Cost Benefits of doing shows?

[Cynthia]

I shared some of observations with Marty Kremer about my experience at the Smithsonian show. He responded by asking if I might post this on the board as it could be informative and worth discussing. Here it is...for what it's worth, I am still cogitating (nice big vocabulary word that makes it sound more linear than abstract ) the pro's and con's. I expect that time will be the real factor that determines the value of doing the show.

For what it's worth, here is what I have come up with (for the most part). I would love to hear what others who do shows, retail or wholesale, think of the value and what the long and short term values and pitfalls can be.

Marty's question for me was (and Dani asked a similar question on the Spab board) "So...was it worth it? Did it work for you financially as well as any-other-wise? What did you learn...?"

And here's my response.

I've still got to percolate the totality of the experience down to a few manageable parts and try to evaluate from that...so I don't have any finite answers for myself or anyone who's interested or considering doing shows. But here's a bit of my observations, and remember, I have nothing to compare this experience with, since it is my first go at a show of this size and caliber, so my observations don't come from any previous successes or failures. Geez. I'm not sure how to quantify success and failure at this point. I wish I had a concrete understanding, but I think that the benefits aren't always immediate and/or monetary. I am still not sure what the total costs and benefits actually will be.

The majority of my sales were high ticket pieces...large, pricey and fortunately my best work for the most part, so it was encouraging that what I felt was my best work was what was of interest. I did get about 4-5 gallery reps who want to chat (plus Guild.com, but I'm skeptical about them...). I have yet to pursue those, but absolutely will. I have picked up two local galleries that wouldn't give me the time of day prior to getting into this show...that is a real boon to me, and they will purchase rather than consign (always a good thing). One of my purchasers from the show has contacted me since, and purchased two more pieces. He's a collector and that is a good thing to have.

Because this was a first for me, there were expenses that can't be factored into the cost/benefit ratio easily. Think amortization. I needed display furniture, lights, shipping containers...I tried to go at this with an open mind, but it was a very expensive endeavor for me, so I was very nervous too. I did have hopes that I would at least cover my expenses. I didn't leave with my expenses covered, but I don't know if I did that or not since I am still following up on gallery contacts. I think those are benefits that can't yet be quantified, but clearly are directly related to being in this show.

Another benefit which I don't yet know what it means for me, other than I am in this persons radar...or was, is that a prominent curator took the time to comment on my work... It was a mini formal critique and a positive one at that. Great for my ego, and who knows what else? He has my print materials and contact info...can I capitalize on that? I'll surely try.

I don't know how attendance compared to previous years, but claims are that 18-20 thousand attend over the 4 day run historically. It seemed quiet to me until Saturday, which was my best selling day. Most exhibitors I spoke with about sales were having a difficult time and not doing as well as they anticipated or needed to do. Many didn't discuss it, others were ready to share about it (I'm learning a bit of the politics of what's kosher and what's not in terms of comparing notes).

First time thrills??? (a Dani question) My personality is such that I fret and agonize right up to the time the doors open. I am great at talking about the work, taking cues from clients about what they are responding to and what their interests are and how that relates to the work. I'm not so great at selling. I don't know how to say...So, what will it take to send you home in this 22" vessel today? I've never liked doing shows (again, only experience is small local shows) and much prefer having a gallery rep sell my work. I love the social aspects of shows...and that's where I do well, but selling...well I just don't plug into the psychology of that and would rather let someone else handle that part who does it well. I am great at openings...the gallery staff makes the sales, I do the schmooze...that suits me.

Would I do it again? I just don't know. It was worth it if I consider how much I learned, how much I connected with the other exhibitors and probably the long term benefits will pay off. I think perhaps I would do it again. My attitude is that it's a long term investment in getting my work and my name out there and sometimes the benefits are immediately high and sometimes they aren't, but over the long haul...I hope that it pans out to my advantage.

If I had the good fortune to get juried into this show, the Philadelphia Museum show and San Francisco (retail), I would consider doing those three a year (or any combination) for a whille at least. Chances are that I wouldn't get to do those everytime I tried, but I will try. Perhaps there are others out there that also would be a good fit for my work and price range...I have to start researching.

