The BoldBrush Show

30. Lisa Lebofsky — Making Connections

BoldBrush Season 2 Episode 30

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Our guest today is not only a talented painter and a humanitarian with a deep love for our planet and her cat, but also a time management guru who makes me wonder if we have the same 24 hour limit in our day. Lisa Lebofsky is an environmental landscape artist and plein air painter who specializes in seascapes and how they connect to the human experience. We sat down to talk about her work, how to talk to prospective buyers, and tips on finding the right gallery and the right art community for you!  


Check out Lisa’s FASO site:
https://llebofsky.faso.com/  

Follow Lisa on Instagram!
 https://www.instagram.com/lisa_lebofsky

Lisa’s LinkTree:
 https://linktr.ee/lisa_lebofsky 

Lisa Lebofsky:

but always have a big smile. I think that's my, my, my gift and my my offer to all is be a friendly person. So if even if you're shy, it is good to at least present warmly. I've definitely seen many artists who just kind of, you know, almost look like they're, they're caving in on themselves and they're like putting their chin down to their chest and kind of talking into themselves. You do want to make eye contact and talk to a person. So as rudimentary as that sounds, it really helps if you're a shy person.

Laura Arango Baier:

Welcome to the BoldBrush podcast where we believe that fortune favors the bold brush. My name is Laura Arango Baier, and I'm your host. For those of you who are new to the podcast. We are a podcast that covers art marketing techniques, and all kinds of business tips specifically to help artists learn to better sell their work. We interview artists at all stages of their careers, as well as others who are in careers tied to the art world in order to hear their advice and insights. Our guest today is not only a talented painter, and a humanitarian with a deep love for our planet, and her cat, but also a time management guru who makes me wonder if we have the same 24 hour limit in our day. Lisa Lebowski is environmental landscape artist and plein air painter who specializes in seascapes and how they connect to the human experience. We sat down to talk about her work, how to talk to prospective buyers and tips on finding the right Gallery and the right art community for you. Hello, Lisa, and welcome to the BoldBrush podcast. How are you?

Lisa Lebofsky:

Good. Hi, Laura. I'm very good. Very excited to be here with you.

Laura Arango Baier:

Yeah, I knew this would happen one day, I knew we would have you on the podcast because we have done a previous interview on YouTube, which I will include the link in the show notes for anyone who wants to check that out because that one was a lot of fun. In this one, it's a little bit different. But before we talk about the main stuff, do you mind giving us a little bit about your background and what you do?

Lisa Lebofsky:

Sure, sure. So I'm a painter. I paint endangered and dying landscapes to bleakly, but I do travel around the world looking out for places that are vulnerable to due to the effects of climate change. And I spend time meeting with local people and researchers to learn more about the environment to inform the work that I create, so that I can then bring that back to the studio. And when I talk about my work, be able to share these stories, and so people can care about that which they are aware. I think that sharing the human aspect of what's happening with climate change. It's one thing to present the beautiful landscape because nature is beautiful. But then to share the How to humanize that story makes it more relatable and to let it know that Oh, even though this is this beautiful landscape that's fragile. We are also fragile creatures in and of itself. So I do try to relate what's the way that I paint the landscape is very psychological way that people can connect to in a in an emotional way.

Laura Arango Baier:

Yes, I remember you mentioned the foggy horizon. And I really love that about a lot of your beautiful wave paintings, which I can look at them for hours. There's so peaceful and I love the way you describe that foggy horizon to be kind of like the same feeling you can get when you can only see the next three steps in front of you. You don't know what's coming next. But as long as you can see that bit in front of you, that's what matters.

Lisa Lebofsky:

Exactly, exactly. Yeah. And then especially in a lot of those motion paintings, the the foreground is often very dark and tumultuous and I have the paint I eviscerate the painting as I work on it by spraying it with water, sometimes submerging it, or just even wiping it out. So there's a destructive component to the creative process. So it's a bit tumultuous as you enter into the painting from from the bottom of the panel. And then as you move towards the horizon lines innately as creatures we want we're interested in what's at the horizon. It's our it's how we feel safe understanding what's what's in front of us why we like being a mountain tops or being out to the shoreline, just seeing the vastness but if you obliterate that, then it starts to kind of turn your world upside down a bit, but but then it makes you focus on just okay, well, there's just this in front of me. And then what's beyond that, you know, the our potential lies in the abyss as much as our demise does,

Laura Arango Baier:

very bleak. But it's beautifully poetic the New Year. Thank you. It's very true as far as the human experience, and that is inevitable that you know, you have those days where you have that clean, perfect horizon and then other days when it's just a little bit foggy. And that's one of the things that I love about talking to you is that you have this adaptability be about you, you have this, go with the flow. I'll figure it out as I go, like you did with your nomadic lifestyle. So our last interview was like nine months ago, I think right about when he checked. So tell us about the exciting things that have happened since then.

