What Would Picasso Do?
“Do not let praise or criticism get to you. It’s a weakness to get caught up in either one.”
John Wooden
I am faced with a difficult challenge in the coming weeks. Each summer, our gallery hosts a juried show that offers a solo exhibition or group exhibition to selected artists. Most juried shows, are by nature, an eclectic blend of a juror’s vision. By definition, this show is a subjective and singular vision, based on my personal tastes and aesthetic. So little research has been done in the area of developing a sense of taste, a style, an aesthetic preference. Mostly, we assume this is a result of our collective visual experiences. Our eye becomes trained to like that to which we have been exposed and our brains are programmed to respond to familiarity. Training in art history and looking at contemporary art, in combination with our life experiences and associations, slowly start to develop our sensibility and mold our vision.
In selecting an exhibition, I let my instincts guide me. As difficult as it is to judge work from a computer monitor, I review each image in the same way I look at actual art. There is no way I can define what I am looking for. Style, composition, content, artistic integrity all play a role, naturally. But, in each case I am looking for the artwork to speak to me, to reach out to me in some way, to touch my inner spirit or stimulate my intellect. It is only in this way that I can define what becomes a unifying theme of an exhibition. Each piece that is selected, regardless of media, must touch me in some unique way–spiritual or cerebral. But, that’s not all. Jurors look for a lot of different things when putting a show together. Although the quality of the art and the impact it has on a particular juror is what constitutes art that makes “the first cut,” there are a number of other complicated factors that artists are usually unaware of. If you haven’t already done so, please take a moment to read “Pick Me, Pick Me: Tips for Getting Your Work into Juried Shows.” Often times, the consideration of how a show will “hang together” becomes more important than an individual jurors feelings about a particular piece. Painfully, I often have to omit pieces I genuinely love. In other cases, size or media restrictions eliminate pieces that otherwise would have been chosen. The venue, laying out the show in my mind, and how pieces interact with one another, are all important considerations. In the end, there is no way to predict how or why a juror picks specific pieces. Regardless, for the artists that get eliminated, it is usually a devastating experience. You start to question, “Did I pick the right work?” “Was the photograph of my work as good as it could have been?” “Did the juror spend enough time looking?” “Maybe I’m just not any good.” But, part of being a mature artist, is accepting the responsibility of putting yourself in a vulnerable position. You have an obligation, not only to yourself, but to your work, to “get it out there.” Ultimately, as trite as it sounds, the most important thing is that you tried. Another ArtAdvice.com article, “Understanding Rejection,” may help shed more light on this complicated emotion.
So, what now? Whether you’ve been rejected or you’ve been accepted, what exactly does that mean to you? Will it affect the way you look at your work? Will it change the way you approach you next piece? Does it change the way you think about yourself or your work? What would Picasso do? I think he wouldn’t care. He would go back into his studio, day after day, unaffected by either the criticism or the accolades. He would continue to do work on his terms…not looking for approval from critics, curators or collectors, nor giving much credence to praise. Remembering his only obligation is to himself and his work. By creating the best quality work you can, in the hopes that eventually, the people who most need to be touched by it, will find it. I believe that surrounding oneself with art, enriches our lives and nourishes our soul…I think Picasso would agree with me.
Terri said:
Jun 04, 10 at 8:19 pmI agree. The juror is often subject to the medium he or she is limiting themselves to to view the work or.. proofs of the work. This is, and can be, daunting. (What are we really looking at?) One loses much via the digital view. But what can one do, except this? It would be silly to ask the artists to bring their work to be previewed, in person– yes?
And so, we must be moved visually, and emotionally to take a second or better look. Secondly would be the challenge of looking at much more. What is the artist SAYING? How are they saying it? What is it we need to be seeing? And then some.
But I would challenge that one who is viewing such work take a second look at all the work submitted. Maybe even a third. And then consider all aspects, before saying “this is good or not.”
Of course, the greater message is that it is not whether a work of art is good or not, but whether it fits in what the juror and curator vision for the exhibition. But I believe this was already stated.
TRACEE PICKETT said:
Jun 04, 10 at 8:21 pmTo Sylvia,
This is a wonderful post for all to read. Especially those who create works for a living. It is most important now, more than ever within our world that the individual artists uses their creative voice in ways that demonstrates the strength of their most humanistic dignities and expression of spirit.
Todays world is a more complicated place than ever before and our creative people need supportive venues with critical thinkers, as much as, our artist must find that same critical thinking within the expression of their own work.
You have tough work ahead of you and our artist of today- need be solid in the foundations of their own work.
Then, I think, Picasso would be very proud of us all!
artist / educator TRACEE PICKETT
Rita Joyce said:
Jun 04, 10 at 8:58 pmI took your advice. Created a website. Created a group called A.Muse Artist salon consisting of four artists with similar goals. We share reference materials and critique each others work. We take field trips to museums and studios of other artists.
I take computer classes to increase my skills in creating my website, brochures and other promotional materials.
We all make efforts to checkout galleries and museums and report back our findings at our dinner meetings.
We also invite artists from other fields such as musicians and film makers.
I recently was invited and participated in a Ventura gallery group show.
Today I received news that our A.Muse Artist Salon has been selected for a museum show.
Being positive in this economy helps set you up to be in a good place when things start to pick up again.
Thank you for the helpful advice in your newsletters.
Sincerely,
Rita Joyce
Robert Wollard said:
Jun 04, 10 at 10:04 pmOnce I fed the cats of friends on vacation, theirs and whoever else showed up. I tried to tell the others that I couldn’t take on any more with that one can of food but oh, the anxiety! Before seeing your artadvice articles, I could only imagine two things about gallery operators: (1) They were like me, and the artists trying to get in were like the cats. So they developed special over used lines to try to not hurt our feelings when getting rid of us. (2) They were beings of mystery like ourselves; people who had an ability to sell art as we have abilities to make it. I’ve been in nonprofit places and sold nothing because they were not run by these special people. You are the first of these special people I’ve seen to speak out freely to the world of artists about how it is for you. I so appreciate that!
Marian Fortunati said:
Jun 05, 10 at 6:46 amI know you comments are very true… But no matter whether I know it intellectually and could recite it and tell all my friends the same thing… When rejection or acceptance in some form comes my way it still affects me… I can’t help it.
And while Picasso could applaud other artists’ work I’ll bet a good bit of his ego came from his followers’ belief that he was “the best”. His confidence came in part from his success in the eyes of others.
joan fimbel digiovanni said:
Jun 05, 10 at 8:30 amI found your writing very comforting, as well as challenging. I am both an artist and a psychologist. I changed the order of my two passions, since being an artist has been my life long dream. This summer I am doing that primarily instead of teaching and seeing clients. What would Picasso do was a wonderful title and kick in the ass too. You as the creator have to realize when your work is worthy to be exhibited for others and using Deb Huse’ favorite advice “Lay it and leave it”. Now I realize that has to be true for more than paint. Too often, the artist waits for viewer’s response as to whether the work is worthy of other’s acceptance. Joan Fimbel DiGiovanni
Ginger Hendler said:
Jun 05, 10 at 8:48 amThis article is so timely in my life as I am beginning to allow the rejections as well as the invitations to occupy less space in my mind. As an artist I must continue to stay true to my own creative integrity and,as you specualated about Picasso, go back into my studio, doing my personal best, with the intention of getting my work out there. Thank you for your insights into your own role as a judge and bringing your reflections into the open.
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