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The Summer Art Fair. Would I Be An Artist There?

by Karen Cooper on 5/31/2012 9:34:59 AM

This post is by guest author, Karen Cooper.  This article has been edited and published with the author's permission. You should submit an article and share your views as a guest author by clicking here. We've promoted this post to feature status because it provides great value to the FineArtViews community.  If you want your blog posts listed in the FineArtViews newsletter with the possibility of being republished to our 19,000+ subscribers, consider blogging with FASO Artist Websites.  This author's views are entirely her own and may not always reflect the views of BoldBrush, Inc.

 

Greetings,

 

Welcome to the Cooper studio, where we've predetermined to talk again about the summer art fair. 

 

 Aaaah, sunny days, the green grass of the park scattered with cute little white tents, happy artists selling their fine art....

 

Oh wait.  How much of that line is fiction?  Imaginary?  Delusional? A sham?

 

I've spent quite a bit of research time lately on the topic of the "fine art fair".  Some of them have a heck of a history.

 

    

 

Every time I looked up one of the grandaddy art fairs, and was able to find their mission statement, they all seemed to have something in common.  Some examples for you to peruse:

 

---Wanting to create an event where local artists could showcase their work to the community, Womer established the first 57th Street Art Fair in 1948

 

---The Annual Edmonds Arts Festival began in 1957.  The mission then as now, was to celebrate and promote the arts with a lively and pleasurable presentation of local and national work.

 

---It all began one hot Chicago summer in the early 80's when four neighborhood artists (Bob Smeltzer, Joe Kotzman, Tony Cachapero and Rodney Patterson) decided to have an art fair--a picnic in the park.  Rodney suggested that it might be a good opportunity for local artists to show and share their work to each other and to their neighbors. 

 

Did you catch the commonality?  They are all working to showcase the art, to friends, neighbors, community.  To "celebrate and promote the arts".  So how did we get from that, to this:

 

---Art Fair has become both tired and tiresome.  It's held in the absolute hottest part of the summer.  The prices are ridiculous and most of the so-called art is schlock.  How many times can you mill through the crowds viewing the same old fare every year?

 

...Taken from a news article about parking garage revenue during the AnnArbor Art Fair, but certainly not a unique thought amongst art fair patrons.

 

What jumps out at you from that comment?   Maybe the SO-CALLED ART IS SCHLOCK?

 

Shortly before reading the comment, I read another--this one a discussion at ArtFairInsiders regarding (of course) lackluster art fair sales, and various artists comments about if they would be exhibiting at art fairs next year.  One artist said even with poor sales, she was not quitting.  She would "cobble together" something that would sell. 

 

What happened to celebrating the arts?  Showing our work to the community?  If the purpose of an art fair is to showcase our work to the community, shouldn't we be showing our best? 

 

(here comes the politically incorrect part)  Are you an artist, or not?  Are you being delusional in calling what you exhibit at an art fair ART? Ouch.  I suggest if you are cobbling something together that you think will sell, adding to the patron impression that the "so-called art is schlock", then maybe it's time to re-think your game plan. 

 

There's always a discussion out there somewhere about "what art is" and there are a bazillion different answers.  I suggest that "schlock" is not one of them.  I also suggest that if you are cobbling together something to coax a twenty dollar bill out of some art fair patron's pocket, that something is not art either.  The summer art fair is not dead, but it has been seriously injured.  Injured by artists who have put grabbing a buck in front of creating their art.  Yes, we all have to make a living, but we'll do it best by keeping our priorities straight.  Art fairs were created to showcase and celebrate art, not schlock.

 

If you are an artist planning on exhibiting at an art fair this summer, I'm asking you to bring your art.  Bring your best art.

 

Later, Cooper

 

-----------------------------------------------------------------

 

Editor's Note:  You can view Karen's original post here.




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Related Posts:

Online Art Fairs and Online Art Exhibits: Are they a valid addition to the physical art market?

