Popular Section: The Business of Art

The Lingo. Ringo. Bingo. of Social Media

When I first heard the words “social media,” I had 3 years of the smARTist Telesummit under my belt, had sold thousands of copies of my Writing The Artist Statement book, and coached dozens of private artist clients.

I barely had time to brush my teeth, much less prance around a “social” site with old high school classmates-who never gave me the time of day, way-back-when, in the first place.

I admit to a glop of self-righteousness:  I (oh, no, not I) wasn’t going to fall for this latest Internet hula hoop. I was going to stay focused on the business of serving artists. (See me, with my nose in the air?)

Then, marketing guru Adam Urbanski held a series of…

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The Power of Black

NOTE: This post, for those of you keeping up, is a re-post from last year. Why? Because, the problem isn’t going away and I’m the drumbeat in the lost artist jungle….

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Artists love black. Love, love, love it. It has class. It engages. It draws you in.

Black is classy. It fairly screams “high end.” It dominates and holds our attention. Let’s face it: black has power.

And for years and years and years it has been the color of choice to lay the crown jewels on, as the backdrop for a brochure, in framing… the list goes on.

But let me tell you the one place where everything black does, and stands for, works completely against you.

And against your…

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The NEW Professional: Part 1 of 3

Professional used to have an allure of conservative confidence instantly recognizable by the dark blue suit, skirt just below the knees, the sensible heels, perhaps pearl earrings and a thin chain of gold peeking beneath a scarf.

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…

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SOFA, Red Dots, and Artist Statements

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…

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