We humans have amazing internal radar that picks up bs automatically. It’s a survival instinct, where knowing what’s real and what’s not has always been crucial.

We also have some equally amazing internal barricades that can rewrite our first, instinctual responses and kick us upstairs into the more civilized Brain Override Lounge.

Sometimes this is a good idea, when our instinctual response is actually triggered by an old pattern that no longer makes any sense. Other times it’s a form of personal delusion, when facing something authentically is going to ask more of us than we feel up to.

Either way, the people around us will…perk up when we are being authentic, and shut down to some degree when we are not.

If our confidence cannot pass the authenticity test, that’s when people’s eyes glaze over or someone else takes away our conversation ball.

However, there’s a problem with authenticity we are not talking about, which can compromise your ability to engage collectors and buyers with the kind of confidence that inspires people to buy your art.

Authenticity—an ongoing buzzword

In our new professional world, carried along the tides of social media, connecting with like-minded, kindred spirits is considered the relationship heart of marketing and sales.

If you can’t create a relationship with your audience, your people (whomever they might be), then your marketing efforts will have a hard time gaining traction.

So understanding authenticity as it relates to your confidence–one of the cornerstones of “relationship marketing”–is essential.

Except, there’s a problem with authenticity

On the face of it, authenticity seems to be a straightforward state of being that we either have or don’t have.

But consider what authenticity is asking of you.

It’s asking you, in the moment, to be real about what you are doing or saying—which is assumed to be a reflection of what you are thinking, which is always a reflection of what you are feeling, whether that emotion is available to your conscious mind or operating from the unconscious.

This means, at the professional level, that authenticity is a lot like taking off your emotional clothes with acquaintances or downright strangers.

A character in the television series, Smash, plays this out perfectly.

Julia, the writer for the musical production at the heart of Smash, does take off her clothes, inappropriately, then spends the following sequences being upfront and disarmingly authentic about the ongoing fallout.

Her authenticity, or you could read “brutal self-honesty,” is refreshing and surprising since most of us could simply not pull it off.

Because, for most of us, sincere authenticity feels alarming, vulnerable, and, well… downright exposing. Naked.

So, we hedge. We do a “half-authentic” spin, somersault off of, maybe cleverness, or self-deprecation, or turn the spotlight on someone else, or become the sarcastic critic with a wit, or company clown.

How to be authentic and keep your clothes on

There are endless variations to the almost-but-not-quite authentic game we all play in some situations when getting emotionally naked in public is just too threatening to our personality.

Sometimes this is sound judgment, given the situation and the people. Sometimes we’re just unprepared.

If you understand from the outset that authenticity carries with it the thorn of vulnerability, you can make decisions about what is real that you are comfortable sharing, and what is real that you are not comfortable sharing at this time.

Otherwise, you are at the mercy of reacting to a subliminal message of vulnerability in whatever way you react to anything that makes you feel too exposed, too naked.

People are always going to ask you about your artwork. Coming out with clichés—beauty, light, inspiring others, etc.— may be comforting laziness, but guaranteed it will work against you, as will witty deflections or superlatives.

Taking the time, in advance, to write a descriptive sentence about your art means you’ve had time to acknowledge the clichés, move past your own barrier to self knowledge, the “I don’t know what to say about my art,” and can present yourself and your art with confidence.

Once again, confidence equals competence

When you have competence for talking about your art, you automatically generate confidence with an authenticity that pulls your listener closer, creates a sense of trust and allows you to create a relationship that can lead to a sale.

A juicy, engaging descriptive sentence about your art accomplishes this for you when it does two things:

1. Creates enough curiosity so your listener will want to hear more.

2. Gives you a language handle on the whole point of why you do what you do.

When you write a descriptive sentence, it takes the pressure off of you having to spontaneously come up with something. It will keep you from floundering in the cliché swamp and put you in control of what you want to share.

And most of all, it will give you the confidence to engage people with authenticity and what is real. Then your audience can connect with the artist and the art.

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For a limited time, if you purchase the “Home Study Edition” of the smARTist Telesummit 2012, I will send you a bonus worksheet on “How To Write A Descriptive Sentence About Your Art.”

To get your bonus, email me your Order Confirmation email with the word “Bonus” in the subject line.

Click here to read about the “Home Study Edition” of the smARTist Telesummit 2012.

Artists were counseling each other with idea brainstorming, reflecting on artist statements, talking about the value of art, discussing marketing ideas, print sale options for artists, vanity galleries, and so much more it would take hours to catalog.

