Visual Literacy: The Holy Grail of Art

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Today’s art education should go beyond the goals of money-making or art for creativity’s sake

By Samuel Frandino

Many years ago, I worked for a theatrical scene shop that was engaged in a variety of projects at a new Universal Studios theme park. One project involved having artists “age” the exteriors of buildings to fit whatever milieu a scene required. The painters at the shop achieved this effect by using the specialized art of scene painting. As I walked along one themed street, I watched a talented painter create rust stains that appeared to have been there for years, but had been placed there only an hour before. He would paint an area and then stand back several feet to look at what he had just done before going back to the wall to paint. After repeating this sequence a few times, a supervisor told him to speed things up because there was a lot of area to cover. There was a brief discussion about art and process that ended with the supervisor telling him that this wasn’t his home studio: This was art for money, we give the client what they want, when they want it, and we don’t go broke doing it.

Neither that scenic artist nor his supervisor started out with a vision of art as a money-maker. Young children make art just for fun, so from the start their first art teacher is coming into the game in the second quarter. That student has an expectation of what “art” is going to be like, and it is a positive expectation that doesn’t involve factual content or vocabulary. If you were an elementary school art teacher looking into those eager faces, would you want to be the person who makes a child hate art by asking them to prove their learning in some sort of assessment? Probably not. In the absence of some higher power forcing you to perform such an atrocity, you substitute factual content with something else. You open the doors to creativity with performance tasks in various media and techniques.

That scenic artist had made the transition from wide-eyed excited child praised for his creativity to artist in the service of capitalism. And I bet he was happy to be there, as I bet you’re happy to be working in the arts, too, probably looking to get in deeper. But there was a lot to learn in order to get from wide-eyed child to employed artist cashing a check from the client, company, or gallery: facts about materials, techniques, and tools, not to mention contracts, taxes, and bookkeeping.

Students who dream of becoming working artists, and the rest who live in a culture increasingly bombarded with imagery, must develop a visual literacy, the holy grail of art education. Visual literacy provides students with the ability to express their thoughts and emotions and to understand the expressions of others.

If you ask children what they think of a painting, you’ll probably get simple value judgments. “It’s good.” “I like it.” “I don’t like it.” They require a special vocabulary to express why they feel a certain way. With knowledge of the elements and principles of art, children are able to identify the artist’s technique and have the words to express what they see and why the art creates those feelings.

Museum_UseCreditVisual literacy provides a connection between vocational art education and creative expression, as well as the tools necessary to understand the subtle messages and manipulations around us. It allows a 16-year-old art student who is desperate to communicate a sense of isolation and sadness to go beyond the stereotypical symbols that are so common in many artists’ early work. In a more commercial application, visual literacy enables fast-food restaurants to stimulate their customers’ appetites and increase turnover rate by adopting a yellow and red color scheme. Conversely, the decor of an upscale restaurant in Manhattan with a prix fixe menu is likely to be considerably more muted; the last thing they want is for you to feel rushed or still be hungry after dropping $1,000 in a single evening.

To effectively express yourself, or to collaborate with others, you have to learn the content of art. In most school districts, the delivery of that content is very similar. Young art students are encouraged to be creative in an age-appropriate range of media, and even if they are all following the same instructions leading to similar outcomes, at some point they are encouraged to make personal choices. They will do performance tasks like mixing colors, but unless testing of concepts is mandatory, the art teacher clings to the hope that the students are learning, or at least able to remember how they ended up with the color green they used in a particular project.

As the students grow, so does the range of projects they work on and the media they use. In high school they can start to take art classes in specialized subjects, like drawing, painting, crafts, ceramics, digital art, graphic design, and photography. In a fully functioning art program, a few students will take coursework in preparation for art education beyond high school. Although this K-12 curriculum has long served educators well in the past, it is incomplete and increasingly inadequate for producing students who understand imagery and the way it’s used to manipulate personal and public decisions.

Educators must introduce students to the ubiquitous use of imagery beyond the students’ personal conceptions of what art is. Generations of humans have believed in their science textbooks’ simplistic representations of atoms, waves of energy, and the solar system. These images do not reflect reality, however; they are visual analogies and metaphors that fit on the page. Musical notes and even the letters of the alphabet are images to which we assign sounds and combine to make melodies and words that in turn communicate thoughts and emotions. The use of imagery as a representation of some concept too large for us to imagine—deconstructed and abstracted to fit what we can understand—is an important part of visual literacy, though it does not fall into the accepted paradigm of art.

Although it may not lead directly to personal expression or occupational skills, a visual-literacy curriculum reveals to students how the presentation of ideas through images affects their perception of the world. These images often define their understanding of concepts or social issues for the rest of their lives.

PaintingThis idea might seem like a lot to add to what many art teachers think of as too little time to begin with, and it is a diversion from spending time in the traditional pursuits of art education. Some students already don’t like art, or art class, even without this added component.

A very smart seventh grader once told me that art was his most difficult class. In every other class, the teachers told him what to do and how to do it. Math was learned processes, and social studies was facts and dates. The answers in those classes were either right or wrong. In art class, however, he felt lost without explicit instructions and black-and-white answers.

How do students approach the question: What makes a bowl “art” instead of just a bowl? Considering this type of question tends to give students pause. Ask them whether an ugly bowl is artwork, and the students have to ponder what “ugly” means and what “art” means. It may be the first time they’ve confronted an interpretive question. In their increasingly diverse culture, they will confront issues for which the answers are unclear. A comprehensive education in art can help them begin to tackle these situations.

DrawingInClassThe problem with much of the discussion about art education is that it is highly subjective. The simple fact that every person is required to attend school means that everyone has their own personal experience from which they construct an opinion. As a middle school and high school art teacher, I’ve met hundreds of parents at open houses, and I am often struck by how many of them fondly remember their own art classes, even decades after graduating from high school. Many remember their art
teachers as trusted confidants, and some talk about the hours they spent in the art room after school or when they should have been in other classes. I want to ask these parents whether they learned anything about art in their classes, but I don’t want to ruin the magic of the moment. I bet that one in 100 knows the basic elements and principles of art, and that estimation is generous.

We can’t continue to model curricula after our nostalgic personal experiences or to offer art education only to those who intend to find employment in the field. Everyone, especially a child growing up today, needs to understand the nature and the power of imagery. In today’s world, images are unavoidable, and they manipulate our selection in everything from products to presidents. The business of art is everyone’s business, not just the business of those who are cashing checks.


