Hello, dear readers and subscribers; welcome to our complete webinar on how to organize your art exhibition professionally. As promised, below is a list of all the resources I referred to throughout this video. Enjoy! Consult the complete article here: www.contemporaryartissue.com/how-to-organize-a-successful-art-exhibition/ Video discussing the power of appearances: ruclips.net/video/r_WsxMRqECs/видео.html Central contact list template: www.contemporaryartissue.com/product/cai-central-contact-list-word-excel/ Catalog with available works template: www.contemporaryartissue.com/product/catalog-with-available-works-template-word-pdf/ Overview of career tools for artists: www.contemporaryartissue.com/career-tools-for-artists/ If you have any further questions, I look forward to answering them here in the comment section. Chat soon! All my best, Julien & Perrier
…. And… I clearly remember the moment in my life where it did seem that looking at the little labels next to the artwork were drawing me in so much. I decided to stop reading them first off… noticing kinda how funny it was to watch others reading the labels so much. They rarely are of appropriate quality and design to flatter each work. Isn’t there a painting in history illustrating this phenomenon… ? We get spoon fed so much information already. … I am grateful to get this insight here.
Here’s a tip: Don’t spill wine on the first person who ever buys one of your paintings. Try not to get too excited and wave your arms sending the contents of your wine glass onto the arm of the nice lady who bought your diptych.
Haha! You are too kind Julien. 🙂 Glad you appreciate my tip. Thanks for your ever valuable videos. We all appreciate your hard work and sage advice. See you soon!
I'm impressed by this content. Your advice may seem obvious, but there are things you brought up that I've overlooked on my previous exhibitions. Even the smallest of details matter. Kudos.
Personally I find it frustrating when art has no information label next to it. What could possibly be the benefit of having to memorize the list on the wall and match the information to the art at the other end of the room? I just had a show where the gallery didn't use labels but had a list on the wall near the back of the gallery. No one at the opening knew what piece corresponded to what information on the list. Crazy to me.
I agree however the work stands on it’s own or not at all, period. Perhaps a brochure that has information on each piece and map of it’s location. CAI is correct here as to the singular focus being the work and it’s power. Anything that is in the area may pull away the eye. To be fair I have seen museums place small placards next to master works. Sounds like your set on your opinion and this reinforced by your own personal experience. Next show ask your dealer to place a placard with the information you want. If they respect your work they will respect you. I have left serval galleries in my career on principle. It’s your work, it’s your world, you shape it. As Julien says here good artist get it right. What happens if we get it wrong? We suffer for it and put that into the art. We grow, we learn.
It can also be very refreshing to look at the works for what they are without the context and title. All too often, people are drawn like flies to a candied apple to those labels, spending more time reading about it than experiencing it. Of course, having to memorize the information is ridiculous, and it seems like the gallery you mentioned did not get it right. I prefer to have a pile of checklists and press releases to take with you and by doing so, you can keep the walls clean.
@@contemporaryartissue As a possible viewer of the exhibition, I would prefer not to be disciplined into a correct way of viewing the works. I like to read any information the artist has provided about the work, and I'm not going to wander around looking for a wall notice or catalogue somewhere else. Too authoritarian.
Wonderful as always so much needed information. The work must be respected. That the viewer perceives this is of great importance. All the things said here support that effort.
Awesome advice! I have my first solo show in July at Pleiades Gallery, in Chelsea NYC, and I intend to follow all of your information here. Thanks for posting.
Hi Janet, the pleasure is all mine. I trust you are enjoying summer as well-for now, here in Belgium, we are having the most rain Spring since the 1960s, so things can only get better! Cheers, Julien
The non label thing is very important. That's where the galleries come in. Or there are packets or exhibition books at the door but mainly the gallerists should be able to talk about the work with no labels or no long lables just name date title and price. Its a matter of selling. And if no one in the Gallery is studying your work to understand it and interacting with clients on your behalf to market your work and sell it find a new Gallery .
I have been working on a photo series for the past three years and was planning to exhibit this summer. I live in a small rural town in Northern California and there’s no options with a place to exhibit. I don’t really know what I’ll do but this video helped me prepare for the other parts of the exhibit
My advice is please have non reflective glass on your photo exhibition if possible. I’m constantly disappointed at photo exhibitions where there so much reflection of everything in the room when looking at the work it’s a big distraction.
