[PODCAST] ART PROBLEMS: Is the Economic Center of the Art World Shifting?

Frieze, LA 2024

I am back from the LA fairs, hoo boy, do I have some impressions. There was so much to do and see relative to New York’s Frieze week, that I started to wonder if New York would continue to be the economic center for art!

In this podcast I discuss the biz, trends, and art so you have all the information you need to know whether participating in the LA Fairs is worth the investment.

You’ll also get the skinny on each fair so you get a sense of the flavor of each.

By the end, you'll be armed with everything you need to navigate and succeed in the art fair environment.

Relevant links:

ART MARKET REPORTS

Artnet Frieze Los Angeles Is Smaller This Year, but Dealers Are Doing Big Business
https://news.artnet.com/market/frieze-los-angeles-is-smaller-this-year-but-dealers-are-doing-big-business-2442125

The Art Newspaper, Felix is fun as ever, even as Sales Slow
https://www.theartnewspaper.com/2024/02/29/felix-is-fun-as-ever-even-as-sales-slow

Frieze Fair, Felix and more this weekend (paywall)
https://www.latimes.com/entertainment-arts/story/2024-02-29/frieze-los-angeles-2024-felix-art-fair

TRENDS
Heavily patterned paintings that look like rugs.

Aydee Rodriguez Lopez at Proyectos Monclova
https://www.proyectosmonclova.com/artists/aydee-rodriguez-lopez

Laura Owens at Matthew Marks
https://matthewmarks.com/artists/laura-owens

Jeff Perrone at Corbett vs Dempsey
https://corbettvsdempsey.com/exhibitions/felix-art-fair-2024/

SPRING BREAK HIGHLIGHTS

SPRING/BREAK ART SHOW
https://www.springbreakartshow.com/

Fred Fleisher curates Don Porcella
https://springbreakartfair.com/collections/spring-break-art-show-la-2024/fred-fleisher

Cheryl Molnar curates Rachelle Anayansi Mozman Solano
https://springbreakartfair.com/collections/cheryl-molnar-la-2024

Fabiola Gironi and Robert Minervini https://springbreakartfair.com/collections/spring-break-art-show-la-2024/fabiola-gironi

Mary Henderson curated by Sarah A Gamble
https://springbreakartfair.com/collections/spring-break-art-show-la-2024/mary-henderson

Michael Handley curated by Jack Henry
https://springbreakartfair.com/collections/spring-break-art-show-la-2024/michael-handley

FRIEZE HIGHLIGHTS

Frieze LA
https://www.frieze.com/tags/frieze-los-angeles-2024

Hernan Bas at Victoria Miro
https://online.victoria-miro.com/frieze-los-angeles-2024-hernan-bas/

Jordan Casteel at Casey Kaplan
https://caseykaplangallery.com/artists/casteel/

FELIX ART FAIR HIGHLIGHTS

Felix Art Fair
https://felixfair.com/

Kavi Gupta at Felix
https://kavigupta.com/events/156/overview/

Sargent’s Daughters
https://www.sargentsdaughters.com/

Michael Kirkham at Harkawik gallery https://galleryplatform.la/galleries/harkawik/exhibitions/felix-art-fair-2024

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READ THE EPISODE TRANSCRIPT

Podcast Episode 51: 

You’re listening to the Art Problems Podcast, Episode 51. I’m your host, Paddy Johnson. This is the podcast where we talk about how to get more shows, grants and residencies.  

And on this podcast I’m going to be discussing my trip to Los Angeles for the art fairs. But I also want to seed a larger question, which developed as I visited talked to people and visited the fairs, which is: Is the economic center of the art world shifting to L.A? Let me explain how this question started to formulate and then I’ll do a deeper dive into the fairs themselves, in terms of character, trends, and notable art works.  

The first fair I visited in LA was SPRING/BREAK. SPRING/BREAK is probably best known as the fair most friendly to artists without representation. They use a curatorial model, meaning you apply with work under a theme the fair organizers chose for the fair as a whole, you work with a curator (which is usually another artist) and propose a booth often consisting of two or more artists. This year, for the first time, the fair included spotlights - solo booths for artists selected by the fair organizers. The cost of the both typically runs in the hundreds of dollars, rather than tens of thousands other fairs charge, and SPRING/BREAK makes additional funds by taking a percentage of your sales.  

