Artists are perceived as emotional beings and this is not completely untrue. But we're also professionals and adults. There's been a lot of bandwidth spilled on the rules of engagement for artists seeking exhibition opportunities (I'm talking to you Ed Winkleman!*) but here are some guidelines for how organizations, galleries and curators should reject an artist's work:
- Just say no. Really. In most cases that's all we require; yes or no. Say it politely, say it professionally, but say it succinctly. I can tell you from experience that we know immediately when we see the envelope or email. There is a sixth sense that kicks in and the emotional processing begins immediately. By the time we read the actual words, it's about acknowledgement and acceptance and moving on.
- Don't apologize. This is business, don't make it personal. If the art world is like dating, then realize that the longer the rejection lasts, the more it veers into condescension or cruelty. You may have been out of our league and we knew it, or maybe we simply don't fit the program. But in the end, we asked you. You've done nothing wrong. "Regret to inform" is a phrase that should be stricken from all correspondence. No one informing truly feels regret in any real sense. It's an empty expression at best and at worst, it's just a cop out.
- Don't list criteria and tell us our work falls short. The right to decide is completely yours, but it is not your place to pass judgement on the work or what's behind it, -especially not based on a few digital files. This may be an effort on your part to soften the blow, but I assure you we are grown-ups and professionals and don't require any qualification for your decision. If you are a non-profit or public organization, what qualifications do the individual committee or board members have in determining if our work is "socially relevant" or "pushes boundaries?" Leave this off and stick with the facts. Keep it professional.
- Do thank us for applying. We have spent time and effort preparing our materials and reading your guidelines. Most of us have done our homework, and for whatever reason felt that we were a good fit, or we are reaching and very conscious of it. Even if you personally don't feel the work is up to your standards, or question how on earth we felt our work was a good match for you, please acknowledge that we put forth a professional effort. We (most of us) don't have interns. The time we spend putting materials together and meeting deadlines is completely uncompensated time; we don't even get to claim it for tax purposes. Your organization may be on a budget, but in most cases ours is even tighter.
- If "no" means "not now" then say so. Sometimes you may like the work, but it doesn't fit the show/season/event. That's OK and we completely get that. If something resonated with you, tell us! Encourage us to reach out again.
A rejection should be a paragraph long and no more. Inform us of your decision, thank us for applying, wish us luck if you're not interested and invite us to reach out if you are. That's it. Short. Simple. To the point.
I'd like to take a moment here to speak to artists. Do your homework. If you want to be treated like a professional then act like one. If you don't have a solid exhibition history in group shows, don't send your materials to blue chip galleries and expect a response. Don't waste people's time and don't give those of us who truly are professionals a bad name. Realize where you are, understand your work and what makes it unique and real and relevant. Don't ever be afraid to walk up to the prettiest girl in the room (metaphorically) but if you are rejected, take it like a champ and move on.
*For the record, I love Ed's blog. It is insightful, it's tough, and even though I may not always agree I do feel he does a good job of representing the gallery/dealer's point of view. Recommended reading for any artist who wants to take their career to the next level.
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