Turning the habit of self-criticism upside down by Seth Godin

"Perhaps this sounds familiar:
When it's time to write a resume or talk to a boss or discuss a project glitch with colleagues, the instinct is to spin, to avoid a little responsibility, to sit quietly. Put a best face forward, don't set yourself up.
When reviewing just about anything you've done with yourself (in your head), the instinct is to be brutal, relentlessly critical and filled with doubt and self-blame.
What if they were reversed?
What if the habit of the project review meeting was for each person to put their worst foot forward, to identify every item that they learned from? What if we took responsibility as a way of getting more authority next time?
And the flip side--when talking to ourselves, what if we were a little more supportive?
It's not an easy habit, but it works."

by Seth Godin

Study on the Entrepreneurial Dimension of the Cultural and Creative Industries

The Study, commissioned by the European Commission, responds to the growing importance of the creative economy, and more specifically of the role of the Cultural and Creative Industries (CCIs), as tools to tackle Europe’s current and future challenges.

The aim of this Study is to provide a better understanding of the operations and needs of companies in the CCIs, especially small and medium‐sized enterprises (SMEs). The intention is not to provide a comprehensive overview but rather to describe some of the problems and provide recommendations.


The Study highlights transversal problems common to all these CCIs. It indicates specific challenges that could hamper entrepreneurship and prevent CCIs from benefiting from the internal market and the digital shift.

The Study provides an understanding of the key determinants for strengthening entrepreneurship for CCIs, such as:

- access to finance;

- market barriers;

- intellectual property rights;

- education and training;

- innovation;

- and collaborative processes.

From these key challenges, the Study suggests general approaches for developing a conducive environment as well as specific recommendations to provide support for each determinant, highlighting best practices and taking into consideration sector differences, the different levels of policy as well as the different development phases in which the CCIs find themselves.

Throughout the Study, around 40 Best Cases illustrate key approaches and initiatives (Appendix 1) - (Appendix 2). Similarly, anonymised relevant comments from the many experts interviewed during the study are presented where appropriate.

A bibliography of sources can be found at the end of the Study.

Check the study here: http://ec.europa.eu/culture/key-documents/doc3124_en.htm
 

New Podcast by Art Tactic

In this episode of the ArtTactic Podcast, we're joined by Adriano Picinati Di Torcello, Senior Manager at Deloitte Luxembourg. Adriano begins by sharing with us Deloitte's latest initiatives pertaining to Art and Finance. Meanwhile, have wealth managers started to embrace the concept of art as a financial asset? Adriano tells us to what extent they have incorporated art within their services for their clients. Adriano then looks into the future and predicts what types of financial products and transformations to the marketplace are possible. Also, he discusses both the positive and negative aspects of speculative money returning to emerging and established art markets. Lastly, Adriano analyzes the split in the art world between having a more regulated marketplace versus the non-transparent nature that some argue can lead to superior returns for investors,

LINK: http://arttactic.com/podcast.php?id=63

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Press article: When pleasure and profit go hand in handLuxembourg for Finance -
November 2009


Equity and bond funds are well known asset classes; funds investing in art and other collector items much less so. Yet the rise of art as a financial asset is a reality. Deloitte Luxembourg is convinced that these “emotional assets” or “passion investments” have a serious role to play as a new financial niche. But why invest in paintings, wine, jewelry, diamonds or musical instruments? Adriano Picinati di Torcello, Senior Manager at Deloitte Luxembourg, provides some answers.

The art market is becoming a financial commodity, thanks to two phenomena : globalisation and research. «Not so long ago, there was a perception that the art market was the reserve of the rich and the very rich. However, alongside growth in knowledge about the art market and an increase in transparency thanks to the publication of indices and information about sales being held and prices achieved at auction, we have noticed growing interest in art as a financial asset. Adriano Picinati di Torcello adds that investment funds investing in art have emerged over the last few years.

This trend is not limited to the art market but equally concerns other collector items. He adds that whereas there were some precedents in the last century, this has now become a global phenomenon with funds being set up, for instance, in the United States, England, Austria and India. In general, these funds are only open to “qualified investors”, but some are open to much smaller investors.

Paintings and wine are the categories you most often see in the portfolio of these new funds. Beside these categories, jewels, photographs, diamonds, stamps, old coins and musical instruments – notably violins – are other “collectable assets” that you come across. Some funds diversify their portfolios by investing in several categories of collector items.

