I, as well as others (I am sure), am looking at 2010 shows. In my searching, I am curious to know from others what are some important factors that will make or break your decision in doing a show?
Attendance numbers? Can we effectively gage attendance numbers from 2007-2009 for 2010 shows? I have been to shows with thousands of patrons however, not many of them buying - does this sit in the back of your mind too?
Ease of set up?Cost? Do more costly shows = good sales? Do you do a mix of high and low ends shows?
Distance? Is it better to do more local shows and save money on expenses or draw a larger radius and attend higher quality shows with the idea of having higher average sales?
Juried. With several artists unhappy about how some art fairs are being juried, is it still better to apply to juried fairs? What makes one juried fair better than others.
Type of Show? Are themed events more appealing than non themed ones say food festivals or history themed fairs (say shaker or renaissance festivals) ? Does it matter to you if a show is a big show or not - say have about 50 exhibitors or is something with 250 exhibitors better?
Am I missing something? Please add your two cents. All of these factors are swimming in my head and each year my vision changes where I find a better target market audience or try new shows, some with cheaper booth fees. Please share your thoughts!
Michelle
By the Bay Botanicals
www.bythebaybotanicals.comwww.quickcraftartisttips.blogspot.com
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You always have great discussion topics Michelle!
I begin with scheduling. I mark up my calendar with my favorite and profitable past years shows and assemble those applications in order of deadlines. That number is around 12 to 15 and I typically qualify for those each year.
During the prior year, when I come across a show I have not previously attended and hear good things about that show, via this forum, Sunshine Artists, word of mouth from artist friends etc. I compile that list and in Dec/Jan and sort those into location groups, picking first those along the Great Lakes (my focus is G.L. nautical & nature).
I then research those shows again to get specifics on:
- Location
- Type of show - prefer Juried Fine Art only events with no b/s.
- Promoter & Statistics (attendance, type of show etc)
- How that show works with my established schedule - ie: If out of my home area (typical for me) is the show's proximity near the previous or following show - this limits my travel expense & time factors. It also gives me the weekday travel time to obtain additional images for new artwork.
Someplace within the above I look at ease of setup, space allotment etc. However, if it is in the right location and the other statistics indicate it will be a good show for me - I overlook what may be a grueling setup etc. I'm not too hung up on listed prior years sales or projected sales number as that is so subjective pertaining to the artists surveyed. If I have picked the right venue - my sales numbers are there - pending weather problems etc.
This system typically fills my schedule so I have a show nearly every weekend from April through the end of September. With this schedule, I need Nov thru Feb to work up and prepare art for the next year's schedule, although one of these years, I need to explore shows to do in the winter :-).
---just catching up on this thread, and new to this forum. Interesting discussion, and understand what's being said all around. This is my first year doing shows, and I am searching for those good shows, as I've found out you cannot necessarily rely on published reviews, although you read them all and make your best choices. What works for one artist will not mean a whole lot for another. I've had many artists tell me that this is the worst year I could have picked to go into this business, and the business is hurting, I might as well give up.. well Ive done quite well, and better than expected in some markets, and poorly in others that were suppose to be good. Crowds do not mean great sales unless you have low price points, and impulse buying prevails. Qualified art buyers, paying entrance fees, established shows with customer loyalty has worked best for me.
I choose to travel cross country to do Sausalito, the #1 show in AFSB, high booth fees, heavy on expenses, I did well, it worked. It was a gamble, but just because it worked for me does not mean it will for another artist, it comes down to the work, not only the show. Couple artists next to me sold little. On the return, I did the Plaza in KC, highly ranked as well, did poorly. Others did well, I'm sure, however, I did not see a lot of the 300,000 people at KC walking around with art in their arms... you cannot even get into your booth there are so many people, they look at every picture in your bin, and walk out.. not saying a word. It's a huge party. Is it the work, the price point.. I continually have folks holding prints in their hands and asking how much and then put it down and leave. How do you sell a print for $50 just because it's small and then get $1700 for the same print, framed large?
