Will you be my friend? Social networking for artists

For the 2011 Oklahoma Arts Conference, OVAC partnered with the Oklahoma Arts Council to present the Artist Track – designed specifically for artists to learn more about marketing their work. Our guest speaker Alyson Stanfield of Art Biz Coach led sessions focusing on marketing through social media.

Alyson Stanfield
Photo by Kimberly Lennox

As Alyson stated, social media is not to be used as a megaphone, blasting information to your readers. Instead, it is a tool for spreading your message but first you need a message to spread and you must cultivate relationships with people who want to listen.

Alyson outlined a Social Media Manifesto for artists. Here’s a brief synopsis.

1. Have fun! If you’re not having fun with it, odds are good nobody else will think it’s fun either. Keep it interesting to keep your audience.

2.  Engage. Don’t just blast a message. Engage with your followers and tailor messages to their interests.

3.  Listen. Pay attention to what others are doing on social media and respond when appropriate. People love someone who listens to them!

4. Be the thought leader. Why does someone follow you? They’re probably interested in what you think or what you have to say about art.

5.  Make it easy for others to talk about you. When creating social media posts, consider how they might be shared by others. When your followers share your posts with their friends, they are giving you a high recommendation. Make it easy for them! Make images available, include captions on your images, make your tweets easy to re-tweet, etc.

6.  Don’t build your brand on someone else’s platform. Social media tools are great for building audience and spreading your message. But, don’t forget that those sites (like Facebook and Twitter) are owned by someone else. You cannot control what they decide to do with their websites. Remember to build your online home base on a platform that you can control, such as a personal website or blog.

For more tips on the business of being an artist, subscribe to Alyson’s blog, Art Biz Blog at www.artbizblog.com. 

Galleries: Connecting Online

Alyson Stanfield's recent article on Art Biz Blog, Join the Conversation, offers solid advice for artists connecting with galleries online.  


Your genuine interests in galleries' exhibitions, interests, and events helps show your commitment.  Paying attention also helps you know galleries where you most want to show and in which your artwork might not fit.   


This October, OVAC will offer a workshop led by artists who show nationwide and gallerists explaining their perspective.  Watch here for the full year's workshop schedule.   

Work of Art: Watch Carefully and Learn

I hesitantly admit that I was looking forward to watching “Work of Art: The Next Great Artist,” Bravo’s new reality TV show about visual artists.  Whatever hopes I had for the show helping our country’s appreciation of visual artists or understand better their relevance in society were shrank quickly in the first episode.  Certainly the show follows the conventional storylines for reality shows and reinforces assorted stereotypes about artists (too many to detail). 

Despite the typecasting, I found the show’s value in the definitions of and arguments for the artwork.  As the artists’ defended their work and the judges (a strange grouping of commercial gallerists, an outspoken art critic and a collector) questioned the artists, I heard numerous types of arguments for the relevance of art. 

In addition, artists watching the show can learn from the career steps and missteps represented bluntly.  Some of the contestants are quite experienced in the art world.  They speak confidently about their work.  Others show the ordeals of emerging artists, with all the associated fears, audacity and mini triumphs. 

Judges focused on the artists’ intentions, in this case the challenge to make a portrait of one of their fellow contestants.  Artists defended their methods, talked about their objectives, and mused about what the viewer might experience in their art. 

Two books I have been reading echoed in my head as they spoke.  Judges questioned the quality of the work using arguments based in philosophy as ancient as Plato.  These philosophical viewpoints are outlined in “Why is That Art” by Terry Barrett, who examines ways of analyzing the quality and definitions of art.  Similarly, “The Social Impact of the Arts: An Intellectual History” by Eleonora Belfiore looks at reasoning on the importance of art.  Conversations from the show directly addressed questions about the effect of the artwork on the general public. I think to balance the banality of the show; I will give myself reading assignments to connect the attitudes to philosophy. Well, maybe I will just follow the sassy conversations about the show on Twitter.

