Ask Harriete

What information Does a Promotional Image Need?

When you send a promotional image, do you always include a description, size, dimensions? How about a link to your web site?

Did you include the price? When it's a Trunk Show or craft fair and the event is all about selling, yes, in this situation include the price.

If asked for a promotional image of your work, are you ready to send an image in the next five minutes? A successful artist or maker is always ready. The Press always wants their images yesterday.

For the upcoming SNAG Trunk Show a couple of people sent me images. They were prepared!

 

"Spectacular achievement is always preceded by spectacular preparation."
--Robert Schuller

 

Jennifer Butterfield sent this pendant image as a TIF at 6MB.

TIP #1  Send a JPG and offer TIFs for print as an option. 

This purse is by Joan Waters. It is a great idea for a Trunk Show image or standing outside the show.

TIP #2 Please include a complete description. Joan  included dimensions and materials with the image. Good for her! This sculpture is 5' high x 4' wide, made of welded steel.

 

Don Friedlich sent this image of his brooch. His images have a strong graphic appeal.

 TIP #3  Photos should be dramatic and eye catching.

 

Sheila Summerlin sent the image to the left.

TIP #4 Always include a link to your web site along with a complete description.

 

 

 

 

I am looking forward to the TRUNK SHOW at the SNAG Conference. Last year it was a huge success.

The Trunk Show is May 26, 2012.

Saturday 12:30 - 2:30p.m.
Grand Ballroom 1A & B
Westin Kierland Resort & Spa
6902 East Greenway Parkway,
Scottsdale, AZ

If you are in the SNAG Trunk Show write about it on your blog, web site, Facebook or Crafthaus page. Spread the word with images of your work and others. Send me your images if you are in the Trunk Show.

My Flower Pins are available for purchase at the SNAG Trunk Show, Etsy or my web site. Price range is $225 to $575 for one-of-a-kind work makes this a very affordable price range.

What Should Trunk Show Promotion Look Like?

The 2nd Annual Trunk Show is coming up at the SNAG Conference in Phoenix.  Lots of potential...

Every situation can be an opportunity and I always want to maximize the potential outcomes.   

But is a collective effort to "PUSH" an event appropriate?

I wonder what would happen if everyone in the Trunk Show promoted the event?

 What if the Trunk Show participants created their own whirlwind of visibility for the event and for each other?

What if we, everyone attending, posted an image of the Trunk Show poster on our Facebook pages or web sites? Click Here for the Trunk Show Banner.

What if we were all asked for an image of new work to create a new Trunk Show poster or online catalog?

What if the local television news came to cover the event? Headline; "World renown artists and makers coming to Phoenix" could be "big news", but only if the news station finds out.

Monopoly Electric Flower Pin © 2012
recycled tin cans, sterling silver,
Artist: Harriete Estel Berman
These flowers will be available at the
SNAG Trunk Show or online.

I don't think that the metal arts community suffers from too much success, but it looks like we aren't really good at making ourselves into "big news".

 

Harriete

Professional Practices with Andy Cooperman and Harriete Estel Berman

The Academy of Art videotaped a program about professional development with Andy Cooperman and me (Harriete Estel Berman).  The program was co-sponsored by the S.F Metals Arts Guild.

Now the video is online!
The program revolved around a discussion about survival as an artist and maker. The entire program was an hour and half. It started with Andy Cooperman's 45 minute lecture about his work and recommendations for surviving as an artist and maker.

Part Two (below) is a quick 8 minute lecture about my work which continues with a few more minutes of me describing additional resources for artists and makers.  Then Andy and I respond to Q & A with the audience. Here is the handout with links to the Resources and the articles mentioned.  Download HANDOUT

If you listen to both lectures....let me know what you think. I'd really like to know....and will tell you why (privately.)
Harriete

Graduation, Job, Studio, Is There a Recommended Direction?

Considering the time of year, this question from Eva, a student at the Academy of Art, San Francisco, CA, seems very timely. She asks:
"Do you suggest that we find a job after graduation or set up our own studio directly?"

Of course, there are always unusual circumstances, but I think getting a job related to your field of study gives you great experience that will ultimately channel into your art or craft. I use the term "related to your field of study" quite loosely.

Anything that is remotely connected to your interests and skills seems better than an unrelated job.

Here I am sitting at a "kitchen table"
as my work bench. This grainy black &
white photo was from a 1977 newspaper
article  from The Charleston Gazette
Photo Credit: Lou Raines 

 

 

After my graduation, I supported myself for years doing jewelry repair.  Then I had a job for about 8 years working for a plating firm repairing anything that came in the door from sugar bowls and creamers to elevator rails.

The experiences increased my skills and confidence. I learned problem solving, metalsmithing skills, a hands-on exposure to diverse metalworking assemblies and fabrications from the past 200 years . . .  AND access to a very wide range of professional tools, equipment, and plating processes.  With those well honed skills, I still do silver repair part time.

You'll be in good company.  Andy Warhol worked in advertising.  James Rosenquist painted billboards. Consider the profound influence that their work experiences had on their artwork. 
James Rosenquist and his mother in 1954 standing below a billboard he painted. The Red Shoe illustration by Andy Warhol.

I'd also recommend setting up a studio space immediately, even if it is in the other half of your bedroom or in your living/dining room.  Get your studio up and running, no matter how modest. Avoid burdening yourself with debt and expenses. It is more important that you start working with less tools and more creativity to keep ideas fresh and your mind immersed in creative expression.  If you need larger or specialized equipment, take a class at a local community college or rent time at a studio space near you. Check out the Tech Shop for an amazing resource.

In summary, try to get a job related to your degree, even if it doesn't pay much in the beginning.  The experience will help you learn so much along the way. You might even be able to use their tools or equipment.

Also keep working in your home studio every day. Even if you don't have all the tools or equipment that you had in school. there are always alternate solutions.  Use your most creative tool, your mind.

Harriete

What are YOUR TOP 3 Tools and Books for Jewelry Making?

Alina, a student at Academy of Art, San Francisco, CA asks, "What are your top 3 "can't live without tools and books for jewelry making?"*

There are so many possibilities, but as an advocate for business development, I think the practical information in the Professional Guidelines is a # 1 tool for survival in the real world outside of school.

Next, consider looking at the resources from the Professional Development Seminar available on the SNAG web site and my web site. Many years of collective experience, wisdom learned, handouts and lectures can be found online for free.

One of my favorite books is Making and Marketing Better Artwork by Milon Townsend. " While Townsend is a glass artist, the information in the book is practical and relevant to all media. There are "11 chapters including information on working with galleries; pricing your artwork; wholesaling vs. retailing, wholesale vs. consignment; literature and advertising; photography;...and practical answers to many of the questions that both the novice and the seasoned professional will encounter during their working lives."

Alina also asked about tools for jewelry making. This is much more specific. It really depends on the kind of work you make. I would keep your first tool purchases fundamental but would also advise to go for quality.  For me, as a metalsmith:

• The best quality (e.g. German) flush cutters;
• Drill and Wire gauge 1-60 (buy it from a hardware store to save money);
• Complete set of drill bits 1-60 and 61-80.
  

And There Was Light  ©  2004
Recycled tin cans, 10k gold, ss rivets.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

 

 

Keep in mind that your most creative tool is your brain, regardless of the specific media or craft.

Harriete

*This question came from a Professional Development program co-sponsored by the Academy of Art and the Metal Arts Guild in San Francisco, CA with Andy Cooperman and myself, Harriete Estel Berman.

Harriete

Reality bite, you are the best spokesperson for your work.

Three Bracelets by Harriete E Berman
Post consumer recycled tin cans
Society of Arts and Crafts    2007

In the previous post on ASK Harriete a student asked, "What is the first step to get my artworks shown in a gallery?"

My guess is that the real sentiment was "How can I get my work in a gallery so that the gallery will sell my work, and I can just focus on making and not selling?"

Many makers hold on to the fantasy that a gallery will sell all their work so they can dedicate their time to making work.  The reality is that those days are gone forever (except for a few rare individuals).  There are various reasons, including the Internet and this tough economy.  But it is incredibly important to realize early in your career that you are the best seller of your work. 

Just as movie studios came to realize that actors should participate in the marketing of their movies, and publishers understand that authors should appear on television and radio to sell their books, artists need to participate in the marketing of their work. The visible and articulate artist/craftsperson is the most effective tool there is for marketing.

Harriete E Berman & Alyson Stanfield
at the Loveland Museum exhibition 2010

People (i.e. buyers, collectors, and viewers ) want to see, hear and meet the artists. Whether it is meeting at an opening, participating in social networks, offering to do interviews, writing about your own work on blogs, or standing in your booth at a show, the creative spirit is what people want to see and hear.  They want to learn your story.

Showing your work, telling a story, or explaining the meaning behind your work are steps you need to take to achieve success. No gallery can perform this job better than you can.

A gallery that sells your work is a partnership. They may be providing a retail location with a customer base, but the better you are at your job, the better they can sell your work.
Harriete

First Step to Get My Artwork Shown in a Gallery?

Last Monday night, Andy Cooperman and I gave a presentation with Q & A for an audience of students and emerging artists. Co-sponsored by the Academy of Art San Francisco and the S.F. Metal Arts Guild, the event drew an the audience of close to 100.  My only disappointment was that we didn't have time to answer all the questions (including a list submitted by students).

Therefore, I plan to answer some of those questions through ASK Harriete over the next few weeks.

Here is one question that always comes forward:
"As a young artist, what is the first step to get my artworks shown in a gallery?" - Eva

Some parts of the answer have been answered in four articles under the heading, SUBMITTING WORK to GALLERIES and RETAIL ESTABLISHMENTS written by Don Friedlich, Andy Cooperman and myself, Harriete Estel Berman.

Galleries: Are They Right for You?  by Don Friedlich

Introducing Your Work to a Gallery by Harriete Estel Berman

The Nuts & Bolts of the Gallery.Artist Relationship  by Andy Cooperman

Galleries: Issues to Consider After Your Work Has Been Accepted by Andy Cooperman

The information is as solid now as it was in 2009 even though the economy and the Internet have vastly changed the dynamics.

1. There are fewer galleries and stores than there were ten years ago. Galleries and stores have closed there doors for a variety of reasons. Places that were barely surviving could no longer thrive in a bad economy.

2. The craft fair circuit is vastly different. Established shows are not as big, while a new mix of venues have opened up with a more informal flavor.

3. Membership events hosted by museums featuring artists and makers are much more common.

4. Open studios, while not new, are far more frequent.

5. The Internet is the most radical influence. Places like Etsy continue to grow, but there is a huge number of other online marketplaces without a definitive market leader for a juried, exclusive online marketplace.

6. Every gallery now has an online presence.

7. Every artist and maker now can and should have a web site and/or blog. 

I intend to continue this topic on another day, but let's look at the question again from Eva. "As a young artist, what is the first step to get my artworks shown in a gallery?"

I am wondering if the question is really, "How can I get my work in a gallery so that the gallery will sell my work, and I can just focus on making and not selling."

Stay tuned to the reality bite....

Harriete

Follow Your Own Path -- Be Resilient, Postive, and Passionate

I was reading an article about "Pinterest's Ben Silbermann to 'Treps: Make Something Beautiful" on Entrepreneur.com. Though the article lists three pieces of advice for entrepreneurs, it struck a cord in me. A resounding echo that could be solid advice for artists and makers. Each one builds on the other.

Below is my short version for finding success:

Follow Your Own Path. Close the books on technique. Invest in play and experimentation to find your own path. This is a solitary, lonely activity. Many books and studies of cognitive thinking demonstrate that it takes around 10,000 hours of practice to become an expert. Become an expert in your own work.

Be Resilient. Overnight success and instant fame are fairy tale fantasies. Invest time and commitment into following your own path. Everyone, yes, everyone is rejected and discouraged along the way. Learn from your mistakes, analyze failures and successes. I don't care whether you can only work one hour a day on your own work. One hour a day is seven hours a week. 30 hours in a month, and  360 hours a year. This is enough time to make one fabulous artwork a year.

Surround Yourself with Positive Energy. Ignore the naysayers. Ignore the devil on your shoulder. Listen with half an ear if there is any credibility to the comment, and the other side needs to be resilient and keep moving forward.

Don't listen to all those negative "it can't be done" opinions. Ignore people who say, "It's too hard,"  "Don't care so much", " It's not your job".  Ignore them. Surround yourself with positive energy even if it is one beautiful flower. Be resilient and follow your own path.   

Develop a thick skin.   Whether or not you make money from your art or craft, money is a poor measure of success. Surround Yourself with Positive Energy, Be Resilient, and Follow Your Own Path.

Be Passionate. Passionate may mean you will work harder. Passionate should definitely include working smart.  Day or night, be passionate about your goal, or the big idea, even when it is inconvenient and no one else cares. Passionate about your singular path, holding on tighter, pushing through the barriers. 

My upcoming class at Revere Academy "Prepare for Success" can only give the tools you need.  You still have to follow your own path, be resilient, surround yourself with positive energy, keep your thick skin and be passionate.

Harriete

Commission Question and Publishing on Facebook

Hi Harriete:
I just delivered a large commission for a customer - my first commission through an art consulting firm. It was for a celebrity / well known TV personality. My portfolio is obviously my means of representing my work. However, I was told I could not publish on my website or Facebook, etc., any photos of this piece until they publish it first, either on the designer's website or they are working on getting the home featured in Architectural Digest or other magazine such as that. However this could take up to 6 months.

What are your thoughts on artists rights to publishing images of their own work, etc?

I realize that having my work possibly in a magazine is worthy as well, but if that doesn't happen, I have missed out on 6 months of potential exposure and possible similar work.

I have never been asked this before so I don't want to make a big deal out of it, but what do you think?

Is there anything I can add to my commission contracts in the future to protect myself on this issue in the future? I have attached some photos of a large piece I did a couple years ago that is similar in nature.
 
Debra Montgomery

Debra,
Did you have a commission contract? These issues (if they are important to you or important to the client) should have been specified in the contract.  Contracts help clarify expectations.  Clear communication with the client is most important.

They are asking you to hold off, which may lose some opportunities during this period, but they are offering some significant potential as well.  So it sounds more like a business decision.  If you really think that they can get your work in a major magazine (like Architectural Digest), I'd give them time. Your work will still be fresh to new eyes in 6 months.

Legally, if this request is not specified in the contract, you can do as you please.  However, if you publish now despite their requests, you might gain a reputation of being uncooperative.  On the other hand, if they unreasonably string you along for months and months (beyond six months), they would lose credibility and I would get back on track with your images on Facebook and elsewhere. 

In the meantime, can you make another piece to promote or blog about other aspects of this commission? Are you allowed to talk about working with this client? Or can you discuss ideas and the experience that you had with this type of high profile commission (not naming names of course.) Perhaps you would like to write about doing a celebrity commission and the pros and cons. Lots of people would love to hear from your experience. (I could publish some of this on ASK Harriete so other people can learn from your experience.)

In preparing for future commissions, it is close to impossible to anticipate everything.  Each commission will be different when we are working with new clients, new commissions and different circumstances. Each time we hope to learn a little more from the experience.

Even in the one of a kind exhibition world, the work may be finished for months, even 6 months in advance, before the exhibition opens and promotion for the show begins. Usually, the artists can talk about the work, but many times it is worth waiting.  When the exhibition opens, there is much more publicity coming from many different sources all creating momentum for the work in the exhibition, the exhibiting artists and attendance in the exhibition.

I think the speed of our daily lives and the Internet makes us think that promotion has to happen the second our work is finished. This is a misleading concept. You will have months to promote the work. If the work is really good, it may become your signature work included in books, magazines and blogs for years to come.

If any one else has an opinion about this topic, please leave a comment.

Harriete 

PS  Thanks for sharing.

"Weeping Virgin"  by Debra Montgomery 2009       3' x 4'  

Skill Set Needed to Run, Run, Run a KICKstarter Project?

With a KICKstarter project up and running, albeit a little slowly....I've realized that there are specific skills needed to run a KICKstarter project.

I found an article that I should have read before starting my project, it is a great guide for anyone considering their own KICKstarter.  

7 Things to Consider BEFORE you Launch your Kickstarter Project. by Nathaniel Hansen.

Hansen says: "If you’re looking for kickstarter advice, ... this article should answer any questions you might have about how to run an effective campaign." 

Hansen says he has helped projects "...featured all over the web, from Wired to CNN, spurred along by social media engines like Twitter and Facebook and an army of fans. Two projects are in the Kickstarter top 20, one is in the top 5 (most donated), and one recently earned an 2010 Kickstarter award."

He tells it like it is and I believe he is right. This article reveals that a great story is paramount, along with advocates & evangelists who will promote your project with an unceasing, unrelenting regularity to everyone you know with every possible vehicle asking for help through Facebook, Twitter, press releases, blogs, magazines, television, i.e. everything.