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Featured Artist Mary Kinzel Means

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Ceramic artist Mary Kinzel Means presents a delightful collection of whimsical and symbolic sculpture. Visit her website to see more of her portfolio.

 

“Prince of Wisdom” ceramic and mixed media, 13″ x 7″ x 8″

 

I’ve always been drawn to faces and expressions. I was constantly being chastised in grade school for doodling faces on my assignment edges, something I did without thought, throughout college and even now. The difference is that today I celebrate the expression rather than feeling at fault.

 

ceramic horse sculpture by artist Mary Means

“Spirit” ceramic and mixed media, 11″ x 4″ x 10″

 

When I’m on the phone, I sketch. If there is a paper and pen in front of me at a restaurant, I’m going to draw. My doodling and love of arts landed me at the University of Tennessee as an art major.

 

Three handbuilt ceramic vessels by Mary Means

“Dreamers Vessel Trio” ceramic and mixed media, 18″ x 14″ x 17″

 

Upon graduation I felt less than positive about making a living as a professional artist, so I ended up on the other end of the art spectrum as a consultant. After years of selling other artists, I discovered ceramics (something which I had never experimented with in school) and literally fell in love, thus starting my second career.

 

Handbuilt ceramic elephant sculpture by Mary Means

“Miss Molly” ceramic and mixed media, 10″ x 7″ x 13″

 

Beginning with a new untouched block of clay provides an extraordinary sense of endless possibilities. I usually start my process with a casual sketch of what I’m planning to create. That that often changes as the clay tells me who and what it wants to be.

 

figurative ceramic sculpture by artist Mary Means

“Balance” ceramic and mixed media, 15″ x 17″ x 7″

 

There is something fiercely organic about putting my hands in clay, a relationship, if you will, between earth and spirit. I have a connection with each piece and enjoy feeling the energy come through the clay. I love to just let go and let the clay tell me who they are and what emotion/feeling/expression they want to have.

 

Figurative ceramic sculpture by Mary Means

“Starting to See” ceramic, 11″ x 4″ x 4″

 

My primary method for sculpting is known as the coil style of handbuilding. It combines rolling coils of clay and slowly stacking and molding through creating pressure on each coil until properly joined. I incorporate various finishes including glazes, oxides, cold wax, metals, and found objects with multiple firings.

 

whimsical wheeled elephant sculpture by Mary Means

“Peanut Ride” ceramic and mixed media, 10″ x 9″ x 5″

 

I’m a tremendous animal lover with horses and elephants being two of my favorites to create. As much as I appreciate their aesthetics, it’s the symbolism that truly moves me. With strength and independence representative of the horse, and good fortune, wisdom, and protection symbolic of the elephant.

 

Encaustic and ceramic sculpture by artist Mary Means

“Midnight Musings” encaustic and ceramic, 12″ x 3″ x 12″

 

Dream imagery is another recurring theme in my sculpture, with the hopes of providing the viewer with an introspective sense of remembrance. Ultimately, my work is a connection between earth (clay) and the ethereal.  Sometimes whimsical, sometimes serious, but always peaceful, positive, and full of gratitude.

Mary Kinzel Means invites you to follow her on Instagram.

 

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!



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Leaving Social Media: A Human-Centric Business Strategy with Gwenn Seemel | TAA Podcast Season 5, Episode 19 – How to Sell Art Online

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Welcome to season five, episode 19 of The Abundant Artist, the show that dispels the myth of “the starving artist” and shares how you can live an abundant life as an artist and make a living from your talent one interview at a time.

In 2016, social media platforms ruined themselves for artist Gwenn Seemel. That was the year they stole the last bit of agency from their users — replacing chronology with algorithms — and rendered themselves obsolete to her practice.

In this podcast, Gwenn talks about her decision to leave social platforms altogether; the personal, professional, and moral reasons behind her choice; and the surprising human and financial outcome of this bold stance.

“Grow those numbers, grow.…Why is it always that quantity thing? Why isn’t it the quality that we’re focusing on?” — Gwenn Seemel

Join Gwenn and Cory in a discussion on the human aspect of relationships, the collective nature of art, Capitalism as a force of destruction in the world, and a few solid tips on how to run your business away from social media, but still online and connected.

In this episode:
[:30] Cory welcomes long-time friend and artist Gwenn Seemel to ask her why she recently decided to leave social media.
[4:09] Gwenn touches on her business ROI fears without social media as well as some surprising psychological aspects of pulling away from the platforms.
[6:14] Increased emotional strength and stable income are Gwen’s current state of business despite using no social platforms.
[7:08] Standing up to Facebook’s — and most other social platforms’ — moral grayscale.
[12:11] Leaving social media: the need for resiliency and building mental health.
[15:15] Building one-on-one relationships with buyers and collectors. Gwen explains how she manages her contact list.
[22:34] Tracking inventory when your body of work has grown substantially.
[26:48] Patreon — and patronage — is not charity. Gwenn and Cory touch on the underestimated benefits of this type of platform.
[33:30] Gwen’s invaluable Patreon tips.
[36:06] When you can’t be your own “hype-man” – tips for the socially disinclined.
[38:23] Cory probes Gwenn’s thoughtfulness and the process she uses to think through questions in-depth.
[42:10] Jobs With Justice and why Gwenn cares about proper pay for anyone in any job.
[49:29] Did Capitalism lift the stark majority of the masses out of absolute poverty? Gwenn debates passionately for the dismantling of the aforementioned system!
[54:22] The German business example — welcome to the board! Cory shares his own luck as it relates to a discussion on capitalism and the state of the world.
[57:06] Why did Cory choose to go to college despite growing up in an ecosystem that didn’t foster it?
[58:56] Cory thanks Gwenn for joining the podcast!

