Every Sunday I share the weekly open call I submit my work to and the lessons I learned from a year of following a relentless application regimen!
This week’s open call: I submitted my work to the magazine Beautiful Decay.
What I learned from a year of artist call submissions, Part VII:
There is only one way to happiness and that is to cease worrying about things which are beyond the power or our will. _Epictetus (A.D. c. 55 – 135)
The taste of rejection and what is really at steak
If you have ever submitted your work to any kind of outside official judgment, and done it more than once, then you must have seen your work being rejected as well. Odds are, if you happen to have submitted your work many times over a certain period of time, in response to exhibition open calls, calls for artist residencies, grants, etc., you tasted rejection many times as well, and with it one or more of the following: Self doubt, confusion, anger, frustration, withdrawal from submitting any more work, symptoms of depression, feelings of hostility towards the “unjust” outside world and the kind of overall anxiety you cannot put your finger on and effectively deal with. Oh, did I mention envy towards other artists’ successes? Needless to say that what all these maladies have in common, is their ability to drain you from your energy, deprive you of your focus, sink you in negativity and ultimately incapacitate you in regard to the single thing most valuable for an artist: his/her ability to work.
What is known as an artist block can often be the result of a loosing battle with rejection. How then can we beat rejection?
Since the outcome here is one that is out of our control, we cannot beat rejection itself, that is, prevent it from happening. We can however overcome it, that is, rise above it and prevent it from destroying what we value most. The desired here is to render rejection powerless in inflicting us any kind of pain, psychological or other, and compromising our creativity.
Fixing our relationship with rejection
Like most problems of this nature, that is, of the kind that lie outside of our control, the solution lies mostly in our perception of rejection. To bring Epictetus, who opens the debate of this article, some fitting company, here is a dictum by Seneca: We are more often frightened than hurt; and we suffer more from imagination than from reality.
What is imagined here is that rejection is indeed in and of itself an evil. Regarding rejection as a bad in and of itself we ourselves award it the ability to hurt us.
But how does rejection ends up being considered a bad in and of itself? A series of misconceptions seem to be lying on the basis of our distorted relation with rejection. Seeing rejection for what it is would require that we identify these misconceptions one by one and neutralize them:
- Mistaking rejection within a certain institutional framework for rejection of the work per se. Juries and committees of organizations, judge in reference to that organizations’ particular set of values and criteria. The rejection therefore is relative and should not be perceived as a rejection neither of a specific work’s value, nor of one’s entire artistic practice.
- Ignorance about the real odds of succeeding. If there is one lesson I learned from my first year of rigorously applying to artist calls is that rejection should come as no surprise. Instead, it should rather be expected as the rule: 18 out of my 28 applications were rejected. That is, there was an actual verdict communicated to me, that usually went like this: “…I regret to inform you that your application has not been selected….” (this is actually from a fresh one received today in my mailbox!). From the 10 applications out of 28 that were not met with a rejection, 3 were never answered (these calls never materialized into something), 1 fell through because of an application error on my part, and only 6 were met with success. It took 28 submissions for 6 successful outcomes. That represents a 21% success rate coupled by a 64% rejection rate. Which means that the no’s I received were 3 times more than the yeses. Still, it seems I did pretty well: In “How to Survive and Prosper as an Artist: Selling Yourself Without Selling Your Soul”, a book that contains quite a good amount of practical advice directed to artists, the success rates that should be expected from such a procedure are quite a lot slimmer. Which goes to say that the disappointment that many artists feel after applying to only a handful of artist calls and been rejected is unsubstantiated.
- Overestimating the actual authority of authorities: Disregarding that often the gatekeepers are wrong.
- Lending the application venture itself more value and importance than it actually has. If, when served with a rejection, it is the actual value of our work we are agonizing over, and not the loss of certain honors or benefits, then our agony is simply not justified. As I already tried to demonstrate, more often than not success is determined by the institution’s agenda rather than the work’s actual value.
Since rejection is outside of our control, and since it cannot be considered a determining factor of our work’s inherent value, it should be regarded as being indifferent.
This, essentially stoic, view may seem as an impossible one to adopt or even one not befitting to humans: Artists, after all, like everyone else, have the desire and the need to succeed in their careers. Therefore it is somewhat natural that every rejection would feel like a failure to march in that direction (of success).
