Fragmented Libya...rejected

Yesterday, I received a rejection email from Dawn Laurant, the curator for the cARTography: Personal Metaphors and Mindful Maps show, for my submitted artwork Fragmented Libya. The show is due to occur at the ryan james fine arts gallery in spring 2015.



Fragmented Libya

After reading the standard "We received an overwhelming response" I decided to write the curator an inquiry email to ask why my piece was not accepted.  Having never submitted to a juried gallery show before, I wanted to learn from the process to better improve myself. I included a link to my post from last week about my submission and said I'd like to do a follow up for my blog readers.

Ms. Laurant accidentally sent me this email that was to go to her boss: 

Ryan,

I had to stop myself and erase my response several times...her work wasn't very good is the honest answer but I really don't want to get involved in a long conversation...she seems like trouble....help!!! I'll just blame it all on you okay? Kidding. but not...oh boy it's getting late.

Dawn

Two minutes later this email was also sent to me:

Dear Kay,

I realized you just received an email that was not meant for you...the artist I was referring to in my email to Ryan is someone that has been working with us for awhile but was not accepted into this show.

It goes on, but let's pause here so we clearly understand where this email starts to go wrong.

It's obvious the original email was about me because if the email was meant for a different artist that has been working with ryan james fine arts gallery for awhile, then why would the email refer to this very artist as someone who "seems like trouble."  If you've been working with someone for awhile, wouldn't you already know if they were trouble or not? 

I honestly stopped reading after that. There seemed to be no point in learning about a juried gallery show process, when it simply boils down to the fact that there is none and she didn't think the piece was good. Fair enough, she's entitled to her opinion.

I am not taking it personally that Dawn Laurant did not think it was good. I started the year with artwork hanging at the Washington State Convention Center, followed by the Bellevue Art Museum, two respected institutions in our community.

I replied to let her know that I won't be taking up any more of her time since she has her hands full of so many other artists responses.  I'm not exactly sure why she thought I was trouble from an inquiry email.

I'm looking forward to the spring opening to see who was chosen for this exhibit.

As for Fragmented Libya, it is evident it needs to stay in my home a little bit longer.   As my favorite artist Marita Dingus always says "Hisroty informs my art" and that is how I feel about this piece. 

You need thick skin to try to be an artist, and knowing that Fragmented Libya belongs elsewhere will keep me going on the search of where it needs to hang for others to appreciate all 178 fragmented khatim maps of the battles that occurred in history.