The wise juror


Dear Artist,

Yesterday, among the email that came in for the launch of The Painter’s Post, there was a note from Pam Ryan of Wilmette, Illinois. She attached a letter she received from an anonymous juror after one of her works was rejected from an exhibition. It was a thoughtful, tasteful, perhaps boilerplate letter that said in part:

“Whether or not your work was included in this show should not discourage you from continuing your artistic pursuits.” The juror told how, in a similar situation, she had had her photographs rejected by four different jurors for four different reasons.

The juror went on to say: “It’s vital for any artist to nurture and protect that which makes their vision unique. One needs to go inward instead of outward and learn to trust your own inner guide.”

“If you have one rule to follow,” she wrote, “I suggest cultivating a dialogue with your inner voice, listening to the clues your own images offer.”

This is not unwarranted praise or gratuitous esteem building. It’s an expression of one of the basic truths of art. It brings to mind the very real question of how much one really needs from anyone else. It seems to me that the act of art is at its best when the interaction simply takes place between the artist and the work itself — outside the world of criticism and inside the world of inner knowledge.

I compare each creative effort to the solo ascent of a steep mountain where the path is jagged and crossed with crevasses and fissures. Only a strong shot of personal desire gets you to the top. No tour guide or outrageous misfortune can spoil the hike — nor can gratuitous praise or commercial success. Art just is. Each work of art is its own mountain, its own beauty and reward.

“Listening to the clues your own images offer,” is the key to the juror’s wisdom. While knowledge of tools and the love of motif may be in your backpack, and all mountains may be measured by their previous heroes, art must exist for you in a place beyond the judgment of others.

Best regards,


PS: “Your vision will become clear only when you look into your heart. Who looks outside, dreams. Who looks inside, awakens.” (Carl Jung)

Esoterica: This commitment comes in different supply to each of us. The imaginative may need to focus, while the naturally focused may need to develop and build the soft muscles of imagination. Here’s an exercise: Slow your breathing, review in your mind’s eye your vision, glance at the clock and fixate on the work at hand for an hour. Be deliberate, steady and patient. Be audacious, clever and generous. Let your strokes be sensitive and brave, as if you were participating in a mutual, loving act. Look, think, stroke. Leave your strokes alone. The circle will not be broken.


Andy’s rejection letter
by Dena Noble


photograph of Andy Warhol

I recently purchased an Andy Warhol purse just because I liked it. I was pleasantly surprised when I got it home and took everything out that was inside and there was a letter to Andy Warhol from the Museum of Modern Art, New York dated October 18, 1956.

Dear Mr. Warhol:

Last week our committee on the Museum Collections held its first meeting of the fall season and had a chance to study your drawing entitled “Shoe” which you generously offered as a gift to the Museum. I regret that I must report to you that the Committee decided, after careful consideration, that they ought not to accept it for our Collection. Let me explain that because of our severely limited gallery and storage space we must turn down many gifts offered, since we feel it is not fair to accept a gift of a work which may be shown only infrequently. Nevertheless, the Committee has asked me to pass on to you their thanks for your generous expression of interest in our Collection.


Alfred H. Barr, Jr.

Director of the Museum Collection

P.S. The drawing may be picked up from the museum at your convenience.


Selling rejected art
by Veronica Greene-Lawless, Penn Valley, CA, USA

Two years ago I received a similar letter. It was bittersweet as I had already sold one of the pieces I was trying to enter. It went to the California coast and two others went to Canada. So by the time I had the rejection letter three pieces had sold. When I went to the show that had rejected my paintings I noticed that all the paintings that were there were by artists that had booths to sell their other art work. I guess you just have to learn what shows to enter and try to find out what type of art the jurors are looking for. How to do this? I have no idea. I just keep trying and know that my art gets better with every piece I do.


How many jurors?
by John Ebel, Tallahassee, FL, USA

I’ve always had a problem with exhibitions that are juried by only one juror — too subjective — I’d like to see exhibitions have at least three jurors, all of whom have to agree on entries and selections for awards. This seems to be more intelligent.

I studied under the British watercolorist Harold Hilton who advocated public vote only.

His reasoning included that the public cuts through the attempt of artists to make a particular subjective statement and sees a work for its artistic value. What do you think?

(RG note) Thanks, John. Agreed — one’s deadly, two’s trouble, three’s company, four’s a crowd. Regarding public vote or the “People’s choice” type of award, it’s undervalued by the experts and underused by the folks on the board who make the decisions. Scrabbling for expert opinion is a chronic human weakness.