I wonder whether the voice of the informed critic is really represented in the snippets actually quoted from the judges. And I wonder if the thumbs up-thumbs down judgments will deepen the perceptions of the general viewer. While the “Work of Art” may further trivialize visual artists (will Sarah Jessica Parker appear on each episode?), at least we can learn from the discussions, representations and myths. Watch carefully. 

Did you watch?  What do you think?  What story would you tell if you produced the show?


P. S. Reminder that contestant Jaimie Lynn Henderson is a native Oklahoman, University of Oklahoma grad and former Momentum artist.  Can't help but root!  

How to Prepare for a Senior Art Exhibition (Part 2 of 2)

Guest Blogger: Emily Kern, artist & OVAC intern

• During this entire process you should also schedule regular critiques with your professors and peers. This also gives you deadlines to complete work and keeps you motivated to continue expanding and improving your body of work.

• Talk about your work and the concepts behind it to anyone who will listen - family, friends, neighbors, the dog - this will help you feel prepared when all the lights are shining in your face and your nerves would otherwise get the best of you. You should be able to answer questions about your work in your sleep if necessary.

• Last, but not least, you must, must, must plan ahead and prepare your work for display. Nothing ruins an exhibit like seeing really great work poorly displayed. Framing can be expensive, but you can build the frames yourself if you give it plenty of time, or you can apply for grants to help purchase frames. You can buy frame kits at art supply stores online, usually 50% off, if you watch for the sales that come around about twice a year. Also, do your research to see what size frames are carried by your local stores, and create your work to fit standard frame sizes. It will save you money and time in the end. If your work is 3D or video, make sure you have the pedestals and displays that are going to do your work justice. At least a week before your installation date you should have all the necessary equipment you will need to show your work in its best light. Also, when it is time to install your show enlist a team of people to help, setup will go much smoother if you are not alone.

You might be asking yourself who is this person and what does she know about senior exhibitions? I’m Emily Kern, a graduating Studio Art major at Oklahoma State University, and my senior exhibition is currently on display at the Gardiner Art Gallery on the OSU campus in Stillwater, OK. I am sharing this great exhibition with six other artists: Lacey Jade Schultz, Chelsea Dudek, Heather Chadwick, Hali Linn, Mallory Replogle, and Rachel Marks. It is an all female graduating class, and it is a fantastic show if I don’t say so myself. The exhibition will be up until April 9, 2010, weekdays from 8 a.m. - 5 p.m. at the Gardiner Art Gallery, 108 Bartlett Center for the Visual Arts at Oklahoma State University.

Hope you enjoy and good luck with your senior art exhibitions. DON’T FORGET TO APPLY TO MOMENTUM SPOTLIGHT BY MAY 5TH!

Images:
Top: Hali Linn, "Christmas"
Middle: Heather Chadwick
Bottom: Emily Kern, "Spirograph 1"

How to Prepare for a Senior Art Exhibition

Guest Blogger: Emily Kern, artist & OVAC intern

You have worked hard for four long years, in some cases five, six, ten or more years (some of us just can’t get enough education), and now it is time for your Senior Art Exhibition. You have been creating a body of work that is finally going to be seen by others, and you are going to be expected to write about and speak about it. If you find yourself facing the inevitable moment this semester then there isn’t much I can do but wish you good luck. However, if you are one, two, or ideally three semesters away from this blessed event I think I can help.

• First, get settled on a concept for a cohesive body of work. Look at tons of other contemporary artists, and do extensive research on your subject matter. There is no such thing as too much information.
• Then, start generating your work. Not everything you create is going to make it to the final cut. You need to make, at the very least, twice as many pieces as are expected for your exhibition so that you have plenty of room to edit.
• Now you need to start preparing an artist statement, a statement about the content and formal choices in your work. This will help you as you are forced to make formal choices in creating your work. The clearer you are about what you want your work to be about the clearer your formal choices will be.

• The best way to prepare for you senior show, other than making as much work as possible, is to enter other shows. This gives you deadlines for completing work and pressures you to take care of any framing and display issues that need to accompany your work. It also will allow you to see your work displayed, which often lets you see it in a new light, bringing forth things you never noticed before that might need to be tweaked or changed all together. The more shows you can enter the better. The best scenario would be to land an exhibition that allows you to show multiple pieces or your entire body of work. Momentum Spotlight is just such an opportunity (by the way the deadline is May 5th).

