Ask Harriete

Email Marketing Seppuku

Seppuku is a form of Japanese ritual suicide performed in front of spectators. I don't want to go into the gory details, but it is self induced and fatal. It is a apt metaphor for this recent email marketing attempt shown below. 

As my son would say, "fail."  The email was obviously sent out to a large number of people. There was no text in the email, no helpful subject line, no hello in the body, no "how do you do". My name was also spelled wrong. 

It was as rude as it gets. Even worse this email with no explanation had files and links attached:

•  5 html links
• 12 htm links
•  4 JPGs  (without titles)
•  7 MB of PDFs

What ever happened to a personal note? An introduction?

If it is spam, good riddance.  If it is someone's attempt to mass market, it is an example of social media marketing suicide.

 

I won't open it and would strongly recommend anyone else to not open such an email.

I wrote to the person asking why he sent such an "oblique" email message. Above was his reply with spelling errors and no further explanation.

Needless to say, the impression did not improve.

Harriete 

Commission Question and Publishing on Facebook

Hi Harriete:
I just delivered a large commission for a customer - my first commission through an art consulting firm. It was for a celebrity / well known TV personality. My portfolio is obviously my means of representing my work. However, I was told I could not publish on my website or Facebook, etc., any photos of this piece until they publish it first, either on the designer's website or they are working on getting the home featured in Architectural Digest or other magazine such as that. However this could take up to 6 months.

What are your thoughts on artists rights to publishing images of their own work, etc?

I realize that having my work possibly in a magazine is worthy as well, but if that doesn't happen, I have missed out on 6 months of potential exposure and possible similar work.

I have never been asked this before so I don't want to make a big deal out of it, but what do you think?

Is there anything I can add to my commission contracts in the future to protect myself on this issue in the future? I have attached some photos of a large piece I did a couple years ago that is similar in nature.
 
Debra Montgomery

Debra,
Did you have a commission contract? These issues (if they are important to you or important to the client) should have been specified in the contract.  Contracts help clarify expectations.  Clear communication with the client is most important.

They are asking you to hold off, which may lose some opportunities during this period, but they are offering some significant potential as well.  So it sounds more like a business decision.  If you really think that they can get your work in a major magazine (like Architectural Digest), I'd give them time. Your work will still be fresh to new eyes in 6 months.

Legally, if this request is not specified in the contract, you can do as you please.  However, if you publish now despite their requests, you might gain a reputation of being uncooperative.  On the other hand, if they unreasonably string you along for months and months (beyond six months), they would lose credibility and I would get back on track with your images on Facebook and elsewhere. 

In the meantime, can you make another piece to promote or blog about other aspects of this commission? Are you allowed to talk about working with this client? Or can you discuss ideas and the experience that you had with this type of high profile commission (not naming names of course.) Perhaps you would like to write about doing a celebrity commission and the pros and cons. Lots of people would love to hear from your experience. (I could publish some of this on ASK Harriete so other people can learn from your experience.)

In preparing for future commissions, it is close to impossible to anticipate everything.  Each commission will be different when we are working with new clients, new commissions and different circumstances. Each time we hope to learn a little more from the experience.

Even in the one of a kind exhibition world, the work may be finished for months, even 6 months in advance, before the exhibition opens and promotion for the show begins. Usually, the artists can talk about the work, but many times it is worth waiting.  When the exhibition opens, there is much more publicity coming from many different sources all creating momentum for the work in the exhibition, the exhibiting artists and attendance in the exhibition.

I think the speed of our daily lives and the Internet makes us think that promotion has to happen the second our work is finished. This is a misleading concept. You will have months to promote the work. If the work is really good, it may become your signature work included in books, magazines and blogs for years to come.

If any one else has an opinion about this topic, please leave a comment.

Harriete 

PS  Thanks for sharing.

"Weeping Virgin"  by Debra Montgomery 2009       3' x 4'  

Do you BELIEVE the arts have a voice in education?

I just heard the author Jonah Lehrer on n.p.r. radio last night. I hung onto every word. His book titled Imagine: How Creativity Works speaks to the messages in my installation Pick UP Your Pencils Begin  and the objectives behind my video Pencils Make a Point.

 

 

The arts and crafts do have a value in education beyond just an art lesson, but the arts and hands on learning can not be accessed with a number. There is no standardized test for teaching creativity and problem solving  - the very skills that Imagine: How Creativity Works is addressing. 

We live in a time where every class and subject is accessed for its contribution to the curriculum. The arts teach:

• creativity,
• problem solving,
• open ended thinking,
• skills of observation,
• integration  of left and right brain thinking,
• visualizing three dimensional construction,
• and so much more.

What is the impact of standardized testing on school curriculum when everything must be tested and measured? What happens when the arts are squeezed into a one hour slot, rushed, over scheduled, when there is no time to breath or think? Think and advocate for the arts and creativity in education.

My objective with my installation Pick Up Your Pencils, Begin, and  the video is to reach out to a larger audience about the value of the arts in education. Video is the ideal medium to discuss and Imagine: How Creativity Works.                

Professional Development Information - Live, Online, and In Person

"Pencil in" professional development to boost your career with free information.  Two opportunites, the first, an ONLINE interview, and the second, a in-person discussion in SAN FRANCISCO.

ONLINE
Andy Cooperman, Harriete Estel Berman, and Brigitte Martin in conversation on Thursday, April 5th, at 3PM Pacific Time/ 6PM Eastern, on ‘Metalsmith BenchTalk on BlogTalkRadio’ with Jay Whaley.
Audience members can listen to the archived podcast.

San Francisco
PROFESSIONAL PRACTICES: Questions and Commentary with Andy Cooperman and Harriete Estel Berman    
Monday, April 16, 2011 7-8:30p.m.
(More information below.)

The details:

ONLINE podcast with Cooperman,  Brigitte Martin and me, Harriete Estel Berman as we open the pandora's box of shipping problems and solutions. Originally broadcast on Thursday, April 5th we  discuss the upcoming shipping topic for the Professional Development Seminar that will be held during the SNAG Conference.

 

 

Last year's SNAG Professional Development Seminar program can be viewed online at any time. The original PPT slides with audio as presented at the 2010 Conference have had over 22,000 views! The program from 2010 has had nearly 10,000 views.! Find the podcasts and handouts with presentations on the SNAG web site or my web site.

 

Professional Practices in San Francisco
Professional Practices with Andy Cooperman and Harriete Estel Berman will include a short presentation by Andy and myself. Then we will jump right into questions and answers by asking each other a couple of tough questions about the "road to success".

This event occurred on Monday April 16th at Academy of Art University
sponsored by the Academy of Art and the San Francisco Metal Arts Guild. 

This program was videotaped and will be available as a video presentation online....so check back, and I will let you know how to find it.

Harriete

Avoid the Red Flag of IRS Form 1099

In struggling through my taxes (along with everyone else this time of year), the number crunching reminded me of the 1099 "red flag" that probably triggered my tax audit in 2010.  Don't let this happen to you!

In past years, I just included my 1099 revenue within my "revenue totals."

Near the end of my audit in 2010, which I survived thanks to appropriately accurate records and having every receipt requested by the auditor, the auditor revealed her hand. After an hour and half of  "inquiries", the I.R.S. iron lady finally asks, "Where is this specific 1099 revenue reported?"  She knew the exact amount of money and person who sent the 1099.

Thank goodness the 1099 was included in my reported revenue, I could show her in my records in about 2 minutes. However, this 1099 wasn't broken out separately on the tax return. Because I didn't list the 1099 revenue as a separate line item, the I.R.S. thought I was hiding income.

Back to last night....

This year all 1099 income is going on the 1099 line in the tax return.

But then, don't forget to subtract that 1099 income reported on a 1099 line from your Schedule C total revenue. You don't want to count it twice.

Harriete

Information on business accounting and taxes for artists and makers from ASK Harreite  can be found with this link or in the left column under Business Information and Tax Accounting

Skill Set Needed to Run, Run, Run a KICKstarter Project?

With a KICKstarter project up and running, albeit a little slowly....I've realized that there are specific skills needed to run a KICKstarter project.

I found an article that I should have read before starting my project, it is a great guide for anyone considering their own KICKstarter.  

7 Things to Consider BEFORE you Launch your Kickstarter Project. by Nathaniel Hansen.

Hansen says: "If you’re looking for kickstarter advice, ... this article should answer any questions you might have about how to run an effective campaign." 

Hansen says he has helped projects "...featured all over the web, from Wired to CNN, spurred along by social media engines like Twitter and Facebook and an army of fans. Two projects are in the Kickstarter top 20, one is in the top 5 (most donated), and one recently earned an 2010 Kickstarter award."

He tells it like it is and I believe he is right. This article reveals that a great story is paramount, along with advocates & evangelists who will promote your project with an unceasing, unrelenting regularity to everyone you know with every possible vehicle asking for help through Facebook, Twitter, press releases, blogs, magazines, television, i.e. everything.

A KICKstarter campaign requires a HUGE INVESTMENT OF TIME, and a lot of great writing with AGGRESSIVE MARKETING. It helps a lot if your project is aligned with the KICKstarter audience (mostly young adults) who spend a lot of time online (such as gamers or zine fans).  It helps if they are not doing social media for the first time (arriving on KICKstarter for the first time in shock with this forum -- like my father).

I jumped in with a noble goal and naive optimism.  Noble goals alone don't go very far on KICKstarter. 

Harriete

Flickr is a Tool for KICKstarter.

KICKstarter is just like all the other social networking sites....each one has formatting tricks to learn. The HELP menu on KICKstarter is kind of confusing and not comprehensive.  It took me days to figure out how to add images to my "story". The secret was.....FLICKR.

In the "story" option for your KICKstarter there is a place to insert an image, but it asks for a URL. The images are not uploaded to KICKstarter, the images must be hosted on another site. Flickr or Photobucket were listed as options.

Next problem, how to find the URL of a Flickr image. The URL must have a image file extension like JPG or PNG. Knowing how to find the URL for an image can be a handy skill. It works for Pinterest too.

BELOW are instruction to find the URL of an image.  

1. Pick an image on Flickr that you want to copy and paste into your story.

2.  CLICK on the Flickr image.

3. RIGHT CLICK on the image  pick a size of the image...  I suggest Medium or Large.



4. RIGHT CLICK again to see a menu.



5. Select the option View Image Info



6. A pop-up will offer the image URL with the JPG or PNG extension.

Highlighted above in green is the image URL.  http://farm7.staticflickr.com/6167/6164885784_cd79ab9b75_b.jpg

TIP: The instructions on KICKstarter say "Copy Image Location" but no such phrase or terms were used on Flickr, so it was really confusing.

Doing a KICKstarter project the first time is a real challenge.  There is so much to learn to create a successful project but it seems there are people that do repeat KICKstarter projects (one person I found had founded 72 projects)!  I've got a long way to go to complete my goal and no change of the funding goal or timeline is allowed. But you are welcome to look at my KICKstarter project and learn from my inexperience.
Harriete.

FACEBOOK Personal Profile goes Professional on KICKSTARTER

My experience using KICKSTARTER to finance a future video continues to be a revelation on many levels. The learning curve is demanding.

One KICKSTARTER requirement is that you MUST link to your Facebook personal profile, not your business page. Yes, indeed, your Facebook Personal Profile is now professional as well. 



This is what KICKSTARTER says:

"If you're a creator, it's a great way to let backers know a little bit more about you. It doesn't mean you have to accept random friend requests or make your entire profile public, but it's an easy way to show backers you're a real person. You can also adjust the privacy settings of your Facebook account to better control what new visitors see."

REALITY CHECK:
Your Facebook personal profile needs to be managed as if you were cautioning your teenage son or daughter about what to post on line. Everything seems to be moving to a level of transparency in the Internet community. Control of your privacy starts with what you post. And Facebook is never particularly private despite "privacy settings."

Recently, I heard that employers are asking for Facebook profile passwords. In other words, they want to "see all" about their prospective employees. While of course you could say "no", if you wanted a job in this tough economy, wouldn't you say "yes".

My decision long ago was  to keep my Facebook personal profile as a professional page. Everything posted on my Facebook is what I want everyone to see because privacy on the Internet is non-existent. 

Facebook is a great tool, please be my friend on Facebook. I look forward to meeting new people in this forum.

Harriete

How to Get An Article About Your Work!

Getting an article about your work in a local newspaper or magazine is always a bit of luck, and a good measure of preparation. From what I've seen, it takes three things, 1) a good "story", 2) great images, and 3) a personal letter to a writer or editor.


Press releases won't get it. While press releases may be handy dandy, and you think that you are doing something, in my experience they are close to worthless, i.e. "busy work."  Sorry to bust the myth, but I've never seen the payoff.  Sure, I dutifully send them out, but press releases always seem generic and boring . . . and I don't know who picks up on them.

What got my latest article was the one and only thing I believe in... a personal letter (or email) to a person.  Sometimes your are reaching out to find a contact person.  You may not know them, yet, or haven't talked to them in years, but yes, the personal touch is the "key".   Sometimes you have to begin by just picking a name out of the newspaper, magazine, or web site and start a personal communication.

To get a story, look for a writer or editor:

1. give them one or two short paragraphs about why this is a great "story";
2. tell them who, what, when and where;
3. add a few great photos, but only 2-3 small jpgs (less than 2 MB max);

Never use bulk emails.  This is the worst possible solution for trying to capture a writer or editor's attention. If you can't write to them one on one, why would they give you an extra minute?

I'd like to hear if anyone has any experience that they can offer in this regard. How do you get articles?

Harriete

The above image is from the Palo Alto Weekly March 23, 2012 edition about my current show at the Anita Seipp Gallery, Castilleja School. Article writer is Karla Kane, Editor  Rebecca Wallace, and the photographer is Veronica Weber. Download PaloAltoWeekly3.23.12PDF

Reevaluating Life - Get $h!+ Done

My current project with KICKstarter is a real awakening. It's a roller coaster of a ride on the learning curves of two new worlds -- entering an unfamiliar social networking domain of the Internet's long tail, and the world of documentary video production.

