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  • Kacey Slone

An interview with Emily Louise Howard

Studio view, Emily Louise Howard

Instagram: thediggingestgirl


1. Describe​ ​your​ ​typical​ ​week-in​ ​the​ ​studio,​ ​at​ ​home,​ ​other​ ​activities?

More​ ​often​ ​than​ ​not,​ ​I​ ​travel​ ​on​ ​the​ ​weekends​ ​to​ ​arts​ ​&​ ​crafts​ ​fairs​ ​all​ ​around​ ​the​ ​midwest​ ​& south​ ​so​ ​my​ ​typical​ ​week​ ​usually​ ​involves​ ​traveling​ ​Friday-Sunday​ ​and​ ​Monday-Thursday​ ​I’m grinding​ ​it​ ​out​ ​in​ ​the​ ​studio.​ ​I​ ​can​ ​easily​ ​(and​ ​often​ ​do)​ ​spend​ ​10-16​ ​hour​ ​stretches​ ​in​ ​the​ ​studio doing​ ​a​ ​variety​ ​of​ ​activities:​ ​carving​ ​blocks,​ ​printing​ ​blocks,​ ​packaging​ ​prints,​ ​packing​ ​online orders,​ ​answering​ ​emails,​ ​sending​ ​invoices,​ ​framing​ ​prints,​ ​drafting​ ​new​ ​blocks,​ ​designing​ ​for commissions,​ ​building​ ​new​ ​displays,​ ​applying​ ​to​ ​shows,​ ​booking​ ​travel​ ​plans,​ ​updating​ ​my website,​ ​laying​ ​out​ ​social​ ​media​ ​posts,​ ​ordering​ ​supplies,​ ​scanning​ ​receipts​ ​and​ ​balancing expenses...​ ​it​ ​goes​ ​on​ ​and​ ​on!​ ​I​ ​like​ ​to​ ​listen​ ​to​ ​podcasts​ ​or​ ​shows​ ​on​ ​Netflix​ ​while​ ​I​ ​do​ ​these activities.​ ​I​ ​generally​ ​try​ ​to​ ​make​ ​Mondays​ ​my​ ​“admin​ ​day”​ ​where​ ​I​ ​do​ ​all​ ​of​ ​the​ ​un-fun, un-messy​ ​stuff​ ​like​ ​applications,​ ​​ ​bookkeeping​ ​and​ ​paying​ ​bills​ ​&​ ​taxes.​ ​Mondays​ ​are​ ​often “craft​ ​show​ ​hangover”​ ​days​ ​too,​ ​when​ ​I’m​ ​a​ ​little​ ​useless​ ​after​ ​a​ ​long​ ​weekend​ ​of​ ​set-ups, tear-downs,​ ​talking​ ​&​ ​smiling​ ​and​ ​hours​ ​of​ ​driving.​ ​On​ ​Fridays​ ​I’m​ ​usually​ ​packing​ ​my​ ​car​ ​and traveling​ ​to​ ​shows​ ​or​ ​frantically​ ​trying​ ​to​ ​finish​ ​a​ ​project.​ ​Saturdays​ ​and​ ​Sundays​ ​I’m​ ​most​ ​likely standing​ ​behind​ ​my​ ​table​ ​at​ ​a​ ​show,​ ​trying​ ​not​ ​to​ ​be​ ​too​ ​awkward​ ​and​ ​hoping​ ​that​ ​people​ ​will be​ ​receptive​ ​to​ ​my​ ​work!​ ​If​ ​I​ ​can,​ ​I’ll​ ​try​ ​to​ ​stretch​ ​my​ ​travels​ ​to​ ​include​ ​hikes​ ​in​ ​national​ ​parks​ ​& forests.​ ​I​ ​don’t​ ​really​ ​have​ ​a​ ​lot​ ​of​ ​time​ ​for​ ​other​ ​activities​ ​to​ ​be​ ​honest,​ ​but​ ​I​ ​try​ ​to​ ​see​ ​my friends​ ​and​ ​family​ ​as​ ​often​ ​as​ ​possible​ ​-​ ​otherwise​ ​I​ ​worry​ ​that​ ​the​ ​lack​ ​of​ ​human​ ​interaction will​ ​turn​ ​me​ ​into​ ​some​ ​artistic​ ​version​ ​of​ ​Gollum...​ ​haggard,​ ​obsessive​ ​and​ ​prone​ ​to​ ​talking​ ​to myself.

