Art World News JULY – AUGUST 2013 Photo credit: Alan Shaffer AFA of SoHo readying for Tom Everhart interview on ‘Today Show.’ Art and framing retailers who integrate donations to worthy causes into their business strategies are finding that there are benefits beyond just feeling good. Many have realized that charitable giving is good for business and has the poten- tial to put the gallery before a new audience, enhance customer loyalty, and elevate their brand awareness in the community. Tal Milan, owner of Milan Gallery in Fort Worth, TX, is so well-versed in participating in charity events that he and his gallery have won awards for their work. “If it weren’t for these events we’d proba- bly not be in business because they are responsible for bringing a constant stream PROFITING FROM NON-PROFITS THE INDEPENDENT NEWS SOURCE QUOTE OF THE MONTH: “We believe that our clients are the backbone of what we do and being an active part of the com- munity-at-large can really make an impact in many ways.” Jeff Jaffe, page 49 ROBERT BANE FINE ART DEBUTS FABIAN PEREZ SCULPTURE EDITIONS Fabian Perez is taking the atmospheric scenes of his paintings and limited edition prints and replicating them in three dimensions, in a new series of bronze limited edition sculptures. At the same time, Robert Bane Fine Art is expanding its U.S. gallery representation, particularly in major cities. Story begins on page 22. PRESENTATION OF NEW SCULPTURE RELEASES In this issue, we have a special focus on the sculpture market, with an array of new releases from publishing companies and independent artists. Turn to pages 50 to 52. KARLA CHAMBERS’ ART A HEALTHY INSPIRATION Arnot Gallery has teamed with artist Karla Chambers to promote the Movement of Healthy Inspiration. The naif artist paints the organic berries and vegetables that she grows on her farm in Oregon in the hope that the natural colors of her paint- ings and limited edition prints will act as a catalyst to further expand the cause of healthy eating. Page 30. TRU VUE EXPANDS ITS GLOBAL REACH Tru Vue, supplier of glazing products, is working with museums around the world, lending support to retail framers when they recom- mend Tru Vue products to their customers. Page 32. continued on page 14
Transcript
Art World NewsJULY – AUGUST 2013
Photo credit: Alan ShafferAFA of SoHo readying for Tom Everhart interview on ‘Today Show.’
Art and framing retailers who integrate donations to worthycauses into their business strategies are finding that thereare benefits beyond just feeling good. Many have realized that charitable giving is good for business and has the poten-tial to put the gallery beforea new audience, enhancecustomer loyalty, and elevatetheir brand awareness in the community. Tal Milan,owner of Milan Gallery inFort Worth, TX, is so well-versed in participating in
charity events that he andhis gallery have won awardsfor their work. “If it weren’tfor these events we’d proba-bly not be in business becausethey are responsible forbringing a constant stream
PROFITING FROMNON-PROFITS
THE INDEPENDENT NEWS SOURCE
QUOTE OF THE MONTH:
“We believe that our clients arethe backbone of what we do andbeing an active part of the com-munity-at-large can really makean impact in many ways.”
Jeff Jaffe, page 49
ROBERT BANE FINE ARTDEBUTS FABIAN PEREZSCULPTURE EDITIONS
Fabian Perez is taking theatmospheric scenes of hispaintings and limited editionprints and replicating themin three dimensions, in anew series of bronze limitededition sculptures. At thesame time, Robert BaneFine Art is expanding itsU.S. gallery representation,particularly in major cities.Story begins on page 22.
PRESENTATION OF NEWSCULPTURE RELEASES
In this issue, we have aspecial focus on the sculpture market, with anarray of new releases frompublishing companies andindependent artists. Turn to pages 50 to 52.
KARLA CHAMBERS’ ARTA HEALTHY INSPIRATION
Arnot Gallery has teamedwith artist Karla Chambersto promote the Movementof Healthy Inspiration. Thenaif artist paints the organicberries and vegetables thatshe grows on her farm inOregon in the hope that thenatural colors of her paint-ings and limited editionprints will act as a catalystto further expand the causeof healthy eating. Page 30.
TRU VUE EXPANDS ITSGLOBAL REACH
Tru Vue, supplier of glazingproducts, is working withmuseums around the world,lending support to retailframers when they recom-mend Tru Vue products totheir customers. Page 32.
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PAGE 7ART WORLD NEWS
VOLUME XVIIIISSUE 7
DEPARTMENTSARTISTS & PUBLISHERS
Page 10
FRAMINGPage 32
DETAILS OF A FRAME DESIGN
Page 36
BUSINESS INSIDERPage 38
NEW ARTPage 40
OPEN EDITIONSPage 41
WHAT’S HOTIN OPEN EDITIONS
Page 44
CALENDARPage 46
NEW SCULPTURERELEASESPage 50
CLASSIFIEDSPage 53
AD INDEXPage 54
Artwork featured is “ Freedom Tower” by Robert Finale from
Robert Finale Editions. Go to page 40.
Power of Media Marketing
Artists and publishers are finding that integrating mediaattention—whether it’s app-earing on TV or coverage by national newspapers andmagazines—can translate intobusiness for galleries.
Page 18
MLG Las Vegas’ Art of the Party
Martin Lawrence Galleries atthe Forum Shops at Caesars,Las Vegas, celebrated itssecond anniversary in style in late July with the Art of the Party ll – An Evening ofArt and Fashion.
Page 12
Focus on NewSculpture Releases
In our special focus on sculp-ture, we present an array of new releases from pub-lishing companies and inde-pendent artists, with detailedinformation on medium, size,and price.
Page 50
Spectrum New YorkIn the Fall!
Spectrum New York, a juriedcontemporary art fair featur-ing the work of mid-careerartists who have experienceworking with galleries, is mak-ing its debut, October 3–6, atthe Jacob Javits Center.
Page 26
What’s Hot in Open Editions
In this month’s What’s Hot in Open Editions, we feature a variety of the latest best selling images from the month of June, as well as information on how to contactthe publishers.
Page 44
INSIDE THIS ISSUE
Business Insider:Meeting Warhol
Industry veteran Elliot Blinderreminisces about his antici-pated first meeting in the’80s with Pop artist and cul-tural icon Andy Warhol, andgives some insight as to howthe industry has changed.
