Stopress, CCoI Jan/feb 2007 by Design & Crafts Council Ireland

IRISH CONTEMPORARY CERAMICS P.24

CCoI GOES TO SOFA P. 2

News and Reviews P2

CCoI goes to SOFA

The Fine Craft Market in the USA...

P11

Craft Community News:

...New Louth Craftmark Store

West/South Cork Enterprise Board... P12

Craft-IT: Internet Overview

Opportunities P14 Gerry Wycherley, Chairman CCoI (left) and President Mary McAleese with winners of the 2006 CCoI Bursary awards, Joe Hogan, basket maker and Denis Brown, calligrapher (right) at the official Bursar y presentation ceremony in Áras an Uachtaráin, December 13th last

Research Missions

Workshop - Korean Ceramics Avantcraft 2 P15

New Chairperson for Crafts Council of Ireland

Making it in the USA

Jewellery Short Courses Bursary 2007 50% Scheme Insurance

Gerry Wycherley, has been appointed Chairperson of the Crafts Council of Ireland (CCoI) by Minister for Enterprise Trade and Employment, Micheál Martin TD. Mr Wycherley is involved in business development and property in Cork City and in the hospitality industry

Dates for Your Diary P 16 Dates for Your Diary

in West Cork. “On behalf of the management and staff of the Council we welcome Gerry to the post of Chairperson of CCoI. His varied experience and commercial expertise will be a great asset to the organisation” says Les Reed, Chief Executive of CCoI.

The Crafts Council of Ireland’s new Strategic Plan (2007 - 2009) will be officially launched in February 2007. It will include core operational activity outlined in the accompanying Business Plan.

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Exhibitions - Events P 22 Snapshots - NCG

P 23 NCG 2006 - A Review P 24 NCG - Upcoming Exhibition

Irish Contemporary Ceramics

Crafts Council of Ireland Newsletter

News and Reviews

CCoI goes to SOFA (Sculptural Objects & Functional Art), Chicago by Eleanor Flegg

If there was ever a question mark over the standard of Irish craft in an international context, it was definitively removed by the performance of the

There were two aspects to the Irish part in the show. The travelling

exhibition Forty Shades of Green occupied a prominent position near the entrance, and the National Craft Gallery stand was situated in the depths

of the massive hall. SOFA is constructed on such a huge and impressive

National Craft Gallery stand at SOFA, the Thirteenth

scale that can sometimes be difficult to appreciate individual pieces amid

Annual Exposition of Sculptural Objects and

context the work of the fifteen Irish artists showed depth, subtlety, and

Functional Art, Chicago. SOFA, one of the world’s most prestigious applied art fairs, had been identified by the Crafts Council as the show from which to launch a group of carefully selected makers into the American collectors market.

the medley of craft designed to grab the viewer’s attention. In this restraint. One of the strengths of the Irish exhibition was that it showed an understated quietness that set it apart, making it clear from the outset

that Irish craft has something different to offer. ‘Being here has confirmed that Irish craft is comfortable at the highest level,’ said Les Reed, CEO of

the Crafts Council,‘We’re surrounded by fantastic international work. And we look good here. The work looks right. After a number of years of

trying to promote Irish craft abroad it became obvious that we should

focus on the US market. The way that craft is dealt with in the US

The great thing about the Americans is their positive attitude towards craft is similar to the way that we deal with it in Ireland, both in terms of

practitioners and customers. In Continental Europe it’s more about design Denis Brown (calligrapher) exhibiting at SOFA, Chicago 2007

for production. So we not only share a common language with the US, but we also have a common language in the way that we think about craft.’

Ireland’s first appearance at SOFA cost the Craft Council €70,000, and

sales came to a total of €16,423 ($21,000) but, as Reed explained at the

show, direct sales were not the primary purpose of the trip. ‘Sales are a bonus but we’re here for representation in American galleries. We’re going to do this for three years and then reavaluate it. We’ll look at what

we’ve achieved - how many people have been represented and what is the

value of their sales as a result - and on that basis we’ll decide whether it’s worth another three year push.’ Eight artists achieved representation in

Angela O’Kelly (jeweller) exhibiting at SOFA, Chicago 2007

America as a result of the performance of their work at SOFA: Roger Bennett and Liam Flynn were approached by the del Mano gallery in Los

Angeles, Inga Reed and Angela O’Kelly by the Synderman-Works Gallery

in Philadelphia, and Joseph Walsh by the Wexler gallery; Richard Kirk, Kevin

O’ Dwyer and Denis Brown were also offered commercial representation. The artists who exhibited at SOFA had been identified by CCoI’s PORTFOLIO as of an international standard, capable of contributing to and maintaining Ireland’s reputation internationally. One of the selectors, Rick Synderman of the Synderman-Works Gallery, is a regular exhibitor at Seamus Gill (silversmith) exhibiting at SOFA, Chicago 2007

Crafts Council of Ireland Newsletter

News and Reviews The artists who exhibited at SOFA had been identified by CCoI’s PORTFOLIO as of an international standard, capable of contributing to and maintaining Ireland’s reputation internationally

the show. ‘From an American perspective it is extraordinary that the Irish government is willing to develop the arts as an independent resource with an economic content as well as a cultural content. Ultimately it’s about selling things. It’s an export activity. When I was first invited to get involved with working with artists from Ireland in 2004 a huge amount of planning and funding had already gone into the overall scheme.

Joseph Walsh (furnituremaker) exhibiting at SOFA, Chicago 2007

‘Designer/Makers’, the Americans have no problem in claiming the term ‘Artist’. Which is, let’s face it, what they are at this level.

Another notable disparity between the American and the Irish outlook is the Americans are more inclined to articulate the conceptual intentions behind their work. Dazzlers ($82,000), a pair of wall mounted light

Kevin O’Dwyer (silversmith) exhibiting at SOFA, Chicago 2007

Firstly, the Irish government (via CCoI) committed a substantial amount of money to this programme, far more than is committed by the US national resources. Secondly, there is no funding at all for individual artists in the US. Therefore, the Irish programme directly targets artists and helps them - that’s something that one doesn’t see in this country at all.’ So, although there are many similarities between the American and the Irish view of craft, there are also differences. One of the revelations of

SOFA is the sheer confidence of the American artists. Roger Bennett attended a lecture by the iconic woodturner William Hunter. ‘One of the striking things about the way that he spoke about his work was that he

was quite ready to acknowledge his status and the enormous contribution that he has made to the medium,’ Bennett explained. ‘I think the reason

why his talk had such an effect on me - apart from the fact that I was

listening to somebody whom I have worshiped for years! - was that paradoxically he actually comes across as being a very shy and modest

person. His sense of pride and of calm acceptance of his position at the

top of the tree was in no way brash or boastful, which made it all the more impressive. The great thing about the Americans is their positive

attitude towards craft. They don’t have the Irish tendency to undermine

Only a minority of the pieces displayed at SOFA had a functional dimension themselves, and their assurance comes through in their work.’ This is

reflected throughout SOFA in the confident use of the word ‘Artist’ to describe the exhibitors. While the Irish tend to be wary of the perceived

divide between art and craft and refer to themselves as ‘craftspeople’ or

Liam Flynn (woodturner) exhibiting at SOFA, Chicago 2007

fixtures in glass and metal by Dan Dailey were made in stylised male and female forms. ‘The geometrical positions of the arms and heads almost absurd, but it’s not about making somebody laugh.These lights are about creating a sense of entrance, a welcoming gesture. I like it best when they’re positioned on either side of a doorway,’ said Dailey. Only a minority of the pieces displayed at SOFA had a functional dimension, and there was a sense that a dependent link between craft and function had long been outgrown. Some of the pieces were not merely non-functional, but quite frankly anti-functional. Be Happy ($20,000) by Sylvia Levenson is a chair covered with squares of glass joined together by spiky pieces of wire - sit on it and you would be impaled by a hundred spikes.The piece is accompanied by a shelf of books, made in glass, with titles like ‘Forever Young’ and ‘How to be Happy’. According to Levenson, who originally comes from Argentina, it is a comment on the way that people try to find happiness in having beautifully decorated houses. ‘I live near Milan where design is very important, but where people find it easier to chat on the internet than to talk to the neighbours. I feel that the house has become a refuge from the world and not a place to connect with other people. There’s nothing wrong with a nicely decorated house, but it doesn’t equate with happiness.’ The piece is unusual in that it challenges the conception that craft must be entirely handmade by the artist. In this case a mass produced object - a chair from Ikea - is transformed by the use of handcrafted elements. The Danish artist Michael Geertsen is also concerned with disengaging his ceramic pieces from their functional roots. His Wall Corner Object ($3,000) was created from reassembled pieces of everyday crockery. ‘How do you release the classic piece of ceramic from its history? If you break up a pot and put it on the wall you get rid of all the people asking: where do I put my flowers? Way back in the eighties I was trained