2. Describe​ ​your​ ​influences,​ ​what​ ​sources​ ​or​ ​artists​ ​do​ ​you​ ​look​ ​to​ ​for​ ​inspiration?

I​ ​am​ ​deeply​ ​influenced​ ​by​ ​the​ ​natural​ ​world,​ ​especially​ ​the​ ​flora​ ​&​ ​fauna​ ​of​ ​the​ ​Appalachian region​ ​of​ ​the​ ​US.​ ​Whether​ ​it’s​ ​a​ ​sprig​ ​of​ ​sage​ ​to​ ​balance​ ​negative​ ​space​ ​or​ ​a​ ​central​ ​animal figure​ ​twisting​ ​in​ ​space,​ ​nature​ ​always​ ​finds​ ​away​ ​into​ ​my​ ​compositions.​ ​I​ ​feel​ ​most​ ​at​ ​peace when​ ​I’m​ ​outside,​ ​preferably​ ​deep​ ​in​ ​the​ ​woods.

I’m​ ​a​ ​voracious​ ​reader,​ ​so​ ​I’m​ ​very​ ​much​ ​inspired​ ​by​ ​stories​ ​of​ ​all​ ​kinds​ ​-​ ​especially​ ​fables, folktales,​ ​myths​ ​and​ ​legends.​ ​I​ ​was​ ​raised​ ​on​ ​Rudyard​ ​Kipling’s​ J​​ ust​ ​So​ ​Stories​.​ ​I​ ​have​ ​a collection​ ​of​ ​Cherokee​ ​legends​ ​that​ ​I​ ​treasure,​ ​as​ ​well​ ​as​ ​a​ ​collection​ ​of​ ​Sicilian​ ​folktales​ ​that has​ ​the​ ​most​ ​vivid,​ ​striking​ ​imagery.​ ​The​ ​work​ ​of​ ​Joseph​ ​Campbell​ ​(particularly​ T​​ he​ ​Hero​ ​with​ ​a Thousand​ ​Faces​)​ ​and​ ​Carl​ ​Jung​ ​(particularly​ ​​The​ ​Archetypes​ ​and​ ​The​ ​Collective​ ​Unconscious​) were​ ​both​ ​particularly​ ​influential​ ​in​ ​developing​ ​my​ ​narrative​ ​aesthetic.

Historically,​ ​I​ ​am​ ​very​ ​inspired​ ​by​ ​Frida​ ​Kahlo​ ​-​ ​not​ ​only​ ​by​ ​her​ ​masterful​ ​approach​ ​to​ ​painting or​ ​her​ ​very​ ​interesting​ ​personal​ ​story,​ ​but​ ​by​ ​her​ ​ability​ ​to​ ​harness​ ​her​ ​pain​ ​and​ ​turn​ ​it​ ​into something​ ​magical.​ ​Each​ ​canvas​ ​tells​ ​a​ ​complex​ ​story.​ ​I​ ​learned​ ​a​ ​lot​ ​about​ ​composition​ ​and mood​ ​from​ ​studying​ ​her.​ ​I​ ​try​ ​to​ ​take​ ​the​ ​time​ ​to​ ​pay​ ​attention​ ​to​ ​what​ ​is​ ​happening​ ​in​ ​the​ ​wider art​ ​world,​ ​so​ ​I​ ​get​ ​a​ ​lot​ ​of​ ​art​ ​periodicals​ ​like​ ​New​ ​American​ ​Painting,​ ​UPPERCASE,​ ​Maker Magazine,​ ​Art​ ​in​ ​America,​ ​etc.​ ​Some​ ​artists​ ​I’m​ ​obsessing​ ​over​ ​now​ ​include​ ​Kiki​ ​Smith​ ​(I’m forever​ ​obsessing​ ​over​ ​Kiki​ ​Smith),​ ​Betye​ ​&​ ​Alison​ ​Saar,​ ​Martha​ ​Rich,​ ​Tugboat​ ​Printshop,​ ​Kay Walkingstick,​ ​Rebecca​ ​Green,​ ​William​ ​Kentridge...

