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A Juror's Perspective About Wildflower Show - Cowgirl Artists of America
Episode 11st June 2023 • Cowgirl Artists of America • Megan Wimberley
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Cowgirl Artists of America spoke with juror, Lisa Staudohar from Art of the West Magazine about her experiences being a juror for the Wildflower Show. Make sure to follow Art of the West on Instagram @artofthewestmagazine

And, don't miss an incredible opportunity to participate in the upcoming workshop "Cottonwood Ranch Equine Photography Experience" by Cowgirls with Cameras in August Month. This workshop is led by Phyllis Burette (@phyllisburchettphoto), Cara Taylor Swift (@fasthorsephotography), and Kim Beer (@kimberlybeer)

To learn more about the workshop visit https://cowgirlswithcameras.com/events

Find us on Instagram at @cowgirlartistsofamerica and join our waitlist at cowgirlartistsofamerica.org

IG: @cowgirlartistsofamerica

Transcripts

Speaker:

Megan Wimberley

Speaker:

Hi.

Speaker:

Welcome to Cowgirl Artists of America's Podcast, a podcast

Speaker:

dedicated to cowgirl artists.

Speaker:

I'm your host, Megan Wimberley, and today we talk with Lisa Stu from Art of

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the West Magazine about her experiences being a juror for the Wildflower Show.

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I know that when I've gotten the opportunity to listen to the experience

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of jurors on the other side of the art show has been really helpful for me.

Speaker:

I hope that you enjoy this episode and find it useful.

Speaker:

Okay.

Speaker:

I am here with Lisa Staudohar from Art of the West Magazine, and she was

Speaker:

one of our jurors in the Wild Flowers Exhibition, so thank you for being here.

Speaker:

Lisa.

Lisa Staudohar:

Happy to be here.

Megan Wimberley:

You just flew in from Minneapolis?

Megan Wimberley:

Yeah, to Fort Worth.

Megan Wimberley:

She's Lisa's here also for the Cowgirl Gathering because the Art of the West

Megan Wimberley:

Magazine has sponsored some of our prizes, and so she's coming down to

Megan Wimberley:

see the work and we're so excited that.

Megan Wimberley:

Have you here this year, and thank you for the generous

Megan Wimberley:

support and prizes for our show.

Lisa Staudohar:

Of course.

Lisa Staudohar:

Happy to do it.

Megan Wimberley:

So we wanted to give artists who applied to wildflowers a

Megan Wimberley:

little bit of a behind the scenes look about what goes into the jury process.

Megan Wimberley:

Can.

Megan Wimberley:

Get a little upset or disappointed or really have their confidence affected

Megan Wimberley:

when they don't get into a show.

Megan Wimberley:

And those of us who have been on the backend understand that

Megan Wimberley:

it's not quite so cut and dry.

Megan Wimberley:

And so I think it's a good idea to give artists an idea of that backend.

Megan Wimberley:

So thank you for offering to do that from your perspective.

Lisa Staudohar:

Of course, of course.

Lisa Staudohar:

Yes.

Lisa Staudohar:

And this is my humble perspective.

Lisa Staudohar:

But, and this was a little bit different from other shows, so I'll

Lisa Staudohar:

give some examples from this show.

Lisa Staudohar:

And then maybe things that take place at other shows and all of them, first

Lisa Staudohar:

of all to get in is, is a big deal.

Lisa Staudohar:

And then, you know, to win the prizes are a big deal.

Lisa Staudohar:

And some people are even just disappointed if they don't win first

Lisa Staudohar:

or second place or something like that.

Lisa Staudohar:

And it's really in the beholder of.

Lisa Staudohar:

The judge, so the next show could have completely different judges,

Lisa Staudohar:

completely different perspective, and a completely different set of.

Lisa Staudohar:

People who get in and also end up winning prizes if there's prizes to be won.

Megan Wimberley:

Yeah, I, you know, because I entered my work so I couldn't

Megan Wimberley:

see who scored the work, how George was the only one who had access to that.

Megan Wimberley:

But I could see how artwork fared in the show and it was really

Megan Wimberley:

interesting to me because some of my favorite artists, That are my personal

Megan Wimberley:

favorites, who I think are fantastic.

Megan Wimberley:

Did not score very well in this show.

Megan Wimberley:

And I thought that that was really interesting.

Megan Wimberley:

And I did share that with people on Instagram because I think it's

Megan Wimberley:

such an important thing because had I been a juror in, in this show,

Megan Wimberley:

they would've scored really well.

