CHECKLISTS for artists and juried exhibitions
Have you remembered everything you need to think about?
Do you have a tip for something not included on this page?
The checklists below are organised into sections:

ART COMPETITIONS
  • Art competitions and Juried Open Exhibitions
  • what gets Noticed and Selected

CHECKLISTS
  • What to think about BEFORE and AFTER entering a juried exhibition CHECKLIST - including questions to ask sponsors
  • The "EVERYTHING YOU NEED TO REMEMBER" CHECKLIST for submitting art to an Exhibition
They are accompanied by reference sections which contains links to related articles that I think are worth reading.

I'm planning further guidance and/or separate CHECKLIST pages in future for
  • ONLINE art competitions
  • solo art exhibition
  • group exhibitions / organisers
  • juried exhibition organisers on its way too! Currently a work in progress
This page is based on The exhibition checklist - a blog post first written in 2011 for Making A Mark

ART COMPETITIONS & JURIED OPEN EXHIBITIONS

Entering painting competitions and open art exhibitions can be a fantastic way for new artists to gain credibility and exposure....
However entering involves time, effort and expenses. So
  • how do you know which artwork to submit?
  • are you aware of what's involved in getting your work seen by a wider audience?

CHECKLIST:
What to think about BEFORE and AFTER entering a juried exhibition

READING LIST!
I've spent very many years of reviewing open exhibitions and art competitions in the UK - and seeing entries online which people were proposing to submit

During that time I've also developed a number of blog posts which propose different tips and checklists for those entering work into art competitions and open exhibitions.

Plus I've read a number of good articles on other blogs and websites

So here's your reading list!
REFERENCE

What do jurors of art competitions and open exhibitions look for?

Over 10 years ago I watched a slideshow of the digital images of all the entries to an art competition. I then made notes afterwards of the general themes which struck me. More than 10 years later the same themes are apparent in both entries I see and exhibitions which lacked any rigour during the selection process.

Why does an artwork get noticed?

Pieces that had most impact
typically appeared to have one or more of the following:
  • Strong value pattern
  • Dramatic lighting
  • Very simple subjects
  • Very simple colour schemes (based on a limited range of colours)
  • OR a monochromatic emphasis (eg emphasis on one main colour or mono with one colour)
  • Strong saturated colours
  • A sense of humour
  • Demonstrated original ideas and/or concepts
  • Unusual titles which made you think
Pieces that did not "succeed" (in the slideshow)
typically had one or more of the following:
  • 'Too Perfect' i.e. too much technique and too little concept (i.e. why would you want to look at it?)
  • Poor composition
  • Lacked a clear focal point
  • Too many items competing for attention - making image confusing
  • Lacked a good range of values
  • Lacked a good crop of the image
  • Vignettes only - and not a lot else
  • Emphasis on monochromatic - but lacked a good range of values
  • Florals - nice but not 'showstoppers'
  • Poor presentation e.g. slide image far too dark / included frame and/or room
REFERENCE:

CHECKLIST: Questions for artists to ask sponsors
​

ALWAYS Check out events and exhibitions before agreeing to exhibit

You may be invited to exhibit with a gallery and/or for an event or a charity.

These two articles provide you with guidance on things to think about and questions to ask sponsors

BASICS you need to know:
  • How do you know whether this is worth your while?
  • How much is for their benefit and how much is it likely to benefit you?
  • What costs are you liable for if you participate?
  • Do the organisers insure the work in the exhibition?
  • Who pays for transport?
  • Where is the artwork stored prior to the exhibition?
  • Who provides the art handling service? (i.e. are they professionals?)
  • What security is provided for the artwork while in their possession?
REFERENCE
  • EXHIBITIONS: Artist Checklist - Harriete Estel Berman - When artwork is exhibited, what are the responsibilities of the exhibitor? What are the responsibilities of the artist? What is fixed and what is negotiable? An artist should know the answers to certain questions regarding an exhibition before agree
  • MAKING A MARK: 10 questions for artists to ask event organisers - You've been invited to participate in an event - exhibition or fair - which aims to have artists with stands dis playing their work. What are the questions you need to ask yourself before making a financial and contractual commitment to take a stand
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The "EVERYTHING YOU NEED TO REMEMBER" CHECKLIST:
​
For Submitting Artwork to a Juried Art Exhibition

This exhibition checklist was developed by me - for me!

