Returning
again to the years before internet marketplaces began receiving recognition, we
see that motives for craft fair participation are guaranteed to vary.
Escalating costs and personal matters are what have lead Anneke and Joann to
either decrease their involvement or stop it entirely, though other goods often
overshadowed the craftwork with regard to profits. For those who focus solely
on handmade items, participation could be considered a necessity and one that
may not always be embraced with open arms. Engaging in social activity with
other dealers and customers from a variety of backgrounds is not for everyone,
something you might learn from anyone who has ever been employed in retail. The
case I present here explores this side of fair participation, concentrated
around the art of stained glass.
One
account socially organizes the stained glass profession by both traditional and
non-traditional elements with function being a deciding factor. Traditionalism
is based upon the techniques that have survived from medieval Europe with
pieces resulting from collaboration between designers and craftsmen. Between
the years of 1975 and 1982, Laurence A. Basirico worked with a small stained
glass business that considered craft fairs to be a necessary evil and one that
was proving to be beneficial through their continuation year after year, but
only for a select crowd. “What this means for both the non-traditional
professionals and novices is that there is an almost constant availability of
reference others to which practitioners can compare their work, learn about new
technologies and techniques, test out their ideas and products, get new ideas,
and generally stay current” (346). When it had come time for Basirico and his
colleagues to decide whether or not to join in, they chose to weigh both the
positive and negative factors. As traditional artists, they were tasked with
assembling a display that represented the best of their work. Doing this
required sacrificing valuable work time for their current projects. Basirico
openly admits that their participation was out of fear that they would lose
track of what was going on in the local craft community.
A stained glass display at a Virginia Beach craft fair. |
Non-traditional
stained glass artists are said to be more accustomed to such environments.
Other than in how one presents their wares, craft fairs are typically designed
to be flexible and diverse in their offerings. The professional backgrounds of
the sellers could be just as mixed. In discussing this matter with his fellow
glass workers, Basirico finds three patterns for fair participation. Some
sellers might attend fairs for a certain period before simply stopping, some
might add fairs to their regular work at their own studios, and others found
fairs to be their one and only outlet for professional networking.
To an extent, these
ideas all make sense. For the first group of sellers, craft fairs were only
stepping stones toward much larger, more long-term business goals. This is the
type of artist who strives to make a career out of what he specializes in. In a future entry, I will turn to a discussion with one such artist and with regard
to Etsy and the concept of selling handmade works online.
Basirico, Laurence A. “The Art and Craft Fair: A New
Institution in an Old Art World.”
Qualitative
Sociology, 9.4 (1986): 339-353. Print.
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