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Melanie Rolfes:  I love to read your show reports – they are always full of useful information.  One of the things in your reports that always baffles me is how you get your booth set up and broken down so quickly.  It takes my wife and me between 5 and 7:30 hours to load in and set up our booth, and 3 to 4 hours to break down and load out.  And that is for a single Trimline, not the double you are setting up.  How you are able to get it done in 1:30 hours and 45 minutes amazes me.  What is your secret?

(Rather than post this comment in response to one of your reviews and hijacking the thread, I thought I would start a new thread, hoping others will chirp in with “tricks of the trade” regarding efficient setup and break down, making for a lively discussion on this topic).

I’d appreciate any input, gut reactions, or other advice, from those who might give it. I’m a long time lurker and while I haven’t had much to add to discussions here (haven’t done any fairs in 6 years), I really value AFI!

Hi my name is Kara and well I have slowly tried to enter this site and learn some things about art fairs, including whether I want to do them. I have been preparing myself to do them by going to any fair in my area for the last few years. I am just concerned to be honest. Maybe someone out there can direct me down the right rabbit hole cause I'm not making much progress on my own.

I am a very sensitive person, and to be quite honest it makes me sick to my stomach when people are rude to me. If it makes me somehow not qualified to do shows, that very well might be true. But for now, since I have created work to be shown, I still need to earn some kind of wage. I keep coming up against remarks as opposed to helpful information. What I am asking for is helpful information. I hope I can get that here.

For some reason many people seem to be successful in the fairs, if there are some magic recipes please share. My intent in life was always to do fine art and sell it, but I kept changing directions when I came against a wall. Generally I would get a sense I was choosing an art I enjoyed but didn't want to have solely as what I was known for, so I would move on.

I found moving on as an unfortunate repeated offense until I found clay and sculpture. I had to work on my talent, then I had to work on a plan. Well, I am as broke as they get so I don't have room for guess work. When it comes to fairs and getting started, that seems to be just how it is, guessing. I have lost many years running in a circle. Anyone who has known me, knows how hard I have tried but, I just don't understand how to make a living at being an fine artist. There is some little piece of information in my head that is missing, I just know it, but I can't seem to figure it out.

Here are my concerns

1. I am a victim of two very violent crimes, because of this I have panic attacks. I have to have someone with me, so I feel safe. Is there a problem or does it generally cost more , if I have someone with me at all times? are there rules I should know?

2. I can't sell my work cheep and then slowly raise my prices as I get known. I need to be in shows where the buyers purchases are approximately $2000.00 not $200.00.  I have been told that I need to be in little shows before I can be in big shows. Not that I know what a big show is.

3. I won't be able to travel a lot due to the chances of breaking my sculptures, they are truly fragile.

4. If you were going to suggest a show in all of the states, where where higher price art sells, and you are accepted on the quality of your piece not how well you are known, what show would you suggest?

5. Are any indoor shows in the states that meet these criteria that you know of.

I realize these are confuse questions, but I am stressed. I'm beginning to feel like I have been going down the wrong rabbit hole again.

Pricing art...the hardest thing for me. I can price other artists art, no problem. But when it comes to mine, yikes! Am I too low? Too high? Ok, I finally decided on my price...but then...The "bargainer" comes.

OK, I'm easy to convince and yes, sometimes I go down a little in some paintings, if it is a harder to sell, or getting close to the end of season, end of day, etc etc. But how low can I go? 

Guy: OK, this painting is 180.00?

Me: Yes Sir, 180.00

Guy:What about 120.00?

Me: Mmmm...I can't go that low. That painting is very popular and it took me hours to make.

Guy: Ok, how much and I will give you cash right now?

Me: OK...160.00

Guy...NOPE! 130.00 or nothing

Me: I'm sorry Sir, I can't

Guy: OK, no deal. (walked away)

Me: Thinking...Ok, No deal...Whatever! Don't try to take advantage of my me and my work.

