Robin Wolf on sun 30 jan 11
I was honored last week when a friend sent this poem to me. I have found
that spending my time in the pottery, building my business is what makes me
happy. I have tried turning my hand to being one of the uptown artists. I
can't do it. I want to be in my studio, making what pleases me and what
comes from my heart. I'm not comfortable getting gussied up and heading to
town to schmooze with the artists that are comfortable in that setting. I
enjoy going to my choice of shows and talking to customers and interesting
characters that are interested in my work. I have put a pencil to the
situation, and have come to the same mathematical answer that Mel outlined.
Instead of paying for the accolades, I choose to spend my time at the wheel=
,
bettering my skills, knowing that improved talents earn true accolades.
To Be of Use
by Marge Piercy
The people I love the best
jump into work head first
without dallying in the shallows
and swim off with sure strokes almost out of sight.
They seem to become natives of that element,
the black sleek heads of seals
bouncing like half-submerged balls.
I love people who harness themselves, an ox to a heavy cart,
who pull like water buffalo, with massive patience,
who strain in the mud and the muck to move things forward,
who do what has to be done, again and again.
I want to be with people who submerge
in the task, who go into the fields to harvest
and work in a row and pass the bags along,
who are not parlor generals and field deserters
but move in a common rhythm
when the food must come in or the fire be put out.
The work of the world is common as mud.
Botched, it smears the hands, crumbles to dust.
But the thing worth doing well done
has a shape that satisfies, clean and evident.
Greek amphoras for wine or oil,
Hopi vases that held corn, are put in museums
but you know they were made to be used.
The pitcher cries for water to carry
and a person for work that is real.
Robin Wolf
Robin Wolf Pottery
Kingfisher, OK
www.robinwolfpottery.com
mel jacobson on sun 30 jan 11
man, oh man. read steph. right on the head of the nail.
here is a post i have given 5 times, but right up the alley
for those who have not seen/or heard this.
real business.
a few years back while doing my `fake` mfa at the univ of minn..(over
55 you do not take a degree, you study and do all the stuff. even
the one man show, and sell a bunch of paintings....makes them
crazy.)
one evening one of my teachers came to class all excited...`i just
sold a painting from my gallery in new york for ten grand.`
the young students went nuts...held their crotch...`my god,
ten grand`.
i said. `david, do a profit loss on the board.`
he said. `mel, you sure know how to piss on a guys parade.`
so, i did it.
first question, `was the painting sold to a corporation?`
yes.
take off a grand for promotional consideration. (they all do it.)
gallery takes 6 grand. you get 4. no, 3
no, fica. you get 2.5.
no, state and federal taxes. you get 750 bucks.
no, you had to go to new york to meet the client...
oppps, you now have 200 bucks.
no, big painting, linen canvas, golden paint. you now
have $40.00
no, how much did you give wally to help you with the
massive work? answer: `a grand`,
oppsi, you are now in the hole.
(you can do your own quality math on this...it is a metphor.)
but, he is a college professor at a land grant university,
he has to publish or perish...this painting sale went into his
advancement book. will help him get to full prof...but,
he lost money. but, gained prestige. he paid for that
prestige. many do, and have to. no choice. if you are a individual potter=
,
making work etc. do not waste your time wishing for a big sale.
it may cost you, well ,except ego gratification.
when collectors call me, they get the pots for the same price
as a lady down the street in minnetonka...they seem to be shocked.
don't jack up the price for quality buyers. set your prices and keep them.
be pleased that someone of quality wants your work. but, they are the same
as anyone else, and should be respected to get normal pricing.
do you think galleries are in business in new york for the love of
art? the love of artists? why do they call their artists `the stable?`
they are cattle. to make them money. if you do not make money
for them, you are gone in a heart beat. the bigger the gallery, the
more you have to do for them. and new work is a must. get the old work
out of there.
i would love to see a profit loss statement on the `chinese seed project`.
who would make the money? hard to tell. i would not even guess.
but, don't think he put a mil in his pocket. silly. he may have
lost a bundle,
but got a ton of advertisements free. who knows...? he won't tell you.
