jetharrs@pacific.telebyte.net on sun 31 mar 96
Having been involved in the mechanics of a small number of shows, I know
there are LOTS of up-front fees that must be paid just to launch it.
A really good show represents hours and hours of hard mental and physical
work, usually donated, by people who believe in doing it.
Maybe more people who gripe should try volunteering to work on a show, just
for their own education.
Jeanette Harris jetharrs@pacific.telebyte.net
Barbara Mann on fri 12 dec 97
In response to Chris' comments about Bizarre Bazaar... I would love to
see more comments like this about shows. I have my regulars, but I'm
always looking for something new. I'm sure this applies to many of us. I
don't mind taking a risk now and then, but it's best to make an educated
decision when we have resources like this list.
As for my "Hot" list this year:
Richmond, VA "Hand Workshop Craft and Design Show" was good for me the
past two times I've done it. Beautiful quality. Attendance <10,000.
Maybe this town is finally catching on to "fine craft."
Raleigh, NC "Carolina Designer Craftsmen's Show" Slightly down for me
this year, but still very good. Loyal, knowledgable crowd. Well
organized by CDC Guild.
Reston, VA "Northern Va Fine Arts Festival" Outdoor show. Change in
date for 1998 may affect attendance, but it was good this year.
"Not" list
Ft. Lauderdale, Fla. "Las Olas" Wouldn't have been bad for a local show
but not worth the drive from VA. Nothing wrong with the quality of the
work. Well organized.
OK! Come on and share some of your secrets with the rest of us.
Barbara Mann
MGibb21521 on sat 13 dec 97
In a message dated 97-12-12 12:36:29 EST, you write:
<<
>>
I agree, this is a great place to share show, exhibition information. So many
times we have to "fly blind" when just a word or two of warning or
encouragement could make it all so much easier!
I tend to do more exhibitions than sales, but have had friends in Cherry Creek
Arts Festival in Denver Colorado. The crowds are temedous, the sales are also
very good.
A friend of mine did this for the first time last July, and did very well, he
is a great functional artist. (Skeff Thomas)
The Arvada Center for the Arts and Humanities, in Arvada Colorado does a very
nice holiday show, presented in its huge lowere gallery space. It is full of
great work of all media, gets a good crowd this is the 11th year for this
show. My sales have been the best of all this year, I have participated for 4
years now. The start to solicite for entries in July or August.
Another show I have heard good things about, and am going to try myself this
year is the Loveland Sculpture in the Park, show is in August (I think) the
deadline for entries is end of January. I went to this years show, and was
very impressed with the work, the presentation, basically it all looked very
good. Sales seemed to be on the up end, this is an exhibition more that a
sale, you can only show a max of 8 pieces.
Marie Gibbons
Arvada Colorado
Clay Necessities on tue 15 sep 98
I am a Canadian potter looking to do shows in the US. Is there anyone out
there doing this at the moment? Is there any laws or regulations I should
know about? And most importantly, is it worthwhile? Thanks....Barb
>
carrie or peter jacobson on mon 11 jan 99
You know, I would probably be better off keeping my fledgling potter's
mouth shut than arguing in this forum with someone acknowledged to be an
expert potter, but I just can't.
Mel's post the other day, about shows, simply made my blood boil.
Now, I have no personal experience one way or the other. I've been a potter
for a little over a year, I've never been in a show, I've never sold a pot.
But I see plenty of reasons why someone would want to enter his or her work
in a show.
Yes, there is the ego part of it. But Mel obviously does not have a weak
ego or any lack of self-confidence. Most people do. And someone starting
out in any field wonders, if he or she is at all sensitive and
introspective, whether the work measures up. If most of us had either Mel's
ego or Mel's pottery income, we would probably not have time for or
interest in shows.
Certainly, the confidence should come from within. In a perfect world, it
would. And with 20 years' experience, it does. But the reality is that
artists new to any field, many of them, wonder: Is my work legitimate? Does
it matter? Or is it just hopeless junk?
Acceptance into a show helps an artist find the answers to those questions.
And that discovery then helps the artist realize who he or she is. And
*there* is a clearing in the woods on the path to honest art and craft,
pottery that reflects the true soul and human spirit.
