3 Blogs

It’s a visual treat to visit The Snell Sisters Scattered Light blog!  Cheryl and Janet Snell are sisters with a dozen fiction, poetry, and art books between them–in solo and collaborative projects. Including a novel based on years spent in South India. Janet paints expressive portraits on commission. Love the blog design and great videos too. Have a look:



Riva Weinstein’s Modern Sacred projects include her Orbital Recycled Beauty Spheres made from almond milk, soy and soup cartons!



Visit James Willney’s Front Page and click on Blog to view his gorgeous paintings reminiscent of night skies.





Hotel des Arts, The Question of Ex-istence Exhibition

The Question of Ex-istence

Exhibit Reception

Saturday, November 6, 2010

7:00 – 9:00 PM

Hotel Des Arts : San Francisco

447 Bush Street

Questioning Statement

All of the artists featured in this exhibition have answered ‘The Question of Ex-istence’ with their artistic creations. We know this because it is not the label that makes them artists, but that in which they create to represent their existence. The questions we ask are often what unites us as a global community and is part of the fabric in which the human experience is woven. Without the ongoing asking of intelligent questions, we become blanketed in complacency.

The many types of questions that let us grow as real beings,paving the way for the next chapter in our lives are usually, factual, convergent, divergent and evaluative in nature .

Many of the questions in which we encounter are needed to explore abilities and reveal potential to ourselves and others so that we may move forward and endure.

Factual questions are simply straight forward, and are based on facts of awareness, with little processing power they are often answered, with a yes, no, right or wrong.

Convergent questions offer a finite range, of acceptable accuracy with complex analysis, cognition, comprehension and synthesization, make your creative thinking ability strong.

Divergent questions explore alternate perspectives and create variations of correctness, scenarios may be based on logical projection, and the conceptual ability to think long.

Evaluative questions require a high level, of logical cognition and a predefined process, answers let the questioners know, within a comparative framework where they belong.

R.S.V.P. : About : Schedule of Events : Press Release : Bidding Guidelines : Artists

View Exhibit @ http://www.SCREAMiNC.net

S.C.R.E.A.M. iNC,

Featured Artists

Candace Loheed : San Francisco

Jane Elliot : San Francisco

Marie Kazalia : USA

Craig Britton : San Francisco Bay Area

Benjamin L.M : Australia

Alex Segal : San Francisco

Claudie Bastide : France

Sona Mirzaei : Los Angeles

Dean Gustafson : San Francisco

Orangeland 5 : Global

Arthur Pusher’: North Beach, San Francisco

Reserve Collection

Robert Kipniss

Leonor Fini



2 She show ops


Just as Judy Chicago’s 1979 Dinner Party art exhibition centered on women’s reality, GenderMatters/MattersofGender will include works by artists of both sexes who work from a consciousness of how gender is reflected in art, how the artist’s gender influences her or his medium, and how gender often affects the circumstances in which the artist creates. The GenderMatters/MattersofGender show will include a range of artists who make art which explores sexual identity, evolutions in biological reproduction and art which is sometimes informed by an awareness of gender based craft and traditions. For prospectus and entry form, visit: http://albright.edu/freedman/

Artist Judy Chicago’s Through the Flower site: http://www.throughtheflower.org/  A non-profit feminist arts organization.


Artists submissions in all media now being accepted for future shows at s.h.e. gallery – www.shegallery.com. Contact Tracy at tracy@shegallery.com.


Interactive Art History

All the masterpieces of world art in one place!

A Russian project YtaYta.com — the interactive Internet storage of the masterpieces of world art– contains one of the biggest collections of world art there is and allows you to comment, add reviews and create communities around pictures, styles and artists.

At the same time the project site is not a static storage. The collection is being constantly enriched by art lovers, collectors and experts. The site has a “quick upload” system, which allows users to upload images and share opinions with one click.

° Yta is the Swedish for “surface”.


