Mary Starosta on fri 28 nov 08
So here's the details, first time Gallery in small town. Only been open as
a gallery for 4 months. It's really a business building that hangs art all
around the hallways. It's juried in so the owner,chooses what pieces he
likes that you submit. The fee is 20.00 for Nov3-Jan3,2009 Roughly 60
days. They do charge the 7.5% sales tax and keep 10% of sales. About 30
artists are chosen and 3-4 pieces each of their work. And you have to do a
4 hr shift at the gallery in that time frame.
I was accepted and had 4 pieces. When I went to the "meet the artist" my
pieces were in a corner, no a traffic area, on the lower half of a book
shelf,the book shelf was dark brown,2 chairs in front of book shelf so my
pieces were behind the chairs, and my mugs were on another book shelf with a
card rack in front of them.
It was a special event, so the cards and rack in front were explained to me
that there was no room, so they were only temporary. Also, my platters,
which would look better up were lying flat on the book shelf.
I explained my concerns, as tactfully as possible. When I did my shift
today, the book shelf had been painted white (30 days later) and it was
brighter, but they were still lying flat on the shelf.
My question is this, does this happen at some galleries, where your work is
treated "less than" other artists? Or do some folks just not know how to
display pottery and they are use to only paintings,etc? Is there a
politics with galleries and artists? What kind of questions do I need to
ask, so I am not treated this way in the future? I felt so disrespected,
like my work was unimportant or a bother?
Thanks for any and all feed back!
Mary Starosta
Colorado Potter
http://marystarosta.wordpress.com/
Lee Love on sat 29 nov 08
I have only had very good gallery experiences.
What Mary describes, sounds more like a shop than a gallery. Many
shops have separate galleries too. Shops have continual sales, while
gallery shows are for a set number of days.
In Mashiko, it is 50/50 in the shop, but 60/40 in the gallery,
the potter getting the 60%
At Northern Clay, I am a sales shop artist, but I am having two
gallery shows in the spring, one as a McKnight artist and the other as
an artist of the month , with the opening being a "Sushi and Sake"
event. Imagine: a sushi and sake event in the middle of the
continent, as far away as you can get from an ocean and where we grow
no rice and brew no sake. Haha!
--
Lee Love in Minneapolis
http://togeika.multiply.com/journal
"Myth is cultural DNA, the software, the unconscious information, the
program that governs the way we see 'reality.'" --Sam Keen
"People that deny their myth and think they only act 'rationally',
are simply living an unconscious life." -- Clay Mudman
Larry Kruzan on sat 29 nov 08
Hi Mary, The short answer is yes things like this happen all the time.
I have several pieces in a couple nearby galleries that I am going to pick
up next week - good pieces and they should have sold a long time ago - but
they haven't and I went to see why - the owner had two of them in a locked
china cabinet with a glass front, that was for sale - no light, no access
and the minimum wage type who was watching the cash box didn't even know
that the pot was for sale - he was sure it was just a cheap decoration from
Hobby Lobby.
My open house is in two weeks and I will sell it there if I can get it back.
It makes me mad enough to open my own gallery, just for pottery, properly
displayed, prompted and most importantly for us - sold! I know they have
costs and overhead, but who doesn't, when they use my work just to make
their shop look full it ticks me off.
Larry Kruzan
Lost Creek Pottery
www.lostcreekpottery.com
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Mary Starosta
Sent: Friday, November 28, 2008 7:09 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: [CLAYART] Thoughts on Gallery experience
So here's the details, first time Gallery in small town. Only been open as
a gallery for 4 months. It's really a business building that hangs art all
around the hallways. It's juried in so the owner,chooses what pieces he
likes that you submit. The fee is 20.00 for Nov3-Jan3,2009 Roughly 60
days. They do charge the 7.5% sales tax and keep 10% of sales. About 30
artists are chosen and 3-4 pieces each of their work. And you have to do a
4 hr shift at the gallery in that time frame.
I was accepted and had 4 pieces. When I went to the "meet the artist" my
pieces were in a corner, no a traffic area, on the lower half of a book
shelf,the book shelf was dark brown,2 chairs in front of book shelf so my
pieces were behind the chairs, and my mugs were on another book shelf with a
card rack in front of them.
It was a special event, so the cards and rack in front were explained to me
that there was no room, so they were only temporary. Also, my platters,
which would look better up were lying flat on the book shelf.
I explained my concerns, as tactfully as possible. When I did my shift
today, the book shelf had been painted white (30 days later) and it was
brighter, but they were still lying flat on the shelf.