I grant that acceptance into a show is the subjective decision of a group
of people whose esthetics and values we may not know. And they *are*
subjective. But they may, in some instances, be trusted. If I were to enter
work in the Strictly Functional Pottery National show, for instance, and
Warren MacKenzie were to accept it, I'd be lying if I said it would mean
nothing. I'd be lying if I said it would not enhance my sense of self, and
help steer me toward truer pottery -- which of course means steering me
toward a truer sense of who my customers are and what they want.
Frankly, even though Mel's broad, I-am-the-king-high-on-the-mountain
criticism of all of us lesser beings bugs the hell out of me, my bet is
that I, and most of the people on the list, read his pronouncements with
great interest. Because ego or not, he has what many of us want. I'd give
almost anything to have one of my bowls on the Kellogg's cereal box, or
whatever it is. Partly because it would reinforce my sense of my own value,
and partly because it would help pay the damn bills and let me lead the
life I want, instead of the life I temporarily have to be leading.
And if eventually entering shows is part of moving toward a life where my
art and my craft offer me my living, if entering shows means having the
value of my work acknowledged by the world, and valued by a larger customer
base, then I think it is worth the time and effort.
But what do I know?
Carrie
Carrie Jacobson
Pawcatuck, CT
mailto:jacobson@brainiac.com
Norma Campbell on tue 12 jan 99
In a message dated 1/11/99 1:26:26 PM Central Standard Time,
jacobson@brainiac.com writes:
<< You know, I would probably be better off keeping my fledgling potter's
mouth shut than arguing in this forum with someone acknowledged to be an
expert potter, but I just can't. >>
I certainly agree with Carrie's comments regarding the "to show or not to
show"
discussion. As a neophyte potter, with no academic ceramic credentials, I've
found invitation to participate in juried shows to be an invaluable confidence
builder and just plain ole validation that I am doing something right! I also
agree with her assessment regarding the esteem with which the postings of Mel
and others are held. I suspect all of you gurus are providing the us of us an
education we'd never have available in the classroom. Thanks to everyone for
all the information shared and especially thanks for the dialogue whether is
directly related to pots or not.
Elca Branman on tue 12 jan 99
IN 20 years of making my living via clay,I never entered any shows to win
awards.
I did have slides made for shows within driving distance,but most of my
income came from direct studio sales and repeat business.
Someone said "Cultivate your sales base" and they are absolutely
right.....for them, and me, and obviously Mel.
However,different strokes....
Elca ..at home in Sarasota,Florida
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Earl Brunner on tue 12 jan 99
Carrie Jacobson wrote:
But the reality is that artists new to any field, many of them, wonder:
Is my
work legitimate? Does it matter? Or is it just hopeless junk?
Acceptance into a show helps an artist find the answers to those
questions.
And that discovery then helps the artist realize who he or she is. And
*there* is a clearing in the woods on the path to honest art and craft,
pottery that reflects the true soul and human spirit.
I grant that acceptance into a show is the subjective decision of a
group
of people whose esthetics and values we may not know. And they *are*
subjective. But they may, in some instances, be trusted.
While I don't necessarily agree with Mel on this one, and your
assessment of his
ego did make me laugh, I have to some what disagree here. Many "shows"
don't
even tell you who will be jurying, and you are right they can be
subjective as hell,
and political as well. You cannot rely on shows for validation, it has
to come from
within, and to hell with what everybody else says. Do clay because it
is like breath
to you. Like air or water or food to your soul. Others really can't
validate that.
Heck, VanGogh never got validation from anyone but Theo in his whole
life, and
who knows what Theo REALLY thought? It follows that if I can brush off
being
juried OUT of a show then I MUST be able to brush off being juried IN.
And that is where the kicker is for validation, you can't have it both
ways.
Perhaps that is really what Mel is saying though I wouldn't go so far as
to put
words in his mouth.
Earl Brunner
Gavin Stairs on wed 13 jan 99
At 01:13 PM 1/12/99 EST, Earl wrote:
>... to hell with what everybody else says. Do clay because it
>is like breath
>to you. Like air or water or food to your soul. Others really can't
>validate that.
