The Friday evening opening at the Toney Gallery drew its usual crowd of elegantly dressed buyers and aficionados. As I glanced around I saw someone who looked familiar, but the pieces didn't fit. The friend the man resembled had always defined the term bohemian for me; he did not, as far as I knew, even own a suit. This man was dressed impeccably, custom tailoredand slightly European down to his expensive leather shoes and French cuffs and cufflinks. I looked again and he caught my eye; he moved toward me, smiling, exuding self-confidence, his hand outstretched in greeting. It was my friend after all. But what a change! No longer the starving artist, this man looked downright prosperous. more...

This column addresses the issue of contracts between artists, galleries and collectors. A contract is the essential tool that informs both parties of their responsibilities and objectives. If you and your gallery/collector work well together, you will rarely, if ever, refer to it.

Since I am not a lawyer (I’m not even a doctor), I thought it best to cull information from the top publications in the field dealing with the business of art. I compiled the following highlights from the five books listed below (see Great Publications on Contracts) in order to shed some light on consignment agreements with galleries, formal representation contracts with galleries, and bills of sale with collectors. Contracts address important issues of ownership and negotiation.

Consignment Agreements with Galleries
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Matthew Deleget, Visual Artist Information Hotline, with special guests Erin Brennan, Altoids Curiously Strong Collection/Hunter Public Relations, and Anne Ellegood, Assistant Curator, New Museum of Contemporary Art
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Everything in the art world slows down during the summer months. The number of exhibitions and openings dwindle as many galleries close for vacation. The summer is therefore the perfect time for artists to rethink their presentation materials. With that in mind, the Hotline’s first column is a refresher course on one of the basics: the artist’s portfolio. Here are some answers to questions concerning your portfolio. more...

There’s no such thing as bad publicity, or so the adage goes. True or not, none of us can deny the power and influence of exposure—particularly in the arts. Glossy photos and eye-catching posters function like “Coming Attractions” at the movies—the perfect teaser. The arts stimulate the senses, and the opportunity to create a marketing tactic for your work can be as challenging and fun as creating the work itself.

Step One: Know your product. Create some tools.

Who am I? What is my work all about?
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Your portfolio is a valuable tool in your arsenal as an artist, and it is often the first opportunity you have to impress and influence those in charge of making the decisions and choices that affect you and your work. By developing and preparing a professional portfolio, every artist is taking a step towards ensuring her or his own success.
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Securing a grant requires organization, research, and follow-through. Below you will find the key components for a successful search and a brief description of the different types of granting organizations.
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An artist who wants to get her or his work noticed must enter the marketplace with a good plan and set of tools. The Internet has become an essential channel for distributing traditional artist marketing tools such as résumés, press releases, work samples, and business cards. This essay provides basic advice about using the Internet to enhance your marketing efforts.

Can an artist Website bring you fame and fortune?

The simple answer is no! Artist Websites work best as an extension of traditional marketing efforts and can save time and money.
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I am always interested to hear how artists succeed in the art world. Most artists don't have an advisor to help them, galleries don't seem to have as much time for career development, and unfortunately the days of being discovered are over. Therefore, I have come up with my ten tips to help artists succeed.

1. Set yearly, five year, and ultimate career goals. The goals that you plan are a road map for your career. Be realistic but at the same time don't be afraid to dream about your goals. Be prepared to change and re-prioritize your goals as different opportunities arise.
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Eungie Joo: When NYFA Quarterly editor Alan Gilbert approached me to do a piece on independent curating, I thought we should have this conversation together, because we’re all doing related work and our practices appear to be linked—we often write about and work with the same artists, we’re all about the same age, and each of us is publishing a bit. But we each have very different emphases and starting points, and I want to talk a little about how we all began in this field.
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