The Care and Feeding of Committees

Committees!

Don’t get me started...

Half they time they don’t know what they want, and I find I’m being pulled in umpteen different directions. I sometimes wonder if they’re even talking to each other. Most of them don’t appreciate art, and they sure don’t understand what it costs to make a good window out of quality materials...

Artists!

What a trial...

Half of them don’t have a clue what we want, and don’t seem interested in learning. We might as well be talking to ourselves. Most of them don’t appreciate our needs, and they certainly don’t understand what a job it is to raise money, make decisions, and manage the pressures and expectations of those we answer to...

Unfair?

Maybe.

But every artist - and committee - will encounter these attitudes at some time, and success depends on how they deal with them. For the artist, this means defusing stereotypes, building trust and confidence, and then following through to deliver the work. Committees, while sometimes a challenge, are extremely important. They represent those who will be commissioning, financing, and eventually enjoying your artwork.

The best way to understand committees is to take a moment to put yourself in a member’s shoes. Most are volunteers, and while some may be interested in art, they probably haven’t commissioned a stained glass window before. This makes their task a tough one, for even as they are figuring out how to do the job, they are expected to succeed - to choose the right artist and the right design, manage the project so that the resulting artwork is completed on time and on budget, and end up with something that pleases everybody. It’s no wonder that they’re tense, and not always clear about what they’re asking for.

The role of the artist is to understand all this; to listen to the committee’s concerns, and to build the trust and understanding necessary to keep the project moving ahead. At the same time, the artist needs to be assured that the committee will be open to ideas, respectful of the artist’s professionalism, and fair in its financial dealings.

The work of confidence building begins with the initial presentation, when the artist meets the committee, shows them a selection of previous work, and talks about the project at hand. The importance of this meeting can’t be overestimated, as it is here that both artist and committee establish first impressions, talk about their expectations, and try to get a sense of how well they can work together.

As a guide for the artist, I have gathered a sampling of the questions I encounter in my dealings with committees - often in that first meeting. For each question, I identify some of the issues it raises, and how I might respond. Of course, the “right” response will be different for each artist and situation; the important thing is to be prepared; to spot the issues that lie behind the questions, and to answer them honestly, in a way that inspires confidence and increases understanding.

Starting Out

1. Who should be on the committee?

   Most people don’t have experience at commissioning art. Potential volunteers are hesitant to get involved with what they fear could be a complicated and time consuming project. At the same time, they care about what happens to “their” building, and want to have a say in the artwork that goes into it. Among the members are usually one or two who have strong personal opinions about art, and their likes and dislikes can have an overwhelming influence on the rest of the committee. It is important for everyone on the committee to look beyond their own personal tastes to see what will best suit the building, and the intended use of the space. A balance of viewpoints among the membership, and a diplomatic chairperson can help keep the committee on track.

   Although I’m usually not involved when the committee is being formed, if asked, I recommend a balance that includes the architects (for a new building or addition), people among the staff who know about art and design, and representatives of the main users of the building. Having an art consultant from outside the commissioning community can be a valuable addition, as they can provide an unbiased viewpoint. The committee should include someone with the authority to make decisions for the institution.

2. How will we pay for new windows?

   An important job for many committees is to gather funds, and to make sure that the project will fit within the available budget. Members will have varying levels of experience in this, and financial issues can be a source of anxiety even for experienced fund-raisers. When working with a committee that has limited funds, I may give them a range of options, based on the type of glass and the complexity of the techniques used. If necessary, I provide a staged work plan, so they can spread the costs over time. I also suggest helpful strategies that can improve their chance of success. For example, donors usually prefer to sponsor specific sections of a project, rather than just contributing to a general fund. One strategy that can make donating easier is to divide the project into sections of varying size, so that people wishing to sponsor a section have several contribution levels to choose from.

About the Artist

1. Should we use a local artist?

   A committee commissioning a window should be aware of what is available, both within and outside of their locality. If there is a talented local artist they are comfortable with, then by all means they should use them. If there are few local artists, or the range of available styles is too narrow, then they should look further afield. When an artist’s studio is some distance from the site, naturally there are questions about how the committee can keep track of the work, and whether the artist will be as understanding and responsive as a local artist.

   As someone who has been in both the “local” and “outsider” roles I consider the location of my studio to be almost irrelevant. There are many ways to keep in contact with the committee, including telephone, fax, and email, and these work as well across town as they do across continents. Studio visits require a bit more work, but on a large project, the added expense is not onerous. As for understanding the committee’s needs, this is really a matter of style, not geography. The fact that I’m making a presentation in another city means the committee has already made the decision to consider a non-local artist. By learning beforehand about their city, listening to the members, and responding in a way that lets them know I’ve heard them, I affirm their decision. I am seen as someone they can work with, and location becomes a non-issue.

2. Do you have written references and previous work to show us?

   The question of credentials can be tricky, especially for the new artist. References, or an impressive selection of previous work, increase committees’ confidence, and it is something they are comfortable asking for in a contract situation. Of course the old conundrum applies: if you haven’t done many commissions, you don’t have credentials to draw on, and if you don’t have credentials, then it’s harder to get commissions.

   Faced with this request, it’s better to produce something than it is to produce nothing. New artists can show student work, or collaborative pieces (giving credit where it’s due), and in a pinch, can even use references from previous work experiences, pointing out which qualities from that job would apply to the current effort. (They should be sure, as they do this, that they are actually capable of doing the job at hand, within the specified costs and deadlines.)