Megan Wimberley:

Whereas for this particular set of jurors, it just wasn't what appealed to them.

Lisa Staudohar:

Right, and I've seen that too in other shows as well where,

Lisa Staudohar:

you know, you've got super talented artists and they don't get in a show.

Lisa Staudohar:

And I'm always surprised when I hear from artists who call me and talk to

Lisa Staudohar:

me like, I didn't get in this show.

Lisa Staudohar:

And you know it, it's surprising, but it's all very subjective and the art is so

Lisa Staudohar:

beautiful and it's really worthwhile to.

Lisa Staudohar:

Just keep working really hard at what you do and know that what you,

Lisa Staudohar:

you are doing is your best work.

Lisa Staudohar:

And if you are happy with your work, it will be seen.

Lisa Staudohar:

Whether it is a piece that sells, whether it gets in a show, whether

Lisa Staudohar:

it wins a show, eventually, you know, if it's what you are most proud

Lisa Staudohar:

about and you're giving it your best effort, you know you will be rewarded.

Lisa Staudohar:

And it just doesn't happen every time.

Lisa Staudohar:

So it's very frustrating.

Lisa Staudohar:

I'm sure it's very frustrating to judge because there's so much good work and if

Lisa Staudohar:

there's a number cut off, thank goodness.

Lisa Staudohar:

Like I couldn't see how the scores contemplated and which pieces that

Lisa Staudohar:

I really, truly love did or didn't get in based on the fact that it was,

Lisa Staudohar:

you know, a few of us that put in in our scores for the competition.

Megan Wimberley:

Yeah, for sure.

Megan Wimberley:

So with a group of jurors, it is interesting cuz George

Megan Wimberley:

and I have talked about that.

Megan Wimberley:

Um, Georgia went over at Western Gallery who hosted this show this year.

Megan Wimberley:

He and I talked about how when you have multiple jurors, sometimes.

Megan Wimberley:

If they have very differing perspectives, it's almost like the scores get brought

Megan Wimberley:

more to the center and so maybe had a particular juror been the only one,

Megan Wimberley:

something that would've just stolen the show actually was reduced in

Megan Wimberley:

its score because the other jurors scores were competing against it.

Lisa Staudohar:

Exactly.

Lisa Staudohar:

I mean, in their heart they could, one person may love.

Lisa Staudohar:

Bright color and contemporary, more certain types of brush strokes or, you

Lisa Staudohar:

know, certain mediums better than others.

Lisa Staudohar:

And so they're gravitating towards that and their score will reflect that.

Lisa Staudohar:

And if another juror was judging it, it'd be completely different

Lisa Staudohar:

because they may be more traditional in the base, so, or you know,

Lisa Staudohar:

drawn more towards something else.

Lisa Staudohar:

So that it's really hard because.

Lisa Staudohar:

I just really want artists to know that if keep doing it and also any

Lisa Staudohar:

comments or good comments, whether it's constructive criticism or you know, we

Lisa Staudohar:

all get a high when somebody tells us they love our work and what they love about

Lisa Staudohar:

the work, but it's also nice to hear.

Lisa Staudohar:

You know, what could I have done better for the next one?

Lisa Staudohar:

I talked to artists all the time, and some of them who I think are, you

Lisa Staudohar:

know, at the peak, they're, they're the top, top right in my opinion.

Lisa Staudohar:

And.

Lisa Staudohar:

They're still out trying to get help from other artists to better their craft.

Lisa Staudohar:

Or they may be starting to dabble in some other medium or you know, so, or they

Lisa Staudohar:

may feel like they lost their edge for a moment and how can they get that back?

Lisa Staudohar:

So, really, It doesn't matter how good you are, you're always still

Lisa Staudohar:

striving for that next level.

Megan Wimberley:

Yeah, for sure.

Megan Wimberley:

And you're always like, It's really good to be confident and to not lose

Megan Wimberley:

your confidence and to keep going, but to never get to the point where

Megan Wimberley:

you just feel entitled to something because you know, just because you've

Megan Wimberley:

gotten in a show before doesn't mean you're gonna get into it the next year.

Megan Wimberley:

And just because you are at the top of your game doesn't mean you're gonna

Megan Wimberley:

get into every show or every gallery.

Megan Wimberley:

That's just not how it works.

Lisa Staudohar:

Or if your images get in and you've always sold out

Lisa Staudohar:

and all of a sudden, You saw nothing.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

That happened to an artist that I met this year

Lisa Staudohar:

and she just said, wow, I'm gonna have a piece of humble pie here.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

This, I, now I, she goes, actually I'm learning from this because I

Lisa Staudohar:

know how other artists feel now.