A KICKstarter campaign requires a HUGE INVESTMENT OF TIME, and a lot of great writing with AGGRESSIVE MARKETING. It helps a lot if your project is aligned with the KICKstarter audience (mostly young adults) who spend a lot of time online (such as gamers or zine fans).  It helps if they are not doing social media for the first time (arriving on KICKstarter for the first time in shock with this forum -- like my father).

I jumped in with a noble goal and naive optimism.  Noble goals alone don't go very far on KICKstarter. 

Harriete

How to Get An Article About Your Work!

Getting an article about your work in a local newspaper or magazine is always a bit of luck, and a good measure of preparation. From what I've seen, it takes three things, 1) a good "story", 2) great images, and 3) a personal letter to a writer or editor.


Press releases won't get it. While press releases may be handy dandy, and you think that you are doing something, in my experience they are close to worthless, i.e. "busy work."  Sorry to bust the myth, but I've never seen the payoff.  Sure, I dutifully send them out, but press releases always seem generic and boring . . . and I don't know who picks up on them.

What got my latest article was the one and only thing I believe in... a personal letter (or email) to a person.  Sometimes your are reaching out to find a contact person.  You may not know them, yet, or haven't talked to them in years, but yes, the personal touch is the "key".   Sometimes you have to begin by just picking a name out of the newspaper, magazine, or web site and start a personal communication.

To get a story, look for a writer or editor:

1. give them one or two short paragraphs about why this is a great "story";
2. tell them who, what, when and where;
3. add a few great photos, but only 2-3 small jpgs (less than 2 MB max);

Never use bulk emails.  This is the worst possible solution for trying to capture a writer or editor's attention. If you can't write to them one on one, why would they give you an extra minute?

I'd like to hear if anyone has any experience that they can offer in this regard. How do you get articles?

Harriete

The above image is from the Palo Alto Weekly March 23, 2012 edition about my current show at the Anita Seipp Gallery, Castilleja School. Article writer is Karla Kane, Editor  Rebecca Wallace, and the photographer is Veronica Weber. Download PaloAltoWeekly3.23.12PDF

Reevaluating Life - Get $h!+ Done

My current project with KICKstarter is a real awakening. It's a roller coaster of a ride on the learning curves of two new worlds -- entering an unfamiliar social networking domain of the Internet's long tail, and the world of documentary video production.

Combined with the unfolding exhibition of Pick Up Your Pencils, Begin, these events and revelations have caught me up a whirlwind of thoughts and impressions.  After a 4+ year odyssey of fabrication, I am reflecting on a post from Chase Jarvis titled "Hit List: 13 Things Crucial For Your Success [In Any Field".  I recommend reading every word.

Chase's #1 tip is "Get Shit Done".

For four years, I felt like I was limping along on the pencils. I couldn't work on it every day.  Shows came up that needed new works to be made.  Making work to sell gets in the way. Life gets in the way.  But I'd force myself to work on it every chance I could.

And I would torture myself as well.  Making a sculpture 28 feet wide and 15 feet tall from pencils is ridiculous! How will it look? Will it hang as planned? Will it ever get done? A combination of the simplest of art media - a pencil, a little thoughtful engineering, and tedious hours of assembly.  But the vision of a hand crafted work to carry a message that the arts have a value and place in education AND that standardized testing has become overemphasized in education kept me going.

I naively started the KICKstarter project the same way except it can only last 30 days. I've already learned an enormous amount.  Each media and every social network has its own learning curve...so does KICKstarter. Reading the HELP menu doesn't adequately prepare you for what it takes to run a successful project on KICKstarter.

So if you can donate a dollar, that would be good. If you can donate $10, that would be a little better.  I hope everyone who believes that the arts should have a role in education can donate something.

This KICKstarter project may limp along initially.  I started it imagining all the best and the worst that could appen.  It kept me up at night worrying.  Now Chase Jarvis reminds me, ALL THAT MATTERS is that you get sh*t done.

Harriete

PS.  I hired a video editor yesterday! More information about making a documentary video soon. 

Posted Job Opening - What a Successful Response looks like!

Interviewing for a video editor position (for my video in progress) has been an eye opening experience. Looking at 20+ resumes in less than 24 hours from one job posting has given me real insight to a successful reply for an opportunity.

After an afternoon of interviewing editors for a "phase one" video and for my KICKSTARTER video, these are my observations for what a great reply looks like (perhaps for any opportunity).

1. Personalize the reply. Briefly make a case about why you want to work on the job, be in the show, or why this opportunity resonates with you.

2. Describe the job skills you have that fit the job.

3. Respond immediately. Don't wait. There may be so many other applicants for the opportunity that the requestor may stop looking.

4. If a phone number is included in the opportunity, phone immediately.

5. If the email is included, email immediately.

6. If the phone and email are included, do both. It shows you are really interested.

7. Include links to previous projects, artwork or other information that is relevant. An online presence including a web site is essential. Include multiple links if you want, but if you don't include this information right from the beginning your introduction seems incomplete.

8. Include your resume either in the email or as an attachment (even if they didn't ask for it).

9. Include your email address and phone number in the body or signature of the email. Yes, I know the email is at the top, but if a person is overwhelmed by the responses, it is very hard to keep track of everything. By including your email and phone number, it will be easy to contact you during the decision making process.

Harriete

P.S. This is a super amazing antique pencil I found. The top has an enamel clip that says," Use the Atherton Coaster Brake for Bicycles." Pencils have a lot to say.

Are you steering without a compass? Failure is an inevitable cul-de-sac on the road to success.

I listen to Charlie Rose every day (or at least every day if I can). Charlie Rose offers no nonsense interviews with the world's leaders in every walk of life or occupation from science, politics, actors, writers, politicians, directors, producers, and entrepreneurs. 

I often find the speakers inspiring. These are the smartest, hardest working and usually, most articulate people in the world who are able to bring ideas and introspection to the plain wooden table of Charlie Rose.

Today, I want to share a couple of thoughts that may be helpful to artists and makers. Of  course, these quotes weren't really about art, or art careers, I have taken their words completely out of context, but their words of wisdom warrant being heard. In fact, I think they should be our mantra.

The first quote is from an interview with  George Shultz, Former US Secretary of State from Monday, January 24, 2011. I have been savoring this for over a year now. He said, "If you don't have ideas, you don't have a compass." This opinion works for both our art work and for our careers. If we don't have a compass we don't know what direction we are going. It is very easy to get lost. We need a plan. We need a one year goal and a five year goal.

Continuing with inspiring thoughts from Peter Gruber on Charlie Rose - March 14, 2011
PETER GUBER:  "Failure is an inevitable cul-de-sac on the road to success." 

"So the idea is you learn from it.  You don’t want to make the same mistake twice.  You want to be able to grow.  You want to be able to recognize that most of the stuff, the fear that you express is really false evidence appearing real.  It’s not, you know, it’s not always going to happen." 

"So if you become, not immune to the failure, but you recognize that failure is a part of the process, when you take really good creative chances, when you really take good business chances, you will have failures.  And the idea is you learn from them and move on.  If they own you, if you surrender to them, then the pain is unbearable.  If you haven’t failed, you haven’t lived life to the fullest." 

PETER GUBER continues: "And you know, I think the idea is that failure and success are this close together, Charlie.  Inside every failure are the seeds to great success, and in every great success are the opportunities for failure."
END QUOTE

Whenever I am working on a new project, I think "failure and success" are very close together. Only hard work, skill, perseverance, intuition and insight help you find your compass. Experience has taught me not to give up.

Working on the pencil project Pick Up Your Pencils, Begin was discouragingly slow. I worked on it for four years. Talk about scary! Its finally done, and the work is being exhibited for the first time. I hope you can come to the reception on March 22, 2012 from 6-8 pm, at Castelleja. if you live near Palo Alto, CA. The next phase to make a video is going forward.  

So keep working...every day with a plan. And work on your compass.

Harriete

Pick Up Your Pencils, Begin
15' height x 28' wide, a as thick as one pencil

Anita Seipp Gallery
1310 Bryant Street
Palo Alto, CA 94301
Please come to the reception on March 22, 2012
See you there.

Gallery Hours:  10:00 a.m. - 3:00 p.m.
                         Monday through Friday and by appointment

Sticker Shock or A Real Bargain - It's All Relative To Framing

An editorial by Ryan Jones in The Crafts Report (November 2011) brought a fascinating TED Talk to my attention. Dan Ariely explains how "framing" different options can influence purchasing decisions.

Quoting Ryan Jones, editor of The Crafts Report, "Some people wonder why they should bring along some higher-priced items to a craft fair, especially if it's unlikely they will sell them. But, framing means that your highest-priced items can be a better sales tool than the greatest booth or display. Listen to the TED Talk by Dan Ariely to learn more about this concept.

I recommend listening to the TED Talk all the way to the end because it explains the logic behind why we artists should always have a big show stopper piece of artwork in our booths or in an exhibition to sell the smaller items. After the video, take a look at an example about how I am trying to apply this reasoning for my Judaica.

Here is my practical example.
Right now I have a Seder plate for Tu Bishvat in the exhibition DO NOT DESTROY at the Contemporary Jewish Museum. The price places this work outside the average consumer. My aspiration (or wish come true) is that a museum will buy this work for their permanent collection. 

Two weeks before the museum exhibition opened,  I contacted the museum gift shop about selling some of my Mezuzot. Each mezuzah is priced at $175. That may put some people into sticker shock compared to the usual gift shop item, but it is a real bargain for the labor, preparation, skills, and design in each mezuzah. 

At the same time,  the mezuzot are affordable examples of my work with an environmental message that can be used every day. 

Everything is relative, and there are many factors that may influence the purchaser's decision including the perceived value of the artwork in the exhibition, and the validation provided by being included in the museum exhibition Do Not Destroy.

Keep this strategy in mind for your booth or next show. While the masterpiece of the show may or may not sell, it may be a prime factor in selling the other work.

I sold four mezuzot so far and the show has been open one week. My fingers are crossed. Check back, I will update this post.

Harriete

Are you interested in going to the exhibition, Do Not Destroy, at the Contemporary Jewish Museum? They are offering a two-for-one admission through May 28, 2012. Just mention “Friends and Family Offer” when purchasing general admission tickets in the Contemporary Jewish Museum's Lobby. The show is really interesting with a wide range of  work from photography, drawings, sculpture and more.

 

Reduce, Reuse, Recycle, Assiyah, Yetzirah, Beriyah ©  2011 by Harriete Estel Berman

Close up center, if you shine a light on the center of the seder plate (above) it reflects a Star of David on the ceiling.



Reduce, Reuse, Recycle, Assiyah, Yetzirah, Beriyah
                                                          ©     2011

Artist:Harriete Estel Berman
DIMENSIONS: 6” ht x 24” w x 20" d

If you are interested in viewing the design, and fabrication of this Judaica TuBishvat seder plate, CLICK HERE to view an entire album on Flickr with step by step photos for this work in progress.

Plant a Seed, Nurture Ideas, Time to Prepare for Blooms and Fruit

The opening for the Dorothy Saxe Invitational exhibition at the Contemporary Jewish Museum is coming up. The theme is Tu BishVat (a lesser known Jewish holiday) celebrating the birthday of trees. Before making a piece for an exhibition, I usually read, study, and research the background of a topic or theme.  This prepares me for the intensive hours, days, and weeks of making a piece -- in this case, a special Seder plate about planting, growth, nurturing, and realizing the fruits of our labor.

It got me to thinking about fruit trees as a metaphor for artists and makers.

There is a Biblical recommendation that newly planted fruit trees should not be harvested before the 5th year.  Thus Tu Bishvat is sometimes called the birthday for trees since this holiday is used as a demarcation for the passing of each year, a very practical recommendation for the future health and productivity of the tree.

If the tree is nurtured for five years before harvesting the  fruit, all of the energy and dedication of the caretaker will be realized in the long term health of the tree.  When the mature tree produces fruit for harvest, it will be more "fruitful" for many years. 

This is a perfect metaphor for a budding artist and how they should nurture their creative output.

Artists and makers should take this to heart.... I am really serious about this point.

I am concerned especially for emerging artists (of all ages) who expect their early creative pursuits to bear immediate fruit in both money and critical acclaim. A premature expectation for visibility and sales too often influences what is made and how it is made.  I hope they learn to overcome these common mistakes:

1.) Shallow roots. Demands from the marketplace can distract artists and makers from developing substantive skills and meaningful ideas. Sustained personal development produces the best fruit. 

2.) Grafting onto others. It is easy to take other people's ideas, styles and techniques.  But copying what's been done before never develops the individual voice within each of us.

3.) Premature Harvest - Spending too much time promoting initial work instead of developing and producing more thoughtful, more meaningful work.  I am all for selling, but spending time trying to promote and sell premature work damages the long term reputation of emerging artists and drains potential energy from more meaningful development and creativity.

I know my words are pointed.  I don't usually say "should", but in this case it is warranted.

Trying to harvest fruit too early damages the core of creativity and dilutes the energy of individuals who could benefit from experiencing growth over a period of time.  Learning from experience and consciously seeking to improve quality should take precedence over immediate gratification.  Higher quality work may take a few years, but once established, it can be productively sustained for a longer period to time.

Harriete

Preservation, Conservation, Experimentation with Alternative or Unproven Materials

The previous post on ASK Harriete opened issues regarding the use of impermanent materials, long term preservation and conservation of artwork (or lack thereof due to unproven materials).  The post provoked some very interesting comments. 

Now to examine specific issues more closely related to alternative or temporal materials.

Yes, artists should explore unproven materials, testing and rejecting preliminary trials before deciding what merits going into their final work. Alternative or unproven materials convenient for a conceptual test, may or may not be appropriate for the final work of art.

The original patina of Dirk Van Erp Lamps
is essential  for the signature appearance
from Dirk Van Erp. 

It seems to me the primary question is the intent of the artist. "Do you want the piece to last . . . or be an ephemeral phenomenon?" Does a time varying patina add to the piece . . . or is sustained color a critical characteristic? Will aging enhance the work . . . or will disintegration contribute to the conceptual theme?

The expected life and varying condition of artwork is something the artist should knowingly choose and not blithely ignore.  What will the work look like 10 minutes later, 10 months, 10 years later, or 10 decades later?

So the issue is not permanence or impermanence in itself, but whether the temporal elements are consistent with the intended conceptual theme of the work. Ten years may be stretching the life expectancy of paper jewelry,  but well within the expectation for public art.

Going back to the example in the previous post, I think it is well within normal expectations that a turned wooden bowl have a stable finish (assuming ideal storage and display conditions) for 25 - 50 years, at least.  I can not believe that the maker intended for the finish to develop "problems." Thus, going back to the artist for a remedy for an unstable finish may be appropriate. 

I also wonder if the applied finish was within the manufacturer's expectation for the medium? Isn't it better to know what will happen than to be ignorant? Was the wooden bowl labeled, "experimental finish?"

Another question comes to mind.
What about storage and maintenance throughout the years? Work owned by a collector in a domestic environment (which is usually exposed to sunlight, and lacking temperature and humidity controls) is a completely different situation then if it was stored in a museum storage in a controlled environment. Were there recommendations from the artist that were followed for storage and display?

This leads to the artist's obligation to communicate what is known about materials to a prospective buyer.  Clarity about the temporal nature of alternative materials is critical if collectors or museums are buying your work. If you, as the artist, have any concerns, then it would be best to clearly state the situation every time your work is on display or available for sale. A declaration about this fact will protect your work and your reputation.

Harriete

Next posts in this series about Preservations, Conservation, & Experimentation with Alternate and Unproven Materias. 

• Practical Recommendations for Care, Maintenance, Storage and Exhibition.
• Design for Repair
• Photo documentation of temporal or alternative materials.

 Are there other issues that readers of ASK Harriete are wondering about? Email or comment. What am I missing?

Preservation, Conservation, Experimentation -- Using Alternative Materials

A reader raises a profound question about the use of impermanent materials in an artists' or makers' work.

Harriete,
I have a question about how far a maker's responsibility goes for the 'lastingness' of a product. This was brought to mind recently because someone had a museum-quality bowl by a famous artist that was developing serious finish issues due to the use of polyethylene glycol as a soak to preserve the color in the material. We also sometimes see pieces put together with questionable adhesives, etc. I understand the importance of experimentation, but it troubles me as my responsibilities include preservation and conservation of artworks.
Is this a question that has gotten much or any attention? 

I was really hoping that this was a question that artists were asking themselves (and each other) on some level.

Signed, A Concerned Curator

Dear Concerned Curator,

Issues of impermanence of materials, experimentation with materials, and long term preservation and conservation of artworks are really complex.

The use of experimental or untested materials is a reflection of our society in a way. We applaud artists that use new materials, or untested methods. The tried and true may be perceived as boring, been there, done that. Even the idea of "permanent" anything isn’t given very high regard. Buy cheap, express the "now," and throw it away seems like a pervasive trend of our culture.

