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Well, the Bayou City Art Fair is now over and it is my time to do my best at writing a review. This is not about the controversy discussed in other forums because that has been overdone and is past news. This is about the time from load in to load out and all that I experienced during the time in between.

Carol and I arrived Wednesday afternoon and had a scheduled load in time at 10am Thursday morning. This gave us time to get to Houston and go to the artist check in on Wednesday ...better than trying to deal with the traffic to check in early Thursday prior to load in.

Thursday morning we arrived at the park and drove right in and unloaded the van with no problem. Hardly anyone there at that time. The weather forecasts were predicting rain and thunderstorms but they never happened while we were in the park.

After setting up we had lunch, went to a movie, went to a shopping mall and then had a late dinner before relaxicating back at the apartment. The weather on TV kept predicting more rain and thunderstorms for Friday but fortunately they never happened. It was overcast and chilly most of Friday morning up until around 1 or 2 pm and the crowds were extremely sparse.  It was the slowest Friday I can remember.

This did give me a chance to walk around the park and visit with some artist friends and check out the additional tents along the back loop. I am not aware of how many artists signed up at the last minute to take advantage of the reject specials...but there was a lot of room available.   I did see quite a few empty spaces...I don't know if they were supposed to be tents there of just open space. It seemed like there were more rented tents than last time....you know the tents with the big pointed tops, scalloped overhangs and the big jugs used for weights that no artist is likely to carry along with them.

Most people I talked with said their sales were nonexistent or weak on Friday.

 Fortunately for us a good customer from 2 years ago came by..he said he came there just to see us... and made a nice purchase...I also received a commission from a new customer that said he had seen my work on the TV station that morning...I didn't even know it was on TV...but thank you TV station...! So Friday made our day even though it was a very empty park.

Saturday's crowds were much better and the weather was beautiful all day long.  I don't have any idea how sales were for others because I rarely left my tent during the day except to go to the portapisser. I did see a few people carrying flat packages wrapped up, so obviously some paintings/photography were selling. People were also walking by carrying the Birdhouses on a copper pole...so I believe the birdhouse guy did just fine.

Sunday was also a beautiful weather day and the crowds were out and steady. Many people said this was the first weekend in a while that the weather was so nice...and they were definitely out to walk in the park, if nothing else.  If I could pay the bills with compliments I could retire.

We made some nice sales but the last time we did the show two years ago we had even better sales. As with any show some are better than others financially. We didn't make a bundle but we didn't do bad after expenses. I stopped by one of the local hardwood lumber yards Monday morning before heading back to Prairieville and recycled some of the money I made

I sure hope everyone else had  good sales and experiences..

The volunteer staff was always walking around and there was no shortage of water, sodas or snacks.  One judge came by our tent Friday morning for a minute. I am not sure if there were other judges...couldn't tell ya. I am not sure who won the awards or when it was announced.

Load out was much easier than I expected. We originally planned to pack up everything and then go have a relaxed dinner prior to coming back around 10pm to load up the van. After all was packed up I noticed it was not a traffic jam, so I got my van and easily drove right up to where my booth was and loaded her up with still enough daylight to see . We were outa there by 7:45...  

La Quinta, CA - Report from Kathleen Hughes at La Quinta:

Attached to this email is our list of winners and some images of artists at the show. Weather was ideal in the low to mid 80’s and to date over $3 million in art sales! (Last year we were thrilled with $2.7 which finalized in June with post festival sales at $2.8) I believe that the quality of art was the highest we have ever had with many artists coming from mid-west and east coast. Our audience includes the equestrian crowd due to the HITS horse show being run at the same time as well as tennis patrons from the BNP Paribas Open. In fact some artists saw the benefit of taking a cab on Saturday night and watching Roger Federer play and win.

BEST OF SHOW:   David Bjurstrom / Drawing 

BEST OF CATEGORY:

Ceramics - Barbara Sebastian

Fiber - Louise Valentine

Glass - John Blackwell

Jewelry - Thomas McGurrin

Mixed Media - Lorra Lee Rose

Painting - Alice Hernandez-Ganoa

Photography - Mike Woodward

Sculpture - Kim Obrzut

Wood Mark - Doolittle

Jeweler Isabelle Prosellico at LQAF

AWARDS OF MERIT:

Ceramics - Emmanuel Maldanado

Fiber - Hetty & Norman Metzger

Glass - Bob Kliss

Jewelry - Sally Craig

Mixed Media - Denny Wainscott

Painting - Donny Hahn

Printmaking - Stephen Harmston

Sculpture - Ralph Prata

Best of Show winner - David Bjurstrom

CITY OF LA QUINTA PURCHASE AWARD:

Kinne Design Studio, Sculpture 

Sean Gillespie, Sculpture

Congrats to them, some old friends and some newer ones, and definitely many of them on our members list.

Learn more about this festival: http://www.lqaf.com/cultural-events/la-quinta-arts-festival/

Also, I stumbled across this wordpress blog written by a customer at the show which will give you even more flavor of this event: http://mikaarts.com/wordpress/la-quinta-art-show/

(I reviewed this show last year and Nels Johnson gave an entertaining recap of the local restaurants here. 
Not much has changed, so I'm keeping this one short!)

Englewood, FL's unofficial nickname might as well be: "The town that Time--and US 41--Forgot."  It's a sleepy, Old Florida-style hamlet nearly 20 miles west of the highway that serves, from Tampa to downtown Naples--as Southwest Florida's main retail drag.  But as far as the locals are concerned, that 20 mile stretch might as well be 20 years.  For this is a show like art shows used to be, run by  Rotarians know how to put on a community event.

