Everything You Need to Know to sell NFTs

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Tips for Selling Your Digital Artwork on NFT Marketplaces

NFT Marketing: Everything You Need to Know to Get Started

I am a digital artist and I want to share the strategies I use to promote my digital artworks on NFT marketplaces

What Is an NFT (Non-Fungible Token)?

A non-fungible token (NFT) is a unique digital asset that acts as a certificate of ownership for virtual or physical assets like photos, videos, Tweets, etc.. Each NFT represents a one-of-a-kind cryptographic item that cannot be interchanged with another and is maintained in a digital ledger called blockchain.

Examples of fungible (i.e. interchangeable) tokens:

Dollar
Bitcoin
Ethereum

What Is Blockchain Digital Marketing?

1.Blockchain Eliminates the Digital Marketing Middleman

2. Blockchain Builds Trust With Transparency

3. Blockchain Drives Public Accountability

4. Blockchain Gives the Consumer Control Of Their Own Information

5. Blockchain Offers Benefits for Branding

Examples of non-fungible (i.e. not interchangeable) tokens:

Domain name
Twitter handle
Digital games
Cryptokitties
House
An essay
Digital art
My Space post
A news article
Physical art
Diamond
Land
Any digital collective
Video footage of iconic moments in world history

1) Migrate to Twitter

2. Don’t neglect Instagram

3. Use hashtags correctly

4. Share more than just artwork

5. Seeking out collectors… or not

6. Discord forums

7. Promotion on Reddit

8. Newsletters about NFTs

9. Collaborations

10. Staying true to yourself as a digital artist

11. It is more than marketing online:

SEO
Content marketing
Paid ads (including Google Ads, LinkedIn Ads, Facebook Ads)
Social media optimization services
Demand generation
E-commerce marketing
SaaS marketing
Technology marketing
B2B marketing
Specialized blockchain marketing services
Media PR
Online PR
NFT influencer marketing
Video creation/marketing
Email marketing
Growth tracking
Reputation management
Listing and selling of NFT
PR and influencer marketing
Branding
NFT custodian management
Effective payout management in your preferred currency
Market research
Competitor analysis
Minting
Digital ideation and production
PR and email marketing
Short and long-term NFT marketing strategy
Brand partnerships
Content marketing
Social media marketing
Community marketing
Telegram marketing
Influencer marketing
Video creation marketing
Growth hacking
NFT listing services
Community Engagement for NFT
NFT Marketplaces and listings
Banners for NFT

Top of the funnel strategies: To draw the attention of your target audience towards your NFT marketplace, PR, SEO, video creation, paid ads, and influencer marketing strategies are used. This ensures that a vast majority of NFT audiences are aware of your marketplace so that your exclusive drops are not missed.
Middle of the funnel tactics: To start capturing relevant business leads, tactics like content marketing, affiliate marketing, NFT listing, social media ads, and branded search ads are used. When your NFTs are displayed everywhere, NFT buyers’ interest in your tokens develops further, leading to more sales.
Bottom of the funnel strategies: To convert more prospects into sales, the bottom of the funnel NFT marketing techniques such as CRO, email marketing, and remarketing social ads are used. Emails help to nurture prospects while remarketing persuades buyers to close the sale.

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Manifiesto Preasistemático

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AMM

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Si el pintor, el escultor, el poeta, el arquitecto madí están a salvo, es porque no pretenden falsificar la posteridad. Construyen un arte de hoy. No les preocupa la posesión durable de una verdad ni los datos que la reflexión hace inoperantes, si los valores comunicables y de conmoción no tienen apoyatura en círculos socialmente trascendentes.
Nuestro siglo, el de las dos X, ya no participa de la tradición grecolatina-egipcia. Es, indudablemente, un universalismo, En la actualidad, la obra madí es la más emocionada franquicia que alerta todos los atributos del espíritu.

De nada sirve forjar un nuevo sistema de significaciones. Esa empresa no nos corresponde, aunque en ella campea una especie de impunidad de la que suelen aprovecharse los improvisadores. De ahí el consentimiento que damos al artista no figurativo, que no sobre pasa al hombre, sino que lo prueba. Y lo prueba al dotar la realidad cotidiana de una res puesta. Dar respuestas es adelantar, sufrir su desarrollo, comprobar la fidelidad de la tensión estética. Es por eso que esa vinculación de artistas, como en nuestro caso, no puede cifrar su comunidad en una palabra, ni en una meta remota. Lo que fusiona al grupo son las realizaciones palpables, que se identifican por su estilo y el basamento social donde se desenvuelven sus integrantes.