But there was one thing in particular that caught my fancy…what I thought was a brilliant use of this new, interactive site that outranking is all the rage: Pinterest.

From Joyce Wycoff, a 2012 smARTist Telesummit participant:

Way too many artist statements are BORING

The pattern seems to be variations of “I was born. I went to school. I like art.”

I’ve collected and analyzed over 100 artist statements to date and have only found one that I would rate as with 5 stars: Geoffrey Gorman’s, which was so good that Ariane introduced him by reading it.

While artist statements do not seem to keep great artists from selling, those of us who are building our careers need to have every edge we can get.

To this end, I’ve created a Pinterest board* with the beginning sentences of artist statements, alongside a piece of their art, and my ratings, based on the assumption that if we don’t engage a reader with those first sentences, we’ve probably lost her or him completely.

You will see that the collection of statements from successful artists are not much better than those of average artists. You can also see an evaluation of statements I picked up at one gallery here in my blog post.

The Artist Statement Challenge

My challenge, if you want to participate, is to submit the first sentence of an artist statement that you think would really grab readers and stimulate their interest in you and your art.

If you’d like to play, email me: jwycoff@me.com

For my opening sentence, I found *Eden Maxwell’s exercise of “Why am I an artist?” to be very powerful. It prompted me to rewrite my artist statement.

If you decide to play, and if your opening sentence rates 4 or 5  stars (my call), I’ll post an image of your art from your website along with your first sentence on the pinterest board.

If I don’t think you get at least a 4, I’ll use the skills I’ve earned as a published author with a marketing background to give you feed back so you can try again.

If you haven’t discovered Pinterest.com, you may want to avoid it … it’s utterly addicting!

In the smARTist Community Forum (only open to participants of the live event), another artist gave us a link to two articles on the rising star of Pinterest.

Article #1

Article #2

Happy pinning!

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*Eden Maxwell’s exercise of “Why am I an artist?” was a core component of this year’s smARTist Telesummit conference. Eden understands that without a foundation of self-awareness, most artists will flounder and fail. His elegantly simply, and skillful, three core questions and how to answer them, was a highlight of the 7 days.

Did you miss it? No worries. Sign up for notification of the Home Study Edition of the conference and we’ll send you the info as soon as we launch.

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So, tell me: are you on Pinterest yet? And what do you think of it?

In that first conversation, I commented on how refreshing it was to talk about something besides marketing and business.

And it seems that the artists on the call thought so too. Here are a couple of quick excerpts that Lori (my Art Salon compatriot!) pulled out…from the recording. See if this resonates with you.

And keep in mind, this is only the beginning…

Blue Stocking Art Salon (twitter aka: #ArtBlue) No.1

Artist No.1 – I feel that art actually saved my life.  Even as a young child, it gave me the will to fight. It allowed me to find out who I was in my little world that had suddenly been turned upside down.

As a young child you think you’re safe and secure in your own home; and then, to be taken away from home and put in a hospital with other kids that are dying, you come back knowing that anything could happen at any time.

So art became my foundation, as well as allowed me to expand my mind, as a young child.  It was my philosopher’s tool, as it were.

I feel that, these days, children are being short-changed on their experiences with the creative arts.  I see a lot of children (I have a Masters in art education) that have a hard time expressing feelings or thoughts; either verbally, or visually, or through the written word.  And it just breaks my heart.

Lori - That’s the place I come from.  Art is what saved me too.  I came to it late; I started out as a scientist, and came to art sort of through the back door.  But, once I discovered it, and discovered that I had the ability to draw what I saw (which I had never done before), I realized that something in me, that had been empty, was filled.  And so, it really saved me.

I love what you just said about, as a child, making the world so it satisfied you.  I think that’s a critical function of art—of any kind of art that we, as children, do naturally.

What I don’t hear talked about much—it’s kind of hidden—is the power of art.

I think we are in a world that doesn’t (at least, our culture) appreciate its true power.  And I think that lack of appreciation trickles down to us as artists; that it’s not out in the open—what we do, and what it does for us.

Artist No.2 – What I have learned in listening to all of you today is that chances are, as artists, we embark on a journey that we don’t know where it’s going to take us.  Probably we will evolve along the way.  And our mission, and our voice, and our purpose for creating may change.

Something that I’ve felt very strongly about for some time is that, I think, as artists, we serve each other and ourselves really in the best way possible if we are completely open-minded with what others are doing; and with what we are doing.

