More Notes on Becoming a Millionaire Artist: Psychology

millionaire-artist-psychology

  • Donor levels vs. Connector (Facilitator? Game-Changer?) levels: silver, gold, platinum, elite
  • Get donor boxes in galleries: Doppler, Disjecta, etc.
  • How to make this project cool? And not just desperate – desperate is not attractive romantically or financially!
  • Enlist help of the enthused
  • Interview people who don’t get it
  • MAAAM web site with links to charities
  • Diagram of current financial setup next to diagram of financial setup as millionaire—full disclosure
  • Document past attempts to do this by others: harrell, Chris Burden
  • Full pro. resume posted on site
  • Make the logistics of the project engaging to people
  • Include the public in the process (think Drawing Restraint), make the process the subject of the piece, but not in a way that makes them spectators.
  • Spectator vs. Participant: how do ppl participate beyond giving?
  • Make it cool to participate and uncool to be a spectator
  • Pitch myself as the underdog team and get people to root for me
  • Combat the notion of me as an entitled white guy—being geeky vs. too cool for school
  • What’s the editorial stance? Regular Joe or weirdo? Innocence vs. experience? Cocky vs. humble? Challenging vs. beseeching
  • Not enough time to argue my case with everybody: post “interview” answering FAQs and doubts. Don’t even argue the case, cast doubters as people trying to nickel-and-dime me. The FAQs should turn the logic of objectors around: “I’m not asking for a handout, I’m actually executing an idea that takes a lot of work and will allow me to be independent. Instead of crawling on my knees for gallery shows and grants and public money, I’m rewriting the rules, beating the System”
  • It’s not either/or, not donation to MAAAM vs. a donation to the Red Cross. Small $ amounts avoids dichotomy
  • Pic and caption of people who have contributed ideas: Frank.
  • MAAAM Employee of the Week. “tenner of the week”.
  • Incentives that don’t involve an exchange — psychology
  • Find as many ways as possible to show gratitude, but don’t overdo it
  • Skeptics may see the project from the p.o.v. of the million, not the $1: focus people on the $1.
  • Restrict donations to $1, but encourage people to donate for someone else, a friend, family, colleague, fellow artist—if 1 person donates for 10, I only need to reach 100,000 people. The “Power of Ten”.
  • The language of self help
  • Find out who gave multiple $1s and get them to vouch for others / bring the total names up to equal the $1s
  • Make gift card for holidays, weddings, etc. “$1 has been given in your name to MAAAM”
  • Gold star next to “power of ten” people
  • Phone tree as donation structure – grassroots, fundraising – Why would ppl do this?
  • Research effective reward systems
  • Encourage others to start their own project—a little tricky, might create competition
  • Strategic gifts of promo swag to key helpers
  • I’m not a dynamic personality verbally or natural public speaker: how to deal with this?
  • Apply for residencies
  • Repetition is key
  • Take risks
  • Rethink assumptions
  • Rethink donor levels – display everything, even ineffective ideas, as residue
  • Will disclosure about doubts and ineffective ideas undermine momentum and positivity?

