A Site for Emerging Artists
Business of art
Are Art and Craft Fairs Dying?
Oct 21st
By Carolyn Edlund
I don’t often go to art and craft fairs anymore. After exhibiting at so many of them back in the 80’s and 90’s, I’ve become very jaded. I can’t be subjective, and frankly wish that I could see them as the public does, and enjoy them more.
So a few weeks back when I walked through a show where I had sold my work years ago, it was a bit surreal. I also found it to be a little tired-looking and sad. The show (which has a good reputation) has shrunk considerably. Quite a few of the exhibitors there have been in the business many years and I recognized several of them – a bit grayer, and still selling the same merchandise they were making twenty years ago. Although the quality of the work for the most part was high, there wasn’t much new – and there weren’t many young artists there, either.
On the other hand, I interviewed a twenty-something artist the other day who has been showing at elite shows and literally selling out of her high-end merchandise. A new breed of young DIY artists and craft enthusiasts have arisen and are organizing and promoting their own shows which are enthusiastically received.
Art festival website forums are filled with artists and craftspeople frustrated with the state of art and craft fairs these days. They are complaining about the amount of buy/sell merchandise that has been accepted by promoters and continues to undercut and diminish the fair experience.
So, where are you on this spectrum? Are you selling retail at fairs and shows and routinely angry about the circumstances? Do you do your homework and walk a show ahead of time, finding out what’s really going on?
Have your regular shows gotten a bit thin, with the quality becoming questionable? Or are you applying to top-tier shows where you feel protected from infringements on the rules, and where only truly handmade work is exhibited?
Perhaps you’ve gone the way of many artists and craftspeople who have decided to leave the show circuit and try other ways to sell their work. You may have even joined the ranks of artists who are unemployed (artists are unemployed at twice the rate of professional workers).
Art and craft fairs are in a state of transition, like many types of commerce and many industries. In these tough times, I have not found evidence that creativity has faltered – in fact, I believe it’s flourishing. I don’t believe the fairs are dead yet, but will transform. What’s your take on this?
Brilliant Idea Increases Art Studio Income Dramatically
Oct 13th
By Carolyn Edlund
Are your sales down in a tough economy? Here’s what one art glass studio did to attract customers and put their business into overdrive.
While the economy was slowing sales for many businesses in 2010, the owners of Siyeh Glass in Atlanta, Georgia came up with a concept that made them one of the most popular destinations in their city. Brenda Griffith of Siyeh explains in this video from a discussion at the Buyers Market of American Craft how they created and publicized “Date Night” at Siyeh.
Date Night is an opportunity for couples to have a “unique experience” on a date by spending several hours with a private instructor, learning glassblowing and kilnforming in a working glass studio. It has become so popular that each week is often booked up with about 22 couples attending (at $165 per couple).
Due to demand, studio space has been increased to accommodate more visitors, and new staff was hired. Griffith states that interest runs the gamut through all demographics, and that they sell out frequently.
Dates can be scheduled Thursday through Saturday, in the morning, afternoon or evening, and is usually only one couple for each time slot. Beverages and “nibblies” are provided to enhance the experience, and plans have been made to purchase a soda stream machine for carbonated drinks without creating container waste.
Couples are encouraged to bring their cameras, as one person will be blowing or forming glass while the other observes and can snap photos.
Siyeh Glass is a production studio which wholesales to galleries, and doesn’t normally retail their art glass, but they do sell supplies and offer classes. An artists’ 10-day open house event happens each year, called “Siyeh Sleigh Ride” where art from everyone working at the studio and their friends are sold to the public.
What’s next? Brenda Griffith mentions “team-building events” where groups from the corporate world or other organizations come to the studio to gain skills in working together as teams. This new strategy promises to make the studio more popular than ever.
How to Generate Buzz for Your Next Studio Event
Oct 5th
By Carolyn Edlund
Are you planning an open studio for the holiday season, and want to draw a crowd? Have you been brainstorming about ways to meet new prospective customers and create interest in your art?
