No More Fake Art Conversations

No More Fake Art Conversations

(Transcription)

Artist, Rick Midler,
New York, New York

Ann Rea 0:00

And we are live. So this is Ann Rea from San Francisco, California, creator of the Making Art Making Money semester. I’m here with Rick Midler, who is in New York City. Just showed me– he just showed me a picture of New York City. I could see out his window, “New York City Central Park.” And so you’re a student in the Making Art Making Money semester and you work in the advertising. Is that correct?

Rick Midler 0:25

Yep, that’s right.

Ann Rea 0:26
Okay, and you got a bunch of awards? Are those for advertising in the background there? I see those.

Rick Midler 0:31
They are. There’s a bunch of them. This is this is a cool one.

Ann Rea 0:35
What’s the baby? I see a baby there.

Rick Midler 0:37
Yeah, that’s a that’s a creepy baby doll. This is a London international work.

Ann Rea 0:44
Wow.

Rick Midler 0:45

That’d be it’s cool again, so I keep it around.

You must have done something for that.

Rick Midler 0:51
Yeah, I mean I make commercials. And I’m not really sure what that one was for. But I won an Emmy.

Ann Rea 0:58
Oh, wow. Awesome. I’m impressed. Wow, one of my students won an Emmy. I feel like wow, that’s fantastic. Good for you. What was that for?

Rick Midler 1:07
That was for HBO. I did a, I did a piece with George Foreman that won me Emmy.

Ann Rea 1:12
Wow, that’s awesome. So you join in the Making Art Making Money semester, because you obviously make an art for other people. And now you want to make your own art. So I’m just going to ask you three questions, and just whatever pops in your head, I’d like your answer. By the way, we didn’t rehearse this. I didn’t think I was going to do this. But now that I got you here, and I get to see you in person, it’s kind of a cool opportunity. Um, so when you think about what, what your biggest challenge was, before you started the Making Art Making Money semester, what was it? What was your biggest challenge or question about selling your art and marketing your own art?

Rick Midler 1:53
The biggest question was, “Do I want to if I don’t think I can?” You know, I mean, do I even want it? Like, why should I keep doing it? I mean, I know, when I started making art? Well, I mean, it goes back a long way. I’ve had, like, you know, how artists have different periods, the blue period, whatever you feel like, since I’ve been making art as a kid, you know, or as a teenager, I probably had about four periods. And if you look at the art from these different times in my life, they’re very different. They kind of hold together because they’re me. And I never had any aspirations of being a great artist. Maybe when I was a kid I wanted to go to– I wanted to go to Europe and remember American in Paris where Fred Astaire is a [inaudible].

Ann Rea 2:42
Yeah, I don’t know. Well you are an artist.

Rick Midler 2:46
I think it’s Jim Kelly. He moved to Paris and he sells art on the street. And and he falls in love with with a young actress or dancer. But then a patron comes along who’s an older woman who loves his art and he goes along for the ride with her. Right? So that when I was young. And I thought that’s what I was going to do after high school, move to Paris, you know, fall in love with somebody while I’m showing my artwork on the street. And I went to college and I went to advertising instead. And I had a long career, very good. I would say successful career in advertising. And I never stopped making art and I’ve had shows and I’ve sold a handful of pieces and never knew why they sold, never knew how to sell them, always felt uncomfortable in shows, right? You know, I felt really uncomfortable. And and telling the same story over and over, which was really hard for you because you do it a lot.

Ann Rea 3:54
I had to do it a lot.

Rick Midler 3:56
I know, but but even in the in the in the course of one evening of talking about your art with people. You know, you get to be a robot and on autopilot and it starts and and they’re not real conversations with people. And I’m really good one on one you know, when we sit alone and we talk about this real things, and I never really felt like I got that and I felt like that was important to selling art and I [inaudible].

Ann Rea 4:24
[Inaudible] how to do gallery. Well, that’s like a very different conversation in a conversation you’re learning to have now. Right?

Rick Midler 4:31
Exactly. Totally, totally night and day. And now I mean, now if I actually sat in those, you know, into an opening and talked about my art it would be going cold a different way. However, I know better than to even go that way. I don’t really have I was telling someone the other day, I even before I met you And in the course. I said “I don’t care if I ever show in a gallery ever again. It’s just not that exciting. And nothing really sells.” And I’m not even– and here’s the thing, this is why I joined your course, I’m an advertising and I can get to the heart of a company through questioning them. We call it a CNA, which is a client’s needs analysis, where I’ll ask a lot of questions about why they started the company, you know. Why are they still working for the company? What do they want to get out of it, and not just them telling me how they want to advertise, or what they want to look like? I have to have empathy for the client, so I know what to say. And then I have to have empathy for the consumer and the audience to know how to tell the company’s message to the audience. Right. And so that’s what I’m good at.