I didn't care but at the same time the lower they want to go I just want to say: Hey dude...Seriously?? Go and call a plumber, an electrician, they will charge you that just to go and take a look at your toilet (nothing against plumbers or electricians, just an example)...who do you think I am?? World Vision??? Unicef? Angelina Jolie?? No working for charity dude, but how low is too low? Or what kind of deals do you offer if they are interested in more than one of your pieces?

Saturday I attended the Mock Jury held by the St. Louis Art Fair organization.  Two things I have to say up front:  (1) I’m not a beginner and; (2) I’m blown away by the effort expended by this organization solely for the benefit of the local artists.  Many thanks to Cultural Festivals!

So, if I’m not new to the artist community, why did I go?  Because I sell well at the shows I make it in to, but can’t seem to get into the ones I want.

Did I learn anything?  Absolutely!  Ironically, it wasn’t anything truly new.  I could have told you that your submissions must represent a “body of work”.  I could have told you that your booth shot can keep you out of a show.  What I couldn’t have told you was how to make my choices look like a body without being an iteration.  How to manipulate my booth image and when.  That the people who run these shows are there to help.  And just how important the words you put on your applications really are.

The single key to the success of the Mock Jury is that you can ask questions.  And, boy, did I!  Ironically, the biggest issue had the simplest answer.  Body of Work.  So the question was “How do I make my…” and the answer was straight arrow in one sentence – choose a central theme and go from there.  Simple, right?  It could be colors or patterns or shapes.  Don’t know why I didn’t see it before.  For me for this year it will be a set of rainbow colors that are in a couple of my favorite pieces.  I could hardly sleep that night for the creative ideas racing through my mind.

The booth issue was surprising.  First, did you know that some shows will reject your application if they don’t see your submission pieces predominantly displayed?  Do you really read the show application to see if you must have a frontal exterior shot or if you can use a more attractive partial shot?  And do you live by the standard “less is more”?  I got tired of hearing comments from the judges like “too much clutter”, “can’t tell what that thing is”, “don’t want to see the chair”, and “can’t have the name in the shot”.  They only liked the booths that were really Spartan.  I’ve known that my booth shots were weak but not how weak and why.  The judges explained that a poor booth shot will not keep you out of the first round of judging but easily can make the difference in the final round.

 A new concept for me was that show administrators can be your friend.  You can actually talk to them and get assistance.  They may call you if there is a problem with your application or something not allowed in your booth shot or just to clarify an issue which the judges may question.  They will not get you into a show – that’s up to the jury – but they will help you put your best foot forward.

And, finally, there is the topic of words.  Not every judge on every jury knows the secrets of your art form.  They see the image of the final product.  Little did I know how beneficial it can be to explain what you have done, exactly how it is accomplished, and why it matters to you.  If you are an artist applying to Fine Art Fairs, please tell me that you know that you only get about 15 seconds to make it through the 1^st round.  So your images must be top notch professional.  What I did not realize, however, is that in the subsequent rounds more time is allowed.  Judges ask questions and discuss the art.  Your descriptions on your application to the show can make or break you.  It clarifies to the judge what was involved and where your passion lies.  It can tip the scale for you in the final competition.

If you get a chance to go to a Mock Jury – do it!  These judges reviewed every participant in depth – all 100.  What you learn hearing them talk about your submission is worth your weight in gold but I was also fascinated by the total.

1. Is the art fair business quite changed from ten years ago?
2. Have 2009's economic woes affected your business?
3. What adjustments are you thinking about for 2011?
4. Tell us where you found your best shows: East Coast, West Coast, Midwest, Florida, South, Southwest. Are there differences in buying at art fairs in different regions?

I was in Atlanta September 18-20 for the Third Annual ZAPP Conference. I've been to a fair number of conferences and will tell you right off that one of the best things about attending these events is the people, both people you've only heard about (art fair directors, artists), people you've met online (say, ArtFairInsiders.com or Facebook) and old friends and acquaintances.

