The holidays, which are an unusually a stressful time for most people… are even more so for artists.  Visual artists, who have to cram art making into an already full life, are now faced with the additional burden of dealing with traffic, crowds, guests from out of town and unnatural amounts of spending.  So for all you last minute shoppers, I have compiled a list of the Best Holiday Gifts for Artists… even if the artist happens to be YOU!  If you are lucky enough to have someone ask you what you would like this year, send them an email of this article and relax. If not, make a New Year’s Resolution to get yourself everything on this list before next years holidays surprise us.

* Website: Are you a homeless person?  You are if you don’t have a website.  Your art needs a place to live so you have a base to showcase your work.  If you don’t have
your own website, or are not represented anywhere on
the internet, make that your first priority!  Go immediately to
www.networksolutions.com or godaddy.com and buy your domain
name.  If you think you can’t afford your own website, check out otherpeoplespixels.com.  They have designed easy and affordable website templates for artists that are easy to manage yourself.  You can have a website up in 24 hours or less.  If you need help, ask any 10 year old.

* Digital Camera: Welcome to the 21st Century
Kodak has stopped making slide projectors and slide film, so if there are still any luddites out there, raise your hand.  The world has gone digital and a camera is your first indispensable tool.  Get the best quality camera you can afford and learn how to use it to take photos of your work, email images or change the images on your website.  Once you have the digital camera, you are going to need to learn how to use a good program to make those images look as
good as they possibly can.

* Make this your year to GET ORGANIZED. Too much information, too little time–
Let computers do the work they do best.  Throw away your roladex, stacks of business cards, scraps of paper w/ names, random invoices and get eArtist or ACT or another good contact
management program:  Make a resolution this year to get all of your contacts organized, people who have purchased your work, liked it, galleries you wish would like you work, people whom you have sent materials to and their responses, etc. All of your shows, reviews, works out on consignment.  You will also need a email marketing program such as Constant Contact or Mail Chimp.  The beauty of these programs is they are able to keep all your email addresses up to date, archive all of your announcements and monitor the activity of the recipients.  Give up sending unsolicited catalogs/announcements by snail mail, it’s too expensive!

* Subscription to art magazines or gallery guides:  Reading the art magazines (online or hard copies) to stay abreast of what is happening in the artworld is essential. Even if you don’t read the articles, looking at the ads can help you formulate ideas about other galleries that show work similar to yours.

* Airline tickets to New York: Get out of town!
Regardless of what anyone says, New York is a vital center of the contemporary artworld.  Visiting the city’s museums and galleries each year should be compulsory for any serious artist. (You can substitute Los Angeles, San Francisco, Chicago or any out of town location…)
But there is no denying that visiting out of town galleries is one of the most effective ways to educate yourself about current trends.  If you can get to New York, Miami or Chicago for the big art fairs, you get extra bonus points. If you absolutely can not get away, spend time going to galleries near you. This is the time of year when most galleries mount group exhibitions of the gallery artists. There is no better time to “Do Your Homework.” Visiting galleries now can give you the opportunity to size up the kind of art the gallery likes, quickly and easily and better prepare you in determining if that gallery is right for you to approach. The end of the year is also a time for reflection…to look back on your accomplishments and set new goals for the year to come.  Make a commitment this year to spend time on a consistent basis towards your career
development.  Remember,  being a professional artist isn’t only about making the art. But,  also, assuming the responsibility to do what it takes get your work the exposure it deserves.

The greatest gift you can give yourself is TIME.  Force yourself to spend time on the
extraneous activities related to being an artist. Invest in improving your skills in all areas of your
career management, with the same intensity you bring to developing your work.

Wishing you all a happy, healthy, productive and creative Holiday Season!

These sites changes frequently, so don’t just rely on my recommendations, but do internet searches of your own to discover constantly new sites that are being developed. Please let me know if there is a good site that I have omitted, or if there is a site listed here that no longer works. Some of the sites require a “premium” sign up for more listings, but I have never found that necessary, as there is plenty of free information out there. Make it your resolution this year to submit to 3-4 opportunities per month. This is not an activity that you will ever give up, kind of like painting the Golden Gate Bridge, once you finish, it’s time to start all over. At the end of the year, you will have a concrete way of judging your success by admiring the activity on your bio. Remember, this is just a start, happy hunting!

