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What Grade Does Your Art Website Deserve?
Nov 15th
By Carolyn Edlund
For the past several years, I’ve subscribed to updates from Hubspot, and recommend that artists (or anyone else who has a website) check out what they have to offer.
Want to know how effectively your site is working? Check out Website Grader. It “grades” your site on various factors, including whether you have a blog, the amount of traffic your site gets, readability, incoming links and more. Suggestions are given on how you can improve your site to draw more visitors and improve search engine rank.
Update – As of December, 2011, Website Grader has been replaced by Marketing Grader. Check it out here.
And what about that blog? Click on over to Blog Grader and get an evaluation of your blog as well, including email subscription, social media links, average number of links, and metadata.
You probably saw this coming – yes, Tweet Grader, Facebook Grader and Google + Grader are available as well. You can even see how well your press releases are working by visiting Press Release Grader. Whether you are seriously searching for improvement or just want to check it out for fun, Hubspot has a lighthearted approach to all of their social media training and advice.
And Hubspot does have advice – lots of it. Signing up for their mailing list will bring you webinars on every type of web marketing you could ever need. Recently they released an ebook tutorial on how to create a Google+ business page if you want to be on the cutting edge of that platform.
But wait – there’s more! The team over at Hubspot has an entire university. Yes, it’s true. You could be old school and buy the hardcover book Inbound Marketing: Get Found Using Google, Social Media, and Blogs (New Rules Social Media Series)
Whether you just want to take a peek at your grades, or are a hardcore student, I encourage you to do some learning at Hubspot today.
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Turning Artists into Businesspeople/Interview with MICA Dean David Gracyalny
Jan 10th
by Carolyn Edlund
David Gracyalny
Are you an artist with the desire to make a career in your field, but feel that you don’t have the business knowledge to be successfully self-employed? This is a common problem, which has been exacerbated by a general lack of business education at the undergraduate level in many art schools and university art programs.
I had the opportunity to speak with the Dean of Continuing Studies at Maryland Institute College of Art (MICA) , David Gracyalny, about this need, and a new graduate degree that the school is offering to educate and prepare artists for the challenging business world.
The past few decades have been a time of immense change in the way artists do business. Gracyalny speaks about “returning distribution of creative product to the creator,” or giving control of art business and sales to the artists themselves, a trend which started back in the 1970’s and 80’s and is rapidly becoming a new business model.
The Master of Professional Studies (MPS) degree at MICA is a 14-month program, alternating brief “residencies” (which are actually long weekends) where the students meet with faculty and each other, with intensive online courses lasting eight weeks. This degree is described as “small business administration for artists and designers.” Structured to be convenient for students in the work world, it can actually accommodate international attendance.
MICA is an art school with a superb reputation in the United States, and their MPS in the Business of Art and Design program is the first of its
kind in this country. Course selection includes Financial Management, Marketing (including social networking), Art Licensing, Human Resources, Contracts, Taxes, Intellectual Property, and Public Speaking, among other subjects. These are specifically tailored to relate to the creative community rather than general businesspeople.
Gracyalny cites a statistic from the U.S. Department of Commerce regarding the lifespan of small businesses: Sixty percent will fail within the first four years. Eighty-five percent of the surviving businesses are run by people with business training. This makes it essential for artists planning to become self-employed to learn the art of business.
Interested? The application deadline is rapidly approaching. Check out MICA’s website for more information.
Oh, and about those of us who are still disappointed that we didn’t get enough business know-how as undergrads? Thomas James of Escape from Illustration Island has written an “Open Letter to Art Students Everywhere”. I think he makes some excellent points.
Is an Art Residency Right for You?
Dec 2nd
Have you ever considered applying for an Art Residency? This type of opportunity can be a great experience – or not. Guest Blogger Joseph Cavalieri has been working in glass as a fine art form since 1997. Collected and exhibited worldwide, his work can also be seen on TV in The Simpsons 20th Anniversary Special and in two issues of the Corning Museum’s New Glass Review. His MTA Arts in Transit public art commission is located at the Philipse Manor Metro North Station. To see more work visit: www.cavaglass.com.
Joseph Cavalieri
The Residency Dance
By Joseph Cavalieri
Within the last 2 years I’ve had three residencies in Australia, India and Scotland. Each arrangement was different and resulted in different outcomes. I’d like to share what I have learned artist-to-artist of how to make an art residency work best for you. If done the right way they can be inspiring, productive and a great boost for your career. If the wrong choices are made they make you feel secluded and empty your pockets of cash.
