Is One of These Your Question?

The Internet is allowing more artists than ever to make money these days by opening up the information flow. And it seems just as many are frustrated with how to evaluate this information for their art career.

If you’re having trouble figuring out your information priorities, it might be because you’re getting stand-alone information without enough art-specific context.

The truth is, the information flow that worked a few years ago has increased to the point that it’s difficult, if not impossible, to untangle the layers that apply to your vision and your goals.

One key to avoiding this kind of frustration is to segment the information around specific, artist-generated questions.

Every year, the smARTist Telesummit starts with two MasterMind Panel Days that draw on years of art-career experience from my leading authorities who answer questions that are submitted by the artist participants who come to the 7-day live conference.

And now, everyone on this year’s “Interest List” has access to a 42-minute audio excerpt (plus complete written transcript) of one of these MasterMind Panel Days from last January.

In this quick and easy 22-page transcript (or optional audio recording), you’ll find answers from a gallery owner, an established artist, the leading authority on the Art Print Market, and a licensing expert to these questions:

  • For an emerging artist, what do you think are the three most important priorities?
  • I would like to enter the licensing market, and I’m looking for the best way to do this. How do I start licensing my artwork? For example, is it better to pay $3000 for a booth at Surtex, or find an agent?
  • I am interested in becoming a wholesale artist working with interior designers. How do I go about doing that?
  • Which are the most effective social networks to sell one’s art through?
  • What prevents artists from forming a guild to promote their work in a unified manner? It seems that agents, printers, publishers, and art galleries are taking the lion’s share of the profits, and that artists could control their marketplace as a unified group with leveraged buying power. Your thoughts?
  • How do you get a lot of people – a crowd – to come out to an art show. Is it all about whom you know, or are there other ways besides just inviting everyone on your own list?
  • Given there are no guarantees, particularly in the current economy, how does one assess the ability of a prospective gallery to sell one’s work – their position in the marketplace, their relationships or lack of relationships with collectors, the quality of their mailing list, their ongoing marketing strategies, the stability of the gallery – particularly if the gallery is located in another city or state?
  • Is that also the way you would go about knowing if a gallery is financially solvent and run to make a profit?
  • How does having a strong Internet position with your art hurt your chances of working with galleries?

So, if you’ve ever wondered about any of these questions relative to your art career, and would like to hear 5 different viewpoints… well, you’re going to want to read (or listen to) this for sure.

Just click here to sign up for the smARTist Telesummit 2011 Interest List, and then start putting this art-career information to work.


In fact, one of the artists whose question was selected sent me this email right after she heard the panels’ response:

Oh my goodness, I just had to write back and THANK YOU for starting out the Day 2 panel discussion with my “goals” question.  I heard you introduce it, and suddenly I was incredibly nervous to hear how your panel was going to address it– wow!  I scribbled down notes like a fiend– I’m really looking forward to the CDs so I can listen again to every detail in each speaker’s answers– but I most wanted to tell you that the answer from Jonathan Talbot raised the hairs on my arms and brought tears to my eyes.  I have some new work to do now– but it’s SO exciting! ~A.L.

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