Nevertheless, it is also valid to maintain that if an artist is to achieve any real greatness, he/she should also be able to view the judgments about his/her work coldly and as being irrelevant to the work and to oneself in order to be able to continue with his/her mission. This must be almost impossible for someone that has made his/herself dependent on outside approval.
Having said that, the opinion of the environment is indeed a legitimate concern, especially when one is interested in impacting society in some way. But the usual place we look for approval is not always the right one.
An effective strategy in dealing with rejection
The pressures that are applied today on the artist from all sides, to a large extent due to the incompatibility in nature and objectives between the artist and the societal structure, are so great that a broader strategy is needed in order to deal with rejection. Seeing rejection for what it is is an essential first step of freeing oneself from its effects but it can’t be enough to triumph over it.
Rising above success and rejection (the former often being more harmful than the latter) especially when one happens to be particularly vulnerable to their influence, requires a positive set of actions as well the negative affirmation of what rejection is not. Here is a list of things I consider to be valuable:
- Working on one’s projects with single mindedness, bringing them to an end undisturbed, and only then subjecting them to outside judgment.
The Other’s view on an artist’s process should not get in the way or predetermine the creative process itself. This can be especially disorienting if this Other represents the art market.
- Having said that, one should have people around them they trust, in their opinion and judgment. It is they who will provide him/her with the necessary outside support and reality check an artist often needs, especially when rejections seem to be falling down like rain.
- Don’t let anxiety turn a waiting period into a dead period. One shouldn’t just wait for the results of an application to come in, especially if they are anxious. This will sink them deeper in their imaginary quicksand and make them a victim of something over which they have no control. I don’t usually quote Andy Warhol but here is something of his touching on the matter, that I like: “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art”.No matter the verdict, you know that at least you are safeguarding your creativity and advancing in your work. This possibly sets the scene for a future success, even if all you get now is rejection.
- Make the best of the successes you do have, no matter how scarce. You can find creative ways to use these successes as an opportunity to communicate your work and reach more people, in a more regular/consistent manner.
Some hands-on practical methods against rejection
Whether you are in the process of sending out applications and are finding yourself overwhelmed from the answers you receive, or are trying to bring yourself to start submitting work and are paralyzed at the prospect of rejection, here is an actionable set of methods you can start applying today that can make a difference in how you deal with rejection next time around:
- If you aren’t already sending one, start sending out an artist newsletter. When I started having some few but nevertheless consistent application successes, I began sending out a newsletter through e-mail to a list of contacts. This newsletter is now a standard, trusted, and personalized means of communicating my news in the workshop and my accomplishments and keeping my audience updated on my course. Also, it is a means of broadening this audience. And even though this method of communication would have never been initiated if I wasn’t doing work I felt confident about and wanted to share, the extra bit of wind behind my sails for the first newsletter to be composed was probably these first successes: They lifted my morale and gave me one more newsworthy element to share. There is a lot to be said about learning how to see the glass half-full instead of half-empty and leveraging your successes even if they come few and far in between.
You are the one that can give courage to yourself by not letting your successes, no matter how scarce, run through your fingers like water. Turn them into something concrete instead.
- Document your application process and its results. Create a document in Google Drive, Evernote, or some other application and each time you send out a submission, note the date and the other basic information regarding the application. When the result comes in seal the respective application report with this final piece of information. This way you will be able to have an objective record of this process that over time will provide you with essential information about your actual success rates, and about whether or not your application frequency justifies feelings of disappointment.
- If you want to become immune to rejection, or the closest to that you can be, apply often. The fewer the applications, the more their importance gets blown up in our imagination. The more frequent the applications, the easier it becomes to complete them, and the smaller the perceived importance of each individual one. Simply put, by applying often we become better in it and we also mathematically increase our chances of success.
- Spare yourself from any unnecessary pain early on by choosing the right kind of artist opportunities.
Closing this report of what I consider to be effective when dealing with rejection I ‘d like to add: No matter how important it may be for an artist to have some successes of the kind discussed here, no submission goes to waste regardless of its outcome. The process one undergoes because of it and the particular kind of work involved always adds something valuable to his/her practice.
How do you deal with rejection? Is it something that can get in the way of your creativity? Do you have any strategies of your own or practical methods you would recommend to other artists?