Category: marketing

Award-winning mixed media artist exploring feminism and femininity

Linda Mariano, Editor in Chief

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— Eric Smith, CEO of Redwood Art Group

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

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

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

— Bernie Taupin

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

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

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

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

— Tom Everhart 2024

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

“It isn’t just being able to create. It is being able to cope with that world to engage with that world to embrace that world.”

“I thought it was a reinvention, but I’m finding now that it was simply opening up into a new phase and bringing everything with me into that because it’s a very high-powered environment.”

“All people want the same thing. All people are concerned about being treated well, being treated with respect, being seen, and not being taken advantage of in any way.”

“Everyone could just get so busy these days. They forget to compliment people. They forget to say nice things to people. And that goes a long way.”

“You cannot underestimate the power of showing up for something on a daily basis in the studio, reaching out and, and just doing it step by step … break it down into manageable chunks.”

“You need to have that enthusiasm for yourself, whether it’s quiet and meditative and in the flow of things in the studio or whether it’s interacting with other people. You have to have that joy because otherwise, why, why are we doing this?”

Artist Denise Blanchard explores the boundaries of creative expression while using found and forgotten materials. See more by visiting her website.

In the allure of abandoned objects, I discover a profound fascination. I’m captivated by the unique shapes, intricate textures, and compelling designs that whisper tales of their past lives.

“Sacred Mantle” Empty used tea bags and nylon net, 6 x 2.40 cm

Through a transformative alchemy, I breathe new life into these overlooked fragments, fashioning them into unconventional works that carry both the weight of history and the promise of reinvention.

“Round Tea” empty used tea bags, 1.20 x 1.20 cm

I’m a collector of materials with stories to tell. I embark on a narrative journey with each creation, intertwining my personal experiences with the rich histories embedded in the materials themselves. These forgotten relics become the raw palette from which I weave a tapestry of my own story. I invite viewers to decipher the intricate threads that connect past, present, and imagination.

“Embroidery Tea Cup” used tea bags and thread, 23 x 23 x 15 cm

While my formal education led me down the path of teaching, my heart has long belonged to the world of art. For decades, I have immersed myself in a relentless pursuit of research and experimentation, sculpting my days with the clay of creativity. Art is not a possession; it is a symbiotic relationship that permeates every facet of my existence. It isn’t something you merely adopt. It intertwines with your essence, becoming an inseparable part of your being.

“New Horizon” book pages, thread, 80 x 90 cm

My transition from painting to textile art was a deliberate quest for innovation. It was a search for new materials that led me back to the fundamental textile techniques instilled in me during childhood, primarily by my mother and maternal grandmother. Each stitch, each fiber, carries the echoes of those early lessons. They form a bridge between tradition and contemporary expression.

“Stitched Origami” used tea bags, thread, 1.55 by 2.60 meters

In my creations, textile art emerges as a medium of boundless possibilities. It provides a canvas where discarded remnants metamorphose into stories waiting to be told. Through this practice, I aspire to create not just art, but an immersive experience. I want my work to transcend the boundaries of time and invite the observer to embark on a visual journey with me.

“Fireball” muslin fabric, paint, threads, 80 x 100 cm

Art, for me, is not a passive companion. It is a dynamic force that shapes and molds my existence. As I continue to explore and evolve, I am reminded that art is not a destination. It is the ever-unfolding path that we walk, leaving imprints of our stories with every step.

Denise Blanchard invites you to follow on Instagram and Facebook.

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Understanding the Importance of Specialized Art Movers 

Researching Potential Art Movers 

Ensuring Your Expensive Artwork Travels Safely: Evaluating Experience and Expertise 

Checking for Proper Licensing and Insurance 

Inspecting Packing and Handling Techniques 

Understanding Transportation Options 

Verifying Storage Facilities 

Assessing Communication and Customer Service 

Reviewing Contracts and Agreements 

Conducting a Pre-Move Meeting 

Trusting Your Instincts 

Final Thoughts: Proper Movers for Your Expensive Artwork 

When transporting your expensive artwork, whether relocating or lending pieces to a museum or gallery, ensuring their safe and secure transit is paramount. Art movers specialize in the delicate and complex process of moving valuable art pieces, offering peace of mind that your cherished items will arrive unscathed. However, not all movers are created equal. Thoroughly vetting art movers is essential to avoid scams and ensure the safe handling of your valuable collections. 

