Marketing Mondays 

I wrote Marketing Mondays pretty much weekly from 2009 through 2012, some 167 posts in four years. It turns out that most of the information is still viable, though of course the post-pandemic New Normal is already effecting some change. Rather than migrating the material from my old blog to here (a long process), I've created an annotated live-linked list. Bonus: All the comments are posted, and there are some great ones.



1.23: A new series: Marketing Mondays

1.26. Rejection. Get over it  

         There’s no easy way to deal with it 


2.02: Juried shows 

          Some are worth the effort, others aren't. How to be picky

2.09: Lost in space

         We all love the big galleries, but smaller spaces may be a better place to start

2.16: Adjunct teaching 

         These jobs are easier to get than full-time teaching, but . . .

2.23: Why haven't I heard back?

         The package you invest with such hopes is just one of many that a gallery receives 


3.02: The art network

         We don't operate in a vacuum. Share, schmooze, refer, connect

3.16: How not to approach a gallery

         There's a protocol. Don't be a boor

3:23: The artist talk

        This is your opportunity to bask in the spotlight. Some tips to shine

3.30: Careerism

          There's nothing wrong with taking charge of your career


 4.06: Reciprocity 

          A colleagial give-and-take is everything

4,13: Promotion

         As the old saying goes, don't hide your light under a basket

4.20: Stayin' Alive

         Tough times call for creative thinking

4.27: How is your pie sliced?

         It's not just about studio time


5.04: The M.F.A.

         The 51 comments here are an education in themselves

5:11: Are there too many artists?

         Read and find out

5.18: The vanity gallery

        Read the 101 comments to this post

5.25: Gallery business

         Is your gallery changing how it does business?


6.01: How long do you leave your work with a gallery?

         You want the work to have time to sell but not languish in the racks

6.8:  Defining "success"

        The art world paradigm is not the only model

6.15: Jackie Battenfield's new book, "The Artist's Guide"

         It's still the bible of professional practice

6.22: The follow up

         You'd be surprised how many artists don't

6:29: Career Q&A with Jackie Battenfield

         Advice and strategies from a successful artist/author/teacher/curator      


7.06: What artists should know about how a gallery is run

         Dealer Ed Winkleman's book, "How to Start and Run a Commercial Gallery," 

         is for dealers, but it offers artists a peek into how dealers find and show artists

7.13: How to reject a gallery

         Sometimes it is you who must say, "We're not the right fit"

7.27: Enough with the reference letters

         Grant-funding institutions must stop depending on unpaid  labor


8.03: What's in a name?

        Is "untitled" enough for you or do you want a title to say more?

8.10: Five query letters that got dumped (and why)

         Lack of courtesy and information; ridiculous expectations

8.17: Isms and phobias

       What's holding you back?

8.24: Who's thinking archivally?

         Do you make your work for the ages or for the moment?

8.30: The negative review

         When your high hopes are dashed


9.21: Are all your electronic eggs in one cyber basket? 

         This sounds quaint now, but it's important to back up your images

9.28: Open studios

         Thoughts and tips on these show-and-sell opportunities


10.05: The art of the trade 

           This is one way for artists to acquire work; some guidelines

10.12: How dealers are considering artists now, Part 1

10:19: How dealers are considering artists now, Part 2 

           These posts were in response to an economic recession that began in October

           2008 and continued for a couple of years. I think there are connections to our

           post-pandemic New Normal

10:26: The "adjective" artist  

            The more narrowly we define ourselves, the fewer our opportunities 


11.02:  Unsolicited submissions 

            The odds are not in your favor 

11:09:  The November issue

            To get your money's worth from a magazine ad, know how many readers it has

11:16: You've been asked to do a commission

           Comments and caveats

11:23: The corporate collection  

           A lot of people are inmvolved in acquiring work

11:30: The endless requests to donate your art 

           There are good reasons to say no          



1.04: How do you define "emerging artist" and other career levels? 

         No clear answers here, but you would be wise to control your narrative

1.11: A week's worth of useful reading 

        Still relevant a decade later

1.18: How do I get a curator to look at my work?

         The indomitable Mary Birmingham tells us how

1.25: A curator connects the dots for an exhibition

         Birmingham returns to talk about how she put "Material Color" together


2.01: Out of work and invisible

         Artists didn't make the list of professions that saw job losses in 2009, yet we lost

2.08: Do you really need a gallery?

         Even more relevant now than a decade ago

2.15: How do you define success?

