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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

  The other day I recieved an interesting question from a show about my application.  

To give some background; the show application had a section that asks for the high and low price range of the artwork. Filled that in and proceeded to submit the application last month.  

  The question from the other day was to briefly explain the low end of the artwork. They explained that the jurors would most likely want to understand the lower price range artworks since the jury images are the nicer and more detailed artworks.  I answered politely and briefly but then got to thinking.... without pictures of the less expensive artworks; how are the jurors going to imagine them?  Is the jury making descisions about art they will not see?  Are the jurors making financial descissions as well as artistic?

  My understanding had been that the questions such as price range, were you in the show in previous years, do you require flat ground, can you set up inside, what other festival have you done, will you donate artwork,  etc....were used by the show committe to gather information for marketing, help with show layout and for their informational data base. 

     The question seems normal and weird at the same time.  Any thoughts?

The Arts Business Institute presents a series of four workshops in the Sunshine State this April, co-sponsored by Florida Craftsmen. Please join us for one of these intensive learning opportunities!

Each workshop presents sound principles that address the difficulties many artists face in marketing and selling their work, as well as specialized information from experts in the industry.

Curriculum:

• How to Wholesale
• Building Gallery Relationships
• Pricing for Profit
• Sales Strategies
• Personal critiques and consultations are available on the second day of each event for artists who pre-schedule.

Tuition is $95.00.

Speakers: Wendy Rosen - A nationally-known, influential leader in the crafts movement, Wendy Rosen has spent 30 years working with artists and craftspeople. Rosen is author of the bestseller "Crafting a Business" and founded the Buyers Market of American Craft. She is the founder of The American Made Alliance, The Arts Business Institute, and  NICHE Magazine for retailers. Rosen has nurtured thousands of artists from hobby to success. Carolyn Edlund - Carolyn's background includes 20 years owning a production studio. She has worked as a sales and marketing rep for art and gift lines, writes articles on the business of art, and is the author of the popular ABI course "Marketing for Artists & Craftspeople." As the Director of The Arts Business Institute, Carolyn Edlund speaks with artists every day, helping them to create strategies for growing their businesses.

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I'll be heading to Gainesville, Florida for my first fair of the year.  I've only read one post about the show and it wasn't a positive one.  What I liked about this show was that it offered an interdisciplanary category that encouraged artists to branch out from their main category.  I primarily work in oil and acrylic, but also have started in encaustic (I also make jewelry).

I was wondering if anyone else is going, so we can meet!  I would just like to  meet other artist who are on this site!

Best of luck to everyone this year!

Cheers,

Amy

Sounds like a good show and will consider it for next year. 

Thanks for the informative post.

August 16 & 17
Michigan City, Indiana
Washington Park
110-125 artists
Deadline: April 4

Now in its 33rd year, Lubeznik Center for the Arts' Lakefront Art Festival attracts thousands of shoppers and art enthusiasts to Michigan City's lakefront Washington Park.

Held on the third weekend in August, this high-quality, juried event draws repeat visitors from Chicago, South Bend and Northwest Indiana, as well as Michigan's nearby 'Harbor Country' communities. In 2013, over 6,000 visitors attended the festival.

  A major fundraiser for Lubeznik Center for the Arts, the festival is overseen by arts professionals committed to making it a success. Proceeds benefit LCA exhibits, outreach, and education. We invite you to become a part of this popular art event. 

$3,000 in prizes is awarded in 5 categories:
--2D art (print making, painting, drawing, assemblage/collage)
--Photography
--Sculpture
--Wearable Art (jewelry, fiber arts, leather)
--Fine Craft (glass, ceramics, basketry.)

For more information and applications: http://www.lubeznikcenter.org/Special_Events/art_fest.html

Contact:

Well, it has been 29 years ago since I was last in Winter Park.  That is a lifetime or two for a lot of you in our biz.

In my case, it was a lot of rejections over the years.

Hey, this is still the numero uno show in Florida to make mucho dinero at, if you can't do it here, get out of the business.

So, this this is not a blog about bragging.

This is about the anticipation that comes from knowing you are going to an extraordinarily great show where you can make serious moola.

You have made all the work you can do.

It is all packed in the van.

 All you have to do is show up, set up--and sell, like hell.

It is a sweet feeling.

I get it when I am going off to do a St. Louis Art Fair or a Kansa City Plaza or Artisphere., or a Main Street Ft. Worth.

You don't get that feeling that often, at least for most of us.  There are exceptional artists out there that get this feeling a lot more than me.  They are exceptional.

All I know, is there is now that moment of clarity.  I have done all I can do.  I just have to show up.  And, sell like hell.

My beautiful blonde, Ellen, is in Winter Park too. 

I am really stoked.

 I always dreamed of the day we both might be in this show--and it starts tomorrow.  

I am super-charged--and ready.

I will keep you up to how it goes.

I figure this might be my last hurrah at Winter Park.

I am 68 now.  If I get juried out another 29  years, that would make me 97 the next time I get in.

Oh well, live in the moment I always say.

Aloha, Nels.

Every year, I do at least one Richard Sullivan show. Richard got his reputation running the Naples National show after Barry Witt stepped down as director. I never did Naples Nat in those days when there was only one show in Naples. Everyone still talks fondly about that show when Richard ran it. These days he runs small boutique shows, 50-90 artists, in upscale areas. Some don't work and they are quickly discarded. Some can be really, really good, like Boca Grande this weekend and Peace River, last weekend. The show is sponsored by the Visual Arts Center of Punta Gorda. It is a laid back group that appreciates the artists who come to do this show.

I'll first get the negative out of the way. The show can be windy because it is near the Gulf of Mexico. That's it.

Load in is easy. You have all day on Friday to set up. Load out is a little less friendly due to some not so experienced exhibitors who are not schooled in art fair etiquette. It was nothing I couldn't live with. The congestion cleared up soon though and I was done packing in an hour and a quarter, which is somewhat of a record for me.

The artwork runs from really great to flea market quality. I guess it is better to fill the space than to have it empty. It didn't stop the good buyers from coming to the show. People I talked to had good to really good shows. I don't think the crap sellers did very well. Maybe they will stay home next year. If some of you read this and aren't doing anything that weekend maybe you will consider doing this event. The show is heavily weighted in jewelry and clothing, so, there is plenty of room for other mediums. Btw, the clothing people I talked to did well. Geoff Coe was there with his photos and I think he was happy. I think his work is getting better and better. His color sense is excellent. Another high end 2-D painter sold a number of large paintings. I sold a couple of my best pieces, too. The show wasn't crowded. It was nicely attended, though, and the buyers were knowledgeable were willing to spend, if the work was good.

One of the best features of this show, which sets it apart from other shows is that they have a program to house the artists. This is not a limited part of the event. Anyone who wants to stay with a host family can get a place to stay. I stayed with some really great people. I had my own key to come and go when needed to. They made breakfast every morning and, when I didn't go out with other artists, I had dinner with them. They invited me to stay as long as I wanted, so, I stayed an extra day. It was great fun. When I left they gave me some frozen mango slices from their huge mango tree. Mangoes ripen in the fall and they freeze well. They invited me to stay with them any time I'm in Florida.

A word about Boca Grande, this weekends show. It is an island of billionaires. The show isn't well attended but people do come to the show and buy. Those people have means to buy anything they want and some people spend a lot at this event. If you you don't get into Winter Park, you may want to check this show out.