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John The Appliance Guy

Art Fairs: Another Scam or the Best Way to Market Your Work?


Topics: advice for artists | Art Business | art collectors | art marketing | exposure tips | FineArtViews | Guest Posts | originality | sell art | support local art | tips for exhibiting art 

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 50 Comments

Terri
via faso.com
Many "fairs" aren't that. They are business models designed to make money off both vendor and visitor alike.

Having just visited a fair type of venue recently, I too, was stunned to see the schlock among a few gems of actual inspiration. What I noted was that the fair wasn't juried or curated in the sense that it was cohesive or had a standard of excellence.

For some of the better fairs, it takes a healthy chunk of change to get in, such as well over 7,000 to 10,000 dollars for a booth space. Many artists don't have that sort of financial risk quotient.

In the end, I do believe we artists must provide a quality product that exceeds the expectations of the audience we serve and that the business model of art fair do its part to serve both prongs of clientele --the artist vendor and the purchasing public.

Sandy Askey-Adams,PSA
via faso.com
Hello:

The oldest and longest running outdoor art show is Rittenhouse Square in Philadelphia,PA...and is still runing.

Sandy

Sandy Askey-Adams,PSA
via faso.com
Oops....forgot to give the date it started.....1932.

Sandy Askey-Adams,PSA
via faso.com
HI again:

I have participated in the outdoor art show circuit since the late 1970's. A lot I could say and share about them.

Janet Glatz
via faso.com
Well. Yet another opinion of us poor, untalented art festival merchants. I will never say that my work is at the top of the heap when it comes to the quality of work at art fairs. However, it is not "schlock" and it sells to people who love it for what it is. I have not looked at your work, and if I did, I would never denigrate it. Even if I thought it was schlock.

jack white
via faso.com
Karen,

It's not for us to judge what is art and what is not. I help a lot of artists who struggle to make a painting. They do their best. Some of those doing their best are not very skilled, but they are making art to the best of their ability. Art is art. Look at Munch's Scream. It's called art.

If an artist is going to do outdoors shows and fairs they must have some inexpensive items to pay the booth rent. You need small things people will pick up and buy without having to make a big choice. I call them cranked out stuff. (smile)

Jack

Susan Holland
via faso.com
There are so many flavors of outdoor fairs! There are the enormous fairs, like the one in Bellevue, WA on the last weekend of July each year. It is more like an Art Expo Grande, with elegant exhibits and pricey entry requirements, and grand prizes in all the catagories. The official fair is very hard to get into (I did only one year...it was an eye opener, and encouraged me to pursue such ventures), but during this official fair, there are also sub-fairs that are packed far and wide into the city of Bellevue so that the place is just wall-to-wall booths-- street after street clogged with art shoppers, and the peripherals are a hearty mix of schlock and serious art, and lots of trinkets. Reminds me a bit of a modern version of the Paris Flea Market near Sacre Coeur. Very cool.

Other than sales of art, these ambitious vendors glean a shocking amount of experience in the "all of it." Acceptance, rejection, sales training, customer behavior, "closing", what draws people in, what drives them out, pricing, and what the competition is doing. Also, who to set up next to and who to distance oneself from.

Boot camp! My latest fair experience is a teeny farmer's market that really is neighbor-to-neighbor. Someone said my booth"really dresses up this fair." So my carpet and furniture-like fixtures stood out. But the clientele was not well-heeled.:(

What did I learn?

1. The well-heeled will learn of your existence if you are there every week.
2. Less well-heeled eople on budgets will save up to return to your booth in a few weeks with money in their pockets.
3. There is nothing like a local fair when it comes to "word getting around." They bring their friends and relatives!
4. Locals will champion someone they admire.

It's worth it, even if it's not an Expo Grande.

Jackie
via faso.com
I'm so pleased to see this. We have a local (established, curated) art fair that takes place three times a year. It's very well-attended and publicized. The next one is coming up in October.