Resources mentioned:
Gwenn Seemel’s website
All My Friends Live in My Computer: Trauma, Tactical Media, and Meaning, by Samira Rajabi
Taffy, Amanda. 2021. The Role of the Arts During COVID-19: Gendered Expressions of Resilience & Empowerment. Doctoral dissertation, Harvard T.H. Chan School of Public Health.
Artwork Archive
Jobs with Justice
The Future We Need: Organizing for a Better Democracy in the Twenty-First Century, by Erica Smiley and Sarita Gupta

About the guest:
Gwenn Seemel’s polka-dot cubist painting style has been delighting art lovers and inspiring artists for twenty years — so much so that in 2017 a tech company named one of their photo filters “the Seemel.” This unusual recognition of her contribution to the look of the new millennium struck Gwenn as both a compliment and a cheeky challenge from our future AI overlords to keep making original art that matters. For Gwenn, that means joyfully feminist paintings that refuse to let us forget how interconnected we are. This work has been featured across the web, on sites like Boing Boing, Bust, Your Creative Push, Hyperallergic, and Newsweek.



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Leaving Gallery Representation to Reach More Art Buyers

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“You have to match the gallery with the style you know of what you're doing. So you have to really do a lot of searching and discovering for yourself as an artist.”

“[The recession] really made me think what can I do? What can I do to work that hard for myself as my business?”

“The people who go into galleries are 1% of the population. I wanted to reach the other 99%.”

“I put all my effort into really being clear about who my market is, which are interior designers, who have, who buy repeatedly because they have clients.”

“I'm 65 years old, I never thought I would be doing a video. I do not like to be in front of the camera, but my passion for teaching, like all I'm focusing on is what I can teach. These tips.”

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Antiquity Collectors: Watch for Looted Art

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Recent high-profile investigations of noted collectors provide a reminder of the need for antiquities collectors to carefully consider the provenance and history of objects in their collections. According to The New York Times, the New York District Attorney’s Office (New York D.A.) recovered (by its own count) nearly 4,500 antiquities from 2011 through the end of 2022. The New York D.A. claims to have recovered almost 850 antiquities, valued at over $165 million in total, since the beginning of 2022 alone. Both individual collectors and museums should be aware of the signs of looted antiquities and consider reviewing their collections and updating their policies where applicable.

COLLECTORS BEWARE

Two recent investigations involving noted antiquities collector and Metropolitan Museum of Art board member Shelby Wright and hedge fund billionaire and philanthropist Michael Steinhardt show that even high-profile individuals are not immune from scrutiny.

Last December, it was reported that the New York D.A. had been issued two search warrants to search Ms. White’s home.  In April, the New York D.A. announced that it had seized 89 antiquities collectively valued at nearly $69 million and originating from ten different countries over the course of its investigation. It thanked White for her cooperation and is repatriating items from her collection to their countries of origin.

Image for Pexels by Meruyert Gonullu

In 2021, the New York D.A. announced an agreement with Mr. Steinhardt not to prosecute him in exchange for his compliance with certain conditions following a grand jury investigation into his collecting activities. Under the terms of that agreement, Steinhardt relinquished all interest in and claims to 180 antiquities in his collection, with a value of approximately $70 million, and agreed not to acquire any antiquities (defined as artifacts created before 1500 CE) for the remainder of his life. Mr. Steinhardt denied that the artifacts were looted.  The New York D.A is still repatriating the named antiquities to their countries of origin; recent repatriations have gone to the Palestinian Authority, Egypt and Italy.

The New York D.A. in recent months has also announced a handful of significant returns from the collections of unnamed private collections.

The New York D.A. also targets dealers it suspects of being responsible for trafficking in looted artifacts.  For example, it has repatriated hundreds of antiquities to India and Pakistan from the collections of Subhash Kapoor, who was sentenced in November 2022 to ten years imprisonment in India for burglary and illegal export, and is the subject of a pending extradition request from the New York D.A.

CULTURAL INSTITUTIONS — YOU TOO!

Significant cultural institutions are not immune to being targeted for allegedly possessing looted antiquities. In September 2022, the New York D.A. announced that it obtained three search warrants against New York’s Metropolitan Museum of Art seeking items it believed were looted and seized 27 artifacts valued at over $13 million. The museum told The New York Times that it was fully cooperating with the investigation.

Image for Pexels by Andrew Neel

Image for Pexels by Andrew Neel

In August 2022 the J. Paul Getty Museum in Los Angeles announced that it would return five objects to Italy after receiving information from the New York D.A.  In September 2022, the New York D.A. returned to Egypt an artifact known as the “Green Coffin,” valued at over $1 million, after negotiating its return from the Houston Museum of Natural Sciences. Lastly, in February 2023, the New York D.A. returned the “Hadrian Head,” valued at $250,000, to Italy from the San Antonio Museum of Art.

LESSONS FOR COLLECTORS AND MUSEUMS

Collectors—both individuals and institutions—should be aware of signs that the New York D.A. considers in determining if an object that lacks a robust provenance could be looted, to guide their decisions on what to purchase or display:

  1. It reached the market through a known trafficker, like Mr. Kapoor.
  2. There are photographs of the antiquity in its looted state, used by looters to “authenticate” their finds by showing them dirty and unrestored.
  3. The antiquity was dirty when purchased, as legally authorized excavations usually thoroughly clean the item.
  4. The seller was able to specifically identify where the antiquity was found, though it was not part of a scientific or authorized excavation.
  5. The antiquity is in fragments that are easily fixed (for example, broken at the elbow or knee).
  6. The antiquity reached the market after a period of geopolitical turbulence in its home country.
  7. There are reports of looting in the area where the antiquity was found.
  8. A complete hoard — that is, a grouping of items — lacks a provenance.
  9. There is a provenance, but it is generic or unclear.
Images for Pexels by Tom Balabaud

Images for Pexels by Tom Balabaud

Collectors who have purchased or are considering purchasing antiquities that meet some of or all these criteria should consider seeking legal advice or requesting additional provenance information.

Institutions—particularly as their collections become increasingly visible through ongoing digitization efforts—should consider revising their own policies to reflect modern standards (and to avoid the embarrassment of a criminal seizure).  New policies adopted by the Smithsonian and the Metropolitan Museum of Art provide some guidance.

In May 2022, the Smithsonian announced a new “ethical returns policy.” As part of that policy, the Smithsonian affirms that all items in its extensive collections must have been acquired “legally,” but goes beyond that to consider “current ethical practice and principles.” As part of that obligation, the Smithsonian pledges not only to consider the “care and potential return of human remains and/or objects of tangible cultural heritage,” but also to “shar[e] associated information.”

