Art Print Issues by Barney Davey

Art Co-op, Right Idea, Right Time to Sell Art

As I have watched the traditional ways artists have gotten to market become battered by forces beyond their control, (witness the cancelation of both the Artexpo Las Vegas and Decor Expo Atlanta 2009 shows as prime examples), I have repeatedly voiced an opinion artists need to do whatever they can to take as much control as possible over the distribution of their art.

Whether it is through sales onlne, direct to consumer sales at shows, owning a gallery, joining a co-op, or other creative means to generate their own sales doesn't matter. What matters is artists find ways that work for them to manifest their own destiny. I'm not advocating abandoning trade media or tradeshows, or brick and mortar galleries. These venues will always have an important role to play. But now, because so much has changed and so much is possible, it is the right time to take control and own the distribution wherever possible.

Good Ideas Are Catching

Have you ever noticed the coincidence of different people hitting on similar themes to solve problems without any interaction between them. It's happened here in the art patch recently. I've had a note to blog about Indy Hall for some time because I think the artist co-op model it uses is right for many artists today. Independents Hall is a co-working space and community in Philadelphia. It includes designers, developers, writers, artists, entrepreneurs, scientists, educators, small business owners, telecommuters, marketers, videographers, game developers. You will soon hear more about it in a future blog post here.

Yesterday, Tony Moffitt's blog post was titled Do Co-operative Galleries Run by Artists Work? It was not an examination, but more a question thrown out to the readers. It has 13 replies to date, which indicates a good level of interest in artist run co-ops.

Today, I was notified I'd been tagged in a note by a Facebook friend named Tom Davidson. He had posted in his Notes section on the site these thoughts, which I publish here with his permission, in a piece titled Art Co-op. He is offering suggestions for Florida-based artists to come together. Obviously, they can be implemented anywhere artists band together to help each other.

Art Co-op by Tom Davidson

I have been spending a lot of time wondering how I can create more and still promote and do business. My original career is marketing and business. I come from the large corporate world, before I walked away to become a starving artist, lol. Anyways I propose to all of my art online friends and associates to review and contact me if you are willing to work smarter not harder. Let me know at least what you think of my idea. I appreciate all artists who are concentrating on creating, there is room for us in this world and we do help make it a better place, that is a sign of a good industry!!

1.Artists write art reviews of other artists, submit to media
2.Galleries and artists work together to promote exhibits more effectively
3. Provide a networking resource for Daytona - Orlando Area artists, sharing info and pooling talents, resources and information to create a stronger art market. I was suggested we develop a mission statement based in values like integrity, loyalty, trust and mutual benefit.
4.Look to other cities for effective models
5.Artists at every level in their careers take on the responsibility to give back to the community as part of their marketing plan.
6.Artists take responsibility for controlling the flow/availability of work (taking into account the basic laws of supply and demand).
7.Galleries develop exclusive relationships with artists so they can effectively promote their careers, locally and nationally.
8.Galleries co-op advertising in National Publications
9.Invite art schools, agencies and other arts entities to play a larger role in educating fine artists and venues about proven marketing practices
10.Establish a forum to determine how each of us can play a role in a healthy art market.
11.Create an annual Central Florida Art Expo,put on by the artist group presenting top artists and galleries to regional art buyers.
12.Artists establish consistent retail prices.
13.Explore methods of developing emerging collectors. Reach out and encourage the younger "arty party" scene by promoting/educating them about collecting fine art - not just getting drunk in front of it and hoping they will buy.
14.Artists offer a wide (but consistent) price range of artwork at exhibitions (from reproductions to large scale works).
15.Artists leverage their influence by working together
16. Utilize Facebook to inform,communicate,educate,and build a better bigger art industry in the state.

You can friend artist Tom Davidson on Facebook and make your own comments on his Notes page there. Or, contact him through his website: http://www.portraitspetsanpeople.com

I added this comment:

Tom, I'm in complete agreement with your thinking. Given the indiviualist nature of most artists, I have no delusions that your suggestions will be difficult to implement. But, I don't believe there are many better solutions either. You have my full support for your thoughts and suggestions as they closely mirror my own.

