Category: marketing

Of course, there are artists I admire, like Picasso and Roy Lichtenstein, but my inspiration goes beyond individual artists. I’m inspired by all types of art and, most importantly, by people—the stories they share, the connections I make. A lot of my inspiration also comes from the young people I mentor. Seeing how excited they are to meet me, and how they look up to me, makes me feel like a kid again myself. They don’t realize that their excitement is contagious.

Being able to share my art and see the impact it has on students, adults, and just people in general, that’s the biggest source of inspiration for me. If I had to pinpoint what truly drives me, it’s seeing other people feel inspired by my work. That’s what keeps me going.

ABN: Tell us a little bit about your outreach. I know you have a foundation, and I know you work in schools, and I think that that’s so important. But tell us more.

Knight: It’s called the Tysen Knight Scholarship Fund, and it’s funny—I can’t really take credit for coming up with the idea. A friend of mine suggested it. I had been receiving a lot of free art supplies from different organizations, and I would just give them away to the kids I was mentoring or anyone who needed them, even homeless artists. I’d pass these supplies on to anyone who could use them.

One day, my friend said, “Dude, you need to start a foundation so you can organize this and really help people in a bigger way.” That’s when it clicked for me. I thought, “That’s actually a great idea.” So, while I was already doing it informally, my friend helped me structure it into something more organized, and that’s how the Tysen Knight Scholarship Fund was born. The idea is to help individual students or underserved people who need a boost, whether it’s confidence, resources, or financial support, to pursue their goals. It originally started with a focus on the arts, but I’ve since opened it up to support all students looking to take their education to the next level.

It’s been an amazing journey. I didn’t even start out asking for donations—things just happened organically. People and organizations rallied behind me, saying, “We love what you’re doing.” One moment that really stands out was when a wonderful group of women invited me to their home. I can’t remember the name of the organization right now, but they gathered there, wanting to hear my story and learn about the Tysen Knight Scholarship Fund.

I was so excited, fresh into the process and full of energy, ready to share everything. I told my story and shared what the scholarship fund was all about. After I finished, they thanked me and said they’d be in touch. The next day, the woman who organized the event called me and said, “Tysen, we donate to a lot of different funds and organizations, but you got the most people to write checks since we started this group.” That moment really showed me the power of the work we were doing and the impact it was having.

I was able to give out 10 scholarships to students from two different high schools here in the Coachella Valley. With the remaining funds, I partnered with the Jesse O’James Center, which is similar to a Boys and Girls Club. It was summertime, and they had a camp for kids, so I decided to collaborate with them. I organized a trip for the students to visit a museum, and I covered everything—from lunch to transportation. When they arrived, they toured the museum and explored all the exhibits. Afterward, they had the freedom to pick any spot inside the museum and start painting or drawing whatever inspired them, whether it was an artifact or a specific piece they liked. It was such an incredible experience to witness.

Honestly, it’s still surreal to think that all of this started because I decided to take my art seriously. I never imagined that following my passion would lead to so many opportunities to give back. It’s just been an amazing journey.

ABN: Absolutely, the arts play a crucial role in a child’s development. They provide a valuable outlet for self-expression and can enhance cognitive and emotional skills, which often translates into better performance in other areas, including academics. It’s unfortunate that arts programs aren’t always a priority in school curricula, but it’s great that organizations like the Boys and Girls Clubs and others are stepping in to fill that gap. They offer essential opportunities for children to explore and develop their creative talents, which can be incredibly beneficial for their overall growth and success. And so powerful that you are partnering with them to build on that success.

Tysen, you mentioned that your first film launched your art career and told your story. Tell us about this second film that’s been getting all the award. What’s the title? What’s it all about?

Knight: The film, titled Homeless Street Artists, follows three homeless artists in the Coachella Valley: two in Palm Springs and one in Indio, California. This project emerged organically from my previous film, which was a documentary focused on street art as a whole.

To provide some context, the first film centered on street artists in general. During production, I found myself in Palm Springs on a Thursday evening, when the city hosts its weekly street fair. It’s a long-standing tradition where downtown is blocked off for vendors and performers. As I walked around, I noticed a homeless man sitting on a bench with a small display of his artwork. He was trying to sell his pieces, as he couldn’t afford a booth at the fair. This moment sparked the idea for exploring the lives of homeless artists, leading to the creation of this new film.