Combined with the unfolding exhibition of Pick Up Your Pencils, Begin, these events and revelations have caught me up a whirlwind of thoughts and impressions.  After a 4+ year odyssey of fabrication, I am reflecting on a post from Chase Jarvis titled "Hit List: 13 Things Crucial For Your Success [In Any Field".  I recommend reading every word.

Chase's #1 tip is "Get Shit Done".

For four years, I felt like I was limping along on the pencils. I couldn't work on it every day.  Shows came up that needed new works to be made.  Making work to sell gets in the way. Life gets in the way.  But I'd force myself to work on it every chance I could.

And I would torture myself as well.  Making a sculpture 28 feet wide and 15 feet tall from pencils is ridiculous! How will it look? Will it hang as planned? Will it ever get done? A combination of the simplest of art media - a pencil, a little thoughtful engineering, and tedious hours of assembly.  But the vision of a hand crafted work to carry a message that the arts have a value and place in education AND that standardized testing has become overemphasized in education kept me going.

I naively started the KICKstarter project the same way except it can only last 30 days. I've already learned an enormous amount.  Each media and every social network has its own learning curve...so does KICKstarter. Reading the HELP menu doesn't adequately prepare you for what it takes to run a successful project on KICKstarter.

So if you can donate a dollar, that would be good. If you can donate $10, that would be a little better.  I hope everyone who believes that the arts should have a role in education can donate something.

This KICKstarter project may limp along initially.  I started it imagining all the best and the worst that could appen.  It kept me up at night worrying.  Now Chase Jarvis reminds me, ALL THAT MATTERS is that you get sh*t done.

Harriete

PS.  I hired a video editor yesterday! More information about making a documentary video soon. 

Posted Job Opening - What a Successful Response looks like!

Interviewing for a video editor position (for my video in progress) has been an eye opening experience. Looking at 20+ resumes in less than 24 hours from one job posting has given me real insight to a successful reply for an opportunity.

After an afternoon of interviewing editors for a "phase one" video and for my KICKSTARTER video, these are my observations for what a great reply looks like (perhaps for any opportunity).

1. Personalize the reply. Briefly make a case about why you want to work on the job, be in the show, or why this opportunity resonates with you.

2. Describe the job skills you have that fit the job.

3. Respond immediately. Don't wait. There may be so many other applicants for the opportunity that the requestor may stop looking.

4. If a phone number is included in the opportunity, phone immediately.

5. If the email is included, email immediately.

6. If the phone and email are included, do both. It shows you are really interested.

7. Include links to previous projects, artwork or other information that is relevant. An online presence including a web site is essential. Include multiple links if you want, but if you don't include this information right from the beginning your introduction seems incomplete.

8. Include your resume either in the email or as an attachment (even if they didn't ask for it).

9. Include your email address and phone number in the body or signature of the email. Yes, I know the email is at the top, but if a person is overwhelmed by the responses, it is very hard to keep track of everything. By including your email and phone number, it will be easy to contact you during the decision making process.

Harriete

P.S. This is a super amazing antique pencil I found. The top has an enamel clip that says," Use the Atherton Coaster Brake for Bicycles." Pencils have a lot to say.

The Amazing Search for an Editor

In the process of producing a video, I have to hire a lot of help.  A $5,000 grant from the Applied Materials Foundation through the Arts Council of Silicon Valley certainly helped to pay for superb talent to video tape and produce a video of the Pencil Symposium. To satisfy the grant requirements, this segment must be completed by April 30. Yikes.

So this morning I placed a job offering online with BAVC.   I had no idea what to expect. I wanted to find an editor who is willing to work within the budget and continue working with me later on a more in depth video to be funded by my KICKSTARTER PROJECT. If the KICKSTARTER doesn't reach its goal, I will need a Plan B.

WOW!  Within a couple of hours the response was overwhelming as a dozen people responded -- with some truly amazing candidates. The upside: lots of options for selecting an editor. The downside is more than seven hours spent on interviews and watching online videos.

Professional editors want to work on this project. Each of these editors had a commercial or corporate rate, but they are interested in working with artists on a creative project.
Even experienced editors will charge less to share in the video objectives supporting the messages in  Pick Up Your Pencils, Begin   and the KICKSTARTER PROJECT.  This is something to consider if you ever want to produce a video.

I am going to share an amazing video "Creating the Nebula". The video is on Wired web site. CLICK on the previous link and watch it. You won't believe this kinetic sculpture in the Hilton Anatole hotel lobby in Dallas, Texas.  Edited by Michael Lennon.  He edited this video (with two other editors) from 1,000 hours of footage. The video reveals the design and fabrication process.He is one of four top candidates.

Harriete

Wearing Rhinocerus Hide is the New Black

If you read the previous post on ASK Harriete, you know that I am working on making a video titled, Pencils Make a Point.

A KICKSTARTER project has been launched to raise the $10,000 needed to cover the video production expenses. I already have 10 hours of raw video footage, and only need 5 hours more, to prepare for the editing, color correction, custom music, and seemingly endless other technical details.

This KICKSTARTER project is very scary.  All or nothing is the structure on KICKSTARTER. If the funding goal is not reached no money changes hands and the pledges are never called.  I need some thick Rhino skin to withstand the tension.

25 days left to raise the money for video!  In the meantime, each day (if I can) I will share professional obstacles, issues, and observations about 1) producing a video and 2) working with KICKSTARTER.

Recommendation to All Artists and Makers:
KICKSTARTER is not for the thin skinned or faint of heart. Wearing rhinocerus hide is definitely the new black!

Harriete

Art, Pencils, Education from Harriete Estel Berman

Pick Up Your Pencils, Begin installed at Anita Seipp Gallery
Castilleja School, Palo Alto, CA

Four years of effort and thousands of pencils from all over the world are now threaded together in this installation highlighting the impact of standardized testing on our educational system.

Your invited to the public reception.
Thursday, March 22, 6-8pm at the Anita Seipp Gallery in Palo Alto, CA.

A documentary video in progress will include commentary from students and teachers about how standardized tests are affecting our education system at the expense of the arts, creativity, problem solving, and critical thinking. Video clips of the fabrication and installation of the sculpture offer viewers deeper insight into the creative process.

Thanks to a $5,000 grant awarded by the Applied Materials Foundation through the Arts Council of Silicon Valley, a Pencil Symposium was filmed on March 15th at Castilleja School. Prompted by the sculpture, students from four local public and private high schools joined in a discussion about the impact of standardized testing on their education. See their responses here.



Help create a voice for the arts
To help complete the full video, the project needs a final $10,000 of funding for video camera operators, audio recordings, editing, music, etc. A crowd source fundraising on KICKSTARTER is in progress until April 15, 2012. Please consider helping by informing your friends and pledging on KICKSTARTER. A wide range of pledge levels is available starting with the Pencil Makes a Point Postcard ($10 for a signed card) on up to the coveted Patron of the Arts Meets The Artist ($2,500 for a gourmet dinner for 4 prepared by Harriete plus a studio visit and DVD of the final video).
                                
See the rewards for every pledge level.  

Watch this short video clip about the project, it isn't professional quality, but it get the idea across.
   
Don't hesitate, pledge on Kickstarter before April 15th!
Guess what!
$445.00 is currently pledged toward the $10,000.00 goal.

What Will Happens Depends on You

My KICKSTARTER Project is LIVE and your help can make a difference!!!

Yes, your help can advocate for arts in education.

This KICKSTARTER project is perhaps the most uncertain thing that I have ever done, but crowd source funding is dependent on everyone helping a little to bring a big project to fruition. In this case, I am asking the arts community to support the making of a video.

The video Pencils Make a Point is about the impact of standardized testing on education and raises a voice for the arts in education.

Every contribution to this KICKSTARTER project will receive a reward. There are 11 different REWARDS for various levels from $10 to $2,500. Check all the rewards on my web site where each has a picture posted.

The goal is to raise $10,000 to cover the production of the 8-10 minute video. If everyone on "Crafthaus" and my Facebook friends each give $10 the goal will be achieved. That is what crowd sourcing is all about!!!!!!! So far I have recieved $480.

I also created more personal Rewards for larger contributions. Reward images and descriptions are on my web site. Descriptions of the rewards (without the images) are also on KICKSTARTER.

If the $10,000 goal is not achieved on KICKSTARTER, no one is charged for their contribution. I also don't get any of the money. Poof! The project disappears. There are 26 days to bring this project to the goal.

Please share with you friends and family. The success of this entire project depends on you.

During this 30 day campaign on KICKSTARTER, I will share the experience of making a documentary video, working with online sites, and tips you can use yourself in professional development for your own work.

All of the donations go to funding the expenses in producing a professional quality video such as camera operators, audio recording, video footage, editing, and music. Video is a very expensive medium usually costing $3,000 to $5,000 per minute. It is team effort. No wonder Hollywood budgets are so huge!.

If you are interested in more information about the four year project in creating the installation Pick Up Your Pencils, Begin, the documentation is available on my web site.
We're getting great support!!!!!!!!!.......

So far the project has had great success with a two page article in American Craft and a grant for $5,000 from Applied Materials Foundation for the Arts Council of Silicon Valley. (More information about this in another post.)

Please become part of the success with your donation.

For twelve years I have shared my "lessons learned through experience" in the Professional Guidelines, the Professional Development Seminar, and ASK Harriete. My goal is to help others succeed in their professional careers bringing their work to a larger audience.

Can I ask for your help to give a voice to arts in education?

Harriete

Art Documentaries Beyond Average, Be Inspired

I'm documenting a major new work using video . . . and hope to complete the making of a short video documentary during the coming year.  More on this later.

I am also taking a class on making Documentary Videos.  My mid-term exam is tomorrow. 

With full submersion into documentary video's I have watched quite a variety recently, and have gained new insight into the difficulty and demands of this medium.

Here are two suggestions for inspiring and insightful videos about the arts.

Pina
This film may still be at your local art house film theater as it was nominated for an Academy Award. See it on the big screen in 3D. Go to be inspired by one person's vision of artistic expression captured in an extraordinary dance documentary directed by Wim Wenders. If you love modern dance, you'll like it even more. Be prepared for seeing something you have never seen before far beyond average or predictable.     

Herb and Dorothy
This unassuming film proves you don't have to have big bucks to support the arts. A postal clerk and a librarian, devoted to the arts and to one another, acquire art from emerging artists before they become famous.  Piece by piece, year after year, they assemble a world-class contemporary art collection that overflows their small rent-controlled apartment.  Eventually, the collection outgrows their modest home, and they share their collection across America. They gave their collection away even though it was worth millions because the value of their art collection was not about money. They did not want to sell their soul.

Much to my surprise, the film was funded through KICKSTARTER.

Both of these films show that art can be about inspiration, insight, sincerity and soul.

Harriete

Are you steering without a compass? Failure is an inevitable cul-de-sac on the road to success.

I listen to Charlie Rose every day (or at least every day if I can). Charlie Rose offers no nonsense interviews with the world's leaders in every walk of life or occupation from science, politics, actors, writers, politicians, directors, producers, and entrepreneurs. 

I often find the speakers inspiring. These are the smartest, hardest working and usually, most articulate people in the world who are able to bring ideas and introspection to the plain wooden table of Charlie Rose.

Today, I want to share a couple of thoughts that may be helpful to artists and makers. Of  course, these quotes weren't really about art, or art careers, I have taken their words completely out of context, but their words of wisdom warrant being heard. In fact, I think they should be our mantra.

The first quote is from an interview with  George Shultz, Former US Secretary of State from Monday, January 24, 2011. I have been savoring this for over a year now. He said, "If you don't have ideas, you don't have a compass." This opinion works for both our art work and for our careers. If we don't have a compass we don't know what direction we are going. It is very easy to get lost. We need a plan. We need a one year goal and a five year goal.

Continuing with inspiring thoughts from Peter Gruber on Charlie Rose - March 14, 2011
PETER GUBER:  "Failure is an inevitable cul-de-sac on the road to success." 

"So the idea is you learn from it.  You don’t want to make the same mistake twice.  You want to be able to grow.  You want to be able to recognize that most of the stuff, the fear that you express is really false evidence appearing real.  It’s not, you know, it’s not always going to happen." 

"So if you become, not immune to the failure, but you recognize that failure is a part of the process, when you take really good creative chances, when you really take good business chances, you will have failures.  And the idea is you learn from them and move on.  If they own you, if you surrender to them, then the pain is unbearable.  If you haven’t failed, you haven’t lived life to the fullest." 

PETER GUBER continues: "And you know, I think the idea is that failure and success are this close together, Charlie.  Inside every failure are the seeds to great success, and in every great success are the opportunities for failure."
END QUOTE

Whenever I am working on a new project, I think "failure and success" are very close together. Only hard work, skill, perseverance, intuition and insight help you find your compass. Experience has taught me not to give up.

Working on the pencil project Pick Up Your Pencils, Begin was discouragingly slow. I worked on it for four years. Talk about scary! Its finally done, and the work is being exhibited for the first time. I hope you can come to the reception on March 22, 2012 from 6-8 pm, at Castelleja. if you live near Palo Alto, CA. The next phase to make a video is going forward.  

So keep working...every day with a plan. And work on your compass.

Harriete

Pick Up Your Pencils, Begin
15' height x 28' wide, a as thick as one pencil

Anita Seipp Gallery
1310 Bryant Street
Palo Alto, CA 94301
Please come to the reception on March 22, 2012
See you there.

Gallery Hours:  10:00 a.m. - 3:00 p.m.
                         Monday through Friday and by appointment

The Scarlet Letter P for Pinterest

The scarlet letter of the 21st century is the "P" for Pinterest.

