Some show directors have recently been asking me: does it matter what service I use to do a call for artists? Will I get more applications if I start using Zapp and Juried Art Services? Are you more likely to apply if you see that a show is listed on Zapp or JAS?
Any opinions.
Replies
I search zapp by location then review the structure of the show. I want a good opportunity to make money. A good prize fund doesn't guarantee you a share but it is an opportunity that offers a hedge against expenses. These services, Zaap and JAS are vehicles to get the word out in a somewhat organized fashion for the artist. I use them, but not exclusively. It is the shows format and a reasonable distance (translation travel expenses) that will get me to apply. With that in mind....
I would love to do a show that relied on commissions instead of booth fees. I would gladly share a 30% commission with a show because almost by default they would jury in higher end art and solicit higher end buyers. Our goals would be perfectly in sync. If there was a show with this type of structure anywhere within 600 miles I would make the trip if I could get juried in. High booth fees are not necessarily an indication of a well organized or well publicized event. They are an incentive for the show directors to gauge the shows success on their level of income and not the artists.
Just my perspective - anyone else feel this way?
From my experience, the smaller circuit shows run by married couples have a little mixture of low booth fees (3-500) plus a comission)
There is an indoor show in Thomasville, GA (Plantation Wildlife Arts Festival) in which all sales are handled by the show. If you want to buy you must take it to their sales office then they pay the artist. (The artists seem to always escort the buyer to the sales office :)
Indoor shows are certainly more suited for this type arrangement.
I agree about the security/reporting issue - I haven't found any others with the exception of a couple in which my work doesn't fit (waterfowl show - high end in SC)
Yeah, that was a typo. I never proofread my posts. And, yes, you probably are better qualified than most judges to be on a jury. I've been ranting about this for a while. To be fair, it's gotten better in the last couple of years.
This discussion has me wondering how it would be to jury a show on the east coast and then next week one in the west. With regionalism being an almost certainty, a judge would have to be well versed and then some. I might think that I am due to my untiring interest in all mediums, but when put to task I would most definitely need to study for weeks preparing for the job. I'd give 'em their money's worth, that's for damn sure. But the artists being judged would be better served if the show provided two or three judges. That just makes more sense.
I was going to post this remark somewhere else. Then I read the example of Clyde Butcher, which confirms what I think. What is considered good in the art world and what is considered good in the art fair world are two different things. Clyde Butcher does not need Cherry Creek. He is world renowned and has an international reputation. I've often said that Picasso would have a hard time getting into and selling at an art fair. In terms of clay, much of it has to do with the judging. I have a simple test to determine whether a judge is qualified to judge clay. Ask them to identify a Peter Voukos, a Hamada, and a Don Reitz piece. If they can't do that, they are not qualified to judge ceramics. Getting back to Clyde Butcher. I went to his studio in the Everglades. It's out in the middle of nowhere. He shares his studio with alligators. It takes an hour to get to his place off the main highway. The place was jammed with customers.
Clyde Butcher does not make what sells. Clyde makes his own work and it is of the highest quality. That's why it sells. You may want to dumb down what you do to appease the masses and that fits with today's art fair scene. Personally, I'd rather work at Walmart. At one time, we(artists) used to talk about making our own work and then we'd discuss how to sell it. Amazing that things have changed.
Richard, before you criticize me for my point of view, remember that you make high quality work and it is your own designs. An artist doesn't search for a market. An artist creates their own market. You've done that. Btw, the art in those condos in Colorado is high priced crap.
Pretty interesting and would have to agree with Barry on the judges. As far as creating art I have always felt that I would rather make what I like and try to sell it rather than make what sells and try to like it. I am not going to get rich but I am enjoying do it.
He's Peter Voulkos, with an "L" in there. Ha! But I'm sure you knew that, BB.
WHEW! So now I'm qualified to judge clay. WOOHOO!
Zapp makes it so very easy to apply, and with my newest, current work. Same with JAS. And Zapp, especially, makes it easy to find the shows. I hate EntryThingy, find it balky and annoying.
All that being said, I don't mind the paper applications, the eccentric processes (print photos of your work on paper and send it to us, and oh, yes, a photo of you in the studio with your work, too, sigh). The only thing I detest is booth payment with application.
LOL! I guess that is one of the good things you can say about a rejection, no payment due.
Btw, my correspondent has decided to not put the money into one of the services this year:
Some show directors listen! Good points, Carrie and Barrie -- there are opportunities everywhere, you just have to keep your eyes open.
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