The Weather was wonderful. Saturday started great, good crowd lots of interest, people talking about the big ones. This has been one of my favorite shows since 1981. By Sunday some artists did well others not so good. Jewelers and some woodworkers were happy. Me? Add this year of dismal sales to the last few for this show. Why? Previously there was a local’s patron buying program that was apparently discontinued; usually I went home with a few of those, so that is one difference. I seldom get to view a show, so took a little time to see what was in the booths around me this year. I would have to say not enforcing the show rules could be the big culprit in my dwindling paycheck. I choose the shows I apply to by the rules as stated in the show prospectus. It says you must not have more than ten linear feet of "FRAMED" reproductions hanging and the total number of reproductions may not exceed 50% of everything you have. As a Painter with only original paintings it's hard to compete with unlimited numbers of inexpensive Reproductions. The Reproductions were supposed to be clearly marked as such. WOW, if anyone was asked to leave because they were in violation of the rules I didn't hear about it. One painter had ONE original in their whole booth, and freely admitted it. Everything else was marked Print, not Reproduction. Another had four originals total, of work that appeared to be old and a booth and a half space filled with Giclee. Another oil painter had ALL walls filled with perhaps a few framed originals and massive numbers of uneditioned, unmarked, Reproductions. Every wall of his booth had unframed reproductions hung. These kinds of violations need to be addressed by the committee, find some knowledgeable people to police and enforce your rules. I realize the show director is busy putting out fires during a show but a volunteer could easily observe the violations I noted. Based on earlier blogs, the volunteer would need to check each day as there are cheaters who find it good business to change out their display after judging or the review committee has walked through. If the director doesn't want to take the heat of removing rule breakers after asking for compliance use the committee to do it. Rules are rules.
Speaking of Editioning, this show doesn't require it. Just the labeling of Reproductions as Reproductions as I mentioned unenforced. I realize there are different theories about how it's done and that the editioning of Photography started as a marketing ploy but surly there are "some" standards. I've seen this in "Painters" booths also so the following practice is not unique to photographers. You see an image, it is numbered and editioned, and then you see the image in a different size. It again is numbered and editioned; you realize the editions have different edition sizes. What? Then you go on to see smaller versions same image, 10x12, 8x10, 5x7 same title, no editioning at all. Apparently once you get below a certain size it doesn't count? Give me a break. This is wrong. Shows should protect their reputations and the public by not allowing unscrupulous practices. Either it's editioned (set number) or it's an open edition. When art is editioned, the customer anticipates that their copy represents one example of the total number. Changing the size, hand coloring, adding extra paint does not constitute a separate new edition it constitutes a variation within the edition. Painting on a reproduction does not make it original, it is a hand colored reproduction. The traditional usage of A/P (artists proof), and P/P (printers proof) have to do with the printing process. These are prints that are pulled as the colors are being adjusted to get the artists desired outcome, “under the supervision of the artist.” Generally they do not exactly match the approved edition. Publishers have subverted that practice, to give the artist a few (god knows how many now) prints of his own in addition to the "Editioned" prints the publisher has been authorized to pull and sell.
Comments
Thanks for weighing in Lois. I think you could get some help from artists at the show if they know you would welcome it. I do know how busy you are, and so are we. Unless an artist is traveling with help it would be difficult for one or two to "police" the whole show. In my case I can easily identify people breaking the rules on reproduction display. The rules are clearly writen, if this is a rule you continue, you might put an extra "note" into the packet of 2D artist restating them including that reproductions must be labeled as such, not as Giclee, prints or unlabeld. That way no one could say they were unaware.
I applaude your efforts to include local artists but that shouldn't preclude their observance of the rules. Identifing buy/sell is a whole different ball game. I can look for country of origin stamps or tags that say "made in_____" but that is the extent of my expertise, however there are usually people in each category that can.
It would be wonderful if you could find and train a few vollunteers. Maybe you could ask various established KW gallery personel if they would be willing, ask them to walk the show and give you a list of offenders. Blogs here have mentioned that just after "inspection" some artists will bring out the questionable goods so it would have to be done more than once. Someone told me Vero has four vollunteers that do rule enforcement only. Kicking out buy sell, and having artists remove items not juried in or represented in their jury images. If something like this isn't possible (lack of vollunteers) perhaps you might institute "block captains" from various categories to survey a set number of booths (15-20) throughout the show. With at least one each of 2D and 3D for each block. Just some randome ideas....
Terry and all,
I have read the posts here and had intended to post earlier. Unfortunately there is a lot of work to do the first week after the show to catch up and then some personal issues kept me away.
My first inclination was to blame things on lack of help and tell you all about how little you know about how these two shows are run. For example…… I have a jury committee for application review but I do every single other thing….. example:. any of you who have seen me tearing up the tape at the end of the show should know...... I put it down and I pick it up and do everthing in between..... have any of you ever seen any other person representing the “committee” at one of our events outside of this year? (I had a new person, Jane volunteer this year and she was outstanding and will be helping going forward, but this year she only came on board in late December.)
I then realized, my lack of volunteer support here, isn’t the fault of the artists and it sounded very much like an excuse and did not advance towards a solution. I then had an exchange with another artist who suggested that I ask you, the artists with help on these issues. I have been mulling that around and trying to determine if that is the right approach. So, what do you think? Would there be any of you willing to act as artist advisors who could talk with me before I put out the applications for the next shows, and then also advise at the show? I’m not sure how this will all work out, and how much we can do, but I’m sure willing to see if we can make some progress.
I would be happy to have anyone interested in working with me to contact me at KWArtCtr@earthlink.net One of my first tasks when getting the reigns of these shows was to bring in some new talented artists, bring quality up at the show and get buyers down there. I think we are doing better there and I’m happy to work on not only enforcing rules, but determining what rules are the right ones for this show.
Thank you all who have come to Key West to do our show. I appreciate the investment you make to come here and also your comments.
Trust me, Lois has seen this.
We did let Lois know we expected her rules to be enforced and alerted her about an artist who was showing "really light" on originals. I did not inform Lois of what I saw during the show, it's the committees job to be sure their rules are followed not mine. I'm working, by myself trying to make sales. I am only knowledgable about a few categories (yes it's true I don't know everything). The shows need to enforce the rules about reproductions and buy/sell - glass/jewelry/pottery etc. for all of us. It keeps the show quality good.
Key West isn't an isolated incident. Why aren't directors enforcing their rules, "our contract" are they afraid? Do they not have enough knowledge? If they can't spot fakes or misrepresentation perhaps there needs to be a "class" for show committees to learn how.
Phillip, I'm about 50/50 with you. I think Lois did a good job of putting together the show and keeping things running smoothly. Set up and Break down was well run on my end of the show. They had great coffee bagles donuts, orange juice etc. As in any show there is a mix of quality. A few slipped under the wire as a few do at any show. The artists I refered to did not in any way have inferior work, I assume the originals were sold. So go home and make some more, take a weekend off. Show your originals and reproductions according to the prospectus. If it means you show four originals and four reproductions then pick your best. It is totally within the relm of the directors power to see that the rules are followed one way or another. What about the contract the show had with me?
Regarding established rules on setting editions, very good information, Terry.
I don't see how enforcing stated rules has anything to do with lack of applications. To the contrary, I think that if a show gains a reputation for rule enforcement, it will raise the level of quality applicants. Building a level of trust in the artist-promoter relationship can only be a positive factor both will benefit from.