The Messy Studio with Rebecca Crowell - Episodes Tagged with “Business”

Episode 262: Self Promotion For The Reticent

Rebecca Crowell — Tue, 15 Aug 2023 21:00:00 -0500

If you’re an artist who wants to get your work out into the world to be seen, appreciated, and even purchased, you will face the need for self-promotion. If that idea makes you squirm, you are not alone --and this podcast is for you. Why do so many artists hate the idea of promoting themselves? Probably because many of us were taught from an early age to be modest, to avoid mentioning our achievements, and to be grateful for whatever life handed us without seeking more. But dealing with the art world requires a different approach. You need to let people know who you are and what you do if you want to advance your career. Today we’ll talk about ways of self-promotion that may be comfortable even if you have a reserved, humble, or quiet personality.

If self-promotion is stressful to you, you may be struggling with overcoming these early lessons. Or you may have a truly humble or quiet personality that you're happy with, but it holds you back from things you need to do to get your work into the world. However, self-promotion does not mean you have to change who you are. In fact, the best way to handle it is to be yourself, and not present yourself in a way you believe will impress others. If your true personality is low-key or reserved, that is the tone to use in your self-promotion. That doesn't mean being self-deprecating, which is never helpful, or on the other hand exaggerating your achievements. Being honest and direct is the key.

Although avoiding self-promotion may be an ingrained habit, you need to acknowledge that it is necessary to operate in the art world. Your potential collectors and others in the position to help you want to know about you and what you do. A confident attitude is important in these situations, whether you are crafting a written statement or speaking in person. If you have trouble with this, remember that sticking to facts about yourself and your achievements is a safe and comfortable entry point. Simply stating these in a straightforward manner is never objectionable to other people.

Different types of self-promotion require different approaches, so it helps to know what is expected in each situation. This can range from a formal communication like a press release to something that is less formal, like a blog or newsletter. Lots of times you have some leeway in how to phrase things or how personal to make them, and you can find a tone that suits your true self. With practice, all types of self-promotion become easier to tackle.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.
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When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy? As Rebecca and Jerry enter the fourth year of live programming, they are bringing a special emphasis to reviewing and consolidating prior learning, as well as to increased member involvement on a variety of topics like professional development, mentoring issues, and other questions posed to the group. As always, Members are also encouraged to take part in the online sessions, where lively discussions take place as Rebecca and Jerry respond in real time, And don't forget that Cold Wax Academy Members have unlimited streaming access to over 100 previously recorded sessions covering a broad range of topics. You don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information there, from the effective use of the visual elements and composition, to personal voice and intentions, to personal issues like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.
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For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast
•
For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com
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The Messy Studio Podcast is a Tick Digital Media Production.

Episode 259: Surviving Your Opening

Rebecca Crowell — Mon, 17 Jul 2023 21:00:00 -0500

Art openings are fun, right? Your friends and family are there to celebrate, your work is beautifully displayed, you meet new people who are interested in what you do, and you may see some red dots appear. So why do so many artists approach their opening receptions with mixed feelings or even dread? Even if you feel excited about the show and grateful for the opportunity to exhibit, you may feel nervous about being in the spotlight, confused about what’s expected of you, or disappointed by a small turnout. Even openings that live up to your highest expectations can feel overwhelming. Today we’ll take an inside look at how to survive and even enjoy your next art opening.

Although there are challenges, openings can also encompass many positive moments. It's exciting to see your work in its best light when it has been in your studio for weeks or months, largely unseen. There is often an elevated quality to the work to see it in this setting, and it is affirming of all your efforts to have your work appreciated by a wide audience.

Openings can be disconcerting though. It is easy to misread various aspects of what is happening around you, because there is often a party atmosphere rather than serious consideration of your work, and it may seem that no one cares to really look. There are also many unknown factors, for example, you often try to gauge what people think of your work or whether there will be any sales. And a commercial gallery has certain expectations that may be outside your comfort zone, like mingling and engaging with the people there.

To make things easier for yourself, there are various ways to make yourself more comfortable, like choosing the right outfit and having a camera handy to have something to do as you move around the gallery space. But of all the many tasks and business responsibilities artists need to handle, for many of us, our own openings are the among most challenging times. it depends a lot on personality whether you dread openings or take them in stride, but experience is also helpful. Openings do become routine over time, and you find your own ways to make them bearable and even fun.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com

The Messy Studio Podcast is a Tick Digital Media Production.

Episode 258: Making Assumptions

Rebecca Crowell — Tue, 11 Jul 2023 17:00:00 -0500

As artists we are often in uncertain territory when dealing with the world of galleries, exhibits, and other opportunities, and leaning on assumptions --what we believe you know about a situation --can help you feel more grounded or confident. But when you find out you’ve misread a situation, you may be left feeling angry or frustrated, or blame yourself for not seeing things more clearly. How can you maintain your objectivity and identify your assumptions as you navigate the ups and downs of an art career? There are no easy answers but today we will offer some perspective on this tricky issue.

The definition of assumption is "something that is accepted or believed to be true, or as certain to happen, without proof." But proof is very hard to come by when dealing with unknown situations. Nobody can have proof of everything in their lives let alone in the variable and diverse art world. We all operate on plenty of assumptions in our attempts to further our art career.

But some assumptions can come from being naive or uniformed about the situation. Many opportunities in the art world are totally legitimate but many are not. Some are basically scams in that you’re being led astray on purpose. This means you can waste a lot of your resources because you trusted that a venue was working in your best interests. But even with legitimate venues and opportunities, we can be led astray by unrealistic expectations and assumptions.

You need to be aware of any assumptions about a situation that are blinding you to what is best for you. And communication is always key in understanding as clearly as you can how to navigate various situations, whether you're dealing with a gallery, arts organization, artist residency program, teaching opportunity, or any of the other myriad opportunities that may come your way.

No matter where you are in an art career you probably grapple with the pitfalls of expectations and assumptions. Because there are lots of different scenarios you will encounter, it's hard to be on track in every situation. Give yourself a break when you recognize you’ve let assumptions play too big a role. Nobody makes the right calls all the time, but we do learn from experience in identifying our own assumptions.

www.messystudiopodcast.com/blick

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Episode 253: Dealing with Rejection

Rebecca Crowell — Sat, 27 May 2023 16:00:00 -0500

It’s never easy putting your work in front of others to be judged and scrutinized, but if you don’t it’s very hard to gain a wider audience or grow as an artist. Submitting work to galleries, grant panels, juried shows, and competitions tends to become a routine part of what artists do. But for every time you’re chosen for an opportunity, there are many more times when you are rejected or simply ignored. And despite the thick skins many of us develop, rejection is never easy. Today we’ll talk about coping with rejection and try to gain some perspective on its inevitability

Accepting rejection as part of the process of your development is important. We all try many things as artists that don't work out for us, whether that is a new medium, a project, or a technique. Yet we learn to carry on with the next idea with a positive attitude. Rather than taking rejection as a personal affront, it's helpful to look at it in a similar objective way, as just another attempt that didn't turn out as you hoped.

But although it is basically good advice to shrug off rejection this is also a simplistic approach, because most people have emotional or personality characteristics that get in the way. These include perfectionism, insecurity, inflexibility, a sense of entitlement or being prone to having unrealistic expectations. It helps to try and separate your own personal issues from the reality of how the art world operates. Although there are certainly times when an artist's work is rejected based on a lack of quality or originality, many times this decision has more to do with the goals of the gallery, juried show, venue, or residency program which may or may not be apparent.

How you experience rejection tends to change over a long art career. In the beginning, you probably apply for more opportunities, and hence receive more rejections. When you are more established you are probably more selective about where you submit. After all, your needs change, and every application requires focus, time, and sometimes cost. In deciding where to place your resources, consider your true goals and how an acceptance would contribute to your growth as an artist. It is never wise to apply out of a sense of competition or regard an acceptance as a "win" or to prove yourself. With this attitude, it is easy to see rejection as invalidating your work and can undermine your confidence.

There is a danger in letting rejection affect you too much, in becoming discouraged, or allowing it to affect your self-image as an artist. Knowing how common it is for artists at every stage to be rejected may help, as does insight into the way art venues operate and to understand that your work may simply not align with whoever is deciding the outcome wants. In the end, it's up to you to push forward according to your own goals, despite rejections.

www.messystudiopodcast.com/blick

What's new At Cold Wax Academy?
Rebecca and Jerry launched their spring quarter on April 12th. Sessions this quarter so far included identifying compositional issues in your work, and technical information from Gamblin representative Mary Tevlin. Upcoming sessions include a painting clinic for works in progress, and much more. As always, members can join in on live sessions with questions and comments, and can benefit anytime by interacting with other members on our Members-only facebook page. With 100 recorded sessions in the member library there is always something to learn or review, with topics ranging from technical advice to visual language to guests speakers and critiques of member work.

To learn more about membership, and to purchase cold wax tools and Rebecca and Jerry's book, Cold Wax Medium: Techniques, Concepts & Conversations, please visit http://www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Episode 250: Expressions of Gratitude

Rebecca Crowell — Sat, 29 Apr 2023 15:00:00 -0500

As artists, what role can gratitude play in our work and practice? On a personal level, we know that focusing on what we’re grateful for is good for overall mental health and contentment. Today we’d like to talk about specific situations in which appreciation and gratitude can help artists cope with some of the tougher aspects of art practice. Expressing gratitude can also help in your professional life to build mutual appreciation and respect in your dealings with the art world. Today we’ll talk about the importance of gratitude on both personal and professional levels.

Thinking about gratitude in ways that are specific to your art life and work ienhances a positive state of mind. To look back over your life, and make a list of who has helped you, who has understood your passion, and what opportunities that have come your way is a powerful tool in maintaining a positive outlook. Becoming aware of these sources of support can help you through times of frustration or feeling a lack of appreciation, understanding the goodness that in the big picture of our lives. Any success you've achieved has not happened without support and encouragement from other people.

Acknowledging this support on both a personal and professional level is healthy for everyone involved. One way of expressing gratitude is simply to be generous--to transform what has been given to you into new forms, whether that is through teaching, supporting your art friends in their struggles, purchasing artwork from others, or simply a direct conversation with someone you appreciate.

It is good also to be grateful for the basic importance of art in your life, the fact that you have the ability to express what moves you in ways that can be shared with other people. In this way, every work of art is an expression of gratitude.

www.messystudiopodcast.com/blick

To learn more about membership, and to purchase cold wax tools and Rebecca and Jerry's book, Cold Wax Medium: Techniques, Concepts & Conversations, please visit http://www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Episode 246: Balancing Art and Business

Rebecca Crowell — Sat, 25 Mar 2023 15:15:00 -0500

For many artists that want to market and sell their work, finding a balance between studio practice and business life is challenging. There are pitfalls in spending too much time on the business side of your practice, and drawbacks to not paying enough attention to this. Finding a good balance between your art and your art business is not simply a time management issue, but also one of your focus and emotional investment.

