Use the attraction method for art venues before you make the ask (265)
So many artists reach out to venues too soon — before the relationship exists and before the venue has any reason to say yes.
Introducing the attraction method for building visibility with a space manager/director/curator long before you make an ask. It removes the awkwardness and allows you time to ensure a good fit. When the time comes to ask for a show, you’re not a stranger.
The artists who don’t wait to be chosen (264)
Waiting for gallery representation or other opportunities to cross your path is a common theme I see among artists, but it’s not a good strategy.
In this episode, I make the case for taking control of where and how your work is seen, with real examples of artists who showed up in unexpected places and made it work. If you’ve been cycling through juried shows or hoping a gallery will find you, this one is worth your time.
How to write an art show invitation: announcing, commanding, or inviting?
An art show invitation has two jobs: give people everything they need to know about the event, and use a tone that makes them actually want to come.
Here’s how to decide between announcing, commanding, and inviting, what to include when space is tight versus when it isn’t, and the common mistakes artists make on their announcements and invitations.
Why the lone artist mindset keeps you small (263)
Going it alone feels easier. No coordination, no compromise, no communication overhead. But the artists building the careers you admire are rarely doing it alone.
In this solo episode, I make the case for collaboration as a strategic habit, not a one-time favor. I shares real-world examples, explain what makes them work, and offer a question to ask the next time you’re planning a show or a new body of work.
Thriving as an artist in a rural market
Artists in rural markets often find it difficult to get support and locate opportunities that are close to them, much less sell their art.
How do you navigate your rural market?
What do you do differently than artists in metropolitan areas?
What are you waiting for? The real costs of postponing strategic work in your art business (261)
The daily work of running an art business — making art, posting, responding, shipping — always feels urgent. The strategic work doesn’t. So it waits. But postponing that deeper evaluation isn’t neutral.
There are five specific costs that accumulate when you keep the strategic work on the back burner, quarter after quarter. None of them announce themselves. And that’s precisely what makes them so damaging.
