technical tuesday: the price of a mug

about a month ago i had a conversation with one of my galleries about the price of my mugs. i’ve been selling them locally for $35 CDN pretty much regardless of size since the time put into each piece is roughly the same. i throw these cups on the wheel. handles are added. each has a unique one of a kind, not printed, but hand drawn illustration on it. they have numerous colors added and fired to cone 6 in electric.

for the holiday season this gallery is requesting 24 mugs. it’s alot for me. i can’t produce full time with all the other aspects of managing my career and of course raising my kids. i have 2 holiday sales coming up wherein i know mugs will be the best sellers, so it becomes difficult for me to justify shipping (and paying for that shipping) the work cross country only to receive %50 of the selling price.

if i was working full time these cups would take a proper weeks worth of hours. they are that labour intensive. so lets do the math shall we…. 24 mugs x $35 = 840. Divide that by %50 you’ve got $420. Shipping will cost me approx $60 for that (2 boxes properly packed so as to not lose any pieces). $420-$60 = $360. Packing materials = $12. Material expenses: clay – $25, glaze – $8, underglaze – $4, firings – $40 (approx on these material expenses, i haven’t weighed or calculated the extact glaze quantity, etc. but i base these on figures i established a few years back for a grant). Total material expenses: $77. Studio fees: well i use my basement and my garage so i won’t factor that in right now, but there are heating and electrical costs associated and i can only imaging if i was paying rent on a studio out of the home) so where are we at? $360 – $12 – $77 = $271. $271 divided by the 24 mugs = $11 a mug. or lets look at my time: one week of work, lets say 6 hours a day so 30 hours: $9/hour is what i’m paying myself.

oh and there is nothing left over for actual profit margin.
right.
minimum wage in Saskatchewan where i live: $10.20.

how much did those two degrees cost me again?

I’m venting i know. but i was offended when the gallery staff was reluctant to let me raise my prices. 

how do i feel about $35? i feel a few things. i feel that the local community/audience has a limit of how much they’ll pay. i live in Saskatchewan. we are known for lower priced work. a local established potter during my undergrad years sold his mugs for less then $25 (at the time) and once told me i was disrespectful and presumptuous to ask for more then those that have been practicing for longer then i have been. i have since truly upped my middle finger to such talk.

there is a system that i understand i must work within. there are different levels of skill and techniques that are more labour intensive that can charge more. but i won’t pander to the idea that my years of experience can only charge certain prices. i like to think that i address the market demands and what they are willing to pay.

but then what happens when you sell at a %50 commission rate at galleries? and what happens when you sell outside of your local market, perhaps even internationally where price points differ?

so do i sell for $35 locally by myself, take a %50 cut with galleries (plus have to pay shipping costs), and then sometimes come in much lower then other artists in an exhibition in a different market – being the jerk that undercuts all their hard earned prices? in an more international market place how do we price our work to address all these scenarios? we aren’t selling and exhibiting locally anymore so how do we level the playing field or develop a system that works where in artists feel respected and well paid?

and if we are pushing our audiences to pay a proper price for our work, should our galleries not also be a part of that system of educating the audience to a fair and sustainable value for our work? i wonder how they answer the question of how can artists charge so much when mugs sell for $5 at walmart. cuz i personally am beyond tired of justifying that.

anyway, enough of a rant from me. the above image shows a lot of the answers I’ve received from artists. this of course doesn’t illustrate anything about scale, technique, market and the like, but it’s a interesting starting point for looking at the price of a mug.

call for entry: Gyeonggi International Ceramic Biennale

The 8th Gyeonggi International Ceramic Biennale

 International Competition 2015

The International Competition of GIC Biennale 2015 is highly open
competitions for the artist in any genre, style, and idea. We
whole-heartedly welcome works by artists that re-interpret traditional
values of ceramics in truly unique ways. In previous competition, we had
1,875 artists from 71 countries who submitted 3,362 artworks. This
competition will focus on the possibilities for ceramic art to expand
from its territory.

The International Competition of GIC Biennale 2015 will be an
opportunity to display your imagination and creativity to the fullest;
opening the future of ceramics, and presenting diverse issues facing us
today that deals with issues including political, social, religious,
cultural, and environmental.

The Grand Prize will receive $48,100 (US $) with solo exhibition opportunity for GICB 2017. Additional prizes will be awarded.

For more details on how to apply:
https://www.kocef.org/eng/n03_info/01.asp?mode=view&idx_num=72&page=1

 
Website https://www.kocef.org/

gicb2015ic.kocef.org/eng

residency opportunity: London Potters Guild


Artist in Residence Program
Description
The Artist in Residence program was created to give up and
coming artists an opportunity to set up a studio in exchange for 8 hours of
studio technician support each week at the London Clay Art Centre.  This residency program allows ceramic
artists to pursue their artistic endeavors while working in a state of the art
ceramic studio and contributing to the community of fellow ceramic
artists. 
What the London Clay
Art Centre Provides
·      
Private studio space, 7 feet by 10 feet, electric
wheel, electrical hook-up, standard shelving
·      
24 Hour access to the studio
·      
Access to all equipment, (3 electric kilns, two
slab rollers, well stocked glaze kitchen, two extruders)
·      
Opportunities for sale of work in the retail
store and Annual Fall and Spring Sales
·      
Paid teaching and workshop opportunities
·      
Exit Show/exhibition
·      
Opportunities to be featured artist in the
gallery space
·      
Website visibility
·      
Participation in bi-monthly critiques
·      
Free attendance at workshops presented at the
LCAC, in exchange for setup and tech work during workshop (above and beyond the
8 hours scheduled work each week)
·      
10 Kilograms of reclaim clay a week provided
What the Artist In
Resident Contributes
·      
Commit to one 8 hour shift or two 4 hour shifts
each week of technical work. 
Shifts will be coordinated in conjunction with the Studio Technician and
may include tasks such as helping maintain a clean studio, loading and
unloading of kilns, maintaining glazes, slips, and clay reclaim.
·      
Spend a minimum of 10 hours within the studio
each week dedicated to personal work
·      
Process all personal work (ie. load and unload
kilns with personal work in them)
·      
Maintain a personal blog or website that the
LCAC can link to from its website
·      
Contribute one piece to the LCAC permanent
collection at the end of term
·      
Resident Artists are responsible for their own
housing
 Please visit their website for full details.
      London Potters Guild
C/O London Clay Art Centre
664 Dundas Street
London, ON. N5W 2Y8
Tel: 519-434-1664
www.londonpottersguild.org

monday morning eye candy: “Beauty and Natural Forces: Part II” by Sarah McNutt

 “Beauty and Natural Forces: Part II” by Sarah McNutt
Year: 2014
Location: Solana Beach
San Diego, CA
Materials: Unfired mold clay
Measurements 3′ x 1′ x 5′ feet

Second
work of a pair of sister pieces exploring the fleeting and controlling
nature of the idea of beauty when subjected to natural forces. This work
was handbuilt at San Diego State University, from unfiredable junk
clay, and allowed to disintegrate over a few hours in the ocean. It is
subjected to sun, waves, salt, and sand leading to it’s ultimate
destruction.