• Joan’s Website
• Joan on YouTube, Facebook, Facebook Fan Page, Instagram, and LinkedIn

Cindy:
Hello and welcome to the Art Class Curator Podcast. I am Cindy Ingram, your host, and the founder of Art Class Curator and the Curated Connections Library. We’re here to talk about teaching art with purpose and inspiration from the daily delights of creativity to the messy mishaps that come with being a teacher. Whether you’re driving home from school or cleaning up your classroom for the 15th time today, take a second, take a deep breath, relax those shoulders and let’s get started.

Cindy:
I am so excited to welcome my friend Joan Marie to the podcast. Joan is a former art teacher and an artist who creates personal power portraits for her clients now. I love her story of the energy of looking at art and how that changed her life. So I’m so excited to share this story with you.

Cindy:
Welcome Joan. I am so excited to welcome Joan Marie to the Art Class Curator Podcast. Welcome Joan. So I have to be in full disclosure to our listeners. We made it halfway through our interview and I realized I hadn’t clicked record. So we’re starting over. So hopefully, we will remember all the beautiful, golden things that Joan said already. But to introduce Joan to you, she is a fantastic artist and a former art teacher. We were in a business mastermind together last year and she has a really wonderful story about how an artwork impacted her career and her journey. So Joan, why don’t you give us a quick overview of the type of art that you make and then you can go right into your art story.

Joan:
Okay. First of all, Cindy. Oh, if only I’d had you when I was an art teacher. Oh my gosh! I bless you for the work you do.

Cindy:
Thank you.

Joan:
Okay. So what I’m doing right now is called Personal Power Portraits. I do portraits that express what inspires you. If it’s through your power animal or spirit animal or totem or through symbols or your face. And so it’s things that inspire you to help you remember who you really are, your power, your beauty what you love because I’ve muted these reminders my whole life. So the beginning of my career began when I was 19. My first year of college, I didn’t have a clue what I was going to do. So the year after I, freshman year, I went to a college course in Italy, art history and I got to see Michelangelo’s Sistine ceiling. Oh my gosh.

Joan:
For me it was like an outer body experience. I just swooned. I took in that energy. I couldn’t stand straight. I was kind of busy with the power and I just stared and stared and protect we took the walk slowly, slowly. And I just, I could hardly walk. I mean I was so moved and then a week later, I got to see the Uffizi Gallery and I saw Leonardo da Vinci. It’s adoration. I think Madge, I’d sat in front of it for almost two hours. Luckily I was there by myself and I just sat there. I knew something about these artists, but not that much. It was the energy. I just stared and stared and I just took it in and I said, “If art is this powerful, I just have to be a part of it and I have to add art to the world that would add positive energy to the world.”

Joan:
So that was my goal. There I have my purpose now I know what it could do. So I went to college, changed colleges, started as a freshman again. Now I’m my sophomore year and I had this powerful art professor in this powerful university and he said, “Joan, you don’t have what it takes. You shouldn’t be an artist. You need to be a home economics major.”

Cindy:
What?

Joan:
That’s what said. He really said that. He said that. He said “You’re not creative. He said, “There are 50,000 starving artists in New York City alone and you don’t want to be one of them.” And I still have tears in my eyes. I came back after I went to him, I said, “Is creativity something that you can learn or you just have to be born with it?” And he said, “You have to be born with it.”

Joan:
Oh my gosh. Well they say that when people insult you that you only take it in if you kind of believe it. And I did already believe that. I was already insecure from my childhood, whatever. And so I took it in. So here I have these two powerful things going on. I’ve got this Michelangelo and da Vinci. You’re an artist. You need to do this. Speaking is powerful. I mean, I was hyper and I wasn’t hyper before my Michaelangelo, I became hyper and anybody-

Cindy:
Really?

Joan:
Yes. Anybody who knew me before. I mean I was happy. Kind of a, sort of a lucky person, but after I knew what my goal was. I said, “Oh my gosh, my art is like average.” I was a little above average in high school, but it wasn’t like one of the top, you’re going to be in arts. You’re so good.

Cindy:
Yeah.

Joan:
I didn’t think I was good enough, though wanting to be good. I said, “Okay, now that I’m driven, I am going to, I was so driven to work, work, work, work, work. It’s my skills.” So to hear this teachers insulting my skill or my creativity and my skills and because he wouldn’t hardly look at what I’m doing in my live drawing class. But then I worked so hard because I said, “You have no idea.” I said this to myself. I said to that professor, “You have no idea how bodily I want to be an artist. I mean Michelangelo tells me he knows that’s what I’m supposed to be doing. I believe him. You know? And there were two professors who insulted me, I won’t go into the other story.