Madí hará su parte en la necesaria selección de las innovaciones que determinará la sedimentación del proceso sociológico. Por consiguiente, es un dislate pensar que el artista madí emplea un idioma desconocido, des humanizador, aparentemente ininteligible para el público o para una crítica precaria que lo cualifica como una distracción de la cerebración o una irremisibilidad decorativa, cuando nuestro objetivo es el de interferir en lo des conocido, una consecuencia, la más constructiva quizá de nuestra época.
Mientras tanto, no puede haber tentativa de quebrar en estilo que fluye sin cortapisas del acto creador. Y si algún intento en sus comienzos pudo ser perjudicial para la tranquilidad pública, fértil en apremios y denso en interrogación apasionada, se impone más tarde una mesura, un rigor, una cohesión, una purga de silencio, hasta que la obra de arte se haga indiscutible, como un árbol.

Está cambiando la concepción visiva y la estructura de la mundanidad, y sobre todo cambia el tránsito que va de la conciencia al he cho, de la imaginación a la presencia.
Su utilidad, su condición energética de transformación hacen que la pintura, la vivienda, la poesía, todas las artes, se liberen definitiva mente. Un próximo manifiesto asistemático madí * abarcará entre otras cosas, las relaciones del objeto inventado, su integración en otra arquitectura y las teorías que, apoyadas en un vigoroso impulso colectivo, a veces beligerante, pugnan por adelantar una nueva forma de cultura.
Las ramificaciones e influencia de madí, ya escapan, previsiblemente, a la innecesaria estadística de su núcleo central en Buenos Aires. Comprobamos, con júbilo, coincidencia de es tilo en artistas americanos y europeos.

Nuestro propósito es que madí, llegado a adulto **, tenga el poder suficiente de disolver la política en arte. Por eso y por un mar gen razonable de provisionalidad, que roza a todo movimiento de vanguardia, es que sus alcances son en gran parte de orden mediato, en un postergado torneo con el tiempo ***. Pero siendo madí un mundo obstinadamente abierto a todos y que ha nutrido no pocas inteligencias, es casi seguro que, por una vez siquiera, hemos hecho que el futuro sirva para algo, pero anticipadamente.

* Creemos que los manifiestos pueden anularse secretamente unos a otros, En este caso lo de “asistemático” viene a confirmar la poca eficacia de las declaraciones por sistema y por temporada. Desde el manifiesto madí de 1946 no ha habido otros. Se impone, pues, una revisión y nuevas y más dilatadas perspectivas.

** Con esta exposición internacional que se realiza en la Galería Bonino, madí cumple dos lustros de existencia. La primera exposición se realizó en 1946, en el Instituto Francés de Estudios Superiores, Galería Van Riel. Con anterioridad, en el año 1945, se realiza la primera muestra del grupo, pero en ese entonces con el nombre de Arte Concreto-Invención.

*** Son permutaciones predecibles, por cuanto la lógica y la ciencia harán extricable determinado alcance excesivo de expresión, transformador de nuestra realidad.

Buenos Aires, 1956.

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Manifiesto Madí

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AMM

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Rafael Montilla Queen Nandi 2020 acrylic on canvas 45x40 inches