My question is this, does this happen at some galleries, where your work is
treated "less than" other artists? Or do some folks just not know how to
display pottery and they are use to only paintings,etc? Is there a
politics with galleries and artists? What kind of questions do I need to
ask, so I am not treated this way in the future? I felt so disrespected,
like my work was unimportant or a bother?
Thanks for any and all feed back!
Mary Starosta
Colorado Potter
http://marystarosta.wordpress.com/
E-mail message checked by Spyware Doctor (6.0.0.386)
Database version: 5.11230
http://www.pctools.com/en/spyware-doctor-antivirus/
James F on sat 29 nov 08
Mary...
"Back in the day"=2C when important exhibitions were hung salon style=2C pa=
intings hung toe to cheek=2C floor to ceiling=2C almost mosaic-like=2C this=
was known as being "skied". The painters the academy wished to promote=2C=
for whatever reason=2C had their works hung at a reasonable viewing height=
=2C while the supposed lesser works were hung up high above where they eith=
er could not be seen or at least not viewed properly due to an impossible v=
iewing angle. My own circle refers to this practice as being put in "Sped =
Valley" (the derivation of the term is both obscure and unimportant). This=
is the equivalent of getting that "special" table at the restaurant right =
in the traffic pattern to the kitchen or across from the restrooms because =
you didn't pull up in a Lexus.
My experience with galleries=2C as a customer if not always as an exhibitor=
=2C is that they have a "product placement" rotation. New. fresh=2C or nam=
e-brand work will get the windows and the prominent spots. Lesser known wo=
rks and items that have become a tad stale find themselves in secondary or =
tertiary locations like corners out of the traffic pattern or on very low o=
r very high shelves. Beyond this lays "Sped Valley"=2C that inevitable out=
of the way nook where the sad=2C lonely dregs languish. This is where Cha=
rlie Brown found his Christmas tree. The size of my monthly checks usually=
corresponds to a high degree with my work's placement at that gallery=2C t=
hough one is still left to ponder the chicken-or-egg conundrum. Are you no=
t selling because you are nearing Sped Valley=2C or are you nearing Sped Va=
lley because you are not selling?
I have also learned=2C as I am sure many others on this list have=2C that g=
etting stuck in Sped Valley=2C as with being rejected from an exhibition or=
gallery=2C is not so much a reflection on one's work as it is a reflection=
of the gallerist's assessment=2C accurate or otherwise=2C of one's work.
You might also do well to analyze the venue. Will folks on a mission in an=
office building really decide spur of the moment to buy a pot? Aren't the=
y really there to see their accountant or lawyer? I have come to the conclu=
sion=2C rightly or wrongly=2C and based on limited data=2C that so-called a=
lternative exhibition opportunities=2C while providing a line on one's resu=
me=2C often prove less than ideal in terms of sales. A couple of years ago=
I was invited to show my work at a small=2C local winery. This shop produ=
ces exceptional wines priced largely in the $15-$25 range=2C so would attra=
ct a moderately affluent clientele. I found=2C however=2C that while custo=
mers did come into the shop and did spent significant sums of money=2C sale=
s of the various artworks were nil. Folks with money came in to purchase w=
ine=2C so were not in the mindset to even notice=2C much less purchase=2C a=
rt. Pottery=2C unless priced very=2C very inexpensively=2C seems not to be=
an impulse item. Another example is a show I did at the University of Mic=
higan Hospital. This hospital is absolutely huge=2C and has daily traffic =
in the thousands. They have four beautiful=2C well lit art galleries in pr=
ominent locations throughout the hospital. The main purpose of the spaces =
is to give patients=2C visitors=2C and staff something beautiful and decide=
dly non-hospital to look at and think about. I mounted this exhibition for=
purely humanitarian reasons=2C as I believe in the value of this idea. Th=
e gallerist=2C however=2C pushed the supposed sales opportunity=2C citing t=
he high traffic and exposure. True=2C there is tremendous traffic and expo=
sure=2C but how many people will say to themselves "Well=2C I came here to =
see grandma before she died=2C but I might as well pick up a sculpture whil=
e I am here. Something to remind me of the occasion."?
Yes=2C your pieces were likely stuck there and displayed in that way for a =
reason (especially since they were still there after you complained)=2C but=
that reason may very well have little or nothing to do with the merit of y=
our work. You should certainly analyze the situation and ask yourself the =
difficult questions. Is there an opportunity for growth here=2C or merely =
a difference of opinion? After this=2C and regardless of your answer=2C it=
is probably best to just move on to the next opportunity. Or as the kids =
might rather inelegantly say=2C "F*** 'em!"