Crafts Council of Ireland Newsletter

News and Reviews

SOFA prices tended to progress in thousands, rather than hundreds of dollars

as a classic potter, and on a good day I see myself as a bridge between pottery and art.’ Geertsen was also refreshingly frank about the preponderance of overblown American glasswork at SOFA. ‘There’s too much funky flashy glass here, and it sucks big time, but you have to remember that this is a fair and not a show. The soul of the art fair is there is a lot of dross and some highlights.’ My experience of SOFA was that, as time went by and I stopped being so overwhelmed by the scale of the show, I discovered more and more ‘highlights’ among the ‘dross’. One of my favourites was a group of minimal ceramic vessels by Christine Jones, although it may not be coincidental that Jones is a Welsh artist; her work reflects a clarity and quietness that seemed to hallmark some of the best European work at the event. According to Brian Kennedy, curator of both Irish exhibitions at SOFA, we are living in a time when craft is leaving the gift shops and moving into the art market. ‘But

Reed was very strong. One of the nice things about selling to American

...there was an element of unravelling some of the conceptions that American buyers may previously have held about traditional Irish craft.

inspiration. That can make people ask - why doesn’t it look more Irish?

women is that they like strong statement jewellery and they’re not afraid

to buy pieces that are made from non-precious materials.There’s also the bonus that many Americans have Irish roots, so that buying a piece from

Ireland will have an added value.’ For Rick Snyderman, the Irish expedition to SOFA was all about forging a sense of its identity internationally: ‘until

recently Ireland didn’t really have an international identity in the visual arts.’ But, from an Irish perspective, there was an element of unravelling some of the conceptions that American buyers may previously have held about traditional Irish craft. ‘Creativity isn’t hampered by geographic

location,’ Kennedy explained. ‘Contemporary artists and craftspeople can take traditional crafts, like silversmithing or basketry or knitting, and

translate them into their own vocabulary. Their work responds to and

echoes that tradition, but also reinterprets it. Ireland doesn’t have a great tradition of ceramics, so ceramic artists tend to look abroad for their

Why should it look more Irish? The Irish identity runs through the work, but it’s not stamped on it like a great big shamrock.’

it’s not about labelling a piece as art or craft, or about whether it is useful or useless. It’s about learning to trust your own eyes as to what you like, and what you respond to. You don’t have to like everything. Sometimes it’s as important to hate it as it is to love it, but you have to understand why you hate it.’ SOFA prices tended to progress in thousands, rather than hundreds of dollars, but the buyers took this in their stride. Although everyone familiar with the length of time involved in making traditional crafts will

understand that it is dependent on people having a lot of money to buy

it, the amounts of money that changed hands at SOFA raised some ethical questions. Is the best work of Ireland’s best makers simply going

Alan Ardiff (jeweller) exhibiting at SOFA, Chicago 2007

to disappear into the houses of rich Americans? The silversmith Kevin O’Dwyer admits that this is just the way that things work in America.

‘Because public funding for art is so sparse, sometimes the best chance of a piece coming into the public domain is through a private collector.

These people are very knowledgeable and very serious about their

collections, and many of them tend not to leave them to their families. You often see private collections being donated to for public display and

some of the great collectors have even founded museums to permanently

house their collections. The whole American system is based on private ownership, but this can also extend into philanthropy.’

Maureen Bampton of the Bluecoat Display Centre, Liverpool, who is on the selection panel for PORTFOLIO, thought that the Irish exhibitions worked well in practice:‘Some of the jewellery of Angela O’Kelly and Inga

Inga Reed (jeweller) exhibiting at SOFA, Chicago 2007

Access to the CCoI/NCG SOFA programme is via PORTFOLIO. For details on how to apply and for next closing date log onto the CCoI website www.ccoi.ie

Crafts Council of Ireland Newsletter

News and Reviews Getting a Slice of American Pie..... The CCoI has prioritised the American Fine Craft Collector as a target audience for Irish Designer Makers who wish to sell internationally. The US craft market is widely seen as the largest, most established and sophisticated market for craft in the world. In 2006 the CCoI undertook a report looking at the US market in order to gain an insight and understanding of the structure, dynamics, size, value and key drivers of the industry as well as the quality and extent of the infrastructure that supports it.The ultimate goal was to assess the type and size of the opportunity that the US presents to Irish craftspeople and to examine the conditions required to make it in this market. The full report and its findings are available for download from the CCoI website www.ccoi.ie or by contacting CCoI directly.

The article below is a summary of the key findings and recommendations from the full report and includes observations from 5 Irish Designer Makers who have first-hand experience of this market. Their stories highlight how diverse and varied experiences can be, which are often based on the individual and the medium of their work. The US market is not for everyone, accessing the market requires a lot of research, networking with galleries and collector groups, excellent craftsmanship, professional and well-informed administration and export knowledge as well as a number of other conditions. It is a worthy market, but it is not for the faint-hearted, and will require a substantial amount of preparation, dedication and work.

The CCoI/NCG exhibited at SOFA (Sculptural Objects Functional Art) Chicago in November 2006, and have made a further 3 year commitment to this event. A sign of success for the CCoI in exhibiting at this event will be an increase in the number of Irish Designer Makers that become affiliated with galleries in the USA - whether directly or indirectly through SOFA exposure.

Disclaimer:

The research carried out is intended to give some direction to craftspeople interested in gaining access to the US Collector Market, and in no way is a prescription for success. It combines the views of various studies and recommendations to Designer Makers and outlines a number of best practice steps to those considering doing business in this market.

The Fine Craft Market in the USA and Opportunities for Irish Designer Makers written by Grace O'Toole, Researcher, Washington DC

The US Craft Market - A $14 Billion Industry

A Well-Established Infrastructure

The US craft market is widely seen as the largest, most established and sophisticated market for craft in the world. As in many other countries, the market for craft comprises of hundreds of varied, non-traditional, tiny businesses that for years had been virtually impossible to measure. In the year 2000, however, for the first time, a national survey was carried out to quantify the economic value of the US craft market.This survey, carried out by the Craft Organisation Director’s Association, revealed an industry worth at least US $14 billion - by far the biggest craft market in the world. This was the only national study ever to be carried out and to date remains the most comprehensive measure of the US craft industry.

Several factors have played a role in the successful economic development of contemporary craft in the US, some of which include:

Figure A: Comparisons of National Craft Markets Country USA UK

Canada Ireland

Population 300M

60M

30M 4M

Est. Number of Craftspeople Craft Market

Est. Size of $Million

32,000

$1,600

112,000–126,000

22,000 1,500

$14,000

$650 $104

Note: the above table was compiled using a combination of data from a number of reports: USA - CODA 2001. UK - Socio-economic Survey of Crafts Activity (2002-03) & Making it to Market (2006). Canada - Study of the Crafts Sector in Canada (2001). Ireland - The Irish Craft Industry CCOI (2003/2004).

• A large and generally affluent population that has the disposable income to collect cultural works.

• Cities of sufficient number and size to sustain a high number of private galleries and large craft shows.

• A well established craft infrastructure that supports the

• •

development, promotion and sale of craft including a wide range of marketing and distribution channels such as commercial galleries, private collectors, retail and wholesale craft shows, corporate collections, art & craft consultants, museum collections and public commissions. A large number of craft magazine and book publishers and over 300 organisations involved in craft development (both state arts organisations and professional craft associations). A strong craft education sector offering both undergraduate and graduate degrees in craft disciplines - over 22 schools and 57 university programs.

