Fine art cooperatives could literally be called “an artist’s dream” because they are the direct products of their members’ desires. It would probably be an exaggeration to say no two are the same; but in reality, that’s just about how flexible they can be.

The 23 members of Margaretville’s Longyear Artists’ Cooperative consider themselves a particularly lucky bunch indeed. While the majority of them have been on board since the gallery’s inception during Labor Day Weekend of 2007, all continue discovering new benefits of their union. Yet in the beginning, no one really knew what to expect.

Comments painter Alix H. Travis, a full-time resident of Halcottsville, as she reflects on those early days and the decision to sign on, “We knew that up here in the Catskills we are pretty isolated from the mainstream art community. Galleries are few and far between. We needed to make our own opportunities.” The idea of strength in numbers also appealed to Travis. “Just think of the instant exposure we’d all receive. Twenty-three artists, each introducing their individual collectors to the scene—talk about expanding your market!”

At the outset, a few things were clear. A basic foundation had been established, and those signing on as charter members realized they would be paying an initiation fee and monthly dues as well as actively sharing in the responsibilities of running their own business. In exchange, each was guaranteed a permanent exhibition space with no commissions taken on sales and no restrictions placed on the members’ outside exhibition venues.

Already, the pluses were apparent. Also obvious was that those pluses extended beyond the members themselves. No typical gallery commissions? That meant not only that artists would retain 100% of their sales proceeds but also that prices would not be driven sky high in order to compensate, making their work far less accessible to potential collectors.

And when a gallery is liberated from the bonds of having to profit as an entity to be successful, off come the shackles from the artists. It becomes the personal decision of each artist what they may show (at least within the range of what’s locally acceptable), where else in the immediate vicinity they may show it and the extent to which they may grant courtesies to their patrons. So you want to visit my studio, see more work and buy direct from there? No problem.

There were, of course, reservations. Painter Ann Lee Fuller, who shares her time between New York City and Denver/Vega specifically recalls, “At first I was unsure about the amount of time I would need to contribute to gallery sitting, but that has become no issue at all. It is even fun. We have become a tight-knit group where I feel we support each other’s efforts and challenge one another. Making a sale for some one else always feels great.”

The charter Longyear members were beyond fortunate in one major regard. They did not have to go out, locate and create their base of operations. They were presented with a finished, newly renovated, state-of-the-art gallery space by the recent purchasers of The Margaretville Commons on Main Street, Frank and Helene K. Manzo. For the Manzos, both artists in their own right, this cooperative venture was a deliberate offering. Helene—known as Laini—also a member of a Manhattan’s Blue Mountain Coop, felt it was imperative to open a similar venture in Delaware County. For months she actively recruited prospective members from among the region’s finest artists. Sometimes it was hard work convincing them that this experiment would eventually take off, but she persevered.

Groundwork being laid, Longyear, at the hands of its members, began to evolve. It was immediately decided to change shows monthly and to limit repetitions for a prescribed time in order to maintain visitor interest. Meetings were scheduled for the days following openings so that second-homeowner members were likely to be on hand. Contemplating the overall membership number and factoring in traffic at different times of year, while learning to feel comfortable in their space, fostered the decision that each member would have a solo show once every three years, at the same time permitting exhibit space for all members each and every month. To the eyes of struggling local artists, this was huge!

Early on, the Longyear members realized that they had the numbers and ability to make a large contribution to the surrounding community as well as serve their own needs as artists. Longyear Gallery manager/painter Phyllis Horowitz connected with Margaretville High School art teacher Jen Wentland and began planning school visits to the gallery. “These kids would come in, look around and actually begin debating the merits of various pieces amongst themselves in small groups,” recalls Horowitz. “It would have been difficult not to acknowledge some as budding artists. They certainly know what they like! I’m delighted they can look to us for inspiration and direction.”

Not crediting herself with much presentation ability, Horowitz decided that there were others who could really add to the experience. She invited Longyear Director Nat Thomas to come in and usher the students through the visit. “Nat has a real gift for drawing people in, regardless of age. He asks questions and can really get them thinking. His victims love it!”

This year Horowitz hopes to bring in other local artists to enhance these visits. She also believes that Longyear should begin establishing connections with other area art teachers. “We are relatively new, and it takes time,” she states. She also hopes to develop a project where area Longyear members actually visit the classrooms and work with the students. One Longyear member, Susan Whittenburg of Roxbury, has already achieved this. “It’s really a wonderful thing to have the freedom and ability to reach out to encourage and develop these kids. The connection we establish,” Whittenburg adds, “is invaluable.”

Local community groups soon began recognizing what Longyear had to offer. Margaretville’s M-ark Project assisted them in obtaining a grant from the O’Connor Foundation to offset operating expenses. The Roxbury Arts Group awarded them a Decentralization Grant from New York State Council on the Arts to sponsor a series of workshops for the community during the summer of 2008, and then repeated funding for the upcoming 2009 season. Painter John Hopkins of Andes enjoyed instructing his acrylics workshop last fall and also plans to introduce a weekly life drawing session to round out the roster. Why life drawing classes? “Drawing,” he explains, “is the basis of most art, and you rarely find these classes outside metropolitan areas or university environments.”

Recently, felter Jill Cline, founder and Manager of the Catskill Artisans Guild (also located within The Margaretville Commons), came up with a plan for enhancing Margaretville’s draw as an art destination. During the winter months of 2009 she launched “Art in Common,” a weekly series of events dedicated to promoting the local arts in crafts, fine art, music and literature. Longyear’s participation was invited and now includes scheduled gallery openings as well as monthly artist presentations designed to boost art appreciation within the community. For more information on this series, visit www.catsguild.org.

These outreach opportunities are like manna for the Longyear. As well as providing considerable community enrichment, they constantly bring new people through the door. And what was that we were saying earlier about market expansion?

Over time an even more valuable cooperative benefit is becoming unavoidable to overlook among the member artists—the way it spurs creativity. The need for new work each month speaks for itself.

But there is more. Much is to be gained from combining a guaranteed exhibition space with the artistic license to show work of one’s choosing. It provides many freedoms, highly ranked among them, the ability to experiment. A number of Longyear members are availing themselves of this incredible opportunity. Some are collaborating with others in making art. Others are learning other media from their peers. It is an adventure for all—fully taking advantage of what the various facets of fine art have to offer.

Longyear Director/painter Nat Thomas, long time resident of Margaretville, believes this atmosphere nurturing creative development to be Longyear’s finest attribute. Referring to the gallery, he concludes, “The space has created a focus for us. When you are in experimental mode, it’s really important to get feedback. Showing your new work immediately provides that reaction rather than keeping you stewing for months or even years until your next exhibit.”

Longyear’s experiences as a fine art cooperative are presented with the hope of encouraging other regional artists to assess their needs, gather together and create cooperative galleries of their own. Together, they can individually achieve their ambitions and bring the joy of art to our various communities.

Art collectors, too, should recognize the regional talent that abounds, as well as the benefits to be received, from becoming familiar with these local art alternatives. Visit the Longyear and other art cooperatives. There is much to be gained for all.

The Longyear Gallery is located upstairs at The Commons building on Main Street in Margaretville. Gallery hours are Thursday through Sunday (plus holiday Mondays) from 11:00 am to 4:00 pm, and by appointment. There will be extended gallery hours in the summer: please visit the Web site for details. For more information, please call the gallery at 845 586 3270 or visit www.longyeargallery.org.