Professional Guidelines Update for Craftspeople
The new set of guidelines covers Open Studios and Fundraising Auctions.
by Nancy Moyer
he second set of Professional Guidelines for craftspeople is ready for distribution. Metalsmith Harriete Estel Berman and a committee of 10 other craftspeople published the first set of guidelines and “standard practices” in 2002 (see TCR, November 2002). While the first guidelines were directed to Consignment Contracts, Discounts, Exhibitions, Claims for Damaged Work and Useful Books for Legal and Professional Advice, this second set covers Open Studios and Fundraising Auctions, “The Professional Guidelines that Harriete Berman and her committee have put together on Open Studios and Fundraising Auctions contain valuable information written in such a way as to serve the entire crafts field regardless of medium,” says Dana Singer, executive director of the Society of North American Goldsmiths (SNAG). SNAG is supporting the project by publishing the Professional Guidelines on its Web site as they are completed.
Open studios
An open studio event has an economic impact on the artist, the community and local galleries. Open studio events offer an alternative marketing venue for many artists who don’t have gallery representation. However, presenting an event like this means that the artist takes the responsibility for those bothersome details usually handled by a gallery, such as scheduling the event for maximum exposure, having a substantial mailing list, sending out invitations that require printing and postage, serious “schmoozing” with potential patrons and collectors, and handling the details involved in the sales.
A successful example of an open studios event is the Open Studios Art Tour held in Santa Cruz County, Calif. According to the Professional Guidelines, “The Cultural Council of Santa Cruz County employs a professional events coordinator and a development and marketing director who support a volunteer Open Studios Committee comprised of local artists. The event is screened. About 10,000 visitors generate over $1 million in sales annually.” Santa Cruz also publishes a calendar/catalog, which contains the artist’s address, a color photo and description of each artist’s work. Sales of the catalog pay for its cost, and it serves as a handy reference for collectors.
An open studio event is most successful in terms of potential buyers when a community of artists is involved but any number can participate. This kind of event can allow artists to broaden their market and to network with other artists and craftspeople. An open studio can also strengthen community ties and help promote appreciation for the arts. The Professional Guidelines includes a helpful checklist for the artist who is planning an event of this kind.
Fundraising Auctions
The Professional Guidelines offer considerations to be taken into account when thinking about donating artwork for auctions. Fundraising auctions may embody some unforeseen repercussions, according to Berman. For example, an artist who has an exclusive representation clause in a gallery contract has the responsibility to check with that gallery and ask questions before donating work to an auction. Does the gallery feel that the donation represents a lost sale? What is the impact when donated work sells below normal retail prices?
Look at the Professional Guidelines recommendation for establishing a reserve price.
In a Myths and Facts section, the Guidelines cover five preconceptions about art auctions that many people assume to be true. These include:
• Donating work does not cost the artist anything.
• Auctions are an exhibition opportunity.
• Auctions are an opportunity to introduce your work to a new and wider audience.
• Collectors will be introduced to your work.
• Artists benefit the most from art organizations fundraisers (therefore it is the duty of artists to show their support by donating work to auctions sponsored by art organizations).
Each of these areas of possible misunderstanding is discussed in the Guidelines.“Auctions rarely yield introductions to collectors that turn out to be financially meaningful.”
It’s important for the contributing artist to realize that any piece of work involves costs in time, materials and a possible lost sale for the artist or gallery.
Also, artists looking for exposure through fundraising auctions should realize that they are not the same as exhibit opportunities.
According to the Professional Guidelines, “auctions rarely yield introductions to collectors that turn out to be financially meaningful. In addition, this is not the best place for collectors to look for significant new works or artists, because artists cannot afford to donate their best work. Based on the auction, the collector might get a very limited impression of the type and quality of work that a particular artist produces.
“When considering the donation of work to auctions sponsored by art organizations, artists should get over their guilt trips and make a rational decision. The whole community benefits, not just the artists, when fundraising supports local arts organizations.”
An exhaustive set of questions for the artist to ask the auction sponsor is included in the Guidelines with alternatives to donating artworks, an “Artist’s Checklist,” and an “After the Auction” section. Remember, the artist can get a tax deduction for donating cash, but not for donating personal artwork.
Nancy Moyer, Ph.D., is a studio jeweler and retired art administrator. She lives in McAllen, Texas.