All the best.
...James
James Freeman
http://www.jamesfreemanstudio.com
http://www.flickr.com/photos/jamesfreemanstudio/
> Date: Fri=2C 28 Nov 2008 18:09:29 -0700
> From: mastarosta@GMAIL.COM
> Subject: Thoughts on Gallery experience
> To: CLAYART@LSV.CERAMICS.ORG
>=20
> So here's the details=2C first time Gallery in small town. Only been ope=
n as
> a gallery for 4 months. It's really a business building that hangs art =
all
> around the hallways. It's juried in so the owner=2Cchooses what pieces h=
e
> likes that you submit. The fee is 20.00 for Nov3-Jan3=2C2009 Roughly 60
> days. They do charge the 7.5% sales tax and keep 10% of sales. About 30
> artists are chosen and 3-4 pieces each of their work. And you have to do=
a
> 4 hr shift at the gallery in that time frame.
>=20
> I was accepted and had 4 pieces. When I went to the "meet the artist" my
> pieces were in a corner=2C no a traffic area=2C on the lower half of a bo=
ok
> shelf=2Cthe book shelf was dark brown=2C2 chairs in front of book shelf s=
o my
> pieces were behind the chairs=2C and my mugs were on another book shelf w=
ith a
> card rack in front of them.
>=20
> It was a special event=2C so the cards and rack in front were explained t=
o me
> that there was no room=2C so they were only temporary. Also=2C my platte=
rs=2C
> which would look better up were lying flat on the book shelf.
>=20
> I explained my concerns=2C as tactfully as possible. When I did my shift
> today=2C the book shelf had been painted white (30 days later) and it was
> brighter=2C but they were still lying flat on the shelf.
>=20
> My question is this=2C does this happen at some galleries=2C where your w=
ork is
> treated "less than" other artists? Or do some folks just not know how t=
o
> display pottery and they are use to only paintings=2Cetc? Is there a
> politics with galleries and artists? What kind of questions do I need to
> ask=2C so I am not treated this way in the future? I felt so disrespecte=
d=2C
> like my work was unimportant or a bother?
>=20
> Thanks for any and all feed back!
> Mary Starosta
> Colorado Potter
> http://marystarosta.wordpress.com/
_________________________________________________________________
Windows Live Hotmail now works up to 70% faster.
http://windowslive.com/Explore/Hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_fast=
er_112008=
Gail Barnett on sat 29 nov 08
Mary,
Listen to your gut. I am in a similar situation in Missouri - only
this happens to be the ONLY gallery in this town. I want to be
supportive of the community but there comes a time................I
am looking for other options.
Gail
On Nov 28, 2008, at 7:09 PM, Mary Starosta wrote:
> So here's the details, first time Gallery in small town. Only been
> open as
> a gallery for 4 months. It's really a business building that
> hangs art all
> around the hallways. It's juried in so the owner,chooses what
> pieces he
> likes that you submit. The fee is 20.00 for Nov3-Jan3,2009
> Roughly 60
> days. They do charge the 7.5% sales tax and keep 10% of sales.
> About 30
> artists are chosen and 3-4 pieces each of their work. And you have
> to do a
> 4 hr shift at the gallery in that time frame.
>
> I was accepted and had 4 pieces. When I went to the "meet the
> artist" my
> pieces were in a corner, no a traffic area, on the lower half of a
> book
> shelf,the book shelf was dark brown,2 chairs in front of book shelf
> so my
> pieces were behind the chairs, and my mugs were on another book
> shelf with a
> card rack in front of them.
>
> It was a special event, so the cards and rack in front were
> explained to me
> that there was no room, so they were only temporary. Also, my
> platters,
> which would look better up were lying flat on the book shelf.
>
> I explained my concerns, as tactfully as possible. When I did my
> shift
> today, the book shelf had been painted white (30 days later) and it
> was
> brighter, but they were still lying flat on the shelf.
>
> My question is this, does this happen at some galleries, where your
> work is
> treated "less than" other artists? Or do some folks just not know
> how to
> display pottery and they are use to only paintings,etc? Is there a
> politics with galleries and artists? What kind of questions do I
> need to
> ask, so I am not treated this way in the future? I felt so
> disrespected,
> like my work was unimportant or a bother?
>
> Thanks for any and all feed back!
