Trevor To’s blog, London-art.net , is his vision of what is to be the leading independent online art source for London and has been collecting independent art tweets and bites since February 2009.

The blog (see original post here):

Recently Trevor had a chance to visit the Spaces in Transition exhibition as part of his wandering in Fritzrovia. He states, “It has been a while since we last checked out the art gallery neighbourhood in Fitzrovia (last time we were at Paradise Row for this) and despite the exceptionally cold and gloomy days last month, we found cool stuff in these galleries.”

Trevor visited our Spaces in Transition exhibition located at the Hamni Gallery which is found at 30 Maple St London, Greater London W1T 6HA. The exhibition was on view from the 13th – 23rd of February 2013 and curated by the very talented Maria Marro-Perera which featured artists Alfonso Batalla, Chris King, Fernando Perez Fraile and Paul Tucker.

Trevor was apparently fond of curator Maria’s choice to display the exhibition in a building that was too, a space in transition. He states, “The gallery’s interiors is stripped to prepare for a major refurbishment, so it is interesting to see the exposed structure and finishes in contrast to the spaces of the photography works by the artists.”

To view Trevors full blog posting click here

SPACES IN TRANSITION

Contemporary Photography by four artists exploring the idea of space, time and decay
Including Alfonso Batalla, Chris King, Fernando Perez Fraile and Paul Tucker
Private view: Wednesday 13th February – 6-9pm
RSVP: info@hanmigallery.co.uk
Exhibition runs 13 – 23 February 2013
Hanmi Gallery, 30 Maple Street, London W1T 6HA
Curated by Maria Marro-Perera.

Hanmi Gallery is pleased to announce Spaces in Transition, a showcase ofwork by four photographers who, in their practice, explore the idea of space and in particular, industrial spaces and buildings, often disused, as well as landscapes where human presence is strongly felt.

In these photographs, the viewer is often drawn to the physical consequences of the passage of time in the spaces captured, whether in the form of mere decay or the adoption of new uses.

The works in Spaces in Transition echo the very space they are being presented in: Hanmi Gallery, which in its current condition is a shell where the structure of the building is exposed.

The gallery is due to undergo major refurbishment but is currently open to the public with a programme of interim exhibitions, of which Spaces in Transition is the 18th edition. The grand opening will take place in summer 2013.
NOTE : A full price list and high res images of the works are available for each artist upon request to:
info@hanmigallery.co.uk

PARTICIPATING ARTISTS

Alfonso Batalla has been living and working in Bilbao since 1986. Batalla was a finalist in Lux Photography prize in 2012 and was selected for the AENA Photography prize (2011). His most recent exhibitions include Res Nullius BilboArgazki 2012 and  Paisajes Reconstruidos  Galeria Vanguardia. Bilbao 2011. Batalla’s work is also shown regularly at Galería Ines Barrenechea, Madrid. Batalla’s selection for Spaces in Transition comes from an ongoing project that he calls “Rooms of Solitude”, spaces devoid of people but filled with memories, hopes, frustrations and sorrows.

Batalla has commented about “Rooms of Solitude“:
“The French term Solitude (loneliness) is a reference to Georges Moustaki’s song “Ma solitude” with curiously reminds me of my youth days of wine, roses, fun and people. As I grow older I assume that a certain degree on loneliness (being it physical loneliness or mental isolation) is  necessary to think, to set up new ideas and projects, to fight our pains and fears, to know what we and our surroundings are truly made from.”

“These “rooms” are empty, completely devoid of people. But they are full with memories, hopes, frustrations, sorrows… The process of photographing purely architectural spaces generates quite “cold” or even inexpressive images which make the viewer feel ill at ease until he can fill those spaces with his own feelings. And this is an invitation to reflection, self analysis, possibly in relation with existentialism, a search for our own true essence. As Moustaki wrote “Non, je ne suis jamais seul avec ma solitude” (No, I am never alone with my loneliness).”

