A visit to an art fair

[Maris Rusis]

At galleries, do any vendors of color photos discuss the impermanence of the work?

Sometimes the buyers don't care.

Years ago I was talking to a senior curator at an Australian gallery who was trying to wrangle half a million dollars out of the Board of Trustees. The purchase target was a bunch of 1970s American colour photographs. I pointed out that the photographs probably already showed changes and that chromogenic colour work from that era was notoriously unstable. The curator replied along the lines of "Don't care, not interested, not my problem. If the pictures fade it's a problem for the Conservation Department. That's what they draw salary for."
The photographs were purchased: Trustees, Curator, and Conservation Department all happy.

[John Layton]

I do one craft fair each year. As a Vermonter living within ten air miles of the NH border...I was eligible to get juried into the League of NH Craftsmen - and for the past five years have held a booth at their nine-day craft fair held in August (starting this year on Aug. 3rd) at the Sunapee Ski Area. Here I display the same B+W work I show in galleries...although typically not the really large (40x60) work - and the majority of my fair work is uneditioned (helps me to keep prices a bit lower and to not compete with my gallery work and also not confuse my audience).

The fact that I am a fish out of water in the fair environment gets me attention. People respond to the "craft" aspect of my work as well as the art aspect, and seem refreshed that there are still those who pursue this (traditional) route. 25,000 people attend this fair over its nine day span and this gets my face out there, big time...and the fact that I am present to chat people up is a win-win. Furthermore, this fair has garnered me fruitful relationships with collectors and art galleries. My current show in Rockland, Maine began in Sunapee.

So...while the work of shlepping, setting up, tearing down, and being "on" in a very intense environment for days on end (I typically get laryngitis toward the end), and while I typically barely clear my overall expenses while actually onsite, the long term spinoffs continue to provide dividends far greater than what I realize at the fair itself. Many times greater in fact. Of course the fact that this is a nine day fair (not the typical three day) really helps...as folks have time to stop by my booth, get aquatinted with myself and my work - then let things gestate before returning to make a purchase several days later.

[John Layton]

To chime in again - more with respect to the OP's original perspective...yes - lots of bright, saturated colors tend to prevail at most "art" fairs. And while the nine day League of NH Craftsmen fair in Sunapee might be "a cut above" in the field of art/crafts fairs generally - there is still a formula here which tends to be more or less followed, at least for most photography.

There is a gentleman at this fair who usually has a booth fairly close to mine...the "Loon and Moose Guy," who offers color prints, in many sizes and prices, of...loons and moose (and, to be fair, a few sunrises and sunsets...and some nice squirrels and owls). He also displays many racks of very small (unframed) prints, plus postcards and notecards. This kind of variety of sizes/prices/presentations helps to ensure that most folks who visit his booth will take something home with them...and if they buy low at first, they might just return later to buy high.

While I do not ascribe to any part of this "formula," I respect it greatly, as I do most of the "artists" and craftspeople at these fairs generally. Most of these folks schlep their work around to multiple fairs per year, often year-round...and some do this across the U.S. Its a hard living to be sure...but kudos to them for figuring out how to make it work for them.

[Tin Can]

I agree.

Does ANY print accurately relate a scene.

If the customer likes it, so be it.

B&W is an abstract when made from almost any 'real' environment. Color is interpretative also.

Yes, many of our little clique 'Like!' certain styles, nonetheless it's simply preference.

Art critics and curators may improve the genre, but they also stifle experimentation, evolution and...

Photography has had style 'wars' over and over again.

History repeats.

[Arne Croell]

I‘ve done a few art fairs in and around Huntsville, AL, since 2016, about 4 per year now. An interesting learning experience, and a lot depends on the fair, the place, and the weather. Initially I only did traditional b/w darkroom prints from LF or MF negs, mounted and matted. The general interest is ok, and I especially appreciate interest from students. Buying, however, is a different story. In fall 2017 I started adding color metal prints of the 2017 solar eclipse, and later a few similar ones (lunar eclipse, Northern lights) that don’t make much sense or are impossible to do in b/w film. Those sales now essentially subsidize the whole thing - not that I make any real profit, but I don’t like to be in the negative either. Selling some of my “real” prints is always a highlight. Price wise, the problem is that one is competing not only with those over saturated metal or acrylic prints mentioned before, but also with cheaper canvas or other prints printed by Costco or similar. The majority of people don’t know or appreciate the difference. The more satisfying it is when it is appreciated. Last year I was at the Kentuck Festival of the Arts in Northport, AL, the oldest one in Alabama, for the first time and ended up with the merit award for photography, which was nice. Also, as mentioned above, this exposure can also lead to other opportunities.

