The Messy Studio with Rebecca Crowell

In the last episode we talked about the importance of change in the creative process, and in the one prior to that (about blocks and lack of motivation) we mentioned that these are sometimes harbingers of change. Given how important it is in the big picture, what are some reasons we may resist it? The outside world of galleries and collectors can be a big reason we avoid change or worry about it. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast For artists that rely on sales this is a major concern. Known for something, making sales… what kind of response will you get if you change directions? Legitimate concern---yet I don’t feel it is right to let that hold you back. Once again allowing for risk-taking can lead to better results that you might imagine. We fear rejection yet if the work is better, we should proceed. It can lead to a new audience, and being seen in a better light, perhaps more developed, sophisticated, on a new level Hardest to navigate is the transitional phase when you have not yet hit stride with new stuff. Be patient and open to continuing to show older work until the new stuff has reached a similar level of accomplishment. General advice for navigating public showing of new direction: GALLERIES: may mean loss of a gallery—but galleries need to serve us as creative people just as we serve them with our work. Part of that is giving new work a chance. But even if the gallery goes along with it, it may not be right for their clientele. No guarantees with change. Need to trust in the process. It may also be a welcome change, bringing in new collectors or reviving interest from older ones. Shows your growth and seriousness you give your career, you are not just producing IN FACT the change may not be as dramatic as you perceive it to be, or there is still strong connection to older work so both may be shown together (Atlanta show) Changer is internal as well as external and you may feel it more than others see it. Big noticeable is a risk worth taking--such as moving from realistic landscapes to non-referential abstract work –could be seen as positive, interesting move by gallery OR flat out rejection. Be prepared for either. Put your work first. Know that it will find its audience. Make sure the new work is as well-developed as older stuff; don’t try to show it too early in the transitional phase or you may impede its acceptance For already-scheduled show: do you need to focus on getting the new work to the point of exhibition? It’s the usual urge--we tend to think our current work is the best and want to show that. If at a commercial gallery get their input and realize it’s a business; they may decide to hold off on the newer work or mix with older. Not good to pull a total switch if direction just before a show. Allow them time to adjust to the change if they do not embrace it. save out enough of the older work if necessary. Send images of the newer work to get the response. At a self-curated show/noncommercial—much more leeway. Set your goals and go for it. If you need to include older work and newer work in a show it can be presented as two different series-- allows viewers to make connections between the two. Consider making separate sections on your website for the two bodies of work but if not clearly related, let the older work drop off as soon as newer stuff is well underway Know that you may be asked to go back to an older style by a collector or gallery. As in, “can you do some more of those realistic landscapes?” how will you respond? Maybe fine if you’re not firmly settled into new approach, OR some people do work in more than one style, always. Individual decision. Conclusion: change is a necessary process and try to embrace it in positive ways but be prepared for some obstacles in its marketing. They may or may not happen—BUT if it’s truly a change for the better believe that good things will follow.

