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Looking back at my posts, I am fixated on the subject of creating a fair jury and clearly providing information to artists so that they can choose the best shows for their art.  For each artist, there is a different answer, including things that range from proximity to price point.

How can I provide answers that would be helpful to all of them?

The next section is very long and very detailed.  Maybe it would never be read if posted on my web site.  Still, if we're going to be transparent the information may need to be available.  Let me know what you think.

SHOULD YOU APPLY TO THIS SHOW?

Thank you for considering applying to our Art Fairs.   We want to be as transparent as possible with the goal of getting the best quality, most suitable artists into this event.  We also want to help you decide if the show is a good fit before you spend money on application fees.

Please note, while the information below is accurate to the best of our knowledge, and has been reviewed by participating artists, there is no assurance or guarantee for your success.  There are so many variables from weather to taste that a guarantee would be virtually impossible.

The first step is for you to be familiar with your art and if it is a good fit for the show.   Degas would not be a good fit for our Funky Ferndale Art Fair (but wouldn’t we be thrilled if we had Dali!)  For our Belle Isle Art Fair it may be the reverse.

In the ideal world you would have a chance to attend every show you want to consider before you apply.  Since that is not practical, we suggest that you take a look at the images on the website.  Does the show include art like yours?  How does the quality, medium, sensibility of art in these images compare to yours?

It’s not a bad idea to email the show to ask if they feel your art fits their sensibility.  Even better would be to email some of the artists that you saw represented in the show who may be on your contact list.  I believe most show promoters will give an honest assessment,   but they may not be able to give as accurate information as a previous attending artist. 

Does the show list the criteria that they are using to jury?  Is there a relative weight to each element?  I advise our jurors to look at originality, competence, suitability and one other intangible area.

            Originality-  Would you find similar images at Target?  Are other applicants

sending similar work?

Competence- Basically, who is in charge- the artist or the material? Does it look like the artist completed the work in an appropriate way for the style?

Suitability- Does your style fit the show?  Rarely will you see the same artist at a high school craft fair and a juried art fair.

Finally, the intangible.  Would the look of this booth (and the art in it) be good for the perceived quality of the fair, or might it harm it?

            It helps to know who is jurying the show and how.  An art fair artist may see things differently than a museum director.  College professors may know what is good art, but may not know what sells at the shows.

            Our juries are composed of local talented artists from each community in a variety of mediums.  Other shows may use museum experts, art professors or other community members.  For each group there are advantages and disadvantages.  I remember one show that I worked with thirty years ago that was juried by museum staff but attended by regular folks.  The jurors choices did not always match up with the tastes of the public.

            We allow time for discussion at our jury sessions.  Some shows prohibit it, restrict it, or don’t provide an opportunity for it.  Some shows jury remotely with each juror signing in from home.  Others run a projector and limit views and statements to a specific time frame.  I suppose if we had 1000 applicants we would need to be more efficient, but I prefer allowing for discussion.  If we arrive at consensus great. If not we move on and come back to it.  Another advantage of this system is that I can gather comments to share with the artists.

            Now for a more controversial area that would also help you to determine if applications are advised.  The numbers.  Size of show, number of applications, mix of artists and percent that are jury exempt.   Frankly with the top shows none of this may make a difference.  If your work is suitable for the Smithstonian Fair I’d say go for it, even though it’s not the largest show, has fewer attendees and has many, many applicants.  The sales and prestige make it worth the effort.

            Size of show indicates both the audience and the number of artists.  Frankly I feel like both of those numbers are far less relevant than the spending per artist.  I’d much rather hear from artists about their success.  Who comes to the show is more important than how many.  One thousand wealthy collectors mean much more than 40,000 music loving passer bys.  There is an exception to this-  if you are selling twenty dollar mugs and need to gross $3000 to be happy, that indicates 150 transactions. For you the size of the crowd matters more than the artists selling $15000 work who averages a sale every two or three shows.

            Ratio matters.   Most shows received up to 50% jewelry applications.  Anyone who has been in a general art fair with 50% jewelers is likely to see a problem.  (Gem and jewelry shows do work, but only if that is the intention).  You can sometimes tell this by looking at the web site.  We keep any one medium to about 20% maximum.  Perhaps a bit more with multi-media as they are so varied.  Also with the Art of Fire- Clay, Glass and Metal our limits are different since there are only three mediums.

            I have been accused of not having enough spaces open for new artists because of what we feel is an artist friendly policy.  If you are accepted into one of our shows, you can return for two more years without jurying if you follow the rules and procedures.  Mathmatically that sounds problematic, but in reality it works and supports artists.  The numbers folks say that if 75% of the artists return that only 25% of the spaces are open.  The reality is that we have never had less than 60% of spaces available even with the vast majority coming back.  How cn that be?  Not everyone is on the same three year cycle.   Starting a new show, we may place only 50-60 artists.  That gives each a better chance of success.  The next year, depending on results and applications we add more artists, and so on for the third year.  This works out well.

            Some shows require everyone jury every year.  I have heard of prize winners being denied the opportunity to return.  Frankly I feel like our policy is more artist friendly and evens out the power structure.  I’m sure we lose some mathematically inclined artists.

            All this text and I’ll give you a one paragraph conclusion that is more important than the rest of it put together-  Find artists in a different medium than yours who sell well to the same audience you do.  Share advice.  Different mediums so you’re not directly competing and have no reason to hold back. 

            Please share your thoughts and comments.