....
>Perhaps that is really what Mel is saying though I wouldn't go so far as
>to put words in his mouth.
Oh, heck, Earl, shove 'em in! He can always spit them out later!
I'll give you another take: Make pots because it's an honest living.
Don't worry about what goes on elsewhere. Just make what you can, and be
generous with those who come to buy from you. Listen to what they want,
and provide it, if you can. Who knows? Perhaps in a few years people will
come to think of you as an artist. I say, let 'em. Devil may care me.
I'm a neophyte potter, barely got my hands dirty. (No, it's not dirt: it's
nice, clean clay!) But I don't need validation from anyone, because I know
where I'm coming from. A good critical revue might not be amiss, though.
That's what mel and others got from their teachers. A little help in
self-criticism. (No good. Make it over.) The best artists I know are
their own best (worst) critics. When they get it right, they know they got
it right! No-one needs to tell them.
Mind you, there are a few who don't know how good their work is. They go
in fear that someone will tell them they're not good enough. That's not
healthy.
I think it comes down to working within your limits, and being competent.
Working within your limits means beginning from where you are right now.
It's not a statement about how far you can go, but about recognizing where
you are right now. If it means making pots like your teacher, then make
pots like your teacher, but do it as well as you can! If it means another
route, then so be it. I draw on my fifty odd years of life to teach me,
not on any particular teacher. And I learn from all the teachers, though
often what I learn is not what they think they are teaching.
Competence has to do with learning, learning, learning until you understand
what you are about. Learn about the material, learn about the tools, learn
about yourself. Above all, learn about yourself. I was born to be a
fierce self-examiner. The one thing in my life that I have done right is
to persevere in this. Carry on right through to the end and out the other
side, and don't ever compromise on this. Your life work will have another
expression, but you must also pursue it with a fierce determination, and
never give up.
That fierce determination to go the distance is the difference between
those who end life with a happy smile, and those who end with a sour
regret. Never mind what anyone else thinks: your life is going on right
now! Grab hold and ride it out! No-one can do it for you.
Gavin
Kathi LeSueur on wed 13 jan 99
In a message dated 1/11/99 2:26:35 PM, you wrote:
shut than arguing in this forum with someone acknowledged to be an expert
potter, but I just can't.
Mel's post the other day, about shows, simply made my blood boil.
Now, I have no personal experience one way or the other. I've been a potter
for a little over a year, I've never been in a show, I've never sold a pot.
But I see plenty of reasons why someone would want to enter his or her work
in a show.>>
I hope no one on this forum thinks they should keep their mouth shut. But I
also hope that people can keep their blood from "boiling" when someone states
their opinion in a strong manner.
Mel has found a way to market his pots that suits him and his life style. If
we could all live in a place ( or wanted to live in a place) where selling
from our homes/studios was acceptable perhaps that would be the best
marketplace. But, life is such that we have to live in various places and are
not always allowed that option. And, hard as it may be to believe, some people
just do not want customers coming to their homes. Some don't even want to deal
with customers at all. They just want to make pots and let others sell them.
So, we all find other solutions to marketing our work. Some wholesale. Others
consign. Still others do shows. Some people do all three.
People make decisions based on what is right for them and their particular
situation. There is no right answer. Just the right answer for you.
Kathi LeSueur
Ann Arbor, MI
Earl Brunner on wed 13 jan 99
My apologies to Carrie Jacobson. In an attempt to condense the quote
I apparently cut and pasted in such a way as to not clearly show where
her quote stopped and my thoughts started. (apparently the italics
didn't
translate), any way, here is where she ended and I began:
While I don't necessarily agree with Mel on this one, and your
assessment of his
ego did make me laugh, I have to some what disagree here. Many "shows"
don't
even tell you who will be jurying, and you are right they can be
subjective as hell,
and political as well. You cannot rely on shows for validation, it has
to come from
within, and to hell with what everybody else says. Do clay because it
is like breath
to you. Like air or water or food to your soul. Others really can't
validate that.