The first activity was to attend the Atlanta Arts Festival in Piedmont Park. There I met a great group that I've known online for a long time: Julie & Tracy Tepp (Atlanta Arts Festival organizer), Kelly Kindred (Bayou City Art Festival), Nichole Smith (Newport Arts Festival) and Liz Smith (Artisphere).

Then off to a meet and greet where lots of familiar people appeared: Mo Riley (Ann Arbor Street Art Fair), Les & Ella Slesnick (retirees), Sarah Rishel (artist), Terry Adams & Tara Brickell (Cherry Creek), Patty Narozny & Elise Richey (Hotworks), Cindy Lerick & Laura Miller (St. Louis Art Fair), Katrina Gallegos (Coconut Grove), Karla Prickett (Smoky Hill River Festival), Stephen King (Des Moines) and a bunch more.

I went to dinner with Liz Smith, the Slesnicks and two men who have served on a fair number of art fair juries: Jerry Gilmore and Jerry McFadden. Hint to you: if you want to find good local restaurants hang out with Gilmore. He was on a mission to eat his way through the Southern cuisine.

The conference was a whirl of information

• including a keynote address about the changing demographics of the US population and what that means to the art audience.
• Lawyer Marci Rolnik had a mountain of interesting information about copyright that could easily have been worth the whole conference for artists. 
• Karla Prickett, Deanna Henion (artist) and I were on a panel about jurying moderated by Leah Alters from the Columbus Art Festival. (I got lots of feedback about the thread on this site where you all told me what you wanted the art fair directors to know about your thoughts on jurying. I made a full report. Many thanks for your input. I was prepared.)
• Reed McMillan brought a host of ideas to invigorate art events including flash mobs, pop up events, the Renegade Indie shows, inviting food trucks, shifts in consumer behavior, re-imagining partnerships with communities
• a Symposium led by Stephen King with outsiders to our industry, Tucker Berta a strategist with economic districts; a representative from Americans for the Arts, Mitch Menchaca; the CEO of a dynamic website, Custommade.com, Michael Salguero; artist Kirsten Stingle who is also a storyteller; and Carlton Turner, executive director of Alternate ROOTS, a regional non-profit arts organization. This was the best part of the conference for me. The mix of people telling their own stories of how they have brought art to the streets and their approach to making their work count despite the today's economic realities was inspiring.
  
  Reed recommended a book, Raving Fans, a Revolutionary Approach to Customer Service. Have any of you read this? It sounds like it would be full of ideas for our business.

Karla Prickett & Jay Downie

• Two workshops on social media with attention being paid to artists needs and the art fairs separate mission
• Last (and always the best part) a Mock Jury with show directors and artists viewing the images of artist who were in the room. The jurors were Jerry Gilmore, Randall Smith and Nichole Smith. If you have never seen a live jury or seen your own work in the midst of others' work, put this on your list of things you need to do. It is always eye-opening and one of the best things you can do for your career in the art fair business.

Throughout both days Larry Berman provided complimentary image evaluations and private portfolio reviews. Great to see artists Carroll Swayze, Beverly Hayden, Aaron Hequembourg, and Ron Schmidt once again.

I also met Julie Cochrane from FestivalNetworkOnline.com but hardly had a chance to talk, Jay Downie from Main Street/Fort Worth and as always enjoyed the company of the folks from State College, Rick Bryant, Carol Baney and Pam Lautsch.

The ZAPP staff led by Leah Charney did a great job of putting together a conference with good topics and interesting speakers who were full of useful information.

Rick Bryant helping me with Facebook

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When I think of Atlanta I always think of a vibrant, growing city, population pulsing and new business abounding. Being from Michigan I've certainly seen the impact of the hard economic times, but I have to tell you, these hard times were evident in the beautiful Midtown area of Atlanta also. These gleaming buildings, maybe not even ten years old had many closed storefronts and empty spaces. I have always tried to ignore the economic downturn, and wanted to believe that if we all work hard, are smart and creative and make good choices we can be fine. Atlanta told me differently.