Ann Rea 5:43
And that’s good, because you’re gonna be using that.

Rick Midler 5:46
And on top of it, I have a kind of a goofy sensibility, which helps with advertising and using humor and in advertising. You know, and I can write and, and do all the things I’ve directed. So I can, I can make commercials, but but only when I really enjoy a good conversation with a client.

Ann Rea 6:10
So let me just ask you this. So a conversation is one where you’re taking turns, right? And a conversation isn’t one where you’re sitting there talking about yourself and your creative process.

Rick Midler 6:24
Are you telling me to be quiet now?

Ann Rea 6:26
No, no, no, no, no, no. I’m telling you like I What I’m saying is, when you talked about being in a gallery, you felt kind of good, right? Like when you were in those conversations, what were you actually talking about, right?

Rick Midler 6:39
I was talking about not listening.

Ann Rea 6:41
Exactly.

Rick Midler 6:42
When I’m working with a client, I’m listening.

Ann Rea 6:44
Exactly. So–

Rick Midler 6:47
So, that’s a very good point. That’s exactly it. And so just to finish what I was about to say really quickly, was what I realized, and really, the why I joined your semester is because I feel knowing what I know, and how to do what I do. I can sell anything. I can sell the shit out of anything, right? I can, because I’m good at it. I’ve been doing it for a long time I’ve met, I’ve worked with some of the toughest clients. I worked with the New York Stock Exchange after 911 when it was just devastated down there. And we needed to tell people that faith in our economy and these people were just, it was they were crushed and, and and week before that they were bullying me around. Like some, you know, someone who didn’t know their business. So like, I’ve met so many different types of clients, and so many different types of products and services. And I don’t know anything about what sells art. And I make, and I make art. And so–

Ann Rea 7:44
Okay, here’s the point though that you just illustrated really well, okay? You can sell the shit out of everything. You got all those awards behind you to prove it. But here’s where things get tangled up for a lot of artists. This is a bit of one of the big myths is that they have to sell themselves, or selling their art because art is so personal, it feels like you’re selling yourself. And even though you’re so skilled and so talented, even you can’t sell yourself.

Rick Midler 8:18
Yes, that’s why we’re talking. 

Ann Rea 8:19 

Right?

Rick Midler 8:19

Exactly [inaudible].

Ann Rea 8:23
But, you’ve learned you’re not going to do that anymore. And you’re going to now lead with just with sharing your mission. And then you can share, start a conversation, which you’re good at by just sharing your mission. And then if it’s appropriate the conversation can carry on to why it’s your mission, where you share your Why. So it’s really pretty simple. It’s not that complicated anymore. Hopefully. I’m hoping it’s not, it’s becoming less complicated for you.

Rick Midler 8:52
It is. I just finished today this Visioning.

Ann Rea 8:57
Excellent. Okay.

Rick Midler 8:59
So I, I’m good. I really feel like I like certain things clicked over the last over this past weekend. So

Ann Rea 9:06
Good. It takes a while to click but it does click Yeah. Okay, so that was really good answer to my first question. I asked what your biggest challenge was before the Making Art Making Money semester and you gave a great example. And yeah, talking about your art. Who said that talking about art is like dancing about music? No. Talking about art is like dancing about architecture. It’s just, it’s horrible. It’s horrible. It’s boring. I mean if you’re boring, they’re bored. Everyone’s uncomfortable.

Rick Midler 9:41
And they would be lost when you start talking about art. They look like they look because you’re saying these, this is you know, there’s a certain energy that you get from green, you know.

Ann Rea 9:54
[Inaudible]. They don’t understand what you’re talking about. So I know like you’re just in the second course, which is Visioning. There’s eight courses. But if you could say, like, what’s the one biggest takeaway you have? So far from the Making Art Making Money semester?

Rick Midler 10:17
Well, the biggest takeaway.

Ann Rea 10:20
whatever pops in your head.