Heck, VanGogh never got validation from anyone but Theo in his whole
life, and
who knows what Theo REALLY thought? It follows that if I can brush off
being
juried OUT of a show then I MUST be able to brush off being juried IN.
And that is where the kicker is for validation, you can't have it both
ways.
Perhaps that is really what Mel is saying though I wouldn't go so far as
to put
words in his mouth.
Earl Brunner
bob johnson on thu 14 jan 99
In my opinion, Art should not fall into the category of Blue Ribbons
at the Illinois State Fair , prize winning hogs and jelly.
I would like to think of what I do as a lifelong search in the Arts.
I have no time to make pots that reflect a judges thinking.
Two years ago it was houses, now, boats made of clay.
The time, energy and cost to enter contests has never been worth
it to me. I just won't do it.
Roberta Johnson/ Chicago
Far too much winter, snow and cold
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Bill Weaver on wed 21 apr 99
I was accepted into both the Bellevue Washington Pacific NW Art fair and the
57th Street in Chicago this year and would be interested in hearing any
information anyone would like to share regarding these two shows. In
particular I'm interested in the Bellevue one since I'll be traveling from
Minnesota. The parking garage set up sounds dreary and I'm wondering if the
crowd estimates are legit. My recent experience with an ACC show has made me
doubt such figures. Feel free to contact me off group. thanks
Doug Hively on thu 22 apr 99
The Bellvue show is a very good show and they do draw the crowds, but they
charge a 25% commission on sales. You must use their receipt books and I've
been told they watch very closely to insure that you do.
Bill Weaver wrote:
> ----------------------------Original message----------------------------
> I was accepted into both the Bellevue Washington Pacific NW Art fair and the
> 57th Street in Chicago this year and would be interested in hearing any
> information anyone would like to share regarding these two shows. In
> particular I'm interested in the Bellevue one since I'll be traveling from
> Minnesota. The parking garage set up sounds dreary and I'm wondering if the
> crowd estimates are legit. My recent experience with an ACC show has made me
> doubt such figures. Feel free to contact me off group. thanks
Paul Lewing on fri 23 apr 99
Bill Weaver wrote:
>
> ----------------------------Original message----------------------------
> I was accepted into both the Bellevue Washington Pacific NW Art fair and the
> 57th Street in Chicago this year and would be interested in hearing any
> information anyone would like to share regarding these two shows. In
> particular I'm interested in the Bellevue one since I'll be traveling from
> Minnesota. The parking garage set up sounds dreary and I'm wondering if the
> crowd estimates are legit. My recent experience with an ACC show has made me
> doubt such figures. Feel free to contact me off group. thanks
Bill,
Congratulations on being accepted into the Bellevue show. It's the
oldest and one of the best in the Northwest.
You're right to be skeptical about their crowd figures. This is a fair
that does not charge admission (they make their money off the 25%
commission on sales) so no one knows for sure how many people show up.
But the city of Bellevue only has 106,000 people and they say they get
300,000- probably off by a factor of 10. Our local NFL team draws about
300,000 in a season, and I just don't think the fair is as popular as
football. By comparing it to other local shows that do know their
attendance, I'd estimate the crowd there at about 30,000, maybe 40K on a
real good year. Still a lot for an art fair, though.
The parking garage setup is, indeed, dreary unless you get a booth close
to one edge. Then you get natural light and shade, and it's quite nice.
Bring lights and hope not too many others on your row also bring lights.
In that case the power will be off a lot of the time. And hope you
don't get a booth near the ramps to the other floors of the garage. The
exhaust fumes are a killer. Also be aware that the maximum clearance
for vehicles is 6' 10".
Good luck, and maybe I'll see you there.
Paul Lewing, Seattle
Michele Jurist on tue 27 apr 99
Hi:
I have not personally been in the Bellevue show, but it is the big event of
the year out here. I do not know what kind of crowd estimates they gave you,
but the crowds are usually huge and the artists I have known who did the
show, sold well. What kind of work do you do?
I also thought the parking garage set up would be dreary, but it does not
seem to deter the customers from attending, and also helps with the
ever-present possibility of rain out here.
That's all I know, but I think you should do well at this one.
