Artist Robert C. Barab Jr., 68, died Feb. 27, 2011, at home.

He was the beloved husband of Trilla Ramage of Hampton, VA, father of Sasha Barab of Bloomington, IN, and son of the late Lucille and Robert C. Barab Sr. Robert was born in Wilmington, DE, Dec. 3, 1942.

An artist, he was an award-winning fine art photographer who traveled the world to find beauty and share it through his images: http://www.robertbarab.com/ (www.robertbarab.com). Prior to his career in photography he was also an award-winning jewelry designer and maker. A graduate of Goddard College with a BA in creative writing, at the time of his death, he was completing a novel.

He is survived by his wife and son, as well as two brothers,Peter Barab of Portland, OR, and Drew Barab of Denver, CO.  He also is survived by his daughter-in-law Anna Arici Barab and grandsons, Julian Barab, Andrew Barab and Trey Barab, all of Bloomington.

Friends may call 5 to 7 p.m. Wednesday at the Porte Fellowship Hall, St. James United Methodist Church, 1533 W. Queen  St., Hampton, VA 23669.  Services will be private.

In lieu of flowers, donations may be made to: The Robert Barab Memorial Fund in c/o St. James United Methodist Church, 1533 W. Queen St., Hampton, VA 23669.

Robert was part of the art fair world for many years. His large scenic photographs were part of many of the nation's top art festivals. He was a gentle man with an inquiring mind and always a great neighbor at an art fair. Robert will be missed by many in our business.

     This morning I was sitting by the fire, watching the snow fall outside my window, and thinking about relevant content for this months newsletter for my arts and crafts guild. Suddenly, I was struck by a random thought, “who coined the phrase Arts and Crafts?”

     I suppose you could say my medium is pine cones. I love working with them to create a wreath or an ornament. Debra has a knack for creating beautiful jewelry designs with beads, while Lida turns a piece of denim and a few beads into a stunning handbag or jacket.Others paint, carve, weave, and knit. If there is a material – - i.e., wood, iron, wax, charcoal, or clay – there is an art or a craft waiting to be created.

     In pioneer days many of these“arts” and “crafts” were simple necessities. There was no local WalMart. If you needed a plate you found a board and cut it down to size. Clothing? An empty flour sack would make a fine shirt. But I wondered, when was wood carving or painting first referred to as “art” and sewing and bead work labeled “craft”?

     In my Arts and Crafts Guild there are are many talented artists and crafters who work with many different mediums. Bob weaves baskets. Marla makes quilts. Ruthellen paints portraits. Some build birdhouses, while others make nativity ornaments from pop sickle sticks and transform tea cups into pin cushions.

     For millions of years people have created things with their hands, borne of necessity or enjoyment; cave man formed weapons from rocks, while cave woman strung rocks on a reed to adorn the neck; today known as necklaces. How did these numerous and varied things that we do come to collectively be called “Arts and Crafts”? I went to my computer to investigate.

     If you've studied art formally, then I guess you already know that the term was first used in 1861 to name a movement. Somehow this discovery did not surprise me. It seemed only natural that the arts and crafts movement was begun in an effort to improve the tastes of the Victorian public, by an English designer named William Morris. The industrial Age had led way to machines doing the work of man, and quality became lost in mass production. By the mid-19^th century factories had almost entirely driven artisans away from their skills. Morris hoped to overcome the inferior quality of industrially produced decorative arts by promoting a return to medieval style craftsmanship.

     The movement was started to set the values of nature against the artificiality of modern life, and grew to encompass architecture, furniture design and almost every medium. From this arts and crafts movement sprang the first Arts and Crafts Guilds, such as The Gild and School of Handicraft of London, started in 1888. Although these early Guilds encompassed much more than what we think of in terms of arts and crafts today as they developed into such areas as complete house design, home redecorating, and even bookmaking, yet the aim was not unlike the arts and crafts guilds of today: to seek to set a higher standard of craftsmanship and protect the status of the craftsman.

     Arts and Crafts Guilds have evolved greatly since the 1800's to become what they are now. However, in many ways the arts and crafts movement of 1861 still equates to the artisan and craft groups of today, such as the Pine-Strawberry Arts and Crafts Guild, whose members find value in the craftsmanship of a hand-made item over one created in an assembly line.