As we are on a tight budget, we have been trying to weigh up the pros and cons. As we have never done a fair before, there would be quite an expense - the canopy for a start, then any required furniture and, as we sell limited edition prints, the printing expense.

And I've no idea what the fees are for the fair as it's not published on the organizer's website. So we are seeing more cons than pros.

I'd love to know what you think!

Susan Holland
via faso.com
Jackie, call up someone soon and find out the fees.
Either a fair official, or someone who has been in it before.

Then: look on Craigslist for a canopy. (don't buy a cheap one new...they just break. Borrow one if necessary, until you know that fairs are for you.

Be very SIMPLE in your set-up...clean and simple and cheap. Bring maybe a nice looking desk thing (look in a thrift store) and put a guest book on it.

Only hang your best stuff. Print up a catalog of other things available. Accept prepaid orders to be shipped, so you don't have to print a ton of stuff. Have shrinkwrapped cheaper things to sell unframed. Keep extras tucked away out of sight.

Then smile a lot. Wear your cash on your person so you can move around without worrying about the cash register.

Again. Clean and simple. People will love that you are not fussing with a lot of trivia while they shop. Talk to them instead. :) SMILE.

Suzi McArdle
via faso.com
I think that you are spot on with this post. We live in an area where there are so many art fairs that artists tire of the efforts for less than favorable returns, yet, it is the artist who gets out there in front of the public sans the dealer who makes the most of it, and usually "if it is art" it surely will turn heads and sell. No better feedback for an artist to be in the company of his fellow artists to determine what is the right approach to sell his/her art. Demonstrations are compelling to people who do not paint, so I try to do live painting while I am there working to "know" the crowd, and pick out the interested persons to talk to about my feelings when making art. Just sayin. We are creating more art fairs so that local communities can participate in their own particular way. Regional Fairs bring the best artists in my humble opinion.

Jackie
via faso.com
Susan,

Thank you so much, that is terrific advice! All very good and I love the idea of Prepaid orders to be shipped - that's fantastic. Thank you!

Michelle
via faso.com
Ah, but what to do when you've put your best work "out there" at a summer art festival, and it doesn't sell? Yes, I have an attractive, professional display. Yes, I smile, engage customers, and talk about my inspirations. Yes, I have business cards, a website, a blog, and I'm on Facebook. One response to a slow or no sale show might be to chalk it up to the economy, and try other venues until you find one where the audience "gets" your work. Another is to forgo doing art festivals altogether, in favor of....what? Galleries are (in my experience) unable or unwilling to represent my work in the way I would, and take a giant percentage of any sale to boot; online sites are a crapshoot at best; so I'm left with the option of ferreting out the best juried art shows in my area, doing my best work, putting it out there, and hoping for the best. And yes, sometimes, it IS about the economy, but sometimes, everything actually clicks, and you have a great show. And that's why we do it, again and again.

KCooper
via faso.com
Janet,

I am dismayed that you named yourself
"us poor, untalented art festival merchants". NO! You've missed my point entirely.

I, too, am an art fair artist. My goal in writing was to encourage people to up their game. Bring the good stuff.

Go back up to the top of the article where the vintage photos are, and read the bios that go with them. There's the point. Art fairs should be about art.

KC

Janet Glatz
via faso.com
No, you missed my point. Those were words of sarcasm. I and my fellow festival artists are good at what we do (with a few exceptions). Telling us to bring "the good stuff" is like telling a doctor to always heal the sick. Some of our work is better than others--but often the pieces I have doubts about are the first to sell.

Donald Fox
via faso.com
Up front I admit I'm pretty cynical about art fairs. The better ones (more heavily attended) are mainly for the benefit of the promoters. The booth fees keep going up - never seen one go down in spite of the economy. I'd rather spend time networking and hosting open studios. It's more efficient and productive and a whole lot less work. Good luck to those that take the art fair route, though. It takes a lot of fortitude.

