This week I'm extending a conversation I started in my revived Hyperallergic column: do you need a proper studio space to get studio visits? The answer is no—if you handle it properly.

But the real question isn't about your space. It's how to network effectively so visits actually happen. I break down the exact timing strategy for outreach, why most networking fails in the follow-through, and how to structure emails that make it easy for people to say yes.

The biggest reason artist emails don't get responses isn't disinterest—it's that the email didn't make it easy to respond. I cover four principles that change that and walk through a real scenario showing how to think strategically about follow-up.

Want the exact framework? Join me for my free webinar Monday, November 24th at 7 PM EST.

RELEVANT LINKS: 

Hyperallergic: Do I Need a Studio? 

Free Webinar Sign Up: How to Get Studio Visits Without Reading Minds

This week on the Art Problems podcast interview series "Inside Netvvrk", I'm wrapping up the series with Chris Moss, a painter and the artist advisor who leads all of Netvvrk's studio critiques.

Chris has been with Netvvrk for years. He shares what it's like to go from being completely stuck to organizing a neighborhood studio crawl that brought hundreds of people through his door. We talk about why COVID isolation finally pushed him to find a solution, how he went from zero shows to curating exhibitions with himself in them, and why self-worth is one of the biggest intangible benefits of investing in your career.

Chris also gets into why regular critique with other artists matters more than almost anything else for making better work.

If you've been feeling stuck or isolated in your practice, Chris's focus on community and taking action—even when it feels uncomfortable—might be exactly what you need to hear.

This week on the Art Problems podcast interview series "Inside Netvvrk", I'm talking with Brent Showalter, a multidisciplinary artist whose brilliantly colored paintings and photographs transform layered compositions of color and shape into vibrating surfaces.

Brent runs multiple businesses and brings that same strategic mindset to his art practice. In doing so, he's able to devote more time to his art. We talk about how his accountability group helped him finally organize his entire archive, and what it takes to feel confident when opportunity knocks—whether that's the director of the Guggenheim walking into your studio or an Instagram comment from a curator.

Brent also shares how that casual comment turned into a curated opportunity in 24 hours—because he had everything ready to go.

If you've been wondering whether Netvvrk is worth the investment, this conversation will help. It shows what happens when you stop reinventing the wheel and start using the tools that already work.

This week on the Art Problems podcast interview series “Inside Netvvrk”, I'm talking with Ann Marie Auricchio, an abstract painter who creates work at the intersection of psychological and physical experiences.

Ann Marie shares what it's like to restart your art career after 25 years in another profession. She talks about why having all your materials ready isn't enough if you don't know how to use them, and how a shoulder injury became the perfect time to invest in herself.

We get into how she went from feeling stuck and isolated in New Orleans to landing her first museum solo show and working with multiple galleries. She also explains how writing exhibition proposals with other Netvvrk members led to actual acceptances—and taught her when to turn down opportunities that don't financially make sense.

We also talk about researching institutions by looking at other artists' CVs and why community matters even when people can be annoying.

If you're restarting your career or feeling isolated in your practice, this conversation will help. It shows what's possible when you get your assets in order and find your people.

This week I'm launching 'Inside Netvvrk,' a new interview series with Netvvrk members. First up is Laurie Frick, a data artist and one of Netvvrk's founding members.

In this conversation, we talked about what it's really like to invest in your career when you're already mid-career. Laurie doesn't sugarcoat it: Netvvrk isn't cheap, and you need to treat your career like it's worth investing in. But she also shares what changed when she made that commitment—going from feeling stuck in public art commissions to now having four galleries and selling all the work she makes.

We talk about the small group of artists who transformed each other's fellowship applications into something extraordinary, what it takes to actually be vulnerable with other artists, and why a community on Zoom can be just as real as painters meeting in a bar.

If you've ever wondered whether coaching or community membership is worth the investment—especially if you're already established—this conversation shows what happens when you stop going it alone.

