art
5 Medtech Stocks to Seize Major Growth
By admin | |
The merging of healthcare and technology is changing how we care for our bodies. It's also creating investment opportunities, such as these five medical technology stocks.
The Best Cities for Fall Allergies in 2021
By admin | |

Looking for a break from your runny nose and itchy eyes? Head west!

The post The Best Cities for Fall Allergies in 2021 appeared first on The Rent.com Blog : A Renter’s Guide for Tips & Advice.

A Bumper Crop of Fantastic Retirement Funds
By admin | |
Retirees and those nearing the end of their careers must consider growth, income and safety for their investments. Here are 10 mutual funds and ETFs that keep those requirements in mind.
How to Create, Buy, and Sell NFTs: Easy Guide
By admin | |
How to Create, Buy, and Sell NFTs: Easy Guide

While NFTs have been around since the launch of Bitcoin in 2009, the market has only recently taken off. Non-fungible tokens (NFT) have become one of the biggest crypto crazes of 2020 and 2021. NFT sales totaled $95 million in 2020, and in just the first half of 2021 sales reached nearly $2.5 billion. Digital […]

The post How to Create, Buy, and Sell NFTs: Easy Guide appeared first on SoFi.

7 Great Small-Business Ideas for Kids to Start Making Money
By admin | |
A small business is the best way to teach your kid about money. Here are several great small-business ideas that are fit for kids.
The 20 Best Neighborhoods in Salt Lake City in 2021
By admin | |

These neighborhoods make this bustling city a great place to live!

The post The 20 Best Neighborhoods in Salt Lake City in 2021 appeared first on Apartment Living Tips - Apartment Tips from ApartmentGuide.com.

Private School vs. Public School – Cost & Comparison
By admin | |
Wondering how to get your kids the best education? See this breakdown of public vs. private schools to determine what's best for you.
Money Talk: Andrew Simonet on Becoming an Artist
By admin | |

Money Girl Laura Adams: When did you decide that you wanted to become an author (or other career)?

Andrew Simonet: I decided to be a choreographer in September 1988, after my first week of dance class at age nineteen. That’s quite old to start dancing, but male dancers get a lot of leeway. It was sudden and complete. Dance was something I had been searching for without knowing it. Dance was my portal.

Writing showed up in my life at age 35. Specifically, a story showed up, an odd bunch of friends who have to protect themselves and their town from a benignly evil corporation. I dictated dialogue into a tape recorder while driving to my dance teaching job. I wrote scenes in spare moments when I traveled. I lost most of it in a computer crash and assumed I would stop, but the characters wouldn’t leave me alone.

I didn’t decide to become an Author; I decided to write. I wanted to dive into sentences and characters and story. For my own mental health, I am very careful about the difference between wanting to write (generative, expansive) and wanting to have written (paralyzing, stressful). The artist life quickly becomes brutal for those who want to have created.

I worked on that first novel for seven years—it has never been published—while running my dance company. The solitude of writing was a reprieve from the social intensity of dance making and collaboration.

I was interested in writing when I was young, but, seen from the present moment, I was not ready. I wrote clever, bloodless things. I had dreadfully linear things to say, restrained and over-rational. I needed twenty years of making dances to bring my body and senses and all the terrible magic of the present moment into my language.

MG: Do you write full-time? 

AS: N.B.: Over the past fifteen years, I’ve worked with thousands of artists on these questions: intentions, time and money, making the art and impact that matters to you. That project, Artists U, has an open-source book with principles and tools I gathered from artists. It is how I earn half my income, the other half coming from writing.

I don’t care for the term “full-time writer/artist.” In my experience, most artists spend a similar amount of time actually making their work: between 1/5 and 1/3 of their working hours. Some spend the other hours earning money at an unrelated job; some spend the other hours promoting their art, dealing with agents, clients, galleries, and grants.

When I waited tables to pay the bills as a young choreographer, I was a full-time choreographer: Everything I did with my days was to support my artistic practice. Later, when I made a living from my dance company, I was called a “full-time” choreographer, but I did not have more time in the studio. Rather, my non-rehearsal hours were spent raising money and planning board meetings instead of serving brunch.

MG: Did you study writing (or something else) or has it always come naturally to you?

AS: Very little that I care to do comes naturally to me. Making dances is still the hardest work I’ve ever taken on. I didn’t choose it because it came easily, but because it felt impossible, unimaginable and thus unimaginably exciting.

