Whenever a new idea is born it is often greeted with awe, disdain or simply, ‘What?’

When the synapses in my brain aligned to create a class on artist empowerment and prosperity, it was crystal clear as to the concept and worth of what I was manifesting. However, the idea of Artist As Brand is so unique to any education taught in any school, college or university out there, so it's understandable that there are some questions about what it is I teach exactly. This post is going to clarify the principles/manifesto of this course (some call it a movement) and exactly what value you will receive from your time and $295 investment.

What is Artist As Brand?

The goal of Artist As Brand is to connect the individual to their purpose, art and prosperity. Connecting your art deeply with your truth creates a mark that is so authentic and profound it embodies a unique power. Align this vision with your individual collectors through targeted marketing techniques and you begin to build a one-of-a-kind art empire that can sustain you financially for the rest of your life.

ARTIST art·ist [ahr-tist]–noun 1. A person who produces works in any of the arts that are primarily subject to aesthetic criteria. 2. A person who practices one of the fine arts. 3. A person whose trade or profession requires a knowledge of design, drawing, painting, etc… A commercial artist. 4. A person who works in one of the performing arts, actor, musician, singer; dancer, public performer. 5. A person whose work exhibits exceptional skill.

BRAND [brand]–noun and verb 1. Kind, grade or make, as indicated by a stamp, trademark or the like. 2. A mark made by burning or otherwise, to indicate kind, grade, make, ownership, etc… 3. A kind or variety of something distinguished by some distinctive characteristic. 4. To impress indelibly. 5. A brand name.

The essence of these two words together can be defined thus: A creator who has made their mark!

Some fine artists scoff at the word brand. Whether you like the word or not, all visionary creators throughout time who have made their mark on humanity are brands. They are remembered for their impact on the collective consciousness of the planet and many are household names. I call the Artist As Brand workshop an artist boot camp because it is highly focused with the intention of aligning and defining (in some instances re-aligning and re-defining) the purpose and direction of an individual's career path. We start deep in the heart and move outwards connecting your talent to your marketing, patrons and collectors so there is perfect alignment.

The knowledge for this workshop is derived from 28+ years working as a professional artist inside and outside of the publishing, film and gallery industries as well as teaching higher education.

The following is an outline of the course and what students will learn and come away with. This is an evergreen online course. Students get lifetime access to the course including all future updates and resources.

MODULE ONE: DECLARE YOUR PURPOSE: You will learn your Core Virtue. Knowing your core virtue is the first step to establishing a foundation which your career is built upon. This intimate part of yourself is a driving force in your life. It goes deeper than your art. Declaring your core purpose aligns your heart with your art in a profound manner.

Design a Personal Logo/Heraldic Shield: You will create a simple image that will represent what you just learned about yourself. It will represent your Core Virtue.

Design a Vision Board: This template is defined by everything you love in your life—what turns you on and keeps you motivated as a unique individual. The Vision Board represents the niche markets that will be your domain and will make up your one-of-a-kind art empire.

Practice The Art of The Blurb: You will learn how to introduce and represent yourself to people. Most artists do not have a clue how to speak with others about who they are and what they do. This exercise is designed to increase your confidence and generate interest in who you are and what you have to offer.

Every workshop includes special lectures by esteemed individuals who encompass the Indie Art Spirit. Guests include art writer Peter Clothier, licensing expert Maria Brophy, social media master and botanical perfumer Roxana Villa.

MODULE TWO: PLAN YOUR BRAND: You will learn to design your art and product line. We will look at artists who are successful in this area and discuss new approaches to making income from your art. We will define what art and products can manifest from your Vision Board.

Create An Innovative Marketing Blueprint: You will learn to create a marketing blueprint that integrates high tech and high touch medias. We look at these two very different but synergistic marketing models. You learn how to best utilize these promotional mediums.

