Ask Harriete

Professional Practices with Andy Cooperman and Harriete Estel Berman

The Academy of Art videotaped a program about professional development with Andy Cooperman and me (Harriete Estel Berman).  The program was co-sponsored by the S.F Metals Arts Guild.

Now the video is online!
The program revolved around a discussion about survival as an artist and maker. The entire program was an hour and half. It started with Andy Cooperman's 45 minute lecture about his work and recommendations for surviving as an artist and maker.

Part Two (below) is a quick 8 minute lecture about my work which continues with a few more minutes of me describing additional resources for artists and makers.  Then Andy and I respond to Q & A with the audience. Here is the handout with links to the Resources and the articles mentioned.  Download HANDOUT

If you listen to both lectures....let me know what you think. I'd really like to know....and will tell you why (privately.)
Harriete

There is Still Time & Space to Prepare for Success

Are you looking for direction on your  path to success?

Where do you want your work to go? What insights would you like to gain from my 30+ years of experience?  

Is your work consistent with your marketing? Are you images good enough to get you free publicity? Are your short term and long term goals an effective compass for success?

On April 28 & 29th, I will be teaching a professional development workshop at Revere Academy as part of their Masters
Symposium in San Francisco, CA.

Prepare for Success

April 28 - 29, 2012

 

Internet Option
If you can't travel to San Francisco, Revere Academy is offering on line participation at the amazing price of $79. It would be nice to see you in person, but if you need to stay at home while juggling the rest of your life, this is a way to listen in on your computer.

Webinar participants will be able to view the instructor and Powerpoint presentations in real time via their computer, as will as submit their own questions and images for review by the instructor, much like the students who attend the class in San Francisco. Because this is the first time Revere has offered a webinar class, the $79 is a special, one-time introductory price for the class.

Webinar participants are required to have a computer with a high-speed internet connection. To register for the webinar, call 415-391-4179.

Appropriate for all media, this two day intensive workshop with Harriete Estel Berman will provide tons of information to super charge your professional development and gain from my 30 years of experience.

Learn how to use the power of social networking, blogs, and web sites to develop visibility and get your work noticed. Other topics will include maintaining proper records for the IRS, managing inventory, how to update your resume, and evaluate and upgrade your photos.

We can cover anything you want.  Your questions can guide the topics to be covered. 


Here are some suggestions for topics:

Professional Development resources

Your 20 second commercial

Guidelines for a critique group

Identify your business model.

Establish Your Professional Goals
   Define Objective
   Define Success
   Are your objectives and definition of success            consistent?
   How do you expect to achieve your objectives?
   Define your market.

Pricing and fabrication methods.
   Pricing Structure
   Falcher Fusager’s Pricing Formula
   Guestimation
   Comparative Pricing
   Include your Overhead
   Cost of goods sold
   Pricing Concepts.

Inventory Record Form
   Inventory Records:  Documentation and Provenance
   Hallmark or sign your work

Digital Image Package
   Label examples
   Image description sheet
   All prints and digital files information.
   CONTACT SHEET SAMPLE

Resume vs. CV
   Resume categories
   CV
   BIO

Artist Statement Recommendations
   Artist Statement Tips
   Artist Statement with description
   Envelope for your package

PUBLICITY EXAMPLE
   PUBLICITY  IMAGE
   SELF PORTRAIT
   WORKING IN THE STUDIO
   PHOTOGRAPH EVENTS

Emails and social networking

Strategies for juried opportunities

Publicity and Marketing 100+ ideas
   Book recommendation
   Pitch letter
   Mailing List strategy
   Thank you
   STATIONARY

Wholesale/Retail
   Minimum order for wholesale
   Return Policy

Delivery of work in person
   Shipping – One of a kind work
   Unpacking & Display instructions
     To Display
     Packing and Shipping
     Maintenance Instructions
     Shipping
     CONDITION REPORT
     SIMPLE PACKING LIST 

Profit or Loss?
     What are your options?
     Do you act like a business?
     Expense record examples.
     3 rules to test deductibility
     Expertise?
     Time & Effort?
     Track record
     Record of sales
     Do you act like a business?  I.R.S.

COPYRIGHT & Fair use

www.you
        Website resources
        Web what you need to do and why
        Blogs - blogosphere
        Basic SEO to implement

Any Questions: Contact me directly
bermaid [at] harriete-estel-berman.info
(area code 650) - then 571-7726
http://www.harriete-estel-berman.info

Professional Development Information - Live, Online, and In Person

"Pencil in" professional development to boost your career with free information.  Two opportunites, the first, an ONLINE interview, and the second, a in-person discussion in SAN FRANCISCO.

ONLINE
Andy Cooperman, Harriete Estel Berman, and Brigitte Martin in conversation on Thursday, April 5th, at 3PM Pacific Time/ 6PM Eastern, on ‘Metalsmith BenchTalk on BlogTalkRadio’ with Jay Whaley.
Audience members can listen to the archived podcast.

San Francisco
PROFESSIONAL PRACTICES: Questions and Commentary with Andy Cooperman and Harriete Estel Berman    
Monday, April 16, 2011 7-8:30p.m.
(More information below.)

The details:

ONLINE podcast with Cooperman,  Brigitte Martin and me, Harriete Estel Berman as we open the pandora's box of shipping problems and solutions. Originally broadcast on Thursday, April 5th we  discuss the upcoming shipping topic for the Professional Development Seminar that will be held during the SNAG Conference.

 

 

Last year's SNAG Professional Development Seminar program can be viewed online at any time. The original PPT slides with audio as presented at the 2010 Conference have had over 22,000 views! The program from 2010 has had nearly 10,000 views.! Find the podcasts and handouts with presentations on the SNAG web site or my web site.

 

Professional Practices in San Francisco
Professional Practices with Andy Cooperman and Harriete Estel Berman will include a short presentation by Andy and myself. Then we will jump right into questions and answers by asking each other a couple of tough questions about the "road to success".

This event occurred on Monday April 16th at Academy of Art University
sponsored by the Academy of Art and the San Francisco Metal Arts Guild. 

This program was videotaped and will be available as a video presentation online....so check back, and I will let you know how to find it.

Harriete

FACEBOOK Personal Profile goes Professional on KICKSTARTER

My experience using KICKSTARTER to finance a future video continues to be a revelation on many levels. The learning curve is demanding.

One KICKSTARTER requirement is that you MUST link to your Facebook personal profile, not your business page. Yes, indeed, your Facebook Personal Profile is now professional as well. 



This is what KICKSTARTER says:

"If you're a creator, it's a great way to let backers know a little bit more about you. It doesn't mean you have to accept random friend requests or make your entire profile public, but it's an easy way to show backers you're a real person. You can also adjust the privacy settings of your Facebook account to better control what new visitors see."

REALITY CHECK:
Your Facebook personal profile needs to be managed as if you were cautioning your teenage son or daughter about what to post on line. Everything seems to be moving to a level of transparency in the Internet community. Control of your privacy starts with what you post. And Facebook is never particularly private despite "privacy settings."

Recently, I heard that employers are asking for Facebook profile passwords. In other words, they want to "see all" about their prospective employees. While of course you could say "no", if you wanted a job in this tough economy, wouldn't you say "yes".

My decision long ago was  to keep my Facebook personal profile as a professional page. Everything posted on my Facebook is what I want everyone to see because privacy on the Internet is non-existent. 

Facebook is a great tool, please be my friend on Facebook. I look forward to meeting new people in this forum.

Harriete

Prepare for Success - Workshop for Your Quest

Looking for your path to success?

What direction do you want your work to go? What insights would you like to gain from someone with 30+ years of experience? Is your work consistent with your marketing?

 

In April, I will be teaching a professional development workshop at Revere Academy as part of their Masters
Symposium in San Francisco, CA.

Prepare for Success

April 28 - 29, 2012

 

Internet Option
If you can't travel to San Francisco, Revere Academy is offering on line participation at a reduced cost! It would be nice to see you in person, but if you need to stay at home while juggling the rest of your life, this is a way to listen in on your computer.

Webinar participants will be able to view the instructor and Powerpoint presentations in real time via their computer, as will as submit their own questions and images for review by the instructor, much like the students who attend the class in San Francisco. Because this is the first time Revere has offered a webinar class,there is a special, one-time introductory price for the class of just $79!Download Prep for SuccessPR

Webinar participants are required to have a computer with a high-speed internet connection. To register for the webinar, call 415-391-4179.

Appropriate for all media, this two day intensive workshop with Harriete Estel Berman will provide tons of information to super charge your professional development and gain from my 30 years of experience.

Learn how to use the power of social networking, blogs, and web sites to develop visibility and get your work noticed. Other topics will include maintaining proper records for the IRS, managing inventory, how to update your resume, and evaluate and upgrade your photos.

We can cover anything you want.  Your questions can guide the topics to be covered. 


Here are some suggestions for topics:

Professional Development resources

Your 20 second commercial

Guidelines for a critique group

Identify your business model.

Establish Your Professional Goals
   Define Objective
   Define Success
   Are your objectives and definition of success            consistent?
   How do you expect to achieve your objectives?
   Define your market.

Pricing and fabrication methods.
   Pricing Structure
   Falcher Fusager’s Pricing Formula
   Guestimation
   Comparative Pricing
   Include your Overhead
   Cost of goods sold
   Pricing Concepts.

Inventory Record Form
   Inventory Records:  Documentation and Provenance
   Hallmark or sign your work

Digital Image Package
   Label examples
   Image description sheet
   All prints and digital files information.
   CONTACT SHEET SAMPLE

Resume vs. CV
   Resume categories
   CV
   BIO

Artist Statement Recommendations
   Artist Statement Tips
   Artist Statement with description
   Envelope for your package

PUBLICITY EXAMPLE
   PUBLICITY  IMAGE
   SELF PORTRAIT
   WORKING IN THE STUDIO
   PHOTOGRAPH EVENTS

Emails and social networking

Strategies for juried opportunities

Publicity and Marketing 100+ ideas
   Book recommendation
   Pitch letter
   Mailing List strategy
   Thank you
   STATIONARY

Wholesale/Retail
   Minimum order for wholesale
   Return Policy

Delivery of work in person
   Shipping – One of a kind work
   Unpacking & Display instructions
     To Display
     Packing and Shipping
     Maintenance Instructions
     Shipping
     CONDITION REPORT
     SIMPLE PACKING LIST 

Profit or Loss?
     What are your options?
     Do you act like a business?
     Expense record examples.
     3 rules to test deductibility
     Expertise?
     Time & Effort?
     Track record
     Record of sales
     Do you act like a business?  I.R.S.

COPYRIGHT & Fair use

www.you
        Website resources
        Web what you need to do and why
        Blogs - blogosphere
        Basic SEO to implement

Any Questions: Contact me directly
bermaid [at] harriete-estel-berman.info
(area code 650) - then 571-7726
http://www.harriete-estel-berman.info

Plant a Seed, Nurture Ideas, Time to Prepare for Blooms and Fruit

The opening for the Dorothy Saxe Invitational exhibition at the Contemporary Jewish Museum is coming up. The theme is Tu BishVat (a lesser known Jewish holiday) celebrating the birthday of trees. Before making a piece for an exhibition, I usually read, study, and research the background of a topic or theme.  This prepares me for the intensive hours, days, and weeks of making a piece -- in this case, a special Seder plate about planting, growth, nurturing, and realizing the fruits of our labor.

It got me to thinking about fruit trees as a metaphor for artists and makers.

There is a Biblical recommendation that newly planted fruit trees should not be harvested before the 5th year.  Thus Tu Bishvat is sometimes called the birthday for trees since this holiday is used as a demarcation for the passing of each year, a very practical recommendation for the future health and productivity of the tree.

If the tree is nurtured for five years before harvesting the  fruit, all of the energy and dedication of the caretaker will be realized in the long term health of the tree.  When the mature tree produces fruit for harvest, it will be more "fruitful" for many years. 

This is a perfect metaphor for a budding artist and how they should nurture their creative output.

Artists and makers should take this to heart.... I am really serious about this point.

I am concerned especially for emerging artists (of all ages) who expect their early creative pursuits to bear immediate fruit in both money and critical acclaim. A premature expectation for visibility and sales too often influences what is made and how it is made.  I hope they learn to overcome these common mistakes:

1.) Shallow roots. Demands from the marketplace can distract artists and makers from developing substantive skills and meaningful ideas. Sustained personal development produces the best fruit. 

2.) Grafting onto others. It is easy to take other people's ideas, styles and techniques.  But copying what's been done before never develops the individual voice within each of us.

3.) Premature Harvest - Spending too much time promoting initial work instead of developing and producing more thoughtful, more meaningful work.  I am all for selling, but spending time trying to promote and sell premature work damages the long term reputation of emerging artists and drains potential energy from more meaningful development and creativity.

I know my words are pointed.  I don't usually say "should", but in this case it is warranted.

Trying to harvest fruit too early damages the core of creativity and dilutes the energy of individuals who could benefit from experiencing growth over a period of time.  Learning from experience and consciously seeking to improve quality should take precedence over immediate gratification.  Higher quality work may take a few years, but once established, it can be productively sustained for a longer period to time.

Harriete

How This Article in "American Craft" Came to Be.

When I see something amazing happen for a fellow artist or maker, I wonder how it happened or what they did to make that happen.  Do you wonder the same thing?

Recently, my work was featured in American Craft Magazine -- two pages in the Craft in Action section about Pick Up Your Pencils, Begin. While there was an increment of good fortune, it was actually years of making, along with taking every day actions that readers of ASK Harriete could implement for greater visibility for their work.

In this case, a quote of Louis Pasteur comes to mind, "Chance favors only the prepared mind."

Since I knew that this project was going to take several years, I started a page on my web site very early in the project to document each stage.

The web site was updated frequently with pictures of work in progress.

I also posted a link to this page on the home page of my web site (shown below). The link was an eye catching yellow of #2 pencils.

While there are no guarantees for anything in life, the article in American Craft came about in part because of the ongoing four years of communicating each milestone of the project.  I took the time to give the project visibility on my web site.

It seems Julie K. Hanus, Senior Editor of American Craft Magazine, is like many editors who "troll" the web for ideas, information and new work whenever they have a chance. I heard the same comment from Marthe Le Van, Editor at Lark Books in the presentation she gave during the Professional Development Seminar.

Photography in Flux (Editors Perspective) from the SNAG PDS 2011

View another webinar from Harriete Estel Berman

The lesson learned here is that your web site is a window to the world for people to see your work. While I use many other social networking platforms....your web site is paramount.  Even though I would wonder how many people were looking at my web site, all the work that I put into my web site did matter after all!

The article in American Craft happened because of hard work and my web site!

My words of wisdom to everyone is that YOUR WEB SITE IS YOUR MOST VALUABLE TOOL to promote your work.

Learn how to update and maintain your own web site.

Update your web site on a regular basis.

Harriete

Would you like two days of tips and information to improve your art/craft business practice?

I am teaching a workshop at Revere Academy. 
PREPARE FOR SUCCESS

"Prepare for Success" in an Art & Craft Business

[Shameless self promotion -- take a workshop with Harriete on business development and ASK Harriete your questions in person.] 

We all want to improve our tools for success.  In a two day workshop, gain a wealth of information on ways to accelerate your art/craft business skills.

Prepare for Success: Crash course in running an arts and crafts business

I will be teaching this workshop at Revere Academy, San Francisco, April 28 and 29, 2012.  The hours for the class are 9 am to 5 pm.

This class is not just for jewelers! While Revere Academy usually appeals to the hands on metalworking skills, in reality, all media have similar issues in running and managing an art and craft of business.

 

RAISE YOUR EXPECTATIONS.

Professional practices are the day to day skills that lead to long term success.

Align your business activities to the style of your work.  The fundamentals of an art/craft business can be rewarding.

Learn how to use social networking, blogs, and your web site to develop visibility.

