Rejection of Work

[Sherry McNamara]

Just wondering how people deal with the rejection of work in a juried show or perhaps when trying to get a gallery.  What do you do to get over the emotions of it?  How do you allow your intellect to take over and preside over the emotionally aspect of it?  Did it prevent you from working/being creative for awhile?

[Jim Smyth]

Each juror has their own agenda in jurying a show. I have juried shows by myself and in committees of several jurors.  I will no longer jury in a committee of jurors.  Very often, the process evolved into a "political" process in which the negotiations and "trade offs" resulted in selecting the least objectionable piece to the group of contradictory agendas.  Also, I have seen jurors who either pick the work that is closest to their own or to pieces that do not challenge their work.

These days, a lot of juried shows are "pre-juried" by a committee of members of whatever organization is sponsoring the show.  The "awards juror" never gets to see all of the submissions.  You pay your money to have the "headliner" see your work, but it is shipped back to you before they ever look at the picked over work that the committee gives them.

Acceptance or rejection is rarely about the quality of your work.  It is more likely to depend on the whims of a committee or a juror, who may or may not have seen your work.  Everett Raymond Kinstler once told me that he has a painting hanging in his Gramercy Park, NY, studio.  On one side of the painting is a letter of rejection from the Salmugundi Club.  On the other side of the painting is the gold medal it won at the National Academy.  Same painting!

Acceptance or rejection is not a measure of your worth as an artist.  You and you alone set that value.  Never let anyone cost you your belief in your self. Every artist has their doubts and depressions.  We also have the joy and love of what we are doing. Remember that "frustration" is the measure between where you are and where you want to be.  If you are not frustrated (a little) then you have not set your goals high enough.  If you are overwhelmingly frustrated, perhaps you should review your goals and set them more appropriately to achieve what you want in small steps - lots of small successes rather that a big disappointment.  Build your career with small, sound, carefully planned successful steps.  Ignore rejections, they are meaningless.  Delight in acceptance when it occurs, it is healing.

I will get off my soap box.  I am sure that our fellow members who have been at this for as many decades as have I, will have something to add to all this.  My best to all of you.

[Bruce Bundock]

 If you are able to keep your emotions out of it, some clear thinking may inform you that it is just one show, and, a juried show is sort of like being at a bus stop. If you miss that bus another will be along in ten minutes. Enter the piece in more than one show. Spread it around if you honestly believe the work is good. More educated eyes need to see it. If you get in,

it will neutralize the rejection from your first attempt. On the other hand, if it gets rejected 5 times in a row, some re-evaluation of the work may be in order. Personally, I keep working regardless of the outcome of juried shows. 

[Ron Bigony]

I agree rejection can be depressing and I have been rejected by Galleries. I work entirely in watercolor and a lot of galleries really seem to prefer oils or acrylics. I have been told that galleries consider shipping a watercolor to be a problem and have actually been asked to switch back to oils. I use to do a lot of old barns and old delapidated homes or spooky swamp paintings and have been ask by galleries to paint something more uplifting. I just thank them for their time and go off wondering if what they were saying was sincere or did they just not think my work was good enough. It did not devastate me, but must admit it hangs with you awhile.

[Tony Robinson]

Plenty of wisdom and experience in these replies, Sherry.

Nevertheless, if you are still in the mood for any more, I can recommend a short, helpful book;' Art & Fear : Observations on the Perils (and Rewards) of Artmaking', by David Bayles and Ted Orland.

And here's a little video, in the hope it inspires you as it does me.

[Sherry McNamara]

Tony,

I recently finished reading Art & Fear as a selection in my book club.  I LOVED the video.  What a great outlook and what a great passion for painting!!  All the response from my query has been so uplifting and informative.  I guess my recent rejection has not stopped me for long, I am entering another show next week.

[Sherry McNamara]

Good answer and I agree that entering the rejected work in another show is a good plan.  In fact, that is exactly what I decided to do with this new show that is taking work beginning next week.  I looked at my work and decided that I felt the two I entered in the previous show were worthy of another attempt.

Bruce Bundock said:

 If you are able to keep your emotions out of it, some clear thinking may inform you that it is just one show, and, a juried show is sort of like being at a bus stop. If you miss that bus another will be along in ten minutes. Enter the piece in more than one show. Spread it around if you honestly believe the work is good. More educated eyes need to see it. If you get in,

it will neutralize the rejection from your first attempt. On the other hand, if it gets rejected 5 times in a row, some re-evaluation of the work may be in order. Personally, I keep working regardless of the outcome of juried shows. 

