Dear American Craft Council,
On Friday I attended the Crafting a Nation conference in Washington, DC. And while I know you didn’t organize the conference, your presence was certainly felt throughout the day.
One of the recurring themes for the day was the lack of “young people,” followed by complaints about the DIY craft movement. One of the complaints was about how you let the AltCrafters into the Baltimore Craft Show, “for a fraction of the price of a traditional booth.” (Never mind that the cost per square foot is actually more.)
Established crafters bemoaned the decline of the craft show, while us “young people” discussed the resounding success that was Crafty Bastards the weekend before.
As with other conferences I’ve attended recently, there was a distinct feeling of “us vs. them,” and frankly, I’m tired of it.
The other day, I was listening to Sarah Vowell’s essay, “Cowboys vs. Mounties.” In the essay, she mentions that the motto of the Royal Canadian Mounted Police at its inception was “one law.” As in, one law for everyone – whites, Indians, and anyone else inhabiting the West at the time of the Mounties formation in the 1800s.
And it struck me that we could co-opt this idea as the new motto for ACC: One Craft.
Instead of being more divisive, we should acknowledge that it all comes from the same place. That even though it may look a little different, we all share the same roots and the same core passion for creating.
And by embracing this motto of “one craft,” you could actually resurrect your flagship Baltimore show into something really great again.
So even though you didn’t ask me, here are my suggestions for revamping the Council’s Baltimore show:
Have one show, one price, one jury. One of the reasons there was so much animosity towards the AltCraft section is that it was a different section. It was set up as an other before it even began. If you had mixed the indie crafters in throughout the show, my guess is that most people wouldn’t have thought anything of it.
Now, I totally understand the impulse for having the AltCraft section. You want to bring new blood into the show, and for many of these new makers, the booth fee is prohibitive. Which is why one lower booth fee should be implemented for everyone. (I can’t imagine that established makers will complain about having to pay less to do the show.) Now, I have some thoughts about how to lower the cost, but first let’s stick with this idea of one show and one jury.
That’s right, I think everyone should apply as one. But the key is to make sure the jury is evenly balanced to represent all areas of craft – not just the traditional make-up of the show.
So how do you make the show more affordable for everyone?
Move to a new venue. Let’s face it, you really can’t afford the Baltimore Convention Center anymore, and it shows. The empty aisles, lack of carpeting, and low lighting make for a low energy show, and low energy shows mean less buying and less buzz.
And if you think that it’s just us young people who noticed the lack of energy, I’d like to point out that walking around on the concrete and squinting at pieces in dim lighting probably isn’t fun for an 80-year-old collector either.
Moving to a new venue in Baltimore would give you the chance to scale the show down a little and infuse it with a new energy. It’s better to have a slightly overcrowded space where the energy is high than to have a giant empty space that feels like you’re at a funeral.
And finally, it’s time for a whole new ad campaign. Even if you have been injecting newer makers into your show, the promotional materials show the same old stuff. Actually, I think the best thing to do is to throw out all the stupid gimmicks, not show anyone’s work, and just promote the show itself. Promote the idea of “one craft.” It works for just about every indie show in the country, so it can probably work for you as well. (And before you argue that those advertisements only appeal to the young, let me point out that you’d be hard pressed to find a crowd as diverse as the shoppers at Crafty Bastards.)
Oh, and if you want to use social media to promote the show more, your best bet isn’t to hire some social media consultant. (Though I can be reach at megan (at) craftmba.com if you’re so inclined.) By having more vendors in the show who are engaged in social media themselves, you’ll see that happen naturally.
As one of the major advocates for craft in this country, it’s time to stop perpetuating this “us vs. them” attitude. We have bigger struggles facing us than who is and isn’t “trained” as a craftsperson. We all have things we can learn from each other, and if we want to see our field not only grow, but thrive, it’s time we stopped fighting amongst ourselves and embraced the idea of One Craft.
best
megan auman
Editor of Crafting an MBA
designer, maker, and metalsmith who has exhibited at both Crafty Bastards and the ACC Baltimore Show
Very well said!!!! Love it.
I couldn’t agree more Megan.
We were part of the first Alt-Craft section. It was called the “New Wave” section that year. During the weekend I spoke to board members who told me that they wanted to build relationships with all the artists in that section. We answered question, filled out surveys and gave our suggestions. I even emailed ACC board members with an idea of a 3 year commitment plan for the artists who were involved the first year. I was told to “apply to the show”. My suggestions went on deaf ears and so did many others.
It was sad. The ACC shows were something that I aspired to when I first started out. Now I do not need them at all. Yes they can move the show, start a new ad campaign but will it matter? Many people who were part of the Alt Craft DO apply and get rejected the very next year. Not exactly a relationship builder.
I am thankful that some of the show I do are loyal to their artists. The ACC would have to change a lot to get the loyal artists and customers that the big Indie shows have. The organizers of these shows listen to the suggestions and follow through. What I have noticed over the years is that the “young ones” are starting families and showing a whole new generation how wonderful art and craft can be. We are the ones who they should be reaching out to. Not only do we make great things but we have also succeeded in building a strong community of people who are making art and craft thrive.
As a “veteran” fine crafter making my living for the past 10 years selling my art jewelry, I say – Go, Megan, Go! It’s time to get back down to the business of fine craft and let go of the snobbish old school ways that are NOT working for the artists or the show promoters!
Thanks for your well-thought out and insightful piece!
What a great letter! Being rather new to the industry, I never really put the “them vs. us” mentality together…but it makes so much sense and I think you’re message is great! We should be working together to create a unified industry and really support one another. I’m going to be in a show soon that sounds exactly like you described…I’ll be in the AltCraft section…crossing my fingers we’re well received! Thanks again for spreading your message!
This happens in other worlds also. In my world of professional home decor sewing (window treatments, upholstery, slipcovers), there seems to be this great big divide between professionals and “home” sewers. We seem to forget that we all started as “home” sewers. No on was born a “professional.