Let's expand on the issues swirling around the use of alternative, untested, or experimental materials. Conservation becomes a concern of the owner, collector or museum. I am betting that museum curators and professionals need more solutions.  To buy, or not to buy...to exhibit or not to exhibit when just the act of putting work on display (even in a  controlled environment) may cause further damage. 

Let's itemize some of the profound issues:

• impermanence of materials,
• experimentation with alternative or unproven materials, and
• long term preservation and conservation of artwork.

Conflicting perspectives abound on these issues which would provide topic material for endless debates.  So here are my dueling opinions. 

The artist has a responsibility to consciously choose how the work is made and what is intended for long term display (if any). Basicly, I think this leads to four possible scenarios from the artist's perspective:

1) Consciously choose to make impermanent work and know it will not last. The work of Andy Goldsworthy or of Eva Hesse are just such examples.

2) Consciously choose to make permanent work and use the best materials available.  e.g. Michelangelo and the Sistine Chapel.

3) Consciously choose the risk of using unknown materials and accept whatever the outcome.

4) Ignore the impermanence or untested aspect of your materials and pretend indifference.

The first three are valid approaches and should be honestly communicated to any audience or potential purchaser.  The fourth scenario is questionable.

The materials used in a work will certainly affect its long term conservation and preservation -and possibly its value.

Raise awareness
This question should certainly be on the minds of all artists who want to have their work purchased.  Artists have every right to choose how to make their work.  

What is the responsibility of the artist during fabrication?

What is the responsibility of the artist/owner? For storage? For display?

What is the responsibility of the exhibitor? Lighting? Hanging? For some work, just the fact that it is on display is destructive? 

What about care and maintenance?
Is polishing to restore the original finish a destructive act?
Is refinishing, removing grunge, old varnish, crackled surface a restoration or destruction?

If you ever watch Antiques Roadshow you hear the voice of the experts. Each material seems to have it's own definition for proper care and maintenance.

As an artist, do you think about how to care for you work? 

Should the collector/curator have the same responsibility? It might surprise the artist to consider that a collector/curator may not have the same expectation for care and maintenance, or original finish as the original maker.

Please tell us what you think?

Have you ever thought about this before? 

Harriete

Next posts will break up this enormous issue into a series of thoughts. I've heard opinions from collectors. I have practical recommendations for my work.  What about you?

Looking for the Map Quest Version for Your Path to Success?

The New Year renews our optimism and focus on professional development, but we all have questions.

What is your professional goal for the New Year?

Do you know how to get there?

Are you looking for the Map Quest version for your path to success? Can we offer directions?

Join me on Jay Whaley Blog Talk radio. 

Thursday, January 5, 2012

3:00p.m.

ASK Harriete your questions live!
Join the conversation. Get Answers.

If you "register" you can participate in the live chat room.  . (Sometimes registration on Blog Talk is "fussy", so give yourself a couple of extra minutes before the show) Or log in using Facebook. This is super easy.

Or phone during the show  The call in number is (646) 716-571
Ask the show your questions.  One of my goals for the year is to open the conversation. What are the pressing issues in the arts and crafts community?

This online radio interview can be directed by your questions and is relevant to artists and makers working in all media.

• What are the tips to success you want to know?

IF you can't listen live,  email Harriete or Jay Whaley studios your questions in advance.
[bermaid [at] harriete-estel-berman.info.
http://whaleystudios.com

Prepare for Success!

I am  teaching a workshop at Revere Academy as part of their Masters Symposium.

Stay tuned for more information on
Prepare for Success at Revere Academy in San Francisco, CA.  Dates April 28-29th, 2012.

Even though Revere Academy is focused on jewelry arts, and metalworking skills, this workshop is appropriate to all media.

There will also be a SKYPE level participation.
More news soon!



This two day intensive with Harriete Estel Berman will provide you tons of information.

Subscribe to ASK Harriete for information through out the year.

Harriete

"Why Debt Will Kill Your Artistry" by guest author JoAnneh Nagler

Today's post by JoAnneh Nagler focuses on the impact of over extending yourself financially and how it affects your creativity. As we begin the new year, I think her words of advice are a worthy consideration for starting 2012.

Note: The opinions expressed by the author, JoAnneh Nagler, in this post are hers and hers alone, and do not necessarily reflect the opinions of ASKHarriete or Harriete Estel Berman. No endorsement or refutation is implied.

Debt is a killer.  It’s a downward spiral into a nightmare of nail-biting, stomach-churning, sleep-deprived stress, and our self-justifying doesn’t make it any better.  When we use credit to extend our standard of living, we believe that we’re making things “easier” and “better” for the moment, but what we’re really doing is just postponing pain.  

On some level we may already know how damaging debt is, but we end up falling into the pit of debt trouble because we think we can manage it.  Over time, as our debt grows and our ability to pay diminishes—because high balances mean that it’s a struggle to pay our minimums and still fund our life—we get desperate.  We use credit to survive, making the cycle worse by using credit for our basic needs.

Most of us have experienced some large or small version of a debting cycle.  But it’s worse for the artist.  How come?  Because when debt takes a toll on our spirits and our well-being—as it inevitably will—it also takes a toll on our ability to create art. 

As artists we need room to create—not just physical space, but breathable, quiet, wound-down ease to be able to find our way.  We need to hear the voices within us that say, “Put a wash of crimson across the top third of the canvas,” or “try welding that large piece of copper balanced on its end point.”  In other words, our heads cannot be filled with the chatter of debt-anxiety and still be focused on our work. 

As artists, no one is going to make us punch a time clock to get our performance piece up on its legs.  No supervisor is going to give us a delineated job description and deadline to finish that abstract.  No press-for-a-delivery-date company president is going to insist that we complete our metal collage. 

We create in the space of discovery, and though once in a while some of us may have a gallery deadline or a show date looming large, most of us will have to discipline ourselves—day in and day out—to still the chatter of daily life demands and sequester ourselves long enough to get our art done.  Meaning, we have to have some peace inside us to do it.

So what does debting do the spirit of discovery?  What does it do to the spirit of peace, or to our ability to listen to ourselves?  It kills it, that’s what. 

How come?  Because debt puts pressure on us to succeed.  It means that our projects have to succeed right out of the box, because we debted to create them, and they don’t get a normal growth arc.  Fronting ourselves credit to do our art—then waiting for a “miracle” to save us by a hoping for quick sale—means when that doesn’t happen, we’re desperate.  Then, my desperation steals my attention from my work and my life, and that steals time from my art.

When I debt to live or debt to make art, I literally steal the hours from myself that I need to create.  I will not be peaceful.  I will not be engaged.  I will not be able to listen, because I’ll be desperate.  I’ll be in debt, I’ll be worried, I’ll be scheming to figure out how to get out from under the pressure of it, and I won’t—not by a long shot—be in any state of ease.

When we debt to make art and engage in magical thinking—that is, that we’ll have a “sure thing” and a sale if we front ourselves cash—it’s essentially like asking a 7-year-old to do math like a 16-year old.  We’re asking the stalk that’s just been planted to deliver like the 12-year-old tree.

When my daily needs are taken care of, in cash, and I am not debting to meet them, I can focus on my art.  I can focus on what’s important—that is, the long term investment of my art—and not be sidetracked by keeping the balls in the air.

Then, my art projects get to have a natural growth arc, like children do, and grow to stand upon their own two feet.  No debt means no pressure, no angst, no drama.  That’s the only way I’ve found to quell the stress-voices and direct my heart, time, mind and soul to where I want it to go—into my art. 

When we make debt-free living the centerpiece of our artistry, we always get to create with ease.  And that, over time, brings us so much more joy, happiness, and fulfillment than credit-spending ever did.  Debt-free artistry: your art deserves it and so do you. 

JoAnneh Nagler is the author of The Debt-Free Spending Plan:  The Only Guide You’ll Ever Need to Finally Make Peace with Your Money, represented by Schaffner Media Partners.  

Find JoAnneh Nagler on twitter: @moneypeace4life

  

Paintings in this post are all by JoAnneh Nagler.
All mixed media in order they are shown:
Red Sea 40 x 30  2010
The Libertine 48 x 36 2009
Spiritu 48 x 36 2009
Beyond 40 x 30 2009
Falling from Heaven 60 x 48 2011
Sungod 48 x 48 2006
Beginning Again 15 x 11 2010
The Light Never Sleeps 48 x 36 2010

Digital Skills - A Necessity for Success

Digital skills with your camera and a working knowledge of Photoshop (or Photoshop Elements) is a "no excuses" necessity for today's artists and makers.  Quality photographic images are a must for every artist and maker. There is a lot of information  to help you on the Internet. At the same time, the Internet offers tremendous opportunity for visibility. It seems to me there is no room for excuses either way.

Even if you have your work professionally photographed, there are always occasions when shooting your own photos is still a necessity.

For example, the recent article in American Craft came about (at least in part) because I photographed my work while fabrication was in progress.  

Every year, I spend a week to 10 days at the end of the year, learning new digital skills and working on my web site. I practice new skills in Photoshop, Dreamweaver and SEO using Lynda.com. You can try Lynda.com video tutorials with a 7 day free trial.  You can also watch video tutorials on Flickr, Google+ and more.

Another web site with lots of free online digital tutorials is CambridgeColor.com. You will find links to information about:

• How Your Camera Works
• Qualities of Digital Photos
• Camera Types & Accessories
• Digital Camera Sensor Cleaning: Tools & Techniques
• How to Make Archival Digital Photo Backups
• How to Protect Online Photos: Copying, Watermarks & Copyrights;
• Image Resizing
• Sharpening & Detail
•   and a ton more......

Stay tuned... as I start my annual digital learning marathon for the next two weeks, I will offer quick tips that readers of ASK Harriete can use to improve their images and web site.

Start the new year with renewed visibility. 

Harriete

Prepare for Success: A Crash Course for Developing Your Business Skills can be designed to meet your needs.

Submit your questions in advance.

Bring images of your work. Let's look at your web site.

Is your work consistent with your professional goals?

"Prepare for Success" in an Art & Craft Business

[Shameless self promotion -- take a workshop with Harriete on business development and ASK Harriete your questions in person.] 

We all want to improve our tools for success.  In a two day workshop, gain a wealth of information on ways to accelerate your art/craft business skills.

Prepare for Success: Crash course in running an arts and crafts business

I will be teaching this workshop at Revere Academy, San Francisco, April 28 and 29, 2012.  The hours for the class are 9 am to 5 pm.

This class is not just for jewelers! While Revere Academy usually appeals to the hands on metalworking skills, in reality, all media have similar issues in running and managing an art and craft of business.

 

RAISE YOUR EXPECTATIONS.

Professional practices are the day to day skills that lead to long term success.

Align your business activities to the style of your work.  The fundamentals of an art/craft business can be rewarding.

Learn how to use social networking, blogs, and your web site to develop visibility.

What are your one year goals? Five year goals?

Is your resume organized and updated? Learn some simple ideas for your business "housekeeping". Is that an oxymoron?

 How is your inventory management?

Are you maintaining proper records for the IRS? 

Are your photographic images good enough?
Let’s take a look.

Submit specific questions in advance or plan to be spontaneous in the workshop.  The workshop is expected to be responsive to and directed by the participants. There is time for dedicated attention for each person.  

Bring your lunch if you want to spend the lunch hour discussing your work and marketing.

How do you define Success?
Is your work and business approach consistent with your goals and objectives?   Is your definition for success a goal or a wish?

Raise your standards or at least redefine them.
Invest two days in your future.

Recent article in American Craft  Dec/Jan 2012 about my work. 

Harriete Estel Berman standing in front of her Seder plate at the Minneapolis Institute of Art.

"The essence of success" by Sienna Patti.

Sienna Patti of Sienna Gallery offered her "essence of success" during the Forging Communities Symposium. She challenged everyone in the audience to reach further with a vision larger than the day before. Her lecture was emotionally charged and visibly heartfelt.

Sienna Patti said, "You are not asking enough of yourself and we, the others, are not asking enough of you."

Her words were inspirational. 

Below is an excerpt of her lecture from the "What Does Success Look Like?" panel. Thank you to Sienna Patti for allowing me to use her words and images on ASK Harriete.
                   ______________________________

Growing up, one of my family’s closest friends was Eric Carle.

I spent hours every week making colorful collages from the papers on his desk. It wasn’t until I was much older that I understood his impact beyond my life. 

He had created one of the world’s most famous children’s books and was a beloved author, hugged tightly by blushing librarians everywhere. Millions of children recite his words in school, mimic his artwork, fall asleep at night listening to his words, even grown women use his books as inspirational examples. Eric Carle himself is an actual certified national treasure.

He has a picture  in his home office of himself and Mr. Rogers working on late night crafty projects. Life is great. All is right in the world.

One day I stopped in to visit Eric in his studio only to have him tell me to wait downstairs, that he wanted to go for a ride. I have NEVER cleaned my car faster.  After all, he is a famous master of his craft, or at least, some people think so  and here he is, reduced to riding around in my Ford Topaz.


He got in the car and we were off. His eponymous museum, the first museum of picture book art in the country, was just being built a few miles away. We would go there, he had to get out of his studio. He said he was depressed. He couldn’t get any work done. He had been feeling this way for months. He didn't like his last book. Maybe he would make a different kind next. Maybe one in black and white.

I was sort of horrified, it felt too personal and he was, after all, a grown up (I was still young enough then to think that this sort of stuff went away when you “got it all figured out.” ) He sighed. It would pass, it just sucked. At 80 years old, he trusted his ability to get to the next good place. And he would. But this very difficult part still happened, even after 60 years of work.

This, to me, seems to be the success part - the getting up and moving onwards and upwards.

We all have times that are like this ...

 

and some that are like this....

and the essence of success seems to be in the process, the living and continuing, the space in between.

Caterpillar larvae hatch and then generally stick together for most of their development. There are significant benefits to synchronizing such activities in terms of growth rate and overall survival.


But how does such a large group ‘decide’ when to forage or become active?  Synchronization is imperative in order to maintain the integrity of the entire group; however, initiation of such events often depends on the actions of individuals.

In some group-living organisms it has been demonstrated that ‘key’ individuals are more likely to assume a leadership role.  Research on schooling fish, zebra finches and baboons has demonstrated that certain ‘bold’ or ‘dominant’ individuals, the largest, the loudest, are most often the ones to initiate a group level activity. 

In other kinds of group living, organisms exhibit ‘spontaneous’ or ‘temporary’ leaders depending on the energetic status of individuals. Hungry individuals above all others have been demonstrated to initiate bouts of movement and foraging in a diverse array of organisms from meerkats to fish. Members of the group follow along because there are significant costs to being left behind. 

Group activities become synchronized through social facilitation – the individuals following simply match their behaviors to those of others in the group. This is true for caterpillars, their movement is initiated by the individuals with the greatest energetic need –  the VERY HUNGRIEST CATERPILLARS. 

Are you hungry? Along the lines of "show me the money" this is not a new idea and has been part of our vocabulary for a long time. A friend of mine was once fired for specifically not being "hungry enough". We often describe desire as a "thirst".

What you want or are hungry for will change. At different periods of your life, elements of success will be defined differently. Success is the constant pursuit of your vision even and especially when you fail or others around you slow down.

Be ambitious. There is hope in this! As Emily Dickinson writes, “Finite to fail, but infinite to venture.” 

And certainly the answer you find today may not work tomorrow.  Success is a journey and has multiple peaks, not one ultimate pinnacle. The joy in the Boston Red Sox win was about the journey - this is what makes it so great. It is a constant pursuit, the constant exploration, the desire to take risks and the willingness to crap it all up and begin again. And again. And again.

The hope, of course, is that sometimes this will happen.  But it might not… hmmm… but it could!

What are we afraid of? I want to see more of you reaching further, being ATHLETIC with your work. Failing bigger. Waking up each day, hungrier to pursue your vision and that your vision be larger than the day before. 

There is a malaise in this field. You are not asking enough of yourself and we, the others, are not asking enough of you.  I am specifically speaking to the artists here: be hungrier, find your ambition.

Challenge yourself to make stronger, smarter work. 

Raise your standards or at least redefine them. Don't compare yourself and your achievements to the artist sitting next to you or standing up here but instead to Michelangelo or Kahlo or Duchamp. To the work you made the day before.

There are many excuses- I hear them all them all the time, and while I understand, I don't care. I don't mean this in a callous way - I need understanding too. But none of that has anything to do with your work, after all isn't success always sweeter when coupled with insurmountable odds?

In the end the only real limits are the ones we make ourselves. Ralph Waldo Emerson “To have played and laughed with enthusiasm and sung with exultation.  This is to have succeeded.”

“The difference between a successful person and others is not a lack of strength, not a lack of knowledge, but rather in a lack of will. – Vince Lombardi”

The difference between a goal and a wish?