HISTORY
Residencies originated as organizations that supported artists one-hundred percent. They gave room, board, living expenses, and introductions, among other perks. Often the host was a private or non-profit organization, and received grants for supporting art. In return for their “support of the arts”, they improved the local community, added to their collection, and create a long-lasting relationship.
The term “residency” has changed over time. Now each are extremely different and offer varied arrangements. Some you may need to pay for the accommodations, travel and bring your own supplies. Read the fine print before spending the time on the application.
RESEARCH
Before you even start to research residencies you should have answers to very big questions about your work. What you are searching for as an artist, how you define success. These come under what we call a “Vision Statement”. It is the basic reasoning behind why you do your art. If a residency is in your vision statement, list what you want to get out of it before starting your search.
My “vision statement” includes teaching, inspiring other artists, and traveling. These are not first on the list, but they are an important element of my vision of being an artist. You may want a residency to be inspired by new surroundings and people, or a retreat to quietly continue your current work, or even to make contacts for future shows. Be honest and clear with what you want.
Think about if you can survive financially and mentally away from your studio for a month or two. Time spent at a residencies can result in you producing less work. It takes time to adjust and set up a new work space in a new environment. You may need to bring supplies or figure out how to buy them in a foreign country. These are all things you need to consider before applying. Remember, residencies should not be considered vacations. They are hard work, with a high level of socializing thrown in.
Window by Joseph Cavalieri
THE SEARCH
With the “vision statement” in hand you can now start your search. To save time, I have a list of residency deadlines listed by month, so if I am not accepted this year, I know when to apply next year. Apply about a month in advance, so you are showing recent work, but not working the night before. My top three web sites for searching include residencies are Wooloo, Café, and TransArtists .
A shortcut for searching residencies is to read CV’s of fellow artists in your field. Here you will find residencies they did in the past. You can also contact them for questions and advice.
Once you find a potential residency, search their site for the application form. If this does not exist, send them a short e-mail asking for the “guidelines for submitting an art-in-residency proposal.” No need to tell them about you or your work. Remember most of these organizations are non-profit and the staff has limited time.
IF A RESIDENCY IS NOT OFFERED
If you can’t take a full month off or is an organization does not offer a residency, you have options. A local college may be open to having you stop by as a visiting artist, even if they don’t have a formal residency program. Once you find the correct contact persons, send a clearly written proposal. Include the project, supplies, timing, and how you want to be reimbursed. Be creative – they may be much more open for a two day visit instead of two months.
SUBMISSIONS
Follow all steps as exactly as possible, and write your ideas out as clearly as possible. If this is not done they will trash the application. When asked for images of your work, I prefer to send a couple of close-up shots to show details. Consider how your work is best understood. To show scale and context you can show one photo including a frame or two pieces hung side by side.
I highly recommend incorporating community interaction into your project. Think about the host, having different artists come and go every year. If you have a connection with local people, it keeps a bond between them and the host, which is something the host may be wanting. Be creative with the proposals you are offering them. Write as clearly as possible – remember they are reading huge amounts of applications.
Window Detail - Joseph Cavalieri/ Residency Project
PAPERWORK
Once you are accepted, you need to do research and make as many contacts as possible before you physically arrive, so when you arrive you will have a group of people to work with, socialize with and (most importantly) ask questions of. Ask for any contacts your host has. Do a Google search or find local artist organizations and contact their members. E-mail a “letter of introduction” and simply invite them to meet you during your stay. I offer to share techniques. In turn, these professionals can help you find supplies, make gallery connections, help you get around, and even loan equipment. I never ask this in my initial email, it just naturally comes up after you get to know each other. This is one of the big reasons for a residency – to connect with the locals. Staff can help, especially if you want to meet instructors at a local art university.
Does the staff have contacts at local galleries and museums, or do they have contacts at schools and universities? You may want to do a demonstration or lectures at different organizations during your residency. If you want to do a lecture for, say a local college, try to get your host involved, so the students not only learn about you and your work, but see how this residency works and learns about the hosting organization.
Once you get to know your host well, ask if they have collectors who may be interested in meeting you and seeing your work. Don’t forget the press. Search out newspapers, websites and blogs before you arrive and send a press release on your project asking to have it covered.
BONUS
If you have extra time during your residency, you can propose a permanent instillation. This is a fine way to have your work remembered, seen by future visitors, and is good listing on your CV.