Page 38
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ART WORLD NEWSPAGE 8
IN OUR OPINION
There was a time in thenot too distant past, be-fore the recession, that
consumers’ purchasing deci-sions were highly motivatedby appearances. From thepurchase of cars to clothesto art, the emotional under-pinning of the value equationwas driven by the degree ofeffective visibility associatedwith owning certain prod-ucts. For retailers, it was a motivating force amongconsumers that was easy to market and sell. Brandsmattered while uniformity in approach catered to buyers’contentment.
Now, as the art and fram-ing public emerges from atough economic chapter thatdeeply rattled their comfortlevel and trust in so manyfacets of modern life, theyhave been forced into a period of retrospective con-
cerns. Today’s consumer istrying to define themselves ina way that gives them under-standing of how they fit intothe world at large. Now, theirfeelings and evolution mattermore and, as a result, theirpurchase decisions reflectmore what a good or servicereally means to them as opposed to how it is viewedby friends and neighbors.
Art and framing customersare seeking meaning in theirpurchases as they seekmeaning and understanding inthemselves. To be success-ful, retailers must adapt theirselling approach. Care needsto be given to communicatethe authentic responsivenessof a frame or piece of art tothe physical and emotionalneeds of a client. The pro-cess requires more from a re-tailer, but the financial gain ispotentially greater as a cus-tomer who feels “the retailergets me” is more likely to become a repeat customer.
THE WAY PEOPLE BUYART & FRAMINGIS CHANGING
John HaffeyPublisher
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, or any information storage and retrieval system, without permission, in writing, from the publisher.
Art World News (Volume XVIII, Number 7) ISSN 1525 1772 is published 10 times a year by Wellspring Communications, Inc.: 143 Rowayton Avenue, Rowayton, CT 06853. Phone (203) 854-8566 • Fax (203) 854-8569; To order additional copies or back issues e-mail: [email protected] or fax to (847) 776-8542. Please indicate which month and year you are requesting. Single copy price is $10.00.
Editorial Advisory Board
Phillip Gevik, Gallery Phillip, Don Mills, Ontario, CanadaSteven Hartman, The Contessa Gallery, Cleveland, OHPhilip M. Janes, Arts Exclusive Inc., Simsbury, CT
Heidi Leigh, AFA, SoHo, NYRuth-Ann Thorn, Exclusive Collections Gallery, San Diego, CA
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ARTISTS & PUBLISHERS
PAGE 10 ART WORLD NEWS
Acme Archives Lim-ited, Burbank, CA, hassigned two new artistsGris Grimly and Ragnarwith limited editionwork on canvas andpaper. Grimly reinter-prets Star Wars in fournew images, including“All Eyes On You,” fea-turing Princess Leiabeing watched by theDianoga. The canvasedition of 95, measures14 by 18 inches ($225),as well as a paper edi-tion of 195, measuring11 by 17 inches ($89).The image is also avail-able in Acme’s new Millworks Wood Editions in an edition of 25, measuring 11 by 14 inches ($225). Ragnar’s work is a reinterpretation of Disney with images featuring ThePrincess and the Frog and Snow White. Call (818) 252-1500for more information, or go to: www.acmearchives.com.
Acme Signs Two New Artists
“All Eyes On You” by Gris Grimly.
T h o r n w o o dGallery, Houston,presented “Art-Houston 2013,”an all-day eventfeaturing artisttalks, demonstra-tions, Q&A ses-sion, and acocktail recep-tion. The eventwas created to give art lovers an opportunity tohear firsthand accounts fromthe artists thatthe gallery repre-sents. Some highlights included artists Tommy Nienaber,Pat Moberley Moore, and Joe Incrapera discussing theprocesses of stone, bronze, and wood sculpture; and BillWebb demonstrating how he creates his copper fusion treesculptures. Call (713) 528-4278, www.thornwoodgallery.com.
ArtHouston at Thornwood Gallery
“Tree #129” by artist Bill Webb is asteel and copper sculpture on alabastermeasuring 21 by 22 by 17 inches.
Synthia Saint James’ new lim-ited edition print, “TheDream,” is inspired by Dr.Martin Luther King Jr.’s “Ihave a dream” speech andcelebrates the 50th Anniver-sary March on Washingtonthat takes place in August.The Los Angeles-based artistsays, “I based the sky on aphotograph I took one morn-ing of an incredible sunrise bythe beach. I used it in thepainting to symbolize a newday, new beginnings, and adreamlike state of mind.” Thegiclée on canvas comes inthree sizes, each in an editionof 300: 24 by 36 inches($875), retail; 18 by 27,($675); and 12 by 18, ($450). For more information, visit:www.synthiasaintjames.com or call (323) 993-5722.
Print Inspired by Martin Luther King
“The Dream” by SynthiaSaint James, new limitededition print release.
W e n d yPowell, wifeof interna-t i o n a l l yr e n ownedartist JohnPowell, is in-troducing aline of herown primi-tive hookedrugs. Theyinclude com-mercial or pre-drawn designs, and her original designs thatshe says “are most often inspired by memories or ‘loves’ ofone’s life.” “Life on Toddy Pond,” shown, is reflective of herand John’s life in Maine where they regularly spend theirsummers. Original designs retail for $150 to $175 persquare foot, and commercial for $125 to $150. Commis-sions are accepted. For more information, contact Wendyat: [email protected] or call (805) 686-4221.
Wendy Powell’s Artistic Rugs
“Life on Toddy Pond” by Wendy Powell, ahooked rug measuring 44 by 30 inches.
JUL-AUG13-A&P-pg1_Layout 1 8/5/13 3:16 PM Page 1
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PAGE 12 ART WORLD NEWS
Martin Lawrence Galleries at the ForumShops at Caesars, the largest privatelyowned gallery in the world, with 26,000square feet of space, celebrated its secondanniversary in style in late July with the Artof the Party ll – An Evening of Art and Fash-ion. Once again, Martin Lawrence partneredwith University Medical Center’s Trauma andBurn Care Center to donate 100% of the$25 ticket price to support the life-savingwork of Nevada’s only Level 1 trauma facil-lity. With art ranging from Warhol to Chagallto Rembrandt, The Art of the Party II cele-brated the synergy between art and fashion;highlights of the event that was organizedby Mikey Koffman, producer of LA FashionWeek, included live and experiential fashionpresentations featuring one-of-a-kind, Pop-art inspired fashions created by celebratedstylist and costume designer AnthonyFranco as well as artful music, The Art ofChocolate by Max Brenner, and The Art of Beauty by Sephora. Also, there was a rare gathering of acclaimed artists, pic-tured above, whose work is represented by Chalk & Vermilion Fine Arts, owner of Martin Lawrence Galleries with 11 gal-leries in prime locations around the country. For information, visit: www.martinlawrence.com or: www.chalk-vermilion.com.