I think there’s so much judgment in the world, about what is art, what it is not; what is valid, what is not.  I think if we want to elevate humanity, we need to start with supporting everyone’s voice.  And I want to be clear, I don’t think anyone has implied anything other than that today; but it’s just something that’s always been really important to me.

Ariane - Can you say just a little bit more, [Artist 2], about what you mean by “elevating humanity?”

Artist No.2 – Well, I.M. Pei once said that the purpose of art is to move; and I definitely agree with that.  So, I think, as artists that we’re in the world differently than other people.  I think we see, feel, hear, touch, and taste differently.  And, in turn, we have the ability to sort of touch this glint of light, if you will, and then it becomes our job to bring it out into the world.  And that can take many, many forms.

I think sometimes we express the things that other people can’t express.  We open people’s minds to things they may not have considered; or allow them to look at things a little bit differently.  There are so many possibilities—more than I could ever mention here today.  But I think we hold a special place, and a special opportunity.

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To Be Continued on the first and third Wednesday of each month:

“The Blue Stocking Art Salon”

Come join the conversation with Ariane Goodwin, Ed.D. artist Lori Wolfson, and a whole passel of fab artists -> come check it out!

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And exposure is the only way your branding can make an impact.

There are two levels of branding exposure you need to leverage for your art:
Free and Paid.

Both are important and both…work.

The Paid Level: When to shell out

• If your career is on a roll and you want to expand your brand, advertising in appropriate venues may be a good match.
• If you’ve mastered recognition and sales locally, and you want to build up regional exposure, a paid venue (researched thoroughly!) may be the next step.
• If you’ve mastered recognition and sales regionally, and you want to build up national exposure, a paid venue (researched thoroughly!) may be the next step.

The Free Level: What to pay attention to

Of course, anytime you can find free exposure, it’s hard to lose.

However, there are some things to keep in mind.

• Does the free venue match your audience?
• Does the free venue match the quality of your work? If it’s MacDonald’s and you’ve got 6′x6′ abstracts fit for a millionaire’s mansion…(I’m sure you can do the math… ;-)
• Will the free venue hurt your brand/art in any way at all? (Think: audience/perceived impression of venue at first glance, etc.)

Here’s free exposure that’s right for any artist at any point on their career path, created by one of our past smARTist Telesummit speakers, and rockin’ artist, Jonathon Talbot.

www.TheArtsMap.com

It’s the only way you’ll get access to the Early Bird Discount – a one-time offer that only lasts a few days once it goes up!

It was warm but reserved, attentive but distant, confident and quietly cagey. (I think it was called getting “the upper hand.”)

Then virtual reality came along and…

rearranged the furniture. No need for a suit, who could see you? A computer monitor sure as heck wasn’t going to distinguish between warm and reserved, much less put them together.

And getting the upper hand no longer had anything to do with who you knew, or how you leaned forward in your chair and mirrored your client or prospect, or if you dropped a breath mint before the meeting.

Suddenly It Was All Different

The world as we understood it had a whole new set of rules that only a very few were figuring out. What was really fascinating was how fast the Internet would knock off one sacred cow, replace it with another, and then knock that one off too.

In some ways, it seemed to recall a time in recent history when a much maligned group, knows as Hippies, became famous for knocking off sacred cows and trying to level the playing field between the powerless and the powerful.

Now the playing field between who had resources to start something and get the word out, and who didn’t, was being leveled. And the old guard freaked.

Back room deals were still dealing, but they weren’t the only game in town anymore. On the art scene, galleries, who once had the upper hand, were faced with artists who had ways to reach an audience that were unheard of in what I call the Old World.

From Flower Power to Tribe Scribe

Hippies understood that bureaucracy and stagnant rules were strangling creativity, spontaneity, and authenticity – three of the most joyful, delicious traits of human beings – and that reserved confidence was overrated. They understood what Twitter now heralds: being a scribe for your tribe. Using creativity, spontaneity, and authenticity to rally your audience around your message.

The new professional has to be real, someone with preferences, and ideas, and a personality. The new professional has to be professional even as she kicks off her shoes, curls her feet underneath her on the couch and invites us into her living room to share her experience on the last sculpture she had commissioned by her city council. Oh, and she has to be articulate.

The Success Blend

The New World offers us the opportunity to exercise what I call personal professionalism – a way to engage more of ourselves with the world by blending our personal selves with our professional selves. And like the Old World, this New World has rules that influence how effective you can be, how successful.