Recommended artist’s blogs

Max Presneill’s site contains a slide show of his colorful paintings that combine abstract elements intertwined with recognizable imagery, such as the painting tilted Earp–perhaps painted from a vintage reproduction of the face of Wyatt Earp amid various opaque and translucent forms. I enjoyed the variety and completeness of his work.



The Scoutie Girl article on mindful spending is why I signed up for her email newsletter.



Lana Gramlich posts her newsletter to her eye candy blog, http://eyecandynewsletter.blogspot.com , and her wildlife paintings to

http://lucidflora.blogspot.com. Lana is extremely active artist in her community art fairs, exhibitions and art projects.


Every friday I share 3 artist’s blogs and with my subscribers, and LinkedIN group members. Artist’s send your blog link to Marie, email: mariekazzaz@embarqmail.com

non-lucrative artworks

Why I create ephemeral, non-lucrative artworks

by Marcy B. Freedman

I have been an artist for a long time.  Paintings, collages, photographs and small sculptures fill my home and my studio.  Examples of my work have been shown in more than 250 exhibitions around the country, and many pieces are now included in private and corporate collections.  All in all, it has been a gratifying experience to create each and every one of these artworks.

However, during the last decade or so, my attention has been pulled in other directions.  Video and performance art have become my preferred forms of expression.  And within the realm of performance art, I have begun to narrow my focus: I now work almost exclusively on performances that allow me to engage with members of the public in one-on-one, face-to-face encounters.  Why have I become so involved with this ephemeral, non-lucrative form of interactive art?  I shall provide a few answers.

First of all, I should explain that I have never made art for the sake of selling it.  This is not to say that I am not pleased when someone wants to buy something that I have created.  On the contrary, it is very satisfying to think of my art in the care of someone who will, hopefully, be enriched by its presence.  However, I have never been able to create something with a future “consumer” in mind.  As corny as it may sound, I make the art that I am driven to make – driven by some inner compulsion to express something.  I never worry about the marketability of my creations.
Secondly, I don’t want to make artworks that I already know how to make.  I want to go into unknown territory each time I undertake a project.  (Indeed, one of my earliest solo shows was entitled, “No map.  No compass. No problem!”)  Consequently, staging performances that involve members of the public is perfect for me:  I never know what to expect, as each encounter is different from all other encounters.

Finally, there is an aspect of contemporary life that has inspired and perpetuated my interest in creating artworks that involve person-to-person interactions.  Specifically, I want to take a stand against indirect forms of communication – texting, email, social networks, etc.  These electronic mediums are flawed, because the communicating parties cannot see and hear one another.  This means that useful signals, such as body language and vocal intonations are absent from the encounter.  Not only does such a situation pave the way for misunderstanding, it diminishes the interaction:  the energy, the force, the spark that passes between live human beings is missing.  Consequently, I want to use my art to promote an old-fashioned form of communication: meeting with people in real time and real space.

Now, one might ask why my interest in direct communication is manifest in my art practice.  After all, I could continue making traditional tangible artworks, while spending my free time conversing directly with people.  Truth be told, I don’t want to have free time.  I want to spend as much time as possible making art – art that matters to me, and perhaps, to others.  And so, I will continue to use my art to combat the growing tendency of people to immerse themselves in a world of virtual connections.  I will reach out to those people, offering them a chance to experience an art form that connects them directly to another person.  In so doing, I will, at the very least, have the opportunity to experience the richness of social intercourse, myself.

Below is an image from a recent interactive performance entitled “Everything You Always Wanted to Know About Contemporary Art (But Were Afraid to Ask)”



3 Artist’s blogs I recommend

Part One of Marie Kazalia’s (new) regular Friday Review of 3 artist’s blogs:

The Absurding Terri Lloyd writes ““I have found a great comfort not fitting in…Am I a designer? Am I a graphic artist? Or a fine artist? Or none of the above? It doesn’t matter to me. I have things to say, so I say them, my way.”

