How to tell a gallery that they have some junk?

[jim simmons]

I just got back from a gallery auction that has some of my work in it.
While I was there, I saw some "work" that was just plain but ugly.
These pieces were bases for ball point pens and were about 6 to 8 inches in diameter.

they were made of lots of pieces of glass that were fused into a base sheet of clear.

So far so good.

Now, There were lots of random bad devit AND the backs had kiln wash stuck onto it.

I feel that I should say something to the owner, but don't know how to proceed.
or should I just keep my mouth shut?

Tthis gallery has some very nice work in it that sells anywhere from $300 to $5000, and I feel that this junk just cheapens the whole place.

Jim

[Cynthia]

What benefit do you think will come of telling the gallery your opinion of this work? Since you state it was some kind of an auction...did these pieces keep the bids down on your work?

I'd keep my mouth shut. Maybe they sell like hot cakes...or perhaps they made your work look good in comparison...or not, or there was no comparison at all. I understand in terms of marketability that it's not good to be the highest priced or nicest house on the block, or the lowest, not so nice... Regardless, I'd think about what the point of telling the gallery owner your thoughts is, and if it will really benefit your work and your relationship with the gallery.

[Brock]

Just tell them Jim. Point out the obvious flaws, so that the gallery can understand the concept of well executed work. Brock

[jim simmons]

What benefit do you think will come of telling the gallery Since you state it was some kind of an auction...did these pieces keep the bids down on your work?

.

This stuff was not in the auction, but was on display for sale.

I really think that they need to be "educated".

Jim

[Marty]

It's a can of worms- I would wait to be asked.

My US$0.05 (inflation).

Marty

[Strega]

But see, that's what I worry will happen when I put my stuff in a shop. I KNOW there are people in this town better than me who will see the flaws in my work--whether acidental or on purpose, because I like an overcooked bubbly look---are you going to come in and point them out?

Now I am putting my things in a gift shop instead of a gallery--I think it suits the level I am at. I don't think the galleries here would accept me yet, because they are educated here. (Portland, can't fool anybody )
So, yes, you should educated your galleries in your town. BUt hold back from the JUNK designation unless they are broken bottles and elmers glue...it might sound like sour grapes. Try to put different spin on it...show them the imperfections as a way of explaining process and technique.

[Cynthia]

Strega, have more self confidence. You know what your strengths and weaknesses are in your work and you will continue to impove... fortunately you are in an area where the community is pretty saavy about glass, and you'll get nudged along and instructed on what will and what won't fly (hopefully with some diplomacy). I saw a wide range of glass for sale with a wide range of technical skill level and artistic skills the last time I was in Seattle and it went from seriously humble to seriously sophistocated. You'll find your niche and you'll grow and improve yourself into different niches. Be aware that no matter how good you get, there will always be critics. Sometimes it's good constructive criticism and sometimes it will be sour and mean spirited. We need thicker skin is all, for both.

I still think Jim should tread lightly with this gallery though. Education is good, but telling the gallery owner the work she carries is butt ugly could offend rather than enlighten. What if the work is the gallery owners or her kids work. She might interpret the education as a way of telling her she doesn't know squat about her job. If you want to educate, educate using your own work as examples (I learned about this faux pas the ebay way) of what is strong and what is problematic with craftsmanship. Bring in that piece that failed miserably that wasn't finished or cleaned up and is covered with devit. Or invite her for a studio visit. If she cares about what she is selling, she will be interested in the visit and the education.

I have often had studio visits from gallery reps. They want to do come and learn about the work and how it is done. For openings I am often asked to bring information, props and the like to show the clients to educate them about process...it makes sales. It might be more diplomatic to show your gallery what is right with your work rather than showing them what is wrong with anothers.

[Brock]

Junk is junk! If the gallery owner cannot tell the difference, (despite any implausible scenarios) someone should educate her. Actually, if she can't tell the difference, why does she have a gallery?

I would tell her in a heartbeat. I've done it before. Brock

[Dani]

Perhaps, you could tactfully take the owner aside and whisper that the glass is quite bad in sort of a conspiratorial manner.... then mention you could bring some glass in (yours) to demonstrate the difference between good and bad. Gives the owner a glass education (which many gallery owners in many parts of the country could use) and you an opportunity to not only provide a service, but show your work as well. You benevolent marketing demon, you! There are ways.... and there are ways.

[Marty]

I'm not buying it- someone comes into your house and barfs over that painting on the wall that you were really fond of? Even if it's a big-eyed waif with a puppy on velvet, I don't care. Go out of earshot and snicker if you must (and I have) but be polite.

Find the gallery that works for you, or go start your own.