Chris King’s interest in photography started in the early 1970s using a 110 format Agfamatic camera.  He applies such photographic fundamentals to digital technology and continues to utilise both analogue and digital. For Spaces in Transition, King has selected work from his most recent body of work in the South of the USA, notably works that present a decaying interior where the viewer witnesses a different sort of time capsule, one that quietly lets the world of the 1950s remain – a space in transition, for better or worse.

King has embarked upon a major body of work that captures the South and South-West United States, as seen from the perspective of a foreigner, composed and presented in his identifiable style.

Images of liquor stores that line the borders of dry counties and snow-covered fields in West Texas demonstrate his aptitude for encapsulating the essence of a place. A solitary tree in the car park of Hewlett Packard’s Contact Center in small-town America stands out as a piece of corporate landscaping that would otherwise be unnoticed. A road sign for “Mallet Town” is riddled with bullet holes – presumably from locals practicing shooting, yet the sign remains in place.

Of Last Chance 72118, the photographer outlines his intellectual interest, with perhaps a hint of suspicion that these lasting leftovers from 1920s USA may not last forever, “Dry counties are still going strong nearly 80 years after prohibition ended. These are for me, perhaps, the most alien of Southern discoveries. Every town, every village in the UK has at least one pub, many of them hundreds of years old. Living in London, one of the pleasures of visiting a new part of the city is finding a new pub and sampling their beer. A dry county in the UK would be rapidly depopulated…” This type of booze shack, spattered with neon signs, only has a short life remaining, now preserved in King’s Leica M9 photograph.

See Gallery of Chris King’s photographs to be displayed.

Fernando Pérez Fraile an architect as well as a photographer, owes his early interest in photography to his travels photographing the mysterious Romanesque churches and magnificent gothic cathedrals of his native Castille. His latest solo exhibition, “Spaces of Memory” was held at the Lightgallery in November 2012. The pictures selected for Spaces in Transition were taken during a number of trips to disused industrial spaces. In the artist’s words:
“I understand my work as an architect as a pursuit for beauty. What I strive to achieve is a world that is at least a bit better than the one I inherited. However, the process of creating a building is an extremely laborious one, requiring thousands of hours and countless meetings and discussions. In a way, photography allows me to find – and perhaps create – beauty in a much more straightforward way. Just me, a camera and the whole world around, revealing beauty in every detail.

“The pictures selected for were taken during a number of trips to disused industrial spaces. Getting access to these secluded worlds is not always easy. Once inside, I find an intoxicating mix of the things that most interest me as a photographer: space, light, texture, geometry and perhaps above all, silence.”

Paul Tucker’s body of work concerns the natural and urban landscape capturing seemingly mundane objects, which on a second reading take on a new significance or strength. For Spaces in Transition Tucker has selected works from his seriesUnder the Surface, images taken during the recent major refurbishment of the William Morris Gallery in Walthamstow, North East London. These images have an innate sense of the passing of time, be it traces of human activity, or the layers of decoration exposed by the refurbishment of a hitherto much-loved building.

Under the Surface evolved from the invitation by the William Morris Gallery to Tucker to document the transition taking place between November 2011 and May 2012. The resulting images show the  interior of the building in a process of change, revealing layers of its past as well as the creation of a new layer for the future. What emerges from the vacant, off duty, spaces is the inpouring of light and a sense of scale. The pictures capture fleeting moments and elements that will fade from view as the finishing touches are added to the house before it returns to public life as a gallery and museum.

Antiques Trade Gazette writer Anna Brady featured Susan Mumford in the weekly print edition’s “dealers’ dossier”. A transcription and image are below. To find out more about the ATG, read available online resources and subscribe, click here.

“Navigating the art business, whether as an artist or dealer, can be a minefield of unspoken conventions and mind-boggling bureaucracy. Hence why London-based American susan Mumford, above, founded Be smart About Art in 2012, organising training workshops, talks and panel discussions, networking events and one-to-one mentoring for artists, dealers and others involved in the art world.