Terri is intellectual. Read about her artist projects and activities, including her S.L.A.M. artist interview series. Contact her to hang her clever California colorful art for visual appeal and as food for contemplation.


Elli Chortara’s Illustration art, many published in print magazines, could easily hang in a solo gallery exhibition. Via the link to her website I viewed many more of her wonderful color, form and contrasting line-work art images. Highly recommended viewing!


Artist Greg Patch’s blog, http://www.gregpatch.blogspot.com topics include traditional herbalism,natural healing, sustainable art, eco-consciousness, green living, astrology, yoga, the sacred, geomancy, wave, weave, web, webh~~~~~~~~. Greg’s Chakra Rising Wave Series Giclee Card prints of his paintings are available for purchase.

A nice touch on his blog is the line of flags for several countries–I clicked on the Japanese flag and the blog text appeared translated into Japanese. There are also French, Russian, Korean, Arabic, Chinese, Spanish, German and several other language options.

Visit Greg’s clean, spare website site http://greenartstudio.com/ to immediately view a slide show of his original colorful painting series “Chakra rising waves”.


It’s a fast paced world of short attention spans. If you are an artist who would like a brief review listing of your blog, send the link to Marie via email @ :  mariekazzaz@embarqmail.com

Unrepresented Artists

Call For Artists PooL Art Fair Miami, 2010

Frere Independent is now reviewing Applications for PooL Art Fair Miami
Deadline: 20 October, 2010

Pool Art Fair
3, 4 & 5 December 2010
Carlton Hotel
1433 Collins Avenue
Miami Beach FL 33139

The simple, modest approach of the PooL Art Fair offers an exciting alternative to the “art fair” experience. Art dealers, gallery owners, curators, collectors and the general public have a unique opportunity to discover the work of unrepresented artists, to meet them and interact with them directly.

At PooL Miami, each artist, or group of artists, will use the hotel’s guest rooms as an exhibition space, creating an intimate setting. The show will be comprised of artists, artists’ collectives and curators. Hence, the fair will serve as an invaluable resource for the artistic community and the general public. Our goal with the PooL Art Fair is to provide the public with access to art, while encouraging them to support and meet these emerging artists. It is also a meeting ground for artists to take advantage of all networking opportunities that the fair provides.

Although there is a tradition in France of independent artist’s fairs, PooL has lead the path in this area of contemporary art exhibitions in the US. Inspired by Courbet’s famous ‘Salon des Independants,’ PooL extends the tradition here with success as the premiere fair in the US dedicated to artists that do not have representation in galleries.

PooL Miami will be held December 3, 4, and 5, 2010
Deadline for application to PooL Art Fair is October 20th 2010
To apply please download the application form here: http://openportfolioparis.wordpress.com/
Or contact us at info@poolartfair.com or Tel. +1 (212) 604 0519
Frere Independent is a not-for-profit art organization that provides new avenues of dissemination and widespread visibility to emerging and independent artists who do not currently have gallery representation.



Calling Brooklyn Artists!

by NLW arts

I am participating in Beta spaces (Bushwick Exhibition Triangle of Alternative Spaces), BETA Spaces is a one-day festival of independently curated, collaborative group exhibitions presented in a range of alternative spaces. The Festival takes place on November 14,2010. BETA Spaces is confined to a 15-block area bordered by Bushwick Ave, Johnson Ave, and Starr St.I am curating a show entitled Home Sweet? The exhibition will take place at 1095 Flushing Ave,Better than Jam, an awesome store that sells hand printed and handmade clothes and accessories. I am looking for work that reflects the theme of Home Sweet?

Home Sweet? questions the romantic idea of the home by digging through the surface to reveal what lies beneath. This exhibition examines the concept of “Home” in several ways: Home as the hidden relationship one has with their personal space, Home as body with flesh and organs, Home as a psychological space, and the symbolisms of the body as architecture. I am looking for photography, painting, relief sculpture, sculpture*, mixed media, drawings, prints, crafts, non-traditional mediums, and short written works.

