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Author: Dana
Behind the Scenes: How I Make Custom Art with Family Photos
In this post I’m going behind the scenes to share how I created a custom art commission for my client, Amanda, using her family photos and mementos. I feel honored to work on commissions using treasured family photos and scraps of paper that have been saved. Projects like this truly feel like collaborative creative endeavors.
The Project Begins
For this commission I completed two companion mixed media canvases, one about Amanda’s maternal family history and one about her paternal family history. Here are the materials that Amanda gave me to use on the project.
Photos and mementos from her mother’s side of the family. 
Photos and mementos from her father’s side of the family.
In this project, Amanda was generous with her time, telling me stories of her family and giving me original notes, a used passport, and other odds and ends to include. It felt like we were both invested in this process and in the artwork. Thank you, Amanda, for trusting me with your family story in this way.
We agreed on the size and a color palette and I got to work with the painting. I purchased two maps of significant places to her family on Ebay to round out the collage materials she gave me.
I found a map that would add to the story of her family. 
The colors for each piece were thoughtfully selected.
The Midpoint Check In
As per the typical agreement, I sent her photos when the project was about 50% completed for her feedback. Amanda asked for more color, as it was going in her mostly white house, and a greater emphasis on her parents in each painting.
I sent her another update photo after implementing her edits. They are 80% done here. 
I collaged some photos and I drew in others, like this mother and child image.
We scheduled another process check in because I had more edits to make after our check in than usual. It is important that my clients are happy with their commission and have peace of mind that our visions for the artwork are the same. So, I sent her the above photo at around 80% finished and she was thrilled with the progress.
The Reveal
That done, we scheduled a time for delivery and installation and I finished the paintings, including a varnish spray with UV protectant. She elected to keep the sides unfinished and unframed.
If my client is local, I prefer to do the reveal in person, and for large paintings, I’m more than happy to deliver them and help install them. It brings me joy to see my happy collectors when I reveal their artwork.
The finished commission in Amanda’s open concept dining room.
Amanda loved the finished paintings. Together we placed and hung them in her open-concept dining room. As a bonus, they were done in time for Thanksgiving, which she was hosting for the first time and now able to show off her new family-centered art pieces.
Imagine, what might you include in your commission?
If you are interested in a custom commission using your family memories, you can read more about requesting a commission here. I love to incorporate unique, meaningful items. From treasured family photos to ticket stubs from a trip, the sky’s the limit. So, let’s do this! I’d love to talk to you about creating a custom art commission using your family photos and mementos.
My 6 Most Recommended Podcast Episodes for Artists
I listen to a lot of podcasts. Like, a lot. I use podcasts to stay connected to other artists, learn about art history and contemporary art issues, and learn professional development for art and entrepreneurial business. Today I’m sharing a list of my 6 most recommended podcast episodes for artists.
This blog post basically wrote itself because I heard myself referencing all of these episodes in conversation over and over again and realized that I needed a concrete list to refer people back to. I hope you enjoy!
1. Do it For the Process: Instagram for Artists
We all wish we could crack the algorithm and garner a large following, like artist and art business educator Emily Jeffords. I’ve listened to tons (literally tons) of podcast episodes about Instagram tips and tricks, but for artists, Emily’s advice in these two podcasts is spot on.
Instagram for Artists (part 1): tips for creating a VIBRANT and ENGAGING account
Instagram for Artists (part 2): tips for creating a VIBRANT and ENGAGING account
2. Beyond the Studio: Amir H. Fallah Interview
I have enjoyed many episodes of this podcast. I feel that Amanda and Nicole ask smart questions and share practical advice for working artists. In fact, this podcast was the inspiration for the post I made a couple weeks ago on understanding your numbers, where I broke down my income buckets for 2019. If I had to pick one episode to share, it’s this interview with Amir that stands out. Before this episode, I had never considered what expectations I might have for a gallery that represented me. Amir talks candidly about how he found and considered his gallery representation and it made me rethink how I would approach and structure a gallery relationship in my own art career.
