Deirdre Sullivan-Beeman shares her journey, wisdom and encouragement

“Giant Girl,” Deirdre Sullivan-Beeman, 2017, oil & egg tempera on linen panel, 24 x 43 in / 32 x 51 in framed

I first met Deirdre Sullivan-Beeman in spring 2014 when she scheduled a one-on-one consultation with me. She was open, energetic and full of great ideas. She’d done some group shows and understood the basics of the business of art. I could immediately tell from her work and our conversation that she had the talent, passion and determination to create a life and career for herself as an artist. But less than four years later I’m completely blown away by how much she’s accomplished. She’s had three solo exhibitions, been included in dozens of group shows and she can’t paint fast enough to keep up with the demand for her wonderful work!
 
I went into this interview with no idea how she’d answer my questions but knowing anything she was willing to share would be valuable to other artists. I now have a clear understanding of how she’s managed to make so much happen for herself – hard work and determination! I’m also flattered and happy to hear she found my advice helpful (I promise I did not ask her to plug me!). And I have to say, I agree with all her thoughtful and generous advice and encouragement. I’m so happy to share my interview with Deirdre with you all. I hope you find it helpful and inspiring. (See below the interview for complete information and links to upcoming exhibitions and projects.)

You made a mid-stream career change. Can you tell us about that? What were you doing and why did you decide to make the change?

I worked for fourteen years in event design and event planning for mainly corporate clients – American Express, Estee Lauder, Paramount Pictures, Warner Brothers, Universal Pictures and Conde Nast, among others. The opening gala for the Japanese American Museum was a highlight of that career for me. What I loved about designing events was transporting guests into other worlds. My goal was such that as soon as you walked in, you were suddenly transported somewhere completely different. I had a lot of fun and found a lot of fulfillment in creating those make-believe worlds.

However, my working environment was generally extremely high-stress. I’d often only have a few weeks to put together a very large-scale, 2000-person event. I was working around the clock. I have always had high standards for my work, and accomplishing my vision under that amount of pressure became taxing. But it still took several more years before I was ready to make a change.

When I decided to make a change, my husband and I had moved to Canada to be closer to his work. The house we rented was owned by a woman who had made a mid-career shift to art. I was very inspired and moved by her work. Since childhood, art had always been my first love. I had previously resisted art as a profession because it had been my mother’s and I wanted to forge my own path. I knew it was now time to dedicate myself to becoming the artist I envisioned I could be. I began working as hard as I could towards honing my craft.

What were some of the challenges you found in making that transition and how did you tackle them initially?

Getting my art to a place where I felt it was ready to be seen was a long process. I took every opportunity I could to study with the best teachers I could find. I tried to incorporate and filter as much of their knowledge as possible into my own developing technique. I worked very hard to perfect my technique and color palette, and trusted that my “style” would subsequently emerge. Finding my voice as an artist and discovering what I wanted to say was a long process, but very rewarding. With time, I really came to trust myself.

One of the most difficult transitions to tackle for me was the marketing side of the art world. Coming from event design, I had a romantic notion that as an artist I would be able to hole myself up in a cave and just create. I wasn’t fully prepared for the amount of forward-facing work I was going to need to do with galleries, collectors, and especially social media. I’m a naturally shy person (even though it never appears to others that I am), so this part truly intimidated me at first.  The thought of “sales” seemed overwhelming. I never practiced an “elevator pitch;” it just didn’t seem natural to me. I decided to change my mindset… and just talk passionately about what I was doing.  One of the best ways, I got comfortable talking about my work was by being in a critique group.  A bunch of artist friends of mine formed a very casual crit group.  We’d bring lots of beer and chips and chat on and on about our work and what we were trying “say” as artists. It really helped. I became more articulate about my own work; and formed a clearer way to project my art to others.

Over the course of seven years you’ve gone from your very first group show to consistently showing and selling your work, including your recent wildly successful and almost completely sold out solo exhibition at La Luz de Jesus Gallery. That’s pretty impressive. What are the things you’ve done that have been the most beneficial to getting you there?

