Having spent the first two months of summer visiting various street and outdoor festivals/fairs I’ve been exposed to a wide range of crafts and art. Good quality and poor quality; handmade and manufactured (although advertised as handmade); original and not so original.

Street festivals more than any other type of show seem to include a diverse collection of exhibitors. Even though there is a jurying process for most of these shows, one can still see the best of the best side-by-side with the cheesiest of the cheesiest!

What parameters the jurors of these shows use are foreign to me, although I will say I generally understand why they choose whom they choose.

I think a problem arises in how the producers of these shows advertise their arts/crafts sections to both the public they hope to attract to the festival and the artists they hope will apply to exhibit.

You see claims like highest quality of fine arts and crafts and highest level of craftsmanship and finest crafts and fine arts all over the websites and brochures of these street festivals.

I certainly don’t expect the producers of the show to promote their show by advertising “some good stuff and some bad stuff" or anything that honest. But toning back some of the awesome claims would be fair to both the artists who spend a lot of money in applying, booth and travel expenses, as well as those visitors who only go to the show to shop the wonderful art/craft sections.

This summer I’ve heard a few times of artists who were so disgusted with what they felt was a level of arts/crafts at a show, that they packed up their booth and headed home on the first day. They basically ate the costs they had incurred for the show up until then without the chance to make anything back. That lost is compounded by the fact they could have used that weekend to do another show that might have made them a lot of money.

So, where does the blame lie when the quality of the show doesn’t match the expectations of the artist? Should an artist expect a refund when the overall level of work doesn’t match what the show producer advertised and promoted?

Let’s face it, show producers need to advertise up. In order to attract good quality artists, they need to promote the art/craft section, as they want it to be, not as it really is. So if you are an artist used to doing fine art and craft shows and you read that a certain festival has the "highest quality of fine arts and crafts," you will be inclined to believe what you read. It’s only once you actually get to the show do you realize you were snookered. At that point you just hope for the best or you pack up and leave.

My feeling is that artists should have a buyer beware mentality. Realize that there is a good chance that everything you’ve read about the quality of a show in the promotional materials is more than likely a fluff job.

Therefore it is the artist’s responsibility to find out everything they can about a show before applying. If possible visit the show the year before applying and check out the work; or visit another show the producer presents and see the level of work the producer attracts. At the very least, get on the phone to artists that have done the show before – most of the show websites have lists of artists that are either doing or have done the show – and find out how they felt about the show.

In the end it’s a lot easier, as an artist, to swallow a bad show when you’ve done all the necessary work finding out about a show, then when you’ve shown up with unrealistic expectations based on the promises of the show’s producer.

One of the toughest decisions for artists to grapple with is at what shows apply. What they decide could be the difference between making enough money to survive doing what they love, or doing something else. It has become even more challenging since just before 2001, when the dot.com bubble burst and both artists and collectors/shoppers were affected by the fall out. Add in the devastating effect of 9/11 and the banking debacle of the past couple of years, and it’s easy to understand why some artists have hung it up.

In choosing what shows to go with, artists rely on a few important factors: they talk with other artists, they read what reviews of the shows they can get, they consider the cost and location, and they research the information that is provided to them by the shows producer.

Once the decision to do a show is decided (and they are accepted), the booth fee paid and travel arrangements made, all that is left are expectations.

Many of these expectations are based on what is conveyed to the artist, either by the show producer (or a surrogate) or what is written on the show producer’s website and/or application brochures.

So at the end of the show when the artist’s expectations aren’t met, who is to blame?

If the attendance doesn’t live up to the hype that was promised, should the show producer be held accountable? What if the level of work presented throughout the show wasn’t to the level that was represented, pre-show, by the show producer? Is the artist to blame if, at the end of the show, if they feel mislead and cheated by the show producer?

A while back I spoke with one show producer who told me that, if they reached the 200 artists they were aiming for, the booth costs alone would allow him to “break-even” with all expenses. If the10,000 attendance (at $8.00 a ticket) were met, he would make $80,000.

I think that’s great that a show producer would make a lot of money on the show. They work hard and take risks themselves.

This particular show producer promoted an attendance of 10,000 and easily attracted the 200 artists. Unfortunately, less then half of that attendance actually visited the show. Many of the artists – especially those who had travel expenses – lost money. The show producer made about $40,000.

Next year the show will go on because he will find more artists willing to believe what will be promised.

I know that mis-information is just part ‘n’ parcel for the crafts industry. Artists are used to taking chances with shows because, to many, they are the only avenue for selling their work and keeping the dream alive.

I speak to a lot of artists and show producers on a regular basis, and I can tell you that there is a lot of distrust and disrespect coming from both sides. And honesty (or dishonesty) is the basis for this disconnect.

Here are a couple of suggestions I think show producers should step up and consider:

1. Don’t promise an attendance number you can’t guarantee will be met.

2. Keep the number of exhibitors at a point where, even if attendance is at the low-end of what you would expect, artists will still make money.

