Category: marketing

Artists seeking innovation and broader audiences turn to non-traditional art spaces as the art scene evolves. For those who want to be an artist, these unconventional venues offer a refreshing alternative to traditional galleries, providing unique opportunities for exposure and engagement. They play a big role in the art community, allowing creators to connect with the public in more intimate and impactful ways. Thus, exploring these spaces becomes essential for artists aiming to share their work with a diverse audience and make a significant impact outside conventional boundaries.

Understanding Non-Traditional Art Spaces

Non-traditional art spaces defy the conventional gallery model, offering artists innovative platforms to showcase their work. These venues range from digital realms to physical spaces not originally intended for art, such as cafes, parks, or online platforms. What sets them apart is their accessibility and the opportunity they present for artists to reach audiences outside the traditional art market.

These unconventional spaces play a pivotal role in the contemporary art world, especially for artists on the move. They serve not only as venues for exhibitions but also as catalysts for community building and cultural exchange. Artists utilizing these spaces engage directly with diverse audiences, fostering a sense of connection and understanding through art. This direct engagement enriches the cultural fabric of communities and provides vital support for artists seeking to expand their reach and impact. Non-traditional art spaces thus become vital in promoting inclusivity and innovation in the art world.

The Benefits of Showcasing in Non-Traditional Venues

Showcasing art in non-traditional venues offers numerous advantages, particularly regarding visibility and accessibility. When stepping outside the gallery system, artists can tap into audiences that might not frequent traditional art venues. This increased exposure is invaluable for emerging artists looking to establish a foothold in the art community. Additionally, non-traditional spaces often attract a diverse crowd, ensuring that art reaches a broader spectrum of viewers. This diversity amplifies the artist’s visibility and enriches the audience’s experience with varied perspectives and dialogues.

In addition, these unconventional settings provide fertile ground for creative and unique displays that might not be feasible in standard galleries. Artists can experiment with space, presentation, and interaction, making each show a distinctive experience. This flexibility encourages innovative approaches to art making and exhibition, pushing the boundaries of traditional aesthetics and presentation. Moreover, by engaging directly with the community, artists enhance their connection with the audience, creating meaningful interactions and deepening the impact of their work. Enhanced community engagement in these settings fosters a vibrant cultural exchange, making art more accessible and relatable to people from all walks of life.

Types of Non-Traditional Art Spaces

Public Spaces

Non-traditional art spaces are redefining how and where art is experienced. Public spaces such as parks, streets, and urban landscapes offer artists expansive canvases to engage with passersby unfiltered. Art installations in these areas can transform everyday environments into immersive galleries, inviting spontaneous interaction from a diverse audience. This approach democratizes art access and integrates creativity into the fabric of daily life, making art an unavoidable part of the urban experience.

Commercial Venues

Commercial venues like cafes, restaurants, and retail spaces have also emerged as vital platforms for artists. These settings provide a unique backdrop for art, allowing it to be consumed alongside daily activities. Art displayed in these environments enjoys extended exposure, reaching audiences who might not actively seek out art. For artists, this means an opportunity to captivate and connect with viewers in a relaxed and familiar setting, potentially leading to sales and commissions directly from the wall.

Image courtesy of Pavel Danilyuk for Pexels

Educational Settings

Educational settings such as schools, libraries, and universities represent another category of non-traditional art spaces. These institutions are increasingly recognizing the value of integrating art into educational environments. Exhibiting in these spaces can stimulate intellectual curiosity among students and faculty, fostering a culture of critical thinking and aesthetic appreciation. Artists have the chance to inspire and influence the next generation, making their mark on young minds and future creators.

Virtual Galleries

Virtual galleries and digital exhibitions have surged in popularity, especially in the wake of global shifts toward online engagement. Websites, social media platforms, and dedicated digital galleries offer artists unparalleled reach, allowing them to showcase their work to a global audience without geographical constraints. This digital frontier opens up new possibilities for interaction, sales, and audience engagement, making it an essential consideration for contemporary artists.

Tips for Artists Entering Non-Traditional Spaces

Selecting the right space for your work involves careful consideration of the audience, the venue’s aesthetic, and how your art complements the environment. Research and visit potential spaces to gauge their suitability. An alignment between the art’s theme and the space’s ambiance can significantly enhance the viewer’s experience, creating a more memorable and impactful presentation.

Engaging with the community and venue owners is important for a successful exhibition in non-traditional spaces. Artists should approach these partnerships openly and flexibly, ready to collaborate and adapt their work to the venue’s requirements. Building relationships with venue owners can lead to more opportunities and a supportive network. Community engagement, through workshops or talks, can further cement your presence and impact.

Image courtesy of Brett Sayles for Pexels

Marketing and promotion strategies must be tailored to non-traditional settings’ unique characteristics. Utilize social media, local press, and community networks to generate buzz about your exhibition. Creating events or experiences around your art can attract more visitors and create a sense of occasion. Leveraging the unique aspects of the venue, such as a popular café’s customer base or a school’s academic community, can amplify your reach and engagement.

Legal considerations and logistics are important when displaying art in non-traditional spaces. Artists should ensure agreements with venue owners are clear and in writing, covering aspects such as duration, sales, liability, and insurance. Understanding the logistical challenges, from installation to maintenance and eventual removal of the artwork, will help in planning a smooth and successful exhibition. This preparation ensures that the focus remains on the art and its impact rather than unforeseen complications.

Success Stories

The narrative of artists who have ventured into non-traditional spaces brings to life the ethos of seeing the art in everything. By stepping outside conventional galleries, these individuals have not only showcased their work to wider, more varied audiences but have also injected fresh perspectives into their creations. Such spaces have acted as catalysts, enabling artists to explore and experiment with new forms and themes, often leading to significant career breakthroughs. The success of these artists illustrates the profound effect that an unconventional approach to displaying art can have, fostering growth, innovation, and a deeper connection with audiences across different walks of life.