Of the last 12 shows I've done since summer, I've done better than the folks around me in many cases, and in others I zeroed, or fared just making expenses.. where others with lower price points do fine, or good! If I went by reviews I'd be misled. Talking to other artists at shows is the best way to get your information, but you need to judge your work against who you are asking.. Demographics! and how does your work fit.. I do look at forums like Larry's and this one, read Sunshine Mag, have afsb's, but I talk to artists around me, make friends, and walk the show to see what people are looking at, and notice what people are interested in when they come into my booth. I do feel that sharing is part of the business, I've been a commercial photographer all my life, 30 years, and guarding secrets in the trade never made any difference in the end. What we really need at shows is quality work, so the level is elevated, price points go up, and the low end price points go away, that's what really hurts profitable show outcomes.. a customer loves your work, but sees other work down the line (they dont like) but for a third of your price, and does not understand it.. So, yes, I'll tell other photographers about my success and failures, and experiences, but also do consider that I could be hurting myself by spreading that word.. I'm not so sure it does make a difference, since we all have such uniquely different work to offer. In the markets I'm searching for, people expect to pay for quality work, and it does exclude many buyers, I find it hard to appeal to everyone, and I know that goes against the tide for many art show artists.. who try to appeal to a broader base.
Ron Mellott said:
Morning Michelle.
I think you are mistaken a bit on this comment Michelle. I think artists share such in-depth information with people they are close friends with .... because they are friends and want to see their friends do well also. Also because it is always a reciprocal sharing of information and perhaps often, as Chris wrote, a closed group of people. Artists often do not share it with others not because they are concerned necessarily with "lesser artists" taking sales away although yes, at times, with the insanity of the current jury model that shows use, yes, that might be the conclusion.
Rather, we compete first and foremost for a SPOT in the show, a booth space, that piece of turf or pavement or indoor floor space that the public will hopefully (assuming we don't have a dead spot!) walk by. And to get to that booth space, we have to go through a "blind" (and often stupid, disassociated, nonsensical, mystical) jury process. So an artist spreading the word about how good a show is only induces more people to apply for those same spaces. So if an artist does well at that show, and next year applications go up 200% because they told the artist community the show was great ..... are you or any artist okay with that? Especially if the public liked your work (i.e., bought it in large quantities!) .... only the jurors didn't care as much for your work the next year as some of the new people that applied because that artist put out the word that for them, the show was good. Are you okay with that outcome?
At the risk of being redundant, it seems the target should be the public, not the jury. So, in an instance where the artist that spread the word is juried out, were they just bested by better artists that will sell as well? If they went and saw who got in instead of them, would they not possibly conclude "how did THEY get in with THAT work and THAT presentation and I didn't???" Not to mention that other factor that it just may be your market, that it is your demographics and they just love YOUR work? And equally as poignant: if they rely on their show income to live, how do they replace that income? How many other shows do they need to not just apply to but perhaps do?
I think the fact that over the past 10 years that both the Sunshine Artist and AFSB have seen dramatic declines in the number of people willing to file show information indicates that most artists probably agree with this assessment. I know of no artists that file those cards unless they have a bad experience at a show and wish to share that information with other artists or wish to help out a new promoter that does well or an established promoter starting a new show. In both those instances, artists are typically reinvited out of loyalty and "thanks" by the promoter, so their spots at least that next year are usually not in jeopardy. Otherwise, they do not file those cards and show reviews for that very reason: if they do art shows for their entire or a significant portion of their income, they cannot afford to lose their place in shows that work well for them by broadcasting that information to the show world and thereby actively working to increase the number of people applying to that show. Especially in this economy, that could and often is self-destructive.
Lastly, promoters may say we are being silly and overreacting, that we should more freely share this information ... although, they thrive on increases in show applications now, don't they? So, do they not have a very vested interest in seeing information about their shows that portray them in a good light disseminated? Especially in this economy?
Chis Hoyts response listing 6 show promoters was very helpful. Since I am on the west coast I am wondering if anyone can recommend good promoters out here (California, Arizona Nevada)
As Michelle said, we're getting off track. There are good friends of mine who are full timers as well as either part timers or has a spouse with a "real" job. Once the show starts, all of us are equal. Full timer, part timer, weekend warrior, etc means absolutely nothing.