Lisa Lebofsky:

Yeah. So when we interviewed I was I was in a bar in my friend's barn upstate sanding panels. And since then, I I've painted on on all of those panels, and I think it was maybe 24 panels I was working on. So I've had, I've had three solo shows, last spoke. Although to be fair, the last one, which actually opens next week that I did roll a bunch of work from the last show into that one plus one new piece. But yeah, I had a I had a solo show at Carroll quarry fine art in the summer. And I also did a show with my my gallery Artemus gallery in Maine as a featured artist. So that was a lot of new work for that one. And we had an artist talk along with that. And and then in the fall, I had a solo show with Franklin bowls gallery, in the show that's that's coming up soon is a kind of almost a continuation of the larger works that that are still available. Those are being pushed into this other show along with as I mentioned the new one. And that's going to be opening at 527. Madison is in collaboration with Jay Grimm advisory. They they curate these spaces in various lobbies around New York City. So it's a it's a large space 527 Madison, and that opens January 12. And because you mentioned it with the horizon, it's interesting. The last painting I did in 2022 is a very long 25 inch by 80 inch painting of a seascape, which I saw I'd also been on a few painting excursions with a variety of art friends that I that I work with. And so we were out plein air painting isn't cool, I'll do like a study and we're out at Sandy Hook beach and New Jersey and beautiful bright day. So I did some plein air studies. And always with my work what I do and plein air I bring into the studio later. That's how I develop my visual mark making language. And so some face after I did these three triptych four inch by six inch 12 inches wide altogether I transfer, you know, I figured I don't know how I did it. But then I was like, Alright, this is what's gonna be on this 25 inch by 18 inch painting. And I put this wave and it's very long wave rolling in. But the horizon line is crisp. So the other 2020 do the whole year doing foggy blitter, ated horizon lines, none whatsoever. The last one, it's brightly colorful with the crisp lines. I don't know what that means. But that was the last painting of this last series. Who knows what's next?

Laura Arango Baier:

Wow. Yeah, well, that's a really great way to close off the year. Like, oh, it was fine.

Lisa Lebofsky:

And personally, I don't know, I don't know what I'm thinking maybe, maybe subconsciously, say we say that my paintings are almost sort of self portraits. You know, you can always tell I'm doing but what's happening at the horizon. And I can't say that I have any more clarity this year than ever, which means I have none. So I so I don't know what this means. But maybe I'm pretending something that I'm not yet aware of.

Laura Arango Baier:

Yeah, maybe it'll come up. I mean, you know, sometimes our intuition just like catches on to something before we even realize it. So maybe there's something there. I'm gonna be checking up on your Instagram and see how you're doing, though. Like, what is she posting? Is she okay? But at least now you get a break from from all

Lisa Lebofsky:

personally and Newfoundland. I'm painting while I'm here. Never stops.

Laura Arango Baier:

Yeah, never stops. Yeah, exactly. Yeah. And it shouldn't. It's still um, you know, it's something I mentioned a lot on the podcast, that we use artists. We don't paint because of the money if we paint because that's just how we roll. That's how we have to. Yeah, and the money is you know, the money is just, you know, the nice part and the part of why we have guests like you on the podcast know how to go from I'm painting for fun to hey, this isn't making me money, which is awesome. So, yeah. Do you have any plans for this year?

Lisa Lebofsky:

Yeah, sort of. That's a bit foggy. See what I did there? Um, I I do i It's things are still in the works. So I have a friend who wants to start a residency in St. Lucia and the Caribbean. So she's invited myself and three other artists to be the first round, kind of to kind of, well want to be fun. We're all friends. And, and then and then work out some of the kinks in the process. So this is I would be with my, my, these are peers of mine from the New York Academy of Art. So this would be myself, Michelle doll Karianne brocco and Alisa monks. But it's nothing's firm yet, but we're all discussing the possibility of it. So that that will be for about two weeks later this year, I have intentions to come back to Newfoundland to do some painting is because to me, Newfoundland is home. And it's It's my absolute use. So I will as I do come back up here to paint. So I've intentionally not originally I was going to apply some to some residencies this year, but I intentionally not because I feel like there are various opportunities for me to travel. And, you know, where I do have a lot of other plein air painter friends, we are discussing a lot of trips, one that's very, very lucid in the works is another artists you've had on your podcast, Mike Adams, we're very in the very early stages of planning a plein air trip, perhaps to Iceland. And, and this is where communities like BoldBrush are great, because we we found each other through Instagram, but it was really through BoldBrush that we were able to connect, we have a similar way of approaching our, our techniques about landscape paintings or aesthetics. So it's gonna be interesting. We've we've gotten a few excursions this past year, along also with Mary Robinson, who I believe we aren't we all find each other, we find each other so. And then I have some other regular artists retreats that I also go on with Patricia Whitewood, and a variety of friends there. We've all spoken to IRD

Laura Arango Baier:

Yeah, and I'm collecting.