One concrete thing I learned is that I need to follow my personal aesthetic and stick with it without regard to market. The best responses were to the work that was composed to please me and not with an eye to saleability. Those who purchased were interested in the work at the same level I attend to the work. Most responded formally and with a critical eye for design and color. Those are my interests, so I better stick with it. I also realized (a no brainer really) that I need to get better and better at what I do if I want to move forward with the work. No resting on my laurels (real or imagined)

I would be interested to hear what others think about the pro's and con's of doing craft shows like this...words of wisdom or other personal experiences. I hear that this has been a tough year for shows. How is it comparing to previous years and should I be looking at this with a long term attitude? Am I mistaken to think that this is a good way to get exposure as well as sales, or are there better ways?

[Terry Ow-Wing]

For some simple observations:

Sounds like you did benifit a lot from that show and did well - even though you did not cover all your costs. Assuming that money spent on lighting and other "hardware" can last more than one show you may not be that far behind. As a general rule when trying something new see if you can do it at least 3 times before you either go all out or throw in the towel.

best of luck,
Terry O.

[Tim Lewis]

Of course buying a better display gets averaged out over time - both the cost and the benefit. What were your highest expenses? Is there a way to lower some of those costs? Did you bring help, kids, the dog? I hear that some potters are renting trucks together and making the trip (from CA) to big shows so it will be cheaper and they have more control over breakage.

But maybe the real question is "what were your goals?" We all lust after the opportunity you were just handed but what did you really want out of it and what did you really expect? Also, is it a little premature to evaluate the show financially? Some of the galleries may work out for you; the curator may invite you to museum shows or something important; you might get a magazine feature or other publicity.

And what was the higher price range you were selling in? Are your prices too low for the current market or is the low end of that market just plain dead? We know that there are some people, especially certain collectors, who are above the stock market so that leaves a big void at the lower end right now.

[Deb Libby]

Hi Cynthia ...
Glad to posted this review....this has been a tough year to approach a show of this magnitude. Glad to hear that you were close to covering expenses ... and "old-timer's wisdom" I always hear is that you have to wait til the end of that year to really know how many sales came from a particular show and it sounds like that one gentleman's late order is making that a valid point.
I did the Valley Forge, PA, Paradise City show last month and I heard several exhibitors and customers state that it was similar to the Smithsonian show both in customer base and quality of art/craft .... I can't say if that is true or not but I can say that sales weren't great, breaking even on expenses was the exception, not the rule. This is just an extremely difficult year for shows .... but you've made some new contacts and have stepped into a new arena. Congrats and hope the orders continue to come your way over the next few months.
Best wishes,
Deb

[Bert Weiss]

Cynthia

I just returned from The Philly Furniture Show. As always the quality of the work being shown there was generally impressive with a few exceptions like 2 shameless Chihuly knock offs (nearly identical pieces by 2 different blowers). The quality of the work is what draws the buyers to the show, and then you hope to find the people who vibrate on your frequency.

I have always been told that it takes 3 years of doing a show to expect to get people coming there with the expectation of seeing you and buying or commissioning. Otherwise you are relying on impulse buyers. Of course that is a tricky situation.

I didn't quite get my expenses met at the show this year. Usually I do. What I am looking for is the post show commissions. I got lots of warm and hot leads at this show. I am hopeful that the phone will continue to ring. The trick for me is to hope that when the time comes around for their bathroom renovation or lighting project, they will remember me and get in touch.

I did a post card with pictures front and back this year. It was made at Expresscopy.com. They are amazing. 500 glossy cards for $60 and they show up in the mail the next day. Order on line before 3PM and they actually get delivered tomorrow.

In years past, I have gotten Email addresses. This year people are very reluctant to give out their Email info. I will have to do a post card mailing this year which is much harder and more expensive than an Emailing. It really bums me out that the Email thing has been ruined by spammers.

On my aisle at the show there were 3 prize winners. At least 2 of them and maybe three didn't sell anything at the show. Several other artists around me sold nothing. Of course you never know how the post show will develop. When you ask people how they did, some respond that they did great. I'm not sure whether or not to actually believe them. I'm sure that some exhibitors do really well.

I was discussing with another glassie the definition of insanity, being "one who does the same thing over and over and expects the result to be different."

On the other hand I did three years and skipped last year. The phone rang less last year and I do expect it to increase after this show.

I had an interesting experience. I broke my coffee table when setting it up. I was supposed to get the glass tempered, but didn't. Tightening a bolt ran the glass. In retrospect the booth worked much better without the center being jammed up with that table. People were drawn in and wowed by my 25" x 36" sink. Every year a different piece gets the wows. This year it was the sink.