There are 6 comments for How many jurors? by John Ebel

From: Dava Dahlgran — May 18, 2009

The problem I have seen with ‘People’s Choice’ awards is the tendency for them to awarded to the person with the most relatives in the area to come and vote. This I suppose is not so much a problem in more metropolitan areas but I still think there is a danger of it becoming a popularity contest instead of an art award.

From: Ginny in Florida — May 19, 2009

Yes. Regarding People’s Choice. Another issue is that people of all ages vote. So in many local shows tons of children are voting! Not that their opinions shouldn’t be valued…but it tends to bend the competition to art work of dogs and cats and animals primarily. The other issue is the trend toward voting for “what fits best over my sofa” syndrome. Not that this is necessarily bad…but it skews the objective of the show from what is technically amazing or wonderfully innovative or amazingly crafted to more of a color choice.

From: Suzette Fram — May 19, 2009

…”technically amazing…wonderfully innovative “… Is that what makes good art? I always think that it’s more about how the piece makes you feel. If it speaks to you, reaches you, touches you, makes you feel, isn’t that what good art is about?

From: Dona LeCrone Walston — May 20, 2009

After 38 years of working with Watercolor Societies’ Juried Exhibits I strongly disagree with the iidea that more jurors make a better exhibit! I have observed jurying by committee to be: you accept my ‘dog’ and I’ll accept your ‘dog’. I believe the better exhibit is chosen by one juror!

From: Virginia Wieringa — May 20, 2009
From: Keith Bond — May 20, 2009

There are pros and cons to both public votes and juror votes. For me, however, I create art which I hope will speak to those who view it. Art has the power to connect deeply with others. I find it much more gratifying to know that my art spoke to several people who came to the exhibit to enjoy art, rather than one or two jurors who came with a job to do. Public vote, if done correctly, is a vote based upon that unique communication between art and viewer. It is an emotional vote. A jurors vote is based upon a set of criteria (different for each juror). Many people don’t understand the criteria that jurors are looking for. They may not understand composition, content, movement, repetition, color theory, etc, but they know if it spreaks to them. Which is more valid?


Worrying about what others think
by Bren Nichols

I have a fine arts training background and I’m dedicated to my painting but have never quit my day job. Hence, my art has been “part time” and although I’ve been in many shows, juried and non-juried, I’ve only recently approached a Gallery about my work. I’m awaiting their response and going through the normal process but I find that I’m too concerned about what they will think. I have to really kick myself psychologically because I do know better. Receiving your timely letters, that act as “reinforcements” for me, you could say, help keep me on the right track. So, I just want to thank you and your team for all the effort and time you put into sharing your wisdoms.


Free at last
by Elizabeth Concannon, St. Louis, MO, USA


mixed media collage
by Elizabeth Concannon

This reminds me of years of such letters or notices. In the beginning I saved them with a file — and hoped that somehow they would provide some insight as I painted or something. Then one day it became necessary to clean out the file after a number of years had gone by — and I found all of those rejections and put them exactly where they belonged — I papered the bathroom of my studio with them. It was cathartic! Behind me! Free at last! Since those years, I have been in many shows and rejected by many as well and the letters are, as you suggested, a boilerplate style “sorry but don’t give up” stuff — which is even funnier after 50 years or so. If there are enough exhibits in which to participate regularly, those letters lose their power over us. Styles come and go, art appreciation is often quirky, we are who we are (at least for now) and our art comes from us.

There is 1 comment for Free at last by Elizabeth Concannon

From: Dava Dahlgran — May 18, 2009

I have a friend who also puts the rejection notices in her studio bathroom – and the acceptances as well. Seems like a healthy attitude.


Remark hurt for a short time
by Podi Lawrence, UK


“Wall Shadows #2”
oil painting
by Podi Lawrence

Oh that all Open Exhibitions had such a wise juror. After a successful career as an artist in Europe, where I won many commissions and, among several other awards, a Bronze Medal at the Salon de Paris 1994, I moved to Canada for a multitude of reasons. After slowly integrating myself in the local art scene by entering shows and exhibiting in galleries, I became a member of the Arts & Letters Club in Toronto. In the Open Show of a well known Society in Ontario I received an honors mention and was encouraged to apply for membership. I received my letter of rejection and was summarily dismissed with the comment, “not being up to the standard of this Society.”

That remark did nothing but hurt, if only for a short time. I never applied to that Society again. I am currently licking my wounds in Panama — and enjoying every day I paint to my own inner self.