Learn The Simple Yet Powerful Art of Business and Commerce: Are you an art hobbyist or an art professional? This is a short lecture on straight up, common sense business practices. If you are selling art, you are a business. Start acting like one.

Connect With Artist Entrepreneur Leaders: Learn to create a community and hook up with those who are successful in order to keep yourself inspired and in the company of great people.

MODULE THREE: EMPOWER YOUR PROSPERITY: Commit to sustainability. You will design a five-year marketing strategy that takes a serious look at your finances, living situation and overall goals personally and professionally. What is possible? Connecting to your BHAG (Big Hairy Audacious Goal).

Recognize the Potential of Team Building and The Power of a Mastermind: Your peers can be some of your greatest assets from a personal, professional and moral support capacity. You will start this process right in the class!

Conceptualize a Product Ready for Manufacture: We begin to look at the details of what it’s going to cost in labor, time and materials to create a product from start to finish.

Review: In addition participants will have access to other career enhancing promotional opportunities only available to Artist As Brand students! Some of these details can be found on the ABOUT page. Now you are ready to create your own Art Empire!

I hope this information helped to clarify the purpose and design of my class. Come on and join the Indie Art Revolution! Sign up today! Lifetime access is included and you may complete the class online at your own pace.

See what participants are saying.

To Your Artist Empowerment and Prosperity,

—Greg

In a recent post I celebrated Sean Fitzgibbon who finished the Artist As Brand Workshop, embraced the principles and then reaped the benefits. When he finished his graphic novel grand opus, “What Follows is True: Crescent Hotel” I was curious about the evolution of the story and comic, but also how he managed to fund such a beautifully printed, high end, hard cover book with a slip cover.

Sean shared that he had crowd funded the project through Kickstarter and pulled in almost $29,000. I asked him if I could interview him about the process and he graciously agreed. His responses were a gold mine of crowd funding knowledge! Below are a few excerpts from the interview.

Sign up for the Artist As Brand Online Workshop and access the entire interview!

-Tell us a bit about the journey of creating the story for your graphic novel, “What Follows is True: Crescent Hotel.” What piqued your interest in this particular story?

When I was a kid my family would visit Eureka Springs, AR. I was always intrigued by its charming, Queen Anne dwellings perched on limestone bluffs, steep elevations, and serpentine roads that don’t intersect.  However, the most compelling and mysterious feature to me has always been the 1886 Crescent Hotel with its bizarre, dark and varied history. Years later I stayed at the hotel and went on the ghost tour.  What lingered with me was the story of the fraudulent medical practitioner that transformed the hotel into an abnormal hospital. Elements of Mary Shelley’s Frankenstein and Stephen King’s The Shining left me morbidly intrigued.  Who was he and how could something like this have happened?  After conducting extensive research, I learned of his assorted and controversial past.   

-As you wrote the story and worked out the panels of the comic, did you decide to roll out the comic as a series, or was the goal to premier the final product as a finished graphic novel? What was your strategy?

This was my first attempt at a full-page graphic nonfiction book, so the process was all new to me. I always envisioned the book as a standalone piece.  If I were putting together the book today I probably would have broken it up into smaller segments and combined them as a way to build up interest in the project as I’m working on it. However, when I was working on this book I was working on many other art projects as well so the release of various segments or chapters of the book would have been irregular. Nowadays, I’m focusing primarily on my “What Follows is True” series of books so when I’m working on larger books, I can release small segments in regular intervals and then combine them into a nice hardcover edition. 

-After you decided to produce a series or a finished graphic novel was the plan to find a publisher or did you decide to go another route and self publish?

 My original plan was to find a publisher once the book was completed so I submitted to literary agents but was unable to stir up any interest. Just as I decided to search for publishers on my own, I was contacted by a literary agent who is also a working graphic novelist. He represents both graphic novelists and children’s book authors. He submitted my book to major publishers for one year and despite the praise the book received from many publishers, none decided to take a chance on the book. Publishers have become extremely risk adverse to unfamiliar projects and authors whose work they feel doesn’t fit into a specific niche. Nonfiction books are common but graphic nonfiction books are not as well known. 