Take a look at some phenomenal ideas that artist Judith HeartSong is successfully using to make her studio a
center of attention and help others at the same time, especially local arts and charities. She recently sent out an email newsletter (see it here) which presents fans and their guests with multiple opportunities to learn, shop and enjoy the arts at her new studio.
Here are a few ways you can use this model to generate buzz around your own event:
- Invite your list to see art demonstrations in your studio space. Judith has a wonderful studio with about 800 square feet of space for groups to meet. Staff from Utrecht Art Supply will be demonstrating oil paint sticks and allowing visitors to try them out and make a project. This brings in professional artists and hobbyists, and a busload of seniors that Judith teaches will make this a special trip from their community.
- Partner with the other arts. A poetry reading is scheduled for an October weekend, offering an opportunity for area poets who contributed to an anthology, which also supports a charitable cause – a gulf coast area food bank and clean up efforts for the gulf oil spill. By providing a venue and inviting the poets to bring in their guests, Judith also introduces them to her art. A drum circle is planned for a future performance, which will attract music fans to come as well.
- Promote your galleries. The Maris Elaine Gallery sells Judith’s work, and she promotes them in her newsletter by way of congratulating them on an article in a regional publication.
- Feature speakers. Are you a guild member, or belong to an arts organization? Invite a speaker, (such as the gallery owner in this case who will talk about the business of art) or other hot topic to bring in a group and make your studio a destination which can’t be missed.
- Give Publicity to Your “Partners”. It’s a smart idea to work with others in a strategic alliance which benefits both of your businesses. Double your audience by cross-promoting each other. Judith does that by partnering with the Washington School of Photography, and inviting her list to their event at another location, while also inviting them on field trips to her studio to photograph interiors.
She also suggests that if you are looking to involve others, call a local college and get an a capella group or musicians to join you at your open studio event. Give them exposure at your venue, while making it more festive and inviting – and bringing in their guests, too. Serve light refreshments and get a party started.
Or, partner with another artist who works in another medium and have more to offer your invitees. Combine your email lists and get out the word.
It’s also a smart move to use testimonials, which you will see on the sidebar of Judith’s newsletter. These are great ways to let others know you are professional and give you more credibility.
Don’t worry if you aren’t making sales right out of the gate – as visitors find out about you, they will return or refer others. Ask them to sign your guestbook and get permission to put them on your email list. With all these great events, who wouldn’t want to hear from you?
How to Succeed in the Changing Marketplace
Oct 1st
Do you need sales reps? Or a new strategy? An interview with Meryl Hooker, internationally recognized writer, speaker and consultant. With nearly 25 years in sales, she brings real life experience, skill and expertise to sales warriors and companies alike.
AS: What do you see as the biggest problem small entrepreneurs have in getting sales representation?
MH: The single biggest challenge facing new and young greeting card and gift companies today is the shortage of available competent sales reps. Period. At least that’s what they think their problem is. In reality, there is a whole lot they can and should be doing to get the attention of sales reps.
Sales reps chase money. And when a company builds a sellable line that retailers are interested in, the right reps will come.
AS: When reps look for lines, what is the most attractive thing to them?
MH: I advise my clients (who are sales reps) that you need lines which fit in with your customer base and the other lines that you represent. For example, I carved a niche for myself in the weird humor market. If someone called me with a line that featured fairies and angels, it didn’t matter how good the line was – it didn’t make sense for my business, or the stores I called on.
You must also have a line that is adequately developed. For example, if you have a greeting card line, you need a minimum of 36-48 cards, enough to fill a rack. If you have seven cards, you don’t have a greeting card company, you have an art collection.
Reps are not in the business of helping you develop your company. They are in the business of selling product to retail stores. As a manufacturer, card or gift company, it’s your responsibility to make sure that there is something to sell.
AS: Would you recommend that someone with a gift line search for companies producing compatible lines, and approach their reps?