Easy setup, starting at 5 PM Friday.  Two-minute check in--tops. Pull up to your booth, unload and set up.  Pull behind your booth on a grassy lot if you can.  Otherwise, unload next to your space, park when you can, and we'll trust you to make things easy for the next van pulling in. 

Dearborn Street--along which this show stretches for maybe five casual blocks--is chock-full of small businesses and a few mom n' pop eateries with live music. It stays closed all weekend so the visitors, who come from the surrounding towns, including the moneyed but laid back Gasparilla and Rotunda, can browse the show (beer in hand if they want).  What makes it a happy occurrence from the artists' perspective is: they come to buy. 

They're far enough from the glut of shows in Sarasota and points south that this event doesn't represent just another jaded, same ol' art show weekend for them.  It's a community event, run by local Rotarians with a commitment to keep it that way.  So they look forward to the show and they hit it early.  Despite a threatening weather forecast for rain all day Saturday, the rains held off until 2 PM or so, and the crowds were decent until skies darkened after lunch.  A little rain was tolerated, and tent flaps stayed open until the first crack of lightning around 2:15 sent everyone scurrying for shelter.  A few artists stayed around and attended the Rotary's artist dinner and award presentation, but most headed home, hoping that at least the forecast for sunny skies on Sunday would be accurate.

It was.  Crowds again browsed the show before the opening bell (in contrast to so many shows I've done this winter, where no one shows up until noontime, and maybe not even then...after all, there's another next week).  And although Saturday's sales were decent considering the weather, Sunday's were just off the charts: I sold six or seven canvases, including my biggest pieces, making this easily my best show of the season.  Nearly everyone I spoke with in the 2-D arena had at least a decent show, regardless of price point, though a high-end potter near me lamented at check-in that there were a dozen other potters in the show.  His fears proved to be well-founded; he nearly zeroed, but he was a real gentleman as he discussed it at load-out.  He and his work were both classy, and he deserved better. 

Several patrons mentioned to me that the quality work seemed to be concentrated on the east end of the show, and that the other end was primarily manufactured work or very cheaply made.  I'd like to hear others' take on this; I don't know if the Rotarians do that intentionally or not.  Other than that, though, no complaints.  This was a relaxing and very profitable show, with low booth fee and stress level, and a 4 PM close time that made the commute back to Fort Myers a snap. 

American Craft Council, American Craft Endeavors, American Craft Marketing, American Craft Expo ... who owns the name "American Craft"?

This recent letter was forwarded to me by Richard Rothbard:

Dear Mr. Rothbard:

As you are well aware, our client, the American Craft Council, has repeatedly objected to your unauthorized use of its registered mark AMERICAN CRAFT. Based on your prior representations, our client had considered this matter closed and resolved. Specifically, on June 1, 2012 (among other issues), you agreed that you would cease using the combination "AMERICAN CRAFT" in a title for your shows. In connection with your New York City show, although the American Craft Council permitted use in 2012, you agreed that you would cease use of the name AMERICAN CRAFT SHOW NYC or NYC AMERICAN CRAFT SHOW after the 2012 show and, thereafter (2013 and onward) agreed to use the name "NYC (or New York City) Craft Show" or similar title not using the combination "AMERICAN CRAFT".

Thereafter, after we had notified you on January 11, 2013, that your continued use of AMERICAN CRAFT SHOW NYC and AMERICAN CRAFTSHOW CONNECTICUT constituted continuing infringement, you again represented (on January 18, 2013) that you would comply with our client’s demand to stop use of AMERICAN CRAFT.

We now have been advised by the American Craft Council that you are again flaunting their trademark rights. Specifically, your August 2014 show in NYC is entitled "American Craft Market Wholesale Show NYC". Our client advises that you were passing out the attached brochure at its recent Baltimore show and further infringing use is shown at http://americancraftmarket.com/

On behalf of our client, we demand that this title be changed immediately to one that does not include the term AMERICAN CRAFT. Moreover, you are to cease immediately with any use of any title that includes AMERICAN CRAFT, including but not limited to use on promotional materials (such as the attached brochure) or on any website.

In the absence of your prompt compliance, the American Craft Council is prepared to institute litigation without further notice. Based on the above history, there is little doubt that a court would find that your continuous disregard of the American Craft Council’s trademark rights is willful and, potentially, could subject you to punitive damages if this matter were to be litigated.

We await your immediate response.

Without prejudice.

Geez, doesn't it make you glad that you are a simple craftsperson, artist, minding your own business? 

$2000+ booth fees -- how does an artist show a profit and want to come back next year? Mixed Media/Photographer Mikel Robinson and his wife Christina share their strategies. A lot of information in only 2 1/2 minutes.

My wife and I have done this smaller show four times in the last six years and this time it was the BEST EVER. In fact it was our BEST EVER show in this area and we've done Great Gulf Coast and Art in the Park twice as well. We've always featured well in awards here, and this year we rocketed back to the top by winning Best of Show ($1,000). Sales have been good some years and poor the others, but this time they were well above average for us since we sold two originals along with a good number of unmatted/unframed repros. I always love it when customers buy our repros in bunches like bananas, which is what several of them did do. And we also sold some of the higher end repros to boot.

Since this venue is held in the Gulf Breeze High School parking lot, setup doesn't begin until after school hours at 4:30 p.m. Friday. Artists are assigned to one of the 4:30, 5:30, or 6:30 unloading time slots by the committee. It's usually pretty easy, really. But this year weather created some havoc during setup.