"I just want to clearly state what a goal for success actually is, because I think there’s a big problem people have with understanding: I think there’s a difference between a goal and a wish."*

Powerful words from Brigitte Martin, a speaker with the "success panel" during Forging Communities Symposium.

Brigitte Martin's frank lecture about success was inspiring.  I'd like to share a nugget here on ASK Harriete. Brigitte Martin is an organizer, mentor and leader of Crafthaus. During her 10-minute PowerPoint presentation Brigitte asked us: "What’s the meaning of success?"

She continued....
A common problem people have is understanding that there is a difference between a “goal” and a “wish.”

Let’s look at some of the answers artists give when asked what “success“ means to them, or in other words what they want from their lives. Most of them will tell you that they want:

• to be happier,
• to have a better job,
• to have more money,
• to have less worries,
• to loose a few pounds,
• to be as successful as so and so - generally speaking.

Please note that all these are general wishes that many people have. But if you look at them closely, you will see that these are NOT goals which would help you to be successful.

So what then is a goal?

Quite simply put:
A goal means “to have specific strategies and MEASURABLE objectives.”

Now I know, this sounds so uninspired, so boring, so accountant-like, so not artistic. But bear with me for a minute and let me make clear what measurable goals are and you will see how they can apply to your work and lead to a certain measure of success.
In the business world the saying goes: “If you can’t measure it, you don’t know what you have.”

There are four things everyone can measure:

• quantity
• quality
• cost (on or off budget)
• timeliness/ deadline

To give you a very simple example, setting a clear and measurable goal for success would be:
“By December 31st, I will have photographed all of my artwork that I created this year.”

Not only is this a very practical and useful goal (after all we know from the most recent Professional Development Seminar**  that having good photography is absolutely essential) but by putting yourself under a deadline you create a measurable goal (in this case “timeliness/deadline”).

Obviously, all kinds of goals can be created regarding quantity, quality, cost and deadline. When Dec. 31 rolls around and you look at your photos you will realize that you have indeed photographed everything. You then know that you have achieved this particular goal of yours, and the beauty of this one is that it will continue to help you being successful because you now have these images at the ready and can send them out to promote yourself at any time.

Here are some other examples of practical goals that everyone can set.  Look at your work as if you were actually running it as a “business.”

Create deadlines for yourself to do the following:

• get serious about bookkeeping, record keeping,
• get serious about your time management (don’t hang out on the internet all day),
• get serious about your photography,
• get serious about your marketing efforts (print and online),
• get serious about your gallery relationships,
• get very serious about the quality of your artwork.

Goal setting works wonderfully as a measure of success because it helps you stay focused in your daily life.

Setting a goal will lead you and direct you toward the place you want to end up.

Write your goals down and keep them handy at your desk or workplace where you can see them every day as a constant reminder.

 ____________________________________________

Thank you to Brigitte Martin for sharing sage words of advice.
*Phrase taken from the impressive Tumblr notes by Tara Brannigan about the "What is Success?" panel here.

Brigitte knows what she is talking about. Prior to starting Crafthaus she ran two galleries. If you haven't visited Crafthaus, this is a social network for artists and makers in all media. There are online exhibitions, public discussions, blogs and portfolios of artwork on each profile. All images are approved or disallowed by Brigitte's discerning eye to keep quality high.  Join Crafthaus to participate with this community.


Photographer: Nerds behind the Lens, Pittsburgh, PA

**The Professional Development Seminar is organized each year by Harriete Estel Berman, Andy Cooperman, and Brigitte Martin for the annual SNAG Conference. This is open to the public for a $40 fee payable at the door. This year the PDS will be held in Phoenix, AZ on May 26, 2012.

Notes: The first four images were taken directly from Brigitte Martin's PowerPoint courtesy of Brigitte Martin.

The Measure of Success measuring cup was my image.

 

What’s the meaning of success?

A common problem people have is understanding that there is a difference between a “goal” and a “wish.” Let’s look at some of the answers artists give when asked what “success“ means to them, or in other words what they want from their lives. Most of them will tell you that they want:

to be happier,

to have a better job,

to have more money,

to have less worries,

to loose a few pounds,

to be as successful as so and so - generally speaking.

Please note that all these are general wishes that many people have. But if you look at them closely, you will see that these are NOT goals which help you to be successful. So what then is a goal? Quite simply put:

A goal means “to have specific strategies and MEASURABLE objectives.”

 

Now I know, this sounds so uninspired, so boring, so accountant-like, so not artistic. But   bear with me for a minute and let me make clear what measurable goals are and you will see how they can apply to your work and lead to a certain measure of success.

In the business world the saying goes: “If you can’t measure it, you don’t know what you have.” There are 4 things everyone can measure:

-   quantity

-   quality

-   cost (on or off budget)

-   timeliness/ deadline

To give you a very simple example, setting yourself a clear and measurable goal for success would be:

“By December 31st, I will have photographed all of my artwork that I created this year.”

Not only is this a very practical and useful goal (after all we know from the most recent PDS that having good photography is absolutely essential) but by putting yourself under a deadline you create a measurable goal (in this case “timeliness/deadline”). --Obviously, all kind of goals can be created regarding quantity, quality, cost and deadline.

When Dec. 31 rolls around and you look at your photos you will realize that you have indeed photographed everything. You then know that you have achieved this particular goal of yours, and the beauty of this one is that it will continue to help you being successful because you now have these images at the ready and can send them out to promote yourself at any time.

Here are some other examples of practical goals that everyone can set:

Look at your work as if you were actually running it as a “business.” Create deadlines for yourself to do the following:

get serious about book keeping, record keeping,

get serious about your time management (don’t hang out on the internet all day),

get serious about your photography,

get serious about your marketing efforts (print and online),

get serious about your gallery relationships,

get very serious about the quality of your artwork.

 

Goal setting works wonderfully as a measure of success because it helps you stay focused in your daily life. Setting a goal will lead you and direct you toward the place you want to end up. Write your goals down and keep them handy at your desk or workplace where you can see them every day as a constant reminder.

Forging Communities - Information, blogging and notes from An Intimate One Day Symposium for Networking and Information

Forging Communities - An Intimate One-Day Symposium was an amazing success. Sponsored by the Metal Arts Guild of San Francisco in honor of it's 60th Anniversary, a whole day of lectures, panels and discussions presented revealing, cohesive and interesting information.

For those interested in catching up on the information presented during the symposium, Tara Brannigan typed as fast as 10 fingers can move for the entire day. Her herculean typing efforts offer everyone a stream of information on Tumblr.

 

With this in mind, here is a quick summary of the information and links mentioned during the day.

Metal Rising: The Forming of the Metal Arts Guild, San Francisco, California, 1929-1964 presented by Jennifer Shaifer was followed by a conversation with Imogene Tex Gieling, merry renk, Florence Resnikov (each founding members of MAG). I wish we could have heard more of their entertaining stories. I loved looking at the vintage photos.

FYI: There is an upcoming exhibition of jewelry by Margaret DePatta at the Oakland Museum titled, Space-Light-Structure: The Jewelry of Margaret de Patta which will travel extensively around the U.S.

 

 

Blue Moon sculpture
Artist: merry renk
MAG Permanent Collection

MAG founding member merry renk and Margaret de Patta also have work in an exhibition at the L.A. County Museum of Art titled, "California Design, 1930–1965: "Living in a Modern Way".  I really want to see this show (collecting objects from the 1950's and 1960's are my passion).

 

What does Success Look Like in the Jewelry World? with Sarah Turner, Brigitte Martin, Lola Brooks, Sienna Patti.  Each presentation covered the topic with a different style and original content. (More about this in another post.) I recommend that you take time to read Tara Brannigan's Tumblr post. Here are four quotes about success borrowed from Tumblr.

“For me success also includes audience. I mean thinking partners, collaborators, people with skills that I do not have”

“When I say audience I also mean field. A field with permeable boundaries” “That’s partly why I work in education” “Higher education is not the only platform, there are guilds and fablabs and craftshows and makerfaires, and shops and museums.”
Sarah Turner

 

“I’ve always thought of success as some distant destination that someone might eventually arrive at” ....“I have always been far more interested in the splendor of the journey itself”
Lola Brooks

“I just want to clearly state what a goal for success actually is, because I think there’s a big problem people have with understanding: I think there’s a difference between a goal and a wish.
Brigitte Martin

“One day I went over to visit [Eric Carle] and he told me to wait downstairs, that we should go out. He got in my car and we were off.  He just had to get out of the studio.  He said he was depressed and needed to get out.  His new book wasn’t going well and he was stressed out.“

“I was totally horrified.  It felt so personal to me.  He was a grown up and I was still young enough to believe that this sort of thing just went away when you got older.”

“And this to me is the essence of success: Getting up and getting on, moving onwards and upwards.”
Sienna Patti

 

 Professional Practices: Conversation, Questions, & Commentary with me, Harriete Estel Berman and Andy Cooperman via Skype. Co-president emiko oye said, “It’s kind of an Oprah moment, we’re Skyped in with Andy Cooperman”.

Unlike a mere mortal on stage, Andy's voice filled the room as if he were an immortal god. The audience asked their questions and participated in the conversation.

My presentation "Lighting Shiny Surfaces for Quality Photographic Images" in 16 steps will be the next post on ASK Harriete.

Here are the RESOURCES mentioned during my presentation:

• Professional Guidelines
• ASK Harriete
• Professional Development Seminar
  Digital Images File Extensions
  
  Photography in Flux – Three photographers
  
  Digital Photography Handouts
  
  Photography in Flux – Editor’s Perspective
  
  How to Build a Better Drop Shadow
  
  Questions and Answers about Niche Marketing and Photography in Flux
  
  

The Maker Faire Phenomenon – Engaging Community and the Next Generation of Makers with Dale Dougherty (Founder of Make: Magazine and Maker Faire) enthusiastically showed videos of invention, inspiration and creativity. There was also a more serious message about the profound importance of brainstorming and hands on problem solving in education.

The Extreme Craft Roadshow presented by Garth Johnson was full of surprises. Craft that you might have never expected. Garth really went out of his way to show examples of what he considered Extreme Craft at the Oakland Museum. I think that this inclusiveness is part of his key to success. So many curators go around with judgement and a critical eye, whereas Garth goes to the opposite extreme, literally, finding the wacky and extra-ordinary. He left our audience with open eyes to the possibility of the future in craft.

 

 

How To Define Success?

The upcoming symposium sponsored by the San Francisco Bay Area Metal Arts Guild has me thinking...

A portion of the programming is titled, "What does Success Look Like in the Jewelry World?" The panel discussion will be lead by Sarah Turner, Assistant Director for Academic Affairs at Cranbrook Academy of Art. Panelists include Lola Brooks (artist, faculty at Rhode Island School of Design), Brigitte Martin (Founder, Chief Editor of Crafthaus), and Sienna Patti (owner of Sienna Gallery).

The conversation continues right after lunch (1:30 p.m California time) with Professional Practices: Conversation, Questions, and Commentary. I am upfront and center stage to  answer questions from the audience. Hopefully, the previous speakers can be included in the "conversation."

We will have live Twitter feed by Tara Brannigan, and you can follow along, and even ask a question. No matter where you are.

 

 

The big question remains...How do you define success?

Is the definition of success external or internal? By external, I mean by measures such as the number of books or galleries that represent your work. External might be how much work you sell. Internal is how you feel inside. Do you meet your personal goals?

What do you mean by “Success”?

Is reputation a marker of success?

Is making money a definition of success? Do you have to make money to be successful?

If you sell work at high prices, is that a definition of success?

Is it possible to be a successful artist and never make any money?

Is money the sole definition of success in our society? 

What is the relationship between critical attention and financial success?

These are some really good questions.  If you're like me, perhaps you wrestle with these questions all the time.  All of the advice offered through the Professional Guidelines, ASK Harriete, or the Professional Development Seminar is based on experience and a measure of success.  But each measure of success is only one ingredient. Every recipe for success is going to be different.

I lay awake at night torturing myself. By daylight it  is much easier not to think such stuff and go make something in the studio.

This Saturday, the topics are live and shared for all to consider. I'd love to hear what you have to say. What is your question that if answered would bring you success?

How do you measure success?

Harriete Estel Berman working in the studio on new Judaica Seder plate for Tu Bishvat. You can see the entire process of fabrication in a special album on Flickr.

RELATED POST:
What do you mean by “Success”? by Andy Cooperman

Plan The "Money Shot" Photograph of Your Art or Craft.

As mentioned in the previous post, Use Your Camera As An Impartial Opinion - A Third Eye, that post reviewed ways to get a fresh perspective on your work while the making is in progress. Your digital camera is a quick, easy, and effective tool for impartially looking at your work.

Here is another valuable use of your camera while your work is in progress ....

Use your camera to experiment for the final photographic images of your work.

While I am constructing my work, I am also planning the "money shot" or final image after completion.  The "money shot" is what my photographer, Philip Cohen, considers the one superlative image that best captures the essence of the piece; the one image that will be used most often to represent this piece for gallery and exhibition applications and likely be used on postcards, announcements, or in the exhibition catalog.

While you are most intimately engaged with a piece, right from the very beginning, start thinking about and planning this all important image. Think about the angles of your work along with the theme and content. Think about what you want this photo to say. Don't wait until the last minute behind the camera to make this decision.

It is a bit of an eye opener when we think about this: 
More people will see the photographic images of your work than those who will ever see the work in person. 

Once you realize this fact, the photographs of your work take on much more significance.  So, think about your money shot in advance.

Artists usually have a mental vision of such an image.  In reality, when a camera lens can only take one image at a time, it can be difficult to predict exactly which angle or shot will come close to capturing that mental expectation.  But a little planning and experimentation will help.       

Take test shots. As the work nears completion, take test shops to experiment with the best vantage points and angles that capture the most information.

Where should your camera be to capture the best part of the piece? Where should the viewer's gaze be to emphasize the most interesting aspects? What vantage point captures the theme or concept of the work?

As an exercise, scroll back to the top of this post and look at the photos of my Seder plate in progress.

The last four photos in this post were all test shots that I took quickly on a Sunday morning. The black background isn't the best for this piece, but a small black art table in the kitchen was the perfect size to set up the Seder plate and walk around taking some quick shots....pick your favorite position and your favorite photo.  Then continue from here to see the final "money shot" below.

What do you think? Agree or disagree? Remember, 90% of the time this image will be the one image that will represent the work. Catalogs, magazines, publicity, postcards,....and more will use this one shot over and over.

Below is the money shot from photographer Philip Cohen.

What do you think? Ideas? Comments?

Harriete

Previous posts related to this topic:

Guidelines and Tips for Working with Photographers - Handout by Doug Yaple from the SNAG Professional Development Seminar

Finding a photographer? Working with your photographer? Getting the shot you want.

Use Your Camera As An Impartial Opinion - A Third Eye

I've been working really hard for the last three months on a major piece. The deadline is looming, I can't take a day off to look at my work with a fresh eye. This is a real concern.

TuBishvat Seder Plate in progress. View every step from the past 2 1/2 months on Flickr.

Sometimes, I am lucky enough to have my husband, children or studio assistant offer their opinions. Thank goodness!

 

An impartial opinion and a fresh set of eyes are absolutely essential.

emiko oye and Aryn Shelander working together to fine tune the images in tin.

But all too often, like last night, I am by myself making really important decisions with no one to offer an impartial opinion, a third eye. After hours and hours of working each day, I am running into decision fatigue and can no longer see my work objectively. Does this ever happen to you?

It's a real problem -- the brain compensates by filling in less than perfect information. How can I find out if my next solution is "working" visually? How can an artist see their work with a fresh eye when there is no time to take a break?

Here's one solution:

USE YOUR CAMERA FOR AN IMPARTIAL OPINION
A few quick photos in the studio can really help you see your work in a new way.

TuBishvat Seder plate without leaves at the top of the apple.

Take out your digital camera and take a few photos.

Upload to your computer and evaluate the images.

Here is an example.  Compare two possibilities.

The left image has three leaves on the top of the apple. The right image has one leaf over the top of the apple.  Which do you like better?

The photos can help you see your work in a whole new way. 

Next time you're "stuck" trying to make a decision, take a few photos.  Or, . . . another person I know scans her work on her scanner.  Either way, capture an impartial opinion - a third eye and a fresh perspective on your work.

It really works!

Harriete

Next Post: Planning the best possible photographic images of your work.

Decision Fatigue: The Impact On Artist Productivity.

Have you ever experienced Decision Fatigue when working on your art or craft? It happens to me all the time, but it wasn't until recently that I figured out what it was and why it was happening and how this was affecting my work in the studio.

In the past year, I began to recognize that I only had a couple of productive hours to make decisions about the layers in my Flower pins, but didn't understand what was happening.  I'd just get to a point that nothing would work out. Then I'd come back the next day and layer after layer would "come together," but only for a couple of hours.