I couldn’t have said it better! I was an “Altcrafter” last year and am still very disappointed in the treatment of the artists in that section. I was so dismayed and yes angry, I didn’t bother to apply this year to the main show. And several fellow AltCrafters who were encouraged, actually pushed to apply, didn’t get accepted. I have no idea what the hell is going on there, but I don’t even plan on attending the show this year. It was my dream to be part of that show, but the sad reality was that it was a pretty pathetic experience filled with animosity from other vendors, and confusion from patrons. It’s dying. Long live Crafty Bastards! I had double the amount of sales in one day there then the 4 days at ACC. You’d think the show promoters would have caught on by now….
-Sherry
Dandelion Blu
This is a bummer to hear – the tension on the floor between the emerging artists and the veteran crafters is pretty obvious but you’d think by now people could put two and two together and see that it’s the internet that’s changed everything, not the inclusion of the Etsy people in their scene. It doesn’t help that the organizers of these shows are adding fuel to the fire by ostracizing the newbies and exclaiming the fall of fine craft.
And can I take a sec to express my disdain for the phrase DIY? I think this word is pretty misleading, DIY has always meant, for me at least, doing it yourself instead of paying someone else to do it. Like raising chickens and fixing your own car, Make Magazine stuff. If people want to make their own tea towels and pillows or whatever that’s totally cool and DIY – but when you make these items with the intention of selling them it’s no longer DIY, it’s business. I think maybe the word DIY is threatening to these established crafters because it implies that people are no longer willing to pay for their items since they can now make it themselves. And to them DIY means Etsy, DIY means Indie – so anything with in those “genres” get a reputation. and I guess it doesn’t help the cause that most of this new craft is under priced. I’m just confused as to how this rift got started in the first place, you’d think that these scenes would have merged naturally by now. I agree the vibe on the floor is no fun. I think these big shows might be on the outs as a new generation of store owners realize that there are so many other ways to find great work. I guess it’s time for these organizers to rethink their business models and get with the times man. I hope they read this blog!
Just the thought that someone would assume they can “make themselves” serious craft of the type that is exhibited at the ACC shows, is perhaps a small clue to the rift between established craftsman and the DIY’ers/Etsy/Indies/whoever. A lot ( not all) of the craftpeople in the ACC have honed their craft over decades of work and dedication. It is original and highly skilled. They didn’t follow directions.
great post! i did the alt craft section at the san fransisco show this year. and wow. it was dismal. all of this could be applied to that show, as well.
also get rid of the high entrance fees. they are ridiculous. everyone kept telling me that renegade the weekend or two before (and at the same venue) was packed all weekend. and you know what? it was free! for a non profit, they sure seem to charge everyone a lot of money. expensive show to do, expensive show to attend.
i had already applied to the 2011 shows, but i will not be applying again unless something changes drastically. i will save my money and stick to better run newer less expensive shows.
Pitting the traditional crafters vs. alt-crafters is only one of ACC’s short-sights mistakes. But your letter would be a good start in righting their ship! I used to aspire to ACC Baltimore, but after doing it twice I was disappointed to realize that the value of the show does not match its price tag. There are so many better venues for serious business-people. ACC is sluggish and bloated in comparison. They need to lose some weight and catch up to the modern marketplace.
I agree on every point.
I do also feel that while some people involved in traditional craft do genuinely embrace the new wave of crafters, there are those who do so begrudgingly, as in they’re probably just pretending to be open-minded to it at all.
We’ve done primarily indie craft shows, but this year we’ve done a good mix of both indie and traditional shows. There were only a small handful of people our age (mid-30’s or younger) that show ‘traditional’ craft like pottery and the like (I mean also very traditional methods, colorways, etc – not the more creative types of pottery, etc.) at these shows, and they seem to have been ‘in the biz’ for more than 10 years, from what we gathered from those we spoke to. Most had also learned or taken over the business from a family member.
What is interesting is that a few of the older set (those who have been doing the craft show circuit since the mid-70s or 80s) told me how the economy has hurt them and impacted their bottom line. This one fella and his partner sold these huge mirrored art pieces that ranged from about $300 on the low end to probably $10k. He said they USED TO sell them all day long at shows but when the economy tanked, their sales dried up. They still do the shows to catch what they can, but they aren’t really doing anything different, they aren’t really ADAPTING to a more cautious spending audience.
I think that the begrudging embracers are kind of trying to hold on tight to the hope that their really expensive and formerly popular selling items will still sell but that they stand a better chance of getting the buck IF there’s not an interesting array of different, more affordable crafts. Instead of adapting to the change by trying something new, maybe keeping new people out will buy them some time.
Also – shows need to keep in mind that their audience is changing. The 50 year old women who come to these retail shows have hip kids who turn them onto cool new things and the ‘artful life’ has expanded to things beyond what traditional craft shows and markets typically offer. I can’t tell you how many people at the old school shows will tell us how our booth is the ONLY NEW thing they’ve seen and they’ve been coming to the show for years.
So I come into this coversation as a “middle-man” if you will. I am only 35 & have been doing ACC since 1996. When I started looking for shows to do, I didn’t even know about things like Renegade or other “DIY” shows, so at the urging of a fellow jeweler I applied for ACC. I was flat out rejected, but you know what? I get rejected from shows all the time. It’s not because the show thinks I suck or that they don’t like my work…It’s because they receive sooooo many applications & face it, there’s alot of good work out there that very well might be better than yours. I know there is work out there that I think is better than mine. So my point is don’t take it personal if you don’t get in to ACC. Baltimore is an intensely competitive show to get into. I feel like I’m fairly established these days, but I still hold my breath every year when results come back.
2nd…the “animosity” felt between Altcrafters & regular vendors is a frustration with the show, not usually the artists themselves. At least everyone I know holds nothing against the artists in AltCraft. I do feel that ACC has done the AltCraft artists a disservice in letting them do the show, knowing full & well that they probably will not be juried back in because there probably isn’t even a catergory for them. There is no 2D work at Baltimore, so no screen printed work, no painting, etc will ever be in the show. Example: The first yr they had Yee-Haw Industries, an established screen printing artist studio in AltCraft…They will never jury back in because there is no category for them.
