70 Art Jewelry ■ March 2016
take me to the maker faire
In addition to individual makerspaces, there are maker fairs (or
faires) held all over the world. As is typical of the movement,
most of these fairs are independently produced, organized,
and hosted. Fairs range from community-based “mini fairs”
to Flagship MakerFaires run by Make Media; you can find an
up-to-date listing of fairs as well as information on how to
organize an event in your own community at http://www.maker
faire.com/global.
Hughett recommends keep-
ing anything breakable in a
safe storage area. It’s OK to
label things that you own, and
it’s reasonable to expect that
some things stored at the Mil-
waukee Makerspace aren’t for
communal use. But every space
has its own culture, so it’s wise
to talk to members to get a
sense of the community norms.
Sign me up
The best way to find a local
makerspace is online. The
overall tech-centric nature of
the makerspace movement
means that it’s a rare space that
does not have a web presence.
You can also contact libraries,
museums, arts centers, and
community organizations to
see if there’s a space near you.
Many makerspaces have a
public meeting/Show & Tell
night where members talk
about the projects they’re
working on. The collaborative
approach to ongoing work is
genuine, and designed to keep
people involved. Hughett says
it’s common for new people to
get excited but then drop out
because they don’t know what
to make. Instead, he encourag-
es new visitors to join in on
a project being done by an
established member and see
what comes of it.
“A lot of people who go to
makerspaces are there because
they appreciate the community
of makers,” says Mohammadi.
In addition to simply striking
up a conversation, she recom-
mends getting a tour of thespace and looking at a class list
to see if one appeals to you.
Mentorship is built into the
social contract at makerspaces.
But exactly what that looks like
is up to the individuals. Some
spaces, like Houston’s, offer
formal group classes complete
with syllabus and materials fee.
Elsewhere, members may
barter lessons, stuff, and/or
work. Or, individuals may
charge a small fee for one-
on-one training. Most often,
people simply share knowl-
edge for the sake of sharing.
“It’s exciting to be able
to find collaborators,” says
Mohammdi, “because often-
times, making art is a solitary
activity.” When you’re brought
into a communal space, she
says, you might find peoplewho are doing completely diff-
erent things but have a similar
aesthetic. That flashpoint of
creativity means a new world
of possibilities.
“It’s as much about makers
getting in that space and being
inspired by other art forms as it
is about makers getting in that
space and inspiring other mem-
bers,” says Mohammadi. Expect
that members will want to
know what you’re doing and
how you’re doing it, and that
they’ll be thinking about how
they could apply it to their
own work. Says Mohammadi,
“Whether you’re an electronics
person or a jeweler, the whole
movement is about getting
around other people who are
celebrating that ability to make
things with their hands.”ASK THE AUTHOR: KRISTIN SUTTERWhat professional mistake has
taught you the most?
“Talking instead of listening. Some of the
best advice I ever got was: ‘Don’t ill the
silence when you’re interviewing someone.
Ask a question, then wait for an answer.’
I’ve found this to be invaluable in all as-
pects of life.”
Contact: [email protected]Milwaukee Makerspace member Jon Hughett
built a four-station jeweler’s bench for the
organization.At the Milwaukee Makerspace, tools are
either donated or purchased by the organi-
zation’s board using members’ dues.