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 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,


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:

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 and

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

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:   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:

your press releases

In John R. Math’s article, 10 Ways an Artist Can Develop Their Brand:

” Online press releases offer an artist a way in which they can promote their events, openings and other promotions.  Most press release websites include links back to the artist’s website, along with a biography section.  They also offer guides on how to write and form a press release. Search engines pick up these press releases very quickly and they become a major source of the artist’s brand.

Read the entire article on the Art Marketing Strategies site:

The Press Release sites will give you an idea of what information to include in your art event news. I’d like to start posting exhibit and other news

for all artist subscribers of this blog, on an ongoing basis. Submit  exhibition and art project news to me via email: Marie Kazalia:

I will post your news here on this blog. Now until October 4th I ask everyone who sends a press release to support my Kickstarter project by backing it with $1. or more

Link to My kickstarter project–

Writing a Press Release is a good topic of discussion for our LinkedIN group Artist Marketing Resources:

If you would like to work on developing press releases for your art exhibits and sales, then join in the group discussion.

Interview w/Marie

Layers of Intent: An Interview with painter Marie Kazalia

Leisa Rich writes:

I first met Marie in a Linkedin discussion. Things can get pretty interesting on Linkedin; not only can you connect with all kinds of people interested in similar artistic and professional pursuits, you can learn, grow, expand…and have some pretty dynamic and intriguing discussions! Marie and I have slung around some intense verbal exchanges in more than a few of them.

Read the entire article at:

Update: groups

By request we now have Artist groups for you to join

where you can to talk to other artists who subscribe to this blog, share news about your projects, support each other’s Kickstarter projects, talk about ops,

share news and ways to mutually promote each others exhibits  …etc

The groups will bemember driven, as I continue to concentrate on providing content useful to artists here on this blog. For consistency the group names

match this blog:

LInkedIN group Artist Marketing Resources:

Artist Marketing Resources on Facebook:

For Subscribers and readers

As founder and solo contributor to this blog, expanding is a constant consideration. Very recently I submitted an application with a large design firm for Pro Bono redesign of this site. Also,upon invitation I started an Affinity group at, where I have also posted a request for an intern and content contributors.

I plan to begin featuring exhibition news from my blog subscribers. All blog subscribers, and those interested in the content of this blog, are welcome to submit news, links, ideas, suggestion or comments to me for consideration–   via email to:

Within the next few days I will begin a weekly update of my Kickstarter project, which will continue for 4 more weeks. The information should be relevant and beneficial to the artist readers of this blog who may also be seeking funding and increased networking opportunities.

If you have benefited from the content of Artist Marketing Resources blog I ask that you also support my Kickstarter project by contributing $1. or more.

Here is the project link–

Sharing this link on Twitter, Facebook, Digg, etc will help too.

Best wishes for a productive day!

Marie Kazalia

Tate Modern: another artist accepted

Another satisfied artist who subscribes to this blog to receive email updates of new posts, writes:

Dear Marie,

Thanks to your emails I got to know about the possibility of getting my work exhibited at the Tate Modern through the Museum of Everything. I went there and my drawing got selected. The experience of having my drawing shown at the Tate is mind-blowing.

On the other hand, I work for a collective of artists in London and we have uncurated exhibitions three times a year. I could send you the information. The web is

and my web is

all the best,


Artist Accepted

New York City artist Carmen Li found the Call to Submit to her first exhibition on this blog. Carmen writes:


I want to thank you for giving me the information about the show at the Monmouth Museum. They just announced the selected list and I am on it. This is my first show as you know, I am completely new to the circle.

I truly appreciate you sharing the information with me and I will send out your blog link for others so they can get your help as well.