I look at the promoters first and foremost. I look at whether or not the show or promoter has a long history. If the show or promoter has been around for more than 10 years, You can take it to the bank there's a reason.
As I said previously, I work with as few promoters as possible. So here's my list.
There's 35 shows I do with 6 promoters. Some shows were fantastic this year and some were far from good. The economy and weather play a major role in shows. I did one show in Flemington, NJ recently and it RAINED! There were two nor'easters coming up the coast that weekend. And yes, there was some mud to deal with. If this were my first time at that show I would be saying not to do it. But again, I know the promoter's track record, and as soon as I got the contracts for '10 I signed up to do it again.
Country Folk Art, is notorious for B/S! But as I have said many times here and on other boards, I will compete with it! And I am successful doing just that. I learned long ago that whining about who's next to me will do no good. And I guess that by doing CFA shows I learned from the real professional exhibitors what shows are all about. And how to do them
I have called Castleberry Fairs the "Class act of New England" for many years. They were starting to allow B/S into the shows, but last year kicked it all out. Some vendors had been with them for years. The customers are coming back. And I like doing shows in New Hampshire where there's no sales tax or income tax. The people have more of their own money to spend.
The Chester Craft show is one I first did in 1984. It's in a nice Revolutionary War era town and the customers always show up.
Craftproducers is also a great promoter. They have a two tier type of show schedule. One is fine art and fine craft only, and the other is traditional arts and crafts. The best show they do (Manchester, VT) is less than 10 minutes from my house, but alas, I am in the "traditional" catagory.
Northeast Show Promotions is my Flower show promoter. I'll set up right next to sunrooms. No problems.
Vermont Craftworkers is another promoter that I do shows with every year. They can run hot and cold, but I always make money, so they will stay on my list.
So boys and girls, here are 6 promoters, when combined, can give an exhibitor the opportunity to make a six figure income. And every show I do with with these promoters is less than six hours from my home.
Maybe that's why I have trouble reading about exhibitors traveling 1200 miles just to do some shows. Not me!
To be brutally honest, I sign up for shows to sell my work, plain and simple. I love making what I sell and love selling what I make. The million dollar question - for all - is narrowing down the selection of hundreds of thousands of shows to choose from. This is why I posted this question - how do "you" determine what shows you plan on signing up to for next year. With some having issues with buy/sell and refuse to do those types of events while others will be happy to do any show where there are paying customers, it really amazes me how there is such a large range of "I want xyz, not abc."
Although a few people have touched on the subject of this post, I feel going off on tangents of who is better than whom - full timers vs. hobbyists, it is getting off topic. Don't get me wrong it would make for a great separate topic to have a fun discussion about.... If we can collectively, as craft artists, help simplify what the basic needs are for us to succeed, then perhaps this info can get back to the many show promoters we support and they too can simplify which can help themselves too. Does this make sense?
As it is I am seeing way too many shows going on every weekend and having a hard time sifting through the muck to get to the... how does Nels put it - the meat and potatoes? I do understand that each person (with their mediums as well) have differing opinions regarding the characteristics to having a great show, the more who participate, the more it can help others say in their situation, area, etc.
I am new to this business - finishing year 1 - but I am full time. Everyone starts out somewhere and the first years are the hardest and this has been a hard year for me with initial costs and random show choices and even with a small pension times are tough if I don't make over my booth rent whether it is due to the economy or other reasons. I hope to make better show choices next year as well as making a more affordable product. What I have been running into is part time crafters who are pricing their jewelry without a profit - i.e. all they want to make is the cost of the materials so they can keep making jewelry. I need to have a profit margin to pay my bills. I can't compete against selling at cost - they're not buy/sell - just hobbyist. I have no hard feelings about them selling if they would do so at a reasonable profit.
Ron Mellott said:
Deb:
regarding your comment: "One thing that puzzles me is the artisan that divides us into two groups, the full time artisan and the others. What difference does this make? We are all out there to sell."