     Although shoppers of the 21^stcentury will rush to the discount stores for the factory-made “bargain of the day”, there will always be free-thinkers. Those who like their predecessors who followed in the foot-steps of William Morris, have an appreciation for the quality and originality of hand-made arts and crafts, and a respect for those who make them. These discriminate shoppers will flock to the nations arts and crafts festivals and delight in the wide array of hand-made treasures that await them.

     Having completed my research and satisfied my curiosity as to the origin of the term arts and crafts, and content with my findings, I slipped into my factory-made jacket (only$20 atWalMart), and went outside to shovel the snow.

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.

Well, I just brushed the dust from my teeth and can now write this review.  Unfortunately, getting the dust off my clothes, booth, pedestals, and, pots is another story.  It's time to buy a case of canned air.  Maybe my next show will be windy and it will blow it all into the next booth.  This show is divided into 4 sections, but really it breaks down into 2 sections.  The lucky ones get to display on the street and the rest of us poor slobs have to be in the park, where they put down some sort of chips that break down when stepped on, piled up, tripped over, and kicked on everything.  This puts a layer of dust on everything, which makes everyone cough, hack, and wheeze.  Not to worry though.  You don't really notice it until you break down your booth and notice the fine film of dust on everything.  Fortunately, if you are on the street you don't have this problem.  I'd like to say that they reserve the best artists for the street, but, I didn't find that to be the case.  The quality is evenly distributed throughout the show, with the usual number of excellent work, really bad work(How did they get in the show?) and some buy/sell. I can't really say that what I saw was actually b/s.  To me, if it looks like it was machine made or mass produced, what is the difference? What used to make our shows unique is that the work was hand-made and looked hand-made.

The Skinny: Load in and breakdown was a pleasant experience.  Exhibitors booths are broken down into 4 section and each section has a 3 hour arrival time.  You have to register at a booth in a huge field and then drive a designated path, a few blocks away, to your area.  Once you arrive, there are people to guide you in to a parking spot.  I found it to be very civilized.  There are plenty of people to help you unload, for a negotiated fee, and they will even help you set up your booth.  I paid $10.  Some paid more.  Some people didn't pay anything.  Once you unload your booth, you have to drive back to the parking area and take a shuttle to your booth to set it up.  They don't allow vans into the park to mess up the a fore mentioned mulch on the ground.  People on the street have the last setup time and they can drive right to their booths and unload and set up.  Some people find this annoying.  I kind of liked the way it's done.  In the morning of the show, everyone has to park in the field and shuttle in.  The shuttles run continuously and often.  I'll bet you are thinking that breakdown is a real problem with everyone trying to get in at once and get out of there as fast as possible.  After all it is Naples. Surprisingly, breakdown is also civilized.  You can only get a pass to drive in after you've broken down your booth. Since people take different times to breakdown,  I'm very slow, getting a parking space to load is no problem. Unlike other shows, where the help disappears at breakdown, there was plenty of help loading.  You could take your time while leaving. The shuttles run until 10PM on closing so, if you wanted to, you could go eat dinner and come back.

The show is 10-5 both Saturday and Sunday.  I would like to see the show go a little later on Saturday.  Hey, we are here already. The weather was great, again. 80 degrees and sunny. No wind. The crowds were good, not great.  Unfortunately, sales were not good for most people I talked to.  Some people said they had a good show.  A lot of people had one good day and it wasn't the same day for everyone.  My first day was pretty good and my second day was virtually none existent.  For others, Saturday was bad and Sunday was good.  One jeweler friend did $6000 and was very happy. She was on the street.  Another potter friend had a zero show until the last 5 minutes and then sold a nice piece.  The people around me weren't selling.  I'm sure there were exhibitors that goose egged.  A glass blower friend, again on the street, did $6000.  I only talked to a few people and we need to hear from others as to how they did.  I was down about 30% from last year, which was my first year doing the show.  Would I come back next year? Probably, but I look at it from an economic perspective. Since I am already here, my initial costs have been spent. So, as long as I take in more money than what I am spending at the show, I would do it.  For the economically inclined, marginal revenue has to either equal or be greater than marginal costs. 