I had thought the term "new normal" was something the artists invented to explain the new economic realities but I heard it on the lips of the participants in the Symposium, not even referring to art fairs. 

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I am curious what people think of this. We all talk as though we are so pure to our art. I only sell originals and have more than once lost out on a sale to a big less expensive print. So I thought about it and the fact is many artists are ordering prints from big print houses. Some of them are overseas. I know some artists who do greeting cards and small items with their work on it. Made in China. So isn't this buy sell? I see artists with mostly prints in the booth. Giclee all over the walls but few if any originals. Then I hear the same artist cry Target sells giclees for less. My opinion is Target just gets a better discount because of volume. I am sure I will have a bunch of so called fine artists panties in a bunch over this post. But we have trained the art fair buyers to buy prints. Now that is what they buy. And now they are buying them cheaper at other places. This is just an observation about what hypocrites most of us are.

I promote myself as a "salvage artist", I repurpose metal objects (junk) by welding them into benches, chairs, plant holders, garden sculptures, etc ( www.salvageartist.com ).  I have done fairly well selling my art locally over the past three years, so this year I decided to branch out into surrounding states.  I spent a lot of time researching shows that I thought would be a good fit for me, reading on-line about tips to doing art shows and attended many to do further research.  I applied for 8 juried shows and was accepted into 6, I thought that was pretty good.  I was just at my 4th show of the year - Arts in the Gardens in Canandaigua New York.  Beautiful weekend, wonderful show, people were spending money! I did less than $300, my worst show yet (which is not to say that my others were good, I haven't hit $1000 yet).  I put a lot of thought into how I layout my booth.  I have a nice sign with my artist statement and picture on it and I engage the people in conversation.  I get wonderful comments - "your work is amazing", "so different than anything I have seen before", "your art is what I will remember about this show", "Your art is priced so reasonably" but they are not buying it!  I love sharing what I do with people, but these are not art exhibits they are shows and everything is for sale.  My prices are reasonable because after my first two failed shows, I lowered my prices.  If people walked past my booth and didn't even look at my art I would think my stuff was crap and stop trying to sell it.  But they stop, they look, the love it.  They pump up my ego and then they trample on my heart as they leave.  I love doing the shows and meeting other artist who constantly inspire me with their creativity.  A more helpful group of people you will never find, giving me tips on shows to try, web sites that are helpful and any other info they think will help me.  But what I really love to do is create, which I can't afford to do if I can't sell what I have already made.  SOOOO - what am I doing wrong????

Does anyone have feedback, pro or con, on Howard Alan Shows? I'm trying to figure out what to expect and if I should look for alternatives. I create original copper overlay and etched art glass, and most of my work is in the $150 to $1000 range.

I'm looking to escape Michigan's winter for a month or so in Florida and have applied and been accepted into the 10th Annual Coconut Point (Bonita Springs) Feb 20,21; Stuart 26th Annual Downtown Festival of the Arts, Feb 27,28; and West Palm Beach 6th Annual CityPlace March 5,6. What are your thoughts on these or other Howard Alan shows? What FL shows do you recommend? Thanks!

I AM POSITIVE. 

I CAN DO THIS.

I CAN SMILE FOR 8-12 HOURS.

I CAN BE FRIENDLY, POSITIVE, AND UPBEAT DESPITE THE SWEAT DRIPPING OFF ME.

OK.  I'm trying to stay 'in the zone' of positive thoughts, positive vibes and auroas.  And people -love the jewelry and the glass.  Lots of compliments.  Sometimes identifying which piece should go to whom.  Thanking both of us for making the jewelry and glass.  Ooos and ahhhs. 

