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Top 5 Tips on Getting into More Juried Art Exhibitions
Nov 7th
Guest blogger John R. Math is a consultant and expert in the field of art marketing. He is also the owner of www.lightspacetime.com online art gallery, which holds monthly themed art competitions. The winners are promoted with a group exhibition in the following month.
If an artist wants to be considered and known as a “serious” artist, it will be necessary for them to compete against other artists in juried art competitions and art shows. In order to help build and develop their artistic resume,’ artists will find it necessary to enter juried art competitions on a regular basis. By entering and being accepted into juried art competitions, this then becomes a “third party” endorsement of the artist’s skill and artistic talents.
It is through juried art competitions and juried art shows that an artist’s career and professional development will progress. By successfully participating in these events over time, the artist will then be taken more seriously by art galleries, art buyers and art reps. It is a progression and a process that takes time for an artist to learn and adapt to, in order to succeed.
This article will hopefully make the artist who is new to art competitions, aware of some major areas as to why their art is rejected when entering a juried show. Many times it is not the quality of the art that is being rejected but rather it something else that the artist did or did not pay enough attention to in the competition’s prospectus, rules and underlying theme. Here are some points to consider and to be aware of when entering art juried art competitions:
1. Apply only to competitions that truly fit with your art
Artists will sometimes miss what the organization is really after in terms of the theme or the parameters of the competition. For instance, an artist who submits their Black and White photography into a competition with a theme about “Bold or Bright Colors” will get rejected. I know there are people reading this who are saying “but black and white are colors too!” Yes they are, but black and white are not in keeping with the spirit of the theme and scope of the show.
For our monthly competitions we plainly state that we only want two-dimensional art for our shows and we still receive pictures of sculpture, jewelry and crafts or even videos! Many times the work is fantastic, but again it is not what we want and the artist has wasted their time and money by placing their art into a competition that just is not suited for what they create.
2, Submit the best representation of the actual art
What does this mean? Every month we receive entries whereby the artist has taken a picture of their art with a “point and shoot” camera. The art was not level, the camera is not perpendicular to the art, the image is under/over exposed, the background is showing, the picture frame is in the image, there are hot spots on the art and pictures are taken with reflections in the frame. It may be obvious that the art has the potential to be good, or even exceptional, but we really cannot tell based on what was submitted.
The artist should either learn to take the images the right way (and there is a ton of information on the internet how to do this), hire a professional to do this or take their art and have a professional scan the art. I would learn how to do this the right way as the last two suggestions are very expensive.
3. Follow the organizations rules, event and prospectus instructions completely
This means that in order to have your application and submissions handled and administered properly, read the application thoroughly and follow their instructions. It also, means that the application should be filled out entirely, with the correct amount of images and the image files labeled properly, according to the organizations specifications.
In many instances, files are not labeled at all. This may set the artist up for not getting their art viewed at all, as there is then the possibility that the files could get lost. For instance, for our monthly competitions we want the files labeled in the following manner: Artist Last Name, Entry Number, Competition Name, and Title of the art. It would look like this: Smith_1_Abstract_Title.jpg. This would allow us, at any time to locate and identify this entry. This is very important to an organization. This procedure is a simple right click on the image file and a “rename” like any other document. Take the time to do this whenever you enter an art competition.
Learn how to resize your image files according to the instructions provided for that competition. Besides an expensive program like Photoshop or Photoshop Elements, there are two other free programs Pixlr and Gimp that are more than adequate for this purpose. Just take a few copies of images that are not important to you and begin to experiment on how these programs work. The easier of the two programs is the Pixlr program. (See #5 below as it Relates to This Subject)
4. Try to submit and present art that relates
By this we mean that the art that you are entering should show a complete grasp and mastery with that particular media. As an artist, you may work within several different styles and media. Stay with one media for your entries as this is demonstrating to the judge that you do have a cohesive body of work. Your show’s entries should also relate in terms of media, color and style, all within the scope or the theme of that particular competition.
5. Choose the order of the images submitted carefully
Initially, competition judges and juries will view your images (projected together) from left to right and top to bottom. However, after this initial view they will come back to that group of images from bottom to top and from right to left (the opposite direction). This is where you want to have your strongest and best work, at bottom or the end of the group of images submitted (as this is where you want to draw the judges attention). This is also why you want to learn and master the labeling your image files properly, because you then control the order of the files, rather than by some digital random basis. (See #3 above as it Relates to This Subject)
If you are serious about being a “serious” artist, follow these tips and suggestions. After the art show opens, always try to view the art that got accepted into that show and then be as objective as possible with yourself (or have an knowledgeable art friend assist you) as to the possible reasons why your work was not accepted. It may not have been the quality of your art, but it may have been one of the other reasons, as stated above. Work on these tips and incorporate them into future submissions and your chances will go up dramatically for being accepted into your next juried art competition.