Understanding the Importance of Specialized Art Movers 

Moving art isn’t like moving ordinary household items. It requires specialized knowledge, skills, and equipment to handle artwork’s unique needs. Professional art movers understand the intricacies, from proper packing techniques to climate-controlled transportation. They are well-versed in handling fragile and high-value items, ensuring they remain pristine throughout the move. Trusting your artwork to general movers or inexperienced companies can lead to disastrous results, including damage or loss. 

Researching Potential Art Movers 

The first step in vetting art movers is conducting thorough research. Start by seeking recommendations from trusted sources, such as museums, galleries, and fellow collectors. Online reviews and ratings can also provide valuable insights into a company’s reputation. Look for art movers with a long-standing presence in the industry, as longevity often indicates reliability and expertise. Additionally, check if the company is a member of professional organizations like the American Alliance of Museums (AAM) or the International Convention of Exhibition and Fine Art Transporters (ICEFAT), which adhere to high standards of practice. 

Ensuring Your Expensive Artwork Travels Safely: Evaluating Experience and Expertise 

Experience is a critical factor when choosing an art mover. Inquire about the company’s history and the types of artwork they have handled. A reputable art mover should be able to provide references and examples of past projects, showcasing their ability to manage various art forms, from paintings and sculptures to delicate antiques. Assessing their expertise in handling specific types of artwork similar to yours can give you confidence in their capability to protect your pieces during transit. 

Image by Mikhail Nilov for Pexels 

Checking for Proper Licensing and Insurance 

Legitimate art movers should have the necessary licenses and insurance coverage to operate legally and protect your artwork. Verify that the company holds a valid operating license and is insured against potential damages. Ask for proof of insurance and review the policy details to ensure it covers the full value of your artwork. Comprehensive insurance should protect against various risks, including theft, damage, and loss during transit. Avoid any mover who hesitates to provide this information, as it could be a red flag indicating insufficient coverage. 

Inspecting Packing and Handling Techniques 

Proper packing is crucial to safeguarding your artwork during transport. Ask the art movers about their packing techniques and materials. They should use high-quality, archival-grade packing supplies to protect artworks from environmental factors and physical damage. Inquire about their process for handling different art types, including custom crates, padded blankets, and climate-controlled containers. Experienced art movers should be able to explain their methods in detail, demonstrating their commitment to ensuring the safety of your pieces. 

Understanding Transportation Options 

The mode of transportation plays a significant role in the safety of your artwork. Discuss the available transportation options with the art mover, such as dedicated art transport vehicles, climate-controlled trucks, and air freight services. Climate control is essential for long-distance moves or international shipping to prevent damage from temperature fluctuations and humidity. Ensure that the art mover provides a secure and controlled environment for your pieces throughout the journey, minimizing the risk of adverse conditions affecting your artwork. 

Image by elevate for Pexels 

Verifying Storage Facilities 

If your artwork requires temporary storage during the move, inspecting the storage facilities provided by the art mover is vital. The storage environment should be climate-controlled, secure, and equipped with advanced monitoring systems. Proper storage conditions are important for preserving the integrity of your artwork and preventing damage from humidity, pests, or temperature changes. Ask the art mover for a tour of their storage facilities to assess the level of care and security provided. 

Assessing Communication and Customer Service 

Effective communication is key to successfully moving your expensive artwork. Pay attention to the responsiveness and professionalism of the art mover’s customer service team. They should be readily available to answer your questions, provide updates, and address concerns throughout the moving process. Clear and transparent communication helps build trust and ensures you are well informed at every stage. A reputable art mover will prioritize customer satisfaction and strive to make the moving experience as smooth and stress-free as possible. 

Image by Nappy for Pexels 

Reviewing Contracts and Agreements 

Before finalizing your decision, carefully review the contract and any agreements provided by the art mover. The contract should outline the scope of services, pricing, insurance coverage, and liability terms. Ensure all details are clearly stated and ask for clarification on any ambiguous terms. Be wary of art movers who pressure you into signing without giving you ample time to review the documents. A transparent and straightforward contract signifies a trustworthy and professional art mover. 

Conducting a Pre-Move Meeting 

A pre-move meeting is an excellent opportunity to discuss the specifics of your art move in detail. Schedule a meeting with the art mover to review the logistics, timelines, and any special requirements for your artwork. During this meeting, you can assess their level of preparedness and attention to detail. A professional art mover will take the time to understand your needs, answer your questions, and provide a customized plan tailored to your artwork’s unique needs. 