Final Words

Exploring non-traditional art spaces opens a realm of possibilities for artists eager to innovate and reach beyond the confines of conventional galleries. These spaces offer fresh avenues for exhibition and foster a deeper connection with diverse audiences, enriching the art experience for both creators and viewers. As artists continue to navigate and embrace these unconventional platforms, they unlock new potentials for creativity and engagement. Thus, the encouragement to explore and innovate within non-traditional spaces remains a vital catalyst for artistic growth and cultural enrichment.

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Author’s Bio

David Wilson is a seasoned blog writer and moving expert with a keen interest in the arts. Currently contributing to Good Neighbors Moving Company Los Angeles, he combines his expertise in moving with a passion for helping artists and individuals navigate the complexities of showcasing and transporting art. Focusing on innovation and strategic thinking, he offers insights into making art accessible and visible in traditional and non-traditional spaces.

by Hallie Edlund

In the ever-changing landscape of Instagram, strategies that once promised growth may no longer be as effective. Here are the latest tips to keep your account relevant and growing.

For visual artists, understanding the evolving dynamics of the platform is crucial for navigating the path to success. In this article, let’s explore key insights and debunk outdated tips to help you thrive on Instagram in 2024.

Quality over Quantity in Posting

Gone are the days when the mantra “post daily for growth” held true. The expectation to churn out content every day, both on your feed and stories, is no longer a steadfast rule. The shift in audience expectations towards higher-quality content has reshaped the Instagram landscape.

While daily posting may still benefit those with the capacity to create top-notch content consistently, it’s no longer a guarantee for success. Visual artists can find a balance by focusing on quality over quantity, allowing for more thoughtful and impactful creations.

The Evolution of Hashtags

Hashtags, once considered essential for visibility, have undergone a transformation in their significance. In the past, hashtags were the primary means for audiences to discover specific content. However, with Instagram’s evolving algorithms, the reliance on hashtags has diminished.

Today, Instagram’s search functionality has become more robust, rendering hashtags less pivotal. While some users may still see marginal results from using hashtags, they are no longer a necessity for growth. If you choose to use hashtags, opt for a handful that is highly relevant to your content, ensuring they align with your artistic identity and resonate with your audience.

Crafting Engaging Captions

The era of extensive captions dominating post performance is a thing of the past. With diverse content formats such as photos, carousels, and reels, the importance of lengthy captions has diminished. However, this does not mean captions should be neglected.

Even if you opt for shorter captions, ensure they contain meaningful content and keywords related to your artwork. A well-crafted three sentence post that complements your visual content can enhance engagement. Pay attention to the language used, as it plays a role in helping Instagram understand your content better and know who to show it to.

Reassessing Reels Frequency

The advice to laser focus on Instagram Reels has undergone a shift. While it was once a potent strategy for growth, the dynamics have changed. Instagram’s algorithm has adapted to balance the exposure of different content formats and no longer favors reels over other content.

Reels are still valuable for reaching new audiences and diversifying your posts, but they are no longer the sole pathway to growth as they were a few years ago. Visual artists should feel liberated from the pressure to create reels daily. Balancing your content mix with photos and carousels can be equally effective in achieving your growth objectives.

Understanding the nuances of Instagram’s ever-evolving landscape is vital for visual artists seeking growth. Embrace a strategy that aligns with the quality of your content, judicious use of hashtags, engaging captions, and a balanced mix of content formats. By staying attuned to the platform’s changes, artists can thrive and connect with their audience in meaningful ways in 2024 and beyond.

Looking for more tips on how to create and build a vibrant Instagram presence? Check out Artsy Shark’s newest e-course, The Artist’s Guide to Everything Instagram.  

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Artist Elisabeth Fitzhugh creates colorful and detailed collages using regional and cultural imagery. View more of her portfolio by visiting her website.

I have spent much of my artist life in three dimensions, altering and working in clay and mixed-media assemblage, but always on my palette was collage. Some years ago, I downsized to an apartment with limited space. This change in my physical environment led to digital collage as my main medium.

“Railroad Avenue, Orange, Virginia” collage, 8″ x 10″

Retro and vintage images draw my attention. I like to populate my pieces with outliers, the they and them; unique personas. I amplify and alter my images, and like to include incongruous elements and juxtapositions.

“Crossroads Guardian” collage, 8″ x 10″

It seems that I have two styles of working; the inner driven and the inspired by imagery. Naturally, these styles often overlap. The inner driven pieces are those I use to express or understand deeper things in my life, such as a series I did on my breast cancer, from mammogram to surgery and then radiation.

“Breast Cancer Series 3 Not Radioactive-Radiation Therapy” collage, 8″ x 10″

The image driven collages evolve from just that—an image that catches my eye, or my own photographs of places. I have a series I call Anonymous Content collages. They are drawn from an attraction to a single image with the collage emerging from that with no thematic anchor, per se.

“Anonymous Content 2″ collage, 8” x 10

I am drawn to certain types of images as the incongruous element and use them often—shoes, food, such as pie or donuts, cups and saucers. These images just speak to me visually. I enjoy how, although they are not part of the theme of the collage, they coalesce into a overall image that resonates with me.

“Dollar General Route 24, Cedar Key Florida” collage, 8″ x 10″

On the other hand, I often use images that are symbolic to me, like totemic crows. Or, individuals whose lives and work speak me, like Frida Kahlo, Patti Smith or Imogen Cunningham. I also use avatars I created to represent myself in collages, noted by their curly hair.

“Patti Smith in Blue” collage, 8″ x 10″

Our downsizing allowed more travel. I began what I refer to as my Regional Collages. I like to use my photos of the architecture of an area as the anchor of the collage, from the stately Victorians of Savannah to the funky shops of West Asheville, North Carolina to every day places, like the Dollar General in Cedar Key, Florida. After our daily walkabouts through town, I’d spend many an afternoon seeing where my photos take me. I feel a certain creative element is added by doing collage where I am staying.