[HMG]

Those bright, oversaturated, unnatural colors predominate at a lot of amateur photo competitions as well. And while I may choke on them (and even feel a sense of undeserved superiority), whose to say they're not art. Go back and read the criticism of the early impressionist painters. While I tend to think of this oversaturated photography as a temporary aberration, who knows.

[Peter De Smidt]

I agree. I'm not criticizing them. That would kinda be like telling someone that their favorite ice cream flavor is wrong.

A co-worker of mine saw some of my images from a trip, a mix of LF and digital. She came up to me and said, "I want to buy a print!" "Of which image?" "The Lighthouse and the Anchor, and I want it to be huge, on canvas, and I'll pay you $1000!" "That's great! Some of the other images might do better printed big." "No. I want that one!" And so she got that one. Now I spent the 1990s making images on 8x10 paper with 1" borders from 4x5 negatives. There's a couple of her points that made me shutter inside, but the rational part of my brain told those voices to shut up.

[Bernice Loui]

There are quite a few "Art & Wine" Fairs in this area. Most of the art and craft items offered are specifically designed and intended for mass consumption by folks who are looking for an eye catching item to brighten up their home. Most are not serious art collectors and represent the much larger market of art consumers in much the same way as three note, five step pop-music, pop clothes fashion and similar.

Similar applies to the wineries that appears at these "Art & Wine" festivals.

What is absolute clear, the promoters do OK profit wise, while the participants can often get fleeced.

In response to this, many artist in this area have taken to "Open Studio" which works as a guided tour flyer where those interested in artist art offerings visit the specific artist in their studio and or home. This way, the art fan gets to meet the artist in a very different public environment than a mass public place and spend quality time with a given artist, see their art creations and the artist work space. At some point (darkroom built, set up and all running again), I'll venture into this by sharing space with a local painter who is a well established painter-artist. There is no possible way anyone could yak me into doing a booth at any of those "Art & Wine" festivals.


Bernice

[Tin Can]

Art community is often shattered by the wealthier moving in.

Chicago's Wicker Park became a huge ad hoc artist community because of low rents and very little city oversight. We lived in empty storefronts, old industrial buildings became loft art collectives. I was part of that from 1990 to 2017. Very good years until 2012 as all housing went way up.

About 1997 was a peak for a very large yearly open studio fall event. Anybody could walk into 100's of studios, buy art, have a drink, make new friends. AROUND THE COYOTE A WALK ON ARTS SIDE

ATC as it was known was famously not curated. If you wanted your name on the ads one paid $50 and might get into a shared space. I chose to pay and exhibit on the street. More action.

How Bucktown Got Boutiqued aka Wicker Park a fairly good history.

I joined an artist owned condo development in 2002, Last one in. We moved in 2003, the area was rough. It has evolved into million dollar homes built on $500K teardowns starting 2010.

I sold my condo in 2017, it has now doubled in price after a second sale.

Still hundreds of empty storefronts but now all very expensive. Rules.

The good times and good art is now over. I moved far away to start over.

But big money is coming here now. Huge casino project 3 miles away, housing cost is rising, my cheap home is now valued 25% more.

Few here know my home is an art studio. I will try to keep that a secret.

btw: Curation killed Around the Coyote as the venues became exclusive not inclusive.

By 2000 I was giving away shirts and stickers right inside the actual Wicker Park. We got a lot of flack for that. Anger, hate and threats.

1-2 girl by TIN CAN COLLEGE, on Flickr

2-camera guy by TIN CAN COLLEGE, on Flickr

[Corran]

In fall 2017 I started adding color metal prints of the 2017 solar eclipse, and later a few similar ones (lunar eclipse, Northern lights) that don’t make much sense or are impossible to do in b/w film. Those sales now essentially subsidize the whole thing -

I have space in a local gallery, but when I first moved in the entire area was kinda slumping in sales. That's another story for another day but after showing only b&w work for about 6 months and having no luck, I made a digital image of a lunar eclipse and made one print of it on metallic paper and framed it for a "featured" image in the front of the store. It sold the first weekend it went up. That was both really nice but also a bit disheartening. This summer I decided to do a little mini-show featuring only astrophotography images I've made and filled my wall with them, but so far nada. Unfortunately, GA is not a good market, especially the immediate area, and also the location is a few blocks from the "main" touristy area, so we are working on getting more visitors / customers in various ways. It also doesn't help that I am just about the most expensive artist in the gallery.

Anyway, location is very important so that's why I'm so focused on getting out of GA or finding the few areas that have people willing to spend money. Can't make any money or even break even selling big prints for the price of poster prints at Wal-Mart, which seems to be the market for many.