As I walked by, I felt compelled to strike up a conversation with him. I turned around and asked, “Hey, are you an artist?” He replied that he was. I then asked if he was selling his artwork, to which he confirmed. I took a look at his pieces and thought they were pretty impressive.

An idea struck me, and I asked if he’d be interested in being featured in my documentary about street artists. He was on board, but when I asked for his phone number, he told me he didn’t have a cell phone. I handed him my business card instead and said I’d be filming the next day in a different part of town. If he wanted to be part of the film, he should give me a call.

I didn’t think much of it afterward, assuming he might lose the card or be unable to contact me. But while filming at another location, I received a call from an unfamiliar number. It turned out to be him calling, just as I had hoped. He called me and said, “Tyson?” I replied, “Yeah.” He asked, “Can I still be in your film?” I said, “Of course. Where are you?” He told me he was at the recycle bin behind Smoketree Village, a shopping area in Palm Springs, where homeless individuals gather recyclables for money. I told him to stay put and raced over there.

When I arrived, I filmed him right there at the recycle bin. It was a brief segment, but it made it into the final cut of the film. After the film was completed, during every Q&A session I did, people were always curious about the homeless artist featured in the documentary. They wanted to know more about him. I’d tell them his name was Skratch, a well-known artist in the Valley who receives art supplies from the community. The audience was always intrigued and fascinated by his story.

The constant question about the homeless artist made me realize there was a deeper story to be told. I thought, “I might be onto something here.” So, I decided to document Skratch further and see if I could find other homeless artists. This led to the creation of the second documentary, Homeless Street Artists. What began as a brief segment in my first film evolved into a full exploration of this subject, and it’s been incredible to see how it’s gained recognition, winning awards and traveling around the world.

In this modern world, selling art online has become an accessible and lucrative opportunity for artists worldwide. Whether you’re a seasoned creator or just starting, understanding the nuances of online art sales can help you reach a broader audience and achieve your financial goals. Selling art online with this comprehensive guide will help you, through strategies and best practices, achieve the desired profits and popularity.

Build a Professional Website

A well-designed website serves as your virtual gallery and is crucial for establishing your brand. Your site should be visually appealing, easy to navigate, and optimized for both desktop and mobile devices. Include high-quality images of your artwork, detailed descriptions, and a biography that highlights your artistic journey.

Key Elements to Include:

• High-Resolution Images: Ensure your art is showcased with clear, high-resolution images. Consider multiple angles and close-ups.
• Artist Statement: Share your story, creative process, and the inspiration behind your work.
• E-commerce Functionality: Integrate a secure and user-friendly online store where visitors can view, select, and purchase your art. We recommend Shopify or Squarespace in this article on how to choose the best website for artists. 
• Contact Information: Provide a clear way for potential buyers to reach you with inquiries.

Utilize Social Media Platforms

Social media is a powerful tool for reaching new audiences and engaging with your existing followers. Platforms like Instagram, Facebook, Pinterest, and TikTok offer unique ways to showcase your art and connect with potential buyers.

Best Practices:

• Consistency: Post regularly to keep your audience engaged and informed about new work and upcoming exhibitions.

• Visual Content: Share high-quality images and videos of your art, including behind-the-scenes looks at your creative process.

• Engagement: Respond to comments, messages, and mentions to build a loyal community.Hashtags and Tags: Use relevant hashtags and tag locations to increase visibility and discoverability.

Leverage Online Marketplaces

Online art marketplaces like Etsy, Saatchi Art, and Artfinder offer platforms where you can list your art for sale. These sites attract a large audience of art buyers and often handle transactions and shipping logistics, allowing you to focus on creating.

Tips for Success:

• Create Compelling Listings: Write clear, engaging descriptions for each piece, including dimensions, materials, and techniques used.
• Pricing Strategy: Research similar works to price your art competitively. Consider offering a range of price points.
• Customer Reviews: Encourage satisfied buyers to leave positive reviews to build credibility and attract new customers.

Implement Search Engine Optimization (SEO)

SEO for artists is essential for improving your website’s visibility on search engines like Google. By optimizing your site with relevant keywords, you can attract organic traffic from potential buyers searching for art online.

SEO Tips:

• Keyword Research: Identify and use keywords related to your art and niche. Incorporate them naturally into your site’s content, titles, and meta descriptions.
• Alt Text: Use descriptive alt text for your images to improve their searchability.
• Content Creation: Regularly publish blog posts or articles about your work, art trends, or related topics to drive traffic and engage visitors.