Pinterest and everyone who uses Pinterest should read the posts below and consider the consequences of their actions. Yes, Pinterest, I changed your copyrighted image.

Post this image on your Pinterest Boards.
Demonstrate that you honor other artist's and makers by:
1. Asking permission before posting copyrighted work.
2. Include a complete description of their work including the artist's name, and photo credit, (if appropriate.)
3. Pin and link from a reliable source such as the artist's web site or blog rather than Google search results.
4. Become part of the solution to the problems of Pinterest.

Harriete

An Opinion about Pinterest - "What’s Yours Is Mine"?

Much discussion is going on about Pinterest. The opinions are widely mixed. While Pinterest is a delightfully engaging web site, I am very concerned about a number of surrounding issues. These include but are not limited to:

• The fine print on indemnity under Terms of Use regarding copyright and permission to post images;
• The apparent disregard by pinners in failing to include the artist's name, complete description, photo credit and most importantly, a link to the original source.
• Persistently closed eyes for "ownership" of the images, and more.

My practical advice is highlighted in beige (below). IF you want more background about the Pinterest controversy, keep reading.

I think everyone should discontinue posting on Pinterest for now, but do not delete your account. Advice from Tom McCarthy on Crafthaus is well reasoned. He says: "I made a mistake when I deleted my Pinterest account.  I will be rejoining.  Not to re-establish my boards, I still don't want to pin.  But having an account will allow me to correct any misinformation on pins of my work to a limited extent.  Without an account I can view the activity but not comment on it.  I'm not advocating hiding from the issue in my studio.  I just don't want to invest my time in their game.  Member complaints will probably also mean more to Pinterest than "outside agitators.""

Here is a brief summary of the issues with Pinterest.
With Pinterest, anyone can copy, pin, repin, anyone’s images without skill, without the title of the work nor artist's name, no description and sometimes without a link back to the original source. It is soooo easy.

While posting of images was possible before on other social networking sites, it was not the primary activity. The difference is that the "pinners" now have a highly visible place to put the "pinned" images on their PinBoard.

Pinners feel that their pinboards are an act of creativity or organization or identity for the pinner. The images are a reflection of their tastes. The pinner is now a “collector”. A collector of images, but a collector all the same. They can create an identity for themselves on line through other people’s creativity, design or artistic expression.

While most of the pinned images in the past were consumer items and recipes, the dynamic of posting images of photography, art and craft is growing quickly as artists and makers seek visibility and links to their web site or Etsy shop.

There is a discussion on Facebook Critical Craft Forum with over 59 comments. Read it and see what you think! It started with a link to a post by 2Roses on Crafthaus titled, Standing at the crossroads of 'What’s yours is mine'.

John Roses says:
Data – your data – is the currency of the 21st century. Billions of dollars are spent collecting it, and multi-billions are made selling it.  Who controls information about you, and who can profit from it is the new Wild West. This also has far reaching ramifications for artists and makers, specifically on the issue of control and right to compensation for the use of images of your work.

There has been a lot of talk about Pinterest of late. It is the newest shiny bauble on the social networking scene. Artists (some, anyway) love Pinterest because it seems to shower free attention on a lucky maker. We love free and we love attention. But nothing is really free and some of the more astute makers are already saying “Wait a minute… what’s that tucked down there in all that legal terms and conditions."
 

I recommend that you read the entire article.

Harriete continues with her concerns...

The Terms of Use on Pinterest are very confusing. Here is an artist/lawyers opinion about the legal conflicts. Kirsten Kowalski's 2nd post on DDK Portraits blog titled, My Date with Ben Silbermann - Follwing Up and Drying My Tears is a little more entertaining.

I am looking for practical solutions for artists and makers. Here are two issues that need to be addressed by Pinterest.

Above is an image of Pin Etiguette #2 and #3

Pin Etiquette #2 says:
"Credit Your Sources
Pins are the most useful when they have links back to the original source. If you notice that a pin is not sourced correctly, leave a comment so the original pinner can update the source. Finding the original source is always preferable to a secondary source such as Google Image Search or a blog entry."

Right now the Pinterest Pinboards are sloppy at best. It is objectionable that many images are not linked back to the original source, but go to an empty Google search page.

Pin Etiquette #3 says:
"Avoid Self Promotion
Pinterest is designed to curate and share things you love. If there is a photo or project you’re proud of, pin away! However, try not to use Pinterest purely as a tool for self-promotion."

The reality is that the makers of art or craft or photos own the images.  So either I break the law through copyright infringement when I post other people's art or craft (read the Pinterest Copyright & Terms of Use), or I need to ask permission for every image posted (recommended), or I break the Pinterest code of etiquette and only post my own work. 

Etiquette only amounts to standards or protocol established by your community. Manners and etiquette are established and generally followed, or the person is ostracized by the community.

Pinterest should find a way to enforce compliance through their website or rewrite their Copyright Terms of Use (in plain English) so every user understands the implication of their actions.

Have you pinned other artists or makers without complete information?
Did you ask if you could pin their work?
Did you take the image from the original source or a Google search?

Are you part of the problem or the solution to better practices on Pinterest?

 

Dupin Harriete

How about this for a pin?

Pinterest Hot Topics & Copyright Infringement

One of the problems with Pinterest is that people look around the Internet to find images for posting on their pinboards. This "pick up and post" images is not unique to Pinterest.  There are plenty of blogs that look for images to post with content. Beware!  Here is a Legal Lesson Learned: Copywriter Pays $4,000 for $10 Photo.

Think about the ramifications .... lots to discuss and consider though the unique aspect of this article was that the photo was officially copyrighted. Not everyone is applying for a copyright on every image. (While everyone has copyright for their work, you can't take your case to court without a registered copyright.)

I find the concern about posting images that you don't own as a serious issue.

Here is another article from the Business Insider: A Lawyer Who Is Also A Photographer Just Deleted All Her Pinterest Boards Out Of Fear.

On the one hand, asking permission for posting images is a good idea, but, on the other hand, it is a real pain. Imagine the time needed to find the email of each artist, compose an email to ask permission before posting, and waiting for a response.

What should I do? At fist Pinterest seemed like fun. That was a week ago when I experimented for the day. Since last Friday, I am seriously reconsidering the whole premise.

BELOW IS ONE SEGMENT OF THE FINE PRINT ON Pinterest:
You acknowledge and agree that you are solely responsible for all Member Content that you make available through the Site, Application and Services. Accordingly, you represent and warrant that: (i) you either are the sole and exclusive owner of all Member Content that you make available through the Site, Application and Services or you have all rights, licenses, consents and releases that are necessary to grant to Cold Brew Labs the rights in such Member Content, as contemplated under these Terms; and (ii) neither the Member Content nor your posting, uploading, publication, submission or transmittal of the Member Content or Cold Brew Labs’ use of the Member Content (or any portion thereof) on, through or by means of the Site, Application and the Services will infringe, misappropriate or violate a third party’s patent, copyright, trademark, trade secret, moral rights or other proprietary or intellectual property rights, or rights of publicity or privacy, or result in the violation of any applicable law or regulation.

The relevant issue here is that I AM NOT the sole and exclusive owner of images I "pick up and post". I can not guarantee that  the images I post will not "infringe, misappropriate or violate a third party’s patent, copyright,..".

The other day, I removed images that I had posted on Pinterest. Why? I realized that I didn't own the images and hadn't asked permission from the photographer. With some effort, I found the photographer and his response was that I needed permission from Getty Images. My next step was removing the images. 

I don't have any answers right now, but I do think this is the moment to "pause, and reconsider" all future actions regarding Pinterest.

Harriete

IP/Internet Lawyer Opinion About Pinterest Policy

One of the concerns of Pinterest users (beyond a host of other issues like image attribution, and links to original sources) is the fine print under Terms of Use on the Pinterest site.

Riley Noehren, an IP/Internet lawyer and maker, has allowed me to repeat his insight into the fine print of Pinterest, the baffling mumbo jumbo that is hard to decipher or understand.

Below is the opinion of Rily Noehren:
"I'm a Etsy member and an IP/Internet lawyer.  Part of my job is to draft website terms for my clients, and this is a pretty standard provision.  It is necessary for Pinterest to have this license in order to be able to run its website.  You will find similar provisions in the terms
of any website where the user can upload content.  For example, Facebook's terms include the following:

"For content that is covered by intellectual property rights, like photos and videos (IP content), you specifically give us the following permission, subject to your privacy and application settings: you grant us a non-exclusive, transferable, sub-licensable, royalty-free, worldwide license to use any IP content that you post on or in connection with Facebook (IP License). This IP License ends when you delete your IP content or your account unless your content has been shared with others, and they have not deleted it."

"There are a few key limitations to what Pinterest is doing:
1. It is just a license, not an assignment of rights.  You keep the rights to your photos, etc.  Pinterest just has a right to use them in a limited context.
2. The license only extends to things related to the website.
3. The license only covers the content you upload, such as your photos, not the crafts themselves.
4. The license only extends to Pinterest, not other Pinterest users for use off the website.

If you noticed that Facebook's license ends when you delete your account, but Pinterest's is irrevocable, that is because the whole idea of Pinterest is for others to repost your photos.  Again, this is really necessary in order to make Pinterest work.  However, it doesn't hurt to remember before you upload anything that it will be there forever."

"It is important to remember that even if a website is "free," there is still a cost for using it--namely, your agreement to be bound by the terms and privacy policy.  I think if most Etsians were to weigh the costs and risks associated with Pinterest, the balance would still favor using Pinterest because it is an excellent, low or no-cost marketing tool. However, each person needs to make that decision for themselves based on the type of work they do."

Riley Noehren
IP/Internet lawyer

Harriete says:
I agree that it is very difficult to understand the fine print Terms of Use. On every site the terms are written by lawyers paid by the internet site provider to protect the site, not the artists using the site. Ultimately, each person has to decide what is the balance between risk and benefit.

Pinterest Search Results Do Reveal Problems AND Revelations

The last two posts were about Pinterest.

Pinterest - Quick Tips to Become a "Pinner"

Pinterest The Huge Concern

The concern all round by artist and makers is proper attribution of their work.  By attribution I mean name of the artist and possibly a link to their web site.To investigate this problem, I searched for my work on Pinterest.

I found my work on Pinterest under searches for "Harriete Estel Berman" and "harriete-estel-berman". Not all images had my name in the description. Most of the images don't even have any description, let alone a full and accurate description. Very few included links to my web site. A lot of the images were from blogs, photo sharing sites such as Flickr, or on line interviews  but most did not link back to my web site or this blog, ASK Harriete.

The impact: visibility for my work, but not necessarily traffic for my web site or blog.

While this doesn't make me happy, I am not sure how it hurts me or my work. It isn't as good as it could be, but there are many other things that could be worse. And there are some serious issues yet to be addressed.

A BIG CONCERN PUBLICLY discussed is the source of the images.

Investigating and experimenting, I have made a discovery. If you keep clicking on a Pinterest image it goes back to its original source, maybe.

 

 

• The first Click goes to the person who last pinned the image.
• Next CLICK goes to where ever the person found the image.
• So the source of the image can be discovered after all! 
  
  

OOPS...the unfortunate aspect is that this doesn't work all the time. Sometimes clicking on an image goes back to an empty Google search box with no original source. So I would like to recommend that if you find an image on Google Image Search, try to find an original source for the image. 

Taking the image directly off Google, makes Clicking back to the original source for the image impossible. Or or at least that is what I think is happening since it goes back to a blank Google page with no information, and no links or resources.

another problem:
If people download your image, then upload the pinned image from their computer, there is no source for the image.

What about screen capture an image? Then create an image on their computer to upload. There is no source for that either!

I think an important issue is how we, the arts community will offer a better description and acknowledgement for the images,  with possible photo credit and additional information. We can't complain about others unless we take responsibility for ourselves.

Are you carefully posting  images as a resource for others with complete information?

Are you carefully posting your own work with a complete description including your own name?  That was a real shocker when I realized that including my name in the description was necessary because  people might repin the work. Thus my images could be traveling far from my own pin boards.

Harriete

Stay tuned. I have more information about Pinterest and options.

Pinterest The Huge Concern

Interest in Pinterest is explosive. I heard it is the first social network to reach 10 million visitors a month. There is a lot of analysis of this dynamic new site, For artists and makers there is a huge opportunity to share your work. Lots of possibilities, but I'll skip to the big issue for artists and makers.

The huge concern is appropriate attribution. The concern is that images of art or craft may travel around, pinned and repinned without proper attribution to the artist/maker. Addressing this concern there are rumors, suggestions, proposals that artists and makers might decide to watermark their images.

I do not like Watermarks in photos. 
As a result, I am not going to watermark my photos and ruin the image because of others' irresponsible behavior.That is my opinion at the moment...but on the other hand, can't we all join together, work together, post together protecting each other with appropriate attribution?

Here is where everyone, yes, EVERYONE needs to take responsibility for posting images with complete descriptions.

Please, please, please, can we all make Pinterest the best it can be. Honor the creativity behind the images with complete information.

• Add the artist's name to the description (including your own name).
• Add a link to the original (artist's) web site, if possible. 
• Add links for your source.
• Add photo credit, if possible.  
• Add an accurate (even if short) description.

Harriete

Tomorrow's post... more Pinterest introspection.

Pinterest - Quick Tips to Become a "Pinner"

Yesterday was a day invested in learning about Pinterest. It started with reading a free ebook from HubSpot on How to Use Pinterest for Business.

After some hours of experimentation, I can share several tips to help you become a "Pinner" and take advantage of some of the unique features of Pinterest that are different from other social networking sites (SNS) like Facebook and Twitter.

The great realization is that Pinterest is a natural website for artists and makers since it is image based.  A real delight.  Makers can post images of anything and every- thing we love.  It could be like a sketchbook of inspiration.

