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Hi Everyone,

I just realized that I had not updated my e-mail and as a result, a post I sent a few days ago didn't go out--plus I realized I wasn't getting any blogs--and a day without AFI blogs is truly a day with out sunshine of the enlightenment kind. With changes under my belt, here goes a request:

I'm going to do a show in Deland, Florida this month for the very first time. Has anyone ever done this and if so, what advice can you offer? Art Fair Source book says the set up is tight and easy. I'm not so sure about the easy part since there's no prior day set up and that we will have to set up at 6 a.m. with only 4 hours till show time. My husband is concerned that we won't have room for a work station or chairs. We use a podium type work station that my hubby built (it holds my computer, cash drawer, scanner etc. in an orderly manner) and it's painted to match the frames I use for display. I use a computer and scanner because I use software that allows me to inventory everything I take to the show floor, create my own bar codes--I program it with the tax rate--it breaks things down for method of payment, tells me how much change to give--and so much more.

My hubby's concerned we may have to revert to belly bags and calculators (ugh) if space is really that tight. I hope, hope, hope, that won't be the case.

So, if you've ever done this show, please give me your advice.

Many thanks, Susan

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2014 Chastain Park Arts Festival, Atlanta GA

Here is this years Chastain Park Arts Festival review. Links to past reviews for info on logistics like set up, break down, booths and the basics plus more pics are below. None of that has changed.
http://www.artfairinsiders.com/profiles/blogs/chastain-park-art-festivall http://www.artfairinsiders.com/profiles/blogs/chastain-park-arts-festival http://www.artfairinsiders.com/profiles/blogs/buckhead-spring-arts-and-1 http://www.artfairinsiders.com/profiles/blogs/chastain-park-art-festival

This location is where the wealthy live in Atlanta. Big houses many many mansions. There are smaller beautiful million dollar homes that are considered tear downs to build monster homes. This show is where the people in this neighborhood go to shop and it is one of those rare shows that people have a bunch of empty walls.

Since the show is the first weekend of November the weather is a crap shoot. This year it was COLD and windy on Saturday. First real cold snap so many hadn't been in their attics getting out the winter coats, gloves and scarves. The forecast was bad. Wind advisory and freeze warnings. It scared the citizens.

I even fell for it. Saturday morning I did something I never have done. I called my friend who was showing a couple booths away from me and asked her to open up the front of my booth and I stayed in my warm bed an extra hour. I figured there was no way anyone, not even the dog walkers, would be at the show before noon. I arrived at 11 am, an hour after opening, and was surprised that a women was waiting for me. She came and walked the show and had decided on one of my pieces and had already bought 2 more large 2D pieces from other artists.

An artist not far from me sold an original pen and ink drawing in the first hour of the show. Another artist on Friday during set up had a designer walking through the park and bought the entire booth before he had even finished setting up! There was even an artist who opened then left the booth to go stay warm.

One of the show directors made an $800 sale for this artist since they were A.W.O.L. Now it was cold, really cold to the bone. We couldn't really sit, had to keep moving. The crowds were not there. Mainly artists, but the patrons that did show up were on a mission. A photographer sold 5 framed pieces and I teased him that 80% of the people who showed up bought from him.

Back to my cold Saturday show, most of the people I talked to had already bought from me. I have showed here many many many times. I was starting to think maybe I needed to take a break from this show. Well I started to have people come to me that had been thinking about a piece or were finally ready to buy a piece show up and we talked commissions. Saturday I closed a few commissions. In the afternoon I sold the biggest piece I have ever brought to an art show, 65"x80".

The show closed at 6pm. It was dead and so so cold by 5pm. I decided to deliver my work early, and warm up in my clients home until 6pm then went back to close up for the night. If any of you know me, I am usually a Sunday girl, almost never sell on Saturdays. This was my Saturday. Almost every patron that came bought from someone, BUT there were not many patrons and not everyone had a good day. Especially those that had lower price points and needed a big crowd.

Sunday, daylight savings. I have found when a show is in a park and you are dealing with daylight savings you need to remember that the dog walkers still need to get up and walk the dogs at the same time. I don't like this because I am always ready for an extra hour in bed BUT I make it a point to show up early on these days. The weather was much better, sunny, no wind and a bit warmer.

Everyone had gotten their winter gear out of the attic. After I opened my booth early I walked the show and talked to the other artists. Like I said, the higher priced point folks had decent Saturdays, lower price points were hoping for a better day. By the time I got back to my booth, around official opening time, patrons were ready to enjoy a sunny late fall Sunday. Crowds were decent. Not huge like we all hoped but good enough. I saw my regulars and more folks ready to buy a piece.

