If you get into every show you apply to, you’re not reaching. If you don’t get into any, you need to reassess your process.
 |
| Jonathan Submarining is one of my favorite plein air paintings, because of the difficulty in capturing the sailing class on a windy day in Penobscot Bay. |
We all know the feeling of not getting into a show we really wanted. It’s really disheartening, especially when you compare your work with that of the accepted painters. I recently discovered something almost as bad: when your friend doesn’t get into a show you were accepted into. I suspect it’s even worse from the friend’s side.
We all know we shouldn’t take it personally, but I don’t know anyone who can do that all the time. Of course we’re going to personalize rejection; that’s only human. But it helps to be businesslike about it. When a business’ bid is rejected, they do not sulk. They lay the groundwork to succeed the next time.
We long to understand what goes on behind the curtain, and sometimes our conclusions are flat-out wrong. A fellow artist recently commented about a show I’ve done since its inception, saying that I was ‘guaranteed a place for life.’ I know the organizers are committed to changing up the talent, and that show is anything but a sinecure. I sweat bullets every year.
 |
| Red Truck at Lumber Yard is another favorite that I don’t think translated well into a submission. |
An invitational show I’ve done for many years has a ruthless process: they tot up sales and cull the bottom quarter of performers. That may seem heartless, but it does raise the bar.
When you apply to a show, you know the overt criteria; they’re spelled out for you. You don’t know the covert criteria, like demographics. Then there’s the question of style. You ought be able to see if you’re a good fit by looking at the judge’s own work, but that is no guarantee. No good juror picks only painters whose work looks like his or hers.
 |
|
Dyce Head in the early morning light works as a painting, but are lighthouses a no-no with the cognoscenti?
|
Then there is the question of collegiality. Yes, people are biased to like their friends. The best shows are juried at arm’s length, by a juror from another region. But that’s expensive. Sometimes it works for a small show to invite artists they know and like and who they know can sell.
We artists are terrible judges of our own work. I tend to like the paintings that were the greatest challenge or struggle to create. These are usually not the most aesthetically pleasing. The more anxious we are to ‘make an impression’ with our entries, the more our judgment is fouled. I’ve illustrated this post with four paintings that have been rejected by jurors.
There are times when we’re making radical changes to our technique. I’ve found that during those periods, I’m less likely to get into shows than when I’m coasting along doing what I know. Since growth is an important part of art, the last thing you should do is try to retard it. Instead, be patient with the temporary check on your career. It will resolve itself. I once took an entire year off from showing just because I didn’t understand the work I was creating. It was a great move.
 |
| Fish Beach is another painting I love but jurors haven’t.. |
It helps to have a friend you trust with whom you can discuss your submissions. If you keep track of what paintings you submit where, you’re sitting on your own data mine. Compare your successful applications to your failures and see if you can find a pattern. I’ll be interested to hear what you find.