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I have decided to write about some safety trips, as I drive a 40' motorhome all over the eastern half of the US, and there have been some very eventful experiences over the years. When I speak to others about traveling safely, I am always shocked at the danger people put themselves into, without giving it a second thought, many times for the sake of vanity.

Here are some tips:

1. Gas stations -

• always park in well lit areas where a camera is posted on you, or as close to the attendants station as possible.
• NEVER chose a gas station where YOU are the only customer, drive on to the next one even if it costs you more. (it could cost you your life, I know)
• NEVER pay with cash, always use a credit/debit card even if it means you have to go to another store and purchase some.
• When possible, always purchase a vehicle that has the gas tank on the same side as the drivers side.
• Always lock your vehicle when you get out to pump gas.
• NEVER have your purse/wallet/etc on the seat or even underneath the front seats. Have them covered up and somewhere else.
• NEVER get into conversations with anyone beyond your immediate needs. If someone wishes to engage with you, this is how YOU get set up for a crime, because it's part of the "warming" you up where you recognize and may even trust someone.
• traveling with someone else. Keep a walking stick handy, have that person also get out of the car with the walking stick, using it to walk with. It will deter possible thieves, as they know when they see it, you "could" use it to keep people away. It sends a message without sending a message, and having a 2nd person "standing" guard speaks silent volumes. Especially in areas you are not familiar with.
• if a female: never wear girly colored clothing when traveling. the more gender neutral the better. Have long hair, tie it up, and put on a hat to cover it up. If anything you are wearing is the least bit provocative or feminine YOU ARE sending a huge message and no amount of explaining to an officer later on (if you live) that "you said no" will undo the damage.
• See someone needing help? Only when you are in your vehicle and IF you feel safe enough, roll down a window and ask if you can call someone for them. If not, move on.
• When leaving your vehicle to pump gas - ALWAYS have your cell phone in your hand, and 911 pre-dialed in, requiring only a push of one button to activate it.
• always make some sort of contact with a station worker before pumping gas. Call them on the call button, wave, you name it. Don't worry about irritating them, just say, you wanted to make sure the button worked if you needed it. Don't be a nobody.

2. Make sure you have GPS enabled on your tracking devices.

3. NEVER drive over the speed limit, appear like you are "searching" for an address, or similar.

4. Do you tend to be a road rage type person? Get over it, because you never know what the other driver may feel like, and I have seen horrific things down to each other on the road.

5. NEVER EVER EVER TALK ON YOUR CELLPHONE. No matter what, I see people doing this, and making the most stupid dangerous driving errors on the road. Here is the rule of thumb. Your cellphone rings or you decide you need to talk to someone....PULL OVER, period.

6. Always, check your directions before ever turning the key in the ignition each time you stop. Use your GPS system as a back-up to already knowing where you are going.

7. Always let someone not in the vehicle with you know when you leave and when you arrive.

8. Always fill up whenever your tank hits the 1/2 way mark NO MATTER WHAT.

I wish everyone safe travels to your shows.

I've been doing shows for a good number of years but it never hurts to get a reality check once-in-a-while and make sure the rudder is heading in the right direction. I saw a reference to a new book called Death To the Starving Artist by Nikolas Allen and feeling as though I were a starving artist after the shows in 2013 I thought I would look into it, see what he had to say and see if I missed anything important. I requested the book from the local library (hey! I'm starving I can't afford to buy every book I see!) and they bought it so I could read it.

What were some of the take-aways that I got from reading this newest entry to the artist self-promotion jungle? The book has some of the usual gibberish that I've run into before (see my list of books to consider at the end of this discussion) like pursuing other venues such as coffee houses, hair salons, empty buildings, what-evah. What he has done differently with that information is conceptualize it in terms of where you are in your art career, where do you want to be and who do you want as an audience? He compares your art career to a ladder and suggests that certain venues are more appropriate to certain stages of your career. I've certainly done my share of going up and down the rungs as I've done a lot of that alternative space stuff but never stopped to think of it in those terms before, it was worth some self-reflection. What may have (or not) served me in the past may not serve me in the present or on into the future and besides which, where is it that I want to go?

Another important point he made, which was well served, was crafting a meaningful marketing message. How do you talk to people, do you hem and haw or do you have a concise concept of what you do that you can deliver within the first few seconds of contact. And speaking of contact, do you hide out or do you engage? The new form of reading a book in the back of your tent is now perusing your Smart whatever device and hiding out in the back! When it comes to naming your business which way do you go? Do you use your name only or a catchy phrase or some combination of the two?  I just saw a post on this site over that very issue. We've all heard this, and most of us do it, the mailing list! You need to remind your patrons that you still exist! But beyond that how do you maintain active contact with your patrons? What kind of contact do you maintain and how do you do it in this world of social media and other frippery. I thought he made several good points in this particular chapter. Well worth consideration for the beginner or veteran artist.

In the third section of his book he talks about the "tools" needed to reach your audience. I've struggled with bio's and artists statements and I feel his treatment of the subject was concise and finally made some sense to me, or was it because after the third go round it finally sunk in? If you've struggled with this subject, or are about to, it's worth the read. He takes on websites and social media concepts as well. I think he overemphasized self-made websites as there are a ton of ready-made templates and services out there for the faint of heart.

At one point I thought he was a little dismissive, or at the very least, minimally mentioned, Art Fair Artist, as a means to an end before he went on to the Galleries section. But in his defense he is looking a the overall picture of artists not just one avenue. If your looking specifically at running your business in the artfair realm you'd be better off reading Maria Arango's book (see below).

The last part of the book is a good overall look at the different tools an artist can enlist to forward their goals and one should consider which, if any, are appropriate to your level as well as your end game. All-in all I found it an easy read and I came away with a few new tips, a few "I hadn't thought of that befores" and some insights on doing what I do a little differently next time around. 

Further Reading:

By the way there is a nice freebie on his website that can help you move forward in terms of marketing yourself at: www.DeathToTheStarvingArtist.com/workbook.

One of the most enjoyable reads and a great primer to this whole art fair thing is: Arango, Maria, Art Festival Guide, The Artist's Guide to Selling in Art Festivals. Her book goes into many of the details of the artfair artist.

Bhandari, Heather Darcy, and Melber, Jonathan, Art/Work ___Everything You Need to Know (and Do) As You Pursue Your Art Career.

Stanfield, Alyson B., I'd Rather be in the Studio.

Lang, Cay, Taking the Leap, Building a Career as a Visual Artist.

Grant, Daniel, Selling Art Without Galleries.

Michels, Caroll, How To Survive & Prosper as an Artist.

Grant, Daniel, "Take This Under Advisement,  Need a Career Jumpstart? Artistic Advisors are Ready to Assist You," Sunshine Artist, Feb., 2014, pp. 22-25.

Getting Exposure, The Artist's Guide to Exhibiting the Work, an Art Calendar Guide by the editors of ArtCalendar Magazine

The New Definition of Owning Art

I recently read about how the current DSLR camera upgrade path, with incremental increases in image quality, is driven by the over 50 year old photographers who learned shooting film and tweaked their camera settings along with their choice of film to give them maximum image quality. Compare that to the younger camera wielding photographers of today who think in terms of web sized images for social media. For them, the current crop of digital cameras is all the quality they'll ever need, maybe upgrading because the new features will make it easier for them to connect and share images.

I read about a photographer who, at the request of his friends, photographed them at a Halloween party. A week after Halloween, his friends were upset because he hadn't given them the pictures yet because he was too busy. His friends "expected" the pictures as soon as they were taken so they could be posted to social media. For them, the moment needed to be shared as it was happening, and a day or two later, it was forgotten.