MH: Five years ago, I would have said yes. But the reality is that the landscape has shrunken considerably. The new economic landscape has killed a lot of retailers, and a lot of manufacturers. I believe the customer gets the final vote, and reps are going to pick up lines they can sell. If you are serious about growing a sales rep force, you go for the most appropriate people and let them worry about the competition.
AS: How do you see reps changing their approach to making sales to their retailers?
MH: The biggest frustration that I hear from the sales reps that I mentor, is that the old strategies aren’t working anymore. I will go on record as saying that anybody who is still making cold calls is wasting their time. There are so many new tools available that the cold call is an antiquated way to sell in the gift industry at this level.
AS: Are reps more engaged in social media, getting online with Facebook and communicating in different ways, such as Skype,etc? Do you see them using more innovative ways to sell?
MH: People who are being successful, yes. The problem is that the majority of reps are still on AOL. They don’t use social media or have web pages. Have you ever tried to Google a rep? They’re not on there, nor are they taking advantage of tools that actually make the selling process easier. They are still dialing for dollars, mailing catalogs. They are not keeping up with technology. In the end, if that trend continues, I don’t see it going well. People who are embracing it are seeing results.
When I was developing my rep business, customers were sending me orders on Facebook, posting appointment requests on my wall. There are ways sales reps – and greeting card and gift companies more importantly – can position themselves in social media platforms to interact with customers, sharing content that they care about. The conversation is already happening. Are you participating in it?
This does not require you to have sales reps. Post your new designs, or a link to your catalog, to your website. Talk about all the cool stuff you are working on. Provide specials and promotions just for your Facebook customers, with special codes. It’s free. It’s the same principles of selling, but updated. The fact is that there is such a scarcity of competent and effective sales reps right now that the small companies that will survive are the ones that figure out how to sell their line themselves.
It’s the new marketplace. Social media is not going anywhere. When you’ve got companies as diverse as Amazon and Coca Cola, and your corner liquor store, who are all signing up on the same platform, it’s not rocket science to know that it’s worth paying attention to. Facebook may not be the final destination. I hope there is some kid in a dorm room right now inventing something even more amazing
AS: So you feel that companies can be just as effective without sales reps.
MH: Quite frankly, I don’t think a company has any business working with sales reps for the first two years. It’s a disservice to the rep, and to the company. It pretty much takes you two years to figure out what the hell you’re doing.
AS: Would you say the problem reps have in embracing change is due to the average age of typical reps out there?
MH: Absolutely. There are some younger people still carving out a career as a sales rep in this industry. But what I tell businesses that come to me saying “I need a rep”, I respond, “No, you need to learn to sell your line.”
There is unprecedented change going on the industry. Selling is not a dirty word – it’s about doing business with your friends. If you are an artist of any type and asking people for money for your product, you are in sales. It doesn’t matter whether you do one-of-a-kind paintings or whether you have a line of 150 greeting cards. That commercial exchange equals selling. It is so important not to be afraid of that process. It can be intimidating. Rejection is hard.
Understand your market. Don’t go too deep too fast. You may have a terrific first run on your orders, but if nobody reorders, who cares?
AS: That’s true, it’s not about the initial sale. It’s all about repeat orders – that’s where your bread and butter is.
MH: Exactly. But what’s happening right now is a tremendous resistance to anything that is not proven, or anything that is experimental. That is just reality.
AS: Any other thoughts on how small entrepreneurs can become successful in this climate?
MH: Know that you don’t have to do this alone. There are so many resources available, not only through discussion groups on LinkedIn, but also through enlisting the help of industry experts. You can flush $5,000 trying to figure it out on your own, or you can invest a percentage of that working with somebody who can actually cut your learning curve in half and help you start making money sooner. You don’t have to fake it. It behooves you to not do that. Seek out help and ask questions.
Join Meryl for an event on October 10, 2011 at 11:00 a.m. Eastern time. This concentrated teleclass session discusses effective ways to utilize social media to identify, make real connections and build relationships with your active and prospective customers.