Se reconocerá por arte Madí la organización de elementos propios de cada arte en su continuo. En ello está contenida la presencia, la ordenación dinámica móvil, el desarrollo del tema propio, la ludicidad y pluralidad como valores absolutos, quedando por lo tanto abolida toda injerencia de los fenómenos de expresión, representación y significación.
El dibujo Madí es una disposición de puntos y líneas sobre una superficie.
La pintura Madí, color y bidimensionalidad. Marco recortado e irregular, superficie plana y superficie curva o cóncava. Planos articulados, con movimiento lineal, rotativo y de traslación.
La escultura Madí, tridimensioanalidad, no color. Forma total y sólidos con ámbito, con movimiento de articulación, rotación, traslación, etc.
La arquitectura Madí, ambiente y formas móviles, desplazables.
La música Madí, inscripción de sonidos en la sección áurea.
La poesía Madí, proposición inventada, conceptos e imágenes no traducibles por otro medio que no sea el lenguaje. Suceder conceptual puro.
El teatro Madí, escenografía móvil, diálogo inventado.
La novela y cuento Madí, personajes y acción sin lugar ni tiempo localizados o en lugar y tiempo totalmente inventados.
La danza Madí, cuerpo y movimientos circunscriptos a un ambiente medido, sin música.
En los países que alcanzaron la etapa culminante de su desarrollo industrial, el viejo estado de cosas del realismo burgués desaparecido casi totalmente, en ellos el naturalismo se bate en retirada y se defiende muy débilmente.
Es entonces, cuando la abstracción, esencialmente expresiva, romántica, ocupa su lugar. En este orden están involucradas las escuelas de arte figurativo desde el cubismo hasta el surrealismo. Tales escuelas han respondido a necesidades ideológicas de la época y sus realizaciones son aportes inestimables a la solución de los problemas planteados a la cultura de nuestros días. No obstante ello, su tiempo histórico debe darse por pasado. Por otro lado su insistencia en el tema “exterior” a sus cualidades propias es un retroceso al servicio del naturalismo contra el verdadero espíritu constructivo que se extiende por todos los países y culturas, como es el caso del expresionismo, surrealismo, constructivismo, etc.
Con lo concreto –que, en realidad, es un gajo más joven de ese espíritu abstraccionista– se inicia el gran período del Arte No Figurativo, donde el artista, sirviéndose del elemento y su respectivo continuo, crea la obra en toda su pureza, sin hibridaciones y objetos extraídos a su esencia. Pero en “lo concreto” hubo falta de universalidad y consecuencia de organización. Se cayó en hondas e insalvables contradicciones. Se conservaron los grandes vacíos y tabúes del arte antiguo, como ser en la pintura, escultura, poesía, etc., respectivamente la superposición, marco rectangular, atematismo plástico; lo estático, la interferencia entre volumen y ámbito; proposiciones e imágenes gnoseológicas y traducibles gráficamente. La consecuencia de ello fue que el arte concreto no pudo oponerse seriamente, por intermedio de una teoría orgánica y práctica disciplinaria, a los movimientos instruccionistas, que, como el surrealismo, han ganado para sí todo el universo. De ahí el triunfo a pesar de todas las condiciones en contrario, de los impulsos instintivos contra la reflexión, de la intuición contra la conciencia; de la revelación del subconsciente contra el análisis frío, el estudio y la detención rigurosa del creador ante las leyes del objeto a construir; del simbolismo, de lo hermético, de la magia contra la realidad; de la metafísica contra la experiencia.
En cuanto a la teoría y conocimiento del arte, campea en ellos la descripción subjetiva, idealista, reaccionaria.
Resumiendo, el arte antes de Madí:
Un historicismo escolástico, idealista.
Una concepción irracional.
Una técnica académica.
Una composición unilateral, estática, falsa.
Una obra carente de verdadera esencialidad.
Una conciencia paralizada por sus contradicciones sin solución; impermeabilizada a la renovación permanente de la técnica y del estilo.
Contra todo ello se alza Madí, confirmando el deseo fijo, absorbente del hombre de inventar y construir objetos dentro de los valores absolutos de lo eterno, junto a la humanidad en su lucha por la construcción de una nueva sociedad sin clases, que libere la energía y domine el espacio y el tiempo en todos sus sentidos y la materia hasta sus últimas consecuencias. Sin descripciones fundamentales referentes a la totalidad de la organización no es posible construir el objeto ni hacerlo penetrar en el orden constante de la creación. Es así como el concepto invención queda definido en el campo de la técnica y el de creación como una esencia definida totalmente.
Para el madismo, la invención es un “método” interno, superable, y la creación una totalidad incambiable. Madí, por lo tanto, INVENTA Y CREA.

Buenos Aires, 1946.

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HUMBERTO POIDOMANI. I MISS YOU SONY

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AMM

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HUMBERTO POIDOMANI. I MISS YOU SONY

By Milagros Bello, PhD.