There is 1 comment for Remark hurt for a short time by Podi Lawrence

From: Suchin — May 19, 2009

This about says it all.


Learning from rejection
by Tiit Raid, Fall Creek, Wisconsin, USA


“Fall Creek Pond: Combined Shoreline”
acrylic painting
by Tiit Raid

I’ve learned more from being rejected than from being accepted into an exhibition. Acceptance builds your resume and gives your ego a boost, but a rejection stays with you longer, and most importantly, you learn more from it. You begin to question your work, which is not a bad thing, and you explore what it is about it that got it rejected. On the other side of this questioning and re-evaluating, two basic things can be learned: that the work truly is not up-to-snuff and you understand more about why it was rejected and what you can do to make it better; and the other is that it IS a good work, and therefore keep working and trust yourself.

There is 1 comment for Learning from rejection by Tiit Raid

From: Virginia Wieringa — May 20, 2009

Since most rejection slips come with no comment or clue, how can you learn from it? You go to the show and look at the stuff that got in and ponder why your piece was any less worthy than the stuff on the walls…


Develop a thick skin
by Susan Liles, Missoula, MT, USA


“A Happy Soul”
watercolour painting
by Susan Liles

Many of us fear criticism, but as artists we must develop a thick skin and realize that each potential buyer or juror has their own personal taste in art. A good juror should consider the art picked for a show in a gallery should have a well rounded variety of pieces; landscapes, portraits, still life, and abstracts to appeal to the buyers. All landscape paintings would make for a boring show. If a painting is not quite up to the juror’s standards as “compared” to other submitted pieces, then it is rejected.

We are our own worst critic and we should be. This makes us strive to always do better, but we should never beat ourselves up as we face one person’s rejection or harsh criticism. One thing to remember is that not all people understand what makes a painting “great art.”


Taming the beast
by Gaye Adams, Sorrento, BC, Canada


“Blind Bay December”
oil painting, 16 x 20 inches
by Gaye Adams

I feel honored when I am asked to jury, but also feel the pressure knowing that some of the juried painters will place too much weight on my decisions. It can be an onerous responsibility. When a painter looks primarily outward for validation, the pendulum swings from elation to depression and back again, as the result of a juror’s decision. Neither state is desirable if one is going to stay in this game. Those of us who do our painting for a livelihood have had to learn to tame that beast in order to continue. I really resonate with the “wise juror” whose letter you quoted. Validation needs to come from within first, and the jurying process feedback needs to be weighed by the individual receiving it, rather than attaching meanings to it that may have no basis in reality. If submitting to the jurying process feels a bit like “Mr. Toad’s Wild Ride,” then perhaps it’s wise to not enter that arena until better prepared. It does get easier with practice. Ask me how I know.

There is 1 comment for Taming the beast by Gaye Adams

From: Ken Flitton — May 19, 2009

Super simple painting!! Nicely done.


Lonely at the leading edge
by Kittie Beletic, Dallas, TX, USA


“A Healing Heart”
original painting
by Kittie Beletic

Everyone quoted in this writing touched upon the essence of our relationship with our work. Work/Play, Discipline/Freedom. My favorite quote and philosophy for living is appropriate here. Without needing elaboration, this thought from Lao Tzu teaches, defines and inspires in two sentences:

“The master of the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his education and his recreation, his love and his religion. He simply pursues his vision of excellence in whatever he does, leaving others to decide whether he is working or playing. To him, he is always doing both.”

It is sometimes lonely on the leading edge. An opinion, a harsh critique, a gentle nudge can catch us off-balance. What others think is a fine thing but it’s not the only thing. I KNOW when I’ve done well. I know when I have produced less than I can do. I am my own standard, enjoying both directions — behind me and beyond!


Holed up after report of ‘terrible work’
by Veronica Funk, Airdrie, AB, Canada


“Winter Day”
acrylic painting, 8 x 6 inches
by Veronica Funk

A few months ago I received comments on a rejection which stated that the work was ‘terrible.’ I was gutted. Prior to that I had a number of pieces accepted and even received a prestigious award for one. The comments have caused me to hole up in my studio, to paint for the love of it, and to forgo any more submissions for now while I lick my wounds. I find it interesting how there are times when my work receives accolades and others when it is rejected — it tends to feel that I am personally being attacked.

I took a small hiatus from the art world but refuse to give up my love of painting.