A key to navigating this balance is being flexible because your needs for greater focus for either studio time or business change over time, depending on your current situation with your work and your financial needs. Besides time management, also consider where you find that your focus and emotional energy are best spent. Not everyone wants to invest a lot of themselves in marketing their work, teaching workshops, or other forms of art business. Motivation for becoming involved in art business needs to be an inner drive. Art business can be stressful and there is no shame in deciding not to go in that direction.

Deciding to begin or develop your art business requires artwork that is consistent and of good quality, and confidence in yourself. It is common for people to either be too eager to enter the art business world or too reticent, so seeking honest, objective feedback is valuable to understand if you are at a good point to go forward. If you do become involved in art business, finding systems that work for you is crucial. You need ways to track expenses and income, and to manage other aspects of your art career like maintaining your website. What you hear from various art business in terms of advice may or may not suit you personally, so you may need to be creative in finding ways that do.

As you go forward, prioritizing your studio time and setting aside enough time to feel creative flow is always critical. Without the focus on your art, there is no reason to be involved in marketing or art business. As your work improves and becomes more widely displayed and collected, the challenges of balancing studio and business focus can shift. Exhibits, for example, require great effort on both fronts. But experience with art business does ease the way, as you learn what works for you.

www.messystudiopodcast.com/blick

What's new At Cold Wax Academy?
Rebecca and Jerry have wrapped up their winter quarter of online sessions at Cold Wax Academy, where as always members have access to in-depth and varied content for learning, growth, and support. Their Winter quarter included presentations by guest authors Eric Maisel (may-ZEL) and Shaun McNiff, a painting clinic for works in progress, and live sessions on procrastination, tips on photographing your artwork, and source ideas for your paintings. All of these sessions and many more are available as video recordings in the member library. As a member, you can also access the private Facebook page and the community there of informed and supportive artists who post paintings, ask questions and initiate discussions.

It's never too late to join Cold Wax Academy! Stay tuned for a list of topics to be covered in the upcoming Spring Quarter and please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Please visit http://www.coldwaxacademy.com for more information.
Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Episode 236: Clarity and Focus in 2023

Rebecca Crowell — Sat, 14 Jan 2023 16:45:00 -0600

The beginning of a new year is a time to consider what will bring clarity and focus to your art practice in the months ahead. For many artists, that means setting goals and intentions, and to do that means gaining clarity about what to prioritize. Artists’ goals tend to cover a lot of ground--some may be for the work itself, for improving and advancing skills and techniques, or for completing projects. Others may be more personal, like taking steps to overcome procrastination or negative self-talk. Still other goals fall into the realm of career or professional goals like gaining gallery representation. Which are most important for you?

Setting goals and intentions and making resolutions is common practice at the start of a new year and we are often advised to do this as artists. But it doesn’t make sense to do this randomly or to do it just because it seems like good advice. What you really want is to gain ground in some kind of logical progression. With all the moving parts in a studio practice, how do you prioritize what you want to work on?

Some of the kinds of goals that artists can work with include working on mindset and inner issues, intentions for your studio practice overall, things about your work you want to imporve, and career or professional goals. Separating your goals into these categories and writing your thoughts about them can help you see where to focus your energies.

How you set goals and pursue them is up to each person--there is no approach that works for eveyone. Some people need or want a lot of structure, others are fine with simply having some clear ideas in mind. But thinking about these areas of focus, how they are related, and where your priorites lie can help you gain clarity and focus going forward. Being aware of where your own issues lie is the first step to making progress.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry have an exciting lineup of online sessions planned as they launch a new year of learning and growth for members of Cold Wax Academy. Winter quarter sessions, which began on January 4th, will feature help with technical issues, photographing your work, developing ideas for imagery, and advice on works in progress. And two special guests, well-known authors Eric Maisel (May-ZELL) and Shaun McNiff will be conducting interactive sessions with members. As a member, you can also access the private Facebook page and take advantage of the informed and supportive community there of artists who post their paintings and questions. It's never too late to join Cold Wax Academy! All live sessions are recorded and available in the member library. Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Episode 232: The Demons of Procrastination

Rebecca Crowell — Sat, 03 Dec 2022 21:00:00 -0600

Procrastination may be human nature but identifying its role in your life can be a big help in moving forward. Instead of simple laziness or looking for distractions, procrastination can also be active avoidance behavior in which you channel energy into activities other than what you really want to achieve. You may stay busy, but you’re not doing what is truly important. Today we look at how artists are affected by procrastination and ways to confront it in your own studio practice.

As noted in a recent article in the New York Times, "procrastination isn’t a character flaw or a mysterious curse on your ability to manage time, but a way of coping with challenging emotions and negative moods induced by certain tasks — boredom, anxiety, insecurity, frustration, resentment, self-doubt and beyond." Each of these may show up as various aspects of studio practice. Some procrastination has to do with your artwork itself, when you are bored or frustrated, while others are practical chores and obligations.

Artists experience procrastination around such topics as finishing projects, organizing financial records, creating and updating websites, deadlines of all kinds, making decisions about materials, and contacting and communicating with galleries. In fact, there are so many aspects to an art practice it’s no wonder that some get put aside, so something to consider in all of this are your true priorities. You may discover that some things that you procrastinate about are not as important or necessary as you assumed. Prioritizing helps keep you from feeling overwhelmed, another procrastination trigger.

But although it’s common for artists to allow procrastination to loom large, it is truly detrimental and can sap your growth and excitement for your work. Like so many other challenges of an art practice, it helps to just become more aware of where your own procrastination demons are lurking and try to confront them. Even small steps are rewarding.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry sre well into their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available.

Episode 229: Pricing Quandries

Rebecca Crowell — Sat, 12 Nov 2022 20:00:00 -0600

One of the trickiest issues that artists deal with is pricing their work. While there are some well-known, basic, and useful guidelines to follow, not all pricing situations are straightforward. Artists also encounter situations that may not have obvious answers—situations that are usually not addressed in basic art-business advice. When the situation is not clearcut, even experienced artists can find themselves feeling indecisive or worried they are charging too much or too little. Today we will talk about some of the pricing situations you may encounter that are challenging, and factors to consider when you run into them.

Most of us are aware of the standard practices for most pricing situations, which are easily available online or from those who teach about art business. These include pricing in an objective way, perhaps by the square inch, rather than doing it subjectively, based on personal preferences. Consistency in pricing across the various platforms you use and galleries that represent you is also important, as is raising your prices over time in small increments.

But overall, deciding about your prices can be challenging because financial decisions often come with emotional baggage. Your perception of how sales are going can challenge you to stay objective in both your practices and attitudes about pricing. Depending on outside validation for your sense of the worth of your work can either enhance or tear down your self-esteem as an artist, depending on whether things are going well. But since there will always be fluctuations in your sales, maintaining a practical approach to prices can keep you on track emotionally.

While many sales situations are straightforward, others present difficult questions. These include selling to friends and family, establishing your policies for commissions, selling at open studio events, and deciding which geographic markets suit your own price points. Thinking ahead about these situations is helpful so you are not put on the spot and left to struggle to come up with the best reply. Anytime you can state a policy with assurance and clarity to a potential customer you build a little more self-esteem about your prices.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry have just launched their Fall quarter of live, online sessions with a special focus this time on member participation, plus informative sessions on a variety of other topics. This month also marks the beginning of Cold Wax Academy's 3rd year of teaching sessions, meaning that the member library now has over 80 recordings and other instructional documents available for members. To access this wealth of information and to take part in upcoming live sessions, please visit the membership page at ColdWaxAcademy.com and sign up for one of the two levels of membership available.

Episode 224: The Challenges of Exhibiting

Rebecca Crowell — Sat, 08 Oct 2022 21:00:00 -0500

Whether it’s your first exhibit or you are a veteran of many, an upcoming show of your work can take you on a wild ride of emotions and expectations. In anticipating the planning, production, and stress involved, you may even wonder, why bother? Yet for most artists, being able to show their work in a public space is important to their identity as artists. In today’s episode, we’ll look at the benefits and rewards of exhibiting and the role it plays in an art career, as well as some of the emotional and logistical challenges.

Showing their work is vital to most artists because it completes the circle of communication, allowing others to receive and respond. Creating and exhibiting a body of your work is a significant event that allows your audience to have a complete and immersive experience of what you do.

There are lots of logistical challenges that we covered in our previous episode (#223). But there are other, more inner issues to confront. For example, expectations for an immediate response and sales can fall flat. The opening reception often does not yield even a single sale since many people who attend regard it as mainly a social event. Especially if you are showing for the first time, it is important to understand that it may take a while for results. And even experienced artists may have exhibits that for one reason or another, fail to produce sales or leads.

Exhibits typically last three weeks or more and the period while it is up can be stressful as you wait for news and wonder how things will evolve. And sometimes sales happen well after the show ends. So as with many aspects of an art career, patience is important, and if things do not go well, know that your art life will go on, and other opportunities will come along.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry have just announced their topics for Fall Quarter which begins October 12. With a special focus on member participation, they are planning a couple of new features--one will be online mentoring to help with issues in creative practices, and one session this quarter will be devoted to members tracking their painting progress over the past year. The quarterly member critique and a painting clinic for works in progress will also be featured, along with further information on professional development. You can sign up for one of two membership levels at any time, and catch up on the past two years of recorded weekly sessions at your own pace.

Please visit http://www.coldwaxacademy.com for more information.

Also-- stay tuned for information coming soon about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. You can learn more and make a reservation by emailing info@coldwaxacademy.com. A dedicated Espacio website is coming soon!

Episode 223: Your Upcoming Exhibit

Rebecca Crowell — Sat, 01 Oct 2022 17:00:00 -0500

Nothing energizes and motivates an artist like being offered an exhibit, especially one that involves showing a lot of pieces together. Even experienced artists with a history of exhibits feel excited by the opportunity, but also a little daunted by all the work and planning involved. For artists preparing for their first big exhibit, there is a lot to learn and figure out. Today we’ll go through some of the practical aspects of preparing for a show, based on Rebecca’s almost 40 years of experience with exhibiting her work--and in a future episode we’ll consider some of the other challenges involved with showing your work.

There is much to consider in the complex process of mounting an exhibit, starting with deciding if you're ready to exhibit and whether it will be beneficial to you at this time, and how to approach a venue about providing you with the time and space to show your work. You may decide to apply to a non-commercial space like a community art center, or you may already be represented by a commercial gallery and request a slot on the roster of upcoming shows. In either case, preparing a body of work and checking off all the steps needed to make that happen takes considerable time and effort. Yet exhibiting your work is an important step in completing the cycle of creating art and providing the opportunity for an audience to see it.

Beyond simply providing the work for a show, your responsibilities in mounting an exhibit also include framing, packing, and shipping or delivering the work, providing your own publicity, and providing such things as your artist statement, price list, photos of the work, and other information to support the show according to the venue's timeline. Consider whether you have the time and willingness to comply with all expectations, and ideally, give yourself at least six months to a year to prepare. A good tip is to prepare more work than you think you will need for the exhibit so that you can curate the best possible grouping.

The amount of commitment needed for this process may seem daunting if you are just beginning this phase of your art career, but with experience it becomes more routine. But it is an important step. Maintaining an exhibition schedule is a mark of someone who is truly dedicated to their work, whether that is for the purpose of selling it or not. Exhibiting is a mark of your desire to share the work that you are proud of.