The creative journey is never a straight path and all artists go through times of change in their work. These are necessary but can also be frustrating and painful as you head into the unknown. Today we’re going to talk about times of change in your work and some of the challenges that artists face, including the experiences of one Chicago painter who has shared her struggle with Rebecca. http://www.joangearystudio.com/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes: “Nothing is constant but change”—good mantra for those of us in creative fields Change is holistic—affects your work, and how you view it, your market, your opportunities. Relates to previous podcast about blocks, which can be related to resisting change Necessity of change for growth, keeping ideas fresh, avoiding repetition and boredom—as artists we recognize this need and yet may shy away out of concern for other’s reactions—galleries, collectors, our own circle of family and friends I see it in workshops—the urge to move into abstraction –takes time Shows true dedication to the process Stressful if you have commitments to exhibit in the midst of change—wanting to show new work but not sure if you can pull it off in time. Go into some strategies for this in next podcast introduce Joan Geary who recently shared her struggles with change with me via email. (Friend and former student in cold wax workshops who has been struggling with change—desire to find a more personal voice and way of expressing her ideas.) Long interested in expressing light in her work but had not found her way in technical terms. Issue of form and content—cold wax artists tend to work most successfully with aspects of texture and numerous layers; many paintings tend to have a very solid presence. There are those whose work emanates light (JMS) but it’s important to find one’s own way Joan was challenged by a gallerist/friend to take her work to a new level. Felt like criticism at first but J. also saw the need herself. Realized she was stuck in a mode of trying produce work rather than keeping on exploring and growing. (Very typical and easy trap to fall into with demands and pressures on us.) Studied other painters such as Helen Frankenthaler and Emily Mason --ended up developing a new technical approach in her cold wax work, involves pouring paint onto the panel. Involved a LOT of trial and error, frustration, despair. Technical issue of finding right consistency and additives to allow paint to adhere. Chipping and flaking issues. Did research, tried a lot of things. Worked on this for about 6 months before achieving any success. Will post the painting that was successful as a result of efforts. Impressive amount of focus and determination. All while under pressure with 3 exhibits on the horizon. Excellent example of what we talked about in the podcast about being blocked. We have to be open to change or stagnate. But as Joan said, growth is painful. How to distinguish change from simply being too scattered, which is a concern for many artists. How do you know you are growing instead of spreading too thin Look for connection It can start out as random but sometimes random means intuitive—do you keep on with the idea? Ask if it feels right for you, is there something truly intriguing? Instructor once gave me a compliment -- he could see a logical connection from one group of work to the next—showing exploration, moving step by step –done intuitively, I was not aware of it. But seeing the connection was encouraging. ask if it feels right and sincere to you, while allowing for a wide view of yourself Try and see the purposeful reasons for change, it can help to define it – Take your time, no rush to get feedback or show the new work Sometimes you need to digest it alone for a while; resist urge to seek validation from a lot of people right away. Social media validation is easy to come by and can be too influential. Talk to someone you trust or keep it around long enough to feel you trust it yourself. The time of creating new work/transitional time/you are vulnerable Not to be afraid, just know that it may take some time to really understand what you are doing. The most significant changes take place somewhat slowly, organically. Can start with bold moves but takes time to understand and integrate. Realize it can change how you are viewed as an artist in positive ways. In conclusion, change is integral to the creative process, welcome it, respect it, give it time. Holisitc, affecting not only the work but how it is seen, by whom, how others see your work

www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Notes: PODCAST—Keeping it Going Intro: Several listeners have asked us to talk about how to stay motivated and on track with work in the studio. Maybe it is a reflection of the winter doldrums (which we talked about last week) but blocks and down times can happen any time of year. How do you cope with feelings of boredom and frustration that make it hard to keep working? A big topic with no right or easy answers What’s the main issue? Is it actually a problem or is it your attitude and belief that it is a problem? We think of blocks or times of low motivation as problems when holding up an ideal of always being on track, motivated, productive but is that realistic? Almost nothing in life is constantly rewarding and interesting There really are no standards of how productive you need to be—the idea that we need to paint every day can be an impediment to natural ebbs and flows Give yourself a break--consider that you are creating your own path, making something from nothing, a difficult challenge to always stay on track. Part of the creative process is incubation; sometimes just recognize that being stuck may mean you are on the threshold of something new, it’s not a bad thing, you still need to push through but you are not on a timetable (unless you have deadlines) It still may help to just give yourself time off --you may be able to find clarity then A few days or weeks apart from the studio does not mean you have failed What else causes you to be blocked: Resistance to some new idea that needs to come through Being pushed in a direction that doesn’t feel right by something outside yourself-- major cause of being blocked Recognize if you are feeling pressure from a deadline, something with a gallery, some positive or negative feedback that is getting in the way— Examine that, discuss it with someone Trying to repeat yourself—a big one. A really good painting can shut you down. Extract the ideas that interest you from the piece, it may help to put it away and not focus on its visual aspects –example from my own work Being afraid to totally change the painting—you don’t owe it to anyone to keep anything less than what you want Make a radical move Don’t second guess the urge to make change, sometimes you really have to wreck it first/creative destruction A “pretty good painting” –the temptation to check it off the list for paintings needed for a show or other commitment—but inside it does not satisfy you, may be hard to acknowledge that…. Have several going at once so you can move from one to another. Wrap-up – Ross emphasises the importance of risk taking in overcoming creative blocks Part of creative process, does not have to be a negative thing though it can feel that way –deal with it in a way that supports your own path and not someone else’s ideal of what “artists should do”