And then they say: 

   Do you have a card (all over the table - cards and postcards).

   Do you have a website (yes but pricing is higher) and I think that the website holds us back at shows because most people - 99.99% do not contact us after shows.

  Will you be showing anywhere else?  (If I say yes, will you promise to buy there?  And what's wrong with buying it at this show).  If I say yes - and tell them, they walk along.  If I say no this is it for this city -- or 'we'll be in  atlanta (not chicago) -- they walk away.  I sometimes think they ask the question and don't listen tot he answer.

    So, does anyone have any suggestions on closing a sale?  Sometimes I ask people - which design speaks to them.  or I see that they keep on going back to a particular design and I suggest that's the piece that is pulling at them ... it works sometimes and not others.

   I'm all ears -- and would love to hear from people before show opens tomorrow -- but even after that, suggestions would be valued.

Thanks in advance - Deborah@DorLDor.com

I just got a call from my credit card processing company asking if I wanted to update to a new terminal that can read chips? My understanding is that all new issued credit cards will have chips (sooner than later) and was wondering before I shell out another $500 for a wireless terminal what everyone else was doing for the short and long run . So far I have only had one credit card that I could not accept  so it has not been an issue. I assume most are using the square and was wondering how or if that will be affected? I personally dont like the square but that's just my personal preference.

Hi Friends....Here is my review of Art in the Park in Columbia, MO...one note:  I was originally scheduled to be at Summerfair in Cincinnatti, OH this past weekend, but chose this show instead due to a "gut" feeling.  Enjoy!

I arrived at the show which is held in Stephens Lake Park in Columbia on Friday afternoon.  The park is beautiful and an ideal place for a show.  I checked in and due to recent rains, the park was not allowing any vehicles in the park or golf carts on the grass.  In most cases, this would have been a dolly in by yourself set up, but not this show.  I was met with 2 volunteers in a golf cart who helped me unload my van, placed everything on the cart and drove on the sidewalks to my booth assignment and helped me unload everything.  It was the easiest and fastest load in ever!  The volunteers were very nice and eager to help.  I set up the tent, panels and shelves and due to the threat of bad storms overnight, opted to stop there and bring in the art Saturday morning.  Fortunately, the area did not have the 60 mile an hour winds that were being forecasted, we got lucky, the storm took a southern turn and missed Columbia with the exception of some rain.   

Friday evening was the artist welcome reception at the Columbia Art League Gallery.  It was very nice with adult beverages and delicious pizza, salad and dessert.  All complimentary and provided by the League. 

Saturday morning was the remainder of set up and load in for many and it ran very smoothly.  Some artists had to be relocated due to the mud and everyone seemed to be doing well.  The show started at about 10am and the people came.  I had good sales on Saturday and ended the day with all costs covered.  Booth sitters were abundant and the show was cofortable to do.

Saturday evening the show held an awards dinner.  The dinner was very nice in a reception hall that was beautifully decorated and the food was very good.  Awards were given out in all categories with a Mayor's choice award and 3 Best of Show awards (1st, 2nd and 3rd). 

Sunday was just as busy as Saturday with good crowds and good sales.  I ended the show with a good profit and hopes of returning next year.  Load out was similar to load in.  After breaking down the booth, volunteers came with golf carts and drove everything to my van and I was loaded up in about 15 minutes and on my way home.  It was amazingly easy. 

Ok, now that the particulars are done I would like to talk about the show's Director, Diana Moxon and her volunteers.  First of all, let me say that Diana is truly amazing.  I have rarely seen a show director who is as involved and works as hard as Diana does.  This show had its share of challenges due to the weather and having to deal with mud issues and the relocation of many booths.  Diana managed to pull this off like a well seasoned professional.  She was there late at night and early in the morning and worked all day long making sure artists were taken care of and happy.  She truly values and cares about each artist and it shows.  She was assisted by a staff of very caring and hard working volunteers who were as dedicated to the artists as she was.  At no time during any part of the show, no matter how busy or tired they were, were any of the volunteers or Diana not friendy or attentive.  They were all truly amazing.  It was said many times that the people of Columbia look forward to this show all year and love it and they truly do. I was, as was every other artist I spoke with, grateful for and very impressed with Diana and her staff.  If there was a show director award, Diana would surely win first place!!