The types of residencies available are varied and numerous, depending on your area of expertise. It takes research and asking the right questions, while organizing your steps carefully. Once you get this done, you can have a stress-free time to create the project you set out to do without complications.
Assess Your Art Career /Interview with Ginny Ruder
Mar 6th
By Carolyn Edlund
Ginny Ruder is a career counselor in the New York metro area, who works with clients on balancing art, work and social life with a focus on being successful and happy. We spoke recently about some ideas she has for artists who are making career decisions.
AS: You suggest that taking assessment tests can be helpful. What do they reveal?
GR: One assessment type uses the RIASEC code developed by John Holland. Holland’s theory of congruence asks the test taker to look at their interests and strengths and understand how they fit into a work setting. It can help the artist find a “day job” that may be more rewarding than data entry. He gives a three letter code to thousands of job titles. This allows you to explore job options that may be more fulfilling and discover a job where you will be most successful.
I like to use Holland’s Self Directed Search with artists. It can be taken on the Internet, but I recommend you review it with a professional. Many artists have the A- Artistic/Creative trait. They often have the S- Social trait as well. These indicate creativity, the ability to come up with new ideas, and the trait to want to help others; making the world a better place to live. BUT the third letter of the code that Holland gives to artists is E-Enterprising. The E types are those who make connections in business, they make things happen! In giving this assessment to artists, that E component is often at the bottom of the chart. To understand that you can be creative, but you need to get out and sell your work is often a stumbling block for many artistic people. I encourage these people to find an agent or business partner who will help them get into the public eye.
The other letters of the code are R- Realistic, those people who like to work with their hands, and not be stuck in a desk job. I- Investigative, those who are into details, making things fit together, researching information. C- Conventional, those who make order out of chaos, they are organizers. Professional artists can be any combination, though the A is typically the first letter of their code. The Social component is important if you are working with clients directly, i.e. fashion, interior design, teaching. And the other letters may be more important depending on the medium you use, i.e. new media and graphic design may have that I trait.
For artists still in a college setting, the Self Directed Search, or Strong Interest Inventory may be available to you through your Career Counseling Center on campus.
AS: How can artists re-evaluate their professional life?
GR: Many artists find themselves working to make the bill payments, or working to create their art and then find that they are trapped. They also need to consider their social life; do they have one and how much time does it take up? When these three areas are balanced, they may be more productive and happier. If one area is taking more time than the others, life may not be as satisfying or productive. I suggest that every few months the artist sit down and look at where they are spending time. Set new goals of more time in the studio, or more time networking at art venues. Family time may need to be re-calibrated. Many times we put the aspect of life or business on a back burner, but it may need to be cranked up a notch.
Are you too busy at your “day job” and you are not making time to draw? Are you too busy in the sculpture studio and you don’t know if you’ll have enough money to pay the bills? Are you afraid that your work will be rejected from a show? Are you avoiding your partner, because they feel you are never home? If you find you are really stuck with these concerns, you may need to meet with a professional counselor to help you get un-stuck. There are free services in many communities.
AS: Once they come to a realization of their strengths, how do you suggest they go forward and find rewarding work?
GR: Focus on your strengths and have an idea of which areas you want to use. Talk to people and explore what jobs are out there. Idealist and NYFA are two great sites to visit. Networking is really important – make connections and stay in touch with those people who interest you most.
Attend events where you will meet other artists and patrons. Let people in your circle know you are looking for a specific type of work. Volunteer or work part time where you can develop skills that are marketable. For example if you want to teach art, help at an after-school program or craft store. Working as an artist in a not-for-profit setting may be rewarding. Working in an art-based environment may allow you time to hang a show, travel or take a class, if it doesn’t interfere with the business getting done.
Keep in mind that every company and organization needs new ideas! Come up with new ways of doing something outside the box, and don’t be afraid to pass them on to someone else. If your creativity is not being tapped at work, re-think the job you are in, and find an environment that will allow you to be creative.
In the NY metro area, artists seeking career advice, can visit Ginny’s website. The National Career Development Association lists professional career counselors around the US. Or contact local colleges, who typically have a Career Development/Counseling Center and one of the counselors may have a private practice.
Art and Heart Transform a School
Feb 15th
By Carolyn Edlund
In her own words, Jacqueline Edelberg describes herself as “a professional artist who led eight moms in a Chicago diner . . . neighborhood painters and artists transformed our school, top to bottom, and in so doing, transformed our entire community.” She spoke about this amazing project and it’s national effect.