Poidomani’s I miss you Sony is a wall work showing an imaginary woman covered in DVD’s and mixed media repurposed materials. Framed in gold rococo style, the artist repurposed an ensemble of recycled old Dvd’s that once formed his daily references for films, photos, and music, now outdated and useless. Once his delight and pleasure, they formed the allure of his days and the fascination and magic of digital images in their first steps. The work points out to the nostalgy of changing life instances, and the saying goodbye to old practices. In the consciousness of the passing of time, the work exorcises the philosophical stages of lifespan.
The work is profusely treated with strong outlines, gestural marks, and flat parches of pure color, finished the surface with gleaming resin.
At a second reading, the female personage stands as an imponent reference to women and love.

Located at the center of the composition, the feminine character imposes her presence and femininity. In her fashion dress it read the phrases” I miss you Sony.” “Te extraño” as the artist’s subjective approach to the fondness and affective connection to the women character, perhaps alluding to his personal biography. The phrase “”We are made of the same material that we dream of”. The Tempest, William Shakespeare”, and “Propero”, are the significant references for the artist, as this masterpiece is about letting go and accepting your fate.
About the artist Humberto Poidomani was born in Argentina. For over twenty years, Poidomani has developed an artistic career centered on ideological notions of societal crisis, ecology, life/death, poverty, which he develops through complex assemblages, sculptures, paintings, boxes and objects, and videos. He has indistinctively developed painting, sculpture, assemblages, installations, with a free-spirited mind that disrupts the notions of traditional art academics. In his painting Poidomani works from small format to monumental, large panoramic canvasses in which he paints a vast reflection of the world. Deep meta-narratives interloop with written phrases, as personal thoughts or as meaningful excerpts from Philosophy, Literature and Theater. In his sculptures, assemblages, installations, art boxes, he creates a dense compound of repurposed industrial and found materials mixed with thick gestural highly textured and colored lines, intercrossed with personal and literary word references. Echoing the provocative stanza of the “arte povera” and in a spirit of subversion, Poidomani creates absurd and comical overlapping combinations of wires, objects, rocks, fabrics with an individual high subjectivity. He points out to the diffraction of our culture and the lack of Utopias in contemporary times. As USA based curator and art critic Milagros Bello points out: “Premonitory art as anticipatory art in which artists prescient the development of an epoch, an event, an upcoming era, and as such display it in their works, is a profound artistic faculty. In his artworks, Poidomani has prefigured and has anticipated incisive current events. From his subconscious self, from this elusive realm, the artist has pulled out the signs of our current society and civilization.”

Poidomani has presented his works in museums, galleries, and art fairs. His solo shows include among others, a retrospective in the Contemporary Art museum of Salta, Salta Province, Argentina; E.C.A. Contemporary Spaces of Art, Mendoza, Argentina, SCOPE NEW YORK MARCH 2019, SCOPE NEW MARCH 2020, SCOPE INMERSIVE SEPTEMBER 2020 with Casa Poidomani and Curator’s Voice Art Project, in New York. He has participated in numerous curated shows and art fairs. He lives and works in Miami, Florida.
Humberto Poidomani is represented by Curators Voice/MIA Curatorial, Miami, Florida, USA

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Chiaroscuro Studio of Art

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AMM

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Chiaroscuro Studio of Art

The Florence Academy of Art is an American art school in Florence,

Redefining Realism 19th century academies from Florence, Italy

Chiaroscuro Studio of Art offers top level instruction in realistic painting and drawing. Our curriculum is based on the teaching method used by the famous classical-realist 19th century academies. We believe in the solid artistic basis this kind of training gives to the students, allowing them to achieve high standards of craftsmanship and technical skills. Our teaching methods and techniques provide the tools that students can use to create their own contemporary work and develop a personal artistic language.

Our mission is to promote a return to discipline in the learning stages of art. By teaching traditional, time-tested methods, we guaranteed the aspiring artist with a strong basement in drawing and painting.They also learn all about materials, tips and secrets of the craft, and the way of developing the skills they need to build a high standard professional career in representational, figurative and realist art.

Our goal is to bring to Florida the same high level of instruction and training method our instructors received in Florence-Italy for many years, as well as to create a large and strong community of contemporary realist artists in the area.