After break down I delivered my three next largest pieces to a beautiful mansion that had an elevator in the home large enough to fit 50"x68" piece. They also had an amazing art collection and I walked around the home recognizing 9 different artist that I know. My point is this is an area where people collect art.

All in all a wonderful show again, but the weather kicked my butt. Recovering these past two days and no rest for the wicked, installations scheduled all week. Also wanted to add the show has added Nuloo. I love this trailer bathrooms. Usually I love it for the A/C but this show it was great to go in and warm up. They also offer wifi and a charging station for tablets, phones and laptops. Another thing to keep in mind for this show, it is the last one in Atlanta, people are wanting to get their homes ready for the holidays plus buy gifts. 

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Looking for Work?

Take a look:

Historic Pewabic Pottery in Detroit looking for:

Ann Arbor Street Art Fair:

University of Michigan:

Ann Arbor's favorite co-op Gallery 16 Hands is looking for Holiday Sales Associates: 

http://www.16handsgallery.com/

Thanks to The Arts Alliance Newsletter for sharing this information, www.a3arts.org.

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Disappointed in your business?

Think you're the only one? Hardly ... even the best marketers, most optimistic folks like Abraham Lincoln (well, not exactly an optimistic guy, but you know what I mean) and the fabulous Napoleon Hill experienced disappointments and complete failures. 

Surprised? or had that somehow eluded you? 

You push and push, you keep trying something new and what you had envisioned as a dream come true keeps ever in the mist leaving you with a huge sense of disappointment and regret.

Shall we dwell there? should we blame _____ and ____ and you know that worst one ____, your personal nemesis. 

What kind of perspective do you use, what do you believe in? What do you do so you are no longer as susceptible to the old patterns, and they naturally begin fall away? Any secrets to share?

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St. Simons Island, Georgia
Postell Park, in the St. Simons Island Pier Village
Fri. 5pm-8pm; Sat. 10am-8pm; Sun. 10am-4pm
70 Booths
Deadline: November 7

The 4th Annual Mistletoe Market on St. Simons Island is produced by Glynn Visual Arts, the premier visual arts organization in southeast Georgia's "Golden Isles."  As a result of amazing growth in this fun and exciting festival, we have moved the Mistletoe Market to Postell Park, directly across the street from the Glynn Visual Arts Center.  This much anticipated kick-off to the holiday season in Coastal Georgia features a varied selection of creative works by approximately 70 artists and crafters.

2104.jpg?width=325St. Simons Island is one of four barrier islands on the Georgia coast, midway between Savannah, GA, and Jacksonville, FL, including Sea Island, Little St. Simons Island, and Jekyll Island.

Postell Park was re-designed a few years ago and laid out specifically to accommodate events like this.  The one square block setting is located under majestic live oak trees, with the Atlantic Ocean a few hundred yards away, creating a unique ambiance.  

This year, as a result of the dynamic new partnership between Glynn Visual Arts and the Golden Isles Convention and Visitors Bureau, there will be more activities than ever before! In addition to the focus on creative art and quality crafts, the park will be turned into a coastal winter wonderland, complete with decorations, lights, a visit from Santa, craft demonstrations, a variety of holiday entertainment, and a children's hands-on art activity.  Food vendors will be on site, and multiple restaurants are in the nearby Pier Village2105.jpg, approximately 1/2 block away.

Promotion and advertising: 
  • local newspapers and tourism guides
  • the Golden  Isles Convention and Visitors Bureau
  • billboards and signs throughout the community,
  • posters in storefronts
  • Constant Contact emails, our website, and social media.
Surveys from previous festivals consistently praise our staff and volunteers for their hospitality.  One artist recently wrote:  "First show ever when I was sorry to see 5 o'clock arrive.  I'm usually hanging around waiting for the end of the day.  This time it came too quickly."  Another artist stated:  "Everything was done well-it's our favorite show to do."
For artist application and more information please contact the event chair at
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Manifesto for an Arts Business

R500_ArtsCrafts_FC.jpg?v=1403726088&width=250Did you listen to the podcast with Nawal Motawi from Motawi Tileworks? Nawal has a ceramic tile studio that employs 30 people. Her business wins awards for its culture and commitment to the local community. It even has a manifesto: for the workplace to be healthy, emotionally and physically while taking great craft and fun seriously.

Some highpoints of the podcast:

  • She learned the craft side of the business at the art school at the University of Michigan and later at Pewabic Pottery in Detroit. She taught herself the business aspect by devouring INC magazine's articles and reading books recommended there. She also attended conferences where she could meet others in the business and network.