AS: What was the situation at your neighborhood school before the transformation, and how did you decide to act?
JE: When my daughter Maya was two, I consciously chose to ignore all the desperate park chatter about schools. Parents angled to get their kids into prestigious private schools, but in listening to the conversations, it became clear that most of these anxious parents were not social climbers seeking the perfect school. Rather, they were rational city-dwellers who, quite simply, found themselves with few academic options.
In Chicago, choice public schools admit students by lottery or testing, and the competition is fierce. The city’s entire five-year-old population is in frenzied competition for a few hundred spots. It’s statistically harder to get your kindergartener into a top public magnet school than it is to get your high school senior into Harvard.
Given the cost of private school, the uncertainty of admissions, the problems associated with public school, including budget cuts, high class sizes, low test scores, busing, concerns of violence, etc. it is no wonder that so many Chicago families decide to call it quits, and move to the suburbs.
My girlfriend and I ventured inside Nettelhorst, our neighborhood’s struggling public elementary school to see get how terrible the place was. The new principal, Susan Kurland asked “what it would take for us to enroll our children”. Stunned by her candor, we returned the next day armed with an extensive wish list. Susan read our list and said “Well, let’s get started, girls! It’s going to be a busy year…”
AS: There were many parts to the revitalization, and painting the school was one of them. What else did you tackle?
JE: What would it take to make a neighborhood return to its public school? We imagined what the ideal elementary school might look like, how it would feel, and what it might offer. We cobbled together an elaborate wish list: low teacher/student ratios, accelerated academic programming, foreign language instruction, conceptual math, unfettered parental access, beautiful classrooms and public spaces, stellar enrichment programs, and so on. If the school was going to be a real choice, it needed to deliver on all these fronts. Even the most risk-tolerant parents wouldn’t be willing to risk their children’s education, so we rolled up our sleeves.
Renovating the school was a huge piece of our mission. When we arrived on the scene, the school looked like a penitentiary, but the 120 year-old building had great bones. Parents, teachers, students, and business owners rolled up their sleeves and got to work, all with a budget of zero. Today, there isn’t an inch of the school that hasn’t been licked by a neighborhood artist. It’s pure magic.
AS: You’ve had great results, not only in boosting enrollment, but energizing a community. What happened?
JE: Library Journal said we did it because we had “right mix of parent-teacher patience, willpower, community involvement, pluck, creativity, collaboration, and ability to overcome adversity.” I think it came down to the fact that we asked. We asked people to become involved. We asked people to invest with the energy and their children. We asked people to help. And they did.
AS: This has led you to write your book, “How to Walk to School”. Tell us about the national implications of project and where you want to take this idea.
JE: When I wrote How to Walk to School: Blueprint for a Neighborhood Renaissance
So many stars are in alignment right now. When I was in DC in September, I met with staff of all the democratic Senators on the Education Committee, and change is in the air: PBS just aired a documentary that follows two Chicago principals through the academic year. This Spring, “The Lottery,” a feature-length documentary airs that explores the struggles and dreams of four families from Harlem and the Bronx in the months leading up to the lottery for Harlem Success Academy, one of the most successful schools in New York. The call for universal preschool is getting louder as Jumpstart’s Read for the Record adds some real star power. Innovative empowerment zones, like the Harlem Children Zone, point to new willingness for policy makers to think outside the box. And, with backing from the Department of Education, Community Schools (of which Nettelhorst was Chicago’s first) are poised to become the national model. At long last, it seems as though our country is on the cusp of real school reform.
AS: All the hard work at your school involved a lot of volunteerism. Can you speak about how other artists can get involved in acting for the benefit of their own communities?
JE: There’s a ton of stuff we can do. One of the joys of needing everything is that anything you get is just perfect. Most public schools are unbelievably ugly. As an artist, our ugly duckling presented the most delicious canvas imaginable.
If you’re a creative type, gather up some artist pals, walk into a school, and ask the principal if there’s anything you can do to help. Don’t wait for an invitation. If you’re a painter, paint. If you’re a graphic designer, design a post card. A welder? Make a whimsical fence. Whatever you do, there is a public school nearby that desperately needs some love and affection.
If eight park moms could pull our little neighborhood school out of its twenty-five year nosedive, surely other driven parents could do the same thing. If we could spark a national grassroots school reform movement that would pull us all out of the giant mess we’re in, now wouldn’t that be something?
Featured Artist Leah Jay