5961 NW 102nd Av. Miami, FL 33178

+1 786.208.8607

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Boy Blue (Ben Baugham)

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AMM

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Artists Were Made for People

Boy Blue (Ben Baugham) is a new wave visual communicator, and a street performer hell-bent on bringing the artist (not just art), back into social relevance. He has spent the past few years creating art in public and bringing visual excellence to the most bizarre locations. From construction sites to the office place, Blue has been hired all over the east coast to talk with and engage with people as he creates his works; thus, allowing people of any class, race or creed to feel a genuine connection with artists.

okay, Like she said on Boy Blue. Thank you. This one. That’s why I’m an artist and a street performer. And I just wanted a preface this by saying that art today is going to be a background to our conversation. So let’s just make that happen. Oh, that’s good. That’s good. So I’ve spent the past three years in a street performer, and I’ve talked with so many different people, and I’m talking like CEOs of big businesses to the homeless, And I’m trying to answer a question. I’m looking for an answer. The question is, why are people so uncomfortable with artists and art admiration? You know, everyone’s like artists are douchebags. It’s true, we’re bad people. So and I’ve come to a conclusion. I really have that I think has changed my life forever. So And don’t get offended. Art as we know it right now in my humble opinion needs to die. Okay, Andi, I think I want to be the one to kill it. I think me I want to dedicate my entire life to this cause. So let me explain why I think murder is such a good solution here. You can’t see that anywhere else. Wait, Go back several centuries ago during the Italian Renaissance, we will find something even more amazing than the art that was created. We will find a mindset. It is an attitude that they had so unlike modern artist today. And I am included in this. I’m not just bashing people. Unlike modern artist today, the greatest artists in human history, the greatest one’s Michelangelo, for example. They had art that was fueled by emotions, not based upon emotions. See, they were always making something for somebody else. They were always making something that was for something greater than who they were. See inspiration. It was not an abstract idea. It was a tangible property of our world. It was either a u know something inspired by the art that God created. That would be the planet, or is be something brought upon in light of God’s presence, which was the mind, right? So now when it comes to modern artists, you know, and I’m using this lightly, this brings me to my first point. And that’s art was made for people, not just the artists who make it see. Institution will tell you right now. They tell artist. They push this down our throats that somehow we are gods among men. You know, when you guys don’t understand what we’re trying to say, that just makes you stupid. Okay, That’s not right. Okay, let me give an example. If we send a text message to 15 different people and all of them tell us that they don’t know what we’re saying, that does not make the viewer stupid. That makes the communicator bad at communicating. Okay, Right. Thank you. OK, it makes him bad at communicating. So any artist who wants to become better at what they do will continuously search to become more sufficient communicators for other people. It’s for others. So and this is what led the entire Italian renaissance into becoming the epitome of artistic excellence. We know it as today. I mean, just thinking about this idea has changed me as an artist. So my ideas there now for you there for other people, they really are the emotions that you guys send right back to me allows me to restart that process. And that just exhilarate me. Really does. Until I’m asked why so many artists they asked me one. How do I get better. What I dio. And two, why are we so poor? That’s a great question. Why are we so freakin poor? And the answer is so simple when we deny that institution tells us that we’re gods among men and we see ourselves as public servants to you. Then people stop seeing what we do as a free luxury. And instead, they see it is a valuable service. Okay, so now the other point I wanted a point on This is something I like to call the Trinity of communication. And I’m going to use an example for this. Ah, musician musician goes up on stage. The musician creates art. And then art is given to the viewer, and the viewer gives emotion back to the artist that restarts the process. That’s what inspiration does for us. And that’s why musicians could make any song. You could be stupid. You could be terrible. And all of a sudden they’re rich. Okay, I am jealous. I’m being honest. I’m really jealous. So like, meanwhile, we have, like, our visual artists and they make something in their mom’s basement. I done it and then we put it up somewhere. It’s alone. It’s silent, untouched, and sometimes somebody comes up and they look at this piece and say, Wow, that piece really, really spoke to me But the artists had nothing to do with that conversation at all. In fact, ever so often you might see that little scribble at the bottom right hand corner of the you know, whatever canvas. But they’re not there. They’re not there to complete that trinity of communication. And since they’re not a part of your experience, who cares? Hey, ties back to that allegory say, if a tree falls in the forest and no one’s there to hear it didn’t make a sound. If a song is never heard, is it music? And if a piece of art is hanging on a wall with no artist there to lay claim to its glory, did the artists ever exist in the first place? And who cares? They weren’t a part of the experience anyway, So I mentioned for I’ve been doing a couple of different things to fix this for myself, and personally now I never drawn private ever. I never drawn private. I always make sure someone’s there toe watch me make a mistake someone’s there toe Watch me succeed They’re thereto Watch me innovate Whether I’m Tori the East Coast or I’m doodling in a coffee shop next to you I will be there. I want to be available to you because I want to have that connection with you I really want to talk to all the time. That’s just how it isthe. See, I have been given the opportunity to teach kids in different educational locations because I don’t even know schools. That’s a great place to call. You know, artist mind, right? Yeah. What is that? What’s the school then? Give It gave me this blessing to talk to these socially anxious kids about how to share their art and express themselves like a human. Okay, because that’s what they want. That’s what you want. And this goes out to any artist in the crowd. Craftsman, I don’t care what you are. People are dying to see what you can do. They’re dying to talk to you. I’m dying to talk to you. We want to connect with you like a person, not a God. That’s not what we’re here for. So for the love of God, any artist just show people what you do because we’re waiting for you and I’m dying to talk to you. So I want to leave you with something on. And that’s just the idea that everything that is truly great. I died once and came back better than it was before. I said before, I wanted to kill are not because I hate it, but because I know it’s rebirth as a beautiful form of communication can be so much better. Thank you guys for listening.