Develop an Email Marketing Strategy

Email marketing remains one of the most effective ways to nurture relationships with potential and existing buyers. Building an email list allows you to directly communicate with your audience and keep them informed about new releases, exhibitions, and special offers.

Effective Email Strategies:

• Segment Your List: Tailor your emails based on subscribers’ interests, purchase history, or location for more personalized communication.
• Create Engaging Content: Share exclusive previews of new works, behind-the-scenes content, and special promotions.
• Call to Action: Include clear calls to action in your emails, encouraging recipients to visit your website or make a purchase.

Offer Limited Editions and Exclusives

Creating a sense of exclusivity can drive interest and urgency. Consider offering limited edition prints or exclusive pieces to your online audience. Limited editions not only enhance the perceived value of your art but also create a sense of scarcity that can encourage quicker purchases.

Strategies for Limited Editions:

• Numbered Prints: Offer a limited number of prints, each numbered and signed, to emphasize their uniqueness.
• Special Editions: Create special editions with unique features or packaging that are available only through your website.

Focus on Customer Experience

A positive customer experience can lead to repeat sales and referrals. Pay attention to every touchpoint in the buying process, from browsing your site to receiving their art.

Customer Experience Tips:

• Clear Policies: Provide clear information on shipping, returns, and refunds to manage customer expectations.
• Packaging: Ensure your art is packaged securely to prevent damage during transit and consider including a personal thank-you note.

Follow-Up: Send a follow-up email after purchase to thank your customers and ask for feedback or reviews.

Collaborate with Influencers and Bloggers

Partnering with influencers and art bloggers can help you reach new audiences and gain credibility. Look for influencers who align with your brand and whose followers might be interested in your work.

Collaboration Ideas:

• Art Reviews: Send samples of your work to influencers for reviews or features on their platforms.
• Social Media Takeovers: Collaborate on social media takeovers to showcase your art and engage with new followers.
• Guest Blog Posts: Write guest posts for art blogs or magazines to share your expertise and reach a wider audience.

Analyze and Adjust Your Strategies

Regularly reviewing the performance of your online sales efforts is crucial for long-term success. Use analytics tools to track website traffic, sales data, and social media engagement.

Metrics to Monitor:

• Traffic Sources: Identify where your website traffic is coming from to focus your marketing efforts effectively.
• Conversion Rates: Track how many visitors turn into buyers to assess the effectiveness of your sales funnel.
• Social Media Insights: Monitor engagement rates and audience growth on social media platforms to adjust your content strategy.

Selling art online offers incredible opportunities for artists to showcase their work to a global audience. By building a professional website, leveraging social media, utilizing online marketplaces, and focusing on customer experience, you can enhance your online presence and increase sales. Remember, success in the online art market requires ongoing effort, adaptability, and a willingness to experiment with new strategies. With these best practices and a strategic approach, you can effectively navigate the digital art marketplace and achieve your artistic and financial goals.

“It’s really key to launch your career by bringing your cost of living down so that you can afford to live off your art that’s priced very low. Because the key is pricing your work low. It’s not trying to price it high and convincing the market that they should buy it because art collectors are very savvy.”

“It’s so important to make something that’s better than everything else at that price point. And if that means making your art a hundred dollars, do it and then watch the prices grow.”

“Art schools don’t teach anything about money because they think it’s a bad word, but if you can’t sell your work, you probably won’t get to do it. You’ll have to get a job job.”

“The JPEG might be dead. Now, unfortunately, it’s going to be video.”

“Of the originals I’ve sold over the last 15 years—and I’m talking about almost a thousand originals—90+ percent were seeded on Facebook or Instagram.”

“Technology is a tool and everybody has access to these tools, so play with them and see if you like it.”

by Carolyn Edlund

A candid interview with Joyce Creiger, long time owner of Boston Art Rentals about this niche market, how it works, and the state of the business.

AS:  How has Boston Art Rentals worked with artists over the years?

JC:  When we first started our business, I worked with artists and gave them a percentage of the rental fee, that ranged from 10-20 percent. It wasn’t very profitable for either our company or for the artists. It did give the artists some exposure, however I felt it was more of a waste for both of us.

Eventually I acquired approximately 2,000 works of art, including my personal artwork. This was more profitable. However, I spend $750 a month for storage so I need to have a large number of clients to make it worthwhile.

Generally, we charge $25/ month with a three-month minimum for smaller works, $50 for works over 40″ in either direction, and $75 to $100 for larger works of art. All of our rentals require at least a three-month minimum.

