How galleries succeed

I have been in countless galleries as a browser through the years and not once as an artist, yet I noted successful galleries where the reception was genuine and winsome, and I recall galleries that closed because the clerks stayed hidden and proprieters looked discouraged and sullen. I will stick with my current Open House Art Shows, because my last one moved ten of my 27 paintings shown. The formula is simple: use three large rooms on the main level in our home to display my pieces; send colourful internet invitations; invite people who know me and have expressed interest in my art; my wife and I move around to converse and assist; she transacts the business and I keep talking it up; people find our food and a comfortable seat. And later we take inventory and jump up and down for joy. And I didn’t give anyone 40%-50%.

It also depends on who’s behind the desk. I re-visited the same gallery, here in Victoria, where I had the pleasure of viewing Roberts work firsthand, and got treated like I was trying to panhandle change for a cheap bottle of cooking wine. A couple of young, I’m too cool to bother with you, types were messing about on a computer and the concept of smiling seemed to be way beyond them. And normally the staff in that gallery are very pleasant. Everyone once and awhile you just run into someone who should NOT be in customer service. I quickly beat a hasty retreat into the street.

Dear Robert, It is letters like this that really rub me the wrong way. Galleries are a business and simply put, a stepping stone between the artist and the buyer. It has been my experience the artist does more for the gallery than the gallery does for the artist. All these places with their shingle hanging out and a carefully placed “Gallerina’s at the front tucked behind their laptop doing something important. They usually have bad wine and dry cheese and along with that a veritable mish-mash of inventory the gallery dictates will sell. It is one thing to go into one of these galleries as a customer, it is another to deal with them as an artist. Art is a luxury item and is the last thing people buy. I had a friend who was building a house with her husband. A rather snooty gallery owner told them at the opening of an up and coming artist that they should “build their house around the art”. They never returned. I was with a gallery once and went in to see my work. The gallery owner wasn’t there, but the assistant was. I had dealt with this women over the phone for many months but had never met her. While I spent the better part of twenty minutes in the gallery without so much as a nod, let alone a greeting. I finally asked if she carried the work of John Ferrie. Without a word, she shook her head no. I was puzzled as I had been with this gallery for six months and I knew they had a good dozen pieces of my work. I asked again and again for my bright colourful paintings. She was getting aggressive with me and finally asked me to leave. Just then the gallery owner walked in and said “Hello there John Ferrie!”. The woman went white as a ghost. I asked for my work and took it home with me that day. I was in tears. I know of many artists who have had to sue galleries to get paid. Sadly, this is a regular thing with galleries. People don’t seem to know that the paintings are there on consignment. The artist often has to pay a membership fee for a less than commercial space. And those artist run gallery spaces rarely get a big buyer. I take my hat off to anyone who can sell a painting in this day and age and the worst economy in Canadian history. But what I have trouble with is artists who yet again are pinning their hopes on a gallery to move their work and make them rich and famous. Then again, that is just me. John Ferrie

I am with Ron on the open house in home concept. I too have had good luck with this format every 3 years or so. I find that there are many venues for selling art that do not require a 50/50 split. Galleries are as individual as people in any profession. I am amazed that they have gotten away with treating people poorly and I am glad to see a major trend to make that unacceptable.

I think there is an unfortunate factor in all this. First let me say that we all know that there are thousands of galleries out there, some good, some bad. The unfortunate part comes when an artist is accepted in a gallery and the thrill of it overcomes any basic business sense. Due diligence should not be limited to names of galleries that might accept your work. It should also extend to discovering what the gallery is like to work with from the artist’s perspective. It might not always be easy and not all fellow artists are going to be forthcoming and helpful with insight into their relationship with a gallery but a little homework upfront could possible preclude any problems later on. What’s the point in being in a gallery, one that might even sell some of your paintings if it takes you forever to get paid or at all? People ask for references or do Google searches for all types of things in their lives, this should be no different. The only galleries that would be offended by an artist asking around about this are probably ones with something to hide and places you’re probably better off not working with no matter how disappointing it might be to turn them down. At least that is my opinion. Michael www.mcardosa.com

Galleries can become winners by intimidating people; they can also win by being friends with and giving service.

