Eldred Boze, Carl Gethmann, Dattatreya Phadke  Win Focus Awards in 20th International Art Show
"Look for art exhibitions where the jury is composed of art educators,
curators, critics, and gallery directors."
Bridging the Gap Between Artists and Museums
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 Amedeo Modigliani.
By Michele L. Bechtell - Director of the Madison Museum of Fine Art, Madison, Ga
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?
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 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
independent means.

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 historic styles.

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 their era.

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.
Establishing partnerships between artists and art museums
Distributing top-quality art to U.S. art museums
Charles DeBus, Senior
Meadows School of
the Arts, Southern
Methodist University.
Mark Gordon,
Professor of Art,
Barton College,
Wilson, NC.
Lynn Fero, Vice
President, Business
Affairs, CBS
Distribution, Los
John B. Henry, III,
Director Flint
Institute of Arts,
Flint, MI.
Christine M. McCarthy,
Executive Director,
Provincetown Art
Association &
Provincetown Ma
Michele L. Bechtell,
Director,  Madison
Museum of Fine Art;
Madison, Georgia.
Dennis Harper,
Collections and
Jule Collins Smith
Museum of Fine Art;
Auburn University,
Philip R. Jackson,
Assistant Professor
of Art, Painting; The
University of
Dr. Lee A. Gray
Ryan Grover,
Curator, Biggs
Museum of
American Art;
Dover, Delaware.
Dr Gwen F. Chanzit,
Curator, Modern and
Contemporary Art;
Curator, Herbert Bayer
Collection and Archive;
Denver Art Museum,
Dr Heather Campbell
Coyle, Curator,
American Art,
Delaware Art
Museum; Wilmington.
Margaret Winslow,
Assistant Curator,
Contemporary Art,
Delaware Art Museum,
Peter Baldaia, Director
of Curatorial Affairs,
Huntsville Museum of
Art, Huntsville, Alabama
Executive Director, Griffin
Museum of Photography,
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 here at AJAS
Special thanks to our friends and associates, including:
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
on canvas.
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
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
All participating artists received
jury-scored evaluation on all work
submitted so they could learn from
the experience.

The evaluations received showed the
scored form the jurors used 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,
Communications 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."
Museums and Galleries

Consider this when entering a
juried show:

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.
what Michele has to say ibelow
Dr. Lee A. Gray,
Curator, Exhibitions &
Collections, Paul and
Lulu Hilliard
University Art
Museum; University of
Louisiana at Lafayette.
Awards judge Dr Heather Coyle,
Curator of American Art at the
Delaware Art Museum
described the contest as
exciting and memorable.
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,
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
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 Takes
Home 2nd Place Award
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 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
Artist Eleanor Gilpatrick
In Afghanistan,  20 x 20, acrylic
Carol Wontkowski describes
her work

"My work is a reflection of both the
beauty and emotional response I have
to a subject. Typically, I am  drawn to
evocative themes.

"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
Turbulence ".

Carol attended the Rhode Island
School of Design after studying
commercial photography.
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."
You can view more works of the three award winners at Emerging Artists
Audience disconnects can cause artists to question the
value of exhibitions. Yet the exercise of making application
and attending exhibitions remains a worthy one.
Visual art is
worthy of the pursuit of excellence.
Many art museums and galleries host juried exhibitions
to recognize emerging artists, promote art education, and
introduce the public to the dynamic evolution of art
history.  Not all emerging artists gain the recognition they
desire or deserve.
(Lace in the Afternoon Series) Turbulence
View the Gallery of Invited Art here
19th Show Awards to Three Artists

The three artists demonstrated action throughout their work. As French artist
André Masson once said: "Great painting is painting in which the spaces
between the figures are charged with as much energy as the figures that
determine them."

The artists are: Sabine Blodorn, Queensland, NSW, Australia; Lucie Boswell of
Californa, and Richard Horrocks of Utah.

"Voodoo" is built along a vertical grid with interacting objects and forms that invite
the viewer's eyes to explore the depth of the painting. The viewer is constantly
guessing the meaning of each element  encountered.
Muted colors establish themselves in an interlocking symphony of movement
suggested by the forms. A nice sense of depth is created by these colors and
shapes. When the visual experience completes, one is left with the impression that
the work is a voodoo mask on steroids.

Much the same can be said of "Chinatown Red." In this work movement is created on
a muted horizontal grid suggested by figures dynamically positioned along the base.
The two color format of red and white works very well in establishing visual
suggestions of where the viewer's attention should be diredted.
Voodoo, Sabine Blodorn, mixed media, 100 x
80 x 2 cm
Chinatown Red, Lucie Boswell, digital
Destroying Angel, Richard Horrocks, oil, 36 x 48
The final result of this digital\ work? All of
its elements hang together quite well.

"Destroying Angel" is built on a diagonal
grid that in less practiced hands would be
distracting. Horrock's work however, uses
this grid to full advantage, especially in the
depiction of the blade whose aspect
appears at first glance to be hanging
outside the painting. The overall effect of
this work is that it appears somewhat
dangerous to view because of its
threatening action shown on nearly every
square inch of the canvas.
Saying it Best .... Artist André
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 them."