Please visit http://www.coldwaxacademy.com for more information.

Episode 222: Self Assertion for Artists

Rebecca Crowell — Sun, 25 Sep 2022 20:00:00 -0500

When artists deal with the world outside their studios, they are often called upon to state their needs, assert their rights, and sometimes to confront unfair actions by galleries, organizers, or clients. Most of us don’t have agents or employees to handle these situations for us, and so we need to handle them on our own. To be effective, you need to be confident and straight-forward with the discussion. But instead, your personality may cause you to feel shy, socially awkward, or less than confident when you need to be self-assertive. Today’s episode is for those of you who struggle with confrontation and self-assertion in your dealings with the art world.

Being self-assertive is complex for many people. You may fear coming across as someone who is belligerent or aggressive, but also recognize that standing up for yourself is necessary to avoid negative situations in which you are taken advantage of. But stating your needs or bringing up problems is not the same as attacking someone or inviting negative conflict.

You can work on being more assertive when the situation is something that has built up, and you can anticipate the moment when you speak up. In those cases you can organize your thoughts, process the problem with a friend, or write out your main points. But other times you’re blindsided by remarks or actions and fail to react in the moment. In those cases, the best thing is to forgive yourself for not responding well and to learn what you can from it. This may happen more often as you become increasingly public with your work and deal in more complex ways with the gallery world and other business situations.

Difficulty with self-assertion is a personality trait that is quite deeply ingrained and the reasons people have this problem is beyond the scope of our remarks. But not standing up for yourself can interfere with professional behavior and being able to move out of toxic situations. Understanding your own boundaries and developing ways of speaking that are clear and confident are strategies that are worth practicing.

Please visit http://www.coldwaxacademy.com for more information.

Episode 221: Creative Momentum

Rebecca Crowell — Sun, 18 Sep 2022 19:00:00 -0500

Studio practice has noticeable ebbs and flows in terms of productivity, sales, exhibiting and marketing. There is also an energy flow that is less specific and harder to quantify that runs through our days in the studio. Sometimes our energy is strong, and we feel carried along by ideas and excitement, and other times we feel sluggish, lack ideas, and must push ourselves to even go to the studio. When we lose creative momentum, it’s hard to feel we’re doing our best work. What is creative momentum, and how can we create and sustain it?

The official definition of momentum is in terms of physics and it is rather technical. In simple words, momentum has to do with the mass of an object that produces motion. If an object is moving, then an object has momentum, and something with a lot of momentum is hard to stop. In this case the word has a much more popular, non-technical use, and that's how we want to address it today. Creative momentum is the feeling of flow and energy in your work that keeps you excited, involved, and motivated in the studio. It's when you and your work are a positive force in motion.

Creative momentum is affected by events in your life and creative cycle and recognizing what the reasons are when you find yourself losing it. If you're typically a person with energy and focus, when you lose that it can be distressing. But we all tend to return to what is normal for us and it is helpful to understand that this loss of momentum is temporary. You can also help maintain momentum by looking for the continuity in your work. When you realize that your work continues despite ups and downs it can provide optimism.

Experiencing a break in your momentum is a very common--even inevitable--issue, with various causes, and unfortunately, it can easily lead to a general malaise and a period of self-criticism. But it is interesting to consider momentum in physics terms when this happens. Our episode today may help you think about energy, motion, and loss of motion in a more objective way, because while these are scientific principles, all of these can also be applied in some ways to an art practice.

Please visit http://www.coldwaxacademy.com for more information.

Episode 219: The Confidence Game

Rebecca Crowell — Sun, 04 Sep 2022 16:00:00 -0500

As artists and as creative entrepreneurs we all know the challenges of building confidence—in our own attitudes and in our encounters with people we want to engage with our work. To a large extent, we invent ourselves as we go along, developing a vision for our work and an audience to appreciate it. And often we tackle all of this without much emotional or practical support, and the times when we struggle have a way of depleting our confidence. Today we will talk about understanding the role of confidence in your work and in your business dealings.

Self-confidence provides you with energy in the studio, optimism, motivation, and a positive mindset that can get you through the inevitable issues of a creative practice. It can also, unfortunately, be rather fragile if you don’t have a strong foundation of confidence.

Confidence in your work itself is basic, and has to come first. With focus and diligence you may find confidence in the privacy of your studio more easily than in your more public dealings with marketing, galleries, exhibits, and so on. For some people, the latter situation may always be a challenge. But just as with the need to practice your art skills, practice in engaging with the outside world can also build confidence, and sometimes it's important to take opportunities that require you to go beyond what you think you can do.

Confidence has its roots not in ego, but in a realistic and humble assessment of your own artistic development and goals. When you understand your own situation, your confidence can be maintained through inevitable failures and difficulties. Confidence can be built by taking action, building your skills, and committing to your studio practice. Making time for your work, finishing work, being patient and compassionate with yourself, and accepting cycles of more and less productivity all help grow your self-confidence. .

There are no easy answers to finding and maintaining confidence in your work and in dealing with the art world—but it may help to know how common this problem is, even for people who seem to have it all in terms of recognition and success. Dealing with the outside world is easier if you have inner confidence but accepting challenges that feel uncomfortable is also a way of improving your confidence in a more public way over time.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
The Summer Quarter of Cold Wax Academy's membership program is now underway. Rebecca and Jerry's upcoming weekly live, online sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information.

Episode 218: About Teaching Workshops

Rebecca Crowell — Sat, 27 Aug 2022 13:00:00 -0500

Last week we talked about workshops from the point of view of artists taking them, what they look for, and how to make choices from the many options available. Today we want to talk about workshops from the perspective of workshop instructors. Many artists who have ideas and experience to share are drawn to workshop teaching. And teaching can be a very rewarding, interesting, and lucrative side job that fits well with an artist’s own studio practice. But it’s also a completely unregulated territory where success depends largely on personal reputation and endorsements, and where sometimes the best laid plans fall apart. What does it take to do well as a workshop instructor? What are some of the rewards of teaching workshops and what are some things to watch out for?

For those of you who are thinking of getting started with teaching workshops, it's important to carefully consider your own qualifications. You need to evaluate honestly whether you have the experience about the topic, and whether you have something original to contribute to your students. And no matter how developed you are as an artist, you may not know much about teaching itself. So, you also need to learn what you can about effective teaching methods, respond to feedback from students, and constantly evaluate and tweak your approaches.

There are many considerations for choosing what to teach, where to teach, the pay you want to receive, the number of students, and your own accommodations. And once you make these basic decisions, you need to be prepared with an accurate description of what you will teach, a detailed supply list, and if you are teaching outside your own studio, a list of what you would like the venue itself to provide.

Teaching workshops can provide not only a decent income, but there are also intangible benefits. Experiencing the fresh energy and perspective of beginners, and the sharing of tips and tools that often happens spontaneously in class, and hearing people's ideas and motivations is uniquely rewarding.

Going into teaching sometimes begins as a casual, gradual process among people you know, but once you are fully in you need to take its responsibilities seriously. Are you really serving your students in the best ways you can? Are you continually evaluating and revising your teaching agenda? You need to provide something important for your students and exhibit a basically generous and altruistic attitude. At the same time, it is also important to be treated well, and be well compensated for your time, experience, and dedication.

Episode 216: The Personal and The Professional

Rebecca Crowell — Sun, 14 Aug 2022 13:00:00 -0500

In every field of work, there are some interactions that are professional and some that can be more personal, and the lines between them are not always clear. How casual, how revealing, how personal can you be while keeping a businesslike and professional attitude? In an art career, this issue impacts your interactions in many ways—in talking with dealers and collectors, when you give talks and interviews, in setting the tone of your website, and any time you are meeting the public. Today we’ll talk about the boundaries between personal and professional situations in an art career.

Self-promotion is an important area in which personal and professional may collide. We are often advised in marketing art to be personal, to tell our story, to let our audience into our private lives to some extent. At the same time, setting boundaries around what we choose to reveal and be open about can provide a comfort level for both our audience and ourselves. Treating professionalism as your default mode is preferable in almost any situation in which you are presenting yourself to the public.

Specific situations in which crafting a professional image include making posts on social media, creating your website, and in your relationships with galleries. For some people, feeling a little insecure and wanting to make a good impression can lead to over-sharing, while others with similar fears back away from revealing anything personal that could help others understand their work.

Understanding the audience you are aiming to attract is important, especially if you are hoping to engage with galleries, curators, and collectors who have high professional standards. We do need to be ourselves in interacting with people interested in our work, which after all is personal, and where our ideas come from are impoirtant. But in public contexts erring on the side of being more formal, more reserved, and more dignified is a good strategy. If you are showing your work, selling your work, you need to have a bit of remove from the work, an objectivity, and that is best expressed by knowing the boundaries around professional behavior.

Episode 215: Being Vulnerable

Rebecca Crowell — Sun, 07 Aug 2022 14:45:00 -0500

Situations in which we feel unsure, insecure, and vulnerable are a common experience for many of us. As an artist, that feeling of vulnerability may come with exhibiting your work, promoting yourself, explaining what you do, and even when you're alone in the studio making art. Today we will share some thoughts about what it means to be vulnerable as an artist. Is vulnerability something to avoid --or tolerate-- or even embrace? What can you learn from situations in which you feel vulnerable?

Feeling emotionally vulnerable means feeling uncomfortable, exposed, or having your feelings open to attack or damage. It applies to situations in which you acknowledge your shortcomings and insecurities, and when you fear that someone else is seeing them too. It can also mean that you are speaking your truth to skeptical people who don't know anything about art. Vulnerability can happen anytime you are not putting up defenses around your true self, either because you can’t just then because you are taken off guard, or you choose not to.

Your art is extremely personal and in the best case it is also authentic and honest in representing your true self. Being open and vulnerable in that way can lead to valuable feedback or meaningful discussions, and iit allows you to seem approachable. But other times you may find you have exposed yourself to an emotional attack that serves no real purpose, and these situations should be avoidedif possible. For example, you can control who comes into your studio or refuse to defend your work to someone who is hostile to art.

Finding ways cope with vulnerability is important in negotiating an art career. If you constantly avoid the risk of exposing yourself, you may miss opportunities. At the same time, taking risks that may make you uncomfortable can end up being positive. For example, being vulnerable to your own feelings about your work can help you undertand how to proceed. Other aspects of vulnerability are negative--they can stall you or distress you in ways that are not productive, and you need to set boundaries to preserve your dignity and sense of worth. Learning to distinguish these different kinds of vulnerability can be tricky, but ultimately give you more confidence in your career.

Episode 213: Artists as Entrepreneurs, with Jerry McLaughlin

Rebecca Crowell — Sat, 23 Jul 2022 20:00:00 -0500

For many of us in the art world, making art is only part of what we do. The other big role most of us play, that of businessperson, can be one that comes less naturally. Many artists resist getting involved with art as a business, seeing it as something that dilutes creativity and true voice. At the same time, most of us get a lot of satisfaction from exhibiting our work and would like to be able to make a living doing what we really love, and it is gratifying to provide something that enriches the lives of fellow humans. Can we learn to see the business aspects of art in a more positive light, and bring to our art business the same skills we use in the studio?