Joan:
Anyway, so I had this, so I wanted to be an art teacher immediately from college and I decided to teach creatively, so that I could develop my creativity. So I watched the students be creative and I developed creativity. So after 10 years of teaching at that time, students said, “Well, you taught us to be creative. Now it’s time for you to go out and be creative.” I was like “That’s so cool! Thank you!”

Joan:
So I’m kind of involved in Art Licensing and I did a line of art, for Licensing, and it really took off. And like, “Oh my gosh. I’ve made as an artist. I’ve made as an artist.” And I started selling like the cups and mugs and t-shirts. Suddenly I was doing kitty cats in unicorns and suddenly kitty cats and unicorns stop selling and, oh wait, I forgot a big… Anyway, so I went back to teaching and life… Well, so let me… So the kitty cats and unicorns stop selling and I said, “So, well what do I have to do, to make to sell? Like what, what are the…?” And they said, “Well what’s popular is petunias.” And I said, “Petunias? Are you kidding me?” Okay, I could draw a petunia but my heart’s really not in it. It’s really not going to take off. Wait a minute, did I quit teachings to draw kitty cats and unicorns anyway?

Joan:
So I went back to teaching, to where I was free to do what I want to do, but I missed a part. So before that I went back to teaching, the powerful shift that I missed was going to Sedona.

Cindy:
Oh right, yes.

Joan:
By Art Licensing. I moved to Sedona and that’s a whole ‘nother story. Graduate school was so tense for me. I was going to, I got into graduate school at that point because of my ability to draw the human figure, which is what the past professor had insulted me. I worked so hard, I got so good at it, but my art wasn’t speaking. It’s like no matter how much I drew the human figure and the hands, I studied at Michelangelo. If I can draw a figure I can do anything. Right? Like Michelangelo. So drew the figure and I got so good to draw the figure well, but I said it’s not speaking to me like Michelangelo speaks to me. It’s missing something. So, and the tension that was happening on the campus. Should I tell that story? The tension on campus.

Cindy:
No, I like that story too. It adds to it.

Joan:
Well, I’m in graduate school. The tension. They were about to kick me out of school, graduate school. I was on probation because I had given birth to my baby, my daughter and I was drawing her all the time cause that was my passion, my world. And I’m a nursing her and she’s my whole world. And they said, “Stop drawing your baby. What you were doing before her was good, but now it’s like…” And they said, “If you have to draw a baby, draw her with no face or draw her like a rock.” And with no emotion. And I was like, “What?” But that’s what was going on in New York City, in the galleries like really intense dark time in big paintings with no emotion, dark and showing a lot of tension in the world.

Joan:
And it’s like “Can you try to create New York artists?” And I was just way too packed with lovey dovey with, I guess, with my beautiful baby drawings. And they were not traditional baby drawings. They were amazing. I mean, I can say that now, but they gave me a hard time so I won’t… Oh my bad. I got to tell you. So I got through probation. All the teachers come through and decide you can hang all your work. So I did this series of a bunch of art with no emotion copying Ang and Michelangelo and copying photos. Picture people with no emotion, collage of mess through these huge panels of this, figuring I bet they’ll love this stuff. And then the whole wall of Madonna and mother children reproductions of all the famous artists of art histories. Xerox copies of all these famous of mother and daughter or mother and child and they walked through and they go, “We love your new art.”

Joan:
And I was like…. And then they look at my wall of Xeroxes and they’re like, “Okay. We see what you’re saying. Right.”

Cindy:
I love that you did that.

Joan:
I know.

Cindy:
That’s so subversive. That’s good.

Joan:
But then they’re in the meeting deciding if I’m going to be taken off probation or not. And I hear, they tell me this story, not them, but some people that were there. Screamed. Two professors. The Dean of the school and another professor screamed to keep me in. The other two, screamed to kick me out. There were four professors, two and two. Fighting.

Cindy:
Wow.

Joan:
I mean, it was a screaming match. I thought, Oh my gosh, like so much intensity. Like she’s really talented, keep her in. She’s really, but whatever they insulted and I was like, I can’t stand this tension. And my daughter’s like this little precious two year old. So I left, I moved to Sedona and, but that’s another story how I just ended up. I didn’t know Sedona was a spiritual vortex. I didn’t know it was a vortex of vanity. I didn’t know that. I just was drawn and ended up there. It was like magic with magical stories. I told that story.

