Category: Engagement

The Wealthy Artist

Nikol Peterman a performer, choreographer and life coach is hosting a video summit discussing “The Wealthy Artist” challenges interviewing over a dozen experts from different sectors of the art world who will share their experiences and insights on this subject breaking the starving artist taboo.

This abundant circle includes Broadway directors, Yoga icons, authors, life coaches, wealth coaches, arts activists, dancers, photographers, wellness geniuses, media mavens, mindset changemakers, actors, and musicians, in short artpreneurs.

Colman Domingo, Award Winning Actor and Playwright, 

Jeff Whiting, Broadway Director, Open Jar Institue Founder,

Alice Inoue Founder of Happiness U

Julie Serot Founder of Dance Prana

to name a few share their experiences and motivations

Twice a day between April 27 to May 11th, you can listen in as over 20 experts and artists share their stories of success and show you how to make it happen for yourself.                                                                                                         

It’s FREE to sign up! Here is the link: thewealthyartistsummit.com

Geronimo, theartpreneurs curator-in-chief was also invited to speak at this summit, below is an excerpt of the interview.

Is an artpreneur a wealthy artist?

If that’s what they want and can take the punches they could be.

The  difference between an enterprepneur and an artpreneur, the latter’s cause is to bring art into the enterprise in their own capacity being artists or business people rewarding everyone fairly.

An artpreneur is a dreamer, can be an artist or anyone who can bring art into any enterprise in  their own capacity. The artpreneur creates the vision and cause allowing opportunities for independent vertical growth in a horizontally grown tribe spreading the wealth fairly to the entitled rather than the titled.

Making movies and theatre when it comes to teamwork are great examples, everyone’s role is as important behind and on stage and all are performing it with passion, growing in their own space.

Wealth was once measured with the variety of spices one possessed, it’s more of a mindset when defined by reaching to be happy and satisfied excluding greed and need for power and competition.

Deliver beauty with passion and you’re on the right track.

 

How do you define an ‘artist’?

The difference between an art student or a talented art creator is having the will and passion to break the mold and follow their emotions to the limit and beyond to live art entirely.

Now the difference between an artist and a master is the desire to excel.

Which defines an artist as a passionate emotional lone ranger aiming to prove there is no reality without a dream.

Art is a truthful mirror of the artist, you can’t hide anything there and it will determine who and what you are.

 

 

Can you become wealthy while making a living from art?

Let’s admit it. Being an ‘artist’ is not the most practical career choice to make.

A wonderful quote attributed to a great Indian chief he said “when I’m living I want to live well” we say “it’s a right not a privilege”. Creativity, time, talent and know-how are not free if you’re able to provide this you are entitled for a fair pay, you won’t need to worry about the cost of paint and canvas or how to keep the lights on.

The demand is there, art is an emotional investment, you are not in a competition when you have reached the level to be called an artist. Your art will tell it all, it’s not about perfection the good news there is an art lover of every kind of art, it’s about getting it out there to share it with potential target audience who can appreciate and afford it while delivering your message in the best manner possible, truthfully.

In short certainly you can make a living being an artist, it all depends on your art and where you position it to determine the level of wellness you will achieve.

 

 

Should you be creating and selling your art same time?

Ideally not, but not  everyone is Ai Wei Wei, Hirst or Koones and we can’t wait until we’re dead to live well. If you have the time, passion and money to set up your own gallery and run a business you should make more than a decent living, which is not the case in most cases.

But on the other side of the spectrum, one can be in danger of becoming a ‘sellout’. Most artists dread becoming a sellout more than being a starving artist. Being a sellout is a term used within the artist group only; labeling those who are believed to have sold their artistic beliefs and aesthetics to have outward success.

If the art of a visual artist for example is accepted by the discerning eye of a gallerist, the fees are virtual in a sense and justified when the gallerist or promoter is taking the financial risk and investing their time to promote someone else believing in their talent and vision. Which comes back to how seriously you’re taking your art to drive your passion and desire that is reflected in your creation.

The internet offers us a wonderful opportunity to share with potential millions, it requires far less capital but not any less commitment in time. It can eventually produce results depending on what you’re selling in artsy products or pictures, sculptures etc., I don’t believe it’s a platform to position artists at real gallery level yet.

So it’s a question of time, know-how and commitment if you have to do it yourself. Artists must not feel guilty to make a fortune from their art. You are not selling out because you’re making money–artists have the right to live well, after all.

 

 

How do you support artists?

We’ve been busy trying to come up with different ideas including help crowdfund community art projects focusing mostly on street artists, our campaigns on Twitter mostly were very successful we decided to bring it to the site, the engagement is phenomenal on average between our different handlers 95% of our tweets are shared with like minded artoholics and when we brought this phenomenal engagement to the site the average return visits is reaching a mind blowing 50-60%.

Here’s how we do it and why.

The first and main reason an artist brings her or his art to Twitter is to share it with followers hoping it will be RT’d to reach more likeminded potential fans and collectors. Well we do just that, we share art from all kind of artists, our potential reach today is to over 20 million artoholics with over 30k very loyally busy followers.

It takes a great deal of time to curate all these works, it cannot be automated, it has to be done with passion, improvised as we never know what is the next amazing art we will stumble upon and decide on which artimagz we can reach target audience who would appreciate the genre or type of art.

To sustain this, we offer our service to mainly art galleries and luxury lifestyle brands where we can be an asset to their marketing campaign to provide them with unique content, resulting in:

  • Real engagement with loyal new and existing followers
  • Own an artimagz i-publication which will create a different level of engagement on their sites
  • Focused reach to target discerning audience who can appreciate their products and services
  • Doing all that while patroning the arts supporting new and emerging artists allowing them reach to share their creations with potential new fans and collectors by blending their art in their artimagz.

We can services best a wide range of industries starting obviously with Art Galleries, art event organizers being in visual, performing or other, fashion and interior designers, cars and bikes, jewelry, watches, travel, sports, food, fitness we are passionate about all this stuff besides they all blend very well with art sharing likeminded audience who will appreciate this mix.

More on this and other inspiring and  motivating interviews on Nikol’s blog.

Banner art by Steve Kaufman (1960-2010)

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5 Content management essentials for brands to engage effectively

Whether you’re a small or large brand, doing business online and ignoring the importance of content management and marketing is a grave error.

The proven successful business model in today’s social media content marketing is based on publishing external content in publications that reach new audiences, then create on-site content that’s aligned with the external content and that continues to engage and educate the audience.

It takes patience and a long-term commitment, which can cost time and money but if practiced properly, it can be great fun and the most engaging part of your marketing operation.

Here are the most important steps to take into consideration:

 

  1. Align content with a well-defined strategy
  2. Give them reason to come back, be consistent updating daily.
  3. Provide content that delivers authentic value.
  4. Build loyal sharing relationship with your target audience.
  5. Create quality content and share outside your staff Ping-Pong tables.

 

Content is King and alive, authenticity and value are the keys to building long term loyal relationships with your old and new customers bringing on the Queen Engagement we call her artimagz.

 

Bill Gates predicted the future on content in January 1996 he wrote an article titled Content is King, it’s a very interesting read, I got it for you here if you wish to read it.

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Content is where I expect much of the real money will be made on the Internet, just as it was in broadcasting.

The television revolution that began half a century ago spawned a number of industries, including the manufacturing of TV sets, but the long-term winners were those who used the medium to deliver information and entertainment.

When it comes to an interactive network such as the Internet, the definition of "content" becomes very wide. For example, computer software is a form of content-an extremely important one, and the one that for Microsoft will remain by far the most important.

But the broad opportunities for most companies involve supplying information or entertainment. No company is too small to participate.

One of the exciting things about the Internet is that anyone with a PC and a modem can publish whatever content they can create. In a sense, the Internet is the multimedia equivalent of the photocopier. It allows material to be duplicated at low cost, no matter the size of the audience.

The Internet also allows information to be distributed worldwide at basically zero marginal cost to the publisher. Opportunities are remarkable, and many companies are laying plans to create content for the Internet.

For example, the television network NBC and Microsoft recently agreed to enter the interactive news business together. Our companies will jointly own a cable news network, MSNBC, and an interactive news service on the Internet. NBC will maintain editorial control over the joint venture.

I expect societies will see intense competition-and ample failure as well as success-in all categories of popular content-not just software and news, but also games, entertainment, sports programming, directories, classified advertising, and on-line communities devoted to major interests.

Printed magazines have readerships that share common interests. It's easy to imagine these communities being served by electronic online editions.

But to be successful online, a magazine can't just take what it has in print and move it to the electronic realm. There isn't enough depth or interactivity in print content to overcome the drawbacks of the online medium.

If people are to be expected to put up with turning on a computer to read a screen, they must be rewarded with deep and extremely up-to-date information that they can explore at will. They need to have audio, and possibly video. They need an opportunity for personal involvement that goes far beyond that offered through the letters-to-the-editor pages of print magazines.

A question on many minds is how often the same company that serves an interest group in print will succeed in serving it online. Even the very future of certain printed magazines is called into question by the Internet.

For example, the Internet is already revolutionizing the exchange of specialized scientific information. Printed scientific journals tend to have small circulations, making them high-priced. University libraries are a big part of the market. It's been an awkward, slow, expensive way to distribute information to a specialized audience, but there hasn't been an alternative.

Now some researchers are beginning to use the Internet to publish scientific findings. The practice challenges the future of some venerable printed journals.

Over time, the breadth of information on the Internet will be enormous, which will make it compelling. Although the gold rush atmosphere today is primarily confined to the United States, I expect it to sweep the world as communications costs come down and a critical mass of localized content becomes available in different countries.

For the Internet to thrive, content providers must be paid for their work. The long-term prospects are good, but I expect a lot of disappointment in the short-term as content companies struggle to make money through advertising or subscriptions. It isn't working yet, and it may not for some time.

So far, at least, most of the money and effort put into interactive publishing is little more than a labor of love, or an effort to help promote products sold in the non-electronic world. Often these efforts are based on the belief that over time someone will figure out how to get revenue.

In the long run, advertising is promising. An advantage of interactive advertising is that an initial message needs only to attract attention rather than convey much information. A user can click on the ad to get additional information-and an advertiser can measure whether people are doing so.

But today the amount of subscription revenue or advertising revenue realized on the Internet is near zero-maybe $20 million or $30 million in total. Advertisers are always a little reluctant about a new medium, and the Internet is certainly new and different.

Some reluctance on the part of advertisers may be justified, because many Internet users are less-than-thrilled about seeing advertising. One reason is that many advertisers use big images that take a long time to download across a telephone dial-up connection. A magazine ad takes up space too, but a reader can flip a printed page rapidly.

As connections to the Internet get faster, the annoyance of waiting for an advertisement to load will diminish and then disappear. But that's a few years off.

Some content companies are experimenting with subscriptions, often with the lure of some free content. It's tricky, though, because as soon as an electronic community charges a subscription, the number of people who visit the site drops dramatically, reducing the value proposition to advertisers.

A major reason paying for content doesn't work very well yet is that it's not practical to charge small amounts. The cost and hassle of electronic transactions makes it impractical to charge less than a fairly high subscription rate.

But within a year the mechanisms will be in place that allow content providers to charge just a cent or a few cents for information. If you decide to visit a page that costs a nickel, you won't be writing a check or getting a bill in the mail for a nickel. You'll just click on what you want, knowing you'll be charged a nickel on an aggregated basis.

This technology will liberate publishers to charge small amounts of money, in the hope of attracting wide audiences.

Those who succeed will propel the Internet forward as a marketplace of ideas, experiences, and products-a marketplace of content.

COPYRIGHT NOTICE. Copyright © 2000 Microsoft Corporation, One Microsoft Way, Redmond, Washington 98052-6399 U.S.A. All rights reserved. Republished with permission.

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