Btw, you may get the idea that being on the street is better than being in the park.  I'm not sure that is true.  Most people get around to whole show.  You can ask for a space on the street, but, getting one is a random act, unless you've supported this show with your presence and have an established space on the street, like some of my friends.  Once you get your space assignment, you can just about forget moving.  The people that run the show, do not like to inundated with space change requests.  That's just may be my opinion and I may be wrong about that. If someone asked for and got a space change, I'd like to know about it.

There are two things I would like to see different at the Naples National.  The first one is I would like to see the booth sitters offer the option to go for food and drink instead of baby sitting my booth.  In today's climate it is really important to be at your booth as much as possible. You don't know when someone is going to be the customer that makes your show.  I talked the booth sitter into going to the deli across the street to get me a sandwich.  While she was gone a customer came back and purchased a piece. I would not have had that sale if I had gone for the food.  The second thing I would like to see changed is the "entertainment."  During the prime selling time, from 12-3PM there was a 12 year old American Idol reject, with a somewhat screechy voice singing show tunes and (gag me) Justin Bieber tunes.  Now, I'm sure her parents and grandparents, and a lot of older folks that make up the Naples demographic, really though she was fantastic.  But I, and a lot of artists close to the stage, found her distracting, at best.  It is my belief that, at an art fair, the music should be complimentary to the art and not another one of the myriad of distractions that these events are adding to the shows.  At a national event where exhibitors are coming from long distances and spending an increasingly greater amount of money, the artwork should be the main focus of the event and every effort should be made to create a favorable selling/buying atmosphere.  Keep the distractions to a minimum.  That would be most respectful and greatly appreciated, by us.

That's my story and I'm sticking to it.  If I've forgotten something please feel free to ask or add to this post.

In another five minutes, I'd have clicked "Send" on my Zapplication for Howard Alan's Stuart (FL) show, when my cell phone rang.  On the other end of the line was Naples National show director Marianne Megela, who informed me that a spot opened up from the waitlist and did I want to be in this year's National? 

I weighed the pros and cons for about a nanosecond. Or would have, had there been any cons to consider. Then I said yes.  And as events proved out, it was the right call.

This show (#8 festival in the nation) met all expectations: Great weather, large and knowledgeable crowds, phenomenal sales, and a friendly, helpful corps of volunteers: from the parking lot attendants at Friday setup to the former furniture mover for Allied who not only took charge of my long, long dolly from site to vehicle, but inspired me with his story of recovery from drug and alcohol addiction. 

The show's meticulously organized game plan is detailed on their website, and you're expected to have read it thoroughly before arrival (I did).  Setup is all day Friday, but it's organized by "zone" (which is determined by your booth number and location).  I arrived on time at 11 AM for checkin, got my "zone pass" and packet, and was quickly directed to curbside parking on the west side of Cambier Park, from which it was about a 50-yard dolly along paved pathways to my booth location in the center of the park's tree-lined main walkway.  (The park itself is just a block from Naples' 5th Avenue, which hosts a number of shows during season.)  Bright-vested volunteers, some equipped with headsets, were everywhere to help out.

Show protocol calls for you to fully unload, then drive back to the check-in/Artist Parking area and return by shuttle bus to complete setup, although I was allowed to stay curbside since things weren't yet busy.  The shuttles ran continuously (with pickup every 20 minutes) but I had mixed luck with them: Some of the drivers drove around the park as if they, themselves, had a bus to catch, and didn't look around or slow down unless you were waiting right at the curb to intercept them.  No matter: I was empty-handed, and it was only a 12-minute walk back to the lot.

Both days had near-perfect weather (in contrast to last year's cold rain and wind), and the crowds didn't let up all day Saturday.  Sunday's attendance was a bit lower, by all reports, but still heavy on buyers--my sales were actually higher on Sunday.  I was working solo so didn't have much time to interview other artists, but everyone I did speak to were satisfied..even the painter of spectacular African wildlife near me, who zeroed on Saturday, wasn't daunted: she's done the show for years and has a steady clientele in the area.

I came early on Sunday to grab some hospitality muffins and coffee and then walked as much of the show as I could.  The show's main traffic areas are 6th Ave S, on the east side of the park, and the east-west thorough of the park itself.  Some artists were set up on looping connector walkways, and I overheard a few of them talking about being in "dead zones" with lighter pedestrian traffic. 