Today Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin discuss the exciting possibilities of integrating art and entrepreneurial ventures. As artists we have passion, commitment, focus, the willingness to take risks, and ability to make decisions and move forward with projects. All these qualities can also help us create income streams as related to our core identity as artists.

As a term, entrepreneur may be more appealing than businessperson because we may associate the idea of business with something restrictive or overly structured. Entrepreneurship, on the other hand, implies a more creative and expansive focus and can include other people on an informal basis as well as more formal collaboration.

Examples of entrepreneurial ventures for artists include writing, teaching, mentoring, developing products and materials for artists, creating studio/living spaces for artists, licensing artwork in various ways, working with the film industry or real estate staging, and starting a small gallery. None of these need to be entirely separate from your life as a studio artist. Though they do require commitment and focus, they can also help you grow creatively as well as providing income.

Our advice is to welcome the idea that other ways of generating income can be exciting and rewarding and can play a very positive role in your creative life.

Special Guest: Jerry McLaughlin.

Episode 212: Imaginary Friends and Critics

Rebecca Crowell — Sat, 16 Jul 2022 23:00:00 -0500

When an artist creates, the people that the artist images viewing the work often are unseen presences in the studio. When we are deeply involved in our work these may fade away, but they tend to reappear when we are uncertain or involved in self-critique. A legitimate and important part of evaluating our work is trying to see the work through someone else’s eyes. But who are these viewers, exactly? Who are we creating art for, besides ourselves? Today we talk about those who view our work, how we imagine them and how much power to give them.

Most artists say they do their work primarily for themselves, that it is a compulsion or inner drive, and that they work the way they do because it feels right to them. Whether or not others like what they do may seem secondary. But a basic aspect of art is communication. We want to give our viewers something to respond to, to get involved with, and to bring out some thought or emotion, and perhaps respond enough to own the work.

From the artist’s perspective, working alone in the studio, this communication can seem very one-sided. We don't have an actual person with us to be another set of eyes, even though we are aware that people will eventually be in that position when we show the work. As a result, we often create viewers in the studio who are imaginary. And as such they tend to be an inconsitent, vague conglomerate with shifting opinions and advice.

The best advice has always been to make your best art for yourself and If it is good work, it will attract viewers who appreciate it. Thinking of it first as your own expression means that your work will be meaningful and authentic to you. But given that it's hard to avoid thinking of imaginary viewers as you work, it's also helpful to form a positive image of who they are. And rather than letting this be only a vague idea, it is helpful to get specific about the characteristics of your ideal, imaginary viewer. This viewer may be quite similar to yourself, but also enough removed to be able to offer constructive advice.

Many of us deal with invisible presences in the studio, and at times they are confusing in what we imagine them saying. And as with many aspects of the creative process, awareness of how you are affected is key. When our imaginary friends and critics are not useful, we need to be careful not to give them too much power. Inviting your imaginary ideal viewer into your studio can provide guidance, inspiration, and truly constructive criticism.

Episode 210: Interview with Jason Matias Part II

Rebecca Crowell — Sun, 03 Jul 2022 08:00:00 -0500

Today we are excited to welcome Seattle-based artist, author, and educator Jason Matias back to the Messy Studio. We published the first part of this interview back in January, which focused on Jason's approach to the business side of art. We recorded a second interview that same day so that he could tell us more about his own art, and what it takes to make his striking photographs of the natural world. We are excited to share this second interview with you today.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy?
Rebecca and Jerry are busy planning the Summer Quarter of their membership program which begins on July 13. These exciting sessions will explore Personal Voice and Composition and continue the topic of Professional Development with some special guests. Member Critiques and Painting Clinics, Cold Wax Academy's new feature, are ongoing. You can join the membership program anytime and catch up with past recorded sessions at your own pace. Please visit http://www.coldwaxacademy.com for more information

Special Guest: Jason Matias.

Episode 204: Jason Matias Interview - The Art of Selling Art

Rebecca Crowell — Sat, 15 Jan 2022 13:00:00 -0600

Today we are excited to welcome Jason Mathias to the Messy Studio. Jason is an experienced professional artist, an author, and an educator, who lives in a loft in the woods outside Seattle, Washington. Following seven years of military service, Jason pursued a bachelor's degree in business and a master's in organizational leadership and began to apply what he learned to his passion for photography. These days, in addition to his creating his own artwork, Jason runs the online teaching platform The Art of Selling Art, a membership site that teaches business skills, strategies, and practical approaches to the business side of art practice. His aim is to demystify the art world so that artists can sell more art. We're going to find out much more about what he has to offer other artists in today's episode.

Listeners who are struggling with pricing their work will find his comments on identifying and pricing to a target audience especially helpful. Jason offers other advice about remaining objective in marketing your work, and not allowing self-esteem issues, or other self-defeating habits and perceptions to interfere with your success.

This interview is available as both audio and video on our Facebook page.
Jason's website; https://www.jasonmatias.com/the-art-of-selling-art/home

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy? Rebecca and Jerry have an exciting Winter Quarter planned with a focus on working with cold wax medium using both abstract and realistic approaches. Members will enjoy opportunities to participate in portfolio reviews and critiques, and of course, engage with the ongoing weekly live sessions that explore featured topics in depth. Cold Wax Academy is the only online teaching platform devoted exclusively to deepening and developing your painting practice in every aspect. Lessons are centered on the range of uses for cold wax medium, but also include important insights and information about all other aspects of art practice. For information about joining this vibrant, international community of artists, and to learn more about cold wax medium, please visit http://www.coldwaxacademy.com

As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Winter Quarter begins January 5th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences.

Here is what a member named Sandy has to say about her own experience:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Special Guest: Jason Matias.

Episode 201: Social Media: Friends and Followers

Rebecca Crowell — Fri, 17 Dec 2021 21:00:00 -0600

Many of us enjoy social media as a convenient way to share our art with others, for the sense of community it offers, and the easy way it lets us keep up with people we seldom see in person. But artists who are not enthusiastic about social media can feel pressured into participating because of the benefits it offers, yet squeamish and awkward when they do. Today we’ll talk about the role of social media in art practice and how to find a comfort level with participating if you’ve been avoiding it.

Most artists have many friends who are much more like followers because this is how we tend to connect with an artist we like. Even though many artists have professional pages on Facebook, we don’t always think first of following them there when we are interested in an artist's work. Sending a friend request seems to be the default mode to connect.
As a result, your artist page, if you have one, may not really be getting nearly as much traffic as your personal page where you may have thousands of people listed as friends.

Our session today emphasizes the idea that you can consciously use social media to enhance your image as an artist. It is probably wise to exclude anything that may weaken the impact of your artwork. In fact it may discourage people to connect with you if they find your posts either uninteresting, too revealing, or in some way off-putting. ideally, you don't want to post things to your thousands of friends --many of whom are followers rather than personal connections--that will conflict with your image as a serious and focused artist.

Crafting a social media personal to emphasize your work is not presenting a false impression if what you do say is authentic. It's fine to keep large parts of your life private and when you do that, you allow your work to take center stage. It also relieves you rown anxiety about maintaining privacy.

How to navigate the world of social media is a personal decision, and there are plenty of opinions about how to do this. But in terms of enhancing your presence as an artist, consider that is may be best to treat it as a useful tool rather than a platform for a wide variety of topics. You can do a great deal to enhance your professional image of an interesting and thoughtful artist by being conscious of what you post as visible to everyone, especially if you have a lot of followers you don’t know as perosnal friends.

www.messystudiopodcast.com/blick

Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium.

As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences.

Episode 196: Open Studio Events: Pros and Cons

Rebecca Crowell — Mon, 15 Nov 2021 07:00:00 -0600

At some point in their art careers, many artists are offered the opportunity to take part in an open studios event or art tour in their communities. These events can be lucrative and exciting --and provide many new contacts to help spread the word about your work. They also entail a lot of preparation and time taken away from normal studio life ---and several intensive days of meeting the public and handling all the details of selling work directly during the event. Today we take an inside look at this experience and consider the pros and cons of participating in an open studio or art tour in your own community.

Although many times these events are very positive experiences, there are legitimate reasons you may hesitate. You may view your studio as a private sanctuary and not open to the public for any reason. Or you may not be comfortable selling your own work, or you may simply not anticipate an appreciative audience of your type of work in your area, and dread having to explain what you do. The physical accessibility of your studio and the preparation and time commitment involved during opening hours are also considerations. You may also want to be sure that there are other artists on the tour who you regard as peers, who have a similar approach in terms of pricing and professionalism.

On the other hand, in evaluating whether to join a studio tour or open studios event, there are some positive signs that may persuade you to say yes. It is very helpful if there is a density of artists in your area, and if the event is locally well known and well established. As for your own work, it is good to have work at various price points so that people who are not prepared to buy larger work can find a piece that works for them. It is also good if you can line up some help for the event, maybe someone to participate in the set up or direct traffic, or just be on call if you need something during the event.

Your attitude during the event is important. While it's fine to have expectations to keep you motivated, realize that you will have many people who are simply checking out your work or enjoying seeing your studio and are not there to purchase. That is fine, and you never know what might unfold later as the result of people having had a good experience. It's important to greet everyone, answer questions, and show a friendly attitude.

A studio tour can be a very successful event, provide connections, and help in your involvement with the art community where you live. On the other hand, it’s not a good idea to join just because you feel it is expected by other people—there is too much of your time and energy at stake. Deciding whether to participate means considering the pros and cons for your situation, but once you decide to join, a wholehearted attitude will bring the best rewards.

Episode 195: Our Many Hats

Rebecca Crowell — Sat, 06 Nov 2021 20:00:00 -0500

The behind-the-scenes aspect of almost any job is surprising, and that of a working, professional artist is no exception. So much goes on that has little if anything to do with making art. Maintaining a studio, tracking inventory and expenses, photographing work, keeping up a website, engaging with social media, answering email, staying in touch with galleries, and handling countless other details of art practice—all of these tasks are time-consuming, and each requires its own skillset. Most artists do all of this on their own without assistance, learning as they go, and over time they find what works for them. Today we look at the frustrations and rewards for artists as they constantly change out their many hats.

Considering the range of tasks we deal with as artists, it's natural that most of us are deficient in some areas, whether those are record-keeping, organizing, being active on social media, creating a website, consistent gallery correspondence or other tasks. While it may appear that other artists are on top of every aspect of their practice, few conquer all tasks and at the same time make good art without having help.

To be realistic we need to let go of perfectionistic tendencies and accept a standard of "good enough" for some of the demands on our time. We can also delegate tasks to others if they can be outsourced, although many cannot. Sometimes we do have to face things that need to be done by ourselves, but with which we have no experience or background. In those times, a positive attitude about learning new things is helpful. You may surprise yourself with newfound abilities --for example being able to handle new technologies or teach your first workshop. Asking for advice from a friend with experience is a good first step when faced with a new situation that requires action.

