"Look for art exhibitions where
the jury is composed of art
educators, curators, critics, and
|Bridging the Gap
Between Artists and
Curators and critics can miss worthy
artists who later win respect. This
disconnect is not new. The struggle for
lifetime recognition has even troubled art
celebrities including James Whistler,
Vincent Van Gogh, Vermeer, and
By Michele L. Bechtell - Director of the
Madison Museum of Fine Art, Madison,
Michele L. Bechtell
Be honest. What type of art do you create? Is it powerful contemplative art? Or is
it decorative? There is no shame in declaring your works as solely intended to
decorate a room or hotel lobby.
There is prosperity for artists in the decorative arts industry. Many talented artists
convert walls, windows, and floors into a pleasing aesthetic experience using a
variety of media. So, embrace your style and look for the proper audience and
Are you essentially a graphic designer? Are you an illustrator? Are you a
photographer? And if so, what kind?
Present your work to the appropriate audience. If you are seeking recognition as a
fine art artist, beware. No serious collector or art museum wants an imitation of an
earlier artist. The audience for imitations is the decoration industry. There is
something different about a “fine art” artist. Fine art exudes a rarefied essence, a
rigor, an intriguing pulse, a mesmerizing atmosphere, a unique “je ne sais quoi”
that differentiates it from decorative art.
Avoid an attitude of entitlement. The early 21st century is marked by a broad
feeling of entitlement in many aspects of American community life. And art is no
exception. A syndicated column in a local newspaper recently admonished
readers with an obligation to buy art from local artists because they are struggling.
That is nonsense. Most everyone strives for recognition in his or her profession,
and art is no exception.
Activity doesn’t guarantee an audience or income even for art masters. Many
Sunday painters are not fine artists. For the fine art artist, art is a passion and a
calling. It cannot be stopped by way of poverty, public rejection, critical review, or
True artists more often suffer despair when they cannot achieve a desired artistic
effect than worry about public appeal. Many artists support their art work through
Develop a signature aesthetic. Are you doing something different than other
artists, not for sensationalism but grounded in a unique artistic vision? During
academic training, all apples look like apples. And many artists can imitate
However, most museums and discerning collectors seek more. They are intrigued
when, after much practice and experimentation, the unique seed of an art genius
bursts forth in a signature “artistic voice.” It is that revolutionary uniqueness that
helps define an art master generations later. So find your unique aesthetic
Confront your fears. Many visual art masters did not bask in the adulation of peers
and public. Rather, in pursuit of their vision, they sometimes offended their
audience. Artists like James Whistler, Eugene Delacroix, Eduard Manet, Claude
Monet, Vincent Van Gogh, and Jackson Pollock challenged artistic perceptions of
So be brave. Push to break through stylistic fears, perceived technical
challenges, or taboo subjects that intrigue you, not for the shock value, but
because you are compelled to create.
Go to Museums, Live in Museums. There are reasons that certain artists and their
creations withstand the test of time and are celebrated across decades and
centuries. World class art history museums celebrate the artists and original
artworks that defined and redefined human history.
Find an original work you admire or dislike and enter a virtual dialogue with the art
master. Take your sketch pad to the museum and experiment. Create a homage
to the art master. Attempt to reproduce an admirable visual attribute. Reinterpret
a work in your terms and artistic vision.
Above all, look, see, and reflect. Breathe though your eyes and celebrate your
artistic gift as part of the cultural continuum of man’s history.
© The American Juried Art Salon
Michele L. Bechtell has over 20 years experience in art brokering, art appraising,
and art education. She currently serves as Director of the Madison Museum of
Fine Art, a juror for the American Juried Art Salon, art appraiser, and a court
certified expert witness in art related matters.
Web site © The American Juried Art Salon (AJAS). All Rights Reserved.
