Passing the Jury Test

stargazer · Post by **stargazer** » Sat Jul 19, 2003 9:05 pm

We want to jury into some extremely competitive shows and are preparing slide presentations to submit with our applications. We need help! All of our slide shoots are done by professionals. I know we need a tight, cohesive presentation. But what exactly does that mean??? And . . . If we are applying for an outdoor show does that mean they want a slide of our outdoor booth and if an indoor show a slide of our indoor booth? Charles and Sheryl in Asheville NC

Paul Housberg · Post by **Paul Housberg** » Sat Jul 19, 2003 9:26 pm

If they've requested a booth shot, they're looking to see that your booth is professional and not simply a card table with an old sheet thrown across it.

As for the slides of your work, they're looking for a consistent style and approach. In other words, a jury member should come away with a clear impression of the kind of work you do and how that distinguishes you from other applicants. The mistake that new applicants ofen make in a juried situation whether it be to a show or competition (and I'm not suggesting you are new at it) is that they try to show the entire range of work they can do rather than a more focused representation. Thus, the jury who is looking at, perhaps, hundreds of slides, and for maybe only a few seconds each, cannot form an impression of what the work is about.

You may make a range of work, but try to keep the slide submission cohesive. Even shooting all your work on the same background if feasible can be an advantage (though, I wouldn't reshoot everything if you've already got good shots).

Jackie Beckman · Post by **Jackie Beckman** » Sun Jul 20, 2003 9:50 am

I saw an article in the Crafts Report once on this, but didn't pay too much attention to it because I wasn't submitting slides anywhere just then, but I'll try to remember some of what I did notice . . .

One thing I found interesting was the article showed how a jury will often view the slides - all 5 (4-whatever) at the same time, on the same screen. This came as a surprise, and made it clear exactly how well the slides need to go together and how there needs to be a natural flow and movement from one to the next. Where one's eye is likely to travel next, and so forth. It also drives home the importance of showing a similar body of work - pieces all from the same series, for example, and yes, on the same background as well.

Perhaps the Crafts Report site will have this information in their archives -
Good luck,
Jackie

rosanna gusler · Post by **rosanna gusler** » Sun Jul 20, 2003 11:09 am

i remember that article. they said to set up your booth specially for the
shot. show only booth in the photo and do not fill your booth as much as you would if really at a show. they said it made for a cluttered photo. rosanna

Cynthia · Post by **Cynthia** » Tue Jul 22, 2003 8:13 pm

This months issue of Crafts Report, August 2003, has a terrific article with example slides of do's and don'ts and a formal analysis that is a really helpful guide. There is also an article is about booths. Both are helpful bits of info. It's a good idea to have a set of slides that are representative of a body of work that is cohesive and has a common sensibility stylistically. They want to see a common thread that makes your work distinctively yours.

With those things in mind, the very first thing you have to pass is the "Can they follow instructions?" test before they'll even take a gander at your slides. The majority of the time, applications that are not organized and presented as instructed get tossed before the work is even looked at. That is the first line of weeding that occurs...so make sure you dot all your I's and cross all your T's.

Professionally shot images are a must, and make sure your photographer knows that these images are to describe the work for jury, and not artistic images for publication/print work.

Best wishes for successes

stargazer · Post by **stargazer** » Tue Jul 22, 2003 9:21 pm

I learned the hard way about passing the "can you follow directions test" this past season. I let my very, very talented husband fill out our applications. We did not get accepted into a single show! After going back over the applications I can see much room for improvement. He was far too indistinguishable. Our work was included in the ACC Spotlight 2003 at the Blue Spiral here in Asheville and won first place in another competition, we have been working with glass for 27 years. Before filing these applications today I thought I might call to get our scores. Wonder if there are any scores??? We'll see!!

Marty · Post by **Marty** » Wed Jul 23, 2003 10:05 am

Cephas- most shows won't give any feedback, never mind scores. They say that it's just too much to ask for, and after jurying a major show I tend to agree. We screened 230 sets of glass submissions twice in 4 hours. The obvious clunkers were easy, work shot on the lawn, slides too dark to read, etc. The guidlines for shooting work are readily available (I think the ACC sends them out with the application). It would take hours and hours to stop and confer on the particular merits of a set of slides- "tell him/her that the work is not balanced/ too common/ needs development/ those colors suck/ the photos's not in focus/etc.,etc."
The promoters are understandably reluctant to get involved in public value judgements: "your work sucks"!?!?! Imagine the lawsuits, ill feelings, nasty exchanges on internet boards (but not this one!).
Some craft guilds have done clinics- they get 5 projectors together and screen and critique each others' slides. Could be painful, will be instructive.

Is anyone interested in a similar clinic at WGWE2?

Barbara Muth · Post by **Barbara Muth** » Wed Jul 23, 2003 10:33 am

sounds good to me Marty!

Cynthia · Post by **Cynthia** » Wed Jul 23, 2003 1:37 pm

Marty wrote:...Some craft guilds have done clinics- they get 5 projectors together and screen and critique each others' slides. Could be painful, will be instructive.

Is anyone interested in a similar clinic at WGWE2?

The most valuable education I got while in school was the art of giving and receiving critiques. What I miss most about being in school is the ready access to another artist for an impromptu critique as well as the formal ones involving many works up for discussion.

Yes, they can be painful if given poorly or if received without an open attitude for improvement. Absolutely they are instructive and will help us to push our work forward if we are willing to accept anothers constructive observations for consideration. We can all improve in all respects of our work, no matter how accomplished.

A good, constructive critique focuses on what is working along with what isn't...regardless of how strong or weak a piece is from concept to execution...

I would love to participate. I wont be at the conference though.

Any possibility of organizing an oline critique of slides and/or work by folks who have the knowhow and experience to offer a constructive critique?

Avery Anderson · Post by **Avery Anderson** » Wed Jul 23, 2003 2:20 pm

Some craft guilds have done clinics- they get 5 projectors together and screen and critique each others' slides. Could be painful, will be instructive.

Is anyone interested in a similar clinic at WGWE2?

We already have one scheduled, bring your slides. Brock