Starting Your Career as an Artist/Interview with the Authors
Sep 27th
By Carolyn Edlund
Angie Wojak and Stacy Miller have recently released a new book, Starting Your Career as an Artist, with lots of information for those looking to begin or enhance their art careers.
Wojak is the Career Services Director at Columbia University’s School of the Arts, and formerly was Director of Career Services at Parsons School of Design for over a decade. Miller currently teaches in the photography department at Parsons The New School for Design, and has been the director of research and professional development at the College Art Association.
Artsy Shark interviewed them recently about their expertise and how artists can benefit from their new publication.
AS: One networking strategy you recommend is using your alma mater in your efforts. What suggestions do you have for this?
W&M: Artists often don’t realize it, but universities may offer alumni access to the following:
- Alumni Networks: Many colleges offer graduates access to online databases of fellow alumni. This can be an essential networking tool both for reconnecting with fellow classmates, and also for reaching out to new contacts in a variety of industries.
- Alumni Mixers and free or discounted access to special events: These can be great opportunities for networking and building skills and knowledge about the field.
- Social media connections such as LinkedIn, Facebook, Twitter: Most universities offer these. They are good ways to stay connected with a community -or find a new one related to your art work.
- Volunteer Opportunities: Consider offering to assist with planning, or serve on alumni committees to network while giving back to the community. Offer to be a guest speaker or participate in a panel discussion. It’s an effective way to build your public profile and expand your network.
W&M: While interviewing artists, gallery owners, curators, arts administrators and educators, we noticed patterns emerge for success in the field. All agreed success is ultimately self-determined. The consensus is that to be a successful artist, you must figure out a way to make art, no matter what. Get in the studio everyday, and work on building your own unique community of fellow artists and advocates.
Mentors are critical for success. No one does it on their own. Be fearless about what you want your work to do. Appropriately, there are more different types of communities supporting the artists and more different ways to support your art work than ever before. The trick is to know what you want. The colorful art critic Jerry Saltz reminds all artists to keep it simple. Keep your life simple in order to maximize your output in the studio!
AS: Burnout is an issue that artists sometimes face. What are your ideas for rejuvenating the creative spirit?
W&M: One thing we’d like readers to take from our book is that building community to sustain your work and spirit is the most essential activity, and one that many artists undervalue or totally overlook. This is a sincere, life and art-affirming action that you must do or you run the risk of isolating yourself and burning out.
Surround yourself with a supportive network of mentors, friends, family, and colleagues. Schedule a studio visit, lunch, or coffee meeting at least once a week. Join the community where your goals are and network with that target community in mind. Continuously ask yourself if you are still learning and growing; review whether your life/work is balanced properly.
AS: You suggest that artists looking to sustain their studio practice might consider teaching to supplement their income. Could you address this?
W&M: Teaching can add another important dimension to your work. It can inspire and feed it. Watching students change and grow is a great satisfaction for a professional and it creates community. Here are some good basic questions to ask yourself in order to find out if you should consider a career in teaching:
- Are you someone who likes to work with people?
- Are you comfortable working in an institution that has numerous protocols and often well-defined systems?
- Do you like to lecture, critique and advise? Do you like public speaking?
- Can you take instruction from a superior? Can you take direction easily?
- Can you juggle two hats at once: teaching and your studio work?
- Do you enjoy interacting and exchanging ideas with adults, youth or children?
- Do you enjoy watching people grow and change?
AS: What inspired you to write the book?
The impetus for writing the book was our shared experience in serving art and design students’ career development needs. Between us we’ve spent over 20 years teaching and mentoring students and alumni working in the arts. We saw many artists facing the same hurdles: emotional, financial, issues with relationship building, networking, long term planning, getting their mind/body out of the studio, having realistic expectations, and so on.
It is important to understand that making the work is less than half the battle. We found there was little knowledge of the basics of marketing their work themselves and how to build a community to sustain themselves in every way. Artists need to be entrepreneurial and proactive and business-minded rather than turning inward and rejecting the business and social side of their practice. How to balance all these aspects interested us, and we sought to ask professionals in the field what they thought of these issues.
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