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Q & A
WNY artisans: strategizing in hard times
By Jana Eisenberg; photos by kc kratt
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Cynthia Hand
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Marcelo Florencio
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Elaine Harrigan and Susan Przybyl
of the Kenan Center
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Bryan Hopkins
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Even with the fecund Western New York craft show season about to begin, local artists have a tough time supporting themselves even in the flushest of times. And while craft artists have the benefit of making objects that are often functional—e.g. jewelry, clothing, pottery, or furniture—that may not be enough to convince their customers to purchase in these lean times.
Craft artists spend years training, they invest time and money to create their works and have to continually parse the mindset of the collector/shopper in order to be successful. For these artists, arts and crafts shows—along with selling their work in venues like museum gift shops and craft galleries—represent major sources of income.
Kicking off this season—which runs the gamut from free street fairs to paid shows highlighting museum-quality goods—is the annual 100 American Craftsmen, now in its thirty-eighth year. This indoor, juried show at the historic Kenan Center in Lockport is dedicated to contemporary craft art, including leather, wood, basketry, fiber, paper, and mixed media. For the first time, because of the collective wallet-strain, the Kenan Center is offering a $10, three-day pass to the May 29–31 show, enticing attendees with a forty-five percent discount off the daily $6 entry fee.
How important is a show like 100 Craftsmen? I talked to the Kenan Center’s executive director, Susan Przybyl; Marcelo Florencio, a glass worker, who along with his wife Susannah, a gemologist, runs Florencio Glass; Cynthia Hand, a metalsmith, speaking from her Amherst-based studio; and Bryan Hopkins, of Hopkins Pottery, who works out of Buffalo’s Tri-Main Center. The artists gave overviews of their elemental beliefs, as well as comments on craft shows in general.
What are the benefits, and what are the challenges this year for the show and the artisans?
Susan Przybyl: The event itself has real economic impact for the region. During this two-day period, nearly 5,000 people come to the area—both visitors and the artists, many of whom come from across the country. This is going to be an outstanding show, and art lovers will have an incredible choice. The number of artisans who applied for the show this year is up more than twenty percent—this tells us that they are looking for any and all ways to sell in a very slow economy.
The challenge will be: Do the people coming to visit, the attendees, have money to spend? That is what we're all facing.
Why do you think that people will still buy your work at this type of higher-end show?
Marcelo Florencio: This is the third time I’m doing the 100 American Craftsmen show. Many customers who buy my work understand that a machine cannot make it. The glass techniques and approach are very old-world. That is one of the things that separates this kind of work from what you find at flea markets or a regular shopping center. People believe they are making an investment, versus a purchase.
Cynthia Hand: People are very cautious right now of the dollars they are spending. When they want to buy a special gift, they are turning to a handmade, one-of-a-kind piece; they may not go for your “high-high”-end, but they’ll find something within their budget. It means a lot to them.
At the end of show season last year, I got concerned that I had too many high-end, and not enough middle-/lower-end, priced pieces. So I ramped up that production. But I found that the mid- to high-level pieces were still selling.
Bryan Hopkins: I usually plan for the worst and hope for the best. I don’t understand the retail mentality whatsoever.
People are placing more importance on objects that are handmade—they can meet the person who made it, versus going to a big store and buying something factory-made. That’s part of why I like making functional objects.
Also, people are still buying in this economy; we’re still thinking it’s a recession, not a depression. My hope is that people will stop buying the junk that they do, and $5 cups of coffee, and save that money for something important that is going to enhance their everyday lives.
Will you do anything different this year?
MF: The display will be the same. We are bringing the products and pieces that have been successful at this show, but we have created scaled-down sizes, so the price will be less. These things are more gift items. The range will include things that are for everybody’s budget … the appeal is more to the general public versus fine art collectors. I am not compromising the quality or craftsmanship, but it will be more financially accessible.
CH: Every year, I end up upgrading my booth, making it fresh; just like a brick-and-mortar store will redesign their windows. The booth is my identity, and my chance to catch someone’s eye. So this year I will do that again. As artists we tend to be sort of do-it-yourselfers, and you find a way to do those revisions without it necessarily costing a lot.
This has been a very good show for me; over the last several years it’s continued to grow. It is the region’s first big show of the season; we’ve got a supportive client base. People are excited; that makes us all excited about it.