  • Nawal's goal when starting the tileworks 20 years ago was figuring out how to make the kind of tile she wanted for her living, not just to survive but to thrive.
  • The tileworks has five income streams: 1) the showroom at the factory; 2) a storefront in downtown Ann Arbor; 3) a wholesale gift business; 4) installation commissions and 5) e-commerce

3 business tips:

  • make sure you price your work so you sell it for a price that is high enough to thrive.
  • you need sheer persistence, pursue your goals unstintingly. Have a vision. If your customer doesn't want to buy what you are offering listen to them and change it so they will. You are a creative person and you can find a way do to it so that will work for you.
  • be willing to change. Find a different outlet, another store, change the price, the color and don't neglect to get some help.

8869148489?profile=originalInspirational reading: Small Giants: Companies that Choose to be Great Rather than Big, by Bo Burlingham

Listen to the rest of this talk with this very smart business person and see where it takes you: What to do with a BFA: How Nawal Motawi Created a Robust Ceramic Tile Studio

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Best of the Northwest October show

The show was held in Hanger 30 on the Magnuson park grounds.  Set up and tear down was easy with parking at 4 doors to get in and out.  Artist that had purchased electricity found it easy to access from their booths. plenty of booth sitters and an energized organization. 

The show boosted 110 artist and charged a hefty price to be there.  There was also a charge at the front door, but that allowed patrons access throughout the weekend and for the next show that will be held in November.

they had an artist dinner of pizza, pasta and salad and a pay bar.

the down side is even though they said numbers were up through the gate, the wrong demographics were showing up.  This translated in very slow sales.   I sold 4 framed prints and cards.  2/3 of my sales were in cash and averaged less than 30 dollars.

Given the high price of the booth,  if you did not live in the area and had to have a motel room you would be pressed to break even on this show.  Even the jewelers appeared to be struggling. 

Given the name of the show I was also expecting the show to be regional artists, but it was not.

 

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Time to focus on my Etsy shop...

With only two more events for the rest of the year and I won't be back until April or May of 2015, it's time to focus on my Etsy shop. These are the highest months for my shop. I've already had four orders in October. This is what I do. I have a Etsy shop and I do art fairs. But since I live in Michigan, this is the hibernation season for the art fairs. I am trying to get up to 100 items in my Etsy shop. That is still not close to a fully stocked booth but 100 items on Esty gets you some more exposure...

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February 21 & 22  2082.jpg
Miami, Florida
31st Annual Festival
Downtown South Miami on Sunset Drive
10am-6pm Saturday, 10am-5pm Sunday
145 Exhibitors
Deadline: November 5


Started as a small show in 1984, the event has grown into one of Miami-Dade County's most anticipated festivals. Dozens of friendly and dedicated Rotary volunteers staff the event, ensuring a pleasant experience for exhibitors.

1005.jpg?width=300The festival attracts a diverse group of art lovers.  Public admission is free and includes live jazz throughout the weekend and an international food court.

The proceeds of the festival benefit South Miami Rotary charitable efforts including college scholarships for local school students as well as international and local community service projects. The festival is produced by the dedicated volunteers of the Rotary Club of South Miami and its Rotary Foundation.  Our artists come from all over the U.S. and Canada. 

The area is filled with historic buildings, restaurants and unique shops. Just 3 miles south of Miami's Coconut Grove, South Miami borders the University of Miami and the upscale neighborhoods of Coral Gables and Pinecrest.

We provide:South Miami pic3

  • Load-in and out at booth space
  • Free parking for artists
  • Cash awards of at least $3,250 will be presented
  • Automatic acceptance for winners the following year
  • Complimentary continental breakfast both mornings
  • Complimentary bottled water
  • Booth sitting available for brief breaks
Fees: $30 application; $350 standard; $395 corner; $450 endcap

phone: (305)769-5977
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Find more art fairs for your 2015 art fair season: www.CallsforArtists.com
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8869148694?profile=originalTuesday - October 28 - 3 pm ET

Nawal Motawi joins us to talk about her journey from art school graduate to founder of an award-winning Ann Arbor-based nationally known art studio, Motawi Tileworks, that creates unique handmade tile reflecting the classic styles and craftsmanship of 20th Century American design.

Nawal Motawi founded Motawi Tileworks more than 20 years ago. A University of Michigan art school graduate with a restless spirit and an interest in applied arts, she moved to Detroit to learn tilemaking at Detroit’s storied Pewabic Pottery. She returned to Ann Arbor after a few years and began making her own tiles in a garage studio and selling them from a stand she rented at the local farmers’ market.

ebd79d6df05b52929dcdd7412dd9f25ef1d1_996x1280.jpg?width=200Today, Nawal is still designing and making tiles in Ann Arbor. Her companies, Motawi Tileworks and Rovin Ceramics, employ more than 30 people. The tiles are sold in over 350 shops, galleries and showrooms across the country.

