maria Coryell-Martin, a busy mom with a thriving art career and companion business that supports her family. With all that she has going on, Maria makes time for almost daily swims and cold, open water, healthy eating, and plenty of sleep. Listen to hear how she does it. High

Lots of artists make a good living, or at least a significant part of their income, from commissions. The standard commission process is something we don’t question, but what would happen if you turned the whole commission process on its head? In this episode I talk with Leisa Collins, who started her art business by targeting people whose homes she wanted to paint. After a few failed attempts at marketing her work, her career as a house portraitist took off. To date she has painted more than 2,500 house portraits and has a waiting list for commissions. She no longer has to send direct mail, which you’ll hear about, but maintains that the personal relationships with clients are paramount. Leisa shares her quest across the country to paint a house in all 50 states, that following up with prospects results in 85% more sales for her, and how she has partnered with realtors to provide closing gifts for their clients. First posted: artbizsuccess.com/commissions-collins-podcast Highlights “I exchanged my art for

So many art venues shut down during the pandemic, and I'm sure many of the people that ran those venues mourn for not only what might have been, but also the fact that there wasn't an opportunity for closure. My guest for this episode of The Art Biz is Mai Wyn Schantz, an artist who was also a gallerist when she closed her space at the beginning of COVID. She hated to lose the relationships she had built over the years as the gallerist. She needed closure and she was determined to do right by her artists. As soon as she felt it was safe, Mai Win organized a pop-up farewell exhibition with her artists. Her goal was to break even, which as you'll hear was far too conservative of a goal because she hit it out of the park, mostly because of the relationships she had nurtured throughout the years. Together we discuss the timing of the pop-up, the details for pulling it off, including the space she worked with, and what she learned from the experience. She reveals at least three things that she will do differently

People. You need them. You need people to buy your art, people to show your art, people to attend your shows, people to write about your work and let's face it. You need people to support you emotionally along the way. You need other artists around who get you. It's in these friendships that you will find understanding as well as ideas that challenge you to be a better artist. The relationships you nurture can sustain you, but you'll never know to what extent until you start taking them seriously, until you believe with all of your soul that you can't do this on your own. But what do you do if you move to a new place and don't know anyone, or if you're just getting started? Where do you begin? In this episode of The Art Biz, I talk with Laurence de Valmy about how she has used her bonus talent as a writer to make connections in all areas of the art world. It started with the thought that there were people out there who knew more about how to be an artist than she did. She trusted that she could learn from the

We’re all about the quest for more followers, more likes, more shares, more views, and more comments these days. It feels good when more people respond to your art because art is a form of communication. It’s the means you use to share your ideas and your soul with the world. But that self-expression isn’t meaningful until other people respond. Until they comment, share, and start a dialogue with you about it. And when you put the work out there and don’t get the appropriate number of expected likes or comments, you are unfulfilled. It’s not fair that the social media algorithms have so much control over who sees your art. But are we really so subject to social media giants? I believe we are taking huge risks by relying on mass communication to complete the circle of communication. We know for a fact that art must be experienced in person in order to be fully appreciated. So why do we insist on online validation? In this solo episode of The Art Biz I want to talk about what really works for moving the needle

It takes a great deal of effort to find the right person to help with your art business, so you want to get it right. That means you need to find a way to retain good team members. You want them to take ownership in your business and pride in the work they do on your behalf. You may not be thinking about this from the beginning of the relationship with a new team member because you're so focused on getting the help you need fast. But you absolutely should be thinking about it: How do I keep good people on my team? In this episode of The Art Biz, I talk with Ali Manning about the responsibilities she feels as the person in charge of her business, including the responsibilities she has to team members. We discuss her membership-based business model, the dynamics between team members, how she hires, when and why she hires employees instead of contractors, and how she keeps team members happy. We also get into the hiring mistakes that both of us have made in the past—freely admitting that it was our fault, not th