[Jim Riley]

We ran out of space on the original thread but not out of wind.

At the risk of becoming very unpopular or tiresome and seeming like a vulture preying on each and every post I continue in this small quest to sort out the role of art shows and judges. Perhaps it's the many years of having heard the same litany of complaints, speculations, and urban legend-like assumptions that prompts my need to prevail.

This is like an argument within the family and I hope the fact that we are all, in the least, kindred spirits with similar goals with dedication to our craft and will forgive my open opinion and frankness. My need to do so overcomes my fear that you will wish that I just shut up. I carry on because art shows are the most common venues from sidewalk to major competitions and an important tangible link to the community

I'm struck by the tale of meeting judges at shows that "differ (should have read "defer" as Tim notes below) to the practicing artist". I honestly have no idea what that means and confess surprise that an artist would know, recognize or meet judges once a show has opened. Normally they do their job, sometimes make statements and usually disappear.

Having judged a few shows myself I believed it not in my best interest to dwell at the show (which I am already intimate with) and run the risk of having to explain decisions already made. I would like to talk to one of the many noncreative judges from any of those shows in the interest of gaining a better understanding of their deference to practicing artists.

I have to say also that I have a problem with the idea that it might be good to have judges that have an informed and learned bias. Suppose the bias favors abstract expressionism? What possible damage can a non-biased judge impart?

Enzie, thanks for your list and observations gleaned from your local event. These are very common notes and concerns of artists everywhere. I hope you don't mind if I respond to these oft repeated concerns, which by no coincidence represent the artists' perspective more so than the participants, who not surprisingly represent a greater variety of likes and needs.

My comments may not be pleasing to those that view our efforts as lofty and sometimes nearly holy pursuits. In fact they may more reflect and reveal my experience in the commercial/industrial world where success depends on the ability to know and understand the market and deliver. Once again, it's the practice of knowing what has been done in the past, what's happening today and how I can do something distinctive that will stop people in their tracks and capture their undivided attention.

A fellow designer once said: (to paraphrase) The artist's uncompromising role is to do something remarkable for those who otherwise do not understand what we do and to do it in an uncompromising way. Why not?

1. It should really not be a surprise that tastes differ. Again the artist tends to tie value with a demonstration of acquired skills.

2. Why be surprised that friends or family favor someone they know? All things equal, I would do the same.

3. Selection based on couch colors? Just as the artist composes a painting the buying public looks at their house as a statement of who they are and like to publicly demonstrate that taste. A well-executed painting may not have the subjects they relate to as well as the color consideration. As much as artists may harbor resentment for framing concerns, it is also part of the package. Why do we insist that paintings be bought based on our weighting of importance?

4. I can't excuse bad behavior. People who know me are kind and at worst quiet at shows. Otherwise I am usually anonymous.

5. I understand a tendency to duck the higher price even when the work has merit. The car at the local Benz dealer was clearly superior but I bought a Honda. Pricing, I believe, could warrant a thread of its own. It's not good to underprice either. Pocketbook consideration are just part of the brutal facts of life. Artists traditionally do not like to think of their efforts on a business basis but it too is a necessary part of what we do.