Martin Lawrence Galleries Las Vegas 2nd Anniversary!
Chalk & Vermilion artists are pictured above, interspersed with modelswearing Erté- and Warhol-inspired dresses by designer Anthony Franco.From the left, are Liudmila Kondakova, François Fressinier, Kerry Hallam,Felix Mas, René Lalonde, and Philippe Bertho.
Shannon Nowak of CreativeImpressions, Rochester, MI,known as “the sapphireartist,” is looking to establishgallery representation for heroil paintings on wood panel orboard with gold and copperleaf. Already her work is at-tracting attention; in the fallJerry’s Artarama, supplier ofart materials with 16 loca-tions, is sponsoring her boothat the World of Art Show-case, a fine art exhibition inRaleigh, NC. Nowak’s paint-ings retail for $600 to $2,000,depending on size. For moreon her work, call (248) 814-3343, e-mail: [email protected] or visit:www.thesapphireartist.com.
Sapphire Artist Broadens Horizons
“Glory” by Shannon Nowak.
The hand-pulled stonelithographs and mono-types of Utah artistLinda Tay’nahza’ are to be featured in ashow, “Western Vi-sion,” that runs fortwo months at the Na-tional Museum of WildLife Art in Jackson,WY, opening in mid-August. Tay’nahza’swork, that has re-ceived internationalrecognition, is influen-ced by her life in the mountains and theyears she spent living on a Navajo Reservation in Arizona.The artist also is supervisor of Sundance Mountain Resort’sArt Studio. For more on her work that retails for $150 to$3,500, call (801) 228-8135 or visit: www.lindataynahza.com.
Tay’nahza’ in Museum of Wild Life Art
Linda Tay’nahza’s “Raven & RedRibbon,” a hand-pulled stone litho-graph measuring 18 by 18 inches.
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of new, qualified people rightinto our gallery, in a relaxedenvironment,” Mr. Milansays. “There are, of course,moral benefits.”
Mr. Milan is quick to notethe value of charity events—whether it’s hostingthem in his galleryspace or donating toan auction. He feelsthat retailers wouldbe missing an oppor-tunity for growth ifthey didn’t make it apart of the marketingplan. “It’s also aboutbeing a member ofthe community thatour collectors live in.A lot of our clients aretied to various chari-ties, especially in thisarea of the country.People in Texas aregenerous with theirdonations and participationbut since the sheer numberof organizations in need is so vast, most people will pick two or three charities to support.”
In its recent annuallist of the most, andleast, generous cities,Charity Navigator, acharity evaluator,named San Diego asthe most philan-thropic community.San Francisco andHouston’s non-profitorganizations are thefastest growing, andNew York has thegreatest number ofcharities. Indianapoliswas found to be theleast charitable.
Robyn Snowden ofMichael J. Wolf Fine Arts, lo-cated in the heart of theGaslamp Quarter in San
Diego, says that customerslike to know that their pur-chase has an added advan-tage of helping others. WithSan Diego at the top of the most charitable list thisyear, Ms. Snowden also feels that it can bring peopleinto the gallery that may not
have been before, wanting to support a charity that theybelieve in.
“San Diego has a very
large (and growing) medicalcommunity and that has con-tributed to residents being
more receptive to charity do-nations. Our income levelsmight be higher than someparts of the country, but Idon’t think that is a factor. It’smore of a social conscious-ness of the city.” In SanDiego the military and tourismare also cited as economic
drivers.
Jeff Jaffe,owner of PopInternationalG a l l e r i e s ,opened a sis-ter location inthe CiticorpBuilding onEast 53rdStreet in NewYork City, toits SoHos h ow r o omearlier thisyear, with theidea of givingback to the
community through the dona-tion of a portion of the salesin the gallery. The charity cho-sen is The Creative ArtsWorkshop for Kids (CAWS),
a non-profitthat promotesart in schoolp r o g r am s ,murals, andafterschoolprograms forunder-servedkids. “Givingback to thecommunity ispart of ourmission state-ment,” saysMr. Jaffe.“But it is alsounden i ab l ethat part ofthe reason wedo this type ofwork is to get
new eyeballs into the gallery.
PROFITING FROM NON-PROFITS
Tal Milan, second from left, owner of Milan Gallery withhis daughter Sophie, and, from left, the Ambassador tothe Czech Republic Petr Gandalovič, and the First DeputyPrime Minister Prince Karl VII of Schwarzenberg.
Pop International Galleries owner Jeff Jaffe, center,presents the work of TOPDOGS artist Chris Collins,right, during a celebrity studded event at the SoHo location. Also shown is NY Giants’ David Diehl, left.
continued on page 16
ART WORLD NEWS
continued from page 1
FREDERICK HOLMES ANDCOMPANY GALLERYOPENS IN SEATTLE
SEATTLE—Industry veteranFred Holmes has openedFrederick Holmes and Company, a 2,800-square-foot space in OccidentalSquare in the historic PioneerSquare area of Seattle. Hechose to open on the firstThursday in June to coincidewith the busy First ThursdayArt Walk. “It's been a 30-plus-year journey to finally owningmy own gallery and I couldn’tbe happier with the space, location, city, and the artists!”he says.
The gallery features a mix ofcontemporary and 19th and20th century masters, includ-ing paintings, French posters,and original etchings withwork by Whistler, Renoir,Degas, Miró, Picasso, andChagall, among others, aswell as that of about 11 con-temporary artists, notablySpanish artist Royo, Colom-bian painter Carlos Torres,sculptor Jane Burton, andMark T. Smith, an official Ab-solut Vodka and 2008 BeijingOlympics artist. Shown is“The Almost Unseen SkylightI,” acrylic on canvas, 48 by60, by Mark Erickson ofOakland, CA. Retail prices atthe gallery range from $2,500to $100,000. For information,call (206) 682-0166 or: www.frederickholmesandco.com.
When we have an event, invi-tations go to our regularclients and the organization’slist of donors.” The gallery isthen able to capture thedonors’ information.
“Charity events are a greatway to derive a positive,healthy amount ofpublicity, help addnames to our mail-ing list, and dosome serious workfor the community,”Mr. Jaffe says.
Letting your current and pros-pective customersknow about thework being done is also a great way to promote a business. Somegalleries and frame-shops will send outpress releases tolocal media, while others relyon the charity to contact themedia and include the com-pany logo on any of the mar-keting material.