> Mary Starosta
> Colorado Potter
> http://marystarosta.wordpress.com/
Etsy Store - My Studio On The Lake
http://www.etsy.com/shop.php?user_id=6289268
Snail Scott on sat 29 nov 08
On Nov 28, 2008, at 7:09 PM, Mary Starosta wrote:
> So here's the details, first time Gallery in small town. Only been
> open as
> a gallery for 4 months. It's really a business building that hangs
> art all
> around the hallways...
> My question is this, does this happen at some galleries, where your
> work is
> treated "less than" other artists?
First:
This isn't a gallery. It's the building owner, maybe, or a
business in the building who has figured out how to
decorate the walls, not just for free, but at a profit to
them! They get paid whether your work sells or not. In
fact, the low commission is not an advantage to you,
because it gives them almost no incentive to sell
anything. They get free decorating, plus the artist fees.
Thirty artists, at twenty bucks each, every two months;
that's $300 a month. Not a huge wad of cash, but a
nice profit on unused wall space. I doubt that the
commissions add up to that much.
A real gallery charges an honest commission because
in order to make a profit, they have to sell your stuff. A
real 'juried show' may charge a fee, but the presumption
is that it's an actual show where people go for the primary
purpose of seeing the artists' work and considering its
purchase. 'Jurying' by the owner of the space is not a
juried show in any sense at all, since all gallery owners
choose they work they display on an ongoing basis. If
they decide to host a juried show instead, they will hire
an outside juror to give the event credibility. And that's
another thing: if it's a juried show, it should BE the event,
not a backdrop to some other 'special event'.
If you have to work a shift at your gallery, that's called a
co-op space, and the money usually goes to keeping the
rent paid and the lights on in the gallery, because all the
members are so-owners of the enterprise. And it's an
actual (if modest) gallery space, not the hallway of an
unrelated business. Unless this place is a co-op, or a
charity you support, they shouldn't be asking you to pay
a fee AND work, too. That's what you're paying them to
do.
If you toured this space before committing your work,
you must have noticed that some work was tucked into
corners, badly lit, inappropriately displayed, etc. This
was a wakeup call! If they will show someone else's work
badly, they may show yours the same way. Why assume
that you will get better treatment than the last person?
All real galleries have their favorite artists, who get better
treatment, better contracts, or added perks. It's usually
a reciprocal thing - they are the artists who make the
most money or prestige for the gallery. If you have
value to them, then they should treat you accordingly.
Lesser artists at the same venue may get less rosy
arrangements, but that's not unfair. Each one freely
agreed to the terms of their individual contract. 'Equal'
is for kindergarten, where everybody gets the same
size cupcake regardless of their fingerpainting skill. In
business, the more desirable business partners get
the better deals. You may have gotten a bad space
because the owner didn't think your stuff was worth a
better site; whether the owner was correct or not is
irrelevant.
In this case, though, in this 'not-a-gallery' space, the owner
may not have even thought it through, or considered
what would look good where. That happens when you
deal with amateurs. And that's why real galleries get real
money for their effort: they make their artists' stuff look
good, which helps sell lots of artwork. Your business
owner doesn't really care if anything sells at all; it's just
gravy if it does. He's got your twenty bucks either way,
and the place looks nice and 'arty' in the meantime.
Lots of non-galleries show art: coffee houses, banks,
charities, casinos, etc. Usually, when you show at these
places, you accept that the curatorial skills will be lacking
(i.e. bad lighting, bad traffic flow, poor placement, ignorant
staff,etc). But, hanging is usually free. If it's not, then they
had better be offering something special to make up
for amateurism: lots of people, well-heeled clientele, or
something. It's seldom worth it, though. People just aren't
thinking about the art when they're in the lobby of motel
or a dentist's office. If you sell something there, it's a
nice bonus, and it does beat having your stuff in storage
where no one at all can see it. But not if you have to pay
for the privilege.
It's not always a good deal even if it's free, though. Non-
professional shows can be a hassle, make your work
look bad, or even be a real risk. Some I've encountered:
Wall-hung work laid on tables
Wall-hung work propped against walls, on the floor.
Pedestal work crowded onto tables like a yard sale.
Work falling off of rickety tables and breaking.
Dropped and broken, and blamed on shipper.
Dropped and broken and then 'patched', badly.
Labels attached to gold leaf surfaces with masking tape.
Price typos (like a missing zero at the end).
Artist's name misspelled.
Wrong tags on the work.
Work gone missing for months.
Work repacked in a way that caused damage.
