600 Artists
Earlier today, Sean Kenny was the 600th artist to secure a space within a venue.
Registration ended on July 31 with 1,731 artists registered. Roughly 1,100 artists will attempt to secure a venue in the next 10 days. The upside is we’ve got about 160 venues. The downside, obviously, is that not all 1,100 artists will secure a venue. (My guess is we’ll see 200-400 more, but who knows for sure?)
Is the registration fee refundable?
A question that’s been coming up frequently–for obvious reasons–is if the registration fee is refundable. The $50 fee is not refundable. Why? The fee helps cover costs like a full-time artist relations manager or volunteer coordinator, but there’s a more important reason.
ArtPrize has made a large commitment–not only in prize money–but in organizing the event and developing the website. We ask any artist or venue to make a small, but equally serious commitment. When an artist pays the registration fee, it tells ArtPrize and venues the artist is serious and will follow through. Likewise when a venue pays the fee, artists know the venue is commited. If the registration fee was refundable, what would be the commitment in that? It would be the same as no fee at all.
Although not every artist who paid the fee will have a chance to show this year, it would be a great disservice to all artists and venues participating in the future if that fee was refundable. There’s a certain level of trust between artist and venue that would not exist without the fee.
Can people still register to vote on October 1st through October 8th?
If no, when (date and time) does voter registration exactly end?
From what I understand people can vote for an artist a second time if they get into the final round. Please let me know if I’m wrong.
Will the total number of votes from the first and final round of voting be used to determine the winners or will it be the total number of final round votes only?
Stonecutter,
People can register to vote anytime between September 23-October 10. They’ll be able to preregister beforehand, if they wish. To find out when people can preregister and the answers to your other questions, I’ll let you know here on the blog as soon as we’ve finished prototyping and testing the voting mechanism.
As an artist who was lucky enough to have his venue-of-choice secured, I’ll try to say this sensitively to those who are struggling finding a venue or who are upset with ArtPrize’s refund policy. Firstly, I will say don’t give up! There is still time!
I went into this with an understanding there was a huge likelihood that I would be lost in a sea of hundreds of others vying for the same venue, or worse, that I may have ended up just not finding a venue at all and my registration fee would not be refunded. It was a risk I took and I did it happily just for the chance that I might get selected.
I support ArtPrize’s decision to not refund unsecured artist’s fees because I agree it is a chance we all take. And if there was no risk, it would have been maybe potentially 10 times as hard to find a venue if thousands more people casually entered the contest knowing worst-case-scenario, they get their money back. The fee is a promise – not to artists that a spot will be guaranteed – it is OUR promise as artists to the contest and the venues that we are committed to the event.
Anything of value is worth paying for – what everyone needs to remember is the value of the fee is not “inclusion”, the value of the fee is paying for the “chance” to take a shot at it.
Suggest all folks read the GR press , about p. 3 (?) of todayAug 11, to see the scenario that the artists have not encountered yet. What this is, is that you do not JUST walk into your abandoned shop space and make a venue work.
There are LAWS that must be met, and no one has talked of them. A good number of these venues are shells, a roof with 4 walls, no heat, no plumbing, no exit lights, even no power? Several tout the fine natural light, but fine print shows they have no power!
You do not just open the door and party on with your buddys, does the law ALLOW you to serve alcohol at your open house? Does even coke and chips mean you need a permit? Stay tooned, you ‘lucky’ winners of some of the unoccupied spaces, a wakeup call cometh.
Between the unfriendly website, slowness of help and communication, and general sloppiness of the administration, the prize money ought to be PROPORTIONALLY DISTRIBUTED TO all of those folks that managed, somehow, to get selected. They earned every cent of it.
Good luck to ALL, and may the Force be with you.
L.
I am very grateful that I secured a venue and having said that I also feel that in the original meeting at the UICA auditorium and the word flow and discussion which followed there was most definitely a tacit implied intent that if one were to register that a venue would be found. That is a definite impression I received. I left with the confirmed thought that if I paid the money promptly I would find a venue and the artprize operators would help expedite such. You can argue all you want but the intent was there, without a doubt. I expect that you will refund the money. Take the upper road here, not the low one. Rise above the direction you are going. Be human, be the solution- not the problem.
