guest post: Jill Foote-Hutton
Jill Foote-Hutton has been someone I’ve long admired for her artistic endeavors as well as her work with Red Lodge Clay Center and her blog Whistle Pig Studio. So I was naturally thrilled when she contacted me about writing guest posts for musing. Her insight into our makers community as well as the gallery system offers us new perspectives about the co-existance of the two and how we can better manage this necessary relationship. I’m very thankful to Jill for her time and consideration with the following article and eagerly look forward to future posts written by Jill to get our community thinking and discussing. I wholeheartedly encourage you to respond to Jill’s writing in the comments section; I know I have a lot on my mind after reading this.
Revisiting and Redefining Markets, Pt. 1
By Jill Foote-Hutton
Red Lodge Clay Center and Whistlepig Studio
In the September 28th weekend edition of the Wall Street Journal there was an article on custom denim. Set against an image of several bolts of selvage denim inside New York’s SoHo 3×1
store, is a story about the growing customization market. Clients are
paying up to $1200 for a pair of jeans, participating in the process
from concept to finish. While obviously an elite example, it reminded
me of a conversation begun several months ago while courting an artist
for a future exhibition at Red Lodge Clay Center.
store, is a story about the growing customization market. Clients are
paying up to $1200 for a pair of jeans, participating in the process
from concept to finish. While obviously an elite example, it reminded
me of a conversation begun several months ago while courting an artist
for a future exhibition at Red Lodge Clay Center.
The artist was
interested in participating in the exhibit, but took issue with the
standard contractual agreement. The artist went on at great length
about how outdated the current model is. Concerns about gallery
commissions and standard shipping arrangements were at the top of the
list. Like many galleries, Red Lodge takes a 50% commission on all
sales. The work represented in the brick and mortar storefront and
online is on consignment. Artists bear the cost of shipping to the
gallery and the gallery ships work back if it doesn’t sell.
interested in participating in the exhibit, but took issue with the
standard contractual agreement. The artist went on at great length
about how outdated the current model is. Concerns about gallery
commissions and standard shipping arrangements were at the top of the
list. Like many galleries, Red Lodge takes a 50% commission on all
sales. The work represented in the brick and mortar storefront and
online is on consignment. Artists bear the cost of shipping to the
gallery and the gallery ships work back if it doesn’t sell.
For my part of the conversation I presented the whole
picture of Red Lodge Clay Center’s mission statement. When I took the position of Gallery
Coordinator at Red Lodge, it was because I believed in the core tenets of the
mission statement, “…provide a place for professionally minded ceramic artists
to develop…and share the importance of art in everyday life.” When we invite an artist to be part of an
exhibition or to be represented by our commercial gallery, we are asking said
maker to buy in to that mission statement as well. Of course, there are the very real costs of
keeping the lights on, insurance, publicity, shipping supplies, staff salaries,
etc. Our ideal objective is to represent a large number of makers to showcase
the variety of methods and concepts comprised within the landscape of
contemporary ceramics. The residency program and the community arts
outreach programs were and are the foundation of why Red Lodge Clay
Center exists, and the commercial gallery is here to support and enhance
all of our programming.
In my naiveté, I thought the altruism of our mission would sway the maker into seeing things from a new perspective.
It did not.
And perhaps it
shouldn’t. What was proposed in the conversation, first and foremost:
begin a conversation within the field. Moreover, the artist believed
galleries should begin looking to standard retailer/wholesaler models
for their next evolutionary step. My difficulty in seeing the equation
in such simple terms? We are not selling packs of gum. If I was running
a convenience store, I would order 12 gross of a specific item and pay
for shipping. I would also have the secure knowledge that I would sell
said 12 gross and be re-ordering more in the next quarter. We are not
selling convenience store items. We are selling an ideal, a commitment
to a very specific way of approaching life, as much as we are selling
objects.
shouldn’t. What was proposed in the conversation, first and foremost:
begin a conversation within the field. Moreover, the artist believed
galleries should begin looking to standard retailer/wholesaler models
for their next evolutionary step. My difficulty in seeing the equation
in such simple terms? We are not selling packs of gum. If I was running
a convenience store, I would order 12 gross of a specific item and pay
for shipping. I would also have the secure knowledge that I would sell
said 12 gross and be re-ordering more in the next quarter. We are not
selling convenience store items. We are selling an ideal, a commitment
to a very specific way of approaching life, as much as we are selling
objects.