3rd…I think this “us vs. them” mentality has been almost more fostered by the DIY movement. I know I am going to get smacked for this, but hear me out. ACC & shows like it are seen as the “establishment”, which they kind of are. Newer, maybe less traditional artists, are not let into these shows because they are not picked. These artists then turn around and say F* the “establishment”. Isn’t ACC trying to include indie crafters by creating the AltCraft section? It might not be the best conceived way to go about it, but they are trying. You must also understand that the people that run these shows are usually not artists that have actually done these shows, they are running them from a purely business, event coordination standpoint.
4th…I did Renegade this year in Austin. I was excited because for all the “fine craft” shows that I do & have done, I really liked the vibe of the show. I felt like I belonged more because of my age…but sales were terrible. Not just mine, but many other vendors I spoke with. I realized that even thought there were a ton of people there, that my work was too expensive for them, but at ACC I’m considered on the less expensive end!
I am not the “establishment”, I’m an artist just trying to make it.
And lastly, we should ALL remember that in the end we are all one as Megan said.
We are all ARTISTS, creating work that we love. Regardless of whether you are trained or not, traditional or non, we are all artists trying to make it in a plastic, imported crap, Wal-Mart kinda world.
If we make good work & support each other, we will succeed.
Ok, one question:
Why do indie crafters want to do ACC? or other established shows?
This is a very thought-provoking, interesting – and civilized! – discussion. Thank you, Megan, for your eloquent post, and I appreciate everyone’s comments sharing insights and experiences regarding the various shows.
This is a really great post/letter, Megan. I love your idea of One Craft. I think this is something that the entire crafts industry needs to deal with. I’ve found that even within my own guild (primarily my chapter, the main guild is trying very hard to reach out to new/younger craftspeople) there is a problem with old vs. new, traditional vs contemporary, and art school vs self taught. We need to work together and support each other. And yes, we do need to embrace change. People are changing the way they shop, so we need to change the way we sell. I am constantly appalled by how many craftspeople do not have a website. But I digress…
Wow! Asking WHY we indie crafters even want to do ACC or “other established shows” is CRAZY!!! Why wouldn’t we want to?? Why wouldn’t we want to sell our crafts to people who appreciate handmade items?!
That’s like saying ‘why would someone who’s on tv want to be in a movie?’ It’s all the same ‘craft’ so to speak, but just a different speed.
Anyone who is serious about their business WANTS to reach more people who are likely interested in what they offer. Especially those of us who do this full time. We always need more outlets in which to sell our work.
I think you took my question the wrong way. I really did want to know why indie crafters want to do this show. Why does ANYONE want to do these shows? (because we’re crazy 😉 ha ha.
It seems to me that if people want to do these more established shows you unfortunately have to deal with the b.s. that comes along with it.
Trust me, those of us that have done it have plenty to say about every inch of that show, but in the end most of us keep going back.
Why? Because we do reach that broader audience & one that frankly has more disposable income than the crowd at indie shows. Why? Because the crowd is older.
We are ALL indie. I don’t work for a corporation or outsource my production to Timbuk 2. We are all competing in a world of plastic, mass produced, Wal-Mart crap.
I agree with everything that Lisa said.
I too have come from the “traditional craft world.” I am 40 years old, have been in business since 1995 and have participated in many shows. However, despite my experience, craftsmanship and originality…I too have had a hard time getting accepted into ACC. The competition is tremendous and knowing the right people doesn’t hurt either.
I have recently discussed this “us vs them” issue on the EtsyMetal private forums. Here is a conclusion I came to…
One of the reasons why I think the differences between indie and other is kind of funny…meaning…
———-
When I started out I heard all these stories about the “early days” when artists could throw out a blanket or a table, put out their wares and it would sell like crazy. No one had high quality professional photography and everyone had a hippie-like lifestyle. Then something changed…..maybe it was because they were all making tons of money. I heard about artists buying big houses and Mercedes Benz cars.
But when I started out, high quality professional photography was needed to compete with the old hippies. Nor were they willing to be too nice to the new kids on the block. They seemed to look at us (Gen Xers) as a thrat to them and their positions of “power.” There was a recession going on and things were slowing down….it was not easy for a newbie.
Now The hippie (Baby Boomers) are freaking out because they see their art dying out. And the Gen Yers are doing their own thing (which is very similar to what the hippies did 30-40 years ago). And the Gen Xers are stuck in no man’s land in the middle.
Do you see the irony???
———–
With all that, I too think we need to be ONE! We are all makers and business people. We all need to work together to educate the public (our buying audience) and to continue the “movement.” And we need to EVOLVE…..
I feel like this conversation happens every year! It’s frustrating to realize that in the 3 years ACC has had the AltCraft section, not much has changed in the way they court new artists, and new customers.
I’ve written 4 different responses now and deleted them all. I’d just like to remind everyone that not all of the older established artists at ACC are upset at the new generation, but perhaps they don’t proclaim their acceptance as loud as those who complain about it do.
For those of you who did AltCraft, then were rejected from the regular jury, did you use the same type of photos as you do for Crafty Bastards?
It’s true that ACC is floundering. In my opinion they should give up the wholesale end of the shows completely and focus on the retail show. I would not mind the Alt Craft section if it really were alternative in some way but really, many of the artists have been showing in galleries for some time and I don’t find screen printed t-shirts to be all that unique. The ACC show should be high quality craft. I see no reason why it should be divided up. Perhaps it would be better if there were just some way for young, talented artists to get some help with the expense of doing the ACC shows. I also think that artists need to realize that rejection happens. I’ve had hundreds of rejections over the years. I just keep trying to get better at my craft.
The reason why there is an altcrafter section at all, and why ACC is running through their wait-lists, is because ACC needs help with the “expense of doing the ACC shows”.
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I just don’t get why anyone would want to be associated with the moniker of “crafter”. It conjures up images of stuff stuck together with a hot-glue gun… I guess there’s a market out there for that kind of stuff (no accounting for taste), but to integrate it into ACC Shows is just silly. It sounds like a desperation move by both groups.