I am a professional artist with a flair for the dramatic and opened an art gallery nineteen years ago in a very depressed county where my husband and I moved in North Carolina. I painted it purple and yellow, we turned the grass into gardens with a pond and fountain. I hung my art, welcomed visitors with chocolate acorns as the name of my gallery is “Acorn Gallery” and a warm smile. On gallery crawls I dress up as various characters and am active in my community in many venues. People describe my gallery as fun, inspiring and they like my art, which I offer in different mediums – tiles, mini-prints and cards as well as originals. In short, my gallery reflects my personality and those who buy my art many times become my friends.

It all comes back to the “judging a book by its cover” thing. Any gallery owner/rep who dismisses a patron by their looks is a fool. Elitism doesn’t sell art work. Rarely does anyone frequent a gallery for free coffee, wine, or cheese. They come because they admire and love art. Many are buyers, but in their price range. I have shunned galleries for a long time for just such negative experiences as has been noted above. But, I recently had the fine privilege of visiting a gallery where I was greeted with respect, a professional demeanor, and a genuine desire to develop a reciprocal relationship before they knew if I was a buyer, patron, or just browsing. When I introduced myself as an artist (and showed my work online) there was no change in attitude. The difference in this gallery verses most was so against type I am considering representation again. I might add the gallery had paintings and sculptures in every price range from a few hundred dollars up to six figures, all displayed beautifully to the piece’s best advantage. Now that’s an art gallery! No wonder they’ve been around for decades.

Only a few weeks I while on holiday in Australia my husband and I wandered into a gallery of a well known artist. We were greeted to the extent that the woman was a pain in the bum. All we wanted to do was take our time and view the work, but this woman was in our faces and in our ear blar blar blaring to the extent that I just wanted the nearest exit. As an artist myself, I like to be greeted and acknowleged, but I dont need a running comentary by an over enthusiastic sales person who doesnt know when to shut up. To me art is something you really want and something you fall in love with when you see it, I dont need anyone to sell it to me, leave me alone to view it, and if I want to purchase it, Im a big girl, I have a mouth and I can ask for help if I wish to know something more or if I wish to buy a piece. I do not need a sales person running round making me cups of tea or holding my hand the entire visit. What I do expect is that when I do ask a question or want to purchase the art, that the person selling is skilled up enough to answer my questions.

I find that potential customers entering a gallery are like feeding deer. You say “have you been in the gallery before”? (while throwing out some corn). Let them wander a bit and become comfortable before you say (for instance) we carry a wide variety of artists, some local and some national (while throwing out some more corn). Backing off each time to read their response or comfort zone. As something sparks their interest you can go closer and engage in informative conversation. There is nothing worse than someone hovering over you as you are perusing the gallery. A comfortable, informative and enjoyable time in the gallery will make that person a possible client.

On of the odd experiences I had as a gallery visitor was when I fell in love with a painting done by an artist I knew. It was a large piece and I couldn’t afford it so I asked the gallery owner if she had similar but smaller works by the same artist. This was a large graphite drawing on canvas. The owner steered me to another wall with paintings by another artist which were entirely different – some strange half-finished acrylic paintings, sort of like paintings by numbers where some areas were just outlined and some were painted in with flat color. I said that I didn’t see how those paintings had any similarity with the one I liked and that I didn’t relate to them and again asked to see more works by the first artist. The owner kept talking about the acrylics and how they were “the latest and most interesting” works by a very “cool” artist. After a while I got annoyed and left. I am still debating about telling this artist how the owner practically prevented me from purchasing her painting.

I don’t know why so many gallery hosts can’t figure this out. I like it when I enter a gallery to be asked if I need help or if I am happy on my own. Some ask this question but don’t respect the answer and do the opposite. This must go back to the general lack of common sense or to be frank – intelligence.

Many years ago, I spent an evening exploring the galleries along the boardwalk in San Francisco. I was dressed in jeans a sweater and athletic shoes. Clearly of modest means. Most of the galleries were pleasant experiences, or at least not unpleasant in their treatment of me. In one, I was dumbstruck by the display of bronze pieces by Erté. This young woman came up to me and started telling me about them, their history, his history, how and why they were made, etc. She was eloquent and made them even more fascinating. She clearly loved the subject, and she was dressed much better than was I. I started feeling guilty at taking up so much of her time since there was no way I could possibly afford one and I told her this. She said “Never mind. I love showing these and who knows…maybe someday you will have enough money, remember this experience, and come back to see me.” I was blown away. She even put me on their Erté mailing list and for years I received the most beautiful portfolios with full color photographs. She set the bar high on how a gallery should be and I’ve never seen the equal since. I had no doubts about the success of the gallery she represented.

