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| JRYU at Giant Robot, doin stuff. Photo credit: SpankyStokes.com |
OK OK, this isn't a guest post. Jesse didn't write the essay below just for our blog, he posted it to his
personal Facebook. But he did OK us reposting it on this blog, so here it is... SUPER long post on the state of the art... collectible.... whatever industry. Set some time aside and read so we are all on the same page here. He brings up MANY extremely important points.
***
Just wanted to weigh in on the recent chatter about the state of
“designer toys” and the scene in general with a perspective that has
been developing over the past few years. I don’t really FB too much but I
figure that it would be the best platform to share my insights and
opinions with the colleagues on here that this issue is affecting the
most. Please keep in mind that all observations, viewpoints and
statements below are mine, and that the exercise of me writing this is
to hopefully foster growth, change and understanding. Also, there is no
TL;DR, sorry.
Anyways, I’ve been involved in this scene for a
fair number of years now. Many of you know the story of how I was a
enthusiast and fan who was working in the corporate world, tried my hand
at the creating and then eventually migrated fully to a career as an
artist. I’ve participated in a number of shows and projects and have
gotten to meet a very large number of the people involved with the
scene. Throughout it all though, I’ve been able to retain some of the
business sensibility that I honed while working in my previous
professions. It is an absolute blessing to be able to straddle that line
of art and business, especially now when we are at a crossroads as to
where our collective futures lie.
It was a glorious time around
2006-2009, when the collectibles were hitting their stride and the scene
was flourishing with release parties, custom shows, convention
exclusives and lines for days. Taking their cues from pioneers like
Huck, Sket, KOZIK, MAD, JLED, Dalek, Shane Jessup, Tristan Eaton and
many many more, lots of artists started to realize that the nascent
“toy” scene could be a viable and possibly sustainable source of income.
In the “real” world. As the popularity grew, as the fanbase grew, as
the demand grew, so did the businesses to help address the growth.
Shops like Kidrobot, Munkyking, ToyTokyo, Wootini, Rotofugi,
Myplasticheart, PinkGhost, Dragatomi etc opened their doors to help
expose the world-at-large to a new genre of product that combined “art”
and “collectible”. Producers in addition to Kidrobot cropped up like
Strangeco and Wheatywheat and Toy2R and many many more to find and
produce work by a myriad of emerging talent who needed a partner to be
able to bring their ideas to life. Online shops like Tenacious Toys,
3DRetro, Frozen Empire Toys etc as well as the dedicated eBay sellers
provided even more opportunity for collectors to be able to find the
pieces that everyone was clamoring for. To help spread the word about
all of the happenings and releases, fan-originated blogs like Vinyl
Pulse, Spankystokes, ToysRevil, Plastic & Plush helped to keep
everyone informed and were daily must-reads for everyone. It was a very
interesting and exciting time to witness, be a part of and to
contribute for everyone.
Fast forward to today. Lots of
change. Lots of artists, shops, producers, and blogs have come and
gone. Less news. Less hype. Less excitement. Fewer shows. Fewer fans.
Abysmal growth and unsuccessful outreach to the public at large. More
(warranted) fiscal conservatism in decision making. More difficult
decisions made for the sake of survival. I don’t think anyone out there
would disagree that the situation for the scene-at-large, if considered
empirically, is bleak. Again, I’m referring to the scene at large.
For all of the individual artists who are flourishing or the companies
that have been seeing success, they serve as beacons of faint light that
we can look to as signs of a pulse. But they too still belong to or
emanated from, even by association or focus, the same scene that we are
all apart of and trust that I’ve considered their impact in my analysis.
I’ve had many a long discussion over the years with colleagues about
what is impeding us in terms of why this scene seemed to peter off or
why a subculture has essentially grown and declined in the span of less
than one generation of producers and consumers. I’ve had some talks
with those that are perennially optimistic (we need their unfettered
enthusiasm), some that are puzzled & confused (their understanding
of the situation is usually formulated with missing information), those
that are extremely pessimistic (I can understand their frustration) and
those who are just ambivalent (but for some reason still stick around,
not a bad thing!). It’s through these talks that has given me a broad
perspective as to many of the innate issues that have created a systemic
breakdown of the core mechanisms that need to be in place in order for
this scene, or any industry to at least be economically viable.
To wit, let me just get this out of the way - I am and call myself a
pragmatic creative. My work is not for everyone. I am an unabashed
capitalist as long as I am happy with with what I create, in my
particular style, with pure intent of creating art that I like, with
hopes that others might enjoy it. I feel like i need to get this out of
the way first - money + art = good thing. In fact, it’s a great thing.
You made something that you think is awesome that you like. Someone
wants to buy it and if willing, you sell it. You and the person buying
it are both happy. I can understand if people may be uncomfortable with
the notion that involving the idea of money somehow may inadvertently
sully their artistic integrity but seriously? Get over it. The idea of
commoditizing art for sales as being a sell-out move is an amateurish
viewpoint at best if you happen to live, eat, work and participate in a
functional society. The antiquated notion that art should be strictly
created and exist in a plane where its sole purpose is to invoke an
ephemeral, philosophical amorphous cultural exchange/awakening does not
apply to us. It just doesn’t. As an artist, being able to create
freely as well as being able to create for an economic return is one of
the definitive things that fortify our flexibility and ingenuity as
resourceful creatives. The two things are not mutually exclusive. If
you have ever hung a piece in a gallery, if you have ever sold a piece
to another person for the exchange of money, if you have ever tweeted or
posted about your work in any type of publication acknowledging the
existence of a new work that you have made - you are in business and
with that, comes the need for the acknowledgment of how critical and
important it is to incorporate that mentality and acceptance into your
career. Once that happens, then true progress can be individually made
by the artist to be smarter about the decisions you are faced with
knowing that your desire is to continue on in a tenuous industry. That
mentality and approach is just the precursor to being ready to
participate. The real issues are more expansive once you get to the
dance.
Everyone knows that our scene is essentially a cottage
industry of creatives, enthusiasts and producers who loosely came
together to form this scene. We cobbled together a space where
like-minded people from all over the world rallied around each other and
reveled in the work. Pieces were being made, money was being made, and
artists were getting known. This was no Hasbro. This wasn’t Mattel.
It was people like you and me, making cool shit that was blowing our
minds. And with it came money and opportunity and (to very loosely
paraphrase Super7’s motto) the idea that we could make the stuff we
always wanted but no one made. But while this scene was predicated on
the cool-idea-how-do-we-make-this type mentality and the creative side
seemed to work, the way we have done our accounting for “success” has
been flat out wrong.
Success in a business is of course measured
by earnings. But there are other things to consider that are almost
equally important, such as equity and value. As artists, it is
imperative that we reconcile what we are creating with a sound business
model. Furthermore, we need to be acutely aware of how to assign value
to what we create and understand what we get back. We’ve all been in
that situation where we have no idea how to price our work for a show.
I’ve been there. It sucks. We all put in tons of hours and spend money
on materials and shipping and then we worry that if we price ourselves
too high, we run the risk of it not selling. We convince ourselves that
pricing it to sell at a lower price is better than pricing it high and
potentially having it unsold. We’ve got bills, man. We have rent due.
Our cars break down. Our pets have vet bills and I might have an
unexpected expense. I absolutely get it, I’ve been there and will be
there again. Never once have I ever heard of a colleague bitching about
not earning enough because they are trying to buy a Lamborghini. We
just want to make a living at doing what we love, have passion for and
hopefully not starve.
But we have to understand the breakdown of
costs for anything so that we can manage expectations of what our
efforts will bring.
Let me give you a very common example.
*I am invited to a custom show where the gallery wants to highlight a new platform.
I agree to participate in the show.
*The gallery sends me a blank.
*I receive the blank and start concepting ideas.
*I execute my idea, taking however many hours it takes, using my
materials. I then pack it up (securely), take it to the post office and
ship it back.
*Gallery receives the piece and sets it up for the show run.
*Leading up to the show and afterwards, the blogs talk about the show,
the availability of the pieces, the artists involved, etc. People
retweet about the show, IG the show’s WIP, and build awareness about
this upcoming event. I blog/tweet/IG/FB as well.
*If the piece
sells, the gallery sends me my commission, usually 50% of the selling
price. For this example let’s say I priced it at $1000. (nice “random”
round number cause humans like round numbers). My cut is $500.
*I receive the money.
What did I earn for this effort (not including any brand equity building or other indirect valuations)?
Not $500. Not even $500 minus fixed costs (shipping, materials, gas to
the PO, all the incremental costs). The correct earning is $500
minus (fixed cost) minus (free marketing costs). That’s right. You
have to deduct the approx value of what it would have cost you to reach
the amount of people that heard about the show whether it be by social
media or via a blog post. In any other industry, their profit is
determined after all amortization of fixed costs including advertising
and marketing. I’ve been on Spankystoke’s page and other blogs dozens
and dozens of times, whether it is for a singular release or as a part
of a group show, etc. Have I ever paid him a cent? Never. I’ve never
paid him any bit of my earnings from any show or event where I have ever
sold a piece despite the fact that his involvement helped in the
process. It would be unthinkable that a for-profit business assume and
predicate their sales based on free word of mouth and spend zero cents
on advertising as their business plan. But, we often see it in this
scene and we need to educate ourselves on what things actually cost. It
is one of the first steps that an artist can do in order to start
themselves on even footing as to managing their expectations and
planning their career. By accurately estimating your costs, time and
effort, is one of the things that will help you to create easier and
freer knowing your constraints from the beginning. Btw, notice the
asterisks above in my list of steps? Those aren’t bullet points. Every
step that has an asterisk next to it involved costs of some sort paid
out by someone, somewhere in the chain. Those costs tallied up need to
be taken out of the end sales price before you can accurately measure
*how much that piece was sold for*.
If you were literally add up
all the costs down to the fractional penny of what was truly spent in
order to facilitate the sale of that one piece, then it would sober you
up in a quick second. Let’s take a broad look assuming that the blank
production costs are already paid for.
Gallery expenses (rent,
overhead, salary, insurance, office supplies, utilities, taxes/FICA,
ancillary property fees, storage of blanks, already purchased
furniture/pedestals/tools, etc)
Promotional expenses for the show
(marketing/design/printing costs related to advertising, opening night
expenses such as refreshments, afterhours staff costs, paid advertising,
sweat equity promoting)
Artist invitations (sweat equity of
correspondence and logistics of inviting artists, shipping and material
costs to artists all over the world, etc)
Artist costs (materials,
time, labor, shipping/material costs back to gallery *bubble wrap is
expensive*, gas, food while you’re working, costs of working from
home/studio, utility costs)
This doesn’t even get into additional
luxury costs such as having the artist(s) flown in for the show, giving
them accommodations, food/local travel expenses, etc. In addition,
this also doesn’t cover the costs of hiring an advertising firm to reach
the amount of people that the blogs and social media do for FREE, a
cost that should be included.
For those who are reading that
have put on shows, you know all of this all too well and the shit adds
up quickly. For those who have only participated, it’s easy to overlook
all of the incremental costs when we are only fixated on our end of the
deal and what we have to pay for. This is why I explain to people that
being a creative (or any) entrepreneur can be made clear with one easy
concept.
“I buy the paperclips.”
If you’ve ever worked
in any job, you are there to fulfill a role for your specific talent or
skill. Manager, insurance adjuster, hedge fund manager, waitress,
retail clerk, etc. But in most cases, you do not have to set up your
work in order to do what you were hired to do. The building you drive
to every day? Someone else pays the expenses related to that. The desk
and chair you sit at? Someone paid for those things, paid for someone
to build them so you can work at your desk, on a computer that someone
set up the OS for, already connected to the internet that someone set up
a intranet for you to be able to login, do what you are paid to do, so
you can say...print out a report and then use a paperclip from the
office supply room (also paid for) to stick two or more pieces of paper
together neatly.
For us? We buy the “paperclips” and everything on up. And it costs a shit ton of money if you think about it.
By this time, you may be wondering how this all ties into what this
discourse is all about - the art collectible scene. It ties in
tremendously as my conceit for why the scene is at the state that it’s
in is because we need to regroup and understand as a community why there
are business difficulties and failings that are contributing to the
general malaise that we are currently experiencing.
It is too
easy to lay blame on the art itself. TOO easy. I can see why the
kneejerk response would be to pin it on the proliferance of licensed
goods or collectibles flooding the market that we don’t particularly
hold in high personal regard. But art itself is SUBJECTIVE, not
OBJECTIVE. The business aspect of art can be measured fairly empirically
by costs and returns whereas the art itself is determined by the
individuals and their own eclectic tastes. Mediocre art to one, is
brilliant to another. If the market is flooded with this level of
product, it will only serve to illustrate the divide between memorable
and forgettable, not "good" or "bad". Look at the restaurant industry.
There a million Hooters and Chili's type restaurants out there, but the
restaurants that really put an emphasis on quality, still survive and
flourish. Again, this is not about "good" art vs "bad" art. It's about
how memorable and important a piece may be. It may be years after the
release but tell me you didn't see Luke Chueh's Possessed piece for the
first time and know at that moment that it was something fucking classic
already. Right?
See, art, in and of itself, has never been the problem. It's the business of art that has been the culprit.
If we are to acknowledge that our success as artists and producers are
heavily tied into our awareness and adeptness of navigating the business
aspect of putting our art out there, then it is a decent start. We
need to reboot, understand that what we do is not cheap or easy to do,
from a beginning customizer all the way to Coarse, 3A, Kidrobot, and
more, then we may be able to work together in efforts that can spread
the economic burden across the board - to ensure that we can continue
doing this longer for those who truly appreciate our efforts and vision.
Some other suggestions as to how we can unify behind some common ideas to help give back and strengthen our industry.
What is it that we do?
