The Thriving Artist

How to Build a Robust Creative Economy That Rewards Everyone—including Artists

How do we live in a robust culture? How do we produce a robust culture at a time when we are fracturing, polarized, and creative enterprise is an afterthought?Let's remind ourselves of where we are. If you look around, you see political fragility, economic uncertainty, and general unhappiness. That's depressing. That's the point. As a people, we ARE depressed. You don't look back at 2021, let alone what's going on now, and go, "it's a happy time." We're not happy and we have to face it. We've got essentially a global war, and a recession only partly driven by that war. We've got a big economic bubble. We have a politically fractured culture at a global level. Totalitarianism, never the friend of a creative culture, is coming back in vogue. We're at each other's throats. We're not happy. The beast is slouching toward Jerusalem. The earth is heating up. We're settling into (if we're lucky) a mere detente as two nations living in one national entity. Arguably, we began going in that direction in 1945 when we settled into the Cold War and that generated the Korean war, the Vietnam war, El Salvador... and we decided to live in a state of permanent animosity, driven by munitions manufacturers, the intelligence apparatus, and munitions and chemical industries that profit from it. There was a huge amount of money to be made. Those chemical makers clean your baby and make for a sparkling kitchen and they also do deforestation in Laos.All of that to say that we're now in an understandable state of fragility when it comes to the role of creativity in our lives. We have a tenuous relationship with art.We do not even now dream so much anymore. Our dreams are smaller. We don't dream of a world that flourishes and we haven't been given a mechanism to build better dreams. The material on CHF's site is basically an insistence that there is another path—that we're working to solve that problem in a robust way.How do we get a robust and flourishing culture in the first place? That's the entrance to the conversation we are creating. As a culture, we tend to put creatives in a box. And even the goal of showcasing artists as essential workers and ensuring they're well-paid is not yet dreaming big enough. I think even those dreams are too small. I don't want to be a useful cog in someone's wheelhouse. I don't want to work for somebody because I have the skills. I want to work for somebody because without creative enterprise, we don't 'make it' as a culture.We must move away from the merely theoretical lament toward a vision of doing something practical and economically powerful. Without that, We don't build a robust creative culture. We must build a road for artists to thrive, and creativity to flourish, and it has to be done at the economic and investment level.Anything less creates the same problem we had all through the cold war, which is the starving artist syndrome. Only the 1% of artists can be famous and only those who know the right people and happen to gain the approval of the taste-makers can make any money. Everybody else is dirt poor and living on their cousins' sofas.What we're doing at CHF isn't sexy in a theoretical way, but it's actionable and practical. We're asking people to dig deep into the thought process of how we get a culture that we want to live in. And we are starting from the premise that you don't get a robust creative culture without a thriving creative economy. I don't think we've widely connected the dots between these big questions—first, daring to ask them and then to dream of the ubiquitous, middle-class artist. How do you actually do it? What is the day-to-day? How do you actually implement it? And that's where we actually do have an answer. It starts at the mindset and knowledge level. We foster a conversation around art as a business, and we empower art-entrepreneurs with the business training all other industries require to flourish. We connect creative professionals through peer networks. We encourage and nurture pivotal projects that accelerate their careers, regardless of style. We train them in self-sustaining entrepreneurial practices. And we galvanize—not just artists but ourselves—into a movement with a pivotal aim which, at the risk of being repetitive, is a culture teeming with creative ingenuity and newly reliant on creative intelligence. All of CHF's programs, of which there are many, are devoted to these ends.Can we really say this is not important? Are we willing to call it a pipe dream? If we settle for that, we get more of what we've got—more of what we've gotten over the past 70+ years. And really, that more is less. Much less.In the midst of this. Old white guys like me think music sucks and art is mostly garbage. Some of us want to go back to 1984 and nothing any later than that. And even if you don't agree and you like modern, abstract expressionism and dig music from 2002, how do we get more of what we want—what any of us want? We get more by encouraging more of everything. By generating a robust dialogue, a conversation among artists that are actively thriving, economically empowered, independent, and not dependent on a small cadre of tastemakers. Regardless of what taste that is.The most common answer I've heard is to sit and wait for government funding. 'The government needs to do more to save us. They need to bail us out. They need to have more programs.' Of course, I could be any elected official and stand up there and say, "We've got to create a thriving, creative economy. But that just gets one elected. Then, we go back to business as usual. Our fundamental divisions make the political sphere the least likely source of answers. And yet, we don't actually need to wait on a better Congress, a more interested President, a different governor. And we can't afford to.No one's coming for us. We're on an island and the search has been called off. There are no planes or boats coming now, so what do you do? And either we build our own boat—ideally, a speedboat—not just an ark for preserving the minimum, or we're stuck here. That's where we are. And we can build it. We have the architecture for building that boat. So let's do that.