Firstly, talking with you! I think if anyone is interested in the art business, they should be picking up your book, “Practical Advice for Artists.” It’s a total must-read! Particularly for tackling the business side of the art world that doesn’t come naturally to so many creatives.

Also, making a calendar and trying your best to keep to it is super helpful. I never seem to keep ALL of my personal deadlines, but I try, and somehow that keeps me on track. I am also the princess of To Do lists. When you keep an actual list of everything that needs to be done, it seems to get done. I put everything – no matter how small – on my to do list. I’ve done this for years and it really works.

Don’t ignore online marketing and brand development. Design a website; get on social media; that process will continue to help you define what you want to say as an artist.

Lastly, try to submit to galleries (that are taking submissions) and/or contests. This is one of the best ways to get noticed. You’ll get a lot of rejections, but that is okay… just keep at it. You only need one “yes.” Confucius said, “It does not matter how slowly you go as long as you do not stop.” That has really been the key for me, not to give up. Staying driven is all-important.

Do you have any additional advice for artists who are just starting out or struggling?

Set your intention. Be really, really clear about your aims. Follow your instincts to ask yourself what you want most. Then commit to it. Don’t be frightened of your inner voice. You CAN reach for the moon. You don’t even have to share your biggest goals with anyone. You can keep them to yourself. Once you have taken your goals to heart, never let them go. Just keep going until you hear “yes.”

If you get rejected, try and ask yourself why. Triple-check your submission materials for errors. Seek the opinion of people you trust. Investigate the artists that your dream gallery is saying yes to, and try and see what path got them there. Seek out their CV and see what experience they have that you may need to acquire.

Conversely, if you are offered an opportunity that you don’t think is right for you, recommend another artist. Passing opportunities around will strengthen your bonds of fellowship, which I have found is a great strength of the art community.

How many hours a week do you dedicate to making art vs. things like running the studio and submitting to galleries?

The ratio of work I give to making art vs. management-type tasks is about 2:1. I like to paint 6 hours a day (but that can jump to as much as 10 in the final push before a show), which works out to about 40 hours weekly. I estimate I put another 20 hours into the business side of things.

I understand you’ll be venturing into curating in the coming year. What inspired you to take on that challenge?

Curating has been a goal of mine. I am very driven to give recognition and exposure to the many talented artists that I see around me, especially women who haven’t always had as many opportunities as their male counterparts. I think my event experience also translates here. I see the value in creating cohesive experiences. A great art exhibition functions like a great event, visitors are transported into another dimension. I really look forward to curation as a new horizon of challenge and growth.

My curation projects this year are at the Annenberg Community Beach House in Santa Monica and at Art! Vancouver, western Canada’s main international art fair. For Annenberg, Kathy Taslitz and I submitted a proposal. Honestly, I had no idea we had a solid shot. I’m over the moon that our proposal “Life in This Ocean,” featuring all female artists, was selected.

What else you have coming up in 2018?

My first show will be the collaboration between Sloan Fine Art and Phylogeny Contemporary in Seattle opening in early April. Art! Vancouver will follow at the end of April. I’ll then be looking forward to a summer where I can dedicate myself to my next body of work. As I come up on the end of the year, I’ll be focused on the Annenberg Community Beach House show. Some other possibilities are on the horizon, but I’m trying to keep my schedule relatively freed up to focus on top priorities, and lots of painting.

And finally, speaking of the new year, do you make resolutions? And if yes, can you share yours for 2018?

I do make resolutions. Big goals take time to develop, so I like to try to think in terms of many steps. Typically, I set goals in January for the following year instead of the year ahead. At the beginning of 2017, I set a goal to curate in 2018. During 2017, I worked to sow the seeds that would make that possible. I’m very excited that it’s come to fruition. One of the main goals I’m setting for 2019 is a museum show. I don’t know if I’ll reach it quite yet, but it’s my most major goal.

