by Nancy Creighton • October 2006
Revised for web, March 23, 2007
Ideas for Showing Deaf Artists’ work
-- Art Shows
-- Purchases and Commissions
-- Auctions at Fundraising Events
More Ideas for Showcasing Visual Art
All visual artists have challenges in getting their work shown, and sold. Deaf artists have more challenges because of communication access issues. Those whose work is specifically about their deaf experiences have even more barriers to showing their work, despite the fact that their work helps to create deaf culture by showing us our shared experiences and feelings, and allowing us acknowledge and own them.
The art-loving deaf community is small, and will find the work they love and want to purchase. But what about the rest of us? Deaf people are more visual than hearing people, but I think the visual emphasis is on motion, because of our communication needs. So, even though we’re more visual, we don’t automatically love static, unmoving visual art. That can change, though. Many people who think they don’t like art are surprised when they respond to the work of a deaf artist. But they have to see the work for this to happen. The focus of this article is how to find ways to show the work to the community, and expose the artists’ works to them.
It takes many years of education and work to become an artist, even for those born with incredible talent. But most people seem to think that art is a hobby, instead of recognizing that the attitudes of society force artists to earn their living any way they can-- forcing them to become “hobbyists.” Some teach, others work in advertising agencies, architecture and industrial design firms, among others. Many work in jobs unrelated to their art skills, especially if their passion is fine art, not commercial art.
Truth is, the world can’t function without visual artists. An artist did the layout of the magazine you hold in your hand. Another artist designed the letterforms that make up the font the layout artist chose. An artist designed the chair you are sitting in now to read, and another worked on the paint or the fabric that covers the wall in front of you. Several artists worked on the clothes you are wearing. They are commercial artists, but they have taken fine arts courses and have some paintings or sculptures hidden in a closet somewhere.
Among other things, I am a commercial artist. I worked for many years as a designer and layout artist for the National Association of the Deaf (NAD). But I have a degree in painting from University of the Arts, and have some paintings and drawings hiding around my house. My partner, Betty G. Miller is a well-known professional fine artist, a painter, who taught for many years in the art department of Gallaudet University. She was also a co-founder of Spectrum, Focus on Deaf Artists, an organization of deaf artists – theater, visual arts, dance, and writing – that existed for about five years in the late 1970s in Austin, Texas. Other than those two positions, early advertising work, and freelance illustration, Miller has earned her living in fields other than art, while continuing to paint, show and sell her artwork.
Miller’s success in showing her work comes not just from her reputation (she’s been featured in Deaf Heritage by Jack Gannon, as well as Deaf Artists in America: Colonial to Contemporary by Debbie Sonnenstrahl), but also from her willingness to take advantage of opportunities to show her work outside of traditional art gallery spaces.
Ideas for Showing Deaf Artists’ work
How can local organizations and community members promote the work of deaf visual artists? Here’s some ideas. This is not a list of all possibilities, and I welcome feedback with other ideas, which I’ll post online. Much of my knowledge, and all of the examples in this article are from Miller’s experiences.
• Art Shows
Deaf organizations can have art shows in their offices. A conference room, especially one that is rented or lent to other organizations is best, but a hallway is another possibility. Miller has had exhibitions in the conference rooms of both the NAD, and of DeafPride, which was a local organization in Washington, DC where she worked.
The issues and costs to consider for exhibits in private offices, and many other venues include: Length of time exhibit is shown and hours available to the public, security, insurance, accessibility, an opening party, and publicity. If the artist isn’t local, the costs of shipping artwork is also a factor.
A six-week show is a good length of time, but four-week or eight-week shows are also viable. Short periods, one day or one week, aren’t feasible because of the work and costs involved in setting up the exhibit. Offices are often not open on the weekends, which limits access for the public, unless the conference room is designed to be used at nights and weekends. If possible, arrangements should be made for the artist to be able to accompany interested people who can’t attend shows during office hours, so request private showings.
Security is generally a matter of ensuring that the room isn’t left unlocked and unattended—but most offices have standard practices in place that are acceptable. A temporary rider can often be added to the organization’s existing insurance policy. Accessibility is something that offices generally offer as a matter of doing business; however for an art show, please be sure not to hang the work very high so that people who use wheelchairs can see and enjoy the work as well. Actually, in a conference room, this is ideal anyway, because most of the time people will be sitting down so you want them to enjoy the work while they use the room.