Notes on Becoming a Millionaire Artist: Branding

portraits-of-power

The artist shown at lower right

  • Portraits of power: grid of photos of me, Trump, Fuld, Gecko, etc.: ambiguous relationship between what I’m doing and what bankers, etc. are doing
  • Infomercial—collaborate with Jason? Exposure through collaborating.
  • Query public access TV about airing infomercial – late night OK – think about gold box
  • ABC: Always Be Collecting
  • 3-4 minute mp3 to sell on iTunes
  • iPhone app?
  • Find better way than mail or Paypal for donations
  • How to avoid being taxed?
  • Not letting the Man take a cut
  • “Do unto others…” poster – religious / evangelist angle?
  • Create ad campaign-style posters
  • Political-style posters with donation as vote
  • Make banner for posting on blogs and sites
  • Downloadable pics and graphics on site
  • FB page / Twitter
  • Tie blog to FB
  • Frequent blog posts – every day or every other day
  • Be up front about quitting day job?
  • Examples of how little artists and musicians make—breakdown of record sales
  • I’m transitioning into less object-based art and more participatory, ephemeral work
  • Don’t play the victim. Play the entrepreneur.
  • Parking meter with “What exactly am I paying for?” label – mass produce stickers?
  • Picture of ATM fee screen
  • Experiment with fonts and wording of materials: fonts used by banks, corporate, sports
  • Rubber stamp with MAAAM for dollar bills?
  • Infiltrate all media: fashion, art, music, TV, books, magazines and newspapers
  • Document myself doing Personal Power. Embrace the goofy and geeky? Semi-ironically portray MAAAM as a self-help program. Slogans, cheerleading, and always stay positive.
  • YouTube and Vimeo messages
  • Cards to museums: Stedelijk, PS1, ICA, Mattress Factory, Aldrich, Walker, Boston ICA
  • Why didn’t the press catch on? Send cards again to the same people?
  • Logo for project
  • Branding: irony?

#382: John Glen Sperling – Info

According to my Finder, I haven’t worked on the “400 to 1” project since March 2012. What mostly explains the hiatus is that the more I researched the members of the Forbes 400 list, the more discouraged I got. Encountering number 382 on the list, the project seemed to hit a distinct wall. [Just to refresh your memory “400 to 1”–a sub-project of “Make An Artist A Millionaire,” in which I seek a donation of one dollar each from a million individuals—involves soliciting a donation of a substantial amount, ideally $1M, from wealthy individuals on the Forbes list.]

My research on John Glen Sperling was particularly thorough, considering this project would take a solid 14 months given a letter a day: he wrote the autobiography “Rebel with a Cause,” which I found and read. In it I discovered a pull-yourself-up-by-your-bootstraps kind of guy, very different from the privileged inheritors, the political conservatives, and the natural resource or fried chicken tycoons that are all over the Forbes 400. He might be one who’d sympathize with an underdog artist, but he might also expect underdogs to fight their way to the top without “handouts.”

[The following is edited and expanded from the Wikipedia entry on Sperling and my research.] John Sperling was born into a poor sharecropper family in the Missouri Ozarks in 1921. His father worked for the railroad and his mother was a fundamentalist Christian. He escaped an oppressive home life and spent several years as a sailor in the merchant marine, and even as a wandering 1950s “beatnik.” He received his BA at Reed College, Oregon, a master’s from the University of California, Berkeley under the G.I. Bill, and then a PhD in Economic History at the University of Cambridge.

He is best known for founding the University of Phoenix in his fifties with no investors and no track record in business, while facing what he describes as “mean-spirited” opposition from accreditation agencies, competitors, and the press. His motivation was a feeling that “working adult students were often invisible on traditional campuses and treated as second-class citizens.”

In 1973, Sperling founded the Apollo Group to own and operate several higher-learning institutions: the University of Phoenix, Western International University, Axia College, the College for Financial Planning, and the Institute for Professional Development. Apollo describes the for-profit University of Phoenix as “the nation’s largest regionally accredited private university.” With a student body in North America second only to the State University of New York, it has a current enrollment of half a million undergraduate and grad students.

The UoP was created–by a man who had brought himself up from literally nothing–to serve a working population who, like himself, wanted to join the professional class. The school also offers associate or bachelor’s degree applicants advanced placement through its “prior learning assessment”: not limited to academic coursework, college credit can come from experiential learning essays, corporate training, and certificates or licenses. This gives you an idea of the value Sperling puts on using your experience to shape your own life.

Before becoming an entrepreneur at age 53, Sperling was a tenured professor at San Jose State University. He was an activist for several liberal causes during the 1960s, such as building a powerful new California faculty union, and was part of several conflicts with authorities and university leaders regarding his experimental adult education schemes. This activism grew out of a personal experience in his difficulty developing his own professional career.