Nothing in my life is more stressfull than setting up my booth. What an exhuasting experience doing shows is! Time to crash

[Sara]

than consign (always a good thing). One of my purchasers from the show has contacted me since, and purchased two more pieces. He's a collector and that is a good thing to have.

I would be interested to hear what others think about the pro's and con's of doing craft shows like this...words of wisdom or other personal experiences. I hear that this has been a tough year for shows. How is it comparing to previous years and should I be looking at this with a long term attitude? Am I mistaken to think that this is a good way to get exposure as well as sales, or are there better ways?

Cynthia,

One rule on that ol' thumb is that many I know who do BMAC is to count 3 weeks before and show and 3 to 4 weeks after as part of the revenue from the show. After that it becomes another entity completely, although since you're in the beginning could guess at what that entity is

As an example, I did a show in Las Vegas in March, 2-1/2 weeks later someone phoned with an order (yea that counts!), last week another phoned with another order, (yea for the order, drats that it no longer counts as show revenue). It becomes regular business revenue and counts for the year, not the show.

When you're starting out the lines are more unclear. I personally have found that for me the object becomes not how much money is made at a show, but how many new customers purchase my glass. Of course making all expenses and garnering a profit is upmost also.

with capitol expenses (dontcha love these business terms) if the equipment/show set ups, etc. haven't been paid for over a period of 18 months the item was a poor investment. You simply need to take the cost of your booth set-up and figure out how many shows you'll be doing over the next 18 months and divide this into your expenditures. This will give you the figure to add to your show expenses. Or you can use my poorly devised system. I have 20% of the selling of each of my pieces alloted to show and display expenses. Makes it easy for me. So if I do a show and don't at least make 'nuf so that the costs are covered by that 20% cushion then I take a hard look at doing that show again.

Retail seemingly is completely different, this year we are taking a departure from our usual shows of Tucson and BMAC, both in February and then the occasional show. We are doing one show a month through November. Interesting and exciting for us, and reminding us why we prefer wholesale

This past April was the first time doing a show that I was concerned about making expenses. Pulled it out on the final day with three beautiful orders, admittedly I don't like this added stress and have already moved that show to the back burner for next year.

My experiences are all based on selling small spontaneously purchased items. I don't know if this helps, I'm not courted by the big galleries so possibly this information is moot.

Warm regards,

Sara

[Sara]

In years past, I have gotten Email addresses. This year people are very reluctant to give out their Email info. I will have to do a post card mailing this year which is much harder and more expensive than an Emailing. It really bums me out that the Email thing has been ruined by spammers.

I was discussing with another glassie the definition of insanity, being "one who does the same thing over and over and expects the result to be different."

exhuasting experience doing shows is! Time to crash

Bert,

this past season I've started a new tactic that is working great. On the front page of my website I have a nifty "email signup program (thank you Dee ) instead of me asking for emails etc. I hand out a beautiful postcard with photos of my work and a notice that says if you sign up with your email address you'll be notified of unadvertised specials on the website. After each show I get a spike in signups and I don't have to key in addys and the burden has been lifted from my shoulders. Am sure the incentives can be massaged to whatever type of work we each do.

I work 'bout as focused on my website and on glass, I promote both my sites and it is working for me. Am considering doing third site that will be more of a gallery site, just in case I ever get those dang gallery people interested

Insanely,

Sara

[K Okahashi]

Thank you all for sharing your thoughts and experiences. I only do about 3-4 shows a year- mostly art fairs. I've gotten a few commissions from doing them and several retail accounts which keep me busy.

One thing I consider whenever I do shows is that the amount of time getting things together, set up, take down and any expenses are really part of my marketing/advertising expense. Aside from the internet, mailing, and word of mouth how else will people know about you and your work? I think marketing/advertising is really critical to overall viability of your success as a professional artist. One can allocate revenue to a show if needed to gauge it's worth. However, I think in the overall scheme of things- as you pursue shows, it is really business development and marketing that will help you define who you are as a professional artist. It can explain what you are about and the market you want to capture with your product. I look at marketing as part of educating the buyer along with helping our field.

I'm finding out that people buy from artists because they not only like their work, but because they also like what the artist is about. I get a lot of positive feedback from folks who see my website. I try to incorporate my beliefs and views in my art and website and I think that is important. Some folks resonate with it, others don't. The folks who do resonate with it, are repeat buyers- and folks I am happy to send my "babies" home with.

