When you consider submitting an exhibit proposal, keep in mind that you will be judged on the strength of your curatorial thesis. Make sure it is sound. Get very clear on what the exhibit is about before you sit down to draft your proposal.

Most galleries don’t count on a single artist to survive. Likewise, most artists can’t count on a single gallery, retail outlet, or exhibit venue for their survival.

I received this query from Bonnie Hurst: “What constitutes a show/collection of paintings? I realize that in order to be marketable I do not need to show a random collection -- which currently is all I have. Does a collection need to have more than the artist and style in common? How many pieces are generally in a show?”

Trade spaces with artists in another city. What I mean by this is use your connections and creativity to organize an art exchange with an artist or a group of artists outside of your usual stomping grounds.

Why do you exhibit your art here or there? What makes you pay a $25 entry fee or spend 6 months building a new body of work? What do you get from it in the long run?

Analyzing other art installations can help you train your eye and make your own exhibitions much stronger. Here’s how to do it.

“Be in it to win.” In other words, don’t submit proposals just for the sake of doing so. Submit them because you believe in yourself, believe in your project, and believe that you are the best person for the job.

As you begin to settle into your career and where it’s headed, you should become more selective. Your goals have changed. You have accomplished much and are ready for new challenges.

If you haven’t already done it as part of your 2007 goals, take time this week to articulate and write down where you will show your work this year. Don’t forget the virtual world and non-traditional spaces.

They represent purchasers, not artists. They are vastly different from artists' reps or agents in this respect. They have a number of clients who depend on them to find the best art for their budgets. They have the client connections already in place.

If you want your work preserved in a museum one day, make a conservator happy. Get in the habit of keeping notes about your working materials, techniques, and intent.

Whether you're showing art in a gallery space or at your own open studio, here are ten ways to be a star host or hostess.

The opportunities for showing your work are limited only by your imagination. Think outside the box and make your own venue. Given your location, the type of work you produce, your contacts, and your stamina, what are the possibilities?

If you're stuck doing the same-old shows, figure out your next action. If it's a big one that seems overwhelming, take baby steps to get there. Venue and sales opportunities are part of your artist's marketing plan.

Words are invaluable to your marketing efforts.  If you don't come up with the right words to talk about your art, someone else will do it for you--and not necessarily in a way that pleases you.

In many instances--especially when you're just starting out--you won't have such a person working for you. Placing your art in non-profit and non-traditional spaces means you do all of the work. Get help by adding a few items to the installation.

There's more to an exhibit installation than hanging works on a wall or placing them on pedestals. Install art just as if you are creating a composition. After all, that's just what you're doing. Your installation is a composition in itself. Look at lines, colors, shapes, sizes, textures, and subjects. 

Whether you think about it or not, every time you put your work on public display, you are acting as a curator. To a great extent, you control how your work is seen and interpreted by viewers. That's a powerful position to be in and one you shouldn't take lightly.

Visit more museums to learn how to engage your viewers on a deeper level. As you begin to incorporate your ideas in your exhibition or booth, use tactics that make sense and make sure your art remains the focus point. 

Trick people into believing you are more successful than you are. I don't mean lie. I mean start smelling like success.

Why not make your own models to plan your exhibit installations? It's a great tool if you won't have much time to actually install the work.

In museum registration, the ideal provenance for an artwork would be to track it back to the artist’s hand. Museums want every step to be accounted for to ensure there is clear title to the work.