Similarly, he used marijuana to combat pain caused by the cancer he fought during the 1960s, which led to his being an opponent of drug prohibition and actively financing initiatives to decriminalize medical marijuana in the US. It’s clear the source of his activities has always been overcoming the challenges presented to him as an individual. He might be characterized as a “rugged individualist” gone beyond-the-beyond who identifies obstacles to his path and not only hurdles them but attacks them on a broader—sometimes even global—scale.

Not surprisingly, then, as Sperling aged and began to confront death, he directed significant attention and financial resources toward research into life extension technology or “biological immortality.” Wired magazine reported in the February 2004 article “John Sperling Wants You to Live Forever” that his fortune was approaching US$3 billion, and he planned to donate it to human biology research if and when he died. Had he done so, it would have been the biggest private program ever devoted to human biology. (He has since indicated that his fortune will instead go mainly to environmental causes.)

Sperling provided financing to Genetic Savings & Clone (GS&C), of Sausalito, California, with whom he spent seven years and $10 million trying to clone a dog named Missy in a project called Missyplicity. Clones of Missy were produced in December 2007. A subproject of Missyplicity was called Operation CopyCat, which successfully created the first cat clone, named CC.

In August 2004, he co-authored and self published “The Great Divide: Retro vs. Metro America,” a sociological treatise attempting to explain the Red America/Blue America cultural and political divisions of the United States. Despite a $2 million advertising campaign, the book was not widely embraced by its intended progressive audience. Thomas Frank, author of “What’s The Matter With Kansas?,” ridiculed Sperling’s view of American society: “One America, to judge from the book’s illustrations, works with lovable robots and lives in ‘vibrant’ cities with ballet troupes, super-creative Frank Gehry buildings and quiet, tasteful religious ritual; the other relies on contemptible extraction industries (oil, gas and coal) and inhabits a world of white supremacy and monster truck shows and religious ceremonies in which beefy men in cheap clothes scream incomprehensibly at one another.”[21]

Reviewing Sperling’s auto-biography Alex Lightman wrote, “Las Vegas bookies probably would have given Sperling 100-to-1 odds against his business, but he not only survived, he grew the Apollo Group–parent of University of Phoenix and related interests–into a public company with a market capitalization (as of May 2001) of almost $7 billion, making it roughly as successful as many vastly more publicized dot-com champions.”

I include that last blurb because it illustrates that Sperling not only thinks big, but found the power to turn the molehill of his life into a mountain. Despite his success, he remains a renegade and underdog at heart (and probably considers himself as such): throwing money and time at his pet projects has not turned out to be a recipe for guaranteed success. He’s also politically liberal but independent, resisting attempts by the establishment to regulate us, whether it’s schooling, marijuana, or the media, and resisting biology itself in its attempt to end life. He is definitely a two-sided coin, and I’ll have to emphasize several opposing qualities in myself to appeal to him: the underdog who is capable of and demonstrated success; the hard worker who is nonetheless powerless against the System; the advantaged in a disadvantaged position who has found a loophole leading to massive possibility.

123: Kirk Kerkorian – letter

March 17, 2012

Tracinda Corporation
attn: Kirk Kerkorian
Beverly Hills, CA

Dear Mr. Kerkorian:

I’ve read that you’re a private person who doesn’t relish the public eye, so I thank you for taking a moment to read an unsolicited letter. I take the liberty of writing because I see in you a skill to turn nothing into something great, and am looking for a way to have some of that skill rub off on me. Your astounding success has been a mixture of hard work, resources, and a knack for seizing opportunity, with a little bit of luck thrown in and, last not least, help from some people along the way. You’re clearly someone who has had a great impact on our country, having literally made an oasis out of a desert, but you havent done it alone.

I’m a musician and an artist, and one of my current projects is called “Make an Artist a Millionaire.” The primary method of the project is to get one million people to donate one dollar, which has proved difficult, but not unfruitful. The purpose is to collect and invest the million, enabling me to live off the interest and to achieve the ultimate goal: to buy back time to work on my artistic endeavors without the need for a day job. Time is money, but for artists especially, money is time. How would you like to help me become a millionaire?