There is a huge difference between those that do art shows full time, for their living, for which the money they make needs to for pay for all their expenses in life, and those that do it part-time, as a hobby, or to test the waters to see if they want to do it more seriously. It is not meant as a degradation of character or personal assassination of newbies, part-timers, hobbyists ... or to exalt full-time artists. Someday, perhaps, if you do this full-time, you will see the difference. Since we all started out as newbies .... we've seen life and these issues from that perspective. None of us arrived fully-formed. Until you do this full-time, you haven't seen these issues and the consequence of these issues on people lives yet from this perspective.
Think about it Deb .... if you are a part-timer, hobbyist, a "newbie" and do a bad show and go home to a job, or your mate that has a job, where your health insurance is paid by your job or your mates, other expenses are covered, the show is not critical to your survival, then having a bad show or being juried out of a show you do well at is not that painful. And if it is a local show and you sleep in your own bed and don't travel far ... same thing, not nearly as painful except perhaps to one's ego.
Whereas .... if such shows provide your sole ability to pay your health insurance, or booth fees for show 3 months down the road are riding on how you do .... gas and lodging at your next show, materials and supplies to continue producing your artwork, your rent or mortgage, if you have children or pets whatever they need ... a bad show or being juried out of a show that is good for you takes on a whole new dimension. Or showing up at a show after traveling 1200 miles and having travel costs, wear-and-tear on your vehicle, food and lodging costs, and having a bad show .... it is often a painful financial loss.
Overly sharing or broadcasting information on what shows are good for you to others, besides as Chris points out to close personal friends, and not forgetting that perhaps that information may be irrelevant to others, becomes completely counterproductive when you get juried out of your good shows. If you read all the writing by so many on this site regarding shows and juries, it is hard to see how anyone can conclude the jury process really assesses what is "good", or what the public may like .... rather than reflects the personal biases of the jurors involved. So concluding "well, maybe you full-timers just need to produce better work" is, as Perry Mason used to say, "irrelevant, incompetent, and immaterial". It is not a case of a newbie's work being better because they got juried in and a full-time artists did not, NOR IS THE REVERSE TRUE. That is not even the issue.
The issue is purely economics. What happens when an artist relies on that income to subsist, exist, or thrive and sharing that information leads to reduced success in getting into the very shows on which they depend for their income. Where is the wisdom of that? Let me end by asking: in what other businesses do we see successful business share the very secrets that make them successful in finding and keeping their markets, let alone what those markets are? Unless, of course, they are writing (and selling) those secrets to make more money because they are transitioning out of those markets into selling their secrets?
regarding your comment: "One thing that puzzles me is the artisan that divides us into two groups, the full time artisan and the others. What difference does this make? We are all out there to sell."
There is a huge difference between those that do art shows full time, for their living, for which the money they make needs to for pay for all their expenses in life, and those that do it part-time, as a hobby, or to test the waters to see if they want to do it more seriously. It is not meant as a degradation of character or personal assassination of newbies, part-timers, hobbyists ... or to exalt full-time artists. Someday, perhaps, if you do this full-time, you will see the difference. Since we all started out as newbies .... we've seen life and these issues from that perspective. None of us arrived fully-formed. Until you do this full-time, you haven't seen these issues and the consequence of these issues on people lives yet from this perspective.
Think about it Deb .... if you are a part-timer, hobbyist, a "newbie" and do a bad show and go home to a job, or your mate that has a job, where your health insurance is paid by your job or your mates, other expenses are covered, the show is not critical to your survival, then having a bad show or being juried out of a show you do well at is not that painful. And if it is a local show and you sleep in your own bed and don't travel far ... same thing, not nearly as painful except perhaps to one's ego.
Whereas .... if such shows provide your sole ability to pay your health insurance, or booth fees for show 3 months down the road are riding on how you do .... gas and lodging at your next show, materials and supplies to continue producing your artwork, your rent or mortgage, if you have children or pets whatever they need ... a bad show or being juried out of a show that is good for you takes on a whole new dimension. Or showing up at a show after traveling 1200 miles and having travel costs, wear-and-tear on your vehicle, food and lodging costs, and having a bad show .... it is often a painful financial loss.
