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Department of Art


Glass

Student Show

Each year, work is selected for the Annual Student Exhibition by an outside juror.       2006     2004

EMPORIA STATE UNIVERSITY

Annual Juried Art Student Exhibition:  2013

 

The ESU Department of Art will hold the Annual Juried Student Exhibition in the Eppink and Gilson Galleries April 2 through May 2.  This exhibition is open to all ESU students who have created works in courses taken through the ESU Art Department in the past calendar year.

 

MARCH 26 - Works will be accepted in the Gilson and Eppink Galleries from 9:00 am until 4:00 pm.

MARCH 28 - Works that were NOT selected by the juror need to be picked up from 12:00 pm until 4:00 pm.

APRIL 2 - Opening Reception for Student Exhibition in Bruder Theater Lobby, King Hall from 5:00 pm until 7:00 pm.          Student Scholarships will be announced at this reception.

APRIL 2 - Opening Reception for Salon des Refuses at The Emporia Arts Council from 7:00 pm until 9:00 pm.

MAY 2 - Works need to be picked up from the ESU Galleries from 9:00 am until 4:00 pm and from The Emporia Arts   Council from 10:00 am until 6:00 pm.

  *Students may enter up to 3 pieces in any media.  The work must be able to fit through the gallery doors.

  *All works must have been completed at ESU in the past calendar year.

  *Pieces must be ready for display.  This means:  all paintings must be dry; 2-dimensional work must be         matted and ready to hang; 3-dimensional work must be stable and suitable for display.

  *All works must have an entry label securely attached.  Entry forms are available in the Art Office and the Gallery Office.

*The Gallery staff can assist you with matting your 2-dimensional works.  However, they only have white and cream colored mat board.  If you want a different color, you will need to buy it elsewhere.  You will be charged a small fee for matting materials from the gallery (16x20 is $5).

  *DO NOT wait until the last minute to get your work matted.  Please allow the Gallery staff at least 2 days or matting.  There will be a sign up sheet on the Gallery Office desk (620.341.5689, if you have questions).

  *Works that are not selected for the Student Exhibition are automatically accepted into the Salon des Refuses Exhibition at the Emporia Arts Council.  Students will be responsible for delivering their own work to the Arts Council, 815 Commercial St. (620.343.6467).

Entry forms may be picked up at the gallery and art offices or copy and paste the information from below.

Please fill out and attach each form to the work submitted  -  Print all information:

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                                                Accepted ________________

Entry # 1

Title:________________________________________________________________

 

Media:_________________________________________Price_______________

 

Name: ______________________________________________________________

 

Circle One: Freshman Sophomore Junior senior

(NFS) ____________ Price Upon request (PUR) ___________________

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                                                Accepted ______________

Entry # 2

Title:________________________________________________________________

 

Media:_________________________________________Price_______________

 

Name: ______________________________________________________________

 

Circle One: Freshman Sophomore Junior senior

(NFS) ____________ Price Upon request (PUR) ___________________

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                                                Accepted _____________

Entry # 3

Title:________________________________________________________________

 

Media:_________________________________________Price_______________

 

Name: ______________________________________________________________

 

Circle One: Freshman Sophomore Junior senior

(NFS) ____________ Price Upon request (PUR) ___________________

  

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** The Salon des Refuses’

It's a little difficult for us today to really grasp the volatile nature of the Parisian art world in the turbulent times of the 1860s. As painters today, we have no dominant art institution to compare to the French Academie des Beaux-arts, nor single, overriding "art contest" to compare with the Academy's annual Salons. France during this period had something on the order of 5,000 writers and critics covering the art scene while there were 12,000 working artists in Paris alone. If that sounds a bit top-heavy from a journalistic point of view, it was. As they say, everyone was a critic. France was drunk with art, which would explain why so much of it was simply bad art. I guess about the only thing we have today to compare with this phenomena is the hullabaloo that goes on in Hollywood every year between January and March when the Academy of Motion Picture Arts and Sciences nominates and then chooses Oscar winners. In a very real sense, the Salon shows were the Academy Awards of French painting, with often just as much riding on a work being selected "Best Picture" so to speak, as is the case today with the similarly designated gold statuette.

 This is not a perfect analogy, however. Although some in the film industry might argue the point, for the most part the A.M.P.A.S. is a relatively progressive organization generally aimed at the promotion of innovative efforts in both the arts and sciences of motion pictures. In contrast, that was definitely not the case with the French Academy. It would be hard to imagine a more conservative gaggle of immobile, stodgy, establishment, stick-in-the-mud hacks bent upon cementing their high and mighty academic traditions in the minds of the public and artists alike, or a group of so-called "art experts" in the press corps more dedicated to aiding and abetting this effort. Even before the Impressionists butted heads with this bulwark of cultural dictators, there was nothing less than a war going on between these art conservatives and art liberals not unlike what we see happening politically in Washington now days.

The Academicians were winning. The ranks of those combating them were just too thin. Leading them was landscape artist, Gustave Courbet, followed at a discreet distance by Edouard Manet, Jean Francois Millet, and Camille Corot, the writer Emile Zola, later Camille Pissarro, and a few others. The "war" reached such a fever pitch in 1863 that the Emperor Napoleon III had to step in and make peace by suggesting that those having their work rejected by the Salon should have their own alternative show called the "Salon des Refuses’" (pronounced REF-u-SAY). But the show became a laughing stock. The problem was that many of the works "refused" by the Academy Salon were quite bad and had been justifiably excluded. However here too, amongst these inferior pieces, was Monet's Impression: Sunrise, Manet's Le Dejeuner sur 'Herbe (Luncheon in the Grass), and a strange looking portrait of a young lady in white (The White Girl, Symphony in White, No. 1) by some American upstart by the name of James McNeill Whistler. A guard even had to be posted by Manet's work to keep the outraged public from attacking the scandalous painting. For the most part, however, they just laughed--long, hard, and boisterously. The show did change things though. Paintings were sold. And art dealers took notice. They might look funny, some of them, but there was money to be made from some of them. In short, the battle may have been lost, but the rebels would survive to fight another day.

Contributed by Jim Lane

20 September 1998