John R. Math, Light Space & Time Online Art Gallery
Light Space & Time Online Art Gallery conducts monthly themed art competitions and art exhibitions for new and emerging artists on a worldwide basis.
What is Success?
Oct 17th
By Carolyn Edlund
Artists, what’s your definition of success?
- Being a full-time artist?
- Selling your work? How many pieces?
- Making a certain amount of money? How much?
- Having your work in a museum collection?
- Having a long CV of exhibitions?
- Fame and fortune?
- Featured in Wikipedia, acknowledged by the culture as a known artist?
- Being a mentor other artists look up to?
Can you define success? How will you know when you get there?
Sometimes we have a goal, but it isn’t well-defined. Focusing to understand exactly what our goal looks like and putting it into action is the only way we will ever get there. Otherwise, we’re just dreaming about it.
Often, our goals change and evolve over time.
Your career will probably be a series of successes, along your journey, often interspersed with failures learning experiences.
Perhaps your goal is to be happy and satisfied with what you are doing, no matter what that might be. That’s not a bad goal to have.
What does success look like to you?
Brilliant Idea Increases Art Studio Income Dramatically
Oct 13th
By Carolyn Edlund
Are your sales down in a tough economy? Here’s what one art glass studio did to attract customers and put their business into overdrive.
While the economy was slowing sales for many businesses in 2010, the owners of Siyeh Glass in Atlanta, Georgia came up with a concept that made them one of the most popular destinations in their city. Brenda Griffith of Siyeh explains in this video from a discussion at the Buyers Market of American Craft how they created and publicized “Date Night” at Siyeh.
Date Night is an opportunity for couples to have a “unique experience” on a date by spending several hours with a private instructor, learning glassblowing and kilnforming in a working glass studio. It has become so popular that each week is often booked up with about 22 couples attending (at $165 per couple).
Due to demand, studio space has been increased to accommodate more visitors, and new staff was hired. Griffith states that interest runs the gamut through all demographics, and that they sell out frequently.
Dates can be scheduled Thursday through Saturday, in the morning, afternoon or evening, and is usually only one couple for each time slot. Beverages and “nibblies” are provided to enhance the experience, and plans have been made to purchase a soda stream machine for carbonated drinks without creating container waste.
Couples are encouraged to bring their cameras, as one person will be blowing or forming glass while the other observes and can snap photos.
Siyeh Glass is a production studio which wholesales to galleries, and doesn’t normally retail their art glass, but they do sell supplies and offer classes. An artists’ 10-day open house event happens each year, called “Siyeh Sleigh Ride” where art from everyone working at the studio and their friends are sold to the public.
What’s next? Brenda Griffith mentions “team-building events” where groups from the corporate world or other organizations come to the studio to gain skills in working together as teams. This new strategy promises to make the studio more popular than ever.
Interview with Greeting Card Designer Kate Harper
Oct 9th
Kate Harper is a well-known greeting card designer, with lots of experience and a wonderful blog for card entrepreneurs. She speaks about how her business developed and what she sees next for the industry.
AS: Kate, you made a major adjustment to your greeting card line when working with a helpful sales rep. What happened and what did you learn?
KH: I’ve been through several adjustments, but in the beginning one rep recommended I make my cards brighter colors and to think about what the message communicates when you look at the picture, even before you read the words. Reps also gave me feedback from the stores such as “people don’t get this joke” or “no one likes that card because it’s green” or “even though the sentiment is true, it’s depressing.”
AS: Could you talk a little about how transitioning from making your own handmade cards to licensing has changed your business and your life.
KH: It was a difficult decision to leave manufacturing because I had several people who depended on me for an income, but my business was growing to the point that I would have to relocate the studio and hire more staff and I really didn’t want to do that. For me, it was a lifestyle choice.
For fifteen years I ran a full time card publishing business, servicing thousands of stores and worked with over 100 sales reps. I felt lucky and blessed to be able to create designs and sell them and make a living from it, but I also found my life revolved more and more around packing and shipping cards, and very little to do with art.
Then I took a class with Cheryl Phelps on Art Licensing and my mouth fell open and it has been open ever since. I never realized art licensing even existed.
Life is completely different now, since I can do art full time and I have a lot more free time. I know some people say getting into art licensing is difficult, but I didn’t experience it that way. Perhaps because when I approach a company I bring a lot more to the table than just art skills. I bring 2,000 of my former accounts, sales statistics from my business and a background in the gift industry. I also understand what is involved in manufacturing a product, so it’s easy for me to put myself in the shoes of another company when they come up against challenges or misprint something. I try not to be too picky, because I know how incredibly difficult it is to match colors and make affordable products.
AS: Saleability is key to having a successful card line. What do you consider the most important factors in making a line saleable?