One of the biggies is the rule of authenticity, or will the real you please stand up, which, as an artist, is intimately connected to what I can your artistic fingerprint – a style that is unmistakably yours and no one else’s.

In Part 2 of “The New Professional,” we’ll take a look at how your unique artist’s voice is the single most important key to your success in the New World, just as it was in the Old World… or is it?

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Having an artistic fingerprint will only go so far in the New World. Being articulate about your uniqueness is the magic key to unlocking your relationship to your art for your audience. Nothing does this as well as your artist statement. Isn’t it time you stopped putting it off? Click here.

Geoffrey Gorman's "Creatures of Curiosity"

I spent a grand spring day at SOFA NY (it poured!), hobnobbing around with Geoffrey Gorman, attending a lecture by Michael Petry, the director of MOCA London on his new book The Art of Not Making, and touring all the gorgeous artwork in the two dozen gallery booths. This was a high end New York show with a clientele to match.

But for the life of me, I couldn’t keep my coaching hat off (drives my family nuts too). It was the very first booth I stepped into–because there were these stunning glass sculptures of Martin Rosol’s that simply took my breath away; I loved the clean, geometric lines, just my cup of tea–and of course I wanted to… know more about the artist.

In and out of luck

I was in luck because the artist was there (and actually lives in a small town right next to me-really!) and I could talk to him, only he was so intent on me buying a piece of work that he didn’t really connect with me or let me connect with him.

So naturally, I asked for an artist statement to take home with me. And that’s where I was out of luck: the gallery director handed me a bio on a plain sheet of paper with no image of the artist’s, saying “We’ve been meaning to get around to artist statements…” (weak, very weak)

As I looked around, this was day three of SOFA, there were very few red dots in this gallery.

In fact, as I wandered in and out of all the galleries there were only a handful of scattered red dots anywhere, except…

Where were all the red dots?

A few booths down, I saw Geoffrey (this was the first time we’d laid eyes on each other since collaborating on the 10 Week Art Career Mentor Course) and I thought I’d play “tourist” and see how long it took him to recognize me. Ha! I’d say within less than 45 seconds he looked over and his eyes lit up.

He introduced me to Jane Sauer of the Jane Sauer Gallery, an amazing gallery owner who Geoffrey swears allegiance to. And as I looked around her booth, I could see why.

There was a proliferation of Red Dots! In fact, her booth had more red dots than any other gallery there. One artist had 11 pieces and when I arrived, 7 had red dots. By the time I left for dinner with Geoffrey, there were 3 more – only one piece dotless and one day to go.

Where were all the artist statements?

Guess what, they were in the same booth as all the red dots.

Now, I’m not saying there’s a direct correlation, just that Jane clearly saw artist statements as a significant part of the mix. In fact, she had all the presentation bases covered.

1. Postcards tucked into small, clear acrylic holders on the wall next to each artist’s work. Image on one side; artist statement & mini-resume with very tiny box of the gallery’s contact info on the other side.

2. Artists right there, in the flesh, to talk to collectors and buyers about their work. (You should see Geoffrey in action – he just stands there and sells his work like he was handing out ice cream cones to kids. Such fun!)

3. Lighting that was subtle yet illuminated each piece with an inviting glow.

4. Display bases that showed of the artwork at the right eye level. (Again, Geoffrey shines here too, creating a different base for each sculpture so the base becomes a continuous statement of the piece.)

5. Enough staff to support both her and the artists.

And that coaching hat I mentioned earlier?

At a different display of glass art, I watched a woman trying to decide about a gift for her husband. “He loves glass,” she confided, “but I always wonder why I’m investing in something that can break.”

I told her about Martin Rosol’s work, but since I didn’t have anything to show her, I was stuck with trying to describe the work and hoping my enthusiasm would persuade her to go look (it was way on the other side of the fair).

I returned to that first booth and told them that I’d nearly landed a customer for Rosol’s work, but since I couldn’t show the woman anything, I felt handicapped. “If I’d had anything like this,” I pulled out one of the artist statement postcards from the Sauer Gallery, “it would have been a whole lot easier.”

They agreed.

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If you are stalling on your artist statement, I’ve made the whole nasty business a lot easier with my super artist-friendly book, Writing The Artist Statement: Revealing the True Spirit of Your Work – which is what you want to do, yes?

News Flash! Just in: my publisher just sent me an email that Writing The Artist Statement: Revealing the True Spirit of Your Work is one of the top 3 best selling books on their list for this April!