There are 5 comments for Holed up after report of ‘terrible work’ by Veronica Funk

From: Jackie — May 19, 2009

I was immediately drawn to your painting–the design, simplicity, color — exciting.

From: Sarah — May 19, 2009

Using the word “terrible” about a work submitted for a juried show says much more about the author of the remark than about the art itself. Most dyspeptic critics are unhappy or insecure about their own efforts. Keep on painting — your “Winter Day” is lovely.

From: Karen Martin Sampson — May 19, 2009

I have juried shows on occasion and also entered and been rejected on occasion from shows. Both sides of the fence can be hard and even if a work is not what a juror thinks is good there is no excuse for being cruel. And by the way, I think your Winter Day painting captures the mood of such an environment beautifully.

From: Connie — May 20, 2009

There was something about your painting that struck me immediately as well.

Simple in line and design but it hit right at the heart of how winter feels sometimes. Keep your sensitive nature focused on your work.

From: Veornica Funk — May 21, 2009

I have been surprised by the emails and well-wishes that I have received because of my letter…though I know in my heart that I need to do the work for the love of it, it is nice to receive positive feedback. Thank you.


Beyond the judgment of others
by Antoinette Ledzian, Stonington, CT, USA

Recently I was invited to juror a photography show on Cape Cod, held by a local Camera Club. As there was no theme, and an eclectic assortment of entries from traditional to photo transfers to photoshopped versions from which to choose, my job was challenging.

Also, the organizer of the show happened to be my “host” and had submitted pieces which were unknown to me. My biggest fear was that I would choose his work above the others, and be stoned to death at the opening! The moment I set eyes on the exhibition, I knew intuitively which piece would receive the blue ribbon, but continued to spend a few hours making sure I wasn’t reacting soley on that spontaneous feeling, and fearful the image might, indeed, be that of my friend/curator. At another point, a wonderful photograph, well deserving of a prize, seemed to have a tea stain on the mat and I wrestled with another decision. I judged on composition, balance, interestingness, technique, mastery of medium, value, color, creativity and emotional impact . . . bottom line — did it speak to me, grab hold and leave me breathless!

At the opening, I had constructive conversations with both winners and non-ribbon getters. Some people were surprised they had won first place in other shows and not even placed in this one! I wondered how and why they resubmitted? What were they trying to accomplish . . . a reinforcement that their pieces were “definitely” prize winners in the eyes of ALL judges?

It all had a happy ending, in a way! I was relieved I hadn’t chosen one piece by my host, although he kidded me for the next two days about not even placing (and didn’t poison me before leaving town). What I “thought” was a tea stain on the mat of a piece I did choose for honorable mention, was on the glass and removed with a lick of a finger (I recommend CLEANING glass before the judge enters!).

And yes, I AGREE, “art must exist beyond the judgment of others.”




Route 38

watercolour painting, 26 x 17 inches
by Joan Wolbier, CO, USA


You may be interested to know that artists from every state in the USA, every province in Canada, and at least 115 countries worldwide have visited these pages since January 1, 2013.

That includes Anne Elisabeth Nitteberg of France, who wrote, “I really started to paint when I got over the part that it meant a lot to me that other people’s meaning was the real judgment of my work. Now I judge myself while I’m painting. If I discover that it is impossible to have a dialog, I paint over what wasn’t meant to be.”

And also Susan Bainbridge of Ramona, CA, USA, who wrote, “I was curious as to who might have written the wise words you quoted, so I googled around and I believe I might have found your “anonymous juror”: She may be Jane Fulton Alt.”

And also Jon Rader Jarvis who wrote, “Writing about art-making requires different skills while touching that inner child and communicating that contact.”

And also Asma Abbasi of Pakistan, who wrote, “I bless you, I pray for you and I read your letters with my deepest concentration.”


Archived Comments

Enjoy the past comments below for The wise juror



From: Dorenda Crager Watson — May 14, 2009

When I was in art school, many of the professors “critiqued” our work by throwing it across the room, another instructor (in the next class) would praise a certain element of the same piece…while I think this was rather harsh (and somewhat amusing,) I understand now what they were trying to say. You simply can’t place the merit of your work on another persons opinion…the real critique MUST come from within.

I once had a painting of a horse that was dismissed from a show…the judges reasoning (?)…she was thrown from a horse as a child and didn’t like them! See!?