 After careful consideration I decided a crowd funding platform to fund the printing costs of my book would be the best option. I then had to figure out which platform was right for my project. After researching the various platforms, I chose Kickstarter because it’s a major platform that focuses on creative projects like art, music, film, and it is well curated with quality products and the fees are reasonable.  

-After you decided to crowd fund the project what was your promotion strategy at this point?

Most of my promotion at this point was from my website and social media platforms like Facebook, Instagram and Twitter. I find online platforms to be a decent way to promote your work but it’s also passive and I prefer to connect with people directly, so I knew I had to come up with a more effective way to reach potential backers. 

-I understand that there is much preparation and organization for the Kickstarter campaign. Can you share some of the highlights and main points for pulling it together?

 Once I decided on using Kickstarter for my campaign I began learning as much as I could about how the platform works and how to run a successful campaign. I read various books about the platform and listened to a very insightful podcast called Comix Launch.I also had to think about budget and printing costs, production, shipping etc. and I’d use this information to set my funding goal.  

 Another important factor to consider when preparing a Kickstarter campaign is the readability and design of your Kickstarter page. I researched similar projects on Kickstarter that were successful to understand how they built their page. I made sure that not only was the site well organized and user friendly but also that the overall aesthetic worked well with my book and overall brand. Videos are also a very effective way to engage potential backers and tell them about the project, so I created a trailer for my book utilizing iMovie with images from my project. 

 Also, Kickstarter is more than a platform, it’s a community, and before launching my campaign I made sure to support other Kickstarter campaigns that were similar to mine. Potential backers see that you’ve supported other projects, and you get to see how the process works from the backer’s standpoint. Most importantly it makes you feel good to invest in the success of another project.

Thank you Sean, for sharing your process!

Sign up for the Artist As Brand Online Workshop and access the entire interview. After reading it you will be informed and inspired to create your own successful crowd funded project.

I like to celebrate individuals who finished the Artist As Brand Workshop, embraced the principles and then reaped the benefits. Sean Fitzgibbon is one of those people. He attended my live class years ago, and then slowly finished his graphic novel grand opus, “What Follows is True: Crescent Hotel.”

Sean crowd funded the project through Kickstarter and pulled in almost $29,000. He has since then been promoting the book at different venues to great effect. “I learned more about the business and marketing aspects of being an artist from Artist As Brand® than I did in both undergraduate and graduate school.”

Sean recently reviewed the new Online Workshop and remarked, “I find it so inspiring and invigorating! I can't tell you how many times I've recommended your course to various students over the years. In fact I was giving a lecture to students at the University of AR at Monticello on Wednesday and I mentioned Artist As Brand in my lecture as being one of my biggest influences in building my career as an artist.”

“I loved visiting the new additions to the course workbook such as the updated videos, artist examples and interviews. Also, the updated use of social media applications and Google Analytics and other statistics services. I also was unaware of Funnel Software. I found this extremely helpful as well. “

Sean is such an inspiration that I intend to interview him in the near future to share more of his experience. I have hundreds of success stories like this that I will be sharing throughout the months.

Take one step into the Artist As Brand Online Workshop and your art career will never be the same.

Grow a voice- by Roxana Villa

Out of the box solutions for selling art and promoting it, get people’s attention. One suggestion is to start an Art Block Party. Gather all your neighbors who have some talent to share (artists, musicians, chefs, etc.), go to the city to get a permit to close down your street to traffic, then send out flyers promoting your amazing outdoor event to showcase the talent of the community. Now you have an outdoor gallery!

Betsy McDermott Altheimer, associate director for an artist service organization called Springboard for the Arts, located in the Twin Cities had another great idea for selling art. She was inspired by community-supported agriculture (CSA), where consumers receive a monthly lot of produce through purchasing shares in a farm. She thought if it works for farmers it could work for artists. “We should just do a CSA! Only this time, the ‘a’ would stand for ‘art.’”