Lisa Lebofsky:

And then with the the New York Academy of our alumni association, I'm on the board. And we're also organizing retreats, I know they have these little things coming up. So it's just like, you know, maybe this is not the year to apply to an official residency, but we'll see things things present themselves.

Laura Arango Baier:

Yeah, you're just riding the wave like, exactly.

Lisa Lebofsky:

So instead of, you know, deeming, you know, like, like designing a specific, this is the month that I'm going here, I'm just leaving it open this year to so that opportunity may roll in?

Laura Arango Baier:

Yeah, yeah, it's kind of like how, you know, sometimes in between paintings are moments of like, it's actually the moments of the calm, where you get the best ideas and the best opportunities. So it's good to have like a pause and not plan everything out. Because then it's like, too planned out.

Lisa Lebofsky:

Yeah, this is where last year was such a focus on creating with the, with the several shows, and there was also many group shows within there. So there was a lot of production last year, which is great. I mean, I'd rather not be doing anything than painting so and I have no shortage of what I want to paint. So it's, you know, unfortunate in that way, at least as of now, but this year, I am interested in one following up on some projects that I had started along the way and then and then also that that are not for shows and you have a show you're just you're producing for the show, which is great, but it's you know, I also just, I'm enjoying I've already started a few pieces in the studio where I'm like, Hey, I just want to paint a sunset. Like not a body of work like it just seemed like yeah, I just or I do want to read I don't know if I'll have time for it. But I do want to defer things and we can keeping it open I don't know if I've done but I had a residency in Colorado a year ago and or two years ago almost at this point. And I'd like to still bring that like that was all in plein air work I want to see how that would translate as studio work. So there's love kicking around

Laura Arango Baier:

Oh my god. I think this is the perfect moment for me to ask how the heck do you manage your time between paintings and shows in traveling? Oh my god, how do you do it?

Lisa Lebofsky:

Yeah, and and I have a full time job and the director of DFN projects in New York City. So what I do and I do you know I really cut back on teaching but I I do I do try to do at least one workshop a year so there's a lot there's a lot always going on and and then just the daily logistics of being an artist and and I have a cat who's pretty young still so I'm still training. So it's a it's a lot. So I do is because because I love painting I do paint everywhere I have I have my primary studio and the Laurie side have been there for 15 years in New York City at the Clemente so i i paint there most weekends or evenings whenever I can And I'm fortuitous in the job that I have. I am basic, even though I'm the director of DFM projects, it is a project space. So I do paint there. Usually after hours or small paintings during the day. We say on based on the permanent artists are presidents there. I'm always working there, and then I at home, when I go into bed, you should get a burst of energy around 11pm. And my cat actually really enjoys when I paint, it's really funny. So he just watches and he likes to boast and get involved. So this is my great little studio assistant who keeps me honest. So, so I paint at home. So all I do is paint I have and when I travel I have, I have an easel in my car, and panels ready to go at all times. So if I'm going somewhere, and I'm like, Oh my God, that guy's amazing. I can pull over and make a painting. So there's, there's, so I do everything I can to just make the painting process easy. So it can just happen on the whim. And but I'm not one of those people who can really budget out time, like I know, some people are like, Okay, this was my painting day. And this is the space for this. And I set this time for that I'm to just as a human being I've embraced this about myself, I have a very abstract relationship with time, I'm not good at budgeting it. I just want to do everything I can to make it a priority, prioritize painting above all else. So I do whatever I can to make sure that that just can happen, as I said, on a whim at a moment's notice. And you know, everyone else around me just kind of has to put up with it.

Laura Arango Baier:

I'm sure that's something that's easy to put up with. I mean, even cat loves it. So

Lisa Lebofsky:

yeah, nobody's complained so far. Especially now

Laura Arango Baier:

your collectors. I'm sure they're happy, like keep them coming, Lisa. Yeah. Yeah. So in terms of sales, a lot of artists, I think struggle with this. And from what I've heard, you don't struggle with this. They struggle with knowing how to talk to prospective buyers. What tips do you have, you know, for someone shy, or someone who you know, they don't know how to talk to a prospective buyer? What do you recommend?