Megan Wimberley:

Yeah.

Lisa Staudohar:

Because my pieces in the past have sold.

Megan Wimberley:

Yeah.

Lisa Staudohar:

And so that, you know, was an eye-opener to me too,

Lisa Staudohar:

that even people we may consider are.

Lisa Staudohar:

Always selling everything.

Lisa Staudohar:

Aren't always selling everything.

Megan Wimberley:

Yeah.

Lisa Staudohar:

You know?

Megan Wimberley:

Yeah.

Megan Wimberley:

A lot of it's luck having the right collectors there when they're purchasing.

Megan Wimberley:

You know, how people feel about the economy.

Megan Wimberley:

I mean, for art, arts are the first ones that get hit.

Megan Wimberley:

If people start feeling iffy about it, the art is the first thing to take a hit.

Megan Wimberley:

And so yeah, there's just so many things that.

Megan Wimberley:

Go into that for you, what were some things that really, like pieces

Megan Wimberley:

that maybe really stuck out to you?

Megan Wimberley:

What were the types of, or what were things?

Megan Wimberley:

Well, and first I wanna talk about, you talked about how some

Megan Wimberley:

jurors may be more drawn to a certain style or a certain media.

Megan Wimberley:

And we do with, with all of our shows that we've done so far, we have done this.

Megan Wimberley:

And not that we would do it every time, cuz sometimes curatorial decisions

Megan Wimberley:

are important, but to try to minimize some of that, we do give our jurors

Megan Wimberley:

guidelines of, you may have a preference for traditional work, but you're judging

Megan Wimberley:

the contemporary work on its own merit.

Megan Wimberley:

Merit.

Megan Wimberley:

Correct.

Megan Wimberley:

Correct.

Megan Wimberley:

Yeah.

Megan Wimberley:

Because we believe that all of that work is really valid for our

Megan Wimberley:

history of our culture and for what, what we're trying to portray.

Megan Wimberley:

So we do that.

Megan Wimberley:

But was there a piece that really stuck out in your mind as one of the

Megan Wimberley:

pieces that you just really loved?

Megan Wimberley:

Well, it kind of went by category, and

Lisa Staudohar:

I honestly, I can't name the piece off the top of my head, but

Lisa Staudohar:

I, and it was a while back, but I do recall there were two or three pieces

Lisa Staudohar:

that I thought, gosh, if I had to pick between these, I don't know if I could.

Lisa Staudohar:

You know, so I guess they were my top three in what was submitted.

Lisa Staudohar:

I think in hindsight, I would've broken it into categories, so I

Lisa Staudohar:

would've liked to have picked my top photography, my top sculpture, you

Lisa Staudohar:

know, kind of broken it out that way.

Lisa Staudohar:

Oil so that each of those categories, Get the best scores that they can get.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

Instead of putting them all up against each other.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

I, I really think, you know, that would

Lisa Staudohar:

be my advice for another show

Megan Wimberley:

mm-hmm.

Lisa Staudohar:

Is to maybe categorize them so that they're all represented.

Lisa Staudohar:

I mean, they were all represented, but it would've been a lot easier

Lisa Staudohar:

to, for me to see all the sculpture.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

And not be judging sculpture against paintings.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

And, and photography,

Megan Wimberley:

which that can be hard too, because sometimes you only have

Megan Wimberley:

one photographer or one sculptor, so it's kind of complex on the back end for

Megan Wimberley:

setting it up, but it can be really hard to score those things against each other.

Megan Wimberley:

When you're looking at what, what is your, your favorite or what really

Megan Wimberley:

stands out, do you remember like what one of your favorite pieces looked like?

Lisa Staudohar:

Well, I remember in the photography category, in

Lisa Staudohar:

my mind there were, and that's something, you know, we are starting

Lisa Staudohar:

to really pay attention to more.

Lisa Staudohar:

And as Art of the West, that's a fine art.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

A lot of people don't always, you know, put

Lisa Staudohar:

that in the same category.

Lisa Staudohar:

It's a gift to be able to,

Megan Wimberley:

mm-hmm.

Megan Wimberley:

Yeah, it's hard.

Lisa Staudohar:

These images, it's not easy and it's very difficult.

Lisa Staudohar:

So I remember there were a couple pieces that I just.

Lisa Staudohar:

It kind of blew me away.

Lisa Staudohar:

Like how did they capture that on film?