I was able to meet many nice artists at this show and I bought a lot of art in Columbia.  I felt the show was well juried and had just about everything I love in it.  I was able to purchase an original piece from Lorraine McFarland, Pastelist, that I adore and have already hung it in my home.  I met Lorraine earlier this year and she is also an AFI member.  I was also fortunate enough to be approached by the Bluestem Gallery and offered representation with a 12 piece collection to start.  I did not know this was such a well reputed gallery at the time, and am now thoroughly excited that they chose me. 

Overall, this show recieves a grade of A++ from me for organization, Show Director and Staff, artist treatment and venue.  Sales were good, I made a good profit and I will re-apply next year and hope to be accepted. 

I will be doing Talbot Street Art Fair this coming weekend.  My husband will be with me for the first time in a long time.  Hopefully, we won't kill each other hehehe.  Look for that review next Monday.  Thanks for reading!  Elle        

So, It's the first day of July and I am about to finalize my Fall schedule of shows and organize my whole life until Christmas. It certainly isn't a impetuous life we lead in this business....always thinking 6 months ahead and trying to make the funds to do that... while still making art and paying for that too. It's a roller coaster for me...I'll admit, with a great show, intermixed with some not so great and the wheel keeps spinning around.

I love it, it fits my temperament, but I always think I could be much smarter about it....that I could be doing more and doing it better. Which brings me to the question at hand.

I have really appreciated all the input that goes into this site and the wisdom of the many sages that populate it. So, I was wondering about your take on a couple of shows I have been juried into....if they are worth the drive and expense to do and if they are a proven good risk. I have done a few first time shows this year with some iffy results so I want to ask before I barge ahead and commit.

I am a contemporary mixed media artist, and I realize we all have pretty different experiences based on the local of a given show, booth spot and the economics of an area. I have looked up Peoria but I haven't seen all that much, what I have seen is good but I'd like to know if it's worth an 8 hours drive. I just got in off the wait list and if you could give some feedback about your experiences there it would be so helpful.

OK,  so now I'll just dump all these at your feet...what the heck, I'm already in too deep. I am wondering about Greater Gulfcoast in Florida and Centerfest in Durham and while I'm asking, might as well ask about the Covington Art Festival.  

I hate to throw this out there to the group (been done so often) but I have looked up the available info (thanks Connie) and haven't found any recent reviews and was wondering if these shows are still good choices, although I know a lot goes into that assumption for every different artist. Thanks in advance and I hope your Fall Schedule is wonderful and carries you through to your spring schedule....as that wheel keeps turning.

So there is a large group of artists who break down really fast and get the heck out of a show. I am part of this group. I usually post my out time after a show to let people know about the logistics. Off the written record the group of fast break down artists compete with each other:). Just another fun thing we do. Honestly it gets stressful and takes strategical planning. It is awesome to get the heck out and get on the road and/or get back to home or hotel for a cocktail.

This past weekend we tried something new. It was HOT. Saturday hit over 100 on the street. Sunday was not as bad but was forecasted to be bad. We planned on a really slow breakdown. I enjoyed the best break down ever. Didn't get overheated, never fought with my partner and hopefully didn't freak my booth neighbors with swear words.

Our booth neighbors had their amazing son at the show. During the show this awesome kid rigged up a "roller coaster" out of dollies and ratchets. Gave him stuff to make signs, 25 cents for 3 rides BUT if you were an artists you got 4 rides. Once the show closed it was free for artists. We had so much fun riding the "roller coaster" and visiting with the other slow poke artists breaking down. Artists camaraderie is the best. I think I have been missing out high tailing it out of shows. I may be a convert of the slow break down. I think we Maybe got out 45 minutes later than if we would have gone fast and furious.