This is not an investment opportunity in the strictest sense, but a request for a donation. Why would a businessman like yourself be interested in something that doesn’t yield a return to you? I have a good answer to this, so bear with me. I grew up lower middle class in Pennsylvania and got my first job when I was 12, in my moms bookstore. I played music and developed a visual art practice while washing dishes in high school, then while shucking oysters to help pay for college. Though the progress has been slow, I’ve had some success, and given and received more joy from music and art than from anything else in life. I still work hard all day at my day job, and then into the evening on my own projects, but the job saps most of my energy and focus, which feels squandered on other peoples business. I have more ideas and plans than ever but, frankly, the arts is one hell of a line of work to be in if you want to realize those ideas.

My research suggests that you are someone who views money as a way to create opportunities, as an instrument of change. For an artist, on the other hand, money is something that time and ideas and artistic production in general must be translated into, in order for that production to continue. A completely free mental attitude and free time are necessary to create art (at least for me). The process by which this freedom is converted into cash on the table is vast and complex and, in short, it stinks.

Money is both a necessary tool for, yet non-essential byproduct of, making art. Artists are, in some sense, trapped in a market sector that doesn’t go by the same rules as the rest of the market. It seems like one of the few areas where you can be successful and not make a living. For example:

  • Fine art: artworks are made on spec, then consigned to a gallery which will give the artist–if the work sells–50% of the proceeds.
  • Music: the sale of physical recordings is falling sharply, while their price goes up; digital files, when they are not shared freely, are sold by outlets like iTunes; royalties from digital sales, when paid at all, are anywhere from 70% to 5% of their value.
  • Writing: pieces and books are made on spec, the writer receives–in the best possible deal–50% of the profit.

None of this is your problem–you didn’t make the rules of business. But it at least explains why an artist would be driven to create a crazy scheme like this where he writes letters seeking a patron: instead of playing by these rules, I’m breaking them. I’m not interested in money for consuming things like cars and clothes and fine wine, but for producing and creating. If there’s one thing that you and I, artist and businessman, have in common, its that we look at money as a means.

At the same time, I recognize that the causes you’ve contributed to have been the worthiest possible: disaster relief, education, hospitals, and so on. And that they benefit the many and not merely the few. In a long life of exercising great power and effecting change, there’s one thing you probably never though you could do: invest in one person to give him the power to produce and to be a dynamic member of his cultural community, and not just a cog.

Thanks for your time, and I’d love to hear your thoughts, this project isn’t confined to yes or no answers.

Best,
Dan Nelson

123: Kirk Kerkorian – info

Before going through the Forbes 400 list in roughly strictly reverse order, I’ll start with the oldest of its members (for obvious reasons that will be left unsaid due to propriety), one of whom is Kirk Kerkorian. Kerkorian looks like he will be a tough nut to crack. Though very generous to charities and to UCLA, he’s very private and seems to have no particular interest in art. Thinking about ways to approach him made making a list of Why the Rich Give Money seem like a good exercise. Here are some reasons to start with:

  • Recognition
  • Belief in a cause
  • To help
  • Tax Purposes (wealthy folks please weigh in, is this valid?)
  • To be instrumental/a mode of creation

If these were the only reasons in existence, and it had to be one only, I’d pick #5 for Kerkorian. At the same time, I frankly don’t see much creativity or anything else going on in the purchase and resale of real estate, beyond making money. Given the daring and seat-of-pants nature of his early life (and this trend of an interesting early life preceding an apparently bland business life may turn out to be a trend with those on the list), it’s puzzling that he should become just a real estate developer, if only because it seems like a dull profession.

The following is my condensed edit of his Wikipedia entry, with tidbits from newspaper articles on him.

Kerkor “Kirk” Kerkorian is an American businessman who is the president/CEO of Tracinda Corporation, a private holding company based in Beverly Hills, California. Kerkorian is known as one of the important figures in shaping Las Vegas and, with architect Martin Stern, Jr. the “father of the mega-resort.”