As artists our main role is to make art, and that is the most important hat to wear, always. The rest of the demands on our time that support our art practice need to be dealt with as best we can. When feeling overwhelmed by tasks and things to do, a good way to shift out of stress is to go and do your art, even for a little while. It will remind you of what you love about the life of an artist. The rest of it is simply what needs to be done to support this opportunity.

Episode 185: Approaching Galleries and More: Interview with Jason Horejs:

Rebecca Crowell — Mon, 05 Jul 2021 13:00:00 -0500

We interview Jason Horejs of Xanadu Gallery and RedDotBlog.com on the best way to market yourself and your work to galleries. This interview was conducted using Streamyard and went out live on Facebook. Once again we aren't able to produce the highest quality audio right now due to the move, but we still want to put out some great content. This is one of the most valuable interviews we have ever done, so don't skip it! Thanks again to all of the well wishes from listeners pertaining to the move and recent announcment that Ross's wife is pregnant.

www.messystudiopodcast.com/blick

Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin have wrapped up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work.

But you don't have to wait for the new quarter to join the Academy--All sessions are recorded and fully accessible in the Member Library, and you can watch and rewatch at your own pace. In addition, joining at any time gives you access to all the perks of membership and the benefits of being part of a growing, knowledgable community of other artists.

And just in --for a limited time, Jerry and Rebecca are offering a new membership level that provides access to their extensive video workshop only-- the cost is $249 for 6 weeks of streaming access, plenty of time to watch and rewatch all the in-depth content provided in this unique video.

Special Guest: Jason Horejs.

Episode 182: Dealing with Disrespect

Rebecca Crowell — Sun, 13 Jun 2021 13:00:00 -0500

Anyone who cares about the work they perform wants to have that work appreciated and respected. And while certain professions and high-level positions can elicit that respect almost automatically, people in many other fields have to build that regard from others over time. They need to constantly reinforce respect for what they do-- and most importantly, feel it within themselves in order to create it. Those in creative fields may have special challenges in building respect in a society that tends to look at what they do as unimportant, a hobby or sideline, or something they do simply to please themselves. Or their work may be regarded for its commercial or decorative value only. Today we’ll take a look at the ways artists and other creative people struggle to establish respect in the circles in which they move.

Unfortunately, stereotypes about artists are often not favorable. We may be thought of as self-indulgent, irresponsible, arrogant, and perhaps not fully contributing members of society. So, situations in which artists are disrespected, not taken seriously, or valued for their contributions are common. Self-respect is key to identifying and –ideally--reacting constructively to such situations.

Dealing with situations that involve disrespect can be difficult, especially for personality types that prefer to avoid conflict and let things slide. Lack of experience can also enter in, as disrespectful situations can develop because you are not sure what is expected or acceptable. For example, the first time you are in a gallery show or the first time you are asked to teach a workshop you may be asked to do things that are out of line with standard practice. But because for you it is unknown territory, you may accept them as the way things are done.

Most of us, no matter our level of experience or ability to handle conflict, have boundaries that tell us when to object or walk away. It’s important to become aware of when those boundaries are challenged and rely on our inner sense of self-respect to respond. Be alert for manipulation and unreasonable expectations from others that concern your art practice, and practice stating your needs and limits. You can certainly decide to live with some situations that are less than perfect, but that choice should include clear benefits for yourself that you judge to balance the equation.

It’s a difficult reality that we all run into disrespectful situations, and our personalities have everything to do with how we handle them. For many of us, letting things slide works for a while. But a situation that creates an ongoing sense of disrespect needs to be addressed. OPur work and self-respect are top priorities.

Thanks to everyone who has been sharing the show and donating, and special thanks to Mary J Kelly for her donation! If you would like to donate to the Messy Studio Podcast donate here.

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

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Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin are wrapping up an exciting Spring Quarter and have announced their lineup of topics for Summer quarter which begins July 7. Their weekly live, interactive sessions will focus on Mark-making, Composition, and on Setting and Following Intentions to create strong, cohesive work.

Episode 181: Respecting Your Artist Self

Rebecca Crowell — Sat, 05 Jun 2021 12:00:00 -0500

Self-respect is one of the central ingredients for a healthy mindset yet can be one of the hardest to achieve. As artists, we may lose our grip on it when encountering the larger art world. Or lack of self-respect may interfere with our art practice itself, keeping us from dedicating time and resources to our work, or behaving in ways that undermine our success. Is your self-respect as an artist firmly in place or does it waver or fade in some situations? Today we’ll talk about ways to build and maintain your self-respect inside and outside the studio.

In a recent podcast we talked about the passion that underlies so much of what we do as artists and as entrepreneurs, and how that keeps us going even when we have times when the rest of the world does not seem to care about what we do. Part of passion is the respect we feel intrinsically for what we do; in some basic way we know how important it is and honor that. We need strong self-respect in order to put ourselves out there, keep us engaged, help us overcome obstacles, and also to recognize situations in which we are not being respected.

Many people struggle to respect their own creative passion as the result of life circumstances, such as not being supported in their interest as a young person, or the need to have a good income early in life. If you don't have a good base of self-respect as an artist, or lifelong engagement with your creative side, how can you build up this key ingredient in growing your work and art career?

This means placing priority on your studio time, buying yourself quality supplies and equipment, finding a supportive art community, and engaging with high level instruction or mentorship. It also helps to acknowledge realistically where you are as an artist. In may seem counter-intuitive but being humble as a beginner enhances self-respect, and in fact it may be crucial for getting through the initial learning phases and avoiding feeling like an imposter. In the same vein, learning to limit your interactions about your work with people who don't take you seriously is important, as is avoiding comparison with others who are further along with their work.

No matter when or under what circumstances you have started your creative practice, respecting its place in your life is crucial to growing into yourself as an artist. We are the gatekeepers who protect that practice and honor its importance, and if we don't do that, we can't expect anyone else to do so.

Episode 173: Keeping Records: The Stress and Mess

Rebecca Crowell — Sat, 10 Apr 2021 11:00:00 -0500

There probably are a lot of artists who are able to keep accurate, up to date records of their inventory, sales, expenses, materials, and contacts. They have systems that are efficient and neat, and any information they need about their art careers can be easily retrieved from a file. Then there are those who fail miserably at organization, and whose records--if they exist--are in total confusion. A question about the location of a certain painting, or the need to put together images of work for a presentation is cause for panic. Are you somewhere in between these extremes, or do you identify with one or the other? Today we take an honest look at the challenges of recordkeeping for artists.

Rebecca and Ross fully admit that their own record-keeping needs improvement and offer a few tips along with recognizing their downfalls. The first step is noting what is not working. Where the cracks appear is where data can, and probably will, fall through. This can include failing to note the details of sales or when a work of art is moved between galleries, not taking or filing photos for each piece of art, and allowing confusion in terms of titles or the fact that certain works have been purposefully destroyed or worked over.

Messy records create more and more issues as time goes on. Once an area of record-keeping has been neglected, it becomes harder to know where to start with bringing everything up to date, and the project of going back into old records to organize them correctly can seem enormous.

To approach your own record-keeping, recognize what does work for you and be open to new systems that may be easier to maintain that what you've been using. You can certainly have a satisfying and productive art career with a few holes in it, but if you can avoid this stress, it’s a good idea. We hope this episode will inspire those of you who have the need to organize—and those of you who are on top of it all to feel very good about that!

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It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and
and click on the Memberships button.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 171: Challenges and Risks

Rebecca Crowell — Sat, 27 Mar 2021 13:00:00 -0500

As artists, we are often presented with situations that ask us to say “yes” to something that feels challenging or risky. This could be as small as the need to rework a painting to as large as agreeing to a major solo exhibit. Accepting any challenge requires a commitment and it may feel stressful and bring on self-doubt. Yet successful artists always take some risks that lead to growth and new possibilities—in their careers and in the studio. Today Rebecca and her partner at Cold Wax Academy, Jerry McLaughlin, talk about why it is important to take on challenges and risks in your art practice--along with a few stories about their own related experiences.

Rebecca and Jerry recorded this episode on video as well as audio, so if you'd like to see the video version, please visit the Messy Studio Facebook page or the Cold wax Academy Facebook page. That’s www.facebook.com/messystudiopodcast or www.facebook.com/coldwaxacademyIn .Here's the Youtube link: https://www.youtube.com/watch?v=3q5Cq7ZI3xI

As much as we may hesitate to step away from what is known and comfortable, risks and challenges offer advancement and growth that are vital to growing your work and art business. Of course, we need to be discerning, to consider what is realistic, or whether there is anything about the idea that doesn’t seem legit or too much of a distraction. But too often we hesitate to take opportunities that really will be beneficial because we consider them too risky.

A good question is, what exactly are you risking? Often the dangers are larger in your imagination than something that might actually happen. The gains are very often much larger than any risk involved.

Making a commitment to follow through on a challenge that offers promise is actually quite freeing. You gain a sense of purpose and focus that moves you forward in every aspect of your practice.

Special Guest: Jerry McLaughlin.

Episode 141: How Others See You

Rebecca Crowell — Sat, 05 Sep 2020 15:00:00 -0500

We create our art and conduct our art careers mostly from within the bubble of our own point of view. But our reputations are important to our success and they are defined by the way other people see us. From within our own perspectives, we can lose sight of how we come across to our colleagues, collectors, students, galleries, and others who define us in the outside world. Today will be talking about shaping your reputation as an artist, and why it is important.

Reputation can be a fraught topic, especially for the introverts among us who prefer not to be in the spotlight. Wondering what people think of us can trigger insecurities that go back to adolescence and young adulthood when personal reputation could seem like everything. Many of us experienced constant judging by peers and parents in those times, leaving lasting negative imprints and confusing us about what we really wanted in life. Even the desire to pursue art as a major part of our lives may have been discouraged because of fears that it could lead to a questionable image among our peers and relatives.

As adult artists, reputation includes not just personal aspects, but also how others see us as colleagues and professionals. At its core, our reputation is a reflection of our authentic self, because most people cannot fake an image even if they try. But even if aspects of your personality are quirky or challenging, it's possible to navigate an art career. In fact, a unique personality can be an asset in creating an impression. On the other hand, people who are easy to deal with may find more opportunities for networking, gallery representation, and other steps up in the art world.

The reputation of the quality of your art itself though is perhaps most important aspect of what people think of us. Qualities of strength, growth, consistency, and authenticity in your work will set you apart and establish the reputation of your work. We all start somewhere, but it can be harmful to promote your work heavily when you are a beginner and creating a weak first impression. Projecting confidence is important, and it takes time to develop your work to the point that you feel this in a genuine way.

Though we often feel that reputation is fragile, we also have the power to change and shape the way people think of us over time.

We would like our listeners to know about a big change coming to Squeegee Press, known for its award-winning book, videos, workshops, and tools - all created for artists working with cold wax medium. Rebecca and her partner Jerry McLaughlin have announced that later this month Squeegee Press will become Cold Wax Academy-- and will soon include some exciting new membership features.

As part of this change, their video, Cold Wax Medium: a Video Workshop will become available as streaming content for members only.
This comprehensive video, nearly 7 hours long, covers everything Rebecca and Jerry teach in a 5-day workshop and more. If you prefer to own the video, it's on sale at $250 off from now until the end of September when access will shift to streaming only. To purchase, and for more information, please visit www.squeegeepress.com and don't forget to join the mailing list for updates on all the new offerings from Cold Wax Academy.

Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.

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www.squeegeepress.com

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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 122: Sell More Art Online, Interview With Dave Geada

Rebecca Crowell — Sat, 25 Apr 2020 02:00:00 -0500

For the last several weeks we have faced an unknown and invisible enemy. COVID-19 has disrupted large portions of the international economy and thrown millions into unemployment. As artists we face these same challenges. Our galleries have closed, our workshops have been cancelled, and we have no idea when (or if) things will return to “normal”.

However, we still have at our disposal the most powerful marketing and sales tool ever created. The internet is a way of selling art that many of us have ignored until recently and have no idea how to use properly. In the midst of economic chaos, it is crucial to learn to use the internet in ways that will help us sell more artwork, now and in the future.

To explore some of the fundamentals of online marketing, we invited marketing professional Dave Geada to join us on the Messy Studio Podcast. What he taught us is deceptively simple: tell your story. We all have one, though we may not realize it. Dave emphasized that when people buy art, they are buying not only the work itself, but you and your story. That personal connection can make all the difference in a decision to purchase.

Stories are like any other form of art. They contain essential elements that, when properly composed, are satisfying for the audience. In much the same way that a painter uses line, color, shape, form, value, texture, and space to create a painting, a storyteller uses characters, setting, plot, conflict, and resolution. A basic, archetypal storyline involves a hero/heroine who faces a villain (a person or other obstacle) and then triumphs with the help of a guide.

This basic storyline can be applied to any person’s life and struggles. In the story of today's episode, our hero is the artist who faces the villain of COVID-19 and, with the help of a guide, learns to use the internet to sell their art. Our guide on today’s show is Dave Geada. He’s the CMO at[ Boldbrush (www.boldbrush.com) and has over 20 years of experience in technology and marketing. The interview provides some basic tools to start generating more art sales online, but if you want to learn more check out the special offer he has provided to Messy Studio listeners.

To take advantage of Dave Geada's special offer for Messy Studio Listeners:
https://l.faso.com/72

For more from the Messy Studio:
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For more from Rebecca Crowell:
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www.squeegeepress.com

The Messy Studio is a CORE Publication MGMT production.

Special Guest: Dave Geada.

Episode 101: Influence Vs Copying

Rebecca Crowell — Sat, 07 Dec 2019 16:00:00 -0600

No artist is wholly original. We all owe those who came before us for techniques, ideas, theories, and approaches, and we should honor these influences. Each of us references these influences in our own way. Some of us place ourselves firmly in the tradition of a certain approach to art, or even as followers of a particular artist, but adding our own expression and interpretation. Others are less eager to fit into a category, choosing not to identify with any particular approach and acknowledging a wide range of influences. But overall, being influenced by others is an expected part of how we grow and educate ourselves, and there is a long tradition of this process throughout art history.

The best influences are those in which you understand the other artist's work and the context in which it was created. This allows you to move beyond the look or style of the work to finding connections with your own ideas. It is also healthy to have numerous influences, so tghat you are not overly swayed by one person. In these ways, you can pull from the work of others the things that will help your own work grow in a personal direction.

Unfortunately, there are also artists who use influence in an unhealthy way, either deliberately plagiarizing another artist’s work, or using so many of their ideas that it comes uncomfortably close to outright copying. This is a distressing situation for the artist being copied. If the plagiarism is serious enough that action is called for, finding a way forward can be very challenging.

Try to remember that, although having your work copied hurts, it will probably end up hurting the person copying your work more than you. There are very few things more damaging to an artist than gaining a reputation as someone who produces knock offs. Customers, gallaries, and other artists all view this behavior as unprofessional. For these reasons we should all seek to create unique art, and not become overly influenced by other artists. If you art looks too much like someone else’s it will end up hurting you in the long run.

The bottom line is that you cannot control what other people do but you can control your response. Try to remain objective when handling these issues, whichever side you find yourself on. Embrace the centuries long tradition in the arts of being influenced by others and building on the work of the past. Always strive to differentiate your work from others, and if someone else’s work is too similar, do your best to handle the situation gently.

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Episode 100: The Art Of The Side Hustle

Rebecca Crowell — Sat, 30 Nov 2019 16:00:00 -0600

For many artists, some form of outside employment is necessary to make a living. Their day jobs often have little or nothing to do with their creative lives, but some have developed income streams that evolved naturally from their studio practice. This approach leads to a more integrated approach to earning a living. Today we’re focusing on some examples of art related side hustles.

In preparation for this topic, Rebecca searched for statistics on artists who make a living from art sales alone. What she found--to no one's surprise--supports the fact that many of us need other income streams. While the Bureau of Labor Statistics provides fairly decent income figures for artists, they include paid artist positions like designers and teachers in their overall statistics, and don’t provide separate information for those who are studio artists only. The Artfinder Independent Art Market Report: 2017 produced figures that are closer to the reality that many studio artists face. They report that artistic practice accounts for less than 25% of their survey sample's total income from all sources.

Many studio artists have found ways to cobble together a good living from art sales plus one or more art-related side hustles, which they prefer to traditional part time or full-time employment. Although outside employment offers a steady paycheck, the benefits of self-employment include greater control over your time and level of commitment to your artwork. And when self-employment involves providing meaningful goods and services to other artists, there can be deep satisfaction in what you do.

As an artist, what skills do you possess that could be translated into extra income? Today we look at several categories of side hustles that arise from knowledge and services that artists may be able to offer. We also have interesting stories and insight from two artists who have developed successful art-related products, Paula Roland and Elizabeth Schowachert.

www.messystudiopodcast.com
(use promo code EPISODE100 in the Etsy shop before December 4th for $5 off!)
www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast
Also mentioned:
www.paularoland.com
https://elizabethschowachertart.com
www.fiver.com

Episode 96: Dealing With Rejection

Rebecca Crowell — Sat, 02 Nov 2019 14:00:00 -0500

Dealing With Rejection

We’ve all suffered through rejections both major and minor. Like the cycle of ebbs and flows that we talked about in episode 94 of The Messy Studio Podcast, rejection in various forms is a part of an art career that we have to deal with on a regular basis. How can we stay positive and motivated when we are being told we didn’t make the cut? What does rejection really mean in the big picture of our lives as artists?

The common wisdom in the entrepreneurial world is that if you haven’t suffered a lot of rejections, then you haven’t been trying hard enough or aiming high enough. The question is, what do rejections really mean in the big picture? They hurt at the time, but they are actually positive signs that you are aiming for something higher and further than where you are now. Rejection means you aren’t just playing it safe, but pushing yourself out of your comfort zone. Facing rejection is a sign of ambition, and your intention to grow your career and audience.

Rejection can also be seen as part of a process. Finding the right path for yourself isn’t easy. You have to try a lot of different things to find out what works. Rejection is an indicator that your current path may not be the right one. This may help you to expand your thinking. You may be focused on acceptance to a particular gallery, a grant, or some other opportunity. Being rejected may lead you to consider other ways to achieve the same goal. The old cliche of “when one door closes, another one opens” can be true, but probably involves a conscious shifting of focus toward a new idea or solution...

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Episode 94: Ebbs and Flows

Rebecca Crowell — Fri, 18 Oct 2019 14:00:00 -0500

The ebbs and flows of income (and other positive events) are challenges for any self-employed person. But we have to learn to deal with slack times if we want to persist. Once you become discouraged it can be easy to lose your motivation and even think about giving up. Today we’ll cover some strategies and thoughts that can help if you’re in the midst of a downturn, and also ways to take the best advantage of the good times.

www.messystudiopodcast.com
www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Episode 93: Considering Commissions

Rebecca Crowell — Sat, 12 Oct 2019 12:00:00 -0500

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https://herzogart.com
https://messystudio.fireside.fm/29
https://www.allisonbcooke.com

I often like to look up terms that get tossed around, and Oxford’s first definition is “an instruction, command, or duty given to a person or group of people.” While the commandment aspect of this is often looser with an art commission, maybe it is the sense of being ordered about that some artists find difficult.

Some artists never work on commission—dislike the disruption of their creative path, being watched and judged for the end result, value their artistic freedom above sale

But for many, commissions are very welcome—like gold--let’s look at the upside of receiving one:
Guaranteed purchase
May hang in public place
Unique challenges—the “assignment” aspect may push you into new ideas
Validating of your work/adds to your resume

How do they work:
Arrangements vary considerably:
Through a gallery or designer—they will ask your terms or may have their own; may ask you to be flexible if they are eager for the sale
Private commissions—artist sets the terms
May need to share with gallery if it is in same local as one of your galleries through which the client knows your work

When you set your terms—you can suit yourself. Opinions and formulas abound and in the end it is what you feel good about. Consider:
Do you want to charge extra and how much—can be as much as 50% more or your basic prices—what is it worth to you? How eager are you for it to go through?
Consider any extra expense—custom panel, special paint
Consider shipping/delivery/installation issues up front; who pays?
How much to share in-progress photos—can be inhibiting depending on your process
How much freedom do you require?
What will you do if the client is not pleased?
Be realistic about your schedule and how much time to give yourself
If it’s a private commission, are you comfortable negotiating with an unknown client? Can be hard if you’re not used to it

Artists who work often on commission have set ways of doing it that they know work for them. Ex: portrait painters of all types work almost exclusively on commission.

Ginny Herzog: I always get a 50% deposit before beginning the work. The balance is due before it is shipped.

Yes, I send in progress photos and the piece is not finished until the customer is happy with the painting.

Only once did a customer want to return a commission and that was because their interior designer wanted something different for the space. The customer said they liked the piece and it was exactly as they had requested. I told them the designer should have been in on the conversation from the beginning if that was the case. They ended up returning it and paying shipping costs. I didn’t send them a refund until I resold the painting.

Others who only do them once in a while can be confused each time the idea comes along. May have a loose approach, negotiable.

Allison B Cooke. Has done only a few--asks for ½ down and uses her base price with perhaps slight increase. Mentioned the strategy (others use as well) of creating two paintings and allowing client to choose. Downside of this is that client may not feel their piece is special and unique.

My own approach: Use my basic prices (based on sliding scale PSI) and add in extra if I need to buy custom panel. Charge the client for delivery. Ask for nonrefundable 10% down to cover supplies. Allow for right of refusal and would not charge the balance. I prefer not to send in progress photos unless I have a question about color or something.

The emotional side of all this:
Feeling of someone looking over your shoulder –someone specific as opposed to vague someone
The need to please
Often it means referring to an older work or work on a completely different scale
Pressure/stress –what if it isn’t going well
Fear of failure, judgement
Can be hard to work without a middle-person/gallery

My own private commission story/nightmare—when I thought I was doing everything to please and they didn’t like the color when they saw it. Then a decision about whether to re-work or just walk away. How badly I felt about the whole thing, jumping through hoops, in the end did not feel good about it.