What are your one year goals? Five year goals?

Is your resume organized and updated? Learn some simple ideas for your business "housekeeping". Is that an oxymoron?

 How is your inventory management?

Are you maintaining proper records for the IRS? 

Are your photographic images good enough?
Let’s take a look.

Submit specific questions in advance or plan to be spontaneous in the workshop.  The workshop is expected to be responsive to and directed by the participants. There is time for dedicated attention for each person.  

Bring your lunch if you want to spend the lunch hour discussing your work and marketing.

How do you define Success?
Is your work and business approach consistent with your goals and objectives?   Is your definition for success a goal or a wish?

Raise your standards or at least redefine them.
Invest two days in your future.

Recent article in American Craft  Dec/Jan 2012 about my work. 

Harriete Estel Berman standing in front of her Seder plate at the Minneapolis Institute of Art.

Photo Comparisons and Descriptions - Now Optimize Your Submission

The previous post answered a question from Lora Hart about what information jurors really take into consideration.

She  also sent several photos for comparison.Today we will look more closely at the photos and the photo description. There are several issues to look at here.

Compare and contrast these photos. How does the quality of the photo affect your opinion of the work?

What do you think about the inclusion of technique within the photo description?

Communion
.999 Metal Clay, Mica, Photograph, Pearl. Kiln fired, riveted.
Left Photo by Lora Hart.
Right Photo by Marsha Thomas.

COMMENTS ABOUT THE PHOTO COMPARISON:
The photo left was taken by the artist. Unfortunately the lighting reveals the "wavy" surface of the frame. This is distracting and the least attractive part of this pendent. From a technical standpoint, a frame like this should be cut from silver sheet or sanded to a smoother appearance (before riveting).

The completely centered pendant and background looks a little rigid and static. The pendant is sinking into the background.

In the professional photograph on the right by Marsha Thomas the spot of light on the lower right gives a strong shadow below the pendant. This clearly delineates the pendant, giving the pendant a presence and lifts the pendant off the background.

The extra lighting also makes the photographic element glow with a richer color. Since the photo is an important part of the composition, this extra emphasis is important.

COMMENTS ON PHOTO DESCRIPTION:
While a photo description (above) as written by Lora Hart would not get the artist eliminated, it focuses too much attention to the techniques.   This is intended to be constructive criticism to stress how important words can be in representing your work.

The photo description should include ONLY materials. Including "kiln fired", and "riveted" in the photo description is unnecessary.  I do  not recommend including any fabrication or technical information in a photo description (unless it is required).  Even then, a requirement for technical information is usually a separate box on a juried application.

The term photo in the description seemed a little unclear to me. I looked at the image and wondered why the photo had a brown tint. It was only after discussion with Lora, that she realized that she forgot to include Mica in the description (I added this later).

After we cleared up this issue, it brought something to mind. If a juror is confused about an image, it brings the work closer to a rejection. In this example, I didn't understand why the photo had a brown tint. Only after two emails, did Lora and I clear this up. During a real jury situation, communication with the artist is not a option. If anything in the photographic image of your work isn't explained in the description, most likely your work is out. Don't use the term mixed media for just this reason.

NEXT PHOTO COMPARISON:

 
Eidyl Pleasure.
Copper, .999 Fine Silver, Pearls. Hydraulically Pressed, Kiln Fired, Sewn.
Left Photo by Marsha Thomas.
Right Photo by Lora Hart.
 

COMMENTS ABOUT THE PHOTO COMPARISON:

The photo taken by the artist on the left seems a bit out of focus. In a competitive jury situation, an out of focus photo is usually an automatic "decline".

So sorry to be so blunt, but if the photo isn't in focus, it sends a message that the artist/maker is:

• not professional;
• they are not focusing on their art  or craft;
• the maker does not have professional quality photos because they don't care; and if the artist doesn't care, then the juror doesn't care;
  
• = Decline.

Another problem with the photo on the left is that the color is lifeless. The completely centered pendant within the photographic frame looks somewhat flat and dull (especially in comparison to the photo on the right).

In the professional photo (on the right) by Marsha Thomas, the spot of light on the pendant and the background gradient helps to highlight the pendant. The focus is clear and sharp. The color of the copper looks luminous and rich. The metal shines. I like how the point of the pendant points diagonally into the corner which creates a more dynamic image. The pearls extend this movement into the corner of the frame filling the entire rectangle format of the image.

COMMENTS ON PHOTO DESCRIPTION:
The photo description should include only the materials, no technical process.  Do not list technical process unless it is required information. I am not as familiar with other media, but jewelry/metals people seem overly focused on technical processes and it becomes a boring crutch. Skip it. Nada, never include any processes in your photo description. The only thing people or jurors want to judge is the final work, not how you made it.

Take out terms such as "Hydraulically Pressed, Kiln Fired, Sewn" from the photo description. This goes in a box for process or technique, not in the photo description. Avoid discussion of technique unless it relates directly to the theme.

NEXT PHOTO comment:

Conquistador
sterling silver, .999 Metal Clay, pearls,
silk. Fabricated, kiln fired, sewn.
Artist: Lora Hart
Photo Credit: Marsha Thomas

Lora Hart's ring (to the left) only has one professional quality image, so there is no comparison photo.   But  I do have a comment. The top of the ring and the background are too close to the same value.  I wish that there was more contrast between the ring and background, either the ring had a little more light on it, or the background were a lighter color.

COMMENTS ON PHOTO DESCRIPTION:

I would add the term "ring" to the title as in Conquistador Ring. Adding a clarifying word makes it very clear when the juror is looking at the work.

Of course, in this case, it is very obvious that this is a ring, but sometimes rings don't look this obvious. Same goes with a bracelet, pendant, necklace, teapot, book, cabinet, etc.

Hope this information is helpful. Do you have any photos like this to compare for ASK Harriete readers? Photos you took yourself and then had the same work re-shot by a photographer.

Thank you Lora Hart for sharing.  This has been a great comparison to review.

Harriete

Networking, Forging Communities, Connections, Opportunities

  Here I am as the "Applause  Lady" at a
  SNAG Conference. I don't normally
 dress like this, but it was fun.

Though I love the virtual world, there will never be a substitute for going to a symposium, meeting people in person, or listening to a lecture live. A serendipitous moment can change your professional future. It has happened to me time and time again. Make it happen for yourself.

With this in mind, here is information about an upcoming symposium in the S.F. Bay Area, followed by links and brief information about the speakers.

Forging Communities - An Intimate One-Day Symposium 
   November 12, 2011 
   9am-5:30pm
   Sponsored by the Metal Arts Guild of San Francisco

MORE INFORMATION BELOW:

Forging Communities  An Intimate One-Day Symposium 
November 12, 2011 
9am-5:30pm  Museum of California, Oakland, CA
Sponsored by the Metal Arts Guild of San Francisco
Register online (scroll down the page)

I am one of the speakers. Come and ASK Harriete your questions in person. Below is the entire schedule for the day.

Metal Rising: The Forming of the Metal Arts Guild, San Francisco, California, 1929-1964 presented by Jennifer Shaifer followed by a conversation with Imogene Tex Gieling, merry renk, Florence Resnikov (founding members of MAG).

What does Success Look Like in the Jewelry World? with Sarah Turner, Brigitte Martin, Lola Brooks, Sienna Patti.

Professional Practices: Conversation, Questions, & Commentary with me, Harriete Estel Berman. Ask questions now, at the symposium or via twitter. Tara Brannigan will be covering the symposium live via twitter.

The Maker Faire Phenomenon – Engaging Community and the Next Generation of Makers with Dale Dougherty (Founder of Make: Magazine and Maker Faire).

The Extreme Craft Roadshow presented by Garth Johnson

 

 

Is it fruitless to even think of creating something fast to get into a show?

A reader of ASK Harriete asks:

Is it fruitless to even think of creating something fast to get into a show?  My fine art pieces also take me a long time (months and months). 

The short answer is that it depends on the show and your situation. While I generally recommend to make great work and then find a show.... there are occasions for which a smaller piece may fit both your long term goals and the near term exhibition theme.  For example, I created the 3M & m Candy Dispenser (right images) for such a situation.

A few weeks or a couple of months notice to make a piece for an exhibition isn't much time, but yes, sometimes the opportunity presented is worth a grueling crush to complete.

   3M & m Candy Dispenser © 2005
   Constructed for an exhibition based on
   using 3M products.
   Recycled tin cans, candy dispenser,,
   candy, brass
   Artist: Harriete Estel Berman
   Photo Credit: Philip Cohen

Here are my main criteria for deciding whether to participate in a show on short notice:

• Does the exhibition include insurance?

• Is this a quality exhibition space with an established reputation either locally or nationally?

• Will the work be handled by professional art handlers?
  
  
• Will the exhibition sponsor generate good visibility for the show with an audience that would appreciate my type of work?

• Do I have a good/interesting idea for the exhibition theme?
  
  
• Is the exhibition sponsor (or curator) a place (or person) that I would like to develop a working relationship with for the future?
  
  
• Do I want to support the theme or organization sponsoring the exhibition?


• MOST IMPORTANT: Do I have enough time to make an excellent example of my work including skillful execution and a thoughtful concept?
  
  

Below are more examples of work made for a special exhibition and why I made it.



“Butterfly” by Harriete Estel Berman

This is my butterfly for the exhibition “I Never Saw Another Butterfly” at the Holocaust Museum in Houston. If you look closely, you can see the children playing. The Holocaust Museum Houston was collecting 1.5 million handmade butterflies in an effort to remember the loss of children during the Holocaust. The butterflies will eventually comprise a breath-taking exhibition, currently scheduled for Spring 2012, for all to remember.

I decided to participate in this exhibition for three reasons:

• The theme expressed a poignant resonance.
• I had the perfect tin to execute my butterfly idea.
• The project was small. I could make an exquisite  butterfly in a week.

CERF Shoe by Harriete Estel Berman
St. silver rivets and eyelets, electrical wire shoe laces, tool dip.
1.15 “height  x  3.5 “ width x 3.5 “ depth (including shoe laces)

My shoe is constructed from recycled tin cans from KIWI Shoe Polish, and other tin cans. This shoe was made for CERF (Craft Emergency Relief Fund) as part of their raffle that was shown at SOFA Chicago 2009. CERF helps artists with financial emergencies.

I decided to participate in this exhibition for three reasons:

• CERF is an organization that helps artists.
• The raffle for the collection of shoes gets great visibility at SOFA, Chicago and mail distribution of their postcard.
• Their raffle method does not devalue my work (like most fund-raising  auctions.)

 

Children are not Bulletproof  
© 2000    Harriete Estel Berman
Two pins and three wall mount elements constructed primarily from recycled tin cans; brass, 14k. gold-filled wire, vintage plastic, red satin ribbon.                          
64.25” height installed (Ribbon length rests on the floor)   x   4” width   x   2.25” depth

Two pins and three wall mounts exhibited and sold as one unit.
Children are not Bulletproof  is available for purchase or exhibition.
Close-up view below.

Children are not Bulletproof  © 2000 Harriete Estel Berman

This was originally constructed for a political badges show at Helen Drutt Gallery.
I decided to participate in this exhibition for three reasons:

• Helen Drutt asked me to participate. (It is hard to say "no" to people you respect or admire.)
  
• Helen Drutt Gallery usually managed to get great visibility for many of her shows.
• I thought that I could a make a good piece within the three month advance notice.

These were just a few examples. When there is an invitation or a juried opportunity, you have to weigh the pros and cons for each show, and then decide for yourself.

I have one more post in this series coming up.... How Do You Find Exhibition Opportunities for Finished Work?

Do you have any more questions about this topic? Let me know.

Harriete

 

Children are not Bulletproof                                                             © 2000    Harriete Estel Berman

Two pins and three wall mount elements constructed primarily from recycled tin cans (pre-existing scratches and marks may be present); brass, 14k. gold-filled wire, vintage plastic, red satin ribbon.

                                           

64.25” height installed (Ribbon length rests on the floor)   x   4” width   x   2.25” depth

Two pins and three wall mounts sold as one unit.  Pieces may not be sold separately.     

NICHE MARKETING - 3 Presentations Offer Great Information

The Professional Development Seminar from the 2011 SNAG Conference was recorded and is available for listening and viewing!

Now you can see the same presentations and hear what our niche marketing experts had to say.  I enjoyed the real time events but learned even more when I was editing the audio....and I think you will too! Here are a few highlights, (then scroll down for the SlideShare presentation with audio).

Alexander Girard mid-20th century
dolls sold to adults were a stylistic
influence on Hilary Pfeiffer new line
of wedding toppers.
Photo from H.Pfeifer PowerPoint.

Our first speaker, Hilary Pfiefer, describes her "Bunny with a Tool Belt" line that keeps her going in this tough economy.

Hilary explains that her  childhood interests evolved into her wedding cake toppers sold on Etsy (left photos). She says these are among the few things that people keep and display in their homes after the wedding. Every one of her wedding cake toppers delights...check out success by looking at Bunny with a ToolBelt!

 

Next up, the Professional Development Seminar continues with emiko oye.  Watch the SlideShare and take notes. No matter what your medium or style, emiko offers solid information that translates to success from gallery exhibitions to Etsy.

 emiko's TOP five tips
for Getting Your Business Out There!

1. Professional Quality Photography
This is THE MOST IMPORTANT TIP for getting exposure for your business. First impressions are everything so why not wow people's socks off from the get go!

2.Take Risks Don't Get STUCK: Balance
Even though you may sell a ton of one design in one style, don't get stuck just putting all your focus on making the same thing over and over. 

Balance: I'm a staunch believer in making important exhibition pieces (right images) as well as production, ready-to-wear. The exhibition work definitely helps sell the production work and gives broader exposure.

3. Take Note & Be Accessible
Pay attention to how people respond to your work, feedback helps define your niche market. Be Accessible: means have a web presence. As I've said in my lecture, "If you aren't online, you don't exist". Get involved in social media with Facebook, Twitter, and  Crafthaus.

  All jewelry (above right) by emiko oye
  from repuprosed LEGOS
  The Tire Earrings are included in new
  Lark book 21st Century Jewelry

4. Be Ready Set Go!
When opportunity strikes, you must be ready with line sheets, images, bios, and artist statements. Flickr and your web site are great for being ready for the press.

5. Get Involved.
While we love to hole ourselves up in the studio and make to our hearts content, it's important to get involved in your community, local, & national arts organizations.

emiko is posting a more detailed information  about each tip on her blog this week.

 

Our third Niche Marketing speaker, Deb Stoner, has a multi prong approach to support herself which includes teaching workshops in  eyeglass fabrication, custom designing and fabrication for Donna Karan, along with her jewelry & photography. She keeps it fresh by being open to opportunity. Read the Handout Deb created for the PDS about Niche Marketing.  Download DebStoner_Final

 

                      *******

Niche Marketing from SNAG PDS 2011

View another webinar from Harriete Estel Berman

The Professional Development Seminar was organized by Andy Cooperman, Brigitte Martin and myself, Harriete Estel Berman. We had a strong program brimming with information and over 500 attendees but the Internet offers the opportunity to share this programming with a much larger audience.

Please feel empowered to share this SlideShare or post on ASK Harriete with your fellow artists and makers (with  proper attribution, of course).  If you want the HTML code to paste this NICHE MARKETING SlideShare into your own blog, web site or organization newsletter, just write to me at:  bermaid [at] harriete-estel-berman [dot]info. It is super easy to do.

Our sponsors include the NEA, National Endowment for the Arts, MJSA, and SNAG.  Stay tuned for more SlideShare presentations with audio from our PDS programming.

A Vision Beyond the Moment?

Recently, I was interviewed for an online e-commerce site called e-junkies. They have lots of practical and interesting information about e-commerce, trendy products, small business and self publishing. 

Yes, definitely read the interview and roam around the site.

