Vince Pitelka on mon 20 mar 06
David Beumee wrote:
"I enjoy your thought about not setting up a venue for selling at a
workshop. I appreciate that comment very much and will consider it carefully
for my upcoming workshops. Perhaps if I'm asked again to bring pots to sell
I'll do it, but otherwise not. I now see that selling could compromise the
integrity of the time together. One thing for sure is that presenting a
workshop is alot of hard work, especially if the potter wants the workshop
to reflect the latest in his or her own development."
David -
I think you are getting the wrong impression. There is no reason at all why
discreetly selling your work at a workshop would compromise the integrity of
the time together in any way. Certainly teaching workshops is a great deal
of hard work, but it's the very best kind of hard work. It is always a
wonderful experience - a concentrated, focused teaching dynamic. I
certainly respect Mel for his sincerity, ability, and commitment, but I am
baffled by his comment about selling work at workshops. The workshop
teacher should never overdo the sales opportunity - that would be a mistake.
"Pushing" your work when teaching workshop would certainly detract from the
teaching, but that would also show very bad judgement. If done discreetly,
setting up a small display of work off to the side adds greatly to the
workshop. I usually do not bring more than a few pieces of work unless the
venue or participants specifically request, but that often happens, and in
those cases the participants are anxious to purchase a piece. And even if
they do not want to purchase a piece, they are always pleased to see the
finished product - to be able to pick up the pieces, handle them, get a feel
for them. It is ALWAYS appropriate to bring examples of your work for
display, and if someone wants to purchase a piece or two, it saves you
having to bring the work back home with you.
Most workshops don't pay much. I love to do them, and I want to keep the
tuition costs down for the participants. So, if the ones who can afford it
want to buy a piece or to, it is a nice supplement to the workshop stipend.
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Wally on tue 21 mar 06
There are many pictures to this saga, but I completely agree with
Vince in this regard.
I never ever felt loosing any kind of integrity by having work for
sale when teaching a workshop.
During my earliest sessions in my home country, I allways brought
along 4 or 5 curverboxes various work, just to show students what
was possible with different variations of techniques.
Never mentionned anything about things for sale, no one ever asked, or
informed about prices, I did not sell one buck in those 5 first
years.....People just don't buy ceramics over here during workshops,
they rather prefer to copy and try to make for themselves afterwards.
Cultural differences I guess...
But when I was preparing my first workshops in USA, for which it was
rather difficult to bring along my "big" work, Organisers really
pushed me to bring along some smaller objects, stating people were
really expecting work on display to be shown and being for sale, and
would even be "seriously offended" if not.
So I made some miniature versions of my standard line of work, which
were eventually sold at prices which made both parties equally happy.
As Vince wrote, there is nothing wrong if sales are announced in a
discreet way, opposed to "pushing one's own sale".
I usually ask organisers to briefly mention the buying opportunity
during the introduction. And they take care of any eventual sales
afterwards, without having me to spend time on this issue, being able
to concentrate on the teaching.
I normally give 40 or 50 % discount on my gallery price, for which my
gallery would kill me if they knew.
I have experienced that people really appreciate to be able to have a
look, touch your work, take pictures, make drawings, regardless if
they are interested or can afford to buy it or not.
In my opinion, freely showing finished work is a primal and essential
part of the teaching process.
As Vince pointed out, workshops in general do not pay much, but I also
LOVE to do them.
Though, from an outsider point of view, the gross income might seem
real abundant, the material expenses can rise quite high, as well as
travel expenses, but some (not all) organisers do take a high margin
as well....
In my case, most of leftover net profit goes to the kerosene of the
airlines, transatlantic and domestic.
Any sales on top of that is indeed a "nice supplement to the workshop
stipend", a nice extra bonus.
It allows me to travel around after the workshop, discover the States,
and have a fancier motel from time to time than those 30 bucks
cockroach places.....
Said all that, I believe that there are some more real trivial but
unspoken absolute "no-go" situations during ceramic workshops.
Have many times been left speachless when hearing some real bad
stories form participants about previous experiences.
Like methodically answering technical throwing questions during a
demonstration with a plain "the answer to that question is in chapter
5 of my video number 3" (videos being for sale of course....) or
pushing to sell their unfinished and unfired demo-greenware for
thousands of dollars.....
Just my 2 neurocents worth.
Wally, Schoten, Belgium
www.wallyasselberghs.be
-- In clayart@yahoogroups.com, Vince Pitelka wrote:
> David -> I think you are getting the wrong impression. There is no
reason at all why discreetly selling your work at a workshop would
compromise the integrity of the time together in any way. Certainly
teaching workshops is a great deal of hard work, but it's the very
best kind of hard work. It is always a wonderful experience - a
concentrated, focused teaching dynamic. I certainly respect Mel for
his sincerity, ability, and commitment, but I am baffled by his
comment about selling work at workshops. The workshop teacher should
never overdo the sales opportunity - that would be a mistake.
"Pushing" your work when teaching workshop would certainly detract
from the teaching, but that would also show very bad judgement. If
done discreetly, setting up a small display of work off to the side
adds greatly to the workshop. I usually do not bring more than a few
pieces of work unless the venue or participants specifically request,
but that often happens, and in those cases the participants are
anxious to purchase a piece. And even if they do not want to purchase
a piece, they are always pleased to see the finished product - to be
able to pick up the pieces, handle them, get a feel for them. It is
ALWAYS appropriate to bring examples of your work for display, and if
someone wants to purchase a piece or two, it saves you having to bring
the work back home with you.
Most workshops don't pay much. I love to do them, and I want to keep
the tuition costs down for the participants. So, if the ones who can
afford it want to buy a piece or to, it is a nice supplement to the
workshop stipend.
