Lately I've been trying to follow the advice of some art pundits who suggest that entering juried art competitions is a good way to get two birds to sing at the same time. That's my revision to the old "hit-with-one-stone" metaphor. I like birds.
The two metaphoric birds are, in this case, (1) getting one's artwork better known (if your work succeeds in being juried in); and (2) getting an idea of what other kinds of works make the cut, giving you some basis of comparison across different approaches to painting.
The outcome for me of this competitive enterprise has been good so far. I've entered works in several competitions during the year and have gotten my work accepted in each 'with congratulations given the many fine entries ...," etc. My latest news is an email notifying me that one of my paintings will be in the Federation of Canadian Artists Still-Life exhibition this September.
Nice news, especially since this follows right on the heels of the Painting on the Edge exhibition. So, I must be doing something right. Right?
I suppose if you're already well known, you don't need to do this stuff. Though, looking through art-history, one sees just how many now 'famous' artists were cut from the established competitions as well as from sales. Even once successfully/financially established, Monet, for example, moaned about the public exhibition of his artwork.
Still, I have to pause and ask myself what I've learned from this process of entering competitive shows. The thought of dog-shows keeps perversely slipping across my brain, despite my best intentions. Is this really the way to go? Does it fulfill the two objectives I listed above?
I cannot form solid conclusions based on my still limited experience of this aspect of the art world. But I can say I am learning a few things personally.
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The two metaphoric birds are, in this case, (1) getting one's artwork better known (if your work succeeds in being juried in); and (2) getting an idea of what other kinds of works make the cut, giving you some basis of comparison across different approaches to painting.
The outcome for me of this competitive enterprise has been good so far. I've entered works in several competitions during the year and have gotten my work accepted in each 'with congratulations given the many fine entries ...," etc. My latest news is an email notifying me that one of my paintings will be in the Federation of Canadian Artists Still-Life exhibition this September.
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| Marbles and Wood Box,, oil painting by Janet Strayer |
I suppose if you're already well known, you don't need to do this stuff. Though, looking through art-history, one sees just how many now 'famous' artists were cut from the established competitions as well as from sales. Even once successfully/financially established, Monet, for example, moaned about the public exhibition of his artwork.
Still, I have to pause and ask myself what I've learned from this process of entering competitive shows. The thought of dog-shows keeps perversely slipping across my brain, despite my best intentions. Is this really the way to go? Does it fulfill the two objectives I listed above?
I cannot form solid conclusions based on my still limited experience of this aspect of the art world. But I can say I am learning a few things personally.
- Either everyone else in the show is uniformly pricing their work too high, or I am pricing mine too low -- OK, there are some well-known people in these shows, so I expect they have to tag their prices to match their past gallery sales. Still, it's an eye-opener!
- There is absolutely no feedback regarding what makes a work "good", what about it caught the judges' eye, So, there is little to be learned outside of your own personal opinions about each work. Given you don't have access to the null-file (the declined works), you can't form any generalizations other than the wobbly and undefined "it's a matter of taste."
- I will do my best to let competition organizers know that it is in everyone's educational interest (artists and the public) that the qualities of at least some works chosen be described -- not relative to others (asking for trouble, indeed), but just in themselves.
- Given the crowds attending the exhibitions I've been around for, I'd say that exposure to one's work is definitely enhanced.
- Does this lead to increased sales? I can't yet say. Frankly, I don't really expect my "Little Adolf" painting to fit into most peoples' living room decor. For me, it's more about wanting people to see what I do with the material chosen, so that they may look further at my work, see what I'm capable of doing, and remember me when they might want an artwork.
The jury is still out on that one. But I'm encouraged to continue this route for awhile. Hope you'll join me.
Today's Thought
Price is what you pay. Value is what you get.
-- Warren Buffett, American Investment Entrepreneur
To COMMENT from the homepage: Click on Title of Post to get to its own page. Comment box appears below post. Subscribe for updates on art, travels, and adventures in creative life. You can also find me at my Facebook Page and Website for my art and news of upcoming shows/sales.
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