By the time most artists come to see me, they are usually beaten down and depressed by the struggles of the artworld.  They have been abused by their galleries, taken for granted by their collectors, misunderstood by their families and exhausted from juggling real life with creative need. It is so easy to forget how special you are, when there is no one around to remind you, but you.  So, in the spirit of Thanksgiving, I give you my list of 10 Things Artists Should Be Thankful For.  Print this out, fold it up and put in your wallet.  Send it to your artist friends.  Read it whenever you feel all your work is for nothing and you are thinking maybe you should just stop making art and grow up.  Post it in your studio when you are wondering what the heck you are going to do with all this work?  But, most of all…believe it. Remember, it is impossible to feel thankful and be depressed at the same time.

1. I am thankful that I am not one of the majority of people in this world that wakes up every morning, goes to a job they hate, just to come home and do it all over again.

2.  I am thankful that when I am away from my studio, my ideas come with me, they keep me company everywhere I go.

3.  I am thankful for this passion that gives me so much joy (and angst) but mostly joy.

4.  I am thankful that when I have left this earth, I will leave something meaningful behind.

5.  I am thankful that I have a mind that can not sleep, I will never be bored.

6.  I am thankful that there is a part of my life that nobody can control, except me.

7.  I am thankful that no one in the world can ever take this gift from me.

8.  I am thankful that I am brave, it takes courage to pursue my gift.

9.  I am thankful that I am never satisfied, it forces me to move forward and grow.

10.  I am thankful I discovered this list!  Pass it on.

Our summer juried shows are a mixed blessing for me.  Each year I marvel at the infinite and diverse ways in which artists find to express themselves.  I admire and respect each and every artist for the extraordinary effort they make every day to share their gift. Again, we were happily overwhelmed with a large number of excellent quality entries, and the competition for this show was very stiff. The 93 artists in this exhibition were chosen from over 500 applicants with a total of over 1800 images.

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,  stimulate my intellect, or visually entice me.  All the artwork I choose must communicate on at least one (preferably more) level: my heart, it has some emotional impact; my head, it makes me think about things that are important/relevant to me; my eyes, it must have visual impact, strong composition, etc.  In addition, it must be well crafted and professional, not only in appearance, but in fabrication.  Not all juror’s look for the same thing, but this is MY criteria.  It is only in this way that I can define what becomes a unifying theme of an exhibition. 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.  Often times, the consideration of how a show will “hang together” becomes more important than an individual jurors feelings about a particular piece. Poor photography is the most common artists’ enemy, if the work can not be seen, it can’t be understood.  Painfully, I often have to omit pieces I genuinely love. Yet another reason why artists should not interpret rejection and a personal comment about their work. Many times, it is as simple as you didn’t select the right pieces to enter.  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/speak with one another, are all important considerations. In the end, there is no way to predict how or why a juror picks specific pieces.

I believe that surrounding oneself with art, enriches our lives and nourishes our soul.  It is painful for me to think about the sadness and frustration that artists experience when they are rejected from a show.  It is unnecessary and unjustified.  Artists must continue to explore every avenue possible to show their work , regardless of the occasional rejection, and must try to understand the “juror’s dilemma.”

When you look at a piece of food on your plate and decide not to eat it, do you know why?  You may be able to answer that question by saying you don’t like the taste, or you are not in the mood, but that doesn’t really address the root of the question, “Why?” Can you tell me why you don’t like the taste?  Can you tell me why you are not in the mood?  I doubt it.  Taste is cultivated by repeated exposure and a series of complex associations the brain makes, which are still not fully understood.  The same applies to art.

Art is not something you can convince someone to like…no matter how much you talk about it or try to explain it. It’s not like buying a used car.  Conversely, if there is a piece of art that speaks to me, there is very little you can do to dissuade my affection for it.  I’m not talking about buying art.  People can be persuaded to buy things regardless of whether or not they like them or need them. I’m talking about really loving a work of art…and, no one yet has been able to explain that. Every art dealer in the universe would love to figure out the formula for what makes some people to respond to some art and not others.  It’s not unlike falling in love.

And yet, even though there is no relevant answer to the question, it is what almost every artist I have ever encountered wants to know, “What you think of my work?” And, if they haven’t asked me outright, I know they’re thinking it.  It amazes me, because when you stop to think about it, it doesn’t really matter what the response is.  Regardless of how anyone answers the question, it won’t change the fact that you make art, and it won’t change the art you make. Although it’s true that artists need feedback, the most valuable feedback comes from other artists.  The question of whether or not I like it, and it’s companion question, “Why?” are questions artists should avoid at all costs.  However, it’s important to understand what you are really asking.  Let’s take a look.