From: Rick Rotante — May 14, 2009

We all want and need praise from others for our work. I also think that giving false praise is ultimately unproductive. That said I believe we can find something good to say even with the worse painting we are asked to critique. At the very least, you can find an encouraging word and move on. Not everyone is meant to succeed at art and not everyone wants art as a profession. I’ve seen work that does not suit my taste and I move on without comment for no comment is necessary. I’ve had people pass my work without comment and I feel relieved I didn’t have to explain it to them for if I had they surely would not have understood or simply they didn’t like the work. There were times when people asked about a piece. It’s these times that I take an opportunity to explain even if they still walk away without buying it.

I’ve had work win first place or best of show to only have the same piece not even mentioned in other shows. Personally I think juried shows should be banished like the pet rock.

I’ve been in the arts in one form or other all my life and have found that if you can’t live with rejection you should not do anything that requires another’s opinion to win money, a prize or praise.

It has been said to me many times “that which doesn’t kill you only makes you stronger.”

Someone else said to me “if you hit an obstacle and feel fear to proceed, jump into the middle of your situation and it will turn out not to be as bad as you first thought.”

There is a bit of folly and self dilution involved with being an artist (of any sort). You have to believe in yourself even when you are the only one who likes what you do. This too will not guarantee you will even be rich and famous at art, but life is full of disappointments. You will survive it. The only true judge of your work has to be you. If you have a special person with whom you hold great affection and trust their judgment, you can use them as a sounding board. But ultimately when you are sitting alone in your personal space, you are your best judge.

From: N Bertin — May 15, 2009

This couldn’t have come at a better time… As an emerging artist, I’ve been debating what images to provide for a show application… Wondering if I should go with the work I want to share with the world (the stuff that inspires me to create art) or strictly the stuff that might sell better. I know my answer now. And even if I don’t get in the show this time, at least I will have listened to my inner voice and built on my integrity.

From: G.Beauchamp — May 15, 2009

So true. After rejection in last year’s local Contemporary Art Society’s show, one of my pastel portraits won an Honorable Mention this year.

From: Tina Sotis — May 15, 2009

This brought tears to my eyes – would that all jurors replied in a similar fashion. And I loved Robert’s comment, “art must exist for you in a place beyond the judgment of others.” Thank you for this wonderful post.

From: Dwight Williams — May 15, 2009

From an old show enterer: Sometimes they like your work, sometimes not. Never give up. Keep entering and learning. Don’t let someone else’s rejection get to you. Sooner or later…SUCCESS!!

From: Bev Searle-Freeman — May 15, 2009

SO very true.

From: carole — May 15, 2009

Thank you for this life-affirming column and the energy it roused in most readers to ‘get out of jail’: Those ‘walls’ we build from our expectations about other people’s approval can keep us prisoners in limited thoughts and feelings. You always find a new window to let our consciousness expand and be free. Thanks, Robert.

From: Gerald Rooney — May 15, 2009

I once entered a modest sized show that was lightly juried. Little was rejected, the jurying being largely an awarding of ribbons. Very little was sold.

When I went to see the fully hung show, I stood behind a group of people gathered around one of my pictures. A local painter and professor of art was pointing out what to him were obvious deficiencies. For some reason, this didn’t bother me at all, though I, for obvious reasons, remained anonymous to the bantering critics.

I did not sell, and was not awarded a ribbon, but received something very special. When I took my paintings home, the picture that had been soundly criticized had, attached to the back, the card of a local gallery owner, on which was written, “Call me, I want to see more,” over her signature. I was represented by her gallery for several years thereafter.

The art world is crazy enough to remain fresh and interesting always.

From: Lynda Kelly — May 16, 2009

To thank you for sharing that letter, how sweet to allow all of us to share the brilliant, insightful and inspirational words not only of the anonymous juror, but the response from Robert which was priceless. I read it over and over, I wanted to glean every morsel from it.

From: Mrs. Karen Halbisen — May 16, 2009
From: Jan Ross — May 18, 2009

Having just received a ‘rejection’ notice for both paintings entered in a local juried show, I am puzzled that my work will receive awards in National competitions but sometimes won’t pass muster a few miles from home. Perhaps the nearby judges selections are too ‘parochial’ having limits set by the community or their own life experiences, or their knowledge of the medium is limited compared to a juror who’s mastered it..(or simply, they just don’t like the work). Regardless, I’ve come to the conclusion it’s masochistic and a waste of time/money to enter a show for any reasons other than gaining exposure or supporting the organization sponsoring the exhibit. Receiving acceptance by a world-class artist juror is definitely an ‘ego trip’ and a nice credential but having many people remember a painting I’ve shown or even buying it is more fulfilling. One juror’s opinion is simply that: one person’s opinion…it’s not the measure of our success as artists.