Looks like there may be some editing of posts on these sites????????
Color me CURIOUS.
and WONDERING.
etc.
L
L,
If you are suggesting your previous comment was edited, I can promise you it was not, nor has any comment submitted to this blog been edited unless it was one I wrote. Usually, edits to my comments or posts will be additions that begin with the word UPDATE or CORRECTION.
Identify any open call for entries anywhere that returns the entry fee. It’s the price of doing business, folks. Application fees are part of an artist’s promotional expenses. I know of no case where they are refunded, but maybe there are some.
As for the other comments, I too share some of the frustrations with the web site. Yes, it might have been better. In the end, though, I figured it out. How many of us could pull this project off in the first year with the time allowed, and with no hitches? I doubt I would know how to manage such a daunting project.
Finally, as for the “surprises” some say are awaiting us, I point out that we are artists. We are supposed to be able to adapt. At least that’s the myth we like put out to the public. So, live with your surprise and adapt. I got selected, but to a type of space I didn’t expect. So? I changed my plan. I’ll make it work. That’s what we artists are supposed to do.
Get outside the box folks.
Artists are not Guinea Pigs. The largest art competition in the world should not be an experiment. It should be a good experience.
This is the third art contest I have entered in my adult life. The first, I entered 2 pieces that clearly needed to go together as a set to work, and they only accepted 1 piece, therefore losing the message ($35 per piece and a drive across the state!). The second contest was a show in Grand Rapids that required $20 per peice – and the rejection letter almost beat me home!
I worked hard to get my venue for Art Prize and I am excited that my venue is letting me do as I please to get my work seen the way I want it too. I knew I risked losing my $50, all artists know the entry fee is at your own risk – never was it thought, or mentioned, any other way. Instead of a per peice fee, I am thrilled that it’s a one time entry fee! Only $50?!? That’s it!?!? That’s reasonable people!!
As far as the “experiment” goes, artists are opened minded and know that ‘art’ comes in many different forms. Maybe the ArtPrize is a piece of art all in itself? Look how many people are talking about it? A vision was brought to life, to stimulate the masses, and that’s what it’s done. Art is not always a good experience, it can evoke all sorts of emotions, good or bad. What you like may not make sense to another, and vice-versa to another.
Richard,
To say that art “should be a good experience” is quite narrow minded. Should there be a mandate that all art be pretty as well? There should be no expectations when it comes to art because you should approach it with an open mind.
The Discussion appears at this point to have broken down into this:
Artists: Please, please someone look at my work and host me. Hello? Anyone out there?
Venues: (overwhelmed silence)
Okay, you with a good resume, you if you pay me, and you because your art’s kinda cool, and that’s it. No more room.
Matched Artists to Unmatched Artists: It’s all good, don’t worry about it.
(spoken from land to those on the quickly sinking boat)
ArtPrize: Hey, it’s all an experiment.
Unmatched Artists: I want my money back.
(hey, aren’t test subjects are usually paid, not the other way around?)
Bystander: I told you so.
Hopefully come September, this part will be a distant memory and the art itself will be focused on. Although, there is still the voting part…
Disclaimer: This comment is not indicative of all participants and no offence is intended. Just the truth as I see it!
Has anyone noticed that artprize has turned out to be an extremely, overwhelmingly, lopsidedly Michigan competition???? Out of 890 artists with venues, I counted 625 Michigan artists…my count could be a little off because it’s tedious counting through all the pages of artist with venues but I don’t think it’s off by much. Is it just me, or do I smell a rat or at least a big fat mouse?
Who–or what–would that rat be?
I don’t find it surprising that a large number of people participating would be within a few hours drive to the city. Shipping, lodging, food and travel expenses are considerably less for them than, say, the Ukrainian from Australia.