Susan Holland
via faso.com

It's hard work, marketing your art in the sweaty marketplace. Not for the faint of heart, or the OCD types. EVERYTHING, good and bad, happens eventually-- rain,snow and wind come with the territory. Marketing Boot Camp.

Adriana Guidi
via faso.com
I would LOVE to show at art fairs,but they're just so expensive... The money I would spend to set up and pay the fee is what I use to pay my bills..I think I need to move to a smaller.. :)(laugh out loud),art community-San Fernando valley (L.A.) not exactly a lot of inexpensive art venues.

KCooper
via faso.com
Note to Janet: I am so relieved. You should have clued me in with an outlandish punctuation mark or something :)
KC

jack white
via faso.com
Adriana,
What about sharing a booth with another artist? Find someone whose work is different and you enjoy each other. You can cut the fee down and give fairs a test run. Some art shows will allow you to share a booth.
Jack

Sally Haig
via faso.com
There are outdoor art shows and then there are outdoor import/export 'art' shows. I have been to many. In the SF Bay area, there are many, many outdoor 'art' shows, that have some artists and *many* vendors selling imported junk, trinkets, and only once have I seen a vendor who's banner said something like Lee's IMPORT SALES,and he sold bangles, cheap jewelry and the like. At least he was honest.

It is not clear to me which kind of show the author is referring to. The nationally known Rhinebeck crafts fair, I doubt you would find junk. The local city sponsored, "Art Fairs', oh yeah, tons of junk...I don't even go to them anymore, too much junk and very few artists and crafts people. And yes, I do think a lot of artists, due to the still floundering economy, are trying to come up with art with a lower price point, doesn't mean it has to be junk.

At my last local outdoor art show, I had tons of 'I love your work' but no one was taking out their check book. Since 2008 there has been a serious chill on using discretionary income to buy fine art. This is a show I used to *sell* at pre 2008 and now it is all, 'oh I love your work' and they drink their wine and keep walking. I also failed to get the memo that many of the other participating artists had seriously cut their prices. I can't do that when I have sold work to local people, I can't turn around and have a fire sale at a local outdoor show. I noticed at least three very good artists who are usually at this show, were not there this year, now I know why.

Provocative essay and some interesting points made.






jack white
via faso.com
Sally Haig,

I would love permission to use part of your last paragraph in your response. It's very well said and would fit in my next article like a hand in a glove.

I'm writing about the art economy. Your words back up my thoughts. Thanks,

Jack White

Jana Botkin
via faso.com
I love lists. 8-)

1. This blog is a classy operation! Time and time again I've witnessed the working out of something that sounded snarky rather than the whole commenting system going downhill in attitude. Congratulations to all the writers here for that polite persistence.

2. Susan, your comment could be expanded into a wonderful post for this blog. Then, when we wanted to refer back, we'd be able to find it again. Great observations about shows there. And great wisdom and advise for Jackie.

3. Jackie, Susan is right.

4. Adriana, Jack is right. Read Susan's list to Jackie too. You can do it!! Then, write a post for this blog to let us know how it turned out for you.

5. Michelle, I feel your pain.

6. Sally, I feel your pain. A huge number of people that attend art shows/fairs are only there because it is something free to do.

7. Jack, looking forward to your article about art and the economy.

8. Karen, great discussion provoking article.

9. Clint, THANK YOU for this wonderful blog! It is my go-to place for info from professional artists on all subjects. I came here originally because I saw a link from Alyson Stanfield to a Jack White (my hero) article.

Susan Holland
via faso.com
P.S. I have to add this:

But I am also one of the people who AVOID fairs when I am a "customer." I personally hate the crush and the too-much-stuff of fairs, and I will do almost anything to NOT be there.

So, for those who eschew fairs for whatever reason, there are the customers like me who will be looking at your art in a quiet gallery or at a private showing. Believe me, there are plenty of folks who will never see you if you ONLY show at fairs.



