A JUROR’S TWO CENTS WORTH
The events surrounding the Centennial Exhibit were invigorating,
exciting and almost totally positive...with one exception. The
first sentence in the juror statement from Paul Donhauser was
this: “Any assessment made about the state of Wisconsin
art through this particular exhibit would be very unfair because
most serious-minded Wisconsin artists did not participate”. Most
serious-minded artists....hmmmm. Well, Paul, in good natured
response, consider these things.
He goes on to mention that he and his two fellow jurors “were
very conscientious in selecting works that spoke with a distinctive
voice in regards to idea, content, visual skill and craftsmanship. The
best of these examples constitute this exhibition and the award
winners represent a high level of professionalism.” That
is certainly a positive statement, but...it was too late, as some
damage had been already done by his introductory comment, which
“suggests” some criticism of the group...or criticism
of the intent of the exhibit.
But, you know...in my opinion, Professor Donhauser was right that
“most” serious artists in the State did not participate...however
the statement was so obvious as to be hardly necessary, and certainly
it was not tactful. It appears that in an attempt to warn
posterity that this show was limited to a particular membership,
not inclusive of all the art and artists of the state, he selected
words that appear to sound critical of the WP&S membership.
He must have known that this exhibit could not represent the State
in its entirety. It is not the Wisconsin Biennial, which we also
sponsor, which permits entries from any person in the State. It
is not the Madison Triennial which also makes selections from
Wisconsin artists at large. The sheer weight of numbers of
artists in this state has to support Professor Donhauser’s
statement that “most serious-minded Wisconsin artists did
not participate.” This does not mean that WP&S
members are not serious...and if he did mean to say that, he is
short sighted and needs to be removed from his college ivory tower. Indeed,
consider this...not only did successful serious-minded artists
not enter our membership show, but unsuccessful serious-minded
artists did not as well.
We all have come to recognize that many artists who have found
their niches in certain colleges and universities, and those who
have established links with higher echelon galleries, don’t
choose to associate themselves with organizations such as WP&S. Why? Let
me guess.
First, there is the matter of fear...I have witnessed numerous
of the WP&S organized Wisconsin Artist Biennials and their
juror selection processes. Remember that the Biennials are
open to all Wisconsin artists...not only WP&S members. While
I will not mention names...though I could...I have seen professors
of art from various prestigious institutions fail the juror’s
cut. These artists don’t want this publicized. How
many of them want their reputations sullied because a juror called
them out? Better to not participate at all.
Second, with WP&S being a “volunteer run organization”,
there was a chance...slim perhaps... that they might be called
upon to volunteer, and further expose themselves to loss of time
and submitting themselves to potential embarrassment. Why
bother, particularly if they are making a professor’s salary
or are selling well thru notable galleries? Some professors
have their own peer pressures too...and joining a membership organization
like WP&S might suggest some sign of weakness.
Third, it is unlikely that a sense of brotherhood and altruism
exists in the halls of academia in such abundance that the established,
especially snobbish, would consider joining a service organization
like WP&S. And, for those artists successfully showing
and selling thru prestigious galleries, why would they want to
also be exposed to potential rejection in juried shows...and how
altruistic might they be anyway? Are they really inclined
to offer any sort of help to artists who might be in competition
for the gallery space and the patron dollar?
Fourth, college teachers and artists represented by notable galleries
(not all, of course) have their own professional contacts and
means of finding exhibition opportunities. Some can gain
prestige and prominence thru their college associations, by dissemination
of their reputations thru their students, and by gallery support
and propaganda promoting sales. Such established and talented
folk need not join membership groups and endanger their images
by associating with artists who have not gained the same status. (Happily
and thankfully, WP&S has had its share of college teachers,
as well as teachers at other levels, who have not been fearful
that their reputations would be affected...but who have actually
gained prestige thru inclusion in our juried shows. Several
of these have been our Presidents and Board members.)
But...to the implied suggestion that WP&S artists are not
“serious minded”...well, certainly Professor Donhauser
would have to face serious argument from us that the members are
not “serious minded” about our work, about our thoughts
and evolution in art making, and about our careers. Obviously,
no matter what the nature of our art, we cannot all be situated
on college staff and carried by prestigious galleries. Such
exclusion is not necessarily a result of artist failure...but
is likely a product of the job market and the limited art marketplace. How
many artists in all fields of art, visual, performing and literary,
have “real” jobs to help them pay the rent and buy
clothes for their children? Most, I tell you...most.
A conversation with members of WP&S concerning artmaking,
its theories, history and philosophies, would not sound much different
than conversations heard on college campuses and in fine art galleries. Indeed,
perhaps the conversations would be more practical and applicable
to the real world than those heard in the heady heights of university
atmospheres.