Lisa Lebofsky:

Yeah, so I surprising little fact about me is I am inherently shy. So, but, but I'm also talkative in case you can't tell. So I, it's a little hard for me to approach a situation, but somehow I'm really good at getting myself into the situation. And so how do I do that, I think being being open, being curious, like just being willing to sit back and listen and just kind of gently insert oneself into a situation, but always have a big smile, I think that's my, my, my gift. And my my offer to all is be a friendly person. So if even if you're shy, it is good to at least present warmly, I've definitely seen many artists who just kind of, you know, almost look like they're, they're caving in on themselves. And they're like, putting their chin down to their chest and kind of talking into themselves, you do want to make eye contact and talk to a person. So as rudimentary as that sounds, it really helps if you're a shy person. So I just, you know, being personable, and being a good listener, and just having a pleasant disposition, it's can go very, very far. So I, you know, I'll always be sure to ask a person, you know, something about them, you know, where are you from? Or, you know, how, you know, have you been to this place? Or is this to where I paint places? That's an easy way to to relate to people? I mean, you Finland, it's a surprising one, because there are people who do come here, but it's obscure enough that it's like nobody goes to Newfoundland. How do you know? Or I'll just drop in something that is very interesting and unique about myself. So that people that encourages them to ask questions. So because people love a story, and they love to feel like they're a part of a story. So you definitely want to find a way to connect to that person. So yeah, most people haven't been to Antarctica. But if I just kind of drop that casually, in a sentence, yeah, I've been to Antarctica, they're like, Wait a minute. And then that leads so wide opportunities of conversation, especially if somebody's been doing Artica then you've got so much to talk about. Then my interest in climate change. I'm not shy. You know, I know that it's become a very politicized topic, but I'm not shy about what I'm passionate about. So I don't worry about offending people and in terms of that, so I you know, I think being embracing what you do, being passionate about it, and being excited about it can go very far.

Laura Arango Baier:

I agree. Yeah. and especially that storytelling aspect. People connect with story. And I think a lot of your paintings they have a lot of story to work with. So it makes it really great. And I would not expect it to be shy. And open, you know?

Lisa Lebofsky:

Yeah, no, thank you. Thank you. I don't know what happened. I was not a very popular kid growing up. And I often had a hard time making friends. And I don't think it was until I was in high school that I kind of hit a groove. And I think college is not even a group but started kind of realizing that people maybe liked me. And then in college, I, you know, it's nice, everybody has a clean slate. So and we're all there for the same reason. So it was it was pretty easy to make friends and also with artists. So it's like, I think that warmed me up a bit. But, you know, I'm not usually super amped to go to the event. But I'm not going with somebody, it's, it's a little hard for me to get going and talking to people. I don't know. But I'll go and I'll smile. And I might be like, Oh, do you know, the artists or so they like, I'll just do it. But it's definitely been events where I've shown up and been like, I feel really out of my element I just left. You know, I tried. I'm just not feeling it tonight. And I don't I'm not hard on myself.

Laura Arango Baier:

Yes, well, that's good. Yeah. And I think that it's, you know, something that us as artists is, you know, we are thinking artists can be such a lonely career. Okay, maybe not lonely. But it's a very alone thing. You know, you create on your own, you can be with other artists and create together. But in the end, you're still in your own little world. So it's nice to be alone in company, if that makes sense. But I think that's why, you know, a lot of artists, you know, are introverts, but we also like talking about the things that excite us like painting, so it's nice to have that community. And that's probably won't college. It was easier for you and maybe having that little buddy to take over to an opening. That's also fun.

Lisa Lebofsky:

Yeah, and I still need a buddy. So yeah, I still need a buddy.

Laura Arango Baier:

Only you could take your cat,

Lisa Lebofsky:

you know? He'd be great. He's He's very shot. He is a very, very shy little animal. That's okay. We're working on he's only a year old.

Laura Arango Baier:

Yeah, cuz you had a cat before in your nomadic time?

Lisa Lebofsky:

Yeah. Yeah. She, you know, she, she was old. You know, she was she lived till she was 19. So but yes, she would travel with me. It's I'm working on it with him. He's, he's been to Newfoundland with me. He's been up to me and a few times. So you working on him? That he's he's still very shy little guy. He likes other cats though. Which is, which is nice. But humans. He's a little like, even as someone comes in into our apartment, he's like, Whoa, what is that thing? But yeah, you know, usually he words up after a few hours.