Nonprofessional galleries sometimes leave the artist to
deal with the financial transaction, leaving the artist stuck
with not just the paperwork and tax stuff, but any bad
checks. Non-professional spaces also tend to have
inadequate insurance for artwork on their premises. A
professional space will accept liability for damage and
for payments.
There are a lot of these opportunistic venues out there, and
they mostly prey on hobbyists who are delighted just to
see their work shown anywhere, and who have no sense
of how things ought to be done. Hobbyists generally
support themselves on day jobs, and regard their artwork
as something that costs them money instead of as a real
business, and so are willing to pay for things like 'gallery'
space. How many of the artists in your venue are actual
professional artists? I'll bet very few.
Your business owner may not regard what they are doing
as 'preying on artists', but I'll bet they realize that they have
most of the advantages in this relationship. Now you realize
it, too, and can terminate the agreement in January when
the contract is up. (You can negotiate for better space there,
but that won't improve the balance much.) If you want to
show in a non-pro setting, look around and find one that
suits your work better. Go to business owners with compatible
settings, and suggest it to them. Or work with a more
professional art gallery or craft shop.
It's OK to be a hobbyist. It's great thing to be an amateur, and
make something just for the joy of doing it. But expect to be
treated like an amateur artist, especially if you work with an
amateur gallerist. If you want professional treatment, look to
where the pros are showing, with professional galleries.
Still, $20 is not a lot of money for the lesson learned.
For the future:
If you want to see your work shown well, look and see
how they show similar work before you commit. If they
haven't shown your sort of work, talk to them beforehand.
If they seem unclear, steer clear.
Talk to people who've shown there before. Were they
pleased with their arrangements? Why or why not?
Maybe their displeasures won't apply to your own
situation, but get specifics.
Real galleries don't ask you to pay to be shown. They
get paid by selling the work, through commissions.
Real juried shows often charge just to enter, but they do
all the work. The advertise, and make the art the 'event'.
They are sponsored by real galleries or arts groups,
using proper curatorial practices. If not, stay away.
-Snail
Jamie Yocono on sat 29 nov 08
Mary's post about her gallery experience seems like a fairly common =20
one, at least with many of the artists I've spoke to over the years. =20
An artist once told me he felt like gallery owners were one step up =20
from used car salesmen, and I've certainly met some who fit that =20
description.
And although the commission for Mary's gallery is very low (in return =20
for doing her four hour shift) I still think the gallery owner gets =20
the most out of the relationship. Having a built in inventory is =20
sweet, compared to other retail outlets that have to purchase their =20
inventory.
As a furniture maker, I've experience the real downside to being =20
represented by a gallery. Once, at a gallery opening that I wasn't =20
able to attend, a friend called and told me that one of my tables was =20
being used as a pedestal for another artist's sculpture. And for that =20
same show, I had made a gorgeous lectern desk. Imagine my surprise =20
when I learned that the gallery's sign-in book was placed upon it, =20
right as you walked in the door. People were putting their wine =20
glasses down on it so they could sign in the book. I guess it was a =20
good thing I wasn't able to attend the opening, I'd have lost my mind.
I've gotten much wiser about my gallery arrangements. Now when my work =20
is in a gallery, I add some language into the contract about NOT using =20
my pieces as gallery display pieces. It's very common and entirely =20
frustrating.
I've learned to ask a lot of questions about the display of my pieces, =20
like - who pays for any damage (I have two horror stories about my =20
work being damaged and/or stolen), how they will be displayed, how =20
often it will be dusted, and how quickly payment must arrive after =20
something is purchased. If the gallery owner balks or acts like I'm =20
asking for something extraordinary, I walk away. I think once you've =20
been burned, you're always a lot more cautious the second time around.
Ask a lot of questions! Just my two cents...
Jamie in Vegas
gayle bair on sat 29 nov 08
Mary & Gail,
I had a similar if not more insulting experience with a local gallery.
For a gallery that claims to be supportive of local artists and a non-
profit
the amount of disaffected local artists way out number the number of
locals supported by this gallery.
I decided to look for other venues.... local shows using Mel's 50 mile
radius advice, local shops, and the local farmers market.
Now of course I check out any venue before I approach them. Is my work
compatible with the work in there, the atmosphere ... are sales people
knowledgeable and friendly, how is the work displayed, location of the
store etc.
I do have to say that the one venue that has been the most consistent
is the Farmer's market. It's been a fabulous marketing tool for me.
Yes it's a pita to set up and tear down for a 4 hour show than may be
rainy, cold, windy or sweltering BUT people know my name, recognize me
& buy my work.
