Donations to Charity

Raku Torso



The question of donations comes up often.

Charitable organizations ask artists to give them a piece of their work to be sold or auctioned off.  There's nothing wrong with that,  but---

I have contributed pieces of my work, but I'm always a bit irked by the assumption that artists are expected to do this.


Maybe it's the assumption that artists are easygoing, kindly creatures because they are 'sensitive and creative and full of soul'.  Well, we may be, but we also have to spend money to make money and be business people or we wouldn't be making art for long. We're not flower children and we don't live on air. But start THAT conversation and you will soon see their dust.

A lot of us either work at another job or our spouses work to support us or we have some sort of resources that allows us to make our art. Even Leonardo had to have someone to pay his bills, for pete's sake.

Sure, sure, there were and are some rock stars in art, but for the most part, we aren't rock stars, we're working (emphasis on the working) artists. And for most of us, we'd go crazy if we didn't make things.

I wonder how many of them give their work away?











So, what to do?

What I would really like to say is, "What do you think I am, a charity?"

But you don't; you just---

1. Grit your teeth behind your smile and donate a piece that's not your very best, but one that's okay to give away.

             And we all get short-changed.

2. Say, "No, I never donate work." Or "I only give to certain organizations." Or "I've reached my cost limit on contributions. "  (The last isn't such a bad a response.)

But you can't win.


The other myth that comes right on the heels of the donation request is, "It's okay, you can write it off on your income tax."

Not true.

You can only write the cost of your materials.  Not the value of the piece, not your time. An artist can't evaluate their own work for tax purposes. And only when you sell a piece can you take the cost of materials.


Here's a Better Way:

Request the organizer budget in the cost of the piece and buy it from you. The cost gets included in their budget and probably can be written off as show expense. They become an example of "Supporting the Arts", a much talked-about idea, but a not-enough-done-about action.

You get paid upfront.

The organizer sells raffle tickets or runs a silent auction for the prize. They gain funds against the cost of the event. (To say nothing of gaining additions to their contact and mailing list) Your work is on display and becomes the center of attraction.

The winner/buyer can take the cost off THEIR income tax as a contribution.


Everybody wins.

Garden Sculpture; Water Fountain

Selling

I've just been reading an interesting discussion on CLAYART* email about selling on Etsy.  Some potters evidently are doing well--especially if they are offering those "Make your Rent" kinds of things that sell for around $20.00.

Even though it rankles me to do it too, I have also make those little kiln-fillers for sale. I'm not saying anything about individual's potter's choices. I'm speaking for myself totally.

As a matter of fact, it always amazes me that a lot of show patrons will buy several little things like this when, at the end of the day, they could have spent the same amount and come away with a single treasure.

Anyway, back to the discussion.

It seems that I've heard this kind of sales song before. Those who make the "Make your Rent" stuff and work out a simple plan are doing okay. But, like shows, it's patchy. And, it seems, the fees for listing, and other special features can add up in a hurry.

Shows offer space at a price. Shows attract buyers. Artists set up booths and sell their work and if they are lucky, they make a profit. Seems like the same thing happens with sites like eBay and Etsy. The venue is offered, artists make stuff and the promoters are the ones who really make the money.

There must be a better way.



*CLAYART is an international discussion group open to potters, suppliers, etc. of all things clay. If you want more details, comment and I will send you the information. I learn something new every time I read it.

Woo Hoo

Just got notified I was accepted into the 38th Annual "Toys Designed by Artists" at the Arkansas Arts Center in Little Rock! See "Where You Can See My Work" section at the right for details.

This is the third or fourth time I've been selected for this show, always with ray guns.

The rings at the back are really disposable snap-together plastic party wine glass bottoms. The kind you buy in bulk for big parties.

I was cleaning out a basement wine and storage area when I saw these bases on a shelf. Bingo! There was the part I've been looking for to complete this ray gun. It has been sitting in parts on a table in my studio for some time.