Another resolution I’m making is to take a little more time to “play.” I have been percolating some ideas for quite awhile that I haven’t had the time to fully explore. Since my process is so painstaking, I know that I’ll need significant experimentation time to work out new concepts. I’m a little like a mad scientist when it comes to my art, and I need some time in the lab. For the past few years, I’ve been working deadline to deadline. I’ve felt blessed to have the opportunities I’ve had, but a fast-paced work schedule prevents certain things like experimentation. I’m very happy with where my work is at, but I want to give myself more time in that “childish” mindset of play to discover some of the new ideas I have brewing in my head.

To see more of Deirdre Sullivan-Beeman’s work, visit her website. And don’t miss her upcoming projects:

Sloan Fine Art & Phylogeny Contemporary present
“Simpatico”
With works by Julia Marchand, Deirdre Sullivan-Beeman and Liz Tran
Phylogeny Contemporary – Seattle, WA
April 19 – 22, 2018

Exhibition booth curated by Deirdre Sullivan-Beeman
Featuring work by Donna Bates, John ZeleznikDeirdre Sullivan-Beeman and others
Art! Vancouver – Vancouver, Canada
April 6 – May 26, 2018

“Life in This Ocean”
Co-curated by Deirdre Sullivan-Beeman and Kathy Taslitz
With works by Lena Rushing, Donna BatesDeirdre Sullivan-Beeman and Kathy Taslitz
Annenberg Community Beach House – Santa Monica, CA
September 13th, 2018 – January 7, 2019

Deirdre Sullivan-Beeman

The Emerging Artist’s Guide to Art Basel Miami

That’s me in the very first Sloan Fine Art booth at Aqua Miami way back in 2008!

Every year around this time I’m inundated with emails from artist friends, clients and former students telling me they are going to the Miami art fairs to “check out galleries” and asking me for advice. This year as the queries started rolling in, I decided to compile my top ten tips all in one place. But before we dive in, there are two  important things to understand before your first visit to Art Basel Miami.

First, Art Basel Miami Beach is an art fair. It’s the “big fair” where you will see museum quality art, cutting edge works and a whole lot of people dressed for the occasion. If you are an emerging artist looking for galleries that might be interested in your work, it probably isn’t relevant to you at this stage. But if you’re someone who just loves checking out art, is curious about what’s happening in the high end of the art world, and you enjoy people watching, it’s worth attending. In addition to Art Basel Miami, there are at least twenty “satellite” fairs that have popped up over the years around Art Basel Miami. They range from pretty rough to super fabulous. Many have a specific focus and each has its own personality. These are the fairs you want to focus on if you’re scouting for galleries that might take an interest in your work. There are also dozens of special events, parties, tours and public art happenings going on all over town. And it’s worth mentioning that there are many cities all over the world that host art fairs – some host several at once like Miami, others just one at a time – and these fairs are all worth checking out. But Miami, in December, is the largest annual art fair event in the US.

Second, it’s crucial to understand and accept that the fairs are about commerce. Galleries pay tens of thousands (or more) dollars to be there with the primary goal of selling art and reaching collectors. Sure, gallerists may stroll around to check out who is showing whom and see if anything intrigues them. But they’re not there looking for new artists. They’re there to sell and promote the artists they already have. That doesn’t mean there isn’t value for every artist in visiting the fairs. It’s a great way to research and view hundreds of gallery programs all in one place and hopefully meet and connect with other artists and arts professionals. And if you’re prepared and know what to expect, it can be a really great time.

So here are my top 10 tips to help you make the most of the experience:

  1. It’s pronounced Basel (like the city) not Basil (like the herb) – The same people who produce Art Basel Miami produce a fair in Basel Switzerland every year in June. In fact, it was their original fair. That’s why it’s a good idea to refer to the US fair as Art Basel Miami, or Art Basel Miami Beach, and why Basel is pronounced like the city, not the herb. Experienced visitors just love to correct, and embarrass, newbies who pronounce it incorrectly.
  2. Plan ahead – Time is precious during the fairs. You will not be able to see or do everything. If your intention is to scout galleries, do your research ahead of time. Figure out who is exhibiting where, what the days and hours are for each fair and plan out each day. See the fairs most important to you early in the trip. Try to hit fairs clustered together on the same day and don’t forget to factor in travel time. Go out every evening if you can and do your best to meet, and network with, other artists and arts professionals.
  3. Manage your expectations – It is possible, in fact likely, that you will come back from Miami with absolutely nothing tangible to show for your efforts except a very large credit card bill. Seriously, don’t expect any immediate, life-changing results. Your career is a marathon, not a sprint and every person you meet and experience you have is part of the big picture. Have some fun, meet some people, see a lot of art, soak it all in, learn what you can – but don’t be too attached to the results.
  4. Expect to have a reaction – Your first time in Miami can be overwhelming. Depending on your personality, you may find it exhilarating, or you may have a very different reaction. Many young artists become profoundly depressed (“My art is better than a lot of what I’ve seen here!”), frustrated (“I couldn’t get to, or get into, every fair or party on my list!”) or angry (“WTF!?!? Is this shallow, commercial BS really the legit art world?!”). If it happens to you, don’t worry. It’s normal. Let it wash over you and get back to looking at art.
  5. Never solicit a gallerist in their booth – Artists always seem confused by this and I cannot stress this one enough. DO NOT try to make a connection with a gallerist or gallery employee in their booth. Don’t hand them your card. Don’t tell them you’re an artist (unless they ask). Don’t take up a lot of their time unless you plan to buy something. If someone isn’t busy, is friendly and a conversation naturally happens, that’s one thing. But the general, written in stone rule, is do not approach a gallery in their booth.
  6. Take notes – What you can and should do is take notes of any and every gallery and artist that interests you so you can look them up later. You’ll be seeing a lot so don’t expect to remember. Carry a small pad and pen or make notes in your phone so you can research galleries and artists that caught your eye when you get home.
  7. Go where you’re invited – There’s a lot to do and see and no way of knowing where you’ll end up or whom you’ll meet. Tag along for drinks if asked. Say yes to a party. Join someone for breakfast. That’s where you’ll meet other artists, collectors, and yes, even gallerists, when they are slightly less stressed out and more approachable. Be open. Be friendly. Go out and about. You never know what might happen.
  8. Beware of creeps and fakers – As the fairs have grown over the years, so has the number of creeps and fakers who attend. It’s not just happening in Hollywood, people! Be aware. Be safe. Use your judgment. Go out with a friend. Don’t be alone with a stranger. Don’t be charmed by anyone promising you a show or opportunity. If they’re legit, the opportunity will still be there, and you can follow up, after the fairs.
  9. Do follow up – When you get home, do your research. Look up every gallery you’d like to show at online and see if they take submissions. Most will tell you on their website if they are or are not. And if they are, there will be instructions for submitting your work. Check out artists you like to see where else they show and check those galleries’ submission policies. Follow and friend people you met and connected with on social media. If you did meet someone who mentioned an opportunity, or asked you to follow up, do.
  10. And finally…. Be a gracious guest – People live in Miami. It’s their home. Sure the fairs bring in revenue, but like the sign says outside your favorite bar, “Respect the neighbors.” Please remember to be a respectful and considerate guest throughout your stay at the Miami Art Fairs. Then return next year for an even more productive stay!

So there you have it. My top ten tips for conquering your first trip to Miami. Be inspired. Be safe. Have fun!

A Conversation with Artist Martha Rich

Martha Rich in front of her latest mural at 1016 Buttonwood, btw 10th & 11th, in PA

I first saw, and fell in love with, Martha Rich’s wonderful work in the early 2000’s. Since then, I have had the good fortune to become friends with Rich and exhibit her work. She even contributed to my “Launching Your Art Career: A Practical Guide for Artists” book. She is talented, energetic and incredibly generous. But most of all she’s an absolute individual. Rich has carved her own path in the art world and it’s been a pleasure having a ringside seat.

Over the course of almost two decades Martha Rich has built an impressive resume. She has participated in dozens of exhibitions, her commercial art has been used in music videos, advertising campaigns and countless publications, and she’s won multiple awards for her work. She is also a dynamic speaker who shares her experience and knowledge at various conferences and with students at Fashion Institute of Technology in New York and both Drexel University and Tyler School of Art, Temple University in Philadelphia. Martha’s most recent mural can be seen at 1016 Buttonwood in Philadelphia and you can purchase merchandise featuring her artwork at BlueQ. I can personally recommend their shoulder totes. They are the perfect size to hold both a purse and laptop, or one naughty cat.