Why invest in art?

According to Deloitte, there are several reasons why a client might invest in art and collector items: the potential performance generated by the inefficiency of these markets, protection against the risk of inflation, reduction of risk because of its low correlation with other financial assets, a reserve price at sale and the possibility of earning extra revenue by rending out the work or of participating in events such as exhibitions and meetings of experts, hence adding aesthetic pleasure. “Many investors who unfortunately lost a lot of money in the financial crisis, investing in products they did not understand, are turning back to things that are closer to their heart and which at the same time offer protection and a return on investment. Picinati di Torcello adds that you do not have to be an expert in art or wine, for example, to invest in this type of fund. “However, you must be confident that the people who are proposing such products are experts and have the competence necessary to ensure an appropriate selection of works, verification of their authenticity, due diligence on their origin, and so on, in order to avoid certain risks that are intrinsic to the sector.”

Amateur art collector or not, all investors are looking for an acceptable return on investment. According to academic studies, the long term performance of works of art is probably around 6%, and in a period of economic boom can reach 10-12% without taking inflation into consideration. But how can an art fund generate returns? Picinati di Torcello lists several potential strategies. These include "profiting from market inefficiencies in order to buy and sell advantageously, also by finding interesting opportunities when objects are sold in the event of a death or a divorce, for example, and by anticipating trends. Insider dealing is not a crime in the art market.”

Luxembourg as a centre of competence

London and New York are the two big capitals in the art market, but they are being given a run for their money by the Asian markets. According to Picinati di Torcello, England is probably more engaged in the sector because of the presence side by side of experts in art and finance. However, it is quite possible for the fund to be domiciled elsewhere, such as in Luxembourg. “The idea we are trying to promote is that Luxembourg, thanks to the SIF (Special Investment Fund), has a role to play attracting promoters and fund managers to domicile their schemes in Luxembourg. There are funds already established in Luxembourg that invest in collector items, such as wine, violins and art. The SIF vehicle is a structure that is very flexible and perfectly adapted to this purpose.” He does not think that the lack of experts is a competitive handicap for the Grand Duchy. “Just as in the equity and bond sectors, we do not necessarily have the specialists, like fund managers, based locally. On the other hand, for knowledge about anything to do with domiciliation, administration or distribution of the product, this can be found in Luxembourg.”

Investment funds: an art in itself


It is undeniable that art and other collector items, as a new asset class, have some solid reasons to attract high net worth investors. Picinati di Torcello is convinced that the Luxembourg financial centre holds all the necessary cards to become a competitive player in the field. With this in mind, Deloitte recently organised two conferences on the rising importance of the art market and other collector items as a new financial asset. The second of these took place in October 2009 in London, in cooperation with the University of Maastricht, twelve months after the first conference organised in Luxembourg at the Philharmonie. Given the positive impact of these events, a third event will be organised in October 2010 in Paris. The formula will be similar to that held in 2009: there will be an academic stream in which specialists discuss the latest academic research and papers in the field, and a part that is open to the public. In London, fund managers came to talk about their experiences, as did specialists from international auction houses, insurance companies and consultants specialising in the field. In order to inform the public about this evolving market sector, Deloitte has created a web page www.deloitte-artandfinance.com where more information on these conferences is available.

Source: www.lff.lu

Art is what we call...by Seth Godin

... the thing an artist does.

It's not the medium or the oil or the price or whether it hangs on a wall or you eat it. What matters, what makes it art, is that the person who made it overcame the resistance, ignored the voice of doubt and made something worth making. Something risky. Something human.

Art is not in the eye of the beholder. It's in the soul of the artist.

Group Of Minds - Art Marketing Consultants

In this webisode, Ron Evans introduces the monthly web video series from Groupofminds.com Arts Marketing Consultants, and curate an inspirational message from Ben Cameron, of the Doris Duke Charitable Foundation. He has a powerful message that I think you'll enjoy.

GroupOfMinds is a diverse network of seasoned for-profit and non-profit marketing professionals who have a passion for creating a thriving cultural community through the use of technology.

To quote Rene’ Magritte, “Art evokes the mystery without which the world would not exist.” It is that spirit that drives us to apply marketing science and experimentation to the good cause of promoting arts and culture, and to strive for increased understanding, participation, and appreciation of arts and culture in our world.

