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Shark Tank is a reality TV show in which ambitious entrepreneurs pitch their ideas to the metaphorical “sharks”—five successful entrepreneurs who advanced their careers exponentially by turning some initial project […]
When you decide to become a professional artist, you’re putting a wild and personal realm under economic pressure. How can you manage that?
A new openness about prices has changed the way art is bought and sold. The president of artnet details the impacts of this shift.
Professional artists must simultaneously articulate a unique message, maintain the health of their art business, and set themselves apart from the pack.
Artists are rarely discovered by accident. Those who get the big breaks have strategically put themselves in the right place. They’ve made their own luck.
Art advisor and appraiser Megan Fox Kelly helps collectors and foundations buy and sell art, and manage their existing collections.
We often refuse to let other people sit with something that’s been said and just breathe in it for a few moments. We fix it. Before it’s even broken.
Art isn’t a job like making widgets, where you’re content to do the same thing over and over again for the rest of your life.
Visual artists cut a little straighter to the bone. They don’t have to obsess about the small stuff because if they can’t buy something they need, they’ll probably make it.
In this Q&A with CHF Editorial Director Sofia Perez, Joyce talks about the changes she’s witnessed over more than four decades in the industry, and describes the process of matching artwork to client.
No one remembers “professionals” built according to the factory model, with its cattle call for generic, processed types. The rest of us want to meet originals.
Streaming Museum’s Nina Colosi on how technology can spur an artist’s creativity; the value of interdisciplinary collaboration; and public art as a tool for problem-solving.