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.
1.26. 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 . . .
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
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
There's nothing wrong with taking charge of your career
A colleagial give-and-take is everything
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
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?
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
It's still the bible of professional practice
6.22: The follow up
You'd be surprised how many artists don't
Advice and strategies from a successful artist/author/teacher/curator
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"
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?
Lack of courtesy and information; ridiculous expectations
8.17: Isms and phobias
What's holding you back?
Do you make your work for the ages or for the moment?
8.30: The negative review
When your high hopes are dashed
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
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
Comments and caveats
11:23: The corporate collection
A lot of people are inmvolved in acquiring work
There are good reasons to say no
No clear answers here, but you would be wise to control your narrative
Still relevant a decade later
The indomitable Mary Birmingham tells us how
Birmingham returns to talk about how she put "Material Color" together
Artists didn't make the list of professions that saw job losses in 2009, yet we lost
Even more relevant now than a decade ago
We revisit a topic that deserves more discussion
2.22: The studio visit
Different kinds of people visit for different reasons
Let's consider dealers, critics and other art world folks as equals
It comes down to trust. Are you and your gallery a good fit?
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
t's the elephant in the room that gets ignored
You never know who will hear your negative remarks
5.17: The sofa
Sure, we'd rather our art hang in a museum, but . . .
Artists are not the only ones who can have problems with a gallery
Ditch the old-think about "careerism"
7.12: How did you find a gallery
Networking, referrals, generosity, reciprosity
Find out why
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
Depends on the reviewer. Read on
8:30: Let's talk prices
There's no one size fits all
Before Instagram, Facebook was the place
9.13: Your board of directors
Who advises you on your various life and career issues?
I'm in favor. I asked other artists to weigh in
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
Can you be be happy with what you have achieved or do you want ever more?
There are many ways to be affiliated with a gallery
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
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
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
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
A roundup of 13 bummers
If they're worth posting once, they're worth posting again
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
Looks like Google, and now Instagram have rendered this service obsolete
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
There are disadvantages to showing at an art fair
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
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
Just when you think you know the answer, there are questions
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
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?
Keeping track of our work
1.02: Got Plans?
Plans are not freighted with the same baggage as resolutions
Dealers get rejected, too
There comes a time
1.23: Do it yourself
Residency, solo show, curatoral project, book. Those who did
Would you encourage someone who wants to be an artist?
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
How to secure coverage in art and other publications
2.19: In the ghetto
The categories we use to define ourselves can be limiting
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
Three reader questions and 29 reader comments
Inquiring minds want to know
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
A successful novelist tells us that art is not for making a living
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
The one constant is change
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
10.29: 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?
All good things come to an end