Market Structure and Segmentation The term ‘craft’ in the US is often used in the broadest possible terms, according to one expert; ‘it runs the gamut from craftspeople who produce t-shirts and

Crafts Council of Ireland Newsletter

News and Reviews ouvenirs right up to producers of fine craft.’ In addition, the term ‘gallery’ is used to describe any retail outlet selling ‘craft’ (it can refer to a gift shop selling craft or a high-end gallery). In order to understand how the market breaks down in terms of low, middle and high ends of the spectrum, a number of sources were examined:

• One 2005 study into US craft retailing estimated that

production and limited edition work accounts for over three quarters of the market and less than one quarter of craft sold is one-of-a-kind work (see Fig. B).

Figure B: Types of Craft Carried in Craft Retailers Type of Craft Sold

Production Work

51%

Mainstream segments

One-of-a-Kind

23%

High end/fine craft segment

Limited Edition Work Total

26%

100%

Metal, Glass and Clay Media Lead the Way

Figure D highlights the size of different craft media in the US. Metal (which includes jewellery) is the largest category and focused advocacy efforts of recent years have brought a new awareness and appreciation of art jewellry to a larger market in the US.The next biggest sector is glass which is considered the highest profile media in the US fine craft field with American glass artists generally acknowledged as leaders in the global field of glass. The third largest is ceramics and this category is seen as the most well established media based art form in the US.

(Source: US Craft Retailer Survey, 2005)

Figure C: Major Channels of Distribution for US Craft Direct Retail

53%

Wholesale (USA)

27%

Wholesale (Export)

Total

100%

Consignment to Galleries Other

11%

Mainstream segment

High end/fine craft segment

Direct Retail Craft Fairs

(Further Breakdown)

52%

Studio Sales

27%

Other

Commissions Total

15% 100%

(Source: US Craft Retailer Survey, 2005)

• The CODA study looked at the major channels of distribution

for craft and revealed that direct retail, i.e. craft fairs, studio sales and commissions, represents the biggest craft distribution channel accounting for over half of all sales followed by wholesale sales to craft retailers. These two channels (aside from commissions) represent the volume and lower-priced ends of the US craft market.

Figure D: Breakdown of the US Craft Market by Medium

• Consignments to galleries in the US account for 11% of all craft sales - this represents mainly the higher end or the ‘fine craft’ segment of the market given that galleries for fine contemporary craft operate almost solely on a consignment basis. Overall this would lead us to assume that the fine craft segment accounts for around 15%-20% of the total market - equal to $2bn-$2.7bn per year.

The lower and middle segments of the craft market are typically characterised by intense competition, low margins and often require a local sales structure or agent representation in the market. In addition lower overhead costs and high levels of competition from overseas manufacturers often mean that the mainstream market is out of the league of many makers. The higher end collectors market, on the other hand, does offer significant promise and is one that the CCoI identifies as an important strategic opportunity for the Irish craft industry.

(Source: CODA National Survey 2001)

Major US Craft Shows Numerous high-end craft shows take place every year in the United States most notably the American Craft Council (ACC) and the Buyers Market of America (BMAC or the Rosen show). These shows are considered important for larger retail galleries representing a wide variety of one of a kind item but are less conceptual/sculptural/high end; in addition they tend to be open only to American based craft-people.

Crafts Council of Ireland Newsletter

7 The Chicago Sculptural Objects and Functional Art Exhibition (SOFA), on the other hand, is widely acknowledged as the key event for high-end collectors in the United States. It is the place to see the collection of the best fine craft in the world and it is also a ‘must-attend’ social and networking event in the collector community. Galleries at the highest levels attend SOFA to connect to collectors as well as to see new works from established artists, emerging artists and established artists from other countries. Approximately one third of all exhibitors are international, a number that has climbed steadily since the show’s inception. The show’s organizers report that 33,000 people attended the 2006 show in Chicago - up 10% on the previous year. For the first time in 2006, the CCoI’s National Craft Gallery presented the work of 15 Irish craftspeople at SOFA. CCoI has made a 3-year commitment to the show with the goal of raising the profile of contemporary craft from Ireland and connecting Irish craftspeople with US galleries. Attendance at the show for a number of consecutive years is necessary to make an effective impact - collectors often want to become familiar with an artist before purchasing and given the large size of the show, many exhibitors and collectors tend to naturally gravitate to the familiar.The show organizers say ‘make no money in the first year, break-even the second and start to make money in the third year’.

News and Reviews In recent years there has been some pressure on high-end galleries to offer items in a range of prices so that new collectors can more readily enter the market. A lower price range in this case is reported to be generally in the $2,000-$5,000 range. In addition, more recently many galleries now combine sales of fine craft with sales of paintings, prints and sculpture to an extent that did not occur until recently.This is a sign that crafts are recognised more as being an art form with their own scope, conditions and appeal. Many galleries find that the mix brings in a wider range of buyers, thus broadening the market for applied art.

Factors Driving the Collector/Gallery Purchase Decision -

Key Market Drivers: The Collector and the Gallery System What clearly distinguishes the US fine craft market from other countries is that it has an established and identifiable collector base that together with a strong gallery system, are the two key drivers of the US fine craft industry. Most industry experts agree that only a small percentage of buyers of high-end craft can be classified as ‘collectors’. They are typically wealthy, well-educated and self-aware and they actively identify themselves as ‘collectors’. Some of their more common characteristics are highlighted below. In summary, they tend to have a thorough knowledge of the craft disciplines they collect and the major artists in their field of interest and they attend forums and conferences and travel to shows, sometimes internationally, to find specific editions. They are supported by magazines, associations and other networking groups that encourage their sustained interest in a category and create a social environment in which they can operate. The gallery owner is a crucial advocate in bringing artist and collector together. As a result, the gallery system in the US is extremely competitive and well-established.

US Collector Profile: -

A small, affluent and knowledgeable customer base Show a strong personal interest in the artist’s work Belong to groups dedicated to the collection of particular crafts Hold long-standing, close and loyal relationships with galleries Operate on a global level Are an ageing group

US Gallery Profile: -

Most galleries have been in business for years and have long-standing relationships with their artists. They receive between 400-500 submissions per year and are very particular in choosing new artists to represent. Many galleries only represent artists from a specific region or focus on a specific medium. Galleries tend to have a consistent collector base that looks to the owner or staff for an opinion on the work and trusts them to scout out new work. The gallery’s reputation for securing the best work is critical. The most serious collectors will establish a relationship with a gallery they feel assures them of seeing work of the highest quality.

Personal appeal of the work: This highly subjective criterion has been noted consistently as the major factor influencing the decision to purchase, both by the gallery and by the ultimate collector. This criterion is based on intrinsic and artistic values of the work and cannot be quantified.

Quality and consistency of the work: Quality and craftsmanship are key to influencing the decision to purchase. A clear artistic expression must be evident. The ‘cultural significance’ of the work is also noted as of great importance. Note that country of origin does not in any significant way appear to be a factor in the decision to purchase. Gallery owners are interested in the best quality, most unique work, regardless of where it originates. The country of origin may become part of the ‘story’ of the work which is later told to friends and fellow collectors.

Uniqueness: A distinctive style or visual language - not only in the greater marketplace, but within the gallery or show where work is being sold is a key factor influencing purchasing.

Reputation of the Artist: Collectors are also influenced by the reputation and personal history of the artist who has produced the work. Direct contact with the artist, often facilitated through the gallery, adds to the development of interest. Many serious collectors take a strong personal interest in the artist, their perspective and chart the evolution of their work.

High-Potential Geographic Regions Given the large geographic scale of the US market and the wide regional variations that exist, it is important for craftspeople targeting the market to identify cities and states with the most potential for collectable fine craft.The US study looked in detail at the concentration of high-end galleries and the level of craft activity in each of the 50 US states. Overall the study found that the eastern part of the country is the most visible and sophisticated market for fine craft, with a particularly high concentration of high-end galleries in New York City and Pennsylvania. However, additional patterns of significant concentration were identified along the West Coast, the Southwest, and Midwest regions as well. Demand for international fine craft is generally stronger in urban markets, particularly in cities that are more on the cutting edge of creative output or acceptance. The full report contains a detailed analysis of each US state and identifies the cities with the highest penetration of fine contemporary craft; it also contains a comprehensive listing and contact information for a number of high potential craft galleries. Visit our website at www.ccoi.ie

Next Page: List of Summary Recommendations.....