Kirk Kerkorian was born on June 6, 1917 in Fresno, California, to Armenian immigrant parents. Dropping out of school in 8th grade, he became a fairly skilled amateur boxer under the tutelage of his older brother, fighting under the name “Rifle Right Kerkorian” to win the Pacific amateur welterweight championship.

In 1939, he met Ted O’Flaherty, for whom he installed water boilers. O’Flaherty was taking flying lessons, and Kerkorian took a guest seat one day and was converted on the views of the Californian coast. Sensing the approach of World War II and not wanting to join the infantry, he learned to fly at the Happy Bottom Riding Club in the Mojave Desert. In exchange for flying lessons from pioneer aviatrix Pancho Barnes, he agreed to milk and look after her cattle.

On gaining his commercial pilot’s license in six months, Kerkorian learned that the British Royal Air Force was ferrying Canadian-built planes over the north Atlantic to Scotland. The Mosquito’s fuel tank carried enough fuel for 1,400 miles, while the trip directly was 2,200 miles. Rather than take the safer Montreal–Labrador–Greenland–Iceland–Scotland route (although, going further north could mean the wings icing and distorting, and the plane crashing); Kerkorian preferred the direct “Iceland Wave” route which blew the planes at jet-speed to Europe — but it wasn’t constant, and could mean ditching. The fee was $1,000 per flight, but the statistics were that only one in four completed the journey. In May 1944, Kerkorian and his Wing Commander J.D. Woolridge rode the wave and broke the old crossing record. Woolridge got to Scotland in six hours, 46 minutes; Kerkorian, in seven hours, nine minutes. In two and a half years with RAF Ferry Command, Kerkorian delivered 33 planes, logged thousands of hours, traveled to four continents and flew his first four-engine plane.

After the war, having saved most of his wages, Kerkorian bought a Cessna. He worked as a general aviation pilot, and made his first visit to Las Vegas in 1944. After spending much time in Las Vegas during the 1940s, Kerkorian quit gambling and in 1947 bought Trans International Airlines, which was a small air-charter service which flew gamblers from Los Angeles to Las Vegas. He then bid on some war surplus bombers, using money on loan from the Seagrams family.  He operated the airline until 1968 when he sold it for $104 million to the Transamerica Corporation.

In 1962, Kerkorian bought 80 acres in Las Vegas, across The Strip from the Flamingo, for $960,000. This purchase led to the building of Caesars Palace, which rented the land from Kerkorian; the rent and eventual sale of the land to Caesars in 1968 made Kerkorian $9 million.

Married three times, Kerkorian met his second wife Jean Maree Harbour-Hardy at the Thunderbird Casino. Ms. Harbour-Hardy, an accomplished choreographer and dancer from England, traveled the world instructing dance troupes. By chance, they met and fell in love while she was sent to check opportunities to choreograph a performance in Las Vegas. His most enduring marriage (1954–84) produced Kerkorian’s two daughters, Tracy and Linda. The name of Kerkorian’s personal holding company – Tracinda Corporation – is a portmanteau of the two daughters’ names. Although divorced, they remain close friends and confidants. Ms. Harbour-Hardy Kerkorian is financially successful in her own right.

In 1967, he bought 82 acres of land on Paradise Road in Las Vegas for $5 million and, with architect Martin Stern, Jr., built the International Hotel, which at the time was the largest hotel in the world. The first two performers to appear at the hotel’s enormous Showroom Internationale were Barbra Streisand and Elvis Presley. Presley brought in some 4,200 customers every day for 30 days straight, breaking all attendance records in the county’s history. Kerkorian’s International Leisure also bought the Flamingo Hotel.

