smARTist Resource Directory

Here’s a gift, no strings attached, from the smARTist Telesummit 2009:

Our brand spankin’ new smARTist Resource Directory.

You’ll find a clickable TOC. And, after the 2009 Keynote Speakers, there are categories for you to browse: Art Magazines, Art Organizations, Art Supplies, Blogs, Book Recommendations, Education, Displays, Trends…and much more.

All of these resources come straight from your fellow artists.

You can download and enjoy it here.
smARTist Resource Directory

The core of smARTist is pulling together, in one place, the best art career information that we can find.

So, on top of 7-Days of art career presentations and panel discussion, I decided to create a directory that would give you resources to explore at your convenience.

Since a spoonful of art makes the “learning” go down, I’ve sprinkled pieces from our illustrious smARTist alumni throughout the directory to soothe your artist eye.

I hope you like it. I had a lot of fun creating it.

Wishing you an abundant, joyful 2009!
Ariane 

When Shirley Williams came to smARTist last year, she had reached a plateau after 18 years of being a self-supporting artist. After the telesummit, she went on to win Canada’s National Portfolio contest. This started a series of events that have shot her career forward like a shooting star.

Her keynote presentation for the conference will be on Tuesday, January 20th. In her own words, here is what she has to say:

I just finished listening to an interview with Robert Storr, the current Dean of the Yale School of Art.

And I was struck, as I often am, by an academic’s perspective on being an artist. Which is not to say that Dean Storr is not part of the real art world. Far from it. He has extensive experience with curating (at the Museum of Modern Art, for one), exhibiting as a painter, he’s a respected art critic and a writer on the theory and practice of art.

The interview zeroed in on his plans for graduate and undergraduate students at Yale, yet I found that he had much to say that was…

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Strawberries and Chinese Cup - Oil on Linen Panel - 12" x 9" by Michael Lynn Adams

One of the best ways to see how you and your art travel around the web is to sign up for Google Alerts. I’ve done this for my name and also for the smARTist Telesummit.

Now, every day I receive one or more “Google alerts” in my inbox. Not only can you see where your name and art are showing up, these alerts provide a link so you can click to find out more. Once in a while the link lands me on page where I can’t find any mention, but more often I end up…

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All right, how many of you print a Certificate of Authenticity each time you sell a work?   Well if you don’t, and if no one ever told you what one should contain, here’s a simple example.  

Please note that I list title, medium, size and current value.  

Also note that I indicate to whom the copyright actually belongs, and how infringement is a VERY bad idea.  

Do I ever have to enforce this with an attorney?  

Nah; it’s better to stay on cool terms with everyone.  The big artillary should always be a last resort.

Note: to enlarge the image so you can read the text, click on it.

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Paul will be one of 11 Keynote speakers at the smARTist Telesummit in January 2009.  

His topic: Corporate Collectors: The New Medicis Where to find them and how to get in the door.  Just click on “Click to learn more” under his photo for all the details.

Breathe in the creativity, breathe out your own.

Linda Richichi – “Bagno Vignoni Horizon”

http://www.lindarichichi.com

Dreams of Glory

Visual Art is EVERYWHERE (…forget galleries, museums, & exhibitions - for the moment.) 

These three short, short stories chronicle one snowy afternoon where I encounter art at every turn.

First At the tire dealers, then on the radio, and now…

I’m whirling home, confident as one can be with studded snow tires, happy with NPR keeping me company on the radio. I’m planning a quick stop at the local pub up the road from my home. 

The Roadhouse 63 is haven to a handful of fantastic musicians we have hiding out in these Western Mass back woods. The venue is small, intimate. The crowd and atmosphere playful, but not rowdy. Slightly high, but not awash in drunks. It’s really a place you can take…

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This is the second of three “story” posts, all of which happened within a three hour span of time last winter when Visual Art was EVERYWHERE.

It began with tires and art, and then continued an hour later, as I was driving home, back from the Tire Wearhouse.

I was listening to NPR, which is a small miracle because the car that I drove before this one had no working radio. At the same time, I’m crawling along roads covered in wet snow, with flakes the size of a child’s palm floating down in slow motion. The woods on both sides of me ache with the cold beauty of…

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When the sculptor Arlie Regier first came to me in 1994, he was as unknown an artist as I was a gallery owner.  But I instinctively realized that his works, some of them composed of 5000 pieces of stainless steel, would find a broad audience if I could just succeed at promoting him.  Man, did that take years of hard work for both him and me.  A new artist (he was 64 at the time) is always slow to be recognized.  But if you believe in the work and the artist…

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Excerpted from Chapter 8 of Living The Artist’s Life

Every living artist I’ve ever worked with, and every deceased artist I’ve ever studied, have all shared one simple trait: each of them has gone through varying levels of self-doubt; each of them, at different times in their lives, has questioned the worth of their talent. 

No one that I know of has ever been exempt from this.  For some, like the poet Sylvia Plath (who was also a talented illustrator), their spells of doubt and depression were mind-numbing, paralyzing, and, in the end, beyond their control. 

For others, like Picasso, those spells were nothing more than…

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In some ways, this is old news, given that NEA (National Endowment for the Arts) put out their study in June. But with everyone watching Chicken Little running around staring at the sky, I thought it was a good, sharp jolt of good news, and a different take on what we collectively call “reality”…

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Warmth of Evening - Kim Casebeer

If you haven’t accomplished enough yet to compile an impressive resume as an artist, you can simply write a bio, which can often be a mild combination of the two.

Below I’ve listed a typical bio for a woman in my gallery-Kim Casebeer. Due to her relative youth, Kim’s accomplishments don’t yet rank with those of my older artists, but I know in time they will.

Her work has a sophistication that goes beyond…

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This story is lifted from Living the Artist’s Life.  It happened eleven years ago now, a good time to review past disasters, and recoveries. Something to remember in these times, when people might be wondering about the nature of “recovery.”

It was in March of 1997 that the manager of the Hotel Savoy, where my first gallery was housed, called me one Sunday night.  He asked if I was watching TV…

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Throughout history, groups of artists have played a role in the development of one another’s careers, in terms of support, inspiration, and in some cases dissipation.

La Toilette by Toulouse Lautrec

There was Degas’ group that gathered each summer in Brittany, which later gave rise to Gauguin’s group. There was Lautrec’s group that roved in and out of a variety of Montmartre cafes, and experimented with a variety of absinthes. There was Benton’s crowd on Martha’s Vineyard, the American Impressionists at Old Lyme, and…

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What’s striking to me is the paradox inherent in “embracing resistance.”  

Since paradox is often a driving force behind creative innovation, this directive may simply be a practical underpinning to grease our creative skids.

Or, on the emotional level, since resistance appears unfriendly and implacable, while embrace radiates connection, we might ask ourselves…

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