PARTICIPATORY SPORT FOR CRAFT ARTISTS
With the rise of scanning, 3-D printing, maker-bot and a host of classes, the growth of craft has a new maker audience that wants to make without design skills or confidence in their creativity. So where do they find their ideas? You know....they copy.
Have you considered adding a clause to your sales receipt, commission contract, or consignment contract specific to this issue?
"Purchase of this work does not include the copyright or right to copy this design."
Early in the transaction is where information and advocacy can make all the difference.
Think about the issues. Read this post:
Have you ever wondered "How is Jewelry Selected for a Museum Collection?"
This question has always intrigued me. I am always looking for answers. When I noticed that my bracelet was posted as the Crafthaus Mastead Image, the question surfaced again. That is because the bracelet is in the Permanent Collection of the Crocker Art Museum in Sacramento, CA.
The question was also on my mind because Brigitte Martin and I organized the 2014 Professional Development Seminar at the recent SNAG Conference titled, "Collectors, Collections and You".
During this program, Ulysses Grant Dietz, Curator at the Newark Museum confirmed many of my speculations.
To be brief here are a couple of criteria a curator may apply when selecting jewelry for a museum's permanent collection.
Curators and museums are looking for jewelry that looks good on display in a museum.
Size does matter. Ulysses Dietz specifically mentioned that ring and cuff links (as an example) are small thus, difficult to show effectively.
In comparison, this bracelet is large enough to fill an entire pedestal case. Below…Continue
The post "I love your work and want to make one for myself" is raising a lot of discussion and tons of comments. For this reason, I am bringing a blog post to the Crafthaus community.
To avoid duplicate content, read the original post on ASK Harriete.
For Crafthaus, I thought that this post could include an another story brought to my attention. The names have been removed to protect both the innocent and the guilty.
The unfortunate problem right now is that digital technologies have developed faster that the social mores surrounding them. People copy images without attribution, or copy content they didn't write. Whole pages exist on Pinterest about "I want to make this." Makers stand at their wholesale/retail booth display which cost them $1,000's while enthusiasts make deep inquiries "I love your work and what to make something just like this for myself."
Here is a sample…
Harriete Estel Berman & Betty Talbott spoke about the "grassroots" collection on Jay Whaley Metalsmith Bench Talk.
Betty Talbott is the Director of the Ohio Craft Museum and Artistic Director of the Ohio Designer Craftsmen. This crafts organization has an extensive collection of member works and are a stellar example of "grassroots" collections.
Do you wonder about how you should maker mark your work?
How about your inventory records?
Do you see fame and fortune of the future, but not sure how to develop the provenance for your work?
What is the value of being in a "collection?" …
The copycat problem has become a chronic issue in the crafts community.
The thieves are every where, yet we whisper about the problems embarrassed or afraid of the negative publicity.
It is time WE RAISED OUR VOICES IN A CHORUS of awareness about the copycat thieves.
To this end I wrote a post on the American Craft Council blog titled:
Alibaba and the Copycat Thieves
Click on title. Read the post. Become informed.
Please consider sharing this post with a link to the original source.
Until awareness saturates the craft community into every "craft corner", manufacturer, retailer, consumer, and becomes a public discussion, the copycat thieves will continue as pirates of our work, our ideas, our content.
"The solution can’t come from me alone, or a committee, or even one…
The lecture "The GOOD, The BAD, and The UGLY in the AGE of the Internet" continues to create dialog and discussion on the Internet. Recently Jay Whaley, and I discussed the issues and four recommendations in a lively conversation on Metalsmith Bench Talk.
The four RECOMMENDATIONS from the lecture
were discussed during the conversation.
Use tutorials and instructional materials for what they were intended….. your personal…
"The GOOD, The BAD, and The UGLY in the AGE of the Internet"
is a Keynote Address I originally gave for the International Polymer Clay Association annual conference.
It addresses some of the chronic problems plaguing the arts and crafts community in the age of the internet.
To SUMMARIZE BRIEFLY there are several issues surfacing in the art and craft community:
Discussions have been multi-faceted.
The concerns addressed in the lecture actually opened wider discussions about issues that I never considered including the"workshop…Continue
The wonderful aspect of the internet is that it creates so many opportunities to share your art and craft.
It is THRILLING that there are forums like here on Crafthaus to create a dialog or generate visibility. There is no need to wait for the rare opportunity to have your work published in a book or magazine.
On the other hand, I don't think artists and makers are doing enough to share their work with a wider audience. If craft is going to survive and blossom in the 21st century we need to expand our audience beyond the arts and crafts community.
We need to grab onto the Long Tail of the Internet and hold on tight. If you aren't' familiar with the concept of the Long Tail there are two posts about the topic.
Long Tail - Blockbuster versus Netflix, and the art/craft world..
The internet is having a tremendous impact on the arts and crafts community. But this is just the beginning. We can not underestimate the future of e-commerce and the future trends of search.…
Success at a craft show starts before you even apply. Yes, this is truer than you could possibly expect.
It doesn't matter whether your work is fabulous, well designed or priced right, if it doesn't fit the show you will be disappointed. Participation in a show that does not fit your work is a waste of time and money.
Guest Author Alison Antelman is an experienced craft show vendor with 12 years of experience at craft shows and art festivals. Since then, she has learned to investigate prior to craft show participation and use her years of open studios to help her assess shows and select the most successful events. Learn from Alison's years of experience the easy way (sitting at your computer) instead of under a tent of tears and frustration.