THE CONNECTION!

-------A Monthly Newsletter for ArtistsConnect in Edmonds, Washington------

September 2008, Vol. 3, Issue 2

September Meeting Minutes

Minutes: September 27^th 2008

Submitted by Tracy Fraker

Business meeting facilitated by Melinda Terry.

New attendees:

Linda Allen, Acrylic

Kim Brayman, Watercolor

Mary Peterson. Quilting

Chung He – Interested in art

Cung Su Kim – Drawing (and her husband)

Mary Lanahan – large Oil Abstract

Isis Charest, Program Chair, asked for donations as courtesy to today’s speaker Denise Cole. Basket was passed.

Lynn Scott extended an invitation to Sunset Bay Gallery. She is curator there. Show includes AC member Barbara Wyatt and Kate Jones. Google: sunsetbaywharf.com for more info.

Tonnie Wolfe submitted results from informal email survey regarding our groups effort to organize. Main points:

• Majority desires more organization but does not desire incorporating into a non-profit.
• Need job descriptions prepared, a greeting committee, and possible update to mission statement. Also create a record of our history/decisions.
• Augment networking with more small group work, outside committees and a resource table. Create informal creative groups to do art together.

Meridith Arnold introduced herself as ArtWorks manager, taking over for Ken Smith who she praised highly for his skill in running the facility. She is also involved with Arts/Now and the Edge program. She would like the building to be utilized more and encouraged us to start a critique group. Her contact info is:

425-774-6049 or www.artworks-edmonds.org

- Interim break for social/networking. Then reconvened for Program.

Tracy Fraker to continue on as next AC facilitator, beginning October meeting. Contact by email at frakerart@verizon.net (preferred). Phone 425/673-0906.

Isis introduced Denise Cole. Topic: Career Marketing Essentials for Artists

Her presentation will be included to website under today’s date.

Exploring your own expectations…time commitment, heart commitment, money, artistic goals, recognition…

Selecting Your Path

What does your style and subject have to do with it? What are you willing to sacrifice to make it a business, to make money?

What fits your personality, lifestyle, energy level, focus, motivation?

Type of Art: Medium and Money:

Paintings: Portraits, landscapes, florals, still lifes, abstracts…

Sculpture, Jewelry, Woodwork, Wearable’s, Crafts

Creating Goals:

"Without a plan you only have dreams – with a plan you have a sense of direction." Graeme Smith

1) Write down what you want from your art, write your own vision, mission statement

1. Be honest about where you are now and what is happening with your art.
2. Set strategic and achievable goals.
3. Set steps to achieving these goals.
4. Monitor Progress.
5. Update strategies

Venues to selling and marketing your art:

Galleries, Co-op and Traditional, (Art Guide)

Studio, Studio-Gallery

Art Festivals, (Source Book…)

Private and Public Shows, ie Restaurants, Home Showings, Events…

Juried Show Exhibitions

Art Associations

Interior Designers

Print Companies,…Art in Motion…

Teaching and Demoing Art

Co-op advertizing

Special Event Advertising

Magazines

Newspapers

Press Releases (An un-mined gold mine)

HTML

Postcards, ADG…

Newsletters

Personal Invitations to Events

Sharing Advertising Costs

Appreciate Your Clients (thank yous, discounts…)

Physical or Digital

Association Juried Shows

Associations, ie Women Painters, Oil Painters, Artists Connect

Art Festivals

Galleries, Co-op and Traditional

Art Schools

Virtual Portfolio? Web Site Development/Blogs/Social Networking

High End Designers

"Build Your Own" Systems

Grouping Your Work

Updates and Interest

Becoming a Business Professional

Sole Proprietor, Partnerships, Limited Liability Corporations, Corporations

UBI number, (take advantage of not paying sales tax on framing and art supplies),

business license, ie local and while showing out of area

Insurance: liability, fire extinguishers in booths…

Artist Resume: Just the facts, in chronological order, education, experience, galleries, awards…

Artist Bio: Narrative summary of you and your art generally written in the third person. Grab the reader’s attention by starting the bio with something interesting. Usually includes some background about you personally, educationally, where you grew up…create a long and short version with a nice picture of you.

-How you got started

-What are you doing now

-What is your work all about, highlight something you are proud of

-Awards, honors

-Where your work can be seen

Artist Statement: Written from your heart, where you become vulnerable and open your artistic soul to anyone who’s interested in taking a look. The artist statement will give collectors an insight into who you are personally and where your art comes from emotionally.

-Less descriptive, more feeling

-Less about technique and more about inspiration and process

-Less about facts, more about concepts

-Think color, technique shape, size and medium. Why are these important to you?

-How do you view your work? What stands out about it? What do you want to say through your work?

-Talk about influences, interests, passions

-Don’t make your statement too political or negative

Created by Denise Cole ~ Cole Gallery & Artists’ Supplies www.ColeGallery.net

105 5^th Avenue South, Edmonds, WA 98020 (425) 697-2787

Artist Connect

• The majority of emails indicated a desire for some formalizing of the group structure. However, no one proposed forming a separate not-for-profit organizational structure. The support from the Edmonds Art Festival Foundation was viewed as an important and desired connection the group wishes to maintain.
  
• Many agreed that written job descriptions for major positions would be helpful for both promoting consistency and recruiting new volunteers (business meeting facilitator, program chair, refreshments). Further, adding volunteer positions for greeting and connecting with new members and for website and communications was suggested.
  
• The suggestion for length of time volunteers could serve in any given position varied from 3 to 4 months to "when the person got tired of volunteering."
  
• As show guidelines have been written and approved, meeting guidelines could also be more formalized, including agenda, timing, and content for both meetings and programs. These decisions have been made in the past, but not recorded.
  
• A need to review and rewrite the mission statement was suggested.
  
• Kurt Jensen nicely summarized what people are looking for when coming to AC. The first are the "newbies trying to learn the ropes of the art trade." The second are "more experienced people who are interested in connecting with others for new ideas and inspiration." As a group of creative people, I’m sure we can find a way to address the needs of both groups.
  
• A major theme that has come up is how new members feel disconnected when first attending the meetings. A number of suggestions were made to address this.
  
• Communication was another issue that was addressed. The recommendations varied from using the email list more effectively to having a table or wall set up at each meeting with resources, calls and postcards for members’ shows. Minutes for the meetings have been an ongoing issue. It appears that this is an area that needs more attention, including finding ways to help Amy per her requests.
  
• There have been a growing number of people who would like to have time and structure to create art work in informal groups and/or to have time to network with artists who use similar media.
  
• Some have recommended forming special project committees to address specific issues, e.g., the structure, looking at the mission statement, writing job descriptions, etc.
  
• The one issue that remains is to address who will ensure that projects, ideas and decisions are not lost. It was suggested that some form of board, steering committee, slate of officers meet outside the group to provide continuity and oversight. One other suggestion was that the individuals who volunteer for key positions have the ultimate decision-making responsibility.

9-08