How I Tamed the Exhibition Monster
by Debra Keirce
Help us Promote Human Artists
and Push Back Against AI
Please support artists and help us get more exposure for the artists featured in this newsletter by clicking the “Like” icon ❤️, by clicking the “Restack” icon 🔁, or by leaving a comment. The more engagement we get, the more widely these images get shown. Help us support human artists and push back against the encroachment of AI!
Sponsor
FASO Loves Karen d’Angeac’s paintings
Wouldn’t You Love to work with a website hosting company that actually promotes their artists?
As you can see, at FASO, we actually do, and,
we are the only website host we know of that does.
Click the button below to start working
with an art website host that actually cares about art.
FASO: For Artful Souls Online
Today’s Article
The following article was written by Debra Keirce, a regular contributing author to The BoldBrush Letter.
How I Tamed the Exhibition Monster
Awhile back, even after letting go of some shows I’ve outgrown, I was feeling like the proverbial hamster on a wheel again. So, I bravely dedicated an entire day to listing every art show I felt obligated to enter each year. The grand total was over 50 opportunities. Since most of them encourage 2 to 3 entries, that translated to me chasing 100 to 150 submissions annually.
I can’t paint 100 great works each year. Something had to give. So here’s how I tamed the beast, protected my precious time, guarded my quality, and reclaimed my sanity, all while still strutting my best stuff. If you’ve got a different strategy, spill it in the comments. I’m all ears!
Step 1: Figure Out Your Personal Criteria
I quit asking, “Is this a prestigious show?” “How great would a signature status in this society be?” and started grilling myself. “Self,” I said, “Why the heck does this one actually matter to me?”
Here’s the thing. My work ranges from tiny palm sized miniatures, to four foot tall pieces. Even in my larger work, I often paint areas in the spirit of miniature. Images just NEVER do justice to original art, and that is even more true for miniature fine art. The reality is that in person shows serve me best.
Also, these days, my big “why” is simple. I’m here for the joy of the journey. When I’m loving the process, the sales and invites magically follow. At least that’s what I tell myself on tough days.
Those are my big priorities. Your criteria will be different. But for me, the shows that make my heart sing are:
Real-life, brick-and-mortar venues with excellent lighting and patrons who see the way shadows cast from impasto add to the sense of reality in my work.
Run by respected folks who know their stuff
Support a mission that doesn’t make me roll my eyes
Places where I’m genuinely vested, sales or no sales, because loyalty shouldn’t depend on a red dot.
Step 2: Do the Math (Spoiler - It Hurts)
I tallied up all my dream shows and galleries, then crunched the numbers against my actual output. Ouch.
The cold, hard truths:
- I only create around 15 new, top-tier non-commissioned paintings per year, and only if the muse cooperates
- About 50% of my work will sell in a year (depending the art market roulette)
- Most shows demand work no older than 2–3 years, so no dusting off ancient relics
Bottom line: I can sustainably feed 25 exhibitions max if I enter just one new or nearly new piece each. I have always tried to enter all 3 or 4 allowed with the entry fee, but this encourages putting the lesser works out there. Of course, as my inventory grows or shrinks, there are times when I can enter the allowed maximum quantity of works. But with 25 shows annually as my limit, this is just two shows per month, not the four I was juggling. No wonder I was making myself crazy.
Step 3: Create a Tiered Priority List Because Not All Shows Are Created Equal
I split my monster list into two sane categories:
Tier 1 The VIPs
These are my 8 to 10 ride-or-dies. I actually plan and paint new pieces for them months ahead.
Tier 2 Everyone Else
These get entered only if I’ve got perfect, ready-to-go inventory that fits the theme, size, and age rules. No forcing it.
Step 4: Put It All on Autopilot in Your Calendar
For Tier 1: I set reminders two months out. This allows plenty of time to start (or finish) that dedicated masterpiece.
For Tier 2: A reminder 2 weeks before deadline. Quick inventory scan: Yay or nay? Done.
This single tweak banished the midnight panic attacks and that nagging guilt over missed deadlines.
Step 5: Be Ruthless and Let Go (It’s Like Breaking Up, But With Art Societies)
The toughest bit? Ghosting long-time societies and galleries I’ve loyally supported for years. It feels like betrayal! I see my peers winning awards and selling in those shows, and I still yearn to be hanging next to them. But, the sweet relief is slowly kicking in. Fewer dues are draining my wallet, I’m less frantic about entries, and I feel zero pressure to churn out work under unrealistic deadlines.
The jury is still out, but…
My studio is now a zen zone instead of a war room.
I’m producing fewer pieces, but they’re all art I’m proud to share.
Sales? Holding steady or even sneaking upward - turns out maybe quality over quantity actually works!
Bonus - more energy for actual painting, teaching, and hanging with family, instead of working till 2 a.m. to meet a deadline.
Your Quick Purge Checklist - If You Want it, Steal It!
List every show/gallery/society you’re currently chasing.
Nail down your personal “yes” criteria.
Crunch your real annual output numbers.
Sort into Tier 1 (paint fresh for these) and Tier 2 (inventory only).
Calendar-ize deadlines: Long lead for Tier 1, Quick inventory check for Tier 2.
Grant yourself permission to ditch anything you create or any society you are in that feels like a bad blind date.If you’re drowning in calls for entry, give this a whirl. It’s not about making less art. It’s about making the right art, for the right places, without turning into a burnt out zombie. If I can practice what I preach and stick with this strategy, my future self will thank me!
PS — Editor’s Note: Please support artists and help us get more exposure for the artists featured in this newsletter by clicking the “Like” icon ❤️, by clicking the “Restack” icon 🔁, or by leaving a comment. The more engagement we get, the more widely these images get shown. Help us support human artists and push back against the encroachment of AI!
Debra Keirce
www.DebKArt.com
Join me each month for free updates on this art adventure at
https://debkart.com/email-newsletter
No AI Zone: Everything written in this post (and all our posts) is written 100% by flesh and blood humans
We do not use AI images with our writing. We prefer to feature and provide more exposure for human artists. If you know of a great piece of art we should consider, please leave a comment with a link to it. All featured images are properly attributed with backlinks to the artist’s website. You can help support human artists and push back against AI by liking or restacking this piece by clicking the “Like” icon ❤️, by clicking the “Restack” icon 🔁 (or by leaving a comment).
Good information. Things I have been figuring out but nice to see it communicated in an organized fashion—I hadn’t got that far!
Debra, thanks for the timely reflection. Last year I had 6 major shows (4 solo, 2 small group wich required 14 paintings each) plus the usual member association shows that I try to do annually . It was exhausting to shuffle all those paintings around and do the other work related to shows and still have time to paint new pieces. And I see my annual output of new paintings decrease.
This year I vowed to do less. But here it is January and I have 3 hows currently (one solo) and already plans for March and April.
I like your idea of the annual calendar. However not all my associations give annual notice of date and theme. I like your idea of assigning them tiers and preserving the new work to tier one while other work can go to Tier 2 shows
As always, Debra, your insights are helpful.