Image for Pexels by Charles Parker

Image for Pexels by Charles Parker

In New York, following significant seizures from the New York D.A., the Metropolitan Museum of Art in May 2023 introduced four new initiatives to oversee its collecting practices. First, the museum committed to researching the provenance of items in its collection through art dealers whose methods and practices have since come under scrutiny. Second, it will hire a dedicated “manager of provenance research,” along with three additional researchers. Third, the museum commits to participating more visibly in the cultural property discussion. Finally, it created a dedicated committee to guide the museum in considering these issues.

In Closing

Antiquities collectors should carefully consider the provenance and history of objects in their collections to avoid being accused of looting. Collectors and institutions may be well-served in considering the potential upside of investing resources into examining their collection policies in light of mounting external pressures—including local, state or federal officials and foreign governments.

______________________________

Author Bio: 

Meaghan Gragg is a partner in Hughes Hubbard’s Litigation Department and Co-Chair of the firm’s Art Law Group. Sigrid Jernudd is an associate in the New York office of Hughes Hubbard & Reed, where she focuses on litigation and international arbitration. 


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Art Scene 2016 – Art Business News

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2016’s Hottest Art Events and Organizations from Around the Globe

ANNE & MARK’S ART PARTY
San Jose, California
Billed as an “Occasional and Irrational San Jose Arts Fest,” Anne & Mark’s Art Party is an amazing art happening. The most recent unveiling was this past September, but no matter when it happens, the Art Party is an integral part of the Northern California art scene. It’s been described as “Mad Max meets Moulin Rouge” and “Burning Man meets Venice Biennale.” You’ve got to experience it to understand it. That is, whenever it comes around again.

ART DESIGN CONSULTANTS’
“ART COMES ALIVE” AWARDS
Cincinnati, Ohio
Art Design Consultants proudly sponsors Art Comes Alive (ACA), an annual fine art contest and exhibit that awards the brightest and best artists working in North America in a variety of categories. The awards provide a great opportunity for artists to be acknowledged for their talents, to gain exposure, and to win purchase awards and gallery contracts.

ARTBLEND
Fort Lauderdale, Florida
Artblend takes a new approach to every artist who comes into their gallery or who is featured at one of the many art shows where the gallery exhibits. Artblend is a full-service, art-related business based in Fort Lauderdale, giving emerging, mid-career, and established artists the marketing expertise that they need to build their business.

CONTEMPORARY ART
PROJECTS USA
Miami, Florida
Headquartered in Miami, Contemporary Art Projects USA is dedicated to nurturing new contemporary art by providing exhibition opportunities and resources for emerging artists and curators. Their mission is to promote art appreciation within the international community and to generate resources that support artists’ creative endeavors. From biennials and gala auctions to exhibitions and major international art shows, they are always on the scene.

GALLERY EDEL
Osaka, Japan
Gallery Edel is committed to a completely new interpretation and perspective on exhibiting the most significant and important art trends in Japanese contemporary art and international contemporary art. The foremost objective of Gallery Edel is to enhance the experience of both artmaking and art appreciation by embracing the culture of art worldwide. The gallery’s approach is exemplified by their 2016 exhibitions at Art Santa Fe and Red Dot Miami, where they are showing the work of recent Japanese art phenomenon Yayoi Kusama.

MARC STRAUS GALLERY
New York, New York
Marc Straus is one of New York’s leading contemporary art galleries, located on theLower East Side of Manhattan. The gallery identifies and fosters some of the best international talent, representing 17 artists from 13 different countries, most of whom have not been shown in the U.S. before. Additionally, the gallery has taken a position of showing older artists who have not for decades, or in some cases ever, been looked at in the proper light. Their show and exhibition of artist Todd Murphy exemplifies the impact of that position and vision.

SFMOMA
San Francisco, California
After years of great anticipation and with a blizzard of red confetti, one of the most anticipated openings and art events of the year came to fruition. The San Francisco Museum of Modern Art (SFMOMA) opened its doors to the public in May 2016, and changed the look and feel of exhibiting modern contemporary art for years to come. Attended by dignitaries, renowned artists, and members of the art community far and wide, the festivities included a gala celebration and a grand public opening.

TEFAF
New York, New York
Founded by art dealers in 1988 and run as a non-profit foundation, TEFAF has a proud history of showcasing masterpieces in every category of art and design – from antiques, Old Masters, and Haute Joaillerie to contemporary painting, works on paper, and 20th century design. It presents two fairs in New York: TEFAF New York Fall and TEFAF New York Spring, held in October and May, respectively.


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Featured Artist Chris Palm | Artsy Shark

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Photographer Chris Palm draws awareness to the world’s vanishing tropical forests through his TreeTalk series. Learn more about this project by visiting his website.

 

“Ascension” photography, face mount print to acrylic, 24″ x 24″

 

I’ve been making photographs most of my life. I was was drawn to the magic I saw in harnessing a chemical reaction powered by the sun as images would emerge on paper developing in the wet bath. Back in those days, there was a certain indisputable truth spoken through the language of photography. Somewhere in the transition to digital, seeing is no longer believing. We have become numb to the most remarkable of imagery.

 

Photo of waterfall in Ecuador rainforest by Chris Palm

“Cascade” photography, face mount print to acrylic, 24″ x 36″

 

For years I focused on travel and street photography captured on my journeys around the world. Social media provided a immediate platform to bring viewers with me wherever I was traveling.

 

Jungle photo from Ecuador by Chris Palm

“Churchtree” photography, face mount print to acrylic, 24″ x 36″

 

After circumventing the globe several times with camera in check, I began focused more on standing still. I wanted to explore overlooked subject mater that would be important to archive for the future. Tropical forests and trees in Ecuador have been the focus of much of this work.

 

Ecuador rainforest photo by Chris Palm

“Kelly” photography, face mount print to acrylic, 24″ x 36″

 

TreeTalk is a portfolio of images from deep within the Choco Forest of Ecuador. Unfortunately, only about 1% of this system still remains on the equator. In the not too distant future, will we have any wild forests left?

 

Jungle photo in Ecuador by Chris Palm

“Tower” photography, face mount print to acrylic, 24″ x 36″

 

Forest photos require some translation to make them visually interesting. I like to work a lot with perspectives to try transport the viewer into the forest. Occasionally I even employ some parlor tricks from the old stereo grams to create three dimensional trees that appear to move about. With the tropical portfolio, I like to print face mount to acrylic as I feel it provides the greatest depth and helps bring the trees to life.

