NAMTA's art materials convention and
trade show
by H.A. Fraser, Managing Editor, ABM
For the art materials industry, one of the most important events in
the year is the National Art Materials Trade Association (NAMTA) convention
and trade show. During this three day event, art materials retailers, manufacturers,
distributors and art magazine and book publishers have the opportunity
to build relationships that will sustain them throughout the year or even
through their careers.
When Toronto built its convention centre and hotel (linked to the CN
tower and restaurants along Front St.) a few years ago, I thought "All
this for those guys who wear those funny tasselled hats?" Immersed
in the "all art or no art" mentality which only comes from being
a smarmy art student, I had little interest in such blatant commercial
activity. However, after participating in 
my first art convention and
trade show, I know first hand the value of these mega events (to the attendees
as well as the city in which it is held!).
When ABM made the decision to join NAMTA and attend its May '97 convention
in Chicago, it was not an easy one. As a new publisher, being new to the
art materials industry and not yet financially solid, it was an expensive
proposition. A NAMTA membership was US$500. and a booth at the Chicago
show was US$900. An electrical outlet at the booth was $180., rental of
three chairs and a 10 x 9 foot piece of carpet was over US$200. Hotel was
another US$130. a night, plus food. Other costs included an advertising
banner, printed literature, a table, and other materials with which to
furnish our booth. Thankfully, we did not have to fly and pay customs brokering
and shipping charges. We drove and with careful planning managed to fit
everything we needed in the car.
And yet, in spite of these costs, I can say without hesitation that
it was one of the best experiences I have had in my professional career.
As many of you may know, I began my art career as a professional museum
curator. Even if everything goes downhill from here, I will never regret
my decision to throw over the not-for-profit art scene for a for-profit
art business. From the beginning of our Chicago NAMTA adventure, I felt
both comfortable and excited at the prospect of the next three days. It
was a career opportunity. On the first night at a social for new members,
my associate and I shook hands with other new members, chatted and exchanged
a few business cards. What made it easy was something I had always understood
but now truly realised: I knew exactly why everyone was there. We all wanted
to make sales, enhance our businesses. No one was going to criticise me
for trying to make money. What a relief!
Now this admission may sound odd to long time members of NAMTA, but
in the not-for-profit visual arts community making money is ranked well
below the lofty aim of "making culture", expressing the highest
human values and showing it to the public in order to instruct. In this
light, sales is often considered a crass pursuit. As well, because museum,
arts councils, art service organisations, and even many artists are subsidised,
their reasons for negotiating/dealing with each other are often difficult
to divine. Dr. W. Grampp, Prof. of Economics at the U. of Chicago, described
this condition most poetically in "Pricing the Priceless" (1989).
In his chapter on art museums, a fictitous cultural worker admits:
"I don't know for sure what I'm supposed to be doing and if I
did I would have no way of being sure I was doing it -- but I would like
to go on doing what I'm doing, whatever that is, and I ask you to give
me the money I need to do it."
In comparison to my years in this environment, I thrived in the convention
setting! I knew where everyone stood and I was completely in charge of
my success or failure -- which I could measure in actual sales.
With thousands of people (retailers and manufacturers) and products
and over 500 exhibitors (125 of them new members) the NAMTA event hummed
with activity. For 8 hours a day for 3 days, we visited other exhibitors
and engaged walk by traffic. We talked non-stop. We exchanged business
cards and other literature with retailers and manufacturers, large and
modest, primarily from the U.S. but also from Canada and abroad.
As I discovered, the convention experience is "therapeutic"
to other NAMTA members as well. It is a chance to renew long standing relationships
with colleagues as much as it is to build new ones and find new items.
In the spring issue of "Art Materials Today", an art materials
industry magazine, regular convention attendees expressed their views on
the show. It is exciting, interesting and exhausting. Pacing is a top priority
if you are to make it through the three days. For retailers who need to
get the most out of the show, it is a good idea to just scan the manufacturers'
booths the first day. After a good night's sleep, review your findings
and visit a select number of booths. Of value at the convention as well,
are the formal sessions on sales training, marketing, product knowledge,
and other central aspects to retail. Social events such as keynote luncheons
and the president's dinner round out the NAMTA experience.
NAMTA was organised in 1950 by a group of independent retailers who
saw that they could do more things together than they could do apart --
such as obtaining group insurance and other special rates. Traditionally,
the art materials industry has consisted largely of family owned businesses.
As such, NAMTA's Executive Director, Steve Lefebvre suggested that members
are reluctant to respond to surveys on size or trends of their businesses.
However, the Hobby Industry Assoc. in has some statistics at their web
site http://www.hobby.org/hia. The art and craft (or creative) materials
industry retailers grossed an estimated US$11.7-billion in 1995: $3.15-billion
in general crafts; $2.69-billion in needlecrafts; $3.64-billion in sewing
and notions; $1.01-billion in frames; $73.6-million in florals and naturals;
and $53.3-million in art materials.
It is a significant industry and at NAMTA, I learned a fabulous amount
including industry members' concerns over the WWW. At a special Internet
seminar, one small retailer expressed his fear that the web could be the
end of his business. When one can buy over the Net, why bother coming into
the store? The high tech vs. high touch rule seems to apply here. The more
removed one becomes from tangible reality, the more one seems to yearn
for it. We can never do without the touch, smell and feel of paint, canvas,
moulding and other art materials.
In short, the NAMTA convention and show was an opportunity to learn,
grow, network and thrive! To learn even more about NAMTA contact them at:
NAMTA, 178 lakeview Ave., Clifton, N.J 07011 namtanj@aol.com (201) 546-6400.
Art Business Magazine http://www.culturenet.ca/artbusiness