Rick Midler 10:22
I mean, you say somewhere in here that this is not therapy, you know. And it– you’re so wrong. You know, I remember reading that line in one of the, one of the pages, one of the web pages. And, and as I was, like, “Come on.” And it’s funny, because I’m, you know, I’m simultaneously reading, you know, like “The Four Agreements.” And like, you know, like, Great, good conversations with God. I mean, like, so many good books about getting in touch with who you are, and what you’re here to do. And I’ve gravitated to those books, pretty much every time I have an injury that puts me down. I’ve had a couple, like, I had a surgery in May, and lying on the couch, not being able to work, not being able to do art, you know. You know, you really start thinking and reflecting, and it’s kind of what I call forced meditation. 

Ann Rea 11:19
It is a good point. It is forced meditation.

Rick Midler 11:23
Where you know– and what’s funny about meditation, which I do is, and one thing I read about meditation is that there’s the main reason people stop meditating is because it works. Right? Because, because people meditate because they have a problem. They’re feeling anxious or stressed out. And so they turn to meditation. And it works. And now they’re happy, and they’re living a good life. And they don’t feel they don’t attribute it to the meditation. So they, so they stop until they get slammed down again. Alright, sometimes it takes getting slammed down again to start meditating when you’re lying on a couch and you’re looking up at a white ceiling. And you realize that, “Wow, I’ve just been doing that.” So I mean the biggest takeaway, to get back to your question was, I mean I really got in touch with who I am and why I make, why I draw. I never knew why I did it. I mean, I started drawing drawing and sketchbooks after meeting, through advertising to really great illustrators, Mark Ryden, and Gary Baseman. And if people don’t know who they are, they should look them up because they’re fantastic artists. And Gary baseman got famous by doing some animation from TV, and he has characters and shows and books. My stuff is just insane. It’s beautiful work. And in they’re both in like the pop surrealism category, I guess, if you had to do that. But I’m in a society of illustrators’ party. And people are standing around, and everybody’s got sketchbooks. And Mark Ryden and Gary basement are there. And they’re swapping sketch and they’re talking and they’re like flipping through sketchbooks, you know. And I have a sketchbook because standard, you know, gear for being an art director in an advertising is have one of those really hard covered black sketchbooks. They write down all your ideas, you write notes for meetings, you write your to do lists, and you draw and you do all that stuff. And so someone like Gary Baseman asked me to see my sketchbook because we’re all standing around talking. And I handed my sketchbook and it was the reaction on his face was just disgust, you know. Because their sketchbooks were characters and art, and playing with pens, and developing pieces into bigger pieces. They were artists. They are illustrators.

Ann Rea 13:49
Their art pieces themselves in the sketchbooks,

Rick Midler 13:52
Yeah, and mine was just a mishmash of assignments and work and corporate stuff that they didn’t need to see. And, you know, there were doodles there.

Ann Rea 14:02
That’s pretty personal to hand over to somebody.

Rick Midler 14:05
But that’s what was cool about this. That was I felt so in the loop when I was in with these with these, these guys. And it was more than just not just the two of them. There’s like probably about six of us standing in a circle with cocktails and sketchbooks. And I didn’t want to hand my sketchbook over and I did and I was embarrassed. And so that next day I went and got a separate Sketchbook. And I said to myself, “This is just for my drawings.” I’m not going to doodle. Like if I doodle in my workbook, great. But this one is just going to be for art. That’s it. And what happened,

Ann Rea 14:45
Do you see– so yeah, go ahead. Go ahead.

Rick Midler 14:47
What happened was my very first drawing in my sketchbook was really tight. Really like almost finished piece. And then I did another one and I realized after doing a bunch of the sketchbooks that I went to finish on a lot of these pieces. That was my method. That’s what I did. They weren’t work you know, because I wasn’t I wasn’t an artist working I wasn’t trying to develop a piece through a sketchbook I was actually using it because I would go take a break from work sit outside with a cup of coffee and I draw. That was my thing. What I realized was they became diaries. They became part of like my emotions, my thoughts, my feelings, my fears, all kind of bled out onto these pieces. And I’m and I’ve been doing it for years and I have stacks of them at home. And and it wasn’t until your course where I realized really what I was doing with that why that kind of manifested the way it did and, and sketchbooks are actually going to be part of my, my, How.

Ann Rea 16:01
Awesome. I can’t wait for our one-on-one so we can talk about that.

Rick Midler 16:03
Sketchbooks are going to be a very big part of how I help people.

