Introduction Page 1 Marshall Hansen

Do not become overwhelmed by the suggestions. They are not
requirements. I started shows with a display consisting of a $90.00 canvas
umbrella from Wal-Mart and a hodge-podge of display cases for several
years while making improvements one at a time, as I could afford them.
When I developed and utilized many of the ideas in this book they paid for
themselves. I am still evolving and try to improve some part of my art, display,
presentation, etc. after each show and any other time an idea occurs.

Presenting your work at festivals offers an individual many opportunities:
1) Growth - artistic, personal, emotional, relationships and financial;
2) a forum or venue where you can meet many potential clients in a short
time and have a primary relationship - no gallery to split subsequent sales.

I have a couple of quick thoughts about galleries and "artsy" retail stores. I
have nothing against the gallery/retail marketing system for promoting art
and artists. I support the concept wholeheartedly. The problem is with some
gallery and shop owners. My comments are based upon my own personal
experience - damaged art, insufficient commission checks, unreturned
phone calls, commissions not paid or paid months after a sale, etc. I have
had exactly one totally positive gallery experience – with an art museum.
They are professional and accountable. In general, I think this is the key. As
my experience with the business side of art increases and the technical and
conceptual quality of my work improves I know that I will need and have
professional gallery representation and it will be MY responsibility to make
sure my mistakes are not repeated.

Preparation is the key to success in every phase of your show plan.

Once you have read these ideas and followed some of the suggestions
along with simply noting your own personal observations you will begin to
enjoy all of the facets of the showing process. Waiting in line to set up or tear
down won't be such a surprise because you have researched the show in
trade magazines or spoken with artists who have attended the show in the
past. Most festivals have their own web site and list the participating artists
and media. You might know one or not. Call an artist on the phone and ask
how it went. Get information. Indeed, the shows where no problems occur
are few enough to really enjoy when they happen - you have planned for the
worst anyway to achieve the best results.