Second opinion

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Dear Artist,

Some folks are in the business of helping artists get what they want. Alyson B. Stanfield, for example, has been coaching artists since 2002. “Artists need intimate conversations with artists who have found success,” says Alyson, “Many artists are confused or stuck when it comes to marketing. They need to straighten out their artist statements and portfolio pieces. They need to create sensible Internet strategies. They need to learn how to set priorities and stop procrastinating. They need to be on top of the latest art-marketing trends and technology tools.”

alyson-b-stanfield2

Art-career expert Alyson B. Stanfield offers marketing plans and other strategies for artists at any point in their careers.

Alyson is one of 11 experts taking part in an upcoming “smARTist Telesummit.” This is where artists register, for a fee, to listen on the phone or to a webcast over seven days this coming January. Also at your service will be gallery owner Paul Dorrell, art-law authority Leonard Du Boff, entrepreneur expert Molly Gordon, creativity expert/psychotherapist Guillermo Cuellar, and others. The telesummit also includes an audio disc and PDF program.

This year’s venue has a variety of topics including the art of selling art through galleries and with consultants, self-management and self-promotion techniques, transitioning from amateur to professional, money methodology and management that keeps the goose laying the golden eggs, licensing, strategic alliances, career building, secrets of synchronicity, print marketing, art blogging and lots of other info not easily come by.

One of my favourite instructors when I was at Art Center School in Los Angeles, Strother McMinn, used to say, “There’s no such thing as an undiscovered genius.” Basically, I believe this. Further, all the motivational workshops, business seminars and charm-summits in the world won’t help a dentist who doesn’t know something about root-canals. For artists, hard work, imagination and technique are still vital. In these tougher times, we need to have the right stuff–relatively professional work. For those who do, an art-biz telesummit might put them over the moon. And while many artists think they already know what they need to do, it’s mighty useful to get a second opinion.

paul-dorrell

Gallery owner and corporate art consultant, Paul Dorrell offers methodology to approach corporate collectors and other commercial entities.

Best regards,

Robert

PS: “Major life events can paralyze your creativity. If you uncover what’s going on behind the ‘big picture,’ though, you can bring yourself back into being in the moment and loving your life.” (Guillermo Cuellar)

Esoterica: These days I’m losing sleep about the exploitation of artists. A lot of non-professional artists seem to have the idea that if they just start producing giclees then people will take notice and cash will flood in. All kinds of online sites and on-road services offer scanning, printing and sometimes distribution. Unless the artist wants a few prints for private use, most of these services offer a slippery promise. There are a few exceptions, but believe me, if your originals aren’t selling in galleries, prints of them won’t sell either, except for peanuts.

 

 

smARTist telesummit experts
Host and creator of the smARTist telesummit, Ariane Goodwin, Ed.D.
Host and creator of the smARTist telesummit, Ariane Goodwin, Ed.D.
Self-promotion expert Joan Stewart offers 25 ways to use social media to sell art, and how to use the Internet to boost an art career.
Self-promotion expert Joan Stewart offers 25 ways to use social media to sell art, and how to use the Internet to boost an art career.
Career expert Lucia Capacchione, Ph.D., offers her methodology for 'visioning' to design an art career that fills dreams.
Career expert Lucia Capacchione, Ph.D., offers her methodology for ‘visioning’ to design an art career that fills dreams.
Art-law expert Leonard DuBoff gives artists what they need to know about legalities that can make or break a career.
Art-law expert Leonard DuBoff gives artists what they need to know about legalities that can make or break a career.
Entrepreneur expert Molly Gordon, MCC, offers five keys to finding market connections that fit well with your nature and work.
Entrepreneur expert Molly Gordon, MCC, offers five keys to finding market connections that fit well with your nature and work.
Tax expert Peter Jason Riley, CPA., offers his wide experience in strategic tax planning for visual artists who need to think ahead.
Tax expert Peter Jason Riley, CPA., offers his wide experience in strategic tax planning for visual artists who need to think ahead.
Successful artist and presentation expert Shirley Williams tells you how to put together a high impact portfolio.
Successful artist and presentation expert Shirley Williams tells you how to put together a high impact portfolio.
Relationship Expert Mari Smith shows how to market to a worldwide audience at virtually no cost through Facebook.
Relationship Expert Mari Smith shows how to market to a worldwide audience at virtually no cost through Facebook.
Creativity expert and psychotherapist Guillermo Cuellar, Ed.D. offers guidelines for using your art to move through difficult times.
Creativity expert and psychotherapist Guillermo Cuellar, Ed.D. offers guidelines for using your art to move through difficult times.
Visibility Expert Nancy Marmolejo shows you how to sell more art with a smart social networking strategy.
Visibility Expert Nancy Marmolejo shows you how to sell more art with a smart social networking strategy.