Truly fine post. Truly fine. I live in atlanta and have for several years participated in both “indie” and “traditional” shows. I have given up because I am tired of dealing with the attitudes and/or being looked down upon for what and how I create by some of the “indie” crowd. Apparently I am not edgy enough for some, LOL. It’s so interesting to me. I definitely understand and see what the new wave is saying about the “traditionalists”. I have also noticed the big boulders on the shoulders of some of the “new wavers.” Geez. Let’s be honest. The name calling happens on both sides. I am all for one art (I’m not big on labels in general. I generally dislike the DIY and Crafter lables). I try to find shows that are respectful and supportive of diverse people, talents and work. I think this is all most of us want. My worry is that if we are not careful we all risk alienating the collecting public.
We’re talking about how competitive ACC is to get into, but why do they have empty booths? Last year at the exhibitor meeting on Sunday morning, someone asked about the quality of exhibitors, and why was it that people selling decorated toilet seats (i kid you not) were being juried in, when a few years back that never would have flown. They said (in effect, I don’t remember the exact wording) it was a matter of money, that they weren’t getting enough applications in to fill all the spots, so some lower quality goods were being let in to fill it up.
Imagine my surprise when so many of my friends who were previously juried in on AltCraft, were rejected from the main jury. I’ll be curious to see if the standards of the show are back up this year, if it truly became competitive again, because last year, it was sad.
I’m proud to have gotten into the show 4 years in a row, but it really lessens the impact that has if they’re letting in leather work that is clearly mass produced, and decorated commercially available toilet seats. Some of the booths I saw last year would have looked shoddy at a boardwalk craft show.
I’ve always imagined the DIY, indie, traditional, experimental and other types of craft practitioners as occupying intersecting craft worlds.
But I like One Craft better. And I like the standard of one jury.
It might be characterized by Walt Whiman who wrote, “Do I contradict myself? Very well then, I contradict myself. I am large. I contain multitudes.”
The ACC has made a sea-change since 5 years ago when it’s debatable whether or not they were even willing to look at the emerging DIY/indie/ “alt craft” (or whatever you want to call it) movement. But the ACC–especially in the years of Carmine Branaghan, Lily Kane and Andrew Wagner–made strides toward embracing a broader scene and getting hip. (Not sure what’s been going on the last year or so since closing Greenjeans. I think maybe there’s been a little slip or slowing?)
In any case, the ACC is a valuable and venerable institution in more ways that it is not.
And I’m glad there are folks like you, Megan, who care enough to speak up in a thoughtful way!
– Amy
Dear Megan,
First, thank you for raising these issues, sparking conversation and offering some intriguing suggestions for the ACC. We are now entering our third month in a brand-new location, with a brand-new staff, and we’re eager for all of the input we can get.
Second, let me confess that, although I’m new to the craft field, I too am concerned about the “us vs. them” undercurrent you so eloquently describe. I believe the arts in general, and craft in particular, have an essential role to play in our culture.
Much of what you’ve touched on in your post – example 1, example 2 – mirrors the conversation taking place daily in our new offices. We know we have work to do to bring people together around the cause of craft. That’s a mission we take very seriously. As we consider improvements to our programs (e.g. the shows, our magazine, educational initiatives and outreach, please know that we too are motivated, not by the differences among craft artists and enthusiasts, but rather by what we all share.
Chris Amundsen
Executive Director
To Chris Amundson:
It would appear that neither your preparation for your new job at ACC, or your past experience at the United Way gave you enough of an insight to the rich history of the modern Arts/Crafts movement of which your new employer played an integral part.
Please see my post below. You’ll know which one it is…
take a trip to Penland, Pilchuck, Haystack, or Arrowmont and see if you still think the divide is young vs old. we’re still raising young people who think of themselves as craftspeople or artists, and not crafters. while craftspeople, artists, and crafters are no better than one another, we are different. there is not “one craft” out there.
Let’s not be so quick to get insecure or judgmental… I still remember the days when the “BMAC” was called the “Salon d’Refuse”! For the last decade we (the old farts) wondered if there was going to be a next generation of craft.
Faythe Levine’s film “Handmade Nation” made me cry… I also saw the 60’somethings coming out of our showing of the film… wiping their eyes! We are all thrilled that the next gen of craft has arrived, and that their source of inspiration is the same that has fueled the craft movement from the end of the civil war.
The angst among all of us has more to do with the audience migration and the current economy than it has to do with the makers. The inflexibility of the established studio artists is a big problem, they aren’t making enough work that appeals to a broader clientele.
The next-gen crowd is learning fast that survival depends on increasing production while not losing creativity. We are all running faster, jumping higher. And you are all the HOPE of the NEW ECONOMY… NOT JUST THE CRAFT ECONOMY! I head to Washington, DC tomorrow… I hope I have their attention. (Finally)
I agree totally with Lisa!
She nailed down each single point I would have made, and I just want to add my story.
I have done AltCraft San Francisco, 2 years ago.
It was my very first show, and it was the only one I could have afforded with no experience, no money, no display (remember they do provide lights and table!!). I got a very nice treatment by the organizer WOW they were really supportive to me!
Sales were awful for two reasons:
1-location of the Altcraft (the altcraft is on a loft level, not like in Baltimore where the AC is right in the middle of the floor plan), lots of people didn’t make it up to the stairs
2- “uneducated” audience that thinks simply because is handmade/indie must cost less
When I walked the main floor I heard some of the exhibitors complaining about the reduced cost for the Altcrafters. But that was mostly unhappy sales people who didn’t make enough money and they needed some excuse to complain.
For the majority I have met great artists that tried to help me with everything!
I was also awarded as best in the show, my work was judged as all the other in the show and rewarded!!
So of course this made up for my bad sales
With the award comes the invitation to this year show in San Francisco, where I could experience a totally different behavior from the public (and not from the ACC staff!!). The Staff have been always very professional to me, while the general audience the previous year didn’t take my work seriously, this year they walked into my booth to buy!
Anyway, I also got accepted into Baltimore last year after the Altcraft, and this year too…so what I’m trying to say is that there is hope after AltCraft (I’m the living prove!) but as Lisa said the ACC is a competitive show filled with good art!