“Kaiya of Waynesboro” collage, 8″ x 10″

The Shenandoah Valley, where I live, is always inspiring me. The lovely homes to the local car wash and ice cream stand and are also well represented in my Regional Collages. Although I work mostly by myself, I have a wonderful artsy best buddy, Deb Booth. I am also a member of the Shenandoah Valley Art Center, the vibrant heart of the art community in Waynesboro, Virginia.

“Cuban Window Cafe, Savannah” collage, 8″ x 10″

I post my work on Facebook and Instagram, but get the most satisfaction through my blog, where I enjoy sharing the elements that inform my work.

Elisabeth Fitzhugh invites you to follow on Facebook, Instagram and her blog.

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Enjoy the mesmerizing portfolio of artist Dana Weekley, whose work connects art and consciousness. Find more by visiting her website.

If you like to stare at the night sky or pictures from the Webb telescope, you’re probably fascinated, as I am, by stars, galaxies, planets, moons, black holes and dark matter. I think we love space because we somehow know it’s also what’s inside us. Which means, obviously, we’re so much more than flesh and bone. We’re energy in form, vast, unknowable, eternal and free.

“Shine” ink digital, 24″ x 24″

Earthly life, meanwhile, looks and feels solid. But it’s different when you peer into form to see what’s inside it. Humans, for instance, are made of colorful energy patterns, overlapping and connected to each other and all life.

“Scaffolding” ink digital, 28″ x 28″

When you look beyond faces, personas disappear, revealing Souls that shine like stars. And when you sense this aliveness in all forms and feel the connections, the world becomes a friendlier place. Oneness becomes more than a theory.

“Experience” ink digital, 24″ x 32″

Creating these images shifts my perspective in just this way. I go as deeply as possible into myself to a state of inner peace where there is no resistance, no criticism, and no judgment.

“Rose” ink digital, 30″ x 30″

From there, I translate what I’m sensing into geometric patterns. The lines, colors, connections, and symmetry resonate deeply, expanding my consciousness. The practice, then, becomes a way of life.

“Tiferet” ink digital, 12″ x 12″

The finished pieces carry this energy to anyone who wants it. I can’t explain how that works, but it does. They have a way of slowing down your thoughts and your breathing, tried and true methods for expanding consciousness.

“333” ink digital, 12″ x 12″

As we live through these changing and challenging times, I feel it’s more important than ever for each of us to awaken Spiritually and to live consciously as the brilliant stars that we are.

“Solstice” ink digital, 14″ x 14″

I create in response to my intention to do just that, and I share my work to ignite the same passion in others.

Dana Weekley invites you to follow on Facebook and Instagram. 

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John Chehak presents a delightfully colorful collection of contemporary paintings created in his distinctive signature style. Find more by visiting his website.

I was born in 1950 in Cedar Rapids, Iowa. Right in the middle of the USA. Lots of landscapes. Rolling hills, big rivers, rural countryside, and farmland filled with corn.

“Remember St. Louis” acrylic, 23″ X 30″

As a child, I was always interested in drawing, painting, and creating. However, I viewed art as a fun hobby but not as a future profession. In 1973 I received my college degree in Pharmacy. For many years I worked as a pharmacist and in other healthcare-related jobs.

“On My Way Home” acrylic, 22″ X 29″

It wasn’t until 1998 that I felt an urgency to pick up a brush and create. Why? I don’t know.  I’m a self-taught artist and after experimenting with various paints, I chose water soluble acrylic paint on canvas and archival paper. Twenty-five years later, I’m still using the same tools.

“Nine on a Wire” acrylic,17″ X 33″

I like how fast acrylic dries, and because of that it can be layered on quickly and often. All my work gets a layer or two of Acrylic Clearcoat to bring out the vivid colors and protect the painting from sunlight and external dirt.

“After the Fire” acrylic, 18″ X 24″

Alas, in the beginning my inventory increased rapidly, and I needed to find an outlet to see if anyone would buy my paintings. I applied to many summer art fairs within 250 miles of my home. That included Chicago and its suburbs, the St. Louis area, Minneapolis to the north, and west to Omaha.

“Marshmallow Hallucination” acrylic, 23″ X 23″

To date my wife and I have traveled to more than 75 shows in more than 20 cities and have sold 600 original paintings. In short, traveling to shows, even a short distance and “do it right” can be expensive. All my work on paper is matted and framed, show entry fees range from $450 to $600 each show, you need a good quality tent and side walls on which you hang your work, and a carpet or flooring of some sort to really give a good first impression.

“Urban Crowding” acrylic, 23″ X 23″

Do you rent or buy a cargo van for travel? Food and lodging expenses range from sleeping in your van to four-star hotels. And finally, the actual work: rent the van, pack the van, drive van to remote location within 4-5 hours, unpack the van, setup tent, hang artwork, go to the hotel. You must engage the public constantly through the sales days, repeat, take down tent, pack artwork, drive van home, unpack. Get ready for the next show.

“Through the Country” acrylic, 23″ X 23″

I started all this when I was about 60 years old, and I have been doing it for 14 years. As I get older, I can’t help but slow down. Now I just do about three shows a summer. Yet, I literally can’t stop painting and I have begun to research other outlets for selling my work. I am very fortunate and thankful for friends I have met and the patrons that support me.

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My guest for this episode of The Art Biz is Jahje Ives, an artist and a Human Design coach and guide. While I have worked with Human Design guides in the past, Jahje is the first artist I have met in this realm.

I wanted her insights as to how knowing your Human Design could help with your art and art business.

To get the most out of it, you have to have a little woo in you. As Jahje says, you might need to put on your tinfoil hat.

She’s going to tell you about the 5 different types of people according to Human Design (and Quantum Human Design):

• Manifestor (Initiator)
• Projector (Orchestrator)
• Manifesting Generator (Time Bender)
• Generator (Alchemist)
• Reflector (Calibrator)

We discuss what each would mean for an artist. Human Design has taught me that there are no two people alike. We are each unique in our gifts and our approach to life and business.