 

 

Clarify please
by David Morgan, Swansea, UK

Surely those people producing and selling giclees are breaking international law. Copyright of ALL paintings remains with the artist, even when you sell the original. That is unless you are talking about “not very good” artists who print and sell giclees of their own work. Are you? Your comments, in that case, are quite pertinent.

(RG note) Thanks, David. I was talking about folks who try to sell giclees of their own work. I don’t. The only time I use this process is for fundraisers where an edition is required. In that case the price is low and the money goes to the charity.

 

 

Exploitation of artists
by Carol Chretien, USA

 

“Quiet contemplation”
oil painting, 8 x 10 inches
by Carol Chretien

Regarding what you said about the exploitation of artists and giclees, even worse than that is the company(s) located in China that will steal your work with a Spider Bot and insert it on their site for sale as a print on canvas! Recently, several of the artists in our Art Helping Animals fellowship discovered our work being offered for sale. We managed to band together and scroll through thousands of their offerings to locate our work and demand it be removed. Pure aggravation and waste of creative energy.

Not so nice a venue to see your work sitting next to Rembrandt’s for sale. It will happen again and we have started adding large watermarks hoping that will discourage anyone wanting to purchase a print. The blessings and the curse of the Internet.

 

 

Sitting on unsold prints?
by Liz Reday, South Pasadena, CA, USA

 

“Morning Rush Hour”
oil painting, 9 x 12 inches
by Liz Reday

I can’t agree more with your thinking on the giclee issue. I’ve seen many an artist rush right out and spend a lot of money on scans, often aided and abetted by some mildly unscrupulous businesses. When artists go in to have their paintings professionally photographed, they receive overwhelming praise for their work. We all love that! While basking in this praise it’s easy to put the idea in our minds that if the originals are so good, think how lucrative it could be to sell duplicates of our masterpiece. Especially in this economic downturn. But when you add up the cost of the scan and the first several prints, you would have to sell a few of these giclees to re-coop your expenditure. And the first few scans are never right, so you get to do them over. Add to this the fact that many artists decide to get scans of all their recent masterpieces, upping the bill considerably. Galleries haven’t been doing a lot of business in prints since the print market took a dive in 2000, just ask a few printmakers. I reckon there are quite a few artists sitting on a whole lot of unsold prints, but you probably won’t hear any artist admit this.

I also know there are a lot of good honest businesses providing high quality giclees on papers and canvas. Jack Duganne, who invented the word “giclee,” still does them at the Atelier Duganne in Santa Monica, CA. Also Blue Trimarchi at ArtWorks in L.A. Do the research carefully. I still agree with Bob that if your paintings are not selling out off the walls of the gallery, they won’t sell as a cheaper version on paper or canvas, with or without the added hand embellishment over the top.