This week, accountant and artist Hannah Cole interviews me. As an artist who isn't (yet) a Netvvrk member, she had a lot of questions about how it helps mid-career visual artists.

Who is it for? How does it work? What makes it different from a course? Do you really need it?

We talk about why I started Netvvrk after years of cobbling together income from adjunct teaching and speaking fees, and how those early artist statement classes revealed a bigger problem—artists needed ongoing support and community, not just one-off solutions.

I share how the membership works, from the positions module that shows you exactly where you are in your career to the accountability groups that make sure you actually do the work. We also get into member stories—like the artist who went from applying to juried shows to showing at invite-only shows all the time, and another who landed a show at a blue-chip gallery.

If you've ever felt like you're working all the time but stuck in the same place, this conversation breaks down what's possible when you have the right structure and support.

Eric Shiner, President of Powerhouse Arts joins the podcast to give artists the skinny on this new organization. This 170,000 square-foot nonprofit in Brooklyn's Gowanus neighborhood is fast becoming one of the most significant resources for artists in New York City.

Eric walks me through Powerhouse's seven fabrication workshops (ceramics, printmaking, textiles, wood, metal, and more), their artist subsidy program that makes these resources financially accessible, and their new artist residency program. 

We also talk about how Powerhouse is expanding into exhibitions and performing arts with affordable ticket prices, and why they're supporting Fall of Freedom—a nationwide protest defending creative expression.

If you've been struggling to find affordable fabrication space or access to specialized equipment, this conversation will give you tangible options and genuine hope.

Relevant Links:

This week we’re talking about how health events affect the lives of artists. Sculptor John Powers joins me as we share our experiences - his traumatic hand injury and subsequent cancer diagnosis, and my own recent double mastectomy.

We dig into the specific challenges artists face when medical crises threaten the tools of our trade, how we navigate the US healthcare system, and the mental strategies that help us maintain morale when everything feels out of control. We also explore the practical realities: phantom limb pain, nerve regeneration, the importance of finding the right surgeon, and how artistic skills - like explaining complex ideas and self-entertaining in solitude - translate surprisingly well to being a patient. 

Medical crises are one of the top reasons artists in our community need to step back from their work, yet we rarely discuss how to navigate them. This podcast fills that need. 

Relevant Links:

VVrkshop founder Paddy Johnson and artist William Powhida dive into their impressions of the 2025 Armory Art Fair in New York. In this episode, we explore how Frieze's new ownership has changed the fair's feel, from stricter security to the notable absence of mega galleries like Hauser & Wirth and Gagosian.

We break down the numbers - more than half of 2024's exhibitors didn't return, LA galleries dropped by 26%, and smaller works dominated booths as galleries adapted to market realities. The conversation covers standout pieces that caught our attention, from Nick Farhi's provocative glory hole installation at Europa to Nikita Gale's politically charged "Interceptor" barricade at 56 Henry.

We also dig into emerging art trends, including the rise of "art history textbook painting" where artists render historical styles in abstract brushstrokes, and discuss the troubling vacuum in art criticism. The episode touches on the political climate's impact on art-making and whether we're seeing the end of an era for large-scale art fair presentations.

Relevant Links:

The Armory Show

Tim Van Laere Gallery (Rinus Van de Velde)

Victoria Miro (Doron Langberg, Flora Yukhnovich)

Peter Blum Gallery (Marha Tuttle)

Europa (Nick Farhi)

56 Henry (Nikita Gale)

Yancey Richardson Gallery (Marilyn Minter)

Corbett vs. Dempsey (Cauleen Smith)

What If The World Gallery (Mia Chaplin)

Uffner & Lui (Talia Levitt)

Marinaro (Ever Baldwin)

Hess Flatow (Emma Safir)

Dastan Gallery (Tehran artists)

P40D Gallery (Piper Bangs)

Anton Kern Gallery (David Shrigley)

James Cohan (Simon Evans)