Joan:
And that’s where my art started speaking. Because the spiritual energy I was getting, it just, well it just shifted. I did a lot of classes, spiritual classes to open up and to free up and to relax, because the tension on campus and the tension I was putting on myself because I didn’t think I was good enough. All those years of teaching, all those ways of working, I wasn’t good enough. I wasn’t good enough. So that tension but… So in Sedona, I finally just relaxed because I was told you have to. In order to progress in life, you have to love who you are right now or you won’t progress. I was like “Love who I am now?” I was like, “I am an average artist in my opinion.” Even though I was better than average, but I still was so down on myself. So in Sedona I’m finally relaxed enough that the spiritual energy could come through and all that stuff is speaking.

Cindy:
I love that. You know it’s funny because I think I don’t, I have mixed feelings. Okay. I think what your professors did was obviously like pretty shitty and wrong but hopefully no kids. Sorry. But I think about myself now looking at when you’ve… Just yesterday someone emailed, because cause they see the word curator in Art Class Curators so they think I know all about being a curator but they asked, “Well, my daughter wants to be a curator, what does she do?” And I’m like “Well, she’s going into a really highly competitive field that doesn’t make a lot of money but she has to get a graduate degree for this and that.” And so it’s like that’s me like turning people off of their dreams when I think… So I have mixed, because I catch myself doing that. It’s like they want to save you from the pain of it, but it’s also when you know what you want to do and you have a passion for it and nothing’s going to deter you. And that’s what your story is. You have these people telling you no, but you never stopped pursuing it through your whole life. Searching that feeling, which I think is magic and I think we need to give people more opportunities to feel that feeling.

Joan:
Well, I think if that professor would have said, “In my opinion, and this is my experience, I’m just trying to save you, but just know what you’re kind of… Get ready to face impossible big challenges because this is what I’m observing.” But for him to say this isn’t-

Cindy:
That is a much better approach.

Joan:
It’s still, it’s up to us to interpret what people say for our own benefit. It’s not his fault, that he did it the way he did it. It’s not, anyway

Cindy:
I would like to think that professors these days are not maybe quite so abrasive.

Joan:
Yeah, it was pretty big at the time. I was in 70. The early ’70s. So pretty young. Not macho.

Cindy:
Tell you to get a home economics degree. Good Lord.

Joan:
I know. That was classic chauvinist, wasn’t it?

Cindy:
Wow. Okay, so how does your art, once you got to Sedona, relaxed and felt that feeling again, that you felt Michelangelo, how did your art change?

Joan:
All right, so then I went into Art Licensing and that’s when I did the kitty cats and unicorns. And then the public stopped buying them. And then my big thing is when things fail, they are your guide. Your light’s being guided to something else. So suddenly I went, “Wait a minute, I didn’t quit teaching to become a kitty cat, unicorn artist.” Even though I loved drawing them and I had a lot of passion for them. It wasn’t everything I was supposed to be.

Joan:
So I went back to teaching because I have a heart for teaching. I mean it’s my, I really love it, but also because I had time to do, I could be an artist every night. Every night and weekends and all summer. I mean, I just did art constantly and I then I had art to bring in to students to show them on a regular basis what I’m working on and share my passion for what I’m doing. And it was really a good thing that they’d saw me as a working artist because I really felt like a full time artist and full time teacher, which also didn’t help my confidence cause I felt like I couldn’t focus on one. That’s where, “Oh if you had only been Cindy, if I had had what she had. It would’ve made my confidence so much better. Right?”

Cindy:
I know a lot of teachers that that started out wanting to be artists lose a lot of that when they start teaching because teaching is such an exhausting thing and it’s such a creative thing too that your creative energy is sucked out of you too. So that by the time you’re at the end of the day it’s hard to make your own art. How did you find, how did you do that? Be able to work all night and-

Joan:
I say “Thank you Michelangelo.” He was just always with me.

Cindy:
Yeah.

Joan:
I mean, all I can say I have a lot of energy in the night. I’m hyper, I mean extreme hyper. I wasn’t always hyper but it happened after Michelangelo. That hyperness although even I was told hyperness, the hyper that I was, really hyper, was when you’re really not happy with who you are, if you’re always anxious to be someone else. The rushing, rushing, rushing, trying to be someone else and you’re never happy in the moment. So I tried to calm that down a little bit, but I’m still, my energy level has always been high. Because I mean I was with six art teachers at my school. Is that heaven or what?