What works for one artist might not be just a bad idea for another—it could also be a huge waste of time. Or even damaging.

Since learning Human Design, I’ve changed much of my approach to teaching and coaching, which is reflected in my Essentials art-marketing program and community conversations. I’ve started tuning in to the differences among artists—differences that they were born with—so that I can meet them where they will be able to thrive.

This episode probably isn’t for everyone, but if you’re open to the journey, please continue to listen. Maybe something will ring true.

by Carolyn Edlund

Artists Pamela Goldberg and Sabin Cannon run a studio called Art by Double Exposure. We recently had a conversation on how collaboration enhances their art and their lives.

AS: How did you meet as artists and why did you decide to create together?

Sabin: Some years after graduating Savannah Collage of Art and Design, I was spending my time creating and selling my artwork on River Street in Savannah, Georgia.

Pamela: After some big life events, I decided I wanted warmer weather than New England offered. I relocated to Savannah, arriving on New Years Eve in 2010. I spent much of my time walking around exploring the city.

Sabin: During the winter, I wasn’t down on River Street as much and was living on the South Side. In the spring, I wanted to spend more time on River Street selling my artwork, so I moved to the historical downtown.

Pamela: River Street was one of my favorite places to go. One day I came across Sabin and was captivated by his amazing artwork. I also lived downtown, and we would often cross paths on our walks. Eventually we engaged in conversation. A friendship ensued.

Sabin: I was intrigued to learn that Pamela was an artist and exhibited her art in a local coop gallery. We also discovered we both have a passion for music and color.

Pamela: Yes, especially jazz and blues music. And color, vibrant color.

“Providence River View 1″ watercolors on Aquabord, 16″ x 20” by Pamela Goldberg

Sabin: Creating together really was an evolution. Our first piece was a tribute for local jazz musician Ben Tucker. I had known his wife Dian. She would take the ferry across the river to hear her husband play at the Hotel Sunday Jazz Brunch. Often, she would stop and talk with me about my artwork.

Pamela: I knew Ben Tucker through a friend. I would often go see him play at the Sunday Jazz Brunch. Unfortunately, Ben died in a heartbreaking accident. There was a “New Orleans” style processional to the church. We decided to stay in my studio and collaborate on a tribute piece.

Sabin: It was experimental, and to our surprise our different mediums seemed perfect together. I would draw the image with graphite and pass it back to Pamela.

Pamela: Then, I would paint with watercolors and pass it back to Sabin.

Sabin: I would render it out more with colored pencils.

Pamela: That was the beginning of our music-themed collaborations. Meshing our two very different styles and medium together, an alchemy emerged.

Sabin: We found people were drawn to the art and the story.

“Sarah Vaughan” mixed media on wood, 16″ x 20″ by Sabin Cannon

AS: How much of your work is individual and how much is collaboration?

Sabin: Probably about 10% is collaboration. The rest is independent artwork.

AS: Do you share studio space?

Pamela: We recently relocated to Providence, Rhode Island into a loft which we have designed to be live/workspace. Our studios are separate, but in the same space.

AS:  When you promote and sell your artwork, is it an effort you undertake separately or together?

Pamela: We generally market our work together since we usually exhibit and sell together.

Sabin: We also promote and do commission work independently. It’s a good mix.

“Hope” watercolors on Aquabord, 16″ x 20″ by Pamela Goldberg

AS: What challenges have you encountered when creating together?

Sabin: Sometimes Pamela likes to mix metallic pigment in her watercolors. I found it difficult for my colored pencils to glide well over the grittier painted surface.

Pamela: Initially Sabin’s drawing was a little too heavy, and the graphite muddied the watercolor paint. Of course, we both modified our technique for the sake of art.

“Lady in Blue” mixed media on Aquabord, 12″ x 12″, collaboration by Sabin Cannon & Pamela Goldberg

AS: What makes it work for you to collaborate on art together?

Pamela: Our innate understanding and masterful use of color is a big reason we can collaborate on artwork together.

Sabin: It also works because our mediums are different, but complementary. I like dry medium and Pamela likes wet medium.

Pamela: Our life and work as artists have become so intertwined, it is a collaboration.

Sabin: All artists are different. It works for us because we feel a connection at a soul level as artists.

Pamela: It also works because our temperaments are similar. We can quietly create for hours without needing to talk, each in our own world.

Sabin: We give each other the space required. We have a mutual respect and understanding of the process an artist goes through in creating.

Pamela: Then we come up for air and share about art and life.

Artists Pamela Goldberg and Sabin Cannon

AS: What do you feel are the greatest benefits of being artistic collaborators?

Sabin: It’s a Tango. The art markets are a lot of work, and it helps having a partner to share the load and have each other’s back. We each do our part, so we aren’t stepping on each other’s toes.

Pamela: Over time we have created a nice flow. Although our work is quite different, it works together.

Sabin: We have found being an artist couple is interesting to the public. Often the same customer will buy from both of us.

Pamela: Being art partners created an equilibrium that makes it all a little bit easier, the ebb and flow balances.

Sabin: We are always reminding each other, “Don’t rush your artwork, let it breathe and come back to it later. Let it evolve.”

Pamela: Our partnership seems to have an inherent spark that inspires others. Art unites.

Sabin: Art is universal.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

Fairgrounds St. Pete is peeling back the curtain on its newest permanent exhibit. Created by Tampa native Devon Brady and dubbed “The Bait Ball,” an immersive environment drawing inspiration from schools of fish and human mosh pits opened to the public in January. The new exhibit gives viewers a whimsical underwater experience and wholly aligns with the museum’s eclectic celebration of all things Florida.

The installation will occupy a never-before-seen space of the museum and place viewers inside a larger-than-life fishtrap passageway among a fantastical undersea experience celebrating the power and beauty of one of the lynchpins of Florida’s aquatic ecosystem, the lowly mullet. Taking the form of an 8-foot tall zoetrope, an early form of animation technology, it features a repeating fish sequence that allows guests to get a fish-eye view of a bait ball—a phenomenon in which small fish swarm together forming a spherical shape—and transported to a new, underwater reality. Brady’s multimedia masterpiece blends 3D printing, light and motion, soundscapes and more to give the illusion of fish swimming alongside guests.