Weather was perfect for the show hours, but really a mess during setup since a cold front (music to my Wyoming ears) pushed a major thunderstorm through Pensacola area all day Friday and into very early Saturday morning. We didn't install artwork until 6:00 a.m. Saturday since the storms throughout the night were horrific. Explosive thunder kept us awake all night long. But as predicted by forecast, the rain stopped at sunrise and the clouds moved out of the area leaving the rest of the weekend in perfect performance. Today was absolutely stunningly beautiful with temps only in the lower 70's and humidity lower as well.

Awards deliver slightly smaller purses than other bigger Florida venues and are not given in categories. Judge was Carrie Ann Baade, a Florida State University at Tallahassee Professor of Art who presented 21 awards totaling $7,000 and hugged every recipient. Awards were presented during the catered Italian food Saturday evening dinner (I had the vegetarian eggplant whatever with salad, good bread, and super cheesecake and it was wonderful).

Breakdown of awards are as follows:

Award of Honor at $200

Melanie Miller - Jewelry

Tom Grow - Ceramics/Pottery

Alisha Dubois - Sculpture

Henry Warner - Mixed Media

Mike Venghaus - Jewelry

Mary Kay Samouce - Jewelry

Michael Young - Wood

Meredith Hartsfield  - Glass

Award of Distinction at $300

Larry Allen - Ceramics/Pottery

Douglas Brandow - Jewelry

Michael Jasinski - Photography

George Elliott - Photography

Staci McLaughlan - Fiber & Leather

Peter Rujuwa - Sculpture

Michael Fagan - Mixed Media

Michael Demaline - Wood

Award of Excellence at $500

Jake Asuit - Mixed Media

Marcia Moritz - Mixed Media

Doug Odom - Oils & Acrylics

Celeste North - Glass

Best of Show at $1,000

AB Word & Barrie Lynn Bryant - Graphics (pastel)

This must be my week to rant.  There must be a huge proliferation of newbies at all the shows I do, because it seems like 75% of them have never heard that you are to UNLOAD your vehicle, PARK your vehicle, THEN set up your tent and stuff.  This is the 'rule' at 99% of shows, so unless there is a proliferation or rude, lazy or stupid vendors, they must be new, correct?  Same goes for load-out.  Great promoters are controlling load-out by not letting the vehicles in to the show grounds until they have verified that the tent is down, and all is packed up.  Of course, if it is raining, the tent goes up and then put everything under, and the opposite at load out.  That is the only exception.  The other peeve is the guys that show up late, are still allowed to set up while the show is open.  Just plain ridiculous.  If you are not there on time, you don't get to participate that day.  If Promoters would enforce this, it would stop.   I don't want to hear about traffic, car trouble, or getting lost.  All excuses, and none worth messing up the show.  Plan.  Expect Traffic.  Buy a GPS.  Get to the show the day before if needed.  Just don't hurt my sales by setting up while I am trying to sell.  It's unprofessional and inconsiderate.  Ok, now you can all throw rocks at me, but it's not really hard to follow the rules.  Of course, you would have to read them and give a d$#n.

I need some guidance, y'all.  We are in the Jewelry Category, we make "Ear Pin" style earrings.  There is a team of people in Florida, that operate under 3 different names, interchangeable, selling the same exact products, attempting to book the better shows with 3 booths, not telling the promoter that they are related, and block any other "Ear Pins" from getting in the shows.  So far, it has not stopped us, but we have had shows with all 3 of them there 'competing' with us.  Some of these folks are saying disparaging things about us to our customers, and I am at a loss.  Is this 'normal' behavior in our industry?  A large percentage of their products are hand-crafted in South America, which should not be acceptable.  They tell customers (in person and online) that they use 'gold', not disclosing that it is gold-filled.

Any ideas on what, if anything, we should do?   Do I tell the promoters about it?  Do I include an artist statement that simply outlines what we DON'T do and let them put 2 and 2 together?  I am considering taking our show schedule off of our website, even though our customers rely on it to find us.  HELP!

Its all about not wanting, its all about using what we got.

Recently a fellow artist asked about a show in ATL (my hometown), unfortunately he asked too late. My response is that the private company that puts on the show has hit or miss attendance, and the time to ask about a show is BEFORE you apply.

That said, another drop of wisdom fell from my beleaguered brain...some promoters can get people to a show once. Typically they often stage more shows in the same area, relying on the same social and in some cases traditional media to attract essentially the same folks to an event. The problem is, that if someone comes to a new event and purchases a piece of art, how likely are they going to come back and purchase again? It seems true collectors are already attached to established shows. Folks that wake up on Saturday and "need" something for over the couch, well they are really hit and miss...unless it is an established event. 

I'm just saying, how sustainable are these shows that are popping up like mushrooms after the rain?

Ok, So I have been using the same lighting for the last four years and it's ok as standards go except that the Dick Blick fixtures take the old style light bulbs only and I am feeling guilty about using them and not being more energy efficient.

I am ready to move up and after combing this blog for past posts that might help...I came up pretty empty ( I'm sorry Connie...I looked ...really).Plus, I know there must be some new and better things on the market. I don't have the 900. needed to go with my ProPanel set-up. So is there anything that looks as slick in a bit lower price range? Any suggestions will be greatly appreciated. I hope this isn't too redundant a post...I imagine someone does this post every year but I honestly didn't get much info from past blogs. Thanks in advance.

October 3, 4 & 5
Louisville, Kentucky
Deadline: April 15

The St. James Court Art Show is held in the heart of historic Old Louisville, which boasts the largest collection of Victorian homes in the country. Historic Old Louisville is an elegant backdrop for the display of fine arts and crafts.