Mr. Milan andMilan Gallery give tomore than 100 char-ities per year, butwould ideally like tocut that number inhalf. “It can be veryoverwhelming,” hesays. “If we don’tgive a piece of art to an auction, wemight buy seats or atable at an eventand take clients as a‘Thank You’ for theirloyal business.”
Mr. Milan prefersto offer a gift certificate for a private party at the galleryfor up to 100 people with a pianist as entertainment, overdonating artwork. “Auction
winners can celebrate a birth-day or anniversary or what-ever they want. The winninggift certificates don’t all getused, but they do go for more money than giving anoriginal oil worth $5,000 thatis then auctioned for $2,000or $3,000.”
As a retailer, charity workis an important part of doing
business today, especially inthe art world where personalrelationships are king. “Ourinvolvement in reaching out tothe community at large is a
fundamental tenet for us atPop International Galleries,”Mr. Jaffe says. “I genuinelybelieve that every business,no matter what size, has to
give back to the community. Itspeaks to the core values ofmy own moral compass andmy business.”
Aligning your business withthe right charities is very important and can create a dilemma with so many requests coming in. “I getpounded on a daily basis withsubmissions from charities,”
Mr. Jaffe says.“Whether it’sthe use of ourspace forevents or do-nating art forauctions, westill can’t helpe v e r y o n e .What we havebecome adeptat is identifyingorganizationsthat serve thepurposes thatwe can com-fortably aligno u r s e l v e swith.” Mr.
Jaffe has hired an outsideconsultant to help him gothrough all of the charity requests that the gallery receives.
What tendsto work wellare organiza-tions that havea personalc o n n e c t i o nwith thegallery, artists,and/or collec-tors. Stayingaway from pol-itics is alwaysa better optionso that a por-tion of your audience doesnot feel alien-ated.
Helen Randall, owner of ArtOne Gallery located in Santa
ART WORLD NEWS
Ocean Galleries co-owner Kim Miller watches as 11-year-old artist Autumn de Forest, in red, addressesthe crowd at her Hurricane Sandy Benefit reception.
Pictured during a charity event at Michael J. Wolf FineArts are, from left, gallery owner Michael J. Wolf, artistThomas Arvid, and gallery associate Robyn Snowden.
continued on page 48
CHARITY WORKcontinued from page 14
WHY LAMANTIA GALLERY’SOWNERS BELIEVEIN GIVING BACK
NORTHPORT, NY—LaMan-tia Gallery’s owners JamesLaMantia and Robert Bluverboth believe in giving back, financially, as well as in timeand energy. James is pas-sionate about the Rotary Cluband Robert is president of thelocal Kiwanis Club. Quite re-cently the gallery held anevent that benefitted the Ki-wanis through the auction of a framed Ward Hooper water-color to benefit Unicef’s TheEliminate Project that is aim-ing to eliminate maternal andneonatal tetanus.
Meanwhile, James is invitingcustomers, clients and friendsof the gallery to participate onAugust 8 in a gala fundraiserat the Cradle of Aviation,Long Island’s Air and SpaceMuseum, to benefit Wind Be-neath Our Wings, the North-port Rotary Club’s annualfundraiser that aims to raisesix figures for local and inter-national causes. Says JamesLaMantia, “I have severalclients who, based on an e-mail I sent out about theevent, will be sending acheck. Robert and I both be-lieve that in order to have afull life you have to do serviceand give back.” It also is away of bonding with clients.“Someone buys a painting,and they may also write acheck to help with a charitythat you support, and that iscomplete bonding. It is aboutsocial conscious; people arein need these days.” The galafundraiser will help bring life-saving surgeries to childrenthrough the Rotary’s Gift ofLife Program; aid returningveterans; help to feed andclothe the homeless; andbring drinkable water to thirdworld countries. To reach thegallery: www.lamantiagallery.com or call (866) 638-1800.
Personally Hand Embellished Limited Edition Canvases,
available in two sizes.
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“With all the means of mar-keting that are out there, television still remains themost powerful,” notes JulieManer, director of businessaffairs for Museum Editions,exclusive repre-sentative of thework of CharlesFazzino. In thepast few weeks,Fazzino, as well asTom Everhart andStephen Holland,both representedby SPS LimelightAgency, havebeen featured onprimetime TV. Andthe question is,whether the TVspotlight or, forthat matter, cover-age by nationalnewspapers andmagazines, con-verts into business for gal-leries. Danny Stern of SPSLimelight Agency, believesgalleries benefit in manyways. In discussing Hol-land’s appearance on Fox TV in the Los Angeles areawhen Angels’owner Arte Mor-eno and star batterAlbert Pujols pre-sented baseballgreat MarianoRivera with a por-trait of himself byHolland, Mr. Sternsays he thinks coverage like thisbenefits galleries100 percent. Whatmakes a story likethis stand outabove the hun-dreds of others, isthat it’s current,“and it reminds his collec-tors and galleries that hisstatus in the sports andcelebrity world is not a staticone, but an active and con-stant one.” This, he says,
translates into two things:Sports fans know who Hol-land is before they walk intoa gallery and, secondly, theconsultant on that galleryfloor is able to say that Hol-
land and his art comes with acredibility from the world ofprofessional sports.
Julie Maner adds, “Theimpact and response are im-mediate and television cre-
ates lasting memories. Thereis still a seductiveness aboutTV that makes anythingshown on that screen imme-diately more important andmore appealing.” In June,
Fazzino was on the WNBC-TV local New York sports-cast when he and sports anchor Bruce Beck joinedNew York Mets greats JohnFranco and Mookie Wilson
at Citi Field to unveilthe artists official art-work for the 2013 All-Star Game. JohnFranco also sat withFazzino for a pre-gameAll-Star Game postersigning outside theNew York Mets Store.A portion of the pro-ceeds from the signingwere donated to theMets Foundation. Theofficial collection cre-ated by Fazzino in-cludes posters, openedition 3-D mini prints,deluxe 3-D limited edi-tion prints, and hand-painted baseballs.
The collection was also ondisplay at the T-Mobile All-Star Fanfest. MLB Fanfest isthe largest baseball fan eventin the world; it visited NewYork City in July as part of
MLB All-Star Summer.Charles Fazzino hadhis own exhibit withinFanfest 2013 and wasalso featured by MLBpainting live for severalhours each day duringthe festivities. Thepainting that he cre-ated was auctionedonline to benefitStand Up to Cancer,realizing $8,500 forthe non-profit that encourages collabo-rative cancer re-search. Guests atFazzino’s exhibit in-
cluded Hall-of-Famers Reg-gie Jackson and RickeyHenderson, as well as MissUSA, Erin Brady.