Ann Rea 16:08
Awesome. Okay, well, let me just ask you this one last question. If you, let’s just say someone was kind of sitting on the fence, there’s a lot of artists who follow me and they they come to my free online trainings and they take all the resource books and they’re perfectly welcome to do that forever in the day, you don’t have to pay me a dime, it’s fine. Um, however, let’s just say somebody is been doing that, or they’re just sitting on the fence, and they’re not sure if they should dive in and apply to enroll in the making art making money semester, what would you say to them? Should they dive in? Should they wait? What do you think?

Rick Midler 16:56
Well, there’s definitely no waiting. I mean, if you wait, you’re just not gonna, you’re not gonna do it. I agree with the way that you handle it with people who are about to join where your conversation leads to signing up or not signing up, pretty much. And I really appreciate that because I think that was putting trust in you is a decision. And I felt skeptical and nervous up to up to that point. I told my wife I was considering doing this. I showed her your videos and said I think I want to do this, I’m not sure about it, trying to have her help make up my mind for me to do it. And, and then I did it. I had the phone call with you. And um, and I didn’t tell her for a couple days, I was worried about how she would take it. And when I finally did tell her she got mad that I didn’t tell her you know, when I did it. But I just for some reason I was just, I was still skeptical even after, after hanging up with you and doing it. The reason why people should do it is because I’ve been helping people. But I’ve been helping app by going through this course. People who aren’t even study partners and other artists who are going through the course that you know where we help each other out. We help I mean, I feel so alive and valuable. After being able to help someone like Marilyn Rose out or iryna Cumberland out. And when we have a good conversation and and something clicks and I feel like I just helped the client, you know, but they’re an artist, and I’m not getting finance. I’m not getting any financial gain out of this. I just love that I helped them. I just got off the call with a good friend of mine who’s a creative director and advertising who has his own mission and his own initiative that he’s about to drop and go back full time to advertising. I didn’t tell him not to go back to full time and advertising. But I said, but I gave him a lot of advice that you gave me through this semester. And I’m going to be calling him after this to continue our conversation.

Ann Rea 19:17
What advice did I give you that you gave him? I’m just curious.

Rick Midler 19:23
Well, first of all, I told him to start journaling. Um, yeah, we’ll start writing down why he’s been doing it. He’s got a nice website. He’s been going and he’s been he’s been doing a lot of the things you’ve already been talking about without knowing that he’s been doing those steps. 

Ann Rea 19:27

Oh, that’s good.

Rick Midler 19:31

To take it to the next level from where he is now. He does something that’s very I don’t want to say what his businesses or maybe I should plug it.

Ann Rea 19:48
Make sure Sir, what’s his What’s

Rick Midler 19:52
his his website is called Global glue. And it’s about and it’s about his Name is DJ Pierce and it’s about couples coming together, why people stay together. You know, he happens to also be a photographer and a videographer or cinema cinematographer. But he’s a really smart advertising man, you know, and he does what I do, he has this other side thing that he’s passionate about, but he does advertising also. And, um, and I asked him if he’s writing a book, because I feel like the people who, because he said, I don’t know how to make money doing this. And I said, you said, you know,

Ann Rea 20:33
well, you should join him.

Rick Midler 20:35
Yeah, but I told him that he should start

Ann Rea 20:38
to artists, individual artists, and attract a lot of visual artists but the stuff I’m teaching applies to any creative enterprise whatsoever.

Rick Midler 20:46
I think that’s also a great, a great reason. Um, because I was also taught I was gonna see if my wife wanted to do it, you know. I think this would help pretty much any anybody? Um, get not just unstuck, but figure out what how to use the thing you’re already passionate about doing and living your life doing it

Ann Rea 21:13
on purpose. Yeah, you know what you said before? It’s like it’s not therapy and I cut it but it is well I wouldn’t leave a disclaimer it’s not actually therapy but I will say it is very therapeutic.

