Nils Lou on wed 15 sep 10
Jon Pacini, who is a neat guy and is a great source of information on
clay bodies at Laguna invited us to send entries to the Woodfire Show
in California. He and his cohort, T Robert, is even neater and are the
jurors. They are not the problem.=3D20
This is an opportunity I'd like to take part in, except I have
a major problem with the cost.=3D20
First, there is the minor cost of photography,=3D20
burning the CD. No biggie.=3D20
IF I am accepted, I have the major expense of=3D20
shipping and insuring, accepted work. Reasonable.=3D20
The Gallery has only a=3D20
50% responsibility for the work while in their possession, takes 40% =3D
commission
(OK) if sold, and, if not sold, I pay and insure the return shipping.=3D20
So, for the privilege of possibly being in a nice show it will cost me, =3D
if=3D20
sold, $30 for the entry fee, and approximately $75 shipping/insured (one =
=3D
way).
$150, if not sold. Total outlay $180!!!
On average, a nice woodfired piece might sell for $300, for example from =
=3D
me
directly.=3D20
If sold in the show, I receive 60% or $180. It costs me $105 to take=3D20
the chance, netting $75.=3D20
I can do as well or better at the local casino.=3D20
The economics do not make sense, and the artists take the ENTIRE =3D
RISK--the galleries
none! Reputable galleries at least pay return shipping on accepted work.
It is designed to promote the gallery, preys on younger artists who =3D
want/need
show experience for their resumes. =3D20
nils lou, professor of art
Linfield College
http://nilslou.blogspot.com
Hank Murrow on wed 15 sep 10
On Sep 15, 2010, at 11:46 AM, jeanette harris wrote:
> You're absolutely right, Nils,
> The same is true of shows and festivals.
>=3D20
> High entry fees, motel stays, transportation and food costs, and
> sometimes commissions on sales has made participating financially
> questionable.
>=3D20
> The only people consistently making money are the promoters. And
> their agenda and financial gain is not usually focused toward the
> artists who are the resource they are using to create the event.
>=3D20
> That said, there are a few artist-run shows presented by arts
> organizations that funnel the profits back into the organization and
> therefore benefit the artists, but they are few.
>=3D20
> The Oregon Potter's Association's annual Showcase is one.
I can verify jeanette's claim. When I participated in the OPA Showcase, =3D
the average 'take by the organization was 20%, the show was very well =3D
run by an all-volunteer crew, bookkeeping was stellar, and the show grew =
=3D
to more than $500,000 over three days.
Another wonderful show ran for ten years in Seattle at the Glen Richards =
=3D
Gallery. Their annual Mingei Show took in over $50,000 among twelve =3D
potters, and the gallery treated its potters exceptionally well. A =3D
catered dinner before the customers came was just one of the treats. We =3D
were ready for the 'stampede' when the doors opened! Perhaps it will be =3D
revived again for NCECA 2012?
Clay Fest in Eugene was a spinoff from Showcase, and it does very well =3D
each year, taking around 20% and hosted by volunteers. I was proud to be =
=3D
the Show Chair the first year it opened.
The Oregon Potters Association took the bull by the horns and stepped =3D
out in faith 25 years ago that a show run by the potters themselves =3D
could benefit everyone. Customers certainly believe that to be so, as =3D
they query the organization beginning in January "When is the Show this =3D
year?" It is usually held right around Mothers' Day.
Cheers, Hank Murrow
www.murrow.biz/hank=3D
jeanette harris on wed 15 sep 10
You're absolutely right, Nils,
The same is true of shows and festivals.
High entry fees, motel stays, transportation and food costs, and
sometimes commissions on sales has made participating financially
questionable.
The only people consistently making money are the promoters. And
their agenda and financial gain is not usually focused toward the
artists who are the resource they are using to create the event.
That said, there are a few artist-run shows presented by arts
organizations that funnel the profits back into the organization and
therefore benefit the artists, but they are few.
The Oregon Potter's Association's annual Showcase is one.
>Jon Pacini, who is a neat guy and is a great source of information on
>clay bodies at Laguna invited us to send entries to the Woodfire Show
>in California. He and his cohort, T Robert, is even neater and are the
>jurors. They are not the problem.
>This is an opportunity I'd like to take part in, except I have
>a major problem with the cost.
>
>First, there is the minor cost of photography,
>burning the CD. No biggie.
>
>IF I am accepted, I have the major expense of
>shipping and insuring, accepted work. Reasonable.