“Have you ever been in a gallery before?” has to be the most pretentious question ever asked. I’m amazed.

The Rolling Stones’ Rolls-Royce experience is the classic. In their youth, but by which time they had made a fortune, their visual image was pretty bad: worn-out, dirty clothes complimented by unruly hair and more. Apparently, one of them (likely Jagger) decided he wanted a Rolls and went into the Oxford Street Rolls office. You may know that at that time it had a large mahogany desk near the corner with two potted plants beside. The rest of the space was for a high-society dressed sales person or secretary type of person and a single Rolls carefully placed in a large show room. On this occasion, it was the salesman who shared the potted plants from behind the desk. The Rolling Stone character got the same bums rush based on appearance that you have indicated happens in art gallery sales offices. The Rolling Stones come back in at another time and refuse to deal with him. I have been told that they paid cash and purchased several “Silver Cloud” models at that single visit. I suspect that they wanted to make a point, too.

Thanks too much! How might we cooperate? brahimghazala@yahoo.com

Representation in a gallery is a slippery slope. “If you have viewed our web site & feel your work will be a good fit, we look forward to seeing your submission:” Ok, so I look at what you have on your web site, is it current?, & how would I know, if my work (which I think is certainly worth carrying) would be, in the eyes of the gallery , a good fit? If my work is worthy, is your gallery, worthy? Is your web site current? Are you making a concentrated effort to sell the art you already have? Are you offering deep dish discounts, the minute a designer walks in the door, to make a sale? Do you care, if the artist actually makes any money? Do you try to keep your artists informed of pieces going out on spec., or even being sold? Are you trying at all, to make me feel wanted? Are you going to relinquish the names of notable or corporate buyers, so I can upgrade my resume’, to upgrade my value? If a sale is actually made, should I as an artist have to hound the gallery for my share? Often writing or calling 3 or more times, to get payment, or to know whether a piece has in fact, even been sold? If galleries want out state artists, such as myself in their stable, then we should be treated with respect. If that’s not the case, then stick to regional people, who can make visits & exchange work frequently& call it a day. As a business woman, I think it should all be a 2 way street, one hand washing the other to get the sales, & working together to raise the value of that work, thereby increasing interest & value. If your work is not on the walls, is mistreated, neglected for the local artists, & then being discounted so heavily to designers & the like, what’s the point? If you work so hard to produce quality paintings, & try to sell at competitive prices, only to be told that you shouldn’t raise your prices…(I thought the value of the work, would be important) what’s the point of any of it? Buy a van, sit on a corner & sell to passers by. I rack my brain every day, trying to come up with other ways to sell, bypassing galleries. Many of my fellow artists feel the same way, have similar stories & are tired of this whole situation. A gallery that actually works for & with their artist, is a rare thing & very hard to find. Most locations , I feel, are mom& pop businesses, with their own rules & no set standards.

I was exhibiting some paintings along with some other artists in a restaurant in this small, very small coastal town…..sold several there and they took a slight commission…….then when the Big Wine event came to town, they shuttled me off and put in that POSTER artist, with the comment to please follow up again…….and eventually, I did. The owner, a week ago, told me to call her assistant and hang some paintings. Well we were doing just that when the owner appeared and screamed “What are you doing?” Commented on how she disliked a couple of my paintings ( in a RATHER mean way) then screamed at me that I had not communicated and walked into the kitchen with dark glasses on the whole f’n time. And the assistant and I took the paintings down. I went home. I , the baby dancer, cried. For some reason, it hit hard. Maybe I’m too fragile. Maybe I’m just not ballsy enough. But then, I remind myself that my sensitivities are what make me able to do my art and my acting and clowning. I’ve sold my work repeatedly. I’m not the go getter I should be. And I have 2 parents who are perfectionists and have knocked me down about my creativity my whole life- ” You’re the best, but you can’t do it” about my acting, as far as my art, they are in dissagrement, and they are divorced. Well, just another venting soul for you, Robert…………I still enjoy acting, and do get paid here and there, and I still enjoy painting, and I still do sell, though not as much as I’d like lately. I need to get over and through the hurdle. stenjeve@earthlink.net

Since the Internet, we have more honourable galleries. Because everything is out there, they are forced to maintain consistency in pricing and equal or exceed the service provided by competing galleries.