View Carmen’s amazing art assemblages at:

Carmen Li

Born and raised in Hong Kong, Carmen experienced an interesting mix of Chinese tradition and colonial influence. After her 1992 graduation from the Swire School of Design of Hong Kong Polytechnic University, she became very active in design circles while working in several established Hong Kong studios. In 1996, just before the handover of Hong Kong to the Chinese government, Carmen arrived in New York City with two suitcases and her portfolio. In 2004 Carmen set up Creasia Design, incorporating her unique international sensibility into her own design language. Art remains her raison d’être however, and she continues to challenge commonplace perceptions of what art is Although New York is now her adopted home, Carmen frequently travels to London, Tokyo, Singapore and Hong Kong, where she actively seeks new material for her work, with inspiration coming in equal measures from the Royal Academy of Arts and the streets of Dai Pai Dong or Asakusa.

International Contemporary Art Fair Exclusively Online

The conventional art fair — for which collectors, dealers and other art-world professionals jet into a city for several days of looking, buying, partying and networking — is about to face a challenge. The online-only VIP Art Fair, which will take place for the first time in January, is similarly time-limited (at a week long), but different in almost every other way from a normal fair. The “booths” are virtual; conversation (and haggling over prices) will take place by instant messaging, phone or Skype; and no one will get sore feet. The event is the brainchild of two couples, the art dealers James and Jane Cohan and the Internet entrepreneurs Jonas and Alessandra Almgren, who are neighbors and friends in Park Slope.

So far several major galleries have signed up, including Gagosian, David Zwirner, White Cube, Hauser & Wirth and L&M Arts. The cost to galleries in the most elite category is $20,000, which Mr. Cohan said the founders estimated to be about a fifth of the cost of doing a conventional art fair (including booth, transportation, hotels and shipping). Asked whether people would be willing to spend money on art they hadn’t seen in person, Mr. Cohan said that buyers most likely would be people already familiar with a given artist’s work. For other visitors, he added, the fair would be more about education and making initial contacts with dealers. The fair will take place from Jan. 22-30. Anyone can browse, but to interact with dealers, you will have to be invited by one of the exhibiting galleries or pay a fee. (source: NY TImes, Art Beat article)

Visit the website to submit your name and email address to receive an invitation.

Linked to AMP Art Org Worldwide

Dear Marie,

thanks for connecting with us.

I’ve linked you on AMP’s Art Blogs page:

I see that you’ve linked AMP a couple of times on your blog, which is great!  However, I don’t think of AMP as a place for Calls to Submit, though those do show up.  AMP is primarily a way for artists worldwide to connect with each other, so they can help each other find the resources they need (thus the name – Artists’ Meeting Place and Resource Collective).  There are now about 4,000 members in 86 countries (the latest country to join is Swaziland – which was exciting).  Any member is free to post, and this is where Calls for Submissions show up, but also member art, announcements, blogs, music, and so on.  Browse through and I think you’ll see what I mean.  There are also worldwide listings of “real” (physical) art resources and organizations.  However, the biggest strength of AMP is that once members login, they can contact other members anywhere in the world.

That considered, probably the best place for AMP on your website is Art Orgs.


Terri Anderson
Executive Director
AMP: Artists’ Meeting Place and Resource Collective

Los Angeles, CA, USA

Underground art

Two organizations placing art for underground transportation viewing:

Art Below prints artists work on oversize posters that are placed on view in London, Berlin and Tokyo underground train stations. The artists pay substantial fees or obtain a sponsor.

a newer project

Art on Berlin Underground
Invites artists or collaborative groups of artists and non-artists an open call for submissions to a public art competition in the Berlin Underground Train Network for projects for 2011.

Preference will be given to artists who see their work as a means of exchange and shared dialogue and who are interested in reaching new audiences.
Deadline: 01 October 2010
Germany – Berlin
A maximum of four projects will be selected by the end of October 2010. A total budget of 30.000 Euro for all selected artists’ fees, production, travel and accommodation costs will be available (subject to funding from the Berlin Senate’s Department for Culture). U10 – from here to the imaginary and back again is a project by the Neue Gesellschaft für Bildende Kunst (NGBK) Berlin. The competition adresses the whole Underground network in order to explore the future of ‘public’ in public transport.  See