Crafts Council of Ireland Newsletter

News and Reviews

Below is a list of summary recommendations to designer-makers considering accessing the US market A l t h o u g h a h u g e l y a t t r a c t i v e m a r k e t , i t i s a di f f i c u l t m a r k et t o p en e t r a t e a n d o n e t h a t w i l l r e q u i r e c o n s i de r a bl e t i m e a n d e ff o r t.

• Conduct thorough market research and understand the level of effort required: Export sales require solid, specific market research within

a craft discipline to get an understanding of where similar work sells and for how much and how the work compares to the competition. In order to gain a foothold in the US craft market, significant time, effort and continuity is required. Any craftsperson exhibiting at a show needs to commit to coming twice a year for at least 3 years before they can see a pay-off.

• Develop a network: Network development and establishing partnerships with US craft institutions within an artist’s field of interest are important

for developing contacts and keeping abreast of industry trends as well as information on relevant conferences, exhibitions and learning opportunities.

• Aim to have work included in US public collections: Collections at public institutions add important credence to the reputation of the artist, give ‘legitimacy’ to the artist and to the work thus enhancing the value and making purchases of the work more desirable to collectors.

• Identify and target high-potential galleries: Working with a gallery appears to be the best and most straightforward way to pursue business, finding the right gallery for the right artist is key and once a relationship is secured, developing and maintaining the relationship is paramount.

• Increased levels of self promotion among craftspeople: It is important for craftspeople to develop a profile and reputation to help establish their

name as part of the artistic community through juried exhibitions, competitions and public museums. Increased exposure, both at home and abroad, and connections with other artists, collectors and gallery owners that grow out of participating in juried exhibitions and competitions can set in motion a series of events that ultimately lead to other exhibitions, commercial representation and sales in export markets.

• Understand shipping and customs and other trading issues: Shipping and customs barriers have been reported as a significant barrier to entry to the US craft market and so it is imperative to develop a good understanding of border issues.This may require the involvement of agent or broker to assist with these issues. Understanding pricing, quoting in US retail prices and factoring-in insurance, shipping, customs fees and exchange rates is very important. Gallery owners are usually unaware of importing procedures and are often so busy running a retail establishment and all that that entails, they tend to be unwilling to get involved in handling the import paperwork and over-seeing the related details.

• Focus on the US regions with high-potential for fine craft: In terms of geographic focus, the regions with the highest penetration of fine craft are

the coastal states, primarily California and the North East; though there are many other high-potential states and cities scattered throughout the US.

CASE STUDIES

Angela O’Kelly - Jewellery Textiles and Sculpture

Angela’s first exposure to the US fine craft market came in 2000 when she exhibited at SOFA with the British Crafts Council. Since then she has been represented at the show almost every year either with the British Crafts Council, her US galleries and, most recently, with CCoI. Angela’s work is part of two public collections in the US - the Georgia State University and the American Museum of Art and Design in New York. The US now accounts for roughly 50% of Angela’s sales while the remainder of her work is primarily sold in the UK, France and Holland. Sales in Ireland remain relatively low and this she puts down to the relatively small number of suitable galleries for her work in addition to limited market for her work amongst Irish collectors. Angela’s success in the London fine craft scene provided her with the springboard for her entry into the US market. At the Chelsea Crafts Fair (now Origin) she was first picked up by Sienna, a US gallery who was visiting the show. Sienna, like many US galleries, and indeed collectors, see London as being at the leading edge of fine craft and design and her exposure and strong profile in this market gave her added credence and led to commercial representation in the US. Her first year at SOFA was a great success, and despite the conventional wisdom that it can take several

years for sales to materialise, Angela’s work began selling the first year she exhibited at the show. Angela believes the most unique factor driving the US fine craft market is the well established and interrelated infrastructure of galleries and collectors. The strong culture of philanthropy for the arts is another related factor and something that has not developed to the same extent in Europe. The gallery/collector network is a close-knit group that takes a high level of personal interest in an artist’s work. She personally keeps in regular contact with her collectors through mailings and her maintenance of these relationships has led to personal invitations into the homes of her collectors in the US, and she has even been asked advice on where in their homes her work would be best placed! Angela is currently represented by three galleries in the US and this, she believes, is about the optimal number for any Designer-Maker. There are two main reasons for this. The first is financial - this segment of the market operates almost solely on a consignment basis and it is quite easy to conceive of having several thousand euros worth of work in galleries, and being uncompensated until they sell through! The second is - the amount of work required to manage the relationship with the gallery including such things as shipping and returns, stock rotation not to mention relationships with the gallery owners themselves, all of which Angela does herself. She has found that shipping to the US can be a major challenge and that craftspeople need to have a thorough understanding of how their particular work is treated from a customs/shipping perspective. Like many craftspeople, Angela uses the infrastructure of overseas societies and publications (she is a member of SNAG and the Association for Contemporary Jewellery in the UK) to keep abreast of trends, conferences, classes, competitions and juried exhibitions, in addition to the strong network of fellow artists and experts in her field.

Crafts Council of Ireland Newsletter

News and Reviews generate significant sales for his work. Now, after five years of international exposure, Liam has strong international sales spread nicely across the UK, the US, France and Ireland. His first international step was the UK market when he gained entry to the 1999

Chelsea Craft Fair (now Origin), an international juried exhibition for high-end

Seamus Gill - Silversmith

Although Seamus Gill sells almost all his work in the Irish market, his experience of the US craft scene goes back a considerable way and in recent years he has been exhibiting there at a high level. His first exposure to the US market came as a student in the early 1980’s when he took the opportunity to work as an apprentice to two American jewellers both of whom now exhibit at SOFA. The craft scene in the US in the 1980s was very active and jewellry making was ‘at another level’, it was an ‘amazing experience’ and in sharp contrast to the Irish jewellery-making scene at the time, which he perceived as being geared to production pieces aimed at the tourist market. Seamus’ work was first exhibited in the US in 2004 at Loot! (the exhibition held by the Museum of Art and Design in New York) and subsequently at the Philadelphia Museum of Art Craft Show, both times with the CCoI. In Philadelphia Seamus received a prestigious award which led to him being taken on by Gallery Tactus, a Danish galler y specialising in bringing European silverware to the US market. The gallery represented his work at SOFA in both New York and Chicago for 3 consecutive shows over 2005/2006. Despite the very positive response to his work at the shows, sales did not materialise and in fact Gallery Tactus has for the moment pulled out of the show, and is focusing instead on setting up a permanent gallery space in New York. Seamus is an example of a successful artist whose work has had high-level exposure in the US for about three years yet who has not sold any work to American collectors. One of the reasons for this, Seamus believes, is the relatively small size of the US market for silverware versus other craft disciplines - a recent survey revealed that there are only 50-75 professional, non-academic practicing silversmiths in the US (Jeffery Herman, Executive Director, the Society of North American Silversmiths, Metalsmith Spring 2005). Another reason is the highly competitive nature of the market, especially in terms of price. While successful artists can command high prices, Seamus was very surprised at the relatively low prices of many American pieces despite the large amount of workmanship involved in their creation. Despite the lack of US sales today, Seamus has seen significant intangible benefits from his US exposure which has strengthened his position in the Irish market and given higher credence to his work on an international stage. He still believes that in the long term the US market will generate commercial returns, but as to how long this will take he is unsure. He is of the view that by taking advantage of opportunities to develop a strong profile, the easier it is to promote and sell work in the home market. He points out that it all takes significant investment in time, money and effort and he could not afford to go-it-alone and relies on the support of the CCoI and his ongoing relationship with Gallery Tactus.

craft. He exhibited at the London show for four consecutive years and gained strong exposure for his work which resulted in commercial gallery representation and a collector base in the UK and France where he now sells about 30% of his work. His foothold in the US market was established in 2003 when he was taken on by Del Mano, a Los Angeles based gallery at the forefront of wood art that exhibits ‘museum quality’, international work. Liam was proactive in securing this gallery relationship - he identified them, sent them his portfolio and his artist’s profile as well as samples of his work. He has worked with them since 2003 and they have represented his work at several gallery exhibitions as well as at SOFA for three years running. Liam applied for and was awarded a residency program at the prestigious Philadelphia University of the Arts in 2006 where, with the financial aid of a CCoI bursary, he spent three months working with other Designer/Makers.The program was unique for two main reasons; firstly from a networking point of view it required artists to work together on different projects thus cementing relationships amongst the peer group; secondly, from an exposure point of view, the artists were invited to stay in the homes of their collectors and get to know them personally - to literally eat and sleep at the homes of their customers!