My mentor from last year Baltimore show told me exactly the same thing. She is a great traditional goldsmith (‘one of them’ if you will) but she was as well holding her breath for the 2011 application and she told me that she was rejected for many years after having done the show for many years before.
Ah one last thing, every time I have been asked if, with the benefit of hindsight, I would do the altCraft again, I say yes!
Alisa just one little remark about free packed shows. For me (and this totally a personal thing) Saturday at a show is generally the worst sale day because people come to the show to look around and spend the day doing something fun, so yes the show can be more packed but real buyers (who have the money to buy big pieces) come on Friday morning or when there few people around.
And Megan (I know I said one last thing two or three sentences ago, sorry!!) I agree with you on the One Craft, but I think we (us, them, the ACC) need to work on educating the audience who is way too much spoiled by walmart/cheap/mass produced.
Thanks for bringing this up–AGAIN. The discussion and the issue–been around for years. Shows (all of them, to my way of thinking) are way too expensive with not enough return for the artists. I’m all for “ONE CRAFT”–it’s time to stop being divisive on all fronts. Support for all craft artists–young and old and in-between. How about judging us on our work, rather than our age or income? Some of us joined the craft world later in life–and are not considered new and/or emerging artists. And how about NOT having the same (???tired???) selection of artists at every show? That’s the real way to inject new life and new ideas (alternative or not) into art and craft (if they’re different).
Three cheers! As always, well said.
Once upon a time, there was a big debate over at ACC (might have still been ACE then) about folks selling “2nd quality” Art/Crafts. Some were distressed about similar work being sold at lower prices, or possibly selling at the wholesale prices during the retail days thereby undercutting those who “played by the rules”.
This brings up a couple of points.
1) What is one person’s best ability to create (or, produce) at what they perceive to be their best quality work – may be perceived as 2nd (or, low) quality work by others. Take for example a recent college graduate’s work vs. a seasoned veteran who has created and refined their work and techniques over a long period of years or decades. The former may feel that their work deserves to be valued at the same level as the latter’s. In a free market society, it’s the buying public who has the final say…
2) It is easy to produce a work of Art/Craft and place a high value on it and hope it either appeals to the appropriate buyer outright, or through manipulation of the system of Galleries and Collectors, creates a “perceived value” and therefore – demand (ok, maybe that last part’s not as easy as the 1st part). It is NOT so easy to design, produce and sell a high quality, innovative, creative, and well designed product that has mass appeal and a perceived value at a LOW PRICE – and still make a profit.
The key to point #2 is the thing about “high quality, innovative, creative, and well designed”. I don’t find that when I Google images for “indie crafters” (which seems to be synonymous with “altcrafters”). By the look of things, there is, has been, and probably always will be a wide gap between what ACC and Rosen have strived to offer to current and future Art/Craft collectors and what I see being offered by the altcrafters. ACC and Rosen have tried to educate the public as to what is, and what is not, Quality Handmade Crafts – and offer said Crafts to a willing demographic (not to mention helping to create said demographic).
The “willing demographic” may currently be hiding out in their homes that have now lost 20% to 50% of their value, but a pendulum that swings to one side eventually swings back to the other side. While we’re waiting for that to happen, I believe that it is detrimental to the established Art/Crafts industry to dilute, or undo all that they (ACC and Rosen) have worked to establish for so many years.
The “altcrafter” faction may feel left out, or put-out by not being invited into the established Arts/Crafts fraternity and their established venues, but asking to be accepted as equals shouldn’t happen until and/or unless the quality of their work meets established standards.
The idea that ACC is “testing the waters” by accommodating the “altcrafters” seems (to me) to be a bit of a desperation attempt to sell some unsold booth space at venues that are becoming too expensive for even the established Craft Artists to afford. The term “downsizing” comes to mind, although I understand that renting out a small portion of the Baltimore Convention Center may not have the same appeal to either the City of Baltimore or the minions who have come to expect the large scale shows that have been created over the years by ACC and Rosen. Not sure what the answer is here, but adopting the ‘lowest common denominator” policy of accepting anything, as long as it’s “hand made” just doesn’t seem like the right answer to me.
The idea of “one craft” is a bit like “why can’t we all just get along?”, or “why can’t there be world peace?” The question is – who’s asking who to be accepted here? My perception would be that one group may not be as interested as the other group to “become one”.
Some things just aren’t meant to be. It’s basic human nature, it’s right against left, it’s the politics of envy….., and I’d like to be taller.
—-The key to point #2 is the thing about “high quality, innovative, creative, and well designed”. I don’t find that when I Google images for “indie crafters” (which seems to be synonymous with “altcrafters”). By the look of things, there is, has been, and probably always will be a wide gap between what ACC and Rosen have strived to offer to current and future Art/Craft collectors and what I see being offered by the altcrafters. ACC and Rosen have tried to educate the public as to what is, and what is not, Quality Handmade Crafts – and offer said Crafts to a willing demographic (not to mention helping to create said demographic).—-The “altcrafter” faction may feel left out, or put-out by not being invited into the established Arts/Crafts fraternity and their established venues, but asking to be accepted as equals shouldn’t happen until and/or unless the quality of their work meets established standards.—–
James, have you ever been to an indie craft show? Simply googling for images of indie craft hardly gives you an idea of the breadth of talent and innovation out there. Yes, there is a wide variety of talent level and quality, and maybe a lot of indie crafters aren’t as concerned with making every stitch perfect as they are with making a statement, but there’s a lot more than screen printed teeshirts and glitter covered resin bottlecaps out there.
I may be a self taught indie crafter, but my work is absolutely innovative, creative and well designed, and most importantly, high quality. I’m proud to have been juried in to the Baltimore show for 4 years now. There are lots of other indie crafters whose work is as good or better than established vendors at ACC, to say otherwise is just ignorance.
Maybe the indie crafters who got rejected need better photos of their work, tailored to an older, more conservative jury. I don’t use the same pictures for Crafty Bastards as I do for ACC. But to suggest that across the board, the quality isn’t there, is insulting.