I’m not sure what the rat might be. It might just be that having the home court is just an inherent flaw when the home players are the one’s choosing the competitors.
linda…i would not worry about the demographics…a top gallerist told me simply that good art manages to get found. people will vote on what they truly like. i would doubt one MI artist has enough friends etc to sway a vote. the percentage of MI artists based on your numbers from your post is just above 70% of all participants. could you complain that “top” venue has 71% of their artists list a home address other than MI (38% list New York City). This venue, UICA, along with the Old Fedral Bld will probably get the most foot traffic and they represent the professional art opinion in GR.
Ok, I have been doing this for 6 years and this is how it works. You pay x dollars per piece or whatever to enter a juried show where you know from the start x will be accepted the rest not- based on a judges call, You lose your money if you are not accepted. You know this UPFRONT. Here it was not supposed to be a juried show, but it is, in a different way. You pay to enter, the place you are physically going to show your work decides whether you get in or not. In other words same thing but different level decides. Here the jury is the venue. If they don’t like you you are not in. The money goes to someone else and everyone pays to play. Sound funny? It is. The venue decides arbitrarily, since they may or may not be qualified to judge- oh I forgot- this show has no guidelines- anything goes. Is this democracy- or are we leaving that out of the equation to- in other words is it anarchy of the art world. I think it is. What eventually happens in anarchy?
I love the idea of an international art competition coming to Grand Rapids. But not this AP system. In a logical international art competition you pay your fee to play and either get juried in or you don’t by a person or panel that you know ahead of time who they are.Then, if accepted your instructed how and when to ship or install the work.
AP has set up this scheme that appears to suggest that they want the competition open to anyone when in reality it is a jury system of property owners. Artists from out of state have no idea who these people are who will be their juror or how professionally there work will be handled and displayed. AP takes no responsibility in providing the artists a professional experience outside of it’s registration and online matching system. It’s not a very artists friendly system. You get in..you are on your own. It’s then no wonder that the percentage of out of state artists is far less that local Michigan Artists who know the city.
It remains to be scene who the property owners have selected for their individual venues. Will it be a calibre of art that draws national attention with a focus on serious, interesting work worthy of the title “the largest art competition in the world”? Or will it be a hodge podge of anything and anyone too numerous to digest and too poor in quality to be taken serious and therefore successful?
Value is rendered for the 50 dollar registration fee. An artist receives real-world feedback on an art work. The feedback is real-world in that many decision makers come from outside the world of art critics, artists and curators. It is my hope that ArtPrize is leveraging its technical prowess to make certain every entrant recieves a solid yes or no from the ArtPrize community. Tracking the matching process is somewhat complex, granted, with 1700 artists and 160 venues, yielding 272,000 potential decisions. It is a very hign value, well worth 50 dollars, if one knew what venues looked and passed.
Perhaps much can be gained from developing the capacity of venues and the variety of venues, a growing process that will take years, should ArtPrize want to sign up for another year of flak! For example, could a venue be encouraged, enabled to go talent scouting over the course of a year? Could a committee of people work between ArtPrize contests to see that some earth-shaking venues attain credentials. So far none of the venues strike me as edgy, ground-breaking.
A hallmark of success for any festival is the uprising of the counter or fringe festival. The Ann Arbor Art Festivals have three or four official organizations, and outside of these guilds, two or three groups have organized to plug into the fair event. Even if ArtPrize doubles its number of matched artists, 1200, 500 artists are already available to stage a fringe. It’s intriguing to scan for signs of just this happening.
Will, your comments are very careing and appropriate. Luckily we have the Grand Valley Artist Coop right here in Grand Rapids that would serve as an excellant body in the respects you mentioned. Why they are not or have not been approached to play a more active role I don’t know. They are an unbelievable art community which have members such as Forslund and amateurs from all over the Grand Valley. You might be surprised to know that the art community has been alive and well here for a long time before Artprize came along.
Several points need to be made here:
1.) First and foremost — lets all remember that this is AP’s first year ever . . . and doing something on a scale no one has ever done before. Without question, a lot of infuriating things are going on which, hopefully, Paul Moore and his colleagues are paying attention to, and will be taking into account when the event returns (hopefully) next year. The very fact something like AP is under way is really very cool. At the same time we raise issues for future correction, let’s also cut them some slack and stop the silly conspiracy theories, and such. I am simply accepting the event’s shortcomings (and there are a fair amount), and going for the ride. If you, the artist, feel something is done or handled poorly, don’t just complain — propose a correction for next year!
