The Jury Is In

Let's consider the process of getting artists involved in your co-op. 
Who will be admitted as a member?  How will you determine this?  It is better for everyone involved if you figure this out to at least some degree in the beginning.  It's not easy!  There has to be some criterion for what work you will show in your co-op gallery.  Setting up your criteria is a matter of the utmost importance.  For a little while we used a score sheet to do the jurying, but the truth of the matter is there's more of a gut reaction to most work.  Quality of craftsmanship, aesthetic, saleability, price, and originality are all part of that gut reaction.  Each of these items is as important as the other.  We've seen some amazing, top-notch work come through the jury, but the saleability of some of that work in our market was just not there (sometimes due to enormous prices affixed to the work by the artist), so in the end, some incredible work has been denied.  Hey, we only have 1500 sq ft of gallery space and it's a valuable commodity which has to pay it's own way in the world!

Now, granted, our jury considers the intent of the artist first:  are they interested in joining as a member or just showing as a consignor?  You see, we offer both.  Members are invested; they work every month, pay dues every month and help with all functions of the gallery.  They are really really interested in the display and sale of their work.  Consignors, for many reasons, cannot give the time necessary to be members so they get juried in to show and then we only see them for parties and when they drop off new work.  You can see the difference it would make to a jury...if the artist who's work is incredible but questionable for the local market is willing to work and pay and work and pay, then it shows their dedication to making their work sell.  The consignor, on the other hand, just makes the stuff and then hopes for a sale but really has nothing to lose if it just sits around forever.  You see, the commitment of the artist speaks loudly. 

In the beginning, it is difficult to jury the artists; you might not even have your group together yet.  That is alright.  Do the best you can and use your intuitive judgment.  You probably have that; you are an artist!  Also, be clear to those whom you deny.  Why did you deny them; try not to make it personal if possible.  You should clearly state why their work doesn’t fit in the vision.  Believe me, it’s not easy.  Sometimes it will be personal!  One of the unwritten criteria in our co-op is “must play well with others”.  That is imperative.  Everyone will have to be a cooperative cooperator or there will be bitter resentment among the artists.  The one or two instances where a non-cooperative artist slithered in somehow, it was immediately clear that it was not good.  People notice a slacker, mostly because everyone else has to pick up that slack. 

Once you do have your initial group figured out, establish a committee of artists who understand where you're all going with this thing, this co-op.  You really don't want everyone in the co-op to be part of a jury, you might take a year to make a decision that should take an hour.    It is a time saver to have a determined time and place where prospective artists can bring work for jury.  You may want to request them to drop off the work for a few days or a week so that the jury members can have the time to look at it and discuss their reactions.  We jury once a month, but it may be easier to set specific dates and months for your jury dates.  Do what works for your jury members.  They are busy working artists too.   Whatever you do, do not jury work at the whim of the general pub!!  Here's a scenario:  you're sitting at your wheel, covered in red clay with lots of bowls lined up along the table, when some enthusiastic and oblivious artist-to-be shows up carrying a box of...(insert art item here) wanting you to stop what you're doing to hear his story and look at his work because someone told him that this is a place where people can drop off work to sell.  And by the way, "when do you send out checks for the stuff you sell for me?"  You might think this sounds harsh, but this is a real life drama I'm describing to you here and now.  I've changed the names and the art work to protect the innocent.  So, to avoid growing cynical, do not let people walk in the door trying to lure you into letting them jury right then and there.  Make artists comply with the procedures of the co-op from the get-go.  It's a telling sign when people start out with a "me" complex, thinking that you are simply there to serve them at any old time they decide to drop in.  The "me" complex isn't really a good fit with a co-op.  They might be better off selling at a traditional gallery. 

Another way to jury artists' work at this advanced date in time is to consider jurying electronically.  That is how many outdoor art shows are juried these days...interested artists send in jpg images or a disk with photos and accompanying documents.  We're working switching over to that system now.  It will revolutionize the process and save time and space. 