I have been in the retail art business for nearly 32 years now; and I find your comments to be right on. I see good galleries as being as individual as the artists they represent. We had a gallery in Carmel, CA for about 13 years, which was in the midst of 100 other galleries, all located within one square mile. We did well. And I attribute that success to many of the things you mentioned. We had good artists. Unique to the area. And we had excellent, but not too pushy, salespeople. The gallery experience can be intimidating for many; and it is up to the gallery to turn that into a good experience. Wimberley, TX

All collectibles are now on more level field. In a world-wide marketing where everyone now searches, researches, compares and invests, the last remaining borderline players remain offline in the hope that no one will check them out.

The answer to “Have you ever been in a gallery before?” should be: “Yes, frequently, have you ever worked in one before?” Next, the inexpert customer service personnel should be reported to the employer … whose reaction to polite but legitimate complaint dictates whether one wastes more time or moves on. Top commercial galleries are unfailingly polite and helpful to all who walk in the door. They assume nothing but are able to assess buyer potential with a few questions and polite sales lead ins usually couched in terms of ‘investments and collections’, informing that they take all major cards and offer layaway or deferred payment plans as well. Hey, Karalee … That San Francisco Erte gallery also gave us blue jeaned tourists the same polite treatment 22 years ago … and we have never forgotten the fun experience.

There’s so much mark-up on Erte reproductions that the galleries can afford to bring in professors of fine art or marching bands if need be.

One thing I have found to be helpful is to have a low level of non-intrusive music playing in the gallery, As my gallery is what I would call ‘urban contemporary’ (for no better term) I have found it helpful to play some ambient electronic music. (btw, the system is a professionally installed system- not just music coming from a computer). I have read that people tend to linger 30% more time if there is music playing in a retail space. I think it helps if the music correlates with the art (e.g. playing classical music in my gallery would be incongruent with the work). Having a gallery that is small (1400 sq ft), it also gives clients a ‘comfort zone’, giving them a chance to discus works that they find interesting with some privacy. It also helps to add an energy during receptions. If a gallery has a MAC as their computer, i-radio has a good selection of stations that are commercial free and free to use. Gallery 50, Rehboth Beach, DE

I belong to two co-op galleries, one in AL and one in NH. They both have two bank accounts, one for gallery business and the other for sales. When you make sales, the checks are out between the 10th and 15th of the month. It’s the only way to do business.

I am in the process of renovating a Victorian butcher’s shop into a gallery for my work and for invited guests, so all of your comments are very interesting to me. I had in mind some comfy chairs for viewers to sit at and gentle music playing in the background and an ever full coffee pot in the corner. But my selling point, I hope, is that mine will also have a working studio where customers (please let they be that!) can watch me painting. Any advice would be appreciated though!

I was also caught by the “Have you ever been in a gallery before?”, thinking, how patronising! Then I re-read it – it says THE gallery. Still an irrelevant question, but in the salesperson’s defence, she must have meant that particular gallery.

reading these gallery experiences seems like dating and romance in general. Many enter with grand illusions are let down in a huge way. Many have terribly grim encounters that linger on in memory vaults. Others have better luck, better choices in partners or learn to be more realistic in their expectations. Some find the magic in a tricky game. In love, art and art galleries, hanging in there is important to improving the odds in your favor.

I read the comments with interest, about galleries and the relationship with artists (or non-relationship, in some cases!). I know of several galleries here in Halifax, one of which was started a few years’ back by a young woman who has an ethic of helping folks in the community. She uses the gallery as a venue for occasional fundraisers for charities or for individuals, one of whom had herself been a big supporter of artists and crafts people here in Nova Scotia, and had medical issues. She (the gallery owner) drew the community together to help this person by raising money for her, but who sadly died recently. But the idea of the gallery has a member of the community and doing things to benefit it, is very nice and deserving I think of support. It is one way to have profile in the region, too! Emails go out for events, and there are lunches with talks, and so on, and you can come and just be part of the event without feeling the need to buy (or be harassed). It is a nice place! There are lots of newer galleries here, too, and they are enjoying varying degrees of success. A gallery I am now at has talks too on many things, including promoting your art, and shared shows, which bring in a lot of folks. They are new but very creative in bringing in traffic. They are eager it seems to help the artists to connect with other artists and promote each other. A stellar idea! I think the old style of snooty gallery owners who treat everyone as if they should be prepared to pop for thousands for a painting, is going out of style. It isn’t those people perhaps who will be the bread and butter any more. And the galleries will have to adapt to this reality and also, help educate the public to what art is about and why they should buy!

