What Is Working For You? More Importantly, What Is Not?

Wasteful spending is not something your business needs, especially in this economy.

We all spend money when we shouldn’t. A periodic review of where your money is going is necessary. If we aren’t benefitting from an expense, then we need to cut the spending.

This isn't as black and white as it appears. The number one cause of bad spending might be the basic thing you do for yourself as an artist; be a part of some art organization. Memberships appear mundane, hardly a place to be thinking of wasted money. But upon closer introspection, more than likely, that membership is a black hole of expenses. A fellowship in an organization means there is always something going on that requires an outlay of money.  You need a tally sheet and some answers before you send that membership check back in again.

1) Review what organizations you participate in.

Everyone that is an artist, whether self-proclaimed or awarded, should be established with a unit of other artists. Participation in a group gives feedback, not only on what you are doing, but trends, and opportunities to show your work, and places to make connections. It also gives you the freedom to bounce ideas, allowing for encouragement to move in different directions and break comfort zones. This is important so you can push yourself further. But this in no way should exonerate a Center from unwittingly fleecing its members.  It’s important for you to note what the real assets are in being in a particular group.

2) Determine which group is worthy of participation.

Ask yourself what this organization is really doing for you personally. Have you garnered sales, individual shows, or gotten commissions through your participation? Have you been cultivated? Mentored? Encouraged? Are there business ideas and avenues available for you to utilize so you can improve what it is you do? Are there open crits? Does the group allow for purchasing of supplies in bulk and the passing of savings on to you? When sales are generated, are you able to obtain the name and contact info of your buyer? 

If any answers to those questions are not to the positive, then you need to reconsider whether this organization is really advantageous for you and your business to be part of.

3) What has this organization done to help your career?

 Are you a means for them to pay their bills, or are they actually vested in your career improving?  It might be a win-win situation, if the organization actually offers you something without expecting payment, then you both benefit; free seminars, guest lectures, portfolio building, and the like.  But, if an organization does nothing to promote your personal growth, then this is not an organization that deeply cares whether or not their members succeed. That is something to think about. You should shop around for an organization that does strive for your success.

4) What does it really cost you to be part of this organization?

Even seasoned artists make the mistake of quoting the membership fee as the cost of doing business. But, consider the add-ons for a one year period. Start with your membership fee; we will use $35 as our example. With that membership you get a discount on classes. They’re an additional expense, should you choose to take any. If you take a class a semester, find a medium price and list it. Discount tickets to a museum? Additional. List it. As a member you also get the perk to put a piece into their open show, held once a year, but you still need to pay a transition fee. Work must be ready to hang, so mat and frame is additional. There are juried shows and offsite shows you can be involved with too, but at what cost?

 We’ll say $10 per submission, $5 for additional submissions. A $15 outlay, to MAYBE have your work get into a juried show. MAYBE, is the operative word. Plus the expense of framing all work, which can be double, even triple, the cost of the painting itself.

Juried shows are the quagmire of the art world. Considerations before submitting work to a juried show should occur. Begin with, how will you feel if your work is rejected? If you don't have the chops to handle being told that your work is not worthy, then you shouldn’t be submitting.  And if you don’t have $15 to flush down the drain, AND the cost of the frame, then don’t do it.

5) Ask questions and demand answers

You have permission, so it is okay, to ask who is the jury? What is their background? Their expertise? What are they looking for? If the show flyer says Abstract Landscape, ask what is “the look” of this show. Unfortunately, most Centers don’t secure their jurors in advance of publicizing the yearly show schedule, so therefore the “look” may not be conceived of yet. The list is created by the exhibition coordinator, not the juror. It’s important to factor this when considering whether to submit to a juried show. Art is subjective. What’s abstract to some is just art gone wrong to others. The juror’s “look” may not happen until the juror shows up for his stipend. Unless an organization can say what the “look” of a show is actually going to be prior to submitting for jury, then you are at the whim of the juror, and you really should just go buy a lottery ticket.

 The other at issue, is damage that can occur from transport. Nicks in frames, and tears in dust covers, just to be told your work was 'not good enough' is an expensive lesson. Sending work via a shipping service involves an entire other level of expenses. You better know what you are getting into before grabbing the packing tape. Bad stuff happens when you mail away your art; lost shipments, damages, no sales, and refused deliveries. Plus the cost to transport. Consider all of this before you participate.

6) Do the math.

Reasoning in that Right Brain of yours that it’s only $15 to submit work for jury? You should think again. If the Center does juried shows ten times a year, at $15 a pop, then it’s $150 additional monies you’ve donated. The cost of doing business....But perhaps not one of your pieces was even accepted for the actual show. You gave them $150 for the honor of transporting your work to and from the center. If they took in over 200 pieces to jury for one show, then they made out pretty well. And what did you get out of it? You learned how to pack a car really well.

7) What is the turn down rate?

Organizations should be able to tell you how many pieces make it to the walls. Again, this information is usually not available unless you specifically ask. If the juror is a minimalist, out of 200 works he might accept 21. You should know that figure ahead of time. Otherwise, there’s a greater than 50% chance your $15 is just going into the coffers.

Most Centers have other opportunities to show as well as their main gallery exhibits. Offsite options allow for more opportunities for work to be seen. It also means.....

8) More math.

If offsite shows rotate every six to eight weeks, and you pay the same amount to have your work juried, you are looking at $200 additional expense. You should do a spreadsheet and see for yourself whether submitting work at that particular Center is actually advantageous for you.

So your $35 membership has cost you $400 for a year, if you participated in all opportunities to jury your work, with no promise of your work ever making it to a wall to be seen by the public.

9) What did you get out of that year? Did you sell? Did you get commissions? Did you get mentored? Did you get publicized?

If those answers are no, you need to find another organization that will do those things FOR YOU.  And, if your work is selling, don’t get overly excited until you make sure your mom isn’t sneaking in and buying the work, and putting it in the attic, just to make you feel good. To think you are collected, only to find out friends and family are buying, and storing, is not a good feeling. You should always know where your work is, even after it sells. You may need to gather your pieces for a future showing of your life’s body of work!  A Center should willingly supply you with your customer’s name.

After careful review of your organizations, you can determine which ones are really working for you.Those that are not, you have two options:

• Do not renew the membership. Look for, and join, a different organization that works for you. They are not one size fits all.
•  See if your organization would be willing to consider their member’s needs and make some changes, which would help everyone. Be the squeaky wheel and be willing to put some volunteer hours in to make something better.

Organizations are the mainstay of the arts movement. They aren’t all bad. But they’re all not good. You can help. Volunteer your time. It keeps you in the loop, and it allows you to familiarize yourself with what work does come in. You will see first hand what gets hung, and more importantly, what sells, so when you are creating you can think in the manner of selling the work.

In this economy all art organizations are struggling. As an artist who relies on them, YOU should be doing what you can to assist them. They’re an important resource of potential clients for you.

Keep your focus on what YOU need to do FOR YOUR BUSINESS to make it successful! Your success hinges on you alone. No one does this for you. Your biggest lessons should be: Don’t buy into hype. Investigate and ask questions. Do the math, and make sure your investments in your business expenses are really paying off.

The author, Karen Shelly-Genther, has been mentoring artists for over 30 years in Chester County, Pennsylvania.