More About Juried Shows

I recently received an email from an artists who is part of a 4 person art support group.  The group had compiled a list of juried exhibitions they felt were important for your career.  The woman mentioned that the group had been represented in all of these shows but that she had not yet "broken the code" for being accepted into any of them.  She asked if I had any advice.

My response was hopefully honest and helpful.  I suggested that you just have to keep working, make the best work you can make, do the unexpected but do it well, only seek advice (or criticism) from people you deem make much better work than you and people who have your best interest in mind.

I think those are honest suggestions but something did occur to me that is important concerning juried shows that I haven't really thought about before.  People talk about shows being "a lottery" or worse and I do think it's true that you can never be sure or overly confident about what a particular juror will choose to recognize but if there is a show that you are repeatedly rejected from you might consider who is selecting the jurors?  If the same person selects the jurors for a particular show year after year, or if a show seems to always have a particular type of work (a type you don't do) it may be because the person inviting the jurors is expressing their tastes and their preferences through who they choose for this important job.  This could be true and very intentional or it could be true without being intentional.

In my opinion shows that are sponsored by museums and galleries are perhaps more likely to have this issue.  The director or staff may be in charge of choosing jurors while shows sponsored by membership organizations have committees which are ever changing thus allowing more opinions and ideas about jurors.  This is just another factor you might consider when making your show entries.

I want to add one other thought which is a little off topic but related to juried shows.  Just recently I read a thread online about the issue of work being damaged while on display in a juried show.  One person commented that they only show in galleries or museums and questioned why anyone would even bother to enter juried shows.  I found that very interesting.

So why do we enter juried shows?  They are expensive.  We often don't even get to see the shows.  I don't think there are huge sales in these shows.  So why?

1.  People just starting out don't have galleries and museum's often aren't interested.

2.  Fiber work (especially quilts) are often not shown in galleries and museums unless there is some extenuation aura....Gees Bend Quilters.

3.  College and University galleries might show your work if you can get someone's attention but they often prefer that you have credentials.....BFA, MFA

4.  It's a good way to introduce yourself to your peers outside of your local area.  Networking can get you invitations to places you never even knew existed!

5.  Many juried shows produce catalogs which are purchased not only at the show but online thus widening the area of those who might see your work.

6.  Prize money.  OK, this is only for a few of the entrants but it's fun when it happens.

7.  Acknowledgement.  Having your work reviewed by a panel of quality jurors can be supportive when your work is accepted and give you pause to review what you are doing if you are rejected.  (doesn't mean you need to change anything but at least you get a different opinion)

8.  It's fun also but I do think there is a limit to the number of times you can be in a show and still be thrilled by the experience.  Trying new shows is a good thing.

So thank you to the artists who wrote me and thanks to her small group for giving one another support.

Happy Thanksgiving and pass the cranberry sauce.

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The Future of Exhibition Catalogs?

An assortment of catalogs from Art Quilt compeitions.

A couple weeks ago I wrote a piece about criteria you might consider when entering juried exhibitions. In the list of considerations I included whether or not the sponsors publish a catalog.

When I began entering art quilt shows I was totally surprised by how many shows printed catalogs. I felt and do feel this is an important element but as our world continues to move toward doing everything digitally I've been thinking this may quickly become a perk of the past.

During the last year I was in one show which in previous years had published a catalog but this year they opted to make a CD instead. I am also aware of some sponsors setting up catalogs online. If you want a catalog you pay and print directly from the online service. I have not done this myself but I have to say this is preferable to no publication.

It's wonderful to be able to go back a few years and look at what work and which artists were in a specific exhibition. I'm thinking now that an additional option or feature could be a permanent online archive of work from shows. Not just juried shows but any show that wanted to participate. This could be done by individual museums, galleries etc. or there might be some organization that wanted to become the "national archive" of art quilt shows and competitions. I know there are organizations which are collecting images of work as a general archive of what is being done with art quilts but this would be a different angle. There could even be a option where you could select and print a catalog from this kind of archive. This could possibily be another avenue for museums or organization to generate income.

OK entreperneurs! What do you think?