Fairgrounds St. Pete is no stranger to local art, boasting the work of more than 70 artists, most of them local, in its 15,000 square-foot space. “The Bait Ball,” though new to the iconic destination, has been showcased once before in Tampa Bay at Gasparilla Arts Festival in 2022. Now, the artwork has found a permanent home in one of the region’s most unique experiences.

Courtesy Fairgrounds St. Pete

“The introduction of ‘The Bait Ball’ to Fairgrounds St. Pete aligns with not only our uniquely Florida narrative, but our commitment to championing local artists and giving them a platform to share their work —especially installations as extraordinary as this,” said Liz Dimmitt, CEO and Co-Founder of Fairgrounds St. Pete. “Our team is beyond fortunate to have collaborated with Devon to give this work what we feel is its perfect home, and we can’t wait for our community and visitors to become as inspired by this experience as we are.”

The museum’s team takes a hands-on approach to collaborating with artists to incorporate cutting-edge, immersive technology that inspires and offers new ways to experience the arts, making it the natural place for “The Bait Ball” to land.

Courtesy Fairgrounds St. Pete

“This project presented me—and hopefully fellow creatives—with an opportunity to push the boundaries of STEAM by bringing in a mathematical practice,” said artist Devon Brady. “I could not be more thrilled to have ‘The Bait Ball’ take on its own exhibit in Fairgrounds St. Pete, giving the work a chance to reach its full potential and captivate guests in a whole new way.”

Courtesy Fairgrounds St. Pete

Since Fairgrounds St. Pete opened in 2021, the museum has experienced continuous growth, having added numerous installations including the “Electric Sky Lounge” and its latest showstopper, “Shrimpfinity by Milagros Collective,” with more on the horizon. The team plans to continue enhancing the space through immersive add-ons, seasonal activations and more while maintaining the exhibits that visitors know and love.

When Devon Brady isn’t running calls, the Florida fire captain can be found decompressing by tinkering with the latest projects in his art studio. The musician, sculptor—and yes, firefighter—finds creating art as rewarding as providing lifesaving care to those in need.

Now, Devon and the museum hope to introduce other heroes to the power of creativity as an outlet for boosting mental health, reducing stress, and inspiring joy. “The Bait Ball” is a permanent installation at Fairgrounds St. Pete, and guests do not need to purchase an additional ticket to experience the new exhibit.

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About Fairgrounds St. Pete

Fairgrounds St. Pete is an art and technology museum created in collaboration with more than 70 artists, each with their own unique style and compelling stories. Designed for all ages and interests, the destination invites everyone to explore the intersection of creativity, technology, and culture in a captivating immersive world of playful exhibits celebrating original Florida stories. Visitors can gamify their experience by searching for clues to mysterious narratives, go on immersive scavenger hunts, or simply enjoy the exciting vistas of an artist made universe. This woman and veteran-owned local startup debuted in 2021 and continues to dream big and strives to change the world through creative shared experiences. Located at 2606 Fairfield Ave S. in the heart of St. Pete’s Warehouse Arts district, the museum is a ticketed, choose-your-own-experience attraction. For more information or to purchase tickets and merchandise, please visit www.fairgrounds.art and connect with us on Instagram, Facebook or TikTok.

Through May 31, 2024, all firefighters and EMTs can receive BOGO general admission using promo code FFBOGO24 when booking online or with valid ID at the ticketing desk. General admission tickets are available for purchase here.

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About Devon Brady

Devon Brady is a Tampa native and graduate of the University of South Florida’s School of Art and Art History. Beginning his creative life as a drummer in Tampa’s 1980s punk scene, Devon is a skilled sculptor, designer, and fabricator, having built everything from houses to race cars and most things in between. In 2003, Devon became a Florida state-certified firefighter and paramedic. He is now a Company Fire Captain with Hillsborough County Fire Rescue where he has been for the last twenty years. As a founding member of Experimental Skeleton, LiveWork Studios and Crab Devil, Devon has remained engaged in creative production for most of his working life. Devon’s design work can be seen in restaurants, bars and breweries throughout the Tampa Bay area, and his permanent sculptural installations can be seen at The Music Box Village in New Orleans in addition to Fairgrounds St. Pete. Having worn the various hats of artist, musician, paramedic and firefighter, Devon is now focusing more on his own creative endeavors – producing a written chronicle of his fire service career while continuing to work on large-scale sculptural environments and functional design work. For more information on Devon Brady, please visit his website: https://www.devonbrady.com/

Painter Rachel Brask reimagines rainy days into colorful experiences through her abstract art. See more of her vibrant work by visiting her website.

Looking through windows of pouring rain outside, observing the distortions of landscape beyond caused by the running texture of raindrops, my artwork takes new spins on rainy days. These oil paintings fuse semi-recognizable landscape, abstraction, and expressionist celebrations of texture, color, and material.

“Rainy Moment 08-Forested Mountain Rain” oil on canvas, 30″ x 40″

I’m inspired by all things rain—smell, splashing, saturated colors, and rooftop rain tapping. For me, rain has always been calming. I want to evoke this contemplative sensation for others through my work.

“Rainy Moment 20-Rainy Autumn Foliaged Mountain Sunset” oil on canvas, 30″ x 40″

When I first painted these compositions, it was my personal mission to showcase the brighter, joyful side of rainy days. I chose this rather than stereotypical gray gloom. Through saturated, bright hues, and palettes I evoke seasons and sunsets. If someone thought differently of rainy days, I had done my job.

“Early Lights In Rain” oil on canvas, 30″ x 40″

During the pandemic, so many things about the increasingly chaotic world were overwhelmingly beyond our control. I shifted my rain intention to create space for people to breathe. This allows them to find a quiet moment of beauty, and imagine the rain washing clarity over their thoughts.

