Artists Report Good Sales at Crafts Park Avenue Show Despite Low Attendance

rtrider Productions’ Fall Crafts Park Avenue show, held in October 2003 at the Seventh Regiment Armory in New York City, seemed to live up to its reputation of being one of the finer East Coast retail shows.

Although several of the artists we spoke to reported that attendance seemed down, many said that sales were the same or better than in years past. For fiber artists and jewelry makers in particular, this show appears to garner the most sales.
Dick Muller says the handbags and belts in exotic leathers made by Muller and his wife in Ashfield, Mass., did “just as well [in 2003] as 2002, which was good!”

Muller, in the crafts business full time since 1964, says he has been doing the Park Avenue show for about 12 years. In addition, he finds wholesale buyers at shows like the American Craft Council’s in Baltimore and San Francisco, and also sells his work at
Dick Muller & Co. in Shelburne Falls, Mass. His one-of-a-kind pieces retail for up to $500.

Untitled porcelain work by Lois Ruben Aronow, a first-time exhibitor at the Fall Crafts Park Avenue show.

Rusty Dorr, whose wearables retail for $900 to $4,500, says she was happy to tell us that she made “over and above” his show costs at the Park Avenue show. “The work I do is a market that has a broad audience,” Dorr says. “And sometimes I enjoy a client who becomes a collector of my work. Very satisfying!”

Dorr says he already has more orders than she can handle for 2004. “So, I will delete a good third of my shows this year,” she says.

Fiber artist Patricia Burling of Monroe, Conn., has been doing the Park Avenue show “at least 10 years.” Burling confidently expects follow-up calls for her rugs, which retail for $70 to $75 per square foot. “Most of my work comes from commissions after the show,” Burling says. “I sold a rug at the show, several throws (prices for small throws begin at $185 to $275), received one rug commission and one follow-up sale.”

Burling’s work also includes wall hangings, which she displays in a portfolio at shows. “I found that people [at Park Avenue] were quite interested in the rugs as well as the throws,” Burling reports. “There is a renewed interest in art for the home — a welcome trend.”

Karen Brito of Entwinements in Ohio says sales of her colorful pleated silk accessories at Park Avenue in 2003 “were comparable” to 2002’s.
Brito, whose work retails for $50 to $2,000, has also shown at American Craft Council shows, the Philadelphia Museum of Art Show and the Smithsonian Craft Show.

Massachusetts artist Martha Giberson’s lampworked glass bead jewelry sold exceptionally well at the show. “I sold about 50 percent more than my best Park Avenue show and about 90 percent more than in 2002,” reports Giberson, who has been doing this show for four years.

Giberson, whose retail price range is $5 to $1,800, has also exhibited in the Cherry Creek Arts Festival, CraftBoston and the Smithsonian Craft Show. Her work is also sold on Guild.com.

Many artists told us that the benefits from this show continue long after the actual event. “Sales at the show are one thing, but the story never stops there,” says exhibitor and jewelry artist Joyce Goodman, from New York City. “Sales continue, people remember over months and years.”

For this reason, Goodman only does shows “fairly close” to New York. “I only apply to shows where I can make a commitment to returning, building relationships with customers over time,” she explains.

Goodman’s work, most of which “sells in the $1,500 to $5,000 range and a few pieces higher,” was popular at Park Avenue this year. “It was among the higher sales at shows for me,” says Goodman. “My sales at the Fall Park Avenue show were all, except one, to customers who had stopped at the booth at earlier shows and spent time with me and the jewelry.”

Glass by Barbara Galazzo.

Gilded panel by Laurie Goddard.

Beaded jewelry artist Jessica Beels of Jessica Beels Design in Washington, D.C., was “a relative newcomer” to the Fall Park Avenue show, but still did well. “I am confident that my work sells well there because it is distinctive, one-of-a-kind and well made,” says Beels. “I am constantly adding new designs and variations to my inventory.”

Beels, whose work retails between $45 and $1,200, says her price points “seem to work” in the current economic climate. “This time people bought, on average, at a higher price point [than in the 2003 Spring Park Avenue show] and I had some good repeat sales,” she says. “Customers view it as a treat, but not a wild expense.”

For artists working in media such as clay and wood, sales were fickle but still possible. Guy Marsden, who makes his Art Tec furniture in a solar-heated barn in Woolwich, Maine, says the fall Park Avenue Show “was my best craft show for retail and orders — ever!”

Married to award-winning fiber artist Rebekah Younger, Marsden’s eclectic line of hand-crafted furniture and accessories includes lamps with hand-dyed, knit lampshades designed by his wife. Marsden’s work retails for up to $1,100. “Craft sales seem to be picking up, finally, since the impact of 9/11,” comments Marsden.

Potter Lois Ruben Aronow, at the Fall Park Avenue show for the first time in her four-year career, was disappointed in the number of shoppers. “The promoters did quite a bit of promotion and advertising,” Aronow says. “but few people came out to the show.”

Aronow, whose prices range from “$15 for a very small item to over $350 for a large platter,” also believes that pottery sells poorly at the show because buyers don’t want to carry it around nor pay for shipping. But, other exhibitors told her people are less likely to buy because she’s a local artist. “[Instead], they put themselves on my mailing list — hoping for a sale,” Aronow says. “What I did sell were smaller items — mugs and cereal bowls.”

Laurie Goddard whose studio is in Shelburne Falls, Mass., agrees that sales were scarce for some types of craft at the Park Avenue show this year. Goddard creates works of patinated-metal leaf on wood bowls and wall panels that retail for $65 to $3,000. “They liked my work and follow-up may be good,” Goddard says, “but this is really a jewelry/wearable show.”

Aside from the stunning work for sale, many of the exhibitors proved that they have mastered the art of packaging as well — which can go far in boosting the perceived value of one’s work. California graphite artists Agelio and Gil Batle, sold their sculptures in thick cardboard boxes that include written information about the piece and a card stamped with the exact date the piece was made. The artists told us that while designing the packaging was labor intensive and an added expense to their business, they’d received enough compliments to know that it was worth it. In addition, Agelio Batle told us that he was surprised at how few artists actually take packaging as seriously as they do their work.

To that end, Massachusetts fiber artist Sonya Mackintosh, sold each of her handmade scarves folded in a cotton bag stamped with her contact information and cinched with a ribbon. And Brooklyn fiber artist Cozbi Cabrera, who makes keepsake dolls, pillows and bibs, carefully wrapped each purchase in tissue paper then tied it with satin ribbon and sealed it with a sticker of her logo. While the process was simple, the effect was impressive and professional.

In addition to packaging, the Fall Crafts Park Avenue show highlighted the value of good customer service — when shoppers feel
valued, they’re more apt to make a purchase. Mackintosh and Cabrera both had assistants in their booths who helped package sales and greet customers.

Other artists had assistants who helped demonstrate the function of the art, or helped shoppers try on and size wearables. Again, while these small acts of business acumen seem insignificant on paper, they underscore the level of professionalism that was common at this show. “It takes practice, but turning off the ego a bit and turning on the charm can make all the difference,” says Beels. “It’s easier to enjoy a show with a positive attitude … you feel better and the customers can sense it.”

Heather Skelly is associate editor of The Crafts Report.