Wow- that’s soooo cool.

I have to tell you that your book has been an invaluable tool for me. I used it years ago to write my first “authentic” artist statement. Now years later I use it when my work evolves and changes and I need to not only write about these changes but to understand them.

I continue to use the book when a new series emerges. Writing a “statement” for a series helps me to see where the work is going and how it is all connected. —Michelle DeMarco

Christine Montague - The Model Visits the Portrait Studio

Well, I guess a more appropriate title would be: An Open Letter With a Short, Short Story Tucked Inside.

This came from an artist, who was attending the smARTist Telesummit 2011, and wrote this forum post to one of the speakers, Jason Horejs.

Notice her progression from Sell my art? You gotta be kidding…

To…., well, here…read it for yourself…

Note: Jason Horejs, a gallery owner and author, gave a presentation at the live smARTist Telesummit 2011 on: Sell Like a Pro – Insider Tips from a Gallery Owner on the Delicate Process of Turning “Tire Kickers” into Collectors.

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Hi Jason.

An anecdote about a sale – thanks to your step-by-step, sales guide.

I have a studio in an old stone mill, quite lovingly renovated into a centre of artists studios, just outside of Toronto, Canada. The approx. 30 artists who rent there must open their doors to the public every Friday and Saturday.

With very few visitors, those of us who are painters can never decide how to handle the open door days. Paint & generally ignore the lookers? Dress nicer and do busy work ready to hop up and talk? Always a bone of contention, as well as a mystery.

I am fortunate in that I do get sales that “fall in my lap” there. I took the telesummit because I felt if I only I had some clue as to how to talk to the “tire kickers” (we call them leaf lookers), I could take some control over my sales.

On the first day back to the studio after the telesummit, only about 20 minutes had passed before my first visitors of the day arrived.

Now, normally, depending on my mood, my next step would have been anything from saying hello, with maybe a how are you? (and then go back to work). Or, Hello, my name is Christine Montague. I am the artist. Just ask me if you have any questions. And then back to painting. Or just generally ignore them, except to smile. Or ask them if they had been to the mill before. And back to work.

Instead, I literally went by your script.

I wasn’t painting but at my work table, doing busy work I could put down in a flash, but be seeming to return to.

“Hello,” I said smiling, as soon as they walked in. They smiled back and started to look around.

“What brings you here today?” (never said that before)

“Oh. Just out for something to do.”

Then a semi moment of panic as I can’t remember what you said to say next. So, I say the old stand by -

“Have you been to the mill before?”

“Yes , many times.” (More internal panic. What was it you said in case we don’t recognize a previous visitor?)

They are now looking at a bin of packaged 13″ x 19″ photo sheets. Although I am a painter, I sell my photos to supplement my income, the ways others sell cards. It’s more profitable

I let them look and keep one eye out from my desk. Normally, I wouldn’t have watched.

I let them know they are looking at photos of the glen ,where the studio is located. I tell them a little bit about the work.

They smile and comment and go back to looking.

The woman pulls out a photo (the ol’ she touched it – it’s on the way to being hers).

I comment how that one was actually on the cover of the 2007 Halton Hills Tourist Guide (where the mill is).

Not too obviously, I get a pen ready… My receipt book is handy.

She chats away amicably as she places the photo on the table. A talker, especially when I am nervous, usually by now I would have been talking up a storm in response.

Immediately, I flip open my receipt book and ask her name. I have never done that so smoothly–ever! She willingly gives me the info. I ask if she would like to be contacted for future shows. She says, yes. And then for the first time ever, I make a little box on the receipt (it is in triplicate) and check it as if I have always been doing so.

This was so much fun and went so smoothly.

Believe me, this is normally a very difficult task for me. I was psyched and ready to try it again. However, typical for the mill, they were the visitors of the day. lol. Next time!

Thanks, Jason!

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Did you miss Jason’s lively “How To Sell Your Art” at the live, 7-day smARTist 2011 conference? No worries, sign up for the Home Study Edition – Early Notification List, and we’ll let you know as soon as it’s available! (Get that receipt book out!) Click here.

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.

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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.

Molly has one a way of explaining complex or etherial ideas so I feel as if I’m looking into a clear Alpine stream.

In her most recent blog post, she lays out exactly what happens when one more bright idea of ours bites the dust.

In Molly’s own words:

Have you ever had a great idea–or two–that you were eager to act on, but you couldn’t seem to get moving? It could have been an art project, a blog, a book. Whatever it was, the initial inspiration seemed so clear, and then? Mush.