WP&S MEMBERSHIP...ITS NATURE AND ITS QUALITY
From time to time I have heard discussions about the general nature
of the art produced by members of WP&S. The comments
and thoughts expressed around me have further prompted this article.
First, despite exceptions, may I say that it is my opinion that
the history of the membership suggests that members have been
relatively conservative in their styles and themes since the inception
of the organization in 1900. This is a broad statement, but
I think an open minded view of past membership rolls would bear
out this observation. Compare the work of notable and respected
past members to what was happening in the more adventurous venues
of the US at any point in the last 100 years. This relative
conservatism does not suggest that WP&S historically has had
low quality artists. The work of past members proves their
quality, as well as conservatism.
Second, as a matter of natural evolution, it is clearly evident
that the character of the membership has had to change, especially
during the past 30 years as a result of alterations in the education
and marketing of art and artists, not only in Wisconsin, but throughout
the United States. These changes are not all bad. What
was once a generally small pool of visual artists in Wisconsin,
and those artists being more classically trained by their instructors
preceding the 1960’s, became a flood of graduates from multiplying
programs who were exposed to more liberal instruction. Many
of these quality artists currently fill our roster in their serious
attempt to show their work.
The art marketplace changed. WP&S members who were allied
with UWM and the Milwaukee Art Center (now Museum) found options
open to them for exhibition and sale of their works that had not
existed in such quantity before. More retail galleries opened
to accept established artists. Nearby Chicago increased its prominence
in the art culture and history, drawing artists to it. Of
course, further off, New York City grew as the center of progressive
art production. The Milwaukee Art Museum gradually and unceasingly
withdrew its support as it became a venue for exhibition of art
recognized at primarily a National level. WP&S became
less prominent and prestigious as a result of the loss of that
Museum association. WP&S exhibitions were no longer focused
upon as in former years, because other means of exhibition became
available to some of the more prominent artists of our Wisconsin
communities.
ESTABLISHING ASSOCIATE AND STUDENT LEVELS OF MEMBERSHIP
WP&S had always had a jurying committee to assess the work
of potential new members, to judge the quality of the work and
the nature of the artists’ professional and exhibition record. In
the late 1980’s the Board of WP&S recognized that many
talented artists were being turned away from joining WP&S
because they had not established much of an exhibition record...this
despite the work showing skill and promise. The persons who
were turned away were advised that they could try again when they
had established more of a record...but you can count on them being
disenchanted with WP&S, perhaps angry, and not speaking of
WP&S in the best light... to say the least. It seemed
that WP&S was not completely living up to its mission statement,
and was falling short of its altruistic goals of being a service
organization, attempting to help artists grow and further the
exposure of visual arts within our communities.
After discussion and planning the WP&S Board decided to establish
new levels of membership. First, there would be the already
present Professional Level, which was for then current members
and incoming new members who had demonstrated talent and professionalism
in their work, as well as having a record of achievement...including
but not exclusive to exhibition.
Second, the level of Associate member was established. This
level of membership would be for new members who clearly showed
skills and talent, but who had not yet established much of a record
with their work. Admitting these persons to the organization
WP&S would give them the opportunity to jury along with Professional
members, to demonstrate their interest, and to potentially show
their work in the juried shows. They would face the same
jury scrutiny as Professional level members.
Besides the levels of Professional and Associate members, the
level of Student member was also created for artists still working
on their degrees and studies. These persons would still have
to be accepted by the membership committee of WP&S, but could
join as a student and pay lower membership fees as a result. They
could move up to Associate or Professional levels when they met
the criteria.
Having Associate and Student levels available created benefits
to both the artist and to WP&S which are plainly evident and
important. Not only does this permit artists of talent an
opportunity to grow and show their work thru the juried exhibits,
but it allows in artists at the two new levels who create good
will, spread the word or the organization, and who further
fulfill our mission of assisting Wisconsin artists. I hesitate
to mention also the benefit of additional fees to help the organization
fulfill its goals.
A CONCLUSION
WP&S goes on, and we evolve. We have a century behind
us...who can match that? Our Centennial Exhibit is a statement
proving the remarkable vitality of our organization, despite past
hard times. The Centennial exhibit also proves that quality
art is produced by our members.
Paul Donhauser has done a good thing...He has given of his time
and judgment, along with the other two jurors, to select high
quality art for the Centennial Exhibition. He has also prompted
discussion and consideration, as evidenced in this article, and
he has perhaps reinforced our resolve to be diligent and serious
about our work and professional activities.
Amazingly and importantly, we have existed for a century, doing
good all the way for artists and the greater community...and only
because of “serious minded” artists, volunteers
all, who have given much of their lives for this professional
service “institution”, Wisconsin Painters & Sculptors. Be
proud!
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