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How can I share my art with the world?

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AMM

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How can I share my art with the world?

No matter where you are on your art journey, you have art to share and you work hard finding the eyeballs that will appreciate it most. Many of us use the “spray and pray” method of approaching many galleries, entering many shows, selling at various venues, and trying all the ways out there to sell art online and in person.

This is a useful strategy. We learn and grow with each experience. The doors that open afford experiences that shape our development.

What if I told you that there are ways to reach out to buyers beyond the organized shows and venues? What if I suggested ways to engage beyond the group of artists, family, and neighbors you typically share your art with? Would you be interested in doing the work to broaden your network?

The answer may be no. There are artists whose strategy is to only sign with certain galleries or show in specific venues. Some may be building a commissioned art based business. They may teach or take on a part time job to pay for expenses until their sales materialize.
If you want to know how I worked to secure shows in art centers and museums across the United States, growing my collector base in new regions, read on.

If I could only use one word to describe how this is possible, it would be “relationships.” It’s hard work. It doesn’t happen overnight. For me it’s taken ten years to secure my first solo museum show. But it can happen. It can’t happen without building relationships.

What does it mean to build relationships? It means you arrange as much in person and on the phone time as you can with people at venues of interest. It means you follow them and read their newsletters and commit to interact with them for as long as it takes. It may be weeks or years before there is an opportunity to engage fully, but when it happens you are ready.

Let me share with you the list I’ve been using for several years now. Some weeks I can spend only an hour or less doing something on this list. Other weeks, I can knock out several. This isn’t a race. I do what I can, when I can.

1. I do an internet search of art centers, venues and museums in areas I will be traveling to soon. I call these venues and speak to someone about what upcoming exhibitions I can apply to, and who the contact person is if I am interested in exhibiting there. I’ve learned I have the most success when I seek out places that regularly hold classes and art exhibits. These are good indicators of an engaged and thriving community of art lovers who may be open to learning more about me.

2. Once I have my list of names and venues, I subscribe to newsletters, follow on social media, and learn all I can about the people and the places. When I visit, I can speak with genuine interest to the people I meet there.

3. Each time I visit the venues, I spend as much time as I can getting to know not just the organizers, but the other people there as well. I talk to the groundskeeper. I seek out the person who runs the front desk or the gift shop, and if I’m lucky they will have coffee with me. I try to get to know everyone, but of course there are usually only a handful of people I am able to develop close working relationships with. Those people are precious to me. Over time, I find opportunities to let them get to know me and my art better.