 

 

Needing some answers
by Jill Brooks, Manitoba, Canada

 

“Delphinium Blue”
watercolour, 30 x 22 inches
by Jill Brooks

I am wondering whether, by providing all of your subscribers with the information on the Telesummit, you are endorsing what they offer? I would be interested in hearing from subscribers who have participated in previous telesummits. Was the investment in time and money of benefit to you? Promotional testimonials raise red flags with me. It’s possible to find folks who will testify to the benefits of just about anything if doing so will gain them a wider audience.

(RG note) Thanks, Jill. Many of our subscribers have participated in previous smARTist telesummits. You can read some of their opinions by going here. So far I have not heard from anyone who thought it was a waste of time or money.

 

 

Market facts
by Cam Anderson, Coquitlam, BC, Canada

I attended the SmARTist Telesummit in its first year, and it was so good that it inspired me to want to know more about the market for art. So I conducted a survey of 390 art buyers, asking their opinions on the basic questions we all need to know, the who, what, where, when and why of the fine art market. Then I spent a year (really!) reviewing the data, and preparing strategies for artists to take based on the survey data.

While the resulting report is based on mainly Canadian art buyers, I believe it has valuable tips applicable to artists and art sellers everywhere. To my knowledge, there is nothing quite like this report. And it is available free for everyone for the asking at this link. I hope this may help artists improve their selling strategies, by building on what customers want. I think it is only a start, to address an important “missing link” — i.e market facts.


There are 3 comments for Market facts by Cam Anderson

From: Gene Martin — Dec 19, 2008

Perhaps I am wrong, and I have been before, But I am leary of this site. You have to join, as best I can tell from a cursory look. There is a charge for their services at some point. Their disclosure is too long for my taste and so on. If I am wrong please correct me. If I am wrong and have offended you then please forgive me. It is just I am leery of “free” and then having to join something. Thanks.

From: Lyn Cherry — Dec 20, 2008

Gene, this newsletter is free and you had to “join” to receive it.

From: Anonymous — Dec 27, 2008

Hi – Cam here,

No need to join the site where you land for the report. This is our way of getting emails to send the report out for free. Hope you will request it, up to you of course. Best wishes for your selling success.

 

 

Finding the questions
by Marion Barnett, UK

I work as a coach with artists and others with small businesses to help them work things out. I work on the basis of a lot of years working as an HR and Self Development specialist in business, focused by some more recent experience in promoting and selling my own art. I agree with Alyson wholeheartedly when it comes to intimate conversations, it helps to clear the mind. But just as each artist is the expert in their own artistic process, s/he is the expert in their wider, business profile. I don’t believe there is a mould that artists can fit into when it comes to their business; they have to work out for themselves which of a range of approaches suits them best, and find the internal discipline to stick with it. It’s just like art, really. We have all the answers, we just need to work out what the questions are. Getting issues like time management sorted out won’t help you become a better artist per se, but it will help you to spend more time in the zone, which has to be a good thing!
 

Conferences costly
by Linda Thury, Nevada, MO, USA

The teleconference sounds great for artists wanting to expand their marketing; website set-up, marketing tips, gallery and corp. contact techniques. However, when I saw $297 for the cheapest class, that killed that. I have read books by Paul Dorrell, Carrol Michaels, etc., but a live “class” with feedback would certainly be more helpful.

Am I the only one who can’t afford the very advice/techniques that will jump-start my career? Are other artists struggling with deciding whether to pay for a workshop or rent/food? Maybe smARTist can sell just the DVD/CD of the conferences. This would, hopefully, be a less expensive option for the poor working artists.


There is 1 comment for Conferences costly by Linda Thury

From: Richard Mazzarino — Dec 18, 2008

The basic problem with these tele-seminars is they offer a one size fits all approach and take your money in the process. I don’t say they absolutely offer misinformation but much of what is being said can’t be adapted to everyone. The other problem is artists generally aren’t good salespersons or entrepreneurs. Inherently with being an artist few can sell themselves nor want to. Not every artist should reach any higher than his or her work offers. The vast majority of us will never be a Picasso. If I spent the amount of time it takes to promote myself, I would be painting less.