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

That's incredible.

Lisa Staudohar:

And I think for, that's a really hard question for me because there were

Lisa Staudohar:

pieces that, you know, me personally, you know, as you look through, you go,

Lisa Staudohar:

that's what I want, hanging on my wall,

Megan Wimberley:

Uhhuh.

Lisa Staudohar:

And then you look and you go, that's a really great piece because.

Lisa Staudohar:

I can see how difficult that was.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

And certain pieces, lighting is always really important

Lisa Staudohar:

to me to get true, true lighting and, you know, anatomy of the animals and

Lisa Staudohar:

people, their hands, how do they look?

Lisa Staudohar:

You know, that type of thing.

Lisa Staudohar:

Those are things I'm looking at, like, is that what it

Lisa Staudohar:

really looks like or is it not?

Lisa Staudohar:

If it's off, you know, if a nose is wrong on a horse, It kind of throws the

Lisa Staudohar:

whole image off, even if it's well done.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

For sure.

Lisa Staudohar:

Sure.

Lisa Staudohar:

I can't narrow down into one piece.

Megan Wimberley:

Yeah.

Megan Wimberley:

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Megan Wimberley:

So you're really drawn to the way an artist portrays light, it sounds like.

Megan Wimberley:

And then anatomical accuracy is something that really sticks out to you.

Lisa Staudohar:

Right.

Lisa Staudohar:

And even in contemporary, where some of that may not be, you know, it may

Lisa Staudohar:

not look like a, a photograph painting.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

But the anatomy still has to make sense.

Lisa Staudohar:

Right.

Lisa Staudohar:

Unless it's abstract.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

That's a different thing.

Lisa Staudohar:

But if, if they're still trying to, you know, create a piece.

Lisa Staudohar:

That looks, I mean, you know, it's a buffalo, you know

Lisa Staudohar:

what a buffalo looks like.

Lisa Staudohar:

And yes, it's abstract, but it really has that wonderful feature.

Lisa Staudohar:

Mm-hmm.

Lisa Staudohar:

And ties in the color and the lighting and the way the animal's looking.

Lisa Staudohar:

You know,

Megan Wimberley:

You can't use abstract or contemporary work as a way to get around.

Megan Wimberley:

Bad anatomy.

Megan Wimberley:

I mean, there are ways to, you know, like right, there are ways to like elongate.

Megan Wimberley:

I mean, the thing that's popping into my head, which is totally not Western,

Megan Wimberley:

but Salvador d, you know, those horses and the elephants with the really

Megan Wimberley:

long legs, and he did it on purpose.

Megan Wimberley:

And that's probably not gonna appeal to a lot of people listening, but he did

Megan Wimberley:

it on purpose in a way that made sense.

Megan Wimberley:

And actually, you know, Alexa Nell.

Megan Wimberley:

Lexi Nell, who's at this show right now.

Megan Wimberley:

At the cowgirl gathering, she has very abstract horses.

Megan Wimberley:

Right.

Megan Wimberley:

But she's done the shape well and the color well.

Megan Wimberley:

And you can't do that and just be like, ah, I'm just being a free for like,

Megan Wimberley:

no, the composition has to be there.

Lisa Staudohar:

Right.

Lisa Staudohar:

And the intent, it's really the intent.

Lisa Staudohar:

If you can feel the intent of the artist.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

That's a good painting.

Lisa Staudohar:

Right?

Lisa Staudohar:

I mean, Dolly, he's got a, there's an intent Yeah.

Lisa Staudohar:

To why he painted how he painted.

Lisa Staudohar:

And you feel that whether you are drawn to contemporary, you,

Lisa Staudohar:

you know, that's a good piece.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

And, you know his style.

Megan Wimberley:

Yeah.

Megan Wimberley:

The execution, the intent, and then the execution of the intent.

Megan Wimberley:

Yeah.

Megan Wimberley:

Correct.

Megan Wimberley:

And, and for that, that has to come out.

Megan Wimberley:

Mm-hmm.

Megan Wimberley:

It has to be translated onto that mm-hmm.

Megan Wimberley:

Into that media.

Lisa Staudohar:

So if you're trying to do a painting that is, Very real to life.

Lisa Staudohar:

It's the same thing.

Lisa Staudohar:

Mm-hmm.

Lisa Staudohar:

If you're not quite carrying it up, then you can, you can

Lisa Staudohar:

read that uhhuh, you know?

Lisa Staudohar:

Yeah.