Suggestions continued tomorrow...

Kern’s work is a graduating Studio Art major at Oklahoma State University, and her senior exhibition is on display at the Gardiner Art Gallery on the OSU campus in Stillwater, OK until April 9, 2010 open weekdays from 8 am-5 pm. The other artists in the exhibition are: Lacey Jade Schultz, Chelsea Dudek, Heather Chadwick, Hali Linn, Mallory Replogle, and Rachel Marks.

Images:
Top: Mallory Replogle, "This is How I Disappear"
Bottom: Jade Schultz, "Apraxia"

Public Speaking: A Few More Ideas to Give you Confidence

When speaking, teaching or presenting:
1. Use plain, simple language, unless in a specialist situation as everyone may not understand. For instance, most people need you to define etching, formalist, non-narrative, or installation (and don’t want to have to ask).

2. Be energetic in delivery, impassive won’t make people interested

        o Non-verbal clues are important too—what do your hands/facial expressions tell?

3. Tell your own story somewhere in the presentation, it is about you and you’re your art (not your art that magically made itself)!

4. Limit your information—you can’t tell everything about yourself and your work, must narrow to pertinent or connected details.

About nerves:
* Once you begin speaking, your anxiety is likely to decrease.

* Your listeners will generally be unaware of your anxiety.

* Having some anxiety is beneficial—energy, gets your brain thinking quickly.
* All people tend to speak more quickly in front of others, take a breath and slow down

* Practice is the best preventative.

* Recognize you're not alone.
* Realize that people want you to succeed.

Visuals: especially important if your artwork isn’t there.
People think faster than you speak... reinforcing visuals help keep them focused on your message. People speak at 125 words per minute and think at 500 words per minute or more.
-What is needed depends on the audience
-Images must enhance understanding
-Artwork should support what you are saying verbally
-Visuals will increases the audience's attentiveness
-Help them remember you and your artwork


Dealing with spontaneous speaking: Q & A or off the cuff
-What questions might be raised? Consider in advance what questions you already get regularly, what materials or issues with which you are dealing.
-What do you think the attitude of the audience will be? Friends? Students? Critics?
-Don’t go on and on—simple answers are fine (don’t give another speech)
-You may end up repeating part of your presentation, that’s ok, maybe they didn’t understand or get it the first time
-Don’t be afraid to say “I don’t know”


Most importantly, practice three times as much as you think you need to as you’ll be at least three times as nervous in front of others. Any time I have thought I will not get nervous, after speaking 100+ times in front of audiences), I am wrong.  Even a sleepy class of high schoolers makes me wish I'd prepared much better!


Some of this information was modified from Toastmasters International, a great organization for improving your speaking skills.


Also, see some great ideas about improving your verbal skills (writing too) from Alyson Stanfield of www.ArtBizCoach.com.


OVAC offers the Artist Survival Kit Retreat: “ARTiculate” April 16-18 at Post Oak Lodge in Tulsa. This will improve the participants’ ability to articulate artistic and career concepts, educate others and make public presentations. Led by innovative educator Jane Varmecky, the retreat will include interactive training about adult education techniques and the dynamics of group training. There will also be time to learn from and share with other participants. Learn more at www.ArtistSurvivalKit.org

Public Speaking—Why Me?

So, I realized we’ve been proceeding a bit like you should know why you need to be a good speaker as an artist.  I want to back up a bit and talk about some possible motivations.

Why would an artist be doing public speaking? If you show your artwork in public, you are becoming a PUBLIC person! Speaking well and connecting with varied audience is excellent for marketing and so expanding potential opportunities.  Here are some instances where you might end up needing to speak about yourself and/or your art.

Formal:

>Speaking to a class

>Talking at an exhibition, could be a gallery talk or lecture

>Conferences presentations like Oklahoma Museums Association, Professional Photographers of America, College Art Association

>Accepting an award (woo!)