we loved going to steve tobin's studio last nceca. now there is a guy who =
has
a business plan. he owns his own factory, pays ten employees, has
tons of work, and sells
like a hot dog stand. he knows how to work the galleries, and has his own
strength, and does it. he does not care if you like his work, it is his wo=
rk.
someone buys it...and lots of it. he can look you in the eye and tell you
that he makes work, with passion, and has no problem selling it.
i admire that. not for me, but he thrives on it. it is the big time, but
man, is it hard work.. and, just staying there, even harder work. he must
have a hundred grand or more, just in overhead.
justin beaver, or whatever his name is, what will he be when he is 21?
who will make the money off of him? someone. when he falls out of favor, =
in
the trash heap he goes. and, no one but his mother and justin will give a d=
amn.
i call them `shooting stars`...bang, big scene, and they fall in ten second=
s.
gets really dark.
i prefer plodders. work that covers a life time. quality work, that
gives self
worth, pride in ownership, and you pass on the craft to the next generation=
.
just don't lie to them...fame is a queer thing.
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
alternate: melpots7575@gmail.com
Joseph Herbert on mon 31 jan 11
Mel,
I was wondering what you thought of Warren Mackenzie's struggles to sell hi=
s
work to actual users at his desired prices. I was reading about the rules
at the Northern Clay Center and find the necessity more interesting than th=
e
requirements. Although the requirements and penalties are interesting. I
had thought to drive over to buy something, I am in eastern Wisconsin now,
but the rules may dissuade me. Especially the part about limited numbers o=
f
pots available per day. Have to get there early and that means starting
really early from here. Of course, I am closer than Texas...
It is interesting that fame has so thoroughly disrupted the communication
between that particular potter and his user market, rather than his
collector / profiteer market.
Joe
Joseph Herbert
Training Developer
Lee on mon 31 jan 11
On Sun, Jan 30, 2011 at 10:56 PM, Robin Wolf wrote:
>
> To Be of Use
> by Marge Piercy
Makes me thing of the Tao Te Ching, Chapter 11
translated by Ursula K. Le Guin (1998)
Thirty spokes
meet in the hub.
Where the wheel isn't
is where it's useful.
Hollowed out,
clay makes a pot.
Where the pot's not
is where it's useful.
Cut doors and windows
to make a room.
Where the room isn't,
there's room for you.
So the profit in what is
is in the use of what isn't.
--=3D20
--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/
=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
Birgit Wright on mon 31 jan 11
Yes=3D2C great poem=3D2C it speaks to my heart and my life=3D2C Thank you R=
obin f=3D
or passing it on. I plan on passing it on.=3D20
Birgit Wright
=3D20
> Date: Sun=3D2C 30 Jan 2011 22:56:39 -0600
> From: robinwolf@PLDI.NET
> Subject: Re: business plan/steph/story
> To: Clayart@LSV.CERAMICS.ORG
>=3D20
> I was honored last week when a friend sent this poem to me. I have found
> that spending my time in the pottery=3D2C building my business is what ma=
ke=3D
s me
> happy. I have tried turning my hand to being one of the uptown artists. I
> can't do it. I want to be in my studio=3D2C making what pleases me and wh=
at
> comes from my heart. I'm not comfortable getting gussied up and heading t=
=3D
o
> town to schmooze with the artists that are comfortable in that setting. I
> enjoy going to my choice of shows and talking to customers and interestin=
=3D
g
> characters that are interested in my work. I have put a pencil to the
> situation=3D2C and have come to the same mathematical answer that Mel out=
li=3D
ned.
> Instead of paying for the accolades=3D2C I choose to spend my time at the=
w=3D
heel=3D2C
> bettering my skills=3D2C knowing that improved talents earn true accolade=
s.
>=3D20
>=3D20
>=3D20
> To Be of Use
> by Marge Piercy
>=3D20
> The people I love the best
> jump into work head first
> without dallying in the shallows
> and swim off with sure strokes almost out of sight.
> They seem to become natives of that element=3D2C
> the black sleek heads of seals
> bouncing like half-submerged balls.