Rebecca and Ross discuss the difficulties of dealing with the extreme winter that many artists are experiencing. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Podcast notes: Getting through Winter Intro: A lot of our listeners live in places that have had a very difficult winter this year with lots of snow, below zero temperatures, and bad roads, and all of this means added stress, challenges and time-consuming chores that can interfere with the more creative aspects of life. Last week Rebecca asked our Facebook friends to comment on how they are coping with this difficult season. Today we’re going to discuss some of their answers and strategies— Winter in Wisconsin/upper Midwest--what that has been like March especially frustrating since it is spring elsewhere the realities of things like the need to shovel one’s roof, cars that won’t start, impassable streets etc. A few people weighed in from the opposite extreme of climate, very hot weather such as in Australia winter—any extremes are difficult Answers from facebook post— Winter as a time to hibernate, create, excuse to say no to things and focus on your inner life Works best if your studio is in your house And if things are basically settled and peaceful in your life Means accepting a lower activity level and smaller projects or level of ambition; enjoying a hibernating feeling One person commented that an artist’s work is always going on even when not physically making art—planning, reading, thinking Some draw inspiration from winter, such as using warmer palette or finding beauty in the starkness Difficulties: Suffering from SAD and isolation Lack of motivation Lack of exercise (other than snow shoveling!) Feeling blocked and struggling with difficult feelings of lack of worth for the work as result of emotional stress Physical difficulty getting to studio’ Frustration with deadlines that still have to be met Lack of daylight Unable to have usual ventilation/doing things outside/ interruption of usual routines to deal with weather, hard to keep a schedule Suggestions: Scale back, Accept that smaller projects done at home may be necessary at times Not planning big projects or shows; but of course, this may not be practical—life goes on Imagining this ahead of time and planning/getting set up, realizing that it may be hard to motivate from the beginning once winter sets in Look for some way to do exercise—stationary bike or other equipment mall walking, x-c ski Even a short break if possible, in better weather can help Reach out to other artists in your area, even a call or email can help Move

This week Rebecca talks with Stephanie Dalton, an Atlanta, Georgia artist who shares her experiences of grief and loss following the death of her husband Robert Cowan last May--including how this has affected her creative process. We really appreciate Stephanie's openness in discussing this difficult topic, which she offered to do in the hopes that it will help others who have suffered a similar loss. March 3 marks Rob's 53rd birthday and their 26th wedding anniversary. Stephanie asked that we broadcast her interview on this day as a way to honor her late husband. Artist website: http://daltoncowan.com/ http://daltonprojects.com www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcastSpecial Guest: Stephanie Dalton.