Want to read it all? She gives you crystal clear steps for dusting off your bright idea so it can shine on its own.

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And yes! Molly is returning for smARTist Telesummit 2011, where she’s going to give you an easy peasy recipe for pricing your art.

If you haven’t put yourself on the 2011 smARTist Interest List, I strongly suggest doing it now before you forget. Because, that will be the only group who hears about the Early Bird Discount that will be here and gone in the blink of an eye. Don’t miss it!

All that changed when I met Richard Rothbard - artist, gallery owner, and art fair producer – at a CODA conference in Savannah, GA, where I was speaking this last spring.

Besides hosting CODA Conference attendees at his Savannah Gallery, Richard treated me to a very non-Southern meal of fantastic sushi and brought me on board for his Contemporary Art Fair NYC, a sister show to his American Craft Fair NYC.

I was fascinated by Richard’s enthusiasm for bringing artists to NYC at a price they could afford - since most high-end venue Art Fairs are truly exorbitant. But more than that, it occurred to me that Richard was carrying around a wealth of information on Art Fairs.

I realized, in short order, that no one had thought to…tap his 30+ years experience in the field, both as an artist and a producer. So this week I hosted a online call with Richard Rothbard on “How To Be A Roaring Success At Art Fairs.” (You can still sign up, and then listen immediately to the recording.)

Then Richard sent me his entire rationale for holding his two NYC Shows (November 19, 20, 21), and I thought I’d share it with you.

From Richard: Here’s a twist – High End Craft Fair Supports Fine Art Fair

First, A Little Background

When I began working on my project, the American Craft Show NYC, the plan was to bring a first class craft event to the Jacob Javits Center in NYC. With over 30 years experience as a craftsman/gallery owner, and then show promoter, I lived in a world surrounded by the works of America’s finest craftsman, and I thought it was high time that New York City had a proper introduction.

My life in the “Crafts Lane” has been all about great glass, wood, metal, fiber, ceramics, jewelry, paper, and furniture. My life in the Fine Art Galleries and Artists has been more from the consumer side of the aisle.

My An American Craftsman Galleries (now 5) was born in 1983 on the corner of Bleecker and Grove Streets in Greenwich Village.

Today, An American Craftsman has become one of New York City’s last surviving galleries specializing almost exclusively in crafts – with locations at Rockefeller Center, the Sheraton Mahattan Hotel, and South Street Seaport; and two other locations in Savannah, GA and Stockbridge, MA.

With five galleries under my belt, and my Boxology art, why would I even think about breaking into the already abundant world of Art Fairs in NY – Art Fairs offering great opportunities for art galleries, from around the world, to introduce their artists to a target audience of  New York art collectors.

New York Art Fairs – lol!

The New York art fair scene is a world unto itself, and until now, there has never been a place for “crafts artists” in any of these shows.

Nor has there ever been a serious and affordable venue for independent fine artists to have a major showing in the Big Apple: painters, photographers, sculptors and other other artists creating non-functional work.

There are several factors operating here that make my Art/Craft Show project very interesting.

The first is that, historically, art and craft have been two entirely different entities, with crafts having no place at the table of traditional Art Fairs. The other is that the high costs of a booth, in of all of the major Art Fairs, has always been prohibitive for an independent artist – especially an emerging artist, who ironically, needs the exposure the most.

What Keeps Most Artists Out of the Game

Among the most notable of the well established Art Fairs are Scope, Pulse, Art Basil, the Affordable Art Fair and a host of others. To acquire a space at any of these shows costs upwards of $5,000, and at the Art Expo Show an artist may purchase a small 5′x 10′ booth for $3800!

How does an artist navigate his or her way to recognition at such a cost?

Enter The American Craft Show NYC, sponsored by An American Craftsman Galleries. And introducing the sister show, The Contemporary Art Fair NYC.  Two shows that will co-locate in Hall 1A, at the Javits Center in NYC this November 19, 20, & 21.

The wonder of it all is that a full 10 ‘ x 10′ space in the “Off The Wall” section of this art fair, which is exclusively for independent visual artists, will cost as little as $390! (Note (from Ariane): There is only a limited amount of space at this price, so if this is right for you, jump on it soon.)

With complete Art Fair hardwall packages starting at just $635, and a typical full booth package for the craft show just over $1000 (this is nearly $3,000 less than a solo booth at Art Expo), everyone has a chance to participate and not go broke in the process.