>Presentations and meetings with potential clients/employers, galleries, etc.

Informal:

 Art openings

 Parties

 Networking events

 Meeting someone new through friends

There are many reasons for giving a presentation and you should consider carefully what you are trying to do with your talk. For instance:

• to inform
• to educate
• to entertain
• to inspire
• to convince

-Consider, why am I doing this presentation, i.e. What is my purpose? Who is my audience?
-Develop a plan and the content for the presentation based on the purpose and audience.


OVAC offers the Artist Survival Kit Retreat: “ARTiculate” April 16-18 at Post Oak Lodge in Tulsa. This will improve the participants’ ability to articulate artistic and career concepts, educate others and make public presentations. Led by innovative educator Jane Varmecky, the retreat will include interactive training about adult education techniques and the dynamics of group training. There will also be time to learn from and share with other participants. Learn more at www.ArtistSurvivalKit.org 

Put Away those Public Speaking Fears: Pt 2

In an earlier post, Elizabeth Downing gave some background and ideas for making through public presentations. She's an example of good planning as she comes ready to present. In one of her most crafty moves, she had a small print (with her contact info on it) under each seat in the theatre during her talk as a part of the PhotoSlam at the OKC Museum of Art a few years ago. I assure you, everyone remembered her and she didn’t appear nervous at all!

Here's her super short top 10 tips for making the most of public speaking.

1. This isn’t easy. Accept it as such. But it gets better and easier each time you do it.

2. Force yourself to look forward to this. Imagine you’re in a room full of people who love you and want to see you succeed.

3. If making eye contact is hard for you, pick a few people in the crowd and talk to them.

4. Do not read directly from notes (or PowerPoint). There is no better way to bore an audience. Use your notes or slides as a starting point only.

5. Make them laugh or identify with you right off the bat.

6. Embrace and reflect your confidence – it doesn’t have to be confidence in yourself, it could be your belief in the strength of your work. A conversational tone helps.

7. The more audience participation, the better.

8. Use any help you can get. Seed the audience with your friends or family. Wear your lucky charm, your favorite ring, or the pair of pants you know you look great in.

9. Offer yourself a reward for making it through – your favorite cocktail, a shopping spree, a piece of tiramisu, or a visit to the art supply store.

10. Remember that, for good or for bad, this experience can provide some great material for your next artwork.

OVAC offers an Artist Survival Kit Retreat: “ARTiculate” April 16-18 at Post Oak Lodge in Tulsa. This will improve their ability to articulate artistic and career concepts, educate others and make public presentations. Led by innovative educator Jane Varmecky, the retreat will include interactive training about adult education techniques and the dynamics of group training. There will also be time to learn from and share with other participants. Learn more at www.ArtistSurvivalKit.org

Put Away those Public Speaking Fears

The prospect of a public speaking presentation is enough to make anyone’s palms sweat (admit it, you just shuddered a little even thinking about it). It doesn’t even have to be a large event – for some artists, talking to people they don’t know about their art is a dreadful part of gallery openings. Your mom told you not to talk to strangers and for many of us, the lesson has stuck well into adulthood.

It doesn’t have to be as awful as we make it out to be. As a cripplingly shy child, I spent most of my teenage and early adult years studiously following the aforementioned motherly advice. So if I can talk myself out of the corner and in front of the microphone, you can too.

So let’s say that you’ve had a moment of insanity and signed up to present something about your art in front of an audience, podium and everything. In reality, the buildup is far worse than the actual presentation. Once, I found myself so relieved to be onstage just to have it over with, I knew there had to be a better way to go about this. You would be amazed if you actually listen to what your mind is telling you in advance of such an event – it’s a mean, nasty little devil that should be quieted immediately.

So the next time I gave a speech, I parried back at the unhelpful “you can’t do that” and “they’re going to laugh you off the stage” with a few simple thoughts: first, I forced myself to look forward to the presentation. I imagined that the audience was full of people who already liked me, were already interested in what I was going to say, and who were genuinely fans of my art. Of course, that wasn’t necessarily the case, but it was remarkable how easily repeating “this is going to be ok, it might even be fun” chased away that little demon. It’s a less distracting variation of picturing your audience naked.