Relationships between artists, galleries and clients, like all relationships, vary as to their value, intensity, benefits to one or the other party, fruitfulness, etc. Ideally, it should be a mutually beneficial arrangement: artists provide galleries with the best work they create, galleries have product for their walls, and visitors are exposed to quality artwork that needs a new home. The best galleries may see the potential in an artist, and educate them in the business practices that galleries need in order to make the business thrive. I believe that galleries earn (usually) every cent of their commission: As an artist whose work is in several galleries, I don’t sell work that is sitting in storage in my basement; I don’t pay rent for a high-priced retail location, nor do I pay for the utilities, insurance, staffing, business taxes, etc. By having my work in galleries, I don’t have to spend my weekends at outdoor shows, fairs, etc. I don’t have to negotiate with clients trying to get a bargain. I can spend my time doing what I feel I do best, which is painting. I’ve watched professional gallerists in action: it’s not easy selling art, and the best gallerists do it with style, knowledge and professionalism.

While understanding and appreciating the fact that you are a sophisticated artist who has had many wonderful and quirky gallery experiences, I come at this issue from another angle. I am also a professional artist who teaches, lectures, and has presented art to the public for the Hirshhorn Museum. I have found, over the years, that the general public, while sophisticated in many respects, and able ,eager music, theatre and movie lovers, are “babes in the woods” when it comes to looking at or caring about art. The general consensus among artist I have spoken to is that at social gatherings, the “what do you do” question comes up, and if you say you are an artist, eyes glaze over. It is my belief that gallerists have an opportunity to make their visitors welcomed and comfortable so that they can look at artwork without fear and discomfort. Galleries are the connections between the public and artists. Why not use the opportunity to talk to visitors about the art – the making of art – the world of art – rather than the snobbery and elitism, which I so often encounter when I walk into many galleries. Amazingly to me, a gallery I visited in Florence, Italy had the exactly the same air of “cold shoulder” that I sense when I walk into galleries when visiting some U.S. cities. It is a shame. I would love for more non artists to be able to partake in the joy I feel from being part of the visual arts. Maybe, if the associations of gallery owners were better equipped, and more willing to be inclusive , perhaps the fine arts could become part of the vitality of this country instead of existing on the edges as a black sheep of the culture. Dianne Bugash

Like Julie Hollis I am also renovating what was once a shop, a fishmongers and then cafe’s and restaurants, into a small gallery for my own and other’s work……there will be regular ‘solo’ exhibitions, regular mixed displays by local artists and classes, workshops, demonstrations etc once it gets going and a library of art books to browse…… there will be a visible ‘painting’ space for me or whoever is manning it. It’s in a good spot in a small market town on the English/Welsh borders that gets plenty of visitors…. though more likely ramblers than Rolls Royce owners! Fortunately there are many very talented local artists! The ‘locals’ love the idea that the building is to come to life again (its been empty for 6 years) and I’m hoping it will attract browsers, artists, buyers and learners equally…. … ..but I am being totally indecisive as to how to ‘charge’ for the hanging space …. for want of better terminology! I am in the fortunate position of having a retirement pension….. so don’t need to make massive profits. …but do need to make it pay for itself! Its not a co-operative as I own the premises and am already on too many committees !. Have any of your readers done something similar and can offer advice ? Perhaps, Robert, it is a fresh topic altogether ? Your letters are always stimulating…..but its a measure of my total commitment to this project that its the first time I’ve replied to one !