These events are open to non- members, although the events are considerably cheaper for members – membership is £95 per year.

One of the most popular regular events organised by BSAA are the Be Smart About Art First Fridays, networking drinks events at galleries around London on the first Friday of each month. The next is on March 1 from 6.30-8.30pm, at a venue to be confirmed, and is free to members and £15 for guests.

Other events coming up include an
Art Dealers’ Bootcamp from February
4-6, 9am-6pm, at The Studio Building, 21 Evesham Street, London W11. The event is aimed at those in the first three years of trading and will aim to teach the basics of running a successful business, with around ten speakers over the three days.

Price: members £350, early bird £495, full £750.

On March 5, there is an evening workshop on the Dos and Don’ts for Artists Seeking Representation from 6.30- 9pm at a venue to be confirmed. Price: members £7.50, early bird £10, full £15.

For more details see www.besmartaboutart.com“

Artist Statement

My Grand-father Dr Julius Patrick Adlam trained at Barts Hospital in the 1930s and it is to him that I dedicate this to.

This piece is called ‘Wish’ and consists of 1001 porcelain hand-made birds.

In 2004, I was awarded the China Artist Fellowship, by the Arts Council and Triangle Trust.  There I was told the story that if I made a wish and a thousand birds it would come true.  At the Philadelphia Clay Studio in 2005, as International Guest Artist, I started to make the installation ‘Wish’. The individually hand made birds present my drawings that correspond to the construction markings found on the roads of the USA, China and UK.  This piece is a memory, as each bird is numbered, signed and dated, forming an intense dialogue that questions humanity as well as ideas of identity and hope. I have formed 1001 in relation to my Goanese background where the number is mirrored for prosperity.

My intention is to produce objects and drawings that speak of a moment in time, a memory.  Creating involves the body and the mind and therefore forming works in clay provides the opportunity to write out narratives, create abstract signs and symbols to signify a series of dispersed moments.  It is a constant that is endless and is committed to expressing an idea and its way of becoming.

~ Mia Fernandes, 2012

In addition to the Royal College of Art, Mia also trained at Goldsmiths College and Winchester School of Art and has been working internationally as an artist and educator.  Her works are exhibited and are in public and private collections in the USA, China, Australia and the UK.

1. What do you do?
I own three art world businesses that compliment one another. These are the Association of Women Art Dealers (AWAD), the Be Smart About Art Academy and Susan Mumford art projects + consultancy. A
2. How long have you been dealing?
Since 2005.
3. What was your first job ?
In my first year at university, I was the photographer for The Profile, a weekly student newspaper.
4. Best and worst thing about being a dealer?
Best, seeing fantastic works of art, often when visiting the restorer, framer or photo lab. Worst, when clients don’t tell you yes or no to a purchase. All dealers like to know where they stand with a potential sale.
5. What has been your best buy and biggest mistake?
Best buy, a painting from a couple who was downsizing. It was a risk, however I found a buyer for it after just a few months. Biggest mistake, going into my first art business without a sound understanding of how to run a small business. It is owing to my own experiences of this and recognizing that such training is lacking within the industry that I have set up the Be Smart About Art Academy.
6. What is your dream object ?
An original Laszlo Moholy-Nagy painting.
7. What is the biggest threat, in your opinion, to the trade at the moment?
Lack of transparency and collaboration. The world has moved on, and so must the art world. We experience increased success when we work together and share experiences.
8. Guiltiest pleasure?
Eating the remaining cookie dough in the bowl.
9. Any advice for those starting out in the trade?
1) Get an experienced mentor from the art world who has a successful business and is happy to give you advice on an ongoing basis;
2) Bring in a financial controller (different from the accountant) from day one and pass important financial decisions by that person;
3) Focus on a niche area; and
4) In the long-term, contemporary dealers should consider dealing in the secondary market.
10. Michelin Star or greasy spoon?
Greasy spoon for Saturday brunch.