I’m not saying that every indie crafter ought to get into ACC, just like I wouldn’t suggest that grandma painting ducks with bonnets on old fence posts ought to get in. But there is an astonishing amount of new and exciting and yes, high quality work being done by a new generation, and it is sadly underrepresented at ACC.
On a positive note, there are at least a handful of self identified indie artists doing the show this year. Megan, I’d love to see you do a series of posts on those artists, especially any of them who are doing it for the first time this year!
I too have been following this discussion with great interest.I have been supporting myself making contemporary art quilts for 29 years and I have been doing the Baltimore Show since 1985–clearly I am one of “them”. Although I can also remember what it was like in the beginning of my career.
To me–the crux of the issue could be the answer to the question–why does anyone want to do the Baltimore Show? Why does any customer attend the Baltimore Show? It is huge–in a cavernous space–and an expensive show to do in the middle of winter. Want to hear about blizzards during the show?
Anyhow I think the answer is that there is work at the show that has the WOW factor. Fine craftsmen who are taking their work to another level that lets the audience get outside of themselves and see things differently.
Besides the WOW factor there are also a lot of very good craftspeople–all in one location–where one can find the perfect item and meet the artist in the process. Such an alternative from the mass consumption we are surrounded by.
Obviously as James has pointed out, the market grew and then in today’s tough economic times, it has shrunk. I question whether having the alternative craftspeople in their current location furthers anyone’s interest and promotes an us versus them mentality. I do feel there is a constant need to have new work and new craftspeople who are serious in their purpose and pursuit of making the best work possible.
As to the jurying process–it strikes me that it is actually relatively sane. There is a system and a method to it–explaining the process might be a way that ACC could reach out to newer exhibitors. When I served on the jury I know I was delighted when I saw new work since most of the images were of work that I was already familiar with. And yes, it is true that I have had friends who are very talented–indeed one of them won the Award of Excellence a couple years previously–be rejected from the show. Rejection is just part of life–alas.
I did write a blog post about this issue from my perspective: check it out if you like. http://annbrauer.blogspot.com/2010/10/fine-craft-and-crafters-is-it-one-craft.html
woot woot! well said! it is funny that they act to elitist when they have gotten the snub from “fine artists” or “artists” since time started. one would think they would attempt not to crap on other people.
To Caitlin…
Never been to an “official” indie/alt/diy crafter show. I’ve been to a lot a shows that had some pretty bad work in them. Come to think of it, I’ve been to some pretty good shows that have had some pretty bad work in them. Chalk that one up to an inconsistent jury process, but that’s a whole other discussion.
If you’ve been accepted to Baltimore as a regular exhibitor, it sounds to me like you have “graduated” from the “alt” moniker. Why keep it hanging around your neck now? And what’s up with this whole “Crafty Bastards” thing? Their website is right on par with my earlier statement about Googling images of indie crafters.
One of the things I mentioned earlier has to do with the “perception of value”. I just don’t see that I’d be getting any of that at a show called “crafty bastards”.
This comes down to whether or not you want to participate in a high quality show that caters to a more sophisticated crowd that doesn’t use food courts and carnival acts to draw in people. Maybe you can make some serious cash at a carnival, but it sounds like you want both – money and prestige. I think you’ll need to make a choice, either that, or come up with different lines of work. It’s not like you’d be the 1st one to try that…
I hold by my earlier statement. If you want to get into a Baltimore level show, you need Baltimore level work. If you do, you might become a member of the Baltimore Crafts fraternity. That doesn’t mean that the people who come there will run to your booth with their disposable income and throw cash at you. Baltimore is like any other show. Sometimes it’s good, and sometimes it’s not so good. But, the folks that have put on this show have spent years trying to promote it as a particular type of show with a particular level of quality. They have tried to educate and create a demographic that knows and appreciates the difference between “crafter” stuff and what Baltimore has become known for (I think you know what I mean). They have, in fact, created a perception of value.
You may want to participate at this level, thereby elevating your own level of prestige and perceived value, but it’s not going to happen if the Show itself lowers its standards. If that’s what you want, just keep doing the crafty bastards show, because that’s apparently the type of show you want Baltimore to become. I just don’t understand why the new guys running ACC would want to take such a large step backwards?
James, you have obviously made up your mind about what indie craft is, so I’m not sure anything I say here will change your mind. But, I’m going to try to clear up a few things for you.
First of all, sorry if I wasn’t clear, I was never part of the AltCraft section. I was accepted into the Retail Only section the first year I applied, which was the first year they did what was then called New Wave, and since then I’ve never been eligible to participate in AltCraft.
As for hanging anything around my neck, it’s not an albatross! I’m proud to be an indie crafter! I love the energy and the vitality of the movement, and the friends I’ve made in the indie craft community are like my family. I’m not ashamed to call myself a crafter, I’ll shout it from the rooftops!
Crafty Bastards, for your edification, is a yearly craft show put on by the Washington City Paper. In the 7 years since it started, it has become one of the best attended, and most competitive indie craft shows in the country. Personally, I think it’s the best show ever. If the name is what bothers you, then you’re probably a bit of a stick-in-the-mud. Get over yourself! Craft is awesome, and craft is fun, and it doesn’t have to be gallery level, oh my god don’t touch it, ridiculously high end. It can be irreverent, ridiculous, offensive, and sublime.
The best part about Crafty Bastards? No one comes for the food court, or the carnival acts (but they do come for the breakdancing…) They come for the vendors, and the amazing energy of the show. You just don’t know until you’ve been there. The feeling is unlike anything else. I’ve never sold at, or attended another show where there’s quite the level of excitement for the customers, you never know what amazing thing you’ll find in the next booth. It might be glittery resin coated pop art about zombies and ninjas, or it could be intricate silver jewelry that you’d expect to see at the Craft Council. And you might well have, there are at least 4 or 5 Crafty Bastards regulars who also exhibit at ACC.
And you know what? I do want both money and prestige. And I see no conflict with doing both Crafty Bastards and ACC. I don’t need to come up with separate lines of work, I sell the same work equally well at both. There is Baltimore level work at Crafty Bastards, just because you’re too wrapped up in your “perception of value” to see it doesn’t make it not true.