 

Jungle photo from Ecuador by Chris Palm

“Canopy” photography, face mount print to acrylic, 24″ x 36″

 

I never imagined taking photos of a forest could be so political. In 2016, when I began developing the concept of TreeTalk, there was significant resistance in the United States to art that explored environmental topics. Climate change or anything related to the need for environmental conservation was met with resistance from a very vocal, abusive and organized minority.

 

Ecuadoran rainforest photo by Chris Palm

“Tissue” photography, face mount print to acrylic, 24″ x 36″

 

From threats of violence to cyber attacks and social media trolls, it felt like every attempt was made to shut down my forest art from Ecuador. Interestingly enough, at the same time, almost 90% of oil being pumped out of Ecuador was headed to California.

 

Rainforest photo by Chris Palm

“Face” photography, face mount print to acrylic, 24″ x 36″

 

In addition to forest photography, I have started design work printing silk scarves. Proceeds from these go to fund a small bio incubator I manage on the coast of Ecuador. It explores alternative economic models and provides alternatives to deforestation. We are currently exploring silk and vanilla as two commercial lines that could be developed to provide employment while maintaining traditional cultural ways of life.

 

Chris Palm invites you to follow him on Instagram and Facebook.

 

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!



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Media & PR for Artists Case Study: Eric Jackson – How to Sell Art Online

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Is it still possible to have a great idea for a series of new work and grow it without much of a social media presence? 

Eric Jackson did it last year. With less than 1,000 followers. 

Eric started selling his art at local art shows in Maryland in 2017. At the time he was teaching art in public school. After the 2020 pandemic, he left teaching to pursue his art career full time. He’d already built up some pre-pandemic momentum by scheduling up to 20 art fairs and other shows per year. 

In late 2020 Eric began taking some classes with TAA. Between what he learned in classes and his own efforts, his sales steadily increased and he landed a public art project that increased his visibility. 

Last year he decided to build on his history of making wildlife art to make a new series about the Chesapeake Bay watershed. He wanted to bring attention to the interconnected nature of the Chesapeake Bay and the 19M+ residents who depend on the watershed. He started out by collecting water samples from 100 different sites across five states and making t-shirts using that water. 

This turned into a successful Kickstarter project, relationships with a bunch of regional nature nonprofits, and his art and tshirts in various museums, art fairs, and galleries. 

“ I ended up doing a press release when the project launched which brought in a ton of press last year.  The first press release ended up bringing in features in five different regional papers, features in newsletters and put me in touch with tons of regional organizations which took an interest in the project.  Maybe most importantly, that networked me into a bunch of contacts that I can still draw from today.

Within a few months, he was having regular conversations with organizations interested in partnering with him, and individuals who heard about it from friends or coworkers. That word of mouth kept sales steady for the shirts throughout the year, allowing him to keep momentum going – and keep people engaged in the stories he was telling. The travel involved in the project lended itself well to long form written content describing his journey across the watershed. He crossposted interesting stories and photo journals on his blog and as regular content for his bimonthly newsletter. He noticed his open rate and click rate skyrocketing.  

I did a follow up press release when the project completed this January, and again led to a number of news features. I can probably attribute at least 1000 email signups which all came from the project and the press releases around it, and doing the press releases were absolutely a direct influence from TAA.”

Eric’s ongoing success with One Hundred Shores is due to executing the core principles of public relations work. 

  • Knowing What to Promote – Eric knew he had something he was excited about and that might catch some interest from other people passionate about the topic of his art. 
  • Creating Solid PR materials – Eric learned how to write a concise and clear press release and assemble an effective media kit. 
  • Partnering with Influencers – once attention began rolling in, Eric was able to turn that into speaking and co-marketing opportunities. 

With his permission, we’ve added Eric’s initial press release to this public Google Drive folder so you can check it out. For those with experience in PR, you’ll notice it’s a pretty standard press release. 

Eric isn’t rich (yet), but between original works, prints, tshirts, teaching and speaking gigs he’s on track for a very solid high five-figure year in 2023. Launching the 100 Shores Project has given his writing a focus and new things for his fans to be excited about as he rolls out new versions of the tshirts and continues to travel around the country showing his work at various art fairs. 

His original works continue growing in price and recognition on the national stage.  He’s shown his work at many prestigious national art festivals including Coconut Grove Art Festival, the Naples National Art Show and the American Craft Show.  opening a public-facing studio in his hometown.

Eric Clark Jackson is a professional artist whose work explores a connection to the water and wildlife of the Chesapeake Bay.  A contemporary fiber artist, his work is an intersection of fine art, contemporary craft, and the ecology of the watershed.

His work has received support from the Maryland State Arts Council, Baltimore Office of Promotion and the Arts, and numerous local arts councils. He’s presented his work at the National Folk Festival, the American Craft Show and the Coconut Grove Art Fest in Miami. He is heavily involved in local watershed initiatives on the Chesapeake Bay, and he has worked with numerous non-profits on the forefront of Chesapeake Bay culture and preservation.

An avid outdoorsperson, Eric continues to explore the Chesapeake from Leonardtown, where he lives with his wife and two girls.



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The Art Biz ep. 157: Increasing Self-Sales by 400% with Sarah Becktel

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Like many artists early in their journeys, Sarah Becktel focused on building her resume after art school. She was painting and showing in increasingly prestigious venues, but not selling a lot.

In this episode of The Art Biz, I talk with Sarah about her sources of income and how she has increased her overall income by 25% in the last 3 years by being very deliberate about where and how she shows her work.

©Sarah Becktel, OR-28. Oil on panel, 18 x 24 inches.

Sarah does sell through galleries, but she has recently increased her self-sales by 400% putting her effort into 3 specific types of indoor shows each year:

  • One art fair
  • Two fine art and craft shows
  • One holiday artist market

She focuses on shows that are curated or juried because she believes the quality is higher. And sticks with indoor shows as a means of self-preservation. 🙃

You’ll hear Sarah discuss the difference among these, including a general investment for each. She talks about her strategy for selecting the work each show: one venue is for only originals—which she considers her solo exhibition for the year, another for only reproductions and products, and the third is a mixture of the two.

Two pieces of advice Sarah has for other artists:

  1. Think of shows as data points. Don’t focus only on sales, but what you learn from the experience and the relationships you can build.
  2. Consider multiple price points to bring in new customers—even if you make only originals.