Sally Haig
via faso.com
Jack White:

Sure you can quote me.

I always look forward to reading your columns, you tell it like it is!

Sally Haig

Marie Coerver
via faso.com
My last (and may be my last) art fair was disheartening. I have done well at this fair in years past, so I took some of my very best and most recent work. Like Sally, I had a lot of "I love your work." and I was encouraged by the response to two paintings in particular. However, these fairgoers wanted true cut-rate prices, as in garage sale or thrift shop prices, for original oil paintings. That, plus the strong winds trashed the frame of my tent - a good one sold specifically for art fairs. Hardly anyone else sold much, but that is no consolation when I have bills to pay. There are so many art fairs in our 4 county area each spring that they may have become overdone. A place to drink and maybe buy cheap art. Most frustrating: people buy that schlock and export buy-to-sell stuff!

Jackie
via faso.com
Despite Susan's great advice and Jacks' excellent idea of sharing space, I'm still very reluctant. We simply can't afford the expense. Well, we could if we were guaranteed a few sales but no-one can guarantee that! I know, it would be exposure and our local art fairs are very well-attended but still...

So, assuming that art fairs are dead in the water, what else can you suggest to this beginner?

Susan Holland
via faso.com
If you are full of trepidation, it may not be the year to try it. Go to the one you won't be in and see what you think. I'd love to know what your conclusion is.
Budget is directing things at my place too. I am moving this summer so am not doing any street selling. Budget! Reality check! Yup.

Jackie
via faso.com
Didn't we pick the 'perfect' time to give up our corporate jobs and concentrate on art :)

Ah well, to paraphrase Frank Sinatra, "if we can make it now..."

Arlene Meyer
via faso.com
Karen Cooper's notions are noble and decent, but in defense of schlock at art fairs (which I no longer have anything to do with) your "schlock" might sell. Your very best work, on the other hand, now exposed, has a good chance of being loved and copied by someone who will change it a little and sell your own precious stuff for a lot of money breaking your heart. I'm writing from experience.

Susan Holland
via faso.com
Arlene, your work is unique. No one else can make your marks. If someone copies your work, you have a legal right to go after them. But ideas are up for grabs everywhere. Best known art that is most admired gets "painted" again by whole workrooms of sweat-shop artists who copy. But that doesn't fool anyone but fools.

Imitation is a kind of compliment. There are a lot of Gauguin/Van Gogh works that look a lot alike. It doesn't devalue either work, if two works are similar. Influence happens when artists congregate.

If you have a case, sue! If not, be glad that someone really admires what you do. (I do admire it, by the way. Your web site assemblages and paintings are so nice.)

In short, I disagree that exposing your best work is a mistake. Stand proud and put it up! If you don't want it to sell, keep it hidden!


jack white
via faso.com
Arlene,
I'm sorry others have stolen your ideas. I hate to say this, but that's the nature of our business. We went to a show in Albuquerque and walked up to a tent that was full of Senkarik copies. The guy had copied all the paintings we had done ads on in Southwest Art Magazine.
The copies were not very good. I introduced him to Mikki saying, "I thought you might like to meet the artist who you copied."
He didn't have any money so why sue? I let him sweat what might happen as I took his business card saying, "We will be in touch."
You don't have to worry about artists here in the states. They are few. It's China that is the big problem. They will steal all your images and there is not much you can do. It's too expensive to sue International. They will sell your 16x20 for $35. It will be an exact copy. I've visited their art factories.
Don't rob your success because a few cheats. Susan gave you good advice. Show your best.

Jack

Jackie
via faso.com
Good points Jack. But a copy, or rip-off, of a Senkarik is just that. It has little or no value. In fact, it could help Mikki because the owner of a copy might one day want to own the real thing.

We get a lot of comments about the fact that we share our images on social media - with no watermarks or copyright notices. But that's fine. If someone wants to print a low-resolution version on their office computer, frame it and hang it, at least they appreciate our artwork.