First and foremost, follow the top three
Pin Etiquette from Pinterest

1. Be Nice
Pinterest is a community of people. We know that tastes are personal, but be respectful in your comments and conversations.
 
2 Credit Your Sources
Pins are most useful when they have links back to the original source. If a pin is not sourced correctly, leave a comment so that the original pinner can update the source. Finding the original source is always preferable to a secondary source such as Google Image Search or a blog entry.
 
3. Avoid Self Promotion
Pinterest is designed to curate and share things you love. If there is a photo or project you’re proud of, pin away! However, try not to use Pinterest purely as a tool for self-promotion.

You can combine your Pinterest with Facebook. If you post on Pinterest, then Facebook automatically posts your Pinterest images on your timeline.

This is a "setting".
     HOVER on your NAME.
    A drop down menu appears.
     CLICK on settings.
     SCROLL DOWN
     CLICK ON THE BUTTON next to "Add Pinterest to Facebook Timeline" as shown in the upper left screen capture.

 

THE PRICE BANNER PROBLEM. 

Avoid using a Dollar sign in your Pinterest text.
IF you use the dollar sign it automatically puts a banner across the top left corner (shown above). I think it looks tacky. The banner goes across your image and puts the price as a prominent feature. Does everything have to be about price?

Instead you can put the price in the descriptive text, but use words such as "Retail Price:". This is shown below.

Descriptions are limited to 500 words. So keep that in mind.

You don't need to follow a person, but you can FOLLOW one of their Boards. Just CLICK on the FOLLOW BUTTON (as shown below). You can UNFOLLOW any time.

Find me on Pinterest. I look forward to seeing your pins.

Harriete

Sticker Shock or A Real Bargain - It's All Relative To Framing

An editorial by Ryan Jones in The Crafts Report (November 2011) brought a fascinating TED Talk to my attention. Dan Ariely explains how "framing" different options can influence purchasing decisions.

Quoting Ryan Jones, editor of The Crafts Report, "Some people wonder why they should bring along some higher-priced items to a craft fair, especially if it's unlikely they will sell them. But, framing means that your highest-priced items can be a better sales tool than the greatest booth or display. Listen to the TED Talk by Dan Ariely to learn more about this concept.

I recommend listening to the TED Talk all the way to the end because it explains the logic behind why we artists should always have a big show stopper piece of artwork in our booths or in an exhibition to sell the smaller items. After the video, take a look at an example about how I am trying to apply this reasoning for my Judaica.

Here is my practical example.
Right now I have a Seder plate for Tu Bishvat in the exhibition DO NOT DESTROY at the Contemporary Jewish Museum. The price places this work outside the average consumer. My aspiration (or wish come true) is that a museum will buy this work for their permanent collection. 

Two weeks before the museum exhibition opened,  I contacted the museum gift shop about selling some of my Mezuzot. Each mezuzah is priced at $175. That may put some people into sticker shock compared to the usual gift shop item, but it is a real bargain for the labor, preparation, skills, and design in each mezuzah. 

At the same time,  the mezuzot are affordable examples of my work with an environmental message that can be used every day. 

Everything is relative, and there are many factors that may influence the purchaser's decision including the perceived value of the artwork in the exhibition, and the validation provided by being included in the museum exhibition Do Not Destroy.

Keep this strategy in mind for your booth or next show. While the masterpiece of the show may or may not sell, it may be a prime factor in selling the other work.

I sold four mezuzot so far and the show has been open one week. My fingers are crossed. Check back, I will update this post.

Harriete

Are you interested in going to the exhibition, Do Not Destroy, at the Contemporary Jewish Museum? They are offering a two-for-one admission through May 28, 2012. Just mention “Friends and Family Offer” when purchasing general admission tickets in the Contemporary Jewish Museum's Lobby. The show is really interesting with a wide range of  work from photography, drawings, sculpture and more.

 

Reduce, Reuse, Recycle, Assiyah, Yetzirah, Beriyah ©  2011 by Harriete Estel Berman

Close up center, if you shine a light on the center of the seder plate (above) it reflects a Star of David on the ceiling.



Reduce, Reuse, Recycle, Assiyah, Yetzirah, Beriyah
                                                          ©     2011

Artist:Harriete Estel Berman
DIMENSIONS: 6” ht x 24” w x 20" d

If you are interested in viewing the design, and fabrication of this Judaica TuBishvat seder plate, CLICK HERE to view an entire album on Flickr with step by step photos for this work in progress.

Sharing Costs or Getting Taken? Possible Benefits versus Risks Sharing Fees for Space and Financial Cooperation Among Artists

This post contains a real email - not fake or pretend.  The exact email is copied from my inbox.  I only deleted the name of the gallery.

The email is asking an artist to cover costs to participate in a show.
What do you think? Would you participate?
Read the whole thing. My comments follow below.

Subject: SOFA NY
Email: ***gallery.com
Your comments: Dear Harriete:

I am the owner of an Art Gallery located in [*****(a country in South America)].
Since year 2000, my gallery participates as an exhibitor at SOFA (The International Exhibition of Sculptur, Objects and Functional Art - www.sofaexpo.com ) in New York, Chicago and since year 2009 in the new SOFA West at Santa Fe, New Mexico.

This year SOFA decided to change the focus of the show, toward the furniture and design.
I am submitting a proposal of showing 10 chairs and 10 mirrors by artists and believe your pieces have affinity with the rest of my inventory, and absolutely fit for SOFA.
 
Would you be interested in exhibit at SOFA represented by my gallery in case the project will be approved?
 
This call to represent you at SOFA , implies in my gallery the idea of sharing costs, since expenses are so high that I am not able to solve them completely by myself, and involves important financial cooperation from the artists, which are considered as partners since they pay some fees for space and I take lower commissions than other galleries in case of selling. 
 
If you are interested in this kind of proposal, let me know and I´ll send Terms and Conditions to participate .

Sincerely, ****
(****name of gallery owner)
(****name of gallery.com)

STOP AND THINK HERE.  How would you respond?

If you want to exhibit at SOFA, it presents a way to reduce expenses and possibly make some extra sales.  And it sounds so sincere. 

 Would you agree to this offer (assuming that your work is a perfect fit with the theme of the gallery exhibition)?

WHAT ARE THE ISSUES?

 Consuming Identity © 2001
  Post Consumer Recycled tin cans,
  fabric, ribbon, aluminum, steel screws,
  Chair sculpture is not functional.
  Artist: Harriete Estel Berman
  Photo Credit: Philip Cohen

Material Identity © 2001
Post Consumer Recycled tin cans,
aluminum, steel screws,
Chair sculpture is not functional.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

Here are my concerns.

The offer may indeed be sincere, . . . maybe, . . . but the chance of benefit is far outweighed by the numerous risks and red flags. 

The gallery is out of the country, so, for all practical purposes, there is no legal recourse if something goes wrong.

Giving money to any unknown person or entity with no prior working relationship or familiarity is a definite "red flag."

I would have no control over display, marketing, or selection of other artists  even though I contributed money.

This is an investment of my time and money into a relationship that would be very difficult to continue, thus a one time opportunity, and not likely worth the hassle.

Overall, too many risks.  Or, this could be a scam.  Or if real, too many loose ends. 

Instead, if you want to pursue such offers, I would suggest that you meet the gallery at SOFA in advance by a year and get to know the gallery owner and related people. Look at the selection of artists, style of work and presentation. If you are still favorably inclined, you can then arrange for sharing in future years.  At least you would know who you're working with.

What do you think?

Did I miss something?  Should I reconsider? 

Harriete

 Material Identity starts with a chair inspired by the styling principle of Charles Lock Eastlake. His book Hints on Household Taste was a best selling book in England and American in the years after its first publishing in 1868.

Ironically, Eastlake's treatise expounds on commentary equally relevant today. He said that publick taste is corrupt - fashion rules, and few are shocked by sham and pretension. Cheap and easy method of workmanship in an endeavor to produce a show of finish with the least possible labor, as well as an unhealthy spirit of competition in regard to price, has continue to cause the value of our ordinary mechanic's work to deteriorate.
The parallels today 100 years later are resounding.


Bermaid is a play on words. First, my name - Berman - is not a very good name for an avowed feminist. Using "maid" instead of "man"indicates the artist is a woman and suggests a pun on "made" as in made by hand.
Dimensions of Chair: 38.25" height x 17.25" width x 14" depth

Photo Credit for all images: Philip Cohen

Prepare for Success - Workshop for Your Quest

Looking for your path to success?

What direction do you want your work to go? What insights would you like to gain from someone with 30+ years of experience? Is your work consistent with your marketing?

 

In April, I will be teaching a professional development workshop at Revere Academy as part of their Masters
Symposium in San Francisco, CA.

Prepare for Success

April 28 - 29, 2012

 

Internet Option
If you can't travel to San Francisco, Revere Academy is offering on line participation at a reduced cost! It would be nice to see you in person, but if you need to stay at home while juggling the rest of your life, this is a way to listen in on your computer.

Webinar participants will be able to view the instructor and Powerpoint presentations in real time via their computer, as will as submit their own questions and images for review by the instructor, much like the students who attend the class in San Francisco. Because this is the first time Revere has offered a webinar class,there is a special, one-time introductory price for the class of just $79!Download Prep for SuccessPR

Webinar participants are required to have a computer with a high-speed internet connection. To register for the webinar, call 415-391-4179.

Appropriate for all media, this two day intensive workshop with Harriete Estel Berman will provide tons of information to super charge your professional development and gain from my 30 years of experience.

Learn how to use the power of social networking, blogs, and web sites to develop visibility and get your work noticed. Other topics will include maintaining proper records for the IRS, managing inventory, how to update your resume, and evaluate and upgrade your photos.

We can cover anything you want.  Your questions can guide the topics to be covered. 


Here are some suggestions for topics:

Professional Development resources

Your 20 second commercial

Guidelines for a critique group

Identify your business model.

Establish Your Professional Goals
   Define Objective
   Define Success
   Are your objectives and definition of success            consistent?
   How do you expect to achieve your objectives?
   Define your market.

Pricing and fabrication methods.
   Pricing Structure
   Falcher Fusager’s Pricing Formula
   Guestimation
   Comparative Pricing
   Include your Overhead
   Cost of goods sold
   Pricing Concepts.

Inventory Record Form
   Inventory Records:  Documentation and Provenance
   Hallmark or sign your work

Digital Image Package
   Label examples
   Image description sheet
   All prints and digital files information.
   CONTACT SHEET SAMPLE

Resume vs. CV
   Resume categories
   CV
   BIO

Artist Statement Recommendations
   Artist Statement Tips
   Artist Statement with description
   Envelope for your package

PUBLICITY EXAMPLE
   PUBLICITY  IMAGE
   SELF PORTRAIT
   WORKING IN THE STUDIO
   PHOTOGRAPH EVENTS

Emails and social networking

Strategies for juried opportunities

Publicity and Marketing 100+ ideas
   Book recommendation
   Pitch letter
   Mailing List strategy
   Thank you
   STATIONARY

Wholesale/Retail
   Minimum order for wholesale
   Return Policy

Delivery of work in person
   Shipping – One of a kind work
   Unpacking & Display instructions
     To Display
     Packing and Shipping
     Maintenance Instructions
     Shipping
     CONDITION REPORT
     SIMPLE PACKING LIST 

Profit or Loss?
     What are your options?
     Do you act like a business?
     Expense record examples.
     3 rules to test deductibility
     Expertise?
     Time & Effort?
     Track record
     Record of sales
     Do you act like a business?  I.R.S.

COPYRIGHT & Fair use

www.you
        Website resources
        Web what you need to do and why
        Blogs - blogosphere
        Basic SEO to implement

Any Questions: Contact me directly
bermaid [at] harriete-estel-berman.info
(area code 650) - then 571-7726
http://www.harriete-estel-berman.info

Lunch Discussion with Garth Clark - Keynote Speaker at SNAG Conference 2012

The annual SNAG Conference offers many astounding opportunities unavailable for most of us anywhere else. Register for the 2012 Conference before February 29, 2012 and you will automatically be entered in a drawing to win a FREE ¼ page color advertisement in Metalsmith magazine!

As part of the SNAG Conference, look on the schedule for "A Smaller Conference Experience", an informal lunch discussion with keynote speaker Garth Clark. This is open to everyone on Friday, May 25th.


This year's theme, THE HEAT IS RISING, plays right into many hot topics and thought provoking debates! And Garth Clark is known for provocative positions.

"Grab and Go" lunches will be available for pre-order purchase during registration or on site with 24 hours notice.

This lunch discussion is part of "A Smaller Conference Experience", a two part program to facilitate more intimate and meaningful discussion at the SNAG Conferences. This is an opportunity to get to know the Keynote Speaker, Garth Clark, and engage in an in depth conversation. 

Put this on your schedule and arrive promptly. Space is limited to a smaller room to facilitate a dialog. Once filled the doors will be closed. 

If you have questions for Garth Clark, please let me know either now or the day of the event. 

We can use your questions to start the conversation.

Harriete 

A Smaller Conference Experience lunch discussion is sponsored by the Art Jewelry Forum.

 

3 Books, 3 Opportunities to Submit Your Work

Three upcoming books provide superb opportunities for recognition.  Submit your work right away.  Details and entry forms below.

• 500 Teapots
• 500 Lights
• 500 Traditional Quilts
  

Having images of your work published in a book generates free publicity, broad visibility and long term credibility.  These benefits are certainly worth investing some time and strategic thinking. Do not wait....you may forget, and early entries often have an advantage.

To improve your submission consider reading these resources:

Top Ten Tips for Getting Into a Juried Exhibition, Show, Book or Magazine

Juried Submissions: What information do jurors really take into consideration?