[See also: What Is Your Art Business Costing You? ]

Listen

Mentioned

Sarah Becktel art fair booth
Sarah in her art fair booth.

Sarah Becktel Quotes

“Public speaking and talking about your art is a skill you need to develop and keep using to stay sharp.”

“Some of the sales occur because I'm there to tell them the story”

“You want all the people to be following you and connected to you in all the different ways.”

“If they unsubscribe, then they're not the right person for you.”

“Don't necessarily decide whether something was a good show or a bad show based on just the amount of money that you made at the show.”

“Not every show is gonna be the right fit for you. Think of it as an opportunity and think of it as a data point.”

“If you're not planning on putting in the marketing work, developing products aren't gonna help you.“

About My Guest

Sarah Becktel makes paintings and drawings that are inspired by wildlife, animal ecology, and natural history. She is interested in exploring how the animal kingdom has intersected with human civilization throughout history, and how we continue to navigate that intersection today.

Becktel has shown her work in solo and group exhibitions throughout the United States and her work is in private collections across the world. She earned her BFA in painting from the Tyler School of Art and continued her studies of representational drawing and painting at multiple locations. Sarah is based at the New Jersey shore and Bozeman, Montana.

Follow her on Instagram @sarahbecktel

Sarah Becktel

The post The Art Biz ep. 157: Increasing Self-Sales by 400% with Sarah Becktel appeared first on Art Biz Success.



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Industry One Showcases “This is Life”

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Today marks a significant moment in the art world as INDUSTRY One, a first-of-its-kind commission-free gallery based in Portland designed to highlight artists who don’t fit neatly into the traditional art gallery box, introduces its latest showcase “Esto Es Vida” or “This Is Life,” featuring the highly-acclaimed photographer Dorian Ulises López Macías.

Centered in the heart of Portland, at 415 SW 10th Ave, the “Esto Es Vida” exhibition unfolds from Thursday, August 24th to Friday, October 13th, offering a limited time to immerse oneself in its captivating essence.

Since its inception in November 2022, INDUSTRY One has embraced a noble mission—to explore and celebrate diversity and sexuality while giving back to the community and the exceptional artists it showcases. The gallery debuted with a captivating display by the New York-based Black chefs’ collective, Ghetto Gastro. Subsequent exhibitions have featured indigenous Mexican artist Josué Rivas, the dynamic Los Angeles creative studio Object & Animal, and the powerful collaborative showcase between Southern California multimedia artist and graphic designer Madsteez (also known as Mark Paul Deren) and the talented It’s a Living (known as Mexican artist Ricardo Gonzalez), titled “Sentimientos/Sentiments.”

In line with INDUSTRY’s unwavering commitment to unconventional artists and inclusivity, the current exhibition, “Esto Es Vida” or “This Is Life,” adds another significant milestone to the gallery’s journey. This captivating exhibition by Dorian reverently celebrates the essence of each unique soul it captures, unearthing their innate beauty while paying homage to the rich tapestry of Mexico and its vibrant people.

Image courtesy of Dorian Ulises López Macías

Image courtesy of Dorian Ulises López Macías

Dorian’s photography masterfully blends conceptual fashion shoots with raw street portraits, creating a distinctive aesthetic that resonates profoundly with our shared humanity. Fearlessly and boldly, Dorian’s lens brings to light the narratives of underrepresented and marginalized communities, including dark-skinned Indigenous, Brown, and Black individuals in Mexico.

Image courtesy of Dorian Ulises López Macías

Image courtesy of Dorian Ulises López Macías

Upon entering the exhibition space, visitors embark on an immersive journey, traversing with a rich tapestry of experiences and emotions. The showcase features awe-inspiring, floor-to-ceiling prints that establish an intimate yet monumental connection with each subject. Complementing this visual feast, video projections and evocative scents breathe life into the diverse array of identities on display.

The doors of the exhibition are open to all, welcoming visitors to contribute and support in their own unique ways. Whether through donations or advocacy, INDUSTRY One invites everyone to partake in this transformative experience. If you find yourself in the Portland area, make sure to stop by and be part of this remarkable celebration of art, culture, and the beauty of the human spirit.

Author’s Bio:

INDUSTRY One is a first-of-its-kind commission-free gallery designed to highlight artists who don’t fit neatly into the traditional art gallery box. The goal is to explore diversity, and sexuality and give back to the community—as well as the artists whose work is featured.




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Miami Art Week 2016 – Art Business News

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A comprehensive guide to the must-see events at the largest art show in the U.S.

AQUA ART MIAMI
DECEMBER 1–4
Aqua Hotel
1530 Collins Ave, Miami Beach
www.aquaartmiami.com
In the Aqua Hotel in Miami Beach, Aqua Art Miami will celebrate its 12th edition in 2016. Aqua has gained recognition for its focus on supporting an international gathering of young and established galleries with strong emerging and mid-career artists. The 2016 edition will feature 47 international exhibitors showcasing fresh new works. Because it’s set within a hotel, Aqua Art Miami is also a place to relax, take a break, and rest your feet.

ART BASEL MIAMI BEACH
DECEMBER 1–4
Miami Beach Convention Center
Meridian Avenue and 19th Street,
Miami Beach
www.artbasel.com
Art Basel Miami Beach is the mega-show during Miami Art Week. Certainly, it’s the biggest show as well, with more than 260 galleries exhibiting works from North America, Latin America, Europe, Asia, and Africa. From masterworks to newly created pieces by emerging stars, a full range of paintings, sculptures, drawings, installations, photographs, and film are showcased. Large-scale works become part of the outdoor landscape nearby.

ART MIAMI
NOVEMBER 29–DECEMBER 4
Midtown Miami | Wynwood
3101 NE 1st Avenue, Miami
www.artmiamifair.com
Art Miami is the original and longest-running contemporary art fair in Miami and continues to showcase a variety of unparalleled art from more than 125 international galleries. It is a must-attend event for serious collectors, curators, museum directors, and interior designers to see important work at the forefront of the international contemporary art movement.

CONTEXT ART MIAMI
NOVEMBER 29–DECEMBER 4
Midtown | Wynwood Arts District
118 NE 34th Street
FL 33127 Miami

www.contextartmiami.com
CONTEXT Art Miami, sister fair to Art Miami, has established itself as a serious marketplace for top collectors to acquire important works from a collection of specially curated international galleries representing emerging and mid-career artists producing cutting-edge works of art.