Trusting Your Instincts 

Finally, trust your instincts when choosing an art mover. If something feels off or you have any reservations about a company, exploring other options is better. Your artwork is valuable and often irreplaceable, so selecting an art mover who inspires confidence and demonstrates a genuine commitment to safely handling your pieces is crucial. Trustworthy art movers will prioritize the care and protection of your artwork, giving you peace of mind throughout the moving process. 

Final Thoughts: Proper Movers for Your Expensive Artwork 

In conclusion, vetting art movers requires diligent research, careful evaluation, and thorough communication. By understanding the importance of specialized art movers, assessing their experience and expertise, verifying licensing and insurance, inspecting packing and handling techniques, reviewing transportation options, and evaluating storage facilities, you can ensure your expensive artwork is safe and has scam-free transportation. Trustworthy art movers will provide the highest level of care, allowing your cherished pieces to reach their destination in perfect condition. 

__________________________ 

Author’s bio:  

Angie Stinson is a seasoned writer for MovingScam, a trusted resource dedicated to helping consumers avoid moving fraud and scams. With extensive experience in art logistics, she educates collectors on best practices for safely moving and storing valuable artwork. Angie’s insights ensure readers can navigate the complexities of art transportation with confidence and security. 

Artist Mark Witzling presents a refined portfolio of abstract paintings, rich with detail and meaning. Visit his website to see more of his work.

I create powerful visual representations that reflect ideas and concepts which impact my surroundings and my life. Visual art is a form of deep human expression. Like music and dance, it is a form of communicating beyond the written and spoken word. Painting abstractly in oils is my method for this expression. While the process is often solitary and meditative, I also find interaction among artists to be energizing and inspiring.

“Promises Kept” oil and cold wax on panel, 20″ x 20″

Perhaps because of my background in strategy, marketing and branding, complex ideas intrigue me. The nuanced layers tease out the intricacies of a concept. I apply this to my painting approach by building up layers and excavating back into these visual stacks. I repeat this push-pull process to evoke a sense of depth and understanding in the work.

“Mad Men-Mid Century Modern” oil and cold wax on Arches oil paper, 30″ x 22.5″

I enjoy the creative freedom of nonrepresentational art, although physical surroundings of landscape and geography frequently influence my approach to a painting. I’m glad to allow this to occur spontaneously.

“Future Tomorrow” oil, graphite and cold wax on panel, 36″ x 42″

My role as Executive Director of Craft Alliance (2018-2023) exposed me to a wide variety of forms of creative expression. Now as a committed full-time artist, I continue to allow these forms to stimulate and influence my own creative expression.

“Future Today” oil, graphite and cold wax on panel, 36″ x 42″

My specific process uses cold wax medium blended with my oil paints to create the layered effects I seek to express. I often start with an underlying layer of graphite mark-making to bring interesting forms to the artwork and to suggest the compositional approach.

“Hineni” oil and cold wax on panel, 36″ x 24″

My painting process rarely uses traditional brushes. Instead, I work responsively with a variety of tools such as pastry scrapers, brayers, brooms, sticks, and even old credit cards to activate the surface.

“Honesty Is The Best Policy” oil and cold wax on panel, 30″ x 30″

I have studied, painted, and taught workshops in studios across the country, from Santa Fe and Albuquerque to Montana, Wisconsin, and North Carolina. My art is included in private and corporate collections across the United States as well Europe and India.

“Future Hope” oil, graphite and cold wax on panel, 36″ x 42″

I was honored to receive a Diderot Grant and a Regional Arts Commission Grant to participate in an artist residency at Chateau Orquevaux, France. I am thrilled to have my art appear in the book Cold Wax Medium – Techniques, Concepts, Conversation (Crowell & McLaughlin) and to be included in Artfolio 2021, A Curated Collection of the World’s Most Exciting Artists.

Mark Witzling invites you to follow 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!

“I just felt like I was hitting my head against the wall for a couple years, not enjoying the process. So that’s when I decided just to cut that out and just let it happen.”

“We can stare at our own work day after day after day … and struggle and not know what the issue is that we’re struggling against. And all it takes is someone to take a quick look and say, Oh yeah, it’s right there.”

“Being in relationship with other artists really opened my mind to, Oh my goodness, there’s many, many different ways to do this journey. There’s many different definitions of success.”

“You don’t know how badly you need community and connection until you have it, and then you realize, Oh, I’ll never go without again.”

“We really aren’t in competition with each other…. We’re running the race side by side and we just go farther, faster, and it’s much more enjoyable and life giving.”