It's my "have you remembered absolutely everything?" aide-memoire for when I'm preparing for an exhibition. It was first published in a blog post in 2011 called The Exhibition Checklist.

Do you have a tip?
I'm very happy for other people to suggests their indispensable tips for getting the work there on time and well presented!  SEE FORM AT END IF YOU HAVE A TIP.
The following tips come from open exhibition activities past and present.  Some have been learned the hard way!

You may think some of them are itty bitty / insignificant.  Believe me some of those make the difference to getting a picture matted, framed and submitted to the right place on time!
The Exhibition Checklist

The Beginning - make a plan

ENTRY CONDITIONS
  • Read the entry conditions. Read them AGAIN before you start to prepare for an exhibition.  It’s very easy to miss some tiny but absolutely crucial detail.
  • Pay particular attention to eligible media and dimensions.
CREATE A TIMELINE
Work out deadlines (allowing for contingencies) for:
  • artwork completed and ready to hang
  • supplies bought
  • artwork framed
  • artwork submitted to exhibition
Make sure ALL the dates are clear on your wall calendar / in your diary and/or online digital reminder software 
INSURANCE
Decide what you are going to do about insurance re transit (if using a carrier)
Transport by carrierIf you can’t take the work yourself:
  • Find out the details of regional submissions
  • Book a carrier well in advance
  • Check what liability they accept and insurance cover they have
  • Check and double check the date you need to get the work to the carrier.  (defined dates and times for regional pick-ups can rule out submission!)
TRANSPORT VIA A THIRD PARTY
(Including overseas)
Work out who is going to
  • unpack,
  • store packing material and
  • repack the artwork so it’s safe and secure for transport if not sold
​See also SHIP ART

Create the Art

ARTWORK
​
Create artwork for an exhibition
  • Start well in advance
  • Don’t leave completion until the last minute.​

Create artwork for selection for a prestigious exhibition
  • Check out the artwork accepted into previous exhibitions.  Note how selection works.  
  • Remember style/approach of work chosen can be wholly determined by a juror.  Change of juror = change of style
  • Selection by committee is more likely to remain consistent year to year re style and quality - but exhibitions evolve over time
You can check out my photos of and comments about the major open competitions and annual exhibitions of national art societies on my blog - see exhibition review

​
​Review artwork prior to framing
  • Does it look as good as you remembered?  
  • Does it need any last minute tweaks?  Balance off the temptation to tweak with the scope for ruining a decent piece!  (A lesson I learned the hard way!)

Complete presentation for exhibition
  • Seal drawing. Decide whether you need to use fixative to seal drawing.  This is the bit I remember just as I’m getting the brown tape wet......
DOCUMENT / RECORD
Scan or photograph artwork prior to starting to mat and frame
  • Scanning or photographing artwork is a whole topic in itself.  I shall confine myself to a reminder to remember to do it before you start to frame!
  • Commission a professional photographer - if the piece is large and/or the ambient light is not good and/or you don’t have proper lighting for photography then get your artwork professionally photographed - particularly if you want to use the work for reproductions.
  • Finding a good professional photographer for artwork is not easy - so ask around and get recommendations.
Make a written record of:
  • media used
  • support used
  • external dimensions of artwork
  • external dimensions of framed artwork
  • approximate cost of producing the (framed) artwork (this is for tax deductible expenses for exhibited artworks)
  • date completed
  • title
  • exhibition entered in (This can be updated in future if artwork not sold)