The convenience of the cell phone camera, which doesn't produce enough detail or dynamic range, does produce images that are in the here and now and for most people it's enough. In today's world it's about the moment, not about image quailty.

I read about a National Geographic photographer who documented a trip using his iPhone and posting to social media so everyone could share the experience as it happened. In response he did get a few people who complained that the image quality was not up to National Geographic standards, but the few people who complained totally missed the point. Everyone else appreciated that it was about being with the photographer on the trip; sharing the moment.

This explains why people come into our booths and take pictures of our artwork. They share and enjoy the immediacy of the pictures with their friends on a computer or cell phone screen instead of enjoying the actual art. For them it's the new definition of owning.

Artists are struggling trying to keep up with the past. The value of art, or more specifically the value of owning art has changed. It's time to reverse the trend by trying to bring art buyers and collectors back to the art shows instead of people who live their lives in social media.

 A representative of the Metropolitan Museum of Art (at the ZAPP conference) stated that art museums are giving away digital images of the artwork on the museum's web site to increase attendance. But this is contrary to art shows, where the public can actually meet the artist who created the art work. Art shows need to promote art as something rare and treasured so that when people attend, they actually consider owning something that will bring richness or add value to their lives.

Larry Berman
http://BermanGraphics.com
412-401-8100

Got this email today from someone I don't know, asking for information on starting out with shows. I spent more time than I intended answering his questions, and thought some of your other newbies might benefit as well. Here's his email:

My name is *** and I’m a photographer...  As a fellow photographer I would like to ask you a few questions regarding art fairs.  

I’m exploring the idea of participating in a few art fairs for the 2014 season; I anticipate my start up cost to be approximately $10,000, does that sound right to you?  This start up money would buy a tent, print enough material to have on hand at the show, and traveling/art fair cost?   I assume subsequent shows won’t cost as much; is it safe to conclude each art fair thereafter would cost approximately $6,000?

How do you determine the number of prints to display; do you sell the display pieces, and if you do, does the customer take the purchased product at the point of purchase or do you keep it until the show is finished?

How many smaller unframed prints do you carry to each show; for example, do you bring twenty 8x10”, ten 11x14”, and two 14x17” of each picture?

In taking with other photographers I am aware that I want to look for shows that are juried, is that your opinion also?

My last question is a bit sensitive and I don’t want to make you feel uncomfortable, however, I appreciate any advice you can provide: Roughly, what kind of sales may a photographer expect to see at an average size art show?  I know there are a million factors that come into play but I’m looking for a rough idea on what to expect.

So here's what I wrote back:

That's a lot of questions. Fortunately there are a number of resources to help you get started, and to commune with your fellow artrepreneurs!

First off, let me suggest http://www.artfairinsiders.com

There is a lot of material there, much of it based on questions similar to yours. There are forums for just about every media, and many of the subjects come up time and again. There is also a photographer's forum.

On Facebook, there is a group for art show photographers. Started by Larry Berman as a Yahoo forum years ago, it's morphed into a group that sees some activity. Feel free to join, ask questions, lurk. If you're already on Facebook, here's the address: http://www.facebook.com/groups/artshowphoto/

There are several good books devoted to selling and setting up at art fairs. Among the best is Maria Arango's book:

http://www.amazon.com/Art-Festival-Guide-Artists-Festivals/dp/1430319763

and Bruce Baker's CD set on selling:

http://bbakerinc.com/store/

Check out the NAIA organizatoin: http://www.naia-artists.org
Some helpful information there, too, although you have to join to get most of the meat.

Show information is much easier to come by these days. Several pubs deal this out:

http://www.artfaircalendar.com/

http://www.zapplication.org is the main online art show application application. Most of the big national shows list on here. One thing to keep in mind: once the deadline is past, the show drops off the Apply to This Show list. You can find a list of all the shows that list though, under a separate navigation topic.

http://www.juriedartservices.com
This is the other major listing application. What isn't on ZAPP or JASV is on Entry Thingy

Greg Lawler's Art Fair Sourcebook used to be worth the subscription price, especially for those starting out. Now, maybe not so much, but take a look at it anyway. http://www.artfairsourcebook.com

Your cost estimate isn't too far off.  You will need display materials inside the canopy however, and those are not particularly cheap.

Flourish makes the most solid tent. Solid steel frame, heavy vinyl, heavy duty zippers. You can trick it out any number of ways, but a basic Trimline will run you about $1000.
http://www.flourish.com

You can start with an EZ-Up, a Caravan or any number of other cheap folding tents, but I wouldn't advise it if you can afford a stronger tent.

A set of Propanels (9 x 38" x 7') run another $1000 or so. Depending on if you buy braces and lights, you can spend more. Their site is instructional.
http://www.propanels.com

Armstrong Display products makes a similar set of panels for about the same cost.

Jury fees set me back about $1000-1500 per year, depending on how many shows I apply to. If I'm accepted, the booth fees run anywhere from $200 for a small local show to upwards of $1500 for the very top shows in Coconut Grove and Sausalito. Most good juried shows fall into the $400-600 range for a single 10x10 spot. I do about 20 shows a year, which run me on average $500 per booth. That come to about $11,000 just to play. Some shows are less, some shows charge you extra for electricity, if they have it, or a corner space, or a double.

You should have liability insurance. Some shows require it. That may cost you $350-650/year, or you can insure per show with a company called Artists, Crafters  & Tradesmen Insurance http://www.ACTInsPro.com

Miscellaneous show equipment:

• Weights for your booth: at least 50 pounds per leg
• Awnings
• A chair
• Some sort of write-up desk
• Bins or folding racks to display matted prints
• A credit card system. Most people use the Square now, or PayPal's swiper, or Intuit. You can still open a merchant account and use a wireless terminal. Square requires that you have an iPhone or iPad, and a cellular data plan or access to wireless. Same for the others. Lots of research on this.
• Office supplies: stapler, tape, duct tape, bags, all kinds of miscellaneous stuff.
• A flashlight, lantern, or headlamp
• Raingear
• Plastic tarps
• Bungie cords
• A-clamps
• A dolly to move stuff back and forth to your vehicle when you can't drive to your booth location
• Plastic tubs to carry matted prints in

Travel costs depend entirely on how far you plan to range for shows. The further you go, the more it will cost you. $6000 / show is way high, though. For a two day show, you might have three days' of hotel, two days on the road, meals, gas, etc. Priceline, Hotwire, Orbitz, other sites all help you reduce travel costs. If you stay within a 50 mile radius of home, you can probably sleep in your own bed and cut out travel costs entirely. But you can't make a season of shows too easily doing that. You can get a couple of practice shows in.

A transportation system. This stuff needs more than a Honda Element to cart it around in. Although I know a painter from Canada who can do shows in an Element. Most people drive big white vans or Sprinters. I haul a trailer with a pickup truck. If you are going to use Propanels, you'll need something more than an SUV, unless you go with the knockdown panels. (I had those for a season -- got rid of them at the same time I bought my first trailer).

There is way way more to this than the summary above.

You single biggest cost over time will be inventory. You absolutely must have framed work or canvas wraps, or metal mounted prints, or some other sort of work to hang on your walls. As far as the number of pieces to make? Only time and experience will help you here. As a rule of thumb, you need a couple different sizes of matted prints, and a couple different sizes to hang on your walls to draw people in. I hang about 20-25 pieces, maybe have another 40-50 choices in the flip bins, in multiple sizes. You can start smaller than that, but you will need 4-6 pieces on each of three walls as a minimum. You are better off making fewer larger pieces than a whole passle of little dinky ones.