“Does this dress make me look fat?”  The question asked.
“I feel fat in this dress, can you please tell me I’m pretty ?”  The real question

“Did you like the dinner I made tonight?”  The question asked.
“I am really proud of the dinner I made, will you tell me it was good?”  The real question

“Do you like my work?” The question asked.
“I need someone to validate what I am doing, will you?”  The real question

So, let’s examine this situation from both sides.  If the person responds,” Yes, I love your work,”  you are happy, you continue to make art, but you become fearful if you want to change or grow because the person said they like THIS art. You can’t keeping making the same piece over and over again or your would be miserable…so it’s loose/loose situation even if they respond positively.   If the person responds,”No, I hate it.” You are unhappy, you continue to make art, but you question yourself…wondering what you could change  to make them happy.  Unfortunately,  doing so would make YOU unhappy, and on, and on you go down into the vicious circle of self criticism and self doubt, an artists’ worst enemies.

Do yourself a favor.  Give yourself a gift you deserve.  You’ve worked hard to allow yourself to be an artist, give yourself permission to enjoy it and don’t ask/don’t tell.

A lot of people don’t realize that the art world revolves around a seasonal schedule. Galleries begin their season in September, usually after Labor Day, often opening with their strongest artist and continue until about the middle of June. Many galleries use the summer months to mount group shows of gallery artists, or shows that they wouldn’t consider during their “prime season.” Generally, the magazines and gallery guides follow suit by issuing combined July/August issues. For artists, however, this is not a time to lay back. This represents one of the best times of the year for artists to “do their homework” i.e., planning gallery visits and doing the research to determine which galleries would be receptive to their work. Before you make any travel plans, however, be sure to check to make sure the galleries will be open. Many galleries are closed for a few weeks at various random times during the summer months. One advantage artists will discover, is it is a time of year when galleries are most receptive to new ideas and new artists, as they tend to have more time and are often finalizing their schedules. Most plan at least 2 years in advance, hence the rejection letters that I’m sure many of you have received that indicate “Sorry, we are booked for the next 20 years…” (Read “Top 10 Reasons Why Galleries Reject Artists.”)

Following is an excerpt from a previous article “How to Decide Which Galleries are Right for you to Approach.” It describes a strategy for an artist that is particularly effective during the summer months when galleries mount group shows and artists are most likely to travel.

The first thing you will have to do is develop a set of criteria that meets your particular needs as an artist. Here are examples of some general questions that should be considered by all artists:

• Stylistically, how does the work in the gallery now compare to my own? Only abstract, only figurative, or conceptual?
• Is the artwork in the same general price range as my work? (Ask to see price list)
• Is this artist in the same general career range as I see myself? Does this gallery show just emerging artists, mid-career artists, or established artists? (Ask to see artist’s biography.)
• Is this gallery large enough to accommodate my work? Small enough to achieve a sense of intimacy?
• Is there proper lighting, wall space? How has the gallery been maintained? Nail holes? Floors? Needs paint?
• Is the gallery location desirable; are there other galleries in the vicinity? Are they listed in the local gallery guide?
• Does anyone greet me or make an attempt to talk to me about the work?
• In general, how do I feel when I walk into the space?

Each artist will have different questions depending on his or her specific needs. Try to develop a set of questions tailored to your work.

The next step is the visit the galleries. The easiest way to attempt this is to divide galleries geographically and visit as many as you can in one area. Don’t use this as an opportunity to introduce yourself or talk about your work. Don’t bring  your work or a portfolio in with you… Remember, you are doing your homework; take notes.

By the time you’ve completed your visits to the galleries you should have a fairly good idea about the type of work they represent. If you sign the guestbook and start getting gallery announcements, over time you will have a very clear idea about the direction of the gallery and if they are appropriate for your work. Eventually, you will have a handful of galleries that you feel are ideal for your work. These will become your “target” galleries… the galleries that you begin to cultivate a relationship with. Although most gallery relationships are made as a result of contacts, often these attempts are futile if the gallery doesn’t handle work that relates to your own. Once you have narrowed down your choices, you can take advantage of your resources and contacts. Begin by sending  a link to your website, (see “Creating the Perfect Artists’ Website“) Try to start going to the gallery opening receptions to get to know the other artists represented. It is important to keep yourself informed so you can develop a sense of how you fit into the art community. Remember, it is you that is going to be selecting a gallery for your work, not the other way around!