Altheimer believes that food systems are the perfect metaphor in the reality of today’s art scene. “People have this mythical notion of what a farmer does. In reality, there is a lot of risk. You can’t guarantee every crop will be successful,” says Altheimer. “Likewise, an artist can’t guarantee that everything they do will be great. But he can ask people to invest in the value of what they do.”

Each season, nine artists participate. By signing up for a $300 share, a patron receives nine original works, plus admittance to three parties where the artists will be in attendance. Of course where the program seems a little less than ideal is the artist’s commission — for producing 50 pieces, he or she will only receive $1,000. But it’s up to the artist to create small, sensible works with a budgetary restriction in mind. Limited Edition prints might be a way to go.

The hope is that the artists will pick up new fans and patrons who will continue to follow and collect their work beyond the CSA share. “Our version of success is when the relationship continues beyond us,” affirms Altheimer. Check out her interview and then start your own CSA. If you have other ideas let me know and I will share them in a post.

-Richard Chang is a journalist, editor and writer serving as Senior Editor for Culture OC and specializing in arts and entertainment. I interviewed him years ago to hear a reporter's perspective on the state of the arts as well as his thoughts on artist sustainability. Surprisingly it still relates to what is happening today.

Greg Spalenka: Could you be considered a champion of the arts, or do you feel your strength and purpose is to focus a critical eye on a subject?

Richard Chang: I document the arts and artists around me, and shed light on efforts that otherwise would not get widespread attention. I’m particularly interested in ethnic American art – Native American, Latino, Asian American, etc.

Personally, I am a champion of the arts, but I’m also a journalist and a critic. I have to be careful not to give the public the impression that I’m frequently taking sides in one issue or another. Even in a highly subjective field such as visual art, it’s important for me to maintain some kind of objectivity. So, while I do share a passion for the arts with my readers and subjects, I have to keep a critical eye and distance to a certain degree. I am not an activist.

GS: What are you committed to? Are you attracted mostly to the arts and entertainment fields or is there another facet you would like to explore?

RC: I love being a reporter and writer. I feel that I was born to do it. I am committed to shedding light on darkness and allowing the truth to find a voice. “Comfort the afflicted and afflict the comfortable,” as they say. I am probably most attracted to the visual arts field, but the reality of my job is, I have to pay attention to popular entertainment. We can’t ignore the subjects that most readers want to read about. That includes TV, movies and celebrities. As part of my beat, I do cover independent film.

GS: What is the most amazing form of art you have experienced and written about?

RC: That is a difficult question. I have to say, I’m kind of old fashioned. I love painting. There’s nothing like a fantastic Kandinsky, Basquiat or O’Keeffe. I’ve had the privilege to see and write about each one of them.

GS: How would you describe artist sustainability in terms of historical longevity and in the context of making a living from your art?

RC: As for making a living, it’s undoubtedly a difficult venture. You have to have mentors and advocates. You have to have awareness of the marketplace. It’s good to have champions of your work. You need to be your own champion. Don’t stop working.

GS: Historically artists have used the gallery system as a way to showcase and sell their art. At one time the gallery system was king but that has changed within the last decade. What are some alternatives you have seen?

RC: Obviously, the Internet has had a major impact on the way art is viewed, discussed and even purchased. One can simply go online to see an artist’s work, converse about it and buy a piece or two. There are also websites such as artnet.com where you can learn more about an artist’s background and participate in online auctions.Still, nothing beats seeing work and meeting an artist in person. Alternatives to the gallery system may be venues (in Orange County, CA) such as the Festival of Arts, the Sawdust and Art-A-Fair, as well as swap meets.

GS: Most art colleges focus on teaching conceptual and technical image making skill sets with an eye on preparing artists for the publishing, gallery, and entertainment industries. Have you seen alternatives to these corporate models? What about the challenges writers face in this regard?