Photo Comparisons and Descriptions - Now Optimize Your Submission

Strategic Thinking When Applying to a Juried Opportunity

Photography in Flux- Guidelines for Photos of Your Craft

 

Details and entry forms for each of the 3 book opportunities follow:

California Dream
Recycled tin cans
Artist: Harriete Estel Berman
22" height x 20" width x 7.5" depth
Photo Credit: Philip Cohen

500 Teapots
Lark seeks images to publish in a juried collection of ceramic teapots.  Publishing to be in August 2013. The juror for 500 Teapots will be Jim Lawton of Oyster Street Pottery.

Pieces may be functional or purely decorative.
You may submit up to four entries.
There is no entry fee.
Artists retain copyright of their work.

 

Download 500-Teapots-call-for-entries
Entries must be postmarked by April 20, 2012.

Mail materials to:
Dawn Dillingham/Lark
67 Broadway
Asheville, NC  28801

 

Floating World © 2001
Recycled tin cans, paper lanterns
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

500 Lights
Lark seeks images to publish in a juried collection of handcrafted lights. The juror will be Christopher Poehlmann, owner of CP Lighting.

 

Entries must be postmarked by March 1, 2012.  Download 500-Lights-Call-for-Entries

You may submit up to four entries.
There is no entry fee.

Submissions may include chandeliers, lamps, sconces, pendants, and installations. Lights must be designed and built by individual designers and/or small shops as unique objects, limited editions, or customized originals. Work may be created from any material or fabrication method, but absolutely no candles by themselves.

Mail materials to:
Dawn Dillingham/Lark
500 Lights
67 Broadway
Asheville, NC  28801

Even a Tarnished Mirror Betrays Our
Self Esteem When the Ideal of Beauty Is
An Age Defying Conplex
Recycled Tin Cans
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

500 Traditional Quilts
Lark Crafts seeks images of masterful traditional quilts to publish in a collection juried by Karey Bresenhan, President of Quilts, Inc. and juror of 500 Art Quilts (Lark 2010). 500 Traditional Quilts will feature a wide variety of quilt techniques, traditions, and styles.

For this book, they are accepting digital imagery, slides, and transparencies with up to five submissions per artist.

There is no entry fee.
Entries must be postmarked by May 15, 2012. 
Download 500-Traditional-Quilts-Entry-Form

Mail materials to:
Dawn Dillingham/Lark
500 Traditional Quilts
67 Broadway
Asheville, NC  28801

 

The value of being in a juried exhibition or book is the free publicity, broad visibility and long term credibility.  These benefits are certainly worth investing some time and perhaps a little money.

Plant a Seed, Nurture Ideas, Time to Prepare for Blooms and Fruit

The opening for the Dorothy Saxe Invitational exhibition at the Contemporary Jewish Museum is coming up. The theme is Tu BishVat (a lesser known Jewish holiday) celebrating the birthday of trees. Before making a piece for an exhibition, I usually read, study, and research the background of a topic or theme.  This prepares me for the intensive hours, days, and weeks of making a piece -- in this case, a special Seder plate about planting, growth, nurturing, and realizing the fruits of our labor.

It got me to thinking about fruit trees as a metaphor for artists and makers.

There is a Biblical recommendation that newly planted fruit trees should not be harvested before the 5th year.  Thus Tu Bishvat is sometimes called the birthday for trees since this holiday is used as a demarcation for the passing of each year, a very practical recommendation for the future health and productivity of the tree.

If the tree is nurtured for five years before harvesting the  fruit, all of the energy and dedication of the caretaker will be realized in the long term health of the tree.  When the mature tree produces fruit for harvest, it will be more "fruitful" for many years. 

This is a perfect metaphor for a budding artist and how they should nurture their creative output.

Artists and makers should take this to heart.... I am really serious about this point.

I am concerned especially for emerging artists (of all ages) who expect their early creative pursuits to bear immediate fruit in both money and critical acclaim. A premature expectation for visibility and sales too often influences what is made and how it is made.  I hope they learn to overcome these common mistakes:

1.) Shallow roots. Demands from the marketplace can distract artists and makers from developing substantive skills and meaningful ideas. Sustained personal development produces the best fruit. 

2.) Grafting onto others. It is easy to take other people's ideas, styles and techniques.  But copying what's been done before never develops the individual voice within each of us.

3.) Premature Harvest - Spending too much time promoting initial work instead of developing and producing more thoughtful, more meaningful work.  I am all for selling, but spending time trying to promote and sell premature work damages the long term reputation of emerging artists and drains potential energy from more meaningful development and creativity.

I know my words are pointed.  I don't usually say "should", but in this case it is warranted.

Trying to harvest fruit too early damages the core of creativity and dilutes the energy of individuals who could benefit from experiencing growth over a period of time.  Learning from experience and consciously seeking to improve quality should take precedence over immediate gratification.  Higher quality work may take a few years, but once established, it can be productively sustained for a longer period to time.

Harriete

Preservation, Conservation - Design for Repair

In this ongoing series about Preservation, Conservation, Experimentation, I'd like to make a recommendation for all artists and makers  -  design for repair.

I am sure everyone would like to think that damage doesn't happen with good care, but 30 years of experience has taught me that accidents do happen, even to the most valuable of items.

  Damaged corner of one window. I had to
  completely disassemble the window,
  remake a few parts, repair the pieces
  I couldn't remake,a then, put it back
  together.
  

Through the "school of hard knocks," I've also found it far better to anticipate the possibility of damage and not just ignore the possibility.

From the beginning and during your construction, consider how your art work or craft can be repaired.  I design my work to be disassembled, and keep the instructions and assembly methods in my sketch books. Not that I want to repair my work, but when damages do happen, it won't be a total loss. I would rather repair my work myself, instead of letting someone else to try to figure it out. I am the expert on my own work. No one can repair it as well as I can.

Keep your records for the materials used or possibly spare parts. Your Inventory Records might include the brand of paint, or significant colors, patina or glazes. Anything that you might need to know about a particular piece or group of work.

I charge for repair. Since I do silver repair and restoration, I charge my going rate of $85 an hour.  Insurance companies are glad that someone will repair the work, as compared to compensating the owner for the entire artwork.

The document Claims for Damaged Work in the Professional Guidelines will help you with a successful claim if your work is ever damaged.

To help assure the long term future of your work, design your art or craft for repair and restoration.

Harriete

Preservation, Conservation - Essential Documentation When Working With Alternative or Unproven Materials

Photographic documentation (including video and film) can be especially important when working with alternative or unproven materials. While the temporal nature of the materials may be a critical characteristic that makes the work interesting, the documentation may be the only aspect that survives for posterity.  A photo clearly establishes exactly how the artist visualized the work, fresh - before it ages, degrades, or disappears.

For example, Andy Goldsworthy frequently works with seasonal materials like leaves, ice, or twigs.  While the work of Andy Goldsworthy may be an extreme example for temporal materials, it demonstrates the importance of documenting your work. If you haven't seen the movie "Rivers and Tides" (affiliate link) I highly recommend it! It is my favorite artist video of all time.

Andy Goldsworthy's work is a superb realization for making art from alternative materials and still creating a market for the work. Goldsworthy actually makes a living selling the photographic images in books, calendars, etc. The marketing of the photographs in print media even produces a lower priced, democratic way for a larger audience to support and appreciate his work.

The use of alternative or ephemeral materials didn't stop Goldworthy from making a living from his art. As an artist using alternative materials, you just might have to reconsider options other than storage in a box, hanging on the wall, or placing objects on a pedestal.

Necklace uses post consumer recycled
plastic trash combined with repurposed
acrylic  by Harriete Estel Berman.
Photo Credit: Aryn Shelander
Model: Jen Ohara

Realization of an idea is the ultimate expression of art.  Documenting the work, one way or another, helps the artist earn a living through promotion to exhibitions, collectors, publishers, or other consumers.  Often, the documentation of the experiment is just as important as the object lasting a lifetime or 20 lifetimes.

Harriete

 
Recycle Black Plastic is from the Recycled Collection.  The series uses post consumer plastic trash as a commentary about the impact of plastic in our environment.

Preservation, Conversation, Restoration - To Polish or Not To Polish, That is a Question!

As I was writing the previous post in the series Preservation, Conservation, Restoration, it occurred to me that San Francisco jewelry maker, merry renk, could offer some experienced perspective and opinions about the issues of preservation, conservation and restoration. At the age of 90, merry renk is enjoying a renaissance of renewed interest in her metalwork from the mid 20th century.  Just within the past year, numerous exhibitions at major museums have included renk's jewelry and wedding crowns.

How would merry renk want her decades of work to look in an exhibition? Restored with a pristine finish or with the more subdued appearance from 50 years of hand polishing? Since I've known merry renk for years as a San Francisco Bay area kindred spirit, I went right to the source and asked merry.

Below is her response:

"Your question is one that I am dealing with this week.  I am selling a vintage pair of earrings --- and I am having pierced ear wires attached to replace the screw backs that these earrings were made with [originally].  I considered asking my customer if she would like it to have its vintage color, but I have decided that when my earrings go to the customer, I want them to have the best finish that my jewelry can have. I make the choice."

"That is a  question that  can only be answered by each artist---and collector.  My good friend, a collector, Steven Cabella, wants the silver jewelry to have unpolished surfaces and with the patina of age---but I do not like that idea. Since most of my silver pieces have areas that are polished, contrasted with areas that are oxidized black---so if my pieces are exhibited without polishing the true colors that I have strived for, the high shine of silver against flat black will not exist, therefore my jewelry in his collection cannot be exhibited in the original combination, missing my intentions."

"For instance, FOLDED, from 1954, the hairband that LACMA (Los Angeles County Museum of Art) bought and exhibited---I polished it, the outside is polished and the interior oxidized black, before I sent it off and they polished it to an even higher shine.....and I was so pleased because it looked as if I had just finished it last week...I am proud of the piece, not the age."

"I am aware of Steve Cabella's opinion [about his collection of silver objects and jewelry], but now he knows how we jewelers feel about how we present our work. Silver tarnishes in one month!!!"

"I know that bronze sculpture, if polished and vintage color is removed, lowers the price---but jewelry is another situation."

"I am delighted to receive  a question from Harriete!!!!"
merry renk

Thank you merry.

I hope that anyone who reads merry's comments will think about how they want their work shown in 20 years, 40 years or 200 years from now. As we explore this topic of preservation, conservation, and restoration, I'd love to hear your opinion as a collector, curator or artist and maker.

Preservation, Conservation, What is Appropriate Restoration?

At the 2003 SNAG Conference in San Francisco, I listened to one of the most surprising lectures I've ever heard. Between the hours of 8:00 - 9:00 in the morning a collector, Steven Cabella, gave a lecture titled, "Twenty-five years of Collecting Studio Craft Jewelry: Insights, Observations and Historical Patina". His collections are mid 20th century objects including furniture, though this lecture focused on his collection of mid 20th century jewelry.

For over an hour Cabella offered strong opinions from his unique perspective as collector that I have never heard before. It seems that he often loans objects from his collection to exhibitions -- his support of the arts community is commendable. What shocked me though was his STRONG opinions about preservation and conservation of mid 20th century objects. In his lecture he railed against restoration of jewelry in his collection such as polishing the work to its original finish.

Let me make this perfectly clear:

• The silver jewelry was originally exhibited and sold with a highly polished finish in the mid 20th century.
• In one example, the silver jewelry was restored in the original maker's studio (by the maker's son).
• Cabella did not want the silver jewelry restored to it's original appearance but wanted the patina of 50 years to be evident.

Cabella very consciously wanted the patina of wear and fine scratches from a 50 year life span to remain and not be removed.

As a maker, I was conflicted by his opinion.  I had never questioned my own expectation that my work should be cleaned & polished for every exhibition. 

I wonder if the original maker would want the jewelry polished for an exhibition or not? What is appropriate restoration? Should 50 year old jewelry look like "new" even 50 year's later?

Would the maker think the jewelry looked better with the "patina" of 50 years? Or should artwork look "aged" just because it is old?  Should older work look its age?

I don't know. I only know that this particular collector wanted the jewelry in his collection to not look "like new".

As an artist, I have to make choices in materials all the time.  And the decisions that I make today will affect collectors and curators somewhere out in the future (. . . hopefully).  

Everready Working Woman by Harriete Estel Berman from 1984.

The sculpture shown above is from 1984. Titled, Everready Working Woman, this piece is an autobiographical sculpture. It will be shown in an exhibition, Humor in Craft, in Phoenix during the 2012 SNAG Conference.

When work that is 28 years old goes out to an exhibition, should I touch up the chips in the painted finish, fix the lipstick, and polish the metal?  I certainly planned to have the work look great for many years after its creation.  So how long is long enough to not look old?  When is it OK to start looking its age?

Have you ever thought about this issue? Any comments or solutions? Stay tuned to the next post where Merry Renk offers her opinion (uniquely seasoned and reasoned by 92 years of experience showing her silver jewelry).

Harriete

Everready Working Woman is not a found object. It is carefully constructed by artist, Harriete Estel Berman, using traditional metalsmithing skills to create an appliance that appears to look like a manufactured object.

Details include a real drill chuck in the front, optional mixing beaters.
A Wonder Woman electric cord lariat with suction cup plug at the end.
View the spark gun through the yellow plastic window.
A lipstick cartridge fits up inside the handle.
The six-color eye shadow compartment housed in raygun body contains real make-up.

Copper and brass construction with painted or nickel-plated finish.

Preservation, Conservation, Experimentation - Practical Recommendations

Preservation, and Conservation of art or craft media starts with the artist. Yes, before work leaves the studio for a show, gallery, or exhibition I think artists and makers should take concrete actions by including care, display and maintenance instructions with their work.