The piece is really was made in four parts. Two separate sections of the main body were thrown on the wheel as was the back section. The grip was hand formed and is hollow.

When it was in the leather hard state (soft-ish), I carved and fitted the grip to the body assuring that it would balance. I always wanted to put this ray gun together with another, added component, but just couldn't find anything that worked until I saw those disposable wine bases.

Now, I'm on the look-out for anything glass or plastic that might have possibilities. Even considering snapping the base off a glass wine glass and using the top like the one in the September 5th post. The plastic top to the disposable glass didn't work out as well as the bases did. The Goop glue tended to cloud the glass. I'm sure a glass top would work much better.


Uh oh, I hear the siren hoarding call.  Every time I watch that program, I go clean out a drawer or something.

OPA Showcase

Just came back from the Oregon Potters' Showcase in Portland.  This is one of the biggest and best shows of claywork in the country.  They are celebrating their 30th year of presenting one of the best organized shows in the country.

It was nice to see and chat with my friends in Oregon who had work in this show. And I finally met Ellen Currans. She has always been working in the background and never out on the floor, but this year she was at her booth and we had a good chat. I own a couple of pieces of her work and love them.

I didn't know it until the show that Ellen was one of the original innovators who organized the first shows. Check out the OPA website to read more.

Ellen makes beautiful functional pieces and she is a master of glaze as well.












Here's a few examples from the member's show gallery.  (I usually don't photograph work in the individual booths unless I get the owner's permission.)

This photo is to remind me to return to the indigo lined work I did with my cat plates. It looks very ease, but believe me, it's tough to do this and do it so well as this example.

Note to self:  Look for innovative handle applications.

This is a LAMP. It is stunning in real life. Wish I could have seen it illuminated.

Book pages of clay. You wanted to pick it up and thumb through the pages.

The elements here are all 3-D. A novel way to present clay.

Beautifully carved - a very large platter.

This was also a large piece.  I must give this technique a try some day.

I selected these pieces because of the innovation and originality of work; reminders of techniques to experiment with.  Although I seem to be seeing more sculptural work as a trend, I also had the impression that brighter, more ornate work is also happening.

I can't say I am a fan of the bright colored grotesque sculpture that seems to be emerging in a lot of the shows. Looking at the posted NCECA gallery shots, these type of sculptures seem to be prevalent. 

There were more iridescent glazes it seemed and some fine crystal growing going on.  I'm a sucker for white crystalline pieces.

Once again, I added more bowls to my growing collection. I was conscious of the pull of oriental-inspired work that speaks to my own taste.

Woo Hoo!

Just got word I'll be included in the exhibit, Here and There: Contemporary Nordic-American Ceramics at the Nordic Heritage Museum in Seattle.

The show will be mounted in conjunction with the National Council for Education in the Ceramic Arts, NCECA for short, to be held from March 28 to 1 April in Seattle next year.

The pieces selected are:

Weathered Bronze Jar, Blue Pitcher and Graceful, a white bowl with applied black decoration.

As the Brits say, "I'm really chuffed!"

Shows

Sometimes, when you're doing a show and you've set up your booth, when the doos open and the customers come in, the cosmos come into alignment.

The right work is sitting in your booth and the right customer appears and snaps it up.

Hallelujah!

This is exactly what happened with this salt and pepper.

You can almost see them coming. They zero right in on the item, scoop it up, don't quibble about the price.

This is a golden moment.

Don't let that customer escape. Talk to them while you wrap up and bag the item. Don't hurry.

You want to know this person. Find out why they like what they bought. How they plan to use it. Try to establish a rapport; a relationship. This is someone who 'gets' you and your work.

Gently suggest they join your mailing list. Let them know about your next show. Make sure they get your card and contact information. Invite them to your studio, if it's feasible

Maybe slip a little "Thank You" into the bag in the form of a small spoon rest, a coupon for 10% off, any little something that will be a surprise when they get home and open the bag. You want them to tell their friends about the piece they bought and the wonderful potter who made it.

Add them to your customer list when you get home.