Lisa Staudohar:

And, and different mediums do different things, so.

Lisa Staudohar:

It's a tough job judging.

Lisa Staudohar:

It is.

Lisa Staudohar:

It really is.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

And so my advice is to keep doing what you're doing and like I said,

Lisa Staudohar:

if you're happy with your work and you're feeling like it's really, I.

Lisa Staudohar:

That's the, that's the piece and Yep.

Lisa Staudohar:

It really turned out the way I wanted it to turn out.

Lisa Staudohar:

Then you've got your piece.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

If, if something's in your gut is telling you it's

Lisa Staudohar:

not quite there, or you're standing back and you're going, Hmm.

Lisa Staudohar:

Are you reflected in a mirror and you're not seeing what you see

Lisa Staudohar:

when you look at it while you're painting, then it might need tweaking.

Megan Wimberley:

Mm-hmm.

Lisa Staudohar:

There might be something about it that, you know,

Lisa Staudohar:

Because a judge will see that.

Megan Wimberley:

Yeah.

Megan Wimberley:

And whenever you do have that piece that you know is that piece, when it

Megan Wimberley:

doesn't get in, you know it's still good.

Lisa Staudohar:

Mm-hmm.

Megan Wimberley:

There are absolutely.

Megan Wimberley:

Right.

Megan Wimberley:

And some, and then also, you know, it's interesting always on the

Megan Wimberley:

cause with cga A, we're always really focused on educating people.

Megan Wimberley:

And it is very interesting because you don't know what you don't

Megan Wimberley:

know when you don't know when.

Megan Wimberley:

And what I mean is like when I first started painting with my bright

Megan Wimberley:

colors and I would go to shows and maybe that when it felt very good

Megan Wimberley:

or I applied for women artists of the West when I was first starting.

Megan Wimberley:

And I didn't get in.

Megan Wimberley:

And at the time I remember being disappointed and thinking, why

Megan Wimberley:

didn't I get in And my work's good.

Megan Wimberley:

And now I look back at that and it was an important stage in my progress.

Megan Wimberley:

Like I had to go through that.

Megan Wimberley:

I did not deserve to get in, even though I thought I did at that moment.

Megan Wimberley:

And I applied to Women to the West three times before I got in.

Lisa Staudohar:

Mm-hmm.

Megan Wimberley:

And you can't just.

Megan Wimberley:

The whenever, even when you're feeling confident about what you're doing,

Megan Wimberley:

there's still always room to hone your skills or to consider your composition.

Megan Wimberley:

There's always something to learn.

Megan Wimberley:

And so sometimes there's this like fine balance from the artist side of

Megan Wimberley:

like, when do you take that feedback?

Megan Wimberley:

You know?

Megan Wimberley:

And so sometimes when you have that piece and you know, it's

Megan Wimberley:

that piece, It doesn't matter.

Megan Wimberley:

Somebody could come up to you and be like, that is a piece of junk.

Megan Wimberley:

And you'd be like, okay, it's not for you.

Megan Wimberley:

And it doesn't bother you at all because you know you're confident that that

Megan Wimberley:

piece is exactly what you were going for.

Lisa Staudohar:

Mm-hmm.

Megan Wimberley:

But there's other times whenever.

Megan Wimberley:

We don't get into something and, and there's constructive criticism and, and

Megan Wimberley:

CGA does try to often give feedback to artists when we can, like with signature

Megan Wimberley:

member and stuff, what the jury sees.

Megan Wimberley:

And it doesn't mean the work isn't good.

Megan Wimberley:

Mm-hmm.

Megan Wimberley:

Signature member is very hard to get into.

Megan Wimberley:

Mm-hmm.

Megan Wimberley:

It doesn't mean that the work isn't good, but maybe there's some fine tuning or

Megan Wimberley:

maybe you aren't there yet, maybe you still are more at that intermediate level.

Megan Wimberley:

And this is a really, really high level to get into.

Megan Wimberley:

And so, It's not like there's a hard, fast rule, but there is a

Megan Wimberley:

time for you to feel confident in your work no matter what people say.

Megan Wimberley:

And then there's a time also to be able to say, oh, I can improve this and I can take

Megan Wimberley:

this feedback and I can learn from it.

Megan Wimberley:

Is there anything that you think that we haven't talked

Megan Wimberley:

about from this side of things?

Lisa Staudohar:

No, I, I think we've kind of.