For less expensive items, care instructions may be on a hang tag or a sheet of paper included with the bill of sale. Issues may be whether the work is dishwasher safe, oven proof, washable, fade resistant, proper cleaning methods, recommended waxes, or best framing methods for the media, etc. This can protect the artist or maker from dissatisfied  customers that did not know how to care for the work properly.

For one of a kind work, I write complete instructions and glue them to my interior shipping box and include an additional copy in the box. Informing the future owner or exhibition sponsor how to properly care for your work may help protect your work.

Instructions for Care and Maintenance should be very specific including recommendations for specific cleaning products and maintenance techniques.

Include disposable gloves in every box.  While museum professionals would normally wear gloves when handling artwork or craft, not every exhibition situation is in a museum. Protect your work from fingerprints. Acid and oils from hands can damage wood, metal, fiber and paper. Fingerprints look unattractive on glass, ceramics or metal.

Windows of Memory © 2003
Recycled tin cans
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

Consider the life expectancy of the materials, archival options and maintenance issues.

For example, tin cans (my primary materials for the past 23 years) rust and fade. While I can not prevent this I provide instructions including:

• Avoid display away from windows, or strong sunlight.
• Wax artwork for protection from moisture and fingerprints.  

While there is no assurance that the collector will be able to protect your work, it does protect the artist from accusations. If your work fades and the owner complains, at least you can demonstrate that the owner was informed.

The use of unproven or experimental materials presents some unpredictable outcomes, both good and bad. As an artist, try to think ahead for twenty to 200 years. Think about the future of your work and your reputation.

Do you have any ideas for archival options and maintenance issues for protecting your work that you can share? Please leave a comment.

Harriete

Below is an image of recently finished seder plate Reduce, Reuse, Recycle
Assiyah, Yetzirah, Beriyah followed by an example - a complete set of instructions for Unpacking, Display, Functional Use, Maintenance and Packing.

Reduce, Reuse, Recycle
Assiyah, Yetzirah, Beriyah
A Seder Plate for TuBishvat by Harriete Estel Berman
Constructed from recycled tin cans, 10k gold and s/silver rivets.

Preservation, Conservation, Experimentation with Alternative or Unproven Materials

The previous post on ASK Harriete opened issues regarding the use of impermanent materials, long term preservation and conservation of artwork (or lack thereof due to unproven materials).  The post provoked some very interesting comments. 

Now to examine specific issues more closely related to alternative or temporal materials.

Yes, artists should explore unproven materials, testing and rejecting preliminary trials before deciding what merits going into their final work. Alternative or unproven materials convenient for a conceptual test, may or may not be appropriate for the final work of art.

The original patina of Dirk Van Erp Lamps
is essential  for the signature appearance
from Dirk Van Erp. 

It seems to me the primary question is the intent of the artist. "Do you want the piece to last . . . or be an ephemeral phenomenon?" Does a time varying patina add to the piece . . . or is sustained color a critical characteristic? Will aging enhance the work . . . or will disintegration contribute to the conceptual theme?

The expected life and varying condition of artwork is something the artist should knowingly choose and not blithely ignore.  What will the work look like 10 minutes later, 10 months, 10 years later, or 10 decades later?

So the issue is not permanence or impermanence in itself, but whether the temporal elements are consistent with the intended conceptual theme of the work. Ten years may be stretching the life expectancy of paper jewelry,  but well within the expectation for public art.

Going back to the example in the previous post, I think it is well within normal expectations that a turned wooden bowl have a stable finish (assuming ideal storage and display conditions) for 25 - 50 years, at least.  I can not believe that the maker intended for the finish to develop "problems." Thus, going back to the artist for a remedy for an unstable finish may be appropriate. 

I also wonder if the applied finish was within the manufacturer's expectation for the medium? Isn't it better to know what will happen than to be ignorant? Was the wooden bowl labeled, "experimental finish?"

Another question comes to mind.
What about storage and maintenance throughout the years? Work owned by a collector in a domestic environment (which is usually exposed to sunlight, and lacking temperature and humidity controls) is a completely different situation then if it was stored in a museum storage in a controlled environment. Were there recommendations from the artist that were followed for storage and display?

This leads to the artist's obligation to communicate what is known about materials to a prospective buyer.  Clarity about the temporal nature of alternative materials is critical if collectors or museums are buying your work. If you, as the artist, have any concerns, then it would be best to clearly state the situation every time your work is on display or available for sale. A declaration about this fact will protect your work and your reputation.

Harriete

Next posts in this series about Preservations, Conservation, & Experimentation with Alternate and Unproven Materias. 

• Practical Recommendations for Care, Maintenance, Storage and Exhibition.
• Design for Repair
• Photo documentation of temporal or alternative materials.

 Are there other issues that readers of ASK Harriete are wondering about? Email or comment. What am I missing?

Preservation, Conservation, Experimentation -- Using Alternative Materials

A reader raises a profound question about the use of impermanent materials in an artists' or makers' work.

Harriete,
I have a question about how far a maker's responsibility goes for the 'lastingness' of a product. This was brought to mind recently because someone had a museum-quality bowl by a famous artist that was developing serious finish issues due to the use of polyethylene glycol as a soak to preserve the color in the material. We also sometimes see pieces put together with questionable adhesives, etc. I understand the importance of experimentation, but it troubles me as my responsibilities include preservation and conservation of artworks.
Is this a question that has gotten much or any attention? 

I was really hoping that this was a question that artists were asking themselves (and each other) on some level.

Signed, A Concerned Curator

Dear Concerned Curator,

Issues of impermanence of materials, experimentation with materials, and long term preservation and conservation of artworks are really complex.

The use of experimental or untested materials is a reflection of our society in a way. We applaud artists that use new materials, or untested methods. The tried and true may be perceived as boring, been there, done that. Even the idea of "permanent" anything isn’t given very high regard. Buy cheap, express the "now," and throw it away seems like a pervasive trend of our culture.

Let's expand on the issues swirling around the use of alternative, untested, or experimental materials. Conservation becomes a concern of the owner, collector or museum. I am betting that museum curators and professionals need more solutions.  To buy, or not to buy...to exhibit or not to exhibit when just the act of putting work on display (even in a  controlled environment) may cause further damage. 

Let's itemize some of the profound issues:

• impermanence of materials,
• experimentation with alternative or unproven materials, and
• long term preservation and conservation of artwork.

Conflicting perspectives abound on these issues which would provide topic material for endless debates.  So here are my dueling opinions. 

The artist has a responsibility to consciously choose how the work is made and what is intended for long term display (if any). Basicly, I think this leads to four possible scenarios from the artist's perspective:

1) Consciously choose to make impermanent work and know it will not last. The work of Andy Goldsworthy or of Eva Hesse are just such examples.

2) Consciously choose to make permanent work and use the best materials available.  e.g. Michelangelo and the Sistine Chapel.

3) Consciously choose the risk of using unknown materials and accept whatever the outcome.

4) Ignore the impermanence or untested aspect of your materials and pretend indifference.

The first three are valid approaches and should be honestly communicated to any audience or potential purchaser.  The fourth scenario is questionable.

The materials used in a work will certainly affect its long term conservation and preservation -and possibly its value.

Raise awareness
This question should certainly be on the minds of all artists who want to have their work purchased.  Artists have every right to choose how to make their work.  

What is the responsibility of the artist during fabrication?

What is the responsibility of the artist/owner? For storage? For display?

What is the responsibility of the exhibitor? Lighting? Hanging? For some work, just the fact that it is on display is destructive? 

What about care and maintenance?
Is polishing to restore the original finish a destructive act?
Is refinishing, removing grunge, old varnish, crackled surface a restoration or destruction?

If you ever watch Antiques Roadshow you hear the voice of the experts. Each material seems to have it's own definition for proper care and maintenance.

As an artist, do you think about how to care for you work? 

Should the collector/curator have the same responsibility? It might surprise the artist to consider that a collector/curator may not have the same expectation for care and maintenance, or original finish as the original maker.

Please tell us what you think?

Have you ever thought about this before? 

Harriete

Next posts will break up this enormous issue into a series of thoughts. I've heard opinions from collectors. I have practical recommendations for my work.  What about you?

The best web site or blog evaluation!

After looking for ways to evaluate my website, I've  discovered a wonderful tool - SiteBeam. They have a free test. I recommend you give it a try.

All you have to do is sign up, submit your URL, and wait a few minutes. The free test allows up to five URL submissions.

I tried the test for my web site and blog, ASK Harriete, . . .  and then learned the harsh reality - my web site needs work.



What distinguished this web site testing service is that it does not present a simplistic single numberical value indicating the overall effectiveness of your site.  Instead, SiteBeam measures many factors with a score.

The free test offers information on multiple categories:

• broken links
• content keywords
• headings
• printability
• twitter
• W3C compliance
• social interest
• stylesheets
• broken files
• incoming links
• spelling
• poplularity
• url format
• link states
• freshness
• search engine results
• facebook
• readability
• analytics
• alternative text
• speed
• visual interest
• image usage
• links
• search ranking

The free test examined my main directory pages, not the complete web site (I have a lot of pages), but it offered enough information that I have weeks of work to do to improve my web site. I also ran my blog ASK Harriete through the free test. 

While I am a rank amateur in web design and SEO (Search Engine Optimization), this test raised my awareness for many SEO evaluation standards. I didn't know that links from social networks, spelling, titles, headers, or image ALT text (descriptions of your images) had such important impact in evaluating my site. (Since this was a free test, many results were withheld.)  Still, I have lots of information to work with in the next weeks.

TEST YOUR WEB SITE or Blog.

Learn how to improve your web site going forward into the new year.

Harriete

Links to information mentioned on Jay Whaley Blog Talk Radio with Harriete Estel Berman

I'm live with Jay Whaley Blog Talk Radio on Thursday, January 5, 2012. The first interview of the New Year starts at 3:00pm. California time (the center of the universe or the edge of a rift, depends on how you look at it.)

Below are links to information that were mentioned on the radio show. A one stop resource for our conversation.

If we mentioned anything that isn't listed here, let me know.

Normally, I don't show a link in the text,  but it is listed here so you can copy the text easily and share it with a friend.

Let me know if you need anything else.
What's on your mind?

Harriete

“Pencils Make a Point” in American Craft  Magazine is a two page centerfold featuring the very personal and political side of craft. Harriete Estel Berman worked for four years collecting pencils from all over the United States and internationally as a  commentary about the impact of standardized testing on education. The bell curve curtain is 15’ ht and 28’ wide.
Read this informative article from the December/January 2012 issue of American Craft on line: http://www.americancraftmag.org/article.php?id=12761

Do you wonder "How This Article in American Craft Came to Be" featured in American Craft magazine?   Lots more is happening including the beginning of a new video about this work, tune in to find out more.http://askharriete.typepad.com/ask_harriete/2011/12/how-the-article-in-american-craft-came-to-be.html

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Are you interested in learning about the assembly of this bell curve of pencils? There is an extended page on my web site with images of the fabrication from the last four years showing.  http://www.harriete-estel-berman.info/sculpt/pencilPage.html

                

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Are you interested in the design and fabrication of Harriete Estel Berman’s work in tin cans. She recently finished new work for a show at the Contemporary Jewish Museum that opens in February.  Along the way, she created a Flickr album so you can view, step by step how Harriete designed this Seder Plate from concept through every step in the fabrication. http://www.flickr.com/photos/harriete-estel-berman/sets/72157627467970893/
View the finished work on her web site at: http://www.harriete-estel-berman.info/juda/TuBishvatSeder.html

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Harriete Estel Berman is teaching
Prepare for Success
April 28-29, 2012
http://www.revereacademy.com/s/masters-symposium/prepare-for-success-with-harriete-estel-berman.html

This class is part of the Revere Academy Master’s Symposium series. If your interested there will also be a Skype level participation  for the first time ever at Revere.

 

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Forging Communities

 

 

 

 

The essence of success by Sienna Patti
http://askharriete.typepad.com/ask_harriete/2011/11/the-essence-of-success-by-sienna-patti.html

The Difference Between a Goal and a Wish by Brigitte Martin.http://askharriete.typepad.com/ask_harriete/2011/11/-the-difference-between-a-goal-and-a-wish.html

 

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Did you know that the SNAG 2011 
Professional Development Seminar is available on line? Recorded during the Houston SNAG Conference you can watch and listen to all six segments on the SNAG Professional Development Seminar page. http://www.snagmetalsmith.org/.docs/pg/10571
Or
http://www.harriete-estel-berman.info/profguidelines/ProfDevSeminar.html

         
NICHE MARKETING and PHOTOGRAPHY IN FLUX were the themes.
This informative programming is available online at no charge courtesy of the NEA, MJSA and SNAG.

Issues include:

• How to develop new markets for your work.
• Ideas for marketing your work and visibility for your blog.
• The importance of photography in marketing.
• Are new standards emerging for photographic images?
• Are the images representing your work well crafted and compelling?
• What makes a good cover photo?
• What camera features should I look for before I buy?
• What are the ethics of Photoshopping images of my work?
• Who owns the rights to the photograph?
• What kind of "master image" should my photographer provide?

Additional discussion of all topics continues on ASK Harriete:
http://askharriete.typepad.com/ask_harriete/professional_development_seminar/

Here are the links to individual topics:.
Niche Marketing link
http://www.snagmetalsmith.org/.docs/pg/10571#Niche%20Marketing

Digital Images File Extensions
http://www.snagmetalsmith.org/.docs/pg/10571#Digital%20Images

Photography in Flux – Three photographers
http://www.snagmetalsmith.org/.docs/pg/10571#Photography

Digital Photography Handouts
http://www.harriete-estel-berman.info/profguidelines/PDS2011DigitalPhotographyHandout.pdf

Photography in Flux – Editor’s Perspective
http://www.snagmetalsmith.org/.docs/pg/10571#Photography2

How to Build a Better Drop Shadow
http://www.snagmetalsmith.org/.docs/pg/10571#PhotoShop

Questions and Answers about Niche Marketing and Photography in Flux
http://www.snagmetalsmith.org/.docs/pg/10571#2011QA

 

Professional Development Seminar 2010

Not Just Another Pricing Lecture
http://www.snagmetalsmith.org/.docs/pg/10571#Pricing

Insurance at an Exhibition - An update!