 

 

Thanks
by Fred Asbury, Memphis, TN, USA

I do not have the $300 to $500 to enroll in the teleconference. It does sound wonderful and really what I need to get where I am going. But, alas, I don’t even have $3. I will continue to rely on you and your letters for inspiration and tips to bring success in the art world since it is free. Thank you so much.

You may already know this but in living The Way of the Tao and in Zen, what you are doing produces the highest level of karma; giving without expectation of reward. Living this inadvertently brings you great rewards. One of these rewards comes in the form of the greatest respect from the readers and participants. I think I can speak for most of your readers.


There are 3 comments for Thanks by Fred Asbury

From: Judy Gosz — Dec 18, 2008

Amen!

From: Anonymous — Dec 19, 2008

Robert’s bi-weekly letters have often dragged me out of the doldrums and sent me back to the easel with fresh authority. Blessings to Robert for the way he has blessed us.

From: Joan Crawford Barnes — Dec 20, 2008

I have to agree with the above. I originally signed on the SmArtart website thinking I could learn something, we never stop leaning, but surmised later that this was going to be costly. I too am thankful for Robert’s bi-weekinly letters that stir within me the creativity needed to proceed or add to an idea in progress. Thanks Robert for all that you freely give to those willing to take the time to read and apply.

 

 

Never stop learning
by Collette Renee Fergus, New Zealand

 

“But we have SKY!”
original painting by Collette Renee Fergus

I work in a gallery as well as being an artist and see many artists come through our doors looking for that representation that most unfortunately won’t get. There is always more than one reason and your letter points out some of them–lack of professionalism, an inability to sell themselves and/or their work, or perhaps an over ability due to their work not really being up to a saleable standard.

I think all artists should attempt to better themselves both in the professional business sense but also with their art… something I am concentrating on in 2009.

 



There are 2 comments for Never stop learning by Collette Renee Fergus

From: Rick Rotante — Dec 18, 2008

You have hit the core issue here when you stated that every artist’s work isn’t gallery ready. Of course the flip side of this is galleries prostitute themselves and handle “what sells”. You are, after all, a business. Many aspiring artists are told to “get their work out there” by their teachers. This is a big mistake. I believe you should never approach a gallery in the first five to six years of your career. Within this time you will hopefully have an idea of self and your work will have progressed to where the galleries want to see it and if you wish to be invited you can gear your work to them. By this time your “professionalism” will have increased. Many will never be able to sell themselves so this is not a criterion to being a successful artist.

From: Marsha Savage — Dec 19, 2008

Rick — good comment. Collette, you are so right. I had one of my students ask about one of my galleries, “How do I get in your gallery? I need to find a gallery.” I told her to “please, don’t even think about getting into a gallery yet. You don’t have a body of work, and you also don’t need the pressure of trying to paint for the gallery. You just need to learn and paint many miles of paintings.” I so agree — artists need to paint and paint more before even considering approaching a gallery. It would also save them much grief and the gallery owner much grief in turning them down.

 

 

Quality speaks for itself
by Caroline Simmill, Morayshire, Scotland

 

“Evening storm”
oil painting by Caroline Simmill

I believe it is very important to produce a professional looking piece of artwork. Put out your best work only and spend money on framing your work very well. As far as marketing goes it is very important to know your own market. This can take some time but it is the place where your own style of work sells well and is appreciated. Knowing your market also means understanding what your work will sell for in a gallery, never put too cheap a price on your creations as a lot of years of hard work has gone into producing the works of today. Giclee prints should be produced by a professional printer on quality paper and mounted properly. The amateurish looking Giclees made on cheap printers at home do not look the same and indeed do not cost the same as a professionally produced one. Quality speaks for itself; I have a good income from my sales of prints in galleries. The prints are affordable to a wide range of buyers while the paintings are too expensive for many to buy.