Virtual & Analog Art

“We’re going to need more art—all of it—to solve the world’s challenging problems. Creative intelligence is what it takes to inject life into the culture, to drive effective leadership, to drive new ideas. We don’t have to choose. We can have one foot in the world of visceral taste and touch and another foot in the digital world without having to split ourselves in half.”​​​​This is a bite-sized The Thriving Artist™podcast episode with Daniel DiGriz’s perspective on art news and cultural change. As you may know from previous episodes, Daniel peruses the art news of The New York Times. This time, a couple of headlines really stood out! The first one is 50 years of Taking Photography Seriously. The synopsis: When the Photographer's Gallery opened in London in 1971, few saw the medium as suitable for exhibitions. Today everyone does. The second article is Hands Off the Library's Picture Collection! The synopsis: Cornell Spiegelman and Warhol browse the famous collection of images in the New York Public Library. Now a century of serendipitous discovery will come to an end if the collection is closed off to the public. This episode is courtesy of Shirley Lemmon.

Clark Hulings—Archetype of the Independent Artist

James D. Balestrieri is the Clark Hulings Foundation’s Writer-in-Residence. He is currently working on a new book on Hulings, Clark Hulings: Quantum Realist. Jim is the proprietor of Balestrieri Fine Arts, a consulting firm that specializes in catalogue research and arts writing, estate and collections management, and marketing and communications for museums and auctions. Jim has a BA from Columbia University, an MA in English from Marquette University, an MFA in Playwriting from Carnegie-Mellon, and was a Screenwriting Fellow at the American Film Institute. He served as Director of J.N. Bartfield Galleries in New York for 20 years and has published over 150 feature essays and reviews in a wide variety of national arts publications.In this episode, Jim gives us an in-depth look at the themes of the upcoming Hulings book, and discusses how Clark Hulings’ career strategy applies to working artists today. Inspired by Hulings’ successes both within—and outside of—art tastemakers’ approval, Jim and Daniel question who gets to decide which artists matter, and how the canon does and does not serve the best interest of the arts, or artists. Hulings’ accomplishments, both as an artist and a small business owner, call to his deeper understanding of the dignity of work—from running a market stall to the act of making a living as a painter—as a way of belonging to the world.A Painter of Work“Clark Hulings was an American artist. A realist—in a way. He began his career as a very successful illustrator in the golden age of illustration.”“The thing that sets him apart is the subject that he found, chose, and made his life’s work. His life’s work is depicting work. Working people in working situations—whether they’re farmers, laborers, whether it’s an urban setting, a village setting, or a rural setting. What he captured was working people at work, doing what they do. And that sets him apart from almost any other American realist of that time.”“Lots of people associate Clark with Western Art. [...] But really, the number of paintings he did that could be considered Western or Southwestern is miniscule compared to the numbers of paintings he did in Mexico and Europe. So there’s a whole idea that Elizabeth [Hulings] and I have talked about, which is repositioning Clark Hulings as an American Artist, and indeed, an international artist.”“[Hulings] doesn’t really give you a story. They’re not narrative paintings. He moves his easel painting as far from illustration as you can imagine. You see these people working and you wonder what they’re thinking, and what they’re like, and what their inner lives are. But he gives them their privacy.”Travel Beyond Tourism“For Hulings, travel—and if you look at his paintings, you can see it—travel was a way for him to find places. I would use the word 'traditional places,' where the traditions of work and of life were on a long continuum. He seems to be very interested, not only in showing, ‘oh yeah, those women are washing clothes in a street today,’ but in showing that the place around them was a place that had been inhabited for a long time, so that what they were doing was on a long continuum of existence. A kind of deep time. And for those, you’ve got to travel.”“There's a whole tradition of travel painting where there are paintings of the famous places: paintings of Notre Dame, paintings of the Ponte Vecchio, paintings of this [or that]...That's not Clark Hulings is about. The first painting that really attracted me to his work is this small painting he did of Naples. And it's this narrow street. Narrow. You couldn't even get a car, one car down there, much less two. And there are deep shadows and the laundry is hanging across it. This is not the Amalfi Coast, this is not some famous resort.”“It's travel of a particular kind that really attracts him. In order to find the kinds of places that Clark Hulings wanted to find, you have to go down the roads that are not traveled. You have to get off the tourist path to see what he wanted to see, in order for him to paint what he wanted to paint.”Manufactured Rivalries“There's a lot of misinformation about the rivalry between schools. You hear it all the time. ‘Oh, that's abstract. Oh, I love that, that's realistic. I'm not really interested in realistic, I'm interested in…’ As if they're camps throwing mud balls at each other. And it isn't true. Many of those artists worked in different forms at different times. Many of them were friends. Many of them learned from one another. So it's much more fluid than popular art history would make it.”