When their home made print has faded they could possibly realize that a proper signed limited edition giclee would give them lasting pleasure, and increase in value.

We have lots of people who copy Andy's work but as they say, imitation is the sincerest form of flattery.

When I was a kid in England, every suburban home seemed to have a cheap reproduction of Constable's The Hay Wain on their walls but it didn't detract from the value of the original.

We recently had a discussion here about The Scream. Again, when I was a kid it seemed that every teenager had a poster of that work in their bedrooms. When you think that it just sold for (I think) $116 million, those posters were hardly a problem. In fact, they probably increased the value of the real thing.

Adriana Guidi
via faso.com
Thanks Jack ..and Susan for your advice! I'm going to check out the next show that comes around and talk to some other artists about sharing a booth.It's just getting even that extra bit together to share though..but we'll see.It doesn't hurt to ask ,right?..and I never thought about that(sharing the expense).

Arlene Meyer
via faso.com
Jackie,

I can do without the "flattery". What I would rather not do without is the $32,ooo that the rip-off of my work sold for.

Arlene Meyer
via faso.com
Jack,

Each of my paintings stolen was not just an idea but like a piece of my life cannibalized.
No one can steal from Van Gogh or Picasso, only copy or forge, but I am not established, and the person who I hesitate to call an artist, with the help of a rich father (who advised her) and "connections" made a reputation using my work. According to a full page interview with a NY Times art critic her (my) work sold for $32,000 while I at the time couldn't afford art materials.



jack white
via faso.com
Arlene,
Then sue. You have the evidence. I think you can sue for $50,000 per image.

The art is copyrighted when you add your signature. Speak with the meanest lawyer you know.

Jack

Susan Holland
via faso.com
Arlene,I think there are artist's advocate groups who can help with this sort of thing. Do some research, Arlene, if you decide to sue. Be sure. Might be a class action going; who knows?

It's a long road to Tipparari-- a long way from the easel.

Arlene Meyer
via faso.com
Jack;

Thank you Jack. Too many years have passed. At the time I had no money for a lawyer. I spoke to Tim Jensen who represented "Lawyers for the Arts" who didn't seem to make sense saying that I had no case because she signed her name to the work not mine.

Arlene Meyer
via faso.com
Susan,

Lucky for her it was a long time ago and I couldn't do much about it. I swore though that I would try never to expose my work again any place that wasn't going to have good coverage.
It was worse than having my pocket picked or house burglarized.

Susan Holland
via faso.com
Arlene: Even on FASO? How do you show your work, then? Maybe private showings? Curious.

Jackie
via faso.com
Arlene, I feel your pain, truly. Doesn't the fact that 'your' artwork sold for $32,000 increase the value of your REAL artwork? If that happened to me, I'd make sure that the story was all over the internet. As Jack says, you have the evidence so make sure that people know about it. It could very well work to your advantage. The internet is fantastic for that sort of thing.

Many many years ago I wrote a novel about art fraud. The stories were good but the writing was rubbish and it was completely rejected all round :) But I'd still love to know how this 'artist' managed to achieve this rip off. It could be a good lesson to us all.

Like Susan, I'm interested to know how you show your work.

KCooper
via faso.com
Howdy,

You'll love my excuse for not replying to all your great comments quicker: I was at an art show.

First: Jack, I think it's every person's privilege to judge what is art and what is not. I think it's one place where the personal opinion is still alive and well. And allowed. Or do I mean legal?!


And then whoever suggested sharing a booth with another artist, good luck with that. Any show worth anything allows only collaborating artists to share a booth. I have seen some of those even require both artists signatures on each piece of art.

And about the "proper signed limited edition giclee would give them lasting pleasure" comment: wow, think what the original would do for them. A giclee, no matter how lovingly and eloquently signed, is still just a copy. And increasing in value? I would love to know who's are doing that...