June 8 & 9  
Excelsior, Minnesota
On the shores of Lake Minnetonka
Sat. 10am-6pm; Sun. 10am-4pm
180+ Artists
Deadline: February 28

The Excelsior-Lake Minnetonka Chamber will host it's 33rd annual Art on the Lake.  Every year 18,000+ art lovers across the metropolitan area come to historic downtown Excelsior to attend the two-day event and enjoy fine art, entertainment, beer, wine and shopping.

Shane & Kelly Anderson - 2012 Award winner

Excelsior is an eclectic and charming historic town located on the beautiful waterfront of Lake Minnetonka.  Art On the Lake showcases a wide array of high quality art and contemporary and traditional crafts presented by more than 180 artisans.  The show has been highly praised by participants and visitors.

The beautiful lakefront setting is set adjacent to a Main Street filled with independent retailers, art galleries, diverse dining experiences and a blend of recreational activities from biking to boating.

Where is Excelsior? Click here.

Noteworthy:

• Limited to under 200 artists
• Estimated Attendance: 18,000+
• Artist Purchase Awards
• Jury/Booth fees: $25/$225 single
• Application deadline-must be postmarked by Feb 28, 2013
• Artist amenities include hospitality for artists open entire show, ample free parking, overnight police security

Exhibitors are provided marketing opportunities in print media, radio, Facebook, Twitter and Art on the Lake website.  Art on the Lake is the perfect fit for both emerging and seasoned artists that offers the personal service and smile of a small town with the cultural diversity of the big city.  Our show seeks to maintain the highest standards for both the artists and the public.

For more info: www.excelsior-lakeminnetonkachamberchamber.com

or call: (952)474-6461

There is help for that.

This message is from Carroll Swayze, a printmaker from Florida who has been involved with the NAIA, an artists support organization since its inception in the 1990's. 

I am the Communications Coordinator of the NAIA (National Association of Independent Artists) and I am sending a letter for you to any cancelled show that is not refunding show fees explaining why they need to return your money. If you have a show that is not refunding your show fee please send me your cancellation letter by email and I will try to get your money back for you. If you have the directors name and email that would help me time wise too.

Send to: SwayzeArt@msn.com

Well, seems that I was wrong in thinking I was doing everything correctly! I was going to participate in the East Lansing Art Festival this weekend, but upon arriving at the border yesterday morning those plans quickly changed! It was brought to my attention that as a Canadian Citizen I am legally not able to sell goods (art work in my case) inside the United States. This could be a much, much longer post, but for information purposes I am keeping it shorter. 

I was detained yesterday (Friday morning) at about 4:15am, and was held until about 8:30am. I was photographed, finger printed and questioned as to my intentions. I have never attempted to hide what I was doing, or lie about my intentions, it just seems that this is not something I am allowed to do. I can sell to the US from Canada, but not physically while in the United States. I can say that the Border Agents were very friendly and when this ordeal was over they were appologetic about the situation. I know they were just doing their job, and I was very appreciative to them for how I was treated. 

I am going to attempt to secure a temporary VISA for shows next year, but I have had to go and cancel all my shows for this season that were in the US. 

I also wanted to give credit where credit is due. East Lansing Art Festival (never been one to give personal names) was very sorry to hear what had happened, and even though I notified them about 6 hourse before I was to set up  my booth they agreed to refund my booth fee! That was one great thing to a long, and crazy day!

All I want to do is create, display and hopefully sell some art. Having the feeling that you are on the verge of being arrested and charged was not something I thought I would ever have to deal with. Hoepfully the VISA thing will happen, but if not then I'll focus on Canada and partnering with Galleries and not on my own. 

Safely back home, 

Jeremy