|Establishing partnerships between artists and art museums
|Distributing top-quality art to U.S. art museums
of the Arts,
Professor of Art,
Lynn Fero, Vice
Affairs, CBS Television
John B. Henry, III,
Institute of Arts,
Christine M. McCarthy,
Michele L. Bechtell,
Museum of Fine Art;
Curator of Collections
Jule Collins Smith
Museum of Fine Art;
Philip R. Jackson,
Assistant Professor of
Art, Painting; The
Dr. Lee A. Gray
Dr Gwen F. Chanzit,
Curator, Modern and
Curator, Herbert Bayer
Collection and Archive;
Denver Art Museum,
|Dr Heather Campbell
Peter Baldaia, Director
of Curatorial Affairs,
Huntsville Museum of
Art, Huntsville, Alabama
Griffin Museum of
Dr. Charles Garoian
former director of
Penn State's School
of Visual Arts
Aritsts, Curators, Educators, Museum Directors who
have raised the level of judging art at AJAS
Special thanks to our friends and associates, including:
|Establishing partnerships between artists, art museums, and art organizations
All images of artist-created works on this website are the property of their respective artists and shall not be copied or reproduced without the permission of the artist
Communications Director: Keith Yingling
A Look at the Art in the 17th Biannual Show and
what the Awards Judge said
Lynda Burbank, a California artist, won the first
place award with her oil on canvas piece,
"Fox's Vanity Top." Second place was captured
by Ma SingLing, an artist trio from Taiwan, with
their oil and acrylic painting entitled "A Deep
Breath." Patrick Parise took 3rd place with his
acrylic on canvas work "Crossroads."
The Awards judge was Dr. Lee A. Gray, the
Curator of Exhibitions & Collections for the
Paul and Lulu Hilliard University Art Museum;
University of Louisiana at Lafayette.
Fox's Vanity Top, by Lynda Burbank. 18 x 24. Oil
Said Dr. Gray about the second
place work: " I liked the idea of
using both oil and acrylic in this
work as well as the morphing of
representational fantasy with
abstract expressionism. "
The awards judge commented on the third place piece:"This work impressed
me for its use of color and line. I think the composition is striking because it is
both pleasing and challenging.
Ma Sing Ling as a collaborative team works to challenge the free flow and fluidity
of the paint and manages to control and bring out the self-evolving spirit out of
the unpredictable and constant-moving characteristics of the image created.
The principle of their creation is to “interact with the constant-changing
phenomena by abiding by the never-changing innate virtue, and to abide in the
never-changing innate virtue while interacting with the constant-changing
phenomena of the world.”
Dr Gray commented: "I chose
this one for first place because I
thought the choice of
perspective was challenging
especially in light of it being a
mirrored composition. It is an
interesting take on a traditional
still-life rendering. The execution
is also impressive as the
painter clearly knows the
|The Value of knowing
the Scoring Form
All participating artists receive
jury-scored evaluation on all work
submitted so they can learn from the
The evaluations received show the
scored form the jurors use in grading
each piece. Another purpose for
presenting the artists the scored forms
is that few, if any, exhibitions do this.
"We want to take the mystery of judging
art out of the closet and place it in the
hands of those who matter most ... the
artist," said Keith Yingling, News
Director of Artjury.com/The American
Juried Art Salon. "Hundreds of artists
over the years have contacted me,
describing how the judging forms have
given them new insight into their work.
"And that says it all," Yingling adds ..."
where there is insight there is growth."
Consider this when entering a
Being accepted into a juried show
should not be primarily about winning
money. It's about improving your art and
gaining the respect of museum directors
and curators as well as of the
educational community. Once you
accomplish this the path to professional
(non vanity) gallery representation lies
open to you.
Enter as many professional juried
exhibitions as possible. Look for art
exhibitions where the jury is composed
of art educators, directors and curators.
Having an online presence is a big
advantage. Many museums, galleries,
and collectors review the exhibitions
and prizes on artist resumes. Treat
each exhibition as a necessary step by
step approach in an audience-building
When you do not win acceptance or a
prize, maintain the worth of the
competition. Study the differential
attributes of prize winning works for
possible inclusion in your work or
rejection by choice, not capability. Do
not always assume that prize winning
works are better works of art. Rather,
consider the possibility that jurors
favored a particular aesthetic, style,
region, or audience.
Strive for excellence in a mediocre art
era. American artists inhabit a populist
mass market culture that indulges
mediocrity, instant gratification, and
gross ignorance of the God given
intelligence behind visual art.
Part of the above article is based on, and written
by, Michele L. Bechtell - Director of the Madison
Museum of Fine Art, Madison, Georgia. Read
more of what Michele has to say ibelow
Dr. Lee A. Gray,
Curator, Exhibitions &
Collections, Paul and
Lulu Hilliard University
Art Museum; University
of Louisiana at
Awards judge Dr
Curator of American
Art at the Delaware
contest as exciting
A Deep Breath, by Ma SingLing. 39.37 x 78.74
cm. Oil and acrylic.
Crossroad, by Patrick Parise. 35 x 48. Acrylic on canvas.
