Art Problems

This week I'm extending a conversation I started in my revived Hyperallergic column: do you need a proper studio space to get studio visits? The answer is no—if you handle it properly. But the real question isn't about your space. It's how to network effectively so visits actually happen. I break down the exact timing strategy for outreach, why most networking fails in the follow-through, and how to structure emails that make it easy for people to say yes. The biggest reason artist emails don't get responses isn't disinterest—it's that the email didn't make it easy to respond. I cover four principles that change that and walk through a real scenario showing how to think strategically about follow-up. Want the exact framework? Join me for my free webinar Monday, November 24th at 7 PM EST. RELEVANT LINKS:  Hyperallergic: Do I Need a Studio?  Free Webinar Sign Up: How to Get Studio Visits Without Reading Minds

This week on the Art Problems podcast interview series "Inside Netvvrk", I'm wrapping up the series with Chris Moss, a painter and the artist advisor who leads all of Netvvrk's studio critiques. Chris has been with Netvvrk for years. He shares what it's like to go from being completely stuck to organizing a neighborhood studio crawl that brought hundreds of people through his door. We talk about why COVID isolation finally pushed him to find a solution, how he went from zero shows to curating exhibitions with himself in them, and why self-worth is one of the biggest intangible benefits of investing in your career. Chris also gets into why regular critique with other artists matters more than almost anything else for making better work. If you've been feeling stuck or isolated in your practice, Chris's focus on community and taking action—even when it feels uncomfortable—might be exactly what you need to hear.

This week on the Art Problems podcast interview series "Inside Netvvrk", I'm talking with Brent Showalter, a multidisciplinary artist whose brilliantly colored paintings and photographs transform layered compositions of color and shape into vibrating surfaces. Brent runs multiple businesses and brings that same strategic mindset to his art practice. In doing so, he's able to devote more time to his art. We talk about how his accountability group helped him finally organize his entire archive, and what it takes to feel confident when opportunity knocks—whether that's the director of the Guggenheim walking into your studio or an Instagram comment from a curator. Brent also shares how that casual comment turned into a curated opportunity in 24 hours—because he had everything ready to go. If you've been wondering whether Netvvrk is worth the investment, this conversation will help. It shows what happens when you stop reinventing the wheel and start using the tools that already work.

This week on the Art Problems podcast interview series “Inside Netvvrk”, I'm talking with Ann Marie Auricchio, an abstract painter who creates work at the intersection of psychological and physical experiences. Ann Marie shares what it's like to restart your art career after 25 years in another profession. She talks about why having all your materials ready isn't enough if you don't know how to use them, and how a shoulder injury became the perfect time to invest in herself. We get into how she went from feeling stuck and isolated in New Orleans to landing her first museum solo show and working with multiple galleries. She also explains how writing exhibition proposals with other Netvvrk members led to actual acceptances—and taught her when to turn down opportunities that don't financially make sense. We also talk about researching institutions by looking at other artists' CVs and why community matters even when people can be annoying. If you're restarting your career or feeling isolated in your practice, this conversation will help. It shows what's possible when you get your assets in order and find your people.

This week I'm launching 'Inside Netvvrk,' a new interview series with Netvvrk members. First up is Laurie Frick, a data artist and one of Netvvrk's founding members. In this conversation, we talked about what it's really like to invest in your career when you're already mid-career. Laurie doesn't sugarcoat it: Netvvrk isn't cheap, and you need to treat your career like it's worth investing in. But she also shares what changed when she made that commitment—going from feeling stuck in public art commissions to now having four galleries and selling all the work she makes. We talk about the small group of artists who transformed each other's fellowship applications into something extraordinary, what it takes to actually be vulnerable with other artists, and why a community on Zoom can be just as real as painters meeting in a bar. If you've ever wondered whether coaching or community membership is worth the investment—especially if you're already established—this conversation shows what happens when you stop going it alone.

This week, accountant and artist Hannah Cole interviews me. As an artist who isn't (yet) a Netvvrk member, she had a lot of questions about how it helps mid-career visual artists. Who is it for? How does it work? What makes it different from a course? Do you really need it? We talk about why I started Netvvrk after years of cobbling together income from adjunct teaching and speaking fees, and how those early artist statement classes revealed a bigger problem—artists needed ongoing support and community, not just one-off solutions. I share how the membership works, from the positions module that shows you exactly where you are in your career to the accountability groups that make sure you actually do the work. We also get into member stories—like the artist who went from applying to juried shows to showing at invite-only shows all the time, and another who landed a show at a blue-chip gallery. If you've ever felt like you're working all the time but stuck in the same place, this conversation breaks down what's possible when you have the right structure and support.

