Before I quit my day job to make a living as a full-time artist, I was the curator of a corporate art collection. Many of the issues I dealt with were the same as those of freelance art consultants. So, while I'm learning new things all the time, I feel like I understand where they're coming from more than I would if I hadn't had a job buying art with other people's money.

The main thing I remind myself about art consultants is that we're on the same side. more...

An interview with Tom Burtonwood, CAR Associate

That's interesting. Artists don't necessarily ask me questions up front but make inquiries by giving me their artist's packet. However, many artists who would like to curate exhibitions at the space have approached me. Other questions, from mostly younger artists, revolve around the business of running a gallery.

How did you get started running a gallery?
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What should an artist consider when negotiating commissions?

Since I find my subjects rather randomly, but always on my own, when I am approached for a commission for a portrait, I am always very reluctant. While I feel honored to be invited, I often feel a bit pressed to please. I am torn by wanting to have a definite sale but I hate the process, with a capital “H”. What liberates me artistically is devising a very important clause in the contract stating that I guarantee to deliver the best work I can. more...

Artists typically find themselves dreading April. It's not because of the rain, or even the impending lack of air conditioning. It's because they face the task of filing the tax return they've inevitably put off until the last minute, and they have no where to turn. The typical tax preparer has a difficult time understanding the unique nature of an artist's life—and more importantly, the artist's business. And who wants to be judged when you're making a good faith effort to pay the government, just because you haven't kept the best records? more...