White Linen Night ~ Recap
We had said we’d never do this event again without help setting up. But we had some new items to test out and the chance to do it in front of over 30,000 people was too much of a siren call to pass up. So when some spots opened up at the last minute, we decided to gamble that neither of us would suffer heat stroke and we went for it. As it turned out, the stars aligned perfectly. The weather cooperated. The rain that had been forecast never showed up, and while hot (it is Houston, after all), the temperature was bearable. And we did have help.
Mitch Cohen, whom we’ve mentioned here before, is the founder of First Saturday Arts Market (FSAM) and co-founder of White Linen Night in the Heights. We hooked up with Mitch in May, 2009. FSAM gave us the opportunity to put the artwork in front of the public and learn the art show and festival ropes. For this White Linen Night, we received e-mailed instructions, with updates. When we showed up with the proper identification on the car’s dash, the police officer at the intersection directed us through the barricades. We were met at the next intersection, handed an “Artist” badge, a bag of goodies, and our booth assignment and were directed down the street. The booth numbers and corners were marked and the power cables were laid. The rules were explicit: unload first, move the car, then set up. Almost everyone did as instructed.
Our oldest son, Chuck, met us at our spot. A young man hired for the event showed up, and four of us unloaded the car. Without the ProPanel show panels we used to have, we are able to get the entire 10×10 show booth into the Honda CR-V. We were fortunate to get an end/corner booth right at the shuttle stop. We have learned over the years to be flexible, and when we discovered we had a corner instead of an in-line booth, we adjusted quickly.
We have learned to be cautious when it comes to setting up the booth canopy. Having dealt with sudden winds that have destroyed our booth, and heavy downpours that have created ominous pools of water in the top, we jumped at the chance a couple of years ago to buy a used Light Dome canopy with a vinyl top and vinyl side curtains. It takes a bit more to set up than a simple pop-up, but I have put it up alone. Just don’t want to do it alone in the heat I don’t think I would ever set up for a show without attaching the weights. And, because we have experienced storms that have come out of nowhere, especially this time of year, we almost always put up the side curtains. We’ve dealt with wind, rain, heat and even snow, so we tend to over-prepare.
We haven’t done a night show with the Light Dome canopy. Where the pop-ups like EZ-Up have lots of structural cross members to attach lights to, this one doesn’t. We bought 2 10-foot lengths of 3/4″ PVC pipe. I cut them into four 5-foot lengths to use as light bars. Since the inside “ceiling” space is open, I felt that a 10 foot span might sag with the weight of the lights. I drilled holes in each end of each piece and attached zip-ties through them. When it came time to set up, the light bars were attached diagonally at each corner to the canopy cross members, using zip-ties. To keep the light clamps from slipping off the PVC pipe, they were “locked” on using more zip-ties. As street festival vendors, bungee cords and zip-ties are our friends. A heavy-duty wire cutter is handy for cutting all those zip-ties at tear-down. Our son, Chuck, did all of the light installation, including running all the wiring for the lights and fan.
When we sold the ProPanels, we could no longer display a lot of framed artwork. We kept a few 8x10s and 5x7s so we could still display some framed pieces at that size. We bought two white wire shelves at Home Depot. To allow them to be transported in the car, I used a hacksaw to cut them down to 5 foot lengths. In the last two shows, we zip-tied them horizontally from the canopy cross members. Since then, our friend Steve Sellers, a jeweler who also sells at FSAM, advised us to move the tables closer to the front edge of the booth. There’s a psychology involved that has to do with people being more likely to stop and look if they don’t have to go inside. That meant we needed to get the framed artwork closer to the traffic. So this time we hung the wire shelves vertically, tying them to the cross member at the top and to the corner post. This turned out to be very stable, and allowed people to look at the paintings without blocking the tables.
Since what we do will most often compete in arts and crafts venues, we have opted for a sort of “colorful clutter” approach, with unframed original paintings in tubs, surrounded by colorful, whimsical art and ornate little frames.
We’ve never had a banner for our booth. When we had the ProPanels, the booth was basically a three-sided room, and a banner would have taken up valuable wall space. With the new booth approach, a banner doesn’t hide any of our work, but it does block out part of the chaotic view behind us. In hot weather, it’s really necessary to keep the side and back curtain walls open, so anything to help block out the background helps. We felt it was time to identify who – and what – we are. And besides, it’s kind of fun to see our name up in front of lights. Austin/Houston are the two places we will come to be identified with, so we decided to get ahead of the curve.
Everything came together with this show. The event drew over 30,000 people during a four hour period. Thousands of people passed by and circulated, and a lot of them stopped to see what we had to offer. It was fun to see them draw even with us, look at the table and break into a grin, moving closer to see what all this colorful little artwork was about. We sat briefly in those very rare times when the crowd would thin momentarily, but we spent most of the time on our feet, talking with visitors, answering questions, and selling. There were times when Nell was selling at one side and I was selling at the other, meeting in the middle to make change and write up receipts. While we did sell a larger traditional landscape or two, the bulk of the sales were the small, colorful, whimsical pieces, some of mine, some of Nell’s and some that we did together. While the prices on those were very low, the volume sold accounted for more than we’ve made many times just selling traditional landscape paintings.
Our show revenue included a pre-show sale of a painting shown online a day before to promote the event. And at the show, a purchaser of one of my landscape paintings discussed the possibility of doing a couple of commission paintings.
The event officially ended at 10pm, but as long as there was a lingering or passing crowd, we stayed open. Mitch finally came through around 10:20 and said it was time to shut down. We broke the booth down, loaded it into the car, and drove home, arriving a little after midnight, very tired, but very satisfied.
It was a good show.