And the good story—current commission; appreciative client, gave me freedom, enjoyed the challenge, felt like I was creating a personal work for someone I like

Also the commissions for MD Anderson—I learned a lot, felt good about them in a public place, some stress because of their scope and cost but rewarding financially

Wrap-up: A lot of artists have definite opinions pro and con about commissions, while others accept them with some caution. Good to go in with eyes open, recognize their benefits and difficulties.

Episode 92: Formal Mentorships

Rebecca Crowell — Sat, 05 Oct 2019 13:00:00 -0500

Many of us are fortunate enough to have had mentors in our lives who were also friends or relations, who have helped us or we have helped along the way. These are relationships to protect and be grateful for as we discussed last week.

But there are ways to have a mentoring relationship with people we don’t know, at least at first—a formal kind of arrangement in which the mentor is compensated and there is more structure to the arrangement.

Do you need a formal, paid mentor?
Individual needs vary but here are some examples
you identify a need not being met by current situation/have tried it on your own.
You feel stuck or stagnated
Need support and feedback,
working in an isolated situation
Want someone to hold you to your goals
You’re willing to commit to the schedule, structure, the follow-through
You can be pro-active, not passive in what you want from the arrangement, give your mentor something to go on
You’re willing to accept constructive criticism, follow assignments/suggestions, commit to at least trying things

Also understand:
You should respect whatever boundaries are agreed upon, no special treatment
Mentors are not therapists/life coaches—keep focus on your work or relevant life issues

Mentors are most effective once you already have some skills, are fairly developed already to help you to the next level of excellence. At a more mature level you know the kind of mentor that suits you best.

How do you find a mentor?
Word of mouth
Google (of course!)
Website—Mentorly—matches mentees and mentors, different price categories, the site vets the mentors and prices according to their experience, recommendations etc. Online only.
Workshop instructor
Someone you admire—make inquiry

A local mentor may be good for various reasons, can be less formal, more accessible, able to meet in person

What to have I mind?
Goals and intentions—specific or broad—what do you want to focus on (the mentor can help with this too)
What you can afford or what it is worth to you
or could you barter help of some kind
How often you would like to meet or talk

What if it’s not working?
Give it the agreed upon amount of time/number of sessions to decide; a specific end point may be helpful; helps with focus, puts people at ease too to know there's an end point
Voice specific complaints or issues/aim for open communication without simply complaining or whining/
challenges are part of the deal

Would YOU like to be a formal mentor?
Have the right mindset, you have something to offer
You have broad expertise/knowledge as well as specific to your field
You have some experience in teaching or being mentored yourself
You want to work with people to achieve their own goals, your role is supportive not authoritative, not controlling
Able to keep on topic
Able to commit to a schedule
Able to set expectations
Good communications skills, good listener, direct, positive, friendly
Organized, able to meet commitments
Good role model
You have a base from which to draw mentees—mailing list, website, etc.
Have testimonials about your teaching and communication skills
Understand your own limits in terms of time and comittments

Benefits to you:
Personal satisfaction
Income
Grow your workshop or other connected business, enhanced reputation
Set your own hours
Articulating important art ideas helps your own work

What if it’s not working:
You’re only obligated to do as much as original agreement but follow through on that
Honesty, constructive feedback if you need to end relationship

As mentor, decide—
How much time to commit
Structure—can be set times for meetings, by skype or email…or set as needed. Can go on for a specific amount of time, say 6 months with monthly interactions. Can be very informal—call me when you need me.

What is good compensation
    Starting out, $50/hr or so
    For a lot of skill/experience-- $100/hour or more. You may have them pay ahead for a set number of sessions or pay each time. 

Do you prefer live meetings, skype, email? With email feedback, will you charge by hour or set rate? 

What is your focus as a mentor? Open to any issues, or prefer to focus on art business, studio practice, creative process—general or specialized

WRAP-UP:
There was a time when being mentored/apprenticeship was the only way to learn from another artist. Now it’s one of many choices, but remains one of the very best for personal feedback and support. For those who want to mentor it’s a fairly easy way to run your own small business. Just be very honest about your qualifications and ability to do the work.
Notes

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www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast
https://mentorly.co

Episode 90: Sharing Studio Secrets

Rebecca Crowell — Sat, 21 Sep 2019 12:00:00 -0500

Rebecca and Ross discuss why sharing your process and techniques with others helps to advance your own work and career.

Intro:
An artist’s creative process is not always easily accessed by others—it may include technical secrets as well as approaches that are simply hard to convey to others even if there is a desire to share. Do the art practices of others seem mysterious to you? Do you guard some of your own studio secrets, and why? In this episode we’ll look at the pros and cons of keeping studio secrets and how transparency can benefit you as well as other artists.

As a workshop instructor I’m sometimes asked why I give away all my --an interesting question—first because I do charge for my workshops!

But the real question is what do you risk by being open about your work.

My response is something like, my secrets are my secrets, but my techniques are things I’m happy to share. What I mean is that there are things that go into a painting that are private—memories, emotions—and there’s not much point in sharing those anyway, they are personal to me and would not be helpful to anyone else.

But the biggest/best secrets are right in front of you—the importance of finding your voice, being patient, practice, etc. Things you just have to do for yourself with diff. results for each person. We can advise and offer tip but personal path is your own.

Also some things about process are very hard to explain.

Technique and process are just means to an end. Techniques are tools for each of us to use in our own ways. Even something like a formula for a painting color can lead to different results for different artists. There can be a feeling if we knew exactly what someone else did we could enhance our own work.

People tend to look for formulas/answers as the result of being taught that way.

That said I am not always ready to share something when I’ve just figured it out or am in the process of seeing what I can do with it. Another thing about teaching is people can feel entitled to the inside story on everything you do. (I do have moments of “ I just figured this out and I’m not ready to share it.” But there comes a time when I am ready. My hesitation is more about enjoying the discovery process on my own.)

That’s me—we all have to figure out our boundaries on this. When you’re a teacher you are probably more inclined to share.

Reasons to be Open:
Letting others understand your techniques does not diminish them. If anything, it adds to the appreciation of the ones you have mastered. Never as easy as it looks or sounds.

A lot of great art has been created using very straightforward and well-known techniques such as applying oil paint to canvas with a brush.

Simply showing someone a technique is a first step, and most people figure out their own ways to use it.

Keeping your techniques or formulas secret doesn’t necessarily add to own stature or mystique. It may just make you look guarded or territorial, maybe a little insecure--

Work that depends on mastery of a particular “secret” technique can be shallow—it can limit the artist to exploiting that which he or she has staked a claim to. The work can start to seem tricky or gimmicky.

Spiritual or philosophical benefits of sharing: Acknowledge that every new thing comes arises from some previous knowledge that was shared. You may have put it together in a new way but be aware of the chain of which you are a part. By sharing you allow others to build on your discoveries.

Teaching—obviously you need to be open. You can set your boundaries around anything you’re not ready to share, but I think these should be relatively few things. The spirit of teaching is sharing, being open and generous. Students don’t appreciate it if you hold back.
Offering some free material via websites, youtube, etc. is good business practice

Selling: talking about your techniques and process leads to understanding and appreciation of what you have developed.

Relations with other artists: when you share, opens door to sharing back, also it can be interesting to see what happens in a collaborative sense. Your ideas transformed by someone else. Opens dialogue and collaboration. Reciprocity.

Don’t be put off by fears of copying etc.

What Not to Share:
You can potentially share anything—up to you

Sharing does not mean dictating or controlling how the knowledge is used. Know that once something is out in the world it has a life of its own. That’s basically positive and healthy but should be understood. Knock-off work rarely succeeds.

Difficulties in sharing--Some things about process are simply very hard to articulate –you may think another artist is being secretive when in fact they just don’t have the words. Art speak or vague descriptions may well be honest attempts to talk about what is basically beyond words.

Be honest with yourself—do you think as an artist you are “supposed” to be secretive as part of an artist's mystique? Is that really your natural inclination? Are you afraid of being more open—if so can you see benefits you might be missing out on?

Wrap-Up: By nature many artists are very open and generous with their knowledge and ideas—a lot more so than the stereotype of the loner, egotistical artist would indicate. In my opinion that is a good thing to embrace and be a part of and makes your art life a richer experience.

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Create a site on Wix today!

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Episode 89: Working On Your Website Part 2

Rebecca Crowell — Thu, 12 Sep 2019 14:00:00 -0500

Rebecca and Ross continue their discussion on building your artist website.

Create an artist website on Wix today!

Episode mentioned: https://messystudio.fireside.fm/55

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Episode 88: Working On Your Website Part 1

Rebecca Crowell — Sun, 08 Sep 2019 14:00:00 -0500

Rebecca and Ross discuss common pitfalls in artist websites and why your website is important.

Create a website today with Wix! It is fast, easy, and free to get started.

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Episode 80: The Inside Story - Conversation with Dan Addington of Addington Gallery

Rebecca Crowell — Fri, 12 Jul 2019 14:00:00 -0500

Rebecca talks with gallerist Dan Addington, who offers insider tips and anecdotes from his years of experience as both a working artist in the medium of encaustic and as the owner of Addington Gallery in Chicago, Illinois. This is part one of a two-part conversation.

Notes:
Dan Addington shares thoughts about approaching galleries, some good tips
when is the right time to apparoach a gallery
his perspective on showing older work
a bit about his own work in encaustic
the days of being an artist prior to the days of internet access
the two hats he wears as artist and gallerist
importance of updating your website

Links:
http://www.addingtongallery.com
https://www.joannemattera.com/publications

Special Guest: Dan Addington.

Episode 76: Meeting Deadlines Head On - Part Two

Rebecca Crowell — Sun, 16 Jun 2019 04:00:00 -0500

The need to produce our creative work under pressure from deadlines and other expectations is a common situation for artists. This basic idea can seem so wrong—shouldn’t our art be created in our own time, free from outside influence? There are many challenges and pitfalls involved, and we may resent the entire situation. Yet for anyone pursuing art as a serious endeavor, avoiding pressure is simply unrealistic. Today we'll talk about some practical solutions to coping with deadlines and expectations.

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I’ve been thinking about this ideal world in which we don’t have deadlines and expectations hovering around us and about the fact that probably this has never in all of art history existed for artists. There have always been pressures and demands on us from society at large--economic, personal, even spiritual.

Why do we even have the idea that outside expectations are impositions on our creativity?
We accept them from ourselves --yet even these are influenced by the outside world as we try to position ourselves (in terms of galleries, exposure, or whatever form success takes for us.)

Topic important to right now= I have solo exhibit opening at Addington Gallery in Chicago in about 5 weeks-- need to produce a lot of work in a relatively short time.

I said yes to a solo show knowing I would come back from Greece and be in crunch time.
Moments of panic but overall, I find it an exciting challenge. Not always this way—it comes with confidence, with knowing my strengths and weaknesses in the studio, having certain strategies. But it wasn’t always something I was comfortable with. It’s a skill that takes practice, like any other.

So let’s start from the position that these expectations and pressures are the way it is.
How to approach them to stay balanced and on track?