Selling

When you sell a framed piece off the wall, people usually expect to take it with them. You wrap it up, either in a black garbage bag (tacky and cheap) or using premium materials that show the work off as it walks down the street. It helps to have a postcard with your logo on it that you can slip into a clear bag. Sometimes you will have to deliver a piece if it's too large for the customer to take home. Every once in a while, you can keep the piece till the end of the show and the customer will return and pick it up, but that's the exception not the rule. Mostly the framed work is there to sell matted prints or smaller version. If you have two pieces, one bigger and one smaller, people will mostly opt for the less expensive of the two. Not always, but mostly. It helps to have a few extra framed pieces to fill in the holes when you sell one. Near the end of a show, it sometimes helps to leave a blank spot or two to indicate that you're selling out.

Sales are wildly variable, based on the show, the attendance, the weather, the competition in your media, the competition in other media that compete for wall space (paintings, drawings, prints, 2-D mixed media), how good you are, how cheap you are, how exclusive you are... I have grossed $0 at more than one show; I have also made close to $10,000 for three days work. Keep in mind that $2000 gross at a show where you can sleep in your own bed and sold nothing but low cost items will make more profit that $2000 at a show that you had to drive two days each direction to get to, with hotels at $100/day and a booth fee of $500. Make yourself a business plan that gives you an idea of what you have to sell in order to be profitable. If you don't you will lose money steadily for several years before you figure it out. There are very few photographers making good money at shows these days. I know most of them, and even those guys are not making what they did ten years ago.

Keep your presentation cohesive. Don't show a little bit of wildlife you shot at the zoo, some pictures of barns in the snow and the shots you took on vacation. That stuff will NOT sell anymore. Trust me on this. Develop a point of view, and DO NOT steal other people's ideas. You will need an artist statement that says, in 100 characters or less, what it is you do, and what makes your work different. Start there, and develop a few key images around a concept. Otherwise you will be throwing your money down a rathlole. People can get cute kitty cats and lions sleeping at the zoo on the interwebz for much less than you can sell them at a show.

You will need a booth shot showing how your booth looks when setup for a show in order to jury for shows. If you don't have this, some shows will let you apply in the emerging artist category without one. Ann Arbor, the Original, for one. Main St. Fort Worth, for another. Do your research. Start with the local shows, closer to home. Call the show if you can't find the answer online. But look online first. Check the show websites.

You will need a website. Something simple at first, that can showcase your concepts, highlight your show schedule and maybe sell some work for you in the off season.

Be prepared to work very, very hard. Be prepared to get very, very discouraged. This is not a business for the faint of heart. It helps to have deep pockets, because you will lose money learning.

And lastly, you can check out my blog for some personal ideas. I haven't updated it in a while, but there are some useful posts there.

http://www.parkerparker.net/studio/blog

Okay, I'm sure you all have your own tips and tricks to add to this, so I'll leave it at that.

Well, I have been quiet for a while , but, I am back.

Went to the Disney show last weekend--wish I had not.

Once upon a time in America, getting an invite to the Disney  show was "Magical."

You knew you were going to make money, you were going to be treated like "special people" and it was just a fun show to do in the fall.

That all changed when Disney moved the show out of the market place to the West Side.

It was a deep slide, downward, down the mouses tail.

I really hate to "rat-out" a bad show--but Disney deserves it.  Especially the way it treats the artists.

Yes, they do give those big "free tickets" to Mouse-land, they let you get hugged by Micky if you are an award winner, they give ya a free breakfest at awards morn, and a free lunch every day, plus free bottles of water, and oh yeah--you get to use those cool green carts to schlep your work into the show with.

Now, let us look at the down side of things.

First, their $400 booth fee is a blatent rip-off.  Nearly 90-per-cent of the exhibitors there will barely gross $1500-$2000 for a three-day show in Mouseland.  Many wont even break $1K (like me, a first, at this show).

They have their Mouseland tent called the Disney Artist Market right beside our tents.  They have six Ryder Trucks in the parking lot, stocked to the hilt, bringing stuff in all day to replenish.  The artists don't have a chance.

They have the world's worst layout for a flow of the show.

For example, coming in from the parking lots behind Circque, most people took the sidewalks behind the exhibitors booths, thus by-passing them entirely.

Then there was the circle of lost artists(ala the Naples show) which I was in over by Circque.  Eighty per cent of the crowd zoomed by us like we were not there.

They had the emerging artists in two remote areas not even remotely connected to our show.

Photographer Bernie Bleckfeld and I had a running debate about who had the worst spot in the show him or me.

First off, he got in, off the rejected artist list.  I got in off the prime invited artist list.

I was put so far remotely under the Circque tent you needed binoculars to see my booth.  Bernie was on the grass where the first booths were located when coming in from the parking lot.

Frankly, Bernie missed the opportunity.  He should have burned a few frames and photos and thrown some magic sparkles on the flames.  He would have had kazillions over to his booth.

Hell, I was doing triple somersalts off the top of my canopy and couldn't attract a single customer.

I clearly had the worst booth.  Shut up, Bernie!

The trouble with this show is this.

The people there, are mainly there for Mouseland.  The Mouse rules and they bow down and give all their moola to any thing that resembles a mouse.  We don't stand a chance.

Second.  The crowd is ultra-conservative.  So forget about Art.  They don't know what it is and they don't want it.

A few exhibitors hit it big, one making a $10K-plus sale, but that was the rare exception.

There is not a volume of sales to be had at this show.

I bet more than 50 per cent of us who were there this year will never apply again.

Count me as one of them.

The last three weeks have been busy, so I'll try to wrap up three shows in a single review, and maybe by the end of this typing exercise a glimmer of a trend will have developed, and I'll feel smarter about this business than I do at the outset.

But first: Context!  As I've written earlier, with varying degrees of accuracy and/or persuasiveness:  This has been a puzzling Florida season. 

* Local (SW Florida) shows at which I've always killed 'em, have gone flat--leading me (and others) to speculate that 2-D artists in this overcooked market should "sell big...[hoping for that one big fish] or go home."

* More distant shows have largely held their own compared with 2012 totals.  So I've wondered, aloud, if it pays to travel more and assume the guise of "artist from afar." 

* Buyers are pickier, especially at the big shows that present more choices (and any show that has competition right down the street (i.e.: Howard Alan v. Barry Witt, "The Battle for Bucks in Bonita Springs", which is definitely a blog title I wish I'd written).  This buying behavior, taken to the extreme by market conditions, leads to lots of "be-backs" throughout the weekend, and, for too many of us, praying under our collective breath for  "4 o'clock miracles" on Sunday afternoon. 

Thanks to an unusually early Easter weekend (which usually shoos the snowbirds back north until the first fall cold snap), we're now just about at the end of the season.  So, what have I learned in the last three weeks that will clear up the admittedly muddled view in the crystal ball?  Let's have a look. . .

Jupiter Art Fest By the Sea (March 9-10) is one of Howard Alan's biggest shows--well over 300 artists, extending pole to pole for over a quarter mile along A1A in Juno Beach (a.k.a. the slightly less monied suburb of Jupiter Island).  And an impeccably run show, it is!  With a location just down the road from Alan's Tequesta headquarters, the organization does everything it can to promote high attendance, manage artist access and egress smoothly, and bring in the very best artists it can.  A separate craft section on the south end of the show gives something for everybody, at any price point. And for the most part, this is a high-quality experience for patrons. 

HAE pulled out all the promotional stops, including having a special advertising insert in the local paper, strong signage near the venue, and great cooperation from both local police and the Florida State Patrol(!) in assisting artists and patrons alike getting into the show.And Howard, Debbie, Helayne, and the parking staff couldn't have done a better job.  They were on-site, accessible, and helpful throughout the event. 

Sales were decent for most of the artists I spoke with...though some commented that they fell short of expectations given the high traffic volume of attendees.  And, as you might expect with so many artists, a few folks I spoke with were raving about their totals, and a few were moaning.  Among the repeat exhibitors, it was more down (slightly) than up for most.