>
>The Gallery has only a
>50% responsibility for the work while in their possession, takes 40%
>commission
>(OK) if sold, and, if not sold, I pay and insure the return shipping.
>
>So, for the privilege of possibly being in a nice show it will cost me, if
>sold, $30 for the entry fee, and approximately $75 shipping/insured (one w=
ay).
>$150, if not sold. Total outlay $180!!!
>On average, a nice woodfired piece might sell for $300, for example from m=
e
>directly.
>
>If sold in the show, I receive 60% or $180. It costs me $105 to take
> the chance, netting $75.
>I can do as well or better at the local casino.
>
>The economics do not make sense, and the artists take the ENTIRE
>RISK--the galleries
>none! Reputable galleries at least pay return shipping on accepted work.
>It is designed to promote the gallery, preys on younger artists who want/n=
eed
>show experience for their resumes.
>
>nils lou, professor of art
>Linfield College
>http://nilslou.blogspot.com
--
Jeanette Harris in Poulsbo WA
http://www.jeanetteharrisblog.blogspot.com
http://fiberneedlethread.blogspot.com/
http://www.washingtonpotters.org/WPA_Gallery.htm
Hank Murrow on wed 15 sep 10
Thanks Nils;
This is what I have always imagined, but never actually added up to =3D
confirm. I usually stop at the $25+ entry fee, which is asking 200+ =3D
people to subsidize the 25 to 40 who are accepted. My urge to gamble =3D
stops right there!
I am tickled that you went to the trouble this morning to flesh out this =
=3D
"opportunity".
And once again, I will wait for an invitation to actually show =3D
somewhere......... not make a wager.
Thanks once again, Hank in Eugene.
On Sep 15, 2010, at 9:04 AM, Nils Lou wrote:
> Jon Pacini, who is a neat guy and is a great source of information on
> clay bodies at Laguna invited us to send entries to the Woodfire Show
> in California. He and his cohort, T Robert, is even neater and are the
> jurors. They are not the problem.=3D20
> This is an opportunity I'd like to take part in, except I have
> a major problem with the cost.=3D20
>=3D20
> First, there is the minor cost of photography,=3D20
> burning the CD. No biggie.=3D20
>=3D20
> IF I am accepted, I have the major expense of=3D20
> shipping and insuring, accepted work. Reasonable.=3D20
>=3D20
> The Gallery has only a=3D20
> 50% responsibility for the work while in their possession, takes 40% =3D
commission
> (OK) if sold, and, if not sold, I pay and insure the return shipping.=3D2=
0=3D
>=3D20
> So, for the privilege of possibly being in a nice show it will cost =3D
me, if=3D20
> sold, $30 for the entry fee, and approximately $75 shipping/insured =3D
(one way).
> $150, if not sold. Total outlay $180!!!
> On average, a nice woodfired piece might sell for $300, for example =3D
from me
> directly.=3D20
>=3D20
> If sold in the show, I receive 60% or $180. It costs me $105 to take=3D20=
=3D
> the chance, netting $75.=3D20
> I can do as well or better at the local casino.=3D20
>=3D20
> The economics do not make sense, and the artists take the ENTIRE =3D
RISK--the galleries
> none! Reputable galleries at least pay return shipping on accepted =3D
work.
> It is designed to promote the gallery, preys on younger artists who =3D
want/need
> show experience for their resumes. =3D20
>=3D20
> nils lou, professor of art
> Linfield College
> http://nilslou.blogspot.com
Jon Pacini on thu 16 sep 10
Hi Nils---Thanks for the kind words about T. Robert and I, especially T, =
=3D
she
deserves it.
=3D20
I can't really talk to the costs of running an Exhibition of any kind, =3D
I've
never been a gallery owner or organizer of craft fairs, though I have =3D
spent
plenty of money sending my work to Exhibitions and plenty on craft fairs =
=3D
as
well---sometimes getting a good return and sometimes not.
=3D20
What I can say is the organizer of the Woodfire Classic and owner of =3D
Muddy's
is Kevin Myers, a prolific potter and Instructor at Orange Coast =3D
College, El
Camino College and UCLA. I don't think he's in it for the money. For as =3D
long
as I have known Kevin it seems to me he's involved in Ceramics because =3D
he
lives it and loves it. I believe his intent is to give an opportunity to
Artists and Crafts persons to Exhibit their work in an environment =3D
conducive
to making not only one sale ---but future sales.