DESIGN MIAMI
NOVEMBER 30–DECEMBER 4
Miami Beach Convention Center
Meridian Avenue and 19th Street, Miami Beach
http://miami2015.designmiami.com
This global design forum brings together some of the most influential collectors, gallerists, designers, curators, and critics from around the world in celebration of design culture and commerce.

FRIDGE ART FAIR MIAMI
DECEMBER 3–6
The Betsy Hotel
1440 Ocean Drive, Miami Beach
www.fridgeartfair.com
Fridge Art Fair Miami, organized by artist Eric Ginsburg, features the innovative works of artists, collectives, and galleries—positioned as a boutique, soft-sell venue for all to enjoy in the newly renovated Betsy Hotel.

 

INK MIAMI ART FAIR
NOVEMBER 30–DECEMBER 4
Suites of Dorchester
1850 Collins Avenue, Miami Beach
www.inkartfair.com
INK Miami is a contemporary art fair that is unique among Miami’s fairs for its focus on contemporary works on paper by internationally renowned artists. Sponsored by the International Fine Print Dealers Association, the fair selects exhibitors from among members of the Association for their outstanding ability to offer collectors a diverse survey of 20th century masterworks and just-published editions by leading contemporary artists.

MIAMI PROJECT
DECEMBER 1–4
6625 Indian Creek Drive, Miami Beach
www.miami-project.com
Miami Project 5, a show produced by Art Market Productions, will be erected atop and within an expansive structure located in Miami Beach, and built seamlessly into the existing architecture, elegantly housing 50 exhibiting modern and contemporary galleries from around the world and the diverse selection of artwork created by the artists they represent.

MIAMI RIVER ART FAIR
DECEMBER 1–4
Downtown Miami Convention Center
400 SE Second Ave, Miami
http://miamiriverartfair.com
Now in its 5th year, the Miami River Art Fair is an international, contemporary art fair and the only riverfront art fair held during Miami Art Week. It features both indoor exhibitions and a one-of-a-kind Riverwalk Sculpture Mall, which shows an international collection of monumental sculpture on the banks of the Miami River.

NADA ART FAIR
DECEMBER 1–4
Deauville Beach Resort
6701 Collins Avenue, Miami Beach
www.newartdealers.org
Founded in 2002, New Art Dealers Alliance (NADA) is a not-for-profit collective of professionals dedicated to the cultivation, support, and advancement of new voices in contemporary art. NADA Art Fair is a collection of the world’s youngest and strongest art galleries dealing with emerging contemporary art. It is the only major American art fair to be run by a non-profit organization.

PINTA MIAMI
NOVEMBER 29–DECEMBER 4
Mana Wynwood
318 NW 23rd Street, Miami
www.pintamiami.com
Created in 2007, Pinta is a curated boutique art fair dedicated to the art of Latin America, Spain, and Portugal. The galleries and artists shown at the fair foster Pinta’s mission of giving greater exposure to Latin American and Iberian art in the marketplace.

PULSE MIAMI BEACH
DECEMBER 1–4
Indian Beach Park
46th Street & Collins Avenue, Miami Beach
www.pulse-art.com
PULSE showcases progressive art from an international community of emerging and established galleries, most of which present three artists or fewer.

RED DOT MIAMI
NOVEMBER 30–DECEMBER 4
1700 NE 2nd Avenue at NE 17th Street, Miami
www.reddotmiami.com
A juried, contemporary art show in the heart of Miami, Red Dot Miami features an international slate of galleries. Now in its 10th year, the show combines galleries showcasing over 500 leading contemporary artists with five days of cutting edge art, Spotlight Galleries, Art Labs, Art Talks, entertainment, and special events.

SATELLITE
DECEMBER 1–4
The Parisian Hotel
1510 Collins Avenue, Miami Beach
www.satellite-show.com
Now in its second year, SATELLITE Art Show is an alternative art fair that presents new and exciting projects that span the gamut of art, music, performance, installation, new media, and tech. SATELLITE 2.0 will once again emphasize concept driven rooms, rather than the typical salon-style hang of the standard fairs.

SCOPE MIAMI BEACH
NOVEMBER 29–DECEMBER 4
1000 Ocean Drive, Miami Beach
www.scope-art.com
SCOPE Miami will once again present groundbreaking work, alongside special programming, encompassing music, design, and fashion. Established as an incubator for emerging work, SCOPE celebrates its 16th year of introducing new galleries to the contemporary market.

SPECTRUM MIAMI
NOVEMBER 30–DECEMBER 4
1700 NE 2nd Avenue at NE 17th Street, Miami
http://spectrum-miami.com
Spectrum Miami is a juried, contemporary art show featuring an international slate of contemporary artists and galleries. Spectrum is more than just an art show—it’s an immersive fine art experience where guests attend exciting events, live performances, and educational seminars, as well as enjoy signature programs such as Spotlight Artists, LaunchPad, Art Labs, and Art Talks.

UNTITLED, ART
NOVEMBER 30–DECEMBER 4
Ocean Drive and 12th Street, Miami Beach
http://art-untitled.com
With a commitment to presenting exceptional contemporary art, Untitled, Art’s innovative approach to the art fair model will feature an international array of galleries, non-profits, and institutions, in addition to a variety of special projects, performances, and installations.

WYNWOOD WALLS
NOVEMBER 29–DECEMBER 4
2520 NW 2nd Avenue, Miami
www.thewynwoodwalls.com
The Wynwood Walls Project was conceived by community developer Tony Goldman in 2009. The concept has transformed
Wynwood’s warehouse buildings into giant canvases for acollective street art project. Wynwood Walls has become a major art statement incorporating graffiti into the newest work from artists around the globe. It’s literally become a gallery on the streets.

X CONTEMPORARY
NOVEMBER 30–DECEMBER 4
Nobu Hotel
4525 Collins Avenue, Miami Beach
http://x-contemporary.com
X Contemporary’s second edition will focus on exhibitors representing emerging and mid-career artists. The symbol X represents a destination point and an area of intersection, an evocative title for an art fair that emphasizes introducing narratives that create a crossover between the visual and performing arts and invites unique music, fashion, and brand collaborations.


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Featured Artist Sandra Bechtold | Artsy Shark

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Photographer Sandra Bechtold presents a serene portfolio drawn from the natural world. See more from this artist by visiting her website.