Shows are a lot of work, but they can be an important venue (one of few) that show the public what we are about. When you think of it- how many other venues are there when you are first starting out? Here are a few off the top of my head: 1. Retail establishments/galleries- location limited. 2. Internet sales (ability to see the actual beauty of the art is limited) 3. Shows (retail or to the trade- a vast array of folks who tend to appreciate art anyway and one that has a tremendous amount of work for the artist before, during and after) 4 ??

just my rambling $0.02

[Phil Hoppes]

I did a charity auction a few weeks past. Was almost not going to do it based both on comments on the board and I was really getting pressed for time and didn't figure I'd finish my piece in time. Well, push came to shove and with no galleries or outlets for my work yet to my name I pushed on and got my work in. Long story short....no hits on follow up commissions which I'd hoped for but landed a gallery that wants my work and I'm now scrambling to get work for them so I guess you just never know. My 2cents would be you need to go in with a set of expectations on what you really want to get out of doing a show and/or something of the like. I'm such a novice, I'm in the groveling for any business I can mode, so my situation I'm sure is different than those who have established themselves but I would guess the principals are the same, just the matter of degree that is different.

Enjoyed this thread, it is quite timely for me and very related to my current endevors.

Phil

[Cynthia]

Well it's been a couple of weeks, and I have made a few more sales directly related to the show. I am currently sending out lots of marketing materials and filling out applications and more submissions... to lots of contacts made at the show and some already look promising (no counting my chickens before they hatch though) .

I think these past couple of years have been tough for all, and tougher still when what you sell is a luxury item. I knew that going in and didn't expect to make my years profit in four days, but had hopes of higher sales than I achieved...but time is proving to be valuable and the contacts I made...well enough are panning out to make me feel less insecure about my investment and downright happy that I took the financial risk to do the show. It was not an easy thing to do since it was very expensive and was basically a crap shoot as to how things would settle out...but they are working out to my advantage in many ways.

I appreciate all the comments from the veterans in particular. I am looking at this more as a long term investment now and understand that the benefits aren't going to be a given, nor will they always be good, but in the long run, if my work is good, I will do well; hopefully well enough to get an assistant to do all the administrative stuff, and a doppleganger to do the shows for me...then I can just focus on the work itself. Man that would be a trip. As long as I'm fantasizing, I want a housekeeper and studiokeeper too.

[Joseph Tracy]

I was glad to find this post, and the typical depth and honesty of Cynthia's writing. I wanted to ask the same question.

It seems rather disappointing that work of a quality both to get into the most prestigious craft show in America and to inspire purchases by serious collectors (and which I personally like a great deal) didnt' clearly generate an unquestioned financial reward. As a resume item it will certainly carry a lot of weight with good galleries but one has to wonder if the show itself is overpriced, or overhyped.

Still, a well deserved validation of some very beautiful work.

[rodney]

looks simple to me,

you made lots of contacts, anyone of which could take you where you wanna go

and as far as WHAT WILL IT TAKE TO GET YOU INTO THIS BOWL, well practice makes perfect, just spit it out, NOBODY REMEMBERS THE GUY THAT STRUCKOUT THE LEAST, BUT EVERYBODY REMEMBERS BABE RUTH,,and the more you do it, the easier it will be, and after awhile you will get so good at it,,,they wont even know you are saying WHAT WILL IT TAKE TO GET YOU INTO THIS BOWL,,,all they will know is that their brain is telling them,,,,,HUMMMM , YEAH, LETS TAKE IT

rodney

[ellen abbott]

This is very pertinent to me as well. I am considering on applying to three shows for 2004, and assuming I get accepted in one or more, will only do one. I am reluctant to do shows for a variety of reasons, not the least of which is it would be a total start up thing for me with all the expense that entails (and I have no idea what that, realisticly, is). And then there is the whole 'culture' of the show experience which I am not so good at fitting into. But I also understand that to get much beyond the local level, the 'high class' show is the recognised path to recognition, so to speak.

I'm only interested in one show because our production is not that great. We can only manage so many pieces a year. The work takes a long time and is expensive. The smallest cheapest thing I make is $100 retail, and I'm giving them away...literally. My goal would not be to sell a lot of stuff at the show, so I would be prepared in advance for not recouping my outlay (chalk it up to the promotion budget...wait, is that hysterical laughter I hear in the background?). My goal would be to pick up a couple of galleries. And, hopefully, get noticed by the collectors. If that happens, I would judge it a success. And anything we actually sell at the show would be, as my father used to say, lagniappe.

So, how much would, say, the Smithsonian show cost me?

ellen
http://www.emstudioglass.com