Groupofminds has the knowledge and know-how to expand artwork to the new communication channels of today's audiences. And that means meaningful experiences, enthusiastic recommendations, and audience members who attend again and again. LINK 
 

ArtTactic Podcast

                   

In this episode of the ArtTactic Podcast, we speak with Asher Edelman, founder and president of the art finance firm Art Assure Ltd.  First, Asher speaks about the current size of the auction guarantee business, one of the primary services Art Assure offers its clients.  Then, Asher explains how heavily Art Assure relies on quantitative analysis when guaranteeing consignors' artworks.  Edelman also details the use of guarantees by auction houses during the most recent art market rise and fall and what he would have done differently during this time.  Lastly, Asher shares his vision of the long-term future of the art market - a much more complex, financial-driven and liquid marketplace.

Click here:

http://www.whitewallsareugly.com/mp3/edelman.mp3

-or-

http://www.arttactic.com/podcast.php?id=59


For more ArtTactic podcasts click HERE!

Seth Godin´s daily posts

By now, I bet you know I love Seth Godin´s insights. Here is his post for the day:

"A check in your wallet does you very little good. It represents opportunity, sure, but not action.


Most of us are carrying around a check, an opportunity to make an impact, to do the work we're capapble of, to ship the art that would make a difference.

No, the world isn't fair, and most people don't get all the chances they deserve. There are barriers due to income, to race, to social standing and to education, and they are inexcusable and must fall. But the check remains, now more than ever. The opportunity to step up and to fail (and then to fail again, and to fail again) and to continue failing until we succeed is greater now than it has ever been.

As Martin Luther King Junior spoke about a half a lifetime ago,

"We are now faced with the fact, my friends, that tomorrow is today. We are confronted with the fierce urgency of now. In this unfolding conundrum of life and history, there is such a thing as being too late. Procrastination is still the thief of time. Life often leaves us standing bare, naked, and dejected with a lost opportunity. The tide in the affairs of men does not remain at flood -- it ebbs. We may cry out desperately for time to pause in her passage, but time is adamant to every plea and rushes on. Over the bleached bones and jumbled residues of numerous civilizations are written the pathetic words, "Too late." "

Sole by Seth Godin

"All you've got, all your brand has got, all any of us have are the memories and expectations and changes we've left with others.



It's so easy to get hung up on the itinerary, the features and the specs, but that's not real, it's actually pretty fuzzy stuff. The concrete impact of our lives and our work is the mark you make on other people. It might be a product you make or the way you look someone in the eye. It might be a powerful experience you have on a trip with your dad, or the way you keep a promise.


The experiences you create are the moments that define you. We'll miss you when you're gone, because we will always remember the mark you made on us.

There's a sign on most squash courts encouraging players to wear only sneakers with non-marking soles. I'm not sure there's such a thing. If you've going to do anything worthy, you're going to leave a mark."

Art Market Blog – The Worlds Top Art Schools - Nicholas Forrest

If you dont know this blog, it is about itme! Art Market Blog is written by Nicholas Forrest. He is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.


If you like art and principally the auction world, you should have this blog under your favorites!


Please, check below one useful article by Nicholas:


"When looking at an artists cv to determine whether their work would be a good investment there are several things you should look for (which I have outlined in previous posts) one of which is the art school that they attended. Having attended a top art school is a sign of talent, commitment and desire to achieve. Listed below are some of the worlds top art schools which all art investors and collectors should become familiar with so that you know which schools to look for on an artist’s cv.

Slade
http://www.ucl.ac.uk/slade/
The Slade School of Fine Art is concerned with contemporary art and the practice, history and theories that inform it. It approaches the study and practice of art in an enquiring, investigative, experimental and research-minded way, consciously contributing to the lively discourses of contemporary art, nationally and internationally. The Slade’s foundation in 1871 was the result of a bequest from Felix Slade who envisaged a school where fine art would be studied within a liberal arts university. The School’s location in UCL and in the centre of London, provides excellent opportunities for students to access a wide range of learning resources and research opportunities.

Goldsmiths
http://www.goldsmiths.ac.uk/
Goldsmiths is all about the freedom to experiment, to think differently, to be an individual. We bring creative and unconventional approaches to all of our subjects, but everything we do is based on the highest academic standards of teaching and research.