When I posted a link to the interview on Facebook, Alison Antelman commented, "This is a quote that I really like (from the interview), 'There needs to be a vision beyond the moment.' Well said!"

Do you have a vision beyond the moment?
Are you thinking beyond the making?

   Password Flower Brooch with glasses
   Post Consumer recycled tin cans
   Harriete Estel Berman  © 2011
   Diameter 3 1/8"
   Retail Price $425.

We makers typically love "making" so much that it is easy to forget the most important tool is our brains.  This is why the current knitting mania is driving me nuts ..... especially when justified with little excuses....the "pleasure" derived from the absence of thought and quips such as, "I can knit without thinking." blah, blah, blah.

This post was prompted by a recent quote in the ACC series, Why I Make (which explores the human impulse to create).  Elizabeth Howard wrote, "When I switch on my knitting hands, I can take time off from the thoughts in my head.  Knitting - usually done haphazardly, without a clue what BOs and yos are - releases me from having to tune in (at that moment) to that always-chugging creative engine." 

My jaw dropped. This may appeal to a hobby audience, but I couldn't believe that this rationale appeared in an ACC publication. 

I don't want to paint knitting as the "bad guy," but this overt joy of mental separation from the making that is sweeping the craft world is just one example.  Other parallels are everywhere...IN ALL MEDIA whether working at the potter's wheel, weaving a basket, sanding wood, mixing a glaze, making handmade chain.  

  Page from Manufractured © 2009
  Recycled tin cans, steel dollhouses
  Artist: Harriete Estel Berman
   Photo Credit: Philip Cohen

It is fine if you just want to make, but many makers also want to see their work in exhibitions, shows and books.  And that is the key, this higher level of recognition requires constant, active, thoughtful inspiration, not just aspiration.  

If you enjoy siting there happy as a clam because you are making, that is OK.   But  without thought, the finished work will indeed have no vision....and I assure you....any editor, publisher, or exhibition jury will look at the work and see that it had no vision.

Here are a couple of suggestions for a "thinking while making:"

ACTION PLAN.

• Plan the display of the work early. Anticipate success.
• Construct the work so that it can be repaired if damaged.
• Write down thoughts for your artist statement.
• Keep the main objective for the work forefront in your mind
• Experiment and take risk. Challenge yourself beyond "safe" work.
• Think about the photo early while you make the work.*

My sincerest unapologetic opinion,

Harriete 

* The recent Professional Development Seminar at the 2011 SNAG Conference, photographer Roger Schreiber recommended that artists and makers think about the photographic documentation of their work sooner. This is especially important for fabulous photos. You can see a "preview" of the PowerPoint and audio of the Professional Development Seminar. (I am still fine tuning the slide image transitions.) Your feedback is most welcome.

Yellow Flower Scroll Doorpost Mezuzah
Dimensions: 7.25” length
Retail Price $220.

Forging Communities - An Intimate One Day Symposium for Networking and Information

The Metal Arts Guild of the San Francisco Bay Area is sponsoring a one day symposium in November 2011 titled: FORGING COMMUNITIES.

WHY GO TO A CONFERENCE?
   NETWORK and meet new people,
   LISTEN to thought provoking lectures,
   LEARN new ideas,
   SEE work that surprises and inspires.



Forging Communities has arranged an amazing line up of speakers.

The program starts with a bit of history with
Metal Rising.  Jennifer Shaifer studied the historical roots of the Metal Arts Guild for her doctorate! She will reveal the impetus behind the formation of the Guild, the work of its pioneering members, and the legacy of MAG in the American Modern studio jewelry movement. Jennifer is full of energy.  I know this will be an entertaining lecture.......definitely not a boring history lesson. This will be followed by discussion with founding members of MAG.

Then time travel into a roundtable  with Sarah Turner of Cranbrook Academy of Art, Sienna Patti of Sienna Gallery, Brigitte Martin of Crafthaus, and artist Lola Brooks as they discuss:
"What Does Success Look Like in the Jewelry World?"

 

Starting the afternoon:
Professional Practices: Conversation, Questions, and Commentary with Andy Cooperman and myself, Harriete Estel Berman. This dynamic duo is ready and waiting for questions from the audience. Anything goes!!!!

The Maker Faire Phenomenon with founder of MAKE Magazine and Maker Faire, Dale Dougherty.

The Extreme Craft Roadshow with Garth Johnson, founder of Extreme Craft, educator, and author.

This one-day symposium at the Oakland Museum of California is geared to the metals, jewelry, and maker communities. Lunch will be provided onsite.
Save the Date! 11-12-11
November 12, 2011

ACTION PLAN:

Register NOW!
Early Bird Registration through July 30

I will be there, and hope you will be there too!
Lets get together now and forge communities

Harriete

P.S. Don't forget to enter your work into the exhibition opportunities mentioned in the previous post on ASK Harriete.

Make your own name tag.  I am making five more so I have one in every color for every outfit.

Promoting YOUR Art or Craft with SlideShare - Adding Audio!

 
I am TERRIBLE about reading instructions.
I usually just jump right in, then sink or swim.  

The point is that there are many ways to learn.  What ever works for you, one way or another, it isn't difficult to learn how to create really great SlideShare presentations with audio.

 Below is a presentation (found on SlideShare) with Step by Step instructions of what we have been covering on ASK Harriete in the three previous posts.

Creating presentations using SlideShare and Audacity (the free audio editing software).

View another webinar from Sarah Rainey.

Here is what works for me.  Audacity is rather self-explanatory so I never read any instructions....or listened to any presentations, but perhaps it would be advisable.  Take advantage of the free software download to make your audio recording.

My first step when adding audio is to write a script. While it is not necessary to read every word exactly, a script improves your recording significantly and eliminates a lot of editing. A script saves time!

Next, modify the PowerPoint (on your computer) to fit your script. I play my audio recording while I watch my PowerPoint. Testing on your computer saves time.

Are you ready?

  Quality images

  Great Recording

  Interesting content 

 

Final steps are 1, 2, 3:

1. Upload your PowerPoint to SlideShare
2. Upload your audio MP3 file to SlideShare
3. Synchronize the advancement of images with the audio. This is very easy to do.

SlideShare is a great site for creating professional quality presentations about your art or craft.

For example, I recommended that my daughter upload her portfolio and talk about her design objectives as a SlideShare presentation. What an easy way to have an online link for your resume as a new graduate on a job hunt.

 It's summer! Are you ready to jump in to new ways to share your work with a larger audience? 

Harriete

Just in case....here is a review for final steps to create your own audio recording.

FOLLOW THE INSTRUCTIONS found here for a podcast tutorial.
Download the audio software. You are almost ready.

The final download is Lame MP3 Encoder. This information is further down on the same page.  See the image below.

AFTER you download both Audacity and LAME MP3 Encoder, you are ready to start recording with your headset/microphone.

It takes some trial and error to become proficient. The image above is what the Audacity editing software looks like on my computer. As you record, you will see the recording as the squiggly blue line.

With a little practice you start identifying what words look like.  I am editing the Professional Development Seminar recording from the Seattle SNAG Conference.

It is interesting that you can start to see "uhmmmmmsss", "Ahhhhsss", and "annnnddddssss". They are called "audible pauses" and your recording will sound a lot better by editing out audible pauses, stutters, and external noises (like a cough).

KISS ("keep it simple stupid") Presentations to Promote Your Art and Craft

A great SlideShare about your art or craft starts with a great PowerPoint!

Creating great PowerPoints
                                             and not Bad PowerPoints

View more presentations from lutroo

PLAN IN ADVANCE to make your PowerPoint presentation amazing!

WHY are you making a presentation!  (Who is the intended audience and what message do you wish to convey?)

THINK BIG!

Do you want to share your work?

ARE YOU SHARING INSIGHT?

Do you want INVITATIONS for workshops or lectures?

Considering that people may be watching  your presentation on a variety of monitors.... some the size of a playing card, keep your text and graphics simple.....hence KISS "keep it simple stupid".

 

Visuals In Power Point

View more presentations from Fortify Services

Find PowerPoint or Keynote on your computer, open it!~

Start...

 
The next post on ASK Harriete is about adding audio to your SlideShare.

Harriete

If you don't know how to use PowerPoint, a final tutorial is below. It's a little dry, but it offers a good beginning. One more hint: if you are planning to UPLOAD your presentation to SlideShare, do not add animations or fancy slide transitions....they don't work on SlideShare.  

PowerPoint Tutorial Presentation - Tips & Tricks

View more presentations from Niezette -

* K-I-S-S is an expression often used in engineering and science to remind practitioners to avoid excessive complexity.  It derives from a principle known as Occam's Razor.     

Promoting YOUR art or craft with SlideShare - Take Your First Step

SlideShare is a great way to promote your art or craft.  The free online service provides easily accessible usage information such as the number of views on each of your SlideShare presentations.  You can allow viewers to download your presentation or opt out.

I'd say you have nothing to lose, and much to gain! It is a great way to create a short lecture about your work, or insight into your special technique.

Below this example SlideShare presentation is information about the costs involved and links to get the free software.

Obverse Obsession

View another webinar from Harriete Estel Berman

COST:
SlideShare is a FREE site for the basic service and this has worked quite well for me to experiment and build my skills with this new marketing tool. There is also a fee based SlideShare if you want more information on traffic analytics.

Almost everyone’s computer comes with Microsoft PowerPoint or Apple Keynote. It is pretty easy to get started. All you need are great images for your digital presentation and you are on your way.

Do all your slide/image/text preparation in PhotoShop/PowerPoint/Keynote. You can not edit your SlideShare presentation once it is uploaded.  If you find any mistakes after uploading, you will need to fix the mistakes in your presentation and upload a new corrected presentation (replacing the old presentation). 

 
By browsing other peoples' presentations on SlideShare you will see that some create very effective presentations without audio! I did this for my first presentation. Create your presentation on your computer and upload it to SlideShare. Add text to your images or slides instead of audio. It is that simple!

Be patient with the uploading. Depending on the size it can take a while.

ADDING AUDIO:
This is pretty easy to do. You really don’t need a lot of technical skills, just the risk taking guts to experiment and learn from mistakes along the way. Your only cost will be a microphone and head set (if you don’t own one already.)

Purchase a microphone/head set combination at your local electronics store which costs about $50. (I did not buy the most expensive microphone/head set, but selected a basic option which has worked out really well.)

SOFTWARE for adding Audio:
To get started with your audio software first visit a site called “How to Podcast”. This will give you a step-by-step guide on how to podcast without breaking the bank. This is the home of the free podcast tutorial that will take your podcast from concept to launch -- and for minimal cost (brought to you by, Jason Van Orden, author of “Promoting Your Podcast”).



The focus of this site is how to create a podcast, but essentially a podcast is just a MP3 file. You need an MP3 file to upload to SlideShare and synchronize with your slides. This site has all the information you need, but if you ever get stuck (it is sometimes really frustrating to learn a new technology on your own), just type your question into Google. This is how I find answers to my questions.

Audio Editing Software (Audacity) and Lame MP3 Encoder are both available online for free. There are free tutorials online too so you don’t need to spend any money on editing software.  The one I use is called Audacity. There is no need to buy expensive audio editing software when you are first starting out.

There are multiple pages of information, and even video tutorials to watch. While I don’t know how to use most of the options in the Audacity editing software, I can still create very acceptable quality podcasts and audio MP3 files.

Go to Audacity to get started.

That's it for today.
Next week, I will help you get started with a few more tips.

You have your assignment.
Get ready for the next tutorial.

Harriete

Below is a presentation I made about the Professional Guidelines as another example.

Professional Guidelines Introduction

View another webinar from Harriete Estel Berman

Promoting YOUR art or craft at ZERO COST with Professional Results

One of my favorite online tools for visibility is SlideShare.

What is SlideShare? SlideShare is a FREE site where you can upload PowerPoint Presentations.  You can add MP3 files to your presentation to have audio along with your visual presentation. SlideShare also works with Keynote. 

My primary purpose was to create more visibility for my artwork and to provide additional content links for my website.  The SlideShare presentations can easily be embeded on social networking sites, your own web site, or blog posts. Here is just one sample of a SlideShare presentation (below).

California Dream Teapot

View another webinar from Harriete Estel Berman

An extra benefit is that many (and perhaps even
most) of the people watching my SlideShare presentations are discovering my work from
SlideShare itself or some other social networking
site. 

Here is a link to my page of SlideShare PowerPoint presentations. Go ahead and explore the SlideShare site.  You’ll see that SlideShare presentations cover a really wide spectrum of topics using a variety of approaches. There are some fantastic presentations that don't even use audio at all! How easy can it get!

A SlideShare Profile page is very easy to create and personalize. It is very similar to creating a Profile on any other social networking site.

Tags for your presentations are just like any other social networking sites, but they offer a great visual.

 

I just uploaded a new SlideShare tutorial about How to Build a Better Drop Shadow by Christopher Conrad from the SNAG Professional Development Seminar 2011.

While working on more SlideShare presentations from the 2011 SNAG Professional Development Seminar, it reminded me of how effective this can be for your own work.

Stay tuned for upcoming posts from ASK Harriete and step by step tips for your own SlideSHare.

In the meantime, here are some dazzling statistics!

The SlideShare from the 2010 SNAG Professional Development Seminar at the Houston SNAG Conference has exceeded 5,800 views!   

The “Not Just Another Pricing Lecture" PowerPoint presentation was uploaded to SlideShare initially. Then an audio recording was edited, uploaded and synchronized to the PowerPoint so that people can view and hear the exact same program as the Conference attendees!

Subscribe to ASK Harriete or check in regularly so you don't miss one post in this series. Learn to make your own SlideShare presentation without spending one penny.  

Harriete

How to Build a Better Drop Shadow in Photoshop - A Step-by-Step Powerpoint and Handout

The recent Professional Development Seminar during the SNAG Conference offered an informative program titled "Photography in Flux." One of the pressing issues in art and craft photo is the growing popularity of the stark white background, often with a stylized shadow near the work.

As part of the Professional Development Seminar, Photographer Christopher Conrad prepared a Step-by-Step HANDOUT and PowerPoint for "How to Build a Better Drop Shadow" in Photoshop. Now both of these are available on line for you to download and practice.

Both the PowerPoint and the Handout are step-by-step color images of this process in Photoshop. There is no complicated text, but beautiful didactic images so that you can do this yourself to improve the photographic images of your work with a soft and subtle shadow.

Find the Handout from the Professional Development Seminar How to Build a Better Drop Shadow - A Photoshop Tutorial by Christopher Conrad from the SNAG Professional Development Seminar on my website. It will also be posted on the SNAG web site soon.

Below is the Step-by-Step Photoshop Tutorial as a PowerPointHow to Build a Better Shadow - A Photoshop Tutorial by Christopher Conrad

View more presentations from Harriete Estel Berman

Harriete

The issues surrounding the white background for art and craft photography was discussed extensively on ASK Harriete several months ago. You can find the posts about shadows below. Your comments are welcome either on this post or the previous posts. Your experience and opinions can help other artists.

Previous posts in the series Side by Side Comparisons of Different Photos:
 Side by Side Comparisons - the White Background, Can You Cut It?

Side by Side Photos - Website Backgrounds Should be Consistent

Side by Side Photos -Clean or Complex Backgrounds?

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

Side by Side Comparisons of Different Photos - the white background. Trendy or Technique?

The white background in the photographic image is the "new" look. When discussing a white background, we are talking about pure white...absolute white....#FFFFFF in HTML or Photoshop. You can see this in the left photo and below in photos 1b., 2b., and 6b.

We are NOT talking about a graduated white, with foamcore "white," or "almost" white as shown (to the right below and below in 3b and 4a).

White photographic backgrounds are a stylistic influence from Europe and facilitated by the availability of photo editing technology like Photoshop and FotoFuze. (If you haven't looked at a FotoFuze online demo, you should!)

