Behavior and Etiquette Tips for a Successful Show
by Bruce Baker
t shows this year, I kept hearing a reoccurring theme from promoters and artists alike on the subject of art show behavior and etiquette both before and during the show. The time seemed right for an article on tips of this nature so the art show experience works better for both show promoters and artists.
Read the application thoroughly
This came to the top of the list for every promoter I interviewed. They spend a lot of time and expense compiling, printing, collating and shipping show materials to you. If you call and ask them questions that are covered in the pre-show materials, you're wasting their time. Read the show materials thoroughly and highlight any special rules that pertain to a particular show. Not all applications are the same or ask for the same information. Be sure you're following the procedures spelled out in the application. A handy idea is to save your show prospectus after sending in the application. Keep all applications together in one envelope for future reference. At the end of the season, just throw them out and start all over next year.
Deadlines are deadlines
Don't expect someone to bend the rules for you no matter what the reason.
Send in the correct fees
It was reported to me that many times the amounts of the checks sent in with applications are wrong. Rectifying this takes a lot of time and special attention from show promoters. Check and double-check all the details of your application before you send it in.
Also, make sure you have sufficient funds in your account to cover your check. Many times, you have to cut these checks way in advance. On top of that, the promoters may hold these checks for quite a while. Some banks will charge a fee to redeposit the checks. This situation doesn't win you any points with show producers as it takes time for them to deal with your bad bookkeeping and keeps them from doing their real job, which is promoting the show.
One promoter I spoke with told me that this is such a big problem that they are considering a returned check as a termination of show acceptance. Some shows are now charging a $20 fee for any returned checks and are going to state that policy on the application.
Follow the rules
You may not agree with the rules as stated in the application, but the show producers have put them there for a reason. Do what you are asked to do and do not ask to be an exception. For example, if the application asks for a booth slide and you Don't have one, Don't send in the application anyway with a letter begging for special consideration. Go and get a booth shot taken.
Show promoters Don't know how to handle these special needs requests while keeping it fair — many resent even being asked. Special needs and requests to bend the rules usually arise from artists waiting until the last minute to send in their applications. When they finally read the application, it's too late to do it right.
Apply early!
You gain a big advantage of getting into a show if your slides come up early (before the jury gets burned out) in any given category. In most cases the earlier you apply to a show the more likely it is that your slides will be viewed early in the process.
Arrive at the show on time — not early and not late
If your setup time is at 4 p.m. Don't show up at 2 p.m. and plead to set up early. A big van or an elaborate booth are not reasons to have the rules bent for you. The promoter probably has a specific reason for slotting you at that time. Usually the reason is insurance or liability, or city permits have not gone into effect until then. If you arrive when you're asked to do so, everyone will be happy.
Take rejection well!
The rejection letter is the most painful part of the show experience for both artist and show producer. They Don't like sending the rejection letter any more than you like receiving it. It's part of the business of doing juried shows. You know your work is good and you cannot figure out why you didn't get into the show. There are so many variables involved that show producers couldn't even begin to explain why each individual was rejected, nor should they be put into a position to do so. It's their job to deal with the people who got in and to create the best event for them.
If you're rejected, accept your fate and work to create better work and obtain better slides. It's not the promoter who rejected you — it's the jury. I know it feels personal, but Don't take rejection from a show personally, and above all, Don't write a nasty letter telling the producer that they are wrong and have no taste.
Don't take more than your share of real estate
Most shows are laid out to exactly 10-foot by 10-foot spaces. Make sure that you haven't crossed the line and are flowing over into someone else's space. This also goes for chairs in front of your booth. Make sure they Don't cross the line and wind up in front of your neighbors' booth.
Points to remember
• Putting together a successful show is an enormous task. Do your part to make it as easy as possible for the promoters to do their job without asking them for "special attention" or to bend the rules for you. • Good planning and organization on your part will prevent most of the described above. For the most part, artists do the right thing. It's the few who violate the rules that make it difficult for the rest of us. Make sure you're not in that group. • Contrary to popular belief, show promoters really do benefit from artist suggestions. Artists have been known to say they're afraid to offer ideas as they will be considered "whiners" and get blacklisted from future shows. This is not the case. The only way a show can continue to get better is to benefit from exhibitors' constructive ideas. • If you have criticisms about a show, offer them in a constructive and professional manner. Use your evaluation form to write out your ideas, or follow up with a short note after the show is over. Don't argue with the show promoters in person at the event, and never swear or use foul language during any communication you have at a show with show staff, or even your colleagues. One show promoter related a recent incident where an artist screamed and swore at a colleague because that person didn't park in the right spot. Lots of four-letter words were exchanged at the end of the show when everyone was tired. Even when approached and asked to cool down, the artist was totally abusive. Needless to say, they will not be back next year. I hope these tips will help you have a more pleasant experience at your shows in 2005. Remember to thank the people who make the show possible. It's an infinite amount of work to pull off a successful event — whether it's run by a paid staff or an army of volunteers, as so many shows are. It often takes the better part of a year to organize, and unless you've worked on that side of the fence, chances are you have no idea how much time and energy it takes to stage this type of event.
A sincere thank you to the events manager or the volunteer staff will ensure that they remember you, in a good and positive way. Putting your "thank you" in writing is even better as they are able to pull it out and re-read it when they are challenged by people who do not follow the rules.
Bruce Baker is a jeweler, gallery owner and nationally recognized expert on booth design. Visit his Web site at www.dbakerinc.com.