 

 

Creativity and Commerciality
by Barney Davey, Scottsdale, AZ, USA

For some artists, it is difficult to work at making art as if it were a craft such as bricklaying. It robs them of the joy in creating. For this reason, you find supremely talented artists who labor in anonymity. But take no pity for them, most have made a conscious choice about what success is for them, and being commercially viable is not one of them. At least it is not a driving criterion. I personally get this. I have a day job marketing for a successful high tech firm. It pays the bills and provides the bennies and allows me to publish this blog on my own schedule without being at the mercy of a publisher or advertiser’s demands.

Some hobbyist artists will create priceless gems only a few will ever enjoy in comparison to star artists. But at the moment of self-satisfaction, wherein one quietly and privately basks in knowing this work of art before them came from their imagination, skill and creativity, a wonderful warm glowing feeling is generated. And, that special moment runs as deeply and pleasingly in a happy hobbyist as it does the most acclaimed artist.

You can’t take self-satisfaction to the bank, but you also can’t put a price on standing before something you made that gives you pure joy in having it come from your hand. With any luck, your work will live out in a legacy in ways you as the creator can never imagine. This is true whether you achieve tremendous success or make your art for the enjoyment of your family, friends and, of course, yourself.

 



There is 1 comment for Creativity and Commerciality by Barney Davey

From: Ken Flitton — Dec 19, 2008

Barney Davey- Right on absolutely correct.

 

 

Journal Entry
by Justin Beckett

 

SALT SPRING ISLAND – BIKING, ACRYLIC PAINTING – TRIP ONE

Journal Entry – Day Six

Today I woke up at 5am, I was excited and eager. Sarah’s cousin was over visiting and it was the second day I ever met him. He offered to give me a lift to Ruckle Park. He is a professional photographer. When we got to Ruckle Park, it was pitch black. We hiked through the forest with flashlights strapped to our heads, lighting the way, and trekked up and down rocky and wet pathways. There were large trees and the sound of silence surrounding us, with only a pinch of light from the sunrise shining through past the ocean, above the horizon. Eventually we reached the ocean side. Peter set up his tripod and got ready to photograph the sunrise. I quickly set up my easel and began painting with the flash light still on my head, setting up and painting in the dark. By this time it was about 6:30am I had to paint very fast since the sunrise only lasted about 20 – 30 minutes. It was now about 7am and my new friend went on his own journey. I continued to paint. After a little while, I completed my painting, I then moved on to paint another. I carried my still set-up easel down past a small cliffside and onto some rocks–the shoreline of the ocean. I pulled out another masonite panel and began painting, right way.

I could not believe where I was and what I was doing. There were all types of rocks, trees and mountains surrounding me. The wind was blowing fierce. It was blowing me and my easel over. The waves were getting larger and crashing up hard against the rocks all around me. The cold breeze and the sound of the crashing and slushing of the water blew me away. I couldn’t believe it. I was out there, painting in the great out-of-doors. The best part was it was only me, not a person nor boat in sight, just me and the great out-of-doors. Over time my friend returned from his journey and we headed back. Right when I got to the house I jumped on my bike with my back pack and easel strapped to my back and headed out. I wanted more. I quickly found a spot, set up, and found something to paint. It was a view of the ocean, with trees in the foreground. I was right in the open and it began to rain, but, I just kept painting. I started to like the effect the rain was giving my painting, plus it was keeping my painting nice and wet and flowy.

For some reason, being out there that evening painting in the rain, I began to think of the Group of Seven and also Robert Genn, after remember reading about his journeys. I felt like I could relate to them and their paintings more. I was wondering if they had felt and thought similar things as I was thinking on that fine rainy wet and cold fall evening. After I was done painting, I took a long bike ride in the rain, stopping and enjoying the beautiful sights of the great out-of-doors.