In its 58th year, the unique cooperation between five neighborhood associations and a church create the 3.5 square block St. James Court Art Show. Patrons walk seamlessly from one section to another.
 
Each of the 6 sections juries their own artists. Artists may apply to more than one section but once a booth fee has been accepted, an artist is committed to that particular section.

Information regarding the application deadlines (March 31 - April 15), characteristics of each section, artist amenities, parking, etc. can be found on our web site: http://www.stjamescourtartshow.com/artists-corner/
 
The 2014 Art Show will be held October 3, 4 & 5. This autumn tradition draws 200,000 visitors every year who come to purchase handcrafted items directly from the hands that crafted them. Artists from seventeen medium categories are represented. Proceeds from the show fund various local charities, art scholarships and preservation of this historic neighborhood.
 
The St. James Court Art Show is always held the first full weekend in October from 10:00  a.m. to 6:00 p.m. on Friday and Saturday, and from 10:00 a.m. to 5:00 p.m. on Sunday. Admission is free.
 
For more information on how to apply, visit our website: www.stjamescourtartshow.com

We invite your application and hope we'll be meeting you in Louisville this October. Inquiries are welcome.

Marguerite Esrock

Executive Director

St. James Court Art Show

mesrock@gmail.com 

Congratulations to these members of ArtFairInsiders.com who make this online community the face of the art fair business for artists! Your votes from the blogs and private emails to me have been counted and the winners are:

Member of the Year: Larry Berman
Prompt, efficient, strategic answers to questions. Larry is the backbone of the site helping newcomers and veterans with the nuances of jury preparation: booth display, image quality and presentation and application tips.

Most Generous & Helpful: Elle Heiligenstein

"As a beginner rookie, Elle Heiligenstein has done more for my confidence than anyone. She possesses all of the qualities you mention." I miss her presence.

Runner up: Jim Parker

Other finalists: Robert Wallis, Larry Berman, Nels Johnson, Geoff Coe, Jim Parker

"Nels and Geoff are always available to provide helpful hints."
"Everybody."

Best 2013 Post: "St. Louis Art Fair Mock Jury & Image Workshop 2013, Part 1", Robert Wallis

Runner up: A tie - Nels Johnson's "Why we do Art Shows (besides the money)- - Englewood, FL - - Its a Goodie" and Nels' 3 Part Series "The Grand Scheme Finally Revealed -- Everybody Gets Rich, Even Barry Bernstein"

Best Discussion: Booth Shots to show examples to newbies

Started by Shannon Blosser-Salisbury - 21,423 views and 13 pages of comments

Other favorites in general:

• Show reviews & jury/booth displays
• Discussions on jurying
• Questions about individual shows which helps me with making choices

Judges' Choice: All a Newbie Needs to Know ... And More

Jim Parker - a useful digest with great links to give new artists a headstart in the business

Runners up:

• Ouch - the ZERO show, Mary Johnston. This candid post explores the why we choose the shows we do and the sometimes discouraging results. It resonated with many artists. The resulting discussion is worth reading.
• Erica Wagner, a newcomer to the business, posted about "A Rough Weekend in the Burbs." Her experience was universal for artists and the discussion was full of good advice as veterans weighed in.

Which member's commentary do you always read?

Nels Johnson

Runners up: Geoff Coe, Larry Berman

• I always want to read Nels' Post they are always well written and informative. He always seems to be right on on most post.
• I read them all. I read all of them. I read all of the blogs.

Which Member You Would Most like to Meet: Nels Johnson

"I would love to meet the trifecta: Nels, Barry and Geoff...I feel like I know them already. I have learned so much information from them."

"I'd love to sit down and share some beers with Nels."

Other finalists: Annette Piper, Richard Sherer, Barry Bernstein, Scott Pakulski, Melanie Rolfes

In case you missed it, John Leben brought a film crew to an art fair in 1984 and produced a documentary about our business that is a real treat to watch:

Does all of this talk get results? A few highlights:

• Karen Holtkamp reported in on how some show organizers improved their show as a result of reading comments on AFI: The Promoter Responds
• Gregg Rasmusson reported in on the effect of exposure in social media on Buy/Sell: Good news on the buy/sell front
• Rachelle Meagher reported on overzealous volunteers at a show and the show directors commented back on AFI to thank her for the info: Upset at the entry of Naples National 2013
• Nels Johnson protests the limited edition rule for photography at a show and the show director responds on AFI and changes the rule: An open letter to the director of the Virginia Beach...

By keeping AFI open for all to read (artists and show directors) the show organizers receive the feedback they need to understand the artists' needs and improve their shows.

Why did you join ArtFairInsiders.com?

• Because I became a member of the clan....it has been worth it although the initiation is a bitch.
• For the show poop
• To get more familiar with the art fair community as I start my business, to learn from others' mistakes, and to be a part of a good thing!
• To meet girls.
• The helpful posts with many ideas, the comments to the posts. It seems as though everyone is ready to participate in discussions and the comments are from experienced art show participants
• I LOVE being a part of the art circuit and I am so glad that AFI has come in to bring us together!
• I love keeping up with what my art fair neighbors are doing. Also enjoy the insider humor.

• to find better shows and find out the honest truth about ones I'm interested in doing! :D

I know this site is helpful to many of you, for which I am grateful. Consider as you are discussing the art fair business who is reading the site. Over and over I hear from art fair directors how the information you share on the site is affecting how they put together their events and they are reading, learning and changing their shows to make them places where artists want to be. You may not notice it but, bit by bit, you are changing this marketplace by your participation.