2.) My biggest criticism is that the calendaring system is poorly designed (again, I accept this is the first year and hopefully next year, things will be better). Namely, the current approach is for the venue connection deadline to be the last and final one. Venues have been unbelievably slow to respond, and it really seems that some of it is lazy and procrastination . . . and it is us the artists who pay for venue procrastination! Essentially, if the deadline is 8-15, many, many of the venues have responded to artist follow-up with “We will let you know on or about 8-15.” Well, that’s really a pile of crap. On one hand, it forces venues, who did behave responsibly and responded earlier, to be put off by artists who are being held hostage by the lazy-responders. Aside from the disrespect this presents to the good venues, it also puts them in a bind . . . if, at the 11th hour, and artist rejects one of their offers in favor of a lazy venue’s offer, there may not be enough time for the rejected venue to regroup, reorganize, and submit offers to other, second-choice artists. Such venues may be forced to place pressure on invited artists and even withdraw the offer. At the end of the day, when AP allows lazy venues to respond at the last minute, what happens to artists who were rejected then, and lack the time to themselves reorganize and nail down a second choice?
I propose the following solution for next year — Change the calendar rules as follows:
July 1 – Last day for artists and venues to register (earlier deadline gives venues more time to deliberate).
July 31 – Deadline for venues to make their decisions and notify the affected artists
August 7 – Deadline for artists to accept or reject venue offers
August 8 to August 15 – Final adjustment period. During this 7-day slot, there is a reasonable time frame for rejected artists and venues to match. Essentially, if a venue gets turned down by an artist, it must immediately issue back-up invites to their second choices, and the artists will get a second chance to find a match after the first rejection deadline. August 15 will still be the final deadline, but this “shakedown” week gives everyone a chance to react to the venue selection outcomes and find a partner before the final deadline.
The current deadline is just too extreme in its consequences, especially in view of the laziness of so many venues to wait for the last minute to give their decisions. But the blame actually lies with AP, in that it creates a calendar deadlines system that allows this. I challenge Mr. Moore to modify the calendar for next year . . . or failing that, explain why the current illogical and extreme approach is preferable. (continued below)
GPS,
Challenge taken. Your suggestions are along the same lines of what I’m thinking, however I like that Final adjustment period thing. Good ideas. They’ll definitely be part of the discussion about how we change dates and deadlines for next year.
(continued comments)
3.) On the issue of local versus out-of-town: I’m from out of town and I definitely felt like I am doing this blind AND with one hand tied behind my back. It isn’t *just* that it costs money to travel and pay for hotels and such . . . it’s also that I have no way of knowing which venues are the ones to aim for. The profiles of venues all look great and sexy . . . but only local people will know a wanna-be from a place where art will show well and receive traffic . . . AND I had no idea who to ask for advice or recommendations! I made my best choices, but I am horrified about the possibility that I will have paid my $50 (plus airfare and hotel to deliver and hang the piece), to hang at a bad venue. Or that I turned down a venue offer of a fantastic exhibition space, in favor of an inferior one.
If AP really does want this to be an international event, they are gonna have to do more than they have done to help us out of towners. Step up to the plate with online docents please!
Also, AP has potential negotiating power with airlines and hotels and car rental companies: An event that will draw at least 1000 artists and who knows how many other art lovers, can work with the travel-oriented providers to get discounted rates. Why hasn’t AP done this? Heck they could have even turned it into a source for potential sponsors of the event, and raised some cash!
4.) Regarding the $50 fee being forfeit: People, as you all know, virtually every single competition in the world charges between $20 and $60 just to be considered (even more in Europe!). And you don’t get that money back if you are not selected.