4. Throughout the steps above, I look for times when I can mention or refer other artists. For example, when I heard about a call recently for sculptors, I reached out to my 3D artist friend to let them know about an application at a visual arts center I am interested in. Of course, I put a bug in their ear by closing with “I hope one day we can exhibit our work together in a show.” I have a group of 4 artist friends I show regularly with. For larger spaces, which typically require 50 paintings or more, it has been a fun experience organizing shows. Those museums require more work than I can commit.

5. I always know when the time is right to pitch a venue with a show. Often, they will approach me. But if I have developed our relationship enough, I know who to approach, they are familiar with my work, and then it’s just a matter of working out logistics. But when I approach them, I always have a theme in mind for the show, my headshot, bio and artist statement are in order, and I have at least ten paintings available to commit for promotional images. I also have a press release prepared for the venue to use and edit as needed. I am able to set up a Dropbox with all of these files, so they can be accessed by the hosts.

6. At this point, the people I am working with know my work ethic. They know that I will do all I can to share and promote the event on social media and through my newsletter. Sometimes I will send postcards to my contacts. I always offer to do an art talk and a painting demonstration at the event. Demos nudge sales because they urge people to stay longer.

7. After the event, I am careful to send private messages to all who were there, if they have shared their contact info with me. I will ask if they would like to continue on this art journey with me by allowing me to share what I’m up to with them via email. I try very hard to record genuine reasons to contact them in the future. If they mention their birthday, or an anniversary, I’ll wish them well that day for example. The more often I can connect with them in a sincere way, the more likely they will be to want to see more of me and my art.

8. Last but not least on my list, I brainstorm ways to use these experiences to generate more. After I signed with my first gallery, I spoke of it with other gallery owners. When I organized a group show at a museum in MT, mentioning that experience helped us book shows in Japan, MD and VA. Artists I’ve met at openings introduced me to curators I’m working with now. I’m teaching at art centers I hope to someday exhibit at. Every interaction may lead to larger audiences for your art.

Using these steps, I have been successful in sharing my artwork with people who I never would have met otherwise.

Ironically, I doubt these folks would be vested in me if I’d just sent them an email with my best art images. I don’t think my resume would impress them, no matter how many best of shows or signature memberships are on it.

People pay attention to the artists they are familiar with.

Work first to become more familiar to more people. Did I just say you should forget about art marketing?

No, I said that developing relationships is a VERY important part of art marketing. When seeking a larger audience for your art, it may be THE most important aspect of art marketing.

How are you sharing your art today? Has this article inspired you to approach new locations? I’d love to know, and others will, too!

Debra Keirce
Regular Contributing Author, FineArtViews
www.DebKArt.com

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Artista visual venezolano Alfredo Mele

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El artista visual venezolano Alfredo Mele triunfa en Estados Unidos

Alfredo Mele es un destacado diseñador industrial y artista visual venezolano, altamente especializado en diseño estructural, producción de arte, escultura y fotografía, con una amplia experiencia de más de 20 años de trabajo. Es el creador y fundador de Indsign Industrial & Graphic, empresa que se ha convertido en referencia obligada del mercado en cuanto a la excelencia en diseño, calidad y producción. Su trabajo está presente en más de 15 países y en la actualidad reside en los Estados Unidos de América, país que se ha convertido en su tercera base de operaciones, realizando proyectos de alcance internacional en arte, diseño y publicidad, en los que se destaca por su profesionalismo, alto nivel de conocimiento en la materia y capacidad de generar soluciones. Alfredo Mele ha recibido múltiples galardones y menciones honoríficas por su trabajo, reconocimientos que lo posicionan como uno de los artistas integrales más relevantes del momento. Como artista visual se caracteriza por la investigación y aplicación de nuevos conceptos en el campo del lenguaje, la comunicación, el folklore y la espiritualidad, integrándolos en propuestas novedosas y de vanguardia. “A lo largo de mi carrera como diseñador, productor y ejecutor, es decir como artista integral, he logrado desarrollar procesos, habilidades, capacidades y destrezas que se reflejan en mi trabajo, orientado siempre al enriquecimiento del arte”. Mele considera que su sello principal es la dedicación, sumada a una gran destreza técnica y al empeño en hacer una pieza que cumpla con el más elevado estándar de calidad, por esa razón numerosos artistas, museos, galerías y espacios de arte han puesto su confianza en él; y la producción de sus obras; de allí que le conozcan como “El Artista de los Artistas”.