> Vince Pitelka
Desert Dragon Pottery on tue 21 mar 06
Hi,
I would like to comment, I have run workshops here in Arizona for many years, through our local guild and now through my own studio and my participants always ask for the workshop artists to bring work to sell, and are disappointed if they are not given the opportunity to purchase work. We don't have the artist do the actual 'selling', so much as set the items up, with prices and allow participants to put a slip of paper with their name in or on it, if interested, then draw names, so there is a more fair chance of someone being able to purchase one. The artist does not do this...the workshop coordinators usually collect the funds and present it to the artist when the workshop is over. I have not seen the 'sale of the work' interrupt or have any bearing on the workshop activities at all, other than occasionally sparking a question to the artist about technique or glaze on a specific piece.
Looking forward to another great workshop year here...had an absolute blast reconnecting at NCECA in Portland, what a wonderful city! It was wonderful seeing you all there and hope to see more of everyone in the coming year.
Yours in clay,
Mishy
Vince Pitelka wrote: David Beumee wrote:
"I enjoy your thought about not setting up a venue for selling at a
workshop. I appreciate that comment very much and will consider it carefully
for my upcoming workshops. Perhaps if I'm asked again to bring pots to sell
I'll do it, but otherwise not. I now see that selling could compromise the
integrity of the time together. One thing for sure is that presenting a
workshop is alot of hard work, especially if the potter wants the workshop
to reflect the latest in his or her own development."
David -
I think you are getting the wrong impression. There is no reason at all why
discreetly selling your work at a workshop would compromise the integrity of
the time together in any way. Certainly teaching workshops is a great deal
of hard work, but it's the very best kind of hard work. It is always a
wonderful experience - a concentrated, focused teaching dynamic. I
certainly respect Mel for his sincerity, ability, and commitment, but I am
baffled by his comment about selling work at workshops. The workshop
teacher should never overdo the sales opportunity - that would be a mistake.
"Pushing" your work when teaching workshop would certainly detract from the
teaching, but that would also show very bad judgement. If done discreetly,
setting up a small display of work off to the side adds greatly to the
workshop. I usually do not bring more than a few pieces of work unless the
venue or participants specifically request, but that often happens, and in
those cases the participants are anxious to purchase a piece. And even if
they do not want to purchase a piece, they are always pleased to see the
finished product - to be able to pick up the pieces, handle them, get a feel
for them. It is ALWAYS appropriate to bring examples of your work for
display, and if someone wants to purchase a piece or two, it saves you
having to bring the work back home with you.
Most workshops don't pay much. I love to do them, and I want to keep the
tuition costs down for the participants. So, if the ones who can afford it
want to buy a piece or to, it is a nice supplement to the workshop stipend.
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
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Candace Young/Norman Czuchra on tue 21 mar 06
From the standpoint of a workshop participant I would be very disappointed
to take a workshop with someone whose work I admire and not have the
opportunity to purchase a piece. Even if the work is out of my budget
range I am able to touch it and I want that experience. It may be the only
time I would be able to see and touch and possibly acquire a piece. There
is nothing like seeing the real thing.
Candace
Candace Young mailto:candace@bayriverpottery.com
Norm Czuchra mailto:norm@bayriverpottery.com
Bay River Pottery www.bayriverpottery.com
107 S. Water Street, P.O. Box 394
Bayboro, NC 28515
252.745.4749
Bonnie Staffel on tue 21 mar 06
When I attend a workshop, it helps a lot to internalize what was being
taught by being able to touch and handle a finished pot made by the
presenter. It is also a memory of the workshop especially if it was a =
good
one. My first purchase of a pot was when Leach spoke at the Toledo =
Museum
many years ago. He had some very nice big pots there but also had small
pots that probably were made by his workers in his studio, however, I =
didn't
know the difference, except the price was within my means at the time. =
I
still cherish my introduction into pottery with these small pots and how
they were made. The whole clay mystic was being bared, little by =
little.
My most recent purchase was from a workshop given by Dick Lehman who =
came to
our area from a grant received by the Jordan River Arts Center. The
workshop had a great attendance because it was free so the attendees
purchased his work with ease. Since we are so far north, we usually =
would
have to travel to southern Michigan to attend workshops. =20
About a year ago, I was asked to give a free talk about my work to some
local people who studied and taught Ikebana flower arranging. I knew =
that
my regular functional work would not apply as I was familiar with the
flower arranging needs from being a long time member of our garden club. =
So
I went through some of my old pots that were tests of some sort for =
glazes
that I found would not sell, but I wanted to make them. I brought these =
and
talked about them in relation to their flower art. At the end, they all
were fighting over these pots. They made my day as well by sending me a
small tree that would grow in my apartment. It is a joy to watch it as =
it
reaches for the ceiling!!!! =20
Tomorrow I will be giving a hands on press mold workshop locally. I =
will
not be taking any pots as I feel it would not be appropriate since the
students are local and they can find my work at my home as well as at =
the
local galleries and annual art fair. I will have my business cards
available though in case any want to see my website. I just want to =
make
this a fun workshop to introduce clay to many who may have never had the
opportunity to do so before. =20
In April I will be demonstrating my Slab and Coil throwing method at the
college in Petoskey. Again, no pots, except maybe an example or two, =
but I
did ask if I could bring my DVD's in case any would want to pursue the
process. =20
So I have followed a pattern to see what would apply, as to whether I =
take
pots to sell or not. =20
Warm regards, here in still sunny by icy cold northern Michigan.
Bonnie Staffel
http://webpages.charter.net/bstaffel/
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council
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