And then back to the schlock, you can try to sell it if you want, but where will it move your career to? Do you want to be known for selling schock, or known for being an artist of quality? And if we kill off most of the art fairs with schlock, per the original article, does any of it really matter?? Dang, maybe the day job will come back in style :)

Happy painting (er, art-ing) everyone!

KC

Arlene Meyer
via faso.com
I mostly don't Susan, but I do have some things on facebook. I realize now that that doesn't make much sense either.

Arlene Meyer
via faso.com
Jackie, It's a complex sad story and there is no way that any amount of money her hype would bring in could increase my prices. I don't even want my name linked with hers. I appreciate your interest very much!

Susan Holland
via faso.com
Arlene, your story reminds me of quiet little inventors coming up with an invention, and instead of patenting it first, they allow some other entrepreneurial soul to snitch the idea and run with it. Happens a LOT in the scientific and tech industry, and is at the bottom of a lot of nasty litigation that costs a lot of money.

The quiet little artist doing lovely work should not hide her light under a bushel! But she must decide how and when to get it shown. There's a lot of info on copyright to be read up on.

It's great to hope that we are "discovered" by someone who recognizes our genius and suddenly thrust into the limelight. But that happens nearly never (only in movies). People will not want to buy what they don't get to see!

I hope you find a good way to be comfortable with this.



Jackie
via faso.com
Sorry to hear that Arlene. I do wish you luck though. Maybe karma will get her :)

KCooper - "And about the "proper signed limited edition giclee would give them lasting pleasure" comment: wow, think what the original would do for them. A giclee, no matter how lovingly and eloquently signed, is still just a copy. And increasing in value? I would love to know who's are doing that..."

That was me :). I should have clarified. As our artwork is photography, we've found that giclees are the best way to go. So there isn't really an 'original' per se, in the way that there is with a painting.

As for increasing in value, I can't tell you yet as we only started selling in April! But Andy has a 'name' and our collectors are doing a great job in spreading the word about the exhibitions he's been in so I'm pretty sure that they will increase in value. We'll see :)

Arlene Meyer
via faso.com
Susan, That's what happens. Did you know that Hedy Lamare was an inventive genius who created something to disrupt enemy attacks during ww2. She couldn't get it accepted and after her pattern time passed some man claimed it and made a fortune. What a shame.



Karen Lockert
via faso.com
Way back at the very beginning of this stream, there were quotes that indicated that the art fairs were to share, promote, show art. Not once did they mention sales. Even now, promoters of art fairs want them because they make money from booth rentals, donations to the ever-present raffles and auctions - in other words, artists make the promoters look good. I love the atmosphere at many fairs - such as Armstrong Woods Redwoods State Park here in California, so I go just for that, or the presence of friends. It's a lot of work schlepping tables and stuff everywhere, and my sales usually make expenses and a little more. The big benefit is a nice day in the outdoors. Cynical? No. But yes, I would like to find my real audience and actually sell to some people who fall in love with what I do.

Jana Botkin
via faso.com
Karen Lockert, I just read your comment with bleary eyes, a weary mind and a buzzing head. Why? Just spent a very very hot day next to a VERY VERY LOUD stage at an art fair. Great set up, wonderfully helpful staff, incredibly organized show complete with canopy coverings for every booth, no fees AND free lunch. Awesome show promoters, simply phenomenal!

I took my very best work, followed all Jack White's advice for display and was ready ready ready to sell sell sell. But, the stage by my booth was full of back to back all day performances and it was impossible to have a conversation with anyone in my booth.

Like you, I would love to find my real audience and actually sell at one of these events instead of providing a way for bored people to pass time on a hot day at a free event.



KCooper
via faso.com
Thanks for your recent comments KarenL and Jana! No, really: THANKS! They were fuel for the fire :)

http://karencooperpaintings.com/blog/50157/summer-art-fairs-the-chicken-and-the-egg










 

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