What to do, and what does this have to do with custom denim?
 |
| Cups and Saucers by Sean O’Connell |
Well, a conversation was started here, and it made me begin to look around more closely at solutions emerging craft artists were conceiving
in their own marketing strategies. It turned my eyes and ears sharply
toward how contracts between galleries and artists are approached. It
began an investigation. The relevance of the topic was underscored on a
recent episode of Tales of a Red Clay Rambler in the discussion between Host Benjamin Carter and guest Sean O’Connell.
O’Connell opined the current gallery/artist relationship model seems
good for no one, but he was not yet sure what the alternative was.
in their own marketing strategies. It turned my eyes and ears sharply
toward how contracts between galleries and artists are approached. It
began an investigation. The relevance of the topic was underscored on a
recent episode of Tales of a Red Clay Rambler in the discussion between Host Benjamin Carter and guest Sean O’Connell.
O’Connell opined the current gallery/artist relationship model seems
good for no one, but he was not yet sure what the alternative was.
If you are
reading this post, then I feel it is safe to assume you are familiar
with the field of ceramics. I feel it is safe to assume you are
familiar with the marketing success of Ayumi Horie’s model. We all stand in awe of her professional prowess and clever marketing strategies. Have you seen that match striker video?
reading this post, then I feel it is safe to assume you are familiar
with the field of ceramics. I feel it is safe to assume you are
familiar with the marketing success of Ayumi Horie’s model. We all stand in awe of her professional prowess and clever marketing strategies. Have you seen that match striker video?
 |
| Auymi Horie’s Match Striker |
We are also probably all familiar with Ceramics Monthly’s recently published yearbook featuring Forrest Lesch-Middleton
as the Ceramic Artist of the Year, as much for the high quality of his
studio objects, as for his success in establishing a production line of
tiles featured in the Home & Garden section of the January 2013 issue of the New York Times.
as the Ceramic Artist of the Year, as much for the high quality of his
studio objects, as for his success in establishing a production line of
tiles featured in the Home & Garden section of the January 2013 issue of the New York Times.
 |
| Forrest Lesch-Middleton’s Tiles |
Finally, I feel it is safe to assume we are familiar with the, somehow controversial, success Molly Hatch has found in her partnership with Anthropoligie. Because
I am assuming we are all familiar with these success stories, I don’t
want to focus on them. Mainly, I will not address the models of the
aforementioned artists because their success puts them into the realm of
“other” and may seem out of reach to artists who are in the throes of
development and question. Rather, I have talked to and listened to
artists who are at the brink of their own concepts.
I am assuming we are all familiar with these success stories, I don’t
want to focus on them. Mainly, I will not address the models of the
aforementioned artists because their success puts them into the realm of
“other” and may seem out of reach to artists who are in the throes of
development and question. Rather, I have talked to and listened to
artists who are at the brink of their own concepts.
 |
| Molly Hatch’s Ware on Anthropologie |
Familiar main points have surfaced and resurfaced in my conversations, but as Lesch-Middleton
stated in his feature when asked about what advice he would give to
those aspiring to make a living in ceramics he acknowledged the practice
of, “…revisiting [familiar but easily forgotten advice] on a daily
basis.”
stated in his feature when asked about what advice he would give to
those aspiring to make a living in ceramics he acknowledged the practice
of, “…revisiting [familiar but easily forgotten advice] on a daily
basis.”
Those points are: Planning, Perseverance, Integrity, and Diversification.
I don’t know
that I have arrived at a solution, or an entirely new model for the
gallery/artist relationship, but in the interest of continuing to,
“…provide a place for professionally minded ceramic artists to develop,”
I have a clarified picture of a galleries responsibility and role in
the equation.
that I have arrived at a solution, or an entirely new model for the
gallery/artist relationship, but in the interest of continuing to,
“…provide a place for professionally minded ceramic artists to develop,”
I have a clarified picture of a galleries responsibility and role in
the equation.
Are you
addicted to Tales of a Red Clay Rambler? I kind of am, and I don’t find
it to be too much to work in ceramics, listen to other ceramic makers,
and then head to the office to coordinate ceramic exhibitions. Rather, I
tend to languish in the muddy water, submerged in the many
conversations. It was a chat with Arrowmont’s Bill Griffith on the podcast that directed my attention to the new endeavor Objective Clay,
a collective of fourteen ceramic artists conceived during Utilitarian
Clay VI. Because I am blessed to reside in a region densely populated
by ceramic artists, an organic conversation with founding member Sunshine Cobb was
fairly easy to coordinate. I presented the question to Cobb, sharing
the conversation broadcast between O’Connell and Carter, and asked for
her perspective. Did she think that Objective Clay was the answer to artists taking the reigns on their own behalf and cutting out the need for galleries in our modern age?