I don’t want ACC to become just like Crafty Bastards, because then what would I buy for my mom? She needs to get her silk jackets somewhere!
No one is arguing that all indie crafters should be accepted into ACC. The problem comes when people assume that just because someone self identifies, or participates in the indie craft community, that their work is somehow automatically lower quality.
You’ve heard the expression, “you can’t judge a book by its cover,” right? Perhaps you shouldn’t judge the entire indie craft community because some crafts shows have silly (read: awesome) names, and a lot of people make things you wouldn’t personally buy.
According to the crafty bastards website, it’s a 1-day show and there were 400 applicants for 100 booth spaces, although by the look of things, there are 147 booths plus food vendors. It’s a bit hard to tell how many actual exhibitors there are due to the fact that they let multiple exhibitors cram into a single booth space. Of the total, it looks like there’s about a dozen or so non-crafts related booths scattered about, not to mention at least 5 booths that sell yarn (not anything made from the yarn – just the yarn).
Let’s just say that this type of venue isn’t one I’d want to exhibit in, and from the look of the vendors list, there’s nothing there that would make me want to spend the time, effort, and gas money to go see or buy (but that’s just my humble opinion). And yes, the name crafty bastards does bother me.
Look, if your stuff appeals to both demographics, more power to you. Really, I take my hat off to you because you’re doing just what I suggested in the 2nd part of Point #2 of my initial blog entry above. The fact that your product (and ability to photograph it) has the level of sophistication necessary to get into an ACC show is great, and I applaud you for it. I’m a firm believer in a free-market society. If you can make a buck at a show called crafty bastards & it doesn’t bother you to do so – more power to you.
Based on what I see from the vendor page of the crafty bastards show, I would say that your ability to cross over to both venues is an exception to the rule. This being the case, I do find it odd that you’d cling to the “crafter” moniker so vehemently. I would guess it’s because you don’t want to alienate a successful demographic. Call me an elitist (please do), but there’s nothing you can say or do that will ever make me accept the term “crafter”…, or get my brain to not associate it with stuff stuck together with hot glue.
All this is a bit odd considering that the original discussion (the open letter to ACC) is based upon the idea that the lowly alt/indie/diy crafters aren’t getting that warm & fuzzy feeling from the ACC folks, even after they’re going out of their way to acknowledge the existence of this so-called renegade crafts movement. I would suggest that they not look a “gift horse in the mouth”, as I stand by my opinion that ACC has, and continues to take the wrong path here. My argument isn’t so much about the altcrafter folks hoping for world peace, but that ACC is taking a step backwards by diluting the quality of their shows.
As stated earlier – If you want to get into a Baltimore level show, you need Baltimore level work. I just hope that ACC doesn’t lower their standards too much more just to fill empty booth spaces.
Well, I personally never felt that ACC itself had a problem with the indie crafters, I’m thrilled that they are reaching out. The show and the organization could really use an infusion of the exciting energy found in the indie craft community, and they know it. I’ve had a very positive reception from everyone on the staff. My problem has been with the way they have handled the setup and promotion of AltCraft, but more importantly, how some of the older artists have treated the newcomers.
Being an elitist is one thing, but being closeminded is another. Many of the older artists have been pretty rotten, assuming anyone who doesn’t have the same type of training and background as they do can’t make anything worth a damn. And that’s just not the case. I’m not the only indie crafter who crosses over, but a lot of people who would fit in well at ACC don’t bother trying out, because of the dreadful attitude of so many “established” artists.
I also have to say, I don’t get the snobbery over the word “crafter.” For pete’s same, it’s called the “American Craft Council.” Maybe you prefer to call yourself an artist, or an artisan, but there’s nothing shameful in being a crafter. Yeah, some crafters use hot glue, and some paint ducks in bonnets. Some artists videotape themselves smearing shit all over their bodies and run in backwards and call that art. You can get wrapped up in the negative connotations of any label, but I prefer to get out there and change the way the word is perceived. 5 years ago, more people thought of craft as something they did at summer camp, or a hobby for stay at home moms, but now with Etsy and indie craft shows in every city, craft has gained a whole new meaning for many.
ACC needs to attract a new audience. I’m not saying it needs to get rid of the audience it has, but as that group gets older, they need a younger generation of collectors to fill in. Silk jackets and the same conservative fine jewelry won’t cut it for people who have cut their craft collecting teeth on Etsy and Crafty Bastards. I’ve had friends come to the show with money to burn, only to end up disappointed because they found very little that spoke to them.
And as for ACC lowering standards to fill their booths, I’ll say this. Of all the booths I saw last year that I felt were not up to the standards of ACC, not one of them was from the indie craft scene.
I see that you’re thrilled that ACC is reaching out, but a little bummed that the “established” exhibitors aren’t accepting you with open arms. You, Megan & the others only looking at this from your point of view. Megan wants world peace (and one craft) and the altcrafter guinea pigs who ACC let in as a test (and to help foot the rather large bill to rent the Convention Center) can’t understand why they won’t let you all back in as equals to all those dinosaurs who should be put out to pasture (along with all the old geezers who buy their old stale jewelry and silk jackets).
Apparently, what you see on Etsy is not what I see. You’re probably right about all the “people who have cut their craft-collecting teeth on Etsy and Crafty Bastards”. It’s a bit like going into Neiman Marcus and wondering who would ever pay that much for a shirt (or, maybe shoes in your case) after you’ve spent your life at TJ Max. It’s funny how Neiman Marcus seems to continue to find customers without bowing to the TJ Maxers.
Without being privy to the inside workings of ACC, allow me to speculate a bit. I would surmise that ACC has had a problem with the way they designate the cut-off between those who get in, those who get on the wait-list, and those whose work just plain sucks and they won’t let in no matter how much they offer to pay (they must still have some standards, after all).