Cheers, Barney

Facebook Relents Will Allow Username Change

Last month, there was what was described as the equivalent of a username landrush. That was when Facebook rolled out a new program where its users could claim their name on the giant social networking platform. Given more than 175 million users, there was genuine concern, especially for those with common names to get in quick and grab the exact spelling of their name.

Now your Facebook address would look like this: www.facebook.com/barney.davey instead of ending with a non-memorable number/letter string. This is a great idea! The catch was this would be a one-time shot with the admonition to choose wisely as a redo was not going to be offered. Twitter had always been setup this way. You can find me on Twitter at: www.twitter.com/barneydavey.

When I went to claim my name, for reasons still unclear to me, I chose to use the "." between my first and last name. After the fact, I thought it was not a good idea and wished I had just run the two names together just as I have on Twitter. So, it was with great relief today when I read a PCWorld blog post: Facebook Now Allows One More User Name Change. It refers to another post from Read Write Web: Facebook Relents, Lets You Change Your Username.

If you want to jump in and make your change without plowing through the above posts, it is simple process. Login to your Facebook account, hover over Settings, choose Account Settings and give it a try. Good luck with it.

When I tried to change my name from barney.davey to barneydavey, I was disappointed to be told it wasn't available. Naturally, I went to see who had grabbed my name. I can't tell you the relief I felt when I saw that facebook.com/barneydavey resolved to my first choice. Apparently, the "." is not enough difference to warrant letting some other Barney Davey confuse my Facebook friends. If you need to change, or haven't yet claimed your name, I hope you get your first choice.

Can Visual Artists Succeed Without Using Twitter and Facebook?

For nearly four years I have been honored to be a guest blogger on Absolute Arts, which remains one of the most highly respected and trafficked online art sites. My most recent post for it went up today. It is titled: Success and the Unconnected Artist. The post tackles a question am frequently asked, which is can I make it as a visual artist without having a Twitter and Facebook account? Not to mention Linkedin, MySpace, FriendFeed, Flickr and on and on.

The short answer there, and I encourage you to go there for the longer one as well, is yes. An artist can devise ways to sell art and enjoy a viable long term career without the benefits of Facebook and Twitter, etc. While I am a strong proponent with my own regular involvement, I think most visual artists who do participate in social marketing would be hard pressed to accurately assess their return on investment from their involvement. This incongruity does not diminish the activity.

David Ogilvy, arguably the most influential advertising person ever, is reported to have said, "Half the advertising I do works, I just wish I knew which half." So if a Madison Avenue superstar can't pinpoint return on investment, it means you shouldn't fret over it either. Despite believing it's possible to make a career outside of the Internet's widely bandied Web 2.0 tools, I remain a stalwart believer that artists can positively affect their careers by using them.

In order of importance, I would start with a good Web site that can professionally promote and properly present you and your work. Follow that with a blog and then let those things be the platform to launch into Twitter and Facebook, which can effectively be used to drive traffic to your site and blog. There's obviously more to it than that, but this is a good overview of how to get started using Web 2.0 to promote your art career.

What is a Giclée? Summer Repost

Ed. note: I'm taking some time off for vacation. It's a good time to repost some of the most popular articles from the past. Here's one from April 2007 that gots lots of comments. Read it and you'll see why.

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

Poor desciptions and explanations are a detriment to true acceptance

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.

The information to learn about the word and its genesis is easily available

There isn't enough space here to go into the history and meaning of the word. However, I do commend to you the following information and strongly suggest any who are truly interested in understanding what a digital print or giclée is to spend time with these links. They provide the best most accurate detailed history I've seen. It is from Harald Johnson, author of Mastering Digital Printing (Digital Process and Print). Johnson generously offers these excerpts on his Web site pulled from the above-mentioned book: What's in a Name: The True Story of "Giclée" and Digital, Fine Art Printing Comes of Age.