FORD SMITH’S 15 CITYWESTERN TOUR KICKSOFF EARLY SEPTEMBER
ROSWELL, GA—Followingthe success of their EastCoast tour, artist Ford Smithand his wife and businesspartner Cristi Smith, begin afive-week western tour of gal-leries in September for a se-ries of receptions and shows.Among the galleries partici-pating are Marcus Ashley inLake Tahoe, NV; and ShafferFine Art Gallery in Portland,OR. The gallery visits will alsoserve as personal sales train-ing sessions with current FordSmith gallery owners andstaff. Cristi Smith notes, “Having Ford mingle with fansand collectors at a receptionis a huge boon to showsales.” At the same time, shesays getting Ford out of thestudio and in front of peoplewho share his passion for artis invigorating for him, “andserves as inspiration for hisnext painting.”
On the return journey, Cristiand Ford will focus on newgalleries. She says, “In asense, this is taking the placeof doing the large tradeshows for us. We understandthat gallery owners and direc-tors miss seeing the work upclose and in person, and thisalso gives us a chance tomake those individual con-nections.” Shown is Ford’s"Living Life," acrylic, 20 by 20inches, retailing for $3,000.Visit: www.fordsmithfineart.com or call (770) 552-5942.
POWER OF MEDIA MARKETING
Charles Fazzino, second from left, with hiscommemorative artwork for the 2013 All-StarGame. On his right is Bruce Beck, sports an-chor at WNBC-TV; and on his left, New YorkMets greats Mookie Wilson and John Franco.
Albert Pujols and Angels’ owner Arte Morenopresent Mariano Rivera with a painting of him-self by Stephen Holland at Angel Stadium in LA.
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Within hours of Charles’profile appearance on CBSSunday Morning withCharles Osgood earlierthis year, Museum Edi-tions experienced a1,500% spike in trafficto its website: www.fazzino.com that lastedfor days afterwards.
“Television,” saysMs. Maner, “reachesthe highest number ofpeople at one time.There is no doubt thatthis kind of publicityreaches far and wide,introducing people tothe art for the first timewhile also reinforcingCharles’s reputation forthose who already collect.Collectors love to see him onTV and they certainly let usknow when they have. Thegalleries also love to see theirartists on television becauseit’s ready-made advertisingfor them. It’s just anothervery powerful tool increating relationshipsand in strengtheningthe bonds betweenCharles and thosewho sell his work andcollect his work.”
Ms. Maner adds,“We have workedvery hard over theyears with CharlesFazzino to obtain asmuch high profilemedia exposure as wecan get. Weitz Com-munications, in partic-ular, has really done afabulous job introducingCharles to the world of mediaand building up his reputationso that he has become moreand more appealing to out-lets all over the country.”
SPS Limelight’s DannyStern observes, “No matter
if someone is buying a six-figure painting, a $2,000print, or maybe even aposter, people want to knowwhat makes this artist impor-tant. And in the case of fans;
of an athlete, rock star,actor, or team, they want toknow beyond any art cre-dential, what gives thispainter the credibility (andauthority) with the subjectmatter.” In the case ofStephen Holland, he says,there is always something
an art dealer can share thatis current, such as an articleon a sports page, thatmakes the point. “It’s impor-tant to understand,” hesays, “when people collectart of a celebrity or popularculture theme, their reasonsgo far beyond the reasons of
a collector who is buying todecorate. They have adeeply personal and highlyinvested relationship withthe subject matter. Thatmeans the artist who pro-
duced the work of thatsubject has to be inte-grated into the story insome form, or else itfeels cynical and emptyto that fan.” In relationto social media, Mr.Stern says there waslots of activity also onFacebook where Hol-land has many fans.“But that will nevercompare to the tens ofthousands that saw thisin Angels stadium live,or the million (or so)watching on TV.”
When Tom Everhart wasfeatured on NBC’s TodayShow in June in connectionwith his exhibit at AFA NYCin SoHo, gallery owner HeidiLeigh called it a “majorcoup.” The interview wasbrought about by a publicistemployed by Everhart’s
representative, SPSLimelight Agency, inconjunction with AFA.At the time, the gallerywas hosting a month-long show, “Rollin’ Withthe Homies” featuringwork by Tom Everhart,the only artist ever allowed to paint any as-pect of Charles Schulz’sPeanuts.
“We didn’t knowquite what to expect;we knew that theyloved the artist, butwith nearly ten hours
of footage, anything couldhave happened!
“We had a couple of artconsultants go in early, be-cause we knew that it wouldair at 8:30 a.m., and they re-
ART WORLD NEWSPAGE 20
Photo credit: Alan ShafferTom Everhart being interviewed by JamieGangel on the Today Show at AFA NYC inSoHo, with Everhart’s work shown.
Susan Bee’s “Pennies from Heaven,” oil on linen, 20 by 16 inches, available from Accola Griefen Gallery, Chelsea, New York.
POWER OF MEDIAcontinued from page 18
continued on page 24
RADIANT ART STUDIOSEXPANDS ITS REACH BYPARTICIPATING IN FAIRS
WESTMINSTER, MA—Radiant Art Studios, repre-sentative of fine art createdfrom X-rays and other invisi-ble light spectra by artistsJoseph Moisan and PaulaFontaine, are getting theword out about their fine artsigned, limited edition prints;glass and ceramic tile, and;home decor pieces by doingart fairs. “We are bringing our work to area art shows in hopes of attracting the interest of gallery representa-tion, and private and corpo-rate buyers,” says Ms.Fontaine. Starting at the Mystic Outdoor Art Festival,August 10-11, in historicdowntown Mystic, CT, Radi-ant will be exhibiting along-side more than 250 artists.Other shows include By theBay Arts & Craft Show, Brew-ster, MA, (August 31 to Sep-tember 2); 51st On the GreenFine Art and Craft Show,Glastonbury CT, (Sept 7–8);and NYC Contemporary ArtFair, Jacob Javits Center,New York, (October 25–27).Shown is “Nautilus Rainbow,”an X-ray print in an edition of300, measuring 11 by 14inches, and offered in a blackfloat frame for $200.
Call (978) 571-2121 for fur-ther information, or go to:www.radiantartstudios.com.