Second, I realized how eager audiences are to reflect. They’re essentially blank canvases, and they are looking to you to set the tone. I know, a little bit of that terror just crept back into your mind – holy cow, how could I ever take on that kind of responsibility? But once you realize that this is a pivotal part of your speech, even more important that what you’re actually talking about, you can start to craft a way to walk, speak, and present that appropriately mirrors your style. Look to your artwork to help you with this, because for most of us, it’s a place of remarkable connection and peace.

Third, preparation is key (but don’t let the demons back in). Imagine that you’re a speechwriter for a friend, your twin, or your alter ego. You want to equip them with enough notes, outlines, or even a fully written speech to do the best job they can. It can be easy to over think and get yourself worked up about how awful the presentation is going to be, which is why it’s good to believe that it’s for someone else.

And last, recognize that it’s not the end of the world. It might be embarrassing, but a very wise woman once said that if you’re not embarrassed 30% of the time, you’re not putting yourself out there enough. Promise yourself a big reward when you’re done and dive in – even if it’s really bad, you can use those feelings to create some incredible art once it’s over.

Guest Blogger: Elizabeth Downing, Writer and OVAC Board Member

OVAC offers an Artist Survival Kit Retreat: “ARTiculate” April 16-18 at Post Oak Lodge in Tulsa. This will improve their ability to articulate artistic and career concepts, educate others and make public presentations. Led by innovative educator Jane Varmecky, the retreat will include interactive training about adult education techniques and the dynamics of group training. There will also be time to learn from and share with other participants. Learn more at www.ArtistSurvivalKit.org  

Business of Art Book Reviews: Marketing and Promotion

ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career
Heather Darcy Bhandari and Jonathan Melber
Liz Roth: Great, all around guide to getting started with your marketing materials. Emphasis on NYC gallery scene and East Coast. Good legal section.



Self-Promotion for the Creative Person Get the word out about who you are and what you do
Lee Silber
Sue Clancy: for artists needing to do self-promotion on tight budget, press kits, portfolios, postcards, media, and business phone calls


Art Marketing 101
Constanace Smith
Liz Roth: I find this book irritating. I feel like the information had to be organized around the size of the pages, and therefore parts are too short and others too long.
Julia Kirt: Fine, but Stanfield’s self-promotion and Crawford’s legal guide much more usable and motivating



I’d rather be in the studio: The Artist’s No-Excuse Guide to Self Promotion
Alyson Stanfield
Julia Kirt: Kick in the pants for artists looking to ramp up; especially helpful about communication, marketing, web presence, and being proactive
Liz Roth: Highly positive book, which makes promotion seem do-able and straightforward. The best chapter on thinking about and writing an artist statement I have ever seen.

The volume of books about art businesses is pretty overwhelming with many titles and concentrations. I have read close more than a dozen business books targeting artists and sometimes get confused which is which, not to mention which ones to recommend for whom. This is part of a series of feature brief reviews and recommendations of business of art books by several knowledgeable artists. I hope the reviews will help artists know which books are most useful for which topics and career stages.


Feel free to add your own reviews and/or book ideas!

Business of Art Book Reviews: Must Have Practical Guides

2010 Artist's and Graphic Designer's Market
Edited by Mary Cox, Writers Digest Books
Amanda Hall: For aspiring illustrators, cartoonists, & designers, lists companies taking freelance submissions like publishers & greeting card companies
Sue Clancy: for artists wanting to published in books, magazines, on products; like phone book of contacts & how to approach, helpful art business info

Studio Protector: The Artist’s Guide to Emergencies
Craft Emergency Relief Fund
Julia Kirt: Beautifully designed, resource-packed readiness kit, what artists need to know BEFORE fire/tornado/flood, etc. Avoidance= Not Professional
See also review on Alyson Stanfield’s blog: http://www.artbizblog.com/2009/12/studioprotector.html  
Legal Guide for the Visual Artist
Tad Crawford
Amanda Hall: For the legal jargon-challenged, provides model contracts and copyright law info. Covers many scenarios faced by artists at career stages.
Julia Kirt: Buy it.
Liz Roth: Every artist must own and read this book. Taxes, contracts, sample legal forms, dealing with lawyers-- this book has it all. All of his books are great.