Cindy:
That’s amazing.

Joan:
Five other art teachers, they never did art. Like almost never. Maybe some over the summer. And so I know I heard that all the time, but I just wasn’t one of those. I just had the energy and the drive. I just, I was so, it was in me. It’s just, it’s that thing in you that just has to come out. I couldn’t be happy unless I was doing it, unless I’m doing art.

Cindy:
Yeah. So do you find that when you’re making art, do you feel, does that sort of hyperness and that energy, does it calm down? Like regulate?

Joan:
Yeah, totally at peace. Totally at peace. I did tons of detail and people go, “How do you have the patience for all that detail?” I just go, “I just love every minute of it.” Just the totally the opposite, right? But then, so now I’m back teaching and I did a whole series of women, powerful women, spirits of women, like every spiritual lesson I learned, I did a drawing, I did maybe a drawing about it and so I was showing my power all the lessons I was learning. And then I started writing my book and my book was, and I was spending so much time doing that, I couldn’t do art. So it was like “I have to be some kind of art.” So I just went down and the city and started throwing some paint around, I went, “Whoa, that’s really cool.” So, I mean, it was supposed to be this kind of the therapy thing and so for three years I did nothing but abstract art.

Joan:
And that is when my energy, I stood on ladders, and I covered everything with plastic and threw paint and just went crazy big canvases and I got all this stuff in Valerie’s and it was this really exciting… And that took physical energy. But my other work is very tedious and yet when I sketch it initially I have to have that physical energy, to sketch the feeling, so that’s why I exercise and stay in shape myself because I hadn’t had that physical energy to put into my work. You know, even when I’m doing, just to start it and end it to make sure it maintains that vitality and that feeling.

Cindy:
Yeah. I never thought about that. You know, keeping yourself fit so that she could put that into your art. That’s-

Joan:
Well I always, it was something I believed in. I thought.

Cindy:
Yeah. Makes sense.

Joan:
It made sense to me. I don’t know. It just made sense. So it was something I did, but, and because I need to run and fast walking but this need to get that out. But anyway, so I tried to be abstract things. At the galleries, when I did a big show, like in Miami of all my abstracts, I found that I was saying, “I can do people too. Like really realistic and captures spiritual feeling.” I was like kind of making excuse or just telling them this other side of me. And so I really couldn’t promote or feel really confident or market with all my heart. Because I felt a part of me was missing. So then I started combining my animals and abstract, right, and my people with that sort of thing, kind of combine the two.

Joan:
This is…. I don’t know if you can see that.

Cindy:
Okay.

Joan:
But you got to combine the abstract with real and then I retired from teaching. I was 65 and I got to retire with a pension. I was very excited that my school pays for pensions and that was so anyway, so now I’m a full time artist. I’m like, “Hmm, so what can I focus on?” Because I always had this time to do the business of art while I’m teaching. And you can, it takes 50% of your time to do business and 50% to do art. So I had very little time to do business of arts and now I could focus on the business of art with my art. So what do I focus on? What style of art am I going to land on? And as I was selling shows and doing shows, I found that my unicorns, it was selling really well. So I said, “Oh my gosh, I’m a fantasy artist.”

Joan:
So I went to Comic Con in LA and I did this big show, with dragons and unicorns and like all the things. I said, “I’m a fantasy artist, that’s who I am.” So I started promoting putting a website and I do all of that. And then I ended up joining the program that you and I were in and I did a double headed eagle for Jim Forton and that just changed my whole life. There’s Michelangelo. That is where the power is. There is the spiritual. That particular picture was five feet wide and three and a half feet tall and it was just powerful, spiritual and creative. But it expressed all those things that Michelangelo had been speaking to me. Positive confidence. And so now I finally found my voice through all those stages. I think I covered all my stages.

Cindy:
Wow. Well for those of you listening, I am going to put a pick a picture of that artwork in the show notes and I have had the privilege of seeing it in person and it is just absolutely exquisite. And I love how you can see all of these past phases. You can see your fantasy. You can see the whimsy. You can see like the magic all in this just absolutely stunningly powerful animal power port… What do you call them again? Power?

Joan:
Personal power. Like personal power.

Cindy:
Personal.

Joan:
Personal power portraits.

Cindy:
Personal power portrait. And so it, yeah, it’s just beautiful. It has gold and it has a double-headed eagle. Is there a jaguar in there too?