The work will be exhibited in the store and in the common area of 1087 Flushing Ave. The owner of the store, Karin, is allowing me to have the work up for a week. The work in the store will be up for a week while any work in the common area will be up for the duration of the festival, due to safety concerns. Better than Jam shares the common area with other businesses such as Knitting café, and a Gourmet Deli. I like to think of it as a mini mall, there will be traffic going through this area.

Submissions and questions can be sent to NLW.arts@gmail.com I am accepting submissions until October 17th 2010. To apply, send a description of what you would exhibit along with links to images or other work samples

Thank you
Nalani L Williams

NLW arts


Exhibition Announcement


Simple studies of the concept of beauty and its many points of view, taking in consideration the relativity of its meaning.

Place: San Juan School Of Interior Design, Puerto Rico

Date: Nov. 12, 2010

Small Bomb 4 (Juan A. Negroni)


For more information contact, Juan A. Negroni, curator,

email: negroni4@yahoo.com

Success for Fine Artists

Sign-up for Aletta de Wal’ s Artist Career Training newsletter


for access to the free podcast:

“ElevenTips for Success
for Fine Artists”

In this recording, Aletta, (amid a long list of actions artists can take) recommends that artists: “Write a story about each piece of art you create.”

Even my abstract painting titled “Resistance” has a “story”. Read what I wrote below:

Resistance, mixed media on canvas, by Marie Kazalia


Artist: Marie Kazalia

48” x 48”

Date: July 2010

The title, Resistance, refers to the painting techniques used–which are the Process Painting techniques of layers, stain and poured paint. The silver acrylic paint layer (over yellow and texture on canvas) acts as a resist to the watery splashed on dark paint stain, so that it does not soak into the canvas as in traditional Stain Painting.  The stain layer of watery paint bleeds out to break from the confines of the hardedge forms based on military camouflage patterns. The artist mixes much of her own paint using painting mediums and dry pigments. In this case, the artist mixed silver aluminum powder into an artist grade acrylic medium as the pigment binder, to create the silver paint used in this painting.

Group for Artists

Readers and subscribers here now have a community access.

You are invited to join the new Artist Marketing Resources group on LinkedIn. Joining will allow you to find and contact other artists.

Some of the goals of this group are to help members:

– Reach other member artists for cross-promotional efforts
– Accelerate artist careers/business through referrals from artist members
– Know more than a name –make good contacts and connections
– Discussions to share knowledge,  ideas, seek advice, support

– Freely promote yourself as an artist in the group (good practice for out there)
Here’s the link to join: http://www.linkedin.com/groups?mostPopular=&gid=3370559

Hope to see you in the Group

Best Wishes

Marie Kazalia,  Owner

LInkedIN group Artist Marketing Resources:


The Importance of Relationships

The Importance of Relationships

22 Ways to Build People Power

By Renée Phillips, The Artrepreneur Coach

Renee Phillips

Building strong ties with others may be the single most valuable part of your career — as it was for mine. When I arrived in New York City in 1980 with very little capital and no professional experience I decided my goal was to get to know everyone in the art community. As I knocked on many doors my favorite mantra was “How can I help you?”

I served as a volunteer curator and art writer. I launched an arts organization. I held weekly art parties in my apartment and multi-media alternative spaces. Before long my network grew and eventually, leading art professionals, celebrities and government officials were attending my events, answering my phone calls and collaborating with me.

When it was time to launch my own art magazine Manhattan Arts International, in 1983, I had established the support of many art professionals and advertisers to make it a success.

I owe much of my career success to the relationships I have developed and nurtured for myself and for others.

The art community could be described as a game of musical chairs. The roles of artists, art dealers, critics and collectors are interchangeable and interconnected. The artist is often a curator, the collector has become a consultant and the art dealer may have many roles over the years. So, never, ever burn any bridges!

