Everyone who is an artist is familiar with that first email of rejection. Many years later, not so many remember what they learned. I’ve seen artists over the years who have gained some traction. It’s those who approach submissions as an art with research, preparation, and follow-through.
So here we are, with some expert advice on how to apply for open calls for artists. Whether you’re trying for the first time or the fortieth, here’s how you can do so strategically.
First things first: What is an Open Call?
An open call is an invitation to artists for an exhibition or an art competition. It is this open opportunity that makes these kinds of call for art valuable. It enables new artists to bypass the gatekeeping of old, established networks that have traditionally determined who was seen and who was not.
There are a few common formats that you’ll find:
- Work displayed in juried exhibitions, in which a panel decides on the work, regardless of where the artist is from or at what level of their career.
- Themed art contests, such as water, color, or portraiture, to see the artist’s creativity and uniqueness.
Knowing exactly where you are applying, for a physical exhibition or an online art competition, shapes your artworks and statements.
Where to Look?
One of the toughest things is finding the right opportunities. Because now the challenge is volume! Here are a couple of good resources to get you started:
Aggregator sites and newsletters: There are a number of arts organisations that feature monthly roundups.
Social media: Social media informs you of the art calls which are open for entries early.
Organisation & gallery sites: Many international galleries have a page devoted to each of their shows and their deadlines. One example of how a gallery can communicate their existing themes, deadlines, and exhibition types on the same page is found on TERAVARNA’s open calls for artists page. It’s worth investigating how organisations present this information, as clarity around the dates and criteria is indicative of a good sign.
Local arts councils: These are typically regional calls that aren’t as competitive.
ADVICE: Maintain a spreadsheet of what you discover, including what the deadline is, what the fee is, what the theme restrictions are, what medium restrictions are, and what image set you plan to submit. You will have a pipeline this way, rather than a panic.
How to Vet an Opportunity Before You Pay
When looking around, how you can check whether the opportunity is the right one before you pay for it.
Not all museum open call for artists or contest calls are of value to you. When preparing to enter, make sure to look at these items:
Is there a clear understanding of the terms? Check out rights and licensing. If you’re sharing your work for the price of entry, you’re never handing it over.
What is the entry fee being used for? Fees are normal. They include jurying, administration, and prizes. However, the organization should be able to provide you with an approximate idea of where the money is spent.
What happens to winners and selected artists? Search for evidence: winners pages, previously exhibited, previously documented results. A strong call for art displays what the artists have actually achieved, whether it be cash, press, sales, or exhibition space.
Is the timeline logical? A flurry of dates or a moving date is a warning sign.
If a company can provide an answer to all of these questions, you can trust it’s a legit business.
When you have to dig, that’s a hint of a red flag.
Match Your Work to the Call, Not the Other Way Around
The No. 1 error is sending the same three pictures to all four open-for-entries art calls. Jurors are able to spot when the work is not done with their theme in mind, even if it is good work.
Rather, read the prompt carefully and ask what the prompt is seeking. If there are any past winners, check them out. They reveal to you what the jury prizes much better than a description does.
You don’t have to schedule a theme in your practice. You have to choose from the work you already have the work that is more closely connected with it. If it doesn’t fit, it doesn’t fit. A focused entry is better than a stretched one.
Prepare Your Materials Once, Then Adapt
Always keep your materials handy before you make a submission for a museum open call for artists or art contests or exhibitions.
- High-resolution picture(s) taken in even light in front of a neutral background with accurate colour.
- Artistic statement of 100-150 words discussing your purpose in art in simple terms.
- A longer statement and a bio, for calls that require them.
- Standard file-naming and a dimensions sheet so there’s no confusion around 11 pm just before a deadline!
- Some calls require sale prices, so you’ll need to have a price list handy.
With this in place, it requires only a few minutes to make a submission rather than an afternoon. Certain special attention should be given to image quality. A good photo of a good painting is better than a mediocre photo of a great painting, and we all know it.
Think About Entries as a Portfolio of Bets
Even excellent artists are rejected from most of what they apply to. A jury has its own taste, limited prizes, and walls. Rejection isn’t necessarily a personal assessment.
Instead, try to think of submissions as a portfolio. Include a mixture of lofty calls and realistic ones, determine an annual fee budget, and monitor the results. Artists frequently have a gradual improvement in their acceptance rates as they become more selective.
Just because you’re open for entries isn’t the same as being a good fit. Many of the best opportunities are smaller, newer, and more regionalized than the more well-known opportunities, and many of them offer more straightforward feedback and community.
Use Every Result, Including the No
All results provide information. When you are selected in, inquire about how the organisation is promoting their artists and if you can incorporate the call for art into your CV. If not, take into account:
- Was the theme of the call really relevant to my work?
- Did my pictures turn out well?
- Did my statement contain jargon or was it unclear?
If feedback is given, accept it. When it is not, look at your entry critically with respect to the selected. Then tweak and go to the next one.
The Long Game
What is rewarded is persistence, and that’s the key to open calls for artists. The more entries you make and keep in your exhibition record, the better the next one will be. Every rejection makes you realize in what part your work belongs. Over the course of several years, this adds up to a collection that is meticulously recorded in the gallery, by the curator and by the collector.
So plan your calendar, pack your kit, scout thoroughly, and enter mindfully. You have the wall space, as well as the individuals who are looking for just what you’re making.