Put a star by their name.

You want to see that person again.

This is TOO Funny

Re: How Long did it Take You to Make This Pot?

http://www.youtube.com/watch?v=W8kaYg3XjVQ

"How Long did it Take you to Make That?"

Image from http://www.inspiri-art-and-craft.com, a good site about home-based craft business.

What do you do when someone asks you, "How long did it take you to make this?"

It is said Whistler's answer was, "All my life."

I like that. Because your work changes and grows all your life and what you do today is the sum and culmination of that growth and evolution.

However,

An answer like that will--

1. Probably not be understood.

2. Come off as being flippant.

Besides, the questioner is usually not interested in an account of the hours and minutes you put into making something or the different steps you took to make it.

Some people feel stumped when face to face with art and the artist who created it. They have no experience talking about art. They're a little perplexed and intimidated.

Artists are sometimes seen, in the public mind, to be romanticised, exotic creatures, out of the main, someone slightly mysterious, ethereal, touched by the gods of creativity, owners of a 'gift'.

A little bit of that could be a good thing. But that's not why we are there, standing in a booth in front of shelves of your work, slightly exhausted, keyed up, waiting for customers to come in and buy something.

They are approaching you because your work has drawn them in. They would like to open up a dialog with you, but they don't know how. Picking up one of your pieces might be a bit too forward for some, afraid you'll land on them, make them feel they are obligated to buy something......

Anyway, as I said, they don't REALLY want to know the whole step-by-step story of how you made a piece. That is, unless they want to learn about clay or are truly the curious sort. So recognize it for what it is: A cautious opening, an attempt to talk to you about art.

On the other hand, you may be talking to a bean-counter. That guy who wants to figure out Work x Time x Material = That Price?

Don't go there. It won't work. You can dazzle the daylights out of that guy by peeling off facts about the time it took you to learn the skill, how long you studied or traveled or spent making that very piece with all the steps from pugging the clay to fishing it hot out of the kiln to grinding it's foot down.

He won't understand and by the time you get to about the third fact or so, his eyes begin to glaze over and he starts backing away. Besides, you didn't give him the answer he was looking for anyway.

"When I'm in the creative mode, time just goes away."

"That's a nice piece, isn't it? I'm really happy with the result. Handmade things just have a soul of their own, don't you think?"

"I made that on the wheel/by hand using slabs of clay/etc. The process is so complicated, I couldn't tell you how long it took, but it turned out well, don't you think?"

Always give an answer that will add value and lend uniqueness to the piece. Pick it up and hand it to the customer. (Give them permission to handle it.)

Talk about the color--maybe say, "That's an iron-based glaze." Or "Ceramic glazes are really a very thin coating of glass. That comes from firing it in a kiln at over 2000 degrees." (You can slip in a little education as you go.)

Encourage them to ask questions and start a relaxed, friendly dialogue. Talk about how you can use the piece.

"I really like a big, hefty mug for my coffee in the morning, don't you?" or "Isn't that a comfortable handle?"

"I have a bunch of bowls like this in my home and I use them every day, they are so handy."

"These make great gifts." "I love inventing unique pieces."

"This looks so great near a window where the sunlight can show off the glaze."

Tune into the customer. Try to hear the subtext of their question. See if they have a sense of humor, are wanting to learn, considering the piece for themselves or to give to someone. The quicker you can hone into where they are, the better.

Avoid those who are there for entertainment. Or those who will monopolize your time while other customers come and go!

The minute you are buttonholed by one of those, be nice, but make sure the other people in your booth know you're there to help them buy something. Make a point of saying, "Please ask me if you have any questions or need help." to them. Or disengage yourself from the "clinger" by saying, "Excuse me, I'll be right back." Smile. Leave, keep an eye on them, check back, but telegraph the fact that this is a business, not entertainment.

**Another comment that just kills me is, "Did you make all of this?"

Strictly Functional Show is Up

Go to http://www.strictlyfunctionalpottery.net/ for some real brain jump-starts.