Self Love by Emily Louise Howard

3. Where​ ​is​ ​your​ ​studio​ ​and​ ​what​ ​does​ ​it​ ​look​ ​like?​ ​How​ ​do​ ​you​ ​find​ ​materials​ ​and​ ​resources to​ ​make​ ​your​ ​work?

My​ ​studio​ ​is​ ​in​ ​the​ ​basement​ ​of​ ​my​ ​home​ ​in​ ​Erlanger,​ ​KY.​ ​This​ ​was​ ​a​ ​conscious​ ​choice​ ​as​ ​it’s the​ ​most​ ​economical​ ​option,​ ​and​ ​the​ ​commute​ ​is​ ​pretty​ ​easy...​ ​just​ ​down​ ​the​ ​stairs!​ ​The L-shaped​ ​room​ ​was​ ​a​ ​bit​ ​difficult​ ​to​ ​lay​ ​out,​ ​but​ ​there​ ​is​ ​plenty​ ​of​ ​room​ ​for​ ​tabletops​ ​and storage​ ​shelving.​ ​The​ ​walls​ ​are​ ​white​ ​in​ ​an​ ​effort​ ​to​ ​help​ ​the​ ​little​ ​available​ ​light​ ​bounce​ ​around the​ ​room,​ ​and​ ​are​ ​also​ ​adorned​ ​by​ ​the​ ​framed​ ​work​ ​of​ ​friends​ ​and​ ​other​ ​artists​ ​I​ ​admire.​ ​I​ ​have three​ ​major​ ​worktables​ ​(one​ ​for​ ​printing,​ ​one​ ​for​ ​drafting​ ​blocks​ ​and​ ​packaging​ ​online​ ​orders, and​ ​one​ ​for​ ​sewing),​ ​a​ ​huge​ ​paper​ ​cutter​ ​that​ ​I​ ​converted​ ​into​ ​an​ ​additional​ ​tabletop​ ​by​ ​adding legs,​ ​shelving​ ​for​ ​books​ ​&​ ​supplies,​ ​and​ ​a​ ​chill-zone​ ​with​ ​a​ ​couch,​ ​TV​ ​and​ ​musical​ ​instruments. Good​ ​intentions​ ​led​ ​me​ ​to​ ​buy​ ​a​ ​secondhand​ ​treadmill​ ​but​ ​right​ ​now​ ​it​ ​serves​ ​as​ ​my​ ​drying rack.​ ​The​ ​linchpin​ ​in​ ​the​ ​whole​ ​machine​ ​is​ ​my​ ​Richeson​ ​Medium​ ​Etching​ ​Press,​ ​which​ ​I acquired​ ​brand-new​ ​through​ ​crowdfunding.

