The University of Colorado at Denver's Art History Student Association, headed up by Stephanie George, organized the third annual students' Salon des Refusés in late August 2009. This exhibit included 30 artists who were rejected from the concurrent student show, juried by Ivar Ziele, owner of Denver's Plus Gallery. The Salon des Refusés was open to all works that were rejected and ended with a reception where Michael Paglia, art critic for Denver Westword, chose one work for the Best of the Rejected award.
The piece which Paglia awarded Best of the Rejected was a multi-paneled chalk on black paper drawing by Bart Ovaitt titled Folding Space and Time. This piece looks like a drawing of fractured reflections of faces and abstract designs. The 12 drawings are mounted on black plywood; at about 48” x 60”, it is ambitious .
When asked if he thought the UCD Salon des Refusés was important, Paglia said, “It is important for students to organize art shows and also that they stand up to standards placed on art and seize their own.”
Salon des What?
The first Salon des Refusés was held in 1863 in Paris. The Paris Salon was a prestigious government sponsored exhibit of art selected by an official. In this year, many artists who we now admire as masters, were rejected. These artists protested and Napoleon III ordered a separate exhibition for the rejects, who were mocked readily.
Juried shows illuminate the viewer to the opinion of the juror. The exhibit of a Salon des Refusés can further punctuate any agenda or preference the juror may have. It is very educational to experience both batches of accepted and rejected works. For art students, the feelings following the rejection of their work can be painful. It is, however, an important part of the learning process if one desires to pursue the life of a professional artist.
Criticism = Good!
In general culture, it is often considered rude to point out the weaknesses of others. As an artist, it is a bittersweet kindness when able to hear an honest and constructive criticism. Instead of focusing on bruised egos, the professional artist can detach from the sympathetic nervous system and evaluate one's own work objectively, following up any brutally honest critique with a hearty 'thank you'.
This is the way an artist grows in response to one's environment, clarifies one's message and reconstructs the art making experiment. Like a scientist in a laboratory conducting research, the artist progresses from one work to the next by solving problems, not by blindly repeating them.Exhibition of a Salon des Refusés allows the rejected artists a chance to display their work publicly. Hopefully, the public also offers criticism that aids the artist's development.
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