Liam’s profile in the US market has gone from strength to strength in three short years. He sees the collector as a truly unique feature of the US market. Not only do they want to get to know the designer-makers personally but they actively support the gallery system - despite their strong relationships with the artists, collectors will only go to the galleries to purchase work! It is a symbiotic relationship with gallery supporting the collector and the collector supporting the gallery. The other distinguishing aspect of the US market is the infrastructure of organised collectors groups (in his particular field, the Collectors of Wood Art). These tend to be non-profit organisations that encourage ‘education and excellence’ in their fields and heighten awareness for their related media of artistic expression. Their membership comprises of collectors, artists, educators, art critics, art galleries and museums.

Liam’s advice to Irish craftspeople interested in pursuing the US fine craft market is that they first have to develop work that is strong, identifiable and is able to stand up on its own. Market research is critical - do your homework, be aware of what is happening in your particular field, develop a strong knowledge base and go in with your eyes open. Be proactive in approaching galleries, work hard to develop relationships and maintain the relationships once established.

Michael Bell Design - Furniture

Liam Flynn - Woodturner

Like many artists who create high-end experimental works of art, the limitations of the Irish market in terms of its size and the shortage of galleries and outlets through which to sell his work meant that Liam had to look to the overseas markets to

Michael Bell - made up of designer duo Michael Bell and Susan Zelouf and a small team of cabinet makers - are in the enviable position of having a very strong market for their work in Ireland. A market that in recent years has gone from strength to strength as a result of increased affluence, prosperity and internationalisation as well as a growing sophistication and appreciation amongst a larger group of Irish consumers for high-end design. All their work is commission-based - bespoke and tailored to the individual client - and they do not sell through the gallery system. Commissions are currently planned one year out to a solid base of clients, many of

Crafts Council of Ireland Newsletter

News and Reviews whom are repeat customers. Typically only about 5% of their work is exported to the US in any given year. Despite their success and solid business in the Irish market, Michael Bell embarked on a long term project to set up a permanent base in the US when they commenced the build of a 3,000 square foot studio/showroom space in Palm Springs, California in 2005. Several factors drove their decision, one of which is their strong personal connections with the US - Susan is American - and so they have a wide network of professional and personal contacts in their field. For them the US makes sense, they see it as having a well-established, active, affluent and large population of collectors who are familiar with the commissioning process and who are sufficiently design conscious with sophisticated tastes. Another smaller, though not insignificant reason is the difficulty, expense and administrative time required in shipping furniture to the US market which has proven to be a formidable barrier in the past - large pieces tend to be problematic to ship and store and also insurance can be expensive once the work is in another country . The couple stress that the US project is a long-term one which is intended to diversify their business rather than expand it.They are happy with their current size and have chosen to remain relatively small in size as they fear that getting bigger would jeopardise the artistic expression, reduce their flexibility and result in them being less selective in the work they chose to take on.They are also concerned that it would spread their resources too thin.

Kevin O’Dwyer - Silversmith

A long time veteran of the US market, Kevin spent part of his childhood in the US and completed his formal arts training in Chicago. He subsequently spent three years in the artist-in-residence programme for Georgia Arts Council. Internationally renowned, Kevin has established a stable foothold in the US over the years and at least 50% of his work is sold there. His long and impressive resumé is truly international. In the US his work is part of six major public collections and he has participated in numerous solo and group exhibitions, and has won a myriad of awards, competitions and bursaries for his work. He is currently represented by four US galleries with a particularly strong base in Florida where many affluent collectors have second homes. Nicknamed the ‘snow-birds', these people come to Florida to flee the cold winters in the Northern US states.The Chicago and Mid -West regions are strong markets for Kevin's work. He believes this is down to a strong Scandinavian heritage in the region, which traditionally has an innate appreciation for metalsmithing as well as a tradition of acquiring ceremonial silverware. For Kevin the sheer size and sophistication of the US market and the opportunities it presents for all craft media make it very attractive for Irish craftpeople. The level of sophistication and interest in the collectors market is very strong compared to the Irish market.The collectors are extremely well informed, they visit SOFA every year and come to the show knowing who they want to see and with a purchasing budget in mind. The loyalty of collectors to the gallery is very strong, they could easily buy direct from the artist but they prefer to work with galleries who have a strong track record, can validate the importance of the artist and who have a strong name in the collector community. Given his tenure and success in the US we asked Kevin to outline his advice for

anyone interested in the US market, he had this to say: “The US is a highly competitive market, work from Europe tends to be priced higher than that

in the US where the overhead costs are less.The market can be a ‘dice-roll” from year to year even for established artists. A collector may buy your work in one year and not come back for another piece for a number of years, if indeed they ever want another piece for their collection! Anyone approaching the US market needs to take a long term view, come at it with their eyes open and be extremely well-informed, the work needs to be at the highest level and the artist needs to have a good story to tell to get the attention of the gallery and of the collector.” Kevin sees great merit in increased collaboration between Irish and American craftspeople. He is the curator of the forthcoming exhibition The Wild Geese: The Irish in America, which looks at the work of Irish Americans and Irish born makers who now work in the United States.

CCoI next steps and advice to Designer Makers interested in the US Fine Craft Market -

A special symposium entitled “Making it in the USA” has been organised by the CCoI (March 30 and 31) to co-incide with the Wild Geese show mentioned above. 16 American Designer-Makers, some of them 30 year veterans of their craft, will come to present work, relate their experiences and network with Irish craftspeople. Irish Designer Makers will have the opportunity to see a very high quality of work and will have the opportunity to hear and meet artists who are involved with the American gallery scene. Request a booking form for this event by contacting CCoI reception. Places are limited.

This article is a summary of recent research. To see the complete research, including listings of galleries and US craft associations please go to the research section of our website www.ccoi.ie. Alternatively, you can request a copy from us and we will post you a printout.

Website for SOFA www.sofaexpo.com

If you are a Designer Maker and wish to visit and research US Fine craft shows, then check out our Research Mission scheme For more details visit the opportunities section of our website at: www.ccoi.ie To show at SOFA with CCoI's National Craft Gallery, Designer Makers are selected from CCoI ‘s PORTFOLIO For further information on applying for inclusion in Portfolio visit our website at: www.ccoi.ie

Crafts Council of Ireland Newsletter

Craft Community News Hats off to new LOUTH

CRAFTMARK

store!

...as it celebrates it’s first busy Christmas with sales exceeding all expectations! November 9th 2006 saw the official launch of the much acclaimed Louth Craftmark store located next to Highlanes Gallery on Laurence St. in Drogheda. One of the evening highlights was a fashion show of designer hats perfectly complemented by the background stereo music of “you can leave your hat on” by Tom Jones. Each hat was designed to reflect the creative talent and design capability of the makers combining ostentatious colors and fine tailored textures to make creative hats in the shapes of handbags, ceramics pieces, and unique jewellery items. The fashion show was well received with loud applause and joyous cheers from attendees.

