ZALT@AOL.COM on wed 11 oct 00
Lets look at both sides of the fence.
I believe that there is a need to jury the work.
I don't like it, but I accept the need for some sort of assessment of the
work being shown when I participate in a salon.
There is nothing worse that having a booth beside an inexperienced potter who
tells you one year that the sick pink glaze covering his entire production
was because of a power shortage and the next year he tells you his entire
production of blistered pots were due to poor GB.
Jurying work saves much embarrassment. Quite often unjuried shows have a
rule that states: work that does not meet the standards and quality of the
craft will be not be accepted and his fee will be refunded. This hurts the
artists who after working his butt off to build a kiosk, moving his pots to
the site only to find out when he gets to the door that his work has not yet
reached the standards required.
The fact that the organisation charges a jury fee is to show the accepted
members that they did not pay the cost of those who were refused. For
example. Let us say that there is a show that will accommodate 400 crafts
persons. Let us say the cost to process the jury process is $15.00 and the
basic cost to participate is 400.00. Finally let us say that 1000
craftspersons apply for the show. That would mean the total cost to organise
the salon would be (400 times $400.00) plus (1000 times $15.00) for a final
figure of $175,000.00. Now if we include the cost of jurying in the
administration fee the cost to participate for the 400 accepted members would
be $175,00.00 divided by 400 to equal 437.00 each vice $415.00
To continue.
Another reason a jury fee is levied is to ensure that the person applying for
the salon is a serious; someone who is confident that he can make the sales
necessary to meet his marketing costs.
I have put together many shows where when there was no jury fees, all kinds
of bad craft was submitted, artists did not have sufficient stock to meet the
demands, the booths were poorly designed and artists had absolutely no idea
of how much time they had to give to the show. When they got tired of not
selling they often quit the show early.
The shows where we charged a significant fee drew professional full time
potters who had the necessary qualifications listed on their CVs to meet the
demands of a salon, their inventory was sufficient to give a good display
throughout the entire salon. They were confident that they would do well at
the show and they stayed until the end even when they did not sell. They
knew that the exposure was just as valuable.
I feel that the jury competitions are far more demanding when it comes to
money than the jury shows. But, that is another story.
Again I don't like jury shows even though they protect me. I do however
believe the best jury is my public.
Terrance
Bill and Sylvia Shirley on wed 11 oct 00
Terrance,
When you said, "There is nothing worse that having a booth
beside an inexperienced potter...", I wonder if you meant
that there's nothing worse for YOU, or for the inexperienced
potter? It strikes me that you might not be the pick of the
litter when it comes to fair-booth neighbors either, but for
other reasons.
Maybe it should be left to "your public" to judge you, after
all.
Sylvia
Brad S. Reitz on wed 11 oct 00
Sylvia and others,
My thoughts exactly! Experience is a relative term. There are so many
different avenues to explore with clay, styles of production, and mediums
of expression that there's room in the business for all levels. I've been
next to "experienced" potters who had work I couldn't stand and worried it
reflected poorly on my own. They sold, I sold and hopefully the buyers
were equally as pleased. What is more damaging is the type of "social
elitism" that narrows all of our perspective of quality art.
Brad Reitz - thrilled that it is finally much cooler in Las Vegas and the
pots can dry a little slower!
patrick conrey on wed 11 oct 00
Here is my 2 cents worth -
I know that some shows view the jury fee as another revenue stream versus
covering the cost of doing the jurying! I feel there is a need to
charge a fee to cover costs but some shows flash the greed smile! Also,
if they charge you, you should get some value for the fee. Example, my
wife and I both applied to a show and asked to do a booth sharing as
allowed in their application. My wife was accepted and I did not hear
anything but when I got my cancelled checks, I found that they had cashed
my check. So I called and was told that they would have to check in out
and they would get back to me. A week later, I again called and they
said they would let me know by end of the week. The following week, I
called and was finally told that I was not accepted! When we went to
the show, I asked if I could have my slides back and they said they would
look for them - the last I heard. SO, for my $25, I dad not get much
value. Thery had the responsibility to review my slides and say yea or
nea in a reasonable time and return my slides per their application.