3. Let artists know how much of the booth fee you are charging them is going towards advertising the show, and then let them know where and how often you advertised. (Paradise City has an advertising/PR board at every show.)

4. Communicate to each artist following the show the exact attendance figure from the show – and be honest. It amazes me how a show producer (who charges an admission) can’t provide me with the attendance figure weeks after a show.

5. Offer credits towards next year’s show if the attendance wasn’t as promised. Let the artists know upfront what the credit would be and promote this to artists on the fence about applying.

6. Ditch the Preview Nights; artists don’t like them because they almost never make money and it adds another day/night of expenses.

In every other industry, if a customer doesn’t get what is promised they get their money back or a credit. The problem with this industry is that, at the end of the day, it’s usually the artist who suffers the most.

That being said, I realize that successful shows are based on the efforts of both artists and show producers working together. So I make these suggestions to artists, which I hope they step up and consider:

1. Pitch-in and promote the show. First you have to keep an email list of customers and potential customers that visit your both. Then you contact them when you do a show in their locale. I hardly ever see a customer sign-up list in a booth at a show.

2. Stand up and don’t look totally bored. You worked so hard getting ready for the show making great art and crafts, one would think you’d seem a tad interested that someone is looking in your booth.

3. I know it sucks for you when a show you’ve invested so much in is a dud; just don’t make it so obvious to the few customers that did decided to attend. It’s not easy for us either being the only one walking the aisle and being stared at, or shall I say, stared through!

4. Keep your cards out – with your booth number on the back - and easily available. There are many times I’ve like what I’ve seen in a booth with plans to eventually re-visit the booth, but couldn’t find a card. This is particularly a problem if the artist is speaking with another customer or not in the booth.

The beauty of being in the crafts and arts industry is that there are very few rules. This environment helps make the people involved more interesting, spontaneous and creative.

But just as the word industry implies, it is, in the end, a business

LH

For the past year and half I've been visiting a lot of craft/art shows all over the country - ok, mostly on the Northeast - and writing reviews and doing surveys based on those visits.

At these shows I get the chance to speak with many of you and get your take on that particular show, show promoters, your relationship with retailers, shoppers and more. Basically a short, state of the industry chat.

One thing that has stood out for me is that artists are great apologists; or to put it mildly, a very optimistic group.

In every slow show I've been to or written about, I either hear or see comments written that basically say, "The show was lousy, but it was because of the rain (or the snow, rain, traffic jam, first show, etc.).” Reasons are out of the control of the show producer, artist or potential attendee.

Artists, in these slow shows have faced empty aisles and measly sales/orders, while at the same time paying the same booth fees, shipping costs, and travel expenses. This is ok if you want to make more friends of your ilk, but not if you want to make a living.

It could be that some of those I spoke with thought I was undercover for the promoter, even when I tell them about CraftShowNews, but there always seemed to be a “logical” reason why the show stinks. (see above)

It's never that the show promoter doesn't advertise enough, do enough to attract an attendance, or that the mix of work at the show is terrible, or this show is still the same show it was 20 years ago and has been declining steadily, etc., etc.

To be sure, there are some exhibitors that will be up front with me. In fact at one particularly bad - yet very, very expensive - show one artist used some choice profanity in describing the reasons the show was bad. And none had to do with the economy. But she knew me, so that doesn't count.

It's not that there aren't artists that will call a spade a spade; it's just that there are so many that won't.

I can understand why. For pretty much all artists, shows are the lifeblood of the industry. The engine that determines whether they can survive doing what they love, or whether they have to find another occupation.

The irony is that there are a lot of shows that are busy, where artists make money. There are show promoters who truly put the effort into making sure their shows are a success for the artists. Promoters that don't settle for using the same old mailing list, encourage/assist artists in promoting the show, and devise creative ways to bring in new shoppers.

Then again, there are other promoters who know how important shows are to artists and know that they can always find enough of them to cover the costs of putting on a show plus a profit.

Not that the economy, or snow, or rain can't impact a show over 3-4 days; it can. But that is a rare case. There are more than a few shows that are successful.

Should artists stand up and say, "I'm mad as hell, and I'm not going to take it?"

Not yet. But you should start asking questions of show promoters before a show: How much of my booth fee is going towards advertising? Where are you advertising? What is your realistic expectation of attendance based on your ad spending? Is there a credit/discount if that number isn't reached? What was the attendance over the last 3 years? What changes/improvements are you making to this year's show?

And after the show you should be able to get answers to these questions: What was the real number of paying customers? How many attendees paid full price? What are you going to change for next year?

In this environment where show producers are introducing new shows at the same time that their current shows are tanking, artists need to find ways to make wise choices as to where and with whom they’ll through in their lot.

Demanding more information and apologizing less, I believe, is the first step.

I think most of artists at craft shows have a bit of a problem with Preview Nights. At least those that I’ve spoken at the shows I’ve been visiting the past 9 months.