I bring an entire set up & display work $7 to $1600. I haven't sold
any of the high end pieces there but
one couple came to our local winter studio tour and bought a $350.
piece they had admired the beginning of the summer at the farmer's
market.
This year my sales are up a bit over last year even though my prices
have gone up. It may be an anomaly as my area has/had more disposable
cash but a lot of my customers have been out of towners. There also
has been concerted effort to support local. I had more repeat business
this past market season, notably from senior citizens buying for their
children and grandchildren!
I am generous with my customers... I give away production pieces to
customers buying more than $100 or gift the child of a good customer
or anyone I think needs a pick-me-up. One customer told me their son
had a stroke I gave them several pieces over a few weeks. They showed
up one Saturday and bought a $125 teapot. But best of all it makes me
feel good to give pieces to people.
So my best advice.... move on & find venues that make you feel
appreciated not demeaned. That said...... I might be willing to be
demeaned were I getting fat checks. As James related," After this, and
regardless of your answer, it is probably best to just move on to the
next opportunity. Or as the kids might rather inelegantly say, "F***
'em!" I could see myself thinking just that ... stepping up to the
teller at the bank with a big fat check and a bigger smile!!!
Gayle Bair- My last big show is next weekend... not sure what to
expect with the economy and market climate. So I prepare for the best
and hope for the same!
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
On Nov 29, 2008, at 7:37 AM, Gail Barnett wrote:
> Mary,
>
> Listen to your gut. I am in a similar situation in Missouri - only
> this happens to be the ONLY gallery in this town. I want to be
> supportive of the community but there comes a time................I
> am looking for other options.
>
> Gail
>
> On Nov 28, 2008, at 7:09 PM, Mary Starosta wrote:
>> snip.
>> I was accepted and had 4 pieces. When I went to the "meet the
>> artist" my
>> pieces were in a corner, no a traffic area, on the lower half of a
>> book
>> shelf,the book shelf was dark brown,2 chairs in front of book shelf
>> so my
>> pieces were behind the chairs, and my mugs were on another book
>> shelf with a
>> card rack in front of them.snip>
>> My question is this, does this happen at some galleries, where your
>> work is
>> treated "less than" other artists? Or do some folks just not know
>> how to
>> display pottery and they are use to only paintings,etc? Is there a
>> politics with galleries and artists? What kind of questions do I
>> need to
>> ask, so I am not treated this way in the future? I felt so
>> disrespected,
>> like my work was unimportant or a bother?
>>
>> Thanks for any and all feed back!
>> Mary Starosta
>> Colorado Potter
>> http://marystarosta.wordpress.com/
>
> Etsy Store - My Studio On The Lake
> http://www.etsy.com/shop.php?user_id=6289268
Mary Starosta on mon 1 dec 08
Thanks so much for posting, the views were eye opening.
Mary
On Fri, Nov 28, 2008 at 6:09 PM, Mary Starosta wrote:
> So here's the details, first time Gallery in small town. Only been open as
> a gallery for 4 months. It's really a business building that hangs art all
> around the hallways. It's juried in so the owner,chooses what pieces he
> likes that you submit. The fee is 20.00 for Nov3-Jan3,2009 Roughly 60
> days. They do charge the 7.5% sales tax and keep 10% of sales. About 30
> artists are chosen and 3-4 pieces each of their work. And you have to do a
> 4 hr shift at the gallery in that time frame.
>
> I was accepted and had 4 pieces. When I went to the "meet the artist" my
> pieces were in a corner, no a traffic area, on the lower half of a book
> shelf,the book shelf was dark brown,2 chairs in front of book shelf so my
> pieces were behind the chairs, and my mugs were on another book shelf with a
> card rack in front of them.
>
> It was a special event, so the cards and rack in front were explained to me
> that there was no room, so they were only temporary. Also, my platters,
> which would look better up were lying flat on the book shelf.
>
> I explained my concerns, as tactfully as possible. When I did my shift
> today, the book shelf had been painted white (30 days later) and it was
> brighter, but they were still lying flat on the shelf.
>
> My question is this, does this happen at some galleries, where your work is
> treated "less than" other artists? Or do some folks just not know how to
> display pottery and they are use to only paintings,etc? Is there a
> politics with galleries and artists? What kind of questions do I need to
> ask, so I am not treated this way in the future? I felt so disrespected,
> like my work was unimportant or a bother?
>
> Thanks for any and all feed back!
> Mary Starosta
> Colorado Potter
> http://marystarosta.wordpress.com/
>
>
>
| |
|