Eric Shiner, President of Powerhouse Arts joins the podcast to give artists the skinny on this new organization. This 170,000 square-foot nonprofit in Brooklyn's Gowanus neighborhood is fast becoming one of the most significant resources for artists in New York City. Eric walks me through Powerhouse's seven fabrication workshops (ceramics, printmaking, textiles, wood, metal, and more), their artist subsidy program that makes these resources financially accessible, and their new artist residency program.  We also talk about how Powerhouse is expanding into exhibitions and performing arts with affordable ticket prices, and why they're supporting Fall of Freedom—a nationwide protest defending creative expression. If you've been struggling to find affordable fabrication space or access to specialized equipment, this conversation will give you tangible options and genuine hope.   Relevant Links: Powerhouse Arts Fall of Freedom

One of the most common challenges artists face is knowing when—and how—to hire help for their practice. This week, I'm breaking down the practicalities of hiring: from determining if you're ready, to figuring out what you can afford to pay, to managing assistants effectively.   I cover the key tipping points that signal it's time to bring on help, the difference between contractors, assistants, and coaches, and why feeling overwhelmed doesn't always mean you need to hire someone. We also discuss W.A.G.E.'s fee calculator as a concrete tool for determining fair pay, why underpaying assistants creates more problems than it solves, and how Standard Operating Procedures (SOPs) can make working with help much smoother.   Plus, I explain how coaching can bridge the gap between doing everything yourself and hiring expensive consultants—helping you work smarter before you invest in working more. If you're struggling with time management, turning down opportunities, or can't meet deadlines without help, this episode offers practical guidance for making your first hire or improving how you work with the people already supporting your practice.   Relevant Links: W.A.G.E. (Working Artists and the Greater Economy) Netvvrk.com Loom

This week we’re talking about how health events affect the lives of artists. Sculptor John Powers joins me as we share our experiences - his traumatic hand injury and subsequent cancer diagnosis, and my own recent double mastectomy. We dig into the specific challenges artists face when medical crises threaten the tools of our trade, how we navigate the US healthcare system, and the mental strategies that help us maintain morale when everything feels out of control. We also explore the practical realities: phantom limb pain, nerve regeneration, the importance of finding the right surgeon, and how artistic skills - like explaining complex ideas and self-entertaining in solitude - translate surprisingly well to being a patient.  Medical crises are one of the top reasons artists in our community need to step back from their work, yet we rarely discuss how to navigate them. This podcast fills that need.    Relevant Links: John Powers NYU Langone Health Weill Cornell Medicine Columbia Presbyterian

VVrkshop founder Paddy Johnson and artist William Powhida dive into their impressions of the 2025 Armory Art Fair in New York. In this episode, we explore how Frieze's new ownership has changed the fair's feel, from stricter security to the notable absence of mega galleries like Hauser & Wirth and Gagosian. We break down the numbers - more than half of 2024's exhibitors didn't return, LA galleries dropped by 26%, and smaller works dominated booths as galleries adapted to market realities. The conversation covers standout pieces that caught our attention, from Nick Farhi's provocative glory hole installation at Europa to Nikita Gale's politically charged "Interceptor" barricade at 56 Henry. We also dig into emerging art trends, including the rise of "art history textbook painting" where artists render historical styles in abstract brushstrokes, and discuss the troubling vacuum in art criticism. The episode touches on the political climate's impact on art-making and whether we're seeing the end of an era for large-scale art fair presentations. Relevant Links: The Armory Show Tim Van Laere Gallery (Rinus Van de Velde) Victoria Miro (Doron Langberg, Flora Yukhnovich) Peter Blum Gallery (Marha Tuttle) Europa (Nick Farhi) 56 Henry (Nikita Gale) Yancey Richardson Gallery (Marilyn Minter) Corbett vs. Dempsey (Cauleen Smith) What If The World Gallery (Mia Chaplin) Uffner & Lui (Talia Levitt) Marinaro (Ever Baldwin) Hess Flatow (Emma Safir) Dastan Gallery (Tehran artists) P40D Gallery (Piper Bangs) Anton Kern Gallery (David Shrigley) James Cohan (Simon Evans)