Save the date for this London show presenting works by artists from the UK, France, USA and Chile. Artists include: Bill Komodore, Chris King, Erin Cone, Kimo Minton, Marcus McAllister, Maria Jose Concha, Mia Fernandes and Rob Tarbell.

Opening hours Mon-Fri 10-5.30, Sat 11-5.00.
Location: The Framers Gallery | Artefact Showroom
36 Windmill Street, London W1T 2JT
Tube stations: Goodge Street, Tottenham Court Road, Warren Street

This show is being jointly staged by Susan Mumford and MK Semos of Decorazon Gallery. Art pieces will look into the concept of memory both literally and conceptually. On show will be drawings (mixed media including pencil, paint and smoke), photographs, paintings, three-dimensional wall-based paintings and sculpture. Prices range from £200 – £6,750.

Please send us a message if you would like to arrange an early viewing or attend the private view.

Images above (from left to right):
Top row: Bill Komodore, Marcus McAllister, Mia Fernandes and Rob Tarbell
Middle row: Rob Tarbell, Chris King and Kimo Minton (two images)
Bottom row: Erin Cone, Mia Fernandes and Maria Jose Concha

Click on image to view in Google Maps

23 April 2012
Poised Concierge, a Lifestyle Management business based in London, speaks with Susan Mumford.

Investing in art has always been a popular past time but it’s only recently that pretty much everyone is starting to get involved. After thinking about this new boom, it seems that people are investigating the art world firstly to indulge in their passion for fine art, and secondly to delve into the exciting investment world. We’ve been chatting with art consultant Susan Mumford to get her views on what you need to know before you invest. Susan originally hails from Arkansas USA and has been active in the London art world for over 10 years. If you’ve got a question about art, she is the go to person.

The most important thing to remember is that you should always buy from the heart. It’s nonsensical to buy a piece if you don’t feel that personal connection to it. Whether you want to start investing with a wisely spent £500 or you want to dive in and spend £200k, the connection you feel to that piece is priceless.

Research is pivotal to ensuring that you end up with a piece that will sell. As with any investment there is no guarantee, but look into painters and auction houses to see how they sell and what you could get for your money. Investing gives you a real buzz, but you have to be practical as well. If you buy a piece make sure that you target the right type of auction house for it. As an example, contemporary Chinese art is generally most successful in Hong Kong based auction houses.

The benefits of investing are extensive. You get to explore your favourite artists, display their work on your walls before making the decision to sell them on to someone else who will appreciate them. It’s essential to take good care of your art work both for your own aesthetic needs as well as selling them on.
- Generally speaking, wall based pieces should be displayed at eye level so that your eye needn’t go up and down, instead it glides over the walls from one glorious piece to the next
- With art ‘Less is more’ is an effective concept, let the pieces breathe, don’t crowd them.
- For works on paper make sure you protect them from UV damage. You can achieve this with UV protected glass or acrylic, UV sheeting on windows or making sure that the piece is out of direct sunlight.
- Lighting art is almost as important as the piece itself. Get an adjustable light system so that as and when art work is added or removed you can adjust the light hassle free.

These are just a few tips, but you can find out more by speaking with an art advisor. Investing can be a lot of fun, but you have to always remember that you’re not guaranteed a return on your investment. The most expensive piece in the room doesn’t necessarily mean it will sell for more, be both passionate and practical and you will get the most out of investing. Check out the pieces thoroughly before buying, as there’s nothing worse than ending up with something you don’t like or that wasn’t worth the hard earned money you paid. It doesn’t happen very often but there a few fakes out there, so be smart.

Susan Mumford Art Projects and Decorazon Gallery present a Go-Go Art Girls Production:
Distilled Memory – An exhibition exploring the journey of individual recollection as portrayed by seven contemporary international artists
23 May – 2 June
A Pop-Up exhibition at The Framers Gallery | Artefact Showroom
36 Windmill Street, London W1T 2JT
Tube: Goodge Street, Tottenham Court Road, Warren Street
http://www.artiswhyigetupinthemorning.com | inspired@artiswhyigetupinthemorning.com
http://www.decorazongallery.com | mk@decorazongallery.com
Tel: 020 7748 2340

To learn more about Poised Concierge, click here.