Overly sharing or broadcasting information on what shows are good for you to others, besides as Chris points out to close personal friends, and not forgetting that perhaps that information may be irrelevant to others, becomes completely counterproductive when you get juried out of your good shows. If you read all the writing by so many on this site regarding shows and juries, it is hard to see how anyone can conclude the jury process really assesses what is "good", or what the public may like .... rather than reflects the personal biases of the jurors involved. So concluding "well, maybe you full-timers just need to produce better work" is, as Perry Mason used to say, "irrelevant, incompetent, and immaterial". It is not a case of a newbie's work being better because they got juried in and a full-time artists did not, NOR IS THE REVERSE TRUE. That is not even the issue.
The issue is purely economics. What happens when an artist relies on that income to subsist, exist, or thrive and sharing that information leads to reduced success in getting into the very shows on which they depend for their income. Where is the wisdom of that? Let me end by asking: in what other businesses do we see successful business share the very secrets that make them successful in finding and keeping their markets, let alone what those markets are? Unless, of course, they are writing (and selling) those secrets to make more money because they are transitioning out of those markets into selling their secrets?
I do not have the years of experience doing shows that many of you seem to have. I am just finishing my fourth year, but I do know how to do my research and I consider all my shows carefully. I look at regional publications (like Midwest Art Fairs), lists of art fairs put out by state Arts Boards (several upper Midwest states have them), Sunshine Artist publications, AFSB, Crafts Report, and probably other sources I can't think of right now. I apply to juried shows large and small, competitive and not, and also do some indoor craft shows (Huffman Productions), although I'm becoming convinced I don't belong at the latter shows. I generally try to make sure that my work (the photos of such, anyway) seem to be a match with prior artists by looking on the show websites. This is a great help to me! I have a few shows that have already become "regular" for me, and I am still trying new ones to see where I fit in.
I love extended road trips and attempt every year to put together a circuit or two. This didn't work out well this year; I was trying to head west into CO, WY, ID, OR and only made it to CO! This year I am trying to get into shows in FL, AL, and TX for March. So far I have one Yes and two No. Sigh.
As I think about it, I do not really rely on any specific statistic and none of them seem to have much correlation with actual sales or how much I enjoy - or despise - a show. I have been to tiny town festival shows with an attendance of 3000 and a booth fee of $175 and made $3000 and I've been to shows with 10s of thousands and $500 booth fee and made the same amount. Shows with super-easy set up and where they FEED YOU certainly rank higher, in my book, even if sales are mediocre. These shows are just easy and pleasant; they make up for the horrid, please-put-me-out-of-my-misery shows!
I'm sure I have more to say, but that is it for now.
After all these years youn should have a pretty good idea on where to apply. I have a mixed approach . I do the high end show and do well. And I do the low end shows and do well aswel. You have to know what to expect. I have a very brought mix of art. I take the right one for particular reasons. Some shows nude because it sells well on other i would not do that because I informed with other artists. What I sell well in Vegas does not go in Illinois. Colorado loves another style. A show I never did before I give it a try on a feeling. When it didn't work at least I had the feel what could work and try the following year. Most of the time it works. But good sales do not equal the next year. It is rare that a custumor buys more than one artwork from you ar it is a collector. I have only one who has nineteen works of me. I wonder how far that will continue but do not rely on that. Create and try to get better everyu time show change that means evolution it served for thiose who did not buy in the past and could do now. As for many the economy played a role. To me it was my best year ever.
Look out for artfairs where the moto is known that only the promoter makes money and not the artists.
When you decide to be on an artfair where there are bands playing with consumption of alcohol you better stay home. People want a good time not buying art.
Regards
Zaki
The topic of choosing shows comes up quite often. There is no magic formula, or maybe the the "show hoarders" think they know something we don't know. I like the way we can talk about shows and trust the information. One thing that puzzles me is the artisan that divides us into two groups, the full time artisan and the others. What difference does this make? We are all out there to sell.
We will be at Chester. Maybe we'll see you before then.