We are pleased to announce that the three award winning artists in our 18th
biannual exhibition are:
Tina Rott, of New York, whose 3-D work made of cloth and cement titled
alright wins 1st Place; Carol Wontkowski, of Massachusetts, whose
photograph titled Lace In the Afternoon Series-Turbulence wins 2nd Place;
Eleanor Gilpatrick, of New York City, whose acrylic on canvas painting titled
In Afghanistan wins 3rd Place.
Congratulations to the award winners and those artists whose works were
accepted into our competition. Special thanks to all the artists who entered!
Alright, Cloth, Cement.left,right views
Tina says this about her art:"I have
always been interested in sculptural
forms that seduce the viewer through
a balance of contrasting materials
that appear to be naturally occurring.
Currently in my work I am exploring
how materials naturally behave, on
their own, as well as in combination
with other materials. All materials
have inherent qualities, both
physically, and symbolically.
Once I learn what materials are
capable of, and how they are
traditionally perceived, I can push
them past their typical context and
give them a new identity in my work."
Tina is a graduate of Buffalo State
College, Buffalo, New York with a
B.F.A. in Sculpture & Painting minor.
|Dr Heather Coyle, the awards judge,
said this about Alright: "I first looked
at these images over a week ago,
and Alright is the work that
impressed itself on my mind most
strongly—the one I recalled most
accurately days later. I responded to
the scale of the work, as well as the
form, both of which echo the human
Since ancient times, in scale and
subject matter, sculpture relates to
the human form, and this is a
wonderful contemporary take on that
tradition. A cape, a bathrobe, a
monk’s robe, an Oldenburg cloth
construction—the work conjures a
series of intriguing associations. I do
not need to read an artist’s
statement (or even a title) to enjoy
this evocative work."
|Tina Rott Wins Top Award in 18th Biannual Show
Artist Tina Rott
Bay State Photographer
Wins 2nd Place in our 18th
Artist Carol Wontkowski
Awards Judge Heather Coyle says
of Turbulence: 'Like many of my
favorite photographs, Turbulence
presents an image that requires
deciphering. I did not immediately
know what I was looking at, and the
title (and series title) helped me to
recognize the subject.
"Formally strong, this photograph
balances motion and stasis, color
and tone, angular and organic forms.
"The disorienting perspective recalls
high Modern photographs, yet there
is something warmer here. I
appreciate the way the photographer
played the movement of the lace
curtains against the stability of the
window frame, and I like the way the
photograph nearly becomes a study
in black and white."
NYC Artist Eleanor Gilpatrick Captures 18th
Biannual 3rd Place Award with In Afghanistan
Eleanor comments:"In Afghanistan is
part of my 'Issues of Our Time' series.
It is based on a photograph in an
exhibit by Afghan women university
students, 2005. The photo shows that
Afghan women are not forced to wear
the Burqa and can travel without a
male family member, such as on this
remote village road. But the Taliban
and religious terrorist rule has
influenced women to cover their faces
with a Chadar (scarf). Before, women
would only cover their heads, not their
faces. I had permission to use the
photo as a basis for my painting from
the Afghanistan Independent Human
Rights Commission (AIHRC), which
sponsored the exhibit."
Heather Coyle, Awards Judge, says: "I
was first struck by the quality of painting
and the formal balance here. The paint
is expertly handled and the composition
is striking. I like how the figures—with
their intensely colored attire—create
strong masses against the pale
As a curator of historical art, I also am
interested in the way this picture relates
to Orientalist paintings. In Afghanistan
is a contemporary image, but the artist
seems aware of Gérôme and the
French painters who depicted the Near
East in the nineteenth century, which
challenges the viewer to consider how
inherited Orientalist attitudes may relate
to current events."
Artist Eleanor Gilpatrick
In Afghanistan, 20 x 20, acrylic
Carol Wontkowski describes
"My work is a reflection of both the
beauty and emotional response I have
to a subject. Typically, I am drawn to
"In 'Turbulence (from Lace in the
Afternoon Series), I was initially taken
by how the afternoon light filtered
through the lace curtain in the image
"Lace in the Afternoon" (thus the title of
the series). As I began to photograph,
other objects from different angles with
lace became interesting so I
expanded. Overall, it took several
months to capture images I thought
and felt reflected different scenarios of
lace in the afternoon.