A first-time exhibitor at this show, I don't have any personal Jupiter history to reference.  But earlier this season I'd done an Alan show in Stuart and a month-long January exhibit at Dickinson State Park, and my Jupiter results were highest of all.  So overall, I was satisfied. 

The extraordinarily long show layout, coupled with limited patron parking close to the show, may inhibit folks from walking the entire show, or from buying large 2-D or bulkier 3-D items.  I'd like to see Jupiter implement  "patron pickup booths" so that visitors could buy a large or hard-to-handle item and get a claim check they could use to pick up their item(s) by car later. 

Next stop:  Key Biscayne Festival of the Arts (March 16-17): another Alan show, in another town where I'd never exhibited.  And what a different experience it was!  This event was founded years ago by the local Rotary, and (at some point in the past) enlisted the Alan organization to run the art festival while the Rotarians concentrated on providing food, music, and entertainment for the kids and families. 

Despite the hard-to-miss venue in a spacious downtown park, there just wasn't any buzz happenin'.  Crowds were light to moderate, at best and the show had barely 100 artists (small, by Alan standards).  There were very high percentages of 2-D artists, especially photographers, and about 17% jewelry.  Functional 3-D art was lacking. 

And so were buyers. Many who visited were on bikes or rollerblades, suggesting to me that they were planning on visiting the park anyway, and then, hey! an art show broke out, so why not wheel on through? 

I talked to probably 15 artists, and only two were happy with their sales results.  I zeroed on Saturday, the first time that's ever happened in nearly 200 shows.  Three customers on Sunday bought small, but at least they broke the drought, and one (finally!) enthusiastic late-day visitor called me on Monday to order a large canvas, meaning I'd at least cover the booth fee and the (expensive, but charming) oceanside hotel room. 

I love Miami's culture, but my largely Gulf Coast bird art doesn't tug their heartstrings.  As my neighbor Sally, a funny and wise jeweler, put it: "People down here are into how much concrete they own, not how much wildlife they can see."  And, sadly, development has rendered this longest of Florida barrier islands into something more like Boca Raton than a vestige of Old Florida wilderness.  So, for me, this is a show best avoided. For anyone else, the high hotel and travel expenses make it a crap shoot.  Frankly, if I were Alan, I'd leave this one to the Rotarians and the local artists and concentrate resources on his Coral Springs show 75 minutes north, happening the same weekend. 

My last stop, and by far my most successful, was the Englewood Rotary Art Festival (March 23-24).  Nels Johnson blogged last year that this was a show like art shows used to be, and after a weekend that included winning Best in Show for 2-D, I'd have to say Nels was right on target (as usual).  Strong crowds--perhaps not rivaling Jupiter, but astonishing nonetheless, considering that this usually-sleepy town is more than a dozen miles off the heavily-beaten path of US 41.  A solid mix of categories, with none too dominant.  This crowd skews to the older side--a resident told me during Friday-night setup that "Folks retire and move to Venice.  And their parents move here  to Englewood!".

But come they do--from Englewood itself, and surrounding enclaves like Rotonda and Gasparilla,  starting  before the show officially opens on Saturday morning.  And, in an area that hasn't yet been oversaturated with shows like the rest of South Florida, they come to buy.

The area doesn't seem quite as heavily midwestern (Ohio, Indiana, Wisconsin) as the surrounding areas of SW Florida.  Many of the seasonal visitors come from the northern tier of states--Michigan, Massachusetts, Maine.  A number from Virginia and Pennsylvania and the Delmarva Peninsula. And lots of folks from the UK and northern Europe.   

The (mostly) Friday setup was cheerfully managed by the Rotary volunteers, and there are a couple of funky mom-and-pop restaurants along the usually-sleepy main drag that seem to love the show and the crowds they bring.  The show ended at 4 PM both days (which, after 12 straight show weekends, almost made it feel like a vacation.) 

It was a weekend well spent in every sense of the word.  And if it didn't completely answer the questions I'd had about whether shows can still kick serious butt in the Florida circuit, it sure pointed in the right direction.  If only one could roll back the hands of time!

Wow, where do I start? My head is swimming with art business thoughts and to-do lists since returning from the two day conference. Pile on top of that I will teach 120 kids art lessons this week and have my last outdoor art show is this weekend and I am one overwhelmed yet energized artist.  

First off, thank you Connie Mettler and AFI for providing the opportunity for me to attend this event. As a young (career) artist with a very meagre budget, the cost of attending would have been prohibitive for me. I understand this conference is focused on ZAPP's client, the show promoters, and as an artist I appreciate that artists are a part of the mix. Perhaps if ZAPP would like more artist participation at their future conferences they could consider a different price point for artists to make it more feasible? 

So, I will attempt give a little background on me and why I wanted to attend the ZAPP conference in Louisville, KY. I've been participating Louisville region art fairs since 2008 and feel there is a huge learning curve the first few years unless you are fortunate to have a mentor. My mentors have been generous artists at the shows sharing the wealth of experience in those slow hours at shows (and sites like AFI!!). I typically do 3-5 regional shows each year currently. I also sell my work two local galleries, do a great deal of commission work, teach art classes and sell some art online (although I don't have an online cart on my website).

Switching from an engineering career then stay at home mother to a full time artist has been a blessing. Of course creating art is why we are in this field, the business side is where most of us struggle. So I was excited to see where this conference could build my knowledge of fine art fairs by meeting the show promoters and being engaged in the discussions. What I really learned was much much more than that. I just hope I can touch on a few relevant topics for other artists.

I had reviewed the session list online and knew I would get the most out of two: the Artist Track: Reaching Your Intended Audience and Jury Duty: Public Portfolio Critique. The first session actually turned out to be a very compacted session that was both about the intended audience and a discussion on Money 101 for artists. Sheryl Kosovski did a great job covering such broad topics in such a small window of time. I learned if I am to grow my business I need to do a better job of forecasting my expenses, not just throwing receipts in a file for taxes. She shared a great software product called www.moneyminderonline.com which forces you to consider every transaction. For only $60 a year, I think this tool will be very helpful used next to something like Quickbooks.

She also hit a sore spot for me about the mind set of being an under-earner and how to challenge ourselves to push our earning potential and price our artwork based on our goal income. Having an economic evaluator/engineer husband, I know this should have already been set in place but I now have a new perspective on how to approach my potential. Sheryl's second part of the session on intended audience was useful but familiar. I have listened to the radio segments on AFI that have covered how to market to niches and how to target certain demographics. I think hearing it again in this setting while with other artists discussing our experiences is very valuable.

The session on a mock art fair jury was eye opening for me! I noted in my paragraph for the AFI contest for the ZAPP conference that I have tried to get into St. James but I've only been wait listed. My dear husband is encouraging me to apply to shows with fine art as the primary focus, within a 10 hour drive. I have been resisting applying to other "Go big or go home" shows because I have been using St. James as my barometer. First, I am guilty of having a booth shot taken at a fair that I thought looked nice.

I had no idea that jurors primarily want to see three walls with a gallery style hanging with no other distractions. In the back of my mind I knew some shows do not allow reproductions therefore print bins in the photo might be a strike. Items to make sure are not visible: chairs, desks, dolly, tubs peeking under the walls are all a distraction to the juror. Basically consider photographing your booth like you do your artwork: well lit, staged and very sterile. I also learned the sequence of the images can be a distraction. The submitted images need to be sequenced so that they are balanced in design, color and orientation.