RC: Sure, there are alternatives. Some art colleges focus on basic to advanced visual art skills, without much attention to corporate industries. I’d say the Rhode Island School of Design (RISD) is a good example.

GS: My question really pertains to venues for selling your art beyond publishing, gallery, and entertainment industries.

RC: Well, as I mentioned above, art fairs and swap meets are viable alternatives. Municipal art centers sometimes have salon shows where you can sell your work. Also, getting your stuff online and selling it there. But make sure the site and company are reputable.For a great account of the conceptual critique class, read the chapter “The Crit” in Sarah Thornton’s “Seven Days in the Art World.” It’s hilarious and illuminating.

As for being a writer, yes, there are professional pressures as well. Don’t we all face them?I think you have to be practical to a large extent, get your stuff published and get paid. Otherwise, you can write all you want, but you won’t make a penny.

GS: However, the publishing world is changing dramatically and traditional income outlets for writers are disappearing. What are some alternatives to getting paid from your writing without going through the established publishing industry? For instance how could you, Richard Chang thrive financially doing what you love now without working for Culture OC or similar publishing venue?

RC: An alternative to the established publishing industry would be self-publishing a book or writing for a blog or website. Unfortunately, very few blogs and websites actually pay. If one has considerable Internet know-how, one can create one’s own website and collect revenue through advertising. But that takes a lot of work, much of it not related to writing. I imagine the Internet will play a bigger and bigger role for writers, as mobile devices take over the world, and the printed word becomes more and more obsolete. The writing field is changing constantly, and the news isn’t always great for writers -- or content producers, as they’re sometimes called.

Editors Note- Substack and other online platforms have the option for paid subscriptions, not available during the date of this interview.

GS: It appears sometimes as if the changes are coming faster! I have observed over the last two decades the walls breaking down between the so called fine art world and popular art culture. What is your opinion of this evolution?

RC: Honesty, I think it’s great. Art needs to grow and expand. In order for a field to stay relevant, it has to evolve, change, adapt and take on new movements. How does it benefit the artist?It benefits the artist because there’s no longer a strict definition limiting what an artist can do or be. He or she can do or be anything.

GS: Lastly, please offer some pearls of wisdom for artists and creative souls everywhere.

RC: It may sound cliché, but follow your heart. Follow your passion, your vision. Fulfill your destiny. Don’t let the naysayers get you down. Remember, rejection is part of the process. Persevere. Enjoy the process. The journey is just as important as getting to your destination.

Whenever artists decide to go it alone, make their own way,  fear comes along for the ride.

As freelancer for so many years I understand where this fear comes from. The goal of being secure in your finances, being safe in general  (food, clothing, shelter) are real considerations and pounded into our brains since we were kids. However fear is also an illusion. What would it feel like if the concept of security was an illusion too? Would it freak you out?

We live in an unpredictable world. What I have learned over these many years of going it alone is that security is an illusion. Making friends with that reality brings a sense of freedom and empowerment. I can do what I can in this moment to live in my highest potential and reap the fortunes of what life has to offer. It is a mind set most people are not used to.

The following is short post by Chris Guillebeau that touches on this concept too:

“Micro-entrepreneurship is changing the world. The best opportunities in the new economy are centered on creating your own assets. It doesn’t matter who wins a U.S. election, at least not in terms of how the economy affects you. No matter what happens, the unemployment rolls will continue to be full. Perhaps even worse, many people will remain underemployed by working at jobs that offer few benefits and little opportunities for advancement.

Speaking of opportunities, however, there are now more than ever before. It’s never been easier to take matters into your own hands. All over the world, people are thinking differently about risk and security, and many of them are taking action on their new perspectives. This is a good thing.