Galleries seek the advice of the artists they represent when adding new ones. Many grant givers require letters of endorsements from art leaders. Collectors and curators recommend artists to dealers. Members of the press obtain story leads from other art professionals.

Simply stated, the more people you know and who know you, your talent and your abilities, the more your career will flourish. Your relationships will provide the rewards that will nourish you through life.

22 Ways to Build People Power

1. Lift each other up.
In the words of Booker T. Washington, “If you want to lift yourself up, lift someone else.” Reach out, especially now. Everyone is feeling the economic crunch and this offers us the opportunity to collaborate, come together, help each other and explore new ways of exhibiting art and attracting clients and customers. There is always strength in numbers.

2. Nurture your collectors.
Marketing experts claim that it takes five times the effort to acquire new customers than to repeat a sale to an existing customer. They also state 20% of your buyers will produce 80% percent of your sales. So, reach out more often to your buyers and strive to build many long, rewarding relationships with them.

3. Build second tier relationships.
It is important to reach out to your ultimate buyer but equally important to establish relationships with those they rely on for leads and expertise. Your relationships may also include interior designers, architects, real estate agents, house stagers, corporate buyers and private art dealers. Invite them in to bring the buyers.

4. Network outside your circle.
Think creatively. Talk to your banker, accountant, dentist, florist and doorman. Ask them for business referrals and do the same for them. My step-father gave me my first lesson on marketing through networking. He was a diet specialist and he told a lesson about Public Relations. He built much of his medical practice from getting referrals from his tailor and local restaurants!

5. Always be prepared.
We often meet new people through life’s magical chance encounters. Carry an ample supply of visual “handouts” – postcards, business cards or brochures – that feature an image of your work. Also, be prepared with your “elevator speech.”

6. Manage your contacts.
After you exchange cards with someone, jot down a reminder on the back of that person’s card such as where you met, what you discussed and how and when you should follow up. Then record new acquaintances and contacts in a rolodex, data base, or index cards. Set up whatever system works best for you.

7. Utilize cyberspace for networking.
Join and participate constructively in a social networking site like facebook, LinkedIn or twitter, to expand your contacts and increase exposure. You will have access to people and groups around the world which you otherwise would never meet which leads to the exchange information and numerous opportunities. And, you don’t have to leave your studio to do it.

8. Take your connections to the next level.
Every week reach out to at least one social media connection by suggesting a phone conversation and/or meeting.

9. Go to the top.
Offer to become an assistant for an established artist or take a job in a leading gallery. Join the highest level museum membership category you can afford and attend their events.

10. Be active and visible.
If you belong to an organization become an enthusiastic member. Volunteer to work on the events or publicity committee that will open opportunities to meet others.

11. Diversify and expand your roles.
Look for ways to curate, jury, lecture, or write about the art and medium you use.

12. Offer to take an active role at an event.
You can overcome your shyness by helping at the information table or check in desk. Become the friendly greeter to others who feel uncomfortable in a crowd.

13. Go where the action is.
Attend gallery receptions, lectures, symposiums and events held in museums and art centers. Make an effort to talk and make contacts there.

14. Become a good friend and matchmaker.
Seek opportunities to develop new relationships among people you know and the favors will be returned.

15. Express generosity.
When you have an opportunity to provide something, give much more than is requested – go far beyond the recipient’s expectations.

16. Be polite.
This sounds obvious but is often forgotten. Simple acts of etiquette go a long way. Use every opportunity to send a personal note or e-mail to say “thank you,” “congratulations” or “it was a pleasure to meet you.”

17. Be aware of the other person’s needs.
When entering a relationship ask, “How can I help?” not “What’s in it for me?”

18. Become a partner with your dealer.
Once a relationship is formed with a gallery, view it as an important partnership that must be nurtured. Reach out regularly and report creative progress. Express your willingness to collaborate on activities to increase sales and publicity for your work. Offer ideas for increasing traffic.