Taking A Bite Out of the Big Apple

What is happening here is the evolution of a new type of art event, where artists who have great work and limited funds can set up their own little gallery at a world class exhibition facility and meet thousands of buyers, collectors, gallery owners, interior designers, etc.

For the first time the “little guy,” aka independent visual artists, can have a “big time” New York City opportunity. While the makers of “functional art,” can sell their work almost any where and to any one, the independent fine artist has a more difficult road finding buyers for their work.

Buyers and Collectors. Collectors and Buyers.

I have invited thousands of my loyal buyers and collectors from my An American Craftsman Galleries to attend the November Art Fair show at no charge. Gallery owners, interior designers, and art consultants are receiving complimentary passes from all five of my galleries.

I’ve initiated an extensive, city-wide, New York advertising campaign to be launched in early November, right before the show. General admission will be $16.00, with thousands of 1/2 off promo cards distributed around the city.

Is There A Place in NYC With Your Name On It?

And so, this fall, I’ll introduce the fusion of two events where the Fine Art Fair NYC and the NYC Craft Show merge into One Outstanding ART Event.

People from all walks of life will find great art of all kinds, seeds will be planted, and the creativity of all American Artists can be applauded without prejudice.

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Note from Ariane: I am proud to be an affiliate for the The Contemporary Art Fair NYC, for, as you can see, Richard has gone out of his way to stand up for independent artists and crafts makers.

And if you want to hear Richard’s ideas for “How To Be A Roaring Success At Art Fairs,” sign up for the recording and I’ll send it to you ASAP!

I think we were both a bit stunned when over 50 artists signed up. Yikes! Chaos on the loose in studio after studio…

And now that Fall has fallen into all of our laps, I thought this a perfect time to use the crisp autumn energy to open up a path of clarity through all the overwhelm – real or mythical – with a guest post from Jennifer herself.

The #1 Sneaky Lie That Attracts Overwhelm (and what to do about it…)Abundance is here.

Do you have more stuff than you want — more paper, more books, more email, more commitments, more bills? If you’re trying to manifest abundance, stop! It’s already here! Most people I know have more to do in one week than a person could truly appreciate in a month or more.

This isn’t what we imagine abundance should look like. Personally, I imagined lying on a lounge chair on a warm beach, sipping something with a tiny umbrella in it. Ahhh.

But the abundance I have (and maybe you do too) is not the least bit relaxing. I never imagined that “abundance” would masquerade through my life as a cluttered stress-ball, but there it is.

Give me simplicity.

For many, the road from to simplicity is rocky. We like having things. We like being wanted. “I’m busy” makes us feel important. It can be hard to let go of the short-term payoffs, but this much intensity can create overwhelm in the long run.

Ask anyone whose desk is so full of paper and treasures that they can’t complete their taxes on time and are scrambling for an extension. Ask anyone who, literally, can’t find time to pee. It isn’t the kind of abundance they wanted, either, and it can suck the joy out of life.

The #1 sneaky lie that attracts overwhelm: “I can fit it in.”

If you hear yourself say these words, freeze. This is your ego speaking.

The ego is a very specific kind of master: a task master. The ego doesn’t want simplicity, it craves complexity and drama. It wants you to be overextended.

If you want more simplicity in your life, you can beat the ego at its own game so you can act upon your deeper desires.

To do this, first it’s important to know how letting the ego rule your life and your calendar affects you.

Consequence 1: Antagonizing loved ones and strangers

The more we attempt to fit in, the greater the chances the fight-or-flight response getting triggered.

Stress from over-commitment brings out the worst in people. Instead of being present, we’re testy. Instead of accepting, irritable. Instead of forgiving, we guilt-trip. Sometimes we hold those feelings in, which hurts our own hearts as well.

Consequence 2: Missed opportunities for connection

One night last week, Inspired Spouse came into my office to talk while I was finishing up “one last thing” that I “needed” to do. Truthfully, I heard only every 4th word and listened just enough to appease. Later, I realized that I’d missed a precious opportunity to meaningfullyconnect with my Most Important Person.

When we hurry, we miss opportunities to connect.

Consequence 3: Engaging in risky behaviors

While we’re over-committed and feeling rushed, we hurry to catch up. Traffic laws become negotiable. We tailgate. We cut people off in traffic. We speed. Suddenly our urgency is at the expense of others’ needs, including our own safety.