Many people keep this site alive and full of information, in addition to the people mentioned above thanks to Pat Finney who helps behind the scenes, Scott Pakulski, Oscar Matos Linares,  Alison Thomas, Bill McLauchlan, Linnea Lahlum, Geri Wegner, Greg Little, Brian Billings, Carrie Jacobson, Suzanne Ens and so many more, including everyone who participated in the Secret Santa project.

Thank you to my assistants, Jacki Bilsborrow who participates at AFI and keeps ArtFairCalendar.com up to date, Sabrina Aughenbaugh who puts together the calls for artists and Tina Towell who keeps the discussion flowing.

Many thanks to all of you who have made this community flourish, not only those listed above but to all of you who taken the time to care, comment and share with one another.  Thanks for all your support to one another in this exciting art fair business. Community is what makes us strong.

May 2014 bring you all the blessings you deserve. See you at the show! Connie

My recent Winter Park blog got me thinking about the sorry state of affairs we artists face trying to make a living at the shows.

Evidence the disdain that the Bayou City board has shown towards the originally invited 300 exhibitors.

Witness where committees, at most shows, put us at the bottom of the pile in regards to respect. Heck, food vendors are higher on the chain than us.  They always get nearby parking for setup, teardown and restocking.  We rarely get the same.  Ironically, without us, the foodies would not make dime.

Witness the ignorance of the supposed buying public who think we are a bunch of gypsies who sleep in our white tents, or our vans.

It is a sad state of affairs when many buyers think A/P stands for arty photo rather than "artist proof."

Many don't know that 1/1 means it is a one-of-a-kind.

And we won't even get into the issue of everyone with a cellphone camera who think it is their God-given right to take images of our work without asking.

The sad state of increased buy/sell showing up at our venues and committees not willing to give them the boot.

In most professions, people with a long history of that profession, are treated with respect. People value their knowledge and insights.  But not ours.

Repeatedly shows will not listen to valuable insights and opinions we might offer.

I don't know how many hundreds of times I have seen a show with a messed-up patron flow not listen to artists, on the surveys.  We know how a show should flow.  We have been to many good shows that get it.

I just worry a lot about our future.

It seems that having a pure art show where the art is the main event is not ENOUGH for too many shows these days.

They all want the event.

Which translates into high gate fees, seven-dollar beers and diminished sales for the artists.

Without us, and our original works of art, they would be nada.

See how much Kettle corn you sell without us there.

Once upon a time I went to shows and felt appreciated.

People knew we were a special breed and we were rewarded for our hard work and creativity.

Not so much anymore.

It is like we are barely tolerated.  "Here's your space, set up and be grateful.  Don't make waves--and, God-forbid, don't complain about anything.  We don't want to hear it."

The issue of increased booth fees is another sore spot with me.

Mediocre, midrange shows now dare charge $400-$450 booth fees, and exhibitors are lucky to break $2K  in sales.  

Ever since the big blabber-mouth from Sausalito came thru Florida, years ago, and told the Grove, and others et al, that their booth fees were too cheap, we have seen steady booth fee-creep.  Fees went up, sales went down.  

That don't work.  It is not a viable business model.

Once upon a time this was a beautiful, enviable profession to be part of.

Shows were held in mellow parks with easy setups.  You were surrounded with like-minded, talented neighbors.  People came and really appreciated your work.  A lot of them bought it.  Artists were able to save money and build their own studios.  The show people left us alone.  They knew we could get in and setup on our own.  We could do it at teardown without micro-management.  It was a win-win proposition.

Now, we go to shows, sometimes at 4 am in the morn to setup.  We spend three hours in a distant parking lot waiting to get in to set up.

We go to shows where the vast majority of the roaming public walks down aisles at the show and barely looks at anything.

Or better yet, they duck into your space to use it as their private phone booth while they chat away on the cellphone.

I would love to figure out how I could charge them a cellphone-boothfee for every minute they chat away inside the booth.

And we wonder why we don't see more young people jumping into our biz.

I am worried.  Seriously worried.

I gotta make a living doing this.

Been doing it for 39 years now.

This October, I turn 69.  I figure I am good for at least ten more, and then I will retire and become an art show promoter.  "Pirate Art Shows.  Come share the booty of our beauty."  Look out Bill Kinney.

Well, I think I am sufficiently vented.  

Would love to hear from some of you lurkers.

Whadda Ya think?

Are we headed for oblivion in our Magline carts-- or there a rosy future?

(Winter Park, FL) - Today out of the 225 juried fine artists at The 55th Winter Park Sidewalk Art Festival, 63 were presented cash awards totaling $72,500.  Attached is the list of all winners.  Large award winners include:

•   “Best of Show” – Winner: Matthew Cornell of Orlando, FL - painting “Open Sea” (a $10,000 purchase award. The Festival purchases the Best of Show art and donates it to the City of Winter Park’s Best of Show collection.)  (Photo by Chip Weston, sustaining member)

•   “Art of Philanthropy Award”- Winner:  Steven Olszewski of Pinckney, MI – clay “Meditation” (a $5,000 purchase award funded by the Edyth Bush Charitable Foundation.)  Pictured:  David Odahowski (left), President of Edyth Bush Charitable Foundation and Steven Olszewski (right), award recipient. (Photo by Chip Weston, sustaining member)

•  “Award for a Distinguished Work of Art” – Winner: Aaron Hequembourg of Monticello, GA – mixed media “Thirst” (a $2,500 presented by the Charles Hosmer Morse Museum of American Art.)  Pictured:  Catherine Hinman, Director of Public Affairs and Publications at The Charles Hosmer Morse Museum of American Art; Aaron Hequembourg, award recipient and Alice Moulton, President of The Winter Park Sidewalk Art Festival.  (Photo by Chip Weston, sustaining member)

The other 60 awards include 10 Awards of Excellence at $2,000 each; 20 Awards of Distinction at $1,000 each and 30 Awards of Merit at $500 each.