5.) Concerning the criticism of the AP concept by the snooty, turn-your-nose-up establishment art scene . . . that AP just aint being “juried by the right kind of people” (e.g. *them*): Give me a break!!!! The art work is already in utter thrall to the establishment, and we all shiver and tremble to the latest pronouncements of which “critic” or gallerist or major collector says this or that. What a nice, refreshing break to have one’s art examined and considered by real people with an interest in art!!! The incredible irony that completely remains undiscussed on this issue, is this: A good gallerist is in the business to make money from selling art that people will want to shell out $$$ for, especially in this disastrous economy. Here’s a chance for gallerists all over the USA and beyond to see current public opinion in its purest form, and see what kind of art the public (e.g. potential customers!!!) would like and want to buy. Instead of sniffing its contempt at, and insulting, the “ordinary” people who will be jurying the event (and who potentially represent their customers), the “art world,” should be jumping at the chance to use this event and treat it as a marketing study and acquire valuable knowledge about real tastes and trends. Failure to do this is indicative of how far the art industry has strayed from the days of the first modernists, who sought to buck the established order in art. Now that *they* are the establishment, they are entrenched and oppose anything new and different . . . anything that might challenge their own stranglehold on what art should be. It is simply amazing how disconnected the art elite has become from (and how contemptuous they have become of) the very public that feeds their very existence.
Bottom line here. AP is really something very new and different. Let’s give it a chance to work, and let’s also give them a chance to tweak things for an improvement next year.
Good luck to everyone. It should be an excellent show.
Perhaps a worthwhile endeavor would be area college art departments offering a summer (and fall?) course where the students, with instructor guidance, could be involved with curating a space for ArtPrize. Maybe even a public/private partnership. This could gain students valuable curating experience and also insight into how they might present their own work successfully to galleries/institutions/grants organizations in the future. I recently finished a few months of volunteer work at a local institution, and had a conversation with an intern there who had no opportunity to be involved with curating for the institution, even though that was her major.
Sorry, one more thing to add — a helpful suggestion to out-of-towners that can save you a fair amount of money.
.
It suddenly struck me that I only need to come to Grand Rapids one time: To deliver and hang the work. I have discovered that I can hire a local framer to pick up the piece at the end of the exhibit, and ship it back to me, thereby saving me from having to either fly round trip a second time or hunker down in a hotel waiting for the show to end (not an option).
.
So before I fly out to Grand Rapids, I will weigh the box the art is in, purchase a return UPS label for shipping the work back to me, fly to GR, meet with the framer at the venue, and (after hanging the work) give him both the empty box and the shipping label. Now he knows the location/identity of the work, and will hold onto and ship the piece back to me if it doesn’t sell.
.
Anybody else trying this?
Danielle,
I like that idea. We’re working right now with professors in ways they can get their students involved. Next year, we’ll throw out your suggestion.
thats nice that you care about commitment to the program, but how about this. i’ve emailed the site you claim our entry fee is paying for and have never received a response. i also applied to as many venues as i could in the time i had and was not accepted by any of them, sometimes waiting weeks to find out. why should i care that my money is going to support everyone else and give them a chance to participate while i was denied? basically what i’m hearing is; my money is good enough, but my art isn’t. thanks a lot grand rapids. i want my money back.
Good comment Eric, I have the same scenario. I applied in plenty of time to many , many venues, and nothing. Not even a no thanks. I have entered so many art contests and this one takes the grand prize for disorganized chaos. I suggest if venues still have room and artists still need a venue for the deadline to be extended and more time alloted for the two to connect. I also want my money back, I entered this contest in good faith and had expectations of AP doing the same. Why should the artist suffer the loss because AP is so disfunctional.?
WHAT A SCAM THIS THING IS …AND I WILL REPORT IT TO THE BETTER BUSINESS ASS0C AND OTHERS, I REGISTERED WHEN THE ART PRIZE COMPITION WAS FIRST ANNOUNCED, ALONG WITH MYSELF, ALOT OF MY FELLOW STUDENTS FROM KENDALL HAVE NOT BEEN GIVEN VENUES TO OFFER OUR ART PIECES FOR VIEWING….THIS IS ANOTHER SCAM BY THE RICH FAMILY WE ALL KNOW ….AND DIDNT VOTE FOR….THANK YOU FOR NOTHING, I WANT MY 50.00 BACK!!!!THANK YOU DAMON SHUCK!!