On such a sunny, warm day--it was in the low-to-mid 80s--it was a bonus to be in the park, under trees.  The streetside booths were unshaded and artists and customers alike said it was pretty darn hot, despite gentle breezes.  The one downside of the park location: You were set up on sand and grass.  If you were on uneven terrain, the crew brought over mulch to level things out, but there was nothing you could do about the dust and grime.  The tent and rugs are going to need a long hosing this week.

As you'd expect the caliber of work was top-notch.  It was great to see so many bags being carried around, and --I gotta be honest!--especially that a fair share of them came from me.

Volunteers brought around breakdown instructions on mid-day Sunday: Basically a repeat of the Friday performance.  A number of large, generator-powered light poles were brought into to illuminate the grounds during teardown--a nice and no doubt expensive touch.  I was directed to the opposite side of the park, though, which meant a dolly of around 200 yards around curving, dark walkways.  Without the help of my volunteer from Allied, I'd probably still be dollying.  He worked his butt off to help me load, and we got everything to the van in three trips and half an hour.  Definitely worth the $30 I offered him!

The Naples Art Association has another show (Mercato) at the other end of town this coming weekend, and after a day at the beach to rewind I'll start gearing up for that one.  If you are lucky enough to do the National next year, bring plenty of inventory, a helper, cleaning supplies, and an industrial-strength dolly.  And with luck, you'll be needing that dolly to load out your cash drawer. 

All that said: I'm just one artist, and it was a big show.  How did YOU make out??

Around the country erotic art shows are popping up all over. There is one in Detroit where the visitors stand in line in the cold to get in. Really. I've also heard about a good one in Seattle. But this week in Florida don't miss "Tampa's Nude Nite", March 3-5.

Do you suppose there is a dress code?

From TampaBay.com and the St. Petersburg Times:

Tampa's Nude Nite art show bares all

This year's theme is "Victorian steampunk," a style that incorporates elements of fantasy and innovation from a 19th-century perspective on fashion, culture and architecture. Expect feathered costumes, chicken wire gowns and skin-baring Victorian-style models.

The March 3-5 event will include 160 artists — double the participation of Tampa's first Nude Nite in 2009. Artwork by painters, photographers and sculptors will focus on the body beautiful in the buff. Stilt walkers, jugglers and other character artists will create a bazaar-like atmosphere.

Are any of you participating? or have any of you participated in one of these events?

The Coconut Grove Arts Festival is a very well run show. Attendance is high all three days, but the type of audience varies significantly over the weekend. Monday's crowd consisted mainly of tire-kickers, strollers and museum-viewers. Sunday was my best day, although the serious buyers were out early on Saturday morning. Sales for higher-end work seemed strong in our section of the show all three days, however. I was on Pan American Drive, almost at the end of the show. Traffic was slower than on Bayshore, but I still had a booth full of people until about 4PM every day. After that, it tapered off. We did have our share of fun people, including this guy who wandered in off the street.

Communication is generally good, although load-in instructions were vague. There were no instructions on how to actually reach the load-in entrance most appropriate to your booth included in the packet, just general instructions on a Google map on how to reach Coconut Grove. The load-in instructions specifically stated that no booth setup was allowed before 3PM, yet when we arrived at 3PM, it seemed like half the show was set up already. We drove around a bit before finding the right parking lot entrance. And I'm familiar with the Grove -- for artists that had never been in that area, it would have been a nightmare. Traffic in the area is very heavy, especially after they close Bayshore Drive. Expect to wait a bit. Patience will be rewarded.

Artist treatment is very good. There were many volunteers available to booth sit, and the zone captains were on hand to make sure that logistics ran smoothly. Security is great -- the show is fenced on the perimeter to allow them to collect the $10 gate fee, and it's locked up tight as a drum at night. Never had a worry about my work being safe in the tent overnight. They have a terrific hospitality area, with breakfast every day, and a nice artist awards dinner on Sunday night. They give you tickets for lunch too, but only one per booth, so if you have a spouse or a partner, you end up sharing the food. Which is decent. We had rice and beans, chicken, a bit of salad, and plantains every day. Plus a little sandwich. Enough to keep you going without having to resort to arepas, hot dogs or slushies. No free tequila, however. Boo.