A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST notes: Saying YES: how to decide Follow up to Pacing Podcast— Intro: A lot of us are inclined to say yes to any art opportunity—always looking to advance our art careers and open up new pathways. But how can you keep your calendar clear enough to stay focused and do your best work? Talked in previous PC about pacing and our inclination to say yes ; overload from an abundance of opportunity’/ meeting your personal needs for time and energy What can you say no to and not hurt your good trajectory? What is smart to say yes to?? Best Attitude: A lot of this is guess work…do your best to research, understand -- but know we all make poor decisions at some point as well as good ones. Don’t beat yourself up for bad ones—this is all unknown territory as we go forward. Artists encounter a lot more of these kinds of decisions than many people. Many so-called opportunities are presented as sales pitches. A good sales pitch that you say yes to is aimed at something you actually want and is not inflated or dishonest Considerations that might lead to a NO: Not meant to be overly negative, just to help you make decisions. Is it legitimate? Previous PC about scams and schemes/has been discussed; avoid pay to play situations unless co-op, art fair Is it mainly Exposure: so often the carrot dangled in one form or another. Does the opportunity actually allow your work to stand out in some way? There are a lot of publications, vanity galleries, solicitations to show at art fairs etc. Will you just be lost in the crowd? Or is there something unique/better about this particular situation? Offering “exposure” alone is generally a red flag that you will not be compensated in any real way Putting up work in restaurants/banks etc. Be realistic, do your research. Donating time /art work: often uses exposure as hook. Only participate if you actually want to support the cause or there is tangible benefit to yourself. Are there other aspects of an offer that sound good that may not add up to much? Don’t be swayed by things like a New York location unless it is a recognized and legitimate gallery. A line on a resume is only that; meaningless if there isn;’t substance behind it that you can really use in publicity, self-promotion Overly time consuming: Very important yet hard to judge ahead of time if it is something new. Like house repairs—figure it will take at least twice as much time as you expect. If you suspect it will take too much time it probably will. Be wary of people trying to convince you it will be simple or easy. You have a Crowded schedule: related to the above Financial considerations: legit opportunities may still involve $ outlay—such as juried shows ---shipping, framing fees. Weigh possibilities of return on your investment (sales) or possibility of other gain. Will this take you anywhere? Example: Participating in group show at gallery—may lead to representation there, or sales. Juried show less likely. Quality of opportunity: is it respectful of your work and your experience? Will it add to or detract from your professional image? If you encounter really poor behavior once you agree, feel OK about withdrawing even if it means accepting some loss; cut your losses-- BIG ONE: Does the opportunity fit with your overall goals/plans? Keep your focus on what you want for your art career. For ex: if trying to get into a commercial gallery, building your resume for a while with juried shows in art centers etc. is good. But you don’t need to keep entering juried shows for years. Recognize when a stage of your career has served its purpose but is over. (juried shows, teaching workshops in venues that underpay, showing in community spaces in which you have to do all the work of publicity, reception etc.) Avoid stepping down—A gallery contacts you with interest; look at their website and have doubts about the quality f work they handle. This becomes a pretty gut response over time Say YES when: You have the opportunity to do something with a legitimate, respected venue You can identify clear benefits that you can be pretty sure of happening You have checked out the situation with an objective mindset (online, talking to other artists, evaluating your own experiences) You understand and accept any risks involved The opportunity suits your overall goals It fits your schedule Your intuition says yes—that does play a role but balance it with these other considerations Wrap up: Again, be realistic about the outcomes that are likely, do your research, avoid being overly swayed by sales pitches—there are lots of great opportunities but sadly plenty that are aimed at taking your time and money.

What activities, passions, or interests do you pursue outside your studio (art related or otherwise)? Do you think they feed your main work or focus? Rebecca and Ross discuss answers submitted on Facebook, as well as their own thoughts on the subject. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST notes: merging art and life Ross Intro: A while back Rebecca posed this question on Facebook, what activities, passions, or interests do you pursue outside your studio (art related or otherwise)? Do you think they feed your main work or focus?  The answers poured in and today we’re going to take a look at some of them-- Why I asked this question: Wanted to say something about the wholeness of our lives as artists; artist is such a large identity/passion that many of us think only in those terms. But there will always be crossover influences if our art is about who we are Also we need to get out of our heads sometimes. Was going to talk about this from my own perspective but too limited. Curious about people beyond the usual painting postings on Facebook. What else are they passionate about? Huge range of answers… volunteering with various causes …making collections (fountain pens, found objects, old books) …studying the design of Ferraris…raising bonsais… …storytelling…environmental causes such as radiation protection, sustainability, working with the homeless…… physical activities including tennis, horseback riding , weightlifting, sailing, mountain biking, rock climbing, croquet, ;pickleball, fencing, various kinds of dance Influence from professions—psychotherapy, interior design, costuming for stage and film, Also mentioned: synesthesia, the connection in the mind between one sensory experience and another/ automatic and totally convincing ( a certain musical note = a certain color. ) Ross points out that synesthesia can occur naturally, but an also be chemically induced or a product of stress, experiences which have influenced artists. Not a voluntary interest but one with implications for art making/ part of the bigger picture of who we are and how it affects our work. Also some commonalities in the answers, lots of repeats which I will get to in a minute. Some people addressed the 2 nd part of my question and some did not—the connection between these activities and your art. I assume that other things in life feed people’s work—how much of his happens in a conscious way? Could it be helpful to make more direct connections/ Part of making your art personal and unique is mining these passions for ideas Thinking about personal voice and direction here. Finding direction and voice is a quest for many people esp starting out experienced artists might ask themselves, what can I bring into my work that moves me from the rest of life? New direction and ideas always important. Connections may be direct or indirect. Examples of direct connections—from responses Being in nature: close observation of surroundings, noticing light, detail, feeling a spiritual connection/content. Physical activity: (weightlifting) relates to being fit for large paintings and maybe on a subtler level the physicality of moving paint around ….rock climbing—the practice of in-the-moment intuitive decision making, being totally present. Writing: using words to expand creative ideas. Travel—exposure to different cultures and visual experiences used in art work. Music—influences from rhythm and mood, improvisational music and jazz as related to intuitive painting, collaboration in playing with others. Gardening and clay work. Looking at art in museums, researching materials, taking workshops-- obvious connections. If you don’t think there is a connection--Ask yourself what intrigues, you about one of your interests and it may lead directly to some new art idea. Ex: figure drawing group —challenge of rendering form light/shadow, use of brush. Ex: collecting stuff—besides enjoying the objects you collect, is there something about the act of collecting /organizing/arranging that could enter your work? Ex: birdwatching—movement, patterns, color, delicacy/strength. Ex: gardening—the cycle of planting, growing, maturing, dying back. Could your work be enhanced by being open to your interests as a whole? No need to push, simply set it as an intention. Summary of the brief and unscientific survey: Most Often mentioned: being in nature, hiking in nature Yoga, meditation’ Photography Some kind of music connection—participating or listening Physical activity, exercise, sports Volunteering Reading Writing Travel Some help to slow down, get centered/grounded, connect with inner self, connect with nature have a meditative aspect – feeding the inner self, being present. Some are stimulating, energizing—being active, playing music, working with people, travel. Some directly related to art in obvious ways –photography, drawing, experimenting with materials. Many people mentioned a range, aspects of all of the above – My takeaway -- our lives are made up of many parts, and art has the potential to be the expression of the whole not any one thing but that general feeling of possibility and curiosity, some combination of what we make for ourselves and what life has served up.