“Prepare to be intrigued” says Ciara McFeely Retail Manager, Louth Craftmark “as this new store promises to become one of Ireland’s leading outlets for unique designer pieces, interior and fashion accessories, gifts and jewellery”. Right on the cusp of the biggest retail season in the year, sales exceeded all expectations. Customers had a very positive reaction to the new store as they browsed for that exclusive and sophisticated gift for Christmas

Top Image: Each of the designers made a hat to reflect their own design expertise. Hat Models Left to Right Niamh McKeever wearing hat designed by Sarah Mckenna (Ceramicist), Lisa O’ Keefe wearing hat designed by Cathy Prendergast (Leather), Christine Kilgallon wearing hat designed by Susan Sloan Kelly (Headwear) Bottom Image: Jamie McEleney (Milliner) Cathy Prendergast (Leathers)

The hours of operation are: Monday, Tuesday, Wednesday, Friday and Saturday 10am-6pm,Thursday 10am-8pm and Sunday 12am-6pm. For further information contact: Ciara McFeely, Retail Manager, Louth Craftmark at Highlanes Gallery T: 041 980 3283

West/South Cork Enterprise Boards recognise rich vein of creativity throughout the County As part of their initiative to encourage, support and develop the wealth of creative talent throughout the county, the West and South Cork Enterprise Boards have just completed another joint Business Development programme for the Design, Gift and Homeware Sector. This is one of several major initiatives undertaken by the Enterprise Boards who have committed extensive resources to the development of craft and giftware sector in the region over the past twelve years. The most recent programme, which has been running since May this year drew a diverse range of participants at varying stages of business development, from start-up to the more seasoned. According to Michael Hanley, CEO of the West Cork Enterprise Board, the unifying factor among those taking part was ‘ an almost palpable passion for what they do’ but all felt they needed ‘to hone their commercial awareness and business skills’ to become more successful. Craftsperson,Aoife O’Mahoney sees the course as ‘a confidence building exercise’; it has taught her she believes, to ‘be disciplined in her approach to marketing and more alert to business opportunities’. Contact your local Enterprise Board for more information on up-coming courses.

Crafts Council of Ireland Newsletter

News and Reviews

CRAFT-IT Internet Overview :

Trends and Options for doing business on-line ON-LINE ARCHIVE....... WWW.CCOI.IE

In the last couple of articles we have taken a detailed look at some of the

• Stopress 7, 2006

different options that you have when using the internet for your business. In

What sort of website is best

this issue we are going to take a step back from the detail and look at how

for you?

the internet has changed over the last couple of years and where it is at right now.

• Stopress 8, 2006

Blogging, just another name for a website?

Let’s start with some facts on Irish use of the internet - these are results of survey work done in July 2006 by Comreg, the Irish telecommunications regulator. More detail can be found at www.comreg.ie if you are interested. The first is the results of the question:“Do you personally use the internet from any location?” As you can see nearly half the population are now using the internet - whether from home, work, a friends or an internet café.The implication from this is that the critical mass required to make the internet an effective business tool has been reached.

• Stopress 9, 2006

Tips to increase your on-line presence

Survey of Irish use of the Internet, Comreg 2006

• Stopress 10, 2006

E-mail Newsletters - Part 2

• Stopress 11, 2006

E-mail Newsletters - Part 2

The respondents are pretty evenly spread across gender, age and location although the age ranges are a little skewed to the lower ranges.

List of CCoI participants at SOFA Chicago 2006 See article Page 2 Metal Seamus Gill Kevin O' Dwyer Richard Kirk Jewellery Sonja Landweer Angela O' Kelly Inga Reed Alan Ardiff Seamus Gill

Denis Brown

Alan Ardiff

Ceramics Cormac Boydell

Wood Liam Flynn Roger Bennett Glenn Lucas Furniture Joseph Walsh Laura Mays Calligraphy Denis Brown Baskets Joe Hogan

Crafts Council of Ireland Newsletter

News and Reviews

In a follow up question the people who use the internet at home were asked what their main activities on the internet are and these are the results: Irish Internet Activity, Comreg 2006

As you can see nearly 60% of them list email as one of their main activities (I would have expected that to be higher!). The relevant ones for any craft business are the 54% who use it for information research and the 24% who use it for shopping. The 54% is an indication that for anyone with an internet connection it is becoming the default source of information for them.This might be because of the build up of content available, the ability to search quickly or the variety of media (images etc) that can be viewed. It could also be a reflection of the spread of broadband usage which makes internet use much quicker and more effective. Whatever the reason it does suggest that a consumer looking to purchase a gift, may only consider items that they first saw on the internet.

Changes in the Internet

What are the changes in the internet that are helping fuel the rise? The main one that affects small businesses is the change in focus from software and services being aimed at large businesses and corporation to the development of services aimed at consumers and small and medium sized businesses.This change can be seen at work everywhere:

• • • •

The The The The

network sites like Bebo and MySpace video sharing sites like YouTube spread of blogging development of services like Google maps

Each of these is focused on normal internet users. Each of them is easy to use and, in most cases, free.

Implications for craft business are:

• • •

Some things are much cheaper to do than they used to be Your audience is more active on the internet Expectations are higher - both in terms of what people can do and how they can do it.

Which is all very well – but what practical difference does all this make for you? Lets take a quick look at each of the possibilities and see what has changed. It is good to remember in all of this that we are considering each in the context of how it can be used as a tool for communicating, for marketing or for sales. Each of these is a valid objective in itself as each has a part to play in the marketing mix.

An internet presence

A place on the Craft Council site is currently freely available to every CCoI members who fulfil the required criteria. Accurate information here can (and will) be found on search engines and will also be available to visitors to the CCoI site.Take full advantage of the number of photographs you are allowed to submit, update them regularly enough to reflect your current work.

This is still free to send - that has not changed. However with the development of new software and faster internet connections the use of emails with images in them has become commonplace.This makes an email newsletter a much more effective commuication tool for craft businesses whose product is very visual.

Internet Sites

A downside for you is that there is much more competition now so you may have to work harder to get your site found. On the plus side is the ability of web designers to make your site much easier to use - and also to use things like Google Maps to give visitors to your site a familiar way of finding your workshop or retail stockists. For those of you looking at selling online the public is now much more comfortable with this – both from a security point of view and also with the idea of waiting for something to arrive as they do with Amazon or ebay.

Blogs

These can be run for free and offer (for some businesses) a really good way of communicating with customers. They take time to make them effective - much more so than a website that can be updated twice a year and ignored otherwise. If you are comfortable with computers and like to write then give them a shot! Next month we will be bringing you more information from an Internet Case Study Guide.This publication contains 4 casestudies of businesses using one or more of the above tools to develop their businesses and in some cases sell online.

Crafts Council of Ireland Newsletter

Opportunities

Making It in the USA A seminar on the US collectors market will be held on

Friday 30th March 2007 in Kilkenny.

Keynote speaker is Sean O'Mealie and gallery owners Jim Cotter and Niall Fallon will also present. There will be a panel discussion chaired by Dr Ruane and an afternoon session of workshops will complete a very exciting agenda. Anyone interested in ‘Making it in the USA’ should not miss this event!

For further information go to: www.ccoi.ie or to book contact Mary Whelan E: maryw@ccoi.ie

Tradition Transformed

Research Missions

Workshop - Korean Ceramics

Financial assistance towards visiting shows!

10th March, Kilkenny In conjunction with the Contemporary Korean Ceramics exhibition at the National Craft Gallery, Ceramics Ireland will host a 1 day workshop on the 10th March in Kilkenny.

If you want to research an event/show in 2007 and want to avail of assistance with costs, apply

now!

Featuring Cho, Chung Hyun - ceramic artist, Honorary Professor, Ewha Womans University, Seoul, Korea and Hyeyoung Cho ceramic artist, lecturer. During the day there will be a demonstration by one of the exhibitors and a guided tour before finishing with an official exhibition opening.

Closing date: 30th April 2007. For further information and applications forms go to:

Tradition Transformed - Contemporary Korean Ceramics is a compelling exhibition that brings the finest of contemporary Korean ceramics to the countries of Europe. The exhibition is meant to convey the unique elegance and originality of Korean art bringing together 29 artists whose pieces incorporate traditional techniques with new influences and innovative methods to create sculptural works.

www.ccoi.ie or contact Helen Lynch T: 048 30833605 E: helen@helenlynch.net

For further details contact: Laura O’Hagan Studio 10 Downs Ind. Est, Delgany, Co. Wicklow. T. 01 2870963

Get inspired, read the reviews at www.ccoi.ie

Avantcraft 2

A Fusion of Craft & Design

Giving craft companies the opportunity to work with designers. Do you wish to have a designer working closely with your company as you embark on product development?

If yes, then fill out an ‘Expression of Interest’ form, and return it by post or by email to: info@ccoi.ie Forms are available to download from the CCoI website www.ccoi.ie or are available from the CCoI offices.

Contact Mary Whelan at:

T: 056 7761804

E: 056 maryw@ccoi.ie

Closing Date: 5th March 2007

This development of stage 2 of the Avantcraft project is subject to funding being available 2007-2009

Crafts Council of Ireland Newsletter

Opportunities Jewellery Short Courses

Jewellery Short Course programme leaflet will be available from the end of January and will be sent to all on the register who are registered under Precious Jewellery or who have specifically expressed an interest.