It was happening when I was working on the curve of the pencils in the sculpture Pick Up Your Pencils, Begin. I just didn't understand what was wrong with me.

It continues to happen, but now I know why and how to work more effectively in the studio.

Now I am working on a new piece of Judaica (see the whole portfolio of work in progress), and many decisions to make about the gold strips.

After about four hours, if more decisions are required, I can't make much progress. It is like slogging through mud.

 

Does this ever happen to you?

Well this phenomena has a name, "decision fatigue." The New York Times published an article "Do You Suffer From Decision Fatigue?".  It is worth reading.

Experiment after experiment proves that the brain can only continue making well reasoned decisions for a limited amount of time. Each and every person has a finite store of mental energy for decisions whether it is exerting self-control (e.g. resisting M & M's), purchasing, test taking, or (for artists and makers) making aesthetic decisions. 

Artists and makers usually make a lot of creative decisions when working in the studio. I am suggesting that if we recognize this limitation in our studio time, we might reschedule our day to work more effectively. We may have six, eight, or even up to 12 hours of physical work in our body, but maybe only four hours of substantive decision making.

Think smart and work smart for your most productive day.

Harriete

 

Hula Hooping, Jumping Through Hoops and Improving Your Business Practices

Harriete at the New Jersey Shore. Polar panoramic by Aryn Shelander.

The last days of summer are over.  Our family vacation to the beach was cut even shorter by Hurricane Irene.

The fall season is the time to renew dedication to our work. The business of art and craft can seem like jumping through hoops. So much to learn, so much to do.  It is just like learning how to hula hoop. It takes practice and a little encouragement to keep that hoop going. 

I've  learned lots of tricks. So can you, if you practice.

The SNAG Professional Development Seminar offers 21 lectures and handouts created especially for Artists and Makers who want to learn how to jump through the hoops of art and craft business practice. Learn from seasoned professionals and go with proven ideas.

 

TIME TO OPEN YOUR laptop or tablet to CHECK OUT these resources:  

Digital Images - File Extensions (2011)

Niche Marketing for Artists and Makers (2011)

Photography in Flux - Three Photographers' Opinions (2011)

Photography in Flux - Editors Perspective (2011)

PhotoShop Tutorial - How to Build a Better Drop Shadow (2011)

Niche Marketing and Photography in Flux Q&A with Audience/Speakers(2011)

Not Just Another Pricing Lecture (2010)

The Art of Selling and Pricing Your Work (2010) Handout

A Dialog About Pricing Your Work Q & A with Audience/Speakers(2010)

Submitting Work to Galleries & Retail Establishments HANDOUT(2009)

New Marketing Trends Resource List HANDOUT (2008)

Navigating The Web 2.0 HANDOUT (2008)

Artists Opening Galleries HANDOUT (2008)

Commissions HANDOUT(2007)
 

 

I'm doing a hula hoop trick called "Wild West."

Learn lots of tricks for improving your art/craft business practices. Read the archive of ASK Harriete columns in the left column. ASK Harriete your questions.

Subscribe to ASK Harriete for automatic updates or be my friend on Facebook.

NEXT Tuesday's post on ASK Harriete: Step by step examples for how I find exhibition opportunities for Pick Up Your Pencils, Begin.

 

Is it fruitless to even think of creating something fast to get into a show?

A reader of ASK Harriete asks:

Is it fruitless to even think of creating something fast to get into a show?  My fine art pieces also take me a long time (months and months). 

The short answer is that it depends on the show and your situation. While I generally recommend to make great work and then find a show.... there are occasions for which a smaller piece may fit both your long term goals and the near term exhibition theme.  For example, I created the 3M & m Candy Dispenser (right images) for such a situation.

A few weeks or a couple of months notice to make a piece for an exhibition isn't much time, but yes, sometimes the opportunity presented is worth a grueling crush to complete.

   3M & m Candy Dispenser © 2005
   Constructed for an exhibition based on
   using 3M products.
   Recycled tin cans, candy dispenser,,
   candy, brass
   Artist: Harriete Estel Berman
   Photo Credit: Philip Cohen

Here are my main criteria for deciding whether to participate in a show on short notice:

• Does the exhibition include insurance?

• Is this a quality exhibition space with an established reputation either locally or nationally?

• Will the work be handled by professional art handlers?
  
  
• Will the exhibition sponsor generate good visibility for the show with an audience that would appreciate my type of work?

• Do I have a good/interesting idea for the exhibition theme?
  
  
• Is the exhibition sponsor (or curator) a place (or person) that I would like to develop a working relationship with for the future?
  
  
• Do I want to support the theme or organization sponsoring the exhibition?


• MOST IMPORTANT: Do I have enough time to make an excellent example of my work including skillful execution and a thoughtful concept?
  
  

Below are more examples of work made for a special exhibition and why I made it.



“Butterfly” by Harriete Estel Berman

This is my butterfly for the exhibition “I Never Saw Another Butterfly” at the Holocaust Museum in Houston. If you look closely, you can see the children playing. The Holocaust Museum Houston was collecting 1.5 million handmade butterflies in an effort to remember the loss of children during the Holocaust. The butterflies will eventually comprise a breath-taking exhibition, currently scheduled for Spring 2012, for all to remember.

I decided to participate in this exhibition for three reasons:

• The theme expressed a poignant resonance.
• I had the perfect tin to execute my butterfly idea.
• The project was small. I could make an exquisite  butterfly in a week.

CERF Shoe by Harriete Estel Berman
St. silver rivets and eyelets, electrical wire shoe laces, tool dip.
1.15 “height  x  3.5 “ width x 3.5 “ depth (including shoe laces)

My shoe is constructed from recycled tin cans from KIWI Shoe Polish, and other tin cans. This shoe was made for CERF (Craft Emergency Relief Fund) as part of their raffle that was shown at SOFA Chicago 2009. CERF helps artists with financial emergencies.

I decided to participate in this exhibition for three reasons:

• CERF is an organization that helps artists.
• The raffle for the collection of shoes gets great visibility at SOFA, Chicago and mail distribution of their postcard.
• Their raffle method does not devalue my work (like most fund-raising  auctions.)

 

Children are not Bulletproof  
© 2000    Harriete Estel Berman
Two pins and three wall mount elements constructed primarily from recycled tin cans; brass, 14k. gold-filled wire, vintage plastic, red satin ribbon.                          
64.25” height installed (Ribbon length rests on the floor)   x   4” width   x   2.25” depth

Two pins and three wall mounts exhibited and sold as one unit.
Children are not Bulletproof  is available for purchase or exhibition.
Close-up view below.

Children are not Bulletproof  © 2000 Harriete Estel Berman

This was originally constructed for a political badges show at Helen Drutt Gallery.
I decided to participate in this exhibition for three reasons:

• Helen Drutt asked me to participate. (It is hard to say "no" to people you respect or admire.)
  
• Helen Drutt Gallery usually managed to get great visibility for many of her shows.
• I thought that I could a make a good piece within the three month advance notice.

These were just a few examples. When there is an invitation or a juried opportunity, you have to weigh the pros and cons for each show, and then decide for yourself.

I have one more post in this series coming up.... How Do You Find Exhibition Opportunities for Finished Work?

Do you have any more questions about this topic? Let me know.

Harriete

 

Children are not Bulletproof                                                             © 2000    Harriete Estel Berman

Two pins and three wall mount elements constructed primarily from recycled tin cans (pre-existing scratches and marks may be present); brass, 14k. gold-filled wire, vintage plastic, red satin ribbon.

                                           

64.25” height installed (Ribbon length rests on the floor)   x   4” width   x   2.25” depth

Two pins and three wall mounts sold as one unit.  Pieces may not be sold separately.     

Make Work YOU WANT TO MAKE and then... THE WORK Will Find a SHOW

Harriete,
I have spent the afternoon reading Ask Harriete.  Often times, I see a show I feel my work would fit into...due to the subject matter, title, etc., however, there is NOT enough time to create a piece and get it submitted in time .  After reading what you say in the interview (from Etsy Recycler's Guild  , I am surprised to see, that you most likely enter shows after the work is done. 

Or as you once told me, you shop the work around in order to find an exhibition space.  So, what can you offer to those of us who have the problem?  

Mary Anne Enriquez

This issue often causes artists and makers to feel overwhelmed.  Your schedule is already full and then an opportunity arises that would demand even more time. Who can just drop everything and start
                                                    something new?

Although I do make work for some shows (and will show some examples in the next post on ASK Harriete),  I prefer to make work that I want to make based on my long term goals.

I recommend that all artists and makers make the work they want to make.

Measuring Compliance Poster
portrays sculpture by the same title.
Measuring Compliance © 2006
Recycled materials, 3rd grade desk,
3rd grade chair, banners, custom made
straight jacket, yardstick, rulers.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

It is the artist's or maker's responsibility to bring  important or significant ideas to fruition without the dictates of a theme, exhibition or invitation. Maybe these ideas are big, expensive, demanding, or even scary. So what if it takes a year or more to finish because you have to put it down, work on your day job or other art work that makes money. Just keep working with the big goals in mind.

If you wait for a show invitation to start making something big or important, you may never get around to creating significant artwork. Too often, I have heard from artists expressing disappointment that they didn't  get invited to be part of a particular exhibition even though they had been thinking about making something that would have been "perfect" for the show.  Don't wait for a show to prompt the making . . .  start making.  By waiting to make something "for a show" ... they lost an opportunity.

The emphasis is on making work that is challenging, significant, and stands on its own . . .  not making work that fits into a show in a few weeks.   Make work that you will be proud of for a lifetime.  Sooner or later a show or some other opportunity will turn up that is right for your work -- not the other way around.

HERE IS AN EXAMPLE:
I just finished the project Pick Up Your Pencils, Begin. It took the better part of five years. I often had to put it away until  I had time or help available to work on it.

Most often, the bigger or high risk projects aren't necessarily the ones  that will sell, but they may become the "show stopper" that establishes your reputation years later.

Here is my real life example.    The  day before I finished Pick Up Your Pencils, Begin, a major magazine emailed about writing an article on a topic highly relevant to this work! Wow!!!!! They need photos of the installation, so now I need to find an exhibition space.

This wasn't magic. I have also been working on documenting the construction of this artwork, writing about it on my web site, Facebook, my blog, Crafthaus and other social networking sites.

The editor had become aware of this project from my web site. I've had a link on my HOME PAGE ever since I started the project.

Apparently editors and writers spend some of their time "trolling"  the internet for ideas and new work. Marthe Le Van, editor for Lark Books talked about this during her presentation for the Professional Development Seminar. A lesson to all of us to keep making your work, documenting your progress, never give up...steady progress wins the race!

MAKE WORK YOU WANT TO MAKE and then... find an exhibition space.

Anyone know of an exhibition space for Pick UP Your Pencils, Begin?

I'd love to hear your ideas! There are 3-4 weeks before the article goes to press.

Harriete

You can see the documentation of Pick Up Your Pencils, Begin on my web site.

NEXT POSTS on ASK Harriete:

• Is it fruitless to even think of creating something fast to get into a show?

• How Do You Find Exhibition Opportunities For Finished Work?

The Billboard Art Project Breaks ART BOUNDARIES in Duluth, MN

Normally we see art and craft in galleries, museums, stores, or online -- seldom does a venue actually reach out to the general public.  Well, that's about to change!  The Billboard Art Project breaks through all the ivory tower gates and grabs the attention of the commuting audience with BILLBOARD SIZE IMAGES of art.   AND . . . my artwork is included in the Billboard Art Project!   How exciting!

Two Cups from Consuming Conversation by Harriete Estel Berman

A billboard optained from Lamar Advertising by The Billboard Art Project  will display site specific artwork for a continuous period of 48 hours on their billboard in Duluth, MN. They selected 59 artists from all over the U.S. and Europe to have their artwork images exhibited in an eight hour show that will repeat six times. The images in this post will be shown along with the other artists beginning at midnight Friday night through Saturday and Sunday until midniight Sunday night. Wish I could see the real thing. If you live nearby, take a picture. Send it to me on Facebook or Flickr.

Three Cups from Consuming Conversation by Harriete Estel Berman

In addition to providing artists with a free venue to display their art, free art shows are provided to the public, thus initiating a dialogue between artists, viewers and the public landscape. How cool is that?

Art Jewelry Bracelets by Harriete Estel Berman

WHERE: Billboard Art Project - Duluth, MN

LOCATION: Digital LED Billboard at the intersection of
               E Central Entrance and S Blackman Avenue
              (southeast corner)
               Duluth, Minnesota, 55811

WHEN: Saturday, August 20th at 12:01 a.m. through
           Sunday, August 21st  11:59 p.m.


Three bracelets from Golden Girl  of the California Collection

ABOUT:
Billboard Art Project is a nonprofit organization that acquires digital billboards normally used for advertising and repurposes them as roadside art galleries. Projects are held in cities all over the country and are open to all individuals and groups who are interested in participating.

PARTICIPATE in the Billboard Art Project:
If you want to submit images of your art or craft for future locations, more information can be found at The BillBoard Art Project. Each city has different requirements, dimensions, and deadlines. Read the PDF super carefully! You have to resize your images to fit the Billboard dimensions, and it takes time to label your images properly. Your fabulous images could be a billboard.  I think this is a fabulous idea!

Harriete

PARTICIPATING ARTISTS for Duluth,MN listed below:
Alex Lange, Alli Miller, Amanda Mead, Becky Kehrwald, Brian Barber, Brian Nogues, Brian
Rauvola, Cat Bottoms Newby, Chau Dang, Claire Accardo, Connie J. Frisch-Cherniak, Dana M. Johnson, David J. Thompson, David Morrison, Elizabeth Shores, Ellen Mueller, Erin O’Daniel, Erin Rolf, Flavio Galván, Ginny Lloyd, Happy Accidents, Harriete Estel Berman, Jacob Riddle, Jason Sayner, Jeredt Runions, Joelle McTigue, Joshua Barber, Julia Whitney Barnes, June Bisantz, Justin Anderson, Justin Jorgensen, Karlie Thomas, Katerina Lanfranco, Kelsey Bosch, Kerry Woo, Kiyomi, Kristian Bjørnard, Laura Cinti, Laurel Beckman, Laurie Paravati, Luisa Pulido, Marcellous Lovelace, MaryAnn Cleary, Michael Harford, Michele Guieu, Mitchell Bercier, Nadia Pacheco, Natalee Parochka, Natalee Phelps, Phyllis Fox, Rachael Gorchov, Rachel Halgren, Sarah Jacobs, Scott Murphy, Seeking Kali, Shaun Irving, Stephanie Thompson, Tracy Stampfle, Wes Kline

HOT TOPICS! Questions From the Audience at the Professional Development Seminar

The AUDIENCE asked the questions that they wanted answered! The energy was immediate and electric! The questions on target for what artists and makers deal with every day. 

Discussion was further sparked by the interlaced perspectives and recommended strategies of the Niche Marketing and Photography in Flux speakers during the 2011 SNAG Professional Development Seminar.

Now you can listen online to the ENTIRE PDS LUNCH DISCUSSION.

Below are TWO SAMPLE QUESTIONS discussed on the podcast.

AUDIENCE QUESTION:
"What camera should I buy?  There are so many, it is kind of confusing."
"There is a growing number of digital cameras out there. Rather than suggesting specific brands," Roger Schreiber suggests "looking for 'certain features.'  It is absolutely important that you be able to control the focus, that you be able to control the aperture, and you be able to control the  shutter speed. You should be able to tell the camera what color balance you want to use. And all the major manufacturers make those kinds of cameras. You should also be able to shoot in RAW. You don't necessarily have to have interchangeable lenses."

"I would totally ignore Megapixels. More pixels don't necessarily make for a better photograph.  I would think in terms of the size of the sensor. There are some cameras with full size sensors."

"Look at the features and look at the sensor size.  'Point and shoot' cameras have an absolute tiny sensor in them that is less than 1/2" across. Some are packed with 14 megapixels. You are never going to see the details and shadows without a larger sensor. The handout by Roger Schreiber [Download Schreiber_Photo resources] lists a number of web sites. "A couple of them will lead you to sites with camera reviews."

Do some research first. Learn what the terms RAW and sensor mean [so you understand the features described in the camera reviews].

emiko oye suggests renting a camera and lenses from your local camera store for a day. You don't need to spend $5,000 to get a professional camera. Her favorite lens is a 24 to 104  mm (which is like a portrait lens).  She adds, "jewelers you should definitely buy a macro lens."

 

AUDIENCE QUESTION:
"How do you decide which work should be photographed by a professional photographer?"
Doug Yaple advises, "Look at your work and pick out the  strongest pieces. If you have a really low budget,... pick out the five strongest pieces. And if you want, when you go to the photographer, take more than that, and talk about them ALL with the photographer. See what will translate into [the best] image. It may not be the piece you think. Work it down to fit your budget and then use those images as long as you can."
 