Rebecca and Ross talk about how to pace yourself to be efficient and avoid burnout... skills that they haven't actually mastered themselves. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast PODCAST—Pacing yourself In the big picture and more specifically… Managing your art life can be overwhelming. How to avoid burnout? Burnout=losing motivation, feeling discouraged, exhausted, trapped by demands, negativity PACING In the big picture—the need to maintain creative energy—what do you need to nurture that? Many of us work constantly—the pitfall of self-employment. Some of it is what we love ….but a lot of it is tedious stuff. So many things we have to do and be good at when we are both creating and marketing our work---a huge job The issue of cutting back—when does that time come? How does it impact you or what do you fear about it? Pros and cons == Pros: ease of stress and pushing yourself Possible health benefits as a result Focus/concentration not as dispersed Cons/fears: Financial strain Loss of momentum Isolation from other artists “Not doing enough”—work ethic My mom used to say accusingly, you do SO MUCH Like it was a bad thing—is it? Or is it what brings satisfaction? We have to ask ourselves what we really feel about the big picture. Aspects of being creative people that encourage us to always do more: take on challenges, push our limits, say yes to opportunities, want to communicate, get our ideas out there, teach, write, mentor. Outside validation/success How can you pace overall? Set boundaries: answer emails for a set amount of time; schedule studio hours, take a day off a week from business. Not easy!! Julia Cameron’s artist dates? Once a week something fun to replenish what she calls your inner well--play Exercise—esp. Anything that takes you outside in nature Maybe taking an extended breaks–a true vacation Being aware of your own burned out feelings—this can be tricky—they can be camouflaged as depression, even feeling sick (stress can do this to you) Recognizing perfectionism, pushing yourself when it isn’t really necessary…can someone wait for that email, is what they are asking you to do actually unreasonable? Adopt the attitude of “I get to…” rather than “I have to…” Recognize your own role in whatever overload you find yourself in, lern from it, be grateful for an abundance of opportunity— Can you schedule things better? hard to match a calendar with what it actually represents—scheduling things too close together. Looks doable on the calendar, but how does it actually feel in reality, never hurts to add an extra day PACING for specific projects, deadlines etc./dealing with overload anxiety Use lists, calendars, gather appropriate information so things don’t blindside you Evaluate where you’re at day to day—are there days you can take a break? Do it! Give yourself time to take a walk, read, watch a movie, see friends, do something for yourself every day Prioritize, break things down, try to see your progress every day Delegate, get help Ask for more time only if you really need it To stay emotionally strong during times of overload: Look at your own history—don’t you always come through in the end? Then stop worrying that this is the time you will fail to get everything done Recognize that you can have extra stamina when needed and it won’t kill you Remember your end goals

