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Category: tourism

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Be careful what you wish for

One in five houses in Maine is someone’s vacation home. The potential implications of COVID-19 are terrible.

Four Ducks, Cape Elizabeth Paint for Preservation, by Carol L. Douglas

One thing I’ve dreaded doing was striking out upcoming events on my website. As I’ve written before, I think the plein air festival has lost its punch. Because of this, I deleted all but a few key events in 2020. The ones I kept had strong revenues or provided unusual opportunities for painting. Then cancellations started flooding in from organizers rightly worried about promoting events they can’t deliver. Now I’m left with what I’d thought I wanted: a summer where I can concentrate on painting here at home, and where I can run my studio-gallery without interruption.

Of course, I don’t know whether anyone will be able to come. Like everyone else, I have no idea what shape the summer will take. The state of Maine is on lockdown. That’s not irrational: one in five houses in this state is someone’s vacation home, the highest percentage in the nation. That makes us very vulnerable to visiting pathogens.
Ottawa House, Parrsboro International Plein Air Festival, by Carol L. Douglas
But tourism is one of our top economic drivers. In 2018, over 37 million people visited Maine, spending $6.2 billion and supporting 110,000 jobs. The cost of this lockdown, if it continues through the summer months, is incalculable. The cultural costs are being felt already. Our bicentennial was March 15, but the state had to postpone a host of celebrations that have been years in the making.
In the near future, I’ll be teaching painting via Zoom. Teaching via the internet is going to be radically different from teaching in person. I need to figure out new ways to prepare, since we won’t all be looking at the same scene, carefully curated to address a specific issue in painting. The issue isn’t technology; it’s creating projects that are doable in students’ homes.
Ocean Park Beach, Art in the Park, by Carol L. Douglas
I’m kicking myself for not paying more attention to Katie Dobson Cundiff while we were in Argentina. She teaches at Ringling College of Art and Design. Her students were all sent home while they were on spring break. While the rest of us were larking around the glaciers, she was creating a template for remote teaching.
The only analogy in my lifetime was the economic collapse of 2008. My income fell by 2/3 in one horrible year. Both painting sales and classes were way down. My strategy was to stop showing and selling until the market had time to recover. Even my teaching practice was reduced. Instead, I used that time to focus on my own development.
I don’t think the current crisis will have the same shape as the 2008 crash, but I’ll probably do something similar. I’m retracting, watching, and trying to be nimble. And I’m really curious about your ideas.

But first I have to feel better. I’m entering week four of being ill. This morning, I’m breaking my quarantine to drive to my PCP’s office for further testing. If I get arrested, you can send me a file in a cake.

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Want to make a living in the arts?

Pay attention to the numbers and develop a strategic plan.
Three Graces, Carol L. Douglas (courtesy Camden Falls Gallery). Wherever I go, that’s where the party’s at, especially on the Camden docks. That’s part of my business plan.

Yesterday, we started our day with a tsunami warning scrolling across our phones. Later, they issued a clarification; Accuweather had misread a test alarm. The mighty Atlantic floated serenely on.

A tsunami would have messed up my plans, which were to drive to Ellsworth to attend the Maine Arts Commission’s Arts Iditarod.
I’ve writtenabout my own strategic planning. It’s tremendously important for the artist who wants to go from dedicated amateur to professional. I was chuffed to hear Julie Richard, Maine Arts Commission Executive Director, ask how many artists or organizations have a strategic plan. I wasn’t so chuffed by the response, which was pretty spotty. In fact, I was the only working artist in the group who had such a plan.
Parker Dinghy, by Carol L. Douglas. A commission from a day on the Camden docks.
A strategic plan is just a disciplined exercise in developing goals and objectives for your business venture. If you’re a Maine artist who wants to take that all-important step in self-development, I encourage you to attend the last of the meetings, at Lewiston on February 14. You can register here. Mush!
Artists, for the most part, operate outside a corporate structure. For us, a blueprint is critically important, and yet we’re loathe to embrace planning. When I did my first strategic planning, it seemed a strange and wondrous concept. Twenty years later, I get it. Don’t let the oddity of the process deter you. It really works.
Athabasca glacier, by Carol L. Douglas. My plan never involves giving up fun.
About 22,000 Mainers make their living in the arts, and we’d do a better job of it if we were more organized. That starts with facts about our target audience. There are, of course, a similar set of facts for every locale. If you’re not in Maine, you’ll need to ferret them out on your own.
Arts and cultural tourists tend to spend more, stay longer, and come back more frequently than other kinds of visitors to Maine, according to Maine Cultural Tourism Coordinator Abbe Levin. They’re also more likely to move here after retirement. The Maine Office of Tourism is a big player in drawing them here, although most of their efforts are invisible to us Mainers. 95% of their marketing is done out of state. This year, VisitMaine will have around 3.5 million hits, and the office will send out mailings to a list of more than 800,000 visitors.
“How many visitors are too many?” asked a participant. While that’s something that occurs to us in July, the coastal economy needs people from away.
Russ Island at High Tideby Carol L. Douglas. It was painting off the American Eagle that inspired the Age of Sail workshop this June.
Maine currently sees about 40 million visitors a year, with annual growth of 8-9%. To compare, New York City, which is America’s top-drawing tourist destination, sees 60 million visitors a year. Yosemite gets 4 million people a year. We are, in fact, a very big deal, but we have the capacity to accommodate more, according to Levin. That’s particularly true during the shoulder seasons and in places farther up north.
The question for Maine artists is how to engage these visitors. Is it with more gallery representation, a self-run gallery, signage, advertising, painting on the dock or chatting up tourists?