Rick Midler 21:25
Yes, no, it’s well Right. Right. It’s not like official therapy I go

Ann Rea 21:31
but it’s very therapeutic to know what your creative purposes it’s very it was for me I know it’s for my students it’s very affirming it’s very centering is very grounding you cut through all the bullshit that is the artist statement that is art speak and you get to the real heart of the matter and

Rick Midler 21:53
listen, I didn’t know I had that issues before you

Ann Rea 22:00
It’s so I know you’re gonna be able to kill it because of your skill set you know you really are um, you just you just had to you are stuck in this idea that every most every artist is stuck in this idea that they have to sell themselves or they have to sell their art and selling art is a losing battle you’ve got to just create value above and beyond your art and sell that I don’t know another way around I’m open to learning hearing another way but I don’t know another way around it

Rick Midler 22:34
right and and one last thing was about serving others and everything that I’ve been reading up until you and after you know in dirt during the course including the Do you Russell Simmons book. And beyond, you know, has had the message like it’s funny when you when you want when you want to learn something or you go to pursue something that just comes flooding in and this serving other people concept, right? Um, has been coming at me like hailstorm. Like including your including your semester and and, and I think that is the thing that’s really going to help me get over the issues that I’ve had my whole life you know, and like that, that piece that little connection to make it to dedicate yourself to make a conscious decision to connect with people. Right? As opposed to being the reclusive artist, right? Um I I see the connection between that and the solution to why I was shy when I was a kid why I was nervous around people I was scared of authority you know like all those things you know so so I think that it opened all that up and and the fact that that connects to my art which I mean I love I love making it I love looking at my art you know one of my big Wake Up Calls was that my wife start putting my art up all over the place and she goes no if you’re not going to sell it I might as well put it up and I was like and then we had people over and people said you know Oh that’s great. You know you saw a lot of it I’m like no you’re looking at it you know it’s that’s it No, like Oh, that’s a shame. What should be in other people’s houses you know,

Ann Rea 24:36
yeah. Or you can just you can just as a as a tip, you could also have that same gathering except stick some prices on the wall and have your iPhone with your square swipe reader and you could have an open studio and just didn’t fight people over. I used to do that when I first got started it was just come on over to my apartment at the beach and I had a I had art on the wall I had a price tag I had my I had the old school mechanical thing there ready to go we’d have this we did have the conveniences to swipe cards and back then and I invited existing collectors and friends and you know I just did it once a month it worked it out it also led to other connections and other introductions and it’s a good way to like stick your toe in the water because a lot of people are just scared of selling your own art but remember you’re not isn’t about you anymore right so it’s not going to be as scary

Rick Midler 25:43
absolutely absolutely it’s interesting because it’s so I’m actually really excited to see how it how my art changes and how my life changes and like how everything changes when this when this is actually launched

Ann Rea 26:00
you’re gonna get better at without a doubt everybody who goes through this semester does all then does the work right like you can just go through the semester and not do a damn thing but those who go through and execute and you know you start selling your art you have to make more of it so and you want to make more of it so your art just gets better and I never look at anyone’s art right I look I do peek at it like sometimes the beginning and then I look like a little later like wow they got better he’ll get better yeah but you have like all the mad skills to make this work there’s just no doubt in my mind that if anybody’s got it you know you just have to you just now now you know you’re not now that you know you’re going to create value above and beyond your art now you know that value is only exchanged if you are serving other people. You got That’s it? You got it. Yeah. Cool, cool. Well, I looking forward to when witnessing your success, I really appreciate your also your participation in the in our group and I love to see when artists are actually meeting with one another you got so just for people listening, these are artists from all over the globe who never met one another in a meet like this via video calls and they go through specific exercises and some really great friendships form. And you get perspective on art life and business from people other than me, you know who are in the same process that you are I think that’s very valuable. And that’s I’d say I’m more proud of the community than I am my own courses because you guys are so supportive of one another. And let’s just face it a lot of artists when they get together often real competitive, overly competitive and often you know, outwardly outwardly or secretly jealous of one another we just don’t have that here at all.

Rick Midler 28:01
Yeah, and everyone’s Everyone’s so sweet. Like everybody is really just like just very kind nurturing people so I mean just for that reason alone I mean you just want to just just like you want to get the most comfortable bed to sleep in because you know why not I mean you’re not gonna have a hard crappy bed you know, you see a sheet By the way, but you should surround yourself with people that make you feel cozy and happy and good and and and warm and and I have a friend who’s a career coach who was talking to me about networking the other day, and the different and he just taught was talking about the difference between a warm introduction and a cold introduction and and how you start with people who are closer to your circle and people who trust you and like you and people who have who are warm, and then you get more bigger you expand that circle as opposed to going out too many layers out, which is going to be no matter how you write an email, no matter how funny you are or how much you research them on LinkedIn. Find out that one bit of information you can write in your introduction letter to them. It’s still a cold introduction,

Ann Rea 29:20
so call it and also like even the word networking I don’t really like don’t go out to network I think it’s a it’s I think it’s good to just go out with the intention of making friends. Yeah, the intention of expanding your network

Rick Midler 29:34
that’s exactly it. And when I picked up the phone it’s funny because the guy that I just told you about DJ was the one of two of my first the people that you need to write down and write what was it it was who do you know course to visioning day 27 right. So he was the first person I wrote down and I called them and it turned out that he, I called him at the right time because he was going through a little bit of a challenging, you know, who am I do? What do I need to do right this second, and I’ve been building this thing out of my passion for the last five years. And it hasn’t been five years coaching on

Ann Rea 30:20
application link to the making art making money semester, let’s get this shit done.