Christopher Conrad says: "Only use the images that are good. If you put out poor images of your work, it reflects on your work. If you can only afford two good shots, only put up two good shots. Don't put up five bad ones."

Hilary Pfeifer says: "I think it takes a lot of time when you're first starting out from school to get a good body of pictures. I remember it felt like four or five years for me until I could pick from the cream of the crop, but it is an investment. It's a really, really important investment to have professional photographers take the most important pieces."

Many more great questions . . . .
Below are a few highlights from the lunch discussion.  Take time to listen to the entire podcast.

Is there a new standard emerging for photographic images?

What are the ethics of PhotoShoping your work images? Where do you draw the line between taking out dust specks and filling in a solder gap?

Who owns the rights to the photograph? What about "use fees" for a cover shot?

What kind of "master image" should you receive from your photographer?

Where do you find your market?  Etsy, web sites, or traditional galleries?

Ideas for marketing your work and visibility for your blog.

Harriete

* The podcast refers to the following documents:

Model Consignment Contract in the Professional Guidelines.

Roger Schreiber Photo resources with photography links.

Handout for the Photography in Flux speakers.

DIGITAL IMAGES File Extensions a quick tutorial
PPT and HANDOUT.Digital Images from the SNAG Professional Development Seminar 2011

View another webinar from Harriete Estel Berman

Photography in Flux Editors' Perspective - Are You Creating a Captivating Image?

Photography in Flux - Editors Perspective starts with Suzanne Ramljak, Editor of Metalsmith Magazine, writer and curator. It continues with Marthe Le Van, Editor of Lark Books. The recorded program is now available for you to hear on line with the original Powerpoint from the SNAG Conference.

As I edited the audio from the SNAG 2011 Professional Development Seminar I hung onto every word. I learned a lot about the editors perspective on the qualities of the best photos, and mistakes they see every day.

This newsstand is an example of visual pollution in our "media saturated culture". Suzanne Ramljak, Editor of Metalsmith Magazine, presented this as an establishing image in her lecture for Photography in Flux

How appropriate for a magazine editor to consider how the magazine competes on the newstand with many other publications, candy and packaging, all at the same time.

Did you ever think about how  photos of your art work compete with the "5,000 ads" people look at every day?

  Irving Penn still life photo

Suzanne Ramljak offered many fabulous quotes:
"The still life photographer makes the photo as compared to takes the photo."  

Are you making the photos of your art work fantastic, or are you merely taking a photo? Ramljak reinforces that "artists need to create a captivating image."

"There is no neutral background in a photo."

"Artists need a captivating image to compete with the visual noise without sacrificing the integrity of the object."


Click for more examples of The Art of the Reproduction on line.

Suzanne declares: "The web poses new challenges. Anything can happen to your images and does." Just consider this compilation of the painting, Birth of Venus, by Botticelli. Each square is from a different web site. The variances represent the half truths, misrepresentations, and lack of control artists, photographers, and editors have when images leave their computer and travel at the speed of light on the Internet.

The Photography in Flux- Editors Perspective continues with Lark Books Editor, Marthe Le Van. Among the many issues addressed were the questions: What is a good cover photo? Is there a national, European, Asian or international style to jewelry photography? 

Getting down to the nitty gritty of photos on the Internet, Marthe confronts us with the reality of small postage stamp size images on a gallery website or social networking site. Do the photos of your art or craft have a strong enough graphic quality to get a viewer to click through on the image?

Le Van answered a question that I have always wanted to know. What makes a good cover shot? What do you think? 

Earrings by Beate Klockmann  from the
book 21st Century Jewelry edited by
Marthe Le Van

 Is it possible to break all the rules and still have a great photo?

What are your questions? Can ASK Harriete offer answers? Open the discussion.

Listen and learn from the opinions and experiences from both of these experienced editors in Photography in Flux.

 

 

 

 

 

Photography in Flux (Editors Perspective)
from the SNAG PDS 2011

View another webinar from Harriete Estel Berman

 

Photography in Flux - 3 Photographers Offer Tips and Tricks for Quality Photos

Doug Yaple, Christopher Conrad and Roger Schreiber all offered solid information with tips and tricks for producing quality photographic images of art and craft. Now EVERYONE can benefit by watching and listening to the same PowerPoint presentation given at the 2011 Professional Development Seminar during the SNAG Conference in Seattle.

Here are a couple of highlights from the photographers commentary followed immediately by the SlideShare presentation. "Learn how the visual language of photography can represent your work most effectively."

  Photo by Doug Yaple of glass goblets
  with a more "classical" approach to the
  background.

QUOTES from DOUG YAPLE:

"The market and the audience should drive the decisions in how to photograph your work."

Ask yourself, "What is the image to be used for? Online advertising, articles in print, cover shots, jury submission?"

"Make the story come out in your photos."

Doug Yaple was very articulate in describing his photographic images and why they are so effective. Listen to the Photography in Flux presentation and learn.

            *****

Photos by photographer Christopher Conrad

QUOTES from CHRISTOPHER CONRAD:

TIP 1. WORK WITH GOOD LIGHT
Be careful about colored walls and mixed lighting sources when photographing your work.

TIP 2. USE TOOLS TO SHAPE AND MODIFY THE LIGHT
He makes a couple of suggestions for bouncing light into the photographic image.

TIP 3. BUILD A SOFT BOX FOR DIRECT SUNLIGHT.
Conrad tells how.

TIP 4. USE A TRIPOD
Did you know that a "lower ISO reduces noise"? I didn't.

TIP 5. A TRICK FOR SHOOTING PAINTINGS, QUILTS OR LARGE FLAT GEOMETRIC OBJECTS. It's so simple! Listen to Photography in Flux and learn. 

 

          *****

Close up photographic image by Roger
Schreiber of ceramic by Carol Gouthro

Photographer ROGER SCHREIBER says ask yourself:
"Who is your audience?"
"Do you have enough time?"

 

He continues: "Everything that falls within the frame is part of the photograph. Shadows, highlights and background are all part of the picture." He is so right. When looking at something in person, the human eye has a natural tendency to edit. The photographic image is another thing entirely. Everything has equal importance in the flattened picture frame. This makes even the tiniest flaw look like a major distraction. Here is an interesting article about the Camera vs. The Human Eye.

 

          *****

Photography in Flux (Photographers PPT) from SNAG PDS 2011 Gl from SNAG PDS 2011

View another webinar from Harriete Estel Berman

Finding a photographer? Working with your photographer? Getting the shot you want.

 

RECYCLE White w/Black © 2011
Post consumer recycle plastic
Artist: Harriete Estel Berman
Photo Credit: Aryn Shelander

Deadlines for new opportunities are always on the horizon so there is no time like the present to prepare for future opportunities.

Are you ready with amazing, quality photographic images?

Photo by Roger Schreiber
Glass by Jim Mongrain

Photographer Roger Schreiber says: "Quality sells" and "Remember more people see the photographic image of your work than ever see it in person."

Would you like to know the tips and tricks of professional photographer?

 

Next Tuesday's post on ASK Harriete features
Photography in Flux.  Recorded during the 2011 Professional Development Seminar this SlideShare presentation with audio includes the three Seattle photographers who tell us how to create better photographic images. Stay tuned, put it on your calendar.

 Williams Sonoma Bracelet
  from the California Collection
  Photo Credit: Philip Cohen

Your images need to be spectacular!

Wondering how to find a photographer?
Study the photos in the 500 Lark Books, top quality publications or look on the SNAG web site for a list of photographers. Another idea is to contact local art schools for graduating photo students.

   California Collection  © 2009
   Recycled tin cans
   Artist: Harriete Esetl Berman
   Photo Credit: Philip Cohen

Look for a photographer that takes great shots in your media, and style. You can also use the Professional Guidelines document titled, Guide to Professional Quality Images, to evaluate the photographer's portfolio before you ask them to photograph your work.

  California Collection © 2009
  Recycled tin cans, wood, paper
  Artist: Harriete Estel Berman
  Photo Credit: Philip Cohen

WORK WITH your photographer.
By that I mean, discuss in advance the type of image you want, the angle of the piece, and the side or view that you prefer. Photographer Doug Yaple wrote an excellent handout for the Professional Development Seminar during the SNAG 2011 Conference titled, Guidelines and Tips for Working with Photographers. Download DougYaple

  Fulsome Game
  Photo Credit: Philip Cohen

I often make a sketch of the image that I have in mind for my photographer, Philip Cohen.  He is welcome to experiment with his own ideas, too, but I usually have a good idea of what I want to see in the final image and make every effort to make my expectations clear.

 emiko oye suggests:
"If you aren't a skilled photographer (yet), best to hire a professional studio photographer and ask if you can observe the shoot. Some won't mind if you quietly look on while they shoot your pieces, but it's best to ask."

"Do your homework before your appointment and look at magazines and books for the type of shots that you are attracted to and bring these to the attention of your photographer so they know how to style your shots."

Get the shot you want!
During the PDS, Doug Yaple said, "Don't overlook getting in tight to accent something critical."  Your detail image should be able to stand alone on its own merits AND be a companion image to your full view. Carefully consider the meaning, content, story, or inspiration behind the work and try to capture this in the detail photo. 

The time and money required to produce professional quality images is relatively small in comparison to all the work you put into a finished piece.  It is an investment. The pay off comes from the free publicity, visibility and long term credibility that you can receive when you are included in a exhibition, book or magazine!

ACTION PLAN:

Read GUIDE to PROFESSIONAL QUALITY IMAGES  in the Professional Guidelines. 

Find the photographer for your work.

Plan the photographic image while you make the work.

WORK WITH YOUR PHOTOGRAPHER to get the best shot.

Do you want to learn how to take your own photography?
Next Tuesday's post includes tips and tricks from three professional photographers from the Seattle 2011 Professional Development Seminar. They generously offer advice on how to improve your photography. Stay tuned, put it on your calendar or subscribe to ASK Harriete.

 Harriete
www.harriete-estel-berman.info

Shooting with a model:
Images to the above left show a recent photo shoot for my RECYCLE series. The top photo shows the entire team it takes to get a great model shot. Left is photographer Aryn Shelander. I am holding the reflector (right), but also worked as the stylist for the photo shoot. The model was Jen Ohara.  Both photos by documentary photographer Alyssa Endo. More information soon on important tips for shooting with a model.     

NICHE MARKETING - 3 Presentations Offer Great Information

The Professional Development Seminar from the 2011 SNAG Conference was recorded and is available for listening and viewing!

Now you can see the same presentations and hear what our niche marketing experts had to say.  I enjoyed the real time events but learned even more when I was editing the audio....and I think you will too! Here are a few highlights, (then scroll down for the SlideShare presentation with audio).

Alexander Girard mid-20th century
dolls sold to adults were a stylistic
influence on Hilary Pfeiffer new line
of wedding toppers.
Photo from H.Pfeifer PowerPoint.

Our first speaker, Hilary Pfiefer, describes her "Bunny with a Tool Belt" line that keeps her going in this tough economy.

Hilary explains that her  childhood interests evolved into her wedding cake toppers sold on Etsy (left photos). She says these are among the few things that people keep and display in their homes after the wedding. Every one of her wedding cake toppers delights...check out success by looking at Bunny with a ToolBelt!

 

Next up, the Professional Development Seminar continues with emiko oye.  Watch the SlideShare and take notes. No matter what your medium or style, emiko offers solid information that translates to success from gallery exhibitions to Etsy.

 emiko's TOP five tips
for Getting Your Business Out There!

1. Professional Quality Photography
This is THE MOST IMPORTANT TIP for getting exposure for your business. First impressions are everything so why not wow people's socks off from the get go!

2.Take Risks Don't Get STUCK: Balance
Even though you may sell a ton of one design in one style, don't get stuck just putting all your focus on making the same thing over and over. 

Balance: I'm a staunch believer in making important exhibition pieces (right images) as well as production, ready-to-wear. The exhibition work definitely helps sell the production work and gives broader exposure.

3. Take Note & Be Accessible
Pay attention to how people respond to your work, feedback helps define your niche market. Be Accessible: means have a web presence. As I've said in my lecture, "If you aren't online, you don't exist". Get involved in social media with Facebook, Twitter, and  Crafthaus.

  All jewelry (above right) by emiko oye
  from repuprosed LEGOS
  The Tire Earrings are included in new
  Lark book 21st Century Jewelry

4. Be Ready Set Go!
When opportunity strikes, you must be ready with line sheets, images, bios, and artist statements. Flickr and your web site are great for being ready for the press.

5. Get Involved.
While we love to hole ourselves up in the studio and make to our hearts content, it's important to get involved in your community, local, & national arts organizations.

emiko is posting a more detailed information  about each tip on her blog this week.

 

Our third Niche Marketing speaker, Deb Stoner, has a multi prong approach to support herself which includes teaching workshops in  eyeglass fabrication, custom designing and fabrication for Donna Karan, along with her jewelry & photography. She keeps it fresh by being open to opportunity. Read the Handout Deb created for the PDS about Niche Marketing.  Download DebStoner_Final

 

                      *******

Niche Marketing from SNAG PDS 2011

View another webinar from Harriete Estel Berman

The Professional Development Seminar was organized by Andy Cooperman, Brigitte Martin and myself, Harriete Estel Berman. We had a strong program brimming with information and over 500 attendees but the Internet offers the opportunity to share this programming with a much larger audience.

Please feel empowered to share this SlideShare or post on ASK Harriete with your fellow artists and makers (with  proper attribution, of course).  If you want the HTML code to paste this NICHE MARKETING SlideShare into your own blog, web site or organization newsletter, just write to me at:  bermaid [at] harriete-estel-berman [dot]info. It is super easy to do.

Our sponsors include the NEA, National Endowment for the Arts, MJSA, and SNAG.  Stay tuned for more SlideShare presentations with audio from our PDS programming.

Strategic Thinking When Applying to a Juried Opportunity

The value of being in a juried exhibition or book is the free publicity, broad visibility and long term credibility.  These benefits are certainly worth investing some time and perhaps a little money. 

When applying to a juried opportunity, some strategic thinking will improve your chances of selection.   I recommend that you review the TOP TEN TIPS for Getting Into a Juried Exhibition, Show, Book or Magazine in the Professional Guidelines.

Think about how your work can be interpreted within the theme and plan your work accordingly.

Begin by carefully reading the purpose and goals for the exhibition, show or book. 

Analyze the statement with your own creative interpretation.  The most important point is... don't rule yourself out because of any initial impression that your work doesn't fit perfectly.  Instead, try to construe how any of your work could fit the stated premise with a little creative interpretation.  This may seem like a challenge but here is what I mean in this case. 

I often look up the meaning for every word in the title, theme and the description in a dictionary and online. 
Look for interpre- tations that you have and haven't considered. WRITE DOWN YOUR IDEAS.... every one of them. This gives me a range of possibilities to provide some focus areas without being too limiting.

Then, if I don't have a match in mind yet, I do an online search of my local library system to identify some topical books.  I go to the library and walk through the stacks near the identified books looking for new ideas.  Sometimes I will take home piles of related books to look even further.  Yes, I will sometimes invest hours in my research and thinking.  

Extensive research may develop alternative possibilities for the opportunity, but don't look at other artists and makers work.  Look at "primary sources" especially if you want to make something outside the usual expectation or forms. Think about an unusual format or design or content.  Redefine the usual parameters.

Design. This a really important word to me.  What does the word "design" mean to you?  I think of many possibilities:

• repetition of forms
• repetition of elements
• ornamental design
• graphic design
• aesthetic design
• modern design
• rectilinear design
• ethnic design
• native American design
• architectural design
• holloware design
• CAD-CAM design
• Design Sponge
• furniture design
• industrial design

Can you add to my list?
Please do in the comments for this blog post.
"And There Was Light" book hold spice box
Artist: Harriete Estel Berman

MOCK UPS AND MODELS.  I often make 3-D mock ups prior to a sculpture using recycled cereal boxes. My son will sometimes do CAD drawings from my cardboard models.  This time invested in making models reveals plenty of issues and improvements to help the final work stand out.

  Pear Mezuzah © 2011
  Post consumer recycled tin cans
  Artist: Harriete Estel Berman
  Following the precept of tikkun olam
  Retail Price $175.

Novel structures, interesting appearance, and original concepts. Showing your artist’s voice in a truly creative object will serve your work. Innovate with different kinds of different shapes, sizes, arrangements, purposes, and imaginative designs.

Repeat this process. Practice this way of thinking regularly to submit to other juried books and exhibitions. It does take a little extra effort but it will improve your odds of selection. Although you never really know how jurors will react, you do need to help the jurors find a reason to select your work above other submissions.  

And the most important action is APPLY, otherwise you have zero chance of being selected for the book, show, etc.

Good luck with your application.    

Harriete
www.harriete-estel-berman.info

P.S. Two juried exhibition opportunities were mentioned in a previous post on ASK Harriete.
Apply soon. Applications are limited to the first 150 applications and due July 31, 2011.