“You could look at Hulings’ work and just say: it's very realistic. And you could say that's not what Pop Art was doing, or not what Abstract Expressionism was doing, and so forth. Yet, when you get closer and you start to really dig in and you look at the strokes, the colors, the mosaic, the patchwork tile, the sack that he gets...There's a whole lot of overlap between his practice and the practice of mid-century modernism.”“If we step back and take a broader look at it, [Warhol’s] Campbell’s Soup Can and Clark’s painting of people working to sell melons in Mexico—it’s not that different. It’s making the invisible, the unnoticed, the taken for granted, visible.”Clark’s Career Strategy“He did his homework. I think that's really important for artists, to know when they're submitting for a show or a gallery, to do the research and homework ahead of time. Is this likely to be a place that would be interested in my work? You know, he's very methodical about making that transition [from illustration to easel painting]. And I think there's a lesson there.”“My feeling about Clark Hulings is that he was always thinking ahead and saying, ‘no, I'm not going to waste my time with X, Y and Z because they aren't going to be interested in what I'm doing anyway. So I'm going to go there, where there are some other painters there that I like and admire and there's some stylistic resemblances’—that's where I'm going to pitch my tent.”“There’s a story—it sounds apocryphal, but it's not—is that he took a painting there [Grand Central Galleries]. One of the directors of the gallery, I believe, criticized him. He was like, nobody wants paintings of laundry, and Catholic cathedrals, and old women. And somebody walked in and said, how much is that painting?”The Book“His themes of work and working people and his travels offer a lot to scholars and curators. And none of that has really been written about. Everything we know about Clark Hulings right now is really what he's written. All of his books are filled with his quotes about his art. And so the field is open for me, writing the book, to begin to reposition him alongside his antecedents, alongside his peers, alongside other artists who have some of the same concerns that he does. That's really the goal for the book, is to achieve that.”“Elizabeth Hulings is the first one: she approached me. And the wonderful thing about Elizabeth is she's both organized and encyclopedic, particularly when it comes to her father. I don't know how many people know this story, but Clark basically said to her, ‘You are going to be my Theo.’ Meaning Theo Van Gogh, who not only is the brother of Vincent Van Gogh and the letter-writer, but the executor and the keeper of his flame and legacy.”“Elizabeth is really a wealth of information and has provided me with Clark's letters from his first trip to Europe, some of his drawings, and images of partly-finished canvases to show his process—and timelines and images going all the way back to some of his earliest works. So when you're working with someone like that, there's a certain ease about it. You're not having to run around and dig through archives. She is the archive for this project.”“Clark Hulings straddled some fascinating moments in American art, and his brand of Realism is really unlike anybody else’s. The subjects he paints and the way that he paints them. If you look at them, you just know: that's a Hulings painting. That's unusual, even in his world where things were very derivative.”Questioning the Canon: Which Artists Matter?“What we're seeing now in the arts is a correction. Who are all these forgotten and neglected women artists? What about these artists of color? They're not in the canon, and look how good some of them are. And wow, they were never even considered for the canon?”“It’s not even about if an artist is good, no matter what a loaded word that is, it has to do with the circumstances as well. It’s a hard question to answer why some artists are ‘in’ and why some are ‘out.’ ”“If nobody knows exactly how somebody gets into the canon, gets ejected from the canon, or is not allowed to be in the canon, then what good is it? So my feeling is that you want to spike the canon with so many artists that it no longer has meaning.”“There’s a long history of being excluded, and of exclusion becoming almost a badge of honor.”“I wonder if, in fact, taste might actually make a comeback [if we got rid of the canon] because it would be something we would argue about rather than assume.”“I would say an artist really shouldn’t care about being in the canon, about ‘making it.’ They should do what they do, which is what Clark Hulings did: work at their work.”We’d be delighted to welcome you to the community of art lovers who support the upcoming Clark Hulings Book. Click here to securely give your tax-deductible gift.To see Clark Hulings’ work and for information about auctions, reproductions, and upcoming Hulings events visit www.clarkhulings.comWorking artists deserve the tools to succeed as Clark did. Join our Digital Campus: 9 courses are free, and the full learning library is less than an annual Netflix subscription.

