We sat in a circle tonight. No real speaker except me (to talk about The ARTS’ services and grants); the rest of the evening was devoted to an open discussion and answering participant questions. A nice, relaxed final session!
Denny started us off with a brief review of what we’ve covered since February. We began at the Arnot Art Museum, talking about positive attitude, goal setting, strategy and organization. In the second session, we covered artist statements, bios, and artwork photography. For the next few sessions, we had some pros come in, talking about business plans, pricing, accounting and taxes, banking/financing, legal and insurance issues, real estate and interior design, and then face-to-face sales and retail. And finally, our last session was about social media.
I was up next, to talk about grants and services The ARTS offers. Visit The ARTS’ website for this information.
When I finally finished my presentation (it was longer than I thought it would be), Denny invited discussion on anything and everything. Jennifer started us off with studio insurance on top of homeowner’s insurance. Her State Farm Insurance allows for up to $5,000 in coverage for supplies, etc., for a fee of $30. Studio visits are not covered, though. Karen said that for $330 she was able to purchase business coverage that covers the studio, supplies, and 90 days of off-site exhibition. Felicia talked about crafters insurance she purchased, which covers liability for craft shows. Fractured Atlas provides some temporary liability for artists, as well.
Karen introduced another topic: she asked about what would constitute a “top submission” for major shows, such as Representing Representation (RR) at the Arnot Art Museum. Denny told her that curators don’t care how the submission is formatted; they want to see the work. Diane talked a bit about how her video was chosen for RR8 (which didn’t happen, due to a change in leadership at the museum): the curator was looking for work himself, there was no call for submissions. Denny suggested that if you’re interested in being in the next RR, you should contact Rick. Also, make sure you have a very clean portfolio-related (not salesmanship) website, to get people to see your work. It’s difficult to know how these websites should be organized – there are as many ways to do it as there are artists and web designers.
Jennifer referred to Sean Lukasik’s presentation, particularly about use of key words on the interwebs, and the necessity of using those key words in our artist statements and blogs.
After a break, we regrouped to talk about approaching galleries. Unfortunately, Denny didn’t have any magic answers; there are multiple ways to approach galleries. Images are most important, but you have to turn on your salesmanship. A question was asked about how to find galleries that sell. You need to actually visit the galleries to know what they’re about. Denny talked about the methods of Jason Horejs from Scottsdale, AZ, who advises that artists “go shopping” – when you’re out in the world, see how you’re approached in galleries. If you’re treated well, that gallery is most likely selling well.
Denny said that we never talked much about selling work to corporations and public entities. Colleen mentioned that there might be an online database that lists companies that buy art. Check out the Percent for Art program. We talked for a while about ego and greed, and about approaching wealthy individuals who purchase art. Also, about whether art purchased by corporations is an asset of the company, or interior design. The Art in America annual guide includes corporate art consultants.
Diane told us about a device called a Square that fits on iPhones, iPods and iPads to scan credit cards. The fees are minimal (2.75% of the sale) and there are no other fees. Devices like this are quickly becoming essential, especially if you’re participating in shows. Transactions are posted promptly to make record-keeping simple.
In the past, we talked a bit about framing, and Denny offered advice to keep it as simple and low-priced as you possibly can, unless you’re doing something that’s really classic. When the frame is excessively decorative, it may discourage sales. Using a white mat is best, because it presents the art. If you’re making really good art, you don’t need to do anything more to it. Denny offered to teach us how to frame our work ourselves. It’s important to remember that doing your own framing does take away from your artmaking time. People shared with each other the names of some online frame dealers.
Karen shared something her mother taught her: use pillowcases to cover work that’s in storage, or make your own coverings using muslin or drop cloths.
Denny related a question that someone asked him about whether it’s better to do many small shows each year, or a few large ones. Gretchen said that she usually chooses her shows, because each requires a lot of preparation. Colleen said that she looks for specific key words in the calls to artists. Denny said to pay attention to who the jurors are.
An update on “The Other New York”, a biennial sponsored by the Everson Museum: it’s going to be in a variety of venues. They’re asking for a resume, statement and 5 images, which will be followed up with studio visits.
Our final topic of the evening was the capstone exhibition, which we hope to mount in October. We want two pieces of artwork from each artist, and a good, clean artist statement. Denny offers to work with people one-on-one on their statements. We’re having some trouble finding a venue. Unfortunately, the Arnot Art Museum isn’t available. We looked at the Carriage House and the Harold’s building, both of which would require a great deal of work. Denny did talk with Community Arts of Elmira, and they are a possibility; the only drawback is that they don’t have regular open hours. Denny also talked with Bruce Whitmarsh at the Chemung Valley History Museum, which is a distinct possibility. We’re going to keep working on it.
We’re also still working on the arts incubator idea, but it’s not something that’s not going to happen right away.
Karen suggests that communities that sponsor First Friday or similar events sell buttons to help support the events, because the ongoing cost can be prohibitive. Felicia said that her participation in the Ithaca Art Trail has been successful. Denny said that the Elmira Open Studio Tour will be taking a hiatus this year, and I reminded him that a 2012 Tour could be DEC fundable and they should apply this year.
And, we’re done! What an amazing series. As an artist, I learned so much. As director of The ARTS, it’s been incredibly gratifying to work with such talented and committed artists and watch them learn and build community. Special thanks go to Denny Smith, who facilitated the series, and Sherri Geary of Southern Tier Economic Growth.
I can’t wait for the exhibition this fall!