I recently had the opportunity to talk with Martha about her exciting and unconventional path to success and what advice she would offer young artists.

Your journey to becoming a full time working artist was unusual. Can you share a little bit of your story?

I decided to become an artist after 15 years in the corporate world doing middle jobs in cubicles wearing pantyhose, getting divorced and then taking art classes at night. Two of my teachers (Rob Clayton and Christian Clayton) in that night class told me I should be an artist. So I quit the corporate job, took off the pantyhose and went back to school at 35.

What advice would you offer someone who really wants to make a big change and pursue an art career, but feels nervous or doesn’t know how to take that first step?

That is hard. I tend to only make big changes when something bad happened to me (divorce, being laid off etc.) that forced me out of my comfort zone. That being said, I would say start small. Take a night class. Or just a workshop. Or do an online course. Pay attention to how you feel. Do you like it? I remember taking that night class and being sooooo excited to get there each week. I did way more work than the class called for and it gave me a sense of joy. I knew it was what I wanted to do. Everyone’s path is different but what is consistent with people who succeed is that feeling of having to do it no matter what. If you are expecting overnight success it probably won’t work for you.

I really admire how you managed to carve your own path, and do so much as an artist. You do commercial work, show your art in galleries and create site-specific murals. You’ve licensed your work and also sell it yourself online. How have you managed to develop such a broad career and was it intentional?

It definitely was not intentional. It happened slowly and by chance, but the chances happened because I was always putting my work out there in different formats. When I was first starting out and freelancing was slow, I made up projects that were fun for me and kept me making things. Those self-driven projects are what propelled my career in the direction it has gone, that and all the new technology that was and is happening.

Artists are expected to do so much and wear so many hats these days. For any young artist struggling to manage their time while making art and building a career, what do you think are the three most important things to focus on?

Most important for me are:
1. Always be making work and always try new things.
2. Build your community and surround yourself with hard-working, driven people.
3. Don’t compare your path to other people’s paths.

You are well known as someone who is extremely supportive of other artists and arts professionals. Knowing you, I know that generosity is simply part of your nature. But many young artists feel competitive with each other and are reticent to share resources. Can you share any anecdotes about how being supportive and generous with others, even when it didn’t benefit you directly, has actually helped advance your career.

Hmmm this is tough to quantify. I just get pleasure seeing young artists, or any artist, go on to have exciting careers. It just makes sense to help them out. We have to support each other. It’s a tough world out there. You need other people to get you through the downs. I can’t tell you how many times my friends convinced me not to quit! Being on an island alone ain’t fun.

Is there anything you know to be true now about being an artist and building a career that you wish you’d known when you first started out? 

Don’t use credit cards if you can’t pay them off at the end of the month. Ha!

Good advice! Want more Martha? Check out her website at martharich.com and follow her @martharich63 on Instagram for the latest news. 

Left: Martha Rich, No Further Discussions, 2017, mixed media on paper, 14 x 11 in
Right: Bram the cat making himself comfortable in mommy’s BlueQ shoulder tote with Martha Rich design

A conversation about community with artist Dani Dodge

Anyone who subscribes to my email list, has read my book, taken one of my classes, or even had a casual conversation with me knows that I firmly believe community is an artist’s best resource for discovering, and accessing, information and opportunities. And during this uncertain time in the art world the more artists and arts professionals cooperate and support each other, the better for everyone. That’s why I get so excited when I see artists who are serious about their own work and careers and also actively cultivating and supporting their community. Dani Dodge is one of those artists.