“Coastal Horizons Rain Reveal” oil on canvas,16″ x 20″

I love working with oil paint because of the long, slow drying time. My process is about tension between releasing control while trying to regain it. I create a tedious impasto pointillism painting. Then I effectively “destroy” that through my brush, stand oil, pressure and gravity. I smear the painting evenly from top to bottom, creating the viscous drips that move down the canvas as raindrops. These are paired with modifying drops every few hours over several days, resulting in a striking transformation from its original form.

“Ocean Rainstorm Rolling In” oil on canvas, 16″ x 20″

After experiencing the loss of my father and my father-in-law within a few months of each other, I didn’t paint for a while during this double mourning. When I returned to the canvas, my paintbrush felt like lead. My arms felt like bricks. I didn’t know what to paint again, but I knew it was necessary to my grief to get the brush moving again. Painting was necessary for healing.

“Sky Falling on Rainy Road Ahead” oil on canvas, 30″ x 40″

I worked on a personal, vulnerable series of paintings expressing memories of skies associated with places in my fathers’ journeys—reclaiming those milestones and memories, with rain as the medium of expression of to seek hope and beauty still in the darkest, stormiest times. The collection was called The Skies Cried as my Fathers Died.

“Pluvia Nocturna 01″ oil on canvas, 30″ x 40”

After this series, I explored the physically darker and moodier tones of dusk and night. It resulting in a body of work exploring the piercing blues of dusk reflected off raindrops and the surfaces of water. This collection is called Pluvia Nocturnae: Rain Journeys to Twilight.

“Rains of Last Light” oil on canvas, 30″ x 40″

Lately, the focus has shifted more to the internal and physical process, the need to constantly let go of my original expectations of the painting — what the composition was or could’ve been. Instead I find peace with new dimensions revealed in the shifting liquids and hues of new and final paintings. It’s hard letting go of control. But when the storms of life come through, we can be pleasantly surprised at what beauty can emerge when we do.

Rachel Brask invites you to follow on Instagram and Facebook.

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Painter Bettina Madini shares her artist story and a stunning collection of ethereal landscapes. See more of her work by visiting her website.

I was born in Berlin, during the time of the Cold War, into a very protective family. I was shy and didn’t trust the world. Since I loved music and dancing, my parents sent me to a high school with a strong focus on foreign languages and the arts.

“Saying Summer” acrylic on canvas, 12″ x 12″

I became a teen actress. This forced me out of my protective shell. As my parents viewed the artistic path as too dangerous for me, they steered me into the banking world. After completing my apprenticeship, I spent quite some time in the financial world in Germany and later in Luxembourg.

“Eversong” acrylic on canvas, 30″ x 31″

During all these years, my yearning for artistic creation had grown into a burning fire. With the luxury of a comfortable lifestyle, it seemed nearly impossible to take the risk. But I needed change. I started going to art school in Luxembourg in the evenings and on weekends, and my being began to breathe in this nurturing energy that I required.

“Pink Skies” acrylic on canvas, 30″ x 30″

With my first successful exhibitions in Luxembourg, I began to build my foundation. In 2003, an opportunity presented itself to me. I let go of that chapter of my life and went to New York City with a few suitcases.

“Autumn Light” acrylic on canvas, 30″ x 30″

I went to the National Academy of Art and Design in New York and studied painting and drawing with fabulous artists such as Susan Shatter, Sharon Sprung, Wolf Kahn and Henry Finkelstein. A year into this new life, it was clear to me that there was no turning back. I had found my new timeline! I sailed with the challenges and inspirations, in the midst of a total remake of my being in a different continent, in a new city.

“Jupiter Rising” acrylic on canvas, 64″ x 36″

We never know exactly when the window is going to be open for us to spread our wings and fly. I had to learn one of my hardest lessons: patience. Now I can see this, but I did not see it then. I had to be present each moment to recognize the opening, take the chance and trust my gut instinct. No one can tell us what’s right and good for us. We have to trust ourselves and know that, even if things don’t turn out the way we thought they would, we can always choose again.

“Morning Star Rising” acrylic on canvas, 40″ x 64″

So, many more turns and choices later, I moved to the Midwest, where I’m now living and working as an artist with my partner in our beautiful country home. We are growing our garden and planting trees. I’m painting with oil, acrylic and watercolor, and I’m a silk painter. I grew my artist studio into a small art business, and we are traveling the country doing events and art fairs. In 2018, I launched my own line of wearable art labeled Magical Bodies.

Artist Bettina Madini with her paintings

To this day, I keep my strong connection with New York City, which has been such a catalyst for me. I’m studying with Ronnie Landfield at the Art Student’s League in New York. And the journey continues.

Bettina Madini invites you to follow on Instagram, Facebook and to visit her other website.

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I’m always interested in your thoughts on this topic and I agree with most everything you say here. When I started selling my work about 10 years ago I tried Robert Genn’s system of uniform pricing by size and annual increases. While it made perfect sense, it called for price leaps for my smaller paintings I couldn’t justify, particularly in the recession economy. So I settled on a more relaxed, intuitive version of his system that has yielded extraordinary results for me.

I do review my pricing annually and, based on the previous year’s sales, raise the price of my best-selling sizes by rounding up. For example, I sell a lot of 30 x 30s. In 2000, the price was $2000; today it’s $2500. The pricing on some sizes I simply leave alone until it seems time for them to go up. I publish an annual price list that I hand to serious lookers in my home-based Studio & Gallery.

I’ve observed that buyers seem to go art shopping with an upper limit in mind and I try to create work that will allow them to purchase at a level they’re comfortable with. For example, when the price of my 30 x 30s increased to $2500, I started offering a 24 x 24 at $2000. Now, both of these sizes sell well.