>=3D20
> I love people who harness themselves=3D2C an ox to a heavy cart=3D2C
> who pull like water buffalo=3D2C with massive patience=3D2C
> who strain in the mud and the muck to move things forward=3D2C
> who do what has to be done=3D2C again and again.
>=3D20
> I want to be with people who submerge
> in the task=3D2C who go into the fields to harvest
> and work in a row and pass the bags along=3D2C
> who are not parlor generals and field deserters
> but move in a common rhythm
> when the food must come in or the fire be put out.
>=3D20
> The work of the world is common as mud.
> Botched=3D2C it smears the hands=3D2C crumbles to dust.
> But the thing worth doing well done
> has a shape that satisfies=3D2C clean and evident.
> Greek amphoras for wine or oil=3D2C
> Hopi vases that held corn=3D2C are put in museums
> but you know they were made to be used.
> The pitcher cries for water to carry
> and a person for work that is real.
>=3D20
>=3D20
>=3D20
> Robin Wolf
>=3D20
>=3D20
>=3D20
> Robin Wolf Pottery
>=3D20
> Kingfisher=3D2C OK
>=3D20
> www.robinwolfpottery.com
=3D
Robin Wolf on mon 31 jan 11
So the business end of this for me has been to think of other avenues to
find a ready-made customer base that has the disposable income to pay a
reasonable price for my work. That is not always galleries and the standar=
d
art venues. Not everyone that appreciates art actually goes to the
galleries, or craft shows, or art fairs. You might be surprised where you
can find people that appreciate your specific talents.
Being in the Oklahoma City area allows me to take advantage of the very
high-end horse show competitions that OKC hosts several times a year. I
don't do all of the shows, just the best of the best. And, it helps that m=
y
style of pottery blends in well. One show has the majority of their
competitors/owners/trainers that come here from the East Coast. Very
polished and upscale tastes. I did great at that show in my first outing
last year. I actually had a very nice British lady looking at my teapots,
in speaking, she said she also had a website, I asked what she did, she sai=
d
she was a sculptor. When I asked of what she sculpted, her response was
"The Queen". Even I knew that she did not mean Freddie Mercury! Her name
is Angela Conner, and she did The Queen's Official Bust. Pretty amazing to
meet her strolling through the tradeshow in OKC. She has sent me copies of
her books on her portraits and her kinetic sculptures. Her website is
www.angelaconner.co.uk . For the benefit
of the OKC art community, I introduced Angela to 2 of the top OKC art
contacts. She has agreed to come to OKC a few days early next year, to do =
a
lecture for us. The details are still being worked out. You can find art
benefits anywhere. Just be open to new possibilities and opportunities.
I do a total of 3 horse shows in OKC, each one of them is comfortably
profitable for me. My work goes to all points of the U.S. because of these
individuals, and I have work that has even gone to France. They are now
return customers, and it seems that they all have highly varied professiona=
l
lives outside of the horse arena. They can not be pigeon-holed as simply
"horse people", or "cowboys", or even "ranchers". The majority of them are
not. They are doctors, lawyers, singers, producers, car dealers, jewelry
designers, professionals of every industry. During the last week of
November and first week of December, you will hear more languages spoken
while strolling through the Oklahoma State Fairgrounds than you would at
LaGuardia. And each of them is a possible customer for my work.
Last November, I facilitated the joint venture between Oklahoma Art Guild
and the National Reining Horse Association to have a juried exhibition &
sale of Oklahoma art during the NRHA Futurity. The first painting sold eve=
n
before the show was hung, and it went to Germany. Reining in the Arts was
the highest selling show that the Oklahoma Art Guild has had in its 35 year
history. In addition, all types of art sold; Western (of course), but
contemporary, abstract, wood working, fiber, metal, & photography. All
went to good homes from coast to coast, and in Europe. The art show allowe=
d
the artists of Oklahoma to help polish our state image to a very receptive
audience. Everyone benefitted.