After he purchased the MGM movie studio in 1969, Kerkorian and Stern opened the original MGM Grand Hotel and Casino, larger than the Empire State Building and the largest hotel in the world at the time it was finished. In 1986, Kerkorian sold the MGM Grand hotels in Las Vegas and Reno for $594 million to Bally Technologies. The Las Vegas property was subsequently renamed Bally’s. Spun off from Metro-Goldwyn-Mayer, MGM Resorts International owns and operates many prime properties, including the Bellagio, the current MGM Grand resort complex, The Mirage, Mandalay Bay, and the newly completed CityCenter in Las Vegas.

Beginning in 1969, Kerkorian distanced himself from MGM’s movie studio arm. In 1979, Kerkorian issued a statement claiming that MGM was now primarily a hotel company; however, he did expand the film library and production system with the purchase of United Artists in 1981. In 1986, he sold the studios to Ted Turner, which initiated a fifteen-year period of financial turmoil for the struggling studio. In 2005, Kerkorian finally sold MGM to a consortium led by Sony. He retained a 55% stake in MGM Mirage. In May 2009, following the completion of a $1 billion dollar stock offering by MGM Mirage, Kerkorian and Tracinda lost their majority ownership of the gaming company.

His involvement with the American auto industry began in 1995, when with the assistance of retired Chrysler chairman and CEO Lee Iacocca, Kerkorian staged a takeover attempt on the Chrysler Corporation. Chrysler’s management treated the takeover as hostile, and after a lengthy battle, Kerkorian canceled his plans and sold his Chrysler stake in 1996. In 2007, with Chrysler now owned by Daimler-Benz, Kerkorian made a $4.58 billion bid for the Chrysler Group. After a bidding competition, 80% of the Chrysler arm of Daimler-Chrysler was sold to Cerberus for $7.4 billion.

Kerkorian’s short-lived third marriage (1999) was to professional tennis player Lisa Bonder, 48 years his junior, which under a prenuptial agreement lasted only one month. He subsequently was involved in a breach of privacy suit filed against him by Steve Bing. Kerkorian claimed Bing was the father of Bonder’s daughter, which was later established by DNA testing. On August 10, 2006, the LA Times reported that Kerkorian’s attorneys were being sued by Bonder because of their connection to former high-profile private investigator Anthony Pellicano, who is currently serving a fifteen-year prison sentence for running a wiretapping scheme. Bonder’s attorney alleges that Kerkorian’s lawyers hired Pellicano to wiretap telephone calls illegally between him and Kerkorian’s ex-wife in order to gain a tactical advantage in the divorce proceedings.

Kerkorian once owned 9.9 percent of General Motors. According to press accounts from June 30, 2006, Kerkorian suggested that Renault acquire a 20 percent stake in GM to rescue GM from itself. On November 22, 2006 Kerkorian sold 14 million shares of his GM stake (it is speculated that this action was due to GM’s rejection of Renault and Nissan’s bids for stakes in the company as both of these bids were strongly supported by Kerkorian). His further liquidation of stock over the next three years helped precipitate GM’s bankruptcy in June 2009.

Kerkorian began buying Ford Motor Company stock in April 2008, and spent about $1 billion to accumulate a 6% stake in the automaker. By October 2008, the investment had lost two thirds of its value, and he began selling. On October 21, Tracinda sold the 7.3 million Ford shares at an average price of $2.43, and said it planned to cut further its existing 6.1 percent stake in Ford, for a potential total loss of more than half a billion dollars. Kerkorian sold his remaining stake in Ford in December 2008.

Kerkorian has a penchant for expensive clothes (especially custom-made outfits by Italian designer Brioni), but drives relatively low cost vehicles such as a Pontiac Firebird, Jeep Grand Cherokee and a Ford Taurus.

Kerkorian splits his time between his residences in Beverly Hills, California and Las Vegas. The richest person in Los Angeles, he may also be the most private. He almost never gives interviews and seldom appears in public. Even though his charitable foundation has dispensed more than $200 million to schools, hospitals, non-profits, companies, and charities, he has never allowed anything to be named in his honor.