Consequence 4: Satisfaction denied

Cramming more to-dos into your day deprives you of the satisfaction of completing a job or task thoroughly. Many people don’t stop long enough to enjoy the feeling of completion, before rushing headlong into whatever is next. Life becomes an endless, depressing mound of stuff to do before we die.

Consequence 5: Craving more. Andmoreandmore.

It’s been proven that the faster a person eats, the greater the likelihood of overeating. The same could be said for internet usage, TV watching, gambling, reading, et cetera. When we rush to cram it all in, we immediately start to crave more because we never really have it in the first place. We’re not present enough.

Geneen Roth wisely said, “You can’t have enough of what you don’t really want.” She was speaking of food specifically — that no amount of Oreos can equal a relaxing soak in the tub. This applies to lots of other things, too. No amount of money can feel like love. Even 100 completed “to-dos” doesn’t feel like a talk with a good friend.

So what?

None of these observations is intended to convey that doing stuff is bad. On the contrary. Doing stuff is good, so long as it’s not done at the expense of your spirit and others who share the planet with you. I know that’s a tall order. I’m working on it myself.

Alternatives to “fitting it all in”:

Instead of cramming more into your day or onto your desk, here are a few suggestions to prevent “fitting more in.”

Know Your Limits

Reflect on how many hours of work will sustain you without creating burnout. Do you know how many social engagements can you handle each month and still enjoy yourself? Think about how many activities you really want to drive your kids to every week. When you have some limits established, it can be easier to maintain a healthy schedule and work load.

Build in Buffer Time

Instead of scheduling your plans and tasks back-to-back, plan for things to take longer. My weekly appointment is a 20-minute drive, but traffic is always sketchy. When I started giving myself 30 minutes for the drive, I stopped driving like a speed demon and arrived calmer. Where might you need some buffer time?

Practice Pausing

Whether someone is asking for your time, or you’ve got something to add to your plate, catch yourself in the moment (when you can) and ask:

Do I have to fit this in?

Do I want to?

Do I need (life or death) to do this?

You may choose the same way as before, but bringing consciousness to your choices makes you feel more empowered and less a victim of your “to-dos”.

Practice Saying “No” Kindly

Most people think that if they’re asked, they should say yes. If you know that your week is at capacity, saying yes can push us over the edge. Saying “no” doesn’t have to be negative. When someone asks you to get together, focus on the intention behind the ask. Don’t assume that you are the only one who can handle it. Negotiate. (hint: I’m planning a fun event on this topic soon!)

Stop to Celebrate and Acknowledge Your Efforts

Instead of rushing to the next thing, it can be profoundly satisfying to stop long enough to appreciate your efforts and recognize your accomplishments. Sometimes I ask others to do the same for me when I have a hard time believing it myself.

In the end…

… the contented life isn’t about having more, it’s having less and appreciating how abundant that really is.

May your week be less packed and your life more full.

Warmly,

Jennifer

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One way to have less and appreciate more is to clear your space. So, if you feel like chaos is winning and you’d like to turn things around, check out my new Creativity Plus Organization Power Pack.

I’m giving an introductory offer of 50% off – but only for the first 30 orders. After that, it pops up to full price. Treat yourself and your creative flow to more for less…

It is quite simply a question of the survival of our human race. Sea levels are rising, entire forests are being destroyed by small insects thriving in the rising temperatures, creatures who ensure the integrity of our entire eco systems are dying out (think: bees).

Thankfully, we don’t have to simply wring our hands. We can…

…do something specific and useful to help turn the toxic tide.

Here are 5 quick action steps you can take from Linda Fries’ You, The Earth & Toxic Art: What You Don’t Know Can Hurt You.

1. Pay attention to your art supplies. Read labels. Dispense waste responsibly. And switch to earth-safe materials wherever you can.

2. Even “non-toxic” labels have further warnings that are clearly just for humans and do not take into account other areas of our eco systems. Ask yourself: How can I expand my awareness and concern beyond the studio to include all life systems, not just humans?

3. Get your own copy of Cradle To Cradle by Michael Braungart and William McDonough.

4. Architectural resources, where there’s been some solid progress toward awareness and change, is a great place to look for some of your art-making materials, especially for natural, earth safe paint and building materials.

5. Look for paper products marked non-chlorinated, recycled, post consumer, or even non-paper products not made from trees.

There’s a wide open heart-space that opens up when we are behaving as if we share this planet with all of life – don’t you think?

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P.S. Linda has a lot more to say, and you can get her and two more bona fide experts to help you “Protect Your Art. Your Income. And Your Health!”