Second, and this one caught me by surprise, some shows have open jury sessions! So an artist can attend and learn from the process. I don't yet know how to find which are open but that is on my to-do list. Third, the facilitator was the St. Louis art fair director and she said if you have questions about what a show is looking for in a booth shot or the type of work they focus on in their jury process - call the director and ask! For a painter like myself, I intend to make a list of shows I think suit my work and make some contacts before the application deadlines start rolling around for next year.

Other unexpected benefits to attending: I found a potentially new and cheaper insurance provider that covers artists, even at unpredictable weather outdoor events. I knew it was very important to protect our images by having watermarks or low res images online, but the Symposium- Imitation vs. Inspiration, I learned that the copyright protection laws are not guaranteed to protect us in this digital era. In this same session I gleaned, there are lots of differing opinions from those who make a living on the backs of artists about what is ethically acceptable in arenas of promoting and selling. 

There were many other sessions that were more geared to the show promoters (both for profit and non-profit) yet they had much for an artist to absorb. We, as artists, are a part of a larger community effort in each of these fairs and it is up to us to decide if it fits our goals. Do you want to be at a huge festival where art is a small part of the experience but draws thousands? Maybe you want to focus on shows that where fine art is the focus.

For the seasoned artist who already has figured out their best shows and travels the entire country, maybe this conference would be a yawn for you. For emerging artists, I found there was much to absorb both from business development and the what future may hold for art fairs.

I met so many talented artists and people with a passion for creatives and I hope to stay in contact with them. I learned about new shows that may be a fit for my work. I found new resources to help me research fairs and grow my business. Thank you to all who  put this conference together and thank you again Connie for the opportunity!

All the best,

Amy Welborn

www.paintingsbyamywelborn.com

Behind the scene, breaking it down at an Art Fair. Fun video submitted by Michael Terra:

The Zero Show:

Ouch.  I knew better.

But the old adage says ‘hope springs eternal’.

I did the show last year.  Got a really nice commission job in the last ½ hour of the show………..

I was originally invited to participate last year by a really nice, diligent woman who touted her show as ‘a fine show, only the best’.  She wasn’t wrong.  The quality of the exhibitors was wonderful.  What she couldn’t control was the heavy spring heat, the ‘riverbugs’ and a supposed ‘down’ economy.  I went to the patron preview party on Friday night and met some seemingly interested people.  I watched the shuffling small herd with gasping dogs, walkers and a smattering of small kids go by all weekend in the heat.  I laid out water for the dogs, talked to a handful of people who noticed me in the corner of the lot.  Sold a small selection of prints and watched my neighbors sell nothing at all.  And then, there they were:  The commission job people.  They came late on Sunday.  I hear stories about ‘Sunday shows’ but really; that had not been my world until that day.  It was a beautiful piece I made for them.  Delivered on time & they loved it.

So, when invited to participate again after going through the jury process without a fee, I went back to the show.  I had watched/know of others in the show who had received ‘purchase awards’.  People had pledged money to spend.  I didn’t receive any of those patron bucks in 2012 but thought “why not me”?  I sell my work……….I am not an amateur.    How can I make this show work for me this year?  I convinced myself that the heat of 2012 would not be around for 2013.  Couldn’t happen two years in a row right? 

I brought a bit more ‘conservative’ body of work.  Watched as the weather forecast was not in the ‘searing heat’ category.  I had asked for a different spot in the show.  A better spot so I thought.  I got to the show to check in on a beautiful day.  There was someone else in my spot.  The beautiful corner I had anticipated had another artist in it.  To make a long story short there was a ‘mix-up’ of sorts.  Well, another artist decided that the corner spot was ‘more suitable’ for them.  Hmmm.  And, it was marked wrong on the map but not the packet info.  Hmmm.  There was no chance of moving to the other side of the show (which is where I would have preferred at that moment) so I gave in and backed away.  The booths were spread apart to give my sidewalls some visibility.  I tried to stay positive and not let the incident rattle me too much.  I enjoyed the very beautiful day.  I thought about great sales to come for the weekend.  Went to the patron preview party that night with my ‘show-stopper’ piece.  Again, met people I thought were interested.  Enthralled.  Asking questions about my work.  Went to the show that next day with high hopes of a big weekend.

Then it happened:  or should I say nothing happened.  After 2 days of standing around in my booth I had a solid zero.  The fair volunteers kept asking me if anything was happening sales wise.  I didn’t lie.  I told them the truth.  Nothing was happening.  I could not even sell a 25.00 print.  It was in a word: pathetic.  I wasn’t begging or pleading patrons.  I wasn’t praying but continuing to try and do my job.  At some point though later on Sunday I started coming apart.  I have bills to pay like everyone else.  Asking myself what I had done wrong.  Wondering what I was doing there.  Analyzing every aspect of the weekend.  Questioning my body of work.  Very late on Sunday another artist came by who I think was a jeweler…..praising my ‘beautiful work’ and asking about how my show was.  That brought the tears.  “This was not the weekend to be losing money” I said.  Bills to pay.  I hate to cry.  It gives me a headache.  She probably thought I was crazy and I still don’t know who she was.  Soon, it was over.  5 p.m. had passed.  Time to pack up and go home and still, nothing to report.  There was nothing on the plate. 

After a two hour pack up, I drove home the 3 ½ hours without getting out of the car.  No extra food or drink.  Didn’t need gas in the truck.  I got home with my family asleep but was greeted by two happy dogs and proceed to sit curled up with them on the couch at 11 pm and downed a big glass of wine.  I thought about the funny ‘Art Fair Neighbor’ YouTube video of the potter who was ‘now questioning his entire existence’.  You know, it is really difficult to have a ‘zero’ show.  It was not my first.  It was my second.  The first was worse.  That was a huge lesson learned but that is not why I am sharing right now.  I thought I had done everything right this time from the initial decision to go back. 

I remember telling one of the organizers at the show that I realized I was not in my market.  This was an older crowd.  I heard one too many times that “our walls are full”.  This crowd had already owned the big house but was looking to ‘downsize’.  Bought the wall art years ago, splurged on the furnished second home and now were looking for something else to spend their money on.  I heard rumors of big sales:  expensive jewelry or five-figure bronze sculptures.  I didn’t have the right stuff.  I could tell but didn’t want to believe it.  See:  I knew better.  I wanted to believe I had a chance for a better show this year.

Epilogue:  I moved on.  Like everyone else who does this crazy job full time there is little time to morn.  You have to get back on that bike and ride again.  On to the next show the next weekend and pull it together.  I didn’t even change the body of work.  Truck was already packed.  Ready to go.  Still held out hope that there may be a ‘follow-up commission job’.  By show end day three and no emails or calls I gave that up too.  What happened next do you ask?  I did what I do well:  I sold work at the next show.  Plenty of it; in all different price points.  A combination of small, medium, large and a commission thrown in made the next show the reason I keep going.  (Besides a talent for painting and my love of art of course). 

So you see:  I knew better.  Listen to your gut.  I wanted to believe that I was doing the right thing.  It is so easy to blame the organizers of a show.  Or, the volunteers, weather, economy, and the fact that the guy next to you stole your booth space or whatever it is beside you.  I knew enough that I should not have tried the show again.  Another artist that I highly respect shared with me some great philosophy last year: “If you have multiple shows with no sales you really need to take a hard look at your work and understand what is wrong with your art”.  

If you only have one really bad show it was just not your weekend or show whatever the reason is.  We as artists are gamblers anyway in some sort of fashion.  We play the odds over and over.  I’ve heard that in about 1995 every show was good and people were spending money like crazy.  I wouldn’t know what that was like.  I came to this business just a year before recession became the word of the moment.  I don’t know much of anything else and have built a business in trying times.  While I don’t have 35 years under my belt I do have eight years of art fairs behind me and like to think I have at least some knowledge of the business and a formula of what works.  I have tried shows that were not great and built clientele by being diligent.  I have chased leads, commissions and corporate work.  Taken huge chances that have paid off wonderfully.  Perfected a body of work and learned marketing and studied what I needed to do to be successful.