Those who are on the Jewellery Short Course mailing list will receive their copies as well.

For further information contact:

Amanda T: 056 7761804 or E: Amanda@ccoi.ie

Bursary 07

2007 A high profile awardBursary of up to â&#x201A;Ź20,000 which may be given as a single bursary to an individual, or divided between two to come...branding or three awardees. Closing date: 31stfrom August Caroline... 2007

For further information and applications forms go to www.ccoi.ie or contact Hilary Morley T: 091 528524 E: hmorley@esatclear.ie

50% Scheme

Get 50% of costs of developing the new product Closing date: 30th April 2007. For further information and applications forms go to: www.ccoi.ie or contact: Helen Lynch

T: 048 30833605 E: helen@helenlynch.net

Looking for Insurance?

CCoI Registered members can avail of an exclusive discounted insurance package specifically tailored for crafts businesses. To find out more contact: Richard McGary or Ronan Smith T: 01 833 2281 E: Richard@padraicsmith.ie Padraic Smith & Co Ltd., Dublin 3

Regulated by the Irish Financial Services Regulatory Authority as an Authorised Advisor.

Registered in Ireland 179364

Member of IBA

Crafts Council of Ireland Newsletter

Opportunities

Opportunities...Opportunities...Opportunities...Opportunities

Dates for your Diary *Please note: The March/April issue of Stopress will be published on 15th March 2007. Please forward all submissions by February 16th 2007.

OPPORTUNITY DIARY DATES

BY/ON/CURRENTLY/TBC*

Stopress deadline for March/April issue

16th February 2007

Avantcraft 2

5th March 2007

Contemporary Korean Ceramics Workshop

10th March 2007

Making it in America Seminar

30th - 31st March 2007

50% Scheme

30th April 2007

Research Missions

30th April 2007

PORTFOLIO 2007

28th August 2007

Bursary 2007

31st August 2007

Crafts Council of Ireland Newsletter

Opportunities

NATIONAL CRAFT GALLERY (NCG) EXHIBITIONS 2007 2007 Programme available soon, contact NCG or log onto www.ccoi.ie

NCG, Castle Yard, Kilkenny Tradition Transformed: Contemporary Korean Ceramics

12th March - 15th April 2007

Wild Geese: The Irish in America

31st March - 10h June 2007

INTERNATIONAL TRADE FAIR DATES 2007 Scotland’s International Trade Fair, 21st - 24th January 07 Maison et Objet 26th - 30th January 2007

CCoI Bursary Winners ‘06

Collect, V&A London 8th - 12th February 2007 Spring Fair, Birmingham 4th - 8th February 2007 Premiere Vision, Paris 20th - 23rd February 2007 Ceramic Art London 2nd - 4th March 2007 Pulse, London 3rd - 5th June 2007 Home & Gift, Harrogate 15th - 18th July 2007

SHOWS IN IRELAND Showcase 21st – 24th January 2007 The Spring House and Garden Show 16th – 19th March 2007 Art Ireland 28th March – 1st April 2007

For more information on the above events: T: 056 7761804 or e-mail info@ccoi.ie

Top: Joe Hogan (Basketmaker), Bottom: Denis Brown (Calligrapher)

Crafts Council of Ireland Newsletter

Advertisements FOR SALE

Bog oak , ideal for sculptures or

carving, well seasoned. Shoemaker's anvil, ideal for jewelry making

Beltsander 8'x4' Bed, slides in &

out, manual rise and fall; 24'x6" Belts; over 30 years old, 3 phase, very

strong motor, very solid machine,

€30. Scroll saw, professional

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€900 ono. Dust extractor: Felder AF22, 2 (400l)bags hung in hinged

frames,mobile unit, takes 120 & 80

Two display cabinets ,

For further information contact

of quarter inch plate glass, with

mm hoses, single phase, €900 ono.

Tom T: 087 22 49 625

Print table , large light-box,

stainless steel fabric wash-tanks,

desks and work tables, and assorted

one horizontal, one vertical. Made shelving and spotlights and supporting

wash-out unit etc. For further

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course on the basic techniques of hot glass using a oxygen/propane

contact T: 087 9533327

Yarn stock clearance -

various quantities and fibre mixes of mohair, wool, merino wool, metallics and fancy yarns. For further

boxes , black shoebox type 2402

x 65h mm. For further information

contact Eileen T: 087 9017148

workshop . Includes wheels, kilns, Everything needed for complete workshop. For further

information contact

E: stonewarejackson@eircom.net

Woodworking machines

making skills. Cost €180 includes

hardwood (c.150cu.ft., Walnut,

For further information contact

to business closure. For further

wish to advance their basic bead lunch, materials and use of tools. Suzie Sullivan T: 098 21888

E: suzie@derryauncrfts.com

Harris Table loom , 24 inch, 8 condition. For further information

Beautiful presentation

torch. For beginners and those who

W: www.derryauncrafts.com shaft with warping frame. Excellent

E: mandrquinn@iol.ie

pugmills, trolleys, raw materials etc.

forming, shaping and decorating with

colour carosel c\w texitunnel dryer,

reliable. For further information

contact T: 065 7087153

T: 087 695 1811

further information contact Bernie

E: vmcg_silkworks@yahoo.co.uk

printing equipment for sale. 4

ono. For further information

Some tools and yarn. Price €3,500

Contents of pottery

To Make Glass Beads....2 day

Screenprinting - T-shirt

body for domestic ware. Throws

stands. €600 for the pair o.n.o. For

display stands. For further information

contact Valerie T: 4930575

high and 4 metre circumference.

Passap Electronic 6000

knitting machine , immaculate condition €800 o.n.o.

For further information

contact Paula T: 086 8257589 E: ishka@eircom.net

(3-phase) and native

information contact T: 087 22 49

625 E: ravenfurniture@eircom.net

Passap 6000 electronic

knitting machine for sale. 5 gauge includes motor and full

design software package (compatible with windows 98 and floppy disc reading computer) €1000 o.n.o.

For further information contact T: 087 7507506

E: liadainb@hotmail.com

“Glimakra” Standard

E: info@amanda-daunt.com

tie-up with raddle, double warp

40 x 12.5 kg bags 1117M

Vertical floor model 1.88 meters

per bag . Fireclay based, stoneware

loom . 135 cms, countermarch

beam and fly shuttle. Warping Mill.

contact Andrea T: 085 7317501 or 059 9724789

STUDIO SPACE Workshop/studio to rent, urgently required for footwear

designer. Kilkenny/Carlow area.

Contact Julian T: 086 8165273 E: jaberwick@eircom.net

Bog Oak and Bog Yew. Will collect. Contact John

T: 021 4871817 M: 087 2439948

STUDIO SPACE

Sycamore, Cherry, etc.) for sale due

information contact Amanda on T: 086 0634634,

well, turns easily. Plastic, strong and

Buff Stoneware at X6.20

Double Garage available to rent near Roundwood, Wicklow.

Electricity, water and phone line. In very tranquil and scenic area.

Would make a great studio or

storage area. Lots of parking, will consider offers. 30 mins from

Sandyford industrial estate and 10 mins from Mll/M50 link. For

further information contact T: 087

2451275 E: bconnolly@esatclear.ie

Large workshop space to

share with potter. Rent negotiable. Lanesborough, Co.Longford. For

further information contact Mary Clarke T: 087 6306348

Crafts Council of Ireland Newsletter

19 OPPORTUNITIES

Advertisements one of the highlights of the

programme marking Luxembourg and Greater Region, European

Capital of Culture 2007. For further

For further information contact Patsy T: 087 2406199

The National College of Art &

information contact ProDialog

Production Potter required.

MA and PHD in disciplines

E: info@mind-and-matter.eu

Experience essential. Contact Zac

Design, Dublin. Deadline for

of Ceramics, Glass, or

Metals, 1st April 2007.