Royal Academy
http://www.royalacademy.org.uk/raschools/
The RA Schools are founded upon the disciplines of painting, sculpture and printmaking. These disciplines are fundamental to the traditions that the Schools are proud to uphold.
The Schools offer students of exceptional ability and promise the opportunity to develop their ideas and working practices and provide a foundation to their careers as professional artists

Pratt Institute
http://www.pratt.edu/
The mission of Pratt Institute is to educate artists and creative professionals to be responsible contributors to society. Pratt seeks to instill in all graduates aesthetic judgment, professional knowledge, collaborative skills, and technical expertise.

Camberwell College of Arts
http://www.camberwell.arts.ac.uk/
Camberwell is one of the world’s foremost art and design institutions and we’ve welcomed students to South London for over a century, many of whom have stayed on in the area making it the place for artists to live and work.

Rhode Island School of Design
http://www.risd.edu/
Rhode Island School of Design (RISD), founded in 1877 in Providence, RI, is a vibrant community of artists and designers that includes 2,200 students from around the world, approximately 350 faculty and curators, and 400 staff members. Each year more than 200 prominent artists, critics, authors and philosophers visit our historic College Hill campus.

Central Saint Martins College of Art and Design
http://www.csm.arts.ac.uk/csm_information.htm
Central Saint Martins provides specialist education and research in the fields of fine art, fashion & textiles, film, video and photography, graphics & communication design, three dimensional design, theatre & performance and interdisciplinary art & design.

The Art Institute of Chicago
http://www.saic.edu/
As a leader in art education for more than 140 years, SAIC provides the inspiration for those who grasp the complexity of our culture and strive to make a contribution of their own. Our students, faculty, and alumni are the makers of images, words, objects, and sounds that forever shape and alter our world

Yale University
http://art.yale.edu/Home
Yale University comprises three major academic components: Yale College (the undergraduate program), the Graduate School of Arts and Sciences, and the professional schools. In addition, Yale encompasses a wide array of centers and programs, libraries, museums, and administrative support offices

California Institute of the Arts
http://www.calarts.edu/
The nation’s first art institute to offer BFAs and MFAs in both the visual and performing arts, CalArts is dedicated to training and nurturing the next generation of professional artists, fostering brilliance and innovation within the broadest context possible. Emphasis is placed on new and experimental work and students are admitted solely on the basis of artistic ability

University of Art and Design Helsinki
http://www.taik.fi/en/
The University of Art and Design Helsinki is an international university dedicated to
design, audiovisual communication, art education and art. It is the largest university
of its kind in Scandinavia and has a strong and active international presence.
The University founded in 1871 is a pioneer in research and education.

Oslo National Academy of the Arts
http://www.khio.no/Engelsk/KHiO/
The Oslo National Academy of the Arts (KHiO) is no ordinary institution. It is a creative meeting place of varied disciplines in the arts – from the stage to the studios and workshops. It is an academy where the personal as well as the collective expression is explored and tested

Parsons the New School for Design
http://www.parsons.edu/
Parsons focuses on creating engaged citizens and outstanding artists, designers, scholars and business leaders through a design-based professional and liberal education.
Parsons students learn to rise to the challenges of living, working and creative decision making in a world where human experience is increasingly designed. The school embraces curricular innovation, pioneering uses of technology, collaborative methods and global perspectives on the future of design.

I am sure that there are plenty of other fantastic art schools but the ones that I have listed are the most prestigious and art considered to offer the best visual art programs."

Give us your opinion.
I am personally trying to find a good Art / Entertainment Management course.
Can you help me?

Influencers

Living with doubt by Seth Godin

(Street wall in Buenos Aires - Center)

... is almost always more profitable than living with certainty.

People don't like doubt, so they pay money and give up opportunities to avoid it. Entrepreneurship is largely about living with doubt, as is creating just about any sort of art.

If you need reassurance, you're giving up quite a bit to get it.

On the other hand, if you can get in the habit of seeking out uncertainty, you'll have developed a great instinct.

The one who isn't easily replaced by Seth Godin

The law of the internet is simple: either you do something I can't do myself (or get from someone else), or I pay you less than you'd like.

Why else would it be any other way?

Twenty years ago, self-publishing a record was difficult and expensive. A big label could get you shelf space at Tower easily, you couldn't. A big label could pay for a recording session with available capital, but it was difficult for you to find the money or take the risk. A big label could reach the dozens of music reviewers, and do it with credibility. Hard for you to do that yourself.

Now?

Now when someone comes to a successful musician and says, "we'll take 90% and you do all the work," they're opening the door to an uncomfortable conversation. The label has no assets, just desire. That's great, but that's exactly what the musician has, and giving up so much pie (and control over his destiny) hardly seems like a fair trade.