Well, I thought I knew what worked until that ‘zero’.  I like to think that ‘zero’ will never happen again but obviously I am still thinking about it so I want to make sure I don’t forget at the very least: the lesson.  And, on a more positive note:  I would like to not forget the good feeling of ‘moving on’.  J

P.P.S.... I showed this article to Connie while I was at the South University Show in AA...the first day I was there a big order for a commission piece came through finally as a direct result of the above mentioned show (although I had met them elsewhere).  This time though, I am still of the opinion that I will not got back. 

I tend to just lurk on these forums or comment on posts and haven’t really made a blog post yet but have been inspired to finally. 

Artists, I wish there would be less judging and publicly expressed prejudice about buyers at art shows.  Should we stick to the facts and tell it like it is when a show doesn’t go well?  Sure we should….but we can explain when sales are down without tearing buyers apart and making derogatory comments about them. These are PUBLIC forums, and it’s been said before, BUYERS can get on them. In fact folks, some of your fellow artists are even your buying public. 

We recently went to a local art show and I came back on here to talk to an artist about potentially getting a piece of his once I got through my next art show.  We couldn’t look too seriously when we were at the art show since we have a little one on the way and the budget is tight until I get through my next major art show myself (about a week away!) I come on to find out he didn’t do so hot at the show (huge bummer!) but I took a slight offense at the customers being called “wal-mart shoppers”…..and based on their SHOES! (Considering we were some of the customers!)  

Now for the record, this event is held at the bottom of a ski resort, in a national park, on a hot summer day, and the paths through the event are all dusty and covered with small pebbles.  It’s basically like walking on a hiking trail.  I’m not sure what the artist expected, but it’s not the kind of place where you wear fancy shoes, or dress up.  It does however happen to be a show that people pay $ 8 to get in per person, and in an area where honestly, a lot of the people are a little more affluent and in the middle-class to upper-middle class range. 

Whatever reason they weren’t buying, it certainly wasn’t because they couldn’t afford it.  I made some comment about it not being a good idea to publicly bash customers, and got blown off.  Did the artist just lose a potential sale.  Yep….he just judged me, and all my neighbors based on clothing.   Kinda killed any impulse I had to inquire about getting a piece.  Absolutely silly.  

Let’s not degradate people because we don’t do well at a show.  There are lots of varying factors for why we might not do well.  Indeed, people may not be in the mood to spend money.  That doesn’t mean they are poor or stingy.  It may in fact mean that our art isn’t tugging at their wallets.  Any number of factors from cold weather, hot weather, rainy weather, grumpy artists, distracting commercial vendors, poor marketing, the wrong type of art for the wrong type of crowd (e.g. traditional art at a more industrial/modern show), or the art just simply isn’t what they are looking for no matter how good it is may influence our sales for a weekend.  

It breaks my heart to see artists who don’t do well automatically tearing down buyers to pieces and publicly at that.  How does that encourage anyone to support artists if attitudes like that are made known widespread? It makes us ALL look bad and sours buyers perspectives of a show. 

It would be nice to think that prejudice doesn’t exist at the same percentages in the art world as it does in society but unfortunately I’ve seen buyers at art shows judged all too frequently on what they are wearing, the color of their skin, the questions they ask. 

I’ve been able to witness this from a buyers perspective and I know what it feels like to be judged based on our “cover”. Being younger my husband and I sadly, frequently have had to walk away frustrated from potential purchases because we couldn’t get the artists attention.   We’ve stood by as artists took care of older clients and didn’t even bother to acknowledge our presence in the booth.  I kid you not, not even a “hello” let alone, “I’ll be with you a second.” Somehow, being younger and probably dressed more casually makes us appear to be less likely to be seriously interested in buying.   

I never understand how they fail to hear us actually discussing budget, and where the piece would go and saying things like “so this is the piece you want?  Yes.”  The funny thing is, though I’m an artist too and don’t have this whopping income, both my husband and I are VERY committed to buying only original art.  My husband’s father was an artist, I am an artist, and we’re young with an entire house to decorate.  Is it a struggle sometimes?   Absolutely, but we cut things out in other areas so we can support independent artists like we believe in and have pride in the objects we own. Most people would never peg us for art buyers, but with one exception, every single piece of artwork in our house was handmade by an artist or done by an independent photographer.  

At the supposed “wal-mart” show I was also seriously eyeing a delectable handbag.   I actually had even managed to capture my husband’s attention at the quality of it.  (Who for the record, does not get my obsession with handbags, and does not understand why anyone would pay more than $40 for one.  So to have him actually acknowledge a handbag as a stunning work of art is quite a coup.) The husband of artist working the booth literally picked it up right from under my nose to show it to a gaggle of older women.  Who went “oh, that’s nice” and then walked out of the booth.  Sigh.  Why, when you have a bunch of items in a booth would you take one right out from under a person who is looking at it?!!!

I can tell you of at least four separate occasions in the last few years in which an artist probably missed out on selling an original because we simply could not get their attention away from someone else they deemed “more worthy”.  Of course, you could say stick it out, come back to the booth later, but when someone acts like you aren’t worth their time it takes the fun out of the buying experience.  We truly are the type of people where half the fun is making connections with an artist and knowing we are supporting someone. 

Some artists get it totally right.  I still remember one Boston Mills Artsfest where we fell in love with Andy Chen’s photography.  Seriously, madly in love with it.  We went in and looked around and were greeted warmly, despite the fact that the poor guy had to be baking (it was something like 95 degrees and he was in the outside sunny section with absolutely NO airflow)  We ended up taking a card and walking out because we knew we really shouldn’t get the size piece we wanted. Of course we walked around and spent the rest of the show figuring out how to juggle the budget.  Came back to the booth later and spent probably a half hour still debating, comparing photos and deciding on the perfect piece.  I still remember when it dawned on me that poor Andy was standing there holding up a 3 foot framed photograph with sweat pouring down his face while we debated.  I felt so bad….we had turned into crazy customers. 

Long story short, because his work was phenomenal and he was so patient and so friendly we walked out with a large original and I joked with him that I just basically traded an entire art shows worth of inventory for me for one piece of his since we liked it so much.

Can we always afford it? No.  Have we walked through plenty of shows and not bought? You better believe it.  Do we collect business cards?  Yep.  We have totally been “lookers” However, we don’t forget the nice artists whose work we really love.  We have indeed returned when the budget was right and bought sizable pieces.  Had we got gruff or attitude for being lookers, or ignored or insulted in some way by those artists it wouldn’t have happened. 

As an artist myself, I’d have lost a lot of money over the years if I wasn’t respectful to EVERYONE.  (At least I sure try to be….I know I’ve had some days where I need to work at it more) Literally about 50% of my MAJOR sales have surprised the living daylights out of me, and I’m super glad I didn’t have any sort of attitude with the customers.  At a major art show last year, my most expensive piece probably went to the most casually dressed buyer I saw all day.  She wasn’t wearing a lick of jewelry, but picked out my showcase piece and off to her it went. 

At one of my holiday shows the tiniest little grandma came up to my booth and just started pointing.  I think she bought something for every single daughter or granddaughter that day (and the pieces weren’t on my lower end either!) I was a little fearful of the credit card being declined to tell you the truth as the sale was too easy, too quick, and she seemed like such an unlikely customer.  I am a little shamed I ever thought that. 