If there is a soapbox here, it comes from the frustration some artists and printers have with the loose use of giclée to represent digital fine art reproductions. When a term can be used to describe a homemade print coming off an Epson desktop printer based a low resolution digital photograph or worse, an image scanned from a garden variety photograph and also a meticulously produced digital print that might have taken hours just to setup the image capture and more hours to thoroughly manipulate the RIP software and printer calibrations to produce a masterful faithful reproduction on fine art paper or canvas, then the industry has a problem.

It's only taken a short time to marginalize the term

In a nutshell, the term "giclée" has become nearly as generic as Kleenex. Did you know that the words aspirin, thermos and fridge all started as a trademarked name and look at them now. Giclée itself has never been trademarked. But there are many companies now trying to incorporate it into a trademark, Tru Giclée, UltraGiclée and a handful of others are being bandied about as companies such as Epson attempt to get their brand into the process. News flash, these marketing maneuvers are not going to help the industry as a whole; collectors are never going to clamor for an UltraGiclee or any other trademarked process. They will continue to trust dealers and gallerists to guide them to purchases based on their interest in the artist and the art.

Another debate regarding digital printing is there are those who think it is bad for business for companies such as Epson and H-P to be exhibiting at shows such as ArtExpo. They believe it confounds the pubic, confuses artists and does nothing to elevate the process. Remember, the whole reason giclée got into the vernacular was an attempt to move away from techie terms like computer generated digital print. That sounds like something you can make at home whereas giclée has that hoity-toity je ne sais quoi quality to it.

Does the term serve your needs today?

I don't blame anyone for using the term giclée, but I also don't blame those artists and printers who are moving away from it either now that it has come full circle and no longer has the cachet of something special. To be honest, seeing pixellated digital prints from well known highly publicized artists at ArtExpo adds yet more negativity and cynicism around the giclée moniker.  That's another post, but anyone looking at this can see it is problematic for the business.

Back in the day long before the first digital print hit the market when Bill Humberg was editor and publisher of Decor magazine, there was terminology used to delineate a fine art print such as an etching, mezzotint, etc., from a reproduction. Graphics were used to describe high-end pieces designed as originals in the print medium of choice, i.e., serigraphs, linocuts and so forth. Prints was used to describe those pieces that were reproductions. At that time they were primarily offset lithography on paper. Even then you saw poster publishers using graphics in their company names, but at least there was an effort to bring order to the confusing array of terminology.

Lack of governance means its the wide open west when it comes to adopting standards

The problems with getting everyone in the industry to use standards for descriptions will never cease. There is no governing body, no real authority to monitor usage and make positive changes where necessary. Where we go from here is anybody's guess. As individuals you can help by becoming and staying informed about correct terminology, printing processes and the business of the art print market. If you can clearly articulate what is a giclée to a lay person, you will help yourself and the industry in the process. If you can suggest changes to someone using the term inappropriately, you will help. With the ease of access to voluminous information available to all consumers these days, it's more important than ever for all involved to be forthright and clear on what we are selling to the public. It's harder to fool them, although my recent posts on convicted felons Kristine Eubanks and husband Gerald Sullivan and cruise ship art auctions belies that notion.

If you have followed my musings, you know I champion having open editions on giclées unless the editions are truly limited to very small sizes such as 95. Consumers realize it's easy to run off more copies once an image is digitized. With open editions, there is never the worry that more than the stated edition size was sold...it is a non-issue. To me, the issue ought to be selling the intrinsic value of the art on the paper or canvas without having to resort to a limited edition marketing gimmick.

The need and desire for limited editions will never completely pale

There will always be a place for limited editions, I just believe the giclée market is not the right place for them. Some limited edition prints might sell well for years if they were open. Imagine how much money is left on the table when something like that happens. Sure an artist can continue to paint more like before, but there is magic with some pieces that can't be recaptured. Often neither artist or publisher can say with authority that a certain piece will get legs and sell through the roof. But experienced ones know it happens and they can count on it, but can't tell you why. Limited edition giclées shut the door on such possibilities.

See you soon!

If you want to follow the comments follow this link: http://www.artprintissues.com/2007/04/what_is_a_gicle.html

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

Poor desciptions and explanations are a detriment to true acceptance

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.