The “opening” in an office environment is important because it will encourage people who wouldn’t usually think of going to an art show to attend. The organization and the artist can collaborate on a mailing or emailing list to invite both people who support the artist, and those who support the organization. People will come for the social contact and the free food, as well as to see the art show!
How to handle sales is the next issue. Usually, the organization will provide the artist’s business cards or contact information to visitors and the artist and the buyer will deal with each other directly.
Negotiations between the artist and the organization should spell out all costs and who will pay what; also if the organization will receive a percentage of sales, or if the artist is to keep all the sales.
Shows aren’t limited to deaf organizations. Miller has had shows in a variety of spaces including: art galleries and conference rooms in schools, colleges and universities, sometimes a part of a program including lectures; libraries and municipal buildings; restaurants; apartment house hallways; a realtor’s office that showcased local artists; and arts festivals.
• Purchases and Commissions
Another way that businesses, organizations, and individuals can support deaf artists is though buying and prominently displaying the work on a permanent basis. Larger businesses and corporations will often hire art consultants or curators to search for artwork, screen the artist and the work and recommend purchases. Smaller organizations will often rely on a staff member to do the same thing, or take advantage of opportunities presented to them by the artist for sales or barters/exchanges.
Commissions are usually contracted for a specific space, or a specific event. Miller’s largest commission was for the Eastern North Carolina School for the Deaf. In 1996, the school built a new student recreation complex, the Massey Activity Center. At the time, the state had a law requiring that 1% of construction costs must be spent on art through the Artworks for State Buildings program administered by the North Carolina Arts Council. The process included setting up a pre-selection panel that included the architects, representatives from the school, from the arts council and outside experts; then a request for proposal was advertised nationally. Miller’s proposal was eventually accepted, an she created a neon artwork that hangs in the window of the lobby, and can be seen from both inside and outside.
• Auctions at Fundraising Events
Non-profit organizations sometimes hold auctions for fundraising events. The work is usually on display for some time before the auction, and can often be seen online. Often, the organization will ask artists to donate their art work for auctions to benefit the non-profit. The assumptions and implications are unintentionally and unknowingly demeaning.
The assumption is that the artist is being asked to donate something they have already and "didn't cost them anything." This is wrong. It costs the artist a lot–– not just the cost of materials, but time, energy, creative force, education, and potential income. By asking for original artwork, you're really asking for a significant loss of potential income from the sale of the work— hundreds, if not thousands of dollars.
The implication is that the artist doesn't need to be paid, that the work isn't valuable enough for that. The whole process devalues the work of the artist, especially since they are often expected to pay for the shipping too. After all, the thinking is, it's for a good cause and the non-profit shouldn't have to pay anything.
How can this be changed so that everyone benefits? Organizations can buy artwork and then auction it off. After all, they often pay performing artists for their work at benefits. One idea that Jeff Carroll, a deaf sculptor, came up with for an NAD Gala, is for the non-profit to ask a sponsor to buy the artwork; the sponsoring business gets a tax write-off for donating the painting, and the non-profit gets to keep the sale price that results from the auction. Another idea is for the organization and the artist to agree on a percentage each would get from the sale of the work at the auction, much like an art gallery would function.
More Ideas for Showcasing Visual Art
Some more ideas that have deaf individuals and organizations have used to support and promote deaf visual artists:
• Lexington School for the Deaf put together a group art show of well known professional deaf artists from around the country, in collaboration with a New York City art gallery as part of a fundraising program.
• Kentucky Commission for the Deaf is well known for its annual Deaf Arts Festival. One year, they found grant money to provide professional artists with a two-week retreat period before the festival—a rare treat for both professional and amateur artists. During this retreat, the artists were able to do their work, and share ideas and techniques with other artists.
• The two Deaf Way conferences and festivals held at Gallaudet University in 1989 and 2002 showcased works by visual artists from all over the world.
• There have been shows of deaf artists works in hotels where conferences were held, and of course many artists are prepared to rent booths and sell small works, reprints, cards, and crafts at expos and festivals across the nation.
See the resources listed on this site, and let me know of more that I’ve overlooked! Do support your local deaf artists. We need you— and you need us!