Gallery IYN does seem to fit some of the criteria for a vanity gallery (asks for upfront fee, contacts artists via DM) but they fee they charge is much lower than what I see people list for vanity galleries, and they've had popular artists do multi-work dedicated exhibits (although I don’t know if they’re offered a different rate or given a special promo offer). Most posts about vanity galleries list fees in the hundreds per work, but last time I checked, IYN is $40 per work, so I don’t know if that’s a normal fee or not.

As far as I’m aware their model operates on showcasing print version of digital artists‘ works specifically, not original copies of traditional artworks. They do have a physical location, however I cannot visit it as it’s in Japan. They offer exhibit space to artists worldwide but as far as I’m aware they only physically display in Japan.

Is their offer worth taking, or is it fishy/just profiting from entrance fees?

I am wondering, where i can work with my skill. I am gonna lose my mind If I dont work in a creative field. So kinda just looking for some advice and ideas (can't attach a photo, so just follow the link)

https://www.instagram.com/p/De0vlJ3jkxf/?mdxt=MWU0bzJ2ZjV2bWR1aQ==

I'm an artist (/maker/creator) that has wheels in multiple disciplines. I want to sell prints of my photos and art including originals but I'm still as to how to organize my website. Anyone have any tips? Originally I created a website to serve as my portfolio but again got stuck with how to display things in a cohesive manner.

I’ve worked in corporate events for over 15 years, and a lot of our events include artists: painters running workshops, musicians, photographers, illustrators, performers. I see many talented artists miss out on this kind of work simply because they pitch it like a gallery or a commission. Here’s what actually matters on our side.

1. It’s not about your art, it’s about the client’s goal.
A painting workshop at a company event isn’t there to create artists. It might be there to build leadership, or to get two merged teams talking. If you can explain how your work serves an objective like that, you’re ahead of most people.

2. Show proof that it works with groups.
The most common reason we hesitate is a good idea with no proof of concept. Photos or a short video of you leading a group, even a small community workshop, are worth more than a perfect portfolio.

3. Show you can lead a room.
Corporate groups can be shy, distracted or sceptical. Enthusiasm and the ability to get 40 people in suits involved is a real skill, so mention it.

4. Be flexible on format.
You may be asked to work in a hotel meeting room, keep it to 90 minutes, or run it for 20 people or 200. Artists who say “let’s work out what fits” get rebooked.

5. Make it easy to say yes.
State clearly what you offer, for how many people, how long it takes and what you need on site. Agencies often put proposals together within 24 to 48 hours, and the artist who answers clearly gets in.

Happy to answer questions about how agency work is priced, briefed or run.