Rented artwork used to stage a room

AS:  Who are your typical art rental customers?  

JC:  Early on, our biggest customers were law and accounting firms. Then we added financial institutions such as hedge funds and money managers. Now most of our clients are realtors who are staging property for sale. We still have a small clientele of law firms, accounting firms, biotech and financial institutions.

AS:  Can you give an example of artists getting involved with art rentals?

JC:  In our area there is a museum that rents artists’ work as well as art from their own collection. I don’t know what or if they pay the artists, but often clients will purchase the works because they are sponsored by the museum which gives them more credibility.

I’m not sure how profitable this is for the artists. The museum gives the client firm several memberships and classes for their employees. The firm then makes a donation depending on the number of pieces they rent. At one time the minimum was $5,000 for five works of art. I am not sure if that is still the case.

Artwork rented to a commercial client for a waiting room space

AS:  What do you see for the future of art rentals?

JC:  The internet has destroyed most of the lower-level original art market. When companies can go on the internet to large commercial websites and purchase art for $100-$200 to cover their walls, it’s hard to sell them on more expensive artworks. When we started our business 50 years ago, it wasn’t unusual to sell a law firm a piece of art for $20-$25,000. Today it is difficult to convince them to spend $1,000. For this reason, the art rental business becomes more attractive to them as there is no capital outlay usually requiring a board of directors to make that decision.

I don’t have a crystal ball, so it’s difficult to predict how the art rental business will play out in the future. A lot depends on the interest rates, what capital expenditures companies are looking to make, and if more employees return to the workplace.

Since Covid, so many employees have been working from home. They don’t really want to change the arrangement, as it basically saves them money they would spend on gas, tolls, parking or commuting. They don’t have as many expenses for childcare or dog walkers or fancy clothes. Unless that changes (which is unlikely) companies are downsizing their physical locations. This reduces the need for spending money on decor, plants or artwork.

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Award-winning mixed media artist exploring feminism and femininity

Linda Mariano, Editor in Chief

North Carolina mixed media artist Alissa Van Atta finds emotion in paint, texture, composition, and color. She explains: “Art courses through me, shaping my identity and guiding my journey. Starting out as an abstract painter, I spent a great deal of time learning about texture, color and composition. Reintroducing the figure weaves context and narrative, intertwining abstraction and figurative elements. Inspired by vintage ads, my paintings embody humor while boldly confronting women’s rights regression and objectification.

“Through my art, I illuminate pressing issues while remaining deeply connected to my experiences. Creative expression offers solace, healing, and a platform to challenge societal expectations and advocate for women’s rights.”

Art Business News recently met with Van Atta to learn more about her career and journey in building her art business.

ABN: Let’s start at the beginning — tell us about how and when you decided to make art your career.

Van Atta: I’ve always done art, so it’s just as soon as I could pick up a crayon, it’s always been a part of me. I remember stressing in my high school years about “What am I going to do for the rest of my life?” and freaking out. Art has always been there for me, so made a deal with my dad that instead of art school, I would major in art and something else too. I ended up just doing art and got my BFA with a Painting and Art History focus. He always thought I should have added accounting on top of that. But it’s just how my brain works. I could only focus on one thing, so I would have to take all my other requirements in the summer  because all I wanted to do was art.

When I graduated my mom said, “You know you have to make money, right?” I got a little derailed into the world of retail. But art was always there — I knew I had talent and I just had to a take the leap and leave the world of retail. I really didn’t make the complete jump until my mom died, about eight years ago. It occurred to me, you only live once — if not now, when. That’s basically when I dove headfirst and decided “Let’s do this as a full-time thing!” Since then, it’s been a matter of figuring out what works, what doesn’t, and getting comfortable with calling myself a full-time artist.

ABN: I didn’t know you had a retail background. I’m sure it comes into play so many times and in so many different ways. You might not have the accounting degree your dad suggested, but you learned about balance sheets, profit & loss, pricing, and so much more from your retail management experience for sure.

Van Atta: Exactly. I was part of a designer brand. I wasn’t selling $35 khakis. I was selling $1,000 jackets and other pieces in that price range. So even in that world, the clientele was different, the approach was different. I see a lot of things mirrored in how I view who looks at my work. I sit back and just pick up little clues — and so far, that tactic has had good results.

ABN: Alissa, what is your work philosophy and how do you decide what to create? How does that work philosophy impact the art that you create?

