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| Introduction | |
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| Exhibiting and Selling Art | |
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| So, Where Can I Show My Work? | |
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| Gaining Media Attention | |
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| Marketing and Sales | |
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| Communicating in the Digital Age | |
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| The Disappearing Art Critic | |
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| Critical Essays Disappearing, Too | |
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| The Actual Sale | |
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| Marketing and Sales in a Weak Economy | |
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| Operating as a Professional | |
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| Getting Ready to Exhibit | |
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| Pricing Artwork | |
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| To Frame or Not to Frame | |
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| Accepting Credit Cards for Sales | |
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| A Word About Taxes | |
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| The Need for Good Recordkeeping | |
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| Working Small, Working Large | |
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| Protecting Oneself from Theft | |
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| Thefts at Art Fairs | |
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| Artists Who Work at Home | |
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| The Need to Specialize | |
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| Too Much Art | |
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| Giving Up the Day Job | |
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| Expanding the Area of Sales and Income | |
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| Licensing | |
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| Publishing Prints | |
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| Self-Publishing | |
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| Print Publishers | |
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| Dealers and Galleries | |
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| Certificates of Authenticity | |
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| "Signed by the Artist" | |
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| Bartering and Leasing Art | |
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| Bartering | |
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| Leasing | |
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| Starting One's Own Gallery | |
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| Art Partnerships | |
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| Selling to Corporations | |
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| Finding Corporate Buyers | |
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| Making Contact | |
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| Developing Relationships with Art Dealers | |
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| Finding Representation | |
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| Art Consultants | |
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| Art Galleries | |
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| Is the Artist's Age an Issue? | |
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| Coming to Terms | |
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| Foundry Fees and Commissions | |
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| To Consign or Sell? | |
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| Artist-Dealer Disputes | |
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| Spreading Oneself Too Thin | |
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| Severing the Artist-Dealer Relationship | |
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| Galleries Change Artists | |
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| Art World Relationships | |
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| The Collector-Dealer Relationship | |
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| The Artist-Gallery Relationship | |
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| Art Gallery Etiquette | |
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| Bad Debts and Other Recoveries | |
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| A Web Site | |
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| The Business of Marketing Art Online | |
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| Getting People to Your Site | |
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| Tracking the Number of Browsers | |
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| Linking to an Online Mall | |
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| Some General Rules of the Internet | |
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| Online Sales | |
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| Artists' Blogs | |
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| Where Sales May Be Most Plentiful | |
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| When Does Investing in One's Career Become a Ripoff? | |
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| Business Managers | |
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| Artists' Representatives | |
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| Publicists | |
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| Artists' Career Advisors | |
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| Paying to Play the Art Game | |
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| Selling Art through Mailing Lists | |
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| The Value of Prizes and Awards | |
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| Publishing One's Own Catalogue | |
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| Entry Fees for Juried Shows | |
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| Are You Deluding Yourself? | |
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| Artists and the Law | |
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| Copyright | |
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| Copyright and the Internet | |
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| Does "Appropriation Art" Transform Copyrighted Material? | |
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| Making a Copyright Search | |
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| Trademark Protection for Artists | |
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| Copyrighted and Trademarked Subjects in Artists' Work | |
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| Artists' Moral Rights | |
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| Waiving One's Rights | |
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| Confusion Over the Term "Site-Specific" | |
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| The Right to Privacy | |
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| Sidewalk Art | |
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| Art that Looks like Other Art | |
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| Artists Lose Lawsuits | |
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| Valuing an Artist's Estate | |
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| From School to the Working World | |
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| Apprenticing and Internships | |
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| The Skills that Artists Look for in Assistants | |
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| Artists' Assistants and the IRS | |
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| Finding a Job as an Art Teacher | |
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| Art Schools and Controversial Art | |
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| Weighing the Pros and Cons of Teaching | |
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| Making Peace with the Academic Life | |
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| Artist-in-Residence Programs | |
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| Museum Artist-in-Residence Programs | |
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| The Materials that Artists Use | |
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| Safe Art Practices in the Studio | |
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| Substitute Ingredients in Artists' Paints | |
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| A Primer on Paint Labels | |
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| Artists Making Their Own Paints | |
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| Owning a Printing Press | |
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| Art Materials Information on the Line | |
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| Trying Out Newer, Less Expensive Materials | |
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| The Changing Relationship of Sculptors and Foundries | |
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| Selecting a Print Studio or Foundry | |
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| Print Studios | |
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| Foundries | |
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| Getting Ready to Handle the Pressures | |
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| Post-Exhibition Blues | |
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| Changing One's Style | |
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| Changing One's Media | |
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| Handling Criticism | |
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| Rejection Letters | |
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| Handling Art World Publicity | |
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| Love and Marriage | |
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| The Benefits and Pitfalls of Censorship and Controversy | |
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| Out of the Spotlight | |
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| Thomas Hart Benton Has a Message for Artists | |
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| Contests and Commissions | |
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| Commissions for Percent-for-Art Projects | |
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| The Commissioning Process | |
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| General Services Administration | |
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| State and Municipal Agencies | |
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| Thin Skins and Strong Stomachs | |
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| The Efforts to Contain Public Art Controversy | |
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| Private Public Art Commissions | |
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| Damage and Neglect of Public Art | |
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| Who Decides Artistic Merit? | |
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| Jurying Art-Descending from the Ideal | |
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| When Jurors May Not Seem Fair | |
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| Jurors with Clear Biases | |
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| The Search for Grants and Gifts | |
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| Applying for Loans | |
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| Applying for Emergency Assistance | |
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| Artists' Foundations | |
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| Applying for Grants and Fellowships | |
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| Fiscal Management | |
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| So Who Will Provide the Funding? | |
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| Foundations | |
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| Corporations | |
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| Corporate Foundations | |
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| Government | |
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| Local Arts Agencies | |
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| State Arts Agencies | |
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| Regional Arts Agencies | |
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| National Endowment for the Arts | |
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| Individuals | |
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| Miscellaneous Funders | |
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| Asking for Money | |
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| The Proposal Package | |
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| Reporting Requirements for Grant Recipients | |
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| Keeping Perspective | |
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| About the Author | |
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| Index | |