Artist, Maya Chalee, Davis, California & Ann Rea, Artist & Mentor
What obstacles have you faced?
Speaker 1: 00:03 Getting people to know about my art and be interested in my art. Um, and then having the confidence to approach people about my art.
What do you know about RAW events?
a good friend of mine who’s a photographer who is not in your course. Just wondering if other students got approached by RAW to show her art or her credit photographs in a upcoming show. And she was very, very excited and she was very flattering and I have to admit that I was a little bit jealous because nobody approached me and I’m, I’m, you know, we’re outside of Sacramento and we’re both here trying to do the same thing with our work. And um, anyway, she was very, very excited about it and it was inviting us all to, to attend the show, but she said you had to buy tickets. And that caught me eye. That just seemed weird to me because I’ve been to plenty of gallery shows myself because I love looking at other artists’ work and you never have to pay to go to a gallery.
Speaker 1: 01:21 You just go. They give you wine.
What did you learn about RAW?
Struck me as very shady. And um, I work in marketing for, for a bank. So I know like marketing principles laid yeah, and techniques, so it just hated to me and I asked her about it and, and then she, she of didn’t want to explain. She was, she seemed to feel a little ashamed that she had to sell these tickets and she explained that she had to sell 20 tickets. Many were talking $2 per ticket. Well that comes out to about $440 if my math is correct. Um, which actually when you’re starting out and it’s a lot, that’s a lot. So, and the thing that also got me was that you had to sell the tickets. She had to hear the difference to RAW.
How did her RAW event go?
Speaker 1: 02:23 I try to be very supportive, uh, to her about it. And she was dead. She did these campaigns on email and, and instagram and begging her friends and family, please come, come, come, come buy a ticket. And as the date got closer and closer, it was more desperate, you know, because I, I guess she wasn’t selling tickets the way she wanted to right away. So I had a conflicting appointment that weekend. So I actually did not go to raw and I fell a little mad at Ra to have to pay to go see my friends work and she works her butt off. She tries really hard. Um, and later my friend showed on instagram and facebook sort of her being that she had, which was tiny. It was absolutely tiny. It wasn’t a 10 by 10, you would like just a little corner and it was dark. And then she later explained that, you know, there was like a laser light show. There was a performance and lots of loud music and you know, her dedicated, dedicated friends and family. Really. They went to support her but they didn’t buy her art. She didn’t say she bombed, but I know her so she kinda bombed. And um, and the pictures were sad. It just looks sad to me.
What do you think of RAW events?
I looked through it with my marketing Lens.
Speaker 2: 03:49 Yeah, it’s good.
Speaker 1: 03:51 It’s a law, but it’s not good for artists because it’s just like, I dunno, it’s like a, it’s like a puppy mill or something. I don’t know. They just, they just just try it in a community. They’re all over, they’re all over the US and they’re, and they’re grabbing as many artists as they can to just sell, you know, 400 bucks worth of tickets. I’m not sure if they had to pay for their booth and not.
What is “pay to play?”
Speaker 2: 04:18 artists probably feel flattered because they, they, they use that. They stroke your ego and say you’ve been chosen, so that’s used by art contest organizers. Also. You got be. Anytime you are presented with an opportunity for exposure where you have to pay, that is called pay to play.
Why does this hurt artists?
I have talked to artists who spent tens if not 20, over $30,000 on art contests and paying for articles to be written about them, just called. Those are also the books which is called a vanity press.
Success takes work.
Success. Isn’t that easy? Okay. You don’t just sell some tickets for an event and then you’re good to go. You need a longterm plan and vision. You need to understand what your mission is and serve it. You need to know who your target market is and how you’re going to connect with them. I mean, that’s, besides the fact that actually got, make some art, a certain level of quality. Are you already touched on that? So, uh, it’s just so dismaying because I know how excited and then disappointed and then embarrassed. I know that’s how they, that’s the experience you have in these kinds of things.
How is your friend doing?