The Akar Yunomi show

There is a dizzying array of yanomi up on the Akar site:

http://www.akardesign.com/

20 pages to peruse.

Arfs and Crafts 2010

Arfs and Crafts will be coming up.

The show opens at The Art Stop, Tacoma, WA on April 15th.

Artists from all over the area make and contribute pieces for sale to support the Prison Pet Partnership Program and Assistance Dog Club of Puget Sound.

Dogs are rescued from animal shelters around the Northwest and taken to be trained as service and assist dogs by inmates of the Purdy WA Women's Correctional Institute. The trainers are inmates who have worked hard to earn the position. Under supervision of professionals, these inmates care for the dogs and train them for their future lives.

The Prudy program has received national acclaim and was featured on a 1997 PBS documentary on service dogs. To date, only one of the many women who have finished their sentences and participated successfully in this program has returned to prison.

The focus of the show is pet dishes, functional, fanciful, funky and fun. Past entries range from the practical to cast bronze sculptures of dogs.

There have even been soup bowls and plates for pet owners.

The show opens during the Third Thrusday Artwalk, April 15th. Artwork will be sold at silent auction through Saturday, April 17th.

The Art Stop is located at 940 Broadway, Tacoma, WA 98402.

Late-Breaking News

Don't you just love it when the same old newscast comes on as LATE-BREAKING NEWS!!!

AGAIN?

heh

I got a message last week that my little terra-cotta teapot photo will be included in the PR postcard for the Texas Teapot Tournament in Houston, Jan. 2010.

Yeah!

Ravens & Crows

Those smart birds who patrol the lawns, flipping leaves and twigs, making comments about each one. Talk about multi-tasking. They can inspect, walk, rearrange their feathers, and watch everything around them at the same time.

This is a great sculpture/dish shown at the Phoenix NCECA convention early this year. I wish I knew who made it. It was in a student? group? satellite show in one of the hotels, I believe.

Maybe this person has listened to ravens or crows just a bit too long. Or is it a dish for serving humble pie?

In any case, it is certainly engaging work and a nice piece.

We don't have ravens, but we certainly have crows. Big ones.

Just for laughs, they land on top the ducks bobbing in the bay, they dive-bomb any eagle who shows up. They try to drive away the squirrels with noise and make nasty comments about my husband when he's in the yard. You'd think they owned the place.

But there's always a flip-side. Right now, the local crows are being nagged by their adolescent children. The offspring are nearly as big as their parents and can now only be distinguished by the 'feed me' squawk and trembling wings posture.

"Gimme, Gimme, Gimme." There is no rest. "Dad, can I have the car? Oh, pleeeeese."

Ah, it's always the same.......

Artisan's Market Show

Last weekend was the Tucson Museum of Art 's Artisan's Market. It was a nice show. The Southern Arizona Clay Association's area was a good one--right at the entrance courtyard.

Outside of set-up and take-down, I was there for my work shift on Saturday morning only, but we were busy the entire time.
This is good. There's nothing worse than sitting around at a show with only a trickle of patrons coming through.











The over-all quality of the show was really quite high with a good mix of choices from two-dimensional work, fibers, sculpture, jewelry,etc.

I was hoping to be able to take a good turn around and spend some time looking at other booths, but didn't even have time to take a break; we were that busy.

There were 17 potters participating in the Southern Arizona Clay Association booth and the variety and range of work was, as it usually is, wide and varied.

My general observation is that the brighter, more colorful work sold best. And as usual, things in the lower range did well--$20.00 to $40.00 or thereabouts.

The customers were a good mix of young and older, men and women. Usually women buy the most pottery pieces.

Some of my best customers have historically been people of Asian heritage and other artists. This time it was a bit different. I usually sell some of my teapots, but didn't at this show, although I did well as far as sales go.

I really enjoy the contact with customers and like to meet people and talk. I got over being shy about my work a long time ago.