Lisa Staudohar:

In my opinion covered, at least how I approached it, other jurors, how

Lisa Staudohar:

they've approached either when they're jurying a, a show where they're trying

Lisa Staudohar:

to find the, the top, top pieces within the show once they have been

Lisa Staudohar:

selected or just to get in a show.

Lisa Staudohar:

I mean, I think, I think we've kind of covered that.

Lisa Staudohar:

It's, it is very personal.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

So know that.

Lisa Staudohar:

That's why shows rotate who they have jurying.

Lisa Staudohar:

Mm-hmm.

Lisa Staudohar:

Because it really changes the outlook it does of the show.

Lisa Staudohar:

Yeah, it changes it a lot.

Megan Wimberley:

I think the one thing I wanna wanna add to this

Megan Wimberley:

from the educational side, what's really important, there are two

Megan Wimberley:

things that are really important, and the first is that you don't stop.

Megan Wimberley:

Because we have seen artists get kind of like get so, uh, their self-esteem

Megan Wimberley:

is affected so much that they stop painting and that is, Tragic.

Megan Wimberley:

We've literally hired a life coach before to teach our members how

Megan Wimberley:

to deal with rejection because it is tragic when an artist stops

Megan Wimberley:

painting cuz they got a rejection.

Megan Wimberley:

I had a year, and this was like a couple years ago, where I'm still

Megan Wimberley:

really confident about my work and I did not get into a single thing.

Megan Wimberley:

And if I would've let that affect me, I would've had.

Megan Wimberley:

Most, most successful year I had.

Megan Wimberley:

And so you just, it's not personal.

Megan Wimberley:

And every artist you know who is big has had more rejections than

Megan Wimberley:

you can possibly imagine, right?

Megan Wimberley:

And the second thing that I think is really important is that you have got

Megan Wimberley:

to remain professional because when you don't get in and you like throw a fit

Megan Wimberley:

in public, or you start badmouthing the organization or the organizers or the

Megan Wimberley:

show or whatever it is, Ultimately it comes back looking really bad on you.

Megan Wimberley:

And it affects, you know, if uh, somebody has an art show and an artist,

Megan Wimberley:

you know, actually unprofessional, they're gonna remember that.

Megan Wimberley:

And it can affect, it just affects your reputation and you don't

Megan Wimberley:

want the reputation of that artist that's just super negative or always

Megan Wimberley:

complaining or, or, or entitled, you know, because again, you're not

Megan Wimberley:

gonna get into every single show.

Lisa Staudohar:

Right.

Megan Wimberley:

And it's, and to the other artists who get in being gracious

Megan Wimberley:

to them, you know, because we're all a big community and, and just, you know,

Megan Wimberley:

being a, a positive member of, of our, of our C for c g a of our community, but

Megan Wimberley:

also like just a, as the community at large, you know, with the other artists

Megan Wimberley:

and it's such a small community and, and just remember that every single thing

Megan Wimberley:

that you do affects your reputation.

Megan Wimberley:

And how can you, Make sure that you're all, you're the

Megan Wimberley:

artist that people think of.

Megan Wimberley:

That artist is pro.

Megan Wimberley:

You want to be the pro artist.

Lisa Staudohar:

Correct.

Lisa Staudohar:

Right.

Lisa Staudohar:

That's well said.

Lisa Staudohar:

I agree.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

So well, we're both saying thank you to each other.

Lisa Staudohar:

Thanks for having me.

Lisa Staudohar:

Yeah.

Lisa Staudohar:

Well thank you for waiting to me at the show tomorrow.

Megan Wimberley:

Yeah, and, and a huge, huge thank you to Art

Megan Wimberley:

of the West Magazine, first of all, for putting together such a

Megan Wimberley:

wonderful magazine that has so many beautiful things we get to look at.

Megan Wimberley:

And, uh, such a great job with promoting artisan shows, but also for the support

Megan Wimberley:

of CGA and our shows and the support of any other art show that y'all do because

Megan Wimberley:

you do a lot for the art community and.

Megan Wimberley:

It's, it's important and, and I appreciate it personally.

Megan Wimberley:

Thank you.

Megan Wimberley:

It's a pleasure.

Megan Wimberley:

I hope you enjoyed today's episode with Lisa Staudohar talking about

Megan Wimberley:

what it's like to be a juror.

Megan Wimberley:

I hope this episode gave you more insight and leaves you with more

Megan Wimberley:

enthusiasm applying for your next show.

Megan Wimberley:

Remember, there are lots of ways to stay in touch with C G A.

Megan Wimberley:

One of the best ones is to follow us on Instagram at Cowgirl Artists of America.

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