Speaker 1: 05:47 Super quiet and not talking about her art. And um, and if you go to their webpage, which I did before our conversation, I mean they’ve got stock photos of millennials with tattoos. They’re cool, they’re hip, they have this whole thing and you know, they’ve got a flashy website. We really do. Um, and we can help you price your art. We can help you. We can do this. Da, Da, Da, da.
Speaker 2: 06:18 If anyone is offering to help you price your art, that’s a big flag. You are the only one ever who can pray. Place the price tag on your art. You need to know what your expenses are, your overhead, and you cannot. You cannot put a price on art that you don’t have full confidence in asking for that price.
What do you think of RAW?
Speaker 1: 06:41 feels very slimy. It feels like marketing executives got together and said, hey, here’s the market. We can tap into starving artists and they’re going to be so desperate for attention and we’ll do the slick campaign and these slick websites and we’re going to go after him and that’s what they did, and their website also says that they’re doing 30 events a month.
Speaker 2: 07:05 wow.
Speaker 1: 07:07 They’re making bank.
Are all of my students successful?
Speaker 2: 07:11 to be perfectly transparent. I don’t ask them to give me their schedule C and corporate, you know, I just don’t do that, but what I do is I make sure you’re not graduating until you’ve earned your tuition back at an. At a minimum. I want to emphasize that a minimum because if you haven’t, then something’s off. Something’s not right or you haven’t either haven’t learned something or you have an approach, something right, something’s off and we can figure out what it is to at least get you to that point.
Beware of big promises.
Big promises are made for like a small amount of effort or money. Something’s wrong, right? So they’re. They’re implying that you’re going to have this amazing events and that you’re going to get sales and that’s not possible. There’s no way that you could fit the analogy I gave, like look, let’s say you walked into a, um, a clothing boutique and in beautiful dresses and things, but they also had right next to that was really beautiful. A bowling ball, get camping gear and you know, that’s what it’s like when you are in this marsh pit of somebody doing hair and makeup and somebody over here doing a laser show and somebody over here tap dancing, uh, in a, a hula skirt. I mean, it’s just messed up. It’s not going to work out real well.
Fine art requires a certain environment.
Speaker 1: 08:39 What about the lighting? You know, like you’re a visual artist, you need really good lighting and you need it to be quiet. I mean, or background music maybe. I Dunno, but I mean all the gallery shows that I’ve been to, it’s not, it’s not a loud ruckus affair. It’s where people, they, it’s for people to contemplate and to look at the art and feel the art.
What has changed for you?
Well, the biggest thing that’s changed is is being artist focus, actual artists focused and and working on our own careers as artists as opposed to you
Speaker 1: 09:18 going through a gallery. Because I think like in my mind prior to this course, it’s always been like, well, the only way is if you were in a gallery, that’s the only way you’re going to make a living or be known and that’s, that’s just not true.
What else has changed for you?
The other thing that has kind of blown my mind, I don’t know why I didn’t put two and two together because I do work in marketing, but it’s finding that target market are that those people really in, when you call it a tribe, let’s humanize them. Like they’re just a target market that’s larger, but they’re also our tribe and our friends and people that we want to try and, and, and you know, our art is art. It’s like our beloved gift to them.
What else has changed for you?
I didn’t necessarily think that was possible before taking this course and so that, that makes me want to cry actually because it.
Speaker 1: 10:17 I know what I have to tell people and show people and have them experience with my art’s important and the and there are people that want that and that is something I’m super excited about.
Should other artists apply?
Anything is possible and that even if you don’t have the price of the course in your bank account in your pocket at the moment, you will figure out a way to do it. I work a 40 hour a week. I have two little kids. I commute one hour one way. I didn’t have a lot of extra cash, but I figured out how to save money and I wanted to take this course before I could even afford to do it, but I was bound and determined. I even asked family members for little loans. I did everything I could because I know that it just knew that this course was worth it because I’m worth it.
What do you think of our community?
You will learn so much and and the and the people you meet. I’ve met the most fabulous
Speaker 3: 11:14 people all over the world
Speaker 1: 11:16 and I love that. I love that. They’re going to be my friends forever. I love it.