What exactly is "art speak" and why do artists continue to use it when we all agree it’s creates a poor reading experience? In this podcast, I break down the inflated language that clutters artist statements—from "liminal" and "corporeal" to meaningless spatial metaphors that make work sound more complex than it is.  Drawing on Alix Rule and David Levine's landmark essay "International Art English," I explore why vague academic language emerged from 1970s French poststructuralist influence and why it's stuck around for nearly 50 years. Plus, we discuss why clarity can become your competitive advantage as AI changes how we evaluate written materials and grant competitions intensify. RELEVANT LINKS:  "International Art English" by Alix Rule and David Levine (2012)  Free Masterclass: "How to Build an Art Career When Traditional Paths Fail" - July 22nd, 7:30 PM EST Netvvrk membership: [JOIN HERE]

In this episode, Paddy gives you the skinny on the Guggenheim Fellowship, one of the most prestigious awards for mid-career artists. The talk contains tips and strategies you won't find on their website, including knowing when to apply and how often. You won't find this information anywhere else, so have a listen. Even if you're not planning to apply, this episode will give you strategies for ALL grant applications.   Relevant links: https://www.gf.org/

Artist Natalia Nakazawa believes this moment of extreme uncertainty is actually "artist time"—when we need to step up as visionaries and fill the voids that traditional systems are leaving behind. This is the second interview in my series on how to find hope through artistic practice. Natalia has built multiple collectives and focuses on long-term sustainability over quick wins. We discuss making culture essential infrastructure and why artists need to connect beyond their silos. This is about training yourself to dream big and recognizing that artists are needed everywhere. RELEVANT LINKS: Natalia Nakazawa: https://www.natalianakazawa.com/ Socrates Sculpture Park Fellowship: https://socratessculpturepark.org/ Hue Museum: https://huemuseum.org/ Join Netvvrk: https://www.vvrkshop.art/i-want-to-netvvrk-now

After feeling demoralized by Trump’s election, artist Julie Peppito researched how to resist authoritarianism and merged her studio practice with street activism—what she calls "artivism." Peppito, who is leading Saturday's No King's protest in NYC, believes artists are uniquely positioned to break through disinformation as messengers and visual communicators.  We discuss her four-part formula for building hope: community, social proof, joy, and collaboration, plus practical advice on organizing art builds, leading protests, and turning your studio into a "hope-making machine." RELEVANT LINKS: Julie Peppito: https://www.juliepeppito.com/ Julie Peppito Instagram: https://www.instagram.com/juliepeppito/ 50501: ​​https://www.fiftyfifty.one/ Indivisible: https://indivisible.org/ Heather Cox Richardson Newsletter: https://heathercoxrichardson.substack.com/ The Ink by Anand Giridharadas: https://the.ink/

When external pressures feel overwhelming and traditional solutions fall short, how do artists move forward? From The Whitney pausing its Independent Study Program to AI threatening brand partnerships, the challenges facing artists today often don't have clear fixes.  Art Coach Paddy Johnson explores why believing every threat is already reality can paralyze us, how social media platforms prioritize reach over genuine connection, and why the art world's scrappy resilience might be our greatest asset. Plus, an announcement about an upcoming series designed to bring hope and courage to the creative community.   RELEVANT LINKS: Whitney Museum Suspends Independent Study Program - Hyperallergic  Do Artists Need Galleries - artnet Art Market Minute podcast Trump Said He Fired the National Portrait Gallery Director. She’s Still There. - Bloomberg Netvvrk membership

At the end of 2024, artist Amy Kligman left her executive director role to create her own opportunities by identifying gaps in the Kansas City arts ecosystem. She launched Special Effects gallery to make local artists more nationally visible and the Salon for Possible Futures, an artwork that doubles as a community gathering space. We discuss how Amy navigates risk and uncertainty, measures success in experimental projects, and uses art to build empathy and human connection during politically volatile times.   RELEVANT LINKS:  Amy Kligman: https://www.amykligman.com/ Amy Kligman Instagram: https://www.instagram.com/amykligman/ Special Effects Gallery: https://www.instagram.com/specialfxgallery The Salon for Possible Futures: https://www.nermanmuseum.org/exhibitions/2025-03-28-amy-kligman.html