When the American art mar-ket cooled in the recession,Robert Bane Fine Art mar-keted the work of FabianPerez in the U.K. where theartist achieved almost rockstar fame. Now RobertBane, who co-owns RobertBane Fine Art with Fabian,believes the U.S.market is on themend. “I think weare coming into aperiod when theU.S. market isready to startemerging, and wewant to appeal tothat whole venuethat has unbeliev-able potential,”says Mr. Bane. “Wewant to establishnew dealers throughout theU.S. We would love to finddealers to carry Fabian’swork in major cities—L.A.,San Francisco, New York,Chicago, Atlanta...” Mr.Bane adds, “What is unusualabout us as a publisher isthat Fabian and I arebusiness partnersand don’t representany other artists, sothe focus is entirelyon Fabian and hiswork, and servingour clients well.” Aconsumer advertis-ing campaign willsupport those gal-leries selling Fabian’swork in magazinessuch as The RobbReport, Art & An-tiques, ArchitecturalDigest, and Los Angeles Magazine,as well as hotel pub-lications.
The Buenos Aires-born artist is known for hispaintings and limited editionprints that invoke scenesfrom his youth in Argentina,
reflecting a time that, in hisview, is more romantic thanthe present day. “A timewhen the man would takepride in shaving or simply fix-ing his tie, and the womanwould follow a routine ofslow and sensual move-ments, seducing a man just
by lighting a ciga-rette,” he told ArtWorld News in anearlier interview.
Now Fabian istaking these at-m o s p h e r i cscenes and repli-cating them inthree dimensions,in a new series ofbronze limited edi-tion sculptures.
Four new sculptures havejust been released in a worldedition of 195, 19 APs. Theyare “Tango,” retailing for$18,000; “Man at Bar Light-ing Cigarette,” ($15,000);“Man Sitting in Chair,”($10,500); and “Flamenco
Dancer with Fan,” ($12,000).The sculptures measure be-tween 18 and 22 inches,standing on black quartz
bases that are about 1 1/2inches tall. Created in thetraditional lost wax method,each sculpture is accompa-nied by a leather-boundfolder with foil stamped sig-nature, that includes infor-mation on the sculpture, asigned certificate of authen-ticity which has Fabian’sthumbprint on it, and a photoof the artist. “These are veryhigh quality, upscale—and itcosts a lot to do it, but thatis the way I like to dothings,” says Mr. Bane. “Iwant to make a difference—I want to give people some-thing they can treasure forlife and become a familyheirloom. Everyone’s budgetis different, so if they can’tafford a sculpture or paint-ing, they can buy a print. It isabout the future, as much asit is about now, and continu-ing to build the brand.”
The sculptures take fourto six weeks to produce, andtheir creation is all by Fabian.“No one can capture the nu-ances or what he feels aboutthe body movement and the
SITE SANTA FE RECEIVESGRANT TO SUPPORT ITSMISSION TO PROMOTECONTEMPORARY ARTISTS
SANTA FE, NM—SITE SantaFe, established almost 20years ago to promote thework of contemporary artistsof the Americas and specifi-cally those of New Mexico,has received a $100,000grant from the Andy WarholFoundation for the VisualArts. The Warhol Foundationtargets its grants to servingthe needs of artists by fund-ing the institutions that sup-port them.
This grant will help supportthe biennial exhibition series“SITElines: New Perspectiveon Art of the Americas” thatruns through January 2015.Presenting new and under-seen art practices, it is de-signed to build on a deeperengagement with the localSanta Fe community. Amongits outreach programs, SITESanta Fe held a series oftours and field trips through-out Santa Fe and northernNew Mexico for SITE’s in-terns, young curators andscholars that included a tourof three contemporary gal-leries in the historic RailyardDistrict of Santa Fe: TAIGallery, David RichardGallery, and Zane BennettContemporary.
As an institution with a year-round contemporary art pro-gram, SITE hosts an Art &Culture series of lectures andperformances, as well as anextensive education and out-reach program for localschools, all of which attractover 20,000 local, national,and international visitors an-nually. Since its launch, SITEhas presented over 75 exhibi-tions, including eight bienni-als, of works by over 500international artists. For more,visit: www.sitesantafe.org.
atmosphere, so they are alldone by him,” notes Mr.Bane. “He is passionateabout it. And we are sobusy; it is wonderful inthis economy. Wehave so many com-missions for his paint-ings, that there is awaiting list.”
The sculptureswere first introducedin the U.K. in Maythrough De MontfortFine Art and its White-wall Galleries, whenFabian and Mr. Banedid a 16-gallery tour in16 days. “Every daywe were in a different city(for a one-man show), andwe did really well. England isour biggest market, andFabian has become like an art star.” In addition to hisnew sculptures, five new
limited edition giclées on can-vas by Fabian are also beingreleased. They are “BlackSuit, Red Wine;” “Saba on the Stairs, White Wall;” “At the Door,” “SummerRain,” and “Untitled: Young
Fabian,” shown. They areavailable in three sizes: 12 by 18, 24 by 30, and 40by 30 inches, and they retailfor $1,200, $2,200, and$3,000, respectively. RobertBane Fine Art also offers gi-
clées on watercolor paperwith deckled edges, measur-ing 12 by 16 inches and re-tailing for $750. Theseimages are taken fromFabian’s original gouachesthat he created in the same
size. His acrylic oncanvas paintings sellfor $12,500 for a 9- by 12-inch, to$90,000 for a 48- by60-inch piece. Noposters are producedof Fabian’s work andneither is there any licensing of his im-ages. A new coffee-table book, Fabian’sthird, published by Robert Bane Fine Art, is due out in the fall. It is entitled,
Emotionalism: A Ten Year Retrospective. For furtherinformation, call (310) 205-0555, visit the newly de-signed website at: www.fabianperez.com, or e-mail:[email protected].
ARTIST PENSION TRUSTLAUNCHES GLOBAL ONETO PROVIDE MOREARTISTS WITH SUPPORTFOR THEIR CAREERS
NEW YORK—Artist PensionTrust (APT), a programfounded in 2004 with the goalof providing artists long-termfinancial security and interna-tional exposure, is opening anew trust, APT Global One,with space for 628 selectartists from worldwide. APT iscurrently nurturing the ca-reers of 1,500 artists from 75countries. The way it works isthat artists deposit 20 art-works over a 20-year invest-ment schedule, with a total of72% of the net proceeds de-rived from the sale of theseworks distributed to the indi-vidual artist and the artists inthat trust. The model is de-signed to provide both emerg-ing and established artistswith financial hedges by diversifying risk while also ex-posing them to the interna-tional art world. Artists areselected for admission byAPT curators and aligned withthe financial risk managementmodel used by APT as setdown by APT co-foundersMoti Shniberg, Chairman ofthe Board; professor DanGalai, a leading world econo-mist; and David Ross, formerWhitney Museum Director.“The creation of APT GlobalOne reflects the presentstrength of both our interna-tional art network and thefield of contemporary art as awhole,” says Mr. Shniberg.