Dani Dodge’s solo show “Personal Territories” is at the Lancaster Museum of Art and History through August 5th Photo: Kristine Schomaker

Dani Dodge is a Los Angeles-based installation artist who creates immersive, interactive environments that incorporate video, paint, sculpture and sometimes performance. She has been exhibiting her work for over a decade. She’s also an active advocate for community. Dodge, David Spanbock and Kio Griffith and a handful of other artists created BLAM, a collective that had galleries in Los Angeles and New York. After BLAM’s Los Angeles location lost its lease, Durden and Ray invited her to join their collective of artist/curators who work together to create exhibition opportunities at their downtown Los Angeles space, as well as in concert with gallery spaces around the world. Dodge also founded and moderates the Facebook group Los Angeles Art Opportunities, which is how I first discovered her. Dodge originally created the Facebook group as a platform for artists and curators to share notices about opportunities in Los Angeles and beyond. It has since grown to over 6,000 members, is public to view and includes opportunities relevant to artists well beyond Southern California. I recently had the opportunity to ask Dodge about Los Angeles Art Opportunities, and her experience building and maintaining a community-based resource for other artists.

I’m so impressed with the community you’ve created via your Facebook Group Los Angeles Art Opportunities. Can you share when and how the group came to be?

I moved from San Diego to Los Angeles about five years ago to become a part of the art scene in the City of Angels. Within a few months I realized there was no central source of opportunities for artists. In San Diego, there had been one, which I believe had been sponsored by the city at first.

As a former journalist I feel strongly that the free flow of information helps a community grow in strength and understanding. I wanted Los Angeles to be recognized as the world leader it is in art. If all the possible opportunities could be shared, then artists would find the ones most appropriate for them, and Los Angeles artists would be seen more around the world.

So I started Los Angeles Art Opportunities and invited 100 of my Facebook friends to join. It has grown from there to more than 6,000 artists today.

Is it open to any artist or arts professional? And what are your rules and guidelines for participation?

Only visual artists who live in the greater Los Angeles area, which I roughly define as Ventura to San Diego and out to Palm Springs, can join the group. I also allow people who can provide opportunities to Los Angeles area artists to join. But the listings are public and anyone in the world can see the postings. They just can’t post or comment.

The reason I limit membership is because the goal is creating community specifically among Los Angeles area artists.

Unlike most Facebook groups, I check the profile of every person who applies to make sure they live in the larger Los Angeles area or can provide opportunities to SoCal artists. I also message each one to make sure they understand the rules of the group: no self-promotion, just sharing opportunities that can help us all grow as a community. Only about one-quarter to one-third of the people who apply are allowed to become members.

I also strive to make it a place of civility. The group includes a wide variety of artists from different backgrounds: from artists still in college to artists represented by large galleries to museum curators.

So if someone posts about a job or a call for art, I strongly discourage people from getting snarky because they don’t consider the pay high enough or the fee too high. Or I just remove them from membership. I want everyone to feel welcome. I want Los Angeles Art Opportunities to be a place where people are comfortable posting all kinds of opportunities, because there are all kinds of artists in the world, and LA.

What has surprised you about how the group has developed?

The biggest surprise was how it took off and the generosity of  the members. When I started I created three posts a day. While I still search out opportunities and post them, I can count on the members of the group to post at least a few opportunities per day and often more than a dozen!

With the Facebook group and your involvement with Durden and Ray, it’s clear that you put a high value on collaboration and community. Can you share any examples of how your own career has benefitted from that attitude?

That is an interesting question, and I never really thought about it that way. I put a high value on collaboration and community because I believe that it is important to contribute to your community. My community is the Los Angeles art world. I’m a former journalist, so it comes as second nature to search out opportunities that will benefit others. So, for me, it was just natural.

As a result of Los Angeles Art Opportunities, many artists have gotten jobs. They have gotten into important shows. It has helped people find each other. The experience has been super gratifying. It has allowed me to get to know many people I may not have otherwise met.

Being part of a collective has been a way for me to find other artists interested in mutually supporting each other and also interested in making the Los Angeles art world a stronger place. The art world is changing rapidly. Many galleries are closing. It is important for artists to step up and create opportunities to show our own work as well as that of other artists in the community who should be seen. Through our exchanges, Durden and Ray also brings the work of international artists to our Los Angeles gallery. These are unique opportunities for those artists, and it is also exciting to see our community expand.

