As we learned when diagramming sentences in 4th grade, verbs are where the action is. No verb, no action. The first iteration of my newsletter for artists back in 2002 included a specific art business action at the end of each issue. My book, I’d Rather Be in the Studio, is broken down into 16 “actions” rather than chapters. I’m all about action, but am no longer interested in it in the form of obsessive hyper-productivity. I’ll leave that to the bro motivators out there. Action at all costs isn’t healthy. But action—even the tiniest step—moves the needle. Look back on how your confidence as an artist has grown over as a result not only of reading about something or hearing about it, but of doing it. Making more art. Having more shows. Submitting to more opportunities. With this in mind, I got to thinking about a few verbs to live by that you might not normally associate with your art career. Listen to hear why I selected these 7 verbs and see if they resonate with you: Devote, Begin, Understand, Connect, Avoid, Investigate, Finish. 

7 Essential Verbs for Artists to Embrace (#170)

Looking for art career inspiration and ideas while you’re working in the studio or schlepping your art across the country? Alyson Stanfield helps you be a more productive artist, a more empowered artist, and a more successful artist.

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host: Alyson Stanfield I want to talk about something that I think gets in the way of how you think about what a successful art business is or can be. I want to help you reframe your daily decisions, actions, and results (or lack thereof)—to embrace the volatility of an artist life. To understand that there will be highs and lows, and that just comes along with the territory. One of the most-used business metaphors is the ladder of success, which is problematic for two reasons:  Nobody reaches the top of anything in life by going straight up. What happens when you get to the top?  I have a different vision. Your art career is a circle consisting of 3 areas: Inspiration+Research, Studio Practice, and Business+Marketing. You’re a sphere (okay, a ping pong ball) bouncing back and forth from one area to the next as you grow your art career. Let me explain …   

The Career Journey of Growth-Minded Artists (ep. 186)

host: Alyson Stanfield Some artists are fine working by themselves in their studios. Other artists need to move their art beyond the studio walls and into the public in order to be fulfilled. My guest for this episode is Marilyn Fontaine, a multidisciplinary artist who lives and works in East London. Her work is spiritual with a strong foothold in feminine themes. She has begun marrying that work to the history of the local community—in particular, the stories of those who share her Afro-Caribbean roots. Marilyn and I talk about the work she does within her community, including how it is funded and why her growing network is essential. We also discuss:  Her ritual upon entering the studio for a day’s work, which is always a favorite topic of mine. Why she’s leaning into rejection and learning to be curious about negative reactions that some people have to her work. How she is learning to let go—to not hold too tight to the idea that she wants something so badly—and to allow it to come by creating that space.  

Leaning Into Her Roots and Community Art with Marilyn Fontaine (ep. 185)

Host: Alyson B. Stanfield  For so long, I asked artists Why they make art. Some artists have a Why. For other artists, being asked why they make art is unfruitful—even debilitating. They feel unworthy if they can’t come up with a good Why. A better strategy is to focus on the people who will be viewing, talking about, and living with your art. How does your art make people feel? Bernadette Jiwa says, "People don't buy why you do something. They buy how it makes them feel." If you think about it, this, ironically, leads to your Why: Connection.   

How Your Art Makes People Feel (ep. 184)

Host: Alyson B. Stanfield In this episode of The Art Biz I talk with Lori Sokoluk and Susan Purney Mark, who met in my coaching group many years ago and started a collaboration during the pandemic. When I teach about collaboration, I’m usually talking about an exhibition or event. Lori and Susan took it to the next level and collaborated on the artwork itself—resulting in a two-person exhibition that recently closed. I wanted to know what the artmaking process was like when you’re presented with someone else’s marks on the canvas. I think you’ll enjoy hearing about it and what they discovered during the process We also discussed:  The parameters of the collaboration. The challenges they faced, such as Lori’s physical limitations. How they titled the pieces together (a fascinating theme and process). How they divided up the business stuff. How the exhibition was organized. How it has affected their individual work. The advice they share with any artist who is open to collaboration.  

A Collaboration Between 2 Artists that Led to Creative Growth (ep. 183)

Host: Alyson B. Stanfield Your list is something unique to you and your career. No one has this same list. No one makes art like you do; no one knows the same people as you do; and no one has the exact vision that you have. Nobody! Your list is almost worthless to anyone else, yet it’s invaluable to you. It is the primary tool you use to share your art with the world. It’s your #1 marketing asset, but worthless if you’re not using it. The definition of a mailing list isn’t as clear cut as it sounds. I have a philosophy around this 2-word phrase that we frequently take for granted: You don’t have a single list. You have multiple lists. I use the term mailing list as an umbrella term, but, in truth, you have three lists that I define as follows: 1️⃣ Your email list 2️⃣ Your VIP list 3️⃣ Your online followers In this episode, I describe the difference among them and why you need to remember all of them when you’re thinking about your mailing list. 

7 Essential Verbs for Artists to Embrace (#170)

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