The booth fee is higher than many shows. At $800, I suspect that it covers not only the venue, but also the labor costs involved in mounting the show, as well as an extensive ad campaign. There are many volunteers, good security at the entrances, and security 24/7 during the event. I even saw a volunteer on the street directing artists to the well-hidden artist dinner venue at the Atrium. Well-done, volunteers! And the artists have their own air-conditioned trailer potties, near the convention center. Bonus! And the free t-shirt was also a nice extra.

Patron traffic is very high, but the percentage of buyers on the low end was much lower than I expected. I made one really good sale, which helped to cover my expenses for the weekend, but overall, I was expecting better sales based on the reputation and the high booth fee. I did not sell a ton of bin prints, like I expected. Many of the artists near me did well, however, including two painters and a sculptor with larger work. Of course my work is less focussed on tropical themes, and here that does make a huge difference.

Reserved parking for artists at the expo center lot as well as at Lot 67, next to Pan American Drive. At $30 a space, this is a bargain. Thank you Coconut Grove, for providing affordable parking for trucks, trailers and vans. There seemed to be enough spots for everyone's trailer and van, too.

All in all, a great experience. The show was above my expectations for the artist treatment, weather and logistics. Sales were just average for me, but many of the folks around me went home very happy. The painter next to me made a great sale after closing on Monday night, and our friends up the road also had a good show. Others did not fare so well. I heard the usual rumors of zero sales, slow sales, no sales. I know I was expecting more sales than I had.

One artist did bail on Monday afternoon -- packed up, dollied out around 2:30. The show sent a golf cart down to block his vacant spot, as patrons were walking through the booth behind to get to the other side. (I think there's a chicken joke in there somewhere). Don't think he'll get invited back again.

Coconut Grove is a difficult area to navigate, and the police, security detail and show organizers did a fantastic job of getting everyone in and out of the show. The quality of the art is very, very good. The show is well-run, well-organized and deserving of its reputation. We made some new friends and connected with old friends. I'd be happy to do the show again. Four stars.

June 10, 11 & 12
Peculiar, Missouri
Friday 5pm-10 pm
Saturday  10am-10pm
Sunday  12pm-4pm
Deadline:   April 15


The Clara Brierly Festival of the Arts is held in downtown Peculiar, MO, a twenty minute drive from Kansas City.  The three day outdoor festival is in its third year.  There is live entertainment throughout festival, and at both ends of the street.  The stage talent, wine tasting, talent show and other events are all strategically timed to ensure sustained foot traffic.  



The festival is sponsored by the Downtown Peculiar Arts &  Culture District and has ongoing art workshops and demonstrations.

There is also a run/walk event which finishes at the festival.  There is an air-conditioned tent available for cooling off, and an artists' breakfast is provided on Sunday.
 
Reasons you should consider the Clara Brierly Festival of the Arts:
    •    Our reputation is important.  Eighty percent of
          our artists return each year.
    •    The jury process is very selective in order to be
          sure to have a good mix of mediums and styles and that those are of a high quality.
    •    The hosts of this art festival are a non profit organization dedicated to small town revitalization
          through a well planned arts and culture district and artist outreach.  Making sure artists are
          successful is the keystone of our mission.
    •    Publicity in newspapers throughout Missouri and Kansas, as well as radio, TV, and online social
          networks and media outlets.
    •    Booth fees are very reasonable.

How is this art fair peculiar?  Our overall vision of a small town artist community is growing and developing.  We are extremely active in state and local art and tourism organizations, and a very dedicated and invested group of visionaries.  This is evident in the way we develop our events and by the manner in which we treat artists.
 
Learn more:www.downtownpeculiar.com/clara_brierly 


Artists can visit the website to download the application: www.downtownpeculiar.com/downloads/2011_Clara_Brierly_Festival_Booth_application.pdf 


Or apply online at: http://www.zapplication.com

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Still working on filling up your 2011 show schedule? Visit www.CallsforArtists.com, new events added regularly

While I wish I could be in Florida and places further south selling at art fairs, but alas I am one of those people waiting for the Spring fair season to kick off here in the Mid-Atlantic.  I can't wait for Spring temperatures, Spring flowers, and yes, Spring art fairs. 

