Creative Competition

Artists are tough by nature. We have to be. Whether we paint, write, sing or dance, we put ourselves out there. Not just because we have something bigger than ourselves inside that has to come out, but also because that something is for others more than for us. So, we not only tough out the rejection when it comes, we seem to seek it out when it does not. We send our work to by-and-large faceless jurors or editors who merely skim over the work, not from lack of interest in their duties, but from being overwhelmed by the sheer numbers of other artists applying in kind. Unlike the weekend hobbyist, the response of the true artist is to brush off the ego and apply to yet another gallery or publisher.

Musicians, comedians, actors, singers and dancers go one better in that they make their submissions in person, and generally hear an immediate, if not crueler, rejection face to face. That is really tough, by Ringo's left boot. Excuse the profanity.

My advice as to whether or not to continue such bravery in the face of humiliation and defeat is based simply on the old Don Henley song, HOW BAD DO YOU WANT IT? For the gifts that we have been given we have no choice but to persist.

Beyond tough, brave or persistent and bordering on fanatical devotion is the plight of artists entering competitive juried exhibitions where we not only apply for the opportunity to exhibit or be rejected, we pay for the privilege. My advice in this area is one of practicality. Apply for the ones without a fee first. They are few and far between, but they are out there. ArtNews and Art in America always post opportunities in the back pages of their magazines. Once you have culled through the free ones, and it won't take long, concentrate on exhibitions that center the exhibition theme around your strengths. Watercolorists look for watercolor competitions. Figure painters seek out figurative exhibits. etc. Next look for the exhibitions with either the most prestigious juror or the biggest purse. Whether or not you win the prize, I can tell you from experience that being in such exhibits could possibly net you additional exhibition opportunities.
Another logical consideration is to start local and expand outward. Shipping artwork is not cheap, but is well worth the expense if you score an exhibition in an area where your work otherwise might not be seen.
As artists, it is our desire to create not compete. But until our society comes to understand that we are the prophets of our time and not simply another commodity to be traded, competition is necessary but not necessarily evil. Competitions are important in testing the resolve and proving the character of true artists, as well as elevating the quality of the art itself.

Ken O'Toole is an abstract expressionst and published author living and working in the DFW area.