Rick Midler 30:26
But it’s, it’s just interesting how I called him at the right time for him. You know, as opposed to when I called him, I was thinking, Okay, I’m gonna see who knows.

Ann Rea 30:37
Me, I’m going to get what I want. And

Rick Midler 30:39
I’m gonna meet some chiefs of some tribes.

Ann Rea 30:43
Yes, but that’s actually the

Rick Midler 30:45
conversation was about what

Ann Rea 30:48
that was actually the better opportunity for sure. That was the better opportunity, you know, because what goes around comes around, and it might not even come from him. But I believe you just make that deposit in the karma bank, it’s going to come back round. You know, one way or the other. We don’t know how. Anyway, this has been great. I need so just so you guys know, we had scheduled five minutes to have a conversation. And we blew through it. And so I appreciate your time and energy here, Rick, it’s valuable and appreciate what you shared. And so um, yeah, thanks. I’m going to share this with others who are interested in having to listen,

Rick Midler 31:29
yeah, and do it. This is a great course, seriously. You know, this is, you know, that, honestly, this is the best piece of education I think I’ve ever had. So because it’s about me. Oh, there you go.

Ann Rea 31:51
teaches you how to work who teaches you how to learn about yourself? I know,

Rick Midler 31:55
I’ve never taken a class except, you know, this one, actually, was about, you know, that had told me how to set goals that were about me, you know, what I want to do? So yeah, well, I think we’re doing it and thank you for taking your experience and, and putting you put in so much work putting this thing together. You know, and also, what’s interesting is that you say that this is kind of organic, and it builds and, you know, to learn from failures, and that your, your met, your mission may change look like things may change just a little bit here and there. And that’s okay. And what’s interesting is digging deeper into you and what you’ve had and the artists that thrive and making art making money and seeing the different iterations of what it has been, and seeing where it is now. Yeah, you know, you practice what you preach, you know, you actually are actually it’s, it’s reverse, you preach what you practice you, you actually are, the less the lesson completely is a mirror. of, of how you have even built the lesson itself. which is which, which is awesome.

Ann Rea 33:07
Well, I don’t know what else to teach, except what I experienced directly. Aries warn people don’t, don’t buy courses, or try to learn from someone who hasn’t actually done what you want to do. It’s not a good idea. My mastermind partner Ron Douglas, and I who’s on the Discovery Channel show blue collar backers, we talk about this a lot. That, you know, it’s just not cool to teach people you know, say you’re an expert, and you’re going to teach people this subject and you’ve never gambled on it yourself. That’s what I don’t and I don’t know, like, I don’t know what else to teach. Except these. I mean, truly are the lessons that I learned in the exercises. These are the books I read. And so I’m I’m really glad to hear that. They’re useful for you. That’s fantastic. Good, good. All right. Well, it’s a pleasure seeing you in person I’ve only ever spoken to Rick on the phone when he applied to enroll. So this is nice, and I’ll look forward to having our one on one when you’re ready.

Rick Midler 34:10
Yeah, let’s do this again. Okay.

Ann Rea 34:13
Cool. We’re getting your wife’s application and your friends application.

Rick Midler 34:19
I’ll be talking to you. Okay, bye. Bye. Thanks.

Ann Rea

Ann Rea, Fine Artist & Mentor

Ann Rea is a San Francisco-based fine artist. She created Making Art Making Money, the leading and most reputable business program for fine artists since 2005. Rea’s art and business savvy have been featured on ABC, HGTV, Creative Live, The Good Life Project, in the book Career Renegade by Jonathan Fields, the San Francisco Chronicle, Art Business News, Fortune, and Inc. Magazines. Rea’s artistic talent was commended by her mentor, art icon Wayne Thiebaud. 

Learn The 5 Perspectives of Prosperity, Making Art Making Money

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