I found the many comments on galleries most interesting since I work in a gallery as a volunteer. I am a bit shy about accosting customers, remembering that nothing chases me faster out of a store than an over zealous clerk. I am supposed to greet people, sometimes I forget. However I remain friendly and approachable, answer questions (often about other stores in the mall!) We are an Arts Council gallery, “working ” members can hang several paintings all the time. A limit of 3 months encourages us to keep painting and produce new work. As to commission it varies on the amount of hours a person “sits’ in the gallery. Even with no hours the commission is reasonable. We don’t sell frames . The level of our art varies, from a beginners to a professionals. People mostly ask if the paintings are “local” which they all are. Payment to the artist who sells, is once a month, because we are all volunteers except for our office manageress. Last week a lady went around with her friend, then stopped at the desk, pointed to two nice small watercolours behind me and said”I’ll take both of those”. Twice I have been astonished by someone walking in and saying “I will have THAT one AND that one”! I wonder if it was because the artist had put the price and then “or two for $$$” . People love a bargain. If someone admires something and says they cannot afford it, I try to (gently) suggest it is often possible to buy on a lay a way plan. We have one or two chairs for people who want to sit. Recently another gallery came into the mall, I hope the competition will be good for us. The other is a Co-op gallery run by the artists, many of them are our friends. So I plan to refer people to them as well. As a clerk I must be friendly and approachable all the time. I have my own work hanging as well but do not mention that unless the person asks if I paint and where my pictures are. As an arts council we also support other arts , dance, music, literary. If we have show openings we do serve coffee and nibbles, and a chance to meet the artist, or watch the award winners get their prizes (nice certificate and a small amount of money) I realize this type of gallery doesn’t suit everyone. It suits me because age and poor health discourage me from aggressively approaching commercial galleries. My work does sell. I think the openhouse concept a great idea (but not for me! I have a tiny cluttered house) It is interesting reading the many different ideas and opinions on the subject. The downside of our gallery is that we are at the mall’s mercy so to speak. We cannot afford large rents, so we take the left over spaces currently standing empty. We keep track of how many customers we have, this helps the mall know the traffic patterns. As for people interested in one particular artist, we are not allowed to give out the contact information, however we can offer to contact the artists and give them the potential customer’s phone number. Like all commercial enterprises we expect our commission, for anything sold in the gallery, or later.

Galleries are like a pair of shoes. Some fit very well, some don’t. Galleries are in business to make money. If blue is the flavor of the month, they sell blue. If, by some unfortunate chance, you’re painting is green your out of luck…until green is the flavor of the month. I’ve honestly come to believe there are good galleries just bad owners. What gets me in any discussion with gallery owners is their open mistrust they think we have for them. They really believe artists are out to cheat them at every opportunity. I say here and now and openly I’m looking for an honest relationship with a gallery that I can trust and who trusts me to do the right thing by them. I believe most artists feel the same way.

There are too many beginners mixed in with experienced quality artists out there and too many local galleries willing to show work of little or low quality from these inexperienced artists. Unfortunately art isn’t based on a master’s degree or an art education. Even with little or no entry school level education on art history, some can still identify quality art because it feels right and moves them, while others only like what they like without any rhyme or reason. Galleries and art mongers trade on this ignorance and dictate what art is. Add to the fact that no one can clearly identify what art is, only adds to this confusion. Some can see quality, technique and masterful coloring and composition and call this art, but generally art today can be a paper cup or wad of gum if the intellegencia says its art, further muddying the waters. What art is; apart from the obvious techniques, placement, color harmony, or discord; is impossible to pin down. The work of Monet, Picasso, Sargent or Bouguereau is brilliant to one while trash to another. Galleries at one time were at the forefront of art and I believe interested in quality artists and work. They had a pedigree of sorts. Art was in their blood. They believed in it. But art in general has been relegated to the back seat of society. Many gallery owners have little or no art training or knowledge. Many galleries, in order to survive, now exhibit non art items just to make ends meet, confusing the public even more. Because art is so ethereal and hard to nail down takes an experienced eye, someone who can recognize art and have the courage to display it and not pander to the money machine that fuels sales. Galleries need to reinvest in artists again and nurture the good ones, the ones who exhibit talent and have something to contribute to the world of art. Until that happens anyone with a lease can open a gallery.

Having “too many” beginners out there mixed with experienced artists is a good thing for the beginners, not so much for the experienced artists. Not so long ago there were too many beginner Americans , beginner settlers, beginner pioneers and so it goes on. It’s just a natural progression. The first who arive anywhere don’t get to keep the status without constantly fighting for their space under the sun. They always see faults in the newcomers, nothing is “up to the standards” of the firstcomers, but that doesn’t matter any more. Time is running over everyone quickly and newer newcomers will be here soon. Who knows what kind of standards they will bring. No doubt there will be good and bad in it all. That’s the reality. Intimidation is unavoidable.

Dear Anon – You must be a beginner from your tone. I’m not opposed to beginners, I just hope they get a chance to learn to be experienced. Only time, study and understanding, as with everthing in life, makes you better. All youth, myself included, wanted to jump the initial steps and start running. Those are lost years all beginners will lose who think this way. It’s when you gain experience is when you appreciate the difference

yes, I always a beginner at something, experienced at something else. And I will always lose something and gain something else. I love the journey, I love diferences and I love reading about them.