As a 40+ year professional artist, designer and independent curator he's wrong about not printing out exhibition graphics to physically post around not be necessary (or extra cost). First we don't know everyone in the world or in the city where your exhibit is showing. Posting printed fliers/posters in various cafe's, cultural centers, college and church boards and many other community and cultural spaces. This will catch arts patrons, other gallery owners/managers and collectors who don't know you and therefore won't know to go to your social media sites. There are many 1000s of people who don't do social media or are so busy they don't have time for that. Basically, always plan to print out 50-100 fliers/posters. Many times the gallery, museum and center hosting your work will cover the cost. With all the printing services out there, high quality printer graphics can be really affordable ($25-$60).
Yes, you could also print the flyers, as we mentioned in the video-just not the posters. If it is a real gallery show, the flyers are always the gallery's responsibility. Thank you for tuning in!
Hello, Is it okay to talk about a contemporary artist on a RUclips channel? Of course, by giving his name and necessary information about him. Is it legally okay? ❤
Thank you for you advice! I do have a question: my first solo show in a cultural centre is coming up, but I don't have the budget for framing 30 works properly with museumglas etc. I make work on paper, it really needs to be frame for protection and it also needs a passe-partout. Do you have tips on that? There is no budget from the cc itself, I have to pay for it myself. That would mean about 3600 euro's. How do people even do that as an emerging artist?
Hi Femke, thank you for tuning in, and congratulations on your first solo show! First and foremost, 30 works is A LOT! Perhaps the selection is too extensive, and the space will be too packed? 10 to 15 works is most often enough for a solo show, but of course, it also depends on the work itself and the space. This would already be half the cost of presenting them properly and maintaining a high-end standard in terms of the presentation. Work on paper is often less expensive to create but, in the end, more expensive to exhibit-despite being in a slightly lower price range in comparison with painting. Further, when the budget is tight, make sure to have fixed sizes so you can reuse them in the foreseeable future. With 15 frames, you could showcase 60 works across four shows. Then, the cost becomes worth it. Another option is to create your frames yourself and perhaps show the work without the glass and with the paper being hung in a floating frame with a white backboard, which can visually replace the role of the passe-partout. Hopefully, these suggestions and thoughts can help you overcome this financial hurdle. Becoming an artist requires investment, which is especially hard in the early days when there is no real turnover yet. I would say show 10 or 15 works, pay around €1200-€1800 for the frames, and reuse them in the future! All my best, Julien
Most modern art substitutes weird for quality, narrow isms for scope, and trendy for depth. It also refuses to change or even talk about progressive ideas in art like those that follow Too many treat art as a marketing scheme. Modern art has become a trendy clique and the art now is mostly over promoted footnotes to greater art that was done 100 years ago. But art is too important to be reduced to a trendy clique. Post-ism, is art for a new century, not a continuation of last century trends. 1 Mass Market Paintings like Prints. When any art form is mass marketed it enters a golden age. This has happened with books, records, and film. Let's add paintings. Most art is in storage in museum basements. Mass Marketing allows art to tour in copies and allows artists to make royalties on copies. Why do you think the world gets so excited about a new great book, record, or film; but no one cares about a new great painting? All are mass produced except the painting. 2. End a Century of Isms. Dump the genres and formulas and let all kinds of art be a part of the art world. 3. Shift Emphasis From Trendy to Quality. Shift emphasis from the latest trendy art, to quality art in any style. Just because art is weird does not mean it is great art. 4. Free the Art From Museums and Galleries. Get the art out of the ivory elitist museum and gallery towers and back into the world. Have city art centers open to all artists. Make art that is relevant and communicates with people. Start with the first generation of artists online. 5. Postism is Part of a Bigger Revolution. Postism is part of the bigger art and media revolution out of Dallas, that includes art, music, lit, film, media, and a lot more. 6. Postism online: Online artists are the new wave of art. We had all the isms of last century. Now we have a free for all, of all kinds of artists, that are not sanctioned by any museum or gallery, displaying their work. Out of that comes the next wave and revolution of artists. Last century the goal was to fit the ism. This century the goal is to do great art - no ism, no boundaries. Fractionalized art then, synchronized art now. Even calling something modern art is a type of ism that separates that art from the art of the past. The 20th century was a century of experimentation in art. Now in the 21st we can choose from all those styles and / or start one of our own. Then too if someone devises a way to charge and collect a penny per view on a webpage, that would allow any great artist to get money for their art and have a career without any middlemen. Duchamp broke ground 100 years ago - but now his clones are just shoveling dirt. Weird art is easy, you put a strip of raw bacon across an expensive violin, but it's not good art. Join the art revolution and pull the art world out of last century. Musea since 1992.