Graphic Artists' Guild Handbook of Pricing and Ethical Guidelines
Graphic Artists’ Guild
Sarah Atlee: The HPEG answers all my questions about the business of illustration and design. It's essential for a freelancer in any visual field.





The volume of books about art businesses is pretty overwhelming with many titles and concentrations. I have read close more than a dozen business books targeting artists and sometimes get confused which is which, not to mention which ones to recommend for whom. This is part of a series of feature brief reviews and recommendations of business of art books by several knowledgeable artists. I hope the reviews will help artists know which books are most useful for which topics and career stages.

Feel free to add your own reviews and/or book ideas!

Using the Keyboard to Make the World Your Studio

This Saturday, November 14, OVAC will present an Artist Survival Kit Workshop giving artists some tips and information for marketing their artwork. "Getting the Word Out: Marketing and Social Media for Artists" will be held from 1-4pm at the USAO Art Department in Chickasha. Today is the last day to get a discount on your registration and there is still plenty of space left for you! One of our presenters, Patrick Allmond, is our guest blogger today, giving you a glimpse of what he'll be speaking about. More information about the workshop and online registration is at www.ArtistSurvivalKit.org. Hope to see you there!


"I think the DNA pool gave you - the artist - a different set of senses than the rest of us.

When I look at a bucket of paint, a block of clay, or a piece of paper I see a colorful two dimensional piece of material that I used to play with in days gone by.

But not you. You see so much more in the world. You see different shapes, different colors, and different sides of things that a lot us never thought to consider. You make us smile, frown and sometimes goes "Ahhhhhhhhh" with your creations. I love the fact that art - of any type - can alter the perspective of any human being that experiences it. The viewer is forever changed after seeing the creation that is the fruit of the artist.

However the constant challenge as an artist is to get people to see the world the same way that you do. Almost every day of your existence is spent trying to share your creation, your thoughts, and your feelings with the people around you. It would be great if art marketed and sold itself. But until that happens you need to find better and more cost-effective ways of sharing your creations. One of the best ways starts right at home with that keyboard and that mouse.

Saturday we are going to spend 75 minutes together talking about using technology to help artists spread the word of their craft. My presentation titled "Using the Keyboard to Make the World Your Studio" will touch on how marketing has evolved online and the five key areas you need to consider exploring. We will also be talking about Social Media or "Anybody Media" and how this differs from traditional marketing.

The best part of our discussion is the cost of what it will take you to use these tools. You will be surprised to learn that everything I mention on Saturday costs nothing.

Looking forward to seeing you on Saturday."
- Patrick Allmond
http://patrickallmond.com/

Help: Rejection, what's love got to do with it? Liz Roth #2

Below are more ideas about dealing with rejection as an artist from Liz Roth, who calls herself at times a “proposal machine,” said “Rejection is a part of all competitive endeavors. Once you make the decision to function as a professional artist and put your work out in the public sphere, you begin to have opportunities for feedback. Most of this feedback is: rejection.”

A summary of the strategies Roth suggests to get past rejection (her full chapter does each topic more justice, but you can get the book later!):
1. Plan for Rejection: Rejection is easier to take if you have a lot exciting possibilities on the horizon.
2. Stick to your routines: This way, you’re choosing to interpret the rejection as just a part of the process, and not a life changing experience.
3. Rejection in, Application Out: have proposals ready to mail as soon as you get that decline letter
4. Choose to interpret the failure as feedback: look again at your application and fine-tune materials, recheck the eligibility and guidelines
5. Create a community that is supportive: you need other artists to get through
6. Vent
7. Professional Help: consider getting assistance like professional photographers, art marketing advisors, lawyers, counselors, etc.
8. Self Care: it is ok to grieve and relax
9. Reconnect with art: get in the studio, play, experiment, remember why you make art
10. Work on art-related tasks
11. Take a little break from art
12. Say YES: find ways to build your relationships and career by saying yes to small opportunities you receive

Help: Rejection, what's love got to do with it? Regina Murphy

I asked several artists who exhibit regularly and participate widely to let me know how they deal with artistic rejection. See earlier posts for more background.

