Los Angeles boasts numerous commendable arts organizations that tackle important art issues and sub-genres. However, regrettably, there are some organizations that suffer from significant managerial issues.

Two examples of such organizations are Arroyo Arts Collective and Avenue 50 Studios, both of which claim to serve the Highland Park neighborhood of Los Angeles, situated just south of Pasadena.

A couple of years ago, I joined the Arroyo Arts Collective under somewhat coercive circumstances. My participation in a group art show organized by them was contingent upon acquiring an annual membership, which left a less than favorable impression. Nonetheless, given the relatively modest $25 fee, I reluctantly obliged.

The group art show experience was adequate, albeit not particularly exceptional. Nonetheless, at that point in my artistic journey, I was eager to participate in more exhibitions.

Subsequently, I attempted to engage with the Arroyo group on various occasions, even discussing the possibility of a large-scale street art mural. Unfortunately, those plans never came to fruition.

Sometime later, I unexpectedly received an email notifying me of being awarded a solo art show. The communication was poorly worded and confusing, leading me to initially suspect it might be a scam. Eventually, I recognized the sender as a representative of Avenue 50 Studios, part of the Arroyo Arts Collective, and my optimism soared. However, the reality would prove quite different.

Every step of the process with both Arroyo Arts Collective and Avenue 50 Studios proved to be a disorganized and time-wasting endeavor.

Upon being granted the solo show, Arroyo instructed me to get in touch with Avenue 50 Studios to arrange a schedule, determine the exhibition dates, and discuss the theme and content of the show. However, Avenue 50 Studios remained unresponsive to my calls for two weeks. When I finally managed to get in touch, they informed me that they had no involvement in scheduling or theme decisions and that my dates were not approaching anytime soon.

Feeling rather helpless, I waited and eventually followed up via email. After an entire month, Arroyo reached out again, inquiring about the confirmed dates. I was forced to inform them that despite my efforts, I had not heard anything from Avenue 50 Studios during that entire time.

It took the involvement of Arroyo to assist in finalizing a pair of dates for the solo art show at the gallery. The arrangement included sharing the gallery space with another concurrent art show, a decision that made sense from a business perspective as it could attract a larger audience.

However, the issue arose when I discovered that the show I was paired with was exclusively dedicated to women artists of color. While I fully support promoting underrepresented voices in the art community, it is essential to acknowledge that art buyers often have preferences for specific types of art and artists that resonate with their identity and experiences.

Pairing a group art show highlighting women artists of color with a solo art show focused on a straight, cis, white male artist was not the most cohesive choice. From an audience engagement standpoint, the mismatched pairing had consequences for the overall turnout and energy during the event.

Unfortunately, both parties failed to provide any information about the shared show until the actual day of the event. The lack of communication meant that my fans arrived two hours earlier than the start time of the other show, resulting in an empty gallery. As social beings, people often feel more engaged and enthusiastic in larger crowds, which leads to a more enjoyable and interactive experience.  Had my fans been informed of the appropriate time to arrive, they could have interacted with a broader audience, leading to more engaging conversations about my work and potentially generating organic word-of-mouth interest in my artwork.  In retrospect, the organization and communication of the event was a terrible bungle on the part of Avenue 50 Studios, and Arroyo Arts Collective.

I’m trying to remain calm in the recounting of this, but the truth is, it was enraging to be in the middle of such a debacle.  

The manner in which I was paired with the group art show underscores some issues with the organizers’ decision-making. This single mistake by Arroyo Arts Collective and Avenue 50 Studios could have seriously impacted the potential for art sales. Unfortunately, their shortcomings did not end there, as their level of incompetence extended further.

Despite organizing regular solo art shows of this nature, Arroyo Arts Collective and Avenue 50 Studios failed to offer any materials, advice, or basic guidance on how to optimize this opportunity. At Greater & Grander, we strive to document our experiences to facilitate learning for others. Surprisingly, despite their extensive experience with such shows, there was a complete absence of guidance on preparation and capitalizing on the event.

Additionally, during my visit to Avenue 50 Studios to inspect the location and discuss my installation, the gallery organizer explicitly forbade placing labels on the wall. This created significant confusion for viewers, as my work encompasses various distinct styles, and without labels, it gave the impression that multiple artists were being exhibited, and the artwork was not for sale. This misconception was conveyed to me directly by people at the gallery.

Furthermore, despite being the “sponsoring” organization (with no financial support provided), Arroyo Arts Collective made no effort to promote the show whatsoever. There was no social media promotion, no email blast, and essentially no promotional effort made on their part.

To add to the frustration, the gallery owner suggested lowering the prices of my work substantially to boost sales and recommended buying a frame for one of my paintings, which I followed through on, spending an additional $40. However, despite adhering to the few suggestions provided, not a single piece was sold.

I believe this lack of sales can be directly attributed to the preventable obstacles imposed upon the exhibit. Toward the end of the opening reception, I resorted to directly engaging viewers and sharing the prices, which sparked interest from potential buyers. Regrettably, by that point, the show was concluding, and many attendees were already leaving.

In addition to the previous issues, I attempted to utilize the Closing Reception as an opportunity to record YouTube content of the show, because I wanted at least one tangible benefit from this fiasco. To ensure proper planning, I sent multiple emails to the gallery owner two weeks in advance, outlining my intentions and sharing the flyer advertising the date and times for the closing reception. Unfortunately, she did not respond to any of my messages.

Upon arrival at the venue, I discovered that the gallery owner had hired a cleaning crew to work on the gallery at the exact time when the closing reception was scheduled to begin. Furthermore, she had unplugged the air conditioner in the room where my art was displayed.

The reason for the cleaning crew’s presence became apparent when I learned about another closing reception scheduled for the same day, an event that the gallery owner failed to inform me about. This reception was slated to run from 2 to 4, and its audio recording activities made it impossible for us to conduct any of our own video recording at the same time.

When I approached the gallery owner to discuss these issues, she responded by saying, “Oh, I don’t remember the things I tell people.”  That’s an exact quote.  This lack of accountability and organization added to the frustrations and disappointments of the entire solo art show experience.

It’s disheartening to reflect on how this whole situation unfolded, especially when I consider the remarks of another artist within the Arroyo Arts Collective who warned me, “You can’t rely on the gallery to help with sales. They’re just too busy all the time. They didn’t even post to their website until a couple of days before the opening reception,” which, incidentally, also happened in my case.

The combination of the gallery’s lack of support, critical mistakes made by both Arroyo Arts Collective and Avenue 50 Studios, and the considerable investment of time and money I made in setting up the installation left me feeling betrayed, frustrated, and violated.

In retrospect, if I had known that the additional time and financial resources I invested would not have made any difference due to the organizations’ incompetence, I would have opted for a more straightforward approach. Hanging only the best pieces, including the solo show on my art resume, and forgoing the unnecessary expenses would have been a wiser decision.

This entire experience has significantly dampened my enthusiasm for future opportunities with Arroyo Arts Collective or Avenue 50 Studios. To anyone considering such an “opportunity,” I strongly advise carefully evaluating the financial costs and time needed to ensure a satisfactory experience. It’s essential not to squander resources on opportunities like these that may ultimately prove unfruitful and frustrating.

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