Be Smart About Art: Best practices in the art world
A fortnightly column by Susan Mumford for the Art, Antiques & Luxury Design Blog

Click here to read the article on the Art, Antiques & Luxury Design Blog
15th April 2012

This article is part two of a three-part series on online marketing. This piece looks at effective use of social media for art world professionals, including: 1. Regular updates for all social media platforms employed; 2. LinkedIn – why it is important; 3. Facebook – personal vs business use; and 4. Twitter – dos and don’ts.

1. Regular updates
A rule of thumb for online marketing is to keep all platforms up to date and regularly produce new content. When you decide to use social media professionally, you should have a plan in place in advance of “signing-up”. In regards to LinkedIn, your profile should be updated as soon as anything changes. For facebook and twitter, it is a matter of fresh content being presented.

Consider two circumstances:
What happens when you go on holiday for two weeks? Do you switch-off (as rightly deserved after working hard at fairs and exhibitions) and have no twitter updates?
What if you have a family emergency and are unexpectedly offline for a time? Does this mean that your updates will drop off a cliff?

Plan in terms of having a way to make updates on a regular basis. In order to ensure this, think about how you could share expertise in a long-term, prepared “campaign”. (See section 4 on twitter for more on this point.)

2. LinkedIn
There are many ways to use LinkedIn and I will cover basics, including why to signup in the first place and basic points on how to use it.

Why?
Firstly, LinkedIn is a hugely popular site for business professionals worldwide and consequently, it is commonly the first website presented when a person’s name is typed into a search engine. Therefore, having a profile helps people find you.

Secondly, it is common for people to research others in advance of commencing a working relationship. Accordingly, it is important to have a fully completed, up to date profile that reflects your knowledge and experience.

Your profile
The following items are imperative to include from the beginning:
•Your photograph (this gives people an image of you);
•A summary of your profession;
•Relevant work history in full, including experience and positions held;
•Education; and
• Websites and twitter name (as applicable).

Connections
Once you have completed your profile, request to connect with existing clients/associates as it is paramount, as a LinkedIn user, to be seen to have a LinkedIn network. You have to start somewhere, and once you have established even a few connections, you will likely find that existing contacts as well as people you meet at networking events will request to connect.

Profile credibility
Ask LinkedIn connections who are existing clients/associates to provide “recommendations”. These are testimonials that must be completed by your own LinkedIn connections.

Thirdly, LinkedIn is a great way to stay in touch with people even when contact details change – for example, when someone changes company or retires.

3. Facebook
Anyone who promotes business on facebook should have two different types of page: personal and business. The personal page is where people get to know you, the individual. Your business page, on the other hand, is accessible by the world and is the place to promote artists, exhibitions, events and the like. You will undoubtedly find that business professionals request to connect with you at your personal page, which is absolutely fine, so long as you are comfortable with this.

What you should not do is have a personal page only, and promote exhibitions, business events and your profession in general. This is how you will effectively lose friends or prompt them to hide your updates on their news feed.

Artists have a specific type of “artist” business page available to use, and dealers/galleries have a host of options from which to choose. Exhibitions and events should be created within that page, and shared with followers of the page as well as specifically selected friends.

4. Twitter
There is a fundamental principle for twitter. It is simple, yet so many people get this completely wrong.

Twitter is not a forum for constant self-promotion; it is a place for sharing knowledge, connecting with fellow professionals within your industry and beyond, cross-promoting with other businesses and professionals (“if you scratch my back, I will scratch yours…”) and then, only occasionally, promoting or linking to your own services.