3. Don’t Keep Your Day Job: John Tabis of Bouqs
This episode caught me by surprise. John Tabis, the founder of Bouqs, a flower delivery company, talks about starting his business. In it, he shares a story about how he realized that if he truly believed in his company, he should personally reach out to his friends and family and ask for support. I was convicted by his passion and confidence so much that I drafted my own version of “the email” to send to my close friends and family. If you are going into business for yourself, you can’t assume that people know what you do or how they can support you. Listen to this episode and be inspired to take a bold step and share your art or business directly with your community.
How Rejection Made a Flower Company Blossom – John Tabis of Bouqs
4. I Like Your Work Podcast: Applying to Academic Jobs in the Arts
This episode is a gift. Oh my gosh. Erika is invited to record a conference panel discussion where the discussion topic is applying to academic jobs in the arts. Different speakers share their advice for applicants based on their own experiences applying or on search committees. One stand out speaker pair review the timeline of an application, each from the perspective of the committee and the applicant that ultimately got the job. I have never found this much insider information about academic hiring in the arts ANYWHERE else.
BONUS: Applying to Academic Jobs in the Arts
5. Artist/Mother Podcast: Jaime Rovenstine
This artist/mother episode made me cry, in a good way. I’ve heard a lot of artist mamas talk about how they were inspired by the life that they were creating and in response their art practice soared. I love those stories, but my own experience wasn’t like that. I had so much anxiety during pregnancy about how my life would change and I struggled with the lack of control I felt during the whole experience, that I practically stopped making art. It also took me a long time to return to art postpartum. When Jamie shared her story, I felt relief because I wasn’t alone. Art is a long game.
Jaime Rovenstine Shares About Finding Time To Paint In A Busy Season Of Life
6. Art for Your Ear by The Jealous Curator: Ashley Longshore
I’ve been listening to this podcast since it launched. Seriously. Danielle, The Jealous Curator herself, is one of my art heroes. It feels impossible to pick one episode to share because she has recorded so many incredible interviews with artists. She is conversational, funny, and engaging. I especially love in the first couple of seasons where she continues to record artists “after the interview” and then shares that segment on the podcast. Artists are real people and in these episodes I get a sense of that.
When Danielle relaunched the podcast in 2019 she changed the format away from artist interviews. I’ve enjoyed the new format, and if I had to pick one to link to, it would be the episodes with Ashley Longshore. Ashley Longshore is a pop artist in New Orleans that is leading an art empire. She breaks all the rules and is unapologetic. I find her episodes refreshing and inspirational in a no-excuses-get-your-ass-to-work kind of way. Be warned, lots of gown up language in these episodes.
ASHLEY LONGSHORE: muses ‘n more
ASHLEY LONGSHORE: optimistic as f*uck
I hope you enjoyed my list of the 6 most recommended podcast episodes for artists. Are you also a podcast aficionado? Leave your recommendation in the comments!
Artists, do you know where your money is coming from?
One of the foundational ideas behind creating a successful and sustainable business as an artist is to establish multiple income streams that can support your art career. Very few artists can support themselves on their art sales alone, so they have alternative income sources, such as teaching, licensing, wholesale, or a day job.
In my experience, all artists have a unique balance of these things that support their career.
I know one artist who has a paid artist-in-residence postion, teaches workshops all over the country, and sells her artwork.
I know one artist who teaches as an adjunct, licenses her images, and sells her artwork.
So, when looking back at my year in 2019, my first year in business as an artist, and notably, a year that I wasn’t also teaching, I felt that I needed to assess where my money was coming from. There is important financial freedom in understanding how my art business functions, and so I created the following chart to help me understand this essential aspect of my business.
Here’s what I learned.
My biggest source of income was selling art. By far. I was shocked and happy. It means I should spend more time making and marketing my artwork. I will continue to set up at 1st Saturday Art Market and have online shop launches this year.
Both CAMH and curating artwork for local shows are low earners. These things take a lot of my time and if I want to continue to do them, I need to find the value that they bring to my business beyond income, such as network connections or enjoyment. I will probably do less curating in 2020 based on this information.