Joan:
No…

Cindy:
No. I’m thinking of the one you did for Adam. Does Adam’s have a jaguar?

Joan:
Yes.

Cindy:
Okay. Okay. So it’s just beautiful. So throughout your whole life you started with Michelangelo and that feeling and then spent, like tirelessly, spent your whole career in search of that feeling. So now what are you going to do now that you’ve found it? What are you doing now?

Joan:
Well, I’m marketing and promoting the personal power portraits and I’m doing a series of power animals looking to the light. I call it the Power Animals Looking to the Light. Actually, here’s one. See how it’s like, it’s really big. I don’t know if I can show it.

Cindy:
Oh yeah, I’ve seen that one on Facebook.

Joan:
Yeah.

Cindy:
So for those of you listening, it is a, is that a hawk or an eagle?

Joan:
That’s a hawk.

Cindy:
A hawk with a lion. And they’re both looking up to the corner with a sun ray with gold, actual gold coming down into their eyes.

Joan:
So it’s looking to the light and it represents, so every animal represents characteristics. So yeah, I’m pushing that and promoting that. And giving, I’m planning speeches that give the spiritual essence to your life. I mean, the lessons that we need to just understand that feeling is what it’s all about. When I was putting myself down as a teacher, I realized when I retired and I stood on stage and they clapped for the teachers, each teacher individually or whoever’s retired, we stand on stage individually and they say whoever’s retiring. And I stood up in the auditorium, I got the hugest applause. And I was really shocked.

Joan:
I mean it was, I was deliriously happy and I couldn’t believe it because as an art teacher you don’t teach the whole school or 2000 kids. Like we don’t teach the, we teach a little, that’s it. And I thought what, how when I’m putting myself down all the time because I didn’t have you to help me. I didn’t have the right PowerPoint or the right thing. The next step. What I did do, why people responded the way I taught was focused on feelings. It’s feelings, like I love them, each one. Each student I had them look at artwork and say, “What are your feelings? What are you feeling?” And I’ve taught art history a little bit and it’s summer and one teacher’s student came back and said, “Ms. Murray is the best teacher ever.” And I was, my gosh, I had so much more planning I should have done, how can you say that? But I let them always express themself and instead of emphasizing the date and the name of the art, it was emphasizing, you turn speak, what do you think about that? You know. Feelings, feelings, feelings.

Joan:
And then, the other thing about teaching was I helped students learn to love themselves. So when you see a work of art that you, don’t feel bad when you’re in a museum and you want to pass by 90% of it. Don’t feel bad about that. There’s only a small percentage that’s going to speak to you. But stop a minute and go, “Why is that speaking to me? Is it the story it’s telling?” Or you know all these things.

Cindy:
No, I love it.

Joan:
What’s the energy? And cause that’s who you are and that’s what matters. And it’s your values. That’s when I realize that’s why this art is working for me because my top values are spirituality and creativity. So as a teacher I was able to be creative and I was able to be spiritual in the fact that I learned to love all students no matter what frame of mind they’re in. I don’t want to learn or I’m in a bad I’ve got beat this morning or whatever. They’re giving bad energy in the classroom, I would give them love in my, like turn them around. So that’s spiritual, all that spiritual wisdom I was able to exercise with each student and helping them learn to love themselves. So all that, it’s that practice. So I was able to, and I realized my two strongest values. As long as I’m able to fully live my spiritual beliefs and express my creativity, then I’m fully expressed. Right? So my art had to do that. My fantasy art wasn’t quite the spiritual thing and it wasn’t powerful. It was too fantasy, you know? And…

Cindy:
I love it. It’s so good.

Joan:
Even though fantasy is a huge part of me and the kitty cats are a huge part of me, and when I do a commission work for somebody who if their power animal is not an eagle and the power of a lion, if it’s a kitty cat or a butterfly, I can go there with them and that beautiful soft, relaxed, loving state of mind as well. It doesn’t have to be all about power. We’re not all in that place. So now I have all those voices within me because we all have all these voices and I’ve had practice in so many that it’s-

Cindy:
I love this because I’m big on trying to figure out like what your top values are because I think you can be happy doing anything as long as it’s in line with your own self. And so you coming to your students and helping them figure out what their values are and how to express that and how to find that through art. That’s the lasting impact that you’re going to make. It’s not having a good PowerPoint. It’s your energy and your love and your connection. So I am not at all surprised that you got that standing ovation mainly because you have the most warm energy of almost anyone I’ve ever met. If you ever meet Joan in person. But I love that. And I often talk about when I talk about how to teach from works of art, that so much of it is not in what you say or what’s in the art. It’s all about how you approach it, your attitude, your energy, your passion, your spirit. That is a huge, huge part of it. So it’s a really good point.