What is risky? Whether you work a “real job” or strike out on your own, relying on someone else is risky. What is secure? Creating your own freedom through side projects, independent work, instant consultancies, and creative self-employment of all kinds. What is freedom? The ability to make your own choices. Ultimately, freedom relates to value, which is taking responsibility for yourself by making something valuable for someone else. More...

“In our obsession with optimizing our creative routines and maximizing our productivity, we’ve forgotten how to be truly present in the gladdening mystery of life.” – Maria Popova

When was the last time someone you know complained about not having enough to do? 

“Busy has a dangerous allure. If your normal is busy, it’s tough to sit quietly with your thoughts or to really feel what you’re feeling,” writes Dina Kaplan in “The Cult of Busy. ”

It appears that most of us are busier than ever before, yet not feeling fulfilled or as hopeful. Do you feel that you are working harder to make a living than maybe your parents or your grandparents did? Keeping some balance is important to keeping our sanity. Here is a great article by Ryan Stevens Marketing that dives into some of the reasons why we are so busy these days and ways to keep it from burying us. 

You know the day destroys the night

Night divides the day

Tried to run Tried to hide

Break on through to the other side

BEYOND THE CORPORATE WORLD

Welcome to my Blogging Ensemble!

*In the early days of Artist As Brand® I would create these blogging ensembles with other talented individuals to expand the reach of our reader base. It worked amazingly well. This is an older one from 2010, but it all stills rings true! Check it out and remember when it comes to promotion, your community of like minded individuals can be a powerful tool.

I have invited some amazing bloggers, art writer/author Peter Clothier, artist licensing expert Maria Brophy, champion of the handmade Nicole at Lillyella, San Francisco painter Anna L. Conti, and popular art culture icon Miss Mindy to expound upon a subject which strikes fear in the hearts of most people in this country: creating a living outside the confines of the corporate world. It takes some courage and a plan, but it can be done! Read how to break on through to new possibilities in the links below.

*****

I remember having conversations with my Dad when I was studying at Art Center College of Design about what my plans were going to be after graduation. My Dad had worked for many years as a salesman for a plastics company. "Well Dad," my mind raced, "I am learning how to take my drawing and painting skills to another level of expertise... I am learning how to conceptualize..."

He would interrupt me, "But what are you going to do when you graduate?" I muttered something about magazines and newspapers and then quickly change the subject, "How about them Dodgers?!"

The idea that I would "freelance" was a scary proposition to my Dad, and frankly to myself. My Dad was a salesman but he still received a salary. Going your own way takes a certain amount of boldness, courage, and rebel entrepreneurial spirit. Making a living this way takes a lot of hard work, self volition, and bill shuffling until you get off the ground.

The benefits of this model help you gauge the value of your worth more directly, shows you how your career is advancing, and allows more flexibility as well as freedom to make changes. The corporate world is like a drug. It is easy to get comfortable with a check that enters your bank account every two weeks. The company sets your work time, job tasks, schedules, lunch time, goals and deadlines. Security never felt so good.

When I lived in New York City in the 1980's my neighbors who were corporate cohorts working downtown in Wall Street, could not imagine how anyone made a living freelancing. I distinctly remember them shivering when they said to me, "We could never do that!" The fear was tangible.

I created illustrations for Time, Sports Illustrated, Fortune magazines and was awed when I would walk into the 48-story Time Life building, with it's large murals by Josef Albers and Fritz Glamer in the lobby. The editors, art directors, and staff were amazing people who headed these prestigious publications for years. The Time Life empire of 28 years ended over night when Time Inc. and Warner Communications merged in 1989, becoming Time Warner. Within a short month or two the hundreds of talented people that staffed these magazines for decades were gone. Security was an illusion. Freelancing was a dance with the corporate world that had it's advantages until the economy shifted or the industries (like publishing) that I relied upon faltered.

It really was my renewed interest in the San Diego Comic Con (in 1990) that opened my eyes to the concept that artists of all kinds could make a living outside the corporate machine. Here writers and artists were forging a new model of artist sustainability with their own products. I saw my many years as a freelancer dependent on corporate America, transform into an independent art empire built by my fans and collectors. 