12:09 "So don't think too much about the sales. Think about the quality of the exhibition first and the sales will follow." Sage advice and right before my scheduled exhibition, thank you!
I disagree about putting labels. It really frustrates me in commercial galleries that there is no context or explanation of the work and tit's meaning. It should be accessible
I agree. We put wall cards to the bottom right corner next to every artwork with the title, size, and a QR code that links to the piece on the website. We don't list pricing though.
It is accessible via the press release and checklist/catalog, however. It can also be very refreshing to look at the works for what they are, without the context and title, before consulting the metadata in the checklist. All too often, people are drawn like flies to a candied apple to those labels, spending more time reading about it than experiencing it. Also, I prefer a checklist so you can take one with you and don't feel like you're occupying the catalog for too long. And by doing so, you can keep the walls clean.
I find that labels loon ugly and commercial and doesn’t do the work itself justice. And it’s important to “dare” to look at a work based on your immediate attraction to it, instead of needing to “know” with your logical mind right away. You can just look it up in the catalogue a moment later to find name, artist, context, price if for sale, etc.
Yes, the metadata is important-yet I prefer to have them in my hands with the checklist, press release, or catalog. All too often, people are drawn like flies to a candied apple to those labels, spending more time reading about it than experiencing it. I think it can also be very refreshing to look at the works for what they are without the context and title, and to have the walls entirely clean. Thank you for tuning in!
@@contemporaryartissue These sources you refer to, the press release etc. - do you bring them with you? Are we to do our homework before coming to the exhibition? People do buy art on a whim sometimes - I've done it myself.
@@lobstermash They should be available in the gallery space right at the entrance. A stack with press releases and a stack with check lists. So no need to do your homework as the visitor. Thank you for watching!
I was wondering what the process of a purchase looks like and what tools I need to allow a collector to buy one of my pieces. Is this a formal process? Do I need signatures showing that the piece has transfered ownership?
Hi there; thank you for tuning in. Definitely do your research first. A simple Google search can be a great start to finding exhibition spaces nearby or ask other artists who have been living and working in the city for a while. Wishing you all the best!
@@contemporaryartissue I am doing very well, Julien. I've already scheduled three (!) personal shows over the next few months. Even though they will be in modest locations, it's better than nothing. Your valuable advice will definitely help me make fewer mistakes. Thanks again, and I'm always looking forward to your high-quality content.
Hello, dear readers and subscribers; welcome to our complete webinar on how to organize your art exhibition professionally. As promised, below is a list of all the resources I referred to throughout this video. Enjoy!
Consult the complete article here: www.contemporaryartissue.com/how-to-organize-a-successful-art-exhibition/
Video discussing the power of appearances: ruclips.net/video/r_WsxMRqECs/видео.html
Central contact list template: www.contemporaryartissue.com/product/cai-central-contact-list-word-excel/
Catalog with available works template: www.contemporaryartissue.com/product/catalog-with-available-works-template-word-pdf/
Overview of career tools for artists: www.contemporaryartissue.com/career-tools-for-artists/
If you have any further questions, I look forward to answering them here in the comment section. Chat soon!
All my best,
Julien & Perrier
the dog 😍😍😍
🐶👋
…. And… I clearly remember the moment in my life where it did seem that looking at the little labels next to the artwork were drawing me in so much. I decided to stop reading them first off… noticing kinda how funny it was to watch others reading the labels so much.
They rarely are of appropriate quality and design to flatter each work.
Isn’t there a painting in history illustrating this phenomenon… ? We get spoon fed so much information already. …
I am grateful to get this insight here.
Exactly! In the end, it's about the artwork-it should be our main focus and be able to stand alone. Have a great day, Janet!
Here’s a tip: Don’t spill wine on the first person who ever buys one of your paintings. Try not to get too excited and wave your arms sending the contents of your wine glass onto the arm of the nice lady who bought your diptych.
This is very, very specific advice!
Forget the video; this advice is a lot more important. Thank you for this essential contribution. :-)
Haha! You are too kind Julien. 🙂 Glad you appreciate my tip.
Thanks for your ever valuable videos. We all appreciate your hard work and sage advice. See you soon!