Quick disclaimer:  I know, I KNOW that there are shows where crowd makeup means we definitely won’t do well.  We’ve all picked a few shows to do in which we came back and went “whoa…def. not my crowd.” When we find shows that aren’t for us, let’s keep it at that though.  How hard is it to say “Not my crowd.  They weren’t buying what I was selling.” We do not need to make derogatory comments about people’s clothing, wealth, character, etc., when we do not do well. I'm not saying not to vent about someone who was particularly rude or degrading to you--that's a whole different story.  Just be careful not to make judgements about an entire populace simply because they're not buying what you're selling or to pre-judge customers based on pre-conceived notions, as they just might surprise you.

Here are some tips for artists coming to Colorado for summer art shows which I hope will make your trip more enjoyable.

1. Altitude Sickness.  Coming from the flatlands to 5000-9000 feet elevation can affect your body with severe headache and flu-like symptoms.  The best remedy is to come a day or two early and take it easy until you have adjusted.
2. Driving Mountain Roads.  Stop at the Visitor Centers when you enter Colorado and read the information boards.  There are traffic laws about obstructing traffic flow with slow moving vehicles on mountain roads and you don’t want to get ticketed.   Also check CDOT (Colorado Department of Transportation, www.cotrip.org).   Rock slides, construction, accidents on mountain roads can lead to some serious delays or detours.  Carry a road atlas and know how to read a map.  Cell phones, iPads,  and computers do not always receive a signal the mountains.  Stop to enjoy the scenery, don’t be gawking while driving.
3.  Weather.  A common saying out here is that “the mountains make their own weather”.  Thunderstorms can produce tornados along the Front Range (mountains facing east).   On the Western Slope (mountains facing west) it can be as hot as any western desert in the summer.   In the mountains, afternoon thunderstorms are a fact of life.  Temperatures can drop 20-30 degrees in a short time and snow in July is not unknown.   When returning from a mid-May show in Grand Junction this year, there was lots of snow in the mountains but it was warming up.  Jean commented: “summer mountain wear is shorts and a hooded fleece”.   There can be lots of pea to marble size hail, so be prepared to push this stuff off of your tent.  Lightning can be spectacular with horrendous thunder making the afternoon exciting.  Don’t pack up and leave a show because of a thunderstorm.  These usually last from 20 minutes to an hour.  Most folks duck into an artist’s tent or shop to wait it out, and then continue shopping.   If lightning frightens you, duck into a building or your car.   Strong downdrafts and microbursts can accompany thunderstorms so be prepared to hold your tent down until they pass.  In towns, keep the gutter clear behind your tent so the water from a thunderstorm can drain off.    In a park, the worst you can expect is a temporary creek running through your tent for a short time.   Find a website that provides local weather information and check it often.   Don’t rely on a Denver news forecast for what’s happening in Pagosa Springs.    
4. Wildlife. Bears, elk, deer, moose, mountain lions and smaller critters live around the mountain towns.   Do not leave food in your tent or car.  The latest on this is a young bear in Steamboat Springs has learned how to open sliding windows on pickups and campers in town.   Notices about wildlife are posted in town and campgrounds.   Read and follow their directions.   Stay safe and do not approach wildlife. 
5. Wildfires. The summer fire season is upon us and we are still in a drought.    Large areas of beetle killed trees are in the mountains that make the fires very dangerous.  If a fire is near your show, follow the local news and advisories on line.   If there is an evacuation order, don’t second guess it GET OUT.    The other problem with wildfires near an art show is the smoke and ash.   We did a show in Ft. Collins that was 15 miles from the High Park Fire in 2012.  The smoke was so thick that you could not see the color of a traffic light half a block away.  Overnight, ash had settled on flat surfaces inside our tent which was zipped up.   If a fire is nearby, take whatever precautions are necessary to protect your art work from smoke and ash that can drift in.   I had to air out my leather goods after the Ft. Collins show and I would imagine other fiber people had to do the same.   Don’t assume that the smoke will continue drifting away from your show overnight.
6. I can’t think of anything else now, but feel free to add from your experiences.  Use common sense and you will have a great time in Colorado.   Stay a couple extra days to enjoy what the state has to offer.   Shows have been pretty good for me and others.

This Oscar talking to God. It may not make any sense and may not be clear English, it is just my mind talking and typing.

I do not know what to expect this year since I change my body work a bit. My first show is Cottonwood Art Fair and last One of a Kind Chicago. Waiting for the Sugar Creek, Bucktown Art Fair, La Plaza and Historic Shaw. My high of the preseason was that I got into Lakefront Arts Festival Milwaukee. I am hoping to apply to more shows for the fall. Also I am planing to start early March 2014.

Read post by Nels and Munks. They both have great points and Bless both of them. The truth is they have the courage to express what we feel but we are afraid to express.

This last Xmas my knee staring to give me problems. In last few months I drain both knees at least three times. My right knee is getting roaster combo injections and it starting feeling better. After cottonwood  I will see how they feel. The pain is not pleasant at time but I am grateful to be able to walk.

What is my point you may ask God? There are people that want you do well but most people want you to fail. Do not ask why but it is just an observation. I got to the point that want everybody to do well and more important to be able to meet all obligations in life. If I see you at the show just said hi. If you want we can always can go out for friendly dinner. When I travel to a show I am only going with you God. Eating dinner alone sucks. If God let me meet a friendly female do not think the wrong thing. Last year I learn not ask where you are staying or to smile because Oh my God..... One thing for sure I got divorce and I have not interest in dating any artist. So do not worry about that. If I see a friendly male artist lets us have dinner and not I not in that side of the fence neither. Eating dinner alone sucks and talking to God to myself is bit CRAZY at times.

If you want to be fellow artist want to talk politics do not expect me to change my mind. I very in the middle and more Democrat than conservative. I like to able to choose. Some people do not believe in that. Do not talk to me about you, God and the church. I almost became a priest but after looking at the church, ......well .....

Last time I check God can only help you if you help yourself. Buy the lottery ticket if you want God to help you win the lottery.

I am sure I got more things in my mind but what is the point to express them. You do not care other than God wants us to be good, at least that what my faith believe.

So, God if you let me meet fellow artist let them be friendly and I wish you the best. God let me see my friends I will like to talk about life not about the art that we sale. God let friends have the smarts to tell me if I am doing something wrong so I can improve. The only company I have is you God. God you also knows that so bad that Devil does not want me in hell because I will exile him from hell. So do not think I am stupid.

The best thing about starting a new season is that you are full of hope and joy. That I am grateful that can still walk. I am grateful that can hope to move my work. The only thing I ask God today that he help me to sale my work and be able to meet my obligations. I did my part God, I produce new work and apply the best two advice from my friends to my work. Best thing Armando who gave some advice in the One of Kind Show will be the neighbor at the first show of the season.

At this point I will be 46 very soon GOD. I just want a simple quiet life and no worry where my next meal will come from. And God because I want I simple life it does mean I want to be poor and the other ways you may think. I want you know that appreciate all the lessons in life  and every single bad experience. That I only hate some people because they want to hurt me. I do not want anything bad to happen to them I just do not want them to be in my life.

Please God this is the only prayer you get from me. You know that gave all the tools in life and is my choice to use them wisely. I just want you let me have profit year and meet my obligations because is in your hands now because I had done my part. I almost forgot help the fellow artist to have good sales because I do not want negative feed back when you are helping me to have a great show after great show because I already did my part and will keep doing my part in our agreement.

To you all my fellow artist I wish you the best and be happy because the fellow artist next to you may become homeless or very poor in many nasty ways or some many other bad things that can happen to him that you may not know. For all you please do you part to improve your life and do not make other people life more difficult. The rest is up to you GOD.

In March, I drove from Virginia to Arizona, painting, doing a show and visiting my dad - and buyers paid for the whole trip in advance! 

I'm working with a prosperity coach, and he suggested the idea. It is somewhat along the lines of a Kickstarter deal, but much more grassroots. 