Deciding who is on the jury is important.  What background does each member have?  Do you want to have a different discipline represented in each juror?  Does the jury need to be formally educated in their media?  However you decide, be sure it is a logical systematic decision, not based on favoritism or similarity of opinions.  It’s good to have people of various backgrounds to look at things from different perspectives.  Each will bring his or her own experiences to the group and make your co-op more successful.  You may also want to have terms of jury duty so that it is revolving.  Whatever the case, make it work for your group so that the decisions are shared ones. 

If you have some details about your co-op and how you handle jurying, post a comment.  I'd love to hear your perspective.

Tip 2:  Choose criteria for joining this co-op and stick to it.

The Group

You will need a group of artists committed to this idea:  artist/client in the same room together. 
You might have already gotten a group together for this venture, or perhaps you are a lone artist with an idea and want to rally a group for such a thing.  Either way, you will need to decide from the get go who will be a part of your group.  Will you be a group of multi-disciplined artists from a geographical region or town?  Are you a collection of potters who will set up a gallery and communal working studio where you will teach and work?  You know who you are, that is the easy part.  But knowing how you will grow is hard to say at first. Even if you have a core group of artists together in thought, it's a good idea to give this some attention in the beginning so you will be prepared to search for the appropriate space in which to house this venture and so that your co-op will be attractive to other artists to join the cause in the future.   

Diversity can be a plus when attracting customers to a gallery.  Pottery customers will suddenly become buyers of paintings when they see something that speaks to them unexpectedly.  They might not have even known that they wanted a painting, but while shopping for a pottery platter for a wedding gift, they suddenly see the perfect painting to complete their new home!  It happens all the time!  I've seen it happen! Each artistic media will sell itself and others when displayed in a way that enhances both. 

Let’s start with you.  You, who is reading this post—who are you?  What is your art?  Do you know other artists who do something similar?  Do you know other artists who work in other media?  That is usually the best place to start.  Define what you imagine your co-op to be.  Will you be a gallery of fine art and craft?  That is very broad, but it is a definition.  Any definition is ok, just plan on having one before you start, as you will eventually have to make a decision about some artist’s work; whether it fits with your definition of your co-op. 

Some things to consider when defining your co-op:

*Will you sell original art only, or will you allow reproductions (printed material) too?
* Will you sell craft, such as pottery, basketry, wood work, ironwork, textiles, candles, jewelry, etc? 
*Will you allow multiple artists in each discipline or style? 
*Will out of town artists be allowed to join your group?  What are the geographic boundaries, if any?

     In Summary:  Determine who you are as a group.
     
Once you’ve figured this out, how will you recruit artists to join the cause?

How many members would you like to get started?  (You will grow as you go along, but figure out how many it will take make it work initially).  You may have a little or a lot of space to fill in your real or imagined space. 

Reaching artists is no more difficult than reaching any other demographic group, you will just have to be creative.  Send e-mail inquiries to your local arts council, put an ad in the newspaper classified section, send a press release article to the paper which will run for free, put out a notice on your social media of preference,  call a meeting at your local library or other public space to have an introductory talk about what you’re doing.  Getting the word out is the first thing, but once that is done, you will eventually have to meet face to face.  The sooner, the better.  You need to speak to these people and get a feel for their personalities; afterall they will be interacting with customers on your behalf and you will be doing the same for them.

But before you do this, get your ideas together and be confident about your ability to create a successful co-op of artists.  When artists talk with you, be sure they go away with some form of paperwork.  A flyer or brochure will work.  Any printed matter will keep the topic on their minds after they leave the meeting.  In my case, I sent an initial postcard to all the artists I knew in the area and after the meeting of introduction I sent a contract home with the artists.  Many of them signed them immediately after the meeting, as well as leaving a deposit of their financial intent and didn’t even have to go home and think about it.  Enthusiasm is catching!  Be enthusiastic and let that spread!

Below is an example of the short attention getting postcard I sent when I was almost ready to open the doors after the renovation of our co-op building.

Artists: have you ever wanted to get more control of selling your work?

