Career Coach & Artist-Advocate


Selling Yourself without Selling Your Soul

by Caroll Michels (Henry Holt & Company, New York). 6th edition, revised and updated 2009.  Available in print and as an ebook.  The Appendix of Resources is available free of charge online.  An audio version is available free of charge to members of Learning Ally (formerly Recording for the Blind and Dyslexic).

This updated and revised classic handbook puts to rest the popular myth of the starving artist. There is plenty of room in the art world for artists to make a good living - if they are willing to take an active stand in promoting their careers. Michels shows those who would like to make a living from their art work how to navigate the often bewildering corridors of power that lead to success in the art world. Filled with art marketing and art business advice and information.  An audio version of the book is available free of charge to members of Learning Ally (formerly Recording for the Blind and Dyslexic).


  1. Launching or Relaunching Your Career: Overcoming Career Blocks
  2. Launching or Relaunching Your Career: Entering the Marketplace
  3. Presentation Tools and Packages
  4. Art Marketing and the Internet
  5. Pricing Your Work: How Much Is It Worth?
  6. Public Relations: Keep Those Cards and Letters Coming In and Going Out
  7. Exhibition and Sales Opportunities: Using Those That Exist and Creating Your Own
  8. Dealing with Dealers and Psyching Them Out
  9. The Mysterious World of Grants: Fact and Fiction
  10. Generating Income: Alternatives to Driving a Cab
  11. Rationalization, Paranoia, Competition, Rejection, and the Overwhelm Factor
  12. Appendix of Resources

"Michels writes in terse, instructive sentences, and never lets us off the hook: ‘If you want to avoid fulfilling your potential as an artist, there are many ways of going about it. Excuses are easy to find [and] the fear list can go on an on’." Kathleen Massara, Huffington Post

Excerpts from How to Survive & Prosper as an Artist

Studio Visits

"Believe it or not, dealers dread studio visits as much as artists dread having them visit. Both parties are nervous and uncomfortable. Dealers are uneasy because they do not like to be put on the spot on an artist's turf. They feel more comfortable rejecting an artist or being vague in their own territory. Dealers also feel anxious about the reception they will receive. They fear that an artist will use the studio visit to give the dealer a taste of the same medicine the artist received in the gallery. . .You have the power to set things up so that the studio visit accomplishes something positive.”

Copyright 2016 by Caroll Michels. All rights reserved.