The super white photographic background with the "fake" shadow starts with pure white photographic background  during the photo shoot but is facilitated with photo editing software. It is almost impossible to get a pure white any other way. The tool, i.e. the technology, has become a style.  

One advantage of the white background is that it is really easy to remove the art or craft object from the background for print. Thus the layout for postcards, books or magazines can depart from a grid format with a smaller investment of time or skill.

Another factor is that white is the default background for many social networking sites like Facebook (the largest photo sharing site on the Internet), Flickr, Etsy, and other online marketplaces.  They make the photos look attractive. There is little or no demarcation between the edge of the photo and the site.  White background images generally look good to great on these sites.

In contrast, white background shots do not look so good on web sites with dark backgrounds.  My web site is a spectrum of greenish, grey backgrounds. I consciously did not want a white background web site.  And I must admit that pure white background photos do NOT look that great on my web site.  See examples of three types of backgrounds - with a graduated, light, and white photographic backgrounds on this page. 

On the negative side,  I don't think white backgrounds show all work to the best advantage.  Some work just doesn't look that great on pure white with high contrast between the work and background.

For example, the dark wood in Andy Cooperman's jewelry (left) doesn't look as attractive on a stark white background. The grain of the wood becoming a focal point demanding more attention than desired by the maker. (See photos 1b. and 2b. below.)

A major concern with white background shots is that the shadows and reflections on the background look fake.  Some people who like the white background also like the artificial shadow. This "artificial" appearance is part of the new and trendy style.

White backgrounds can also make the work look like it is floating thus the necessity of the shadow to prevent the white or light area of the work from being lost or melting into the background (such as in the photo to the right and 7a. below). Notice that the white cord of the necklace gets lost in the background. 

What do you think about white background shots?

Photos pertinent to this discussion are shown below.

Harriete

Image 1 a.                         Image1 b. 

 The brooch in the above photos is “Sleeper Cell” © 2009  Andy Cooperman. Burl wood, sterling, gold leaf, stain. The left photo is by Doug Yaple. The right photo is by Steven Brian Samuels.
 

Image 2 a.                             Image 2 b. 

The brooch in the above photos is “Potter” ©2009 Andy Cooperman. Burl wood, sterling, 18k, stain. The left photo is by Doug Yaple. The right photo is by Steven  Brian Samuels.

Image 3 a.                         Image 3 b.  

Pendant in the above photos: Black Heart ©2009 Jennifer Hall  Sterling silver, silk ribbon. Both photos by Doug Yaple.

Image 4 a.                          Image 4 b. 

Ring (above) ©2009 Andy Cooperman. Sterling, gold, copper, copal amber. Both photos by Doug Yaple.

Image 5 a.                         Image 5 b. 

Necklace in above photos by Marcia Meyers.©2009 "Homage to Sliced Green Pepper",  reticulated silver, sterling and coral. Both photos by Doug Yaple.

Image 6 a.                            Image 6 b.

Octangonal Bracelet ©2009 by Harriete Estel Berman (left image) Photo Credit: Philip Cohen. 
Oreo "Unlock the Magic" © 2009 by Harriete Estel Berman (right image) Photo Credit: Steven Brian Samuels.

Image 7 a.                         Image 7 b.

Orbit Black and White Identity Necklace #2 (left image) by Harriete Estel Berman
Photo Credit: Steven  Brian Samuels.
Orbit Black and White Identity Necklace #1 (right image)by Harriete Estel Berman
Photo Credit: Philip Cohen.

This is another post, is the series titled:
Photographic Comparisons Side by Side

Previous posts include:

Are You Being Judged by the Style of Your Images?

The photographers are revealed!

More posts in the series are coming....

PHOTOGRAPHER CONTACT INFORMATION LISTED BELOW. Click on their names to go to their web site.

Philip Cohen, Photographer
Oakland, CA.
email:  phil [at]lmi.net

Steven Brian Samuels, Artist/photographer
New Jersey.
Phone 845.300.9693
email: steven [at] stevenbriansamuels.com

Doug Yaple Photographer
Seattle, WA.
email: dyaple [at] comcast.net 

 

Are You Being Judged by the Style of Your Images? Side by Side Comparisons of Different Photos

Patchwork Quilt, Small Pieces
of Time
©1989 by Harriete Estel Berman
vintage steel doll houses
Dark background example
Photo Credit: Philip Cohen.

The previous post, The Photographers Revealed! Photograph Comparisons Side by Side showcased a series of images as a comparison of different back- grounds.  ASK Harriete will evaluate these comparisons from several directions.  Two consensus opinions have already stood out: first, one type of background is not effective in every situation, and second, YES, you are being judged by the style of the photographic images!

Patchwork Quilt, Small Pieces
of Time
©1989 by Harriete Estel Berman
vintage steel doll houses
1990 Cover photo for Metalsmith Mag.
Photo Credit: Philip Cohen.

Image backgrounds are becoming a stylistic issue (or "trend", if you want to call it that).  In fact, the choice of backgrounds for a photographic image may even be placing your work into a "category" of the art or craft world.  This may be an unpopular opinion, but I think there is ample evidence.

Octagonal Bracelet
Harriete Estel Berman © 2001
Recycled tin cans
Graduated background with reflection
Photo Credit: Philip Cohen. 

 

Multiple observations were formed while I was studying  the previous post , comments by readers, and in discussion with Brigitte Martin and Andy Cooperman (as we prepare the Professional Development Seminar).   Now there are too many remarks for one post.

Oreo "Unlock the Magic" 
 ©1989 Harriete Estel Berman
Recycled tin cans, 10k gold,brass
Photo Credit: Steven Brian Samuels

 

 

My plan is to discuss the pros and cons for each type of background:

- White
- Graduated
- Black
- Colored

Each photographic background will be discussed, one per post, over the next four posts.  If you have a comment, write your comments below or email  me directly as the posts continue.  

Harriete

This is the third post, is the series titled:
Photographic Comparisons Side by Side

Previous posts include: The Photographers Revealed.

  

MAKERS: A History of American Studio Craft - HOT OFF THE PRESS!

Arriving home from my family vacation at the beach, I found a mountain of mail waiting for me.  But thrill upon thrill, there was my copy of Makers: A History of American Studio Craft, HOT OFF THE PRESS!  Ordered weeks ago, it has finally arrived!!!!!.

This book took five years of research and intensive effort from Bruce Metcalf and Janet Koplos. As mentioned in a previous post, this book was designed and written as a college level text book on the history of craft in the 20th century published by The University of North Carolina Press. It looks like a text book with only about one picture per page. This is definitely not a picture book. IF you aren't familiar with craft history you might want to read this book next to an internet resource for quick reference.

Essentially, it is the one and only book of this kind published to date. Your mission, if you choose to accept it, is to read the entire book word for word, cover to cover.

Joking aside, I am not kidding. This book is bound to be a milestone in the studio craft movement of the 21st century.  

Hourglass Figure: The Scale of Torture
Recycled tin cans, battery motor, alum.
rivets, dial, screws.
Artist: Harriete Estel Berman © 1994
Photo Credit: Philip Cohen

The first chapter starts with "The Roots of Studio Craft" in the 19th century, but thereafter, each and every chapter covers one decade after another in the 20th century. My joy and excitement is that an image of my work, Hourglass Figure: The Scale of Torture, is included in the final chapter titled, "1990-1999 Mastery As Meaning" along with a column of commentary text.

So far the best price I've found for Makers: A History of American Studio Craft is on Amazon.com.  In the interest of full disclosure, clicking on the link and purchasing a book will provide this blog with a few cents as an affiliate link.

IF you don't want to buy your own book, then I suggest you ask your local library system immediately , and put your yourself at the top of the waiting list.

Harriete

Anticipating History - MAKERS: A History of American Studio Craft

Makers: A History of American Studio Craft is the only comprehensive survey of modern craft in the United States and the release date is July 13, 2010!

This book follows the development of studio craft media including  fiber, clay, glass, wood, and metal from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century.

Culminating after over five years of research and dedication from the authors Bruce Metcalf and Janet Koplos, this book provides a college level history of 20th century craft. But there is no need to go to college for this class, as the book gives in-depth perspective to inform your studio work. 

Many times craft is considered just a description of materials or techniques when in fact, craft can contain social and political commentary. As we enter the 21st century, the act of making or crafting by hand is in itself a social commentary.  When "makers" deliberately decide to make work in a time of mass produced consumer goods, craft is not just a media, not just a verb, but a symbolic action. 

  Increasing Quantity, Diminishing Value
 Recycled tin cans, copper base
 Artist: Harriete Estel Berman © 2001
 Photo Credit: Philip Cohen

Due to the depth and range across so much media, this book is destined to be the consummate resource about the history of 20th century craft work.  By understanding the roots of craft media in the 20th century, both the makers and their audiences can more fully appreciate and recognize the value of craft in the 21st century.   

I've already pre-ordered a copy.  Personally, every time a UPS truck drives up near my house, my heart jumps out of my chest.  Is my book here yet?  I am so excited!  But then I go back to work  . . . anticipation is  . . . well, more inspiration until my book arrives. Can't wait!  And I have a secret to be revealed as well!!!! 

 Increasing Quantity, Diminishing Value
 Recycled tin cans, copper base
 Artist: Harriete Estel Berman © 2001
 Photo Credit: Philip Cohen

Harriete

So far the best price I've found for Makers: A History of American Studio Craft is on Amazon.com.  (Even better than the price I paid, Aw Shucks!!!)  In the interest of full disclosure, clicking on the link and purchasing a book will provide this blog with a few cents as an affiliate link.

Increasing Quantity, Diminishing Value is about the environmental impact of lawns on our environment. Constructed entirely from post consumer tin cans, this series of grass sculptures highlight the grass lawn as an ultimate consumer icon of American culture. Watch the video featuring the construction and motivation behind the Grass/gras sculpture on my web site or YOUtube. 

Hiring Your First Employee - a book review .

If you have ever considered hiring additional help for your work in the studio, this book is for you.

Hiring Your First Employee, A Step by Step Guide by Nolo Press, answers nearly every question from beginning to end in the employment process.  It covers everything from job descriptions, job postings, and interviews to the more exacting issues involving taxes, withholding accounts, and workman's compensation.

Even though I have had people working for me for over 15 years, I still learned quite a bit more information that was effective and helpful.

My usual test for buying a book is if after reading the entire book (borrowed from the library), I come to the conclusion that I need to have the book as a convenient and ready reference in my future activities.

The layout of the chapters and subsequent information is very effective.  It starts out with Chapter 1 "Deciding Whether to Hire an Employee." This is a really important question to decide whether your "help in the studio" is an employee or an outside contractor.  The I.R.S. takes this issue VERY seriously. A lot of  artists try to slide by or "fudge" this situation. Personally, I don't think the risk is worth it. (Stay tuned for an upcoming blog post about employee vs. outside contractor to learn more.  It is usually very clear one way or the other. )

   Start Career  Pay Day          © 2010
   recycled tin cans
   Artist: Harriete Estel Berman
   Pin available for purchase.

Subsequent chapters cover pay rates, employee benefits, workman's compensation, withholding and taxes.  All the  practical issues that employers need to consider. I personally thought that Chapter 5 "Getting Ready to Hire" about job descriptions and  finding employees was new information for me.  (I have always found my employees by word of mouth through the local Metal Arts Guild.) Chapter 6 then goes through screening applicants and the interview process. Our society has become so litigious that we all need to be extra careful in this regard.

There are several charts and lists of state by state lists of specific requirements. That was great. Just read what you need to know and move on.  Personally, I think that if you are considering hiring help in the studio or already have an assistant, this book should be your next investment to put your mind at ease.

CLICK ON THE LINKS (to the right) or the sidebar of this blog post to find information about purchase. At the time of this writing, Amazon.com has the best prices (including used books), but this book Hiring Your First Employee is also available through NOLO Press as an electronic book at significant savings. 

Stay tuned for more blog posts related to hiring assistants for work in the studio. Share your experience hiring employees or ASK Harriete a question.

Harriete
www.harriete-estel-berman.info

Purchase of this book from Amazon.com is an affiliate link and helps support this blog as a resource for the arts community.    

Looking Forward to the New Year

Looking forward to the New Year, I thought a quick post about upcoming events and topics in the coming year would be appropriate.

Upcoming soon...a sample Cease and Desist letter for anyone to use when someone copies your work.  More information will be appearing in my Opinion article for Metalsmith Magazine soon.

Podcasts about my work.  I am learning how to create podcasts and how to put short lectures online with audio.  I am really excited about learning this new skill which is remarkably easy with free software.  You can listen to my first two experiments at the following two links. I'd love to hear your feedback about this new professional resource experiment.

CLICK HERE for a presentation about my chocolate pot Obverse Obsession.

 CLICK HERE to listen to my first Pecha Kucha (6 minutes, 20 images, 20 seconds per image) 

California Dream © 2005
Recycled tin cans, Pentium chip
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

An exhibition of my artwork is coming this February at the Loveland Museum, Colorado.  Forty (40) boxes were shipped to the the museum a few days ago. (Can you imagine how much work it was just to pack up this much work? A peanuts blizzard and cardboard box marathon!) If you live in the Colorado area, I hope you can come to my lecture and the opening on Friday, February 12. I will be giving a lecture at 5:00 p.m. and the opening starts immediately after at 6:00 p.m. On Saturday, February 13th, there will be a lecture by Liz Quisgard followed by a panel discussion with all the artists. 

The Professional Development Seminar at the SNAG Conference in Houston will be offering three hours of programming followed by a lunch discussion. This is open to the public. If you are not planning to attend the entire SNAG (Society of North American Goldsmiths) Conference March 10 - 13, 2010, you can pay for just this PDS seminar. (Download HoustonflyervL12.29.09) The first presentation is by Bruce Baker speaking about "The Art of Selling" . The morning continues with "Not Just Another Pricing Lecture: A Dialog about Pricing Your Work" with Marlene Ritchey, Guido Schindler, Jennifer Trask, Kiwon Wang, and Francesca Vitali. This will continue with an informal discussion during lunch.  While the SNAG Conference is generally focused around jewelry, metal arts and design, this information will be applicable to a wide range of media AND the speakers represent a wide spectrum of viewpoints.

Also at the SNAG Conference I am working on a new program titled, "A Smaller Conference Experience".  Everyone is invited to a more relaxed setting for individual introductions and conversation before the pin swap on Wednesday night, and an informal lunch discussion on Thursday with the Keynote Speaker Caroline Broadhead and the Thursday morning speaker Beverly Penn. Bring your own lunch, grab a chair and join our conversation. Space is limited to 75 people. Please come and say your name, "hello", and tell us what kind of work you do.

Portfolio Reviews at the conference. If your are interested in a short conversation offering insight about your work and discussion about reaching your professional goals with gallery owners, curators, or experienced artists, then stay tuned for the opportunity to grab a portfolio review slot.

Recycle © 1999
The California Collection
Artist: Harriete Estel Berman
Recycled tin cans, wood, milk bottles,
Photo Credit: Philip Cohen

This year begins for me with an intense focus on finishing artwork that has been "in progress" for quite a while.  Finally, I am completing a whole group of work that has taken me more than two years.  To the left is one piece in the series.

Stay tuned to my web site, Facebook and Flickr where new images will be published in the coming weeks and months. If you aren't already my friend on Facebook, this is a great way to stay in touch.

Looking forward to the New Year and all it holds for our professional development.

I write this blog for my readers. Let me know what you want to hear and learn in the coming year.

Best Wishes for the New Year,

Harriete

What do you mean by “Success”? by Andy Cooperman

For this post, Andy Cooperman is the guest author for ASK Harriete. In response to recent posts, online discussion and conversations related to the Professional Development Seminar, Andy Cooperman asks all of us, "What do you mean by "Success"? You are welcome to post your comments in response. 

