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I just finished viewing the online rendition of the MASTERPIECE 2016 Collection of Gladwell & Patterson Gallery at http://gladwellpatterson.com/product-category/masterpiece-2016 . This British gallery was established in 1752. In the last few years, many artists have written and discussed with despair about the closing of their very long-standing galleries. How refreshing it is to see this well-established gallery exhibiting such a lovely show. A fellow Society of Animal Artist Signature Member, Simon Gudgeon, has a magnificent sculpture of a leopard skull in this exhibition, as well as being represented by the gallery. As I went through this collection, of many deceased and living artists, two thoughts came to mind.

First of all, how wonderful it is to be able to see a collection of great artwork that is halfway across the world! To be able to click on images and zoom in to see the details of the brushstrokes of the artists would have been extremely beneficial to me when I started to explore art 30+ years ago after years of studying science. At that time, I grew frustrated with the small pictures of art in the books that I checked out of the library. Not that now I am against libraries…. far from it! I have been on a library board for well over twenty years. Every room in our home has libraries of books. However, when I try to undertake a new technique, I like to get in as close as I can to the artwork to try to see how it was created. I have to travel for hours from the small town where we live to see extensive collections of artwork, but the Internet lets me do it from my chair. What a marvelous convenience.

The second thing that came to mind, was the jury process for art exhibitions. Looking at the masterpieces of the long-deceased artists in the Gladwell & Patterson exhibition, I wondered if their paintings would be accepted into the multitude of juried exhibitions that I see online, if people didn’t know the artists’ names. As a scientist, I am intrigued by how artwork is so subjective, which is so different in many aspects in the way in which my classes were presented. When viewing artwork with my husband, we don’t always agree as to what is “good”. The acceptance of my paintings into juried shows has been variable. The painting that may not get accepted into one juried exhibition is accepted into another competitive show.  For many years, my paintings have been exhibited in international and national juried exhibitions. However, some years, my work doesn’t get accepted into the handful or so shows that I enter. This is that type of year, where I have had a low acceptance rate. For instance, last year I was riding a wave. Among many other shows that my work was juried into, for the eighth time, I had a painting accepted into the Woodson Museum’s Birds in Art since my first painting was accepted in 2002. This extremely competitive exhibition of artwork of international artists is where I first saw Simon Gudgeon’s outstanding sculptures. Last year, not only was my painting accepted for the exhibition, the museum purchased it and I was one of their Artists in Residence. What an honor! This year, neither of my two entries were accepted. I had tried a new technique with one entry, and a new support for the other entry. I remember the story that Carl Brenders told that his painting was not accepted into the exhibition the year before they made him a Master Wildlife Artist. I guess that this type of variability goes on for many artists.

As I see it, since art is so very subjective, it is best not to dwell on whether or not your art is allowed to be part of an exhibition or contest. As an artist, one should be cognizant of what exhibitions are looking for, but that should not dictate as to what the artist chooses to paint. There are many factors that go into the jurying process of which we artists are not aware. So enjoy trying new techniques, mediums and supports to get out of your comfort zone. Try not to be discouraged if your work isn’t accepted. From personal experience, I know that it can be tough, since artists put so much of their heart and soul into their work. Evaluate or get a second opinion of your piece to see if you have room for improvement, then create something new.  Paint for what you are trying to express, and then paint some more. Let other contemplate if your work is right for their exhibition, and just keep creating!