=3D20
I know you've been around the block Nils, as has Hank, but to the best =3D
of my
knowledge being in an Exhibition is not really about selling the one pot =
=3D
you
send ---though it's always nice to sell one--- but rather to get your =3D
work
out into the world so other people will see it. People who are not in =3D
your
local area, particularly Collectors and Gallery owners. These are they =3D
type
of people that frequent Ceramic Exhibitions, they are in fact, the type =3D
of
people who are sent out invitations to the various Exhibitions at =3D
Muddy's. =3D20
=3D20
To me that has always been the point of Exhibitions, to get your work in
front of people who aren't afraid to spend a buck on Art and Fine Craft. =
=3D
If
you want to sell cups and bowls to locals or tourists, you do the local
craft fair or sell to a local shop or gallery. And I'm not talking down =3D
to
that pursuit, I've done it for plenty of years and will continue to do =3D
it.
But in order to get your work out in the world, you need to send it out =3D
in
the world, and participating in Exhibitions is part of that.=3D20
=3D20
Last year we had the likes of Fred Olsen and Pete and Chrissie Callas
exhibit work in the Woodfire Classic, Julia Nema sent work from Hungary. =
=3D
Why
was it worth it??? Because they realize that Orange County is a very
affluent part of Southern California and that there are many Galleries =3D
and
Collectors there. Collectors who will not only buy one piece of work but =
=3D
may
purchase more in the future and Gallery owners who will carry a line of =3D
work
in their galleries.
=3D20
Now maybe you just didn't consider that part of the equation when you =3D
wrote
your comments on costs or maybe because you have enough Collectors and
Galleries already handling your work it just doesn't seem worth it to
participate----but exposure is certainly part of the point of being =3D
involved
in Exhibitions that needs to be considered besides just the initial =3D
costs.
=3D20
All the best----
Jon Pacini
Woodfire potter, Exhibition juror and general nuisance
=3D20
=3D20
Rimas VisGirda on fri 17 sep 10
Hi Nils, your analysis for competitive shows is pretty accurate, except I t=
hink your cost figures might be skewed, at least in my case.
Photography, I take my own and as you say the cost is negligible. Including=
burning of a CD, the cost of a camera, cost of internet service, and don't=
forget the cost of the computer itself. But all that stuff is also used fo=
r other purposes so yes, does become negligible
Entry fee, that's a given, $25-30
Shipping and insurance, I don't make big (heavy) work anymore and my shippi=
ng costs anywhere in the USA are usually $10-20 (FedEx Ground). I have lear=
ned to pack my work over the years such that nothing breaks anymore, unless=
a truck runs over the package... So I don't insure when I ship
So MY total cost, including return shipping (if applicable) is around $65 v=
ersus your $180... My work that I would ship to a show ranges between $500 =
and $1500... But it very rarely sells and I don't ever count on that. So wh=
y do I enter competitive shows, which I still do on occasion? I suppose it'=
s to get my work into the mix.
Some time ago all competitive shows and galleries paid return shipping. I d=
on't remember when that started to change -maybe 10 years ago? At that time=
I stopped entering shows that didn't pay return shipping. But now it seems=
like all competitive shows require both ways. So why do I still enter? Aga=
in it's because I want my work to get into the mix; I choose my venues fair=
ly carefully. I want my work to be shown someplace where it will be seen, n=
ot some small gallery in an obscure town that caters to local clientele. So=
me shows I enter out of habit and allegiance, NCECA National (where I don't=
get in any more), San Angelo, Cone Box. As I look at work that is being pr=
oduced and shown currently, I find the quality and slickness of the work to=
be amazing. My work is old school and rough in ways that I feel needs to b=
e shown in comparison to the perfection in contemporary work...
It's interesting that you cited the wood fire show in your analysis, as I s=
aw the posting and am inclined to enter. I used to do wood fire in the earl=
y years and have been on a hiatus since the 70's. In 1993-94 I taught for P=
hil Cornelius and fired some charcoal fired work. It was OK, nice flashings=
, melts, etc but at the time I had no use for it so it sat on a shelf in my=
studio for years. About 5 years ago, in a momentary mental lapse I slapped=
some c/018 technology on some and fired. To my surprise the 018 temperatur=
e did not affect the charcoal effects. So 2-3 years ago I took a pre-NCECA =
woodfire workshop and embellished the fired work with overglazes, decals an=
d lusters. Most of the work went to a couple of shows I had in Taipei and S=
hanghai so I don't have much kicking around the studio. I don't need a line=
for my resume, I'm not hoping the work will sell, I'm just interested to g=
et it into the mix -if it is accepted which I'm not sure is a
given...
Just want you to know that I agree with your assessment, but it may not app=
ly to everyone. Regards, -Rimas
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