19. Don’t burn your bridges.
If a relationship must terminate try your best to separate peacefully. (Remember what I wrote before about the art community being a game of musical chairs!)

20. Seize Opportunities.
Many retail stores are empty. Use them as temporary exhibition spaces. Join other artists and set up artists run galleries.

21. Increase your spirit of camaraderie.
Reach out to other artists as allies, not competitors. Margaret Mead said, “Never doubt that a small group of thoughtful, committed individuals can change the world, indeed it’s the only thing that ever has.” The artists’ organization offers the artist a place to share values, convictions, ambitions and solutions to common problems.

22. Use Social Media. (Last, but not least!)

The benefits of participating in social media sites are extremely rewarding and necessary today. I recommend you seek ways to collaborate with your connections. I am very grateful to have met Marie Kazalia on LinkedIn and look forward to sharing more activities with her in the future!

Renee Phillips is the Director of Manhattan Arts International. Known as The Artrepreneur Coach, counsels artists worldwide and is the creator of the Artist Success Program. She is also an author and member of the International Association of Art Critics. Learn more by visiting her Artrepreneur Coach blog
http://bit.ly/reneephillipsartcoach and http://www.manhattanarts.com/ReneePhillips/index.htm

About this blog, about me…

I am an artist and I started this blog in February 2009 with the idea of gathering resources here for artist’s growth.

I was born in the USA and I am an artist working with the possibilities of paint layers and poured paints on my supports of canvas, panel and papers– such layering, poured painting, and stain painting is also know as Process Painting. The formal possibilities of my use of color layers and tones, variety of paints and the resulting surface texture are achieved by varying the paint flow, paint run overlaps, and by creating flow interference, splash and splatter. I have an interest in the possibilities of both maintaining and breaking the hard edge. Close-up gives the vantage point of the pleasure of the painterly poured paint run intermingled with elements of patterning and the finer details of applied image transfers and Asemic writing built up on my support in a dense bricolage. Asemic writing consists of language-like marks unreadable as writing so as to straddle the line between the visual and the textual. My Asemic writing is informed by my formal language studies of Mandarin Chinese at the Chinese University of Hong Kong, China, and language studies at private language schools in Tokyo, Japan and in India. My stronger American influences on my Asemic writing reference everyday product package lettering past and present. My high contrast mixed use of Day-Glo to earth color compositions are responses to Asian and American use of color from ancient to recent Pop aesthetics. Color influences of Japan, India and China and the forms of the written characters of the languages of those countries, as well as those elements in other Asian countries I visited–Thailand, Malaysia, Singapore, Taiwan and South Korea–reemerge in newly abstracted and combined forms. Translucent and transparent  overlays of color contain the opacity of the drawn stroke.  In some of my paintings I work with my collection of large handmade Chinese calligraphy brushes. I abstract written language characters, cut up, juxtapose, and layer fragmented language signs together visually,–sometimes over, sometimes under poured paint, or sandwiched between the layers of my surfaces. In the image transfer elements of my paintings, I incorporate my own drawings photographically reproduced and printed on paper multiple times. Incorporating too, images from my camera–including outdoor night photography shots, and vintage b & w films I shoot capturing both the individual film frames and the overlapped combined images within frame transitions for use as image transfers. I also collect “found images” and have used images in my paintings that I’ve held on to for 7-8 or more years, printed to paper and used  as acrylic image transfers on my supports. Subject matter for my image transfers tend to center around vintage film, holiday and other social symbols and iconography, and commercial product packaging. My daily painting practice yields surprisingly varied results per canvas or composition within the repetition of these techniques and recurring interests of form. Each painting contains traces of what is significant to me, the artist, –my personal progress, growth, shifts, changes, expansions, forward motion, accumulation of thought and work, day upon day, contained within the layers of my paintings, as form, color and texture merge in the spirituality of my abstract painting practice that proceeds from the context of ideas, beliefs and emotions.