Rebecca is preparing for an upcoming exhibit in Atlanta, Georgia. She talks with Ross about her process and shares tips for artists preparing for a first show. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Podcast notes—exhibit prep Focus for the podcast on a show where you have 8+ pieces; a small group, two person, or solo show Getting a show: Are you ready?? Request from your gallery if not asked Proposal to non-commercial space = find out requirements, write proposal/statement Consider how much time you need to produce the work Exhibit categories: Group show with colleagues at non-commercial space Group/2 person at a gallery --they will probably choose who you show with More and more common to NOT have solo shows Be open minded about who they pair you with STEPS to a show: How much lead up time are you given, varies from over a year to a few months Maybe a theme or just a selection of your work Early on: Find out the expectations for the size and number of pieces; this is usually flexible; if you want to include something you are already working on Ask for a timetable of when the gallery will want certain things: these include list of pieces, prices, artist statement, publicity photos (work and you) put these into your own calendar Ask if you have any $ obligations for the reception/costs/announcements Will there be an artist talk Date of opening reception--Think about whether/if you can attend. Lay some groundwork for travel, clear the dates, etc. Publicity: Usually they will want some advance publicity materials even if you are still working on the paintings—send image you think will be included (anecdote) Always good to have some bio pics on hand/you in studio etc. Send Updated resume and bio—check to see if they are using something out of date; sometimes they don’t ask just take from the web Closer to the show, or according to the timeline: Self-promotion on social media; don’t rely on the venue to do it all Artist statement specific to the work; is there a theme, something that ties it together? Listen to our podcast on the topic, Choose the work or the venue to do that—if you do it, you want cohesive but with some variety; try not to include anything you don’t consider as good as the rest just for the numbers. Price list—consistent with prices elsewhere and within the list itself Double check for accuracy Mention to gallery if you are raising prices from what is in their current inventory Most galleries can adjust numbers/sizes to what you want to send, don’t be afraid to ask Prep the work: Framing works on paper/unless frame is part of the overall aesthetic, keep it simple/neutral Preparing panels and stretched canvas—framing not usually necessary for anything but small work; small work maybe/maybe not, consult with gallery Wood panels—sand and clean up, wood treatment up to you Canvas—touch up stains and splatters, somewhat optional depending on the aesthetic of the work, clean vs. expressionistic, opinions of gallery Wire the back, use good wire and d-rings, no clip type hangers or cup hooks Sign work somewhere, back/front options Title Copyright symbol and date/optional Wrap for transport of shipping/nonstick paper or foam over the front; encase in bubble wrap ---allow plenty of time Can just use blankets if transporting in car but best to wrap in plastic at least. Consider how you would deal with the work if your car broke down or was in an accident. Will you need to bring it into a hotel overnight if travelling in extreme heat or cold? Decide what to wear to the opening! At the reception: do your best to be friendly, chatty Be on time Look nice Don’t be discouraged by lack of sales at opening Ask gallery person to introduce you to people/ they don’t always think of this It’s tempting due to social anxiety, but do not just ang out with your friends or drink too much Do not pass out your own business card After the show is underway: Check in with the gallery once in a while but don’t bug them; sales take time Continue some self-promotion

Rebecca and Ross apply the Creative Problem Solving process to finding possibilities for increasing your art income. Follow along the CPS steps at http://www.innovationmanagement.se/imtool-articles/the-basics-of-creative-problem-solving-cps/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast

Rebecca and Ross discuss how to write a good artist statement and why they are important. art statement generator: https://www.artybollocks.com/generator.html www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast

Every artist is expected to write about their work--including emails, artist statements, and proposals. Rebecca and Ross share some tips to improve your writing and also thoughts about more personal writing to enhance your creative process or as an art blog. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast

Rebecca and Ross discuss choosing a workshop and how to get the most out of the workshop experience. www.squeegeepress.com www.rebeccacrowell.com www.facebook.com/messystudiopodcast

Rebecca and Ross review their first year of producing the Messy Studio Podcast and extend thanks to their listeners. It's been fun and successful! They discuss past guests and topics, and their goals and plans for the future. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast

Rebecca and Ross discuss how to deal with older work, slides, and current technologies for storing and organizing images of older work. www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast