What kind of opportunity is knocking?

cheryldineenferrin — Mon, 11 Jan 2010 14:21:01 +0000

Maria Elena Kravetz, the owner of a reputable gallery in Cordoba, Argentina, contacted me to see if I was interested in showing my work with her gallery at International Sculpture Objects & Functional Art Fair, SOFA West, Santa Fe, New Mexico. Now, an opportunity of this magnitude does not normally drop on my doorstep, so I thought it would be worth pursuing.
Ms. Kravetz said she had reviewed my work on my Web site and thought it would do well at SOFA. As I knew her gallery had been exhibiting at SOFA Chicago since 2000, I felt confident that she knew what she was talking about. (OK, and just a little flattered for having my artwork recognized. That gallery has such good taste in artists.)
Ms. Kravetz said, that in exchange for a co-op arrangement, she would reduce her commission on my works sold during the exhibit. Then came the fees, terms and conditions via e-mail. I know that participation in high-end shows is quite pricey. A show like SOFA can command higher fees from galleries when its management gathers 31,000 collectors to view the represented artworks.
I suspected Kravetz might request co-op dollars. In the past, I have partnered with smaller galleries which have asked me to share promotional costs to raise public awareness of my name and this, in fact, was the case with Kravetz.
The Maria Elena Kravetz Gallery proposed I pay $4,500 to have two of my pieces on display for three days (on a six-foot wall space) at SOFA West in Santa Fe and another $1,000 to have an image of my work printed in the SOFA West catalog under their Kravetz Gallery banner. As part of the arrangement, I would also be responsible for all shipping charges and, presumably, my travel expenses. For the fees listed above, they agreed to charge me a discounted commission of 30% on any sales of my works. I was not prepared for the sticker shock. And it got me thinking: is it standard for galleries to ask artists to pay-to-play?
Corey Hampson, Sales Director for Habatat Galleries in Royal Oak, Michigan, helped me put this proposal in perspective
I2: Corey, how do you pick the artists that Habatat Galleries takes to an exhibit like SOFA Chicago?
CH: That’s a very good question. Some artists we bring every year as we have, or are, developing a relationship with them . . . we represent 100 artists from 17 different countries. We select seven artists to go each year with us and then another seven are invited based on feedback from collectors or who is making waves in the market.
I2: “Making waves”?

Josepha Gash-Muche, Coburger Glaspreis artwork

CH: Yes, for example, Josepha Gash-Muche, (pronounced gash-mooka), from Germany, won the First Prize in the Coburg Glass Prize in 2006. This is a big deal, the Coburg Prize is not awarded every year. The Corning Museum was collecting one of her pieces and we heard about it. We invited her to send a couple pieces [to the gallery] that sold immediately, so we took her to [SOFA] Chicago.
[Prior to the 2006 awards, 20 years had passed since the last Coburg Glass Prize. The aim of the Coburg Glass Prize is to give an overview of contemporary glass in Europe. This competition is recognized world-wide as one of the most important competitions for glass.]
I2: Is it “standard” for galleries to ask artists to pay to be represented at an event like SOFA?
CH: That’s an interesting concept…but no, it’s not the standard to ask artists to pay. I know that for us, Heller [Heller Gallery, New York], Holsten [Holsten Galleries, Stockbridge Massachusetts], and Ken Saunders [Ken Saunders Gallery, Chicago], and many others, the gallery pays the artists’ way.
SOFA is unbelievably expensive. It costs $90 just for one light in your booth. We are considering participating in other exhibits like Art Palm Beach in West Palm Beach, Florida and a new show in the Hamptons. Galleries are trying to get an alliance together to get a venue that is a little less costly — our own satellite venues at these high-priced exhibits. This is the future of contemporary glass. Exhibitions can run dry — especially if you are out in the middle of nowhere — but we can really promote the artist when 20,000 collectors, or people interested in art, are attending.
I2: So, how did you do at SOFA this year?
CH: This was our second year in a row of record sales.

If “pay-to-play” is not standard practice, I wondered what the perspective of the SOFA management would be on this proposal? Do they know about this? They offer an elite group of exhibits here in the US. Is this what they want to happen?
Mark Lyman, President of The Art Fair Company, Inc., who produces SOFA New York, Chicago and Santa Fe, had this to say:

“Just to set the official record straight: We have never asked or encouraged any gallery to essentially sublease space in their SOFA booth to any artists. It is not the business model we are interested in supporting. Our dedication is to the galleries who support their artists by giving them shows in their galleries or at art fairs and take the risk of doing so. The financial arrangement between the gallery and their artists is generally one where the sales of the works sold are equally divided, or, in some cases where the gallery dealer purchases a body of work from an artist outright to present. Any variation from this practice generally ends up being self-correcting, as most artists of merit are loath to “pay to play”. It generally indicates a very short term relationship.”

That pretty much says it all, doesn’t it?
Another artist with whom I discussed this situation said: “I know how hard it is to market yourself, but we just [have to] get out there! Have faith in yourself . . . and keep creating.” “Good for you, for not being (literally) bought and sold, and exposing this situation.”
The sad part is, that the offer to show my artwork at SOFA is the most exciting promotional opportunity I have ever had. Representation at SOFA is a crowning jewel. Since, however, I do strive to be “an artist of merit,” you will not see my work in the Maria Elena Kravetz Gallery at SOFA West under these terms. But do stop by my Web site, I’ll keep posting images of new works for all to enjoy.

Follow-up — a copy of my response to Maria Elena Kravetz Gallery:

Dear Ms. Kravetz,
Thank you for thinking of me, as you consider the artists to take with you to SOFA West, Santa Fe.
I carefully reviewed the information contained in your last e-mail. While I would appreciate the opportunity to partner with a gallery that has such a fine reputation in the art world, as yours does, I am interested in developing a long-term relationship with a gallery as a business partner — under a standard artist representation agreement. The terms and fees you proposed for representation by your gallery, at SOFA West, reflect a non-standard business model for this relationship. I feel that accepting this proposal would not be in my best interests.
Again, thank you for your feedback on my work. I wish you continued success in your participation with SOFA and in your other endeavors.
Sincerely,
Cheryl Dineen Ferrin

The Blackbird Exhibit

cheryldineenferrin — Sun, 20 Sep 2009 19:02:15 +0000

Today I am working on my pieces for the exhibit sponsored by the Fiber Artists Coalition. www.fiberartistscoalition.com
The group of fourteen artists proposed a traveling exhibit inspired by a Wallace Stevens poem. As soon as I read VII, I knew what my composition would be. In 1998, not long after we moved to Michigan and ages before those fun little iPod ads, my dear husband took a rather unflattering Polaroid of me cleaning the kitchen. Uh, yeah. I wasn’t having any of that at the moment so I confiscated the Polaroid, grabbed a black Sharpie and proceeded to completely blacken my image. I was intrigued by the abstract nature of the silhouette but not interested in maintaining the hyper-realism of the background. As with many things, I needed to give myself time (11 years?) and opportunity to realize the direction of the artwork. There is a “glow” around the figures which is yet to come. The works are created from my hand-dyed silks and a black commercially-dyed silk noil (raw silk).
The first venue for the exhibit will be the Gov. French Gallery in Belleville, Illinois. This is a lovely gallery. Regrettably, I am unable to attend the opening as it conflicts with SOFA (Sculpture Objects Functional Art) Chicago in early November. Here are the works – currently under construction – that I am sending to the exhibit and the poem that inspired them.

Cheryl Dineen Ferrin, Blackbirds at Her Feet, diptych each 45x36 inches

Thirteen Ways of Looking at a Blackbird
Wallace Stevens
I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.
II
I was of three minds,
Like a tree
In which there are three blackbirds.
III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.
V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.
VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?
VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.
IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.
X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.
XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.
XII
The river is moving.
The blackbird must be flying.
XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

Interview 2 » Exhibits

What kind of opportunity is knocking?

The Blackbird Exhibit