The APT model is alreadyused in eight regional trusts:Beijing, Berlin, and New York,all three of which are fullysubscribed; and Dubai, Lon-don, Los Angeles, MexicoCity, and Mumbai. They col-lectively hold 10,000 works ofart overseen by more than 80curators. For more, visit:www.aptglobal.org.
ART WORLD NEWSPAGE 24
“Untitled: Young Fabian,” a new giclée oncanvas release by Fabian Perez.
FABIAN PEREZcontinued from page 22
ceived more than a few calls;one man bought a couple ofpaintings on the spot, whichpaid for the publicist.
“People called and camein all week; the story waspositive and the photographywas wonderful. The exhibi-tion in our gallery looked su-perb; we couldn’t have beenhappier.”
“Such publicity on primetime national TV is like thegift that keeps on giving... wewill have a lot of mileagefrom the support and pres-tige of such a venue,” saysMs. Leigh, who also creditsEverhart for handling the in-terview so well. “I think thatit was essential that the artistwas so well-spoken and thathis work has such a mass
appeal because the subjectmatter is derived from a Popicon.”
In related news, AccolaGriefen Gallery, in theChelsea district of Manhat-tan, was recently featured inThe New Yorker, as well asThe Brooklyn Rail and BOMBmagazine for its show featur-ing the work of New Yorkartist Susan Bee. Saysgallery co-owner Kristen Ac-cola, “Susan has a big follow-ing, and the publicity definitelybrought people in to thegallery, no question. But itdidn’t generate sales like itused to. Since ’08, most gal-leries that I know are strug-gling, and critical successdoesn’t equal sales necessar-ily at all the way it used to.
“But visibility is very impor-tant to any gallery. You wantpeople to know that you exist
and that you have an interest-ing program—and it (publicity)introduces new people to usand to other of our artists. Soit is always a positive thingbecause galleries are here forthe public as much as theyare for selling art. However,the first priority is selling sothat we can exist, and thesecond is building an artist’scareer and part of that is get-ting proper critical attention.”
Sometimes a good reviewcan be the impetus for an artpurchase by a client who hasjust been thinking about it.Such may have been thecase when The New YorkTimes gave Accola Griefen’sartist Mary Grigoriadis a“rave” review. “It was a veryimportant career builder, andwe made a lot of sales,”says Ms. Accola. “No onebought just because of thereview, but it never hurts.”
Spectrum New York, a ju-ried contemporary art fairfeaturing the work of mid-career artistswho have ex-p e r i e n c eworking withgalleries, ismaking itsdebut at thenewly refur-bished JavitsCenter Northin New YorkCity, October 3–6. The four-day trade and consumershow is produced by Red-wood Media Group, ownersof Artexpo New York, whoare also launching a sistershow, Spectrum Miami, thatwill run December 4–8 dur-ing the Miami Art Week.
Spectrum New York isexpected to present approx-imately 75 exhibitors includ-ing publishing companies,artist representatives, andstudio artists.This higher-end show willbe set in theelegant JavitsCenter North,with its pol-ished con-crete floors,s c u l p t u r ewalk, and out-door patio.“It’s almostlike they builtit for an artshow,” saysEric Smith,show director.
Mr. Smithbelieves thetiming is rightfor Spectrum.“When youcombine thefact that the economy iscoming back, business isgetting better, and there has
traditionally been a fallart show in New Yorkfor galleries, designers,
deco ra to rs ,and architectsto come outand view thenew work justas the fall buy-ing season isgetting into fullswing.”
Among thesponsors is GE Capital,whose representativeswill be meeting with gal-leries and other trade attendees so they canlearn more about thecompany’s consumer fi-nancing program offer-ing flexible terms tocustomers to help make theirart purchases more attain-able. Also sponsoring Spec-trum New York are BelayaRus, maker of fine vodka,and Barefoot Wine & Bubbly.
Design-ed as ane l e g a n t affair, theamenitieswill includea cateredlunch fortrade buy-ers on theThursday,a cham-pagne re-ception forthe trade,a fully-s t o c k e dc h a m -pagne andc o c k t a i lbar, a cof-fee barw i t hs n a c k s ,
welcome packages/gift bags,and a VIP trade lounge,sponsored by GE Capital,
where trade attendees canrelax and kick back. Traderegistration is already open;educational opportunities areto be announced soon.
Mr. Smith notes, “It’s thebest thing in the world whenyou go to a show and cantalk to your counterparts,mingle, and see new art-work. There’s nothing betterthan personal interaction. Ifsomeone can go to a tradeshow, spend one night, beon the show floor for eightto ten hours, take in someeducation, and go back totheir gallery with renewedexcitement, having learnednew things, it is worth it.”He points out, that if what agallery owner learns in aseminar results in a two per-cent increase in sales in thegallery, the trip is more thanpaid for.
For more details on theshow, visit: www.spectrum-newyork.com. Trade regis-tration is available at thewebsite. For Eric Smith, call(216) 225-0962; and RickBarnett, (831) 747-0112.
MONARCH GALLERYPARTNERS WITH VALENCIA HOTEL TOEXHIBIT ITS ART
LA JOLLA, CA—MonarchGallery, owned by Elsie andDan Arredondo, now has asecond site to feature thework of its 20-plus artists: LaValencia Hotel. The galleryhas partnered with the historichotel close-by on tonyProspect Street to provide artinstallations throughout thehotel, where the paintings areinstalled in mini gallery set-tings for the purpose of enjoy-ment and purchase by hotelguests and visitors.