Many avid users who “get it” do not actively sell via the platform yet they win business as a result; the expertise and fan base developed via the effective use of twitter sells itself. Such success is an example of the principle of “VCP” (Visibility + Credibility = Profitability) in action.

To run a campaign, one option is to present in-depth knowledge via daily tweets that are pre-scheduled (websites are available to help with this and I use Hootsuite). It is essential that such a regular automated campaign is complemented by “organic” tweets, as in, those that are sent by you personally, often in response to other tweets. For example, you can give insights into events/exhibitions you attend and present and articles you recommend.

Summary
In order to effectively use social media, you should choose the one(s) appropriate for you and use those regularly.
•LinkedIn requires upfront profile completion and offers an effective space for staying connected with others as well as enabling potential clients and associates to learn more about you – providing that your profile is kept up to date.
•Facebook offers fantastic opportunities for growing and promoting business, as long as you keep personal and business profiles separate.
•Twitter is a place to display your expertise, build a follower base and to effectively cross-promote with fellow professionals.

What are you waiting for?

Susan Mumford

Be Smart About Art: Best practices in the art world
A fortnightly column by Susan Mumford for the Art, Antiques & Luxury Design Blog

Click here to read the article on the Art, Antiques & Luxury Design Blog
2nd April 2012

Online marketing has become an essential element of business and many artists and art dealers have experienced remarkable success from effective website, blog and social media campaigns. Yet it is all too easy to jump on-board and make embarrassing mistakes, miss opportunities and overinvest.

This article is part I of a three-part series on online marketing. In this piece, three key points will be addressed:
1. Visibility + Credibility = Profitability (VCP)
2. The website is at the core of the online marketing strategy; and
3. Accessibility and ease

1. Visibility + Credibility = Profitability (VCP)
I originally learned this concept in relation to networking and now apply the approach to all forms of marketing for business. Only once a business or professional is found online (be that via a website, blog, YouTube or social media platform) and the viewer is confident in the individual or business’s expertise, will profitability follow.

There is no point in having the most beautifully designed website if it is not indexed by Google or search engines. And likewise, simply having online status is not enough; in order to prompt potential clients to take the next step and contact you, there needs to be clearly displayed evidence of your experience, professionalism and unique skill to help those seeking what you offer.

Several key ways to achieve visibility include:
•Have an effective SEO (search engine optimisation) campaign that includes keywording.
•For art businesses that represent famous artists or makers, run Google Keyword Campaigns in which the search engine displays a link to a website when specific words are typed into a search. (The link often directs the viewer to a specific page called a “landing page”, which then provides links to the rest of the website.)
•Present a mini-site within a large website that is well “indexed” by Google and search engines. This is effective as searches for keywords that are typed in web searches are more likely to display results from well-indexed sites, including pages within such highly-ranked websites.

How to achieve credibility:
•Present expert articles on a website or blog, in which you provide expertise on your profession.
•Display testimonials from clients on a website, blog and also on your LinkedIn profile. (Noting that “recommendations” on LinkedIn are effective as they must be submitted by the individual providing the referral.)
•Give free advice within social media campaigns (see my own #besmartaboutart tips on twitter).

2. The website/blog is at the core of the online marketing strategy
The website is the place where potential clients are converted into becoming a client, be that by placing an order, submitting an art work enquiry via an online form or picking up the telephone to ask about an available piece.

For example, when sending newsletters or setting up a social media page, it is essential to provide links to the website. This is a simple and absolutely essential rule, and I suggest having an image in your mind of your website being in the middle, with an outer circle of all other online platforms with arrows pointing to the website.

3. Accessibility and ease
It seems straightforward, however so many art businesses get this essential step completely wrong. Forget web pages that take time to load, and do not require visitors to click page after page to find something of use. Doing those two things is perfect for achieving high “bounce” rates, in which visitors go to the website and leave straightaway. The lower the bounce rate, the better. (If the bounce rate seems high, consider changing website layout and navigation.)