Award List:

Best of Show: Matthew Cornell, Painting
Art of Philanthropy: Steven Olszewski, sculpture
Distinguished Work of Art: Aaron Hequembourg, Mixed media

10 Awards of Excellence at $2000

Richard Auger, Photography
Edson Campos, Drawings & Pastels
Carolina Cleere, Mixed Media
Richard Currier, Painting
Robert Farrell, Metal
Samantha Freeman, Jewelry
Cali Hobgood, Photography
John Whipple, Sculpture
Yu Zhou, Painting

20 Awards of Distinction at $1000

Stephen Bach, Painting
James Barnes, Wood
David Burton, Mixed Media
John Costin, Graphics & Printmaking
Sana & Munir Doumet, Jewelry
Charles Gatewood, Painting
Tim Hooper, Painting
William Kidd, Clay
Birgit Kupke-Peyla, Jewelry
Claire Malloy, Drawings & Pastels
Trent Manning, Sculpture
Andrew Mosedale, Digital Art
Lance & Vicki Munn, Wood
Amanda Murphy, Photography
Luke Proctor, Metal
Mikel Robinson, Photography
John & Carolyn Ruff, Jewelry
Michael Weber, Painting
Lynn Whipple, Mixed Media
Russell Yerkes, Watercolor

30 Awards of Merit at $500

Kathrine Allen-Coleman, Mixed Media
John & Erin Blackwell, Glass
Chris Bruno, Mixed Media
Paveen Chunhaswasdikul, Clay
Michael Paul Cole, Photography
Candiss Cole-Footitt & Roger Footitt, Fiber
Thomas Dumke, Wood
Randy Eckard, Watercolor
Jeff Eckert, Graphics & Printmaking
David Hunter, Graphics & Printmaking
Amy Flynn, Mixed Media
Matthew Hatala, Wood
John Herbon, Clay
Aletha Jones, Watercolor
Olive Kraus, Mixed Media
William Lemke, Photography
Lynn Libby, Drawings & Pastels
Michael Madzo, Mixed Media
Toby McGee, Glass
Stephen Noggle, Wood
Leslie Peebles, Graphics & Printmaking
Bruce Peeso, Painting
John Petrey, Sculpture
Daniel Powers, Photography
Greg Roche, Leather
Stephen Sebastain, Graphics & Printmaking
Andy Smith, Clay
Warner Whitfield, Glass
A.B. Wood & Barry Lynn Bryant, Drawings & Pastels

As an artist, my brain is always coming up with different ways to create my paintings. I enjoy going to museums, gallerys and of course art fairs whenever I can and of course the fairs I'm attending. I notice a huge difference in the art you will see in a NY gallery compared to an art festival. In a New York type gallery you will see off the wall and extremely creative art, but at the festivals it's the same ol process. Sure it may be a different image or even a technique, but nothing really creative like you will see at a gallery or a Biennial. Is this because the attendee's are programmed to see the same thing at festivals or will jurors not accept anything that's not the usual? I would love to see gallery quality work at art Festivals other than big ones such as Basel or New York Art Expo. Is it possible to break the mold and still make money?

Well. it is done and over.

This is still a very well run all volunteer show.  They have artist's interests foremost in their hearts.

The mighty schlep from the park is done (Thank God, 7 cartloads out over those wretched railroad tracks.)

Not one of the better years for this show.

A lot of disappointed artists.  Some barely broke even.

Others, were off by 50 per cent over other years.

Still, just as many prospered.

It was just a funny feeling show.  The vibes were not feeling right.

Anyways here goes my report.  As usual, I will give you a little "meat" first.

THE SETUP IN THE PARK AND THE STREET

This is a three-day show.  Setup for those in the park is Thursday, all day, and night.

People on Park Avenue have to set up early Friday morning and be ready for show opening at 9 AM.

The show is held in two sections of a beautiful city park, bordered with a rail line on the west side and with trendy Park Avenue on the east.

Morse blvd. bisects the center of the park, so you have a south section and a north section.

Some booth locations are better than others.  I will delve into that later.

The primo booth spots are on the street.  Savvy exhibitors know that.  Competition for those coveted spots is heady.

Most spaces are generous.  Room on the sides and room in the back for storage.

Weights only for anchoring booths because of the sprinkler system.

For the booth setup, you signup on line for loading times.  Supposed to drop the stuff off, go park, then setup.  We all know how that can go.  Some people are more special then others, and can hog the loading curb for quite a while.

All the artist parking is in two lots located west of the railroad tracks.  Hence, the schlep across grooved  tracks, at least 8 of them, they will rattle your load on a cart.  God Forbid!  If you take a spill on the tracks with the mighty train bearing down on you.  Your ass will be grass, and your art will be history.

Years ago, a very colorful photographer on the circuit had a run-in with a train with his van.  Guess who won that one?

So, some did like me, and just parked in the lot and then schlepped it all in, and then back out at tear-down.

I viewed it as part of my daily workout.  Seven loads in, and about two hours invested in sweat and brawn.  It is not fun, but--my heart is happy.

Oh, they have nice hospitality tent, usual artist grub.

An artist party with free food and limited booze.  Nice awards.  Only the top winners get an automatic reinvite.

OK,OK, ENOUGH MEAT. GET ON WITH IT NELS.