Do you know where your money is coming from?
I encourage you to do this exercise. Download a .csv from your bookkeeping software. I use quickbooks self employed and I highly recommend it (that’s my affiliate link if you want to save some $). Then sit down and spend 30 minutes doing a little sorting.
- Think about the categories where you earn revenue and what you want to track.
- Color code or otherwise sort your revenue for the year based on the categories you selected.
- Use excel or numbers to load the data into a pie chart.
My big tip.
Think about what you want to learn. Perhaps you include your day job, or perhaps you don’t. I chose to separate commission revenue from other art sales. Commissions take a different amount of effort and time and I wanted to know how they measured up.
I was inspired by @closecallstudio, one of the two artists behind my often recommended podcast, @beyondthestudio, to do this exercise. I hope you find it valuable to understand where your money is coming from.
Let me know if you have any questions about making your chart in the comments. I’m happy to help.
2019 Year in Photos
In this season of my life, the days are long but the years are short. I started this post as a business focused year-in-review, but 2019 was fuller and richer than just my growing art business. We traveled to 2 countries and 3 states, saw Benjamin turn 1 and start walking and talking, and Pat’s job moved back to Houston.
January
Commissions bring me back to the studio.
February
We take our first trip away from baby to CDMX.
March
I open my online shop and launch new art.
April
I continue to do a lot of this.
May
Forth and Nomad Gallery opens with Lanecia’s art show.
June
We take Ben to Peru, a dream vacation.
July
My solo show opens at Forth and Nomad Gallery.
August
Pat moves back to Houston full time.
September
My art business starts gaining momentum.
October
Ben turns 1.
November
We spend lots of time with family.
December
I work my first art market and open a holiday shop.
Your turn. Can you sum up your year in one photo/sentence per month?
Things To Look For If You Buy Art At An Art Market
‘Tis the season for art markets, craft fairs, and flea markets. The artists and makers are here, ready to sell you beautiful, handmade artwork. But how do you know if it’s worth your money? Here are my tips to help you buy art at an art market with confidence.
Do you like it?
Liking the art is the first and most important thing. An art purchase is a personal choice, there is so much variability in fine art, and we all have our own tastes. What I like is different than what you like, and that is a beautiful thing.
So, we’ve established that you like the art. A lot. Here are some other things to look for.
Is it an original, a limited edition print, or a print?
There is nothing wrong with any of these options, but the difference will significantly affect the price of the artwork. An original will be the most expensive because it is one of a kind. The artist toiled over this artwork, and you are taking a tangible piece of that artist home with you. A limited-edition print is more valuable than a print because there is scarcity. The limited editions will be numbered, and you can see that you will own say 1 out of 50 of that print. Regular prints have no limits on reproduction.
Do you feel that the quality is high?
There is an intrinsic value to a work of art. Does the paper look or feel dense and luxurious? Does the paint appear well applied? Is the canvas frame heavy and robust? Is the artwork sealed?
Look for these markers of high-quality art-making. If the art is high priced, you should feel that the price aligns with the value of what you are buying.
Does the artist speak knowledgeably about their art?
There is also an added value to the artwork that depends on the artist and their experiences. Have they been creating art for years, do they show work elsewhere, or are they in prominent collections? Admittedly, these questions are harder to answer, but you can get a feel for the “validity” of the artist through a conversation with them.
Sure, it might be strange to ask them for their CV, but most artists probably have one handy, or at least on their website. For that matter, check their website. If you are about to spend hundreds (or thousands!) of dollars on a piece of art you just happened upon at an art market, the artist should not be offended if you want to do your homework.
Is the market curated?
The art market that I’m a part of, 1st Saturday Arts Market in the Heights, is a curated art market. This means that I had to apply and submit images of my artwork and website to become an approved artist vendor. Other big art festivals are most definitely curated. But not all are, so that’s one easy check.
Does the artist have a consistent voice?
