A question artists often discuss among themselves is how important is it to enter shows and exhibitions? As with many decisions in life in general, the ultimate decision usually comes down to cost.
Is it worth the expense to enter a show? For those who read this blog and are not artists or who have never entered a show, almost every show or exhibition requires a fee from the submitting artist. Sometimes it's a one-shot fee, sometimes it is a per-piece fee. Entry fees vary across the board. Entry fees help the promoters allay costs. There may be a rental charge for the exhibit hall that has to be paid. There may be a juror's fee. Prize money may, in part, be paid by the entry fees. All or some of those possibilities may exist at the same time in each show.
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| The Steelworker |
As a rule-of-thumb, the higher the prize money, the higher the entry fee. But also, the higher the prize money, the more prestigious the show is.
As an artist, you have to weigh various options -- many which I hear in discussions regularly. Is the fee worth entering the show? If the show is not offering prize money, is it still worth entering if though they are charging an entry fee?
There's another cost that artists have to take in to account and that is shipping costs. If the show is local, you can generally deliver your artwork in person. If the show is out-of-town, then you have to figure in cost of shipping to and from the event. Most exhibitions, especially out-of-town shows, do not want glass as part of the framing and, instead, prefer plexiglass. This could be an additional expense.
All these factors come in to play every time I look at entering a show. One of the first things I consider, however, is -- does acceptance add to my credentials or art resume? If you view yourself as a serious artist or more than just a hobbyist, then your credentials are important. It adds to your personal prestige. It can add value to the current art you have for sale as well as art you have previously sold. It can justify fees you may charge for commissioned artwork because the purchaser can feel that they have commissioned a piece of work by an artist who has won "Such-and-such awards."
Another consideration that I some times look at is whether getting accepted in to a show helps toward earning Signature status in a particular medium. For example, in entering the Colored Pencil Society of America Show, for one to earn Signature status, you must have been accepted in to the International Show three times over a 10-year period. I have had one piece of artwork -- The Steelworker -- accepted in to the International Show.
Ironically, I entered The Steelworker at the urging of my colored pencil mentor, Vera Curnow. I did so, primarily because she insisted. I never really expected anything other than a rejection slip. I was floored when I received the news I had been accepted.
The point being is -- enter a show because you never know what might happen.
If you can't handle rejection, then entering shows may be difficult. Realize the opinion of Judge #1 who didn't like your piece in year XYZ is just one person's opinion. Enter the same piece the following year and Judge #2 may absolutely love the piece.
Of course, that doesn't mean you enter EVERY show. You still have to pick-and-choose. But you should pick-and-choose and don't stand on the sidelines. You may be better than you think you are!
Rising Sun Workshops -- the best deal around
For the past 6 or 7 years now, Rising Sun, IN has been hosting two-day workshops for artists in various media. Without question, it's one of the best deals around for artists in the Midwest.
The two-day fee is $90! That's not a typo.
Often, workshops are being taught by nationally known artists. The bang for the buck is exceptional, especially when you consider that that same artist may charge five to 10 times as much for a 3- or 4-day workshop elsewhere in the United States during the year.
While one workshop in colored pencil has already been held this year, the following workshops are still available:
June 15 & 16 -- Patti Mollica in oil/acrylic painting
July 20 & 21 -- Dianne Martia in contemporary explorations with Oil and Cold Wax
Aug. 17 & 18 -- Susan Stuller in watercolor
Sept. 21 & 22 -- Tina Tammaro in Oil painting/Floral Stll Life
Oct. 19 & 20 -- Eric Phagan -- Clay sculpting (additional fee required)
Nov. 9 & 10 -- Ray Hassard in pastels
For further information the best place to check is: http://www.artsinrisingsun.com/
Hopefully, I will see you in June or November!
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