KH: The measuring stick I always use when evaluating my own cards is “Would I pull money out of my wallet right now and buy this card?” I also visualize a friend and imagine receiving or sending this card to her and asking myself: “How does this feel to send to her? Is it too weird? Is it condescending or unintentionally insulting?” Also, my silent motto to myself is “If you can make people laugh, you’ve already sold your product.”
I do abide with the greeting card standards that the image is the most important, because it causes the customer to pick up the card on the rack. Therefore you’ve got to have a strong image that evokes an emotional response.

AS: What do you see as the biggest challenge for greeting card entrepreneurs today?
KH: The card industry is suffering, no one can deny that. But I also have been working with companies who are redefining the meaning of what a greeting card is, such as Fiddler’s Elbow. I recently worked with them to develop a line of “Card Towels” – towels than can be sent as greeting cards.
I also am working with a second company on a similar concept (but different product) where the traditional me-to-you relationship is being adapted to a gift item in place of a greeting card. I see a strong future in the explosion of apps and ebooks and redefining what a greeting card is, in those contexts.
For example, on my own, I’ve been working on some concepts for Greeting Cards for the Kindle, I call “Kindle Cards.” My idea is to develop cards that can be sent to a friend’s Kindle, which is a completely different (and more positive) experience than receiving an e-card in an email. If you use a Kindle, you’ll understand why.
The good news, from my observation, is that the Handmade and alternative card business is doing OK and I’ve had a rep confirm this recently. I also have a friend whose $6.00 greeting cards keep selling out in a local store.
This year, when I went to the San Francisco Renegade Crafts Fair, people were standing in line to buy funky cards and gifts. This tells me that people still love to touch and send things. We just need to meet them in the places they want to be. That’s why I think trade shows should redefine what they are also.
A greeting card sales rep I know here locally whom I worked with for over a decade has a great idea for moving gift shows into a new generation, which is to change them to a format like the Renegade fair.
If you allow designers in at more affordable prices, in a funkier, unsterile modern setting, you are going to attract more interesting vendors, products, younger buyers and more buyers overall. Also, if you have this type of show in a variety of metro areas, they can start to reflect individual design styles from different parts of the country.
How to Generate Buzz for Your Next Studio Event
Oct 5th
By Carolyn Edlund
Are you planning an open studio for the holiday season, and want to draw a crowd? Have you been brainstorming about ways to meet new prospective customers and create interest in your art?
Take a look at some phenomenal ideas that artist Judith HeartSong is successfully using to make her studio a
center of attention and help others at the same time, especially local arts and charities. She recently sent out an email newsletter (see it here) which presents fans and their guests with multiple opportunities to learn, shop and enjoy the arts at her new studio.
Here are a few ways you can use this model to generate buzz around your own event:
- Invite your list to see art demonstrations in your studio space. Judith has a wonderful studio with about 800 square feet of space for groups to meet. Staff from Utrecht Art Supply will be demonstrating oil paint sticks and allowing visitors to try them out and make a project. This brings in professional artists and hobbyists, and a busload of seniors that Judith teaches will make this a special trip from their community.
- Partner with the other arts. A poetry reading is scheduled for an October weekend, offering an opportunity for area poets who contributed to an anthology, which also supports a charitable cause – a gulf coast area food bank and clean up efforts for the gulf oil spill. By providing a venue and inviting the poets to bring in their guests, Judith also introduces them to her art. A drum circle is planned for a future performance, which will attract music fans to come as well.
- Promote your galleries. The Maris Elaine Gallery sells Judith’s work, and she promotes them in her newsletter by way of congratulating them on an article in a regional publication.
- Feature speakers. Are you a guild member, or belong to an arts organization? Invite a speaker, (such as the gallery owner in this case who will talk about the business of art) or other hot topic to bring in a group and make your studio a destination which can’t be missed.
- Give Publicity to Your “Partners”. It’s a smart idea to work with others in a strategic alliance which benefits both of your businesses. Double your audience by cross-promoting each other. Judith does that by partnering with the Washington School of Photography, and inviting her list to their event at another location, while also inviting them on field trips to her studio to photograph interiors.
She also suggests that if you are looking to involve others, call a local college and get an a capella group or musicians to join you at your open studio event. Give them exposure at your venue, while making it more festive and inviting – and bringing in their guests, too. Serve light refreshments and get a party started.
Or, partner with another artist who works in another medium and have more to offer your invitees. Combine your email lists and get out the word.
It’s also a smart move to use testimonials, which you will see on the sidebar of Judith’s newsletter. These are great ways to let others know you are professional and give you more credibility.
Don’t worry if you aren’t making sales right out of the gate – as visitors find out about you, they will return or refer others. Ask them to sign your guestbook and get permission to put them on your email list. With all these great events, who wouldn’t want to hear from you?
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Featured Artist Leah Jay