A Vision Beyond the Moment?

Recently, I was interviewed for an online e-commerce site called e-junkies. They have lots of practical and interesting information about e-commerce, trendy products, small business and self publishing. 

Yes, definitely read the interview and roam around the site.

When I posted a link to the interview on Facebook, Alison Antelman commented, "This is a quote that I really like (from the interview), 'There needs to be a vision beyond the moment.' Well said!"

Do you have a vision beyond the moment?
Are you thinking beyond the making?

   Password Flower Brooch with glasses
   Post Consumer recycled tin cans
   Harriete Estel Berman  © 2011
   Diameter 3 1/8"
   Retail Price $425.

We makers typically love "making" so much that it is easy to forget the most important tool is our brains.  This is why the current knitting mania is driving me nuts ..... especially when justified with little excuses....the "pleasure" derived from the absence of thought and quips such as, "I can knit without thinking." blah, blah, blah.

This post was prompted by a recent quote in the ACC series, Why I Make (which explores the human impulse to create).  Elizabeth Howard wrote, "When I switch on my knitting hands, I can take time off from the thoughts in my head.  Knitting - usually done haphazardly, without a clue what BOs and yos are - releases me from having to tune in (at that moment) to that always-chugging creative engine." 

My jaw dropped. This may appeal to a hobby audience, but I couldn't believe that this rationale appeared in an ACC publication. 

I don't want to paint knitting as the "bad guy," but this overt joy of mental separation from the making that is sweeping the craft world is just one example.  Other parallels are everywhere...IN ALL MEDIA whether working at the potter's wheel, weaving a basket, sanding wood, mixing a glaze, making handmade chain.  

  Page from Manufractured © 2009
  Recycled tin cans, steel dollhouses
  Artist: Harriete Estel Berman
   Photo Credit: Philip Cohen

It is fine if you just want to make, but many makers also want to see their work in exhibitions, shows and books.  And that is the key, this higher level of recognition requires constant, active, thoughtful inspiration, not just aspiration.  

If you enjoy siting there happy as a clam because you are making, that is OK.   But  without thought, the finished work will indeed have no vision....and I assure you....any editor, publisher, or exhibition jury will look at the work and see that it had no vision.

Here are a couple of suggestions for a "thinking while making:"

ACTION PLAN.

• Plan the display of the work early. Anticipate success.
• Construct the work so that it can be repaired if damaged.
• Write down thoughts for your artist statement.
• Keep the main objective for the work forefront in your mind
• Experiment and take risk. Challenge yourself beyond "safe" work.
• Think about the photo early while you make the work.*

My sincerest unapologetic opinion,

Harriete 

* The recent Professional Development Seminar at the 2011 SNAG Conference, photographer Roger Schreiber recommended that artists and makers think about the photographic documentation of their work sooner. This is especially important for fabulous photos. You can see a "preview" of the PowerPoint and audio of the Professional Development Seminar. (I am still fine tuning the slide image transitions.) Your feedback is most welcome.

Yellow Flower Scroll Doorpost Mezuzah
Dimensions: 7.25” length
Retail Price $220.

To Co-Op or NOT to Co-Op: A really big question.

Dear Harriete,

I've been invited to become a part of an artist co-op and before I jump on the bandwagon I need to educate myself. 

The group is small right now ~ 5 artists.  For some reason, the city is requiring that a metal sculptor be a part of this group.  I do not know who this person will be but the space has room to grow, so I'm sure the group will grow from the original 5 artists.

We will be able to use the space for creating as well as selling.  Our time is our own, so if we are not there we just use an "out to lunch" sign, and we are not obligated to watch for other artists.

The location is owned by the city.  We would pay rent to them.  And the city would be responsible for advertising/marketing.  The rent is not yet set, but they are saying it will range somewhere between $100 - $300 a month ~ quite a steal.

Above images:  Diana Casabar
1. The Escher Cuff
2. The Mixed Metal Boat Necklace
3. The Mother Necklace
4. Poppy Brooch
5. The Sunflower Cuff

I have asked the following questions:
1.  What are the security arrangements?
2.  Will our equipment and products be insured or do we need to insure them?
3.  Can I use my torch and chemicals in the building?  Is the building fire coded for that?
4.  Is there electricity?
5.  Will I have running water?
6.  Will we be responsible for building out our space, or will the city do that?

Can you think of any other questions I need to ask them before I make up my mind to be a part of this group?

Diana Casabar

Diana,

This is definitely a question with potential consequences.  I will try to be brief.  The questions you have asked so far are a good beginning but, there are two overriding issues on my mind: 1) insurance and 2) getting everything in writing.

Everyone should have insurance to protect their work, tools and equipment regardless of whether the city has insurance to cover the building.

Get everything in writing. This includes arrangements with the city and with the other artists. Getting everything in writing may seem like a pain and take some time, but it will clarify the issues and avoid misunderstandings and miscommunication.  Believe me, this effort at the beginning will save time and friendships in the long run.

Write up a list of co-op guidelines for Studio Policy, Adding and Subtracting Members and Display Policy.  See some suggestions below.  See also my Critique Group Guidelines.  Download Critique Group Guidelines Final2011 which you can modify for your particular purposes.

The next part is very sensitive ….. in my experience, there is always a range of unequal effort and participation.  Frequently it seems that one person may work harder and longer then everyone else and that person may or may not be expecting others to work as hard…..which can cause problems.  At the other extreme, there is often a person who does not pull their weight.

A portion of the group may resent the super hard working person or the polar opposite person .... and that creates stress and tension.  And trust me, it happens even if they are your friends (currently).

ACTION PLAN:
Establish a clear set of guidelines NOW while everyone is still friends. As I sit and write this post, more and more issues keep coming to mind....there is so much to consider.

Below are some suggestions to discuss and get in writing.

STUDIO POLICY for:

• Sharing equipment
• Shop hours
• Shop safety
• Lock up
• Cleaning up after yourself and in common areas
• Weekly/Monthly contributions to shop maintenance
• Keeping track of the hours for shop maintenance
• Policy for lost and broken equipment.
• Creating a fund that everyone contributes to for future improvements.
• Voting on future improvements.

 

ADDING AND SUBTRACTING CO-OP MEMBERS

• Nomination and acceptance of new people
• Set up a policy for how a person leaves.
  
• What if they owe money? What if they do not pay up?

DISPLAY POLICY

• Common aesthetic for display
• Review of items on display
• Establish retail (not wholesale) pricing
• Commission for the co-op
• Commission for the seller
• Work hours contributed to gallery maintenance.
• Hours for “sitting” at the space to keep GALLERY HOURS
• Policy for Open Studios

PAPER WORK, TAXES AND ACCOUNTING

• Who is responsible for accounting?
• Who is responsible for paying rent, etc.
  
• Who is the primary contact with the city?
  
• Will each of you handle your own taxes?
  
• Will you need a business license with the city?
  
• How are you handling purchase? Checks, credit cards,Square
  

 Despite the expectations of the city for not keeping regular hours or no stated obligation to watch work for other artists, in reality, if you want people to visit your display space there needs to be regular hours that are posted…such as Thursday, Friday and Saturday 11:00 AM to 6:00 PM.

Everyone needs to take a shift on a rotating basis for gallery hours and preventing theft.

Hope this helps. If readers of ASK Harriete have some other issues that they consider important in a co-op situation, please write them in the comments.

Harriete

 

Promoting YOUR art or craft with SlideShare - Take Your First Step

SlideShare is a great way to promote your art or craft.  The free online service provides easily accessible usage information such as the number of views on each of your SlideShare presentations.  You can allow viewers to download your presentation or opt out.

I'd say you have nothing to lose, and much to gain! It is a great way to create a short lecture about your work, or insight into your special technique.

Below this example SlideShare presentation is information about the costs involved and links to get the free software.

Obverse Obsession

View another webinar from Harriete Estel Berman

COST:
SlideShare is a FREE site for the basic service and this has worked quite well for me to experiment and build my skills with this new marketing tool. There is also a fee based SlideShare if you want more information on traffic analytics.

Almost everyone’s computer comes with Microsoft PowerPoint or Apple Keynote. It is pretty easy to get started. All you need are great images for your digital presentation and you are on your way.

Do all your slide/image/text preparation in PhotoShop/PowerPoint/Keynote. You can not edit your SlideShare presentation once it is uploaded.  If you find any mistakes after uploading, you will need to fix the mistakes in your presentation and upload a new corrected presentation (replacing the old presentation). 

 
By browsing other peoples' presentations on SlideShare you will see that some create very effective presentations without audio! I did this for my first presentation. Create your presentation on your computer and upload it to SlideShare. Add text to your images or slides instead of audio. It is that simple!

Be patient with the uploading. Depending on the size it can take a while.

ADDING AUDIO:
This is pretty easy to do. You really don’t need a lot of technical skills, just the risk taking guts to experiment and learn from mistakes along the way. Your only cost will be a microphone and head set (if you don’t own one already.)

Purchase a microphone/head set combination at your local electronics store which costs about $50. (I did not buy the most expensive microphone/head set, but selected a basic option which has worked out really well.)

SOFTWARE for adding Audio:
To get started with your audio software first visit a site called “How to Podcast”. This will give you a step-by-step guide on how to podcast without breaking the bank. This is the home of the free podcast tutorial that will take your podcast from concept to launch -- and for minimal cost (brought to you by, Jason Van Orden, author of “Promoting Your Podcast”).



The focus of this site is how to create a podcast, but essentially a podcast is just a MP3 file. You need an MP3 file to upload to SlideShare and synchronize with your slides. This site has all the information you need, but if you ever get stuck (it is sometimes really frustrating to learn a new technology on your own), just type your question into Google. This is how I find answers to my questions.

Audio Editing Software (Audacity) and Lame MP3 Encoder are both available online for free. There are free tutorials online too so you don’t need to spend any money on editing software.  The one I use is called Audacity. There is no need to buy expensive audio editing software when you are first starting out.

There are multiple pages of information, and even video tutorials to watch. While I don’t know how to use most of the options in the Audacity editing software, I can still create very acceptable quality podcasts and audio MP3 files.

Go to Audacity to get started.

That's it for today.
Next week, I will help you get started with a few more tips.

You have your assignment.
Get ready for the next tutorial.

Harriete

Below is a presentation I made about the Professional Guidelines as another example.

Professional Guidelines Introduction

View another webinar from Harriete Estel Berman

Promoting YOUR art or craft at ZERO COST with Professional Results

One of my favorite online tools for visibility is SlideShare.

What is SlideShare? SlideShare is a FREE site where you can upload PowerPoint Presentations.  You can add MP3 files to your presentation to have audio along with your visual presentation. SlideShare also works with Keynote. 

My primary purpose was to create more visibility for my artwork and to provide additional content links for my website.  The SlideShare presentations can easily be embeded on social networking sites, your own web site, or blog posts. Here is just one sample of a SlideShare presentation (below).

California Dream Teapot

View another webinar from Harriete Estel Berman

An extra benefit is that many (and perhaps even
most) of the people watching my SlideShare presentations are discovering my work from
SlideShare itself or some other social networking
site. 

Here is a link to my page of SlideShare PowerPoint presentations. Go ahead and explore the SlideShare site.  You’ll see that SlideShare presentations cover a really wide spectrum of topics using a variety of approaches. There are some fantastic presentations that don't even use audio at all! How easy can it get!

A SlideShare Profile page is very easy to create and personalize. It is very similar to creating a Profile on any other social networking site.

Tags for your presentations are just like any other social networking sites, but they offer a great visual.

 

I just uploaded a new SlideShare tutorial about How to Build a Better Drop Shadow by Christopher Conrad from the SNAG Professional Development Seminar 2011.

While working on more SlideShare presentations from the 2011 SNAG Professional Development Seminar, it reminded me of how effective this can be for your own work.

Stay tuned for upcoming posts from ASK Harriete and step by step tips for your own SlideSHare.

In the meantime, here are some dazzling statistics!

The SlideShare from the 2010 SNAG Professional Development Seminar at the Houston SNAG Conference has exceeded 5,800 views!   

The “Not Just Another Pricing Lecture" PowerPoint presentation was uploaded to SlideShare initially. Then an audio recording was edited, uploaded and synchronized to the PowerPoint so that people can view and hear the exact same program as the Conference attendees!

Subscribe to ASK Harriete or check in regularly so you don't miss one post in this series. Learn to make your own SlideShare presentation without spending one penny.  

Harriete

Craft FORWARD Symposium 2011 - Mass Craft, Theaster Gates Constructs Context with Added Value

The lecture by Theaster Gates opened with an song. 
emiko oye captured his "a cappella" solo opening at Craft Forward.

As you can see in the opening title of the video, Theaster Gates' lecture was titled, "Soul Manufacturing Corporation, Racialized Materiality and the Life of a Negro Potter." The title is a mouthful....hard to grasp in one sentence. The lecture and the man were equally complex.

In the beginning of the lecture, Theaster talked about two areas of focus early in his adult life. One is his academic study of Urban Planning. Second his multiple years of study in Japan of ceramics. He says, I have "clay in my veins."

Untitled (bowl) © 2010
Ink on Paper   24" x 30"
Artist: Theaster Gates
Image Courtesy of artist and Kavi Gupta
Gallery, Berlin / Chicago

My impression was that Theaster Gates skills with Japanese pottery, tea bowls, and an Eastern influence were perceived as inauthentic by both the art /craft hierarchy and the public. This external evaluation of his work resulted in limited professional success.

The internal issue for Gates was the difficulty to tie his black identity to a Japanese aesthetic. Gates questions,"How do cultural legacy's work?"  How could he align his black self to the Japanese self?

This is a valuable lesson for all artists and makers. When attempting to adopt the skills, tools or aesthetics of another culture or another artist, your own artistic identity will likely become confused. Professional success will always be limited unless the "authentic" artist within you comes out.

“Dave the slave potter” was Theaster Gates' early brand in an effort to connect his black cultural legacy to industry, craft (ceramics) and American history. This is where the "Soul Ceramic Manufacturing Corporation" comes from in the title. He essentially constructed a story from 1840 for Dave the Slave that represents his knowledge and love of clay. Theaster tied this context and structure to make his craft "go forward."

It seems that Gates is much better at creating a conceptual structure around his work based on his own cultural legacy as a black man in America. Read more about Dave the Potter's role in an exhibition at the Milwaukee Art Museum and decide for yourself. Better yet, listen to his lecture at the Opening night at the Milwaukee Art Museum.

AT Kohler Artist in Residency program, Gates' background as a Urban Planner took a stronger role as he organized the Kohler Union Workers into a gospel choir. Industrial workers that may not go to art museums sing about bowls, jars and teapots, and bring the "whole body into the world of clay."  This seems like a natural for Gates.

You can see the Gospel church singing style in many of the video excerpts of these productions online. His "singing is a cultural production" going back to his southern Mississippi roots, the same way that craft and food carry culture.  Yet another way that Craft Forward engages the community as subject and content.

Gates is best at the rhetoric. He gives his work credibility and historical foundation a valuable concept for other artists and makers. Theaster knows Japanese ceramic history, 20th century western ceramic history, and black history which he then connects to his own history with ceramics. He intellectually develops a foundation for his work. He isn't just making "stuff" that he can make.  He thinks about what he is making and why he is making it.

More recent work with wood is an outcome of his "urban planning background." He buys old buildings in his neighborhood, guts the buildings using work force development workers, offering training and jobs to untrained labors. This is a one man, grass roots urban renewal initiative - one building at a time.

The old materials reclaimed from the buildings are re-used in his artwork creating the SHOE SHINE STANDS. There is a "value added" to these reclaimed materials which add depth to the concepts behind his work. If you ever have the opportunity to see Theaster Gates give a lecture, don't miss it.  This was one of a few lectures during Craft Forward that delighted and inspired the audience.

As with most of the lectures, the Q & A was much too short to expand the conversation. There were a few good comments that I will save for my final review.

BACKGROUND:

You can read all the comments by emiko oye about Theaster Gates on Crafthaus. Thank you to emiko for providing the video clip from Craft Forward.

Theaster Gates is an artist, musician, and “cultural planner” as well as director of arts program development for the University of Chicago.

Interview with Theaster Gates from August 2, 2009.

ArtSlant interview with Theaster Gates that is worth reading.

 

Craft Forward Symposium 2011: A preview of "Manufractured" (the exhibition)

Manufractured is the featured exhibition in conjunction with the Craft Forward Symposium at the California College for the Arts, Oakland, CA Campus.  The exhibition is curated by Mara Holt Skov and Steven Skov Holt, professors at CCA and authors of the book   Manufractured: The Conspicuous Transformation of Everyday Objects. 

Manufractured includes work from a variety of Bay Area artists and makers who use familiar manufactured materials and items transformed into something completely unexpected.