On November 21, 2011, I wrote a post on ASK Harriete titled, No Insurance at an Exhibition....What Shall I Do?  It sparked considerable debate ... and now an update!

The post concluded that exhibition sponsors should provide insurance covering participating work during an exhibition.  This is simply a minimum professional standard. Yes, there are exceptions, but this conclusion should definitely apply to exhibitions sponsored by larger organizations and exhibitions open to nationwide or international participants.  Such "professional" level exhibitions should adhere to professional standards that are discernibly higher than a local trunk show.

Everready Working Woman © 1984
Autobiographical sculpture in the form
of a domestic appliance.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

The post was inspired by a reader and my own personal and professional experience. More than once, I have had to say to a friend or respected colleague, "I will be in your show, but only if there is insurance."

 

 

Wishing that an exhibition offered insurance doesn't make it happen.
Wishing that you didn't have to make hard choices doesn't solve the problem.

Perhaps just as importantly, raising a difficult issue for public discussion may not solve all problems, but it certainly raises awareness. Questioning perceived problems early may cause sponsors to take a second look.

The original post revolved around two shows for an upcoming SNAG Conference. 

FIVE WEEKS LATER- good news!

SNAG has been in talks with the Scottsdale Cultural Council for many weeks about the insurance issue at the Scottsdale Center for Performing Arts.  The Cultural Council just informed SNAG that the exhibitions in the atrium of the SCPA WILL be covered by their insurance. Ultimately SNAG learned that the Risk Manager did not understand what would be produced at the Scottsdale Center for Performing Arts site.

I have also learned that all SNAG sponsored exhibitions are covered by insurance.

The two exhibitions (under discussion) are not SNAG-sponsored exhibitions; they are independently produced to occur concurrently with the conference to take advantage of the huge audience.

None of this was related to SNAG's budget, it was never a financial issue.

This is all good news, but demonstrates how important it is to establish clear expectations about professional standards. This is not about making anyone into a bad guy. No one is a villain. Discussion and advocacy for standards is not about policing enforcement. Each artist and maker has a responsibility for advocacy in their community.

Wishes may apply to magic lanterns, blowing out candles, or Santa Claus.
Goals take sweat, tears, working through frustrations, and sometimes hard decisions.

  

Establish a clear goal that exhibitions in which your artwork will be displayed should have insurance.  Artists/makers should be especially concerned when shipping their work to a remote location where it will be unpacked, installed, displayed, then un-installed and repacked by someone other than themselves.

In a recent lecture at the San Francisco Metal Arts Guild symposium Forging Communities, Brigitte Martin said, "Setting a goal will lead you and direct you toward the place you want to end up."

Raise your own expectations, . . .  and then you will find opportunities that meet your expectations.

Harriete

 

Looking for the Map Quest Version for Your Path to Success?

The New Year renews our optimism and focus on professional development, but we all have questions.

What is your professional goal for the New Year?

Do you know how to get there?

Are you looking for the Map Quest version for your path to success? Can we offer directions?

Join me on Jay Whaley Blog Talk radio. 

Thursday, January 5, 2012

3:00p.m.

ASK Harriete your questions live!
Join the conversation. Get Answers.

If you "register" you can participate in the live chat room.  . (Sometimes registration on Blog Talk is "fussy", so give yourself a couple of extra minutes before the show) Or log in using Facebook. This is super easy.

Or phone during the show  The call in number is (646) 716-571
Ask the show your questions.  One of my goals for the year is to open the conversation. What are the pressing issues in the arts and crafts community?

This online radio interview can be directed by your questions and is relevant to artists and makers working in all media.

• What are the tips to success you want to know?

IF you can't listen live,  email Harriete or Jay Whaley studios your questions in advance.
[bermaid [at] harriete-estel-berman.info.
http://whaleystudios.com

Prepare for Success!

I am  teaching a workshop at Revere Academy as part of their Masters Symposium.

Stay tuned for more information on
Prepare for Success at Revere Academy in San Francisco, CA.  Dates April 28-29th, 2012.

Even though Revere Academy is focused on jewelry arts, and metalworking skills, this workshop is appropriate to all media.

There will also be a SKYPE level participation.
More news soon!



This two day intensive with Harriete Estel Berman will provide you tons of information.

Subscribe to ASK Harriete for information through out the year.

Harriete

"Why Debt Will Kill Your Artistry" by guest author JoAnneh Nagler

Today's post by JoAnneh Nagler focuses on the impact of over extending yourself financially and how it affects your creativity. As we begin the new year, I think her words of advice are a worthy consideration for starting 2012.

Note: The opinions expressed by the author, JoAnneh Nagler, in this post are hers and hers alone, and do not necessarily reflect the opinions of ASKHarriete or Harriete Estel Berman. No endorsement or refutation is implied.

Debt is a killer.  It’s a downward spiral into a nightmare of nail-biting, stomach-churning, sleep-deprived stress, and our self-justifying doesn’t make it any better.  When we use credit to extend our standard of living, we believe that we’re making things “easier” and “better” for the moment, but what we’re really doing is just postponing pain.  

On some level we may already know how damaging debt is, but we end up falling into the pit of debt trouble because we think we can manage it.  Over time, as our debt grows and our ability to pay diminishes—because high balances mean that it’s a struggle to pay our minimums and still fund our life—we get desperate.  We use credit to survive, making the cycle worse by using credit for our basic needs.

Most of us have experienced some large or small version of a debting cycle.  But it’s worse for the artist.  How come?  Because when debt takes a toll on our spirits and our well-being—as it inevitably will—it also takes a toll on our ability to create art. 

As artists we need room to create—not just physical space, but breathable, quiet, wound-down ease to be able to find our way.  We need to hear the voices within us that say, “Put a wash of crimson across the top third of the canvas,” or “try welding that large piece of copper balanced on its end point.”  In other words, our heads cannot be filled with the chatter of debt-anxiety and still be focused on our work. 

As artists, no one is going to make us punch a time clock to get our performance piece up on its legs.  No supervisor is going to give us a delineated job description and deadline to finish that abstract.  No press-for-a-delivery-date company president is going to insist that we complete our metal collage. 

We create in the space of discovery, and though once in a while some of us may have a gallery deadline or a show date looming large, most of us will have to discipline ourselves—day in and day out—to still the chatter of daily life demands and sequester ourselves long enough to get our art done.  Meaning, we have to have some peace inside us to do it.

So what does debting do the spirit of discovery?  What does it do to the spirit of peace, or to our ability to listen to ourselves?  It kills it, that’s what. 

How come?  Because debt puts pressure on us to succeed.  It means that our projects have to succeed right out of the box, because we debted to create them, and they don’t get a normal growth arc.  Fronting ourselves credit to do our art—then waiting for a “miracle” to save us by a hoping for quick sale—means when that doesn’t happen, we’re desperate.  Then, my desperation steals my attention from my work and my life, and that steals time from my art.

When I debt to live or debt to make art, I literally steal the hours from myself that I need to create.  I will not be peaceful.  I will not be engaged.  I will not be able to listen, because I’ll be desperate.  I’ll be in debt, I’ll be worried, I’ll be scheming to figure out how to get out from under the pressure of it, and I won’t—not by a long shot—be in any state of ease.

When we debt to make art and engage in magical thinking—that is, that we’ll have a “sure thing” and a sale if we front ourselves cash—it’s essentially like asking a 7-year-old to do math like a 16-year old.  We’re asking the stalk that’s just been planted to deliver like the 12-year-old tree.

When my daily needs are taken care of, in cash, and I am not debting to meet them, I can focus on my art.  I can focus on what’s important—that is, the long term investment of my art—and not be sidetracked by keeping the balls in the air.

Then, my art projects get to have a natural growth arc, like children do, and grow to stand upon their own two feet.  No debt means no pressure, no angst, no drama.  That’s the only way I’ve found to quell the stress-voices and direct my heart, time, mind and soul to where I want it to go—into my art. 

When we make debt-free living the centerpiece of our artistry, we always get to create with ease.  And that, over time, brings us so much more joy, happiness, and fulfillment than credit-spending ever did.  Debt-free artistry: your art deserves it and so do you. 

JoAnneh Nagler is the author of The Debt-Free Spending Plan:  The Only Guide You’ll Ever Need to Finally Make Peace with Your Money, represented by Schaffner Media Partners.  

Find JoAnneh Nagler on twitter: @moneypeace4life

  

Paintings in this post are all by JoAnneh Nagler.
All mixed media in order they are shown:
Red Sea 40 x 30  2010
The Libertine 48 x 36 2009
Spiritu 48 x 36 2009
Beyond 40 x 30 2009
Falling from Heaven 60 x 48 2011
Sungod 48 x 48 2006
Beginning Again 15 x 11 2010
The Light Never Sleeps 48 x 36 2010

Panic over Google+ Learn and Sync with Facebook and Twitter.

Have you noticed that Google+ is coming up at the top of the GOOGLE search results?

Really? Yes, really.  I just began to realize it last week. The Google+ at the top of search results for my name is completely disproportionate to the infrequent activity on my Google+ account (which I hardly ever use). 

Well now I have a explanation from Ariane in the comments on this post (below). The
skewed search result only happens when you search for yourself when you're logged into Google. This is very good to know! Now I wonder what happens when people do a search and they are logged into Google+?

Either way, this has forced me to take action. My Google+ profile has to be better if people might click there before my web site....YIKES!!!!!!!!

So this is what I recommend to get a handle on this new social networking platform.

Use the 7 day free trial on Lynda.com to learn all the features of your Google + profile including how to sync Google+ to Facebook and Twitter. Lynda.com has a 30 minute Google+ tutorial that was amazingly helpful for understanding the features of Google+.

Lynda.com also has training about:

• Flickr,
• Social Media Marketing with Facebook and Twitter
• Facebook Essential Training
• Up and Running with Photoshop Elements 10
• Creating an HTML Email Newsletter
• WordPress 3 Essential Training
• Effective Email Marketing Strategies

So if you feel a bit like a dinosaur and wonder how you will ever catch up to the social media platforms, Lynda.com has quick and easy tutorial video clips.  Keep in mind that each one of these social media platforms links to your web site which is important to attract "link juice" to your web site and improve SEO. Evaluation of your web site even includes how many times your web site is "mentioned" and Like-ed on social media platforms.(More on this aspect soon.)

Harriete

Let me know if you want me to explain more about how to link your Google+ to Facebook and Twitter. Otherwise, find me on Facebook.

Guess what! There are several ways that we can talk about art business development for artists and makers.

UPCOMING on JANUARY 5th.
Please join me in conversation, questions and answers on Jay Whaley Blog Talk radio. If you "register" you can participate in the live chat room. Or phone up and ask Harriete your questions.  Thursday, January 5, 2012 at 3:00pm (Pacific time). This interview can respond directly to your questions and is relevant to artists and makers working in all media.

http://whaleystudios.com
http://www.twitter.com/whaleystudios

APRIL 28-29
JOIN ME IN A SMALL GROUP SETTING FOR A PROFESSIONAL DEVELOPMENT WORKSHOP
Prepare for Success: A two day course for Developing Your Business Skills can be designed to meet your needs.

Submit your questions in advance and the workshop can be directed by your interests.

Bring images of your work. Let's look at your web site.

Is your work consistent with your professional goals?

Recommended Resources for SEO and Website Information

To keep current, I follow several newsletters and blogs to learn more about SEO and Internet issues.

How else can I learn the secrets to traveling on the Internet at light speed in my studio? These resources (listed below) are a great way to build your Internet marketing and business savvy. No one has to read them all, just pick and choose depending on your time and energy, or save the link for a later date.

Go ahead, sign up for their newsletters, none of them costs a penny. Most of these are recommended by Jill Whalen, my number one guru for SEO.

High Rankings Advisor Search Marketing Newsletter
High Rankings Advisor has a free newsletter. The information is easy to understand and implement.

Search Engine Land
Search Engine Land has a variety of authors, I recommend Jill Whalen. There is also has a super post called: The Best Damn Web Marketing Checklist, Period! A quick tutorial worth reading. 

Outspoken Media 

Link Spiel       Link Marketing tips and talk from Debra Mastaler

Wolf-Howl    -  Michael Gray Graywolf's SEO Blog is interesting but more advanced information.

SEObook (This is advanced information so skip it if you are new to SEO and web.)

 Cre8pc.com       

For those of you wondering...."How will I ever implement social networking, web site updates, and blog?" And, "Why would I ever do any of this?" I'd Rather Be in the Studio, by Alyson Stanfield (affiliate link) will offer solutions.

... or take a two day intensive workshop with me, hosted at Revere Academy.  

Submit your questions in advance, and the workshop agenda can be directed by your interests!

Bring images of your work.

Let's look at your body of work and web site. Is the work consistent with your professional goals?

There is also SKYPE enrollment option at reduced price. More information soon.

Let's talk!

Harriete

This is one page from a book "And There was Light" constructed from post consumer spice tins and tin cans.

View all the pages individually on my web site  and the complete book.

 

 

 

 

 

 

Does Your HOME Page Load Quickly?

Have you ever tested how long it takes to upload your web site or blog? The HOME page of your web site should upload quickly to satisfy viewers.  If it takes too long, readers may not wait!

A super simple, easy test for upload speed is pingdom.com (no registration required, thank goodness).

Factors that can influence load time are the size of images, number of images, podcasts, and videos. Advertisements and widgets that require contact with another site also delay the upload speed. 