Support this blog by supporting my project:

Now until Oct 4th get in on my artist project for rewarding experiences:

Link to My kickstarter project–


Support my Kickstarter project by contributing $1. or more

or Sharing my Kickstarter link on Twitter or Facebook…

Best wishes for a productive day!

Marie Kazalia


getting into museums

Getting your work into museums
Brainard Carey
The Art World Demystified
One way is to meet a curator and propose a project or show them your work, but here is another back-door way, that is more intimate and you get paid right away.
Look at the website of a museum near you. Find their educational programs and read the descriptions of them all. There will be workshops and lectures the museum offers for adults, children and usually ages in between as well.
Now think of a workshop or lecture you could propose. It could be anything with any age group. It helps if it relates to an upcoming exhibit. For example, if there is a show on Picasso coming up, you could propose a workshop on how to paint or photograph like picasso, or make a video with a group using methods picasso used for painting, or lecture on how picasso has influenced contemporary artists or anything else, do you get the idea?
Now maybe you are wondering why do a workshop or lecture, because it may not be easy for you or interesting to you.
The reasons are 1. The museum will pay you. 2. It gets you in the museum, you will meet all the staff and be on the inside which may lead to greater things, like a show.
So, your next step is to call the museum near you, ask who is in control of the educational department because you want to propose something. It’s usually a program director or someone like that. Get their email, and send them a proposal that sounds like one of the descriptions on their website and tell them what exhibit it would relate to that they are having.
In this way, you will get paid to do workshops, and will meet the staff of the museum which is the key to being an insider.
If you have any questions about this, do not hesitate to ask by email: Brainard Carey brainardcarey@gmail.com

Brainard Carey works with artists of all different levels from students to mid-career to full time professionals.  He helps artists manage their careers as well as develop how their career will be strategized. You see, all artists are different, not just because they have different artwork, but because they have different personalities and views, and this is what primarily determines how they (you) will structure their involvement with the art world. Because if you are shy or aggressive or somewhere in between, your strategy must suit your personality or it will fail.
As an art mentor, Brainard helps artists to develop strategies that suit them and are comfortable to execute.  If you are interested in possibly working with Brainard to develop your career, send your website or images via email to: brainardcarey@gmail.com   He will contact you to schedule a conversation to discuss working together and what it will cost. There is no charge for that first call, it is for discussing your needs.
Other ways Brainard helps artists is by writing letters or grants for them and editing texts that they are currently working on.

Branard Carey is an artist as well as an educator in professional career development. He was in the Whitney Biennial as a collaborative with my wife, as Praxis. Has also had solo museum shows, one of which was at the Whitney, and exhibited in Europe. Brainard receives the large amount of his income from private collectors and sponsors.He presents lectures on career strategies for artists in universities and other venues.

He also offers a newsletter. The newsletter is a paid subscription which is 20.00 and you will get a newsletter by email every sunday morning. His newsletters give endless inside information about the art world. Including interviews of major curators, directors of museums and all types of art professionals for advice on how artists should manage their careers. He also gives a teleseminar once a month that comes with your subscription, where he talks about topics like how to approach galleries and museums.

If you would like to know more about the subscription which for new subscribers like you is free for the first month, please check the link below.  If you subscribe now, you will also get an ebook on How I got into the Whitney Biennial as well as a DVD mailed to you of a two hour presentation Brainard gave at the New York Academy of the Arts on Income Strategies for Artists.

If you sign up for a free trial subscription to the newsletter which is normally 20.00, as a bonus, will you receive the ebook, How I got into the Whitney Biennial,  as well a 2 hour DVD in the mail of the full presentation Brainard gave at NYAA on income strategies.
Subscribe by clicking here: http://www.yourartmentor.com/freetrial.html