Ok.  Here are my observations, plus a little input from my lovely wife, Ellen Marshall, who has done this show many times.

For me, this was my first time back since 1985.  You do the math.

I had always heard that this was one of the top shows in Florida to do.  Some say it is better for them than the Grove or Naples.

So, I geared up bigtime for this show.  Had two weekends off from shows since Gasparilla.

I have done Saint Louis, The Plaza, Main Street Fort Worth and Artisphere.  I was expecting numbers like these guys.

This year, for me, never came close.

Heck, in Gasparilla (my hometown) which is only a two-day show, I did almost as much as in Winter Park.

Numero uno in Florida?

I don't  think so--this year.  And that is not just me saying that.

Something was seriously missing at this show.  Could it be buyers?

The $5 lemonade people made a killing.  Everybody had a cup in their hands.  Unfortunately, most did not have any art in their hands.

A little memory from my early history.

When I got out of the Army in Hawaii and returned to Florida, I got in this show three years in a row.  Last time being 1985.

I remember when I first saw this magical park with everybody's home-made booths, I was totally enchanted.

This was before the pre made-manufactured booth era.  So individuality was in bloom everywhere.  In the art and in the booth designs.

But, what I remember most clearly was how much money the food people were making.

Opening day, barely one hour after show opening, I went by the fried dough booth.

Dough was sizzling in the oil, and dough was stacked high in their wooden kiosk.

I spied six rows of dollar bills stacked, at least 50 high, in the rear of the kiosk.  Those days they only charged $3 for a portion.  

They were raking it in.

I said to myself, "Welcome to the big time!"  I was floating on air.

Contrast that to the now.

Same white-tented booths everywhere.  Same lemonade stands on every conceivable corner.

Now, they squeeze the halves of one lemon in a cup, then leave the lemons in the cup, which of course displaces liquid, which means less product going out, more profit coming in.

And people are lined up with $5 bills in their hands gladly waiting to suck one down.  Amazing?

And they won't even pay $30 for a unique piece of art.

It is a sad statement of where we are in this country in regards to art appreciation.

Ellen, my wife, has done the show many times.

According to her, one year can be just great, and then the next one is off by 50-per-cent.

My buddy Jim Parker was in a primo location.  He was mildly happy.  He expected more.

My little firecracker artist Terry Causey was looking for big fish--and she had to settle for sushi.

My neighbor, Robin Frisella, a great pastel artist, had a puny show.  And she had the kind of work that resonates with this crowd.

She does lovely, traditional still-lifes with flowers and lovely home objects, like water pitchers, etc.  She sold about four pieces the whole show, and for not a lot of money.

Ellen had a so-so year.

Some notables, who won big prize money, zipped for sales.

My buddy, Amy Flynn had a real good show with her Fobots.  So see, great talent wins out.

My Minneapolis glass buddy was worn out from making big bucks, five shows in a row.  Oh, to have such a problem--I can only dream.

Face it.  This a great show to do.  It beats doing Winterhaven or Fairhope which are usually on this date.

Our economy still really sucks,

That is the product of two flawed presidents, and equally flawed Congress" who have not moved us out of the morass we are in.

The banks made out like Jesse James.  Isn't that ironic?

The Middle Class has been nearly eradicated.  They were our primary customer base at art shows.  They are hard to find these days--just like home-made artist booths.

That said, this is why sales were not so great this year at Winter Park.

Face it, it is not just Winter Park.

This is Our Winter of Discontent.

2014 Florida winter/spring shows are going down in history as one of our lamest seasons.

There will be a lot fewer artist vans stopping at the Citrus Inspection station on I-95 next year.

OK NELS, ENOUGH OF THE MOROSE, CAN YOU TELL US ANYTHING FUNNY OR POSITIVE?

NO.  SORRY.

I will give you some sage asides from the show that I actually witnessed, or heard.

So, we got judged by three famous people.

I have this one fun piece of mine that deals with actor/comic Bill Murray.

One judge gave me a good look--but, no selection for final judging.

I was shocked.

NOT!

But, as she was leaving she whispered sotto voice in my ears.

She said,"I will tell you a little joke about Bill Murray."

I was all ears.  No judge had ever told me a joke in 39 years.  Not even Les Slesnick.

Then she cooed slyly,"He was once in this restaurant in New York City.  He walked up to a complete strangers table.  He grabbed a french fry off this guys plate--and ate it. Then he leaned in and whispered in the guy's ear,'Nobody will believe you if you complain.'"

That was my high point of Friday at the show.

Oh, I had one other judge who said, "I really like your frames (Green Porticos).  Damn, I didn't even win Best in Frames at Winter Park.

LET'S TALK ABOUT THE CONCERT STAGE VENUE AT THE VERY END OF THE NORTH PARK.

What?  You can't hear me?

Try being an artist in the north end of the North Park when music is playing.

The volume is FRICKING LOUD.

You cannot have an intelligent conversation with a client, let alone, a prospective client.

Unfortunately, that is never going to change.

TFS.

If you are lucky to be in that area, you are stuck with it.

Now.

Do you think a numeo uno show in Florida would allow that to prevail?

Apparently so.

The sound people are oblivious to artist entreaties to turn the FRICKING VOLUME DOWN!

The savvy ones, say stay away from booths in that end.  Leave them all to John Scanlan.

SO, IN CONCLUSION.

Yep, I would do Winter Park again, because I don't want to do Winterhaven or Fairhope.

You gotta know, going in, this is a conservative, traditional crowd.  They don't go for flash, splashy color, or contemporary themes.  They love "Old School."  In fact, they drool over it.

