The Artist's Guide: How to Make a Living Doing What you Love
includes "Reality Check" blurbs consisting of advice and information from high-profile artists and art professionals from around the country. A select number of "Reality Check" interviews are available on this website to read in their entirety. These interviews offer examples of the kinds of insight and information The Artist's Guide
Public Presentations: Notes from Jackie's Workshop: Saturday May 1 at the Taking Care Business-Career Strategies for Visual Artists in North Haven, Connecticut. Full bio
Joanne Mattera is an artist whose focus is lush color and reductive geometry, an esthetic she calls "lush minimalism." Full bio
I have had the privilege of working with Aaron Landsman on developing the workshops presented through the Creative Capital Foundation. Aaron is a writer and an actor with a wealth of experience in fundraising. He currently provides his fundraising skills to Elevator Repair Service Theatre, where he is a member of the company, as well as for his own productions in intimate spaces such as homes, offices, and bars. In this interview, Aaron discusses his experiences observing and serving on awards and grant panels. Being aware of how the panel process works can help you fine tune your work samples and language to make your presentation more competitive. Full bio
Several years ago, one of my former students sent me an email saying I had to meet Jody Lee. She was impressed that Jody had been able to raise money for her projects from a number of patrons and that I should check her out. Always interested in artists that find a variety of support structures, I called Jody and visited her studio. Not only did I enjoy Jody’s work, but I loved hearing about her personal fundraising experience. Jody’s story is a good reminder that there are many ways us artists can look for support from within our personal network of relationships. Full bio
Eve Mosher tackles big projects which help to visualize environmental issues and potential solutions to communities large and small. A good example was her HighWaterLine project, which brought her out into the streets, front yards and back alley’s of long waterfront sections of Manhattan and Brooklyn, drawing a six-inch chalk line to mark the zones that would be increasingly inundated from climate change induced storms. Armed with an engaging personality, simple tools, and information/action packets, Eve worked for six months on her monumental “drawing,” and met with hundreds of workers, homeowners and curious pedestrians.
The vision of one artist can make a difference, but it takes a network of partnerships to help bring a project this large to fruition. This interview explores some of the ways Eve reached out into the community, created partnerships, and secured funding from a variety of sources.
Jaq Chartier is an artist based in Seattle, Washington. She maintains an ambitious painting practice and co-organizes, with her husband Dirk Park, Aqua Art Miami, an art fair at two locations in December during Art Basel/Miami Beach. In this interview Jaq provides two different perspectives on gallerists. One is her relationship as a painter represented by a number of galleries across the USA. The other comes from the role reversal she has experienced as the organizer of Aqua Art Miami, and being in the position to choose gallery exhibitors in a competitive situation.
I interviewed Susan and Wendy in a noisy hotel lobby on the last day of the Art Basel | Miami Beach in 2007. I was excited to find that they not only visited the fairs each year but brought a group of art students from Wyoming with them. Living in New York, all too often, I take for granted how easy it is for me to access a wide variety of art in the studios, galleries, and museums. I was intrigued to discover how these two artists/administrators kept themselves up-to-date with the art world. Full bio
Jennifer McGregor wears many hats. She is currently Director of Arts & Senior Curator at Wave Hill in the Bronx and served as the first Director of the New York City Percent for Art Program. In this interview she offers insights into the process of applying for public art projects as well as how she develops her exhibition program at Wave Hill. Full bio
Artist Ellen Harvey maintains a varied schedule of works in public spaces and a gallery-based practice. In this interview we briefly discuss her guerilla art work, New York Beautification Project which involved creating 40 tiny oval landscape paintings on outdoor graffiti sites throughout New York City over a two year period. We also discuss how she manages other aspects of her active career. Full bio
Kurt Perschke is a public artist and sculptor. His ambitious project, RedBall, is both a public event and a sculpture work comprised of a series of daily architectural installations of the fifteen foot inflatable RedBall in urban sites. Our interview discusses Kurt's development of the project and how his sculptural practice has responded to it as well. Full bio
I met Janine Antoni years ago when I took a group of students to her for a studio visit. Janine generously shared with them the organizational and creative details of her practice, from how she kept her work archive, worked with her studio assistants, to the ambitious project she was currently working on in the studio. I was impressed with the grace by which Janine managed the administrative details of a thriving career and continued to challenge herself as an artist. Full bio
Debby and Larry Kline work as a collaborative team creating artworks that focus on social issues designed to question the status quo and effect change. They discuss how the collective functions as a support group and its role in promoting artists rights with public art commissioning agencies. Full bio
Artist Matthew Deleget discusses how he went from having a solitary art practice in Brooklyn, NY to co-founding MINUS SPACE, an art collective/curatorial project that has connected him to a network of artists and venues all over the world.
Susan Lee is a Certified Financial Plannerâ„¢ as well as a Registered Investment Advisor. I started working with Susan Lee over 20 years ago, when I was overwhelmed trying to figure out my own tax returns. From the beginning, I found working with her reassuring. She was careful, compassionate, and had tremendous experience with how small business tax laws relate to creative people, especially since she was a literary artist herself. Since then, I have called upon Susan to discuss these issues in my classes and seminars and have deeply appreciated our long-term partnership. Full bio
This is the transcript from a panel session, which was part of a day long workshop, Finding a Place for Yourself in the Art World: Strategies for Emerging and Mid-Career Artists sponsored by the College Art Association at their annual conference in Dallas, Texas in February 2008. The workshop was co-led by Joanne Mattera and me. At midday, we invited Diane Barber, Co-Director/Visual Arts Curator of DiverseWorks Artspace in Houston; Cris Worley, Director of PanAmerican ArtProjects; and Andrea Kirsh, Art Historian, Art Critic, & Writer to join us for a discussion about relationships between artists and art professionals. Full bio
I first noticed Julie Baker Gallery years ago with her ads in Art in America. I loved the design and I've been keeping track of the gallery ever since. When I was looking for a gallery to interview that wasn't in a major metropolitan area, hers was the first one that came to mind. Full bio
Sergio Sarmiento is a rare person: an artist with an engrossing conceptual and performance based practice, a lawyer, and a versatile educator. To any subject he teaches, he brings multiple points of view based on his experience. When he discusses legal issues with my students, he comes as an artist and a lawyer. They respect the fact that he has a law practice and, simultaneously, is able to maintain his studio practice. Full bio
Janet Riker took over as director of the Rotunda Gallery in 1989. I passionately recruited her for the position, as I knew what the demands of the job were and who would be a great candidate. I actually called her up and said I wouldn't hang up the phone until she said she would apply. Janet stepped into the Rotunda Gallery and brilliantly began new ambitious programming and a coveted NEA grant. She also made me look good. To bring insight into the thinking of a director of a non-profit, I turned to her. Full bio
Colleen Keegan is one of my colleagues in the Creative Capital Professional Development Program, http://pd.creative-capital.org. At Creative Capital, she has applied her extensive business background to create a Strategic Planning methodology for artists of all disciplines. I have used career planning for myself for over twenty years and have included it in my own teaching. However, working in the Professional Development Program with Colleen has been a great education in the solid business principles behind many of the activities I have done intuitively in my own practice. Full bio
I had seen Camilo Alvarez's booth at several art fairs and knew two of the artists he represents. Because he is an ambitious gallerist with an adventurous program, I was eager to speak with him and get some insight into his point of view. Full bio
Letha also has incredible skills as a web designer having worked for many years with Artists Space, an alternative space in New York City, in charge of their artist registry and later as an Associate Curator. When I wanted to make sure that I had up to date information about work samples and being an artist in the digital age, the first person I thought to speak with was Letha. Full bio
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