Because I’ve wanted to paint larger, I’ve created pricier paintings too. Now, my 30 x 40s ($3200) and 36 x 48s ($4000) sell well. I also have created several paintings that range between $6,000 and $9500. I’ve not yet sold one of these but there has been meaningful interest. Not one of the interested parties has mentioned price as an obstacle.

I’ve made my peace with the fact that a painting is a luxury item. Those with disposable income for art will frequently spend whatever it takes if they really want the piece. I’ve become comfortable with the notion that a lot of people who like my work don’t believe they can afford to own it. I’ve also noticed that some people I assume (based on my own limited beliefs) can’t afford to purchase art actually can and will if I don’t apologize for my prices. I also have a policy that states my willingness to make it possible (thru a variety of means) for anyone who loves a painting to own it. Occasionally someone who believes they can’t afford a painting will work with me to achieve ownership in a way we both win.

I see pricing as a great exercise in expanding my limited thinking about what’s possible. Just as I once stretched to sell a painting for $1000, when I (inevitably) sell one or two of those $9500 paintings, I will no doubt cross the Great Divide to 5 figures and, one day, beyond that. Meanwhile, time to get some painting done!

AR/T HOUSE is a culmination of an endless curiosity that led to my deep appreciation for all the backstories in the world around us. Real-time stories about places, people, objects, artwork, architecture, brands, products… all the things in the physical world require a new canvas for storytelling. That is the promise of augmented reality (AR): to unlock otherwise invisible digital layers in our surroundings, to give it more meaning, context, and personal connection.

In its best form, AR empowers us to see the art in everything.

The Curation of Curiosity

I grew up in a family that placed a significant emphasis on the appreciation of arts and culture. Almost every family vacation included an exploration of the creative community local to each destination. My childhood cultivated a curiosity in creativity.

This enduring sense of wonder extended to almost everything during my time studying sociology at UCLA and law at Harvard. I quickly learned that to deeply understand what makes contemporary societies tick, at both the macro and micro levels, we need to peel back the layers from their surface, peering into the often complex and dynamic influences. In other words, it requires a high level of critical curiosity.

Once pulled back, these layers reveal a myriad of experiences. They do share one thing in common: unearthed stories. Stories about the people, places, ideas, traditions that comprise them.

Curiosity led me to crave these new stories, deep-seated in the world around us. This also led to a career focusing on technologies that amplified stories online.

Beneath the Brushstrokes

Now well into a career in tech, my weekends were spent exploring another passion of mine, street art. Bike rides throughout Downtown LA with my friend and co-founder, Mikey Meshchures led to discovering many new murals in progress by prominent street artists. While the larger-than-life visuals pulled us in, the personal biographies of the artists and their artworks kept our attention.

But that wasn’t enough. We wanted the world to also know these deep stories beneath the brushstrokes of the mesmerizing murals. To ascribe the street art with more meaning and context. To amplify the experiences and memories of many future passersby.

In Visibility

While exploring the physically vast medium of public art, I was also diving deep into the digitally expansive canvas that is augmented reality. My intersecting interests of the physical and digital collided, and in so doing, activated a lightbulb moment: augmented reality (AR) could be a significant future canvas for storytelling. Imagine being able to point your phone at a mural and bring it to life, extending its story while also revealing the origin backstory about the work and the artist. Imagine doing the same with artworks in galleries, the architecture around cities, the prints, and paintings in your home.

But to realize these significant opportunities, we first need to overcome an equally significant obstacle — the friction that technology often presents, specifically app downloads, to experience such content. Enter AR/T HOUSE.

We built AR/T HOUSE to solve a paradox common to many tech sectors, specific to the world of augmented reality: develop a technology that enables people to unlock otherwise invisible layers of stories about the world around them, while remaining invisible itself. Build a technology that removes itself from the experience. Empower people to get lost in the stories, not in the technologies.

AR/T HOUSE was born to empower creatives, brands, and institutions to tell immersive stories underlying their creations, products and places with invisible and intuitive AR technology. Unlock the invisible to give the visible world more meaning, context, and connection.

Photo courtesy of AR/T HOUSE

The Making of AR/T HOUSE

The name of our company has multiple points of significance, including the importance of art in our origin story. Serendipitously, the same year we founded our company, in 2017, researchers published a study about the relatively short viewing time (28.6 seconds) per work of art by the contemporary museum-goer. Why? Because that’s the amount of time it takes to read the label and to take a photo of the art. Ironically, many museum visitors are producing photographic secondary “memories” of their visits without forming primary memories with the art itself.

This specific example underscores a larger phenomenon. While many technologies have at once intentionally connected us like never before, they have also unintentionally disconnected us from deep experiences with the world around us. People are currently craving deeper connections with the people, places, institutions, and brands that they interact with every day. I truly believe that this is an equal and opposite reaction to the alienation and disconnection that’s been building up within themselves and within society.

And therein lies the massive obstacles turned opportunities that companies like AR/T HOUSE are set out to solve. What if technology could reconnect, rather than disconnect us with the world around us? What if it could easily unlock all the invisible stories beneath the surface to give the world around us more meaning, context, connection? What if it could bring life to life?

Let’s take the museum experience study as an example. 28.6 seconds. That’s just an interaction with the camera and the artwork.

Now let’s consider the interaction with an augmented camera that reveals a biographical backstory of the artwork, the artist, and the process of production. An interaction that immerses and encourages viewers to actively lean in rather than passively walk away; even more so than they would without any technology. That becomes a lasting, memorable viewer interaction. Now imagine this applied to all the art, architecture, city blocks, stores, products, landmarks around us. They remain as is, with these digital backstories invisible. At any point, we can unlock them, bringing their stories to life.

Miami AR/T Week

Miami Art Week 2023 was a full circle moment for AR/T HOUSE. Initially inspired to amplify the stories of public art on bike rides throughout the Downtown Los Angeles Arts District, we were given the opportunity to become the AR partner of Miami’s Wynwood Walls, a global center for public art by some of the most prominent muralists in the world.