The vast majority of L.A. based artists I met at the fair were New York transplants. Those who had been in LA for a while, spoke about how much bigger the scene was than ten years prior. Most discussed a need for more affordable space and better weather as a reason for moving.  

Obviously, the move has been going on for some time. But the sheer volume of New York transplants seemed notable at this point.  

The next day, I went to the Frieze Art Fair and Felix. Frieze, which is the largest fair of the three I saw in LA, and attracts the wealthiest collectors and the most expensive art felt alive and full of energy, whereas Felix - the fair for the middle market — felt subdued by contrast. I was feeling pretty under the weather, so most of my conversations about the events happened the following day when I went gallery hopping and met up with the artists inside Netvvrk. Many artists at the Netvvrk event at The Middle Room Gallery had come directly from Frieze, where crowds were so thick they could barely move.  

Prior to having talked to anyone, I came out of Frieze assuming the market was flat. Everyone brought painting, which is what you do in a cooler market because it sells better than any other medium, and the New York dealers I had spoken with earlier in the week were still complaining about the market.  

But frenzied activity the likes of Saturday’s crowd don’t occur outside of sales, and Artnet reported that sales were brisk. Five years ago, all the LA based fairs had been short lived, without a collectors market to support them.  

This stands in stark contrast to Frieze New York, which is having troubles. After three days in L.A. I concluded that if you lived here and work in the arts, you couldn’t afford to skip Frieze. Last fall, I decided not to attend Frieze New York any more because it was too expensive, I found the non-profit location offensive and depressing, and it wasn’t like I was doing Networking there I couldn’t do elsewhere. So, I felt like I could skip it. And the reason this is significant is that Frieze is one of the largest art fairs in the world. And if Frieze doesn’t do well in New York, but it does well in L.A., then that could be an issue for New York. What I don’t know is whether New York based collectors are flying to LA to purchase work they can also find in NYC. That’s the big tell. But I’m going there because I can see the need, and I know I’m not the only one.  

Meanwhile, over at Felix, I spoke with Allegra LaVoila of Sargent’s Daughters who said she felt she should take a large booth, now that she has an outpost in LA as well. Now even mid-sized galleries have locations on both coasts.  

All of these factors combined make me feel like the economic center is shifting West. Why? The real estate is cheaper, fabrication costs are lower, and there’s more space. All of these things are conditions needed for art.  

Now, due to feeling ill, I wasn’t able to talk to enough dealers about sales to really understand how Felix did - Felix did less well than Frieze. Unlike the year prior, there were no lines to get into the rooms, but for the first night. So, it seems like the excitement has died down. Felix for those who haven’t been, but are familiar with New York’s Independent Art Fair, is a very similar line up of middle market galleries only instead of showing in a glimmering white space, they take over the historic Roosevelt Hotel. It’s a kinda dingy space but some of the hotel rooms have bars in them, which I think is kinda fun.  

I’ll note here that the publishing industry is so hollowed out, that there’s almost no market reporting on Felix sales. The Art Newspaper reported slow sales and the LA Times ran a piece quoting the fair’s director who said that several booths had already sold out, but didn’t name them. I want to point out here, that my job is not that of a journalist first. I’m an art coach, who traveled to LA to be able to better advise the artists I work with. If it’s just me and a lone reporter from we’ve got problems.  

A similar low energy can be said for SPRING/BREAK. I love the event as a fair for artists, and the backend of the fair had a lot of great booths. A lot of the work struck me as something I might see at NADA Miami, in terms of quirkiness and style. But it was very sparsely attended. When I spoke with artists who had attended the opening, they told me very few people came out.  

This makes me sad. There’s plenty of good work at the fair. They were the only fair to host an art work that consisted of AI tarot reader that tap into your emails and produce readings (although I didn’t meet anyone who actually got a reading since the artist wasn’t in attendance when I anyone I knew as there, or myself.).  

The point is, there’s no reason not to attend, and lots of great artists to talk to. So, why weren’t people there? The same phenomenon occurred in New York this fall, which I chocked up to exhausting a location. They’d been in the same office space for four years and its run down appearance just didn’t work any more. But, it’s a little unclear why the same issue is happening in L.A.  

Here’s what I will say: I’m not convinced low attendance in either Felix or SPRING/BREAK LA can be chocked up to location or the quality of the art. I don’t have any definitive answers, but to speculate, I’d wager that despite reports of an energized crowd at Frieze, the market is soft, particularly in the emerging and middle market. And that’s showing up even in an environment that people are excited about—and is more visible at the emerging end of things where collectors who are experiencing fair fatigue are just not making it out to the secondary fairs in the same way they used to.  