I'm impressed by this content. Your advice may seem obvious, but there are things you brought up that I've overlooked on my previous exhibitions. Even the smallest of details matter. Kudos.
Thank you so much, wishing you all the best!
Give yourself at least a year to get all this together.
Absolutely, especially for your first show. Thank you for tuning in!
Your dog is everything.
She is! 👋🐶
Your videos have been extremely informative. Thank you
Very good advice. Thank you, Julien!
Such great advice for artists, can't thank you enough!
The pleasure is all mine, Chad, I trust you are doing well!
Personally I find it frustrating when art has no information label next to it. What could possibly be the benefit of having to memorize the list on the wall and match the information to the art at the other end of the room? I just had a show where the gallery didn't use labels but had a list on the wall near the back of the gallery. No one at the opening knew what piece corresponded to what information on the list. Crazy to me.
I agree however the work stands on it’s own or not at all, period. Perhaps a brochure that has information on each piece and map of it’s location. CAI is correct here as to the singular focus being the work and it’s power. Anything that is in the area may pull away the eye. To be fair I have seen museums place small placards next to master works. Sounds like your set on your opinion and this reinforced by your own personal experience. Next show ask your dealer to place a placard with the information you want. If they respect your work they will respect you. I have left serval galleries in my career on principle. It’s your work, it’s your world, you shape it. As Julien says here good artist get it right. What happens if we get it wrong? We suffer for it and put that into the art. We grow, we learn.
It can also be very refreshing to look at the works for what they are without the context and title. All too often, people are drawn like flies to a candied apple to those labels, spending more time reading about it than experiencing it. Of course, having to memorize the information is ridiculous, and it seems like the gallery you mentioned did not get it right. I prefer to have a pile of checklists and press releases to take with you and by doing so, you can keep the walls clean.
@@contemporaryartissue As a possible viewer of the exhibition, I would prefer not to be disciplined into a correct way of viewing the works. I like to read any information the artist has provided about the work, and I'm not going to wander around looking for a wall notice or catalogue somewhere else. Too authoritarian.
@@lobstermash The catalog and checklist should be right at the entrance of the gallery-so need to wander around, nor is it about being disciplined.
Wonderful as always so much needed information. The work must be respected. That the viewer perceives this is of great importance. All the things said here support that effort.
Thank you so much, Daniel. The pleasure is all mine 🙏
Such valuable information, thank you so much.
Awesome advice! I have my first solo show in July at Pleiades Gallery, in Chelsea NYC, and I intend to follow all of your information here. Thanks for posting.
Hi David, that's great, wishing you all the best!
Thanks you so much for sharing your knowledge!
The pleasure is all mine, thank you for tuning in!
Very informative.
Love your videos. Always so informative.
Love your Dog.
Thank you, she's the best!
Thank you for your work Julien. Merci Perrier… for your time. Trust you are enjoying summer days there. Cheers. Since, Janet
Hi Janet, the pleasure is all mine. I trust you are enjoying summer as well-for now, here in Belgium, we are having the most rain Spring since the 1960s, so things can only get better! Cheers, Julien
@@contemporaryartissue 😹🌸🌈☀️
I love your dog
Thank you, greetings from us both! 👋🐶
This dog is going to know more about art than most graduates
😂😂😂🎯
Seeing the puppy feels therapeutic while I think pensively about art and art exhibits lol😂
😅👋🐶🙌
The non label thing is very important. That's where the galleries come in. Or there are packets or exhibition books at the door but mainly the gallerists should be able to talk about the work with no labels or no long lables just name date title and price. Its a matter of selling. And if no one in the Gallery is studying your work to understand it and interacting with clients on your behalf to market your work and sell it find a new Gallery .
Agreed! Thank you for tuning in and for sharing your thoughts and this topic. Have a great day!
I have been working on a photo series for the past three years and was planning to exhibit this summer. I live in a small rural town in Northern California and there’s no options with a place to exhibit. I don’t really know what I’ll do but this video helped me prepare for the other parts of the exhibit
My advice is please have non reflective glass on your photo exhibition if possible. I’m constantly disappointed at photo exhibitions where there so much reflection of everything in the room when looking at the work it’s a big distraction.
@@r-cdmx Exactly!
Hi there, thank you for tuning in. That's terrific, wishing you all the best!
thank you 😊
First solo show in 4 weeks and I’m a wreck! Thanks for the tips…I’ll get about half of them done. Eeeeeeeeek!