 



There are 2 comments for Journal Entry by Justin Beckett

From: Anonymous — Dec 19, 2008

Thanks for sharing your perfect day. I believe you were so open and aware and in the moment that the creative spirits of the Group were able to flow through you for a time. Sometimes, for brief seconds, I feel I can see with O’Keeffe’s or Emily Carr’s eyes and I know I am being touched in a wholly cosmic way. We should all have many days like that.

From: Larry Proteau — Dec 19, 2008

I recently came across two web sites where artists have stopped showing their work because it was copied. There are two things you can do to discourage copying from the web.

1.- Always put a transparent or other type of watermark across the work.

2.- Reduce your work to approximately 3 inches, at 72 ppi, and low jpeg resolution. This makes it impossible to get a clear download.

 

 

World of Art Featured artist Eden Compton, Florida, USA

Monhegan Sunset I
pastel painting
by Eden Compton, Florida, USA

You may be interested to know that artists from every state in the USA, every province in Canada, and at least 115 countries worldwide have visited these pages since January 1, 2013.

That includes Elizabeth Symons of Victoria, BC, Canada, who wrote, “We can always do more to help ourselves especially in these tough times… which positions ourselves to help others more effectively. If there is an upside to this recession it is that we are forced to reevaluate our priorities.”

Archived Comments

Enjoy the past comments below for Second opinion

 

 

 

 

From: Sandy Sandy — Dec 16, 2008

Last year I participated in the 2008 smARTist Telesummit and learned so much from Ariane Goodwin’s great line up of art and marketing experts! My personal growth accelerated as a result of this event. It equipped me with the ideas, tools and confidence I needed to strengthen my vision and refine my voice. These tele-seminars engaged my creative spirit and energized my career. I’m so excited about the upcoming lineup of speakers and have already signed on for 2009! I highly recommend it to creative people and artists at all levels.

From: Patrice Federspiel — Dec 16, 2008
From: Suzette Fram — Dec 16, 2008
From: Lodi — Dec 16, 2008

Thanks so much, Robert, for informing me about smARTist.Telesummit. I have read and reread it. Just recently, I attended a one day workshop for artist learning about the business of art. It was EXCELLENT! The organization made it so affordable that there was simply no excuse not to go. From what I learned from that workshop, I am so fired up that I started moving forward immediately. Seems something in my person said, YEAH! and whatever “it” was holding me back got forgot about.

I am now working on a plan to earn the funds to register for the conference ASAP. Wish me luck. I could go on-and-on about how great I think you are and how much you’ve been motivating me forward. Thank you, Robert. You are what being a friend is all about.

I am grateful for you.

Lodi

From: Rick Rotante — Dec 17, 2008

Why do all the above responses sound like commercials for this seminar?? This might be just a shamless plug. Do tell.

From: Lodi — Dec 17, 2008

Ever been hungry, Rick? I mean real, real hungry? Then someone comes along with food; Good, Rich, Nutrition? Ever been to one of these seminars? Go!!! The experience will answer you for itself. Who knows, you might get an understanding as to why all the above responses sound like commercials for this seminar. Enjoy!

From: Nick Stone — Dec 17, 2008
From: Maria Avila — Dec 17, 2008
From: Rick Rotante — Dec 18, 2008

Dear Lodi- I try and not get too hungry. The idea of seminars is not a bad thing. Any knowledge that helps even one person find his/her way is a good thing. There is an insidious idea here that seminars will “open” your eyes or give you the secrets to success. I do agree some need guidance on handling their career. Many don’t know what it really takes to be a successful artist. Good work is paramount; personality is low on the scale. Savvy knowledge on handling galleries is also high on the list along with self worth, which can’t be taught. One has to be wary of those who espouse they have the knowledge and wisdom to re-make you into something you may not be. I’m wary of “experts”.

