Here Comes the Judge--Juried Art Exhibitions

by Jayne Behman

A "juried" art show infers that a hired professional, or panel, has selected the collection for exhibition. The judge is charged to compile a body of work that will inspire the viewers. Like an umpire, the judge determines from hundreds of entries "what's out and what's safe." The key to a triumphant looking display is its cohesiveness.

There are no set guidelines that qualify a person to be a judge de' art, although training and credentials play an important role. Choosing a celebrated judge may not insure a distinguished exhibition, but the presumption is otherwise. This belief is the attraction for nationwide artists to answer the Call for Entries. More entries equates to more money.

There are expenses that the promoter must underwrite. Printing the Call for Entries and postcards advertising the showcase, purchasing the food and libations for the gala opening, paying the judge, and honoring the selected few with cash awards, are standard exhibition expenses.

To be considered for participation in Brushstrokes 2010, artists tendered $55 with their completed entry form and labeled images on CD. Being part of a juried showcase becomes part of the artist's resume. Also, juried showcases most often offer cash awards. Many art collectors pride themselves on collecting award-winning works of art.

David Limrite is Brushstrokes 2010 Judge.  Celebrating its 22nd year, this rotating venue exhibition offers a platform to regional artists who work in oil, acrylic, pastel, collage, encaustic, and mixed media. The OPAG artist council of the SLO of MA is the promoter. Without a unifying theme, over 98 digital images were sent to Limrite for evaluation. Of those, he selected 47.

Now the Director of Education for the Brentwood Art Center in Brentwood, California, where he has taught for the past 18 years, David Limrite received his Bachelor of Arts degree from San Diego State University. His stylistic abilities and conceptual attributes were accentuated by his position as Art Director in the Editorial Department at the Los Angeles Herald Examiner. He taught drawing and painting at Art Center College of Design for 12 years. To his credit, he has judged numerous shows.

The Event Promoter sets the exhibition parameters, such as size, method of work presentation, and maximum number of entries. The judge takes it from there, with the ultimate goal of selecting works of the highest quality. He may look at design format, technical strength, and overall application mastery. The task can be difficult and digital images can be deceptive. Keeping choices objective isn't easy.

The judge goes through the images at least three times before making final selections, taking notes on the second and third rounds. Focus is on artistic style and consistency in execution.

There are also formal considerations—line, color, composition, form, and the artist's handling of the medium. Surprises, while interesting, may not work with the overall feel of the grouping for exhibition. If a work stays in the judge's mind through the process, it will be strongly considered and may set the tone for the general showcase.

What happens when the employing institution requires a number quota, but the quality of the work isn't there? Does the judge just keep selecting and lower the exhibition overall standards to reach the goal?

Susan Hillhouse, the Curator of Exhibitions and Collections for the Museum of Art & History at The McPherson Center in Santa Cruz, has been in the art and museum field for over twenty years. Hillhouse teaches Western and Eastern art history classes at West Valley College in Saratoga, California, is a member of ArtTable, and sits on the advisory board of the Sanchez Art Center.  To her credit, she has judged over 300 art shows.  She graciously answered these questions.

"It depends. I try to view it as a show of x number of pieces, and my job is to select the best x number of pieces. When one juries or judges a competition, it is not the same as to curate an exhibition. When we curate, we have only the limitations of our knowledge, vision, space, and budget. When we jury or judge a competition, we are limited to the images submitted and to the number of pieces the venue desires. Resumes are not part of the selection process. We do not know if it is the first or 800th piece of art the artist has executed. We do not know if the artist is critically successful. We have only the image from which to draw opinion."

The jurying job is not finished until the original work is scrutinized.  Again, digital submissions can be deceptive. Often times the original piece of artwork is inferior and can in the end be disqualified from the exhibition. Final judgment for awards is made when the judge sees the work face to face.

The National Juried Show kicks off with a Champagne Gala Friday, August 10th at the MBAA Gallery, located at 835 Main Street. Susan Hillhouse will give a brief exhibition overview. The Artists Reception with the awards ceremony is Saturday, August 11th, 7 p.m.  This prestigious show opens August 12th and continues through September 16th. For information, call the MBAA at 772-2504.

BRUSHSTROKES 2010, juried by David Limrite, opened Sunday, July 25th, hosted by and at the Morro Bay Art Center, 835 Main Street, in downtown Morro Bay. The exhibition continues through August 20th.

Winning Awards were given to:

The Mary Turnbull Award : "Laguna Seca" by Tim Jovet
Second Place :  "Cats in La La Land" by Jeanette Wolff
Third Place :  "Magnificent Oak" by Carol Timson Ball

And two Honorable Mention awards : "Rains Coming" by Ginger Toomer 
and   "Seer" by Gregory McIntosh     

The overall quality of this exhibition is fantastic. I hope you will see it.