Juror's Statement
THE SEPTEMBER 2001
ALL-MEDIA MEMBERSHIP SHOW
I was impressed by the number of artists entering their work for this inaugural show for the fall and the wide variety of media in which they chose to work. The quest for sincere expression and professionalism is quite evident throughout.
The show is strong in representational art. Many artists, as expected, are looking closely at the visible world-whether it be figural, landscape, or still life. I encourage more exploration with abstract art and working with mood and nuance whatever the subject matter.
The artists are a well-traveled group, as evidenced by their work. I would like to see them work within the Washington metropolitan area also. The area is blessed with a variety of interesting subjects; whether it be city life, the river, historic buildings, and the like. Go out, artists, but look at your own environment too!
A note on presentation-please give careful thought to your frame and mat, if applicable. They can "make or break" a work.
Thank you for the opportunity to see so many thought-provoking and strongly rendered pieces!
Caroline Mesrobian Hickman
Independent Art & Architectural Historian
Juror's Dialogue
by Pat Gerkin
The Art League is pleased to welcome Caroline Mesrobian Hickman as a juror for our September All-Media Show. Ms. Hickman, whose specialty training is in painting and printmaking, brings an art historian's eye to the jury process. In our conversation, she emphasized how pleased and impressed she was by the sheer quantity of submissions to our shows. She noted that The Art League is thriving and was impressed by the sincerity and efforts of so many artists.
"Juroring a show with such a wide variety of media is more difficult because one must change gears so much to focus on how an artist must work with each media," she said. Ms. Hickman felt that the strengths of the show were in photography and oil paintings. "I had hoped for more non-representational or abstract submissions, " she noted, " but they simply were not there. Most of the pieces that were not chosen were also representational but they were not of the caliber that one would hope for. For example, if an artist chooses to paint representationally, and uses some of the more commonly painted subject matter, i.e., still life, florals, or cottages, then they must be done very well because we already see so much of them," she stressed.
"Although there were no real surprises, I was pleased by the sincerity and quest for professionalism of the artists. Several pieces in the show seemed to transcend time and place. The Best in Show is a good example of that transcendence. The angle, the expression, and the balance of dark and light makes it timeless. The subject was willing to face the camera with great strength and dignity, and in doing so, becomes triumphant. The artist was able to convey these powerful feelings and the subject's strong character through the angle and position, lighting, and contrasts of light and dark. Part of the power of this photograph comes from its large format and good proportions (J. Steele)," she said.
"Some of the most obvious problems for those pieces that did not make the cut were (1) They couldn't hold up under scrutiny. The form, color, or composition just didn't work together. (2) The matting and framing looked like it had no feel for the piece. Artists must be very careful with colored mats. It is best to use off-white or something more innocuous, something that expands the eye instead of bringing the eye in or stopping it altogether.
Drawing: "Figures were the strongest. They ranged from just a few lines to fairly complex works. The artists appear to be looking at academic drawing and doing very well."
Printmaking: "The printmaking was perhaps the least successful for this show. Other times I have seen these shows and the printmaking has been very strong. I would like to see artists work on a larger scale in their printmaking."
Photography: " Apparently our artists are traveling a lot, and they are showing us the richness of our world. Many of the pieces evoke a sense of serenity whether they are of a natural element of the landscape or urban. Although their techniques are not particularly new, it was nice to see hand-colored photos and the exploration of different options. There were a lot of photographs and I chose many of them for the show. They are well crafted, the composition is strong, and they evoke a mood. Most of them are quiet, as is the whole show. Overall, I saw no 'angst' or attempt to speak out on social issues."
Collage: "Most of them are small. I would like to see them bigger. When they are so small, you must really focus on each piece for it to make a statement to you. Larger gives the artist more freedom, more flexibility, more risk taking."
Watercolor: "Some of the watercolors are very good. Traditionally, watercolors are good. It's interesting that this is so, because it is actually a difficult medium to master. I suppose it's because we are taught to work with water-based media even from our earliest grades. It is also a very portable medium and is therefore more convenient."
Computer-enhanced art: "I don't know enough about it to comment on it, but I don't mind it at all. We will all eventually respond to the new media. It would be dangerous to close your mind to new media."
Pastels/Colored Pencil: "Pastels have been used very effectively to show quiet, figurative, pastoral scenes. The gray paper has worked very well in the piece with the two children (C. Bruce)".
Works on canvas: "The figures and the landscapes on canvas are the strongest pieces in the show. The different shades of white in one have been used very nicely (M. Dullum)". The piece that uses a mirror frame for a frame (S. Cutchen) was done by a risk taker. It is beyond whimsy. It is great to have the guts to do it! I would love to see more of the metropolitan area in these landscapes. Architecturally, we have such a wealth of buildings, and we have the Potomac, the diverse peoples, and the city life."
Sculpture: "I only chose three or four pieces. The figure done in paper mache is small, but extremely powerful. I especially like the expression of the face and hands. I am really taken with this piece (L. Schumaier). It deals with the human condition but in a transcending way. Isn't that really the crux of artmaking? I also liked the bust in particular. It is serene and calm (G. Lockhart)".
Advice to Artists: "Choose subject matter carefully. Keep in mind your interest and your training. Find your natural ability and go with it. Feel free to take a risk, even if it fails. If you choose to paint 'typical' subjects, be sure you do it well. Work with the wealth of visual material in the Washington metropolitan area. The nation's capital offers a great variety of subjects."
Advice to The Art League: "Continue what you are doing. I am amazed at the level of dedication of the members who volunteer."
This page was last updated 09/15/2001.