Ensure that the website is optimised for smartphones and iPads, noting that Flash does not work on iPhones and iPads. I recently discovered that 47% of the opens for an e-newsletter were done on iPhones, and accordingly experienced first-hand the importance of optimising e-newsletters and websites for these devices.

You also need to think about the internet savvy of your audience Are your customers likely to submit an online form, email or call? And is the audience varied in internet capability? A general rule of thumb is to take away as many barriers as possible and make it easy to receive an enquiry. Accordingly, list contact details on every page of a website and on the contact page provide a form, email address, telephone number and postal address.

Summary
•Maintain a mentality of VCP that you apply to everything related to online marketing;
•Remember that all online points to the website; and
•Ensure accessibility and ease for layout and navigation of the website, bearing in mind the internet savvy of the audience.

View a full list of published articles and posts.

Curvy World‘s Editor in Melbourne, Australia,  Nicole Tattersall, interviews Susan Mumford to glean advice for emerging artists who want to reach the international stage. Curvy World: Creatively inspiring, creative women, is a platform where the latest generation of female creative talent can shine.

What inspires you about Art & the Business of Art?
I have discovered a lack of business practices and standards in the commercial art industry – people seemingly make up the rules as they stumble along. Furthermore, being “commercially-minded” has traditionally been frowned upon in the visual arts. “It’s about art, darling.”

Having been in the art world for more than 10 years, I have come to the realisation that the truly successful artists and dealers know exactly what they are doing, commercially-speaking (though many would not dare confess this truth). People are so much happier and more confident when financially successful. I now frequently say, “You can only do the fun part of making and curating when you have the financial viability.” So I truly relish sharing experiences and knowledge of how to be commercially successful to help others have a profitable and increasingly enjoyable experience as an art professional.

You formed The Association of Women Art Dealers (AWAD) in 2009. Now almost 3 years on, what have been some of your biggest achievements with AWAD?
There are so many to mention!

Most recently, and in line with the collaborative nature of AWAD – not to mention being in the midst of unprecedented economic times – two of the twenty Founder Members, Francesca Fiumano and Barbara Stanley, with 19 years’ combined experience running art galleries between them, have teamed up forces to jointly operate out of Fiumano’s premises at 27 Connaught Street near Marble Arch. Using sensible business acumen, they have each maintained their independent identities as Fiumano Fine Art (specialising in contemporary Italian art) and the Barbara Stanley Gallery (specialising in contemporary Irish art). They work together on the annual exhibition plan, each staging a number of solo and group exhibitions under their independent identities and twice a year (at Christmas and in the summer) they hold a joint exhibition in which both dealers curate and present art.

Do you have piece of advice that you’d give to emerging artists who have a dream of reaching the international stage?
Six tips, in no particular order:
1. Maintain a job – or jobs – for as long as you need to do so, to fund your art career.
2. Participate in art courses to learn more about your medium as well as other areas of art.
3. Read the biographies of successful artists.
4. Engage in the art world by attending private views and develop a peer group of artists.
5. Actively exhibit your work in open studios, juried exhibitions, group shows and even stage your own shows. (According to a recent survey I conducted, artists attain representation by 1. Recommendations from other artists, 2. Recommendations by other art dealers/consultants and 3. By being spotted at exhibitions.)
6. Keep a positive attitude and stay focused on your goals.

What are you thoughts on digital media and the influence it has had on the artworld globally?
Digital media has really opened up opportunities for contemporary artists. Artists can more effectively promote their own work if they don’t have representation by an art dealer, which has advanced the position of many artists all over the world. Many have launched successful careers with effective social media campaigns alone. And websites enable people all over the world to view an artist’s work. Indeed, having an artist website is now an absolute essential for being taken seriously as a professional artist.

In 2012 your starting off with Be Smart About Art courses, are there any other projects you have coming up in 2012?
I am concentrating on development and growth of my three art enterprises: Susan Mumford art projects + consultancy, the Be Smart About Art Academy and the Association of Women Art Dealers.

See the Curvy World website.