Note: The opinions expressed by the author,Andy Cooperman, in this post are his and his alone, and do not necessarily reflect the opinions of ASKHarriete or Harriete Estel Berman. No endorsement or refutation is intended or implied.

  Andy Cooperman
  Photo Credit: Don Farver

FROM THE PEN OF ANDY COOPERMAN
A friend and colleague once offered this bit of wisdom (I paraphrase): “It’s not always about making a living in Craft.  It’s really about making a life in Craft”.  This is certainly to a degree true-- and validating.  But recent posts have got me thinking about what we mean when we say “making a living”, “supporting ourselves” or simply “making it” as a craftsperson, maker or artist. I am curious about what we mean when we talk about being a successful artist.

Are we talking about financial independence?  Selling enough of our work or services to pay studio overhead, rent or mortgage payments on our home, apartment, loft or condo without a second income from another job?  Are we including in this definition health care and insurance payments, paying for transportation, food, and taxes?  Does making a living in craft extend to raising children (if we have made that decision) and paying for their education?  Do our studio incomes allow for travel, entertainment and luxuries such as cable, dinner out, and nice clothes?

  Andy Cooperman with torch in his studio
  Photo Credit: Kim Cooperman

I have supported myself making one of a kind jewelry, working as a commission and custom metalsmith, doing some repairs and limited production and, increasingly, teaching workshops, seminars and classes (which have yielded the benefit of occasional sales).  I chose not to have children but I do have a nice home and don’t want for much.  The fact that I have a partner who does have a career and a stable--but not stellar-- income and who has been incredibly supportive about my choice of profession has no doubt and to no small degree allowed me to make a life in Craft.  But the studio pays its own bills, puts some money towards retirement and covers my half of our expenses as a family.  Still, as I get older, I wonder if it will be enough.

 3 Brooches ©  2009  Andy Cooperman
  Right to left:  “Slab”  (sterling, 14k, 24k),
“Potter” (burl wood, sterling, gold),
“Sleeper Cell”  (burl wood,stain, sterling,
 gold leaf)
Photo Credit: Doug Yaple

It’s important to remember, I think, that all things are not equal when we talk about the realities of rent and cost of living.  The Seattle area is an expensive place to live and if I were starting out right now, I’m not sure that we could afford to establish ourselves here.  Fortunately, we got in a little bit ahead of the curve housing-wise, but it is still a costly place to live.  There are less expensive places, to be sure.  I understand that we all live within limits.  This is simply reality.  But if we choose where we live based primarily on affordability (due to our choice of career) and it is not where we really want to be can we truly say that we are successful?

 ”Bauble”  neckpiece © 2008
  Andy Cooperman
  Carved copal, bronze, sterling, gold
 Photo Credit: Doug Yaple

Are “success” and “making a living” two different things?  There are many artists and makers who have achieved fame, whose work is published and whose names are well known but who support themselves financially through other means.  This is certainly success on one level.  There are metalsmiths and craftspeople who don’t care at all about this type of notoriety but are driven by a love of making and sell enough work to allow them to keep making more work and maintain a lifestyle that they are comfortable with.  They may or may not have a car, a television, their own home or great shoes. They may no doubt define themselves as successful while others might question their definition based on their own needs and lifestyle choices.  And there are those jewelers who like what they do but see it more as a business: a job or a profession that allows them to support their families or themselves and do the things that they are really passionate about.

  ”Masonic Ring” © 2009
   Andy Cooperman
  sterling, gold, copper, carved copal.
  Photo Credit: Doug Yaple

So I’m wondering:  How do we characterize success?  How do we define “making a living” from what we do? What is your fantasy of a life in Craft or Art? Is it a money thing?  Have the things that you wanted from life when you began your career as a maker remained the same?  (Mine haven’t.)   If you are embarking on your career do you think that there is a possibility one day that you may not get the same charge from making as you once did?  Can/will you make enough money to compensate for that possibility?

What do people really think?  Let’s have a frank discussion.

Andy Cooperman

Why go to Conferences? Are they worth it?

A question from an artist and reader, 

"While reading the ACC Conference lecture reviews, I was wondering how the conference is affecting you as an artist?" 

Good question! I'll bet other people are wondering too! Similar questions arose from a few other readers wondering if it was worth the expense (conference fee, airfare, hotel) to go.  [I don't include food because most of the time I don't eat at restaurants but instead find a grocery store for fruit and yogurt. A latte is my conference treat!]

The answer is a considered "yes, yes, yes." These conferences are an investment in my professional development and definitely worth attending (as long as it isn't adding debt to the credit card).  Beyond the expenses, I don't give up time in my studio lightly.  I also miss my exercise classes and come home to a mountain of mail and "things to do" just like everyone else. This always delays my return to the studio for more days.

WHAT DO I GET OUT OF A CONFERENCE?
Three things mostly, meeting new people, listening to thought provoking lectures, and seeing work that surprises and inspires.  While none of these things are automatic or guaranteed to happen, it is dropping myself into the unexpected and being open to new ideas. To borrow the words from the TED Conference web site: "Every so often it makes sense to emerge from the trenches we dig for a living, and ascend to a 30,000-foot view, where we see, to our astonishment, an intricately interconnected whole." (If you aren't familiar with the TED Conference lectures, I recommend them highly.)

Meeting new people is the most refreshing and positive aspect of every conference.  Even though I am a little fearful of or somewhat dislike having people pierce my personal space bubble, I force myself to make an effort to sit next to a stranger.... or ask someone to sit next to me at lunch that I barely know, or talk to a new person on the bus or at the show.  I have to repeat this gutsy effort over and over. However, even one such meeting may make the entire conference worthwhile.  You never know if this person is looking for just your kind of work, planning a show, or following a similar path.

Pattern Pillow #2 © 2004
copper, oil paint
18" x 18" x 5"
Artist: Megan Auman

For example, a couple years ago, Megan Auman approached me requesting that she speak about Web 2.0 for the Professional Development Seminar (Savannah FLYER 2008) at a SNAG Conference. I was mystified about why I or any other artist should even consider participating in 2.0 sites like Facebook or Etsy (or a blog for that matter), when I already had a web site.  Well, we (Don Friedlich, Andy Cooperman and I) listened to her ideas and decided to include her program about 2.0 for the PDS.  After the SNAG Conference (March 2008), I came right home to join Etsy, Flickr, Facebook and to start my blog all in about two weeks! She and others opened my eyes about all that was happening, will be happening, and could be happening on the Internet.

Natalie "Alabama" Chanin
Speaking during the ACC Conference

Exposure to new information is my second reason to go to conferences. Lectures are always a gamble.  Much of a lecture may be the "same old, same old", but if you listen, you will likely realize after six months or a year that a kernel or nugget might inspire a new way of thinking.  At a SNAG Conference organized by Gary Griffin many years ago, he included a lecture on "tin men." This lecture opened up a whole new world of ideas for me that has inspired 21 years of work. All from that one lecture.

The recent 2009 American Craft Council Conference was intense and provided a broad spectrum of information. I learned from speakers I'd never known before, about books they have written, references to movies, blog sites, and tons of other resources. It might take me months or a year to follow through, buy the books or get them from my local library. Since Heath Ceramics is not all that far away from where I live, it is definitely on my "to do" list. Rob Walker and I met in person for the first time after over a year of correspondence. It only intensified my interest in his writing both in the New York Times Magazine and his blog.

Harriete working in the studio
Photo Credit: Aryn Shelander

How this will all blend into my work is another story. My work is very labor intensive.  It will take at least a year or more to finish my current projects, and another year or more to work on upcoming planned projects.  So, two years from now, maybe something from the Conference will inspire new work. Who knows, maybe a person that I met might want to show my work. All of these things are like a slow cooking stew, you need to add the right spices and let it simmer. 

The third reason that I go to Conferences, seeing new work, doesn't happen the same way every time. At the SNAG Conferences, there are multiple exhibitions specifically for the conference.  Many times going to a Conference is the first time I visit a city, and realize that I want to go back as a family vacation to explore. 

So as you can see, going to conferences (no more than once or twice a year to stay within my budget), whether local or far away, is one very effective way to expand my thinking, move out of my treasured daily routine, and discover surprises.   The uncertainties always seem a bit intimidating, but my reflection after every conference has been rewarding and sometimes life changing.     

The 2010 SNAG Conference is coming!

The upcoming SNAG Conference is already accepting registration. During the Conference I will be organizing a way to make the Conference a smaller place with more ways to meet people.  Start saving your money and plan to go to a Conference in 2010.

Volunteer to help me with the "meet and greet" conversations. Get to know some new people.  Volunteer, I could really use your help. Listen to the unexpected and have an experience that enriches you for an entire year. I will be doing the Portfolio Reviews. Sign up early for a free Portfolio Review with gallery representatives, curators and successful artists in the metals field.

I am also organizing the Professional Development Seminar with Andy Cooperman and Don Friedlich. The Professional Development Seminar in Houston, Texas, is planning  three hours of concrete information from 9:00am-12:00pm on Friday, March 12, that will change the way you approach your work and the way you do business. At 9:00am, Bruce Baker will present ‘The Art of Selling’ and at 11:00am he will shift to ‘Not Just Another Pricing Lecture: A Dialogue about Pricing Your Work.’  We will continue the conversation during lunch from 12:00-1:30. Bring your lunch so you don't miss a moment. Learn strategies for success.

Harriete Estel Berman
www.harriete-estel-berman.info

ACC Conference - an adventure in blogging

 
I'm off to my adventure at the ACC Conference in Minneapolis, Minnesota where I will be one of the official SNAG bloggers posting my experiences along with initial reviews or opinions of the lectures presented at this national conference.

Eons of Exodus
recycled tin cans, 10kgold,s/s rivets
Artist:Harriete Estel Berman
Photo Credit: Philip Cohen
Collection of Minneapolis Inst. of Art

With the conference starting in just a day or so, I am filled with anxiety and some trepidation.  Why am I leaving the comfort zone of my home, my studio, my exercise classes, and my every day routine for the torture of an airplane seat and three days of blogging responsibilities?  Is it worth going? Even, why am I doing this?

The simple answer is that I need to create new experiences for myself.  Despite these discomforts (or because of them) I know that some positive insights will come out of this experience.  Call it brain exercise or mental stretching, but everyone needs to try going to some kind of conference once in a while. I have heard that some people don't go to the SNAG Conferences because they aren't fun. Are you kidding?  It's not the fun you should go for, but the growth that you can acquire.

Maybe some people think these events are fun. I don't. Going to a conference lets (or forces) you to be exposed to the unexpected, meet new people, and listen to the lectures. The outcome is always unpredictable.  Sometimes a lecture topic may sound like a dud, but the speaker turns out to be exceptional.  Or the lecture topic may seem really interesting and the presentation skills of the speaker are disappointing.   The variety of conference events may be a mixed bag, but upon reflection afterward, I have always gained some professional contacts or artistic insights.

Eons of Exodus
recycled tin, 10k gold and s/s rivets
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen
Collection of Minneapolis Inst. of Art

While I am in Minneapolis, I do plan to take advantage of the resources in the area.  My scheduled  excursions include visiting the Minneapolis Institute of Art to see my seder plate "Eons of Exodus" on display AND listen to my literary "hero" Rob Walker, author of Buy In, The Secret Dialogue Between What We Buy and Who We Are . Rob Walker is a speaker at the American Craft Council Conference and one of many reasons that I decided to attend.

Stay tuned for daily posts (maybe even multiple posts per day). Saturday's program covers Web 2.0 marketing and hopefully it will be very enlightening.  We can only speculate on what the panel has to say. Did you read my previous posts about marketing, 2.0 and artist gallery relationships? If not, please read this information and send me your opinions and ideas. 

In particular, if you have a question or two to ask the speakers and panelists, what would you ask?  Let me know and I will do my best to find out the answer to your questions.

Harriete
www.harriete-estel-berman.info

Online Marketing Tips: Gallery + Artist Collaboration and Affiliate Commissions

When starting my website in 2003, I was concerned, "What will my galleries think?"  I was a bit afraid of stepping on their bailiwick.  But I was also thinking, "Why am I working so hard to develop my own website to market my work online?  Isn't that the gallery's job?  Isn't that a major part of why they earn their 50% commission?  Now I'm taking responsibility for a significant portion of the marketing and promotion of my work in addition to the concept development, creation, and fabrication."

Black and White Identity Earrings
Recycled tin cans, sterling silver wires
Artist: Harriete Estel Berman
Available through ObjectFetish.com

The Internet enables any artist or maker to accomplish a key marketing task, i.e. publish and distribute a "virtual portfolio." And almost anyone, especially buyers, can find and peruse an artist's website with relatively little effort. Like it or not, the time is past when galleries were the only practical way for clients to find artists and makers. 

The Internet has dramatically changed the dynamics of the relationships between the artist, gallery, and buyer.   In previous posts, I have discussed how galleries will continue to provide unique capabilities and play a vital role in the art business community.  But it is time to recognize that the economic relationships between galleries and artists must adapt as well. 

Chinese Lettering Earrings
Recycled tin cans, sterling silver wires
Artist: Harriete Estel Berman
Available through ObjectFetish.com

Why change?  Because everyone benefits.   A web of links is definitely more effective in marketing, promoting, and ultimately attracting buyers.  If buyers find what they are looking for by clicking through from one website to another, then each contributing website should be rewarded.  The monetary incentives should encourage such links. 

Pepsi Women Earrings
Recycled tin cans, sterling silver wires
Artist: Harriete Estel Berman
Available through ObjectFetish.com

Artists and galleries mutually benefit from a synergistic relationship. The gallery and the artist need to link together in every possible way.  The mutual benefit is that buyers are more likely to find the work that they will purchase. But realistically, if both parties are working to attract buyers through their respective Internet marketing and promotional efforts, how should the commissions be divided?  The incentives for greater collaboration need to adapt to this new reality.  

Next Tuesday this discussion will continue with Part 2. Online Marketing: Gallery and Artist Collaboration- Considering Affiliate Links with four possible scenarios for compensation when establishing affiliate links. 

Nutrition  Earrings (green edge w/check)
Recycled tin cans, sterling silver wires
Artist: Harriete Estel Berman
Available through ObjectFetish.com

What do you think? I'd like to hear your opinion about this discussion. Either leave a comment or email me directly by CLICKING HERE.

SPECIAL NOTE    Next week, October 17 - 19, 2009, I will be attending the ACC Conference in Minneapolis and blogging about the lectures and discussions.  Subscribe to my blog so that you can get the daily updates.  Hear what Rob Walker  has to say about 2.0 Marketing and the panel discussion with Namita Wiggers, Riding the Long Tail, Marketing Craft on the Internet. Panelists include Lisa Bayne from Guild.com; Amy Shaw of Greenjeans; and Maria Thomas, CEO of Etsy.  

What questions would you like to ask this 2.0 Panel?

Harriete
www.harriete-estel-berman.info

Online Marketing - Gallery and Artist Collaboration

Galleries have traditionally been the primary conduit for buyers to find quality art and craft. The galleries were responsible for marketing and promotion as well as supporting a physical retail space to show art and craft. Artists and makers typically felt ill at ease in such marketing efforts (with the exception of wholesale/retail shows) and preferred to devote their time to the studio.

The Internet has changed the equation - permanently. 

Identity Complex Mirror          2002-2004
Recycled tin cans.
Photo Credit: Philip Cohen

One of the new realities is that artists and makers CAN market and promote their work via the Internet without gallery representation.  Potential buyers CAN find artists and makers without gallery vetting. The days are past when clients can only find an artist exclusively through a gallery. 

However, in an age of information overload, galleries still offer authoritative credibility regarding the merit of represented work.  For the client, galleries also offer expert guidance, appraisals, and insight well beyond the mere display space for viewing.  For the artist and maker, galleries offer skilled promotion and reliable sales support.

Identity Complex Mirror          2002-2004
Recycled tin cans.
Photo Credit: Philip Cohen

But the Internet is a multi-lane highway connecting many destinations. So here is a radical idea . . .  Artists and galleries need to work together in their marketing efforts.