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“Los vecinos de arriba”

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Alejandro Dávalos, Dianelys Brito, Mijail Mulkay y Claudia Valdés

“Los vecinos de arriba” es el mayor éxito teatral de la temporada

A dos meses de su estreno se puede afirmar que la obra “Los vecinos de arriba” se vislumbra como un éxito histórico en Miami. La comedia del español Cesc Gay, presentada y producida aquí por Alexis Valdés, fue estrenada el 10 de septiembre, en el Teatro Trail, y no para de producir funciones llenas. Hay que tomar en cuenta que todavía se sienten coletazos de la crisis del coronavirus e, inclusive, hay que tomar ciertas medidas de precaución en lugar públicos, pero eso no parece importar a las casi 10 mil personas que han visto el espectáculo. Esta versión de “Los vecinos de arriba” es dirigida por Alexis y Mijail Mulkay, quien integra el elenco de cuatro artistas que dan vida a los personajes de la graciosa pieza. Los otros son las actrices Claudia Valdés y Dianelys Brito, y Alejandro Dávalos. En suma, un “dream team” de comediantes que da vida a dos parejas muy disímiles que provocan numerosas carcajadas. Una vive en el piso inferior (interpretada por Mijail y Dianelys) y es conservadora, lleva muchos años de convivencia y ha sido ganada por la monotonía en varios sentidos y, en especial, el sexual. Lo contrario pasa con “los vecinos de arriba” (personificados por Alejandro y Claudia), más jóvenes y energéticos, que hacen el amor de forma tan ruidosa que son escuchados permanentemente por “los de abajo”. A los pocos minutos de iniciada la obra las dos parejas se unen con la intención de departir fraternalmente, y allí se desatan conflictos alocados y divertidos. Las funciones son en el Teatro Trail los viernes, a las 9 pm; los sábados, a las 8; y los domingos, a las 5 pm. Los boletos se pueden adquirir en www.teatrotrail.com y 305-443-1009. Usando el código #vecinos10 se obtiene un 10 % de descuento.

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El cantante venezolano Pedro J

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AMM

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El cantante venezolano Pedro J presenta su nuevo disco, “El fenómeno”

El ambiente se ha llenado de música en estos tiempos optimistas; talentos de siempre y talentos nuevos muestran su material, y en ese contexto es saludable la aparición de un artista que tiene un buen recorrido. Se trata del venezolano Pedro J, que sobresalió con un dueto en los inicios del reguetón y desde hace unos años impulsa su trabajo como cantante solista. Pedro J presenta el disco “El fenómeno”, ya disponible en las plataformas digitales. El álbum se inscribe en un atractivo género fusionado de pop estadounidense de la década de los ‘80, música urbana, R&B, reggae y trap. El primer tema promocional de “El fenómeno” es “Química”, que cuenta con su respectivo videoclip en el canal Youtube.

Pedro J, que nació en Caracas y reside en Miami, no parecía predestinado a ser cantante: su madre era ama de casa, y su padre, torero y entrenador de caballos pura sangre. Además, en la infancia tenía pánico escénico. “Me daba vergüenza cantar en público”, recuerda, con ternura. Su carrera comenzó a profesionalizarse hace dos décadas, luego de afincarse en Miami. Asomó cantando reguetón, integrando el dúo Papi Shulo (seudónimo suyo) y Buda Kan. La dupla dejó su huella: llegó a grabar tres discos y abrió conciertos de consagrados como Ivy Queen, Zion y Lennox, y Jowell y Randy.

Sobre su canción nueva, “Química”, explica que refiere a dos personas que tienen distintas maneras de ser, pero están unidas por la química. Pedro J cuenta con un asesor de lujo: el productor conocido como Guss Music, que también trabaja con Farruko y J Quiles, entre otras figuras. Finalmente, el artista invita a escuchar su “Química” y el resto del repertorio de “El fenómeno”. “En esta nueva etapa de mi carrera me siento imparable y espero contar con el favor del público”, expresa con optimismo. En suma, Pedro J se siente como un fenómeno de la naturaleza.

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