Okay, last but certainly not least, let’s talk about the art.  

Stand out booths at Spring Break: Fred Fleisher curated a booth of Don Porcella crudely rendered sculptures made of wire mesh and colored pipe cleaners. In one arrangement of sculptures, a man in a suit with a baseball cap stands behind a deer carrying a glittery mouse on its back. A mouse, and a couple of logs surround each slightly smaller than life size figure. In another Charles Ray like constellation of family members -a tall woman with a gold club, a short man, and giant head with an unfurled tongue each sit on astroturf.  

One of the qualities I like about the work is that the mouths are open, revealing the structure of the work. They’re hollow. I kinda like that in a time when we seek out authenticity and realness — a quality that seems more allusive than ever — even the most honest rendering of materials reveals a hollowness inside. Even if you do blah blah [Keep]  

I mean, I doubt the artist made that work with my interpretation in mind, but I’m sure at least some of it would hold water with Porcello.  

Also worth mentioning, Venas Abiertas, an exhibition of photographic portraits by Rachelle Anayansi Mozman Solano. In these works, female models wearing turn of the century clothing or alternatively nudes pose with cardboard cutouts of cacti, and logs. In this environment I read the images as stage-like and referring to Hollywood and the colonization of the west. Molnar writes that “Mozman sets the stage for a psychological play, featuring a cast of characters from her life, to reflect on the emotional inheritance handed down from the impacts of colonization and white supremacy in Panamá.” So, I wasn’t too far off.  

Honestly there’s too much of note to go through everything, so quickly xe colorful painted still lives, Mary Henderson’s jewel-sized figurative paintings, and the dyed rubber boots marked by evaporating water by Michael Handley and curated by Jack Henry each stood out for their considered approach to the craft.  

Overall, we’re seeing far less ceramics, photography, and sculpture at the fairs, which is why a space like SPRING/BREAK is so important. The artists there show a variety of medium. The higher up the food chain you get, in the world of commerce, the less variation there is. Collectors aren’t really that adventurous.  

But, if you spend all day painting as your job, you’re gonna get pretty good at it. At Frieze Victoria Miro showed a new body of figurative works by Hernan Bas, someone I’ve noted in the past has grown tremendously as a painter. A series of subtly erotic young gay boys line one wall. The most striking work, a huge portrait of a young man in a suit behind a birthday cake ablaze with a million candles stands out. Youth springs eternal, as they say.  

But also Jordan Castell’s paintings at Casey Kaplan. Frankly the growth and her range of painterly applications is just astonishing. In one still life she leaves nearly have the canvas untouched - a beautiful spare touch. In another much more worked over piece, the individual marks making up a straw hat worn by a mother posing with her husband and child feel so considered.  

And at Felix, the weird alien like figures of Michael Kirkham at Harkawik gallery stood out for their bizarre proportions and striking color palette - one was very bright in color with whites and oranges while another stood out for its nighttime palette of blues and blacks. And Kavi Gupta’s exhibition including a hugely diverse range of artists including theater gates, Manish Nai, Miya Ando and more, gave the fair a well needed jolt from whiteness. I’ll admit to a weakness for all work by Jose Lerma, whose textured figurative collage sat tucked away in Gupta’s booth in the bathroom. And in full disclosure, this may have something to do with the fact that he lived a few doors down from me when I was in my twenties and some of the best conversations I’ve ever had about art were with him, about his own art and others. One of the most thoughtful artists I’ve ever met.  

Probably the biggest trend this year are heavy patterned or detailed paintings that look like they were inspired by rug design. These paintings are everywhere. Aide Rodriguez Lopez at Proyectos Monclova, Laura Owens at Matthew Marks, Jeff Perrone at Corbet vs Dempsey to name three of hundreds.  

I’m very susceptible to trends - whatever flavor of the month we’re at, I’m usually buying it. I suspect most of us are like that but it’s worth pointing them out, because trends are more fleeting than hard and fast interests. We want to be able to discern between the two, so we can recognize the difference between our taste and what’s hot at any given moment. It helps us make better art, and if you’re a collector, make better buying decisions.  

Okay, well that’s it for the podcast this week! Whether or not you attended the fairs, I hope you’re able to add some of these reflections to your contemporary art world knowledge base. This kind of stuff always comes up in conversation!  