Emerging artists seem to be everywhere, but when it comes to thinking of art as an investment, you want to buy from an artist that has consistency in their artwork. Might their art develop and change in the future, yes, but you can take comfort in selecting artwork from an artist that has gone through the work to establish a consistent style. These artists are typically further along on their career path and likely to continue to make art moving forward.
Does the pricing make sense?
Do the prices make sense to you? Are the small pieces cheaper than the large ones? Are there a lot marked at a steep discount? This may seem counter-intuitive, but you probably don’t want to see art marked at a significant discount because that means that there is a good chance you will buy a work of art in a series from that artist, and then three months later someone else will buy one for half price. By fluctuating their prices, the artist is changing the market value of the artwork that you purchased. Better to see that the artist holds prices steady or even increases them over time. That’s a good sign for your investment.
PS. I’m so glad you want to buy art at an art market. If you’re interested in collecting, here are some more tips on buying art in my post on Collecting Art 101. So, ready to go shopping this season? Here are the details for the art market I’ll be set up at this weekend.
Saturday, December 7
11 am – 6 pm
530 W. 19th St. Houston TX. 77008
How To Be In An Art Fair: 5 Lessons From My First Fair
In October, I participated in my first artist-centered art fair, and whoa, was it an eye-opening experience. Mostly positive, and definitely a learning opportunity.
First, let me give you a little background on art fairs. Art Fairs have existed in the art world for decades. The famous ones being Venice Biennale, Miami Basel, etc. They bring the elite sellers and buyers of the art world together in one location. The art is stunning, the money is flowing.
Recently, as with all other markets, the art world is seeing a push toward the direct-to-consumer interface. Artists can use the internet and social media to connect directly to buyers. And yes, even art fairs have embraced the direct to consumer trend. Some examples of art fairs where artists represent and sell on behalf of themselves include The Other Art Fair by Saatchi Art or stARTup Art Fair.
I was showing at stARTup Art Fair, which is unique because it takes place in a hotel, and all of the artists are given rooms in which to set up, display, and sell their artwork. You can move furniture around, decorate, etc.
So, here are my major takeaways from my experience and tips I have for you if you are interested in how to be in an art fair.
1. Visit the fair before you participate to determine if it is the right fit for you.
I was given this advice from Jodi Walsh, a Houston ceramicist, and I think it’s brilliant. If you are going to consider spending big money on rental fees and shipping/travel, then you want to make sure that the fair is going to attract the audience and numbers that you are searching for.
2. Shit happens.
For our room in the hotel, we were advised to hang with non-damaging strips. Well, we had a terrible time getting the work to stick on the walls. Most of the art fairs allow you to use nails or appropriate picture hangers, but if for some reason they don’t, then I highly suggest you bring an alternative hanging system. I saw some elegant ones where artists used ladders or false walls. Some of our artwork was damaged because it fell. This was so frustrating.
When talking to the organizers, I found out that this happens to at least one artist in every fair. Shit happens. Traveling with your art increases the likelihood that you’ll experience this, but hopefully, you find that the benefits outweigh the cost of some damage or other bad luck.
3. Get creative with the cost-benefit analysis.
“So…have you sold anything?” This question was asked by all artists that came through the room. We were all curious to know if the others were making sales. When you spend $2000 for a booth/room and still have all of the supply/packing/travel fees, the pressure to make your money back is high. But, the answer is complicated.
Most of the artists I talked to did not make their money back in a clear sales to spend ratio. However, many of them had conversations with likely follow-up sales, made a connection with a curator/gallerist that seemed hopeful, or saw sales from their existing fans based on being at the fair (you can read more about this “for sale” phenomenon in my post about hosting an open studio sale). The promotion of being at the fair, being featured online, and showing as an active artist, are all non-quantitative aspects that you may find valuable.
That said, the cost of doing business in this way is incredibly expensive, so don’t spend money you can’t afford to lose. For clarity, I shared my room with three other local artists, and we were sponsored by a local non-profit arts organization. Our room fees were covered, but we did pay for supplies and other expenses. You should also factor in the cost of your time.