Huge opportunities are lost when galleries and artists don't act as a team to fully benefit from their respective resources.

Artists need to have their own web sites for credibility and visibility. Galleries need to use the Internet more effectively to showcase all the work for which they are responsible. An exhibition should no longer be presented to the public as one image on a postcard or one page on a web site. With minimal expense, the entire exhibition can be posted as an online catalog of the show.

Galleries and artists can both be more effective with online marketing.  Improved SEO (Search Engine Optimization) is one goal, i.e. a bigger "web" of links (more links earns a higher rating).  SEO can drive more traffic to the web sites of both the gallery and the artist. 

Galleries can benefit by linking to all artists' inventory and exhibition pages.   Artists should email and post on the their websites any relevant gallery link such as upcoming events, openings, exhibitions, juried shows, etc.  

Likewise, artists can benefit by helping galleries link to any new resources such as newspa

 
Identity Complex Mirror          2002-2004
Recycled tin cans.
Photo Credit: Philip Cohen

per reviews, magazine articles, open studios, or selection into books.

Both parties need to trust that purchases generated as a result of either w

eb site will be positive and boost credibility, visibility and revenue.

If a customer arrives at my site via the gallery's web site and purchases work from my site, hopefully we can work out the appropriate commission for the gallery. 

Commission strategies need to be reconsidered.  This is an area that needs a lot more discussion.  For example, the web sites for both the gallery and the artist could set up affiliate links that pay commissions in both directions.  There are many other mutually rewarding scenarios that encourage ongoing collaboration.  We need to adapt to a new future. 

Yes there are areas of overlap that will need negotiation. But realistically, was there ever a time without issues to discuss?  I expect to revisit this topic in the near future.

Like it or not, the multi-lane highway of the Internet is going to get bigger and better.  A collaborative effort can be mutually beneficial.

Do you have any ideas or comments? I wonder if the upcoming ACC Conference in Minneapolis will touch on this topic? Stay tuned to my blogs from the Conference in two weeks.

Harriete
www.harriete-estel-berman.info

 

Online Marketing Tips; Easy Links Directly to Your Content

"Whose Woods These Are"
Joan Tenenbaum
Photo: Doug Yaple

Recently Joan Tenenbaum emailed a link to me regarding her upcoming exhibition at Stonington Gallery in Seattle, WA.  Using email and links to specific online content is a very effective way to promote your work to a large audience.  This is also a good example of cooperative marketing between the artist and gallery – and both benefit.  So far, so good, but after following the links and instructions in the email, I would like to offer some constructive suggestions to both the artist and to the gallery.  The rest of this post will focus on suggestions for every artist.  Suggestions for effective links on the gallery web site will be the focus of a subsequent post.

The Plan   In her email, the artist, Joan Tenenbaum only included the link to the gallery's Home page along with instructions to look around the site for the Calendar of Events page to find her work.  Seems innocent enough.

The Reality   As the recipient of these instructions, I reread the instructions, clicked on the link and had to look around the Home page to find and click on the Calendar of Events link, and look around the new page (and not see Joan's work anywhere, take a deep breath to quell my mild frustration and uncertainty, only to eventually realize I had to scroll down for more content, still not see Joan's jewelry, scroll some more, and some more), and finally find Joan's segment announcing her exhibition.  I briefly enjoyed a small sense of victory from my excursion into cyberspace and discovery of Joan's content in this labyrinth.  

Admittedly, all this took less than 60 seconds.  Not really so bad, but on a typical hectic day, I and perhaps most other people would easily have given up and moved on to the next email.   This was asking too much for the casual reader and brought this post's topic to mind. 

An online link should take the viewer directly to the target content....not nearby, not the general area, nor with additional instructions to follow. In a successful online marketing campaign, you want to avoid any possible misinterpretation, mistakes, or inattention.  Help people get to the exact location immediately with ONE CLICK.

It is not a difficult task and here is HOW TO LINK DIRECTLY.

The exact URL link to Joan Tenenbaum's inventory photos looks like this:
http://www.stoningtongallery.com/exhibit_view.php?exhibit_number=65&exhibit_title=JOAN%20TENENBAUM:%20FIFTY%20YEARS%20OF%20JEWELRY%20MAKING,%20THE%20DEPTH%20AND%20BREADTH%20OF%20A%20FIFTY%20YEAR%20PASSION

Wow!  That looks really long and scary, but there are some easy options for including the appropriate link in your web correspondence. 

First option    I noticed that Joan's email was an HTML email (such as Outlook or Outlook Express.) which allows a user to create a link in the email as a hyperlink text LIKE THIS . To do this, use the "hyperlink" button on your HTML email toolbar (it looks like a small chain with an image of the world behind it).  Click on the button, put in the text you want to use or highlight as the link. In this example I typed in "LIKE THIS".  Then in the next box add the hyperlink URL (the long, scary character string) which will be hidden in the actual email.  If you do this one time you will know how to do it forever, and it is super easy to do.

Second option    Go to Tinyurl.com and make your own hyperlink to the target content.  I created this one  http://tinyurl.com/m8oa8r  for Joan quick and easy.  Anyone can do this for free.  When you are on the Tinyurl.com site, paste in the long hyperlink text. Then CLICK the button that says "Make a TinyURL",  and voila, a short and tiny URL is ready in an instant.  Yes, really that quick!

Many people are sending emails without the direct link addresses. It is really frustrating, looking all over a site, trying to find the appropriate path to some specific image or content, move to another page, go back, try another path . . . sometimes I get interrupted or just don't have time and then I forget to go back and look around. 

Hopefully everyone can now help their audience click directly to target images or content.  This can surely improve your marketing effectiveness.

If you have any ideas or questions for ASK Harriete,  just write  to me any time! Just CLICK on the Email link here or at the top of this post under my photo.

Harriete
www.harriete-estel-berman.info

What if a show has no insurance?

Extinction Book
Judy Hoffman

Dear Harriete,

Would you put your work in a show that has no insurance? Would you try to get your own, or do it as a group? Or send lower-priced work? Or just pass?  I'm wondering what to do about an invitational show at a local arts center.

Judith Hoffman
http://www.judithhoffman.net
http://www.judithhoffman.net/blog/

Judy,

I have frequently been asked this question.  For me, whether an exhibition includes insurance or not is always a deciding factor about whether I show my work or not.  The exhibition space must have insurance or I will not send my work to a show. 

Harriete working on the Pencil Project
Metal Arts Guild display at Maker Faire

There have only been a few minor exceptions to this rule such as when I was at Maker Faire with the local Metal Arts Guild.  At Maker Faire, I was standing right next to the display, all the work was in a very heavy locked case, and I showed less important work.

Insurance during shipping is a related matter.  You can buy insurance for shipping from the shipping agent.  I try to use the U.S.P.S. (United States Postal Service) if possible for shipping my work.  At the post office, it is easy to either purchase insurance or send the work registered mail, insured for better handling.  Unfortunately, they have size limitations for the boxes they will handle.

Alternatively, the exhibition sponsor might have insurance that will cover the work while in transit.  Check with them in advance before shipping your work.

Make sure that arrangements for return shipping are handled in a similar manner.  Personally, I do not consider shipping work by UPS acceptable for one of a kind art or craft. Check in advance how the exhibition sponsor plans to return your work.

It is always your responsibility to pack your work carefully and professionally so that it will arrive safely.  Shipping companies DO NOT accept responsibility for damaged items - even if it is insured -- if it is not packed properly. Stay tuned, there will be a new Professional Guidelines topic about Packing and Shipping Art and Craft in the coming months.  In the meantime, if you ever need it, there is an excellent Professional Guidelines topic titled, "Artist Checklist: Claims for Damaged Work."

Harriete
www.harriete-estel-berman.info

Email annoucements - Are yours effective and professional?

Sample postcard announcement
Front and Back are combined

In this day of modern technology it is acceptable to send an announcement by email. This can save money on printing and postage, and save trees. It is common for many people to have a larger list of email contacts than traditional mailing addresses. So sending out an announcement via email is definitely the way to go.  But far too many artists are making errors, I mean HUGE ERRORS, in the way they approach sending out email announcements.

DO NOT DO THE FOLLOWING:

DO NOT send an email with no text and only an attachment. Create an abridged version of the information and personal note in the body of the email. If you don't introduce yourself with a friendly note about who you are and the basic information included in the attachment, many people are not going to open an unknown attachment due to fear of viruses or spam.

Do not simply send two images of a scanned postcard (one of the front, one of the back).  Instead, take full advantage of PhotoShop (or another image editing program) and create a special internet version of your announcement with images and the information. This one item can be sent as an attachment. 

Try to make your email attachment as small as possible. Try not to send larger than 1 MB or 2 MB images. The best option and most professional is to send your attachment as a PDF.  PDF automatically compresses the file size of the attachment.  Most important, PDF's do not carry viruses and are safe to open. Your intended recipient will feel much more comfortable opening a PDF attachment.

I couldn't add the PDF to this blog, but a high quality PDF with images was slightly over 1 MB which is acceptable.

If you can't create a PDF, pay attention to the attachment file size.  As an example, I took an old announcement postcard, scanned both sides and combined them as one image (see example image above).   As a TIF at 300 dpi it was 23MB (which is too big).  When reduced to 72dpi and 8" x 10" it was 1.16 MB.  As a JPG at 72dpi using the SAVE FOR WEB option and compressed to 80%, it was 171KB.  A small file is a very courteous option to send as email.

TEST YOUR EMAIL FIRST before sending it out to your entire mailing list. Do a few tests to yourself first, then to close friends or relatives. Ask them in advance how the email looks when it arrives in their mail box with their specific computer or email program. Make sure it is working, especially if you are new at using a newsletter template or HTML EMAIL.

Harriete
www.harriete-estel-berman.info

  
   

Always include the CITY & STATE in an invitation to an event.

Recently, I've noticed a chronic problem as people market their work on the Internet. They seem to forget that the Internet is a worldwide audience.  Here is one issue that is almost too obvious.

Invitations to an event should always include the CITY and STATE!

You would not believe how many email invitations never mention a city.  I am sure this must be happening everywhere. If your announcement is an invitation to an event, be sure to include this strategic information. 

Recently, I was corresponding with a museum in Delaware County.  I had visions of the Chesapeake Bay and a short drive for people from Baltimore or Philadelphia.  Eventually, I realized that they were in Indiana!  Mental reset!

In all Internet announcements for exhibitions, shows, lectures and more, don't forget to show the city, state or province, where the event is located.  

Depending on how wide your email list extends, you might even ADD THE COUNTRY (e.g. Paris FRANCE versus Paris, Texas).  

Marketing on the Internet connects you to a global audience.  Be sure to provide all the relevant information to communicate with this audience effectively.

Harriete
www.harriete-estel-berman.info

How can I find a gallery to show my work?

In the previous post, John Jensen wanted to find a gallery that would show his knives.  My first response is to work toward developing your target audience directly.  In his case, it is with the knife collector audience. For each reader, it will be some other select group.  However, if you really want to be on a gallery's radar, then there are several steps you can take.

Option 1. Participate in group shows hosted at a gallery or non-profit exhibition space.
Option 2. Do your research to find galleries that show work within your price range, media and style, then send them a "package" about your work.

To pursue Option 1, assuming you really want to have your work included in a gallery show, look for group shows that are occasionally sponsored by galleries or non-profit exhibition spaces nearby. These are usually based on a theme, specific media, or an exhibition of the local arts guild, etc.

You should join as many guilds and art organizations as you can find, both at a local and national level.  Join organizations both within and outside of your specific network such as local Arts Guild, SNAG, and ACC (American Craft Council).  Look in their newsletters and publications for possible exhibition opportunities and make work to fit these shows. 

Adapt to a theme.  If the theme of a show is "purple with red spots" then you need to make a knife that is "purple with red spots."  If the theme of the show is political, then make a political knife. If the theme of the show is boxes, then make a box for your knife.

Dagger of the cover of 500 Knives
John Jensen

There can be no holding back with the definition of whether your knife fits a show. Look at the exhibition themes as broadly as possible and think about how your work can fit.

Here is an example: A few years back there was a publication of Exhibition in Print sponsored by SNAG about the senses. Your knife might have fit right in if your photo included touch (in other words,  sharpness of your knives) as an example of the senses.  (I am not recommending cutting yourself with knives here. I am simply suggesting that a knife with a sharp edge could be about the senses especially if your photo and Artist Statement spoke to the theme.)

As I mentioned in the previous post, marketing art and craft work is not just taking a photograph and PhotoShop-ing the image.  You need to think about how you can find opportunities in unexpected places and develop a following for your work.

Galleries won't do this for you, they will only follow your lead if you have proven that you have an audience that wants to see your knives.

Wishing for new opportunities outside the knife world will not cut it. (pun intended). YOU need to find these opportunities in every way you can. By the way, you should definitely get your own Facebook name if you can and name your image files when you send them out following to previous blog recommendations.

Look at the recent Profesional Guidelines document Working with Digital Images Effectively so that you know how to title your image files properly.

While we are talking about images, I have also noticed that knife makers seem to Photo Shop their images into multiple views combined in one image (sometimes with vibrantly colored backgrounds) such as the images of John Jensen's knives in the previous post. My impression is that this style of image is not appropriate to the gallery context. I would keep your photos for galleries to backgrounds that are white (or graduated white to dark) with one view of your knife per image. Use the Professional Guidelines document Guide to Quality Photographic Images to help evaluate your images for the galleries.

Hope this information helps.

Harriete
www.harriete-estel-berman.info

How can I market my work when galleries resist?

Krystallos
John Jensen

Dear ASK Harriete,

I was wondering if you had any guidelines on how to find and approach galleries. I have a hard enough time with people being freaked out by my work (knives) that I want to make sure I'm doing everything else right to help offset the "Knives are not art", or "Knives are weapons" B.S. that I often encounter...

Any tips and techniques on getting galleries to say "Yes"?

Thanks,

John Jensen

Dear John,

You do have the ultimate difficult object to show in galleries . . . and frankly, I am wondering why you want to be in galleries at all.  Knives do have a market but it is usually not in a gallery setting.

Galleries are in the business to show work that they think their customers will buy, otherwise they will go out of business.  They base their decisions on their business experience, as well as their own interests and personal tastes.  If their business grows, they develop a following of like-minded clients that reinforces their earlier decisions on which artists to represent.

Syndrome
John Jensen

If galleries lack interest in showing knives, it is most likely because they think that your work will not appeal to their client base.  This is a business decision and is not a reflection on whether knives are art or craft, etc.

In my next post, I will suggest ways to become more involved in the gallery scene, how to find a gallery, and how to improve your chances that a gallery will choose to show your work. However, I think you have much more potential finding buyers and collectors by using the Internet, in addition to connecting with books and magazines about knives.

Make it easy for knife enthusiasts to find you.  The Internet is fantastic for connecting both makers and buyers of unusual or less common objects.  Since your work is in a distinct niche market, the Internet could serve you well.   Join and use as many online groups as you can find that will show images of your work. This includes Facebook, Flickr, and Crafthaus as examples.  These sites offer a number of specialized groups, especially Flickr. They also list online exhibitions and real world exhibition opportunities as a service to their members . . . or you could sponsor an exhibition yourself.

Look online for knife organizations, knife conferences, knife craft shows, even events that attract knife enthusiasts. I am not familiar with the knife world, but the Internet definitely makes research much easier for anyone interested in niche markets. The point is that you want to be found by people who are more likely to appreciate and buy your knives.  If your potential clients are not the typical gallery clientele, then you need to "show" your work where your audience will find you.   

Nuibiru, 2008,
Cover photo for 500 Knives
John Jensen

Keep going...look online for blogs about knives. If you can't find one, start your own.   With a little bit of effort toward building your online visibility, your audience with grow dramatically. 