We kicked off our partnership by augmenting four murals by Shepard Fairey, Buff Monster, Sandra Chevrier, and Millo. Each mural now has multiple digital layers precisely mapped to their respective walls. By simply scanning a QR code placard, visitors can unlock multiple layers per artwork, including motion art that brings the paint to life and timelapses that showcase the mural production process.

Especially significant, the prominent and permanent Shepard Fairey mural at the entrance now amplifies the artist’s homage to Tony Goldman. The late real estate developer and city place-maker founded Goldman Global Properties, which owns and operates Wynwood Walls. His vision to beautify the then tattered area with murals culminated in the Wynwood Arts District and Wynwood Walls as the cultural center.

In Shepard Fairey’s now augmented mural, Goldman’s retro glasses float off the wall and in front of the viewer. Historical footage of Wynwood’s transformation, with Goldman’s voiceover, plays inside the lenses. Our computer vision technology effectively empowers the viewer to see Goldman’s vision, figuratively and literally.

You can experience this AR/T work remotely by scanning the AR code below, then following the prompts to point your viewfinder at the mural photograph.

Photo Credit: AR/T HOUSE

The Art in Everything

The Shepard Fairey augmented mural is a microcosm of AR/T HOUSE’s work across many industries and activations. The faces depicted in his art are not random or disconnected, but rather intentionally connected to a larger theme about positively impacting the world. It’s a reflection of Tony Goldman’s vision to see the beauty down every sidewalk, on every wall. It’s an amplification of the story within the history of Wynwood, Miami. It’s an indication of the potential for beauty underlying our surroundings.

This is a shared vision we have at AR/T HOUSE. The purpose of our technology is to empower our brand and creative partners, along with their audiences, to give the visible world more context and connection by unlocking digital, otherwise invisible layers of meaning; to see the art in everything.

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Justin Fredericks Bio:

Justin Fredericks is the Co-Founder and CEO of AR/T HOUSE, an industry-leading augmented reality publishing platform that frictionlessly powers branded AR experiences, all without an app. Clients include some of the world’s leading companies, such as Paramount Pictures, Compass Real Estate and WME. Justin combines learnings from 10 years in tech and 7 years in visual marketing to forecast a flourishing future for the AR industry. Also, a nerdy academic, he received a B.A. in Sociology from UCLA and a J.D. from Harvard Law School.

Are you serious about your creative business? Put your best foot forward and get taken seriously by those important prospective customers.

One of the biggest mistakes that artists make is jumping into the marketing arena before they are truly ready. The result may be an amateurish presentation and a marketing message that is unfocused.

There’s a lot of competition in the marketplace. It’s a crowded place where you must work hard to be noticed. Quite a few of your competitors are struggling to be seen and heard, and are unsure how to best market and sell what they make. Consequently, they aren’t getting the traction with sales that is necessary to grow a business.

Others have more success. This is chiefly because they have an interesting concept, a professional presentation, and a clear message. Customers want to own beautiful pieces of art and handmade work created by experts who know what they are doing. This is the impression you must give. When you commit to a high level of professionalism in your small business, you have a distinct advantage.

Trust is the basic ingredient in any business relationship. You can start building trust with customers by presenting everything about your art and your business as professionally as possible. Review our checklist to see what is in already in place in your own small business, and what steps you need to take to improve your presentation.

Creating and presenting a professional portfolio is a crucial step for visual artists looking to establish themselves in the competitive art market. A well-thought-out presentation not only showcases your artistic abilities, but also enhances your brand image. Here are some key elements to set you on the path to successful presentation:

1. A Cohesive Collection Ready to Sell

Signature Style: Ensure that your collection embodies a distinctive and recognizable style. Consistency in your artistic expression will not only strengthen your brand, but also make your work more appealing to potential buyers.

Logical Progression: Evaluate if the products in your collection lead organically from one to the next. A seamless flow enhances the overall narrative of your portfolio, making it more enticing for customers to explore and invest in multiple pieces.

2. Excellent Images

Professional Photography: Invest in high-quality, professional photography to showcase your work. Consider hiring a skilled photographer who can capture the nuances of your art effectively. Clear, well-lit images are essential for leaving a lasting impression on potential buyers and galleries.

Image Enhancement: Ensure that your images not only accurately represent your artwork but also enhance its visual appeal. Professional editing can elevate your portfolio by highlighting details, colors, and textures, making your art more captivating.

3. A Clear Understanding of Your Audience

Target Customer Profiling: Develop a deep understanding of your target audience. Consider factors such as age, preferences, and buying behavior. Tailor your marketing efforts to resonate with their interests and needs, increasing the likelihood of connecting with potential buyers.

Market Research: Stay informed about current trends and preferences within your niche. This knowledge will empower you to adapt your artistic approach and marketing strategy to align with the evolving tastes of your audience.

4. A Compelling Message

Conceptual Clarity: Clearly articulate the concept behind your collection. What sets your work apart from others? Why should someone invest in your art? Craft a compelling narrative that communicates the unique qualities, inspirations, and emotions embedded in your creations.

Value Proposition: Address the “why” behind purchasing your art. Highlight the emotional and aesthetic value your pieces bring to the buyer’s life. This is the story that will resonate with your audience and drive them to make a purchase.

5. A Recognizable Brand

Visual Consistency: Establish a consistent visual identity for your brand. Define a palette of colors, specific fonts, and logos that align with the essence of your art. Consistency across your website, promotional materials, and packaging reinforces brand recognition.

Brand Differentiation: Identify what makes your brand unique within the marketplace. Clearly communicate these differentiators in your messaging. Whether it’s a distinctive artistic approach, a commitment to sustainability, or a personal narrative, make sure your audience understands what sets you apart.

By meticulously addressing each element in this checklist, visual artists can elevate their portfolio presentations to professional heights. Remember, a well-curated collection, striking visuals, targeted marketing, a compelling message, and a distinctive brand identity are the building blocks of a successful artistic career. Strive for excellence in each facet to captivate your audience and leave a lasting impression.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!