Judging quality paintings
"Do a large piece of smokestacks, Chris," said David Passalacqua, one of my favorite teachers during my senior year at Parson's School of Design. What? I thought. I just looked at him feeling a bit awkward. I didn't really like the feeling, and I wasn't sure why he said that. I looked at my work in progress. I had a decent, albeit slightly boring, illustration going. I wasn't ready to give up on my illustration. I looked at David. He was an excellent teacher – so extroverted. David's friendly eyes had an uncanny ability to bore a hole into your soul just by looking at you with the surety he had for the mastery of his craft and literally yank the guts of your creative instincts to the fore. That is what happened to me when I looked at him. He simply kicked my ass – as he was known to do with students – using a mischievous smile and an electric energy spilling from his deep knowledge of illustrative art. He made it his mission to challenge students to higher levels. "OK," I said to him calmly while my energy surged through my body. Something central changed that day for me. My journey as a painter became a passionate adventure -- a mission to capture the unimaginable.
While striving to create the unimaginable with realistic and abstract art, I still had to face the reality of competitive judgment and juried shows. I wanted to be a part of these things, of course, but it does conjure feelings of vulnerability, and well, a subtle fear of the unknown. I knew I had to be courageous to put my soul on canvas – to present my art – to discover if my work could inspire and move other people in some way. I want people to see something more than just what is before them and to feel what I do – a beauty and a great spaciousness that holds the mysterious connection living within us, and among each other, within our landscapes, and inside our communities.
Facing the judgment beast
I've been fortunate during my career to be on both sides of the judging coin. I've been a show curator, a panelist for a local event, and I've also been a Regional Artist Culture Council (RACC) for project grants. There are so many competitions. And you can expect to get rejected at least 90 percent of the time. Don't let it stop you from entering competitions though. Think of competitions as a fabulous opportunity to network and immerse yourself in the art world. Welcome rejections. You will develop a competitive strength and a dedication to total authenticity. You will stand behind your art with confidence and stay steadfast on your artistic path. You will take artistic risks and follow your intuition. You will find yourself excited and free to create. Just follow your heart and believe in your art. The audience will come. It happens.
Noteworthy elements judges seek
Edward Jonas, the vice chair, for the Portrait Society of America once told me that the standards for judging works of art will include originality, theme, uniqueness in the concept and design, technical proficiency within the potential of the chosen medium, aesthetic sophistication, and fundamental skill development. Always remember: Your artwork has an impact in general or as part of a whole. This means regardless of the competition you enter, your work needs to stand on its own as a complete and outstanding work of art.
On top of the above realities, judging is also ideally approached without subjective or stylistic prejudice under the mantle of holding an honest and fair assessment of artistic works. This, of course, begs the following "judgy" questions:
What is the artist's message? Is there an inherent meaning? Is the work unique?
How successfully does he/she communicate the essence of the message?
Does the artwork follow a high-level aesthetic appeal?
How successful is the art within its chosen stylistic direction?
What skill level is demonstrated and executed throughout the work itself?
Consider the presentation and framing. Is there movement and flow in the work?
Does the art communicate well on a visual level and/or on an expressionistic level?
Stepping out
If you are just starting out on your artistic journey and want to compete at shows. I suggest entering all your local shows. This is a great way to get your feet wet and learn the ropes, including what to expect. A few of the following things are good launching pads:
Read the application carefully. Follow all the instructions and guidelines.
Research the show.
Talk with other artists about theme and subjects, as some shows are open to all genres.
Just try and get a feel if you are a right fit for the show.
Prestigious & elite shows
Ah, the trickery of the rich . . . well, sometimes. I do like fine things – even excellent wine at a show with no intention to actually sell your art. It's always good to build rapport with people. Consider all possibilities when looking at competitive options or places to build rapport, network, and show your art. Regional and non-regional shows are good options. I was once part of a show in Florida. Yes, I avoided the crocs. And it was definitely an adventure. I learned, however, that striving for recognition in my own community feels the best to me.
Community connection through your art
Sometimes buyers will travel from out-of-state and purchase your art right off the wall. This is a great feeling! And when you get a chance to talk to travelers who purchase your art, you feel like you have traveled without actually going anywhere. Staying within your community and building a following is exciting and enhances your feeling of community connection. This is key, I feel, because your art brings something valuable to others in your own home town or city.
So get out there and rock your art! Just begin – Dream – and fly!
About Christopher B Mooney
I was born and raised in New York State, surrounded by an artistic family and a richly influential environment. During her first trimester of pregnancy with me, my mother contracted measles. As a result, I was born without hearing. I neither heard nor spoke until I was about four years old, though today I wear corrective devices and speak well. When one is deprived of one sense from an early age, the other senses compensate by growing stronger. In my case, it was my eyes. They taught me everything I knew about the world I had been born into. My sight continues to be my dominant sense, the only truly reliable way I have to perceive my world and the heightened sense that informs my work. I work very hard for my paintings to convey to the viewer the strength and the beauty that I see…Read more.
Book A Consultation
If you’d like to go over more details of our services and discuss the commission ideas and your ideas, simply fill out an online inquiry form with essential details in my website contact page and explain your needs.