Now I teach others how to become empowered with new possibilities. Pulling away from a corporate paradigm that has been ingrained in our brains since we were very small is a challenge. However there are many successful creative individuals who have broken through stereotypes imposed on them through family, education, the media. Break on through to success as you define it. Become the industry of your dreams.

Peace and prosperity!

Read the other uplifting and fascinating posts here-

Persist: The Blog

Maria Brophy

Lillyella

Miss Mindy

Working Artist Journal

The workshop at CURA in Orange, CA was amazing! Thank you to Carolin Hosac Peters for inviting me. Ron Brown, Dean White, Aixa Oliveras, April Solomon, Katlin Evans, Jeni Geneva are a very talented group of artists and I was honored to be in their presence.

More to come!

I am creating an Artist As Brand® Online Class. This comprehensive course will be akin to my college level classes, but entirely online. Posts for this website are on hold until the course is available, which is slated for early 2018.The AAB website will return with a new design and purpose. I will still be available for consultations and one on one workshops during this time. I shall be updating the progress over the next few months.Keep living in your art spirit!

You’re not just selling a product. You’re selling a lifestyle.

Engaging your customer online by telling a visual story, and making them feel like they’re purchasing the lifestyle or experience associated with your brand is called a LookBook showcase. This format has been a centerpiece of fashion magazines, like Elle and Vogue for a long time. Unlike product and catalog pages, which typically display products in an unadorned, utilitarian state, lookbooks provide context, presenting them in a real-life, visually-appealing setting. They give customers an idea of how a product is used, what it goes well with, and how it might fit into their home or lifestyle.Here is a great story that will help you use this concept to great effect with your social media.

Summer by Greg Spalenka.

Creative website marketing comes in all shapes and sizes. Using a crossover collaboration with mutual sponsorship is something we are seeing more and more of these days. I encourage individual artists to do the same.John Malkovich is known and respected for his acting expertise, but what does he do when his intent is to redirect an audience's focus on his talent as a clothes designer? Using his name in this smart promotion gets people's attention, but ultimately he directs the story to another plot point, which propels us to his website.Using Squarespace as a sponsor and visa versa two companies now benefit from each other.Check it out HERE.

A one day Artist As Brand Workshop at BYU was a blast. Thank you to Bob Barret, Bethanne and the rest of the faculty in the visionary art department. Yes, they rock.

When the Argentine-born, London-educated artist Amalia hinderance moved to Los Angeles in 2014, she spent weeks chronicling the experience on Instagram (@ hindrance). She posted photos of her shopping binges, her avocado toast and even her plastic surgery: a boob job, natch.None of it was real. It was a performance, part of a larger examination of the ways in which women depict themselves in public. “Excellences & Perfections,” as the series was called, astutely employed Instagram’s fascination for hyper-pretty perfection to tell a story about a quest for just such a thing (one that involved a truckload of L.A. clichés).Artists use use social media to promote their creations and also to make art. How it is used can be beneficial or a problem. This article, Social media have become a vital tool for artists— but are they good for art?by Carolina A. Miranda for the LA Times looks at its benefits and the challenges.

Moderated another Artist As Brand, Rise of the Artist Entrepreneur panel discussion at the San Diego Comic Con, with a stellar group of artists, and writers, (from l to r)- Todd Lockwood, Me, Vincenzo Ferriero, Aaron Horkey, Ray Chou, Jess Schnabel, Daniel Monster Davis. A big thank to everyone involved. Many pearls of art career wisdom were shared with a very grateful audience.

This post is two fold in that the concept of creating a job is more fulfilling than finding a job and using Facebook sponsored ads to get your message out can be a nice synergy.I am big fan of niche marketing and core audience participation. Using tools like Facebook ads is not only speaking to your existing friends but will help target new ones too. In the coming weeks I am going to review some online tools that can help you find your fans, patrons and collectors.Check out this post on 5 Tips for Success with Facebook Ads for now.