Present the Art

PRESENTATION / MOUNTING / FRAMING
Review your free stock of frames
  • Do this well in advance if you’re not proposing to commission new frames.
  • Check the state of frames and whether any need marks or dents removed prior to framing
  • Make sure all frames are thick enough to be able to cope with mirror plate fixings
  • Remove pictures from frames which are to be reused / clean frame and glass Do not underestimate how long it takes to do this!
Check your stock of backboards
  • Check the orientation of backboards with hanging tackle It is a virtual certainty that the frame you planned to use for a specific work will have hanging tackle on the backboard for the wrong orientation, which is why.......
  • Get new backboards cut for existing frames.  You can always reuse a frame but backboards can look tacky after you have removed labels from work which has not sold.
Order NEW frames
  • when you want to have a brand new specific frame for a specific work.
  • Do not assume a framer can meet your timescale for delivering frames.  Framers have other clients and the exhibition season is just that - seasonal.  They sometimes have a queue which runs to weeks when they are exceptionally busy and/or have orders to frame solo exhibitions.  Framers also have holidays - usually when you want some framing done!
Picture
Two of the seven tulip wood bespoke frames with hayseed mounts I ordered from Pictureframes.co.uk
Check supplies for matting drawings well in advance
Always have more supplies to hand than you need
You can guarantee that you always make a mistake when cutting a mat when you have just enough to do the job!
  • Do NOT leave checking until the last minute as this will be when you discover that you forgot to replenish your favourite colour of mountboard or you ran out of glass cleaner last week!
  • Do NOT be tempted by coloured mountboard. In general, coloured mountboard is used by people who have bought art and want to frame it to fit with their decor.  A neutral mount for an exhibition is always acceptable and does not deter buyers in the same way as a coloured mount can do.  Some exhibitions do not allow coloured mounts and require neutral mounts. I use Daler Rowney Mountboard - Antique White and Pale Ivory - see colour chart
These are the matting and presentation supplies I use:
  • mountboard - sufficient to create a mountboard sandwich (I now tend to buy 10 sheets in one go)
  • pencil
  • long steel ruler
  • mat cutter I've got a Logan Mat Cutter Model 301-5. This has a 90 degree cutter for slicing mountboard to size and a 45 degree cutter to get the bevel edge on the inside of the window for the image - plus a measure for getting the margins the correct size
  • new blades for my Logan cutter.  I change blades every time I mat. 
  • X-acto knife to finish off any cuts which need a teeny bit of extra help
  • archival/linen hanging tape to hang the pic on the back  Never ever use sellotape - the stickiness never lasts and the picture will drop.
  • Tape to seal the edges of the mountboard sandwich
  • an effective glass cleaner which doesn’t leave smears
  • dry lint-less cloth for cleaning/polishing glass
  • compressed air or really effective drafting brush for getting rid of specks
  • brown gummed tape to seal with backboard to the frame
  • D rings (if required)
  • labels 
  • and a box in which I keep all the smaller items in so I can find them all quickly!
There is absolutely nothing worse than trying to cut a mat with a blunt blade
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This is now the most popular mat cutter made by Logan.
  • Supplied with 90 degree cutting head, 45 degree cutting head, 5 blades, Instruction manual.
  • Cuts full width of a standard sized, double imperial, mount board
  • use with 4ply board (up to 1.4mm thickness) and 5mm foam core.
  • 86 x 21 x 7 cm

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Measuring / Marking & Cutting Mats
  • Mark up cuts on reverse of mountboard. Otherwise when you do a level edge the bevel will be the wrong way round. Guess who forgot this one last week!
  • Measure twice and cut once. Always important and absolutely vital when you have limited stocks of mountboard.
Tacking and Sealing
Get a tack tool.
  • This is a tool which fires pins into frames to hold them.  It enables you to replace any pins which have fallen out.  
  • Use stiff pins or bendy pins.  Personally I prefer bendy pins as it makes changing pics in a frame really easy.  Unless you order frames in oak!
Seal frame
  • Use brown gummed paper to seal the rear of the frame.  
  • Practice to cut and seal so that it is neat.  If you’re not careful and neat get somebody else to do it who is.  It’s a bit like hospital corners when making beds - you either get it or you don’t!
TIP: Attach your 'archival' business card - with contact details to the bottom corner of the INSIDE of the backing board (i.e. it can't be seen unless the artwork is dismantled). Some commercial galleries have a nasty habit of removing all information relating to an artist from the back of an artwork!

Record the Art

LABELS & SUBMISSION FORMS
Label work for open exhibition
  • Pay particular attention to what the entry conditions say about labelling work
  • if required to use specific labels make sure you’ve got these in advance
  • buy labels in advance (I do not jest!  Do you know how difficult it is to find/buy labels on string?)
  • create typed label for title, price and name of artist (I always use matt photo paper for mine and include an image of the work)
I always include a brief statement about copyright in a small font as well.