I’ll see you back here next week!  

Paddy  

[PODCAST] ART PROBLEMS: How to Come Back From an Extended Art Making Break

Shana Moulton, Meta/Physical Therapy, 2024, MoMA

If you have ever felt anxious about an extended art making break, let me put your mind at ease.

It happens to almost EVERYONE.

Whether that be due to child rearing, the loss of a parent, or a significant move, the job of getting back into the game can be just as challenging as the disruptions that took you away from the studio.

You're probably worried that...

You have visible gaps in your CV that galleries will notice and ask you about

You've lose touch with many of your contacts and art friends and now they're gone for good

Your fear of not being able to get back into the networking game, will keep you from getting back into the networking game.

In this podcast, I address those fears, identify the self defeating actions artists often take when in this position, and offer actionable alternatives.

You don't have to feel stuck.

And this podcast is designed to make sure you feel empowered to take action, rather than feeling mired in fear and self doubt.

Have a listen and let me know what you think!

Relevant links:

https://www.npr.org/programs/ted-radio-hour/1137460905/late-bloomers

[PODCAST] ART PROBLEMS: You've got Mail 💌

Have you ever exchanged gifts with someone and only to learn that the present you got them is waaaaay more expensive than the one they got you?

Awkward!

In this Valentine's Day podcast on connection and mailers, I talk about how social currency and exchange works much the same way. If you're asking someone for their email, and you're giving them something in exchange you want it to be roughly equal in investment. Sometimes that's the newsletter itself and sometimes it's a little more.

[PODCAST] ART PROBLEMS: What to Focus on When You Have Limited Time: An interview with Cadence Giersbach

Artist: Cadence Giersbach

Are you struggling to find time to do every god damn thing?

Of course you are. You're an artist.

That's why I started this series on goal setting.

In this podcast I speak with artist and Netvvrk member Cadence Giersbach about how she sets priorities and gets things done. Giersbach describes the importance of focusing on the things that are within your control—what you can do each day to get tasks done.

PS

If you want to know more about how to spend less time hustling and more time in the studio, I'm going to do a deeper dive in my live masterclass, How to Get More Shows Without Turning Your Personality into a Marketing Bot Tuesday Feb. 6th at 7:30 PM EST. This class is totally free, so join me!

[PODCAST] ART PROBLEMS: How to be an Art World Rulebreaker without Accidentally Exiling Yourself

John Wesley at Pace Gallery

Have you ever launched an exhibition space and then tortured yourself over whether to include yourself in a show because you know it will look bad? Or struggled over whether to send an email to gallerist or a DM over Instagram because someone followed you, but you're not sure if DMing a welcome is friendly or spam?

Welcome to the world of art world taboos, which are both plentiful and entirely useless in any situation other than the most obvious examples. In this episode I identify a few of the more common taboos that trip an artist up, explain why they exist and how and when you can break them!

You're welcome!

[PODCAST] ART PROBLEMS: Your 2024 Goal Setting Model to Get Your Art Seen

Heather Beardsley: Strange Plants at the Chrysler Museum of Art
(Screen grab from @phondco’s produced video.)

In this episode of Art Problems, I take on a vexed topic for many artists: goal setting!

Is it even worth setting goals when it's so difficult to know where your opportunities will come from?

Short answer: Yes.

I talk to artist and Netvvrk member Heather Beardsley about the process she used to set her goals, and how she achieved them.

And you know what?

It's not rocket science.

You can follow Heather's method (the Netvvrk method) and do the same thing.

Because study after study shows that people who set goals are far more likely to achieve them.

So, have a listen and get down to business!

[PODCAST] ART PROBLEMS: 2024 Art World Predictions

Diana Thater, Perfect Devotion Six, 2006 (The Gallery Group show, David Zwirner, New York, New York)

Last year, I predicted what 2023 in the art world would look like. This week, I take a look back at those predictions, share what I got right and wrong, and make new ones for 2024.

Spoiler alert: We've got big structural changes ahead. It's hard to say how those changes will play out, but discuss the benefit of approaching shifts with cautious optimism.

Relevant links:

The Internet is about to Get Weird Again
https://www.rollingstone.com/culture/culture-commentary/internet-future-about-to-get-weird-1234938403/

The Enshitification of TikTok
https://www.wired.com/story/tiktok-platforms-cory-doctorow/

[PODCAST] ART PROBLEMS: Weathering Art Basel FOMO

Are you feeling acutely aware that you're not sunning yourself on a Miami Beach right now?