Each year I convince myself to not sign up for Spring shows as quite often they don't pan out profit wise.  And this year, I am not listening to myself.  My gut is saying "you choose to not do shows - granted I didn't have a whole lot of money for booth rent last year as I do this year - and what happened???  Missed opportunities is what!"  This year I have signed up for a few local Spring fairs from April - June and now just biding my time.  I chose local because I want to simply keep my costs low - little to no travel expenses (except gas) to try and maximize profits.  The other reason is I push the buy local initiative for craft business to try and get more repeat customers.  I am concerned that if some people learn I am local they may use it as a cop out and say they could just buy it any time - there's no rush to buy now, but always have a counter comment at the ready in case that happens to calm those concerns.  Another thing I intend to do with Spring shows is push newer work and use better signage - granted all the signs in the world still won't make customers read (who choose to ignore them) I am finding a quick sentence description or phrase (Ex:  "New this year") gets people to open up and explore more nooks and crannies in my booth.

So, my question to all is what are you all doing to welcome Spring and most importantly earn BIG SALES at Spring shows?

It's been interesting my first year in Florida learning about what shows to do and what shows not to do.  I decided to do this show versus the Coconut Grove, Artigras, because the Orlando area has been good for sales to me, and I was not disappointed with this show.  This is a two-day show that runs from 11-6 on Saturday and Sunday, and is set up around Lake Eola in downtown Orlando.  It's a beautiful lake and the community around the area is an older area of well kept homes.  The weather was wonderful with temperatures in the upper 70's to low 80's. 

Set up for the show was easy, and I was able to park my one ton dually and trailer for free only a block and a half away from my booth on both days.  I did notice that a number of people on Saturday parked in no parking zones and at meters without paying, and a meter maid was doing double duty photographing vehicles and writing tickets.  Ouch. The show had fresh coffee, muffins, and apples for us on both days.  This was not grocery store items but from the Panera Bread bakery down the street.

This show was packed by any measure.   Anytime I looked from my booth into the isle, I counted from one to fifteen people.  This was pretty much all day Saturday and Sunday until around 4:30, but I was competing with the 70's light rock group Ambrosia.  Enough about the entertainment.  Let's talk about the money.

I'd estimate that 60-70% of the show had some pretty nice art work. I did see a number of larger items traveling by my booth and when I'd take a run to the break room.  Sales were pretty spotty for the booths in my area.  The photographer, she had some nice work, did zilch.  A jeweler across from me told me he did around 600.  In both their cases they were pretty new to shows and could use some display help.  The jeweler had a table with his bracelets out and would change his hand-written price tags depending how he felt for that hour.  I'm not kidding.  He changed his prices four times on Sunday!

I also sold a number of smaller items and two upper items so I hit my goal of 10 times my booth fee.  Additionally, I was honored to receive a blue ribbon and an envelope with a very nice amount of cash in it!  All in all, it was the right choice for me on this weekend.

One word of warning.  Book your room early.  I had a reservation and the motel had way overbooked and there online reservation was still booking rooms that didn't exist.  I called around 20 other places within a 20 mile radius and no luckola.  So I did what any true artist would do.  I found a Mexican restaurant and had a number of jumbo margaritas and fell asleep in my truck.  See you all down the road!

ARTPRIZE 2011  REGISTRATION DATES ANNOUNCED

Grand Rapids, Mich. - Feb. 11, 2011 - Officials of ArtPrize, a radically open art competition giving away the world's largest art prize, announced 2011 registration dates for venues and artists, and special dates for submitting art to go within the Grand River.

There was much discussion about ArtPrize on this site last fall - in fact the winner of the $250,000 grand prize is a man who participates in art fairs. Could this be your chance? Start thinking now!

ArtPrize 2011 will run from Sept. 21 through Oct. 9.

KEY DATES
Venue Registration
Open: Monday, March 14, 2011
Close: Thursday April 14 (5 p.m. EDT)

Artist Registration
Open: Monday, April 18
Close: Thursday, June 16 (5 p.m. EDT)

Artist/Venue Matching
Open: Tuesday, May 31
Close: Thursday, June 30 (5 p.m. EDT)

REGISTER EARLY
Artists will know all possible venues available by the time artist registration opens. Most artists that did not secure a venue in 2010 signed up at the last minute, after many venues had secured their artists. Organizers advise artists to register early.