I’ll just make up some numbers here to make my point . Let’s assume I’m putting on a show and I need to generate a certain amount from booth fees to cover my expenses. Let’s also assume that the amount from 1200 booth spaces should do the trick (one exhibitor per booth). Based on past history, I’ve had no problem getting 1200 very high quality Artisans to not only make the “cut”, but actually show up (and pay their booth fee). Because of this I allow for 200 people to be on my wait-list. Everyone else got that nasty reject letter in the mail. Under normal conditions, I’ll maybe go through the top 75 on the wait-list.
Now, along comes a downturn in the economy and the next year I send out my 1200 acceptance letters, 200 wait-list letters & so on, but for some unforeseen reason, 300 of my 1200 accepted Artists decide not to do the show. I now go through all 200 of the folks on my wait-list, but only 150 say yes. Bummer! Now I have 150 empty booths! What do I do? Not sure about that show, but you can bet that I’ll increase the size of my wait-list for the next show.
This might explain where the decorated toilette seats came from, but it doesn’t really address why your buddies from the altcrafter crowd still aren’t getting in…., or does it?
Here here Caitlin! Wow…Awesome.
I think what James may be missing is that all the Indie Crafters out there are also BUYERS of art and craft, so are their families and their friends.
People like Caitlin and like myself are very proud to call ourselves Indie Crafters because we can do it all! And we do. I do fine art shows, Indie shows, art in the parks, sell online, and wholesale. We are leaders not followers. We are the ones that are bringing up the next generation of art enthusiasts.
I guess we all have to wonder what will happen next. Not much discussion going on on the ACC’s part here. Yes, they may be talking about this at the office but definitely not publicly. And this discussion has been going on for years.
I don’t think I’m missing much here at all (at least about this discussion). Your idea that “all the indie crafters out there are also BUYERS of art and craft, and so are their families and their friends” just tells me that you’re all buying each other’s stuff. Caitlin already admitted that none of her friends could find anything they wanted to buy at the last Baltimore show.
I think we’re talking about different socioeconomic demographics here.
You’ve got:
1) Your “crafters” selling at shows where the pinnacle of success is to get into a show called “crafty bastards” – but are left “wanting” because they’re not getting that warm & fuzzy feeling from the “established” Craft Artists.
2) The Craft Artists out there who have worked hard for the past 50 years to establish themselves at the highest levels of quality, sophistication, prestige, and public awareness…..
I think the animosity Caitlin refers to as coming from the “old farts”, whether perceived (there’s that word again) or real, is largely due to their belief that ACC has given the alt crafters an unearned free pass to a venue that they see as one declining in quality because of it.
There are Artists out there who would never consider lowering themselves to do a show like Baltimore ACC. Do I aspire to become one of them? If so, should I complain that I’m not being allowed into their “club” just because I perceive them to be stagnant and as Caitlin might suggest – “in need of attracting a new audience”? Should I be envious of them, or should I strive to do what it takes to become one of them?
One thing that I’ve noticed over the years, is when you successfully initiate someone to begin “collecting” whatever it is you’re making, they typically buy a few things from you and then move on to others who make the same type of thing, but maybe a bit differently. Sooner or later, they advance though self-education and awareness to what the broader market has to offer. If they’re serious about collecting whatever it is you’ve got them hooked on, they will eventually move on to work by other Artists with a higher level of sophistication than you. You can choose to be the one who gets them hooked in the beginning, or the one they wind up with, but it a given that you won’t be both. If it’s your wish to become the latter, you’re going to have to work for it.
There will always be Artisans out there who have done it longer, better, more creatively and have more success (whether it be monetary, or public accolades). Who knows, maybe one day you’ll be one of them. And there will always be those who are jealous of them and wish to be equal to them without having earned the privilege.
I just wanted to say one thing…all the old guard looks at the ALL the newbies as what they are, competition. When I started ACC, some took me under their wing & some didn’t….I don’t think poor attitudes have anything to do with whether you are in the AltCraft section of this show or not. When I’ve done this show for 30 yrs, you can probably bet I’ll be eyeing up the new competion 😉
PLEASE don’t let a few bad, bitter apples spoil this show. I have met friends for life doing these shows, just like you have at Crafty Bastards,etc.
All I ever hear the old guard talk about is how shows used to be. How much money they used to make….and yes, some of the work is stale, but really, the economy has hurt ALOT of people & they are scrambling to make ends meet. Some thought they were almost about to retire & now they have to keep doing shows. bummer.
Perspective. The days of $40,000 shows are over, for everyone, whether your work is traditional, indie, stale, whatever you want to call it.
We joke that $4k is the new $10k. And a $10k show to alot of these people is like scraping the barrel.
Just sayin’.
One other thing, there is some amazing, innovative, provocative work at the ACC show. I am inspired everytime I go.
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What a great discussion. I don’t have anything to add that hasn’t been said… I haven’t been that involved in shows, and none of the big ones. But these are definitely some things I’ll keep in mind as I apply for shows next year.
Well Said. I’ve never understood the us vs. them. I feel that in the college atmoshphere vs. selling your work. There should be no battle or argument we all love to make things so lets make things! And it’s great we all make different things. Thanks Megan!
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“It’s better to have a slightly overcrowded space where the energy is high than to have a giant empty space that feels like you’re at a funeral.” – love it. Couldn’t have said it better myself!
I did Baltimore in the early 80’s. It was a great selling show for the three years I did it. I never failed to pass jury. Then the galleries stopped paying on time and I had to find something else to do for many years. Eventually I was allowed to join the fine craft market again and set my sites on “one more time at Baltimore”.
I was accepted for 2012 and arrived all excited. Soon I realized that the show was not as before. Yes, it is big, and yes it has some awfully fine work but the joy is all gone. The exhibitors were not friendly and had long faces. Gone were the impromptu groups of craftspersons going to eat at some cool place in the city, crowded into a cargo van to save money. Times are tough now, just like they became in the mid 80’s. And I have grown old and wrinkled on the outside but not so on the inside! Fine Craft RULES!
I was waitlisted for 2013. The first time ever that I applied to Baltimore and was rejected.
Though the show is big, it is still populated by the same exhibitors that can be seen at all the other major shows.
As to cost, Baltimore, and like shows are a fraction of the cost of your standard trade shows. Buyers are impressed with presentation and presentation cost big bucks.