tag:blogger.com,1999:blog-6442854124012230891.post7168332944100724105..comments2024-03-22T10:18:48.573+01:00Comments on Versal Journal: meditations on the rejectionDaniel Cecilhttp://www.blogger.com/profile/08636538755565594279noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-6442854124012230891.post-12044755848321254032009-10-26T23:57:31.021+01:002009-10-26T23:57:31.021+01:00It's important to remember that literary prefe...It's important to remember that literary preferences, by definition, are very subjective. The rejections I like the most are the ones that say: "Ultimately, it's a question of taste, and I'm sorry to say that I didn't like your piece. A different editor might think it's brilliant, so keep trying."Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6442854124012230891.post-81328805159529522202009-10-23T17:40:28.290+02:002009-10-23T17:40:28.290+02:00As an acquaintance who did dressage (show horses) ...As an acquaintance who did dressage (show horses) once explained: I could be riding the same horse, with the same dressage, doing the same routine in front of the same panel of judges, with the same riders in competition, only 3 months apart and in one I would win and the other I wouldn't even place.<br /><br />She chalked it up to what they had for breakfast.<br /><br />As someone who has entered many visual arts competitions and been rejected. I can tell you that based on seeing some of the other work in the show from which I was declined, I can tell you, the personal preferences of the jurist are everything.Anonymoushttps://www.blogger.com/profile/16759512544177734302noreply@blogger.comtag:blogger.com,1999:blog-6442854124012230891.post-48039141050673290202009-10-23T11:19:25.061+02:002009-10-23T11:19:25.061+02:00Thanks for this post, Robert. It's a great top...Thanks for this post, Robert. It's a great topic -- the mysterious abyss that opens up around the submission, rejection or acceptance of creative works.<br /><br />As an artist who has sent many applications out into the abyss (often with no response, rejection letter or otherwise) and someone who has also accepted portfolios and applications for exhibitions or juried shows while working in galleries, I think Robert's conclusions here about the necessity for transparency in the submission/rejection/acceptance process could/should also hold true in the world of art submissions (which is of course the case for art submissions to Versal).<br /><br />When I worked at Gallery Saintonge with artist/curator Kerri Rosenstein, she taught me a lot about the importance of being up front (transparent) with artists when their work simply wasn't up to par for the gallery, and to be frank about the specific reasons why. Granted, with this I'm talking about a one-on-one situation with an artist who submitted his or her portfolio and a gallerist/curator, but I'd say the same would/should hold true when it comes to submitting artwork to journals, residencies (perhaps), exhibitions and so on.<br /><br />The problem of course is that this all takes time and attention. But I would argue to say that if you're in this business of reviewing work you should be willing to give that time and attention on the reviewing end of the process. But maybe that's just the teacher instinct in me poking out.<br /><br />Suffice to say I commend Robert for his thoughts here and am proud to now be a part of this process myself as assistant art editor for Versal.Shayna Schapphttps://www.blogger.com/profile/03611371021910114850noreply@blogger.comtag:blogger.com,1999:blog-6442854124012230891.post-4142719615566643842009-10-23T01:03:00.490+02:002009-10-23T01:03:00.490+02:00Interesting piece.Interesting piece.R. A. Allenhttps://www.blogger.com/profile/04827726970906294695noreply@blogger.com