Laura Arango Baier:

Oh, good. I'm sure he'll become very good travel buddy to

Lisa Lebofsky:

one day. Yes. I mean, my cat, my last cat philosopher wasn't? It took her a while to so I can't hold it against him.

Laura Arango Baier:

Yeah, I don't think cats are used to being taken out doors very often. Okay, it's 2023. And you told yourself last year, you'd have your artists website up and running by the end of 2022. And here we are, and you still maybe don't have a website? Well, I've got some news for you. If you sign up with faso.com forward slash podcast, you get over 50% off your first year on your artists website. Yes, that is the price of 12 lattes in one year. And I think that's a really great deal considering that you get beautiful sleek website templates that are mobile friendly, ecommerce print on demand in certain countries, as well as the art Marketing Center, which now has our newest feature, which is the art marketing calendar. And the art marketing calendar is something you will get with our competitors. The art marketing calendar gives you day by day step by step guides on what you should be doing today, right now to get your artwork out there and seen by the right eyes so that you can make more sales this year. So if you want to change your life and actually meet your sales goals this year, then start by going to our special Inc faso.com forward slash podcast. That's s a s o.com forward slash podcast BoldBrush but also like to give a huge thank you and shout out to Chelsea classical studio for their continued support in this podcast. If you're interested in archival painting supplies handmade with a lot of patients go check out their Instagram at CCS fine art materials. Oh my own. So to continue. So When you do have, say, a prospective buyer, so it like one of your shows, right? You're usually at the opening, you know, you're there. And there are 10s of people. How do you know if someone is looking to buy? Or it seems like they're gonna buy? Is there a way to tell?

Lisa Lebofsky:

Um, no, always off on this stuff. So just assume everybody's there that that would just assume everyone there could buy something. And, and the thing is, you also don't know, sometimes you might meet somebody, and it might not be till a year later that they buy something. Or it might be somebody who ends up taking a workshop. Or if you do a print sale, they buy a print or something. So you just you never know who, who someone is. So I'm just I try to be equally friendly to all, I don't let anybody monopolize my time at an opening specifically, if it's my opening, what really any opening, I don't think it's people shouldn't do that. It's not very fair to the artists because there is a lot of people to talk to. So you know, I'll keep it light on the technical conversation. But just to kind of see where they're at and what their interests are. If you can always tell an artist because they'll be like, Well, how would you start showing here something and those conversations I generally run away from, but it's so inappropriate at an opening to bring up to an artist. But then I also so yeah, I just treat everybody with equal amounts of attention and kindness. And up to a point where I'm like, you know, even if they do seem very interested in buying my work, it's still important to get to get around to everybody. But really, I mean, my job is to make the art not necessarily sell the art. That's that's the gallery. So I do make sure that they are very well informed about my process, so they can talk about it. But yeah, I just I love that. So that's basically it.

Laura Arango Baier:

Yeah, and you know, it is also I'm sure possible that sometimes someone will come up to, and they'll be like, hey, I want to buy this painting from you. What if someone is trying to be sneaky, right? How do you handle someone who wants a crazy discount behind the back of your gallery? How do you handle someone like that?

Lisa Lebofsky:

Absolutely not. Yeah, I will not provide discounts for direct sales, unless it's a family member. That's it. Or maybe a very, very dear friend who I did not meet through a gallery connection. So what if I, if somebody approaches me to buy my work directly from me, and they try to get a discount, I explained, I cannot provide a discount. So I say, Oh, well, the gallery is taking 50%. And I say, Well, that's because the gallery is handling the sale. Now you have my time. And I'm handling the sale. And because I'm with you, I'm not painting, which is all I should be doing. So you don't get a discount. And I have turned down sales that way. I have I mean, I'm a little bit nicer, for sure. But I have actually turned down sales into painting sell eventually, just as I wanted to, I want to sell to somebody who's going to respect my time in my work, and is not looking for the deal. Yes. And because it really is the best buyer you have is somebody who's investing in the artist, because every painting sold helps the next painting be produced. So what's a nickel and diming you so that you're barely meeting your bottom line. But then what I also do if somebody contacts me directly to purchase, I do a little bit of detective work because I do work with a few different galleries. So I do I, I ask them, you know, where did you see my work? And which painting in particular Did you see so if I find out they saw my work because of a gallery that I send them only to that gallery, if it's a specific painting they're interested in, I will send them to the gallery that has that painting. So I really I it's only in the artists interests to have good working relationships with your gallery. It's basically relationships, you don't want to be lying to your partner. And you know, because it's you're working together like it's there's no there shouldn't be any mistrust or anything should all be there very open and clean. And, and again, I don't want to sell my works. But the galleries do it. Because I want to paint. That's all that's all supposed to do. I don't wanna deal with shipping. I don't wanna deal with taxes. I don't wanna deal with the back and forth. I don't deal with images in process or anything. I just want to paint