Regina Murphy’s artwork seems omnipresent in the Oklahoma City area. She is known for both submitting to many shows and organizing lots too. Regina must have figured something out or is submitting to things that are very appropriate to her work considering the large percentage to which she is getting accepted (80% acceptance is pretty darn good).

Q: How do you decide what juried shows to enter?
RM: Choosing which juried shows to enter has different considerations today than in the past. Shipping costs and handling fees are a great problem today. Of course, the quality of the show is always important and for many people the size of the award money is the determining factor. Personally, in the past few years I have limited my entries to local venues for the most part, with the exception of one show, the Palm Springs Museum show which I enter because I have a daughter affiliated with that museum and she encourages me to do so.

Q: What percentage of them would you say you’ve gotten in over your career?
RM: In recent years I have been fortunate to have been accepted in probably 80% or more of the ones I have entered. In the earlier years a little less.

Q: What is your experience of rejection from artistic things?
RM: Rejection is never joyful. However, one must realize that it’s just one person’s opinion and on a given day that person might choose differently. We have all had experiences of getting a particular piece of art rejected from one show and accepted in another, and often received an award as well.

For the past 20 years I have served as Slide Chair for OWA’s National Watermedia Oklahoma Exhibition and I have had a number of unhappy artists to respond to. A number of the judges have expressed the opinion that artists should realize that judging an exhibition is impossible without a small amount of personal bias for the type of work accepted. During all those years I always sent a letter of explanation to those artists not accepted (never called it rejected), stating how many pieces were chosen from the number entered and that each year there is a different judge and thus a different views of what will be the best show from the submissions. Also I always asked the judge to furnish a statement of his/her criteria for judging which I enclosed with the letter. I had hoped that knowing what criteria was used would help the artist understand why his/her work was not accepted, and perhaps helped the artist to judge his/her work and to have a better idea of what to enter next time. Almost all the judges put at the top of the list “personal expression,” even more important than skill and competence.

Every artist needs to enter some juried shows. Not only does it help a resume, but it gives the artist verification when accepted, and provides a comparison of his/her work with other works in the show. I am often humbled when viewing the great works in National Watermedia Oklahoma Exhibitions and also am very proud to be in such good company.

Help: Rejection, what's love got to do with it? Mark Wyatt

I asked several artists who exhibit regularly and participate widely to let me know how they deal with artistic rejection. See earlier posts for more background.

Mark Wyatt is known for fascinating designs and surfaces for his paintings. I appreciated his focus on the enjoyment of making his artwork over pleasure in selling or showing publically. Many artists may share his perspective and may be able to temper feelings of disappointment over rejection by concentrating on creating their artwork. If the actual enjoyment of making your work is more important to you, you can certainly be more selective about how and to whom you show your artwork.

Q: How do you decide what juried shows to enter?
MW: If a show seems to consider my type of work and it is convenient I will enter. I have sold a lot more art just by myself than I have in any show.

Q: What percentage of them would you say you’ve gotten in over your career?
MW: Maybe 40%

Q: What is your experience of rejection from artistic things? Has it changed over time?
MW: I have been rejected by galleries and organizations both who would have charged me a high percentage of any sales for commission. I have sold quite a bit of work by myself and kept the whole amount. So, I look at rejection as their loss and my gain. On another note, I view myself as an artist and not a business. I do art because it pleases my soul to make images. If I sell something, that is great. If I don't, it wasn't meant to be. I would rather art lovers find my art mystically and enjoy it for reasons other than they are investing in a product.