From: Rick Rotante — Dec 18, 2008

Nick – I appreciate what you said. The only issue I have with your statement is that professional means making a living from what you do. It’s your profession. You can have a professional manner and still not be a professional. Having an alternate source of income is certainly no disgrace, but if you do not diligently pursue selling and exhibiting your work, in my opinion, you are not a professional artist. Meaning no disrespect, you fall into the “weekend” painter category. There is a big distinction between painting for fun and working to make painting your profession. If you are willing to reap only the benefits of employment and paint when you feel like it, you are not a professional painter nor will you ever be.

To be a professional at anything takes a myopic view of what you do and absorbs every waking hour of your life. This sounds dramatic, but without that drive your true profession is your day job not painting.

From: Nick — Dec 18, 2008

Rick, the confusion is in the word professional I think. Do we value Van Gogh less because he sold so little? The list would be endless but the point is to paint without worrying about money.

From: Rick — Dec 18, 2008

I couldn’t agree more.

From: Susan — Dec 19, 2008

Ah, Agreement at last. I get somewhat discouraged at this need, within the “art world,” to create this hierarchy of artists. With this comes an implied disdain for “the weekend painter,” the older or retired individual who rediscovers painting,” “the hobbyist,” etc from the critic and/or those that consider themselves artists. How foolish it seems for us to try to diminish another’s efforts.

Perhaps we should just call ourselves painters and let it go at that, Just a thought…..I believe Vermeer did not sell his work either.

From: Catherine Stock — Dec 19, 2008

I am really on the fence about this conferencing seminar. When I first received Robert’s email, I thought, Wow- this is just what I need. Most of my professional life has been spent writing and illustrating children’s books, and finally painting portraits. Now I live in rural France very far from any “market”, determined to pursue my own work. My savings have been severely diminished by the recent financial crash and I need to start thinking money again. But I was really turned off by the glitzy SmARTist Telesummit website presentation. I have tremendous respect for Robert, so am teetering…but your credibility is on the line here, Bob!

From: Rick Rotante — Dec 19, 2008

Susan- I certainly would never malign a weekend painter or hobbyist. I believe the discussion centered on what was a “professional”. If you consider this point you have to agree hobbyists and weekend painters do it for the enjoyment and satisfaction they get from the process and not to make painting their living. In a perfect world every artist could make his/her living from the arts make it their profession, their job, their primary source of income. I don’t agree that a hierarchy enters into the format I was referring.

(1) You’re a professional if you practice what you do and make money from it on a regular basis or your yearly income is derived from your art.

(2) On the other side of the coin one who uses every waking hour to pursue art, sells and exhibits and deals with the business of art i.e. advertises, websites, can also be considered a professional even with a day job, if he/she is working toward making art their sole source of income. Nick’s comment centered on being able to paint without the worry of making a living.

Having a professional attitude is good and will add to your success, but sitting at home painting whenever one feels the mood hit and storing the results in a back room or giving them as gifts even with a professional attitude doesn’t cut it.

From: lighten up — Dec 19, 2008

She learned to paint on Monday

Her strokes were going fine.

She forgot to thaw out dinner,

So….we went out to dine!

She painted trees on Tuesday,

she says they are a must,

They were really quite lovely,

but……she forgot to dust!

On Wednesday it was daisies,

she says they’re really fun.

They had nice lights and darks,

but…..the laundry wasn’t done!

Painting apples came on Thursday,

so juicy, bright and red.

I guess she really was engrossed,

she never made the beds!!!

It was violets on Friday

in colors she adores,

It never bothered her at all…

that crumbs were on the floors!

I found a maid on Saturday…

me week is now complete!

My wife can paint the hours away,

the house will still be neat!

WELL..now that it is SUNDAY,

you can’t call me a SAINT!

I cursed and raved and ranted…

Now the Maid has learned to paint!

Unknown

From: bob white — Dec 19, 2008

Rick, who are you to judge what cuts it and what doesn’t? I know 2h per day painters with another full time carreer that are in more galleries and sell better than many full-time loud mouth artists.

From: Rick — Dec 19, 2008

bobby-boy- name them.