The information to learn about the word and its genesis is easily available

There isn't enough space here to go into the history and meaning of the word. However, I do commend to you the following information and strongly suggest any who are truly interested in understanding what a digital print or giclée is to spend time with these links. They provide the best most accurate detailed history I've seen. It is from Harald Johnson, author of Mastering Digital Printing (Digital Process and Print). Johnson generously offers these excerpts on his Web site pulled from the above-mentioned book: What's in a Name: The True Story of "Giclée" and Digital, Fine Art Printing Comes of Age.

If there is a soapbox here, it comes from the frustration some artists and printers have with the loose use of giclée to represent digital fine art reproductions. When a term can be used to describe a homemade print coming off an Epson desktop printer based a low resolution digital photograph or worse, an image scanned from a garden variety photograph and also a meticulously produced digital print that might have taken hours just to setup the image capture and more hours to thoroughly manipulate the RIP software and printer calibrations to produce a masterful faithful reproduction on fine art paper or canvas, then the industry has a problem.

It's only taken a short time to marginalize the term

In a nutshell, the term "giclée" has become nearly as generic as Kleenex. Did you know that the words aspirin, thermos and fridge all started as a trademarked name and look at them now. Giclée itself has never been trademarked. But there are many companies now trying to incorporate it into a trademark, Tru Giclée, UltraGiclée and a handful of others are being bandied about as companies such as Epson attempt to get their brand into the process. News flash, these marketing maneuvers are not going to help the industry as a whole; collectors are never going to clamor for an UltraGiclee or any other trademarked process. They will continue to trust dealers and gallerists to guide them to purchases based on their interest in the artist and the art.

Another debate regarding digital printing is there are those who think it is bad for business for companies such as Epson and H-P to be exhibiting at shows such as ArtExpo. They believe it confounds the pubic, confuses artists and does nothing to elevate the process. Remember, the whole reason giclée got into the vernacular was an attempt to move away from techie terms like computer generated digital print. That sounds like something you can make at home whereas giclée has that hoity-toity je ne sais quoi quality to it.

Does the term serve your needs today?

I don't blame anyone for using the term giclée, but I also don't blame those artists and printers who are moving away from it either now that it has come full circle and no longer has the cachet of something special. To be honest, seeing pixellated digital prints from well known highly publicized artists at ArtExpo adds yet more negativity and cynicism around the giclée moniker.  That's another post, but anyone looking at this can see it is problematic for the business.

Back in the day long before the first digital print hit the market when Bill Humberg was editor and publisher of Decor magazine, there was terminology used to delineate a fine art print such as an etching, mezzotint, etc., from a reproduction. Graphics were used to describe high-end pieces designed as originals in the print medium of choice, i.e., serigraphs, linocuts and so forth. Prints was used to describe those pieces that were reproductions. At that time they were primarily offset lithography on paper. Even then you saw poster publishers using graphics in their company names, but at least there was an effort to bring order to the confusing array of terminology.

Lack of governance means its the wide open west when it comes to adopting standards

The problems with getting everyone in the industry to use standards for descriptions will never cease. There is no governing body, no real authority to monitor usage and make positive changes where necessary. Where we go from here is anybody's guess. As individuals you can help by becoming and staying informed about correct terminology, printing processes and the business of the art print market. If you can clearly articulate what is a giclée to a lay person, you will help yourself and the industry in the process. If you can suggest changes to someone using the term inappropriately, you will help. With the ease of access to voluminous information available to all consumers these days, it's more important than ever for all involved to be forthright and clear on what we are selling to the public. It's harder to fool them, although my recent posts on convicted felons Kristine Eubanks and husband Gerald Sullivan and cruise ship art auctions belies that notion.

If you have followed my musings, you know I champion having open editions on giclées unless the editions are truly limited to very small sizes such as 95. Consumers realize it's easy to run off more copies once an image is digitized. With open editions, there is never the worry that more than the stated edition size was sold...it is a non-issue. To me, the issue ought to be selling the intrinsic value of the art on the paper or canvas without having to resort to a limited edition marketing gimmick.