Cindy:
So, okay. I think we’ve covered all of the main things and I think it’s just your determination to really find that artistic voice is really such awesome. Awesome story. So is there anything else that you wanted to bring up that we missed that what you might’ve said the first time we recorded?

Joan:
Stop pushing. I was always so hyper. Pushing is pushing away and the Western mentality is push, push, push, push, push and feeling busy, busy, busy makes you feel like you’re accomplishing something and you’re swinging like you’re, as if grab the circle. I mean you don’t know where. And I did that for so many years. Like just I’m so busy, I’m so busy, I’m so busy, I’m so busy and it wasn’t. And Sedona slowed me down and woke me up and then it was still a bad habit to do that to myself. So it’s that slow down and just follow your feelings. Stop every moment. My word this year is focus. Because if you, and focused on several levels. Focused on making sure that your focused with what you’re doing, not multitasking. And so, because when you’re not focused on what you’re doing, but thinking about the past or the future, what you should be doing or what you did that might have been wrong or what you wish you wouldn’t have done or something and your mind and then you’re not present. And then you’re not enjoying the now and you’re not growing and you’re not contributing anything when you’re not present.

Joan:
And being aware of your feelings in the moment. Because if you’re not feeling good in the moment, what are you doing it for? And if it’s something you’ve got to do, like take out the trash or all these things you have to do, do a dance in your head. While you’re taking, physically do a dance as you’re taking the trash out, come come up with some way to make those things that we have to do. It’s all about attitude. Just keep your energy. It doesn’t have to be high up, but just keep it to where it’s just feeling peaceful and a good thing of wellbeing. You know? That’s just so huge. That’s all there is. And we get so sad when I see young people dying, and all these things, it’s like we’ve only gotten now. Just live life now in every way that you can be true to yourself. What else? Why else are you doing it? What else is there? Wake up and be present in the moment. So I guess that’s my final thing.

Cindy:
That’s good. That’s a really good, especially in teaching when it can feel impossible to focus and can get really overwhelming with all the energy, like managing your own personal energy and keeping your own spirit is important.

Joan:
Yeah, because it was teaching, if you spend half your time thinking, you’re with your students and you’re thinking, “Oh my gosh. I didn’t do that. I didn’t do that. Or where’s my notes? Or where’s this?” If you just stop and go, wait a minute, I can just help this student right here right now with this. And wow, it’s incredible. The impact, the eye contact you make, you make a point of making eye contact and caring even if it’s just 30 seconds with a student. Because I know I had 30 students in a classroom, you didn’t have a lot of time, but you just get the 30 seconds of contact of true connection is deep. Stays with them. They feel seen, they feel good about themselves. And it’s just, I mean you feel good about yourself and it’s just all, and then you’re not mad that you didn’t do that PowerPoint. It’s amazing how that all there is.

Cindy:
That’s wonderful. I think that’s a beautiful place to end and thank you so very much for sharing your story with us today. And for those of you listening, you can visit the show notes to see Joan’s art and link to your website and your social media channels. So I can, thank you so very much Joan.

Joan:
Thank you, Cindy. You’re awesome. I love what you’re doing.

Cindy:
Thank you.

Cindy:
Thanks again to Joan Marie for joining us in the Art Class Curator Podcast today. Like I have said, we want to hear your art story. Send us a voice recording of your art story or send us a voicemail at (202) 996-7972. You can check out more of Joan Marie’s art at artclasscurator.com/42. Thank you so much for listening. I’ll see you next time.

Cindy:
Thank you so much for listening to the Art Class Curator Podcast. Help more art teachers find us by reviewing the podcast and recommending it to a friend. Get more inspiration for teaching art with purpose by subscribing to our newsletter, Your Weekly Art Break. Recent topics include the importance of seeing art in person, famous and should be famous women artists, and 21 days of art from around the world. Subscribe at artclasscurator.com/artbreak to receive six free art appreciation worksheets.

Cindy:
This week’s art quote is from Pablo Picasso. He says “Every child is an artist. The problem is how to remain an artist once he grows up.”

Cindy:
Thanks so much for listening. Have a wonderful week.

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