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A Revolutionary System

Index Cards, File Dividers and a Plastic Box

Recently I wrote about issues relating to the complexity of preparing show entries and found that many of you share my feelings about the process. One of the issues I did not touch on is how I plan my entries so I thought I would share just a bit about that.

The first year (about 4 years ago) that I decided to enter multiple shows, the scene in my studio was total confusion as I prepared by entries. I had not been keeping an inventory so I did not have a listing of when I made a specific work, it's title, it's size, a price list or anything else. I simply had work. No images either.

I began to review the information for each of the shows I planned to enter and was immediately confronted with conflicting dates, overlapping dates and all the issues about formating images etc. Fortunately my photographer is also my husband, Tom, and he kindly stepped in and we got the work photographed, CD's made and shipped and I only messed-up one entry (that I know of) and that venue allowed me to just re-submit.....if they are reading this, Thank You! (I had listed one work and sent an image of a different work.)

From that point I realized that I needed an inventory, ongoing photography and some way to track where the work was entered, if it was accepted, and when it needed to be shipped and returned. I looked a many software programs to see if any would satisfy my needs and while many had very good features I ultimately came up with a "Mixed" system designed by Terry.

So here's what I do.

• I have a folder marked: Prospectus. I download and print information and forms for any show I think I might like to enter. The hard copy goes in the folder and I save a digital copy in a digital Prospectus folder.

• I have an index card for each piece On this card I note the title, date of completion, size, processes and materials used and price. I list any show in which the piece is entered, acceptance or rejection, date work is to be shipped and returned...I love being able to look through my box and find that information.

• I make a card for each show I enter and list the entries on that card and what is accepted or rejected. This is very helpful in succeeding years to see what was entered. I also note if the work sells. This is also posted on my Digital Inventory.

• I keep and dated Digital Inventory with title, date, size and price. I try to keep this up to date and delete old inventories as I make changes.

• In my personal datebook I note when work needs to be shippped and dates for openings.

• I keep a large notebook which contains cover sheets for each individual show. As I enter shows, I store the printed prospectus and a copy of the entry form along with shipping forms etc. in that sleeve. At the end of the year I can clearly see what I have done and have everything for each show in one place.

Now when I plan my entries, I first read the material and think about what I have that will be approporiate for a specific show. I begin by viewing my digital images. I then pull the card for each work that I choose and move on from there. If I need to cross-reference dates I pull the prospectus. It seems to be working.

I am not a Luddite. I love my Mac and all the things I can do with it, but I like the physical world of an index card, a notebook, and a folder. For now it seems to be working.

Thank you for spending time at Studio 24-7. Commenting is FREE and I love hearing from you!

Guest Blog by Gayle Pritchard - Show Entries from A Different Point of View

Gayle Pritchard is the curator for Artist as Quiltmaker as well as an artist. The following is in response to the recent articles and comments posted relating to issues of show entries.

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Hi Terry & Terry’s blog readers. I finally had a minute to respond to your posting in my role as curator of the Artist as Quiltmaker biennial exhibition held at FAVA (the Firelands Association for the Visual Arts.)

First of all, Gloria Hansen’s articles in the SAQA publications are the only ones I have seen that consistently address the “how to photograph and size your work” question consistently. This subject, however, is not a new one, as art quilters have struggled with this since they first began exhibiting their work. When I interviewed artists for my book Uncommon Threads: Ohio’s Art Quilt Revolution, everyone talked about having to learn about photography, and Nancy Crow shared with me images of her very first quilt photos, one of which I included in the book. Her quilt was photographed hanging on a line outside in front of her garage. So you can see, we have come a long way. It should be noted, however, that the artists have always had to take responsibility for having good images of their work, correctly labeling them, storing them and sending them. At least now we are toying with the elimination of actually having to mail them anywhere. I should say, though, that there is as much variation from horrible to wonderful in the digital images we receive as there ever was with slide entries. Good photography still matters. Secondly, artists entering juried shows also need to realize that we receive hundreds, maybe thousands, of images for an exhibition. This requires great attention to detail in storing, organizing and presenting the work to the benefit of the artist. Not all artists make it easy for us to present their work to their advantage, because they do not read the requirements, or follow the rules, are unorganized, do not provide the required materials, and so on. Some jurors overlook this; some do not. Because we also have an object jury, some jurors will overlook crappy images, because they like the piece and want to see it in person; some will disregard a piece presented via crappy photography.