[Sherry McNamara]

Jim,

Thanks for your perspective.  I think you hit the nail on the head.  I have certainly received lots of wonderful advice and I appreciate all the comments!

Jim Smyth said:

Each juror has their own agenda in jurying a show. I have juried shows by myself and in committees of several jurors.  I will no longer jury in a committee of jurors.  Very often, the process evolved into a "political" process in which the negotiations and "trade offs" resulted in selecting the least objectionable piece to the group of contradictory agendas.  Also, I have seen jurors who either pick the work that is closest to their own or to pieces that do not challenge their work.

These days, a lot of juried shows are "pre-juried" by a committee of members of whatever organization is sponsoring the show.  The "awards juror" never gets to see all of the submissions.  You pay your money to have the "headliner" see your work, but it is shipped back to you before they ever look at the picked over work that the committee gives them.

Acceptance or rejection is rarely about the quality of your work.  It is more likely to depend on the whims of a committee or a juror, who may or may not have seen your work.  Everett Raymond Kinstler once told me that he has a painting hanging in his Gramercy Park, NY, studio.  On one side of the painting is a letter of rejection from the Salmugundi Club.  On the other side of the painting is the gold medal it won at the National Academy.  Same painting!

Acceptance or rejection is not a measure of your worth as an artist.  You and you alone set that value.  Never let anyone cost you your belief in your self. Every artist has their doubts and depressions.  We also have the joy and love of what we are doing. Remember that "frustration" is the measure between where you are and where you want to be.  If you are not frustrated (a little) then you have not set your goals high enough.  If you are overwhelmingly frustrated, perhaps you should review your goals and set them more appropriately to achieve what you want in small steps - lots of small successes rather that a big disappointment.  Build your career with small, sound, carefully planned successful steps.  Ignore rejections, they are meaningless.  Delight in acceptance when it occurs, it is healing.

I will get off my soap box.  I am sure that our fellow members who have been at this for as many decades as have I, will have something to add to all this.  My best to all of you.

[Georgina Rey]

I'm reading a book "Writings Schriften" by Agnes Martin who says: "Inspiration is really just the guide to the next thing and may be what we call success of failure. The bad paintings have to be painted and to the artist these are more valuable than those paintings later brought before the public. A work of art is successful when there is a hint of perfection present- at the the slightest hint...the work is alive. The life of the work depends upon the observer, according to his own awareness of perfection and inspiration. The responsibility of the response to art is not with the artist. To feel confident and successful is not natural to the artist. To feel insufficient, to experience disappointment and defeat in waiting for inspiration is the natural state of mind of an artist. As a result praise to most artists is a little embarrassing. They cannot take credit for inspiration, for we can see perfectly, but we cannot do perfectly. Many artists live socially without disturbance to mind, but others must live the inner experiences of mind, a solitary way of living." page 32.

[Drusilla]

That's right on the money for those willing to live that way, I imagine...dealing with frustrations ("disappointments and defeat in waiting for inspiration") as part of their process. But IMHO personally I beg to differ on the second half of that statement. Confidence and success and inspiration are natural to me and I draw inspiration from within not necessarily from without all of the time. After all, my responses to what I see and do originate from me. As an Aries person I do not wait for inspiration, (or anything for that matter). I MAKE it, I feel it, it generates and originates from within ME. I can and will take credit for my inspirations. Inspiration does not float around like some nebulous ghost that I seek to have precious glimpses of. It is natural to go through dry spells, but with time one learns to conquer and get through those, or does not, according to who and what you are. That is why some artists survive and thrive, cause if you don't you quit! The only true "guide" for you in your art is YOU, so take responsibility for that and build your confidence and successes and your responses become your inspirations. 

Georgina Rey said:

I'm reading a book "Writings Schriften" by Agnes Martin who says: "Inspiration is really just the guide to the next thing and may be what we call success of failure. The bad paintings have to be painted and to the artist these are more valuable than those paintings later brought before the public. A work of art is successful when there is a hint of perfection present- at the the slightest hint...the work is alive. The life of the work depends upon the observer, according to his own awareness of perfection and inspiration. The responsibility of the response to art is not with the artist. To feel confident and successful is not natural to the artist. To feel insufficient, to experience disappointment and defeat in waiting for inspiration is the natural state of mind of an artist. As a result praise to most artists is a little embarrassing. They cannot take credit for inspiration, for we can see perfectly, but we cannot do perfectly. Many artists live socially without disturbance to mind, but others must live the inner experiences of mind, a solitary way of living." page 32.