As a 40+ year professional artist, designer and independent curator he's wrong about not printing out exhibition graphics to physically post around not be necessary (or extra cost).
First we don't know everyone in the world or in the city where your exhibit is showing. Posting printed fliers/posters in various cafe's, cultural centers, college and church boards and many other community and cultural spaces. This will catch arts patrons, other gallery owners/managers and collectors who don't know you and therefore won't know to go to your social media sites. There are many 1000s of people who don't do social media or are so busy they don't have time for that. Basically, always plan to print out 50-100 fliers/posters. Many times the gallery, museum and center hosting your work will cover the cost. With all the printing services out there, high quality printer graphics can be really affordable ($25-$60).
Yes, you could also print the flyers, as we mentioned in the video-just not the posters. If it is a real gallery show, the flyers are always the gallery's responsibility. Thank you for tuning in!
Great info & video
Meanwhile the cute dog is wondering why does my guy keep talking to himself😂
Exactly 😅😂
It would be interesting to hear your thoughts and opinions on virtual art galleries and utilising this new digital technology for exhibitions
The dog❤
i was wondering how most artists store their paintings or works. i could have missed it in a past video
Very good suggestion, we haven't covered this yet but will do in the future. Stay tuned :-)
🙏
Hello, Is it okay to talk about a contemporary artist on a RUclips channel? Of course, by giving his name and necessary information about him. Is it legally okay? ❤
Very good video. What will be the minimum of pieces to exhibit on a solo show ?
Salamat po
My pleasure!
Thank you for you advice! I do have a question: my first solo show in a cultural centre is coming up, but I don't have the budget for framing 30 works properly with museumglas etc. I make work on paper, it really needs to be frame for protection and it also needs a passe-partout. Do you have tips on that? There is no budget from the cc itself, I have to pay for it myself. That would mean about 3600 euro's. How do people even do that as an emerging artist?
Hi Femke, thank you for tuning in, and congratulations on your first solo show! First and foremost, 30 works is A LOT! Perhaps the selection is too extensive, and the space will be too packed? 10 to 15 works is most often enough for a solo show, but of course, it also depends on the work itself and the space. This would already be half the cost of presenting them properly and maintaining a high-end standard in terms of the presentation. Work on paper is often less expensive to create but, in the end, more expensive to exhibit-despite being in a slightly lower price range in comparison with painting. Further, when the budget is tight, make sure to have fixed sizes so you can reuse them in the foreseeable future. With 15 frames, you could showcase 60 works across four shows. Then, the cost becomes worth it. Another option is to create your frames yourself and perhaps show the work without the glass and with the paper being hung in a floating frame with a white backboard, which can visually replace the role of the passe-partout. Hopefully, these suggestions and thoughts can help you overcome this financial hurdle. Becoming an artist requires investment, which is especially hard in the early days when there is no real turnover yet. I would say show 10 or 15 works, pay around €1200-€1800 for the frames, and reuse them in the future! All my best, Julien
@@contemporaryartissue thank you so much for your advice! I really appreciate it!
How do we curate our own work?
!!!
I am curios as to who the artist is in the thumbnail.
The great work by Judit Reigl for the exhibition "Artistic License" at the Guggenheim in New York. Thank you for tuning in.
Most modern art substitutes weird for quality, narrow isms for scope, and trendy for depth. It also refuses to change or even talk about progressive ideas in art like those that follow
Too many treat art as a marketing scheme. Modern art has become a trendy clique and the art now is mostly over promoted footnotes to greater art that was done 100 years ago. But art is too important to be reduced to a trendy clique.
Post-ism, is art for a new century, not a continuation of last century trends.
1 Mass Market Paintings like Prints. When any art form is mass marketed it enters a golden age. This has happened with books, records, and film. Let's add paintings. Most art is in storage in museum basements. Mass Marketing allows art to tour in copies and allows artists to make royalties on copies.
Why do you think the world gets so excited about a new great book, record, or film; but no one cares about a new great painting? All are mass produced except the painting.
2. End a Century of Isms. Dump the genres and formulas and let all kinds of art be a part of the art world.
3. Shift Emphasis From Trendy to Quality. Shift emphasis from the latest trendy art, to quality art in any style. Just because art is weird does not mean it is great art.
4. Free the Art From Museums and Galleries. Get the art out of the ivory elitist museum and gallery towers and back into the world. Have city art centers open to all artists. Make art that is relevant and communicates with people. Start with the first generation of artists online.