It’s not something we like to think about, but collectors, as well as artists, need to face the fact that owning art, regardless of whether it is yours, or it is acquired, comes with certain responsibilities.  There are the obvious responsibilities concerning documentation, insurance, protection, care and handling.  There are even laws that govern the destruction or modification of art.  But very little attention is given to the question of the ultimate disposition of the art.  Simply put,  what is going to happen to it after you die?  In the best cases, pre-planning has arranged for appropriate donations to museums or gifts to family or friends. But, too often while we are making plans for who gets the diamond earrings and who will take care of Fido, we forget to plan for the management of our greatest asset.  Michael Mendlesohn, an attorney, has written a book, Life is Short, Art is Long.  There are a number of financial issues and tax implications that are discussed and need to be addressed, and this book is a good place to start. Failing to plan can end up costing your heirs as much as 70% of the value of your collection at the time of your death if items are sold through traditional public sales channels without the proper planning. Advisors have a fiduciary responsibility to protect and preserve the value of your assets, but few financial advisors consider your art an asset.  Once you have addressed the financial concerns, it’s time to think about the ART.  I’ve had too many calls from bewildered relatives who don’t have a clue about what to do with mountains of artwork left behind after an artist dies.  It becomes so much of a burden to those unfamiliar with the art world, the artwork will often end up donated to the local thrift store or sold at a garage sale. If this sounds familiar, and it is something you have not thought about, get ready.  These are the steps you need to take immediately!

1. Make sure you have a complete inventory of all the work, including images, sizes, dates, medium and brief description.  There are a number of good computer programs out there for artists and collectors, find one that works for you. Keep instructions about the location of the program with your important documents.

2.  For any established artist, this should also include a provenance…a record of where the art has been, i.e., exhibitions.  This becomes important for any appraiser who will first look to the sales and exhibition history to determine a value for the work.

3.  Create a notation system that indicates which pieces you consider “major.”  A layperson will not know the difference between the work that is important to you, and work that is less important. Another alternative is to appoint an executor who is familiar with your work to make those decisions for you.

4.  Think about institutions you would like to support and decide if you want the work to be sold, ( auctions or galleries) donated (hospitals, college and university galleries, museums, any non profit institution) or kept in tact.  Viola Frey decided she wanted her work to continue to be exhibited and sold after her death, and created The Artists’ Legacy Foundation to ensure the safekeeping of her entire body of work.  Obviously, this requires a tremendous amount of planning as well as funding.

Developing a succession plan for your collection may take months and implementing it may take years. Nevertheless, the pleasure of finalizing your wishes during your lifetime, even though they may not be fully carried out until after your death, shouldn’t be undervalued. Careful planning can ensure that your artistic vision will survive for generations.

The holidays, which are an unusually a stressful time for most people… are even more so for artists.  Visual artists, who have to cram art making into an already full life, are now faced with the additional burden of dealing with traffic, crowds, guests from out of town and unnatural amounts of spending.  So for all you last minute shoppers, I have compiled a list of the Best Holiday Gifts for Artists… even if the artist happens to be YOU!  If you are lucky enough to have someone ask you what you would like this year, send them an email of this article and relax. If not, make a New Year’s Resolution to get yourself everything on this list before next years holidays surprise us.

* Website: Are you a homeless person?  You are if you don’t have a website.  Your art needs a place to live so you have a base to showcase your work.  If you don’t have
your own website, or are not represented anywhere on
the internet, make that your first priority!  Go immediately to
www.networksolutions.com or godaddy.com and buy your domain
name.  If you think you can’t afford your own website, check out otherpeoplespixels.com.  They have designed easy and affordable website templates for artists that are easy to manage yourself.  You can have a website up in 24 hours or less.  If you need help, ask any 10 year old.

* Digital Camera: Welcome to the 21st Century
Kodak has stopped making slide projectors and slide film, so if there are still any luddites out there, raise your hand.  The world has gone digital and a camera is your first indispensable tool.  Get the best quality camera you can afford and learn how to use it to take photos of your work, email images or change the images on your website.  Once you have the digital camera, you are going to need to learn how to use a good program to make those images look as
good as they possibly can.

* Make this your year to GET ORGANIZED. Too much information, too little time–
Let computers do the work they do best.  Throw away your roladex, stacks of business cards, scraps of paper w/ names, random invoices and get eArtist or ACT or another good contact
management program:  Make a resolution this year to get all of your contacts organized, people who have purchased your work, liked it, galleries you wish would like you work, people whom you have sent materials to and their responses, etc. All of your shows, reviews, works out on consignment.  You will also need a email marketing program such as Constant Contact or Mail Chimp.  The beauty of these programs is they are able to keep all your email addresses up to date, archive all of your announcements and monitor the activity of the recipients.  Give up sending unsolicited catalogs/announcements by snail mail, it’s too expensive!

