These creations came about thanks to what Michael Farrell calls “collaborative circles.”

her work, Stephanie’s audience responded with the same openness and vulnerability she shared. First they gave their attention; then they gave their money.

“Creativity is more likely in places where new ideas require less effort to be perceived.”

The marks of a good apprentice are patience, perseverance, and humility.

The best artists, or the smart ones at least, tend to involve other people “because,” as Diana Glyer told me, “the life of an artist, any kind of creator, is fraught with discouragement. You need people to correct your path.”

The first step in letting go of the Starving Artist mentality is to let go of who we think we are or must be, even if we have no idea what new identity awaits us. What’s out there, however scary it may be, is almost certainly better than staying where we are now.

What got her there was not some lofty dream. It was gradual and persistent action in the right direction. She learned how to be an apprentice.

Stubbornness gets in the way when it’s about you—your fame, your reputation, your success—but it becomes a tool when used to further your work.

A network is more than a team of cheerleaders; it’s a diverse group of individuals who offer a set of skills and resources that help each member succeed. After all, not every art student becomes an artist. Some become curators, community organizers, and patrons; others become collectors, dealers, and auction house owners. And nearly all become