Since most curators of these long-running exhibitions are not experts, and because technology is changing so very quickly, we all have our work cut out for us. In our case, the call to entry for our 2012 exhibition will be put together next February. We have until then to research the various websites that manage online entries to see if that will work for us. We do not have a staff “web” person, nor do we have a large budget. Technology moves so quickly, and new tools emerge so quickly, that our call to entry may be outdated by the time the exhibition takes place over a year later. Oh, and to address another comment I read, we at AQM do use the entry fees to supplement the award money donations we receive, but we certainly do not make money as she suggests, yet still try to print high quality postcards, have display materials made to highlight specific pieces, pay for educational lectures, tour groups, etc. to come through, and so on.

As for consistent digital requirements, at AQM we have tried to stay on top of what other exhibitions are doing, even though I am a consultant and not a staff member, and without having a computer geek on staff. When we designed our last call to entry, our hired graphics person and I researched the wide variety of digital requirements listed, then tried to tailor them to meet the requirements of our exhibition. Because I am also an artist, I try to be particularly sensitive to the needs of the artists who may wish to enter our juried show, so that I can make the process as seamless (and pleasant) as possible for them.

What I find to be a most intriguing possibility, but which I am unaware of currently, would be an online site where artists could store their images, then simply do a “click and send” to meet the parameters of a specific show. This probably already exists.

As Christine Mauersberger mentioned in one of her responses, the projection of images is also an issue. For AQM, we only utilize one juror. Last time, we still had some slide entries, so we had the projector and screen set up for those, then all the other images prepared for a PowerPoint projection on the screen. We felt it was important that all the images be projected the same way, and not simply viewed on one of the computer screens. One other thing we do at the “image jury” stage of our exhibition is allow volunteers to assist the curator (me), and the juror. They are not allowed to talk or react to or discuss the exhibition entries, but often they are artists who I have encouraged to view the process close-up and personal. It is very educational, and you should try it if you have the opportunity. You will learn a lot.

Finally, at our exhibition, we have the controversial “object jury.” After the initial jury from images, the work selected is brought into the gallery space, (though not installed), the juror returns, and views all of the artwork one more time. Many artists do not like this part, do not like having to send their work to the exhibit and have it returned, and do not like having their work tied up in the extended jury process. I must tell you, however, that in 30 years we have never had a juror who did not like the object jury. In fact, they love it, and feel in general that it makes for a much stronger show. For our exhibition, the juror also selects the award recipients at this stage.

So, that’s my two-cents-worth for now. Thanks for beginning the conversation, Terry, because it is a worthy one, and one that will continue, I am sure, for years to come.

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A big thank you Gayle for taking the time to present a different voice. And thank you for visiting Studio 24-7 and I love hearing from!

Excellent Guideline for Show Entry Preparation and Update On Young and Talented

Curator Gayle Prichard and Betsy Manderen during opening of

Artist As Quiltmaker

Ohio artist, curator and author Gayle Pritchard has written an excellent article I want to share with you covering all the preparation required for entering Juried Competitions. The article was published on Subversive Stitchers: Women Armed with Needles.

blog:http://subversivestitch.blogspot.com/2009/04/some-thoughts-on-entering-juried.html

Thank you Gayle. I was surprised to hear your comments regarding non-delivery of work which had been juried into exhibitions.

Logan pictured with fabrics she designed and screened.

My second update is on my student Logan. As I mentioned in her article, she attended a summer program for high school students this summer at the Rhode Island School of Design. Today I received photos of the silkscreen work she completed AND her designs for a potential Prom Dress.

Concepts for Prom Dresses made from fabric Logan screened this summer during her time at RISD.

Thank you for sharing time with me here at Studio 24-7. I love hearing from you!