Think repurposed, recycled, remixed, and mixed media. Expect the unexpected from medicine capsules and LEGOS to binder clips and maybe Jello?   "Artists in the exhibition include CCA Faculty member Michele Pred along with Bay Area artists Harriete Estel Berman(Grass/gras' in above photo and below), Mitra Fabian,  Liz Hickok , Andy Diaz Hope, emiko oye, Laurel Roth and Thomas Wold. Several pieces have been produced specifically for the exhibition and are being seen for the very first time."

The first reception is Wednesday night (March 30) from 5:30 to 8:30. If you live in the San Francisco Bay area, I hope that you can come to this reception. It is open to the public. I will be there early starting at 4:30 photographing the work for the next day's blog post.

Come early for this festive event and meet the artists and curators.

CCA Gallery hours through April 1, 2011:
Monday, Tuesday, Thursday, Friday:  8:30 a.m. – noon and 1:00 – 4:30 p.m.
Wednesday:  1:00 – 4:30 p.m. and 5:30-7:30 p.m.

GAME ON! ROLL THE DICE!

Each day the above Game Board will change with the events at the Craft Forward Symposium. The stakes are high!

 

 

Gallery openings are important occasions -- bring business cards.

If you never bought MOO Cards before, readers of ASK Harriete can take advantage of a discount for MOO business cards (see my business cards to the left) by using this unique code: M6QMNG

Take 20% discount off  your entire order until the March 30.

 Remember, it's only valid until 11.59pm (PT) March 30,  2011 - so place an order before then! You should also know that the 20% discount does not apply to Shipping, Rush Printing, or Logo Design.

Harriete

Craft Forward Symposium 2011 - Helpful tips for Gallery Openings

 
The first preview for Craft Forward  is a Wednesday night reception for the exhibition MANUFRACTURED.

Read tomorrow's post for more information about Craft Forward and MANUFRACTURED. I will be posting every day with updates and information.

The Game Board (above) will change for every day as I document the Craft Forward  Symposium.

What is Craft Forward?

Roll the dice, advance your piece,
miss one turn, or 2 steps back?  

Stay tuned for daily posts to find out what the Craft Forward Symposium speakers have to say.  I will write one post a day until every lecture and discussion is covered.

 Here are my helpful tips for art openings to get started on this game. Please add your own "tips" contributions in the comments.

1) Make your own name tag.  Make it look like your work. Some openings forget to provide name tags. How can other people know who the artist are? Attendees want to talk with you!

2) Artists are the stars. Shine bright. Keep a pleasant face and be positive.

3) Stand near your work, if possible.  Ask people what they think. Ask them questions. Learn.

4) Engage people in conversation. Don't be shy or retiring. The first time you say "hello" may seem very difficult for an introvert like me (or you), but you never know who you will meet!

5) Meet the other artists.  Look for them and introduce yourself. It's amazing how you will see the same people two years and 3,000 miles later. Take my word for it!  Next time, it makes the art opening so much better.

6) Dress like an artist -- whether wild, wacky, fun loving or professional. People want to talk with you. You are part of the entertainment. Make it easy for people to find the artist. 

7) Stay for the entire opening! Arrive early and stay late. It shows respect for the exhibition curator or gallery owner and all the other artists. Plus, who knows who you might meet?

8)Bring you business cards or postcards. Give people something to take home to look at your web site!

Do you have you a favorite tip for art openings? Please share in the comments. Stay tuned for a post every day from Craft FORWARD.
Harriete

PS. Great MOO discount if you never bought Moo Cards before. A 20% discount off  your entire order until the 30th of March. Use this unique code M6QMNG

Remember, it's only valid until 11.59pm (PT) 30th March 2011 - so place an order before then! You should also  know that the 20% discount does not apply to Shipping, Rush Printing, or Logo Design.

Tag Lines and Tagalongs -- Like Girl Scout Cookies, Wildly Popular and not really good for you.

"What should I use for a tag line?" A very common question posed to ASK Harriete.  Tag lines are popular, and like Tagalong Girl Scout cookies, somewhat over rated, and not really good for you.

Sorry to be so harsh, but I am kind of bemused. It seems that tag lines are something that people consider important  way too early in their art/craft business career. When they are still figuring out what their best products will be, the aesthetic styling of their business cards, and the work they plan to make, they want to believe that a "perfect" tag line is going to bring it all into focus for them and their customers.

Whoa!!!!!! I've looked in every book on my shelves about art and craft business management (I have lots) and only one had any suggestions about tag lines. Art Marketing 101 gives this topic a small half page. They describe a tag line as "similar to a slogan." They continue, "A tag line should note the physical features of your artwork, the emotional aspects and the special qualities. As an artist, you also want your tag line to help define the style and /or subject matter of your artwork..." 

Fine, all good, but your tag line should not become a priority in your business. Don't buy 500 cards with tag lines on them thinking you'll explode on the scene and have your business figured out.

Only time and experience is going to help you figure out your artwork, aesthetic, and the style of work that is selling.  Who knows, you might even find more than one niche market so that your marketing will have to change or adapt depending on the context.

If you want tags or tag lines, or even business cards that can function as both...try starting out small. Moo cards are a flexible solution. They let you print 100 cards and all of them different for about $20. You can experiment with images and text for a range of variations. Test out your images in a small print format, then see how people respond. 

Another option -  color copy on card stock, and cut up the cards yourself. Do some experimentation before you print 500 of cards that may or may not really work for you.

Forgive me, I must have Girl Scout Cookies on the brain since my husband brought home a couple of boxes.  (I've eaten them but I really wish he hadn't purchased them, and instead made a donation.)

Tagalongs are described as "Tasty cookies topped with creamy peanut butter and covered with a luscious chocolaty coating."  That tag line for Tagalongs sounds really yummy and descriptive, but, have you ever read the ingredients? The cookies are really a combination of partially hydrogenated oils and sugar with very little peanut butter or chocolate. The cookies are not really good for us. Tagalongs cookies have a great tag line sold by cute, adorable, aspiring young girls. Girl Scout cookies have their niche market and they know it well. 

So if you feel you must have a tag line, make it specific, descriptive, memorable, emotional and irresistible.

NOTE:  I am just Harriete (with no tag line).

Harriete

P.S. The web site at Small Biz Bee offers a great article about tag lines that shows you what really works. Follow their sound advice or skip the mushy, vague and ineffective tag lines that most artists and makers use.

PPS. Great MOO discount if you never bought Moo Cards before. A 20% discount off  your entire order until the 30th of March.

Remember, it's only valid until 11.59pm (PT) 30th March 2011 - so place an order before then! You should also  know that the 20% discount does not apply to Shipping, Rush Printing, or Logo Design.

What's in a Name? Is Your Artist Identity LOST or FOUND in a sea of names?

Harriete,

Should I have a business name?  I’m stumbling and struggling on how to come up with a name.

Signed,
A reader in search for a name!

While this question is a condensed version of questions from readers, it represents a fairly frequent issue. It also highlights concerns that are relevant to the Niche Marketing theme for the upcoming Professional Development Seminar  at the Seattle SNAG Conference.

PDS speakers include:

Hilary Pfeiffer who uses her own name for her serious work, but calls her wedding toppers business "Bunny with a Tool Belt".

emiko oye refers to her jewelry line as Reware (though I noticed that the web site name is actually "reware style.")

Deb Stoner has always chosen to do her work under her own name as her artist identity.

What I want to ask all our speakers and readers of ASK Harriete:

"Why did you choose to operate under a fictitious business name rather than your own name as an artist or maker?"

"How did you pick this particular business name?"

My primary concern with a business name is the difficulty that most people have developing even one artistic identity, let alone two. In most cases I believe it splits awareness you have built and confuses potential customers or your online network.

It would seem to be a lot more focused to keep one name for your web site, email, Facebook, LinkedIN, Flickr, all 2.0 social networking and on-line marketing . One name, or a variant of your name, constantly reinforces one singular identity. Repeated consistently at every site helps the one identity to gain recognition.

There are many examples of companies in all industries who are well known under an individual name such as Jack Lenor Larsen, Ralph Lauren, Tommy Hilfiger, Vera Wang (right) and Thomas Kinkade.

To add further emphasis to the idea of one name, it is considered a strong marketing advantage to have a singular identity to represent a brand. Examples include Aunt Jemima, Mr. Clean, Dear Abby to Papa John's, or personal testimonials that create intimacy with a brand such as Keira Knightley in advertising for Channel.

Artist's already have a name to associate with a product. Why would we dilute this asset by creating a company name?

Here are some practical suggestions about names that may enhance the effectiveness of an identity.

• Is the spelling of the name unique in some way?

• Would your middle name or maiden name create a more unique name?

For example, my mother made up her own spelling for Harriete when I was born. At this point, it works really well to differentiate my Harriete from all more common spellings of Harriet, or Harriette. Look up Harriete on a Google search with an "e" at the end. Tell me what happens.

Think about your identity name carefully.  If you are making up your own business name, make it memorable. It seems to me that "Bunny With a Tool Belt" is wacky enough to be memoralble. That is good marketing. On the other hand, on her postcard (above right) Hilary Pfeifer did not put her name anywhere on the card. "Bunny with a Tool Belt" is the business identity.

I admit to being confused by this approach. All the name recognition gained for either your business or your own name doesn't really benefit the other...unless you market them together.

PRACTICAL CONSIDERATIONS FOR YOUR BUSINESS NAME should avoid using a term in your business name that has many other associations. Ironically, "reware" (used by emiko oye for her web site and business identity) has many other search results (shown to the left) from reware clothing, to a reware business for solar bags, solar backpacks, computer parts,  and software. Starting out with a business name with many other search associations just makes it harder to stand out as a singular identity in any niche market for your business. (Try typing in Reware in an image search to see what happens.) 

If there is a list of competitors with the same or similar business names, it is hard to get a top search engine ranking for your business.

 

So in summary, I'd suggest working with your own name and making it distinctive and memorable.

What is your solution to this deliemma and why? I'd like to hear what the readers of ASK Harriete have to say to add insight to this issue. What are the search results for your name, business name and web site? Are you Lost or Found?

Harriete.

Future posts will be about Tag lines and improving SEO for your images and web site with easy suggestions.

Discovering Your Niche Markets for Increasing Web Site Visibility.

The Professional Development Seminar is sponsoring an hour of discussion about Niche Marketing.  Questions for our speakers include the following:

• How to discover a Niche Market?
• Should you use your name or a business name?
• Should you have a tag line?

These three issues are interrelated and applicable to all artist and makers. The topic is enormous! Everyone has a niche audience (or even several niche markets), we just have to figure out who they are and how to tap into the potential.

In a series of posts, ASK Harriete will tackle these issues and how they impact web site visibility for artists and makers. This series will include tips for Search Engine Optimization (simple and easy to understand) without technical talk offering ideas that you can readily implement to bring more visibility to your web site.

This post is devoted to Discovering Your Niche Markets for increasing web site visibility.

Driving traffic to our web sites is not a passive activity.  It isn't effective to simply put up your web site and wait for traffic.  "If I post it, they will come" is a hollywood dream.

Driving traffic to your web site takes some effort to find niche markets.  This is the creative part but, we need to raise our consciousness to see the opportunities. It all revolves around, What will interest other people?

Don't just look at the art and craft world for interested viewers. The identifiable art/craft world is small and rarefied.  However, if you think about all your activities and topics, I bet you will find multiple niche markets for your work.  Somewhere out there in the Long Tail of the Internet, there are people who don't know your work and how amazingly relevant it is to their interests.

Here is a recent example of discovering a niche market and then driving traffic to my website that actually prompted this post.

I am in the final phase of a four year project constructing a gigantic bell curve entirely out of pencils -- quite literally, thousands of real pencils. The work is a commentary about the impact of standardized testing on education.

A few weeks ago, a curious looking pencil caught my eye and I happened to do a quick Internet search.  To my amazement, I learned that it is a "collectible" pencil.  What a surprise?  It never occurred to me that one pencil may be worth $30 to $45!

Then I realized another of my pencils was printed with a pencil collector's name, address and the American Pencil Collector Society.  Now looking further online, I learned that there are blogs about pencils and pencil collectors! Who would have thought that this pencil niche existed!!!!!!  This is the Long Tail in the shape of a long skinny pencil!

My first Internet search discovered pencils.com.  They normally feature a pencil artist every Monday. They said, "Although you're not drawing art with these pencils, you are creating art right out of pencils!" This resulted in a feature post on their website about my artwork titled, "Pick Up Your Pencils, Begin."

If you read their short post about my pencil sculpture, you will see more niche marketing.  Pencils.com used the blog post about the featured artist (me)  to bring more visibility to two of their "niche markets" - collectible pencils and an link to selling pencils for taking standardized tests!  

While the artist feature post on Pencils.com about Pick Up Your Pencils, Begin  may or may not result in a purchase of my work or an exhibition opportunity, you never know. Maybe someone will invite me to exhibit my pencil bell curve at their pencil convention. Now that my awareness of pencil associations is raised, I looked online. There are pencil conventions all over. Imagine that? More untapped niche markets.

In addition, the blog post on pencils.com is driving a bit of extra traffic to my web site. The more traffic to my web site, the higher my ranking. The higher the ranking the more people will see my art work about pencils....

The web has a Long Tail, and I am going to ride that long tail where ever it goes.

How can you make The Long Tail work for you?  Can you think of a material, color, design, subject, or any other aspect that is unique to your work? Try doing a search. The blossoming of so many blogs and web sites about the most arcane of topics means that they are looking for entertaining ideas for their readers.  Your work may become the subject of an upcoming post! 

Seriously, time to put your thinking cap on. Have you considered the many possibilities to find your Niche? Are you ready to ride the Long Tail? You might find new customers, clients, collectors or exhibitions for your work that you never expected.  

Harriete

Stay tuned for more ideas and discussion for niche marketing, business names and tag lines. Pro and cons please get ready to weigh in with your opinion.

The Long Tail is an affiliate link and definitely recommended reading for learning how closely connected the internet and niche markets really are for you work.

Photo Styling - "Reality" or Getting Real - an Authentic Opinion

We've been discussing photos for almost two months, there is so much to consider. Your photos are the MOST IMPORTANT tool in the artist's or makers tool box.

 

 

Your photos are like Superheros traveling at the speed of light, working 24 hours a day, shrinking and expanding at the touch of a button. The folks at Search Engine People sum up this discussion about images perfectly:

“The old adage is that you can’t judge a book by its cover. But you do it anyway, so it’s useless to pretend that others don’t, as well. Content may be King, but Appearance is the horse it rides in on, be it a magnificent steed or a gimpy nag.”

One of the hot button topics is photo styling which will be discussed at the Professional Development Seminar in Seattle.  Photo styling as in the stylistic appearance of the photos for your work.

The question we are all asking is, "What attributes make an effective photo in documenting art or craft?"  My observation is that there is a shift in the marketplace toward the concept of somehow "capturing authenticity."

Advertising and marketing increasingly strives toward "real" and "just like me".  Even when models are used, the models are presented with a less formal appearance, almost moving to ordinariness. Advertising is suggesting a more "authentic" context or "back story", instead of glamor or seduction.

But let's not be fooled. The models, however "real" in their appearance are still models. They have just spent hours in hair and make-up, their photos are taken by professional photographers with 10 assistants to make sure that the "authentic" look doesn't look fake. But this "real and authentic" look is still fabricated, and the photos are still airbrushed.

I am still amazed that television has successfully coined the phrase "reality show" to describe completely synthetic scenarios populated by selectively skewed "ordinary" people who are thrown into bogus competitions. Or what about commercials that LOOK like they are REAL testimonials? Is a "behind the scenes" Victoria Secret Fashion Show really real?

Art and craft photography is trending right along side this current style in marketing. To quote Martin Lindstrom from the book, Buyology: Truth and Lies About Why We Buy. "What we're beginning to witness in the advertising world today is a fascinating marriage between the world of the airbrushed supermodel and the world of the ordinary consumer -- a blurry union between perfect and not so perfect."

As the selling of "authenticity" grows, the marketing of art and craft will continue to evolve.  However, I am concerned by an overemphasis on enhancing reality with artificial authenticity.  

The handmade object remains as authentic as it gets. Art and craft doesn't need to dumb down our work or reduce the quality of our images to enhance reality. We are still selling the one thing that can't be mass produced, the touch of the hand, the quality and craftsmanship from personal care and attention by artists and makers that really do care.

What do you think? Do makers need to enhance authenticity or style reality in the photography of their very real work?  How do you photograph and sell the authenticity of your work? 

Harriete

I will be giving a business workshop for artists and makers on April 9 & 10 , 2011 in the Harrisburg, Pennsylvania area. The Workshop information can be tailored to your interests and  is not media specific. I hope you will be able to join the workshop and ask your questions in advance so I can tailor the program to your needs.

Click here to learn about how you can attend the Professional Development Seminar programming and discussion for only $40.