Відео

Thanks for the tips

Super helpful

80% of your time to networking and 20% of your time to making your artwork= a professional networker/salesperson of art. Excellent, can I hire you to represent me? I’m too busy in my studio and I’m too old to waste my time chatting up gallery people. Goya, in his last years, was completely deaf. He retired to a farmhouse in the countryside and painted the masterpieces of his lifetime, the Black Paintings. But maybe he should have been frittering away his time “networking” and building up his collector base, no? Van Gogh too. What were they thinking?

❤😂Muibuena

very useful thank you... I wouldn't say NEVER contact galleries by email. personally speaking, I live in spain but sell most of my work in the USA so if i contact galleries it HAS to be by email. also many galleries prefer artists to submit art by email.............. some good advice nonetheless in this video

Very helpful and informative! (Especially wine heh) I like your set up and your accent is lovely!

Read the contracts... We are just not used to do so 😓

Appreciate the information. I have this anxiety of seeming fake while I interact with others, especially staff. With an artist, you can appreciate their art, but with a gallery what exactly can someone start initiating conversation about?

Really informative videos 👏🏻

Beautiful girl

I am expressionist abstract artist and agree with You 100%🤟. The first is relationship.

Come to Islam n success

One of my Grad school professors, who worked at a gallery, told us this- Anything you give them to review they will throw in the trash and never look at. They are not interested in you. What works is a very long game of face time. What I mean by that is- be in their space without being intrusive. Go to openings, talk to people there... not about you or your art. They have to know you, or know you from someone who is a regular at their events, before they'll consider looking at your work. It takes a lot of shmoozing. Your work is not what sells, you are. Collectors buy you, not your work. That is why there is a lot of sh!t hanging in galleries and not actual good work. That is the sad truth. You have to work really hard at sucking up to the right people and be willing to lose 40% of your sales to the owner. No one is going to talk to you otherwise.

Muibuena

❤😂🎉

Look at these experts.

Really insightful!

Very clear, thanks!

Sharing this right now. Very concise overview of this important topic!

Very wise!

'PromoSM' 🎊

Tieneseldondelaelocuenciamuibuena

"Meaningful conversation". So important, so under appreciated. Quality over quantity. Your content is very much worthy of the time it takes to watch. Thank you.

How do you avoid being burnout online?

Once again your content has value beyond your niche. Thank you!

Thank you for the tips. Some people just think that being edgy and unapproachable helps them create a name for themselves, thus the edginess.

Very good points!

What other things you wished you knew before having your degree show?

👍

🙏 Thank You So Much Art Teacher Belinda for the illumination! 🕯🌷🌿

Powerful insights! This information that you are sharing can set artists and creators free. Please continue.

Have you experienced throughout your career any these myths or others?

Your perspective is very helpful. Thank you.

Really good advice.

Sersplicamuibiem😅

So good! More people need to see this. That point about having a mindset of continuous learning has broad applications.

You packed a lot of wisdom into that presentation. We will be sharing this with artists and content creators. Thank you for producing this!

The points you make are so valuable. The application goes beyond selling art. Thank you for putting this together. It will resonate with many!

Muibu❤🎉😂enasiguelohacesmuinien

Do you find selling your art to be difficult? Let me know your thoughts and what do you think might be hindering you from getting the results you want!

Should an artist be advertising their emailing list sign up different from a newsletter sign up? Or are they interlinked?

Did you know the different nuances of each one? How do you like to write your artist bio and statement?

Muicteatiba😂🎉😢buenobueno

Food and drinks always help make me feel more welcome!

❤😂🎉😢😮😅

Muibuenoadelante

this is a really good video thanks for the tips

1:40 *Proving Your Copyright Creation:* By registering your works with the US Copyright Office (USCO), either as an unpublished work or registered within five-years of first-publication, you’re STATUTORILY granted *“prime-facie”* evidence of your copyright creation (see 17 USC § 410(c)). Your *Certificate of Registration,* that the USCO will mail you, will include your *“effective date of registration,”* the official US government date stamp of your registered copyright. So, when someone challenges my copyright creation/ownership, I show them my Certificate’s registration number to “presumptively prove” my independently created work (NOT my RAW or original file or Google time/stamp or SASE that I mailed back to myself). If you’re able to register your works *MORE QUICKLY,* you can obtain higher (statutory) damages and possibly your attorney fees & legal costs paid by the infringer.

1:20 *US Automatic Copyright is Worthless!* Creative works NOT *“timely”* registered with the US Copyright Office (registered either before the infringement begins or registered within three-months of first-publication - aka, the day you list or offer to sell or license your work on-line to the public) are, too often, WORTHLESS and NOT enforceable for money damages against infringers, as you’re only eligible for *“actual damages”* (typically the missed licensing fee you would have charged, and those tend to be LOW prices) and *“disgorgement of unlawful profits”* the infringer made (if any!). And unless your actual damages and/or the infringer’s disgorged profits are SUBSTANTIAL and PROVABLE, like the infringer prominently included your creative work in its advertising campaign, on a (Campbell) soup can, on apparel/merchandise, and in other commercial media, your attorney fees will typically exceed any money you receive post trial or via an out-of-court settlement, making it un-economical to pursue infringers. Most all US-based non-Fair Use, non-judgement-proof copyright infringers who are facing a timely registered copyright claim will want to limit their financial exposure and (quickly) settle out of court vs. being part of a protracted & costly litigation where they can be liable for statutory damages from $750 to $150,000. Importantly, your timely registered copyright claim provides your US attorney with the necessary LEVERAGE to push infringers to settle out of court. If the infringer doesn’t settle, and you prevail at trial, the infringer is now responsible for your attorney fees & legal costs (at the court’s discretion). Joshua Kaufman, a Washington, DC copyright attorney/litigator, addresses the economics of NOT timely registering your creative works; watch just the first 20-seconds of his video: ua-cam.com/video/cBOKkrleY3Y/v-deo.html

4:10 *Professional, freelance, and hobby/weekend artists/authors:* US copyright law applies equally to everyone. Since no one wants to see their creative works exploited by American-based copyright infringers, you’re encouraged to quickly register your works with the US Copyright Office.