From: Rick — Dec 19, 2008

ya know bob – I wasn’t going to lower myself to your miserable level but I realized you’re too ignorant to understand what was being said in the above letters. Your life can’t be that disappointing and miserable that all you had to offer was your trite comment. Have a good day.

From: bob white — Dec 19, 2008

Few from my neck of the woods:

http://www.rosspenhall.com/artist.html

http://www.johnferrie.com/

http://www.mcdermottart.com/

http://nsartists.ca/atejada/exhibitions_and_demonstrations

From: bob white — Dec 19, 2008

I apologize about the “loud mouth” comment, that was too strong and I should have expressed my disagreement in a less offensive way.

From: Rick — Dec 19, 2008

Apology accepted. It so happens that I’ve already visited the sites of John Ferri and Mcdormott (John-being a regular contributor to RG’s site) It’s a small world.

You are living in a fog Bob. These artists are at the top of their game and I can tell you without knowing any of them they have spent more than 2 hours creating the work they produce. And possibly, as you say, one or more may have other jobs, they work at what they do and are exactly the type of professional artist I was speaking about.

I noticed you didn’t publish your site address…?

From: bob white — Dec 19, 2008

I am a collector, not an artist.

From: Denise Brown — Jan 06, 2009

I signed up for the telesummit this January as a jump start for 2009. It is a business investment that goes across platforms in my career. I am a watercolor painter and graphic designer, and am planning on using the marketing and motivational ideas for both my businesses and my client’s web and marketing plans. In this fast changing world, you have to keep up with the new ideas, wherever they may lead you. The internet telesummit is much cheaper and easier to do than to pay for travel expenses and be away from my business if I go to trade shows and try to attend a class or so out of town. Plus this internet approach lets you interact during the class and replay the classes anytime you want. It has a tremendous reach and provided many links, info, and ideas already even before the classes have started. Everyday they have been sending ideas or motivating bits to think about. It has already stirred up a new think tank in my head of projects I want to work on. It is up to each attendee to make best use of anything you learn to apply to your future. I will let you know how it goes!

From: Sally Martin — Jan 24, 2009

After the initial ponderings and research of a healthy skeptic I signed up for the ‘SmARTist Telesummit’. You pay your money and take your chances in such things but I went with my gut instinct as it tied in so well with some creative and business re-evaluation processes I am going through. The last session is this evening (UK time) and I am almost reeling from the amount and quality of the information offered up by all the contributors, not least the other participants in the Telesummit forum. The organisation by Ariane has been superb with solid backup of audio files and pdf downloads. I figure there is enough material for at least the next year and I cannot emphasise enough the quality of the information, especially the social networking and marketing stuff that would take years to find out for oneself. I am a mid-career artist and no newby at promotional issues etc and I believe this information will help me shift gear up to the next level over a much shorter period of time. Thanks for the heads up Robert.

From: Ariane Goodwin — Jan 24, 2009

I thought you might enjoy this email I just got, and why I do this every year!

Thank you, Thank you, THANK YOU!!

This week has been amazing…I don’t remember the last time I was so motivated, so inspired. I have gotten so much from the keynote speaker’s presentations, the pre-events, even the panel days and I am almost saddened that tomorrow (Friday) will be the final day. Thank you so much for the time and effort that you have all put into this amazing resource for artists. I am feeling ready to re-emerge in my new locale with my confidence, inspiration, skills and vision strong.

The keynote speakers were exceptional at not only sharing their

information and resources, but their friendly down-to-earth speaking style allowed us to feel like we were listening to a friend giving advice over a cup of coffee.

My only wish was that I would have enjoyed another 15 minutes out of each speaker, I was hungry for more!

I am looking forward to next years smArtist Tele-summit already and please let me know what I can do to spread the word for smArtist, whether that be a link or a banner, I would be pleased to share this with all. This has been an amazing week for both my partner ( he is also a visual artist) and myself.

My profound thanks,

Julie Cooper Young

 

 

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