5. Postism is Part of a Bigger Revolution. Postism is part of the bigger art and media revolution out of Dallas, that includes art, music, lit, film, media, and a lot more.
6. Postism online: Online artists are the new wave of art. We had all the isms of last century. Now we have a free for all, of all kinds of artists, that are not sanctioned by any museum or gallery, displaying their work. Out of that comes the next wave and revolution of artists.
Last century the goal was to fit the ism. This century the goal is to do great art - no ism, no boundaries. Fractionalized art then, synchronized art now. Even calling something modern art is a type of ism that separates that art from the art of the past.
The 20th century was a century of experimentation in art. Now in the 21st we can choose from all those styles and / or start one of our own.
Then too if someone devises a way to charge and collect a penny per view on a webpage, that would allow any great artist to get money for their art and have a career without any middlemen.
Duchamp broke ground 100 years ago - but now his clones are just shoveling dirt. Weird art is easy, you put a strip of raw bacon across an expensive violin, but it's not good art.
Join the art revolution and pull the art world out of last century.
Musea since 1992.
assistant director is always sleepy :)
Today art has got an industry. Immense production of 'crap'...
This stuff of showing makes my tummy upset. Ugh.
12:09 "So don't think too much about the sales. Think about the quality of the exhibition first and the sales will follow." Sage advice and right before my scheduled exhibition, thank you!
Perfect timing! Wishing you the very best 💪
I disagree about putting labels. It really frustrates me in commercial galleries that there is no context or explanation of the work and tit's meaning. It should be accessible
I agree. We put wall cards to the bottom right corner next to every artwork with the title, size, and a QR code that links to the piece on the website. We don't list pricing though.
It is accessible via the press release and checklist/catalog, however. It can also be very refreshing to look at the works for what they are, without the context and title, before consulting the metadata in the checklist. All too often, people are drawn like flies to a candied apple to those labels, spending more time reading about it than experiencing it. Also, I prefer a checklist so you can take one with you and don't feel like you're occupying the catalog for too long. And by doing so, you can keep the walls clean.
I find that labels loon ugly and commercial and doesn’t do the work itself justice. And it’s important to “dare” to look at a work based on your immediate attraction to it, instead of needing to “know” with your logical mind right away. You can just look it up in the catalogue a moment later to find name, artist, context, price if for sale, etc.
As a passionate art collector I love labels on art works. Price, title, artist name and date of completion are basics I expect when looking at work.
Yes, the metadata is important-yet I prefer to have them in my hands with the checklist, press release, or catalog. All too often, people are drawn like flies to a candied apple to those labels, spending more time reading about it than experiencing it. I think it can also be very refreshing to look at the works for what they are without the context and title, and to have the walls entirely clean. Thank you for tuning in!
@@contemporaryartissue These sources you refer to, the press release etc. - do you bring them with you? Are we to do our homework before coming to the exhibition? People do buy art on a whim sometimes - I've done it myself.
@@lobstermash They should be available in the gallery space right at the entrance. A stack with press releases and a stack with check lists. So no need to do your homework as the visitor. Thank you for watching!
I was wondering what the process of a purchase looks like and what tools I need to allow a collector to buy one of my pieces. Is this a formal process? Do I need signatures showing that the piece has transfered ownership?
Great question; we cover this topic thoroughly in the following video: ruclips.net/video/RU0rSnqO3LY/видео.html Have a great day!
Thank you so much!
Question: what avenues to take for finding exhibit space when you are new to a city?
Excellent question!❤
Hi there; thank you for tuning in. Definitely do your research first. A simple Google search can be a great start to finding exhibition spaces nearby or ask other artists who have been living and working in the city for a while. Wishing you all the best!
Very valuable information
$. This was perfect.
Thank you 🙏
Another great video!
Great topic, Julien! Thanks for such useful information, as always 😊
Hi Eleonora, I trust you are doing well! Thank you 🙏🙌 Cheers, Julien
@@contemporaryartissue I am doing very well, Julien. I've already scheduled three (!) personal shows over the next few months. Even though they will be in modest locations, it's better than nothing. Your valuable advice will definitely help me make fewer mistakes. Thanks again, and I'm always looking forward to your high-quality content.
Your dog is so cute. I love how he/she usually faces away from the camera. Funny
Oh no🫣 are you saying no fine art fairs with tents? I'm so new and trying to become a full time artist.