addicted to Tales of a Red Clay Rambler? I kind of am, and I don’t find
it to be too much to work in ceramics, listen to other ceramic makers,
and then head to the office to coordinate ceramic exhibitions. Rather, I
tend to languish in the muddy water, submerged in the many
conversations. It was a chat with Arrowmont’s Bill Griffith on the podcast that directed my attention to the new endeavor Objective Clay,
a collective of fourteen ceramic artists conceived during Utilitarian
Clay VI. Because I am blessed to reside in a region densely populated
by ceramic artists, an organic conversation with founding member Sunshine Cobb was
fairly easy to coordinate. I presented the question to Cobb, sharing
the conversation broadcast between O’Connell and Carter, and asked for
her perspective. Did she think that Objective Clay was the answer to artists taking the reigns on their own behalf and cutting out the need for galleries in our modern age?
Cobb pointed out that Objective Clay was
still in its infancy and the members were in an ongoing conversation to
line out the manifestations of their objectives. Their mission
statement asserts they have, “…a
shared vision to create an artist established and maintained online
space. This space functions as a gallery to view our latest work as
well as a window into our current thoughts in process. By sharing our
ideas and opening our studios, we invite artists, non-artists,
educators, and students to actively engage in our artistic practices. In
this virtual studio, the people who love pots can view/purchase new
work and form direct relationships with the artists who make them.”
still in its infancy and the members were in an ongoing conversation to
line out the manifestations of their objectives. Their mission
statement asserts they have, “…a
shared vision to create an artist established and maintained online
space. This space functions as a gallery to view our latest work as
well as a window into our current thoughts in process. By sharing our
ideas and opening our studios, we invite artists, non-artists,
educators, and students to actively engage in our artistic practices. In
this virtual studio, the people who love pots can view/purchase new
work and form direct relationships with the artists who make them.”
That last bit about
forming direct relationships is really the key to branding isn’t it? If
one wants to be successful in any endeavor, it all comes down the
relationships one establishes. The more circles one can overlap, the
more relationships are built and the end result is fiscal
success. Focusing on relationships, whether that relationships starts
with a one-on-one consultation with a jean’s designer or whether that
relationship starts by finding out what your favorite ceramic artist is
reading for inspiration on the Objective Clay bookshelf, allows
makers to maintain integrity in their marketing. By putting
relationships first, clients are able to step inside the creative
process and feel a part of it. Happily the end result can be a
successful bottom-line because clients are as invested in the final
product as the maker.
forming direct relationships is really the key to branding isn’t it? If
one wants to be successful in any endeavor, it all comes down the
relationships one establishes. The more circles one can overlap, the
more relationships are built and the end result is fiscal
success. Focusing on relationships, whether that relationships starts
with a one-on-one consultation with a jean’s designer or whether that
relationship starts by finding out what your favorite ceramic artist is
reading for inspiration on the Objective Clay bookshelf, allows
makers to maintain integrity in their marketing. By putting
relationships first, clients are able to step inside the creative
process and feel a part of it. Happily the end result can be a
successful bottom-line because clients are as invested in the final
product as the maker.
Beyond utilizing the internet to
establish new relationships, Cobb reported that Objective Clay is
looking to corporate markets for sales in an effort to land wholesale
orders from clients with larger budgets. This year at the Wisconsin
NCECA keep an eye out for their partnership with restaurant chains
within the city. How great would it be to one day walk into a high-end
establishment and see the fare presented on hand-made wares? This kind
of vision is looking to the ever-narrowing space between design and
craft and grabbing a foothold. It isn’t an entirely new idea, but one
worth revisiting. It is a vision that looks beyond the tried and true,
and perhaps oversaturated market of contemporary ceramics.
establish new relationships, Cobb reported that Objective Clay is
looking to corporate markets for sales in an effort to land wholesale
orders from clients with larger budgets. This year at the Wisconsin
NCECA keep an eye out for their partnership with restaurant chains
within the city. How great would it be to one day walk into a high-end
establishment and see the fare presented on hand-made wares? This kind
of vision is looking to the ever-narrowing space between design and
craft and grabbing a foothold. It isn’t an entirely new idea, but one
worth revisiting. It is a vision that looks beyond the tried and true,
and perhaps oversaturated market of contemporary ceramics.
 |
| Works by Sunshine Cobb Featured on Objective Clay |
Within
the walls of Red Lodge Clay Center we are reviewing how we spread our
advertising dollars. The bulk of our budget targets the converted
within the pages of Ceramics Monthly. While we don’t want to step away
from a loyal base, we do want to consider how we can break into other
realms by looking to foodie magazines and events, as well as design
firms who might share the work of our artists with their clients. A
successful model to study is Red Dot.
the walls of Red Lodge Clay Center we are reviewing how we spread our
advertising dollars. The bulk of our budget targets the converted
within the pages of Ceramics Monthly. While we don’t want to step away
from a loyal base, we do want to consider how we can break into other
realms by looking to foodie magazines and events, as well as design
firms who might share the work of our artists with their clients. A
successful model to study is Red Dot.
