Over the 35 years I have lived in Jamaica, I have been the lead curator of more than 45 exhibitions and I have been involved in many others, as a juror, as a supervisor or mentor of other curators, as curatorial and organizational support staff, as a contributing writer, and also as an observer and critic. Most of my curatorial work has been in the Caribbean and, specifically, for the National Gallery of Jamaica. I also lecture at the Edna Manley College, in Curatorial Studies among other subjects, and I have been involved in a number of exhibitions there too, for the CAG[e] gallery as well as the final year show. While these experiences have been mostly positive, I have also seen and heard it all, so to speak, and this has convinced me of the need for greater professionalization for artists, in terms of being more informed about what is involved in participating in exhibitions and working with galleries, cultural institutions and curators. Not being aware of how to navigate this terrain effectively can sabotage artists’ careers, causing them to miss out on important opportunities, not to be represented in the best possible way, and, even, to become involved in needless contentions.
Artists may participate in many types of exhibitions, commercial and non-commercial, group and solo, and thematic or not, and each requires its own approach and preparations, but I thought it would be useful, to focus on submission-based, juried exhibitions, as this seems to be a process many artists struggle with. While fairly lengthy and detailed, this post is not meant to be a “handbook” or to be complete or definitive in any way, and merely consists on notes and thoughts based on my own experiences and observations and it is presented as work in progress. I invite feedback and further discussion and questions, and I may add further notes to this post in response. This post is meant primarily for young and emerging artists but I hope that others will also find them useful and perhaps even thought-provoking.
Many cultural organizations, galleries and museums organize regular juried exhibitions, which are usually recurrent and held on an annual, biennial or other schedule. Some have a theme or are restricted according to a particular medium or genre (for instance, painting or photography), while others are open to a broad scope of work. There are usually eligibility restrictions, for instance regarding nationality, country or city of residence, and even age. Usually, there is a limit on the date of production of the work as most submission-based exhibitions accommodate recent or new work only, and there are often also limits on size and weight. It is important for artists to be fully aware of these requirements, and to adhere to them, and of course also for these to be clearly articulated and communicated by the exhibition organizers.
There is usually a call for submissions, which is published well ahead of the submission deadline, and the exhibition is selected from the submissions by a panel of jurors. Today, these calls are often circulated mainly via social media and it is therefore important to follow those cultural organizations that may have relevant exhibition opportunities. While the published call for submission may consist of a simple notice, there are normally more detailed documents with rules and regulations, submission guidelines, and submission forms that can be downloaded, collected or requested – make sure to receive, peruse and understand these documents and to adhere to the instructions. There is normally also a contact number, email or online platform for additional information or queries.
For submission-based exhibitions, production and delivery costs are normally the responsibility of the artist but in some instances financial and other support are offered, although usually only once the work is accepted (I wish this could be the norm but most Caribbean cultural organizations work with very limited resources and staging exhibitions is, as such, an expensive undertaking). If such support is provided, this ought to be clearly communicated; artists should never assume that such support is in place. Request clarification on this count if needed. Submission deadlines are normally non-negotiable. As part of the submission package, artists are usually required to submit a short bio and/or CV, and, increasingly also, a publishable artist statement about the proposed work(s), as well as photographs of the work(s), with details if possible and allowed. Such texts will help to inform the decisions of jurors and curators, and may be used in the catalogue and exhibition text panels and, while this will involve editing, they should be prepared with care (handout on artist bios and statements) Photographs should, wherever possible be of reproduction quality and may also be used in the catalogue and exhibition promotion and reviews, and the submission and acceptance process implies that permission to do so is given (this should, in fact, be specified in the guidelines).
The submission process in the past typically involved the delivery of the actual, completed and framed or mounted art work (although these standards are changing quickly, and it is increasingly acceptable, for instance, to submit and exhibit unframed works on paper, using magnets or clips). Physical submissions can pose challenges for large or heavy works or for artists who live far away or who do not have the resources to support delivery without assurances that the work will actually be exhibited. Increasingly, submissions are done online via email or another submission platform. While online submissions make submitting easier, faster and less costly, and reduce the storage burdens for the host organization, the main disadvantage is that jurors may have a less wholesome understanding of the work when they see only a digital image on screen instead of its actual, physical incarnation.Read More »