Beyond Borders: A Craft Marketing Conference Review
March 28-30 Kootenay School of the Arts, Nelson, BC

Many BC Potters Guild members attended
this conference, the largest of its kind.
Delegates came from BC, Alberta and
beyond. Workshops focused on advising
artists how to be successful in their ca-
reers, The impressive list of presenters
included successful artists im ceramic,
glass, fibre, wood and jewelry. Guest
speakers included craft historians, mu-
scum curators, federal and provincial erant-
ing apencies and craft show marketers.

The primary focus of the conference was
directed towards making a ‘paradigm shift’
in how artists of fine craft approach their
work and market it. There were many
panels and presentations discussing how
to integrate business skills. Questions
raised were, “Have you calculated your
time, overhead, materials, reputation and
quality into your pricing? Do you have a
portfolio, CV, a history of exhibitions?
How do you get published’? Are you able
to confidently and professionally express
yourself in person, in writing and, most
importantly, in your work?” The work-
shop stimulated artists to consider arcas
integral to entreprencurial aspects of run-
ning a small business.

The balance of production work and onc-
of-a-kind work was discussed often, Most
guest speakers produce production work,
and some hire employees to assist them.
Other urtists choose to engage in other
careers that provide income allowing them
the freedom to create without commercial
pressure, Another frequent topic was how
to access the larger US market. Copies of
Marketing Guide for Fine Contempo-
rary Craft in the United States by Lou
Lynn et al, and Regional Craft Shop &
Gallery Profiles for the Upper Midwest
and Rocky Mountain States were avail-
able at the Guild resource centre.

Workshops addressed important questions
and gave helpful tips. Sample questions
and tips were: When selling your work at
a craft show, do you give careful thought
and consideration to the ‘big picture’ pres-
entation, the one that customers see? Work
sells best at eye level and customers need.
to feel comfortable in the ‘portable gal-
lery.' Details of display at a craft show
booth are similar to those needed to make

6

by Tamara Ruge

a gallery successful, Good lighting, com-
fortable ambiance, knowledgeable staff
and signage are important. If you invest in
good display, eventually it will pay!

Throughout the conference, the relation-
ship between galleries and artists was
mentioned. The primary function of a gal-
lery is to free the artist to make work! All
the time and energy that goes into market-
ing an artist's work, the gallery can pro-
vide. The relationship is symbiotic, mutu-
ally beneficial and the gallery is an essen-
tial link between the maker and the buyer
of fine craft.

The Gallery Committes at the Conference.
Prom left to right: Sheila Morissette,
Maggi Kneer, Tamara Ruge (Gallery
Manager), Jinny Whitehead and Pia
Sillem, and Celia Rice-Jomes (mot in pho)

There are many activities that the Gallery
of BC Ceramics does well. | attended the
workshop with the lens of a gallery man-
ager, which was different from other mem-
bers who attended with other goals. It was
a stimulating workshop and provided me
with many new ideas that, given time, |
hope will make the gallery an even better
showcase for the Potters Guild of BC.

Tamera Ruge Gallery Manager

Top Ten Tips from the Conference

1. Maintain consistent pricing (a mug sells
for $20 everywhere).

2. Approach your work with an entrepre-
neurial spirit and look for new opportuni-
lies to promote your work including the
Internet.

3. Document your work & accormplish-
ments, keep an accurate CV.

4. Read current publications and get pub-
lished whenever possible,

4. Participate in events, shows, and work-
shops with like-minded people.

6. Invest in quality displays with visual
impact — it will pay for itself.

7. Read requirements, follow instructions
and meet deadlines for grants, juries, and
shows. Be polite, considerate and profes-
sional in your relations.

&. Determine your desired income and
price your work accordingly. Decide to
revise your work, your techniques or your
expectations as needed.

9. Creativity means changing; be open-
minded and adjust your efforts accord-
ingly - balance one-of-a-kind work with
production work to create cash flow and
help you to be successful.

10. Your gallery frees you to spend more
time in the studio. Provide it with current
work and updated information to help it
promote you, Support your gallery so it
can support you and your peers!

Some quotes from the conference:

Don't forget to thank your customers and
your lucky stars...

When you come to a door, you have to be
ready to open the door and go in. Irene
Frolic, glass artist

The biggest room in the world is reom for
improvement!

Marketing Guide for Fine Contemporary Craft in the Uwited States is put avr by Canada’s Depr
of Foreien Affairs & Internatianal Trade. As well as listing galleries, i haz used chapters dealing
with ‘devwloping your own stvie”, promotion and pricing, and finding the Hebt gallery, [ft covers
Wher marketing chanels (retall, wholesale, muceums and corporate collecnons, an & craft
censultanrs, commission, Innenver and guilds), and it gives information on exporting and border
issues. This guide is a fat ring-bound book, rather than a pamphlet, and is available to Canadians
only. Order by telephoning Enquiries Service | 800.267.8376 or 613.944 4000. It ivalso available
on the Canadian Trade Commissioner website www, difmexport, gc.ca.

Potters Guild of Bntish Columbia Newsletter

May 2003