I'd also like to bust the myth that a gallery will do all the work of marketing for you.  They will do some, but you can't be a market success unless YOU take charge of marketing your work. 

I noticed that you will have a knife on the cover of 500 Knives.  Great news! Your next step is to look up every one of the knife makers in the book. Look at their websites or find them online. Look where they show their work. Email them, network with them online. Ask them, "Where do you show your work?" Look for shops or stores that sell knives as well. This might be a much better direction than galleries since stores are accustomed to buying merchandise outright, rather than showing work on consignment.

Stay tuned for the next post about connecting with the gallery marketplace.

Harriete
www.harriete-estel-berman.info

Get your own name on Facebook now!

Did you know that you can get your own name on Facebook?  Do it now! This is a fast and easy step for creating an identity and visibility for your artwork and your name.

For my original Facebook account, I was assigned some random number as my identity.  Now, my Facebook address is   http://www.facebook.com/harriete.estel.berman/   No longer am I an anonymous number.  Facebook is the LARGEST photo sharing site on the Internet. And it is free. It is also easy to keep your Facebook page completely professional. There are many choices regarding how you share you personal or professional information.  This is a very convenient way to introduce your art or craft to a wide audience.

Choose your "NAME" carefully. Once it is done, there is no changing it.  If you have a common first or last name, use your middle initial or your middle name (like I did).  A second option would be to add a number, but I recommend that you try to make your name more unique with a middle name or middle family name rather than a number.  It just doesn't seem all that unique or memorable to be Adam.Evan523.

To find out how to get your own name on Facebook CLICK here. 

You never know who might be looking for you online; a customer, a curator, or an author doing research for an article.  Get online and increase the visibility for your art in every way you can.

Harriete
www.harriete-estel-berman.info

Uploading Images to Social Networking Sites: What size is recommended?

Consuming Identity Chair
Photo Credit: Philip Cohen

When it comes to uploading images to Social Networking sites for online viewing, you want to keep a couple of important factors in mind.

• Image size for optimal online viewing is usually about 1Mb.
  
• Some sites impose a size limit.  
  
• Check to make sure your  digital images show up properly.
  
• Take full advantage of tags and descriptions for each image.

I've found that a file size in the range of one megabyte (1Mb) or less is a practical size for nearly all social networking sites. When you upload an image,  most online 2.0 sites will automatically downsize the  digital image file to fit their template for thumbnail images.  These sites typically retain the larger file so that if anyone clicks on the thumbnail, a larger pop up image will open.   Use these built-in features of 2.0 sites to your advantage.

Not too small!  Small images (for example 100 x 150 pixels) may look fine for quick review as a "thumbnail" for your website, or as the thumbnail on a social networking "page" or "portfolio."  But if a potential buyer clicks on the image for a larger, closer inspection, and the image does not increase in size, it is very disappointing.  Click on the image above to see the difference.

I've also heard of people intentionally uploading small images out of fear that their work may be copied.  Frankly my advice is to "get over it."  Move on.  Keep developing your portfolio with skill and artistic vision amplified by hard work.  A copycat, if one ever occurs, will be found out soon enough.  The recurring benefits of larger, high resolution images far outweigh the small chance of abuse.   

Not too big!  Don't upload an image file that is too large either.  Many people have high speed connections, but very large image files (e.g. 3MB and larger) may take such a long time to render on the viewer's monitor that they stop and go elsewhere. 

Always try a test viewing of your online images as if you were a potential curator or buyer visiting the site.  If it doesn't show up the way you expected, find out why, delete it and re-upload a corrected image file.    

Check here soon for upcoming blogs on tags and descriptions to get the most out of uploaded images. Read the previous blog about image labels.

Harriete
www.harriete-estel-berman.info

Use social networking sites for visibiliy

I enjoy surfing around the Internet looking at work by other artists and craftspeople.  However, sometimes when I discover an attractive image or piece of work, if there is no supporting information, I am left disappointed.  It is like the artist didn't care to put any effort in explaining the work.  Lacking some kind of description, or at least a list of materials, forces me to guess or speculate or make up my own assumptions.

Online viewing is different than viewing work in a museum, gallery or craft show. When online, I do not have the option of looking at the real work, walking all the way around, standing far away and then looking close.  An online image is limited by the size and quality of my computer monitor (the 72 dpi of all Internet images) and by the quality of the photographic image posted by the individual artist.  People may even be looking at your work on their mobile phones or PDA's (Personal Digital Assistant). A description included with the work will help them decipher this postage stamp size image. 

Measuring Compliance
Photo Credit: Philip Cohen

Detailed information will help the viewer to interpret your images. The title, media, and materials give the viewer a better insight about the work. The dimensions give the viewer a clear idea about the size of the work. Some work looks smaller or larger, than in reality. For example, in this sculpture titled Measuring Compliance (left) people often assume it is a "miniature."  In fact it is a life size 3rd grade desk and 3rd grade chair. Without the dimensions, would you assume it's height is 7 inches - or 7 feet?.   Big difference!

It is also a good idea to group your work on these sites by categories that are appropriate to your work. Most sites offer some method to organize your photos. Take time to make these categories interesting.  This way if a person is looking at your albums or sets, you are offering a rich resource of information.

The Internet is your marketing and sales department.  What do people see in your work?  What do you want people to know about your work?  The Internet will speak for you if you simply provide the information along with your images.  Compose at least a brief description and statement.  You can always edit it later.     

Harriete Estel Berman
www.harriete-estel-berman.info

 

P.S.  In an earlier post, the following was itemized for your artwork descriptions:

Basic Label Information. 

• Artist's name
• Title of the work
• Copyright symbol
• Date of work
• Media or materials
• Dimensions (height, width, depth)
• Helpful other tags (if possible)

Stay tuned for information about using SEO (Search Engine Optimization) for maximum visibility.

HELP WANTED with my artist statement!

Dear Harriete,

When I decided to become a painter, 14 years ago, I hired an artist consultant to write my artist statement. It was well written and served its purpose over the time I was painting. Now I am working in tin and don't have the cash flow I once had to hire someone for this task (I save any extra $ for the photographer). Could you tell me please, what is your best recommendation for writing one's own artist statement? Any guidelines to follow that you know of? I am at a loss here. Thank you for any suggestions you may have on this topic.

Sincerely, one of your fans,

 Jenny Fillius

Dear Lost for Words,

This is a great question because, other than your work itself, the Artist Statement is your best opportunity to connect with the viewing audience. People rely on the artist statement to gain context and insights about the work.  I love reading a superb statement.  It is also one of my pet peeves when an artist allows a poor statement to be associated with an otherwise good work of art. 

If words are going to represent your work, those words better be good, as good as your artwork.  A personal guideline is that composing the artist statement should take about 5% of the overall time spent to make the piece.   It may sound like a lot of time but remember that your audience may actually spend as much time reading your statement as looking at the work. 

Each series or important piece should have its own specific artist statement.  A good statement focuses on the artwork (not your life history or philosophy).  While working on your piece, start writing down thoughts and bits that you’d like to include in the statement.  Then organize these thoughts into a coherent statement as you finish the piece or immediately after.   It will be more difficult (almost impossible) to remember your inspiration months later when you’re thinking about different work.

The investment of time could really pay off since the artist statement can be used in multiple scenarios including:

• Grant proposals;
• Submission to exhibitions;
  
• Exhibition proposals;
• Catalogs produced for an exhibition that includes your work;
• Submissions to publications such as books, or magazine;
• Information for lecturers, writers, reviewers or bloggers talking about your work;
• Statements on your web site;Information to post with your images on social networking sites;

Below are a few suggestions for a better artist statement.  Since writing styles vary considerably, keep in mind that these are only suggestions.   

One final thought, do not confuse your artist statement with your bio. The artist statement should be about your work only, and the inspiration behind it. Make your artist statement as inspiring and interesting as your work.

For more details and additional examples about artist statements check out my blog ASK Harriete at  http://askharriete.typepad.com

TIPS for A GREAT ARTIST STATEMENT

1. First line needs to convey the most important insight about the piece.  Make the first line good enough to stand alone -- full of information, but not too long.

2.  Use descriptive language.   Explain the source or inspiration of some key details.  Minimize the use of the words “I”, “my” or “me“.

3. Connect with your audience by modifying your statement and writing style.  The artist statement for a coffee table book should be engaging and entertaining. A statement for a grant application should be constructive and insightful. Think about what the audience would like to know. Ultimately you may need more than one version of your statement for each piece.

4. Keep your statement short, specific, and sincere preferably one paragraph or two very short paragraphs. Stay concise!  Avoid repeating the same concept with different words – a common problem in artist statements.

5. Include STRONG CONTENT such as unique features, special techniques, themes, content issues or historical origin of a technique.  Do not mention old work, past exhibitions, or awards in your artist statement.

6. Never say anything negative or complain. Negative statements devalue you and your work. Everyone struggles with finding time to do their work.

7. Never puff up your statement with positive self appraisement. Such comments sound like bragging with no substance. Do not include statements about how you are attempting something. Be confident, either you are “there” or don’t say it.

8. NEVER write “No Statement” in a proposal requesting a statement. You will be immediately disqualified for failure to fulfill the requirements

9. Technicalities - have two or more people proof read your statement.  Ask for constructive criticism and feedback. 

10. Update your Statement. Each time you use the statement, reread it thoroughly as if it were your first time. Is there anything that might make it more relevant to the new audience?

Documents to sell a work of art.

Casey by John van Es

Hi Harriete,

I've painted all my life and I'm now 45 years old.  I recently created my own website and linked it to other portfolio sites to display my work.  I only show a handful of what I've created.  A buyer is interested in two paintings and is asking for papers and documents. What should be given to the buyer?  I never tried to sell before so don't know what to do.    Thanks in advance for your advice. You can  visit my web site if you want.
Signed,

Unsure,
 John van Es
       
Dear John,

Thanks for your question and for labeling your images correctly!

The following information should be sent for artwork that you want to sell.

• A polite and business-like letter thanking the collector for his interest in your work and itemizing the materials enclosed with the letter (below).
• CD of digital images. These images should be professional guality images at least 8"x 10" at 300 dpi. Read the new Professional Guidelines documents about digital images for more information.  Include a full view and some close up images for each piece.
  
• Contact sheet with thumbnail images of the digital images on the C.D. This Contact Sheet is for quick reference. Read Working with Digital Images Effectively for guidance in making your contact sheet. 
• Resume (1-5 pages with your mailing address since it doesn't appear you are working through a gallery).
• Artist Statement (about the particular artwork on the C.D.)
• Description for the artwork on the C.D. including title, copyright symbol, date of work, media (be specific), dimensions (height x width x depth)
• Photo Credit for the image.
• Retail Price (label the price as "Retail Price" to avoid confusion with wholesale or artist's price.)

Geronimo by John van Es

If you have exhibited this particular artwork or if it is included in books, then you might want to list the exhibitions or publications that show or have shown the work. Also if you have any postcards or articles from newspapers or magazines that included images of the artworks, that would be very nice, but it is not necessary.

I have heard about a “Certificate of Authentication” from some people, but this seems more like a fluffy promotional sound bite when buying a souvenir plate.  There is no such organization or ''Certificate of Authentication" that is recognized universally. 

You letter could document that you created and own the copyright for the artwork. The information listed above should be all that is necessary to give the collector confidence in the fact that he is buying an original painting directly from the artist.

IF you think that "price discounts" may be raised by the collector, I recommend that you read the Professional Guidelines document Discounts.

After the purchase is complete, you should send a receipt for the purchase along with a "thank you" note.

Good luck with the purchase.

Harriete
www.harriete-estel-berman.info

Create an "image description" for every artwork.

When you have selected which images will represent your work, you need to immediately compose an "image description."  The image description is a permanent supplement to your photographic image. Once created your image description can be used over and over in a wide spectrum of opportunities. Copy and paste the description into jury applications and exhibition opportunities and when posting your images on line with Web 2.0 social networking like Facebook, Crafthaus and more! In addition, include it in your own  Inventory Record, Artist Statement, press releases and art/craft newsletters.

Reality Studded with Thorns...
Photo Credit: Philip Cohen

Your image description should include the following.

• Artist's name
• Title of the work
• Copyright symbol
• Date of work
• Media or materials
• Dimensions (height, width, depth)

Here is what my image description looks like if it were printed on an 8.5" x 11" piece of paper. CLICK ON THE BOX below to see this example clearly.

 
Sometimes I will include a very brief description of a unique aspect of a particular piece such as opening,closing or functional aspect not apparent in the photo. CLICK ON THE BOX below to see this nice a clear.

 

Your image descriptions become part of your "Recipe for Success" for developing  professional opportunities. Give your superhero images the captions that they need.  Use every opportunity no matter how small or large to give the viewer the information they need to understand and interpret the photos of your work.  

 

Jurors, editors, and curators  always want to select the best  work, but in reality all work submitted is evaluated on the quality and interpretation of the photographic images.  Give the jurors as much insight as you can with an appropriate image description.  

For more information, use the two new documents in the Professional Guidelines to help evaluate your photos. The Guide to Professional Quality Images offers concrete issues to consider in your photos.  Working with Digital Images Effectively will assist you in practical aspects of digital images.

Do not add text to your photos!

Your photos are your best marketing tool.  Unfortunately some artists have stepped over the line and added their name or their business name into the photo. This distracts from the primary purpose of your photo which is to show your art work or craft at its best.  Anything else is a distraction and lends a commercial appearance that is inappropriate for fine art or fine craft.  All other information can be added elsewhere, just not in the photo. (Information for your photos will be covered in the next post.)

Do not add data to your photos.  Do not add your signature, date, object's title, artist's name, company name, business name, watermark or Etsy shop name to your photos.  Keep your photos absolutely clean so that they can be submitted for all sorts of opportunities like books, magazines, local newspapers, gallery promotions, juried shows, exhibitions and on line social networking sites.

When you take photos of your work, create a set of photos that will be suitable for as many opportunities and applications as possible.  And make your work so memorable and unique that everyone recognizes your work even without looking for the artists name. This is your signature!

Stay tuned for additional posts on photographic images and refer to the Professional Guidelines documents:

GUIDE TO PROFESSIONAL QUALITY IMAGES

And

WORKING WITH DIGITAL IMAGES EFFECTIVELY 

Harriete
www.harriete-estel-berman.info

Your photos are your best marketing tool.

Artists often wonder how they can promote their work more effectively. There are many paths but they all start with having fabulous photographs as your number one marketing tool.  The Professional Guidelines now has two new topics to help you evaluate your photographs and advance your professional development.

The two new Professional Guidelines documents are:

Guide to Professional Quality Images

and

Working with Digital Images Effectively

Use these two documents to evaluate your photos. Over the next few weeks this blog will offer a series of helpful hints for promoting your work with your photographic images.

Harriete
www.harriete-estel-berman.info

Start creating online visibility - with Facebook and Flickr to promote your art and craft

Dear Harriete,

I haven't tried the Internet yet to promote my work. What do you suggest to start with first?

Signed,

Overwhelmed and Confused

Dear Overwhelmed,

The Web can certainly help your marketing efforts, even for a novice.   Start with the easiest web exposure by joining a couple of social networking sites.  Here is a list of several good ones.

Flickr offers a free image posting service. You can upload images to create a portfolio and then refer people to look through your online portfolio.  Flickr is less about socializing and focuses more on providing an easy to manage portfolio of images. Some "groups" within Flickr have discussion boards, but they don't seem that active. Flickr is NOT a retail venue, in fact, any overt promotion of your work, such as prices or links to retail sites, is strictly forbidden except on your profile page.

