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The article "Exhibitions 1: Entering Exhibitions", Ozquilt Network Newsletter #37, was about the intricacies of exhibition entry forms and how to deal with them. In this article we examine the why and how of the selection process.
When contemporary art quiltmaking becomes a profession rather than a pastime, there are radical changes in the aims and methods employed by those organising exhibitions whether they are government funded institutions or privately funded groups. One that disturbs many quiltmakers new to this sphere is the selection process used for exhibitions. Organisers invest considerable time and money in mounting an exhibition so it must be worth while in terms of enhancing their reputation and gaining the respect of new and discriminating audiences. For professional curators, such exhibitions can be important stepping stones in their careers, so just presenting a 'nice' exhibition isn't enough. To achieve their aims organisers and curators must be prepared to reject works that fall short of their criteria so that only the best available are presented to the public. Properly carried out, the selection process is a positive influence on the status of any art or craft.
Organisers themselves may select or they may invite a guest panel of artists and administrators. Though every effort may be made to find suitable selectors, in practice it isn't always easy.
For those wanting to seriously pursue contemporary art quiltmaking there are no formal full time courses available in Australia. So with no formal qualifications to be had, a good CV demonstrating ability to be selected for a number of prestigious exhibitions helps further progress. Sometimes there's also the chance of selling or having a quilt acquired for a public collection.
Entering a selected exhibition is always a risk. Time and money spent on the quilt materials, photography and entry fees may be lost, and the possibility of the negative emotional impact of rejection must be dealt with. It is not for the over sensitive! However, seasoned art quiltmakers become philosophical about rejection, regarding it (and the expense involved) as part of the job. It helps to remember that this is true in all the arts. Good actors can fail at auditions and famous authors have sometimes had many rejection slips before success. It's important not to give up at the first hurdle.
Organisers may brief selectors but in the end the selectors have the final say. A few selectors bring odd foibles to the task, resulting in strange and unexpected choices. At best, people from outside the quilt world can bring a much appreciated fresh perspective. At worst, their lack of specific knowledge and expertise can sabotage the whole project. The individual selector is often an unknown quantity so it's hard, and not really desirable, to provide firm guidelines for exhibition entrants.
However, the following principles could be considered universal. Quilts that are clones of other peoples' work and quilts made under supervision are not acceptable, no matter how attractive. Generally selectors are looking for a quilt demonstrating originality of concept that only you could have made. Sometimes a good concept fails due to the way it is carried out. Clumsy design with unresolved problems will not do. A common fault is failure to bring together separate design elements, to ensure that the design is perceived as a coherent whole. It's often worth letting an idea 'brew' for a while rather than executing it at once. Though a virtuoso performance is not called for technique, must be competent.
The experiences of a number of well know quilters are sure to intrigue you in the next article in this series, 'Exhibitions 3 - Putting Rejection in Perspective' (Ozquilt Network Newsletter #40).
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