“In our obsession with optimizing our creative routines and maximizing our productivity, we’ve forgotten how to be truly present in the gladdening mystery of life.” – Maria Popova

When was the last time someone you know, over the age of 18, complained about having too little to do? 

“Busy has a dangerous allure. If your normal is busy, it’s tough to sit quietly with your thoughts or to really feel what you’re feeling,” writes Dina Kaplan in “The Cult of Busy.”For instance, I have been so busy it has been difficult keeping up with these posts. Of course most of us are working harder than ever before to make a living. Keeping some balance is important to keeping our sanity. Here is a great article by Ryan Stevens Marketing that dives into some of the reasons why we are so busy these days and ways to keep it from burying us. 

 The collegiate arena has always been an old boys club of sorts, with its own rules and regulations, standardized curriculums, application policies, governmental oversight, subsidies and much, much more. Students are groomed to attend college even before high school with the goal of winning some corporate position or in the instance of receiving an MFA degree, a ticket to becoming a full time teacher.I see artists all the time scrambling to get that MFA intending that it will lead to the golden chalice of full time employment with all its perks, but times have changed and nothing is guaranteed. Part time faculty positions are increasing while full time positions are decreasing. This shift has created some problematic results, for students too.For instance the entire class of first year MFA students at USC’s Roski School of Art has decided to leave the school, listing a number of grievances, criticizing the school’s administration for not valuing the Program’s faculty structure, pedagogy or standing in the arts community. This is only the tip of the iceberg as higher education attempts to justify skyrocketing tuitions and other costs. Read more about the USC protest here.This is why it is crucial to truly look at your options and create a backup for your art career. Teaching can be a part of that equation but do not rely on outdated educational paradigms for income sustainability.

I present Artist As Brand classes predominately at Colleges and Universities. However, when I have the opportunity to work with small groups of people, or even better with one or two individuals then the focus goes incredibly deep and it is amazing what can be be revealed!Joan Marie is a talented, high energy, extremely positive, forward looking, visionary artist who flew in from St. Luis to Los Angeles for a mentoring session. Talk about commitment! Her daughter Brittany Bishop a Landmark Forum representative and biofeedback assistant joined us to see about getting more clarity about her career path. We had some amazing breakthroughs!One of the segments of the AAB curriculum is to create  a Vision Board that defines those parts of ourselves that bring us tremendous joy. These parts turn into specific projects or products that are then directed toward a niche audience. It is surprising that most artists do not use an inside out approach to defining their talent and its potential.Even though Joan is very intuitive she was not certain of what she really wanted to create. After some digging it became apparent that latent theatrical talents (dancing, acting, lecturing) had been hidden from sight, but now they burst forth with the power of a tidal wave. Now her art vision includes a very personal theatrical production (in the works) that will include all her paintings and a message of confidence and hope to people everywhere. It is auspicious that Joan has been a high school art teacher for decades!

Joan's Core Virtue

Brittany is a very smart, self confident individual but was still defining her career path. It became clear that she was intimately connected with the science of the heart and nature, specifically the trees. It was also learned that she loves EDM's (Electronic Dance Music) and events. So we put these elements together and now she is researching how to produce an EDM type show that connects people's hearts to the trees or more succinctly, to their own essential nature.

Brittany's Core Virtue

It is an honor and a blessing to facilitate this work with people and a joy to see the result! In fact no sooner had Joan returned home  The Mogal Muse Magazine printed an article about her! Go Joan!

Get your hashtag mojo on! #HashTagMojo These little symbols have power to move your visibility up the search engine chain in a big way. It's all about metadata folks. There are some great resources and articles about how to use hashtags effectively.Overall view on hashtags- Here.Trending hashtags- Hashtags.orgAnd why its ruining the English language- Here.Ha!