For my second cent, I decry the shows that charge you a fee to apply, a
fee for the booth and then ask(demand) a piece of your work for a silent
auction. That puts you in the position of competing with yourself and if
you put too low a mimimum on the auction card, customers want you to sell
them similar items at that reduced price --- a TOTAL lose lose situation!
ZALT@AOL.COM on fri 13 oct 00
Sylvia;
I knew that I would tick someone off with my thoughts. I am such a cad at
times.
I am sure you feel that I am an egoist. Maybe I am. To state otherwise
would not erase the statement about the inexperienced potter. I still stand
by my statement about being next to an inexperienced potter whose work is,
and perhaps I should have emphasised, not up to the standards required
..
I am simply stating my feelings. I should also add a caveat, and state that
my concern is more with the quality of the production than the aesthetics.
The public has the final say on aesthetics. If the piece looks like somthing
found in a dog run and the public loves it, fine. If it is suppose to be a
functional piece and it is underfired with the potential to leak or weep.
Then I feel the entire profession will pay for the inexperienced persons poor
quality. The public is often unaware of what constitutes a quality piece of
ceramic. They in turn get stuck with a piece of poor quality craft that
leaves a bad taste in their mouth whenever they pass a ceramic booth. Who
knows, maybe yours.
Anyway, experience is relative. I am sure there are other potters who feel
that I am less experienced then they are and that they do not want me next
door. It does not bother me a bit because I know that we have to improve if
we want to succeed and the only way we can improve is to be juried or
critiqued.
The jury process attempts to level the playing field out so that the
experience is common to those participating. It also ensures that there is a
fair balance of crafts that will ensure the success of the show in terms of
variety. In the case where I am less experienced than those applying for the
show, I am sure I will not be selected.
Also remember that experience also extends into the entire spectrem of the
profession and that means calling it for what it is.
And yes, The truth hurts and so does hypocrisy.
Terrance Zalt's Web Page
KLeSueur@AOL.COM on sat 14 oct 00
In a message dated 10/14/00 5:47:12 PM, ZALT@AOL.COM writes:
<< I cannot disagree with you. But I am curious about one thing. What was
the
pricing like?. Was it applicable to your work?.
>>
She had surveyed the show and priced her work comparable to the other potters
in the show. She wasn't selling "cheap".
Kathi LeSueur
KLeSueur@AOL.COM on sat 14 oct 00
In a message dated 10/14/00 4:12:35 AM, ZALT@AOL.COM writes:
<< I still stand by my statement about being next to an inexperienced potter
whose work is, and perhaps I should have emphasized, not up to the standards
required>>
Several years ago I had the "misfortune" to be placed next to an
inexperienced potter at an all clay show. She had a line all day long. I had
the occasional sale. Why? My work was more finished. The weight was more
consistent. The glazing was more professional. The forms were more refined.
But..... she was so excited about working in clay and it showed in her
pieces. Yes, they were less refined. But they had an enthusiasm and vigor
that seems to be lacking in some much of the work by we "professionals".
Believe it or not some customers like the less refined feel of the
inexperienced potter.
<experience is common to those participating. It also ensures that there is a
fair balance of crafts that will ensure the success of the show in terms of
variety. In the case where I am less experienced than those applying for the
show, I am sure I will not be selected.>>
Unfortunately, the jurying process has nothing to do with quality of the
piece. Flaws can be hidden in good slides. The judgement is totally on
aethetics because that is all the jury can see on the slides.
ZALT@AOL.COM on sat 14 oct 00
In a message dated 10/14/00 2:49:22 PM Eastern Daylight Time,
KLeSueur@AOL.COM writes:
<< Several years ago I had the "misfortune" to be placed next to an
inexperienced potter at an all clay show. She had a line all day long. I had
the occasional sale. Why? My work was more finished. The weight was more
consistent. The glazing was more professional. The forms were more refined.
But..... she was so excited about working in clay and it showed in her
pieces. Yes, they were less refined. But they had an enthusiasm and vigor
that seems to be lacking in some much of the work by we "professionals".
Believe it or not some customers like the less refined feel of the
inexperienced potter. >>
I cannot disagree with you. But I am curious about one thing. What was the
pricing like?. Was it applicable to your work?.
Terrance
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