In this second part of our two-part series on New York Art Fair Week, William Powhida and Paddy Johnson discuss the standout artworks from Independent, NADA, and Spring Break. Despite the thin crowds and economic challenges explored in Part 1, there were notable works worth celebrating. The conversation highlights vintage game boards at Independent, playful Nancy Drew-inspired paintings at Spring Break, and meticulously detailed highway landscapes at NADA. Most significantly, we explore how the most politically relevant work happened outside the fairs, with an extended conversation of Mitchell Chan's "Insert Coins" – a deceptively simple video game installation that reveals itself as a devastating commentary on capitalism, cryptocurrency, and rigged systems. This piece, along with Open Collective's Ukrainian war karaoke installation, connected to the anxieties of the real world, in a way that seemed largely absent from the commercial fair venues. Relevant Links: Artists & Galleries Mentioned: Lisa Sanditz at Alexandre Gallery Ricco Maresca Gallery (vintage game boards) Eleanor Aldrich at Field Projects Eve Sussman and Simon Lee William Pope.L at Mitchell-Innes & Nash Namwon Choi at Pentimenti Gallery Megan Dominescu at Anca Poterasu Gallery Mitchell Chan's "Insert Coins" at Nguyen Wahed Guy Richard Smith at A Hug From The Art World Duke Riley & Jean Shin at In Praise of Shadows Lucia Hierro at Swivel David Molesky (banana paintings) Sophia  Lapres at Towards Gallery Ernesto Solana at NADA guadalajara90210 Julia Garcia at Hair + Nails Lars Korff-Lofthus at Entree Gallery Bill Abdale Magda Sawon, Postmasters Venues: Independent Art Fair NADA Fair (at Star-Lehigh Building) Spring Break Art Show 601 Artist Space (Open Collective exhibition) American Folk Art Museum

Is New York Art Fair Week losing its momentum? This week, artist and critic William Powhida and I spent time at Independent, NADA, and Spring Break—and the energy felt deflated across all three. In this first part of our two-part series, we dig into what went wrong. Thin crowds. Dealers complaining about slow sales. International collectors staying away due to political uncertainty and travel concerns. The overall market recession. But is it just market fatigue, or something deeper? We explore whether New York has simply become too expensive for emerging galleries to self-subsidize, whether political anxiety is creating a chilling effect on both artists and collectors, and why even the best new venues (NADA's stunning Star-Lehigh building) couldn't energize the crowds. From The Shed's "art prison" atmosphere to Spring Break's maturation away from experimental energy, we examine whether these fairs are losing their essential character—or if broader economic and political forces are reshaping the entire ecosystem. Next week in Part 2: We'll walk through the specific artwork that caught our attention at each fair and discuss why we had to leave the fairs entirely to find art that truly captured this political moment.   Relevant Links: William Powhida: Jilian Steinhauer for the New York Times on Spring Break https://www.nytimes.com/2025/05/08/arts/design/spring-break-art-fair-review.html# NADA Fair: https://newartdealers.org/ Independent Art Fair: https://independent-art.org/ Spring Break Art Show: https://springbreakartshow.com/

The Art Problems Podcast is back after a two-month hiatus — and I’m back announcing the biggest update in Netvvrk membership history. The economy’s rough. The art world’s uncertain. And I’m not pretending otherwise. But that does mean that focusing on your career now can give you a leg up.  This episode is about giving yourself that advantage by finding your place in the art world — and actually moving forward. Joint Netvvrk Here

One of the best ways to solve the problem of not enough shows is to self-organize. No one can launch a show without networking, so it forces network expansion, along with solving the lack of shows thing. For Transcultural Exchange Director and artist Mary Sherman this activity is as routine as breathing. She is the mastermind behind Avenues for Daring, the 2025 International Conference on Opportunities in the Arts iteration. And she's the guest on this week's podcast. Today, we walk through the origins of Transcultural Exchange and learn about the upcoming conference for artists, taking place March 7-9 at the Foundry Cambridge MA.   Relevant links: https://transculturalexchange.org/conference-2025/registration/ Facebook: https://www.facebook.com/TransCulturalExchange Instagram: https://www.instagram.com/transculturalexchange/ LinkedIn: https://www.linkedin.com/company/transcultural-exchange/