[Sherry McNamara]

That's a very interesting quote.  I think it is basically true, but, I admit to feeling a bit more like Drusilla's response (maybe because I too am an Aries).  I agree that some of  my bad paintings were bad until I worked out the problem that made them bad in my mind.  Recently, I simply had to add the correct shadow color in one area and it made all the difference, but it took my many months to figure out what was wrong.  It was a good lesson.  As far as inspiration, I find it quite regularly, even driving to work, I see it in the landscapes along the road, in the people as they stand downtown, etc.

 

However, on a brighter note and a message to all that have posted their thoughts to my initial inquiry about handling rejection, I have recently had a piece of work accepted (by jury committee) into an all women's show.  Well, one piece got in, the other didn't.  They were the same two pieces that I originally submitted for my first show.  This made me question a little bit the one that has now been rejected twice and I think there are a couple small areas that I will be reworking just a bit.  Additionally, I have had a gallery who would like to take on some of my small paintings, i.e., "miniatures" which also makes me feel good.  In retrospect, it truly is one of those things that you must learn to create in the way that is pleasing and fulfilling to oneself and accept that some people will not find the finish product to their liking and others may really like it.  Guess that might keep it all quite in balance.

 

Georgina Rey said:

I'm reading a book "Writings Schriften" by Agnes Martin who says: "Inspiration is really just the guide to the next thing and may be what we call success of failure. The bad paintings have to be painted and to the artist these are more valuable than those paintings later brought before the public. A work of art is successful when there is a hint of perfection present- at the the slightest hint...the work is alive. The life of the work depends upon the observer, according to his own awareness of perfection and inspiration. The responsibility of the response to art is not with the artist. To feel confident and successful is not natural to the artist. To feel insufficient, to experience disappointment and defeat in waiting for inspiration is the natural state of mind of an artist. As a result praise to most artists is a little embarrassing. They cannot take credit for inspiration, for we can see perfectly, but we cannot do perfectly. Many artists live socially without disturbance to mind, but others must live the inner experiences of mind, a solitary way of living." page 32.

[Drusilla]

Sherry that is wonderful. One thing I learned from being both a Director of theater and an actor was that when one submits to a casting call, whether or not they accept you is only based on what they need, not what you want, and it's not a personal insult if you are not picked. Not sure if I mentioned this before but it sure helped me to not take it personally if and when I was not picked or my art was not accepted into a show or gallery. But Aries are usually pretty good at picking ourselves up, dusting off and finding something else to do...like getting on with painting. I too struggle with shadows! VBG:-)
Oh and that "Art and Fear" book Tony mentioned is excellent.

Sherry McNamara said:

That's a very interesting quote.  I think it is basically true, but, I admit to feeling a bit more like Drusilla's response (maybe because I too am an Aries).  I agree that some of  my bad paintings were bad until I worked out the problem that made them bad in my mind.  Recently, I simply had to add the correct shadow color in one area and it made all the difference, but it took my many months to figure out what was wrong.  It was a good lesson.  As far as inspiration, I find it quite regularly, even driving to work, I see it in the landscapes along the road, in the people as they stand downtown, etc.

 

However, on a brighter note and a message to all that have posted their thoughts to my initial inquiry about handling rejection, I have recently had a piece of work accepted (by jury committee) into an all women's show.  Well, one piece got in, the other didn't.  They were the same two pieces that I originally submitted for my first show.  This made me question a little bit the one that has now been rejected twice and I think there are a couple small areas that I will be reworking just a bit.  Additionally, I have had a gallery who would like to take on some of my small paintings, i.e., "miniatures" which also makes me feel good.  In retrospect, it truly is one of those things that you must learn to create in the way that is pleasing and fulfilling to oneself and accept that some people will not find the finish product to their liking and others may really like it.  Guess that might keep it all quite in balance.

 

Georgina Rey said:

I'm reading a book "Writings Schriften" by Agnes Martin who says: "Inspiration is really just the guide to the next thing and may be what we call success of failure. The bad paintings have to be painted and to the artist these are more valuable than those paintings later brought before the public. A work of art is successful when there is a hint of perfection present- at the the slightest hint...the work is alive. The life of the work depends upon the observer, according to his own awareness of perfection and inspiration. The responsibility of the response to art is not with the artist. To feel confident and successful is not natural to the artist. To feel insufficient, to experience disappointment and defeat in waiting for inspiration is the natural state of mind of an artist. As a result praise to most artists is a little embarrassing. They cannot take credit for inspiration, for we can see perfectly, but we cannot do perfectly. Many artists live socially without disturbance to mind, but others must live the inner experiences of mind, a solitary way of living." page 32.