         We revisit a topic that deserves more discussion

2.22: The studio visit

         Different kinds of people visit for different reasons


3.01: Demystifying the art world

         Let's consider dealers, critics and other art world folks as equals

3.08: When your dealer won't tell you who has bought your work

         It comes down to trust. Are you and your gallery a good fit?

3.22: The art consultant who doesn' pay

         Some strategies for getting the payment due you

3.29: Tax time

         Death and taxes. Here we talk about taxes


4.05: Meet the press

         Do you know how to handle an interview?

4.12: Ethical dilemmas

         Some issues never go away. Read all the comments

4.19: Critical feedback

         It's essential, but what happens when it's negative?

4.26: The dealer's commission

         You make the art; the gallery sells it. Even steven


5.03: Ageism

         t's the elephant in the room that gets ignored

5.10: Open mouth, insert foot, lose out

         You never know who will hear your negative remarks

5.17: The sofa

         Sure, we'd rather our art hang in a museum, but . . .

5.24: When bad things happen to good dealers

         Artists are not the only ones who can have problems with a gallery


6.28: The new emerging (or reemerging) artist

         Ditch the old-think about "careerism"            


7.12: How did you find a gallery

         Networking, referrals, generosity, reciprosity

7.26: Co-op galleries, yes. Vanity galleries, no

          Find out why


8.02: It takes a village to have a big career

         Art historians, dealers, curators, critics, collectors, mentors all play a role

8.09: More on media

         Some years ago I went to "TV school," and I share what I learned

8.16: Standing up for yourself

         Don't be afraid to call out an injustice; inaction is not an option

8.23: "Should I pay to have my portfolio reviewed?"

         Depends on the reviewer. Read on

8:30: Let's talk prices

         There's no one size fits all


9.06  Who's watching you online?

         Before Instagram, Facebook was the place

9.13: Your board of directors

         Who advises you on your various life and career issues?

9:20: Artists: Should we write and curate?

         I'm in favor. I asked other artists to weigh in

9.27: The academic gallery, Part 1


10.04 The academic gallery, Part 2

         Here and in Part 1, Patricia Miranda and Jane Allen Nodine, gallery directors 

         both, offer info and advice

10.11: CV vs Resume vs Bio 

           There are big differences

10.18: The resumé

           Basics, specifics, formats—they're all here

10.25: The e-announcement

           Ten years after the original post, the info remains the same


11.01  Scam or opportunity? 

           You're invited but you have to pay . . .

11:08: Website or blog?

           Two different platforms to use differently

11:15: Selling out of your studio

           Gallery represented, don't do it. Unaffiliated? Sure. Also, some gray areas

11.22: Russian nesting dolls of disappointment 

          Can you be be happy with what you have achieved or do you want ever more?

11:29: Six degrees of representation        

           There are many ways to be affiliated with a gallery



1.03: Empowerment!

         How do you take control of your career?         

1.10: Where can I show? Part 1  

1:17: Where can I show? Part 2 

         Entrepreneurial spirit has led to many respectable opportunities

1.24: Burning bridges 

         Read the comments

1:31: Advice to your young self

         Info I wish someone had given me


2.07: The gallery contract 

         There are many versions

2.17: A contract I didn't sign 

        Don't sign if the terms are onerous

2.21: A portfolio of representation

         It's not likely that one gallery can do everything for you

2.28: "What do you do?" 

         The elevator pitch. Read the comments


3. 07: How not to get reviewed 

          Sometimes institutions are the enemy of the artist

3.14:  "Should I do an artist' fair?"

          The answers: Yes, No, Maybe

3.21:  Studio Insurance

          I ranted; my readers responded

3.28:  You've been spammed

          Getting tough can be effective


4.4    Bad Advice

         There's plenty out there. Read the 32 responses

4.11:  A baker's dozen of negativity 

          A roundup of 13 bummers

4.18:  Demystifying the artworld: Another baker's dozen

          If they're worth posting once, they're worth posting again

4. 25: A career on your own terms: A final baker's dozen

         Info redux


5.09: Studio space 

         Barns, garages, basements: 48 readers tell us where they work

5.16: How's business?

          I asked readers to tell me how they were doing; 28 responded

5.23: Art slide files still relevant?

         Looks like Google, and now Instagram have rendered this service obsolete


6.06: Rethinking the artist statement

         Yes, you need one. Make it interesting

6.13: Gallery red flags

         The signs are everywhere when a gallery is not on the up and up

6.20: Cloud nine to square one 

         You think you're set and then the bottom falls out


7.11: Caveat Scriptor

        Statement, review, bio, press release, feature: all have different functions

7.25: You want to be in an art fair?