The Motawi business philosophy:

We make distinctive ceramics in a healthy way. We share our story. And we have fun.

Why?

We believe that we can make the world a better place by making beautiful things for everyday places and modeling healthy company practices.

How do we do this?

We make things that are valued for their design and quality.

We cultivate an intentional workplace culture that fosters constant improvement, positivity and consistently high performance.

Listen to learn how Nawal made the move from her first art class to becoming a successful business owner, plus her best tips for building a sustainable career in the arts.

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nels%20booth.jpgIMG_1079.jpgIMG_1086.JPG For some reason you have to click on these, others show in my blog  (WTF! Connie)

 

Well, what a pisser, not only did my booth get destroyed, but this blog I was writing, (and I was halfway thru it) just mysteriously disappeared off my screen.

So, back to square one.

Maybe you saw a brief post of mine on Facebook about it, maybe you did not.  Here is the full Monty.

Ellen and I went to Bluffton,SC last weekend for the their Seafood and Art Festival.

It only has 100 booths all along seven blocks on a main drag with some houses, restaurants and bars on it.  They have police security at both ends of the show.  Nothing in the middle.  I guess they let some cars in, even after the show is over for the day, if they got biz on the street.

We shut down Saturday night with $550 in sales for the days and visions of crab cakes and wine that night.

Sunday morn I woke up with dreams of having some Starbucks robust roast coffee while reading the NY Times, and enjoying mouthfuls of savory Low Country shrimp and grits.

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My darn IPhone kept ringing .  Three times it was a caller from NC.  I ignored it.  No voicemail, no foul, I aint answering it.

Finally, a fourth time there was a voicemail.

"Nels, you better get down here fast.  Your booth has been seriously damaged and mine is too."  It was my show neighbor, Kathy Oda, calling.

Well, I hurried as fast  as it took Ellen time to apply lipstick and makeup.  Never hurry a beautiful blonde, beautifying herself.  Some wise man told me that years ago.  I married one, so I took those words to heart.

When we turned the corner onto the main drag, I realized three things, pronto.

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First, I would not be swilling any Starbucks that morn, two, I could forget about the NY Times and three, there would be no shrimp and grits in the future for  me that morn.

My booth was still there.  Just not in the condition I had left it the night before.

Kathy's booth had already been cleared away.

I had hoped I would be seeing just a panel or two pushed in, slightly bent, maybe a few frames on the ground and some scattered sprinkles of photo-glass calling from hither and yon.

Not.

In 40 years of doing shows I am used to seeing severely damaged booths.  I have seen ones blown over a bridge rail in Columbus.  I have seen some blown into the seawater at Images in New Smyrna.  I have seen booths blown and scattered apart all over the park in Vero Beach.  I know what nasty winds and pummeling rain can do to our temporary show rooms (Some people, not very smart ones, think that these show rooms are also our bedrooms at shows.).

Well, mine fit into anyone of those scenarios.  Without water.

As we like to say in the biz, "Parts are parts, pieces are pieces."

It was barely standing on one side.  Twisted and leaning like a mean drunk that had had 25 shots of tequila, and was going to have another 25.

Shards of glass pointed menacingly at us.  Bent frames stuck out under the tarps.

The roof was laying low as to say, "Thats it, Jack, I aint carrying this load no more.  I am taking Social Security and you are on your own.  Go get a pretty orange top.  I am out of here."

People stood around respectfully.  They were waiting for that IPhone moment.

SO I complied.

Whipped it out and shot pics of the damage.  I would continue to do it as different levels of damaged exposed themselves.

Obviously, this would not to be the moment to do the booth shot for Cherry Creek.  Although, if they had a Sympathy  category I was a lock to be in.

About ten artists and bystanders offered to help.

We gently unzipped the twisted front awning and tried to work our way back, panel by panel, truss by truss, while dodging shards and sharp edges.

Miraculously, none of my photographs were cut.  Mats were trashed, frames twisted and glass broke.  Some bins took a hit.  Same with a table.  It was not very pretty.

Finally, we had worked our way to the very rear and cleared all the damage to field behind me.

I profusely thanked all and then went about deciding what I could do that day to make some moola.

I had a Newtons Porto-Canopy, made in 1986.  It has eight display panels, wire, with four trusses that span the width,  Comes with a canvas roof, skylights in, and rear and front awnings.

Four of the eight panels were trash.  Same with two trusses.

I managed to cobble a booth together using four bent panels joined together, using bungees and duct tape.  I managed to put up one table with print bins, and one 16x20 print bin.  No roof, but I fashioned a shade awning off the rear to sit under.

During the day, I assiduously picked broken glass out of frames while conducting biz.

I managed to pull $1K out of the day.  A miracle in itself.