Theme Shows

I was just thinking in the context of past commissions - making an object in accordance with subject matter or theme and art shows that require applicants to make work that relates to a certain theme or specific title.

I must admit, usually I knee-jerk at the idea with a negative reaction. I'm repulsed, nay insulted by the kind of arrogance that assumes they can dream up some theme and make everyone dance to it. Who knows why a show has to have a theme. For marketing? I think that sort of mind-set reveals a basic ignorance of the art for it's own value and an ignorance of the creative process. It dishonors the artist.

Now, if I happen to have, on my own, created a piece that could fit into the 'category' or theme requirement that's fine.

The two commissions I have taken on were done because the subject intrieged me and because the driving force behind both of them was education-related. And I find that a most worthy cause indeed.

I have made and contributed pieces with a dog and/or cat themes for a charity sale that supports a women's prison inmate program to train guide dogs. Also a very worthy objective, as is Empty Bowls sales. The focus is on the charity and the contribution to the cause, not jumping through an advertising hoop.

"20th Annual Glass and Clay Show" or any other title that is repeated every year and the collectors know it will come around at a certain time is a 'way better marketing idea than "The Purple Show".

I recently asked for a prospectus for an outdoor festival-type event. A one-day show. Acceptance is based on 10 samples of work (photographic examples would be okay, it said). The paperwork stipulated the artists must set up their booth on the morning of the show, which means an arrival at around 5:30 a.m. or so. Although entry fees are not too high, a one-day event means you must make back the entry fee, expenses incurred getting to the show, possibly two or three meals, transportation costs, other costs like business cards, display equipment, etc. AND make a descent profit within 8 hours. But an 8-hour show really means half a day for loading the tent, display, business materials, merchandise; packing it all up and breaking down the canopy and shelves; getting there and back and unloading it all--probably as much time as the actual selling part of the show.

But the icing on the cake is the organizing committee requires that all participants come in a Specified Theme Costume.

That is a bit much. I think I'll give this one a pass.

But it isn't just this particular event that I blame. It's the whole problem of the way shows have evolved. When did we hand over this kind of control to organizers who sometimes only regard us as window-dressing for their event? We need to take control back. There are a few shows or events which are organized and run by artists who do understand, but unfortunately, they are not the majority.

Can you imagine Salvador Dali knuckling under to a committee? Vincent Van Gogh (that poor man) or the American treasure, Andrew Wyeth?

Who knows what Leonardo da Vinci or Michelangelo could have done if he didn't have to always find and please a patron?

Okay.

I feel better now.



This totally has nothing to do with the above, but this drawing lived in a not-too-often-used closet for quite a while.

Why? Because I wasn't too sure I liked it. Whenever I opened the closet, I would see it anew and so it was a fresh image every time.

It's called "Reflection". Nobody in particular, just an old woman looking at herself in the mirror, thinkng.

I finally decided that I did like it.

Woo Hoo! 500 Tiles

One of my tiles was selected for 500 Tiles by Lark Publications!

I got my comp copy a week or so ago.




The book is wonderful. Such an amazing variety of work. It's an inspirational index. No excuses about getting stumped about what to make; just open this book and get inspired.

I'm humbled by the incredible variety and skill of the work. It's a winner.


Dang

When I sent in the photo, I submitted 3 pieces - all of sea life - Didn't even think about taking a shot of them all together as some entries did.

**insert slap up the side of own head**

And did I think of the tile I wrote earlier about (November 2007) for the back of the standing mirror? Duh

**insert kick up the backside** Silly Attention-Deficit me.


I do it to myself. It's like, "Okay, worked that one out and made it. NEXT!" I promptly forget and go right on to the next thing.
Thank God for cameras.

But Seriously, Folks

Pictured; Sea Star Mugs








The below list has been circulating around potter's groups for some years and yes, it does make it look like you're only dealing with one mug instead of in reality, multiple pieces of work. When I make mugs or bowls or anything in groups, I always make extras just in case some quirky thing happens and one sticks to the kiln shelf or I drop it on the concrete because it burned my fingers while trying to unload my kiln too fast. (Yes, I am learning to be more patient.)