Deb
Chris Hoyt said:
Hi Deb!
I guess some don't understand the friendships we develop over the years. You and I have shared show information. We have similar expectations and wants in a show.
Doing many shows with few promoters enables us to develop those friendships. "Hoarding" info just isn't done with us. We talk about good promoters as well as bad ones. But we also talk about sales numbers! Confident, self assured exhibitors are not afraid of someone they know doing the same shows.
Deb, I know you can attest to this. We have become like a family. We all know each other and are comfortable with each other. And when you do shows for a living, and you know at least 10 or so exhibitors at the shows, it becomes a whole lot easier to do those shows!
Would anybody believe we actually refer customers to each other? One makes wreath hangers, and another makes wreathes! One has artisan vinegars, and another has bottle toppers. Another exhibitor has hand carved signs, and another makes sign hangers. For us anyway, it works. Right?
By the way, look into Flemington. They're doing a good job, especially the spring show. 10x10 is $400, but it's worth it. A number of "the gang" will be there as well as Chester. And nobody's doing what you're doing.
Replies
I begin with scheduling. I mark up my calendar with my favorite and profitable past years shows and assemble those applications in order of deadlines. That number is around 12 to 15 and I typically qualify for those each year.
During the prior year, when I come across a show I have not previously attended and hear good things about that show, via this forum, Sunshine Artists, word of mouth from artist friends etc. I compile that list and in Dec/Jan and sort those into location groups, picking first those along the Great Lakes (my focus is G.L. nautical & nature).
I then research those shows again to get specifics on:
- Location
- Type of show - prefer Juried Fine Art only events with no b/s.
- Promoter & Statistics (attendance, type of show etc)
- How that show works with my established schedule - ie: If out of my home area (typical for me) is the show's proximity near the previous or following show - this limits my travel expense & time factors. It also gives me the weekday travel time to obtain additional images for new artwork.
Someplace within the above I look at ease of setup, space allotment etc. However, if it is in the right location and the other statistics indicate it will be a good show for me - I overlook what may be a grueling setup etc. I'm not too hung up on listed prior years sales or projected sales number as that is so subjective pertaining to the artists surveyed. If I have picked the right venue - my sales numbers are there - pending weather problems etc.
This system typically fills my schedule so I have a show nearly every weekend from April through the end of September. With this schedule, I need Nov thru Feb to work up and prepare art for the next year's schedule, although one of these years, I need to explore shows to do in the winter :-).
I choose to travel cross country to do Sausalito, the #1 show in AFSB, high booth fees, heavy on expenses, I did well, it worked. It was a gamble, but just because it worked for me does not mean it will for another artist, it comes down to the work, not only the show. Couple artists next to me sold little. On the return, I did the Plaza in KC, highly ranked as well, did poorly. Others did well, I'm sure, however, I did not see a lot of the 300,000 people at KC walking around with art in their arms... you cannot even get into your booth there are so many people, they look at every picture in your bin, and walk out.. not saying a word. It's a huge party. Is it the work, the price point.. I continually have folks holding prints in their hands and asking how much and then put it down and leave. How do you sell a print for $50 just because it's small and then get $1700 for the same print, framed large?
Of the last 12 shows I've done since summer, I've done better than the folks around me in many cases, and in others I zeroed, or fared just making expenses.. where others with lower price points do fine, or good! If I went by reviews I'd be misled. Talking to other artists at shows is the best way to get your information, but you need to judge your work against who you are asking.. Demographics! and how does your work fit.. I do look at forums like Larry's and this one, read Sunshine Mag, have afsb's, but I talk to artists around me, make friends, and walk the show to see what people are looking at, and notice what people are interested in when they come into my booth. I do feel that sharing is part of the business, I've been a commercial photographer all my life, 30 years, and guarding secrets in the trade never made any difference in the end. What we really need at shows is quality work, so the level is elevated, price points go up, and the low end price points go away, that's what really hurts profitable show outcomes.. a customer loves your work, but sees other work down the line (they dont like) but for a third of your price, and does not understand it.. So, yes, I'll tell other photographers about my success and failures, and experiences, but also do consider that I could be hurting myself by spreading that word.. I'm not so sure it does make a difference, since we all have such uniquely different work to offer. In the markets I'm searching for, people expect to pay for quality work, and it does exclude many buyers, I find it hard to appeal to everyone, and I know that goes against the tide for many art show artists.. who try to appeal to a broader base.