4. Consider sponsorships or other ways to make your money back.
To that end, I have some thoughts about sponsorships that may help an artist make an opportunity like this financially viable. I think it would be interesting to see artists create and sell merchandise to help pay for their booths. Artists could also look to be sponsored by a brand or company where you sell that company’s merchandise and/or present their name as your title sponsor.
Most original artwork is selling for hundreds or thousands of dollars, and your Average Jane doesn’t come strolling through a fair expecting to spend that kind of money. Make sure you have some small, affordable artwork or prints for sale so that Jane can take something home for $50 or less.
5. Bring help or partner up.
After this fair, I will never set up to do something like this alone if I can help it. When I was preparing for the event, I had all these great thoughts about networking with other artists and meeting new people. In reality, I hardly ever left the room. Most artists seem to feel pressure to be present to represent their artwork and be there in case that special person walks through. Thank goodness I was sharing a room with other artists so that we could take turns covering our space while the others got a chance to look around, meet other artists, and generally take a break or eat our meals!
Concrete & Adrift: On the Poverty Line
Concrete & Adrift: On the Poverty Line: Press Release. Text copied from Alexandria Museum of Art website.
An invitational exhibition featuring regional and national contemporary artists addressing poverty and homelessness. Pairing with AMoA’s exhibition showcasing beggars in Rembrandt’s history etchings, contemporary American artists share the first floor gallery during the Spring exhibit period in Concrete & Adrift: On the Poverty Line. This exhibition was juried from over 200 regional and national submissions, and features 39 contemporary artists from around the United States, working in a variety of media. Concrete & Adrift confronts a number of issues facing those in poverty and homelessness, two subjects that are often underrepresented and misunderstood in our society today.
“Poverty may not mean what you think. The federal government updates its official measure of poverty each year, a measure that’s easily accessible and widely used. Unfortunately, it’s largely meaningless. The reality is worse than the official numbers. Just how poor does someone have to be in order to live “in poverty?” The answer to that question ought to consider what it actually costs to live these days. No frills, no luxuries, just breaking even with frugal living and careful money management.” – David T. Britt, United Way of Central Louisiana
Throughout history, artists have used their craft to attempt to document and make sense of the world around them. The artists in this show do just that, though their subject is one which many overlook or choose to ignore. According to recent estimates, approximately 40 million people live in poverty and a greater number are barely above the poverty line. Everyone encounters at least one person living in poverty or homelessness daily, whether they notice it or not. Poverty and homelessness have been issues for hundreds of years all over the world and are issues that everyone encounters daily whether or not they experience it firsthand. Sordid & Sacred and Concrete & Adrift both show the topic from two far separate historical periods, and in different styles.
“I learned a lot from the works submitted to the call for artists. I had certain ideas about the subjects I expected to see reflected in the works. Once I began reviewing the work, I was compelled to broaden my thoughts on the subject, including but not limited to immigration, gentrification, and artists who struggle themselves. The works in this exhibition prove that beauty can be found in some of the most unexpected places….and faces.” – Catherine Pears, Executive Director, Alexandria Museum of Art
In this exhibition, AMoA worked with artists to bring the discussion to the forefront. Exploring ideas of feeling invisible, overlooked, misunderstood, and more, those living in poverty and homelessness experience difficulties far beyond the financial. This exhibition strives to bring some of those issues to light and confront some of the associated stereotypes and generalizations. Some of the artists work from their own experience and memory, having experienced these issues firsthand. The exhibition is separated into thematic sections: Portrait; shelter; isolation & invisibility; poverty, immigration, and food; and location although multiple works address more than one theme. Each object label includes an explanation or story connected with the creation and meaning of the work in question.AMoA has partnered with area organizations that help those in poverty throughout the exhibition as well in hopes to aid those struggling with poverty in homelessness beyond simply bringing the issues to the forefront. During the exhibition, AMoA will hold a number of events, including film screenings, an artist talk, and a panel discussion to further connect the art with the issues it confronts.
Visit AMoA from March 1 through June 22, 2019 for this exhibition and its associated events!