Get rid of the fucking stupid ass terminologies of “designer vinyl”,
“designer toys”, “urban vinyl” etc. All man-made consumer objects are
designed. Many of the objects that we create are not “toys” to be
played with. The term “urban” is just a nice way to phrase things that
come from impoverished or pre-gentrified areas. Not all of what we
create is made of vinyl. Failed on all counts. If what we do is create
things for people to purchase and collect with strong artistic
sensibilities, the closest thing i can think of to describe it would be
an art collectible. This one point has been a sore spot for so many for
so long but we have allowed it to continue to perpetuate. I know that
almost all of you have had to explain to someone outside of the scene,
what exactly it is you “do”. If we cannot easily explain in a few
sentences what it is this scene creates, then how do we expect people
outside of it to understand? A unified term and explanation for what we
do within this industry is needed. Thoughts?
Help a brother and sister out
We need to support the retailers by supplying them with product or keep
them in mind for our releases. The retailers are our partners (who are
spending grips of money as I laid out above) just to be able to have a
place to showcase our work. Because of the democratizing aspects of
technology (3D Printing), vertical integration of skillsets
(molding/casting/producing at home), globalization via internet
(directly connecting with cheaper manufacturers overseas), we are
cutting the retailers and middlemen out of the equation. This shouldn’t
be the norm. They are our buffers to allow us to focus on what we do
best - create. For example, when a random person walks into
myplasticheart and Bikkie or Vince educate them on the objects that they
see in the store that they’ve never seen before, that’s one less person
that we have to do that for on our own. They are the frontline of
education to new audiences that may love what we do, but just haven’t
been exposed to it yet. We are not a mature enough industry to expect
that organic growth will adequately serve us. We still need those on
the ground to help us sell daily, not just once a month for major shows.
If the retailers all go away or have dramatically reduced roles, it
will make our lives more difficult as it we will have less time to
create, and have to spend more time on ancillary tasks to make up for
their absence. I, along with a lot of other artists, have been remiss
in remembering to give them products so that we can both share in the
succeesses as well as shoulder the burdens during difficult times. Put
it this way - if you and a your partner were on a deserted island, and
you happened to find a stash of clean water to drink - would you keep
that to yourself so you could last longer or would you share it with
your partner so that both of you could figure a way to survive? Moving
forward, any of my projects that I do will take into account how all
involved can benefit so that we can strengthen the community from our
collaborative efforts. I encourage my fellow artists out there to do
the same if you are able. Give each retailer a special run of
something. Call or email them to see how you may be able to work
together. I guarantee you that all efforts in this regard would not
only be appreciated, but a huge step in the right direction.
Education
Lastly, we need more education that will be easily ingested by someone
totally not familiar with the scene. Education about the artists, what
we create, the companies involved - it is a very daunting thing, the
idea of art. A lot of people don’t want to delve into it as they just
don’t understand it. We shouldn’t penalize or exclude people who may be
interested but don’t know the first place to begin. I propose that we
create a non-profit group or association of retailers, producers and
creators that work together and dialogue often to address the issues
that inadvertently arise in any nascent industry. Healthy competition
is good but when everyone is feeling the effects of the downturn in the
scene, it behooves everyone to sit down, figure out a good plan and
chart a course. If we don’t address the issues, they will not just
organically go away.
Also, I think that we should be doing more
outreach to the younger generations in terms of art awareness and the
new advances and ideas in art. Art is no longer hand turkeys or
popsicle stick sculptures in school. They are learning about 3D
printing, painting on canvases that are not 2D, understanding the
concepts of basic 3D sculpting. More opportunities to engage in the
next generation of creators and consumers would only strengthen us over
the long term. As it stands, the hard core collectors that we had
before are slowly leaving the scene with no new blood to replace them.
That is natural attrition. Nothing at this point is going to just be
released and magically restart the fire. The only closest thing is
FUNKO and even they took years and millions of dollars to get to where
they are now at. Love or hate them, you can’t deny their hustle.
The art hustle is truly a hustle, and not in the street sense. We have
to constantly be moving and inquiring and producing. Jermaine Rogers
told me one of the best pieces of advice ever -
“Be prolific.”
What does that mean? Just keep making shit that you are good with and
maybe some of that stuff will stick. Lou Pimentel also told me
something very plaintive and powerful as well.
“Do good work”.
I’d like to humbly present my version of it, with all respects to Lou.
“Do good work - together.”
Thanks if you made it down this far. I don’t presume to know
everything there is about what is going on. I just know what I’ve seen
and many may disagree or have a different viewpoint. Whatever may be
the case, we just need to get involved and do what we can, when we can.
Respects to all, let's see what we can get done. Until then, I'm just
another struggling artist trying to make cents.
- Jesse "J*RYU" Yu