The need and desire for limited editions will never completely pale

There will always be a place for limited editions, I just believe the giclée market is not the right place for them. Some limited edition prints might sell well for years if they were open. Imagine how much money is left on the table when something like that happens. Sure an artist can continue to paint more like before, but there is magic with some pieces that can't be recaptured. Often neither artist or publisher can say with authority that a certain piece will get legs and sell through the roof. But experienced ones know it happens and they can count on it, but can't tell you why. Limited edition giclées shut the door on such possibilities.

See you soon!

If you want to follow the comments follow this link: http://www.artprintissues.com/2007/04/what_is_a_gicle.html

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

Poor desciptions and explanations are a detriment to true acceptance

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.

The information to learn about the word and its genesis is easily available

There isn't enough space here to go into the history and meaning of the word. However, I do commend to you the following information and strongly suggest any who are truly interested in understanding what a digital print or giclée is to spend time with these links. They provide the best most accurate detailed history I've seen. It is from Harald Johnson, author of Mastering Digital Printing (Digital Process and Print). Johnson generously offers these excerpts on his Web site pulled from the above-mentioned book: What's in a Name: The True Story of "Giclée" and Digital, Fine Art Printing Comes of Age.

If there is a soapbox here, it comes from the frustration some artists and printers have with the loose use of giclée to represent digital fine art reproductions. When a term can be used to describe a homemade print coming off an Epson desktop printer based a low resolution digital photograph or worse, an image scanned from a garden variety photograph and also a meticulously produced digital print that might have taken hours just to setup the image capture and more hours to thoroughly manipulate the RIP software and printer calibrations to produce a masterful faithful reproduction on fine art paper or canvas, then the industry has a problem.

It's only taken a short time to marginalize the term

In a nutshell, the term "giclée" has become nearly as generic as Kleenex. Did you know that the words aspirin, thermos and fridge all started as a trademarked name and look at them now. Giclée itself has never been trademarked. But there are many companies now trying to incorporate it into a trademark, Tru Giclée, UltraGiclée and a handful of others are being bandied about as companies such as Epson attempt to get their brand into the process. News flash, these marketing maneuvers are not going to help the industry as a whole; collectors are never going to clamor for an UltraGiclee or any other trademarked process. They will continue to trust dealers and gallerists to guide them to purchases based on their interest in the artist and the art.

Another debate regarding digital printing is there are those who think it is bad for business for companies such as Epson and H-P to be exhibiting at shows such as ArtExpo. They believe it confounds the pubic, confuses artists and does nothing to elevate the process. Remember, the whole reason giclée got into the vernacular was an attempt to move away from techie terms like computer generated digital print. That sounds like something you can make at home whereas giclée has that hoity-toity je ne sais quoi quality to it.

Does the term serve your needs today?

I don't blame anyone for using the term giclée, but I also don't blame those artists and printers who are moving away from it either now that it has come full circle and no longer has the cachet of something special. To be honest, seeing pixellated digital prints from well known highly publicized artists at ArtExpo adds yet more negativity and cynicism around the giclée moniker.  That's another post, but anyone looking at this can see it is problematic for the business.

Back in the day long before the first digital print hit the market when Bill Humberg was editor and publisher of Decor magazine, there was terminology used to delineate a fine art print such as an etching, mezzotint, etc., from a reproduction. Graphics were used to describe high-end pieces designed as originals in the print medium of choice, i.e., serigraphs, linocuts and so forth. Prints was used to describe those pieces that were reproductions. At that time they were primarily offset lithography on paper. Even then you saw poster publishers using graphics in their company names, but at least there was an effort to bring order to the confusing array of terminology.

Lack of governance means its the wide open west when it comes to adopting standards

The problems with getting everyone in the industry to use standards for descriptions will never cease. There is no governing body, no real authority to monitor usage and make positive changes where necessary. Where we go from here is anybody's guess. As individuals you can help by becoming and staying informed about correct terminology, printing processes and the business of the art print market. If you can clearly articulate what is a giclée to a lay person, you will help yourself and the industry in the process. If you can suggest changes to someone using the term inappropriately, you will help. With the ease of access to voluminous information available to all consumers these days, it's more important than ever for all involved to be forthright and clear on what we are selling to the public. It's harder to fool them, although my recent posts on convicted felons Kristine Eubanks and husband Gerald Sullivan and cruise ship art auctions belies that notion.