Exhibition CatalogExhibition Catalog 
Lanecia Rouse Tinsley: With In/Out
In this blog post, I’m writing from the position of a curator for the first time. I am so pleased to present the work of Lanecia Rouse Tinsley as the first art show at Forth and Nomad Gallery. With In/Out is on view until June 30, 2019. Her artist talk is this Thursday, June 6, 2019, at Forth and Nomad.
I first met Lanecia in the dark days following Hurricane Harvey in Houston. My home and my family were spared from the water and in the week following the flood, while Houston started to address the damage, my husband and I looked for ways to contribute. A friend told me that the studios at Hardy and Nance had flooded and they were asking for volunteers to help clean out the artists’ spaces.
We found ourselves working alongside Lanecia in her studio, sifting through piles of supplies and artwork, saving what we could, but mostly sending her hard work to the trash. I was impressed at the time, by her resolve. She stood steadfast, directing strangers to discard the contents of her studio and diligently documenting the items as we marched them out the door.
Lanecia’s quiet and steady demeanor made an impression on me. As our friendship has strengthened over the last two years, I’ve continued to observe a groundedness in her. While she smiles warmly and chooses to listen more than speak, her art tells her story.
Lanecia’s artwork is known for subtle manipulations of color and texture applied through a variety of material. Heavily influenced by abstract expressionism, she paints emotions into her art, building up layers that represent the landscape of the human condition.
In this body of work, Lanecia uses the raw materials of the earth: dirt, clay, fiber, wax, and sunlight, to bring visual expression to her journey through grief. She introduces cyanotype printmaking to combine her photography, words, and nostalgia.
Her art deftly unifies soft and hard; balancing the contrast between the ethereal memories in her cyanotype prints and the raw moments in her textured paintings. Her process is deeply personal, and yet, as you spend time with the marks, textures, and visual components in the art, you are reminded of your wanderings through life.
With In/Out artist talk is Thursday, June 6, at 6:00PM at Forth and Nomad in the Houston Heights. You can find more information about Lanecia and her artwork on her website here.
What You Can Expect The First Time You Buy Art From A Gallery
Galleries are an essential player in today’s art world, and they serve many functions. A gallery supports the artists on their roster through showing, promoting, and selling their work, as well as behind-the-scenes support like financial management or book publishing. Galleries are knowledgable about art history, the art market, and current art trends. Buying through a gallery can give you peace of mind in the quality of your art investment.
Shopping at a gallery for the first time can feel intimidating, but it shouldn’t be. I recommend following the gallery you like online and getting to know their artist roster and point of view. Go to their art openings and events. Research the artists they represent and the price point of those artists. Galleries typically share prices on request, and there will be a price list posted for every art opening.
For this article, I’ve collaborated with local gallery owner and art historian, Cindy Lisica of Cindy Lisica Gallery (Houston), to help you know what you can expect the first time you buy art from a gallery.
How does a new collecter typically approach you for the first time?
If it’s a new person approaching the gallery, I wouldn’t necessarily know if they are a collector. So, anyone new is potentially a collector. People come to the gallery all sorts of ways, whether it be their first time in a gallery or just their first time in my gallery. Sometimes it is an opening or event that draws someone in, or perhaps a certain artist or show that they heard about. Or, they may just be “in the neighborhood.” I meet new collectors at art fairs and through social networks as well. In any case, I always make sure to welcome and encourage conversations, and I have converted art lovers into art buyers. Bringing art into the home is such a special and meaningful way to engage with the world and what you love.
I think sometimes the reason shopping at a galley is intimidating for first-time buyers is a lack of understanding of the value of the art. What do you recommend that a new collector do to be confident in the value of the artwork they are acquiring?
There are multiple answers to this. If they are concerned about the monetary value (beyond the aesthetic or “I just love it” connection), then there is nothing wrong with doing a little research on the gallery, its owner and the artists that show there. Reputable galleries and serious artists will serve as a guide to this through their activities, such as upcoming exhibitions, art fair participation, an active studio practice, museum shows, list of collections in which their work is found, and of course, their CV. Some artists have a history of gallery representation in multiple cities and therefore would have consistent prices and exhibitions between those venues, giving the collector the assurance that the work will continue to gain value into the future.