ART IN THE RIVER
Any art proposed for installation within the Grand River, which runs through the heart of the ArtPrize District, must be submitted to the City of Grand Rapids and Department of Natural Resources and Environment. This process has separate deadlines and requirements.

Pre-application filed with the City
Monday, March 28, 2011

Application filed with the DNRE
Friday, April 8

(The DNRE will process the application using the following steps)
Public Notice Period Begins: Fri. April 22
Public Notice Period Ends: Fri. May 13
Public Hearing, if requested: Fri. June 10
Required Time for Comments: Mon. June 20
Permit Decision
Wednesday, June 29

    "This two-step process allows the City to review proposed work to ensure that there is artistic quality and structural integrity to the proposed installations," said José Reyna Fiscal Services Manager for the City of Grand Rapids. "The Department of Natural Resources and Environment (DNR) application will review the proposed installations in the context of environmental, structural, and navigability impact to the river."

EXHIBITION CENTERS RETURN
As in 2010, ArtPrize will partner with institutions like the Grand Rapids Art Museum, the Urban Institute for Contemporary Arts and others to form large neighborhood destinations where visitors can launch into surrounding venues. These Exhibition Centers will be professionally managed and bring a minimum of 25 installations to one site and serve as a launchpad into the surrounding neighborhood. Each will offer voter registration, an ArtPrize gift shop, and the ArtPrize shuttle stops. Exact locations of the Exhibition Centers are still being determined.

In ArtPrize 2010, Chris LaPorte of Grand Rapids, MI captured the top prize of $250,000 for his work Cavalry, American Officers, 1921. In ArtPrize 2009, Ran Ortner of Brooklyn, N.Y. captured the top prize of $250,000 for his work Open Water No. 24.
Sign up for announcements on blog.artprize.org.

Learn more about ArtPrize on artprize.org.

About ArtPrize
ArtPrize is a radically open competition which has no formal jury, curator or judge, and asks the public to vote and decide the winners using mobile devices and the Web. In ArtPrize 2010, more than 1,700 artists from all over the world participated in the unprecedented competition that awarded nearly $500,000 to the prize winners. More than 465,000 votes were cast during the 19-day event. For more information about ArtPrize visit http://artprize.org.
Sincerely,
The ArtPrize Team

I am hoping to get into my first show next fall.  I live in Ft. Myers and like to photograph old signs, weathered paint, rusty metal, old warehouses, abandoned structures, old colorful neighborhoods and business districts, etc.  Were do I go in Florida to find what I am looking for?  Everything around here is new.

Or subtitled - why I have a Jeep.

I found this link in my travels on the web and thought it very intriguing. 

http://www.naturephotographers.net/articles0303/dw0303-1.html

Bringing art to the community and the community to art. That's the mission of the Guild of Artists & Artisans. The Guild, which has been a force in the art fair world for more than 40 years, is best known for its award-winning Ann Arbor Summer Art Fair. Guild events have a reputation for excellent advertising, attendance and artist amenities.

You can apply online right now for the Guild's 2011 spring and summer shows. The Guild's fair applications can be found at www.juriedartservices.com and are open through midnight EST on February 28, 2011.
 

If you need any assistance in setting up your JAS profile, or have any questions about the Guild and its events, contact the Guild -- 734.662.3382 or info@theguild.org. You can learn more about the Guild and its events by visiting its web site, www.theguild.org.

1.  May 14 & 15 - 30th Annual Art Birmingham

Held in Birmingham, Michigan, in the heart of affluent Oakland County.

Art Birmingham will be in the streets around Shain Park, downtown Birmingham's newly and extensively redesigned city park.  The park is conveniently located in the center of this favorite urban downtown and features all new and welcoming pathways and beautiful landscaping.  As the downtown center, the park is surrounded by convenient parking for artists and fairgoers. 

This highly respected event will showcase 190 juried artists.  Last spring brought more than 120,000 visitors to downtown Birmingham.   The Birmingham Bloomfield Art Center continues to produce this event in association with the Guild of Artists and Artisans.   