I studied choreography at university and at an experimental dance school in the Netherlands where we threw our bodies around, and, in one piece, performers threw raw meat at the audience. All of that training in composition is compost in my writing life, and the most delightful kind, since it can’t offer opinions on what to write but rather how a thing is made.

I have not studied writing formally. Growing up, I had great teachers who introduced me to fascinating writers, and I had friends obsessed writing and art and transformation. These days, I listen closely when people talk. I read a lot. I follow other art forms, especially dance and performance. I talk to artists about practice and craft. And I talk with my artist wife constantly about art, about tiny moments of life and pathos, about precisely observed experiences.

MG: When you first started writing (or something else), were there any financial challenges? If so, how did you manage them?

AS: Everyone has financial challenges. Work that capitalism undervalues—art, social work, farming, spiritual practice, activism, community building—has an added challenge: I can’t simply apply for “job of choreographer” and start cashing checks.

Time and money are my—I might say the—structural challenges as an artist. There are other challenges to making art, some of them beautiful and spiritual, but the things I see stop artists, myself included, are time and money. The positive way of saying that is: If I have a reasonable budget that pays for my life and a reasonable schedule with time for art making, I can make my art. Forever. I focus on those two numbers: the dollars I need to earn and the hours I need to spend making art each month. There are many, many ways I have gotten to those numbers in the last thirty years, but always by treating it as a math puzzle, not as a question of my value or success.

MG: What advice would you give someone who's creative or wants to change their lifestyle about balancing passion for their art and earning an income?

AS: Definitely make art. It is a powerful addition to life, a form of devotion that feeds the artist and feeds the world.

Set up your life so you can keep creating. Think in decades, not years. Art is a long, gorgeous arc.

Making art and earning money can overlap differently at different times. I have earned 0% of my income from art and 100% from art. Both were great revenue models; both helped me make work that was important to me and to my community.

Being nonjudgmental helps, too. Earning money from my art does not make me a real artist. My commitment to my practice is what makes me a real artist. Period. A dollar earned waiting tables is worth exactly the same as a dollar earned making art.

MG: What productivity tips have helped you achieve success?

AS: Knowing myself. Tips from other artists help me when I am grounded in my practice, my life, and my community. Otherwise, I’m chasing someone else’s work and intentions, and I end up thinking something must be wrong with me because their productivity tips don’t help.

That said, I do collect tools and tactics artists use to make their work and lives. Some are directly useful (the Pomodoro method), some are useful by contrast (I could never work on five projects at a time, but I know artists who thrive that way), and all provoke my thinking.

I often steal not the idea but the thinking behind the idea. An artist told me, “I wake up at 5:00 am and go to the studio before eating breakfast.” That’s not my rhythm. But it made me think about my entry into the day, the connection between waking and creating which, it turns out, has been crucial for my writing.

MG: What do you like to spend money on that some people might consider a splurge or luxury?

AS: Time. I always look for ways to spend more time making art, thinking about art, connecting with community, doing nothing, swimming, traveling. Some of that might look to an outsider like wasted time. My life and my art are not focused around maximizing productivity. There are so many crap myths that artists must sacrifice everything for their art or their success. I find that toxic and extractive, directly opposed to the values I strive to put in my dances and my writing. I see a lot of art and think: That was made by a stressed out artist.

MG: What’s the best thing you’ve bought in the last few months?

AS: I bought a guitar from a guy in Vermont. We stood in his cold barn, I played one chord and knew it was right. To pay for it, I sold a difficult-to-play guitar given me by a former stepfather, a complicated figure in my life. I’d spent years struggling to play and to fix this awkward instrument. It was exactly like my relationship with my ex-stepfather. If you wrote this guitar into a novel, it would be a painfully obvious symbol.

MG: What’s the biggest money mistake you’ve ever made?

AS: Not buying a house in Philadelphia when I was in my twenties, preferably a multi-unit house. I could have lived in one apartment and rented out the others. Best way for artists to build assets.

MG: Tell me a financial rule that you never break.

AS: Only buy used cars, only from individuals, and always get it looked at by a trusted mechanic. No new cars, no dealers, no loans.

I am shocked to see artists struggling to pay their rent while making monthly payments on a car that loses value every day.

Is Stock Diversification Actually Important for Your Investment Portfolio?
By admin | |
To diversify or not is the real question when it comes to investing. The answer lies in the individual. Learn more to answer this question.
10 Best Fundrise Alternatives & Competitors for Real Estate Investing
By admin | |
Investors have more options than ever before to invest in real estate indirectly through real estate crowdfunding. Learn about them here.
1 2 3 25