Are you nervous that you won't be able to appreciate the Miami Beach because you're too anxious about the surrounding fairs to relax?

Welcome to the Miami art fairs, which are on right now, and basically exist to drive an artist mad.

In this bonus episode of Art Problems, I discuss the demoralizing FOMO many artists experience during this time and how to reduce the anxiety.

[PODCAST] ART PROBLEMS: Why Traditional Business Model Frameworks Won't Work for Artists

This week, I conducted an experiment: I took a survey that identified problems for standard businesses by revenue stages and examined how those problems aligned with the average artist's studio practice.

Surprise! The metrics didn't line up.

So, I used the framework of the identified business stages to create my model for artists. This podcast shares what I learned and produced for you! In the process, I created a downloadable action checklist so you can identify your career stage and what actions you need to take to get to the next level.

Listen here.

Get the checklist here.

[PODCAST] ART PROBLEMS: Sales are Not a Measure of Your Self Worth

In this episode of the Art Problems Podcast, I discuss the abundance of triggers liable to make you feel a little more sensitive about your career this time of year including the Miami art fairs, holiday sales, and an art market recession. I also discuss what you can do when you start feeling all the feels.

We often get in our own way when we become self-conscious about visibility. This podcast is designed to give you the tools to avoid the behaviors likely to set you back.

Sign up for early access to the Vantablack Friday offer!

Relevant links:
https://hyperallergic.com/784192/art-problems-dont-make-art-to-sell-do-i-still-belong-in-the-art-world

[PODCAST] ART PROBLEMS: Your Ultimate Artist Residency Guide

Do you really need an artist residency?

You know it helps a CV, but how much?

Will it help other aspects of your career?

In this episode of Art Problems, I talk about how to determine if you need a residency and how to find the residencies best suited to your needs. If you've been stressing over whether you should spend time at a residency or how to find one, this podcast will provide an answer to many of those anxieties.

Have a listen and let me know what you think over Instagram!

[PODCAST] ART PROBLEMS: How to Master Technology When You Hate Technology

Artwork credit: Yael Kanarek, World of Awe, 2000, browser-based art work.

Is your lack of tech literacy stressing you out?

Are you worried you're too old to get the hang of new technology?

Maybe you're not old, and reasonably tech-savvy, but still stymied by constant tech updates?

Today on the podcast I invite my mother, Jacqueline Johnson, to talk about her use of technology.

She is not a master of technology. But, at age 77, she has figured out how to use what she needs and reports crying far less often due to the computer!

Learn how she overcame her fear of technology and how you can, too!

[PODCAST] ART PROBLEMS: How to Navigate Health and Change

Is your body not working as well as it did when you were twenty? Is this affecting your studio practice? Welcome to the joys of mid-career!

In this episode of Art Problems, I speak about how to invest time in seeking out good healthcare to sustain your life in the studio, as well as the importance of building an adaptable mindset.

Try different types of support.

Use what works for you.

Trust your body.

Adapt, adapt, adapt.

Learning to accept change is the key to happiness.

Relevant links:

Brad Stuhlman, Master of Change

https://www.amazon.com/Master-Change-Everything-Changing-Including/dp/006325316X

[PODCAST] ART PROBLEMS: How Four Artists Got a Chelsea Show

In this episode, I talk to artists Barbara Nitke, Natalya Kochak, Laurence Elle Groux (goes by Elle) to talk about how they used the Netvvrk membership to help them secure their Chelsea show Mind Body and Soul—a Chashama exhibition at 320 West 23rd Street in New York.

We go through the process of how they met, how they got the show, the resources they needed to make the show, and now, what they can do to get the show more exposure.

If you're an artist who either needs shows or has a show you want to get people out to see, there are a lot of practical tips in this episode to help you.

Relevant links:
https://chashama.org/event/body-mind-spirit/
https://www.marcalain.com/
https://www.laurenceellegroux.com/
https://www.natalyakochak.com/
https://www.barbaranitke.com/

[PODCAST] ART PROBLEMS: Six Ways to Get More Time in the Studio

Let me guess. You have a million things to do to move your art career forward, but you're only one person, and you're struggling to find time in the studio, let alone do all the other tasks. You need one job, not four.

In this episode of Art Problems, I discuss how to get the time you need in the studio.

The solutions I have aren't sexy, and some of them aren't.

But you know what is fun? TIME IN THE STUDIO.

