Juror's Statement
November 2002 Bravery, Justice and Freedom Membership Show
It's always a pleasure to jury shows at The Art League. The quality of artwork is very high; the majority of members show a passionate level of interest in their chosen media and the community is run with efficiency and high standards of professionalism - all which make a juror's task rewarding.
This year it was more difficult for me because the theme (patriotism: bravery, justice and freedom) was so subjective. The painting of a person walking a dog might be a sincere illustration of that artist's thoughts about freedom or bravery, while I might see it as totally unmindful of the Board's theme. Therefore, I chose the works based on my formalist view of art. As you know I judged this show on Election Day. In a true moment of serendipity I came away from this judging experience enlarged and broadened in my own thoughts of the personal and artistic freedoms that we all enjoy. Thank you to everyone connected with this show.
Leslie Exton
Professor of Painting
Corcoran School of Art
Juror's Dialogue
by Pat Gerkin
This month's themed show was judged by Leslie Exton: artist, instructor, and Department Chair at the Corcoran School of Art and Design. She brings to this show a critical eye and a sensitivity to the goals set forth by this show. "I like to juror for The Art League," Ms. Exton says, "because the quality is always very high. I used to think that if you did good work, the world would see it eventually, but I don't think that is necessarily true anymore. We have so many artists now, and small communities of artists, such as this one, have very good artists, and I like to do my part to see that the work is shown. This is my way of contributing to that effort."
Ms. Exton is not a big fan of "theme" shows. "I don't enter them, and I don't usually like to juror them. Every person who entered this theme show has painted what is personal to that artist. Who am I to judge that?" she says pointedly. "An artist is painting personal themes. That leaves the artist with three choices: (a) recognize that the work does not match the theme and don't enter; (b) use paintings that the artist already has but just rename them; or (c) paint something just to get in the show. None of these choices is optimal," she declares. "Consequently," she says, "I came predisposed to not pay as much attention to the theme and just judge the work on its artistic merit. There was a lot of cliche work, and some humor, but I rejected most of those pieces because they were not done in the same spirit as the works by artists who took the theme seriously. I wanted to respect that seriousness."
Selection process: "I'm a formalist in my own observation of art, and I looked at all the work in the same way. For me, it is not what you paint but how you paint it. Therefore, I look for drawing, composition, color, light, and intensity. If all these aspects have been done well, it doesn't matter what the subject matter is. I tried not to look at titles, just the work. I judged the work on its artistic qualities, but if it was obviously not true to the theme, it did not make the cut. I was immediately struck by the top prize winner and how it worked on two levels; (a) form and good glasswork, and (b) the content issue of 9-11. It was more subtle; it didn't hit you over the head with the content. It was a very sophisticated piece. That's why flags outside front doors were not as successful. I felt that the quality of the show was overall much lower than I have come to expect from The Art League. You got the theme, but not the best work of the artists."
Drawing: "I wish there had been more drawing to choose from. There were very few entries in this category. I like to push pencil work and I chose one for an honorable mention. There was a lovely bark board drawing (L. Wertheimer)."
Works on canvas: "This show had a dearth of oil painting. Since I tried to give an honorable mention to the best of each medium, I looked for one in the oils/acrylics but did not find one I felt was appropriate, and I was sorry to see that. There were several good portraits and a small Hopper-like painting of a soldier showing exhaustion and despair. (C. Samper)."
Watercolor: "Very few of the strong works showed up that I know are possible from The Art League. They didn't get in if the fundamentals were truly lacking. I chose works that had a more thoughtful approach."
Photography: "The photography was very good. Many worked well with good design and composition and were sympathetic with the theme. I was drawn to the photography because of its strong formal qualities. I especially liked the widow at the window (J. Walser)."
Printmaking: "I chose several and was interested in the texture of a chine colle piece (J. Madison)."
Collage/mixed media: "I chose one as an award winner because it was a strong piece and I would like to encourage that kind of exploration. The skyline showed thought, passion, and it was interesting and a little different (K. Stevenson)."
Pastel: "You usually have a very strong group of pastelists, but it was not there this time. I did choose several (very) good ones, though. The technique used on the officer saluting the tombstones was exquisite. Although the composition is not as good, it was done with thought and attention. Some artists clearly have a more profound view of the world than others."
Stained glass: "I liked the stained glass piece. It had good design and the colors were well chosen (K. Coxe). I would like to encourage more work in this medium."
Abstract: "There were a fair number of abstracts. I especially liked "Red, White & Blue, Etc. (F. Lee McCann). It was reminiscent of the twin towers and yet worked as an abstract as well."
Advice to the artists: "For those who did not get in the show: (1) Don't take it personally; it's only one person's taste. (2) Look at why and how your work is different from the works that got in. Go through a formal analysis. Your answer should not always come down to that it is just taste. Sometimes there is something wrong with how you are executing the work. There are some fundamental things we all agree on. (3) Don't get angry, but don't give up. There are reasons why one is in and another is out. Take it out of the emotional level, and, if you want to improve, analyze the work by fundamentals and then sign up for a class that will address those things that are lacking in your work. For those who did get in the show: (1) Don't be overinflated. Remember, it might just be my taste. (2) Keep working, and make the next painting better."
Advice to The Art League: "I know that The Art League's standards are high, and that is why I was so severe. I want to keep that standard high. I think it is fabulous how it has continued to be alive and active. You should be proud of your accomplishments. It is very impressive. Thank you for inviting me. "
This page was last updated 11/13/2002.