Is it still the best show in Florida?  

The jury is still out on that one.

I guess we will have to see who next year's jury is.

Aloha, the Pirate Nels--AAAARGH!

September 20 & 21

Dowell, Maryland
Annmarie Sculpture Garden & Arts Center
In Association with the Smithsonian Institution
10am-5pm
170 Artists
Deadline:  March 31

Established in 1993, Artsfest is an annual juried arts festival held in Solomons, MD--about an hour from the Baltimore-Washington Metro area. 

(Wow, I reviewed this show four long years ago! And it's still valid on the show particulars.  Check it out for more details.)

As perhaps the only artist in Florida who has never even applied to Winter Park, much less exhibited, I headed to Sanibel Island this weekend for its third, and last, show of the winter season: the Sanibel-Captiva Lions Arts & Crafts Festival.  Although I really shouldn't call it a "weekend"--it's a Friday/Saturday event (with an easy Thursday daytime setup), the timing of which throws off an artist's oh-so-regular show routine and makes even remembering when to put out the trash and recycling a week-long challenge.

As you might expect given the location and the organizers, it's a casual, community-friendly, intimate show on a postage stamp-sized, sandy layout that is pretty easy to navigate for show-goers despite its apparent randomness.  Tents are pole-to-pole in some sections, spaced apart in others--the layout driven largely by the configuration of palm trees and shrubbery.  On a sunny, cloudless weekend like this one, you'll get every bit the tan you would on one of the nearby beaches, so sunscreen and umbrellas are a must. 

The show starts at 9AM, and on day one (Friday) there were about 50 folks lined up at the gate to pay their $5.00 admission (benefiting Lions Charities).  Traffic and sales were fairly brisk until just before noon, when folks departed for lunch and beaches, leaving artists mostly to talk among themselves and take heat breaks in the air-conditioned Community Center.  I did somewhere north of $600 in sales by 12:30, and that was it for the day. 

Saturday brought a nearly precise repeat of the sunny weather, but without many folks waiting at the opening bell.  Traffic never really got heavy, but buying energy picked up around 11 AM and continued for a couple of hours.  Most of my neighbors reported that traffic was lighter on day 2, but sales were much better.  And that was true for me, too, with six good-sized sales (including both of the uber-large works on the back wall). My hunch, based on conversations I had with booth visitors, is that vacationers comprised most of the crowd on Friday, and homeowners on Saturday.

I wound up with my strongest show of the season, and some valuable contacts in the community (especially since I live only 20 minutes away). The customers were, nearly without fail, a joy to work with: knowledgeable, friendly, relaxed--hey, they're on freakin' Sanibel, why wouldn't they be??--and best of all, their wallets were wide open and access was haggle-free.  A nearby painter of superb Florida landscapes and wildlife sold at least three high-priced works.  A photographer friend who had struggled most of the weekend told me that he sold three large images ten minutes after the show closed. Both of my neighbors--a jeweler and fabric artist-- were satisfied (although both said they had done better in 2013).

Although there were some very fine artists in the mix of offerings, this show lets in a lot more inexpensive jewelry (see  comment below), beachy buy-sell and manufactured stuff than the other two art shows in this space (Thanksgiving Weekend's Sanibel Masters, produced by Richard Sullivan, and the local Rotary's mid-February offering). The show prospectus says that that buy/sell and manufactured items are prohibited, but my guess is that the show committee is not trained in this, nor willing to risk irritating a long-time "vendor" by throwing them out of the show.

As such, the show is a bit more targeted toward impulse-buying vacationers than the homeowners. But still, I got the impression that many residents, seasonal or year-round, realized it was their last chance this season to pick up work for their homes, and came prepared to buy.  Overall, it was a Chamber of Commerce weekend on a first-class Florida beach, with just enough buyers to go around. And when even the friendly, helpful traffic cop regularly booms out "It's always a great day on Sanibel!" to street-crossers, it would seem unsporting to argue. '

To sum up: The amount of buy/sell and manufactured stuff is concerning.  It's not a show I would travel any distance to do.  If you are in the area, you're trying to build a client base nearby, and you have the "right stuff" it's not a bad change-of-pace option.  And if enough quality artists applied, who knows? Some of the junk jewelry and kit crap might not make it in.
I just might ask the friendly Lions about their jury process, give 'em some feedback, and see what I can learn. 

*** 
What sells best?  2-D (beaches and birds abound); warm-weather wearables. Small stuff (for vacationers).  Jewelers did well if they were already known to the islanders.

What struggles?:  Functional 3-D, abstract and modern work of any kind

Other stuff:  Awards are limited to a $350 best in show and three other awards that award varying percentages of credit toward next year's booth fee.  Artists are urged to donate a small work to the show for the silent auction, announcements for which are regularly made over a loudspeaker.  "Raffle Ralph," as he calls himself, is pretty loud for conducting business but has a good sense of humor, so artists generally take it in stride.

Survival tips:  Book your hotel room / campground early; it's peak season in SW Florida, and rates are at a premium but deals, I'm told, can be found if you work the Web. Bring sunscreen, sunglasses, plenty of water, and a way to get dust and fine-grained sand off your work. Be willing and able to ship and to deliver on-island after the show (given the oh-so-tight parking and heavy traffic, many show visitors walk or bike)

Congratulations to Barry Bernstein. His 3 part series "Barry Goes Back to College: Life in the Twilight Zone" was voted as best February 2014 post. Thanks for the laughs and the story telling, Barry.

Read it here: www.artfairinsiders.com/profiles/blogs/barry-goes-back-to-college-life-in-the-twilight-zone-part-1