For each $100, a sponsor receives a 10-inch-by-10-inch painting, a discount on a larger painting, and a chance to win any piece of mine or a commission, up to 36x60. In addition, sponsors got postcards from me on the road, daily sponsor-only emails, access to a sponsor-only blog (this was essentially my daily Constant Contact emails, plus extra photos), a chance to win a paint-splattered T-shirt in which I painted, and a collage that I still need to figure out and create. 

I promoted this notion on my own blog, The Accidental Artist, on Patch, and on Facebook, and via Constant Contact emails I sent to buyers and friends. 

I was hesitant, at first, and initially didn't promote it very hard. Though I am working full-time as an artist, and self-promoting All The Time, I still wrestled with the notion of asking people to pay in advance for paintings! But as soon as I posted it on my blog, people began to sign up. 

I ended up with 23 sponsors who signed up for 28 paintings! WOW! 

I made 20 10x10s while I was traveling, and made a few larger paintings, too, most of which sold at the show in Tucson. (To see my review, click here.) I took a ton of photos, and will make paintings from the trip through the end of the month. 

If the sponsors don't see a painting that they want from my trip series, they can have a 10x10 from any time throughout the year. This is a size I paint all the time. Started as a project (100x100, 100 10x10 paintings that I sell for 100) and has continued as a low-cost line for shows. 

It's a great idea, and one that I will use again. You can make it work however it works for you, of course. I already have a sponsor for my next trip. 

People loved getting the daily emails from me. They loved seeing photos of where I was, people I talked to, and the Dog of the Day, a part of the email I sort of fell into. They really loved seeing photos of my painting and my painting in the landscape (I will include one of each here). 

Questions? Ask away. I'll answer all that I can. I really encourage anyone to try this sponsored approach. It's great for plein-air painters, but could work in all sorts of situations. 

OK, here comes my Teaser Blog.

As I was previously saying, my neighbors and I at the Bayou City (Houston,TX)were twiddling our thumbs.  My neighbors were Terry Speer and the lovely Deborah Banyas.  They are longtime exhibitors on the circuit----even longer than me.

Anyways, we were tossing Reeses Peanut Butter peices back and forth, throwing Sweet Chili Pistachio nuts at each other, and wondering, WTF!  Where are the customers.

So, first we started throwing cinder blocks across the path, hoping to hit somebody and get their Gold Card.  Damn, no luck.

Next, we tried three-hundred pound boulders.  Which was very difficult for Deborah since she only weighs about 95 pounds.  Next, with Terry's acquisition, we tried hurling Deborah at potential clients.  Damn, still no luck.

Next, I tried the one that always seems to work--a one-hundred-dollar-bill attached with silly putty onto a fishing rod.  It is kind of like trout fishing.  You tease the bait out there and slowly lure them in.  Damn, not a single bite!  We were ready to start using worms, or day-old potato chips.  We were desperate.

So, since we had no customers to speak to, we started brain-storming.

That is when I came up with this incredible concept.

It is so good, I am awarding Barry Bernstein exclusive territorial rights to it--between Marquette,MI and Pictured Rocks,MI.  Barry if you want Southern rights--like Charlevoix or Petosky, you are going to have to arm-wrestle Luciano Duse for them.  Good luck!

Since Bill, from Lakeland has been so sick and recuperating, I am giving him exclusives between Oveido and Auburndale,FL.  Way to go ,Bill!

So, here is a little hint about this brainstorm.

HINT ONE.  THINK ABOUT PAINTERS AND GOD FORBID!, PHOTOGRAPHERS, WHO DO WORKSHOPS.

HINT TWO.  THINK ABOUT AN EMPTY CHAIR.

HINT THREE.  I GOTTA ADMIT, I STOLE THIS IDEA FROM AMY AMDUR--THINK ABOUT LINKAGE FOR A $100.

There, that is a lot of hints.

Maybe tomorrow I will let you in on it, if I get enough hits off this blog.

Thought I'd give my 2 cents to this festival being a newbie to the show. IMy booth was right at the end of the chamber part and the beginning of the Arts center show, yes there is two different events butted up to each other. Very interesting talking to artist on both sides you seem to get a lot of different reasons for why who has choosen the show their in. I still didn't see the difference other than the way the booth layout was. On the chamber side all the artist had a corner so that was pretty cool not to have to pay a extra fee for that.

Loadin you had to wait until 6 the police cleared the streets from 5 until you could bring your vehicle in to unload. In theory one was to unload move your vehicle and then setup no body did that but you had plenty of space to setup.

It's a 3 day event on Friday lots of artist I talked to did very well I DID NOT, but it was the local or returning vendors that seemed to do well. I made the same amount all three days I did cover my expenses and put a few dollars in my pocket. I didn't see many folks carrying big paintings around or a lot of bags, the wood carver and potter to my right had a very good show both took in several thousand. I sold a lot of matted small prints nothing over $100.00 no orginals thought a few times I had one in the bag only to fall short. Crowds on all three days were pretty large with that said it left a few of us 2D artist scratching our heads why the low sells compared to the amount of people. There was enough interest in my work and with the amount of print sold I'll give this one another try. The Chamber of Fairhope are extremely friendly plus the fact it's a pretty nice area of Alabama to be in anyway. It does have a award dinner on Friday night "VERY GOOD" I may add.

Load out was about the same as loadin with no help I was out and on the road in about a hour.

If you do get into this event and not done the show before you'll have to purchase a business license to display your work, it's cost $32.00 on top of your application and booth fee. Food for thought.

Later, Mike

http://www.mikebrownstudio.com/

Inspired by many calls and by the post- Can the System be Improved, (Thank you R. C. Fulwiler) I would like to start a new thread exploring ideas of how to create that improvement.  My proposal is that we generate some ideas and then ask the National Association of independent artists (NAIA) to help champion it.

As a starting point, can we assume that artists would like the following from the jury process-

1) Criteria- You want to know what you are being judged on.

2) Process- You want to know who is judging your work and how.

3) Numbers- How many slots are open for how many categories.

4) Results- Specific comments so as to be able to make decisions going forward.

Other desires?

While each sounds simple, they also each have issues.

Criteria- reminds me of the Supreme Court Judge who stated "I can't define what is obscene but I know it when I see it".  Stated criteria needs to be just as flexible or we would never see anything new at the shows.  It can be simplified. A statement like- our jurors will judge your work based on: Technique, creativity, and originality tells you what they are looking for without giving you any information.  Artists do you have examples of how this has been done well?

Process- Of the above, this is the most likely to be public in my experience.  Projected, monitors, three jurors, score of one to five, yes, no, maybe...   Not so hard to let artists know the system and, while you may not agree that a monitor is acceptable, at least you know what is expected.

Numbers-  If there are a particular number of slots open in a medium that information could be useful.  A show cannot let you know how many applications will be received but could give historical information.  Predicting the future changes the future.  If I tell you that I have ten slots for photo and generally get 40 applicants you may not apply.  I might end up having to select from fifteen applicants suddenly and miss out on having your work in my show.  Any ideas of how to make this fair?

Results-  Not every artist really wants to know the jurors comments.  Many say they do, but then argue each point.  I try to be clear, but after I get attacked a few times for my jurors subjective opinions it is tempting to go back to generalizations.  Movie line "You cant handle the truth".   How am I handling this now-  The notifications go out with general comments.  If artists want they can call me and I will let them know what the jurors comments were.  I start with the safer things- "Um, your booth shot was out of focus".  If you prove to me that you want to hear I will continue going and discussing for as long as it takes to be helpful.  If you instead start arguing with me it will be a very short conversation.  Zapp just added an option to share juror feedback with the artists.  Let's see if that helps.

Please, let's hear some more stories and maybe together we can change the systems.