Juror's Statement

Making subjective judgments about the relative quality of the work of one's professional peers has always been a dicey proposition. It is even more so in these days when the whole concept of "quality" as opposed to relevance is under attack. Indeed the centrality and validity of painting and drawing as credible vehicles of expression are heavily doubted. I have sometimes declined to jury art exhibitions but then found myself thinking that if those artists like myself who respect and revere the thrill that fine work can evoke refuse to make those judgments they will be made by others with another agenda and a tin eye.

In the case of this exhibition I am acting only as an awards juror, and at the time of this writing I have not yet seen the original pieces selected by the staff of the Brad Cooper Gallery but I can say that in reproduction it appears to be a strong group. I guess I owe their makers a few words about convictions of mine which will inform my judgment.

I feel painting and drawing remain central to the visual arts for a couple of reasons among many. First they have a history, as long as there are enthralling Titians and Cézannes to be seen in Museums, some young artists are going to be challenged to work in that idiomatic theater. And second, no other medium, electronic, digital, architectural, or photographic can so successfully wed the touch of personal mark making with the evocation of a fictive world of the imagination.  

I do believe also that some work accomplishes this wedding more completely than others which is another way of saying I believe in qualitative discriminations. What moves me most when I read poetry is the music of the language. It is the same for me in viewing paintings.

James McGarrell
July 2004