While this had happened, a fellow artist, Christine Reichart, took up a collection for me from my fellow exhibitors.  She presented me with a manila bag stuffed with fives, tens and twenties.  Enough to buy a new table and replace all my broken glass and frames.  What a doll! What a bunch of great fellow artists.  I was speechless and amazed.

I went around and thanked everybody at the show for their contributions.

We have a wonderful family of fellow artists.  We are so fortunate.

Then, the Art Association that helps run the show told Kathy and me they were going to reimburse us for new booths.  I was again, speechless.

I then had at least ten artists tell me they couldn't wait for somebody to bump into their booths.  Hmmmm.

We tried to figure out how this all happened.

Kathy says, that when she first got there, my booth was dragged into hers.  One of my John Deere anchor weights was a good 50 yards down from her booth.

Oh.  I guess I forgot to tell you.  Whoever hit my booth also stole three of my pieces off the front panel.

So here is our reconstruction of what may have happened.

Somewhere after 10 PM that night, a vehicle got let in by security and drove down the street.  My booth was near the middle of the show.

They may have been looking just for my booth to take some art they spotted earlier in the day. Isn't that so special.  I was chosen.

So the Midnight Rambler unzips and steals the pieces.

Then, when making his getaway, he snags one of my front anchor weights with his car.  Zoom,zoom, he is gone.  Bang, bang, our booths are down and gone.

They never caught the guy.

This event may cause them to consider putting security in the middle of the show next year.

So, I am now shopping for a booth.  Maybe a LightDome, maybe a Trimline.

In the interim, Lou Garofalo has graciously lent me a spare LightDome.

I get by with a little help from my friends.

My birthday is Saturday.  I turn a really big number.  I am happy.  I am married to a beautiful blonde, and she is a great artist too.  What more can a guy ask for.

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Is This Film or Digital

Is This Film Or Digital?While this post can certainly be read on its own, it is actually part two of my previous post “Invitation to a Narrative.”So we were discussing some of the questions folks sometimes pose when they visit my art fair booth. I saved the most difficult to answer for last - “Is this film or digital?” Difficult because I don’t really know what they are getting at. Is the question, which is often also posed, “Did this really look like this or was this photoshopped?”What notions do I imagine are being expressed with such questions?That photographs from film are somehow more “real,” more unmanipulated than those produced digitally.That film is real “art” and that anyone can do digital - after all they walk around with a pocket full of digital images captured on the device they occasionally use to make phone calls.That film-based images, being more mysteriously manufactured, somehow have more value.My response to such notions is that it is always the image that matters - not how it is made. When looking at art in general, and no less photography, folks need to bring a healthy measure of Willing Suspension of Disbelief (WSOD). It is the same WSOD that makes a novel moving, a film funny, a play make us cry. In our heads we know that the book, movie or play is a constructed work of imagination. We know these are actors pretending, saying words that someone else wrote, about stories that didn’t actually happen. Yet we love them if they ring true. If they are plausible. Or even, frankly, if they are exciting sci-fi, blockbuster, outrageous, big-budget fantasies that actually are, quite literally, photoshopped.Now, when considering photographs I understand the issue of WSOD is complicated by the various ways photographs are used. In advertising, for instance, they most assuredly want you to see the photographed object as tantamount to the thing itself. You see the beautifully photographed coke can covered with water beaded just so, letting us know how icy cold it is. Of course they want the photo to move you - off the couch, into your car, into the store, etc. etc. But it ain’t necessarily so in the world of fine art.In fine art photography, resistance to WSOD is a depriver of feeling, an impediment to emotion. It is so “in your head” there is no room left for heart. So the question shouldn’t be did this scene truly look like this, rather does this scene show me something that is “true.”The camera is used to collect reflected light. That is all a photograph is - the ephemeral tracings of reflected light rendered fixed. On the one hand collected onto an emulsion crammed with light-sensitive silver salts. On the other hand collected onto a silica wafer crammed with light-sensitive pixels. Each has its place. Neither determines the successful transmission of a look, an idea, an emotion.The artist is always involved with interpretation - a take on the encountered world that is not the encountered world. But there is no trickery employed for trickery’s sake. Trickery in the name of truth, perhaps.So no, my images are not rendered with any necessary sense of fealty to the “real” world. They are constructs of eye, heart, training, experience, and technique. And whether brought to life through the chemical magic of a traditional darkroom, or the precise distribution of pigment ink on paper the intent is always to make images that are not just “real - but, rather to make images that are, like a satisfying novel, a thrilling film, or a wonderful evening of theater - “realer than real."
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Invitation to a Narrative