Damon, I remember well when I was a student and how hard it was to make ends meet, especially with tuition going up. I also barely came up with the $50 to enter. I am not greedy and will SAY this: If I win 1st or 2nd place I will personally donate $50 with a receipt in hand for any student who entered and did not get a venue. I say this on the record. As I have said I had the impression that there was a intent that entries would be able to find a venue.
Well Alex, that’s one way to get people to vote for you. Of course, that could be considered buying votes…
I think it’s realy unfortunate that some people will not be able to compete. However, like many have pointed out, a lot of competitions charge fees just to apply, and you know going in that you might not get selected and that you won’t get your money back. My suggestion to Artprize is to gather all these FAQS (frequently asked questions) and present them on the home page like many other websites do. This could help dispel some confusion.
It’s the entrant’s responsibility to read all the information before applying. If you do not do so, then I’m sorry but the fault lies with you.
I don’t know how you can consider this a scam when over 1,000 artists have already secured venues so far, and the prizes add up to about triple what they’re making off registration fees.
Liz, This is a art competition not a political event or a voting contest. I certainly hope people vote only on the art work on it’s own merits. I am not a greedy person and have been known to give away many things in my life, including my love, with no ulterior motive in mind. That is the only thing that brings you serenity and peace in your soul and heart. If you love something give it away, if it doesn’t come back to you it never was meant to be.
Alex, I just wanted to make you aware of what people could interpret that as, regardless of your intentions.
It’s interesting that you wrote it’s not a political event. Artprize is actually encouraging people to promote themselves much like you would in an election. So, promotion may play a sizeable role in who gets the most votes, I don’t know. I also hope people vote strictly on merit. I know that’s what I will be doing and I’m encouraging family and friends to view and vote on as much art as they can/want. I guess we’ll just have to wait and see what happens.
Liz,
And how does one “vote strictly on merit” when one may not have any knowledge of what they are looking at?
Richard, I will be happy to show you at my spot at the BOB, first floor across from Gill’s Fish House.I will be there to explain all the time.
Alex,
Explain? Is that what the ArtPrize experience has been reduced to? Artists having to stand by their work and ‘explain’ it to people?
Richard, This is what they hope to happen. This is the dialog- the new artist to people communication. The purpose of the whole thing- to start a new dialog in the art community. Isn’t it? That is what I am reading.
“ArtPrize exists to reboot the conversation between artists and audiences on a grand scale.” To do that you must communicate.
Alex,
How do you know that you are showing on the first floor across from Gill’s Fish House in the B.O.B.???
I have a hosting agreement, as is required in the process between the venue and artist. I think everyone has to have one ?. Check with the artprize people. I really don’t know more than what is written here. I just read all of it.
Richard, in other words, not voting simply because the person is a family member or a friend. As in, looking at as much artwork as possible and voting on what you think is the best. Personal merit, I suppose. By the way, what knowledge? Art history knowledge? Medium knowledge? I have both of those, and I can tell you right now neither of them is necessary to form an opinion. If you have eyes, you know what you’re looking at and you know if you like it. Unless, of course, you’re blind. In which case, you probably shouldn’t be voting on visual art. I don’t think many people would look at a nude male painting and think they’re looking at a toaster oven and vote accordingly.
Alex, I don’t think they mean for you to stand in front of your artwork all day long. I know I won’t be doing that (I work!). Conversation does not have to automatically translate into verbal communication with you sitting next to your piece. It could just mean being able to showcase your art to a much broader audience.
Alex,
I have a hosting agreement.
Does YOUR hosting agreement state that your work will be displayed on the first floor across from Gill’s Fish House? If yes, in what section does YOUR hosting agreement state that?
Personally, I am going to be walking around with a sandwich board like the town crier. And maybe in my birthday suit. Y’know to get people to see my work amongst the sea of artists and venues. Oh wait. I am showing at a church. Drat! That will surely keep me on the straight and narrow. Oh well, guess I will have to leave to chance. Nevermind all those people already getting tv coverage or already installing their work. . .
Oh wait, you all think I am kidding. Even at the Venice Biennale you will find well heeled young interns sweating in the sun passing out flyers for international pavillions. If only I had an intern.