Luckily​ ​the​ ​materials​ ​I​ ​need​ ​for​ ​my​ ​work​ ​are​ ​super​ ​simple​ ​and​ ​easy​ ​to​ ​find​ ​-​ ​inks,​ ​blocks, papers​ ​and​ ​carving​ ​tools​ ​are​ ​*really*​ ​everything​ ​I​ ​need​ ​and​ ​you​ ​can​ ​find​ ​them​ ​at​ ​most​ ​major​ ​art supply​ ​chains.​ ​Online​ ​shops​ ​like​ ​Blick​ ​and​ ​Utrecht​ ​are​ ​good​ ​resources​ ​when​ ​you’re​ ​looking​ ​for specific​ ​brands.​ ​I​ ​prefer​ ​to​ ​shop​ ​at​ ​local​ ​small​ ​businesses​ ​and​ ​art​ ​supply​ ​stores​ ​when​ ​possible (I​ ​like​ ​Plaza​ ​and​ ​Indigo​ ​Hippo​ ​in​ ​Cincinnati​ ​and​ ​Preston​ ​Arts​ ​Center​ ​in​ ​Louisville)​ ​and​ ​I​ ​make​ ​an effort​ ​to​ ​buy​ ​only​ ​American-made​ ​bags,​ ​cello​ ​sleeves​ ​and​ ​other​ ​supplies.​ ​I​ ​always​ ​advise everyone​ ​to​ ​look​ ​for​ ​second-hand​ ​tools​ ​and​ ​materials​ ​when​ ​possible.​ ​Indigo​ ​Hippo​ ​is​ ​a​ ​creative re-use​ ​store​ ​here​ ​in​ ​Cincinnati​ ​where​ ​you​ ​can​ ​get​ ​paper,​ ​pencils,​ ​brushes​ ​and​ ​all​ ​manner​ ​of strange​ ​stuff​ ​with​ ​which​ ​to​ ​make​ ​art.​ ​Craigslist​ ​and​ ​Everything​ ​But​ ​the​ ​House​ ​are​ ​great​ ​places to​ ​look​ ​for​ ​used​ ​presses​ ​and​ ​other​ ​used​ ​specialty​ ​items​ ​-​ ​that’s​ ​how​ ​I​ ​got​ ​my​ ​paper​ ​cutter!​ ​I’ve gotten​ ​a​ ​few​ ​of​ ​my​ ​display​ ​elements​ ​at​ ​antique​ ​malls,​ ​flea​ ​markets,​ ​and​ ​yard​ ​sales​ ​as​ ​well.