"Also in this series, I was attempting to
capture the lace curtain when the wind
took it. One particularly breezy day, I
wondered what the curtain might look
like when taken by the wind if I lay on
the floor and shot up. The result is
Carol attended the Rhode Island
School of Design after studying
There were six art divisions in our
show: Acrylic/Oil; Collage/Mixed
Media; Pastel, Colored Pencil,
Print-Making, Digital Art; Water
Media (water color, egg tempera);
3-Dimensional (sculptural and other
free standing, nonanimated art).
What was the inspiration of this work? Patrick Parise answers: "Crossroads was
part of a solo show called 'Abstractions' in 2010. Thirty one were created, coming
from many drawings over a three year period. It was the first piece created and
became the pathway for the creation of all the others. To me Crossroads
represented the many decisions that have to be made concerning what kind of art
you will make and how to execute those ideas."
Audience disconnects can cause artists to question the value of exhibitions. Yet
the exercise of making application and attending exhibitions remains a worthy
one. Hopefully a globally depressed economy, weariness of widespread financial
irresponsibility and unsustainable public debt may reset the aesthetic clock to raise
awareness that visual art is worthy of the pursuit of excellence.
19th International Show
galleries host juried
artists, promote art
introduce the public
to the dynamic
evolution of art
history. Not all
gain the recognition
they desire or
(Lace in the Afternoon Series) Turbulence
Enter Our 19th International Art Contest
All Artists Receive Scored Jury Evaluations
Deadline is November 30, 2013
|Step 1. Send us an email containing the images you are entering. Send
images as jpeg or tif at about 72 dpi. We prefer that each image uses
less than 2 MB of memory.
Step 2. Complete the Entry Form.
Step 3. Submit the completed Entry Form. A page will appear where
you can click on "Add to Cart."
Step 4. In the Quantity window enter the number of pieces that you're
submitting. Just to the right of that window click Update. Item Total will
appear. If correct click on Checkout. There is a non refundable fee of
$10.00 for each work entered.
Step 5. Pay via your Paypal account or by secured credit card link. All
money acquired from our shows goes toward building closer alliances
between artists and museums.
There are 6 art divisions in all of our shows:
1. Acrylic/Oil; 2. Collage/Mixed Media; 3. Pastel, Colored Pencil,
Graphics; 4. Photography, Print-Making, Digital Art; 5. Water Media
(water color, egg tempera); 6. 3-Dimensional (sculptural and other free
standing, non animated art). When you submit your Entry Form all
entries must have height & width in inches or centimeters except
Photography which has no dimensions.
|Instructions for Entering the Show
Open to all artists 16 and older.
Works cannot have been entered into any of our previous shows.
All work must have been executed within the past 3 years.
This is an Online show. All art remains the ownership of the artist
Dedicated focus pages for the 3 highest scoring artists. The focus pages
are sent to the subscriber list of Art Network News Quarterly: The
All Accepted art is shown for one full year in our online gallery.
Museum Review of Accepted Work is possible. Usually in each of our
shows two to three artists are contacted by museum personnel for
elaboration of their work.
Whenever a gallery or art museum is interested in one of our accepted
artist's work or style, that gallery or museum always makes first contact
with us. We, in turn, immediately send an email to the artist, supplying
the inquiring venue's name and email address. At that point we are out
of the loop on that contact. We take no commission.
Saying it Best .... Artist André Masson
Daniel Henry Kahnwiler
What constitutes great painting? It was no secret to
French artist André Masson. He said: "Great painting is
painting in which the spaces between the figures are
charged with as much energy as the figures that determine
As the highly succesful 20th century art dealer, Daniel
Henry Kahnwiler, said, "What matters is the whole, the
picture itself, and that all of its parts must be equally
important." Kahnweiler was a personal friend of Masson's
A flurry of entries from the
international art community
indicate that our show, having a
November 30, 2013 deadline, will
be one of the most heavily
subscribed that we've ever held.
An important reason for this is
because our shows are museum
centered and enjoy the support of
museum based personnel.
Also, it may may be a sign that
serious artists are shying away
from overpriced vanity galleries
and European hyped contests
aimed primarily at U.S. based
artists. Artists are reminded that
once their money is sent out of
the U.S. they no longer enjoy the
safety net of American anti fraud
Milt Masur has a painting at the Whaling
Museum Exhibition: WAVES AND WATER
COLORS Cold Spring Harbor, NY that
continues until Labor Day 2014. The title of
the work is Mysterious.
The artist has his studio on Long Island.
He is a contributing editor of Art Network
AJAS Artist at Whaling Museum
Mysterious, by Milt Masur.