In short, if doing the same thing over and over continues to get the same
poor results, try doing something totally different. If gallery and/or art
shows don't work for you, look for ready-made gatherings of customers that
would like your work. Find a way in. Introduce yourself to their world,
learn from them, do good business with them. Share your success with
others, paying it forward will make life better for all of us. If our
friends and families are stronger, each of us is stronger. And a stronger
community is always a good thing.
Robin Wolf
Robin Wolf Pottery
Kingfisher, OK
www.robinwolfpottery.com
"Observe the wonders as they occur around you. Don't claim them. Feel the
artistry moving through and be silent." - Rumi
Bonnie Staffel on mon 31 jan 11
Well said, Mel. I thought I was on the road to fame and fortune back in =3D
the
early 60s when (through referral) got a nice order for my special birds =3D
from
a very big New York gallery. The birds were featured in their window =3D
display
and I got word from friends who visited NYC and heard some diners =3D
talking
about my display while at the next table in one of NY fine eateries. How =
=3D
big
could one get. The head started to swell However, after some time =3D
passed
and reorders came in, but gee, there was no paycheck coming my way. Boy =3D
did
they dance around that and sucker me, was patient. However, it got old
finally and I decided to stop supplying them with my work.=3D20
So from my standpoint, there was no profit, maybe just some prestige, =3D
but
one heck of a lot of distress as we were struggling artists starting our =
=3D
new
venture up north. So lesson learned. Yes, everyone wants my work, but =3D
the
truth is they rip you off by not sending you the check. =3D20
These lessons started to pile up to one big one and when I changed my =3D
rules
I was able to make ripples in my own pond. I started to enjoy the =3D
business
as it was again mine and the customers were personal. So unless one =3D
knows
the accreditation of a gallery outside of your territory, I say stay =3D
where
you can monitor the sales, be there to change into your new work as well =
=3D
as
personal visits so that your work is "up front."=3D20
I guess one really has to suffer these scars if one has no other source =3D
of
information. Where was Clayart, where were computers and the Internet =3D
when
we needed them? Still, I would not change the experience of building our =
=3D
own
reputation by making good work and developing a local clientele who =3D
would
support you. Now with my limited output, my local galleries still want =3D
my
work. But my old customers are growing old along with me. So I will have =
=3D
to
develop a new clientele without the personal interaction I had when I =3D
had my
own studio. That is most difficult.=3D20
It still is a great ride and I wouldn't change my life for anything. =3D
Keeping
up with the young people is my new challenge.=3D20
Thanks for listening.
Bonnie
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council
ivor and olive lewis on tue 1 feb 11
Lee's comment about Ch 11 of Tao-te Ching is interesting.
I have a translation from the 1960's. The factual content remains the same
for the three examples. But the language used to express the concept subtly
changes in the conclusion which is drawn from our experience of the
relationship between void and substance.
It is these distinctions that make clay such a wonderful medium for
expressing space.
Best regards,
Ivor Lewis,
REDHILL,
South Australia
steve graber on tue 1 feb 11
this flows into the classic marketing idea of "know your customer" along wi=
=3D
th =3D0A"who is your customer".=3DA0 =3D0A=3D0A=3D0Ai did craft shows initi=
ally years=3D
ago,=3DA0venues i would never have gone to if i =3D0Awasn't trying to sell=
pot=3D
s.=3DA0 i did poorly i think because people 'like me" also =3D0Adidn't go t=
o th=3D
ose venues either.=3DA0 =3D0A=3D0A=3D0A=3D0A=3DA0Steve Graber, Graber's Pot=
tery, Inc=3D0A=3D
Claremont, California USA=3D0AThe Steve Tool - for awesome texture on pots!=
=3D
=3D0Awww.graberspottery.com steve@graberspottery.com =3D0A=3D0A=3D0AOn Lagu=
na Clay'=3D
s website=3D0Ahttp://www.lagunaclay.com/blogs/ =3D0A=3D0A=3D0A=3D0A=3D0A___=
____________=3D
_________________=3D0AFrom: Robin Wolf =3D0ATo: Clayart=
@LSV=3D
.CERAMICS.ORG=3D0ASent: Mon, January 31, 2011 2:07:02 PM=3D0ASubject: Re: b=
usin=3D
ess plan/steph/story=3D0A=3D0A=3D0A=3D0A=3D0ABeing in the Oklahoma City are=
a allows m=3D
e to take advantage of the very=3D0Ahigh-end horse show competitions that O=
KC=3D
hosts several times a year.=3DA0 I=3D0Adon't do all of the shows, just the=
bes=3D
t of the best.=3DA0 And, it helps that my=3D0Astyle of pottery blends in we=
ll.=3D
=3DA0 One show has the majority of their=3D0Acompetitors/owners/trainers th=
at c=3D
ome here from the East Coast.=3DA0 Very=3D0Apolished and upscale tastes.=3D=
A0 I d=3D
id great at that show in my first outing=3D0Alast year.=3DA0=3D0A=3D0A=3D0A
Tom Gordon on tue 1 feb 11
Robin,
Now THAT is what I would call thinking out of the arena.