Michele in Seattle
Jean Lutz on thu 4 nov 99
I just discovered this site. For those of you who participate in in shows,
this might be a way to find new ones.
http://www.artandcraftshows.net/
Jean Lutz
jlutz@azlink.com
Scottsdale, AZ
Carolyn M Leung on sun 19 mar 00
After all these years of doing both retail and wholesale show, I still
don't know where to get a product that you can just soak your fabric into
to render it fire retardant. I would like to change my booth a bit, by
at least changing the background drapes. I have been using polyester (a
solid color) which melts instead of flames but it is somewhat
restricting. Anybody know of where and what?
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the Gallaghers on mon 20 mar 00
You should search theatrical suppliers such as PNTA in Seattle, they use
flame retardants for backdrops.
Michelle in Oregon
-----Original Message-----
From: Carolyn M Leung
To: CLAYART@LSV.UKY.EDU
Date: Sunday, March 19, 2000 8:53 AM
Subject: shows
>----------------------------Original message----------------------------
>After all these years of doing both retail and wholesale show, I still
>don't know where to get a product that you can just soak your fabric into
>to render it fire retardant. I would like to change my booth a bit, by
>at least changing the background drapes. I have been using polyester (a
>solid color) which melts instead of flames but it is somewhat
>restricting. Anybody know of where and what?
>________________________________________________________________
>YOU'RE PAYING TOO MUCH FOR THE INTERNET!
>Juno now offers FREE Internet Access!
>Try it today - there's no risk! For your FREE software, visit:
>http://dl.www.juno.com/get/tagj.
Sandra A Boccolini on mon 21 aug 00
I have been making pots for about 4 years and after doing numerous craft =
shows I feel as though I am ready to move on to the bigger, juried =
shows. My work had been accepted but not my display. Any suggestions =
on easy to set up displays, where to get canopies, can they be =
rented?... Any help would be appreciated. Thanks, Sandy =
Claygirl1@prodigy.net
=20
Pheetie@AOL.COM on tue 22 aug 00
Sandy,
Sam's Club has EZ-up canopies with three sides and a bag with rollers for
about $200. For that it doesn't pay to rent.
Marcia in Chattanooga
Bill Raymond on tue 22 aug 00
you can get an ez-up canopie ar Sams Club for about $200 it's apackage deal
with 3 sides and a bag. It's a good entry level canopie. go to a few shows
and check out the displays the other potters are useing and take your ideas
from those. if you find a light weight ,easy to set display for pottery let
me know. it seems to me that I carry as much display material as I do pots
to the shows. good luck. Josie
-----Original Message-----
From: Sandra A Boccolini
To: CLAYART@LSV.CERAMICS.ORG
Date: Tuesday, August 22, 2000 5:45 AM
Subject: shows
I have been making pots for about 4 years and after doing numerous craft
shows I feel as though I am ready to move on to the bigger, juried shows.
My work had been accepted but not my display. Any suggestions on easy to
set up displays, where to get canopies, can they be rented?... Any help
would be appreciated. Thanks, Sandy Claygirl1@prodigy.net
____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
t pease on tue 22 aug 00
You didn't say what your displays consisted of...but if I might offer some
advise. I run an arts & crafts festival in Missouri...we are not juried.
However I have seen both good and bad displays. I traveled up North to a
pottery festival this summer... one lady we felt so sorry for because her
booth was set up on the grass, and the legs of the displays were slowing
sinking into the ground. We just knew that it was just a matter of time
before every pot slid off the shelves. So Function is the most important in
my opinion. But second is style...you have sell your booth...your booth has
to be so dynamic that people will cross over two lanes of traffic just to
check you out. Take the time to find out what booths stand out at these
juried shows. Ask the promoters what they are looking for. Be creative,
and your pots will sell...if you don't stand out...you don't get a second
chance to win customers. Just a couple of thoughts on the matter...
TPease
On Mon, 21 Aug 2000 23:41:24 -0400, Ceramic Arts Discussion List wrote:
> I have been making pots for about 4 years and after doing numerous craft
shows I feel as though I am ready to move on to the bigger, juried shows.