4. How​ ​do​ ​you​ ​balance​ ​your​ ​art​ ​practice​ ​with​ ​other​ ​jobs,​ ​art-​ ​or​ ​non​ ​art​ ​related?

This​ ​is​ ​THE​ ​QUESTION​ ​that​ ​I​ ​asked​ ​of​ ​everyone​ ​and​ ​of​ ​myself​ ​while​ ​I​ ​was​ ​a​ ​student​ ​and​ ​when​ ​I was​ ​first​ ​starting​ ​to​ ​exhibit​ ​professionally.​ ​It​ ​was​ ​hard.​ ​Really​ ​hard.​ ​And​ ​there’s​ ​no​ ​catch-all answer.​ ​Throughout​ ​college​ ​&​ ​grad​ ​school​ ​I​ ​had​ ​two​ ​jobs​ ​and​ ​struggled​ ​with​ ​managing​ ​my time​ ​and​ ​energy.​ ​The​ ​work​ ​I​ ​made​ ​then​ ​was​ ​kinda​ ​shitty​ ​but​ ​really​ ​joyful,​ ​and​ ​I​ ​think​ ​it accurately​ ​described​ ​my​ ​life​ ​at​ ​the​ ​time.​ ​After​ ​grad​ ​school​ ​I​ ​became​ ​a​ ​teacher​ ​and​ ​that​ ​quite literally​ ​took​ ​up​ ​my​ ​whole​ ​life.​ ​In​ ​order​ ​to​ ​be​ ​the​ ​best​ ​teacher​ ​I​ ​could​ ​be,​ ​I​ ​stopped​ ​making​ ​art for​ ​myself​ ​and​ ​gave​ ​my​ ​students​ ​all​ ​of​ ​me.​ ​I​ ​would​ ​arrive​ ​at​ ​school​ ​before​ ​the​ ​sun​ ​came​ ​up​ ​and I’d​ ​stay​ ​til​ ​6​ ​or​ ​7​ ​at​ ​night​ ​grading​ ​projects​ ​and​ ​preparing​ ​materials​ ​for​ ​the​ ​next​ ​day’s​ ​classes.​ ​It was​ ​great​ ​for​ ​my​ ​students​ ​but​ ​put​ ​me​ ​in​ ​a​ ​dangerous​ ​place​ ​creatively​ ​-​ ​I​ ​had​ ​nothing​ ​left​ ​for​ ​my own​ ​practice.​ ​I​ ​tried​ ​with​ ​occasional​ ​success​ ​to​ ​do​ ​art​ ​shows​ ​on​ ​the​ ​weekends​ ​while​ ​I​ ​was​ ​still teaching,​ ​but​ ​I​ ​was​ ​frazzled​ ​and​ ​exhausted​ ​both​ ​physically​ ​and​ ​emotionally.​ ​I​ ​guess​ ​if​ ​I would’ve​ ​stuck​ ​to​ ​just​ ​three​ ​or​ ​four​ ​big​ ​shows​ ​it​ ​would​ ​have​ ​been​ ​fine,​ ​but​ ​I​ ​wanted​ ​to​ ​do EVERY​ ​SHOW​ ​and​ ​I​ ​wanted​ ​to​ ​travel​ ​as​ ​widely​ ​as​ ​possible.​ ​I​ ​wanted​ m​​ ore​.​ ​I’ve​ ​just​ ​celebrated my​ ​one-year​ ​anniversary​ ​of​ ​being​ ​a​ ​full-time​ ​professional​ ​artist​ ​with​ ​no​ ​supplemental​ ​income. And​ ​it’s​ ​going​ ​ok​ ​so​ ​far​ ​I​ ​think.​ ​I​ ​mean,​ ​I’m​ ​not​ ​destitute​ ​yet!​ ​It​ ​took​ ​a​ ​lot​ ​of​ ​courage​ ​to​ ​jump​ ​in without​ ​the​ ​relative​ ​“safety”​ ​of​ ​a​ ​waitressing​ ​job​ ​to​ ​fall​ ​back​ ​on.​ ​I​ ​finally​ ​feel​ ​“balanced”​ ​now because​ ​I​ ​feel​ ​like​ ​I’m​ ​doing​ ​what​ ​I’m​ ​supposed​ ​to​ ​be​ ​doing​ ​with​ ​my​ ​time​ ​on​ ​this​ ​planet.​ ​So​ ​I guess​ ​it’s​ ​subjective.​ ​If​ ​you’re​ ​highly​ ​organized,​ ​you​ ​could​ ​probably​ ​survive​ ​if​ ​not​ ​thrive​ ​for​ ​a long​ ​time​ ​holding​ ​down​ ​multiple​ ​jobs.​ ​I​ ​just​ ​couldn’t​ ​do​ ​it​ ​myself.

Carving a block, Emily Louise Howard

5. What​ ​opportunities​ ​for​ ​professional​ ​development​ ​have​ ​have​ ​been​ ​most​ ​helpful​ ​to​ ​you? What​ ​were​ ​more​ ​helpful​ ​earlier​ ​on​ ​in​ ​your​ ​career?​ ​(print​ ​exchanges,​ ​workshops, conferences)