We have all kinds of equestrian events here from the Silver Spurs Rodeo to
Grand Prix Dressage and Jumping events all with in an easy few hours drive=
.
Thank you for the idea!
Tom
(in Florida where when water is a solid form it is put in a glass)
Robin Wolf on tue 1 feb 11
Look for the high-end events, look at the vehicles and trailers that the
competitors have. See if there National Champion horses competing. If the
equestrian event is part of any "circuit", where the riders/horses earn
points & money toward the championship or year end competition. You can
usually look for their breed journals online, and see what the breed journa=
l
says about the competition. See how far the competitors travel to get to
the show. I have personally found that the smaller shows do not have the $=
$
people there. But the regional and national shows bring out the big guns
and big purses. Be honest with what you see, think very hard about biting
into this fruit, there is no guarantee of business, and as with all shows,
it could still be a loss.
OKC offers a unique opportunity in the equine field. Most larger metro
areas have some sort of business gathering that they attract outsiders to.
Look at the chamber of commerce and state department of commerce listings,
see what is going on. Talk to your well connected business friends. They
may know of something going on. I just happen to live where the equine
industry does A LOT of business. There will be different opportunities for
each area of the country.
I am a member of "Made in Oklahoma". It is an organization spearheaded by
the OK Dept of Commerce, and Oklahoma State University to promote state
business. The standard membership is no cost, you just have to produce a
product that is "Made in Oklahoma". They offer discounted booth space at
specific tradeshows all across the state. I just finished the OKC Home and
Garden Show. A regular 10x10 booth was over $1000. MIO offered 10x10
booths to MIO vendors for $350. It was a good show. Especially since my
Mom and I share a booth. She does "Suan's Scotch Bonnet Pepper Jelly" (als=
o
Made in OK), and I do the pottery. Sharing a booth makes the cost very
minimal. The show was not a huge success, but I did comfortably well.
Especially since the booth cost was so minimal. I'm not looking for the
$10,000 gross shows that net $1,000. I'm looking for $3,000 gross shows
that net $2,000. Fastest way to make money is to save it. Think outside
the box and find a different way to save more, earn more. But be prepared
to learn through failure on occasion. Just do the homework and research
before hand to try and minimize those "educational" occasions.
Robin Wolf
Robin Wolf Pottery
Kingfisher, OK
405.368.0919
www.robinwolfpottery.com
"Observe the wonders as they occur around you. Don't claim them. Feel the
artistry moving through and be silent." - Rumi
_____
From: OnoUdidn@aol.com [mailto:OnoUdidn@aol.com]
Sent: Tuesday, February 01, 2011 1:56 PM
To: robinwolf@PLDI.NET; Clayart@LSV.CERAMICS.ORG
Subject: Re: business plan/steph/story
Robin,
Now THAT is what I would call thinking out of the arena.
We have all kinds of equestrian events here from the Silver Spurs Rodeo to
Grand Prix Dressage and Jumping events all with in an easy few hours drive.
Thank you for the idea!
Tom
(in Florida where when water is a solid form it is put in a glass)
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