If you have followed my musings, you know I champion having open editions on giclées unless the editions are truly limited to very small sizes such as 95. Consumers realize it's easy to run off more copies once an image is digitized. With open editions, there is never the worry that more than the stated edition size was sold...it is a non-issue. To me, the issue ought to be selling the intrinsic value of the art on the paper or canvas without having to resort to a limited edition marketing gimmick.

The need and desire for limited editions will never completely pale

There will always be a place for limited editions, I just believe the giclée market is not the right place for them. Some limited edition prints might sell well for years if they were open. Imagine how much money is left on the table when something like that happens. Sure an artist can continue to paint more like before, but there is magic with some pieces that can't be recaptured. Often neither artist or publisher can say with authority that a certain piece will get legs and sell through the roof. But experienced ones know it happens and they can count on it, but can't tell you why. Limited edition giclées shut the door on such possibilities.

See you soon!

If you want to follow the comments follow this link: http://www.artprintissues.com/2007/04/what_is_a_gicle.html

Mostly Art Business Retweetables Volume Two

I find myself exposed to far more items of interest than I can possibly blog about. Twitter has been a great way to pass the best of what I find along. But, Twitter is much like listening to the radio. If you aren't tuned in at the moment, you don't get turned on to the content coming your way. Using the blog this is a way to encapsulate them for you.

These tweets, as they are called in Twitterland, are culled from what I think are the best and most worthy to pass along for your enjoyment, enlightenment and elucidation:

• This moving music vid compilation is so inspirational. Ben E. King would be proud to stand by it. Thx JD http://bit.ly/odSTg
• What Does it Mean to Make Commercial Work Too? http://bit.ly/e5clE
• 100 of the late Charlie Harper works found - I love his unique whimsical style. This is great news! http://bit.ly/9EmTk
• Checking out It’s Not the Recession, You Just Suck - http://outspokenmedia.com/s2a2 Ballsy take for sure!
• Uncool. @msofficeus is using Word to render emails in Outlook, killing standards support. See http://fixoutlook.org and RT
• "You can be better than you have ever been" John Gorka Morningside http://bit.ly/s6DSp
• RT GuyKawasakiTwitter users buy more music than average internet Joes: http://trkk.us/?gZq AC What about #art ?
• Ambition will where talent will not. We root for the underdogs and buy the winners. Never sell with your wallet. Offer Big! - Barney Davey said that
• Closed Car Dealership Finds New Life as an Art Gallery http://bit.ly/MJ1iv
• Fun film on typography. If you design create or direct design, you need solid typography skills http://bit.ly/102Drp
• Pics from Phoenix pub art project, Her Patience Is Waiting. Must be seen. Big file takes time to load but worth it http://twurl.nl/r132kv
• The Business of Art opens at The Art Gallery - What a unique idea to present artists! Check it out. http://twurl.nl/a3huf8
• $2.1 million suit against Thomas Kinkade upheld - one commenter dubs him Painter of Sleight http://twurl.nl/u1bnct
• 9 Reasons Your Website Can Have a High Bounce Rate http://twurl.nl/1h4ltu
• Art is a gift to the future. With any luck and a little conservation, it will last much longer than the artist.undefined - Barney Davey said that.
• Is an art kiosk an idea you can get behind? For the right artists, this could be fun and profitable! http://twurl.nl/n2dlo5
• Peter Green - Albatross this sweet soulful peaceful instrumental sweeps you away-works for me every time http://twurl.nl/eljggz
• The demise of arts education? Not so fast. http://twurl.nl/qhgrkl - This is encouraging news. We need more of it
• I take issue with using confusing terms such as Original Giclee (Reproduction prints). Huh? http://twurl.nl/dgo324

• What kind of art gallery has giant televisions showing the NBA playoffs? Is bold alternative marketing in your future? http://bit.ly/bVJVp