* Subscription to art magazines or gallery guides:  Reading the art magazines (online or hard copies) to stay abreast of what is happening in the artworld is essential. Even if you don’t read the articles, looking at the ads can help you formulate ideas about other galleries that show work similar to yours.

* Airline tickets to New York: Get out of town!
Regardless of what anyone says, New York is a vital center of the contemporary artworld.  Visiting the city’s museums and galleries each year should be compulsory for any serious artist. (You can substitute Los Angeles, San Francisco, Chicago or any out of town location…)
But there is no denying that visiting out of town galleries is one of the most effective ways to educate yourself about current trends.  If you can get to New York, Miami or Chicago for the big art fairs, you get extra bonus points. If you absolutely can not get away, spend time going to galleries near you. This is the time of year when most galleries mount group exhibitions of the gallery artists. There is no better time to “Do Your Homework.” Visiting galleries now can give you the opportunity to size up the kind of art the gallery likes, quickly and easily and better prepare you in determining if that gallery is right for you to approach. The end of the year is also a time for reflection…to look back on your accomplishments and set new goals for the year to come.  Make a commitment this year to spend time on a consistent basis towards your career
development.  Remember,  being a professional artist isn’t only about making the art. But,  also, assuming the responsibility to do what it takes get your work the exposure it deserves.

The greatest gift you can give yourself is TIME.  Force yourself to spend time on the
extraneous activities related to being an artist. Invest in improving your skills in all areas of your
career management, with the same intensity you bring to developing your work.

Wishing you all a happy, healthy, productive and creative New Year!

We humans are strange creatures. Even when you take the creative element out of the equation, most people are never satisfied. It makes sense that would be true for creative types, as the essence of creative process depends on the need to improve whatever was last. After all, if an artist felt they had created an ultimate masterpiece that could not be improved upon, what would motivate them to start the next project? The irony in this, of course, is every artist DOES feel their last piece is their best piece…until they start the next one. So, although this “always wanting more” attitude is essential for art making, it has a dark side when it comes to your career. Ask any artist, at any point in their career, what their ultimate goals are. Inevitably, when any of those goals are met, they up the ante and set a higher goal. There is nothing necessarily wrong with that, if you have consciously taken the time to appreciate the effort it took to accomplish that goal and thought about a realistic strategy for the next one. But more often than not, artists tend to diminish their career accomplishments in the constant quest for more and better. Enter the realization that we all need help to occasionally tweak reality for us and “show us the way,” whether it is in regards to our career, our life, our financial situation or whatever. As a career consultant, it is my job to help you establish a set of realistic career goals and help you develop a strategy to achieve those goals. Following is an excerpt from an article of a friend of mine, Jane Doctor, describing the value of a Life Coach.

You don’t need to be an athlete, to need a coach.

Most people think of coach as the place to sit on an airplane (who wouldn’t rather be in first class?) or that harsh screaming individual who bullies an athlete to perform at their best. Not so of Phil Jackson, who seems to have a more Zen approach to coaching … and without him it’s hard to imagine how the LA Lakers would have fared these last few years. In this past decade they have won 5 NBA Championships, which for most involved in the art world, doesn’t really mean much … but to fans, it’s enormous. All of these exceptional, talented, committed (and tall) players could not possibly have reached their life’s dream all alone and without Coach Jackson.

So too, for artists. More and more artists and creative people are realizing the need to have an objective person look at their life situation, career situation, financial situation, etc. and make recommendations, suggestions or even just observations. A Life Coach for an artist, does not carry a whistle, but rather with skilled training, helps artists identify areas in their life that may be affecting their art…places where there may be a feeling of “being stuck.” Or, the feeling of being a fraud, afraid to say “I am an artist,” or feel like a legitimate artist, simply because you may have chosen another life path and now were trying desperately to return to your true passion. ART .

Artist Goals, as opposed to field goals, are an important part of the coaching process. To test your goals, you may want to consider using the SMART technique … are the goals Specific, Measurable, Achievable, Realistic and Timely? A quick reality check can lead to less frustration and more fulfillment.

Being an artist can be a lonely endeavor. You are usually your only collaborator, critic and cheerleader. Who doesn’t need someone that will help support, motivate, provide perspective and encourage accountability? A good thing for athletes and artists alike !

Jane Doctor, is a Certified Life Coach and helps creative people find the quality of life they desire. She can be reached at 818 398-4262 or www.coachingandcreating.com

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.