It is easy to post images on Flickr. If you don't have Photoshop (or other photo editing software) you can upload rather large images to Flickr directly from your computer or camera.  Flickr will accept large images and resize them to web size images. This is a quick and easy way to make web-ready images. Flickr is free for up to 200 images or 100 MB.  Start with the free stuff.  You can upgrade any time to the fee-based premium options. There is no filter on Flickr, which means anyone and everyone can participate, but you'll be joining a crowd. To give you work on Flickr more visibility, join groups on Flickr, then post more of your work to the groups regularly. You may meet people with similar interests. 

Facebook is a social networking site that is also free and very easy to use.  Posting images is secondary, but you can make posting images of your art or craft work a primary focus for your pages.  You'll gain a lot of visibility with a wide new audience both inside and outside of the arts and crafts world. You'll meet lots of people on Facebook and it helps break the isolation of the studio.  Facebook is the largest photo sharing site on the web. 

Crafthaus is organized specifically for artists and craftspeople.  It is monitored by Brigette Martin and is intended to be a combination of social network and image visibility within a group of like-minded people.  Martin acts as a juror to filter or select who can participate and what images can be posted within the site. A number of on-going discussions and blogs cover art/craft related issues.  It now costs about $20 to be on Crafthaus.

LinkedIn is a social networking site without images but it can be useful to connect with other individuals or possibly your collectors who might have a "professional" profile. It doesn't cost anything other than a bit of your time, and it provides another possibility to connect with colleagues from your past, present and the future. Keep this site completely professional. Skip any reference to your family, children and pets, etc.

Every one of these sites generates visibility for you and your art work or craft. As you become more proficient, make sure to add links on each of your profile pages for every site and your website to interconnect them.  This creates more traffic for your artwork or craft and more name recognition. The Internet is called the "web" and it is up to you to create a web of links and connections to catch attention for you and your work.

A new generation of the web - dubbed "Web 2.0" (pronounced web two point o) - enables sites such as Facebook and Flickr.  For most of us, it means that you don’t need programming skills or special software to participate.  Most 2.0 sites are very egalitarian by their very nature. Just jump right in and get started. After some experimentation it does get a lot easier.  If you get stuck, many people already on-line can help you out. Just post your question and ask for help. 

Your goal is to gain visibility online that could lead to purchases.  Experiment first with the free sites and learn before spending money on Internet sites that promise visibility for $100 to $200 a year. You can create a lot of visibility without spending much money. Save your money for investing in fantastic professional photography. 

Go ahead, jump in and get your feet wet. IF you don't like it, you can either delete your account or let it lie fallow.

For some expert insight, there will be an entire afternoon focused on websites and Web 2.0 during the Professional Development Seminar on May 20, 2009 (Wednesday afternoon) before the SNAG Conference in Philadelphia. This four hours of information is a real deal for $15 at the door. (Download the Professional Development FLYER)  This program is open to anyone. 

Stay tuned for future posts about Web 2.0 and other good stuff that I expect to learn at the Professional Development Seminar (in case you can't come) . Retail 2.0 sites will be listed in an upcoming blog post. 

Signed,

Harriete Estel Berman

P.S.  I have included the links to many sites in which I participate, but you may not be able to see much unless you sign in.  Hopefully you'll see other examples to give you a feel for the particular site.

Are your images good enough?

Bridgette Martin on Crafthaus recently posted a blog with six tips about photographic images. This is such an important topic for all artists and makers in all media. She should know. Bridgette has established Crafthaus, an arts community social network on line and runs her own "bricks and mortar" gallery Luke and Eloy in Pittsburgh. She looks at images everyday.

Fabulous photographic images have always been important but with the circulation of images on the Internet, and the growing opportunities to have your work published in books and magazines great photographic images have become even more important.

That is why I decided to write a new Professional Guidelines document about Quality Photographic Images. This will be published soon. There is also a new topic KNOWING HOW TO WORK WITH DIGITAL IMAGES which is almost complete. The final topic of this three part series will be bad and good photographic examples with an explanation.

If anyone would like to submit their photos for public evaluation in this 3rd document please send them directly to me as 2" x 2", 300 dpi. Send the images to: bermaid [at] harriete-estel-berman [dot] info. As compensation for allowing me to use your images in this document, I am offering a private critique of the photo and the work if you are interested. This is optional but can be an opportunity to work toward success.

To be successful, all creative individuals need to strive for improvement and "deliberate practice" as described in the book TALENT IS OVERRATED by Geoff Colvin. Are you striving for improvement? Do you show your images to your Critique Group and ask for critique? Are you projecting your images to see if they still look good to a jury? A digital camera does not make you a photographer. Evaluate your images carefully as a key to success.

Staying Motivated and Inspired

Staying inspired and motivated can be difficult for an artist or maker,especially in this slow economy when retail sales are down. Don't let it get you down. When things are slow, you need to refocus your efforts on quality work and refining your inspiration.

I highly recommend reading a book by Twyla Tharp titled, "The Creative Habit". She reveals many of her tricks and techniques for staying focused on her work.  She continuously stresses the importance of practicing her craft all the time..."scratching" (as she calls it) to develop new ideas.

Another suggestion is to  "Quit before you are exhausted". She likes to quit before her creative focus is exhausted, she wants to be able to retain some energy for the next step in the studio.

When my work is going well and I have to quit and walk away, my trick is to write down what I need to do next. I put a note to myself, front and center on my work bench with the next half hour of work laid out for me to do.  When I walk in the next day, feeling cold (there is no heat in my studio) and uninspired, my day's first task is ready to go. This can jump start my day.

Harriete

How do I submit work to a gallery for view?

This is part two of a four part series by Don Friedlich, Harriete Estel Berman and Andy Cooperman for artists and crafts people about submitting work to galleries and retail establishments. Originally published on Etsy's Storque. CLICK HERE to read the entire series.

After your research to find a gallery appropriate for your work (as described by Don Friedlich in PART 1 ) now it is time to contact the gallery with images of your work.

First look on-line at the gallery’s web site for information on how artists should submit images and material for review. Check the web site thoroughly: often this information is buried deep in the web site since this is not information commonly accessed by the public.

If you don’t see this information on the web site, call or email the gallery directly.  Introduce yourself and ask about their procedures for artist review and application. Don’t be surprised if they say that they aren’t taking on any new artists: the gallery world is limited and selective.

If you are invited to submit material, follow the gallery’s submission guidelines EXACTLY including the number, size and type of images. Some galleries prefer a package sent through the mail; others may prefer email submissions or a link to your web site.

Most importantly, submit only fantastic images. Gallery owners and managers may reasonably assume that the quality of the photographic documentation that you submit is representative of the quality of your work.  While this assumption may not be true, visual images play a critical role and their quality and appearance do influence the gallery’s assessment of your work. 

Do not send images with distractions in the background.  I would suggest a background of white or a graduated grey.  Brightly colored backgrounds are fine for websites (e.g. Etsy) but rarely used in the “gallery world.”  

I took some photos of my own work to illustrate what I mean by low quality photography. The first image ( left) has a distracting background and a hot spot where the flash is bouncing or sunlight is glaring.

The next photo (right) has many problems. The colored background with embroidered beads is distracting. Wrinkled fabric in never a good photo backdrop.The earrings are off to one side with too much empty space within the frame. The images is slightly                                          out of focus.

Here are a few suggestions for top quality images:

•    Avoid an unbalanced image, such as the subject off to one side.
•    Avoid too much empty space in your image – fill the frame.
•    Correct lighting and exposure is essential.
•    Do not use heavily textured fabric or paper, wrinkled or draped material, dramatic or contrived backgrounds such as sunsets, landscapes, pebbles or exotic patterns. 

YOUR IMAGE PACKAGE should look creative and professional.  Unless the gallery specifies differently, include the following in your image package:

•    Cover Letter - stating briefly why your work is appropriate for that particular gallery or retail establishment. If you have visited the gallery, say so in the letter. Make it clear that your decision to approach this particular gallery is based on your research into the work they represent.
•    Resume  - one or two pages
•    Artist Statement - one or two short paragraphs (short, entertaining and relevant about your work). Pique their interest in your work with interesting content, and make it relevant to the gallery and their audience. 
•    Images of your work - burned on a CD or sent by email.

o    Send jpg (for easy viewing) if sending the images by email.
o    Send both jpg and tif 300 dpi (or higher for print quality), if you are sending a CD. 

•    SASE Envelope (Self Addressed Stamped Envelope) if you want your materials returned.
•    Image description sheet should include the following information for every image.

o    Title of work
o    Date of work
o    Artist’s name
o    Brief description of materials
o    Dimensions (height x width x depth)
o    Photo Credit of the photographer

• Contact Sheet (Page of thumbnail images and key information)  
A contact sheet is rarely requested but if you are sending a CD in the mail, I think this adds a lot to your image package. This way the gallery or store can quickly glance at your images without even putting the CD in their computer. This quick and easy access to your images was an advantage that slides offered that has been lost with digital media.

Make sure that the titles for the images include your last name and the title of the work (or at least part of the title).Example for my images:   BermanH_IDneck.jpg 

Place all your materials in an interesting, colorful, professional envelope styled to be consistent with you work and the gallery. Your key to success is hard work, originality, and persistence.

Good luck.

Harriete Estel Berman

I never make any money, how do you stay motivated year after year?

Dear Harriete,

Lily Necklace by Michelle Pajak-Reynolds

As I prepare my yearly records for my accountant, the expenses vs income $$'s are always lopsided.  While I'm very frugal, I spend WAY more than what comes back. I hope it's not too personal a question to ask, but have your $$'s ever turned out this way as well.  Sometimes I feel like my art habit is pulling too much out of my household income.  While it's really only a small percentage of our total, it's still a several thousand each year. How do you stay motivated year after year?

 

Signed,
Worried about negative cash flow

Dear At a Loss,

 

You've really hit on a couple of fundamental issues.  One, Can I make a living out of my art?  And two, How do I stay motivated?  Many, if not all, artists have been confronted by these issues. 

Let's separate these topics because I think of them as entirely different. In this post I will address the money issue and the importance of using Short Term and Long Term Goals for your professional development and motivation. Then, continue with a few suggestion to stay motivated and inspired about your work.

IS MONEY MOTIVATION FOR CREATING
Personally, I have never made much money from my artwork despite the fact that  I do more every year to generate income.  To make ends meet, I have a part time job (leading exercise) and do silver repair work.  I give lectures, workshops and speak at schools and conferences.  Each year a couple of major pieces do sell and some smaller items sell more often.  The art sales alone are not enough to cover my expenses, sometimes close but not enough.

 

Making a living from your art. The reality for most artists and craftspeople is that they need additional sources of income outside of their artwork to pay the rent and support themselves. To put it bluntly, don't give up your day job. 

This may not be the answer you wanted to hear, but making a living from art is not a practical motivator. It is irregular and outside of your control. 

Revenue from my work is not my sole source of motivation. Really it is only a small part of the big picture.

So how can an artist/maker stay motivated? First and most important, you need to decide your Goals for Success,  then break this down into Short Term and Long Term Goals.

Be honest with yourself? Is making a living from your work your most important goal? Then your production methods need to align with this goal along with the type of items you produce.

I am more motivated by making the best, original, innovative work that I can and  finding exhibition opportunities. Displaying my work in great exhibitions, included in books and magazines, and purchased for museum collections are my goals. As an artist, I work at aligning my work methods, and designs toward these goals. 

 

WRITE DOWN YOUR SHORT TERM AND LONG TERM GOALS
Seek your validation from you short and long term goals. Examples include:

• producing one AMAZING piece per year
• producing smaller or less involved work that costs less
• having your work published in books and magazines,
• having your work included in shows,
• learning how to update your own web site, 
• developing your Photoshop skills,
• participating in a show,
• organizing a show of your fellow artists,
• making new opportunities for yourself and others (like a Critique Group),
• generating money,
• generating sales.

PARTICIPATE IN A Critigue by  Downloading Critique Group Guidelines Final 2011
This is very important. Use the Critique Group to:

• Stimulate your work,
• Create deadlines for yourself to get work done for the next Critique Group
• Give and receive honest feedback. 
• Meet monthly to motivate each other.
• Potentially, the group can create group show opportunities. 

Vague and gratuitous compliments serve no purpose here. Be clear and on target. An "I like it" or "that is interesting" is not useful. Be specific about what works visually and what doesn't. Give a detailed interpretation and identify what elements caused or triggered your perception.  Draw on your knowledge of each artist's objectives and target your comments toward their objectives. Are the fabrication techniques aligned with their goals.  Focus on constructive criticism.  Avoid talking about children, dogs, cats, and personal problems.

A link to my Critique Group Guidelines is provided here.  I recommend that a group have between three and ten people to maintain a core group familiar with the work, previous progress and the short and long term goals of each member. 

DIG DEEP, BE UNIQUE
For me the path to success is to make the best, most interesting, deep, esoteric, off the beaten path, unique,  "_________(fill in the blank here)" in the whole world. It has to reflect your inner core, your passion, your inner being, your singular artistic voice, and a personal vocabulary of fabrication methods that you have developed over time. The more unique, the more unusual the work, the more likely you will reach your goals. Copycat designs will quickly hit the "glass ceiling" of the art and craft world.

Write down the goals for your work, and then study your approach to design and production. Are your work methods, approach to production, promotion, networking, and dedicated focus all aligned like the stars? Are you working in a straight line?  Your goals for your art or craft may be different than mine.

Your goals for your art or craft may be different than mine, the most important thing to realize is the you will never reach your goals if you aren't clear and honest with yourself.

Harriete Estel Berman

 

 

 

How do I promote my work in a slow economy?

Harriete,
I was wondering if you had any ideas about how to get increase visibility and possibly retail purchases with the current economy.    I am exploring ALL of my options.
Exploring

Dear Exploring ALL your options,

There are many Internet sites that offer visibility of your work for both the arts and crafts community and could expose your work to new audiences.

During these slow times I am investing in "Research and Development" with my work and on-line networking. Recently, I heard an interview on Charlie Rose discuss the approach of the famous CEO of Intel,  Andy Grove. His approach during slow downs in the economy is Research and Development and investing in his company preparing for the upturn in the economy. While his business background does not apply to the arts directly, his attitude is one we can embrace.

A slow down in the economy is not the time to take a vacation or lay around getting extra rest.  We need to experiment in the studio, develop new ideas and designs. Invest your time in an amazing one of a kind or limited production item that you may not have had time to create when you were swamped with orders.

I have been posting multiple images of older work on 2.0  network sites just to show my work to a larger audience that may not have seen it before or may not be familiar with my work. I consider all of the Internet options like Facebook, Flickr, Crafthaus and Etsy as opportunities for exposure for the future.

Now is the time to work on finding new visibility. Enter a few shows or submit your amazing new pieces to a book or magazine. Try networking on Flickr, Facebook, Crafthaus, or start your own blog.  All of these actions can be done for free. Post images on these sites. Let people know about all the great work you've made in the past that they may have never seen. I have met people by networking on line that I have never met at a conference. One more important reason to participate on these sites is that they will link to your web site. 

Do you have a web site? I think a web site is an absolute requirement for artists these days. It establishes your credibility and helps people find you or find out more about your work. You could have just one or two pages with information and links to other sites, but a professional web site is a must.  Note, I said, "professional." The web site should match your personal aesthetic and style.  A D.I.Y. web site or a template will look like a cookie cutter impression. Invest in a modest but unique web site style which can develop in the future with additional pages and more information.

Personally, I am working on posting more information on my web site, such as my video and my slide lectures (as PowerPoint presentations). SlideShare is a new site where you can post PowerPoint lectures for free. What a great way to introduce your work to new people.

The Professional Development Seminar on May 20, 2009 at the next SNAG Conference in Philadelphia, Pennsylvania will have an amazing program about websites and 2.0 for the first two hours. The second half of the program is about the future of galleries in the 21st century. Don't miss this valuable information. It only costs $10 if you pre-register. 

Hope this information is helpful and inspiring. Do you have ideas that you would like to add?
Share them with others as a comment -- or email me directly or find me on Facebook.

Harriete Estel Berman