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 in Paris.  
Web site ©  The American Juried Art Salon (AJAS).  All Rights Reserved.
As an artist there are a lot of realities to face about showing
your work and marketing it. I have had galleries in New York
City wanting to display my work, but at a price; about $3.000
for promotional activity. Then there are the persons who
publish art books where you can buy a page or two for about
$800.00. The books supposedly go to various art galleries
and collectors. The bottom line here is it can cost a lot of
money before sales come if you go that route.

With the internet we have a whole new field to work with. By
creating a blog or website with your portfolio you can reach
Ontario Artist In Search of Sales Finds His Bottom Line
Ken Bennison
getting your work out there. I have dealt mainly with online juried art shows as
a way of showing my work.

I would love to do some shows in Europe or USA. But again, unless the
galleries cover all cost, most of us would not be able to afford to go that route.
The bottom line for me is I have a passion for my work. Travelling through the
wilderness is a whole different world of peace, tranquility and beauty. It's
worth more than money.

Editor's note: Ken's work is shown with other accepted artists in our
international juried show gallery.
people all over the world. Entering online juried art shows  is another way of
Eldred Boze, the creator of "Fishing Boats 1"  told us: "the photos of the
fishing boats were taken at a port on Baja California while on a Panama our
guide told us that he was going to take us to a spot that was not visited by
any other tour company.  He said we had only 15 minutes there but that it
was worth it.  

"As we turned around a port area, we could see hundreds of masts and
cabins jammed into a small port.  You couldn't help but get a picture of
shapes and colors that were caught your eyes and interest.  It took very little
editing to compose an interesting cacophony of intersecting shapes and

" I have always been intrigued with boats and their shapes but never seen
such a photographer's, artist's delight before or since."  

A Mountain Spring is built around a centered waterfall that is visually
supported by water and rocks. The masterful handling of this work has
resulted in a perfectly unified theme. We asked its creator, Carl Gethmann,
to explain to us how he arrived at producing such a theme. He provided us
with an absorbing  How-2 article that you won't want to miss.
Here's the link.

Incidentally, the introduction of the How-2 articles will be a growing resource
for artists on our website. We plan to add more such articles on a continuing
basis, not just during the culmination of each of our international shows. The
link to these interesting articles is found near the top of this page.
Digital photography, digital painting on aluminum panel, and fabric collage on
canvas headed the list of accepted art in this show that wrapped up on May
31, 2014.

Judges were quick to point out that the three Focus Award winners in this
exhibition offered eye catching work whose narrative was visually absorbing
and dynamically structured to lead the viewer's eye to every element on the
substrate. One judge commented, "It's pretty cool art and may be leading

Other accepted work in this show offers a glimpse at what is happening in art
at MIT in Boston: an article now being prepared by MIT artist Agta
Wiśniowska; a wonderful restaurant scene by Willow Bader; an itruiging
graphite on paper work by Katarzyna Jablonska; and a Kevan Simon wall
sculpture made of gears, rods, and found objects.
Eldred Boze, Fishing Boats 1
Fishing Boats 1 is
built on a cross
hatch of complexity,
yet is marine
identifiable by its
overall theme. Your
eye is guided
throughout the work
by this thoughtful
complexity: more
proof that digital art
can compete with
abstractness borne
of an artist with paint
and brush.
Carl Gethmann, A Mountain Spring, digital painting on aluminum
panel, 15 x 20
Dattatreya Phadke,Sunset over Pinnacle Rock, fabric collage
on canvas, 16 x 20
Dattatreya Phadke is a
Consultant Pathologist at
St Luke’s University
Hospital Network in
Pennsylvania. Although
versed in several other
Carl Gethmann
Dattatreya Phadke
Dattatreya Phadke
fabric on canvas.

Dattatreya says " Their vibrant colors and their different textures in cotton and
silks have always fascinated me. So, I have tried to include this beautiful material
in my art work.  I use several textured fabrics, cut them in numerous pieces that
are then glued or fused onto a canvas background in layers, until I am satisfied
with the correct shape and color value. In a particular piece I try to stay true to
only one medium and generally do not mix different media. I take a lot of photos
of things that catch my eye.   

He adds that " at a later date, it is these photos that inspire me to create a
particular piece of art. It is my humble attempt to capture a tiny piece of the
grandeur and beauty I experienced, including the lush mountains, the powerful,
yet serene hues of the ocean and especially the flowers that truly capture my

"I am always drawn to their vibrant colors, and the simple delicate architecture of
the petals. I don’t try and recreate the photo but try and capture its essence as
seen through the creative mind’s eye."

Dattatreya has written us a How-2 article that won't fail to interest other artists.

Read it here.
media, he now concentrates his art  creations using       
It's ExhibitionTime
Presenting: "Variations on a Theme: The
Color of Autumn, The Feel of Winter"
All images on this website are the property of their respective artists and shall not be copied or reproduced without the permission of the artist
Establishing partnerships with artists, art museums, and galleries