From: Steve Amsden — May 18, 2009

I just reached the worthy age of 65 and, with my health riding high, my art continues to feed my spirit. I have spent my life climbing mountains and painting them . The energy in the alpine pulls my vision there non-stop even though I experiment with many styles. Why not. The straight and narrow is not me nor is it art. Still, I return to the mountains with paint and I hike there because that’s who I am.

From: Jo Houtz — May 18, 2009

This artist was very fortunate in getting a letter that actually seemed to be written by the juror rather than a mass printed note from the promotion committee. It is so……………….can’t find the words……….to get a rejection letter from an office clerk that probably will not even attend the artistic event. The things we do for love…………..

From: Jill Stefani Wagner — May 18, 2009

I’ve been painting seriously for the last 10 years and have a long history of being accepted AND rejected when entering juried shows. I often felt that the juror could have done a better job and should have chosen a more deserving group of artworks. After years of entering art exhibitions, I was recently asked to jury a regional show. I was a bit nervous but truly felt that the “best” art would jump out at me and that choosing the best 25% of the entries would be relatively easy. It wasn’t. Even with a degree in Art History and Fine Art, I found the process daunting. I had no problem narrowing down the top 50%, but after that, all of the works had merit in their own special way. I finally understood that I had to choose the show that worked best for me, fully knowing that on another day, I might make different choices that would produce an equally good exhibition.

Artists can’t truly compete against each other. We each bring different experience, subjects, vision, technique and goals to our work. And hard as juried rejections may be, we DO have to follow our own inner voice and stay true to what making art means to US — not to an outside judge.

From: Helen Opie — May 18, 2009

I sometimes find I have what I call brats in my paintings. You may have a name for them. By brats I mean some small and unimportant detail – a small boat in the foreground saying “Look at me! Look at me! I’m going to be like that big boat when I grow up!” or a flower that won’t stay in the background . “Look at me! I’m brighter than that flower next to me. I really stand out!” or a still life object that intrudes on the harmony of the composition (“you maythink that painting is about the big vase of sunflowers, but really, it is about ME.” Sometimes, like a hyper-doting mother, I think the brats are too “good” to try to change them change and so I struggle to make everything else related better to the brat. “Be nice to Sammy, he’s your guest.” “Sammy didn’t mean to smash your new toy, did you Sammy?”

When I realize I have ‘fallen in love’ with a particular passage or object, I have now learnt exactly what other artists were trying to tell me/us, when they say one must not fall in love with one’s painting. Nowadays, as soon as I find myself trying to make a painting work by kow-towing to the brat, I know it is the brat who needs a little gentle discipline, perhaps total removal from the scene, perhaps just being quietened down. A little glazing with a complement, or a greying down by some other means is often enough for the others to get along with this part of the composition.

From: Becky McMahon — May 18, 2009

When I start a painting I always stop, breath deeply, focus and stoke the paper with my brush. I don’t always carry through with this later in the painting and it does show when my stokes are hurried and impatient. With watercolour on rice paper it shows every hesitation, frustration and the beautiful perfect stokes that can occur. It teaches me to slow down, paint each element as if it’s the most important one in the painting and yet be willing to go with the flow and dance across the paper with my brush.

I enter juried shows, not so much to be judged (because all jurors are subjective in their jurying) but to challenge myself to produce a painting better than the last one I sent in. Not everyone can motivate themselves alone all the time. I know when I have a deadline I can focus more easily. Some people have the exactly opposite reaction. I go with what works for me. I know myself and do what works for me, besides I haven’t gotten my 100th decline’s from show yet. I’ve set a goal to collect 100 but I keep seeming to get in more than I’m declined from. What am I doing wrong! : ) Seriously, I get a thrill when I do get accepted and since I enter several at a time, usually, I end up with another show I can look forward to. I also do non juried shows at times just to get my work out there. This plus teaching painting keeps me very busy but also very content.

From: Barbara Would Schaefer — May 19, 2009

One of two pieces I entered for jurying was accepted. Green tomatoes in a crystal bowl against a red tablecloth. The other, an orange in a vase on a blue cloth was rejected because “who would put an orange in a vase?”! When I jury, I ignore the subject matter completely and focus on the underlying abstracts of each piece. The artist’s passion and ability clearly shines through.

From: Janice Robinson-Delaney — May 19, 2009

What could you wish for besides a note from a juror, not to ever be judged by said person again or a spam button that works on letters.



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