BH: Last year, I invested a lot of money into upgrading my booth and improving my lighting, and my sales were up from the previous year.
The only help as far as pricing I’ve ever gotten is that I’ve always been told my prices are too low. So over the years, I would raise the price of a mug on-site, from $15 to $16 to $17. I have come to an ethical decision about where my prices are going to be.
Have you noticed a difference in people’s buying/spending? How are you accommodating it?
MF: I separate work that I create to generate income—fine craft and art. We also sell services, like teaching workshops and studio rentals. Last November we noticed retail was down; I believe that is true for most people.
But our services went up; people who might have gone to the Corning Museum of Glass gift shop came here during the Christmas season to make their own gifts for family and friends. People feel empowered by making things themselves. Keep in mind how difficult glass-making is—they take up the challenge. I think it takes their minds off of their everyday problems.
In the summer, I work part-time for the parks, but that is partly because it’s too hot to work in the studio during the day. In order to adapt to the situation right now, the ability to work in a wide range of different things is important for artists. I also have a business background. It makes sense to be able to adapt. We run our business just like any other business; it’s basically the same as how a restaurant owner would think about selling services.
CH: I’m very fortunate that I don’t have to make my full living from this, so I don’t currently teach or have any other supplemental income. But it is what I do every day, and it is self-supporting. Quite often, your art is not fully self-supporting—historically, artists don’t make a living wage off of their art. You make enough to keep going, to be continually able to buy materials, develop new ideas; and be able to put [your work] out to the public, whether through craft shows or galleries.
The current crisis has undeniably affected my business. We all are a little more conscious of how we spend our money. It’s a leaner time, both in my business and in general.
As an artist, you are very aware that there are cycles: in life, and even in your creativity. You continue to do what you do, follow your business and creative impulses, and stay positive that you will get through whatever hard times there are.
BH: My work sells out of different retail outlets—galleries, gift shops—in different parts of the country. My sales in late 2008 were actually up from last year. I don’t know why; maybe people were in denial, or it’s not affecting people who would go to those places in the first place.
They are looking for something handmade by an artist; they’ve already made that decision when they walk into, for example, the Burchfield Penney Art Center gift shop—they don’t need a $150 salt and pepper set, but they are going to buy something.
What efforts do you make so that the show is feasible and attractive for both the artists and the public?
SP: This year, craft artisans of Western New York need all the help they can get to stay afloat. We have such a tremendous number of exceptional artisans in this area. These artisans add so much to the creative economy of our area—that economic impact is fostered by major shows like 100 American Craftsmen and Allentown.
We work hard, out of respect for the artists, to take care of them while they are here, and they clearly enjoy it. They are going to be treated well. We have a party for them on Friday, brunch on Sunday, and an artists’ hospitality booth during the show. Despite these economic challenges, they can be amongst colleagues and people they can get to know.
As for our attendees, they look at the show as something to do to start off the summer season. Even if you aren’t planning to spend money, once you get here and see the artists you are just intrigued.
Each artist is almost a storyteller; when you walk the show, you can stop and spend as much time as you want to, learning about the craft and what they are doing. Also, for your entry fee, you get a chance to fill out a raffle [ticket]. Artists donate an item, so that every hour we choose a winner; whether you are here or not, you can win.
The grounds and gardens are beautiful. It’s a great place to come and get a total experience. Folks want to get away from some of the hardships they are experiencing. They see the whole show as vibrant and exciting; they’re going to notice a lot of new stuff.
Artists are doing work [audiences have] never seen before. It’s very diverse. Especially with the weekend pass and coupons available, it will be interesting to see what the response is. People are looking for value in everything.
Show dates, times, and location: Friday, May 29, 6–9 p.m.; Saturday, May 30, 10 a.m.–6 p.m.; Sunday, May 31, 11 a.m.–5 p.m. The Kenan Center, 433 Locust St., Lockport, 433-2617, www.kenancenter.org.
For artist info, visit:
www.hopkinspottery.com
www.florencioglass.com
www.cynthiahand.com
Jana Eisenberg’s efforts at crafts could never be called museum-quality, though if you want a lumpy knitted baby blanket or pair of crooked legwarmers, she’s your gal.
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