One of our biggest goals for Artscope is to take advantage of as many opportunities as possible to spread the word about, and images of, New England’s arts and culture scene; for every show that we’re able to cover in these pages, there are dozens more just as worthy of your attention.

To achieve this goal, we run comprehensive multi-platform media coverage through our bimonthly issues of the magazine, a bi-weekly email blast, a weekly online zine that provides complimentary coverage of exhibitions and Boston-area theatriCal productions, social media and our streaming mobile app that pulls all these elements together — plus we make a digital tablet version of each issue available worldwide in the Apple App Store.

Each platform runs independent coverage supplemental to the others while reinforcing our audience, traffic and engagement. Our readers’ response through their attendance at the events promoted through Artscope, plus the creation of viral news media through these platforms, helps to spread awareness of New England artists and performers.

We’re huge believers in networking everywhere possible — working under the belief that if you’re an artist or gallery looking for a buyer for one of your works, we want to help you find them, trusting that if we play a role in your success, you’ll play a role in ours.

When Colo Colo Gallery’s Luis Villanueva, answering questions for a preview of a show at his venue featuring Elizabeth Pogor, noted that he learned of the North Attleboro, Mass. painter through her reaching out to him through Facebook, I was glad to have another example to share on how important it is to utilize the opportunities that exist to promote, show and sell your work in today’s market.

Acknowledging the many requests that we get for stories that provide “how to” information, I’m directing special attention to the feature in the second half of this issue by Gina Fraone that focuses on a variety of aspects of the art business: whether or not art school (or a graduate program) is a good direction for you, how to put your artwork in front of gallery directors and curators (without making a pest of yourself) and how to make a name for yourself; Fraone also offers a few suggestions on the best way to take advantage of social media platforms to help you attract potential customers for your work.

It’s my hope that each “Making Connections …” column by sculptor Donna Dodson at the end of each issue holds a combination of great storytelling and a learning opportunity for the reader. This time, she shares details about her time at the Ringkøbing International Woodsculpture Symposium in Denmark and what transpired after she was selected for the event; she wrote the article while traveling to Keelung, Taiwan with husband Andy Moerlein to build their latest creation, the “Intrepid Albatross.”

Back home, there’s a great collection of work on view in the “20th Annual Outdoor Sculpture Exhibit” at the Mill Brook Gallery & Sculpture Garden in Concord, New Hampshire; it is enthusiastically reviewed by Greg Morell, as is the “Michael Pressman: Fences” photography exhibition at the Main Street Gallery (partially designed by Sol LeWitt) at Congregation Beth Shalom Rodfe Zedek in Chester, Connecticut, spot-lighted through the words of Tom Soboleski. Fiber arts continue their renaissance in the “Fabrication of Imagination” show at Arts League of Lowell; Flavia Cigliano shares her highlights.

This issue arrives just as many museums, galleries and colleges are putting their fall exhibitions on their walls; our writers preview what we feel are some of the best shows in New England this fall.

Elayne Clift spoke with the curators of the “Sweet Tooth: The Art of Dessert” exhibition open-ing September 23 at Vermont’s Shelburne Museum, while James Foritano walked the streets of Cambridge with Wen-hao Tien to discuss her environmentally-charged “Weed Out” exhibition that utilizes freshly-pulled plants at the New Art Center in Newton.

Beth Neville traveled from the South Shore to Worcester to get a pre-opening view of Paris-based artist Gabrielle Thierry’s “Musicality of the Water Lilies” exhibition of colored musical scores inspired by Claude Monet’s water landscapes at the College of the Holy Cross, and also spoke by phone with Curtis Hanson and Michael Graves — two of the newest members of the Guild of Boston Artists — about their shared debut exhibition at the Newbury Street institution in October.

Lisa Mikulski needed curator-like skills in putting together her preview of art director, designer and typographer Vaughan Oliver’s “Walking Backwards” show at Lesley University’s Lunder Arts Center. If you were a fan of indie rock in the late 1980s and early 1990s, you undoubtedly saw the London-based artist’s work on a 4AD album cover — especially one by alt-rock favorites, The Pixies, for whom he’s designed record sleeves throughout their career.

J. Fatima Martins shares her advanced take on Brooklyn-based D. Dominick Lombardi’s “Saints, Sinners and The Collective Unconscious” exhibition — one that Martins said encourages the viewer to consider their self-identity at a time when most of us aren’t entirely sure of who we are — that’s on display throughout September at UMass Amherst’s Hampden Gallery.

We normally focus on shows where you’ve got at least a few weekends to take them in, but early viewings by Artscope’s Suzanne Volmer of the work made for “The Calm Before the Storm: An Exhibition of Original Snow Globes Inspired by Emily St. John Mandel’s ‘Station Eleven’” show, at the Attleboro Arts Museum for only one week from September 16 through 23, demanded that we alert you to a truly special event.

I hope you enjoy and learn from this issue and use it as a guideline for traveling through New England’s cultural landscape this autumn.

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