         There are disadvantages to showing at an art fair

8.01: What the juror saw, Part 1

8.09: What the juror saw, Part 2

         I share my experience jurying a Boston exhibition

8:15: The gallery program 

         The vision and identity of a gallery as expressed by the art it shows

8.22: The art consultant

         Consultants place work from a number of sources to a variety of venues

8.29: Do you think of giving up?

         I asked and readers responded


9.05: Making book

         Some advice on aspects of self publishing

9.12: What's the deal?

         Five questions from readers, and five responses

9:19: Who is a professional artist? 

         Just when you think you know the answer, there are questions

9.26: When your work is taken (waaaay) out of context

         Or, the tale of the "drippy plaid"


10.03: Rejection Redux

           There are degrees of being turned down

10.10: The verdict: Guilty

           We feel guilty when we're not in the studio working

10.17: Alternatives to gimme, gimme, gimme 

           Thoughts about fundraising

10.24: Who's self taught?

           Not all artists have a degree

11.07: Don't fall for it 

           So many opportunities to separate artists from their money

11.14:  Working too many hours?

            I used to. Still work too hard. Do you?

11.21: Are you ready for your retrospective? 

           Keeping track of our work         



1.02: Got Plans? 

         Plans are not freighted with the same baggage as resolutions

1.09: Rejected? You're not alone

         Dealers get rejected, too

1.16: When do you stop entering juried shows?

         There comes a time

1.23: Do it yourself

         Residency, solo show, curatoral project, book. Those who did

1.30: What would you tell this young man

         Would you encourage someone who wants to be an artist?


2.06: How do I get invited to an invitational?

         Be visible, network, repeat, repeat, repeat

2.13: Under a dealer's thumb?

         No artist should cave to unreasonable demands

2.20: Giving and taking 

         How can we share without being ripped off or take without ripping off?

2.27: Generosities received

         Sometimes we are the recipients of great gifts. Read the comments


3.05: Editorial coverage, Part 1

3.12: Editorial coverage, Part 2

         How to secure coverage in art and other publications

2.19: In the ghetto

         The categories we use to define ourselves can be limiting 

3.26:  10 tips for writing a clear artist statement 

          Honestly, it's not that hard


4.02: Getting from A to B

         How do you cross over to success?

4.16: The artist's agent

          Isn't that the dealer's job? I asked readers for comments

4.23: In a word

         Learn to say no

4.30: The pinnacle

         Think of success as a mountain with many peaks, not just one apex


5.07:  Do something 

          Be proactive instead of waiting for "it" to happen for you

5.14:  "Educating the public"

          It's not your job. Did Louise Bourgeois give demos on marble carving?

5.21:  A curator is missing

         Don't dis the curator by leaving her/his name off the exhibition credits

5.28: "Sold!" and other annoyances 

         Three reader questions and 29 reader comments


6.04: If you could ask a dealer, curator, or critic one question, what would it be?

          Inquiring minds want to know

6.11:  What pisses you off about the art world?

          There are 27 responses

6.18:  Own your space 

          I make a case for buying a home with studio space. 

          (And was I prescient about buying in the Hudson Valley or what?)

6.25:  Staying connected

          We work in isolation, so how do we stay connected?        


7.02: Knock, knock

         A few jokes

7.09: Bogus advice and one-percent thinking

         A successful novelist tells us that art is not  for making a living

7.23  The "difficult artist"

          The one with ther unreasonable demands

7.30: Signing your work

         Where do you put your name?


8.06: The turning point

         What's the thing that changed the game for you?


9.10  The rules 

         I came up with 12

9.17: The art neighborhoods in your city 

         The one constant is change

9.24: "Good art-world citizens" 

         I mention a few; readers add to the list. There are many more

10.01: The Octogenrians

           A righteous rant

10.08: Exhibition options: a recap  

           Categories and definitions yet again

10.15: Speak up. It's your career 

           Go ahead, rock the boat when you need to

10:22: Grants

           A discussion

10.29: The mentor

           A trusted adviser can change your life; you can pay it forward


11.04: Hell and high water

           When a superstorm Sandy devastated art communitied in New York City

11.12: Update after the storm

           The art communities were hugely affected

11.19: Help for artists after the storm

           Ways to help artists affected by superstorm Sandy

11.26: The big picture

           The late Paul Klein talked about professional perspective


12.03:  Artists' memberships

            What's in it for the group? And what's in it for you?

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