Why I Reduced Large Art Festivals by 70% After 200+ Shows
Why I Reduced Large Art Festivals by 70% After 200+ Shows
When I launched MONOLISA in 2017, I viewed larger art festivals as an opportunity to introduce my work to more people. While I knew attendance numbers alone didn't guarantee sales, I believed larger events could help me build a customer base, increase exposure, and connect with customers throughout California. For several years, I actively pursued large festivals and built my schedule around them. At one point, I was participating in dozens of events each year and constantly searching for the next event that might help grow my business.
After more than 200 art shows, my perspective changed. Today, I participate in roughly 70% fewer large festivals than I once did—not because they are bad events, but because I evaluate them very differently than I did when I started. Experience taught me that attendance numbers are only one small piece of the puzzle. What matters most is finding events that align with my customers, support handmade work, fit my business goals, and support the lifestyle I want to maintain.
Bigger Crowds Don't Always Mean More Sales
Attendance and sales are not always the same thing. Today, I spend less time looking at crowd size and more time evaluating who is actually attending an event. I pay close attention to customer demographics, buying habits, and whether shoppers are specifically looking for handmade work. My handbags and jewelry are handcrafted and designed to be enjoyed for many years. Because of that, I focus on events where shoppers appreciate craftsmanship, originality, quality, and one-of-a-kind pieces rather than simply searching for the lowest price.
I also enjoy creating a personalized shopping experience. Many customers spend considerable time in my booth trying on jewelry, exploring different handbag styles, or putting together complete outfits. After eight years in business, some of my customers have been shopping with me since the very beginning. They often stop by not only to see what is new, but also to catch up, share stories about their lives, and maintain the connection we have built over the years. There is never any pressure to buy. Sometimes they are looking for a piece they saw online, searching for something special to wear to an upcoming event, or hoping to find the perfect addition to a favorite outfit. What I value most—and what many of my customers seem to value as well—is the opportunity to create a meaningful in-person experience rather than a purely transactional one. Many of my longtime customers intentionally visit early in the morning because they prefer a quieter, more relaxed shopping environment. Over time, I discovered that a carefully targeted event with the right audience often produces better results than a massive festival with tens of thousands of attendees.
The Handmade Marketplace Has Changed
The festival landscape has changed significantly since I started exhibiting. Many larger community festivals now feature a combination of handmade artists, imported merchandise, commercial products, and resale vendors. There is nothing inherently wrong with that model, but it can create confusion for shoppers who may not always understand the difference between handmade work and mass-produced products.
A customer might see a ring selling for $10 in one booth and a handcrafted silver ring selling for $150 in another booth. Without understanding how each item was made, the price difference can seem confusing. What many shoppers don't see is the time involved in handmade work. A handcrafted ring may require designing, cutting, soldering, shaping, finishing, polishing, and quality control—all performed by the artist. In many cases, the piece is one of a kind. Mass-produced products are often made using molds, automated equipment, and larger production systems that operate on a completely different scale.
As an artist, it can be challenging when handmade work is displayed alongside mass-produced merchandise because the products are often evaluated very differently. I have experienced events that were once known primarily for fine art and handmade work but gradually evolved into a broader retail environment. That shift doesn't necessarily make those events bad. It simply means they may no longer be the right fit for every artist or every customer.
The Hidden Costs Most Artists Don't Calculate
When artists evaluate an event, many focus primarily on booth fees. In reality, the booth fee is usually just the beginning. Every event comes with additional costs that affect profitability:
- Hotels
- Parking fees
- Meals
- Fuel and vehicle expenses
- Equipment wear and tear
- Lost studio time
- Physical, mental, and emotional energy
- Time away from family and personal life
One of the biggest changes I made was eliminating events that required overnight stays. Today, I focus on shows within driving distance of my home so I can return each night. Sleeping in my own bed, maintaining my normal routine, and avoiding hotel expenses have improved both my quality of life and my business profitability.
Sometimes the most profitable show isn't the one with the highest sales. It's the one that leaves the most money—and energy—remaining after all expenses are considered.
Logistics Can Make or Break a Show
Logistics matter far more than most people realize. As artists gain experience, many begin evaluating events based on setup and teardown requirements almost as much as sales potential. Some festivals provide booth assignments weeks in advance, while others don't release locations until the morning of setup. Although that may seem like a small detail, it can dramatically impact an artist's experience. Without advance booth assignments, it is difficult to plan parking, loading routes, shade considerations, and setup strategies—especially for solo artists with valuable inventory that cannot be left unattended.
After a long day, discovering your vehicle is several city blocks away can turn load-out into an exhausting marathon. I have participated in events where moving inventory felt less like an art show and more like training for an unexpected endurance competition. I also evaluate safety before applying to any event. As a solo artist, I often travel with valuable inventory, display equipment, tools, and supplies. Easy parking, secure loading areas, and a comfortable environment matter. If an event requires navigating difficult terrain, carrying inventory long distances, or operating in an area where I don't feel comfortable leaving my vehicle, I will pass on the opportunity. The sales potential may be there, but risk management is part of running a sustainable handmade business.
Other logistical factors can include:
- Long load-in windows
- Long load-outs
- Multiple city blocks between parking and booth spaces
- Uneven streets, hills, and sidewalks
- Limited access for dollies and carts
- Weather exposure
- Unpredictable booth placement
- Sun and shade considerations
- Parking availability
- Vehicle security
- Terrain and accessibility
A well-organized event can dramatically reduce stress. A poorly organized event can consume energy before the show even begins.
Energy Is a Business Expense Too
This is something very few artists openly discuss: energy is a business expense. Every show requires physical energy, mental focus, emotional engagement, and recovery time. When I was younger, I could complete a large event and quickly move on to the next one. Today, I recognize that recovery time and protecting my health are part of the equation.
If an event drains all of my energy, it affects everything that follows. It impacts my ability to create new work, provide customer service, and maintain studio productivity. It affects my personal life and, most importantly, how long I can sustainably continue doing what I love. As I have gotten older, I have become much more strategic about protecting my time, energy, and health. I want enough energy to create, enough energy to run my business, and enough energy left over to enjoy life outside of work. That is not laziness. It is sustainability.
What I Look For Today
After more than 200 art shows, my evaluation process has become surprisingly simple.
Before applying to an event, I ask:
- How far is it from home?
- Will I need a hotel?
- Who are the typical customers?
- Is the event well organized?
- What type of artists, makers, and vendors are accepted?
- Does the audience appreciate handmade work?
- How difficult is load-in and load-out?
- Is parking manageable and secure?
- Do I feel comfortable bringing inventory, tools, and display equipment to this location?
- Is the event accessible and easy to navigate?
- What is the realistic profit potential?
- How much time, energy, and recovery will the event require?
- Will I enjoy participating in this event?
The answers to those questions tell me far more than attendance numbers ever could.
Final Thoughts
More is not always better. After more than 200 art shows, I have learned that attendance numbers are only one piece of the puzzle. Today, I focus less on crowd size and more on profitability, organization, customer experience, safety, sustainability, and quality of life. I also pay attention to how an event impacts my overall quality of life. Some large, poorly organized events left me feeling stressed before the show even began and emotionally drained long after it ended. A successful art show isn't necessarily the biggest one on the calendar. It's the one that makes sense for your business, your goals, your customers, and your life. For me, reducing large festivals wasn't about doing less. It was about doing better.
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