Lots of people come through my art show booth every time I am in a show. Surely, some walk in, take a quick look around and leave without anything verbal passing between us. Fine. But many, perhaps even most, enter into some sort of conversation."How did you do this?" they ask.Or, "Where was this taken?"I would like to respectfully suggest that these are not productive questions to pose. In my world, each photograph is an invitation to enter into a narrative. You come into the booth. A particular photograph attracts you. Why? What does it make you think about? How does it make you feel? The answer to THIS line of inquiry will bear valuable fruit. Now you have the beginning of your narrative.It will not be the same narrative as mine. Not the same as the one that attracted me to press the shutter in just such a way in the first place. In just this particular light, at this time, in this weather. Framed in just this particular way. Then printed just so. With a border or without a border. In black and white or in color. And which color? - vivid or muted, cool or warm? These are the tools I have and use to move from what it looked like to stand in a place to what it felt like, or what I want to suggest you feel.So my narrative always goes back to the moment of shutter release. Yours always must begin when you first encounter the image. Your story must begin, then, with..."I was walking the art show. I was - hot, cold, tired, stressed, relaxed, having a good time, dodging the rain, hungry, thirsty, inspired, on my cell phone, killing time waiting for X to catch up - when I stepped into David's 10x10 bright white booth. I was surrounded by his photographs, but there was this one that called to me..."So the question isn't really, "Where was this taken (where did David's narrative begin)?" Rather, the question is, "Why am I feeling a story coming on when I look at this photograph?"And when your story has just begun, the question shouldn't be "How did you do this?" Let the story come. Let some feelings get felt. Why would you want to spoil the moment by requesting information that could only demystify; that could only undo the hundred decisions, both conscious and unconscious, that I have made on behalf of a story whose beginning belongs to me, but whose endings belong to you.There is no where. There is no how. No right. No wrong. There is nothing definitive. There is only this. How does your story begin?
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Can't find that pesky information? A few tips

faq.jpg?w=245&h=300&width=150Tip for writers on ArtFairInsiders.com -- readers too

"Why can't I find something I know is on this site?" "What happened to my show review?" "Where is that information about the best tent, show, lodging deal, funny story, jury tip, safety idea, etc.?

This site thrives on your participation and your stories, questions and reviews. Thousands of people thank you for your generosity. In the last month the site had 132,795 page views. As you can see the readers are here. 

How you can help them and get the most mileage out of your time spent sharing information:

  1. When you write a post in the blog or start a discussion before you click on "Publish" add "tags" in the box underneath the post. Why? This insures that someone looking for that information can find it.

    Examples for this post: "how to make AFI work", "tagging", "helpful tips" 
  2. Put each phrase in " " to separate the phrases and put a , between each phrase.
  3. Also helpful are the "search" links up above, the tags will help you on your quest.

I don't read everything on the site but saw a recent comment from Mike Heilman that he had done a show review and wanted to know where it went. Mike, you'll find that on ArtShowReviews.com, right here. It did not go into the vast wasteland, we got it, we posted it. 

I just found this comment also:

I find it a little difficult to navigate around this site looking for just the right thread that I want to read. It's probably simple enough but it doesn't seem simple to me. This has become such an important repository of first-hand information for art fair artists that it is vital the data contained herein can be accessed swiftly and smoothly. I think it's a little cluttered and I have to hunt and peck each time I am looking to find information I am seeking on a specific subject. 

If we all add "tags" to our posts it will help a lot. Try it -- 

then when you go to look for something click on the "search" -- it works, and the more accurately you "tag" your post the more likely someone will find it.

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Kentuck- the Best Lil' Show in Alabama

I have been doing shows for almost five years now and I have truly run the gamut from "great" to "please shoot me and put me out of my misery" and I have to say that this past weekend ....I found my favorite show.

Picture this: Tuscaloosa Alabama, a home Alabama Football weekend, no available hotels under two hundred dollars...and smack dab in the middle of it all... the Kentuck Fine Arts Festival. Ok, honestly...does that sound like the scenario to a great show? Well, usually you would avoid this type of show at any cost.... but this one is the exception.

First, the weather was fabulous, and load in was great, even though this show is in a wooded park and it is a bit (a lot dusty) we are able to pull right up and unload at our booth. Booths have quite a lot of room behind and in front for bins and what not. Some are roomy enough to be able to open your sides and show but I was not as I was in a line that was close together.

I put my rubber floor down but wish I hadn't, because by the end of the show I just wanted to throw the filthy thing out instead of put it back in my car...that's how dirty it was. Nevertheless. the show ambled in and out of the woods in  a relatively uniform pattern and visitors were provided a good and logical map to plot their course through the show.