Van Atta: Basically, my main philosophy is show up every day. So even if I’m not feeling like things are coming together, I go back to sketching and thinking up ideas. Or maybe doing the stuff that I hate doing, the behind the scenes things like managing inventory, managing the bank account. It doesn’t have to always be in the studio, but my frame of mind is always centered on get something done, at least feel like you’ve put in a day’s work. I basically like to do that in the beginning of the day, so I can go: “Whoosh, I’m done!” Then I can go from there.

Ideas are something that sticks with you. You’re not off the clock. It’s always marinating. Even just getting some ideas out that have been pestering. It’s just a matter of doing something that show you’ve accomplished something in some way, even if it’s just making notes. Just showing up every day. And I also like to challenge myself. If something didn’t happen or if it’s a timing technique, then that drives me to work on those things.

ABN: There are so many artists that do exactly what you’re saying — make a plan and stick with it every day. Whether it’s starting the day with the management things, like planning for fairs, creating invoices, reaching out, creating social media posts, all of those things that must be done to keep the business moving forward. Then moving on to creating. Or the other way around — whatever works best for each person. Your advice to work every day, getting to it, and being productive are keys to success.

What do you think was the best advice you’ve ever received and how have you used that?

Van Atta: During my senior seminar, I was very fortunate to have a mentor who was also my senior seminar instructor and my instructor for abstract art. I didn’t listen. I’m learning the hard way now and remembering his words. Showing up every day, working on developing yourself as an artist, and loosen up. Loosening up not only  my technique, because I used to be very precise, but also loosening up my frame of mind.  Basically, anything I’ve ever set out to do, the plan goes one way and I go another way. So no matter how much I think it should be this way, I’ve learned to loosen up my expectations and just go with the flow. I have to remind myself of that all the time. It’s not a failure if it didn’t work out. I learned something different.

ABN: Great perspective! Sometimes you have a perceived notion of what something should be, but maybe you haven’t explored everything it could be. And that’s really what you’re talking about. I think that there’s a learning in all of that. Absolutely. So what do you do to market yourself and your art?

Van Atta: Basically, being visible as possible as I can be, whether through my website or Instagram. Instagram is a beast — it’s harder now to get an audience. But it’s a place where people can find you and discover your art. It’s another little portfolio. The main thing with marketing, I’ve learned, is meeting people. So getting into art organizations, doing fairs. You never know who you’ll meet, who and a connection that will benefit you. It’s an opportunity to get to know a person one on one. Sometimes it’s the weirdest thing of who knows who and it ends up being a small world. Or “Yeah, I’m an artist” and things spark from there. But growing it organically is what I’ve been focused on because it’s the proven method of what’s gotten me sales, collectors, and a following.

ABN: At the art fairs, I notice that you are very engaged. You’re right there, you’re standing up, you’re very approachable. And usually when I walk by, you’re talking to somebody, whether it’s another artist, maybe it’s the exhibitor that’s next to you. But I think that that’s a really good point because you don’t ever know where you’ll find a great connection. Maybe they’re just visiting the fair, looking at art, and they have an experience with you. And six months from now, they’re contacting you and asking, “Do you still have that piece, or is there a piece like that one?” And you don’t ever know what all of those connections, how they might play out in a myriad of ways.

Just one more question. Any particular advice as an emerging artist that you would give an aspiring artist?

Van Atta: It’s tough. And oftentimes, you’re your own worst enemy. So my advice would be to surround yourself with people that genuinely want you to succeed. People that support you. And remind yourself that it won’t happen overnight. This is a marathon. So if you don’t do great one day at some event, it does not mean it’s over or you’re a complete failure. We all play mind tricks with ourselves. So it’s just reminding yourself to just show up every day. It’s all a learning experience and  keep moving forward.

ABN: Really great advice. It’s been terrific having a conversation with you. One of the reasons for your success is that if you are enjoying what you’re doing and you have a positive attitude. Sure, it can be scary. It’s your career, it’s your livelihood. But working it each day helps you meet the challenges.

Thank you so much. It was great getting to know a more about Alissa Van Atta, the artist.

On July 19th, 2024, the art industry lost a great soul. Daniel Crosby was a full-of-life art lover who greatly impacted the art industry. His infectious energy led to his success in the art business. Here at Art Business News, we had the pleasure of knowing Daniel personally and wanted to shed light on his zestful spirit.