Red Dot is a company
founded on the idea of taking design into new markets by focusing on
the highest quality work and awarding it. New clients are constantly
coming to Red Dot so their presentations, homes, and companies might be
on the cutting edge of aesthetics and function.
founded on the idea of taking design into new markets by focusing on
the highest quality work and awarding it. New clients are constantly
coming to Red Dot so their presentations, homes, and companies might be
on the cutting edge of aesthetics and function.
“Look to the periphery!” is the battle cry of modern business acumen.
The final tidbit of
wisdom from my discussion with Cobb was an anecdote about the standard
shipping arrangement between galleries and artists. Cobb is currently
working as a resident at the Archie Bray Foundation in Helena,
Montana. Shipping from Montana can be pretty pricey, and anyone who has
had to fly out of Montana to anywhere besides Seattle, Denver, or
Minneapolis can tell you there is no easy road out in regard to
travel. She shipped work to a gallery and made the choice to send a
grouping of smaller objects. Of course, all the work sold out rather
quickly and the gallery called to request she send more work for the
exhibition and include larger pieces in the next shipment. Cobb was
happy to oblige, but observed and asserted that she was getting the
short end of the deal in regard to the shipping arrangement. “If all of
my work sells, then the gallery never has to ship work back to
me.” Cobb suggested the gallery front the shipping costs on the next
shipment.
wisdom from my discussion with Cobb was an anecdote about the standard
shipping arrangement between galleries and artists. Cobb is currently
working as a resident at the Archie Bray Foundation in Helena,
Montana. Shipping from Montana can be pretty pricey, and anyone who has
had to fly out of Montana to anywhere besides Seattle, Denver, or
Minneapolis can tell you there is no easy road out in regard to
travel. She shipped work to a gallery and made the choice to send a
grouping of smaller objects. Of course, all the work sold out rather
quickly and the gallery called to request she send more work for the
exhibition and include larger pieces in the next shipment. Cobb was
happy to oblige, but observed and asserted that she was getting the
short end of the deal in regard to the shipping arrangement. “If all of
my work sells, then the gallery never has to ship work back to
me.” Cobb suggested the gallery front the shipping costs on the next
shipment.
As a gallery
representative, I know that shipping costs are one of the larger line
items in our budget. While that cost is shared by our clients who pay
shipping and handling in their purchases, a gallery does maintain a
healthy stock of bubble wrap, peanuts, newsprint, boxes, tape, fragile
stickers, branding logo stamps, and includes supporting documents about
the artists and exhibitions in every package. Still, Cobb’s point was
taken. How can a gallery work to better reward its best
sellers? Especially if the intention of a gallery is to support the
livelihood of its artists as well as keeping the doors open. Hmmmm? Again,
the words from O’Connell’s Red Clay Rambler interview came back to me,
“…good for no one.” Cobb’s proposal didn’t seem at all unrealistic to
me: invest more in the artists who present proven product.
Next
month I will present the rest of the story in my visits with Meredith
Host who divides her efforts between her commercial line Folded Pigs and
her studio output Dot Dot Dash, Meg Roberts
who has been busily building her socially motivated brand and soon to
be 501c3, Plants for Patients, by looking to the advocates for
reproductive rights, Andrea Moon who is building the new web format
Pedestal as a market place for contemporary craft, and tying the opening
model of custom denim back to the work of Andrew Gilliatt his
evolving concepts. We’ve seen the beginnings of the importance of
diversification and integrity and will delve more into those areas, as
well as being reminded of the importance of perseverance and planning. Until then, my thanks to Carole Epp and the Musing about Mud blog for providing a venue and an audience for this discussion.
month I will present the rest of the story in my visits with Meredith
Host who divides her efforts between her commercial line Folded Pigs and
her studio output Dot Dot Dash, Meg Roberts
who has been busily building her socially motivated brand and soon to
be 501c3, Plants for Patients, by looking to the advocates for
reproductive rights, Andrea Moon who is building the new web format
Pedestal as a market place for contemporary craft, and tying the opening
model of custom denim back to the work of Andrew Gilliatt his
evolving concepts. We’ve seen the beginnings of the importance of
diversification and integrity and will delve more into those areas, as
well as being reminded of the importance of perseverance and planning. Until then, my thanks to Carole Epp and the Musing about Mud blog for providing a venue and an audience for this discussion.
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