Kerkorian founded the Lincy Foundation in 1989 in response to the devastating earthquake in Armenia. 25,000 people died in the earthquake as two major cities and 100 villages were completely destroyed. The substantial contributions from the newly formed Lincy Foundation provided housing to thousands of displaced individuals and families and reconstruction of roads and other key infrastructure.

In 2011, The Lincy Foundation gave $200 million to UCLA to create the “Dream Fund at UCLA”. He received the Mesrob Mashdots Medal from the Republic of Armenia for his services to Armenia and its people in 2001.

400: Sanford Weill – letter

Dear Mr. Weill:

I’m writing to you because of your love for and support of the arts.  If one thing hasn’t changed for thousands of years, it is the reliance of the arts on the patronage of the generous, and your work with universities, Sonoma State, Carnegie Hall, and classical music in general is impressive, and much needed. It’s individuals like you who help people like me spend their youth in the cheap seats at the Baltimore Opera and the Met soaking up Verdi and Mozart.

I’m a musician and an artist in Portland, Oregon, and one of my current projects is called “Make an Artist a Millionaire.” Until recently, the method of the project was to get one million people to donate one dollar, which has proved difficult, but not unfruitful. The money is being saved, not spent, since the purpose is to collect and invest it, enabling me to live off the interest and to achieve the ultimate goal: to free up time to work on my artistic endeavors without the need for a day job. Time is money, but for artists especially, money is time. How many works have suffered, or never been created at all for lack of time? How would you like to help me become a millionaire?

You might ask, “Why do you, a person with a job and only the needs of an individual, deserve a donation?” I grew up lower middle class in Pennsylvania and got my first job when I was 12, in my mom’s bookstore. I played music and developed a visual art practice while washing dishes in high school, then while shucking oysters to help pay for college. Though the progress has been slow, I’ve had some success, and given and received more joy from music and art than from anything else in life. I still work hard all day at my day job, and then into the evening on my own projects, but the job saps most of my energy and focus, which feels squandered on other peoples’ business. And now, just as I have more unrealized ideas and plans than ever before, and my band has reached a pinnacle, my job requires me to leave Portland, and probably spells the end of a very, very special collaboration between four people.

It’s up for debate (and I’d love to hear your opinion about this), but the fact that finance is a great way to earn a living and the arts is often a lousy way is just a matter of chance. They both bring value to human life, both require an enormous amount of work and dedication, as well as talent honed by training. Businesses and the people that depend on them could not function without investment; and the spirit would not be human without culture. Wouldn’t you agree that life would be impoverished indeed without Beethoven? I can’t explain the inequity of compensation between the arts and business, I can only recognize it and look for ways to beat it.

Enclosed is a gift (and proof that I’m an artist!), one of a series of my “24 Illustrations of Schubert’s “Winterreise”” song cycle. This print illustrates the song “Gute Nacht.” I learned about Schubert while studying music at St. John’s College (the Great Books school), and still think his songs beat John Lennon’s any day. This is one small-scale example of the kind of commissioned work I could make for you in return for your generosity.

I get out to the east coast when I can to visit family and would love to meet you in New York if you’d be interested, we might have a lot to talk about! I hope this letter finds you in good health. Thanks for your time in reading it.

Best,
Dan Nelson

Make an Artist a Millionaire

make-an-artist-a-millionionaire-dan-nelson

The object of Make an Artist a Millionaire is to amass, through individual contributions of $1, the sum of US $1,000,000. (Ideally a million people would each give a dollar.) The money will not be spent as it is collected, but saved. Upon completion of the project, the money will be exhibited in cash form at a gallery or museum. The purpose of MaAaM is to enable me to work full time as an artist, without a day job, forever, and to put to rest the idea that artists are or should be poor. Please donate only $1, unless you are also donating $1 for a friend. A huge thank you to all donors! It cannot happen without you!

Make your donation to the account zz9zz7zz5(at)gmail(dot)com at www.paypal.com. (You might consider donating $1.35, as PP charges a 35 cent fee.)