If they work, and they do, use these strategies.

And if you want to do a deeper dive on this, make sure you attend my free webinar on Tuesday, October 17th, on how to get more shows without transforming your personality into a content creator. Don't miss this class.

SIGN-UP HERE

[PODCAST] ART PROBLEMS: Do We Need Art Criticism?

Nicolas Party, Installation view of "Swamp", Hauser and Wirth. Image: Paddy Johnson

Does anyone even read art criticism any more?

For years, the prevailing wisdom told us that the art industry needs art criticism to grow. And yet, today, the industry is larger than ever; the number of professional art critics in the country is dwindling, and those writing reviews aren't having them read.

So, do we need art criticism? Is art criticism itself the problem? Is it too positive to be taken seriously or too negative to qualify as anything more than clickbait?

In this episode of Art Problems, Paddy Johnson summarizes the recent online discussions about criticism, focusing on Sean Tatol's "Negative Criticism" and Ben Davis's "Is Criticism Too Positive" and explains why this conversation is relevant to artists.

If you struggle to understand the media landscape, this podcast will help you understand the stakes so you can make better decisions about where to spend your time.

Professionals discussed: Jerry Saltz, Sean Tatol, Ben Davis, Jason Farago, Joanna Freeman, Jackson Arn, Josh Baer, Jeff Poe

Relevant links:

https://www.thebaerfaxtpodcast.com/e/jerry-saltz/

https://news.artnet.com/opinion/sean-tatol-negative-reviews-part-1-2353302

https://news.artnet.com/opinion/sean-tatol-negative-criticism-part-2-2353305

https://news.artnet.com/multimedia/the-art-angle-podcast-state-of-art-criticism-2358970

https://thepointmag.com/criticism/negative-criticism/

http://19933.biz/manhattanartreview.html

[PODCAST] ART PROBLEMS: Managing Self Doubt

If you want to participate in the art world at a higher level, and every opportunity that gets you closer gives you a big dose of imposter syndrome, this podcast's for you.

In this episode of Art Problems, we talk about managing self-doubt.

What are the symptoms of self-doubt?

How can simple avoidance behaviors be mitigated?

And how can more complex fear-driven avoidance be tackled?

The answers to all that and more inside today's podcast.

Listen and let me know your thoughts on Instagram. I want to hear from you!

[PODCAST] ART PROBLEMS: How to Combat The Rising Cost of Being an Artist

Inside the Museum of Modern Art. Photo credit: Paddy Johnson

In the latest episode of the Art Problems podcast, Paddy Johnson and artist William Powhida discuss the increasing cost of museums, art fairs, application fees, and travel impacting artists and how to beat them.

You'll learn:

• Where to stay when visiting New York that won't cost $500 or more a night

• How to avoid a large fair entrance fee

• And how to lower the cost of museum fees

Listen in, and let me know what you think. If you've got affordability hacks, I want to hear them!

ART PROBLEMS: Every Networking Tip You Need to Be Ready for the Fall Art Season

The start of the fall season is upon us!

And with all the openings and fairs this fall, it doesn't take much time to start feeling overwhelmed.

You might be asking yourself questions like,

"How do I get my art seen when there is so little press to cover the five million shows now open across the country?"

"How do I network at openings and fairs when no one wants to see my work unless I am the exhibiting artist?"

"How do I attend these events without bankrupting myself in the process?"

In this episode of the Art Problems Podcast, I provide answers.

Relevant links:

Hyperallergic art fair discounts:

https://hyperallergic.com/841510/your-a-z-guide-to-new-york-city-september-2023-art-fairs/

Two Coats of Paint:

https://twocoatsofpaint.com/2023/09/nyc-selected-gallery-guide-september-2023.html

Art Haps Spreadsheet:

https://docs.google.com/spreadsheets/d/17XFl-TJwmEMvdFPAfwUDVnwSDS6W7tMvdxu94vpmV00/edit#gid=0

Gallery Platform LA

https://galleryplatform.la/events

ART PROBLEMS: Your Complete Guggenheim Fellowship Guide

Are you worried the effort of completing a Guggenheim application won't pay off?

Are you worried your work and show history isn't strong enough?

These are the anxieties of ambitious mid-career artists, and I'm here to help.

In this episode of Art Problems I give you the skinny on the Guggenheim Fellowship.

All the tips you won't find in the application instructions, but you need to know—they're in this podcast.

Listen now, and subscribe.