I always like to ask artists, is there anything you know now that you wished you’d known when you first started out? Or what’s one piece of advice you’d give artists who are just starting out and/or struggling now?

I wish I’d known that I should just be myself and bring to life whatever weird idea ruminated in my brain. In my early years of art I was tentative; afraid to let people see too much. But it was only when I allowed myself to create the work that was in my soul that I was able to feel truly whole.

Also, take advantage of social media.

Today, social media is a place that artists can connect outside of gallery openings. Many artists contribute to the community of artists on Facebook both in Los Angeles and outside of it. The work they do creating and monitoring posts makes the art world a bit smaller and a bit more manageable for each of us. For example, Kio Griffith created Los Angeles Contemporary Art Scene as a place to spread appreciation and support for other artists’ work and events. Jason Ostro started the Los Angeles (LA) Art Show list to help artists get the word out about their shows. BAILA, Black Artists in Los Angeles, is a visual artist networking group. Nationally, Megan Geckler founded and monitors the Arts Grants and Residencies Club out of Los Angeles, while Melissa Staiger manages Art Opportunities, Jobs, and Advice out of Brooklyn.

I encourage artists to look at their communities and ask themselves, how can I contribute? Maybe it’s a Facebook group. Maybe something else. Giving to the community is one of the best ways to become part of the community.

Well said! And I encourage you to explore Dani Dodge’s work. Her solo show, “Personal Territories” is on exhibit at the Lancaster Museum of Art and History, MOAH:CEDAR location, through August 5, 2017. She has an upcoming solo show, “Weight of Expectation” at the A.I.R. Gallery in Brooklyn October 12 through November 12, 2017. She will also have a residency at Shoebox Projects in January/February 2018 that will conclude with the solo show, “Moment of Impact,” on February 18, 2018. If you can’t view Dodge’s work in person, visit her website and Facebook page, sign up for her newsletter and follow her on Twitter and Instagram. And don’t forget, wherever you are, to pop over to the Los Angeles Art Opportunities Facebook group and check it out. Then take a minute to consider how you can expand and support your local and global community, both online and in person. 

Photo of Dani Dodge by Mark Dodge Medlin

La Luz de Jesus Coaster Show – Deadline August 1

It’s that time again! The super fun La Luz de Jesus Gallery Coaster Show. The deadline to submit is August 1st and if you don’t follow the instructions exactly, you won’t be considered. So if you’re interested, please read the submissions guidelines carefully and then get started making some awesome coaster art! Click here (and scroll down on the page past the first entry) to view works from last year’s show.

Open call for exhibition proposals

Independent curators, emerging artists and arts professionals are invited to submit exhibition proposals to be considered for the two gallery spaces at The Clemente, the Abrazo and the LES Gallery, from July 2018 to June 2019. Deadline is September 15th so there’s plenty of time to come up with a fantastic idea and create a proposal. Click here for more info.

 

Practical Financial Advice for Artists!

If you’re following this blog you know I’m a big fan of practical, straight forward advice and information which is why I’m a big fan of Hannah Cole‘s. Hannah is an artist,  a tax professional  and an all around cool, down to earth person. She shares her knowledge freely and blogs about finances and taxes for artists on ArtFCity.

In a recent blog post Hanna offered A Personal Finance Cheat Sheet designed to help anyone start getting a handle on their finances – or at least get an idea of what those steps would be. In her follow up post, The Personal Finance Attitude Adjustment, she addresses getting in the right frame of mind to tackle financial issues. No matter where you’re at financially, there’s a lot of value in the information she provides in these posts. But I think Rthey are particularly helpful, in fact a must read, for anyone who is struggling.

Struggling with your artist statement?

I always try to check out any resources I come across that I think might be helpful. A lot of artists tell me they struggle with writing an artist statement. So I just took Delve’s new course “Crafting a Powerful Artist Statement” and it was terrific. They’ve come up with a super clear and easy to follow process. It’s not too long, reasonably priced and 25% off through June 10th. I highly recommend it! You can check it out here.