Multiply this by a thousand industries and a billion freelancers and you come to one inescapable confusion: be better, be different or be cheaper. And the last is no fun.

Auction Analysis for Latin America by Art Tactic

Here are some important Latin America market information provided by Art Tactic:

"Expectations ahead of the Latin American sales were high after a highly successful New York post-war and contemporary season two weeks ago. However, both Christie’s and Sotheby’s Latin American sales failed to reach their low pre-sale estimates.


The Latin American sales season raised a total of $35,796,600 against pre-sale estimate of $40,024,000 - $55,036,000 - 11% below the low estimate. Despite falling short of expectations, it was still 18% higher than May 2010, and 27% higher than November 2009 - which signals that the market recovery continues, albeit at a slower pace.

The higher end of the market was clearly the driver behind last week’s result, with the price segment of $500,000 and above accounting for 33% of the total, and the $100,000 to $500,000 price bracket accounting for 43% of the total auction value. Top 10 lots in the sale accounted for 24% of the total, led by Wilfredo Lam’s ‘Les Abalochas Dansent Pour Dhambala’ which sold for $1.85 million and Fernando Botero’s ‘Family Scene’ selling for $1.45 million."

NAMP RADIO

I spend lots of time listening to poscasts about Art Management and Art Marketing. The site ArtsMarketing.Org is a great source of periodically poscasts.

Liste HERE to listen to the last one!

Summary
In this episode, the panelists (Ron Evans, Matt Campbell, Maris Smith and special guest panelist Sean Kelly, marketing director of TheatreWorks talk about the challenges of marketing an unknown work such as the development musical "Fly By Night" to existing audiences.


NAMPRadio Recommends:

•Matt recommends: This article: Speed Vs. Google SEO Ranking: A Dynamic Web Site's Conundrum

•Ron recommends: The Emerging Leaders Network of Americans for the Arts (and a local chapter near you)

•Sean recommends this New York Times article on what really makes people happy.

•Maris recommends: "Hunter ___ a bear" interactive advertisement for tippex to look like a youtube video.

•Also,the Culture Vultures blog, mentioned at the top of the podcast and composer Will Connolly's MySpace page with music samples from "Fly By Night."

Outro music: “Too Close to Crying” by Garry and the Moodswingers. Find out more about this artist via his page on the Podsafe Music Network.

Where do ideas come from? - by Seth Godin

 

 
Understanding where ideas come from makes us seek for the sources and deep dive in them. In order to be creative and innovative, you should exchange, live, experience and share. You should put yourself in a place that the In-Bound is maximized to its extreme and the Out-Bound is estimulated, disciplined and free.

1. Ideas don't come from watching television
2. Ideas sometimes come from listening to a lecture
3. Ideas often come while reading a book
4. Good ideas come from bad ideas, but only if there are enough of them
5. Ideas hate conference rooms, particularly conference rooms where there is a history of criticism, personal attacks or boredom
6. Ideas occur when dissimilar universes collide
7. Ideas often strive to meet expectations. If people expect them to appear, they do
8. Ideas fear experts, but they adore beginner's mind. A little awareness is a good thing
9. Ideas come in spurts, until you get frightened. Willie Nelson wrote three of his biggest hits in one week
10. Ideas come from trouble
11. Ideas come from our ego, and they do their best when they're generous and selfless
12. Ideas come from nature
13. Sometimes ideas come from fear (usually in movies) but often they come from confidence
14. Useful ideas come from being awake, alert enough to actually notice
15. Though sometimes ideas sneak in when we're asleep and too numb to be afraid
16. Ideas come out of the corner of the eye, or in the shower, when we're not trying
17. Mediocre ideas enjoy copying what happens to be working right this minute
18. Bigger ideas leapfrog the mediocre ones
19. Ideas don't need a passport, and often cross borders (of all kinds) with impunity
20. An idea must come from somewhere, because if it merely stays where it is and doesn't join us here, it's hidden. And hidden ideas don't ship, have no influence, no intersection with the market. They die, alone.

Seth Godin: The market has no taste

"When it comes to art, to human work that changes people, the mass market is a fool. A dolt. Stupid.


If you wait for the market to tell you that you're great, you'll merely end up wasting time. Or perhaps instead you will persuade yourself to ship the merely good, and settle for the tepid embrace of the uninvolved.