My work had been accepted but not my display. Any suggestions on easy to
set up displays, where to get canopies, can they be rented?... Any help
would be appreciated. Thanks, Sandy Claygirl1@prodigy.net
>
>
>
______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
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mel jacobson on tue 21 nov 00
the point about entering shows is still:
is the product yours from start to finish.
i am sure that linda arbuckle can use any kiln
or commercial glaze to make her wonderful colorful pots.
if she fires them at home, or the university, well, who cares?
she is in charge of the entire process. they are her pots.
the point is:
if you have someone else fire your pots, use someone else's glaze
and clay body....well, those are not your pots. period.
don't show them. they are learning pots.
someone else has made all the choices for you, and done the
hard work to make the pot successful.
integrity is the word. and why show them anyway?
get to work and learn to make them with you in charge of the
entire process.
if i like canecraft handles and want to use them, hey, that is my
business. if my customers love those handles on my teapots and
continue to buy them, i will add them to my work. and, by the
way, it is my choice, always. i have total control of my work, if
i choose to make clay in a pug mill, my business. if i choose to use
rhodes 32, my business. if i want to fire a kiln to cone 11, my business.
the first two years i made teapots, i made my own raffia handles.
still have one. i just did not like doing it. period. did not like the
look. period. so, i went to england, up the northeast coast, found
old fred. met him, liked him. used his handles. reed, grown in the
brackish waters on the english coast.
i have said this before on clayart...i have a note from fred, wonderful
school script. it says, `mel, may our crafts blend together in beauty
and harmony,` fred / and something like 5 pounds 8 shillings.
love that note. old fred knew our crafts were blending....i still
like the idea.
i would watch a video of sheila making handles any day of the week.
just don't let tony get in the camera lens...funny looking guy.
mel
and, we all learned some things about handles this month.
good for us.
FROM MINNETONKA, MINNESOTA, USA
http://www.pclink.com/melpots (website)
Kay Howard on tue 28 may 02
Hi Sherry--I look forward to seing you at Flint and/or talking some =
night. Kay 517-522-4771 I hope your Dad made a speedy recovery!
mel jacobson on sat 5 nov 11
some artist/potters spend a small fortune on
shows, with almost nothing to show for it.
i have never been interested in shows, as often
the show is just a money maker for the organizers. it does not take
long to know those shows and keep away from them.
one must be careful too that making work that
looks just like the jurors work is really tack-ee.
i used to laugh if i told kids at school i was in a show.
`yawn`. same for my customers...`how much is that tpot mel`?
they could care less.
i spend about 90 percent of my time working on mailing lists
and taking care of my customers.
shows? not so much. and, by the time you ship, pay a fee,
get the piece back. pay more shipping you can easily have
100 bucks tied up, or a lot more.
the shipping alone for joe and my show at amoca cost me
well over a thousand dollars...and shipping to china was
really costly. but, it was a great opportunity...hard to turn
that sort of thing down. just part of the project. and that
was once in a lifetime. ( hard for me to refuse some great
opportunities...but, we know ahead who is in charge and
the integrity of the venue. very important.)
nothing worse than seeing the same old tired pot shown
six times, same glazes, six times. fame? i think not.
i am much more interested in my respected friends making
positive comments about my work. that counts big time.
and respect of the profession. that counts really big time.
those artists in academia are pushed, required to show.
it is a big deal. and, i wish them well. often shows are
just venues to get all the `buddies` a place to get a ribbon.
that is tack-ee too. but, it happens over and over.
can you spell `back stratch`?
marta has had a smart idea. she sends quality pix to many
calls for images for books. she has been in lots of books.
she has built a quality reputation by selecting fine books that
need her style of work, and there she is...`big as life`.
and i totally agree with hank...fame is a `fickle whore`.
it comes and goes...quickly.
i have seen hundreds of young painters, artists in shows in
new york or elsewhere....and they are `old news` two years
later.
remember, galleries and venues can be like sharks feeding in a
frenz-ee the taste of that animal changes fast if the food does
not come with money to be made.
mel
( i have been noting some of the prices for workshop
venues....it may cost you thousands including airfare.
no one is giving anything away free for the `love of craft`.)
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
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