TOOLS FOR RESEARCHING A SHOW

1. An atlas: You can use an atlas to find local population densities. 2. The area's chamber of commerce: Ask the chamber for contact for information on local galleries, museums, and other art venues. 3. Area newspapers or local magazines: Search for ads for, or articles about, members of the local art community to contact about the show. 4. Search your public library for a phone book of the area of the show and scan the yellow pages for listings of galleries, art associations, etc.

WHAT DOES THE BROCHURE TELL YOU?
Next, look at the show's brochure. While a fancy brochure is not a guarantee of a good fair, a cheap brochure with poor graphics probably indicates the promoter's approach to advertising and promotion. If the brochure lacks a list of rules or regulations for the show, requests photos instead of a set of slides, or makes any claim that sounds too good to be true, it probably indicates poor organization on the part of the promoter.

CALL THE PROMOTER FOR DETAILS
If a prospectus seems solid, but lacks details, Marianne Hanson, a porcelain jeweler from Harrison, Ark., calls the promoter to ask about specifics such as layout and ground conditions for tie-downs. But, as Greg Lawler of Portland, Ore., points out, small factual details are about all you should request. "After all," he says, "would you call Ford to ask if you should buy a Taurus instead of a Toyota?" Don't expect the promoter to tell you the weak points of his event.

IMPORTANCE OF PRINT RESEARCH
A little print research also can yield valuable answers to questions about fairs that can save you from expensive mistakes. Brant Foutch of Minneapolis, Minn., creates art dolls with his wife Deborah. He recalls a "nice-looking" prospectus for an art fair that was part of a town's civic celebration. The fair sounded good, he says, but the promoter neglected to mention that the fair would be set up directly across from a circus. It was a hard-learned lesson.

Since then, Foutch has done extensive research when interested in a fair. As he reviews the prospectus, he looks for information on purchase awards and their amounts, specifics on crowd size and demographics of the area, and proof that the promoter produces sophisticated advertising for the buying public.

He follows through with further research. Chambers of commerce can provide demographic information and insight into consumer buying patterns in an area. And, regional newspapers and magazines may contain the fair's advertisements and articles about prize winners. Foutch also searches the Internet for stories about fairs, and, of course, he talks to other artists.

Which Fairs Should You Do? Questions to Ask Yourself How many fairs do I want to do in a year? How far am I willing to travel? If I need to fly to a show, can I transport my booth? Do I have special considerations: Can my booth be set up on uneven ground, concrete or grass, in bad weather? Do I prefer a short trip each weekend in a different direction, or would I prefer a circuit that lasts several weekends, with weekdays for tourism, or visiting galleries? How much road-wear can my vehicle (and my body) take?

ASK OTHER ARTISTS
Goldsmiths John and Carolyn Ruff of Springfield, Mo., have been selling their jewelry at art fairs for 27 years. John Ruff, too, recalls being misled by the information in a prospectus -- one that claimed a "fine arts emphasis" on "museum grounds." When he arrived at the fair, it was clear the art emphasis was inside the museum, the grounds were drab and dusty, and the fair-goers were "not nearly as slick as the brochure."

Because of this, the Ruffs still like to hear what other exhibitors have to say about shows. "This is an insider process," John Ruff says. "Anyone who's been in the business for a while can name the top 20 fairs in the country. You talk to other craftsmen as you travel to different parts of the country, and you hear about the best of the second-tier shows."

Ruff adds, though, that he tends to rely most heavily on the opinions of artists he knows personally, who are more willing to disclose how they actually fared at a show. Other artists are more daring: Ruff says he has gotten calls from strangers who found his name in a fair program, and contacted him for his opinion about the fair.

Hanson and her husband, Doug Glascock, a driftwood sculptor, also often call friends in the crafts business to ask them about shows. "It's best to ask people you know," Hanson says, "who are willing to divulge their income from a specific show, or who will at least tell you what their dollar expectations were, and if they came close. Talking to friends also lets you know whether the overall quality of the fair matches your needs."

REVIEWING FAIR LISTINGS
Sometimes, artists can't even find new shows to consider. A number of years ago, Lawler, a photographer, became so frustrated with the lack of adequate fair information available that he compiled his own detailed list and named it The ArtFair SourceBook. The book has become a valued tool among art fair exhibitors, because it offers not only the expected information about dates, fees and attendance, but includes detailed information about the challenges and difficulties of each show as well.

For inclusion in the book, a promoter must fill out a three-page questionnaire. Lawler also attends more than 100 art fairs a year as an observer, and hands out thousands of audit cards to exhibiting artists who rate the show for The ArtFair SourceBook. Lawler aims to inform other artists about potential problems, such as poor layout or inadequate access for exhibitors who use wheelchairs.

Lawler still exhibits at 10 to 12 art fairs a year, and uses his own list to evaluate shows, as well as The Harris List, The Crafts Report and other industry publications. Lawler says his most valuable information, though, still comes from other artists. We all trust those who have been to the front lines of battle.

FOR MORE INFORMATION

The ArtFair SourceBook (800) 358-2045 or (503) 331-0455 www.artfairsource.com The Crafts Report (800) 777-7098 www.craftsreport.com (for a list of about 400 shows around the country) The Harris List Larry Harris La Veta, CO (719) 742-3146

CAREFULLY CONSIDER HIDDEN COSTS
In addition to details about the show and the clientele, the cost of doing the fair is also a consideration: travel and lodging, loss of shop time and subsequent production, booth fees, and advertising costs, etc.

Many craftspeople, however, forget to consider the "hidden costs." As an example, Lawler says, "The hidden cost of auto depreciation for those who drive to fairs is often considerably higher than one might expect. You need to add in the extra oil changes, new tires and other preventive maintenance, as well as normal wear and tear, and not just tally up the cost of gas." And few artists pay themselves for labor involved in traveling to fairs: hours spent on the road, and as a setup laborer and salesperson.

Lawler notes that another hidden cost is the price of restaurant meals, which is often much higher than eating out at home. Because much of the socializing at a show happens with friends over dinner in a nice restaurant, the reward for a day of hard work becomes expensive. Don't forget to consider these expenses.

And as a large number of artists on the circuit enter their middle-aged years, the physical stress and demands of the lifestyle also need to be considered.

ADD DEPTH TO YOUR SCHEDULE
A slim show schedule can be beefed-up by adding more retail shows, a wholesale show, or perhaps trunk shows at galleries that carry your work. Sometimes a home or studio show can add a great deal of revenue with relatively little expense. And sometimes that fabulous, top-ranked show suddenly juries you in, and then expense and road-weariness somehow don't mean anything at all.

Those top shows, the ones that remain solid year after year, seem to be those with excellent advertising, a well-planned layout that brings traffic past all the booths, adequate rest facilities, good food and excellent volunteers. These shows are also known for their rigorous jury process that guarantees quality work, which brings collectors and serious buyers back again and again.

The savvy promoter knows what makes a good fair, and he/she will be sure to tell you all about it in his prospectus. And the savvy exhibitor will do his research, and he'll talk to his friends on the art circuit before he sends out his hard-earned jury fees.

Carrie Groves is a former jewelry artist. She is currently working as a freelance writer for the Springfield Business Journal in Springfield, Mo. She and her husband have also opened a commercial embroidery company.

MARCH 2000: TABLE OF CONTENTS