 

“Lonely Water Drop” photography, sizes vary

 

My name is Sandra Bechtold. I am a nature and landscape photographer from Germany.

 

Black and white forest photo by Sandra Bechtold

“Natural Chaos” photography, sizes vary

 

Every time I’m out in the woods or the fields, I marvel at the wondrous beauty and bounty that nature presents to us. I also love observing the changes in the seasons, from the bleakness of winter to the first tender blossoms in spring, to the poppies shining in summer and autumn sweetening the farewell to the warm days with bright colors. Each stage has its fascination for me and offers me a variety of motifs.

 

black and white macro photo of a flower by Sandra Bechtold

“Soft Little Flower” photography, sizes vary

 

Being in nature brings me an incredible calm and grounding. This is exactly what I want to pass on in my photographs. That’s why I often concentrate on individual details of nature in my pictures. I underline this reduction by restricting myself to a few colors or by omitting them completely, as a black and white photograph.

 

black and white wildflower photo by Sandra Bechtold

“Unknown Beauty” photography, sizes vary

 

When taking the picture, I create this desired effect by showing only a very small part of the picture, the most important part, in sharp focus. The remainder of the photo is blurred, letting it fade in importance. In some cases, I achieve this with a special lens that further enhances this effect.

 

Black and white photo of a treed lane by Sandra Bechtold

“Road to Freedom” photography, sizes vary

 

This is the very special magic of my photography. Plants, flowers and blossoms are common, and rarely command a main role in our vision. Like so many things in our everyday life, we no longer really perceive them.

 

black and white photo of dandelion seeds by Sandra Bechtold

“Fly Away in Pieces” photography, sizes vary

 

Through my minimalist approach to photography and the conversion to black and white, they appear both familiar and unfamiliar at the same time. This entices the viewer to take a closer look, to change the way they perceive the world and the intricacies of nature.

 

black and white botanical photograph by Sandra Bechtold

“Tall and Proud” photography, sizes vary

 

Peace and connection with nature are my inspiration and the message I want to convey through my fine art photographs. When we perceive and appreciate nature, we gain the opportunity to reconnect with it and our own inner nature. This is what I strive to achieve with my art.

 

Sandra Bechtold invites you to follow on Instagram.

 

 

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!



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Visual Marketing: A Catalyst for Business Development

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In an age where our screens are flooded with endless information, captivating visuals have become the driving force behind successful marketing campaigns. Visual marketing, a multi-faceted approach that capitalizes on images, videos, infographics, and other visual aids, is redefining how brands communicate with their audience. This article sheds light on the profound impact of visual marketing on business development, with special emphasis on platforms like Legjobbkaszino.hu and popular online games like the ‘super dice’ slot machine.

Understanding the Dynamics of Visual Marketing

Before diving deep into its impact, it’s crucial to understand what sets visual marketing apart.

  • Immediate Engagement: Unlike textual content that demands time and focus, visual elements are processed 60,000 times faster by the human brain. This immediate engagement ensures that the core message is conveyed within seconds.
  • Emotional Connection: Images and videos have the innate ability to evoke emotions. Whether it’s the nostalgia invoked by a vintage photograph or the excitement triggered by a colorful infographic, emotions play a pivotal role in influencing consumer decisions.
  • Versatility: Visual marketing is not confined to a single format. From short GIFs to comprehensive video tutorials, brands have a plethora of options to choose from based on their target audience and message.

For instance, Legjobbkaszino.hu, a site reviewing various online casino brands, bonuses, and games, leverages visual marketing brilliantly. By incorporating vibrant images of slot machines, animated banners displaying bonuses, and video tutorials explaining game mechanics, the site ensures that users are not only informed but also entertained.

The Positive Impacts on Business Development

Visual marketing serves as the cornerstone for robust business development in several ways:

  • Enhanced Brand Recognition: Consistent use of colors, logos, and visuals across all marketing platforms solidifies brand identity. When users see a specific color or logo, they immediately associate it with the brand, leading to better recall and recognition.
  • Increased Engagement and Traffic: Platforms like Instagram and Pinterest are testaments to the power of visuals. Content with relevant images gets 94% more views than content without. This increased engagement directly translates to higher website traffic, especially if the visual content is linked to a brand’s primary website or platform.

For instance, a user intrigued by the flashy animations of the ‘super dice’ slot machine on a social media post is more likely to visit the online casino platform to try the game.

  • Higher Conversion Rates: A well-designed landing page with compelling visuals can dramatically increase conversion rates. Whether it’s an e-commerce platform displaying high-resolution images of products or a service-based site using infographics to explain its offerings, visuals instill trust and persuade users to take the desired action.
  • Strengthened Community Building: Visual content is more likely to be shared, fostering community building. Users engage with it, share their opinions, tag friends, and even create their own content in response, fostering a sense of community and loyalty around the brand.

A great example is how Legjobbkaszino.hu might use user-generated content. Imagine players sharing their jackpot-winning moments from the ‘super dice’ game. Such visuals, when shared, not only promote the game but also create a sense of community among players.

Challenges and the Road Ahead

While visual marketing offers a plethora of benefits, it’s not devoid of challenges:

  • Content Saturation: With every brand vying for attention, there’s an oversaturation of visual content online. Creating distinct visuals that stand out in the crowd is a persistent challenge.
  • Constant Evolution: The trends in visual marketing are ever-changing. What’s popular today might become obsolete tomorrow. Brands need to be agile and adaptive, ensuring their visuals align with current trends.
  • Resource Constraints: Creating high-quality visual content, especially videos or interactive graphics, can be resource-intensive in terms of time, money, and expertise.

However, with the integration of advanced technologies like augmented reality (AR) and virtual reality (VR), the horizon of visual marketing is expanding. For platforms like Legjobbkaszino.hu, the future might entail offering AR experiences where users can virtually try out games like ‘super dice’, enhancing user engagement and driving more traffic.

In a digital world dominated by visuals, understanding and harnessing the power of visual marketing is no longer a luxury but a necessity. For platforms, be it review sites like Legjobbkaszino.hu or online casino games like ‘super dice’, visuals offer a pathway to captivate, engage, and convert. As the digital landscape evolves, so will the strategies, but the essence of visual marketing, rooted in human psychology, will remain a pivotal component for business success.

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