Label work for a gallery show
Pay attention to what the gallery’s specific requirements are.  Many galleries :
  • refuse to allow artists to include any details of how they can be contacted direct.  (eg no business cards attached). That's not to say you can't include a business  card attached to the inside of your backing board!
  • want nothing on the back except title and name of artist.  This provides for scope to negotiate on price.
Submission Forms
Complete submission form - including prices
Usually requires name, address and other contact details and title of piece, dimensions and price (including commission and tax).
  • get titles sorted well in advance and seek help if required (see In need of a title - again!)
  • remember to check minimum price (if stipulated) in advance  More and more open exhibitions are refusing to allow work which is priced too cheaply into the exhibition.  That wall space costs them money!
  • price within context - don’t be too cheap or too expensive

Stop and admire your work before submission
  • I’m always amazed at how good my work looks when properly matted and framed.  I impress myself.
  • Take a photo to remind yourself next time you have doubts about whether you produce anything worth exhibiting!
Picture
Two of my drawings of cacti - rematted and assembled by reusing frames bought for a previous exhibition
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Transport the Art

SUBMISSION DAY
Transport - how to move artwork (by yourself)
Work out how you’re going to get the number of works and the size of framed work to the submission place.
  • Buy bags which are extra heavy duty for carrying large items.  
  • Invest in some form of wheeled transportation. I've used large suitcases on wheels with towels for packing - this worked well.

Transport - how to move artwork (by carrier)
  • EITHER Check the drop-off details
  • OR Prepare the instructions for the carrier well in advance - BEFORE you order a pick-up or carriage
  • Think about packaging for artwork to be unpacked by others (and repacked?) - see How to Pack Artwork
SEE my dedicated SHIP ART pages on this website for a
Transport overseas
Remember to
  • prepare a customs declaration form quoting what is being transported, its value and for what purpose (ie artworks for exhibition)
  • Include packing instructions for the carrier if they are unpacking and repacking artwork.  (Unless they are speciliast artwork carriers they by and large do not have a clue!)
Determine mode of transport
Decide on the best way to travel and make sure you know:
  • exactly where you are going
  • what parking restrictions exist and where you are going to park and offload (and a back-up place)
  • how the one way systems work
Never assume that getting there is straightforward and there will be somewhere to park nearby!  It is however easier, if travelling by car, if you have someone who comes with you and drops you and your artwork off and then goes off to park the car!
Determine time required given day/ date of submission
How much time you require varies according to the day of the week, the mode of transport and the time you travel.  
  • Google Maps gives estimates of time required if travelling by road.  Not perfect but generally in the right ball park.
  • It’s best to allow for contingencies - like missing a train or getting stuck in traffic
Yesterday I met somebody who had been stuck in traffic for two hours on the motorway.  She was obviously very relieved to have made it just in time.  These things happen.
Unpack work and remove packing materials
Artwork almost always has to be delivered unpacked. Which means having something to contain the packing once unpacked.  Bubble wrap rolls up nicely and goes easily in a bag!
  • If you are not delivering it in person you will need your carrier to do this - and store packing materials.
  • Remember to bring the piece of paper with you which tells you  PRECISELY where to go. Enough said?  How many people have been forgetful and left this behind?
Bring submission form and fee
  • You won’t be able to book the work in without your submission form.  If you forget they may have spares but it’s best not to assume they will.
  • Bring your cheque book or enough cash to pay submission fees OR receipt for fees paid.
  • Do NOT assume that you can pay by card.  In my experience it’s almost always cheque or cash.
  • Alternatively check to see if you can pay the submission fee online before you submit - in which case bring your receipt!

CHECKLIST: For Artists entering Juried Art Competitions / Open Exhibitions
​

Exhibition Checklists - website articles and blog posts by me. You can see my posts about art competitions further up this page
Working with Art Dealers
CHECKLIST: Your own solo exhibition
website articles and blog posts by other people

Do you have a TIP?

I'd love to develop this checklist further - and will do so if you send me your very best "do not forget" tips for getting ready for an exhibition.

Have you written a good article or blog post about getting ready for an exhibition and/or "must remember" tips? 
If it's online just send me the URL  article about it and if it's good I  can reference it from this page.

    TELL ME YOUR TIP!