Challenges of Deadlines/Expectations
Lots of well-known guidelines for dealing with deadlines for business tasks etc. online, BUT harder to apply them to your painting or other creative work.
You cannot delegate most tasks
Often advised to break the project down into small steps, but that may not apply (other than maybe working on a number of paintings at once.)
You can set mini-goals within the project but creative process may not be linear enough for that to work.
Your end goal may not as clear as it would be in other businesses. Basically you are doing something to advance your work whether an exhibit, commission, publicity event, etc. but specific end result may need to evolve.

So we have to look at some different strategies that work for creative processes:

What are the challenges specific to working creatively under outside or inner expectations?

Strategies:
Give yourself extra time—imagine the deadline is actually sooner than it is. May seem counter intuitive=more pressure—but it’s just a mental adjustment that can give you some wiggle room and more time to evaluate the final work when it’s done.
You’re not just rushing to a finish line, you want time to evaluate what you have done.
Timeline: Use a rough timeline that allows the project to be done in time BUT honor the creative process—it is seldom straightforward

Allow the scope of the idea to change—you may want to edit out some work for a show, or have a smaller selection when applying for a gallery for example. Giving yourself some flexibility is relaxing.

Be flexible if deadlines are ones you set for yourself. These are personal goals and that’s important but if it is really not working out it’s not worth the stress.
Consider if your life situation has changed since you set the expectation. A friend who was clinging to a self-imposed expectation for her work even though she had been through a major traumatic period in her life. It was simply adding more stress to a difficult time.

Be clear about studio time, make sure others respect it, limit distractions,

Push a little harder each day than you normally would at the beginning to gain momentum. Work that is underway is easier to engage with than blank panels.
Use ways to enhance drying time of oil paintings such as fans, dehumidifiers, alkyd paints

Work on multiple pieces at once so there is always something to do

If possible engage help for more mechanical aspects of the task—prepping, gessoing, putting on hardware.

Pace yourself :
If a particular painting is esp. hard, set it aside rather than obsessing over it/spending too much time on it
Recognize burnout/exhaustion—accept that you will need some down time--keep up some social life and family time
Periodically look at the overall project, sit and look, see the progress you’re making

Be open to working a little differently to meet the demands of the deadline—for example using small studies as references rather than working with a completely intuitive/searching approach, working with a theme to provide focus

Gain confidence from your own history of meeting expectations:

Personal story--Pivotal situation about 5 years ago—potential came up for a large commission for MD Anderson Cancer Center—5 big paintings to be based on specific smaller past works of mine. Very tight schedule at the time but knew it was a huge opportunity.

Strategized—ordered the panels before knowing if I would get final approval; put down initial layers in a time when I was home. In between a teaching gig and a residency in Ireland I had about 2 weeks in which I painted like crazy. I was nervous but very focused. When I got back from Ireland there were just a few minor tweaks and they were done by the deadline.

I learned that I could do that, I could pull it off. Everybody was happy with the results. Ever since I remember that time when I feel nervous.

Do you have a successful story to reassure yourself? Doesn’t have to be art-related. Times when you had to juggle a lot of things as a parent or at work?

Wrap-Up: rather than resist or resent the idea of deadlines and expectations, accept that they will always be part of your world if art is a serious pursuit. Dealing with them gets much easier with experience so if you’re avoiding opportunities out of fears and resistance it may be time to jump in and hopefully these ideas will help make it a positive experience.

Episode 75: Meeting Deadlines Head On - Part One

Rebecca Crowell — Sat, 08 Jun 2019 13:00:00 -0500

INTRO: Meeting deadlines and other expectations are part of an artist’s career at almost any level, and they're important when you are aiming to make the most of your opportunities. Working under pressure can make you feel nervous, compulsive or perfectionistic, but on the positive side can also cause you to create at the top of your game. This is a two-episode topic--today we’re going to examine various situations that involve creating under pressure.

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Episode 60: Saying Yes And No

Rebecca Crowell — Sat, 23 Feb 2019 10:00:00 -0600

A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your
calendar clear enough to stay focused and do your best work?

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PODCAST notes:
Saying YES: how to decide
Follow up to Pacing Podcast—

Intro: A lot of us are inclined to say yes to any art opportunity—always looking to
advance our art careers and open up new pathways. But how can you keep your
calendar clear enough to stay focused and do your best work?

Talked in previous PC about pacing and our inclination to say yes ; overload from
an abundance of opportunity’/ meeting your personal needs for time and energy

What can you say no to and not hurt your good trajectory? What is smart to say
yes to??

Best Attitude: A lot of this is guess work…do your best to research, understand --
but know we all make poor decisions at some point as well as good ones.

Don’t beat yourself up for bad ones—this is all unknown territory as we go
forward. Artists encounter a lot more of these kinds of decisions than many
people.

Many so-called opportunities are presented as sales pitches. A good sales
pitch that you say yes to is aimed at something you actually want and is not
inflated or dishonest

Considerations that might lead to a NO:

Not meant to be overly negative, just to help you make decisions.
Is it legitimate?

Previous PC about scams and schemes/has been discussed; avoid pay
to play situations unless co-op, art fair

Is it mainly Exposure: so often the carrot dangled in one form or another.

Does the opportunity actually allow your work to stand out in some way?

There are a lot of publications, vanity galleries, solicitations to show at art
fairs etc. Will you just be lost in the crowd? Or is there something unique/better
about this particular situation?

Offering “exposure” alone is generally a red flag that you will not be
compensated in any real way

Putting up work in restaurants/banks etc.

Be realistic, do your research.

Donating time /art work: often uses exposure as hook. Only participate if
you actually want to support the cause or there is tangible benefit to yourself.

Are there other aspects of an offer that sound good that may not add up to
much?

Don’t be swayed by things like a New York location unless it is a recognized
and legitimate gallery.

A line on a resume is only that; meaningless if there isn;’t substance behind
it that you can really use in publicity, self-promotion

Overly time consuming: Very important yet hard to judge ahead of time if
it is something new. Like house repairs—figure it will take at least twice as much
time as you expect.

If you suspect it will take too much time it probably will.
Be wary of people trying to convince you it will be simple or easy.

You have a Crowded schedule: related to the above

Financial considerations: legit opportunities may still involve $ outlay—such
as juried shows ---shipping, framing fees. Weigh possibilities of return on your
investment (sales) or possibility of other gain. Will this take you anywhere?

Example: Participating in group show at gallery—may lead to
representation there, or sales. Juried show less likely.

Quality of opportunity: is it respectful of your work and your experience?

Will it add to or detract from your professional image?

If you encounter really poor behavior once you agree, feel OK about
withdrawing even if it means accepting some loss; cut your losses--

BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your
focus on what you want for your art career.

For ex: if trying to get into a commercial gallery, building your resume for a
while with juried shows in art centers etc. is good. But you don’t need to keep
entering juried shows for years.

Recognize when a stage of your career has served its purpose but is over.
(juried shows, teaching workshops in venues that underpay, showing in
community spaces in which you have to do all the work of publicity, reception
etc.)

Avoid stepping down—A gallery contacts you with interest; look at their
website and have doubts about the quality f work they handle.

This becomes a pretty gut response over time

Say YES when:

You have the opportunity to do something with a legitimate, respected
venue

You can identify clear benefits that you can be pretty sure of happening

You have checked out the situation with an objective mindset (online,
talking to other artists, evaluating your own experiences)

You understand and accept any risks involved

The opportunity suits your overall goals

It fits your schedule

Your intuition says yes—that does play a role but balance it with these
other considerations

Wrap up:
Again, be realistic about the outcomes that are likely, do your research, avoid
being overly swayed by sales pitches—there are lots of great opportunities but
sadly plenty that are aimed at taking your time and money.

Episode 58: Pacing Yourself

Rebecca Crowell — Sat, 09 Feb 2019 11:00:00 -0600

Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves.

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PODCAST—Pacing yourself

In the big picture and more specifically…
Managing your art life can be overwhelming.
How to avoid burnout?

Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands,
negativity

PACING In the big picture—the need to maintain creative energy—what do you
need to nurture that?

Many of us work constantly—the pitfall of self-employment.
Some of it is what we love ….but a lot of it is tedious stuff.

So many things we have to do and be good at when we are both creating and
marketing our work---a huge job

The issue of cutting back—when does that time come? How does it impact you or
what do you fear about it? Pros and cons ==

Pros: ease of stress and pushing yourself
Possible health benefits as a result
Focus/concentration not as dispersed

Cons/fears: Financial strain
Loss of momentum
Isolation from other artists
“Not doing enough”—work ethic

My mom used to say accusingly, you do SO MUCH
Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask
ourselves what we really feel about the big picture.

Aspects of being creative people that encourage us to always do more:
take on challenges, push our limits, say yes to opportunities,
want to communicate, get our ideas out there, teach, write, mentor.
Outside validation/success

How can you pace overall?

Set boundaries: answer emails for a set amount of time; schedule studio
hours, take a day off a week from business. Not easy!!
Julia Cameron’s artist dates? Once a week something fun to replenish what
she calls your inner well--play

Exercise—esp. Anything that takes you outside in nature
Maybe taking an extended breaks–a true vacation
Being aware of your own burned out feelings—this can be tricky—they can
be camouflaged as depression, even feeling sick (stress can do this to you)

Recognizing perfectionism, pushing yourself when it isn’t really
necessary…can someone wait for that email, is what they are asking you to do
actually unreasonable?

Adopt the attitude of “I get to…” rather than “I have to…”

Recognize your own role in whatever overload you find yourself in, lern
from it, be grateful for an abundance of opportunity—

Can you schedule things better?
hard to match a calendar with what it actually represents—scheduling things too
close together. Looks doable on the calendar, but how does it actually feel in
reality, never hurts to add an extra day

PACING for specific projects, deadlines etc./dealing with overload anxiety
Use lists, calendars, gather appropriate information so things don’t
blindside you

Evaluate where you’re at day to day—are there days you can take a break?
Do it!

Give yourself time to take a walk, read, watch a movie, see friends, do
something for yourself every day

Prioritize, break things down, try to see your progress every day

Delegate, get help

Ask for more time only if you really need it

To stay emotionally strong during times of overload:
Look at your own history—don’t you always come through in the end?
Then stop worrying that this is the time you will fail to get everything done

Recognize that you can have extra stamina when needed and it won’t kill
you

Remember your end goals

Episode 56: Increase Your Income with Creative Problem Solving

Rebecca Crowell — Sat, 26 Jan 2019 13:00:00 -0600

Rebecca and Ross apply the Creative Problem Solving process to finding possibilities for increasing your art income.

Follow along the CPS steps at http://www.innovationmanagement.se/imtool-articles/the-basics-of-creative-problem-solving-cps/

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Episode 44: The Price is Right...or Maybe Wrong

Rebecca Crowell — Sat, 27 Oct 2018 12:00:00 -0500

Rebecca and Ross discuss ther tricky business of how to value and price your work, unofficial rules of the art world and tricks of the trade.

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Episode 29: Ginny Herzog's Architectural Abstractions: Success as an Independent Artist

Rebecca Crowell — Sat, 07 Jul 2018 01:00:00 -0500

Rebecca Crowell interviews Minnesota artist Ginny Herzog, an independent, self supporting artist for over 35 years known for her unique architectural abstractions. She discusses her journey into the art world and how she conducts business as an artist, with a focus on high end art fairs.

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