[Dani]

Well, there is that, Marty.... having owned two of them, and taken the responsibility for their success or failure, I suppose I'd agree that the gallery owners can do what they choose. I do also think from personal experience that many people including gallery owners, artists, teachers, etc. of the arts really don't know how to judge glass of any kind including fused. I suppose each situation would have to be handled on an individual basis.... if I knew the owner, I might be inclined to give a few tips. But, you know me... one can always attempt to be polite if not kind. Both are best. And in some cases, MYOB might be best, too. Point is well taken.

[Brock]

I'm not buying it- someone comes into your house and barfs over that painting on the wall that you were really fond of? Even if it's a big-eyed waif with a puppy on velvet, I don't care. Go out of earshot and snicker if you must (and I have) but be polite.

Find the gallery that works for you, or go start your own.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I thought we were talking about bad craftsmanship.

I DO point that out when I see it.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[John Kurman]

Well... a possible solution is to point at the offending pieces and ask the gallery owner about the work. Get them talking about it. Get their opinions on it first. Sound out the bay first before you plow your rig into a bar. At least that way you get their take before you tell them what a P.O.S. it is.

(Ironic, as I am never this tactful IRL).

[K Okahashi]

Brock,
I'm curious how the gallery owners received your information. How did you go about telling them the craftsmanship was bad? It might help me in sharing the same with some galleries/shops I wholesale/consign to. Now mind you, I wouldn't ever comment on design as it speaks for itself and god knows people have their own ideas of what turns them on. But craftsmanship- well, I am curious how the owners responded.

Thanks Brock!

[Brock]

I joined the Board of the Canadian Craft Museum specifically to have some input about the quality of work sold in their gift shop.

In private galleries I have received a variety of responses to unsolicited criticism.

As to how I told them, I just told them. I pointed out obvious flaws, needles, kiln wash, sharp corners, etc.

Brock

[Doug]

Jim. Just go in with a big baseball bat and trash all the bad work. A 36oz Lousiville slugger will positively do the trick. Then bring in a box of your own, much better work and restock. That'll send the message to em.
...Personally I wouldn't worry about it and would take my work elsewhere if I didnt like the work being shown there. I'd never say a word about it. It's probably the owners friend, wife or family members stuff that their showing, so any hurt feelings would never benifit you in the long run. But if you really want to make the point....I'd go with the 36oz louisville baseball bat........PS The wooden ones are still much better then the aluminum.

[TrishV]

Be careful with your criticism. Chances are that those pieces are in the gallery for political reasons rather than merit. They could belong to a relative or dear friend of the gallery owner. They should make your work stand out but if it bothers you take you work elsewhere.
TrishV

[Sandpiper]

Um, please excuse the newbie, but.... This sounds stupid, but what makes poor craftmanship. You've mentioned kiln wash, needles, sharp corners... If my stuff doesn't have these things, does that make good craftmanship? I'm sure I'm not there yet, but how do I know? I've got a few pieces I'm kind of proud of. People who don't know diddly go,,"OH Wow." But they're just people,,, they're not you people. So.... how do I know?
Thanks, and excuse the inexperience,

Sandpiper, alias Robin

[Strega]

JIM< Are you talking about you-know-who on Broadway in Morgans alley?(Not to subtle, am I?) I talk to her alot. She knows what devit and shelf primer are. I think she would be really open to your feedback. (Now I have to go there and look for ugly pen holders, because i didn't see them... ) She also might tell you what she told me once, which is the little cheap pieces pay the rent, and get people looking at glass, so that people have a place to see/sell the larger pieces. This also may be a beginner she wants to encourage.
On the other hand, if we are talking Mother Goose, Twist, Made in Oregon, or the other places...1st street, 23rd, ...... hmm, lets get a mob together... Sometimes you have to get past the pretention of certain individuals who think they know art, have ego tied up in it and don't want to learn--so it depends on who you talk to... I have been both snubbed and fauned upon.
I'll email you privately where I'm putting my lumpy little things for sale....

[Brock]

Um, please excuse the newbie, but.... This sounds stupid, but what makes poor craftmanship. You've mentioned kiln wash, needles, sharp corners... If my stuff doesn't have these things, does that make good craftmanship? I'm sure I'm not there yet, but how do I know? I've got a few pieces I'm kind of proud of. People who don't know diddly go,,"OH Wow." But they're just people,,, they're not you people. So.... how do I know?
Thanks, and excuse the inexperience,

Sandpiper, alias Robin

This is a huge topic. I guess, basically, the work is executed well.
None of the defects already mentioned, and no other defects.
Once you're past the craftsmanship/workmanship hurdle, you're ready for the other major concerns, such as content, and the WOW factor. Brock