Ron Mellott said:
I look at the promoters first and foremost. I look at whether or not the show or promoter has a long history. If the show or promoter has been around for more than 10 years, You can take it to the bank there's a reason.
As I said previously, I work with as few promoters as possible. So here's my list.
Castleberry Fairs www.castleberryfairs.com I did 15 shows with them in '09
Country Folk Art. www.countryfolkart.com I did 10 shows with them in '09
Craftproducers www.craftproducers.com I did 4 shows with them in '09
Northeast Show Promotions www.northeastshowpro.com I did 2 shows with them in '09
Vermont Craftworkers www.vtcrafts.com I do both their shows every year.
Chester Craft Chows www.chestercraftshow.com Again, I do both their shows every year.
There's 35 shows I do with 6 promoters. Some shows were fantastic this year and some were far from good. The economy and weather play a major role in shows. I did one show in Flemington, NJ recently and it RAINED! There were two nor'easters coming up the coast that weekend. And yes, there was some mud to deal with. If this were my first time at that show I would be saying not to do it. But again, I know the promoter's track record, and as soon as I got the contracts for '10 I signed up to do it again.
Country Folk Art, is notorious for B/S! But as I have said many times here and on other boards, I will compete with it! And I am successful doing just that. I learned long ago that whining about who's next to me will do no good. And I guess that by doing CFA shows I learned from the real professional exhibitors what shows are all about. And how to do them
I have called Castleberry Fairs the "Class act of New England" for many years. They were starting to allow B/S into the shows, but last year kicked it all out. Some vendors had been with them for years. The customers are coming back. And I like doing shows in New Hampshire where there's no sales tax or income tax. The people have more of their own money to spend.
The Chester Craft show is one I first did in 1984. It's in a nice Revolutionary War era town and the customers always show up.
Craftproducers is also a great promoter. They have a two tier type of show schedule. One is fine art and fine craft only, and the other is traditional arts and crafts. The best show they do (Manchester, VT) is less than 10 minutes from my house, but alas, I am in the "traditional" catagory.
Northeast Show Promotions is my Flower show promoter. I'll set up right next to sunrooms. No problems.
Vermont Craftworkers is another promoter that I do shows with every year. They can run hot and cold, but I always make money, so they will stay on my list.
So boys and girls, here are 6 promoters, when combined, can give an exhibitor the opportunity to make a six figure income. And every show I do with with these promoters is less than six hours from my home.
Maybe that's why I have trouble reading about exhibitors traveling 1200 miles just to do some shows. Not me!
To be brutally honest, I sign up for shows to sell my work, plain and simple. I love making what I sell and love selling what I make. The million dollar question - for all - is narrowing down the selection of hundreds of thousands of shows to choose from. This is why I posted this question - how do "you" determine what shows you plan on signing up to for next year. With some having issues with buy/sell and refuse to do those types of events while others will be happy to do any show where there are paying customers, it really amazes me how there is such a large range of "I want xyz, not abc."
Although a few people have touched on the subject of this post, I feel going off on tangents of who is better than whom - full timers vs. hobbyists, it is getting off topic. Don't get me wrong it would make for a great separate topic to have a fun discussion about.... If we can collectively, as craft artists, help simplify what the basic needs are for us to succeed, then perhaps this info can get back to the many show promoters we support and they too can simplify which can help themselves too. Does this make sense?
As it is I am seeing way too many shows going on every weekend and having a hard time sifting through the muck to get to the... how does Nels put it - the meat and potatoes? I do understand that each person (with their mediums as well) have differing opinions regarding the characteristics to having a great show, the more who participate, the more it can help others say in their situation, area, etc.