What I loved about the show was the quality of art there. Absolutely no buy and sell and lots of Folk and Outsider art that was of the highest quality, mixed with more contemporary work. I saw so many artists that I had never seen before. The jewelry was incredible! The paintings were amazing! Where have these people been? There were lots of artists demonstrating and giving away free art.

Next to me I was honored to have Amos Kennedy from Michigan, a letter press artist who brought his whole family and were a blast to be around. On the other side I had Karen Fincannon from Atlanta, a whimsical clay animal artist from Atlanta, whose work is enchanting and who is equally upbeat and fun to be with.

Saturday starts at 8am with a special Patron's walk through.....they give out ribbons to those they purchase work from (I'm guessing a certain price level-not sure how it works) and I was lucky enough to receive one. Coffee and donuts were served and the artist hospitality tent was always ready with snacks and drinks all day.

The show was packed....although there was a noticeable lull while the football game was going on. Still, it was a good day and I didn't hear many complaints. Lots of bags and large items walking out. After the show there was an artist dinner and reception and awards were handed out at the Kentuck Museum.

The judging was truly spot on, first rate (and no, I didn't win anything...)  I was lucky enough to stay close to the show in an apartment with some fellow artists and after the soiree at the Kentuck we headed out to have a few drinks and find a place to get some additional food, although it was pretty darn crowded because of the Alabama win. 

Next morning we were back at it bright and early and the crowds came in force. It was an outstanding day. I don't think I sat down once and didn't even think about lunch. Speaking of: bring your own food as the selection is dismal carney fare with no food trucks in sight (that is the only thing I can think of that could improve). Load out was pretty easy as we could park close to our booths and they had help if you needed it. 

The best thing about this show was the people (well honestly... the best thing about any show is the money we actually make), but the people at this show were a close second. Southern Hospitality is alive and well and for all you naysayers that think the South is just a bunch of hicks..... a lot of money was spent on interesting and high quality art at this show. Done with a smile and a warmth that sometimes you don't feel in other places.

Actually, I kind of hate to talk about this show too highly as it might be harder to get in next year. Hell, I would go to this show again even if I didn't get to show...it was that good. Kudos to the Director and staff that puts on, in my opinion, one of the best unsung shows in the country. Addendum: I have already gotten three really nice emails today from people I met that want to purchase more work...YES!

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Bad News and Good News

Three weeks ago, while I was in Louisville, Ky, for the St James Court Art Fair, in the week preceding the show, my van was robbed and 3/4 of my beaded jewelry was stolen. I didn't realize it had happened because I wasn't using the van for driving around (I was there also to visit my son and granddaughter who live in that city) and didn't even notice it until I started out that fateful Thursday morning to go set up for the show.

Well, you can believe that I was devastated, in shock, thinking that somehow I had just misplaced everything and that it was somewhere else in the van than I remembered. I didn't actually start to cry until I got to the show, and after having torn open every box, told the show organizers that I had to withdraw from the show and blubbered out what had happened. The loss represented over 2000 hours of work and about a $30,000 loss.

I spent the rest of that day talking to the police, composing a flyer to hand out (like a lost cat), and going to local pawn shops with the few pieces that I had left to show them my work and ask for cooperation. Eventually, one nice lady at a pawn shop told me to not bother with pawn shops anymore as my work was beaded and beautiful, but they only bought precious metal and gemstone jewelry. My husband, back in Los Angeles, had contacted the local paper and written a press release for them. They then posted that on their blog and that connection became vital to the proceedings.

The next day, starting day of the show, I was armed with 200 flyers and went to the show, handing them out to every jewelry vendor at that show, thinking that they would be the most likely candidates to be approached if someone was trying to sell my work en masse. It's a huge show, 750 vendors, and I was happy to have an excuse to go and see ALL the booths. Just a side note: it is a real mix of the good, the bad and the also-rans. It was a fine day and I had a mission.

Talking to the other vendors was great therapy; they were wonderfully receptive and sympathetic and helped to ease my shocked nerves. Mid-day, I got a call from the local news channel asking for an interview which would air on the evening news. They had read the blog site for the paper! I drove to the TV station and did the interview; it went pretty well. Next day, I canvassed my son's neighborhood, a cute shopping/eating section of Louisville called The Highlands, posting and handing out my flyers to likely store owners and inside cafes. Many of those to whom I spoke knew about what happened from the newspaper and the TV news! I was amazed. I got a wonderful flow of support from them all and everyone promised to watch for my work if it surfaced.

Connie Mettler posted my sad story on this site and I got many emails from fellow artists with warm wishes, prayers for a good outcome and offers of help. The Louisville show organizer wrote to me to tell me she was refunding my booth rent amount in full with an open invitation to participate next year, should I decide to come back. CERF+ contacted me offering assistance in the form of a grant or loan to get me back to battery. The police even called me a few days later to see how I was doing and find out if I had any leads for them, which I didn't.