Sure, different pages of your web site may load at different speeds. Viewers may consider waiting for a video or slide presentation to upload AFTER they have discovered that your web site has something worth waiting.  But your HOME page is their first introduction.  It needs to make a quick impression without being burdened with heavy content. 

Use your HOME page for initial introduction only and let the viewer click through on the content that they wish to pursue.

This is a consideration for ongoing improvements. It was brought to mind because I've noticed that ASK Harriete is taking longer to load.   I've been including a lot more images that are much larger as an experiment, and this is influencing how long it takes to upload. In the future, I need to make the images smaller and compress them a little more for a speedier upload.

Check your web site and blog to see how long it takes to upload.  Maybe people are leaving your web site before they have a chance to view your work.

Harriete

Simple, Sensible, Sensational, SEO Improvements.

Look for the easy ways to boost SEO for your web site and blog. I don't know about you, but who has the time or patience to make Excel lists of keywords.  Just can't do it. I prefer to find SEO plans that are simple, sensible, and easy to implement.

Today's suggestion:
Use image descriptions or ALT Image tags that match content in your post. Duh!!!!!!
Duh!!! Why didn't I think of this before? I always try to label my images on my web site with ALT Image Tags to create Internet visibility for the images. On blogs and 2.0 social networking sites, upload the image and create an image description so the images will be found by search engines.

The methods are different, the end result is the same. And it makes the images searchable.  What I hadn't realized was that when images descriptions match the title for each page or blog post with the same words, it can increase the SEO ranking for your web site or blog!

Go

SEO!~

 

 

RELATED POSTS:

Image labels generate Internet visibility.

Search Engines Have No Vision! So Help SEO "SEE" Your Images

Finding The Orange Lifeboat - Will Your Images Be Lost at Sea? by Brigitte Martin

 

TYPEPAD BLOG Performs SEO Seasonal Miracles

NOTE: No need to read this post unless you are familiar with HTML and XHTML.

Every year I spend the quiet week between Christmas and New Years in a marathon of Web site corrections and updates.


The problem is that I work on my web site myself.  Mostly self taught, I am only marginally functional in HTML and Dreamweaver. I never really have time to study properly.

Do you have a similar problem?

Yet, every web site needs to be maintained or updated from time to time.  My web site was designed in 2003. It continues to function, even though newer versions and new capabilities have come along.   Some of the old HTML has since been revised (e.g. obsolete HTML code).

Search engines, however, are constantly updated with the latest in code and actually profile web sites regarding use of updated or correct code.   Correct code improves the SEO.

If your web site is filled with incorrect code, search engines rank your web site as "amateur", dumb, stupid, or incompetent.  Ultimately, your web site doesn't get ranked very highly. I know this is true, and it makes a lot of sense -- which is why I work to update my web site every year.

My biggest problem is that I don't always know how to fix all the code errors that Dreamweaver shows and I have no budget for professional assistance.

Many of the code errors are small changes such as a slash or a few letters, but I have to know what is the updated version. Most of the information about code on the Internet is too complex for my amateur brain.

Today I discovered a solution, a SEO seasonal miracle.  This method appears to correct small errors....use the HTML "edit" feature.   This may work for you also.

EUREKA  -- a fix for incorrect code !!!!!!!!!!!
This is an amazing discovery.  Whenever Dreamweaver says a portion of code is incorrect, copy that section and paste it into the TYPEPAD HTML editor.
Click into the Rich Text page;
Click back into the HTML window;
the updated formatting is there.
This updates my code problems to the current standard.

This idea of using the power of the TYPEPAD HTML editing feature to find and fix old code to the updated version of HTML code is so exciting.

 
Here is a example of bad HTML:
There were links at the bottom of each page with a <br> in the code. I knew it was a problem but didn't know how to fix it. The <br> is old code for a "line break".

SOLUTION:
I copy and paste the incorrect code into the HTML editor of my blog.
Click into the RICH TEXT window.
Click back into the HTML edit window, and there it is fixed.
The answer is this. <br />

I copied the correct code back into my Dreamweaver HTML.
It works! And now I know the correct updated version for outdated code.

I have tested this with several sections of HTML code that I knew were wrong. Over and over, it works. Please keep in mind that you still must paste the correct version back into the Dreamweaver HTML code.  And it is a comfort to know the correct version (even so much as a dot or slash in the wrong place and it won't work).

Here is ANOTHER  example of bad HTML:

The code for BOLD font used to be <b>bold font</b>.
The currently correct code for BOLD is <strong>bold font</strong>.

I did my test.  I pasted a sentence with the old code into the TYPEPAD HTML window.<b>This should be bold font.</b>
Clicked into the Rich Text window.
Clicked back into HTML window.
 

SOLUTION:
The old code is fixed into the more current version.
<strong>This should be bold font.</strong>

Thank you TYPEPAD HTML editor. I never loved you so much as now!

What is your miracle discovery of the season?

Harriete

Happy Chanukah or "Eating Chinese Food on Christmas"

Chanukah already started and I forgot to tell you about my favorite books and resources for contemporary Judaica. The selection is small, in my opinion, but the potential audience for this genre has room for growth.

Last year Lark Books published 500 Judaica: Innovative Contemporary Ritual Art. (Affiliate link) I  am very pleased to say that I have have several pieces in this book.    

 A Collectors' Guide to Judaica(Affiliate link) has an interesting selection of historical pieces with informative text. (It only has a few 20th century peices of Judaica.) 

 

 

 

Are you looking for images of contemporary Judaica that is not the generic gift store item?

The Contemporary Jewish Museum still has a selection of catalogs from their Invitational Exhibitions. (The Museum Store ships domestically and internationally. Place an order by email, store@thecjm.org, or phone, 415.655.7888.)

In the order listed here (right):
L'Chaim!: A Kiddush Cup Invitational

 

Making Change: 100 Artists Interpret the Tzedakah Box.

 

 

 

 

 

 

Scents of Purpose: Artists Interpret the Spice Box

 

 

 

 

 

 

New Works, Old Stories

These catalogs are not listed online, but they are all beautifully executed with images of Judaica within traditional forms and beyond the expected.

Email me, I will make a recommendation for a catalog based on your interest.

Participation in the exhibitions at the Contemporary Jewish Museum has offered me the opportunity to create museum quality Judaica.

Many of the pieces that I made for these exhibitions have been purchased for the permanent collections of museums.

Shown to the left is "And there is Light" a spice book that holds a Havdalah box. 

If you are interested, all of my Judaica is shown on my web site.

"And There was Light"                  2004

Seven hinged panels to create an accordion style book with removable Spice Box. This contemporary Judaica is constructed from recycled tin cans, spice tins, vintage steel dollhouses, 10 k. gold rivets, aluminum rivets, stainless steel screws. Available for purchase or exhibition.

Each panel    14.25” height x 9” width
Length of book completely open is 54".

 

Facets of Light        1999

Menorah constructed from pre-printed steel from recycled tin containers, "Pushke" Boxes used for the Jewish National Fund, and pre-printed steel from vintage doll houses. Aluminum rivets. One-half inch acrylic cubes function as feet under the menorah. Available for purchase or exhibition.

3" height x 21" width x 25.5" length

Yellow Flower Scroll Doorpost Mezuzah
Dimensions: 7.25” Inventory number M2L.220
Retail Price $220. (Scroll not included)

Finding The Orange Lifeboat - Will Your Images Be Lost at Sea? by Brigitte Martin

Today's post about tagging your images is by Brigitte Martin, curator, book author and administrator of Crafthaus.  Martin begins by taking us on a rescue mission to stress the importance of tagging your images on the Internet.  Will your images be lost on the Internet? Are they drowning in an ocean of information?

Note: The opinions expressed by the author, Brigitte Marin, in this post are hers and hers alone, and do not necessarily reflect the opinions of ASKHarriete or Harriete Estel Berman. No endorsement or refutation is implied.
                  **************

Imagine you are a military helicopter pilot charged with a rescue mission in the choppy seas off of Wales. (Prince William of England generously offered to be our model for this edifying story. Thanks, Will.)

Someone fell off a fishing boat and is now missing at sea. Prince Willilam must find this person within minutes. (If he does this right, he can keep gallivanting around England a bit longer with the new wife. If he fails, he’ll need to return to London and sit in the rain for 3 dreadfully long parades with grandma.)

So Will decides he doesn’t enjoy parades all that much after all, waves bye-bye to Kate and takes off to find the lost sailor.

And this is what he sees: Water.

A great big sea of water. Lots of it and then some more. The minutes are ticking by and he just can’t find the person he needs to save.

Then finally, after 29 minutes, Will sees something. A bright orange spot in the wide open sea! Brilliant. The sailor can now be rescued by our hero!




Will goes home and tells his grandmother that she’ll have to ask someone else to sit through the parades.

 

The End. Well, almost....
Now, what on earth is the point of this story?

Imagine: Instead of royal Will on a rescue mission, there’s a charming, good looking and very smart editor/curator out there (theoretically speaking, it’s no one we would know personally) who absolutely urgently needs to find a photo of one of your pieces on the Internet for a groundbreaking story she wants to write about you and your work! But the photo our editor is looking for is - literally - lost at sea.

Oh no! Why, you ask? Well, because YOU FORGOT TO TAG YOUR IMAGES. That’s why!

See, the thing is, the Internet is kind of like the huge, blue ocean. Without tags on your photo, the image is just LOST AT SEA, it is invisible.

I found this image of a hand  on Crafthaus. It has no tags. This image is lost. No one can find it. In a minute it will be drowned.

However, with tags on your photos, your tags become the orange lifeboat, the one thing the editor can now see against the blue waters. That’s how it works!

So, will you start tagging your images now? You can easily tag images on crafthaus, flickr, and other image sharing sites.

Start with the photos you have uploaded already and continue tagging as you go along.

Suggested tags are:

• your name
• title of piece
• material
• what object it is (ring, necklace, vase, etc.)
• location
• descriptions or keywords that would help someone find your work
• name of website

If you tag your photos, others can find them. It’s that easy. You are doing this for yourself!

Your charming, good looking and very smart editor thanks you sincerely.

Brigitte Martin

Ring by Aline Battengay

Appropriate tags for this photo might be:
Aline Battengay (artist name), ring, hand, doll, jewelry, found object, plastic,

 

 

 

 

 

POSTS on ASK Harriete about Image Tags.

Search Engines Have No Vision - Play TAG, Your IT - Create Tags for better SEO from 2.0 sites

SUPER SIZE Your VISIBILITY with TAGS

Mail without an address? Titles, tags and descriptions for Search Engine Optimization.

Images on your web site, Are they lost or found?

Titles RULE - Title EVERY ONE of Your Website Pages Differently

Every page of your web site should have a DIFFERENT title. This is called the "title tag" and looks like this <title> in the HTML of your web site. On a template site, it may be a line you need to fill out.  The title of every page is basic SEO (Search Engine Optimization) and very important to the success of your web site.

Title tags are also the easiest SEO feature to understand and do effectively. No one knows your web site, your work and your audience better than you do!

Unfortunately, all the time I see web sites for artists and makers where the title for every page says exactly the same thing...the person's name. I used my name in the example below to protect the innocent (or guilty):

<title>Harriete Estel Berman</title>

<title>Harriete Estel Berman</title>

<title>Harriete Estel Berman</title>

This looks like every page of your web site is the same which isn't true. Right? Some pages have images of sculpture, or earrings, drawings, or paintings but that isn't what a search engine sees. Search engines think every page is exactly the same.  That's right! Every page looks exactly the same.

Sometimes it isn't even the whole name or identity of the artist. Here is a super bad example especially since my last name is so common.

<title>Berman Jewelry</title>

<title>Berman Jewelry</title>

<title>Berman Jewelry</title>

On a practical level this means if a person bookmarks a page of my web site  because they want to come back, every page says the same thing....they can't tell which page has earrings or rings, paintings or prints, sculpture or jewelry.

What is worse?
Search engines currently use titles for finding your web site pages. If you don't title your pages the chances of people finding your web site  because they are searching for your type of art or craft is unlikely.

Jill Whalen says: Title tags are also what appear in the click-able link on the search engine results page (SERP), changing them may result in more click throughs.

APPLY THIS INFORMATION:

If you are using a template site, change the title of every page. If you are using a web site editing software look at the very top of the HTML code for the <title> tag.

Here are some guidelines for the <title> of your web site.

• A UNIQUE TITLE for each page of your site.
• 65 characters or so...including spaces. (This will be the search engine results.) You can add extra words if you want, but make sure the most important words are in the beginning of the title (or at least within the first 65 characters.) Jill Whalen says,"I'm a firm believer in longer titles, rather than exact matches with just one keyword phrase. Title tags are given so much weight, in my opinion, that it's critical to have 2 or 3 keyword phrases contained within them, not just one."
• DO NOT repeat words. (Example: TIN, TIN CANS)
• Consider geographic location IF this is important to your business.
• Think like a person, not a search engine. (HINT:Search engines don't think.)
  Optimize your page for search engines and people with interesting and informative phrases. So if the page of your web site is about gold rings if might be better to use the terms "gold rings" in the title instead of the name of the series.
  EXAMPLE:  <title>Gold Rings by Harriete Estel Berman</title> instead of <title>Orbit Series by Harriete Estel Berman</title>
• Your company name is IMPORTANT to build name recognition. A compromise would be including your name along with important keyword phrases that would be used to look for your art or craft.

I am spending the entire day checking (or rewriting) the titles for every page on my web site. As I learn more about SEO I try to improve my web site, one feature at a time.

Harriete
Read more about title tags from Jill Whalen's article All About Title Tages by Jill Whalen or subscribe to her free  High Rankings Advisor Search Marketing Newsletter. Her information is helpful and easy to understand.

PREVIOUS POSTS in this SEO series:

Your Website HOME page is Like The Front Door of Your House