Stock Art Can Go to Hell: Corporate Art Without Compromise

Artist and illustrator Melissa Whitaker works full-time for companies across the US, bringing her signature pop-graphic-noir style to their branding and storytelling. Melissa’s clients include Madpipe and Free Agent Source. Commissions include food and beverage, real estate, and medical industries—as well cover art for authors and musicians. Her work has been exhibited in LA, San Francisco, KC, and St. Louis. If you happen to be her part of the world, look for her new billboard for the Arts Council Southern Missouri; it’s a satisfying full circle from when she was featured on that same billboard years ago as a real estate agent. Whitaker made the commitment to a full-time art career later on as an adult: she kick-started her art-business skills with CHF and never looked back. itsallintheart.comThe Thriving Commercial Artist“Companies want to tell the story of who they are, and why they do what they are doing. Maybe they can’t find the perfect stock photography for their business. They will come to me to illustrate their story, and make their website or material, even their PowerPoint presentations, stand out from the rest.”“Companies are adapting to be able to reach out to people who are not socializing much anymore. They’ve got to put that personality into their marketing presentations. I see new people coming in for personal illustrations: I’m talking to a real estate agent right now who wants to make herself stand out from all the other agents out there. So I’m excited!”“A whole new world of crypto art is coming out. It works a lot like Bitcoin where you can take your digital artwork and you basically encrypt it, where the person who’s buying that is buying the original—virtual original in a way—so it’s not just a digital copy. And that has value to it.”Collaboration: The Artist’s Voice in Commercial Work“The client will tell me: ‘I want a subway station platform.’ I will put myself there, thinking: ‘if I am on the subway, if I get off the subway and I’m on that platform and I’m waiting…How am I going to stand? How am I going to see that train? Where is the train coming from? Who are the people around me? And that’s what goes into the picture. So I would say a lot of myself goes into the picture because I put myself there.”“I’ll talk with the client and I get a sense of what they are looking for. A lot of questions come out, such as what kind of mood are you looking for? What do you want your customer to feel when they look at this? What is your objective? All of that is information that is needed in order to tell the story accurately.”“In today’s culture, a lot of people refer to movies. They’ll say, ‘I’m thinking of The Transporter,’ or ‘I’m thinking of 80s music’ and they’ll give me a playlist. That puts me into the zone and it will come out in the art. I try to put everything, all of me, into the art—so whatever is going in, is coming out into the art.“Sometimes I’ll do rough drafts to get an idea of what the customer wants. And there are times where I have an image in my head and I’ll just do the whole thing and send it to them, because sometimes the client doesn’t know what they want until they see it. Or they can’t envision the rough draft in the final completion of the project.”“There are struggles at times. There are directions I want to go, and the client has to pull me back and say no, no, no, that’s that’s the wrong way. Or, ‘that looks really fun but we can’t go there.’ So that can be difficult, but often I will go ahead and still create it because I can always use it somewhere else. I’m very open to change and adapting because I will always try to make something work.”Technique & Composition: from Walls to Web“If it’s a complex illustration with several individual people—each character is drawn individually and on a separate layer so that they can be reused. They’re like stickers: you can post them here or there, which makes it unique and has continuity. So if you have a character and a scene, you can take that character and use it as your profile picture, or an avatar, or even in your email signature.”“I do a lot of digital illustrations with the Procreate program. Because everything is built in layers, you can change colors easily, you can change the palette, and sometimes the texture. You can change the lighting—you can play with it without destroying a piece of paper with an eraser. It’s wonderful all the options that it gives you. It’s a completely expanded artist’s palette. Animation kind of started that way with Walt Disney. They would build up the image on cellophane cells, and so really Procreate is kind of the same way of building up.”“Websites involve a totally different composition and thinking. When I’m designing the hero image for a website, the one-third rule doesn’t always work. The picture has to fit on a wide screen as well as translate onto a mobile phone. That has been a true learning experience for me on how to tell the story, an interesting story, in a way that will translate on several different devices. It’s something I’ve had to learn by myself, and it is quite a challenge because in traditional art work, you’re taught to follow the golden rule, the rule of thirds—so artists want to fight putting something right in the center.”Themes & Art Influences“I definitely am inspired by Andy Warhol. I pull a lot from Peter Max. I love Peter Max. I love the vibrant colors of Peter Max. There’s some LeRoy Neiman and Robert McGinnis. I was raised very open-minded with Playboy on the coffee table. There was one illustrator, Doug Sneyd, and he often did the bar scene or a crowded scene, a party scene. And if you look through his illustrations, every face in that scene has some sort of emotion, there’s stuff going on in the background.”“I would watch Noir movies. I was a huge Humphrey Bogart fan. Still am. The Maltese Falcon, all of those…Sam Malone, I love those pictures. There was a sensuality to them that is not quite in the movies that they create today.”“You can always go back to ‘sex sells.’ With the #MeToo movement, there is an extremely fine line there. And companies sometimes don’t want to cross that line. What’s missing, I feel, and what may be going out, is sometimes the flirtation that can happen, especially in the marketing. There is a humor there, and we have had a somewhat dark period—in my mind—for the last several years. Having a little bit of the sexual vibe in the work kind of brings a little bit of a lightness to the subject into the story. Because you can’t just ignore it.”“I have a sexual-leaning series of paintings that I want to do based on pearls. I’ve always found it extremely interesting there’s the vision of the woman wearing the pearl necklace. It’s always classy, elegant, and upper-crust—I think of the thing about a lady clutching her pearls—you know, out of shock! And I love shocking people.”Becoming a Full-time Artist & Building a Network“In April 2018, I went to the Clark Hulings Fund Art-Business Conference in Santa Fe, New Mexico. It was energizing. It was eye-opening. And it was soul-opening, really. And it didn’t try to sell me a thing. If anything, they tried to sell me on myself. And I set a goal when I was sitting there that I was going to be out of real estate and a full time artist by January 1st, 2020.”“I walked into my real estate broker’s office and handed in my license, and I was terrified! I was like, oh, my gosh…I don’t want to be a starving artist…how am I going to do this? And what I learned was the more positive energy you put out there, the more passion you have with your art, or whatever your career might be, the more love you put into it, the more it feeds you and it just keeps building.”“Over the past year, I have met this international artist who lives 30 miles from me. She’s become kind of a mentor. Her name’s Ali Cavanaugh. She’s taught me a little bit about the international market and how to break into it.”“My artwork is going to be on a 14 x 48-foot billboard in town. And it’s so funny because my real estate career started on that same billboard. I think that’s fascinating.”Thanks to ArtPlacer for their support of CHF and The Thriving ArtistTM podcast.

Virtualize Your Art Career: Part 2

In the second episode of this two-part podcast, Carolyn Edlund weighs-in on how artists can shift their sales strategies and build an art business that will weather these tough times, as well as being resilient to future changes. Contrary to popular belief, collectors are buying art right now, and artists can zoom in on their relationships, update their platforms, and define or redefine their target markets to make this work in their favor.Carolyn is Sales & Events Director at CHF and our faculty subject matter expert on Sales Strategy. She is the founder of ArtsyShark—and brings a background as an artist, former ED of the Arts Business Institute, years in art-publishing and licensing, and extensive experience in curriculum development and seminars for artists. Work with Carolyn & the CHF Faculty online at the Virtualize Your Art Career™ Conference October 19-30.What a Sustainable Art Business Looks Like In Today’s Environment“There are opportunities to really grow your business. I’ve spoken to several artists lately who are making more sales than ever before. Now, how in the world is this happening? I’m sure you’re thinking, ‘What!? Who’s doing that?’ The artists who are making these sales have given some deep thought to how they are going to go virtual with their marketing and sales strategies. And they’re going 100 percent in that direction, using tools online that are helping them reach an audience who is actually very hungry to buy right now.”“Everybody is sitting at home, people are bored, they’re shopping and they are buying art. We know that’s happening. We know there has been an uptick in art sales. So the people that I see who are succeeding—when I get down into the weeds with them, like, ‘What are you actually doing?’ It turns out that they’ve got systems built into their business that are very methodical for drawing an audience, introducing them to their work, getting them with a hook, and then selling their work. And then selling more work to them. They’re building a very sustainable business with repeat sales, which is what we want to do in any environment. It is possible to do that during a pandemic.”Leverage Your Art and Your Collectors For That Repeat Sale“I love repeat sales because it’s easier to sell to an existing customer. They’re the foundation for an ongoing business—where you have existing sales that happen again and again. Part of that is leveraging the work that you sell. I talk about that when I teach sales strategy, and I’m going to be talking more about that in our conference: are you leveraging your collector by selling to them over and over? Are you leveraging your work by selling the next piece in a set? It’s a way of thinking: what do I have that’s going to appeal to people? What can I offer them if I want to keep them as customers, and as eager customers, who will want to own more of my work?”Embrace Your Power as an Individual Artist“The market has evolved over the last 20-25 years toward the empowerment of the individual artist. We’ve seen it in other industries. If we look at, for example, the movie industry, back in the day the studios owned all the actors and they would say, ‘You’re doing four movies this year,’ or ‘I’m going to loan you out to Warner Brothers.’ And they would direct the career of the ‘stable’ of actors that they would control. Nowadays, we see actors who are now directing their own production companies. They have their collaborations. They are free, they are empowered. They can do the projects that they choose to do and they’re setting their own career paths. Visual artists are in much the same position. It is not always emotionally easy to step up and say: ‘Yeah, I’m going to be the CEO of my own art business.’ It might be your personality to say, ‘Gee, you know, I wish somebody else would just sell for me.’ But there are advantages to being forced as an artist in this day and age to realize that you have a certain amount of responsibility. You’re the one who has to make the decisions, and there is no one who can replace you in knowing what you want and to be able to tell your story the way that you can.”Stay Informed with Professional Development“Anyone in business can definitely benefit from experts—whether they have something that’s specifically useful to you, or you just want to hear about the industry. Think of someone like a real estate agent. They could be in business for 20 years, and yet they’re still getting training, or reading a blog, or listening to a podcast that’s going to give them really interesting strategies about how to connect with their customers or help their sellers. What’s new in the industry? What are people talking about? What are the trends? And so you really need to stay up to date with it. It’s part of professional development.”Art vs Sneakers: The Collector’s Emotional Connection“A lot of artists who are making sales have put systems into place that work. And it’s not unique to art. You could be selling shoes, and you could be doing a really good job of it because you understand the strategies of how to market and sell successfully online. It’s really no different. But I think that art—I mean, at least in my mind—is very special. You can’t exactly equate it to a pair of sneakers. Art is something that people have an emotional connection to. An artist is a very special kind of person: your creativity is so important in the world, that in my mind, it’s at a higher level and it’s really treasured. Collectors want to grab the art if you’re running out of your home in a fire. You grab the art you love because it’s so important to you.”Reclaim Your Confidence at the CHF Virtualize Your Art Career TM Conference“What would I really like to see an artist come away with? Confidence. I would like an artist, especially if they’re having a difficult time trying to decipher what to do in these times, this pandemic time—I’d like for them to understand that it is possible, that you can build a business. This is a hard time because life will always have hard times. We will go in and out of recession. There will be changes of all types, that’s just part of the world. So can they be successful no matter what? Yes. And I’d like people to understand that other artists are doing this. I’d like them to feel the support of a community. You brought up the emotional factor earlier: that is such an important part. When you know you can do it, when you know you’ve got your network of artists who’ve got your back, and when you know that you can follow a plan that is solid and makes sense, then it gives you a starting point to just take that first step, right after the conference. You can start following that roadmap and start realizing your goals and working towards those objectives. And if you stay with it and you are consistent and persistent, then you will make sales and you will move your art business ahead.”Listen to Part I of this two-part episode with Carolyn Edlund! Move the needle for your art business, feel the support of your community, and learn with Carolyn and the CHF Faculty: register for our Oct 19-30 online Virtualize Your Art Career™ conference here.Jerry’s Artarama supports CHF and this episode of The Thriving Artist™ podcast.