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Tumbling and Roaring It Snowed on Grouse Quiet Picnic Spot Autumn Rush Hour Barn Owl A Place to Relax Analise 500.00 145.00 450.00 975.00 400.00 420.00 350.00 Tunner Manning O'Neil Dean MacBean Eder Key Jennifer Jacquie Gloria Nancy Allyson Gary Margaret gui&tnesfor efigi6iity ofpaintingsfor EA g Juries Larry Acfitemicfiuk6O4-926-964O Iachfrin@shaw.ca The purpose of this item does not deal with the number of paintings, their size or other guidelines which are published regularly prior to our May and November jury sessions, and which you can refer to on our website under Information for Members. This has to do with the references for subject matter that are used by most and any juried art procedures. We have new and emerging artists in our Guild that may not have had an opportunity to discuss or learn about this perspective, so the purpose of this item is to update us all. This is an important question one that cannot have black and white answers. We invite discussion and refinement of these guidelines for the future. - There are (at least) two categories for discussion: 1. Originality and Copyright infringement 2. Outside influences or Assistance Originality and Copyright Infringement This one should be pretty straightforward. The guideline in most organizations including NSAG essentially asks the artist to "certify that the artwork [submitted for jurying] is not a copy, derivative or based on the work of others, or in any way is an infringement of copyright". This means that reference material from magazines, photos done by others and so forth are not permissible in this definition of originality. Be aware that magazines like National Geographic have been very aggressive legally with artists that use their photographs. Of course one can create a composition based on the ideas of such references or a composite of several images. Most artists use the guideline that one would have to change a reference image by over 30% to make it "original" in this context. Outside Assistance As an example of Outside Assistance, the FCA (Federation of Canadian Art) jury entry form states that "works created in a class or workshop, are not eligible for a [FCA] jury whether the instructor made any marks on the image or not". The FCA Student show is for works that are created in classes or workshops. Our executive had a discussion about this and conduded that the NSAG has some differences with the FCA. You cannot enter a work to an FCA jury until you qualify as an Active member based on a body of work. We put our focus on the selection of individual works by the jurors, regardless of who did the work. We also put a focus on artist development and progression in the NSAG. The question though is if this difference warrants a different guideline for work done in a workshop or class. If we took the FCA approach, any painting in a class or workshop would not be eligible for our jurying. Many instructors actually state that no work from their workshop is eligible for a jury. If we allow for the difference in approach in our Guild what would the guidelines be? There should not be an issue with not allowing works where an instructor "made some marks" on the work. The next question is how much feedback and other assistance is "too much"? We suggest that this is a matter of degree. In an Open Studio, group painting situation, or critique group, the same sort of guideline might apply as well, we suggest. There is no question that for many artists this feedback from others in what ever form is an extremely valuable educational and development process. We suggest the following guidelines as a starting point