Would you like to keep more of the profit from the sale of your work?

Let me tell you more about it.  Please come to an informational meeting of the KDH Cooperative Gallery & Studios on April 10, 2001, 6:00.   Refreshments will be served!

Note:  Refreshments should be served anytime you are calling a meeting, no matter how simple or insignificant!  (a plate of cookies)  Believe me, people will listen to you far more intently if you make them happy first!  This lesson I learned from a fabulous principal at the elementary school where I first started teaching art.  We always had some sort of treats or lunch when there was a meeting called.  It sure cut down on the grumbling from the staff!

 Your Friends:  Be wary of signing on all your friends.  They may or may not be thinking the same thing you are.  (not to mention, they may or may not have a talent for creating art)  Treat everyone the same way when it comes to gathering artists.  Be sure that they all understand your vision.  Or if you’re unclear of your vision, have them join in to brainstorm a vision that works for the group if you already have that established.    

Now for the hard part.  Will you jury the artists in to this co-op?  YES!   As difficult as it is, I would always recommend it.  Figure out your criteria from the onset and do not waver.  You must maintain a level of quality in order for your artists to take this seriously, and for the buying public to take you seriously.  Set your standard and stick to it.  Believe me, it will be hard to deny artists on the basis of quality or style, but you must!  Galleries that have an open door policy to members who sell there are trying to sell hot dogs and Filet mignon on the same menu and they do not attract a high end buying public or a low end buying public.  They're not taken seriously!  It's like building a twelve bedroom mansion in a neighborhood of tarpaper shacks...both look out of place.  This does not mean that you will not have prices from $1 to $10,000.  That is not the issue; it’s quality and aesthetic.  You may have $1 postcard reproductions from a painter whose work sells for thousands.  You may also have potters who sell $300 platters in the same display with $10 ornaments.  Do not confuse price point with quality and aesthetic. 

How we started

I suppose I should give you, readers, some idea of what we did.  That's usually the first thing artists want to know before telling me that they too want to do such a thing. 

To simplify the last ten years, here's how it went.
In 2000 I quit my job(s) teaching art in public school, bought an old, run down, dilapidated building in a great location, rehabbed the building over the next year, spent that time talking to artists, and making plans.  In April of 2001, called a meeting in our newly painted and spiffy building (and served some snacks and wine), talked about my vision for a cooperative gallery.  Answered all questions about accountability and structure.  Handed out contracts to artists and signed up 20 people immediately.
Then the next ten years happened...lots of artists were juried in, made and sold lots of art, had parties, openings, made some collaborative art and many great details that I will try to recall as I add posts to this blog. 
It was a lot grittier than that, but I'll fill you in as we go.

Begin at the beginning of course.

So, you think you’d like to start a co-op gallery?  Great! Go for it!  You will be one of many artists groups that have taken on this challenge.  We are, one and all, getting rid of the middle man and going back to the artist/client relationship.  Artists benefit from it and customers benefit from it and prefer it!   The locally made brand of anything is becoming more fashionable than  the imported-from-who knows-where brand.  Listen to your customers, they will frequently ask “where’s the artist from?”  The reason is, they do care and will usually support those who live and work in the area where they are purchasing before buying work of art selling at a great distance from where it was produced.   At a time when our country is outsourcing American product so much so that we rarely see “made in USA” on tags in clothing, household items, computers, electronics or much of anything else anymore.  It’s not a wonder that American consumers want to take part in trade where the producer is right here in this country, and even better, right in the same town!  For now, "handmade in America" is coming back into vogue.  Hooray!

 Ok, we have established that you’re interested in doing this, now what?   You have so many great ideas about where you want to put this business, who you want to be a part of this business and so on, but the technical parts are not clear yet. That, my dear, is the purpose of this blog.  I will work to deliver my knowledge of opening and running a successful cooperative, hopefully enabling you to avoid some of the pitfalls of continually trying things until you find what works.  Some of those pitfalls are necessary, yes, but let's avoid reinventing the wheel every time if we can.  Let’s set you off on a course of structured success!