What does a juror look for in their selection of art for a show? Why does one great painting get accepted and another not? What are they thinking!???
A friend of mine and gallery owner said of jurying a fine art show that to have the best process would be to have a gallerist, a collector and an artist be a jury of 3 for a show. That way, the biases of each could be minimized by the others – potentially. The gallerist is looking for what will sell in their gallery, the collector will choose what they like and similarly for the artist. It does seem like a good mix and would probably work well. Some large shows have a panel of jury members and I would think that is the best option. However, for smaller, regional shows, it may be cost prohibitive to hire 3 jurors for a show. So when we look for a juror we try to find someone who will be fair to all the work presented – the styles, the medium, etc.
I take on a couple of jury positions each year and I have to say, it is hard work. Read on what Sylvia White has to say…I think these words are invaluable to both juror and artist…
Sylvia White [sylvia@artadvice.ccsend.com]writes an e-newsletter called ArtAdvice and it is filled with great information on numerous topics. With her permission I am including this valuable information in this blog below. Be sure to check out her site on the net and learn from this very knowledgeable person….
” 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.”
I hope artists and jurors alike find this valuable info…in the meantime – happy painting and keep entering competitions!