Work by some of the many artists who have found success selling to collectors (clockwise from upper left): Glass piece by Susan Taylor Glasgow; “Porcupine Basket” by JoAnne Russo; “Fibonacci Basket” by Billie Ruth Sudduth; and work by paper artist Deena Schnitman.

Craft Shows Link Artists, Collectors

For many artists, high-end craft shows are the most important part of their exposure, allowing artists to interact directly with buyers and collectors who have been invited because of their love of handmade crafts. “Part of [exhibiting] in a high-end craft show is knowing that the audience there will [be receptive] to the work presented,” says Beth Ann Gerstein, executive director of The Society of Arts and Crafts in Boston, which promotes the CRAFTBOSTON show.

Gerstein says that about 3,000 invitations to their Preview Gala are sent out to collectors, corporate sponsors and other craft benefactors to give them a chance to view and purchase the work before the show officially opens. “While not all artists make sales that evening,” says Gerstein, “collectors from the Gala will come back over the weekend to buy.”

Maryland interior designer and craft collector Judith Weisman attends craft shows around the country to add to her collection and those of her clients. Also a board member of the James Renwick Alliance — a Washington-based, non-profit organization that promotes appreciation of American crafts — Weisman says the most popular venues for collectors are the Smithsonian Craft Show, the Philadelphia Museum of Art Craft Show and the Washington Craft Show.

North Carolina basket maker Billie Ruth Sudduth agrees, saying that most of her collector base comes through high-profile shows like these. “While a handful of galleries represent me, I chose years ago to market my work through craft shows,” says Sudduth. “The personal contact with a collector, the opportunity to discuss my work … is a significant aspect of my business.”

JoAnne Russo, a Vermont basket maker who was an exhibitor at the 2003 Smithsonian Craft Show and will be in the Philadelphia Museum of Art Craft Show running Nov. 16-19, says that she has developed such a rapport with collectors that she often stays at their homes when doing shows in their area. “[Collectors] really understand the need to support artists in other ways than just buying our work,” says Russo.

Galleries Also Cultivate Collectors

For many artists and collectors, a gallery plays a pivotal role in forging the connection between maker and buyer.

Rick Gottas, gallery director for the American Art Company in Tacoma, Wash., has actively sought out artists to help build collections for his clients. Most artists, he says, come to him through referral or by sending portfolios for his consideration. Gottas helped to build a collection of more than 140 art quilts for Nancy and Warren Brakensiek of California. “Galleries [nurture] ongoing relationships between artists and existing collectors,” says Gottas, “and provide continuous opportunities to develop new collectors through direct exposure to the work in the gallery.”

Jan Peters, owner of del Mano Gallery in California, says galleries also invite the attention of collectors through museum curators and critics. “Collectors and curators can use the experience of the gallery as a guide to the best work available,” says Peters.

With work in several galleries, including Thirteen Moons in New Mexico, Russo says having gallery representation in areas other than the East Coast, where she often exhibits, helps to connect her with collectors. She adds that some collectors need the validation of a gallery to confirm the “collectability” of the piece.

Self Promotion is Essential

Missouri glass artist Susan Taylor Glasgow says that in addition to exhibiting in high-end shows and galleries, she advertises in trade publications to help collectors find her work. “I advertise my most unique and market-appropriate-priced piece,” says Glasgow. “Besides the exposure, I have always sold the piece advertised, plus gotten commissions and interest from galleries, and sometimes designers shopping for their clients.”

Artists can also advertise through the galleries that represent them. Glasgow says that she can split the cost of advertising with her galleries and reach more collectors than she could if she spent the money on booth fees for a show.

Russo adds that since getting gallery representation is often hard for new artists, they should take advantage of any advertising opportunities offered when they participate in gallery shows. An artist’s work published in a gallery ad or on a gallery mailer will end up in front of a buying audience.

While participating in ads for shows and gallery exhibitions is crucial, collector Nancy Brakensiek says artists should also notify their existing clients about these events in addition to alerting them of any new work. Schnitman, Sudduth and Russo say that before any new show or exhibit, they send postcards to their mailing lists and make an effort to speak to their clients at shows. Sudduth, who says that collectors are the “backbone of her business,” also e-mails her clients when she’s going to appear on TV or be profiled in publications. “I feel people collect work because they can identify the object with the craftsperson,” says Sudduth. “We have to educate the public regarding what makes our work unique and we have to be visible.”

Heather Skelly is associate editor of The Crafts Report.