Having​ ​a​ ​“mentor”​ ​was​ ​really​ ​helpful​ ​to​ ​me​ ​early​ ​on.​ ​It​ ​certainly​ ​wasn’t​ ​a​ ​formal​ ​mentorship​ ​-​ ​I just​ ​sort​ ​of​ ​latched​ ​myself​ ​onto​ ​my​ ​first​ ​printmaking​ ​professor,​ ​Derrick​ ​Riley​ ​of​ ​DRock​ ​Press, and​ ​didn’t​ ​let​ ​go.​ ​We​ ​are​ ​still​ ​great​ ​friends​ ​and​ ​over​ ​11​ ​years​ ​later,​ ​he’s​ ​still​ ​giving​ ​me​ ​advice, tips​ ​and​ ​perspective.​ ​He​ ​gives​ ​me​ ​a​ ​high​ ​bar​ ​to​ ​strive​ ​for,​ ​as​ ​his​ ​carving​ ​is​ ​so​ ​technically advanced​ ​and​ ​his​ ​printing​ ​is​ ​top-notch.​ ​Additionally,​ ​I​ ​feel​ ​like​ ​my​ ​formal​ ​university​ ​education prepared​ ​me​ ​for​ ​a​ ​life​ ​as​ ​a​ ​gallery​ ​artist​ ​rather​ ​than​ ​the​ ​print-peddler​ ​life​ ​I’m​ ​living​ ​now​ ​-​ ​I needed​ ​more​ ​guidance​ ​from​ ​a​ ​business​ ​perspective.​ ​So​ ​I​ ​signed​ ​up​ ​for​ ​a​ ​course​ ​called CO.STARTERS​ ​through​ ​a​ ​local​ ​nonprofit,​ ​ArtWorks​ ​Cincinnati.​ ​This​ ​course​ ​focused​ ​on growing/developing/launching​ ​a​ ​small​ ​creative​ ​business​ ​and​ ​gave​ ​me​ ​the​ ​tools​ ​I​ ​needed​ ​to​ ​let my​ ​art​ ​work​ ​for​ ​me.​ ​Being​ ​in​ ​the​ ​class​ ​introduced​ ​me​ ​to​ ​a​ ​lot​ ​of​ ​other​ ​local​ ​creatives​ ​with​ ​a wide​ ​range​ ​of​ ​skills.​ ​Having​ ​a​ ​creative​ ​network​ ​is​ ​really​ ​important​ ​-​ ​you​ ​never​ ​know​ ​who​ ​might have​ ​something​ ​really​ ​valuable​ ​to​ ​teach​ ​you​ ​or​ ​who​ ​might​ ​want​ ​to​ ​collaborate!

6. What​ ​does​ ​your​ ​research​ ​process​ ​look​ ​like​ ​before​ ​doing​ ​a​ ​project?

Research​ ​is​ ​honestly​ ​my​ ​favorite​ ​part​ ​of​ ​the​ ​process!​ ​My​ ​work​ ​is​ ​inspired​ ​by​ ​storytelling,​ ​and​ ​I try​ ​to​ ​bring​ ​elements​ ​of​ ​narrative​ ​into​ ​every​ ​image,​ ​so​ ​generally​ ​it​ ​involves​ ​a​ ​lot​ ​of​ ​reading especially​ ​if​ ​I’m​ ​trying​ ​to​ ​tell​ ​a​ ​specific​ ​story.​ ​I​ ​fill​ ​several​ ​sketchbook​ ​pages​ ​with​ ​very​ ​bad drawings​ ​until​ ​my​ ​ideas​ ​start​ ​to​ ​form.​ ​Sometimes​ ​it​ ​involves​ ​several​ ​figure​ ​studies,​ ​and​ ​I’ll​ ​use both​ ​photographic​ ​source​ ​material​ ​as​ ​well​ ​as​ ​live​ ​models​ ​when​ ​it​ ​suits​ ​the​ ​project.​ ​I’ll​ ​work​ ​and re-work​ ​the​ ​drawings​ ​until​ ​I​ ​get​ ​a​ ​*passable*​ ​design.​ ​Sometimes​ ​I’ll​ ​jump​ ​right​ ​in​ ​after​ ​that​ ​and transfer​ ​and​ ​carve​ ​the​ ​block​ ​immediately,​ ​but​ ​other​ ​times​ ​I​ ​let​ ​the​ ​idea​ ​marinate​ ​for​ ​a​ ​while.​ ​For example,​ ​right​ ​now​ ​I’m​ ​working​ ​on​ ​some​ ​designs​ ​for​ ​a​ ​(hopeful)​ ​series​ ​of​ ​printed​ ​pyramid sculptures​ ​and​ ​they​ ​are​ ​requiring​ ​a​ ​lot​ ​of​ ​research:​ ​scaling​ ​down​ ​the​ ​exact​ ​dimensions​ ​of​ ​the pyramids​ ​at​ ​Giza,​ ​reading​ ​up​ ​on​ ​medicine​ ​wheels,​ ​gathering​ ​symbolic​ ​references​ ​for​ ​the cardinal​ ​directions​ ​and​ ​then​ ​sketching​ ​those​ ​symbolic​ ​references,​ ​etc.