Michelle
Ron Mellott said:
regarding your comment: "One thing that puzzles me is the artisan that divides us into two groups, the full time artisan and the others. What difference does this make? We are all out there to sell."
There is a huge difference between those that do art shows full time, for their living, for which the money they make needs to for pay for all their expenses in life, and those that do it part-time, as a hobby, or to test the waters to see if they want to do it more seriously. It is not meant as a degradation of character or personal assassination of newbies, part-timers, hobbyists ... or to exalt full-time artists. Someday, perhaps, if you do this full-time, you will see the difference. Since we all started out as newbies .... we've seen life and these issues from that perspective. None of us arrived fully-formed. Until you do this full-time, you haven't seen these issues and the consequence of these issues on people lives yet from this perspective.
Think about it Deb .... if you are a part-timer, hobbyist, a "newbie" and do a bad show and go home to a job, or your mate that has a job, where your health insurance is paid by your job or your mates, other expenses are covered, the show is not critical to your survival, then having a bad show or being juried out of a show you do well at is not that painful. And if it is a local show and you sleep in your own bed and don't travel far ... same thing, not nearly as painful except perhaps to one's ego.
Whereas .... if such shows provide your sole ability to pay your health insurance, or booth fees for show 3 months down the road are riding on how you do .... gas and lodging at your next show, materials and supplies to continue producing your artwork, your rent or mortgage, if you have children or pets whatever they need ... a bad show or being juried out of a show that is good for you takes on a whole new dimension. Or showing up at a show after traveling 1200 miles and having travel costs, wear-and-tear on your vehicle, food and lodging costs, and having a bad show .... it is often a painful financial loss.
Overly sharing or broadcasting information on what shows are good for you to others, besides as Chris points out to close personal friends, and not forgetting that perhaps that information may be irrelevant to others, becomes completely counterproductive when you get juried out of your good shows. If you read all the writing by so many on this site regarding shows and juries, it is hard to see how anyone can conclude the jury process really assesses what is "good", or what the public may like .... rather than reflects the personal biases of the jurors involved. So concluding "well, maybe you full-timers just need to produce better work" is, as Perry Mason used to say, "irrelevant, incompetent, and immaterial". It is not a case of a newbie's work being better because they got juried in and a full-time artists did not, NOR IS THE REVERSE TRUE. That is not even the issue.
The issue is purely economics. What happens when an artist relies on that income to subsist, exist, or thrive and sharing that information leads to reduced success in getting into the very shows on which they depend for their income. Where is the wisdom of that? Let me end by asking: in what other businesses do we see successful business share the very secrets that make them successful in finding and keeping their markets, let alone what those markets are? Unless, of course, they are writing (and selling) those secrets to make more money because they are transitioning out of those markets into selling their secrets?
I love extended road trips and attempt every year to put together a circuit or two. This didn't work out well this year; I was trying to head west into CO, WY, ID, OR and only made it to CO! This year I am trying to get into shows in FL, AL, and TX for March. So far I have one Yes and two No. Sigh.
As I think about it, I do not really rely on any specific statistic and none of them seem to have much correlation with actual sales or how much I enjoy - or despise - a show. I have been to tiny town festival shows with an attendance of 3000 and a booth fee of $175 and made $3000 and I've been to shows with 10s of thousands and $500 booth fee and made the same amount. Shows with super-easy set up and where they FEED YOU certainly rank higher, in my book, even if sales are mediocre. These shows are just easy and pleasant; they make up for the horrid, please-put-me-out-of-my-misery shows!
I'm sure I have more to say, but that is it for now.
Look out for artfairs where the moto is known that only the promoter makes money and not the artists.
When you decide to be on an artfair where there are bands playing with consumption of alcohol you better stay home. People want a good time not buying art.
Regards
Zaki
The topic of choosing shows comes up quite often. There is no magic formula, or maybe the the "show hoarders" think they know something we don't know. I like the way we can talk about shows and trust the information. One thing that puzzles me is the artisan that divides us into two groups, the full time artisan and the others. What difference does this make? We are all out there to sell.
We will be at Chester. Maybe we'll see you before then.
Deb
Chris Hoyt said:
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