Usually it goes like this:

Me: How was the preview show last night?
Artist: (look of pain across the face) It was very slow. There were probably 50 or so people here.
Me: But they are buyers, right?
Artist: No.

The problem most artists have with preview nights is that they have to arrive a day early to show. And being that a craft show with a Show Preview usually takes place in a larger city (such as Philadelphia, Washington, Boston, etc.) this means an extra day of hotel and expense costs.

The preview night tickets can run anywhere from $50 or more, and the proceeds are usually used to help support a worthy local cause. A ticket many times includes some sort of party and a chance at being the first to buy from the artists.

This is all good if the show producers could guarantee that a number of buyers would buy those tickets. But with the economy the way it is, even the upper crust is feeling the pinch. And this means waiting until the weekend to walk the show – if they visit at all.

The question is who really benefits with these preview nights when they don’t live up to expectations?

The charity or cause? Maybe, depending on how much they have to invest to make it happen on their end.

The show producer? Probably not. In addition to advertising costs, there are other cost issues related to having the facility an extra day they must incur. Plus, if it doesn’t pay off, their reputation can take a hit.

The artist? No. Unless they can recoup the cost for that extra day (plus a little profit) it’s a waste of their time and money. The chance of them selling anything is small when the ratio is 3 to 1 (artists to shoppers).

What are some solutions to solving the preview night blues? Artists I’ve spoken with have been eager to give me their solutions. Here are a few:

1. Don’t do it at all – at least until the economy changes.
2. Cancel if a minimum of tickets aren’t sold in advance.
3. If enough tickets aren’t pre-sold, give tickets to concierges at the best hotels in the city of the show to present to clients free of charge, for entrance after the goodies have been consumed.


I’ve only been to a few preview nights myself. Given that it was a few years ago, the ones I went to weren’t affected by an economy in the tank. I found them interesting and fun, but they were never really crowded and the aisles were naturally thin.

Hopefully while show producers are planning for their round of 2010 shows, they will communicate with their artists and find out if the effort a preview night takes from all involved is really worth having one.

LH

Recently I spoke with a show producer who has decided she needed to take a somewhat drastic (for her), but not all that novel, approach to attracting shoppers to one of her shows.

The show is a higher end handmade craft show in the Northeast, one of about 15 that her company produces.

Fearing the current state of the economy would keep many of her regular customers away, she mailed out the usual pre-show announcement to her mailing list offering the regulars free admission to the show. Not a buck or two off – free!

Her rationale was that she had an obligation to the artists at the show to do whatever it took to attract shoppers. She realized that collectors just weren’t going to shows as much as they were in previous years, and being an artist herself she understood that the current recession is particularly hard on artists.

Her exercise in free-thinking paid off.

The response to her free-mailing resulted in attendance numbers that equaled previous years “successful” shows. Plus she added a whole slew of new shoppers to her mailing list once they found out about the discount.

I can’t tell you how many shows I’ve been to recently where my wallet was $35 lighter from parking and admission before I even stepped onto the show floor. Then I’d witness a show with great crafts and empty aisles.

Now, I know every organization – particularly non-profits - doesn’t have the freedom to make “radical” decisions like this. But those show producers that can cut the costs for attendees should consider it - at least until the current economic situation changes.

It’s not only good business in keeping the aisles filled and exhibitors happy in the short-run, it’s great at building good will among your best customers and artists in the long-run.

LH

It’s great to see many of you visiting the site. It’s also great to be, once again, part of an industry that is creative, entrepreneurial, and populated with hard-working, interesting individuals.

After more than 8 years of visiting craft shows, being around really great artists, and speaking with show producers and gallery owners, I decided to take some time off and focus on a few different things.

Throughout the last two years the idea of an online magazine for the crafts community was percolating. I believed that I could put something together that could serve as a one-stop crafts community center. Not just for artists, but also for show producers, gallery owners and collectors.

The site I had in mind would be a place where anyone and everyone in the community can participate. A place where artists and collectors can offer their opinion of shows; artists can showcase their work; artists, gallery owners and show producers can display videos; and community members can circulate their newest news.

The site would be where the industry can communicate with each other – in a live chatroom or a static discussion board. It would also be a have a place where the community could sell used supplies and hardware.

Of course there would be a database of nationwide craft shows and organizations, and resources for improving a crafts business and more.

And it would be free.

For the last six months I’ve been putting CraftShowNews.com together, reviewing shows, speaking with artists, downloading videos and basically designing the site.

Since CraftShowNews.com will ultimately be a site for the crafts community, with content supplied by its members, I see my role as that of a manager. Making sure that CraftShowNews stays current and keeps running.

I will also be submitting reviews and profiles, and generally offering my take on things in the industry as I see them. Not as an expert, but more as a fan.

I hope you like what is being done so far.

If you have any ideas or want to add anything to the site, please email me at larryh@craftshownews.com

Larry
CSN