7. Can​ ​you​ ​share​ ​your​ ​process​ ​of​ ​getting​ ​your​ ​work​ ​out​ ​in​ ​the​ ​world?​ ​(types​ ​of​ ​venues, exhibition​ ​planning,​ ​process)

I​ ​mostly​ ​share​ ​a​ ​lot​ ​of​ ​process​ ​photos​ ​and​ ​documentation​ ​of​ ​my​ ​finished​ ​prints​ ​on​ ​my Instagram,​ ​and​ ​I’m​ ​comfortable​ ​sharing​ ​my​ ​original​ ​content​ ​for​ ​free​ ​because​ ​it​ ​means​ ​that more​ ​people​ ​can​ ​potentially​ ​see​ ​it​ ​and​ ​hopefully​ ​respond​ ​to​ ​it.​ ​I​ ​do​ ​my​ ​best​ ​to​ ​keep​ ​up​ ​with​ ​a minimal​ ​website​ ​as​ ​well​ ​and​ ​I’ve​ ​made​ ​several​ ​great​ ​professional​ ​relationships​ ​from​ ​people getting​ ​in​ ​touch​ ​with​ ​me​ ​through​ ​the​ ​site’s​ ​contact​ ​page.​ ​Additionally,​ ​I​ ​do​ ​almost​ ​exclusively arts​ ​&​ ​crafts​ ​fairs​ ​in​ ​cities​ ​all​ ​over​ ​the​ ​south​ ​and​ ​midwest​ ​including​ ​Chicago,​ ​Philadelphia, Nashville,​ ​Atlanta​ ​&​ ​many​ ​others.​ ​They’re​ ​usually​ ​held​ ​in​ ​parks,​ ​historic​ ​neighborhoods,​ ​or plunked​ ​down​ ​in​ ​the​ ​middle​ ​of​ ​a​ ​city​ ​street.​ ​I​ ​like​ ​these​ ​kinds​ ​of​ ​events​ ​because​ ​I​ ​feel​ ​like​ ​a wider​ ​range​ ​of​ ​people​ ​come​ ​out​ ​to​ ​fairs​ ​than​ ​to​ ​gallery​ ​shows,​ ​and​ ​I​ ​don’t​ ​have​ ​any involvement​ ​in​ ​the​ ​planning​ ​-​ ​I​ ​get​ ​to​ ​just​ ​show​ ​up.​ ​I​ ​haven’t​ ​done​ ​a​ ​gallery​ ​exhibition​ ​in​ ​a​ ​few years.​ ​When​ ​I​ ​do,​ ​it’s​ ​usually​ ​as​ ​part​ ​of​ ​a​ ​group​ ​show.​ ​Joining​ ​collectives​ ​are​ ​a​ ​good​ ​idea,​ ​too, as​ ​everyone​ ​in​ ​the​ ​collective​ ​promotes​ ​shows​ ​together​ ​which​ ​helps​ ​drive​ ​crowds.​ ​Some studios​ ​and​ ​small​ ​businesses​ ​take​ ​part​ ​in​ ​Gallery​ ​Hops​ ​or​ ​Final​ ​Fridays,​ ​which​ ​is​ ​a​ ​good​ ​way​ ​to get​ ​seen,​ ​as​ ​well.​ ​It’s​ ​all​ ​about​ ​self-promotion​ ​and​ ​the​ ​stronger​ ​your​ ​hustle​ ​is,​ ​the​ ​better chances​ ​you​ ​have​ ​of​ ​being​ ​a​ ​part​ ​of​ ​the​ ​conversation.


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