Help: Rejection, what's love got to do with it? Kate Kline

If you can accept that your artwork will not be chosen for everything you hope, how can you prepare for the dismissal, denial, and dismissal ahead when trying to show your artwork to the world?

I asked several artists who exhibit regularly and participate widely to let me know how they deal with artistic rejection. Each artist’s approach seems different, but each seems to focus on selecting appropriate opportunities for their art, allowing the rejection to motivate them in their artwork, and finding better places to show when they get turned down.

Over the next few weeks, I will post edited interviews with the artists who responded to my inquiries. Please email me if you want to add your voice to these perspectives.

Kate Kline, Tulsa, responded quickly with her perspective:

Q: How do you decide what juried shows to enter?
KK: I ask "Will my work fit in the theme/media of this show?" "How does my work compare in quality to past works from this show?"

Q: What percentage of them would you say you’ve gotten in over your career?
KK: about 80%

Q: What is your experience of rejection from artistic things?
KK: Major disappointment and reconsideration of the quality of my work.

Q: Has it changed over time?
KK: Well, I'm better able to cope with the rejection and see the personal growth that has occurred because of the rejection. I, like many others, have had works rejected only to have them accepted at "better" venues and with praise. I think being more aware of the juror(s) involved would be wise in the future.

Help: Rejection, what's love got to do with it? Success

Given those acceptance percentages just for OVAC’s programs, why keep trying?

“You just have to keep working on your art,” Kate Rivers, 2009 Fellowship recipient. Rivers received a $5,000 award this year, judged by an outside curator.

She had submitted six times before being a winner this year!

In fact, her seventh submission (the winner) ties the highest number of submissions by an artist to OVAC’s Fellowship program. In this case, her diligence paid off.

When I asked Kate why she kept submitting, she pointed out that the guest curator changes each year, plus she feels compelled to keep evolving her artwork. Also, the submission pool varies greatly. This year 52 submitted, last year 85 and in 2007, 85. You never know who else is applying, so can’t guess what the curator will see.

Kate said the Fellowship was just a part of a string of successes with galleries she’s had this year. I think all Kate’s opportunities have come from a combination of her hard work in the studio art and her willingness to risk rejection when submitting her artwork.

Help: Rejection, what's love got to do with it? Statistics

Ironically, I am working on this series of blog posts about artistic rejection and… I received a rejection letter today from the Dallas Contemporary. It hurt my feelings. Funny thing is I don’t even make art. They must have received OVAC’s most recent exhibition catalogs that we mail nationwide and mistook me for an exhibition seeker for their gallery. I think this confirms, yet again, that rejection is a very common part of the art world. What perspectives are useful for artists? We know you have to take a risk to submit a proposal, apply for that grant, or send art to that show. For many artists it is an occasional risk, while others enter things constantly.

First a few numbers from OVAC’s recent submission history for the statistics fans out there:

Momentum Tulsa Spotlight:
9 proposals for 3 honoraria 30%

Oklahoma Visual Arts Fellowships:
52 entries for 2 fellowships 2%

Oklahoma Student Awards of Excellence:
17 entries for 2 awards 12%

Momentum OKC exhibition:
199 artists submitting over 400 pieces, 136 artists with 260 pieces accepted 65%

VisionMakers exhibition:
201 pieces by 76 artists submitted, 38 pieces by 38 artists accepted 19%

Art 365 exhibition:
134 proposals, 6 accepted 4%

You can see that the acceptance rate is widely varying depending on the type of opportunity and eligibility. Next up, what might these numbers tell us?

Help: Rejection, what's love got to do with it?

As a part of Julia's series of blog posts about rejection, you might want to check out an article that was published in the Jan/Feb 2008 issue of Art Focus Oklahoma titled "Rejected? Don't feel dejected!" (page 18) Three writers shared their experience and advice for dealing with rejection.

Tip: Trademark on Social Media Websites

Ever wonder what happens if someone makes their Facebook profile with your name as an artist? Curious about Twitter's rules for reclaiming a name that should be your own?

This article by McAfeee Taft law firm gives an outline of the issues surrounding social media and user names. Consider also the issues of trademark.