Great work is always shunned at first.

Would we (the market) benefit from more pandering by marketers churning out average stuff that gets a quick glance, or would we all be better off with passionate renegades on a mission to fulfill their vision?"

Raghava KK: Five lives of an artist

With endearing honesty and vulnerability, Raghava KK tells the colorful tale of how art has taken his life to new places, and how life experiences in turn have driven his multiple reincarnations as an artist -- from cartoonist to painter, media darling to social outcast, and son to father.


Raghava KK's paintings and drawings use cartoonish shapes and colors to examine the body, society, our world.


Check is speech at TED:

No knight, no shining armor - by Seth Godin

Today's post by Seth Godin is very inspiring for who has an on going project. Which is my case. I have two books already designed to be published. One is taking endlessly to be picked by a publisher. Its being more than 9 months now. Its about time its born, but its there burning inside the oven.

The other one decided to take a fun trip. Its been transformed into a governamental incentive project. Check its paths and how it works in Brazil here!

So, in resume, I have been patientily waiting and waiting...Its about time I do something...Gosh...

Read below Godin's post:

"Sure, Seth can do that (release his book without a publisher), because he has a popular blog."


Some people responded to my decision to forgo traditional publishers (not traditional books, btw) by pointing out that I can do that because I have a way of reaching readers electronically.

What they missed is that this asset is a choice, not an accident.

Does your project depend on a miracle, a bolt of lightning, on being chosen by some arbiter of who will succeed? I think your work is too important for you to depend on a lottery ticket. In some ways, this is the work of the Resistance, an insurance policy that gives you deniability if the project doesn't succeed. "Oh, it didn't work because we didn't get featured on that blog, didn't get distribution in the right store, didn't get the right endorsement..."

There's nothing wrong with leverage, no problem at all with an unexpected lift that changes everything. But why would you build that as the foundation of your plan?


The magic of the tribe is that you can build it incrementally, that day by day you can earn the asset that will allow you to bring your work to people who want it. Or you can skip that and wait to get picked. Picked to be on Oprah or American Idol or at the cash register at Borders.


Getting picked is great. Building a tribe is reliable, it's hard work and it's worth doing.

Wait it up!

I dont know if I have ever said this here, but I work at IBM and I am an artist on the free time (every free time). Its really hard to have a double shift, but really reawarding when I see the results and the comcretization of some projects.

Right now I have some projects going on and I have that feeling that I bet all producers and artists have to feel like you are useless. Sometimes you want it so much to happen (and fast) that you can not wait for the burocracy stuff. I am on that spot, where waiting and waiting started to feel like a default sittuation.

My friends know about my projects and always ask. My family knows about my projects and always ask. I know about my projects and I always have to ask: when will it ship?

This is not good to feel. I just wanted time to pass...months later...to the release, to the autographs, to the reactions, to the critics... For now, I am in default mode ... waiting.

So, I am trying at least to be actively waiting for some to happen. I a doing more and more, thinking more and more...producing more and more...calling and not getting answers, trying and not getting anywhere, contacting and networking and nothing concrete happening...but...at least I lfeel alive in the meanwhile.

Cest la vie!

Have a nice weekend. Wait!

Have a nice wait.

I need you to see things my way - Seth Godin

I always subscribe to Seth Godin´s daily blog posts. The insights are related to marketing and business, but sometimes he talks about life, art, theories and all. Today´s post applies to our blog and I wanted to share with you all. He talked about the need that every artist has to make his audience see things his way.

You always want the message or argument stated in your art to be understood by everyone, but that does not happen often. Lots of people do not get it and thousands of others more get it wrong. Seth´s advise is to ignore it. Just focus on your public, the tiny prtion that gets it, and let the other come along later.

Check his argument:

"And that's the frustration of the artist who hasn't figured out how to navigate critics and the marketplace.

If you need the validation and acceptance and patronage of everyone you meet, you'll get stuck, and soon. Everyone isn't going to get it. Everyone isn't even going to get you, never mind what you sell.


Experienced artists and those that make change understand that the new is not for everyone. In fact, it's not even for most people. Pass them by. They can catch up later.


It's not a referendum, and you don't need a unanimous vote of acclamation. No, you merely need enough to stay in business, to keep moving, to make a dent. And then your idea can spread.

If the kids in the back of the bus/audience/store don't get it (or don't get you) it's their loss. Focus on those that want to celebrate the work you do instead."