The Real Point: There is very little understanding about the process of making things by hand. Meeting the general public at shows makes that very apparent. The whole complex of skills it takes to make anything by hand? Most people haven't a clue. Sure, I'd say 99% have seen a potter throwing on a wheel or will tell you they saw "Ghost". Throwing is just one tiny part of making pottery. Occasionally, someone will tell me they took some classes or had done pottery before. These are kindred souls who really understand.....

"How long did it take you to make that?" is a question artists are always being asked. There are any number of responses that spring to the tongue and twitter the mind. You could go the James McNeil Whistler route and say, "All my life." But that seems a big flip and you're likely to turn the questioner off Big Time. Some people are trying to equate the answer with Time X Hourly Wage = Reasonable Cost. But I can tell you right up front, if potters charged even the minimum wage for what they do, nobody could afford to buy handmade work. If you start enumerating steps as in the process list for a mug, you will see an immediate eye-glaze and an equally fast drift-off. They don't really want to know.

What I recognize is this: The customer is trying to make contact with you. And the "How much time?" question is really an opener, since they don't know the technical stuff and therefore can't ask a technical question. A good artist-salesman (unfortunately, we must all become that if we want to keep making art) doesn't have to answer the question directly. I usually answer with another question like, "I'm curious. What is it about the piece that attracted you?" It's a great non-threatening response and a way to get to know the person who is interested in what you're produced.

And they're curious about the person who makes the art. After all, it is rare you get to meet the creator of any art on a one-to-one basis. Museums are not run by artists, unfortunately, and rarely are galleries. Shows seem to be fading. Some artists still do them, but most of the time it's a whole lot of work for very little return. Artist's costs are going up yearly. Many shows have changed and lost their edge, becoming a 'free entertainment outing for the family' kind of event. It can be very discouraging to spend 4 demanding days in a booth surrounded by your best work watching plastic-looking-garden-art-bubbleblowers go by in the hands of customers. It can be a real heartbreaker.

With the advent of cheap goods flowing into the marketplace, the artist's niche is getting smaller and smaller. So where does the artist go? They join co-ops, open their studios to the public, join groups, get a webpage. I don't care for co-ops because of the requirement to be on a sales floor-type schedule. I do only one or two shows each year just because I like the particular shows and enjoy being in touch with customers and getting valuable, immediate feed-back. But I'm going more and more into the direction of selling on the internet and seeking out galleries.

Arfs and Crafts

Later on this year, a gallery in Tacoma called The Art Stop will sponsor a show and sale of dog and cat related works called "Arfs and Crafts". Aritsts make bowls and donate them to the sale. The proceeds go toward supporting the dog training program at the State Women's Prison in Purdy, WA. The women train them to be guide dogs. It's a really worthy cause which I've supported it for some years now.

So, the other day I got my head into a really funny gear thinking of an idea along the same line as the cat plates, etc. Yesterday, I made a tile by rolling out some clay, creating what looked like a note pad and added 3-D cat paws just at the bottom of the pad. I will write a message on the clay pad that says, "If you ever want to see Binkey again, leave 5 opened cans of Fluffy's Favorite outside the cat door--- or else!" The 'else' will trail down to the place where the paws are. And they will be made in such a way that you can put a ball-point pen in them.

I'll make two; one for me and one for the gallery. When I finish, I'll add a photo.

Of course, this kind of mind-kink brought on more funny stuff, like a tile that shows a stream of water at the bottom and at the top, the title, "The curse of a mind that never shuts up." Word bubble coming out of the water reads: "Help! I'm drowning in a stream of consciousness." And this one:
That's gotta be a tile.

Shows

Got word this last week that my large teapot currently showing in the Texas Teapot Tournament has sold. It’s one of the hand built ones and the handle is wrapped in leather cord. Here’s the jury shot.


Also in the show is my Shino 3-piece set. Would be nice if it sold too.