If a collector wants to look at work from an artist that is not currently displayed, how should they ask you about it?
Often I invite collectors into the “back room” and we also have inventory in art storage on site and off site. We have images and databases and can “pull” pieces from storage any time. I am always happy to show other work that is not currently on display. The gallery is constantly working to promote all of their artists, so the exhibition in the gallery space is just one facet of the whole business. We exhibit and represent artists working in various media as well (sculpture, painting, photography, new/mixed media, installation, etc.) so we welcome requests or inquiries accordingly and for specific needs.
What advice do you have for first-time art collectors looking to shop at galleries?
Look at a lot of art, and ask questions, but always pay attention to and trust yourself. It’s a bit cliché, but it’s true: buy what you love, and you can’t go wrong. Why talk yourself out of something that moves you? If you want it, have it. Treat yourself, if you can, and you will enjoy it more than that one time you saw it in a gallery. An artwork can be consistently “fresh” if it gives you that initial sweet reaction every time you see it. That is something that great art does – it speaks to you over and over, not just because it’s “new”. You have a relationship with it (and the artist/gallery that you’ve supported through its purchase). Someone created that unique piece, and now you get to live with it. Your collection is something that you can also enjoy sharing with guests, and you can be proud to have art in your home. Who wants to be surrounded by blank walls or empty space all the time, anyway?
You can find Cindy Lisica Gallery online here for current and upcoming exhibitions. The next opening reception at Cindy Lisica Gallery is for artist Diane Burko, opening on Friday, May 3. This summer at Cindy Lisica Gallery is great for new collectors, as they are teaming up with PrintMatters Houston with a group exhibition of (affordable) limited edition prints in an International exchange show from Medellin, Colombia and HTX. And they’ll have another summer popup called “Heat Wave” which highlights local artists.
Additional questions? Leave them below.
If you’d like some additional reading, here is a helpful article from Artsy that details some critical steps for buying from a gallery. I also have a post on buying original art you can read here.
Working As An Artist: 5 Things I’m Doing In 2019
I get asked a lot about what work looks like for me these days. If you know someone who is an artist, then you know that their job is more than just making and selling artwork. Here’s a peek at five of the things I’m working on this year.
Selling Artwork Online
In March I launched my online shop for the first time with a small collection of collage explorations. One of my big goals this year is to connect my shop to Instagram, so hopefully, you will see that come through in the next month. I also have plans to go through my studio inventory and add work from my older collections to the shop. I want to make it easy for you to support my work and add to your home.Curating the New Forth and Nomad Gallery
In May, Forth and Nomad will open in their new location and include a gallery concept that we are partnering on. The gallery will show local emerging artists with a focus on selling to new collectors and providing collector education. We want to bridge the gap between today’s young art buyers and the elusive “art world.” I have a blog post coming soon to introduce the gallery concept in more detail. I’m excited about this opportunity.My First Solo Show
In July I will have my first solo show at the Forth and Nomad Gallery. Forth and Nomad has been selling my work since they opened and I am beyond thankful they want to continue to support my work with a show. Moreover, the ideas I’ve been sketching for this show are bringing me energy. All of the collage explorations from my store launch and the sketches you see on Instagram are part of the research I’m doing to develop my next body of work.CAMH
I will continue to lead educational group tours at the Contemporary Arts Museum Houston (CAMH). I love keeping my toes in art education and staying abreast of the new shows that move through the CAMH.Open Studio Sale
Yes, I plan on having at least one more of these in 2019. I’m kind of playing with the idea of opening my studio for White Linen Night in August and maybe once more before the holidays.So, that’s all for now. I have some ideas of what I might work on in the fall, but I’m keeping them quiet until that time comes. In the meantime, keep following along on Facebook or Instagram, and I’ll be sure to let you know what’s new.
Oh, I’m also starting to collect emails for my newsletter. Sign up at the bottom of my website if that interests you!