   Even for the established artist, a request for previous work can cause problems. Sometimes, the committee is looking for the exact work that will fit their space, and are disappointed when they don’t find it among your samples. Other times, they will latch onto one image - however inappropriate for their building - and insist that this is what they want installed. When I show my previous work, I emphasize that these are pieces created for specific settings and clients. As I explain how each design was tailored to the particular situation, I get across the message that one design does not fit all. They are commissioning something special - a window for their space, and their space alone.

3. In a religious commission, is it important that the artist be of the same faith as us?

   This question is similar to the one about local versus outside artists, and many of the same principles apply. While an artist of the same faith starts with a built-in understanding of the religion, there is no guarantee that their artistic expression of it will be what the committee wants. If I have been asked to present, I can assume that the committee’s first priority is to find an artist whose work they like, and who they can work with. In preparation for the first meeting, I do my homework, learning about the beliefs, symbols and distinctive qualities that characterize this particular faith. I approach this work with respect and humility, knowing that I am only touching the surface of something that is of supreme importance to the clients. If the issue of faith is raised, I explain that as a professional, I work with people of many faiths, and that I am committed to working with this congregation and this committee to understand and represent what is important to them in their windows.

About the Work

1. What style of window should we commission?

   This part of the process can be hard work for committees. They are united by the idea that an artwork is needed, but when they begin to discuss what they want, they may find that their respective visions of the work - figurative vs. abstract, what subjects to use, and so on - don’t line up. The presence of older stained glass in the space can complicate things further, leading to debates over whether it is better to follow that style (even to the point of hiring the same company!), or go in a new direction.

   There are no easy answers to these questions, and the most helpful thing the artist can do is to act as a resource, a sounding board, and a gentle guide to what will work - or won’t - in the building. A good way to do this is to ask the committee to put aside for a while the issue of what the window will look like, and think about what it wants the window to do. As they discuss the role of the window - i.e. to block or attenuate the light, take the emphasis off of an uninspiring view, convey a message, etc. - they begin to see how much common ground there is, and they can then move more easily to questions of style.

   As we discuss the direction of the design, I try to focus the committee on what they feel is essential in the window, for example, significant colors, images or symbols. It’s important to keep a balance between the respective roles of the artist and the client during this part of the process. Direction from the committee is important and useful, but if the artist is to go on to produce creative and original work, that direction has to leave room for inspiration.

   Committee members sometimes feel they are being helpful by providing images that they would like to see reproduced in the window. Indeed, some studios may welcome this. Artists who create original designs, however, have to consider these images as suggestions rather than direction - otherwise the design process is undermined. My response in these situations is to take the material, with thanks, but to remind them that many things go into the design of the window. I am pleased to have the input of the committee, but the resulting piece will be an original work, unique to this building and this client.

   Where there are older stained glass windows already in the space, I point out that they are of a specific time, and to try to match them will not give the best result. Instead, I suggest that the new work can be designed to complement the existing windows, yet be relevant to those who use the space - now and in the future.

2. Who will direct the work?

   The main elements of a stained glass project are designing, fabricating and installation. The usual role of the committee, after choosing the artist, is to work with the artist as the design is being developed. The committee chairperson usually acts as the designated contact person between artist and committee. Once the fabrication is underway, the artist will be dealing more with the institution’s administration (or the architect and contractor, if the building is new) to schedule visits, arrange for payment, and at the end, to coordinate the installation. In my initial negotiations with the institution, I make sure that the roles of all interested parties are defined, preferably in writing. This reduces the chance of problems later on.

3. Will you be working on any other projects while you’re doing ours?

   Committees often feel like theirs is the only important project. While as an artist, I’d love to be able to put everything else on hold for a while, as a businessperson, I can’t. Even as my studio is fabricating one window, I am designing new work and laying the groundwork for future projects. To make sure there is no misunderstanding, I make sure that the contract for the work includes a timetable, with clear milestones. That way, I am judged by how I meet those commitments, not by how I divide my time.

Designing

1. Can you give us a quick sketch of what you would do on this project?

   This is a common request, but one I never agree to. A good stained glass design takes into account many factors, including the architecture of the building, the direction and movement of light, the surrounding materials and colours, existing windows and other artwork, the desired themes, and the available budget. A quick sketch can’t do justice to all these considerations; moreover, I firmly believe that artists should be paid for their design work, and in my estimates I clearly specify what portion is for the design.

   When I’m asked for a sketch, I take the opportunity to describe my design process, and all that goes into it. This not only puts the issue of quick sketches to rest, but gives the committee a much better idea of what their design fee is paying for.

Fabrication

1. Can we visit the studio while the work is going on?

   The idea of the open-door policy is attractive; committee members like the idea of being able to visit the studio at any time to see how the work is going. Unfortunately, they seem to visit at the precise moment when the glaziers are at lunch, and the artist is just sitting down with a glass of wine and a stack of books to do some research on her next design. This does not impress.

   Although some artists accommodate casual visitors, I discourage drop-ins, and individual visits by committee members, as these can break the flow of work. Instead, we arrange one group tour to show the process of constructing stained glass. The best time for this is when the committee can see the whole window - usually just before the leading, and while some of the work is on the easel. As part of the tour, we give the adventurous a chance to cut a piece of glass, or try their hand at glass painting. Everyone goes away with an enthusiasm and knowledge of stained glass that can only strengthen the relationship between artist and committee. That’s the best advertisement for what we do.

Committees!

I don’t know what I’d do without them. There’s nothing like them for bringing together the hopes and ideas of the client, for communicating, and for working with, as we create a unique artwork for their building!

Artists!

Creative and dedicated - who could ask for more? What a privilege it is to work with talented professionals whose first concern is to make something beautiful and special for our building. We should double their fees!

Well, we can only hope...