Laura Arango Baier:

Yeah, yeah. And I think today that's a that's a really convenient thing that a gallery and having a gallery to work with. Because when you're like solo, I'm the one selling my work. It kind of feels like a one man band where you just holding a drum in front of you and then little triangle over here and then you're just trying to do everything at once like marketing In advertising, so I think, in a sense, you know, I've had so many different perspectives, with galleries with every interview that I've done here. And it's very interesting how you know, I'll have someone like, oh, like you, who says, Oh, I trust my gallery, they do everything. And then I have other people who say, Oh, I really like galleries. So it's interesting to have the whole gamut. And it's good that your experience has been a positive one.

Lisa Lebofsky:

So I would say I will, I will say not every experience has been positive. But this just, you know, but like, I always, I always equate working with galleries as it's no different than dating or entering into a marriage. So there's that you just have to find the right fit for you. And, and as I mentioned before, you really have to be able to trust each other, it's goes both ways. So you have to nurture both of your relationships, like if you're feeling very left in the dust by your gallery, are left out in the cold. And maybe that's not the right gallery for you, you should move on. So you know, it's it. So I do understand that there can be I know the horror stories, I've experienced some of the horror stories, I've definitely heard them. But you just have to find the right fit for you. And you know, and if you do great selling on your own, great, and you don't mind doing it, perfect, you just gotta find the right way for you to operate within within being an artist.

Laura Arango Baier:

Yeah, yeah. And again, that's what I like about hearing all the different perspectives on how people have handled their art career. Because there's some people who are like, they're fine just selling on their own, and other people who, you know, they have a gallery, or they somehow do both. Which is, you know, there's something for everyone in this career, which is really cool. But if someone does want to work with the gallery, and they have never worked with the gallery before, what would you recommend,

Lisa Lebofsky:

in terms of finding a good fit, or just

Laura Arango Baier:

finding ways of approaching one,

Lisa Lebofsky:

okay. So in the very beginning, it's hard, it's hard to find a gallery. So when you're, when you're first starting out, the most important thing is to do your your due diligence in your research and go to some of the openings become familiar with the roster of artists that gallery represents, and make sure you're a good fit. You don't want to just, you know, show up at you know, I don't want to throw names out there, but you don't want to show up at some blue chip Gallery, and just be like, alright, you should show me Yeah, they do often take what they say what what paintings and so forth, like fresh, fresh artists, you know, all the all the all this terminology that's out there, but you know, they're looking for the next big thing, and that that can happen, but you don't just show up at a gallery that has to happen, you know, through a network through your university. And that's like winning the lottery should never count on that. But as you're doing your research, just the most important thing is actually having your community of artists that you work with him, because the best way to get through anything, not just finding galleries, but everything is through your community of artists, you all like we was all the tide, like the tide rises, all boats or whatever, should know that. But, you know, if your peers are doing well, and you're doing well and you all help each other and it's all like you, it's always better to give more than you take but as long as you're all doing a bit doing a bit you know, doing a part there, you can get pretty far and like I said word of mouth is always the best way to get in with a gallery but as you're first starting out, you know look for galleries that fit your aesthetic fit the type of like if the showing other emerging artists as well. You know, and one little bit of advice you don't want to be the best artists in a gallery you also don't want to be the worst. And oftentimes galleries won't want to necessarily show somebody that they already similar to somebody they're already showing. So that's that's something to be a little you know, aware of and just kind of keep a pulse on what's going on with that gallery but maybe now's not the time but maybe later but once you start getting the foot in the door look for galleries that have open submission policies. So I used to run a gallery I think it's a good program so so it's really funny like this is a conversation I've had a lot especially with artists starting out and so I'm going off the script a bit I am so because it's you know, it's tried and true so but yeah, look for galleries that have an open submission policy, follow the instructions of how to submit artwork. You know, just get into the group shows, develop relationships be again, as with finding a collector, be personable interesting and nice like that gets you so far. So so far. Yeah. And then one thing can lead to another can lead to another can lead to another same thing with collectors. You meet somebody who's a collector, they're going to tell their friends They'll be like, oh, you should see it's Oh, it says work. I love her work. You gotta come to her show. So these these things all snowball,

Laura Arango Baier:

yes, yeah. And it's so crazy how, you know, a big part and like, like you said, it's good to have a community of artists and even online, you know, it creates like a network. And it's insane how far the network can reach. And we can help each other out. And it creates such a nice thing where, you know, one of you does something, and the other one does something, and then eventually everyone benefits. So I think that's, that's wonderful. nourishing a community I think is very important. But you know, you studied at New York Academy, right. So you from there, you got to community, is there another way to find a community of artists?