“Daniel Crosby was full of life. He was a showman who knew how to make people love art. He made me love art and the industry behind it. Daniel and I met in 1988 and worked together for 10 years. He was there when I started (in the art business). I was young and green, working in a gallery in California. Daniel was from New York (Brooklyn) and had so many great stories of Warhol, Haring, and many other artists in and around SoHo. He was 26 years old and held an audience on edge with his every word. He had the confidence of a great storyteller. I enjoyed being around him.  

“I moved on to the art fair business and Daniel (eventually) took his talents to represent many artists and celebrities. One of those celebrities was Muhammad Ali. Daniel called me one day and said “Hey E, come to the office here in L.A. Muhammad is going to be here in 2 days and I want you to meet him”. I had plans to be in Santa Fe that day for work and had to pass. While in Santa Fe, I was getting out of my car for an early breakfast and who did I see? Muhammad and his wife Lonnie. I explained the call from Daniel and they confirmed they were on their way to the airport to fly back to L.A. Muhammad just looked at me and said, “You guys are everywhere” as if I was there to keep an eye on him. Daniel introduced me to Ronnie Wood from the Rolling Stones and many others, including Bernie Taupin, who became one of D’s best friends. 

“His greatest achievement was his family. As we grew older, the stories focused more on his wife Alyssa and his 3 children, Quincy, Ava and Zane. I know they will miss him the most, but I am confident that they will have plenty of memories and stories to remember him by. 

“We remained friends for 34 years until the day he passed. The art world was better with Daniel in it. I miss him.”

— Eric Smith, CEO of Redwood Art Group

“Daniel excelled in storytelling. Everything we talked about he had something relatable from the past to compare it to. I rarely heard him repeat a story more than once, which if you can imagine how many stories I heard over the years then you’ll get a good idea of the full, fun, and artistically productive life he led.

“Daniel left us way too soon and with his passing a void has been created in my life that no amount of reflection and mourning can fill. I have only this empty space over my shoulder and to my left or right that will forever belong to him. He came up in a golden age of contemporary art, a vibrant New York scene that gave us new beginnings. This was his launch pad, a landscape he traversed with a combination of street smarts and an engaging personality that endeared him to the radical bohemianism of the time. Years later he brought all this knowledge and wisdom to the program he created for my own artistic vision, a successful combination that never would have jettisoned into being without his enthusiasm.

“Most of all he was my friend, which seems a minuscule statement and insufficient in the big picture. His friendship was huge and as rock solid as his formidable frame. There was a ferociously protective nature in his being that never let me down, always wanted the best for me, and always had my back. I’m still processing how I will venture forward without him at the end of the line or texting constantly about the machinery of our daily existence. The travels we should still be making, the restaurants we’d yet to experience, the galleries and art fairs, every little thing that constituted our combined self-proclaimed force of nature. His physical being may have passed but his spirit will be forever in my pocket and eternally in my corner.”

— Bernie Taupin

“I wish that I could offer a story of humor involving my friendship with beautiful Daniel. But, it is just too soon and too difficult. Among all of the essays I have written, the words I have posted after Daniel’s passing have been the hardest to arrange.

“Maybe I could speak about our last laugh together. I was explaining to him the thinking on my most recent body of work that I had just begun, titled, “Who Gets the Last Laugh.” I told him that this was a group of paintings about the paintings, seen through the perspective of the back of a spectator viewing them in an ornamental framed presentation, in a museum. I further explained that work was meant to remind those who have tried to interfere with the work and him promoting it, that these paintings would be around a long after them, and thus putting it squarely in their face. He slowly traisitioned into a smile, and then a bigger more aggressive smile, and then a loud laugh, as he always did. It would be our last laugh together.

“Although, shortly after that to avoid the possibility of the cliché of the artist predicting his own death (if something had happened to me), Jennifer and I decided to change the title to, “The Jokes on You.” Soon after, Daniel was gone, and we knew we had to change the work back go its original title, “Who Gets the Last Laugh,” completely dedicating it to Daniel.

“Daniel Crosby was the water, the seed of discovery, and he grew countless gardens of artist and their life’s work. He was able to see the gap that others might not have seen in many artists work that made us perceptive and thus receptive to how special the work was. He made the unfamiliar familiar. He opened your eyes to the invisible and made it visible. He bravely and continuously confronted the stereotypes of art that govern how we see art as art. He was without a doubt, the champion of mine.”

— Tom Everhart 2024

Our hearts go out to his family and friends during this time.