Please forward twenty images and

on +352 26 30 09 05 22 or

W: www.mind-and-matter.eu

statement of intent. For further

Tús Craft Design offers you

McGarry E: mcgarryd@ncad.ie

latest work in their exhibition area

information contact Derek W: www.ncad.ie

the opportunity to exhibit your

Gallery in the magnificent Bridge

develop overseas markets the DCEB

the cost of travel and subsistence,

trade fair attendance/ exhibiting and the creation of marketing material specifically designed for overseas

markets. For further information

contact Eibhlin Curley Assistant Chief Executive Dublin City

Enterprise Board T: 01 677 6068 E: ecurley@dceb.ie W: www.dceb.ie

for 1 week, early in the New Year.

showcase of European arts and

crafts, applied arts and design 16th to the 24th of June 2007 at

Invitation to join the ACJ

Irish contemporary jewellers network New jeweller’s network being

established in conjunction with the Association of contemporary

jewellers. We are meeting

monthly to discuss what is

happening in the industry and

share ideas as well as organising some selling exhibitions to raise the profile of Irish contemporary work. For further information

contact Carrie–ann

closing date is 15th February 2007.

MIND & MATTER is considered as

Interested in fabric/design/fashion

and colour. For further information

E: cablack24@yahoo.co.uk

Sales Agent required for

knitwear company to call existing

customers and develop client base.

precious stones. I have worked mainly in silver but I also have experience

working with gold. I live in Portadown and I'd like to apply for a job in goldsmithing. Contact Lenka

Sauerova E: lenules@seznam.cz

Sales Representative -

Young energetic lady is seeking an

opportunity in Sales Representation For further information contact Marisa T: 087 2160457

STANDS AVAILABLE

Would you like some expert advise

on how to style your stand

for your next craft fair or trade show? Style Council can

Féile na Tuaithe:

designing your printed material to

of Irish Country Life Today. Saturday

cost and effort in the setup and

Due to the continued expansion of

experience in the fashion and gift

award-winning National Museum of

give it the WOW factor from

planning your display and how to cut breakdown of the stand. With 25 yrs wear industry we can save you

effort and cost when it comes to showing your product or service.

For further information contact

Barbara Connolly T: 087 2451275 E: bconnolly@esatclear.ie

T: 087 0524354

Luxexpo, Luxembourg’s Exhibition

and Conference Centre. Registration

looking for work experience

contact T: 087 6933063

PLACEMENTS/JOB OPPORTUNITIES

with bohemian garnet and fix other

for an Irish Company in the States.

E: tuscraftdesign@eircom.net

jewellery and promote our own

MIND & MATTER - The first

WORK WANTED

Transition year student

Export Marketing Initiative Fund can assist you. The fund can part-fund

E: zac@annascaulpottery.com

Mills in Galway City. For further

W: www.tus-craftshop.com

If you are in business and seeking to

T: 066 9157848 or

adjoining their retail Craft Design

information contact T: 091 532500

Export Grants Available -

For growing pottery in West Kerry.

do filigree, embossing, and can work

Jeweller seeks work in

goldsmithing . I have studied

secondary school of applied art in goldsmith section in the Czech

Republic. I have design skills and can

Turlough Park, A Celebration 26th and Sunday 27th May 2007.

Féile na Tuaithe: Turlough Park the

Ireland - Country Life is looking for additional crafts people and

food/organic producers to participate in next year’s event. For further

information contact Catherine Carney, National Museum of

Ireland - Country Life, Turlough Park, Castlebar, Co. Mayo T: 094 90 31777 or

E: ccarney@museum.ie

Crafts Council of Ireland Newsletter

Advertisements Bloom - 1st - 4th June

Glass bead making (2 day

the Gougane Barra Hotel

Working on an oxygen/propane

can enjoy the countryside and the

2007 A showcase for the best of

course) 3rd & 4th Feb 2007

gardeners, designers, horticultural

torch using colourful glass rods from

Irish and international landscape

producers, artisan crafts and food. An exciting new concept, Bloom

2007 will be a 4-day extravaganza

of contemporary colours, traditional themes and inspirational ideas over the June Bank Holiday weekend in

the natural unique and appropriate

surroundings of the Phoenix Park in the heart of Dublin. Louise

McLoughlin EXPO EXHIBITIONS LTD T: +353 1 295 8181 M: +353 86 819 3105

W: www.expo-events.com

WORKSHOPS /COURSES Surface design and textile printing - A six-week introduction course.

Starting Monday 22nd

January. LONGBORD printing

studio. 54 Kenilworth Square

Rathgar, Dublin 6. Feeling an urge to

Italy and make a number of beads

after learning the basic techniques of forming, shaping and decorating

with hot glass. This class is open for beginners and those who wish to

advance their basic beadmaking skills. Cost €180 includes lunch, materials

and use of tools. For further information contact Suzie Sullivan T: 098 21888

E: suzie@derryauncrafts.com W: www.derryauncrafts.com

Basic and advanced

stained glass workshop

with professional trainers Jacqueline

and Bruno Tosi. All materials and equipment provided. The 5 day

course runs between April and

September in J & B Art Glass Studio, Knocktopher, Co Kilkenny.

For further information contact

T: 056 7768245 M: +33 672 687995

do something different? Why not try

textile printing?? This is a course that will introduce you to the fabulously exciting skill of textile printing,

covering the basics skills and thinking behind surface design as well as

different printing techniques. Come

and have fun in a relaxed and social

atmosphere Tutor : Liz Nilsson, Textile artist and designer. Course 1:

Monday 11.00 - 14.00 18 hour

course: €180 - 6 places. Course 2:

Monday 19.30 - 22.00 15 hour

course: €150 - 6 places Cost of

materials not included. For further

information contact Liz T: 0868307294 or

E: nilssonliz@yahoo.ie

www.gouganebarrahotel.com. - they various activities on offer, including

SUPPLIERS

golf, fishing and walking. T: + 353 26

Irish Woodwool - the ideal

B&B + 4 evening meals, with 20

absorbing quality, competitively

47069. Rates have been agreed at 4 hours of tuition, €400. For further

information contact Veronica

Stuart, 16, Maurland, Carrigaline, Co. Cork. T: +353 21 4371152 E: blues@gofree.indigo.ie

packaging material. Very good

priced, clean, antibacterial, sustainable, compostable, ecologically

recommended, aesthetically appealing. 1 highly compressed bale approx

20kg, €20 - discounts available on orders over 50 bales. For further

Exciting Workshop in hat

making/millinery . Classes

will focus on aspects of the craft of

Millinery - hand weaving Rustic Raffia Hats for the summer, creating flowery, feathered creations for the races or

information contact Irish Woodwool, Clonmel, Co Tipperary

T: 087 1252527 or 086 3306366

Designer Websites - As a

wedding, working with felt, to creating

recent design graduate of NCAD, I

knowledge will be shared by an

understands you, your business and

your own design. Traditional Millinery established and experienced milliner based in the West of Ireland.

For further information contact Lina Stein T: +353 98 28449 E: linasteinhats@eircom.net

Hands on creative

workshops in West Cork .

offer a web design service that

your requirements. After careful

consultation, I can design a website as individual and creative as your

business. For further information contact T: 086 3001006

W: www.metricdesigns.com

County Cork, Ireland, will host a

A chance to spend time with top

Packaging - Wooden

for lacemakers in 2007 with

skills. A wide range of classes, courses

Boxes Present your exquisitely

residential summer school Veronica Stuart - a renowned

lacemaker and international gold

medalist in lacemaking. The classes

will cover various types of lacemaking, including Carrickmacross Lace,

Limerick Lace (both needle run and tambour), Youghal Needlepoint,

professionals, learning arts or craft and workshops, from single days

to ongoing day/evening classes in a variety of locations in West Cork.

For further information contact W: www.handsonwestcork.com

Wood carving lessons for

individuals, in Cork. For further

Beginners pack cost €10 each for

T: 028 37323

all types of lace. Spouses are also welcome to come and stay at

handmade quality jewellery in our

top of the range handcrafted wooden boxes created from native and exotic woods. Commissions also available. Discount on batch purchases.

For more information please

Bandon Lace (a princess lace),

Sprigging and Mountmellick work.

Presentation/Giftware

information contact Thomas

contact Ian or Kate on

T: +44 (0) 28 90843532

E: ian@hawthornecrafts.com or E: kate@hawthornecrafts.com

W: www.hawthornecrafts.com

Crafts Council of Ireland Newsletter