Dale Neese on tue 16 mar 10
>All well and good, but $30 to have one's work reviewed, and shipping
>both ways makes it more than a gamble. I don't join Ponzi schemes
>either, your mileage may vary.
Lately I've been more selective on competitions, Arts and Craft fairs that =
I
submit to just because of the time and costs involved. Working towards a
deadline of submittal, photographing, transferring images to disc, pixels,
packing, shipping, jury fee, plus if your piece(s) sells the gallery retain=
s
40% of the selling price. You may receive your 60% and get to have your own
photo that you submitted parked on the internet on their website and get to
add a line or two on your resume'. Then what? So I already have a resume'
4-5 pages, my own website, and I am not seeking employment with anyone in
the future. I think a good gallery or shop would only need to see examples
of your clay to admit you into their stable of artists rather plunk down a
small journal of a resume dating back to the early 70's. Some prospective
exhibitions now only want for you to submit a one page resume' since some
artist's resumes' are a lot more than 5 pages in length. I mean people
purchase your work not your resume' and they all become a huge binder of
paper at an exhibition if anyone cares to glance through it. By then someon=
e
else has put the red dot on the piece you wanted in the first place.
I do respect galleries because they do provide a local venue for viewing an=
d
selling professional quality work. They can also provide you with obtaining
a great piece of artwork to add to your collection from a respected artist.
I just don't like to pay the rent or go to work for them. What I mean by
this is if you are selling in a gallery or shop and some person wants to
purchase 6 mugs in blue and the shop only has 5 they will call and ask you
to "run another one down to the shop right away". I guess they think we hav=
e
nothing going on so we can hop in the car and make a special delivery 15
miles downtown where there is no free parking. Your mileage may vary too.
Just do the math.
I pick and choose my venues to sell and I sell most everything I make at
fairs. I've been in some fairs for 15 years as a regular participant. I hav=
e
a good customer base that usually purchases my work at these fairs. The
booth fees are reasonable, they are consistently operated to be "artist
friendly" and with what has worked successfully year after year to draw the
crowds in. They do not have a Chili cook-off or rodeo going on at the same
time because people come for the rodeo. At my age now, I really didn't thin=
k
I'd be saying that, but I like fairs that are easily accessible for the
artists. "We have beautiful booth spaces down along the river side", or
"please cooperate when unloading your work (with the other 80 vendors) at
the loading dock." I don't think so. To be sure visit a fair before hand to
scope it out.
I don't believe I'll get started now on the silent auction donation...
"donating your work for a good cause". I know of one print artist that was
getting asked so much that they produced one print edition revealing in it'=
s
subject matter how they felt about donating to "good causes".
Anyway, to each his own.
Dale Tex
"across the alley from the Alamo"
Helotes, Texas USA
www.daleneese.com
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