So, even though the situation was bad, I was bombarded with good thoughts, warm wishes and positive energy as well as actually help and advice.

Then something incredible happened.

This morning the Louisville police called me to say that they had recently been given a tip that someone had been seen entering/living in a vacant house near to where my son Cassidy lives. They went there to check it out and caught the fellow who had been squatting there, hiding up in the attic. A look-about showed them piles of stolen goods that this fellow had stashed, including my jewelry! It was all there, plus much more!


The officer looking over the confiscated goods saw that my jewelry was unusual in nature and so took one container-ful over to a little shop in the Highlands area, Edenside Gallery, 1422 Bardstown Road, Louisville, to get an opinion from the owner, Nancy, as she was known to this officer to be an expert on hand-made crafts and unusual jewelry.

She recognized my work instantly because she was one to whom I had spoken and handed out my flyer when I was canvassing that neighborhood after the theft. Nancy pulled out my flyer, showed the officer and together, they called me with the good news. It was only a few hours later, after some paperwork with me to finish up the business,
that all the jewelry was released to Cassidy and he is shipping it home to me tomorrow!
What a success story!


Oh, happy day!


Kathleen Caid

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Call for Artists: Des Moines Arts Festival

June 26-282139.png
Des Moines, Iowa
Downtown at Western Gateway Park
surrounding the John and Mary Pappajohn Sculpture Park
194 Artists 
Deadline: October 31

2144.jpg?width=375 Winner of the Gold Grand Pinnacle Award* from the International Festivals and Events Association, Hall of Fame honors from the National Association of Independent Artists and the Encore Award from Bravo Greater Des Moines, the Des Moines Arts Festival is one of the nation's most respected arts events in the country hosting 194 of the nation's top artists in a beautiful urban setting surrounding the fames 4.4 acre John and Mary Pappajohn Sculpture Park.

The outdoor Festival of arts and culture attracts more than 200,000 people each year to its downtown location in Iowa's capital city and largest metropolitan area.

DMAF is a show dedicated to the highest standards and works diligently to maintain a positive environment for artists and their clients. DMAF is a non-profit organization founded by the Des Moines Art Center.  Any Festival proceeds go back into the community supporting the Des Moines Art Center's educational outreach programs, numerous area non-profit organizations and the free admission program of the DMAF.

The Festival juries using ZAPPlication projection jury system and five respected jurors.

  • The first 2141.jpg night of jury is open to all applying artists for viewing and networking.  
  • Notifications are emailed on or before December 12
  • contracts/booth fees due no later than January 16
  • Each application is reviewed by staff in advance of the jury to assist in presenting the best possible opportunity in front of the jury.

DMAF offers healthy booth spaces with storage and air between booths, cash awards, and generous amenities. Promotion of the event is to an art buying public through print, radio, online, earned media, billboards, direct mail, and social media.

DMAF is an all-original show and the artist presence is required.

Application information is available on the Des Moines Arts Festival website.

1568.jpgOr, apply directly online using:  www.ZAPPlication.org

Join us on Facebook/DesMoines ArtsFestival: https://www.facebook.com/DesMoinesArtsFestival

Email questions to: info@desmoinesartsfestival.org or call (515) 286-4927 to speak to Stephen King, Executive Director.

*The International Festivals & Events Association (IFEA) paid tribute to the Des Moines Arts Festival on September 29, 2014, during the IFEA/Haas & Wilkerson Pinnacle Awards Ceremony held at the IFEA’s 59th Annual Convention & Expo, in Kansas City, Missouri.  The Des Moines Arts Festival was presented with 21 awards in the prestigious IFEA/Haas & Wilkerson Pinnacle Awards competition.  The ceremony culminated with the presentation of the coveted Gold Grand Pinnacle Award to the annual festival of arts and culture. The Grand Pinnacle Award is the industries highest professional honor and represents recognition across all platforms​.

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Why the "Best Art Fair" survey?

8869149895?profile=originalIt's all about the marketing, folks.

Mission of our sites: Bring people to attend the art fairs to buy art and support the artists.

Mission of the survey: Spread the word about the best art fairs in the country through the media to attract people to come to the shows and use the Best Art Fairs page as a planner for their travels, enabling "art fair tourism."

You have a stake in this process. You can be a part of the raising of the awareness of these cool events full of intriguing and exciting work. How?

Share the survey!

-- on your Facebook page

-- in an email to your own customers

-- on your website

Here are the links:

Deadline: Oct. 21

The survey will only be as accurate as the number received.

(Survey results so far: Those Chicago area shows are winning again this year with Ann Arbor close behind and Winter Park leading the pack.)

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