                   Apply: www.juriedartservices.com

P.S. Many reviews on this show at ArtFairInsiders.com, search for "Birmingham" in the Show Reports.

2.  June 11 & 12  - 6th Annual Crocker Park Art Fair

Crocker Park, in Westlake, Ohio, will host the 6th Annual Crocker Park Fine Art Fair in June. The event will feature 130 juried fine art and fine craft artists. Admission is free, as well as parking for both fairgoers and artists. The fair is Crocker Park's most respected and best attended event; more than 100,000 fairgoers attend each year. 
 
A popular destination, Crocker Park is the $400 million innovative outdoor lifestyle complex just 12 miles from Cleveland. It features a sophisticated mix of national retailers and eclectic local favorites plus restaurants, cafes, a multi-screen movie theater, beautiful luxury apartments and office space - all together in a congenial neighborhood of parks and tree-lined streets. Crocker Park is an extremely popular destination for families of all ages. Community support for the complex and its events is excellent and growing.
 
Event advertising will be featured in the Cleveland Plain Dealer, the Cleveland Jewish News, Westlife and the Crocker Park Press. Print advertising will be supplemented with radio advertising on WCLV, WCPN, WMJI and WDOK.
 
Apply: www.juriedartservices.com

3.  July 20-23 - 42nd Annual Ann Arbor Summer Art Fair

The Guild's flagship event, started in the heyday of the art fair startups, continues its popularity with artists and fairgoers alike.

The Ann Arbor Summer Art Fair is one of four official partner fairs that comprise the award-winning and highly respected Ann Arbor Art Fair. More than 600,000 people attend the event each year. The Summer Art Fair is located in the heart of Ann Arbor stretching from its charming downtown to the campus of University of Michigan. 
 
The Summer Art Fair has 375 artist booths. It consistently appears in Sunshine Artist Magazine's annual best shows listing and was recently named to the top 25 shows in sales by Art Fair SourceBook.
 
The Ann Arbor event receives exceptional media attention and is covered not only by local and regional media, but consistently gains the attention of media throughout the Midwest and beyond. You think you are part of the art fair business? Not until you've participated in this important rite!
 
Apply: www.juriedartservices.com

4.  August 20 & 21 - 7th Annual Levis Commons Art Fair

Held on the streets surrounding this popular shopping destination in an upscale area outside of Toledo, Ohio, the Town Center at Levis Commons, a unique "open-air lifestyle experience,"  features sophisticated shopping, superb dining and entertainment and is located in lovely Perrysburg, Ohio. It's the perfect setting for an exceptional art fair. Parking and admission are free. The event features 130 artists.  More than 35,000 fairgoers attend each year.
 
Event advertising will be featured in daily and community newspapers and magazines, including the Toledo Blade, the Toledo City Paper, the Toledo Free Press, Perrysburg Messenger Journal and more.  Print advertising will be supplemented with radio advertising. The number one radio station in the Toledo area, K100, has been and continues to be the major media partner for the event. 

Apply:  www.juriedartservices.com

5.  September 17 & 18 - 4th Annual Crocker Park Fall Arts Fest

Crocker Park in Westlake, Ohio, hosts the 4th Annual Crocker Park Fall Arts Fest, September 17 - 18.

The event celebrates the change of season with art, music and dance. The focus of the event will be 99 juried artist booths on Crocker Park's Main Street, its elegant central avenue. Parking and admission are free. Community support for the complex's events is excellent and growing. Exhibitors can expect 80,000 fairgoers to attend the Fall Arts Fest. 

Apply: www.juriedartservices.com

6.  September 24 & 25 - Common Ground's 37th Annual Birmingham Street Art Fair  

Common Ground's Birmingham Street Art Fair, originally known as Art in the Park, continues as one of Michigan's premiere art events. 2011 finds the fair celebrating its 37th year of bringing outstanding and original artworks to a welcoming community. The event will be a stand out on South Old Woodward, the celebrated gateway to downtown Birmingham. The event features 190 juried artists in this sophisticated and dynamic setting. 

Apply:  www.juriedartservices.com

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Please...

Contact The Guild if you have questions about our events or need assistance with the application procedures, 734.662.3382 ext, 101, or info@theguild.org. We look forward to your application.