Lisa Lebofsky:

Yeah, there are? Well, and that's, you know, I specifically went to the New York Academy of Art for community. There are two reasons I went there. I had, I graduated my my BFA and metalsmithing. So I and I, but I was, but my heart but my heart was really in painting, I'd always been a painter. And I realized once I was out there that thinking like, I do want to paint I'm not I recognized that I wasn't a great metalsmith and that the culture wasn't really for me. So sort of, you know, battling going upstream against that. I was like, Well, why don't I just do what I love, which is painting, but then I felt I didn't get the full training that I that I needed or will needed. So and at the time, I was starting to show at some group shows in New York City, and I would see some of the artists work. And I would be like, Wow, that person can paint. And invariably, I would see where they studied and be like, Oh, they went to the New York Academy of Art. So that so I was I was like, alright, they can paint, they make artists who paint, but also because it was a larger program, I was I saw that I would inherently have this community with it. And also where I wasn't living in New York City. At the time, I was living in Nyack, New York. I felt you know, I needed to be in the city and doing the things there. Because that's, I mean, I'm a New Yorkers. So me, it was a little easier for me than perhaps other people who want to be in New York. But I just still felt I needed my artists family there. So So I inserted myself into that. And that works with other things, too. There's arts organizations, especially for artists who've already gotten their degrees. There's the salmagundi Club, which I'm a member of where I'm a realist artists and like, this makes sense for me to be a part of that. I stay involved with my alumni community. I'm even. I'm currently on the Alumni Association Board. But even before that, I was always very involved in in alumni activities and going to all the events and making sure any of the new graduates because it's like 17 years, he asked me 17 years this year since I graduated, I can't believe how quick I just did that in my head. But it's been 17 years since I graduated this year. Like that's a long time ago. So in the family keeps growing. But I you know, I got into this whole east village downtown art scene at one point. So the galleries to be the Director of fuse Gallery, which is in the back of lit lounge, so many, many people have been around for a while, probably know what I'm talking about. But I got involved with the whole scene there. And I just stay involved. And I in touch. And social media is great for this stuff. And so I got like my downtown scene, like preparing my downtown skate or seeing my academic artists. And then as a plein air painter, there's just, you know, I go on workshops, and I don't take workshops anymore, but that is certainly a way to find other artists is to take workshops, there's all these open drawing events. This just yeah, there's there's way to find them out there.

Laura Arango Baier:

Yeah, yeah. And I agree salmagundi Club is a very great place to start, especially because, you know, there are a lot of artists now who are self taught, or they can't go to one of these schools, or maybe they can't afford it. So, yeah, building that community that way, you know, by becoming a part of a club or becoming a part of some sort of organization. You know, I hadn't thought about that.

Lisa Lebofsky:

Yeah, like if you're, if you're a plein air painter that's out there. They're all of these open plein air events, workshops, so on that's an easy way to find other plein air painters. That's one example. And then social media is good too. Like just seeing people that are on there and reaching out. You never know who's gonna get back to you. Yeah,

Laura Arango Baier:

yeah. And there it is. Again, like how we said earlier, you know, the first step is reaching out to that person, whether they're a buyer or whether they're another artists that you want to learn from, or someone you want to build a community with. A lot of it is communication theory to Yeah, yeah. So do you have any final tips for marketing? Or any tips that have really helped you sell your work?

Lisa Lebofsky:

Well, yes, social media is great. Finally, and especially thanks to BoldBrush Alive really learned how to how to use it as a as a marketing tool, but not spend so much time fussing over it and have fun with it, because it well and utilize it to be able to better tell my story because, you know, again, people like the vignette, they like to feel like they're a part of something. So, you know, the, especially the way that a lot of these, these platforms are pushed right now it's, you know, they really want to see like, okay, there's your hand making, or whatever, like, they really want that inside look. And I think I'm a little fortuitous. Because when I was younger, I think Secretly, I wanted to learning all these secrets about me secretly, I'm shy, and secretly, I wanted to make music videos. So so the real thing is like, and Tik Tok all this. So that's like, so I'm, like, oh, I can do the thing. I always kind of wanted to, like, I love music. And I'm, you know, I like, I think I like to try to be funny. So I just, I have fun, like, I have my cat there. And I'm like, being a little goofy. And I'm showing my painting technique, and I got a good song on. So it's this really enjoyable thing that I devote just a little bit of time to, I won't let it take up too much of my day, because again, I'd rather be painting. But, but that gives an insight. And, you know, I've definitely had, especially this last year, a lot of people reach out to me, I can't say necessarily that this has led to anything concrete, but it usually does like it always has. When I first when I went nomadic, I really utilize social media a lot to show the journey I was on, I got a lot of collectors through that process. So I feel like this, this, this is doing a bit of the same and where people see my work at a show. They then look me up and they're like, Oh, you have this whole thing going on. And it just, you know it, it makes it more intimate and something that they're a little bit more invested in.

Laura Arango Baier:

Yeah, it's like a story within a story within a story. Yeah. And your accounts group has grown a lot. I think in the past nine months, at least, like since the last time I spoke to you. It seems like your account is getting a lot more activity. Yeah. Which is great. Yeah,

Lisa Lebofsky:

yeah, that could be the cat. I think I got him since we met was a kid. No, I think I've gotten a little better at moderating or managing my content, you know, short, short, little videos. You know, it doesn't have to be a big long thing. Just a short little video, good snippet of music, maybe a little bit of dialogue.

Laura Arango Baier:

Yeah, yeah. And that's the story. You know, that's, that's you. And I think that's also the success of your page, you know, you have this very authentic way of expressing yourself and showing your work. And I think people respond to that really well.

Lisa Lebofsky:

Thanks. So well, and I think that that goes back to what I was saying in the beginning with how do you find collectors and it's have that smile on your face? Like be it and don't have it be a one sided conversation, like ask them about their day or where they've been and have the conversation because again, people whether it's getting people to care about climate change, or you as a person, people care about that which they are aware

Laura Arango Baier:

to beautiful. Wow, okay, so where can people see your work?

Lisa Lebofsky:

So, opening next week, my work will be up at 527 Madison in New York City up through April 14. Usually in the summer times, well not usually definitely the case for 10 years now. My paintings are in view at Artemis gallery in northeast Harbor, Maine, it's out on Mount desert island. So if you're visiting Acadia National Park, make sure to give a stop over there and they will have my work available for view from about June to October. And other galleries that have my work are Carole quarry fine art in Kent, Connecticut. Franklin bowls Gallery in New York City Gallery Henyk in New York City and Missoni are in Maryland. And I hope I'm not forgetting anybody but they have a consistent inventory. Windham Fine Art I'll be doing some work with them this year, especially with the alumni from the New York Academy of Art because of our retreat up in that area. And that's it. I don't actually have shows lined up this this year, which is a nice feeling. But I will say for all of you who are like that, because this happens to me every year it only took me till about last year to not freak out every single year. The year starts it's a brand new year. It's January and I freak out because I have no shows lined up. What am I doing? What's gonna happen? Because most of my income is art sale. So I was just like, but that's always been the case. Usually once the year gets rolling, then I start the calendar starts filling up for me. That's the way it works for me. So you caught me at a low, and I couldn't be happier.

Laura Arango Baier:

Yeah, yeah, lol, where you get to rest, recharge, sleep.

Lisa Lebofsky:

I hope in the meantime, you can see me at work in the studio on my Instagram. That's Lisa underscore Lebowski. And I've still I still post on Facebook. So my artists pages. We still have offski artist. I do have a tick tock. It's very rare. I just had a meeting with friends up here in Newfoundland and like he got into Tic Tac Toe every now and then I'll have like a burst of TiC tock so that might be coming soon. That's also Lisa underscore Lebowski. And that's about it, I think on social media. And then my website, and I think the

Laura Arango Baier:

rest of your links, they're all on your Instagram, you have a link tree, which is really convenient. And it has everything there, which I will include in the show notes as well.

Lisa Lebofsky:

And it goes to the different galleries and what works they have so you know exactly where to find my stuff. Yes.

Laura Arango Baier:

Thank you so much, Lisa.

Lisa Lebofsky:

Thank you. Thank you for having me. Of

Laura Arango Baier:

course. Always and maybe who knows. I'll have you on the pod next year and then you can tell me about the crazy adventures.

Lisa Lebofsky:

Hopefully it's all it's all just it's all fog right now. We don't know what's exactly going to surface so keep keep the standby and let's see.

Laura Arango Baier:

Yeah, stay tuned, guys.