Elsie Arredondo says theychose La Valencia to partnerwith because “the hotelguests are part of our tar-geted audience for many keydemographics. Although nottoo far from our location,guests often don't make timeto visit the galleries in thearea and with this second sitewe now have a direct expo-sure to them.” She adds, “Wemainly chose La Valencia forthe excitement and love of artthat the hotel’s managementteam showed us. Their en-ergy and commitment to mak-ing this program a success isabsolutely necessary in aventure like this one.” Cur-rently two of the gallery’sartists are on display, PietroPiccoli and Ramon Pujol,both represented by DE FineArt, with retail prices from$6,500 to $18,000. Shown isPujol’s “Mar Azul en Capri.”To reach the gallery, visit the website located at: www.monarchfineart.com or tele-phone (858) 382-9467.
SPECTRUM NEW YORK IN THE FALL!
“Big Baby Blue #1” by GordonHuether of Napa, CA, measures46 by 73 inches and is createdwith salvaged metal and glass.
“Path” by Anya Droug, Toronto, isan oil on canvas, 40 by 60 inches.
ART WORLD NEWSPAGE 26
JULY13-Spectrum NY page_Layout 1 8/5/13 4:41 PM Page 1
Karla Chambers paints theorganic berries and vegeta-bles that she grows on herfarm in Oregon in thehope that the naturalcolors of her art willact as a catalyst tofurther expand thecause of healthy eating. Now ArnotGallery has teamedwith Chambers to pro-mote the Movementof Healthy Inspiration.The Manhattan-basedgallery, owned byPeter and Vicki Arnot,has recently signedthe artist and is mak-ing her heavily tex-tured acrylic paintingsand limited edition prints(embellished and regular)available to galleries aroundthe country. “Healthy eatinghas become a recognizedvalue in the‘life change’ ofadults and a‘way of life’ forgrowing chil-dren,” saysMrs. Arnot,adding, “Whatbetter rein-forcement ofthese valuesthan throughart?”
The naivestyle of Karla
Chambers’ work is a compli-ment to the genres of art byEuropean and American
artists represented by ArnotGallery, says Mrs. Arnot. “Itis time for this gallery to havea contemporary naive artist,”she says. “But what makes
Karla’s work special is thatshe is right on with what isgoing on today with the
Movement of HealthyInspiration through art,and museums arepicking up on this.”She has three mu-seum exhibitions and acollege show sched-uled, including an ex-hibit at the OregonMuseum of Scienceand Industry (OMSI) in October entitled“Color and Nutrition”which will include herfine art. The exhibit willbe directed at childrento help them connectbright colors to nutri-
tious food.
Karla is no stranger to therich colors and textures ofnature. She was born in Ore-
gon and im-mersed in anagricultural envi-ronment from herearliest years.She inherited aprofound love offarming from herfather, which re-sulted in her c o - f o u n d i n gStahlbush IslandFarms Inc. inO r e g o n ’ sWillamette Val-ley. “Her land-scapes are of her
farmland, and the fresh col-ors of the fruits and berries inher paintings are those of theproduce she grows. As anaive painter, untutored ortrained, Karla exhibits herown vision of the harmonyand beauty of the naturalworld which is uniquely differ-ent from that of any otherpainter,” observes Mrs.Arnot. For information, visit:www.arnotgallery.com or call(212) 245-8287.
CHAMBERS’ ART A HEALTHY INSPIRATION
Vicki Arnot, left, with Karla Chambers who isadding finishing touches to her paintings“Vineyard Leaves of Willamette Valley I & II.”
Karla Chambers’ “Vineyard Leaves of Willamette Valley I& II,” acrylic paintings, both measuring 30 by 40 inches.
ART WORLD NEWSPAGE 30
Friends and clients of theCarol Schwartz Gallery,Philadelphia, have been in-vited to a concert in early Au-gust to benefit the CarolSchwartz Fund for ThyroidCancer Research at the Uni-versity of Pennsylvania. The“special evening to honor aspecial lady” will raise moneyfor the fund established by
Carol prior to her passinglast October. Her husband,Elliot Schwartz, who contin-ues to run the gallery thatrepresents national and inter-national artists, says it is away of giving back and keep-ing the name alive. Don-ations can be made online atthe gallery’s website: www.carolschwartzgallery.com.
HONORING CAROL SCHWARTZ
WILD APPLE DEBUTS 74 NEW IMAGES AS PART OF ITS JULY PRINTCOLLECTION
WOODSTOCK, VT—WildApple, open edition print publisher and licensing com-pany, has introduced 74 new images as part of its July print collection offering.The new images are by 17artists such as Daphne Bris-sonnet, Veronique, MikeSchick, Silvia Vassileva,Katherine Lovell, RebeccaKinkead, Ryan Fowler, Mari-lyn Hageman, and ElyseDeNeige.
Themes include florals and botanicals, chefs, shells,whimsical owls and animals,wine, and abstracts. Shown is DeNeige’s “Steampunk Owl I,” measuring 11 by 14 inches and retailing for $21.
“This collection is filled with a great variety of looks andtrends,” says John Chester,founder and co-owner withhis wife Laurie. “We continueto listen to our customers andstay on top of the latest looksto ensure we are deliveringthe art that consumers arelooking for.”
For further information, telephone Wild Apple at (802) 457-3003 or go to thewebsite located at: www.wildapple.com.
Tru Vue’s foray into provid-ing glazing for museum ex-hibits began in earnest inAmerica five years ago, andhas now spread to the restof the world. “In the last fewyears we have done a lot ofinitiatives in Europe, andhave also been working inAsia, Latin America, and theMiddle East to expand theeducational reach of ourproducts to those areas,”says Carolyn Hays, market-ing manager. “Some regionshaven’t had access to high-end glazing materials, so we work with the conserva-tion community connectedwith fine art and framing.”
To assistwith producteducation inthis growingmarket, TruVue has ap-pointed twomuseum andconservationliaisons: JulieHeath, re-sponsible forthe Americas,and Jennifer Booth for therest of the world. “Westarted visiting internationalmuseums about three yearsago, and then recognized weneeded a concentrated ef-fort,” says Ms. Hays. “Weneeded to be there in personto build relationships andprovide education. Often-times with our products, see-ing is believing. They need toexperience, for instance, thescratch resistant and anti-static glazing for themselves.It makes it more real, andyou can see their minds turn-ing to the different applica-tions they can use it for.”
This manufacturer of high-performance glazing prod-ucts for the custom picture
frame and museum markets,with facilities in McCook, IL,and Faribault, MN, prides it-self on meeting a broadrange of glazing productneeds of the framing marketfrom top to bottom, meetingwith retail framers to showthem the products and toolsthey may need to servicetheir clients. “We are puttinggreat effort into education,”notes Ms. Hays. “We alsoprovide designers with sup-port materials that they canshare with their clients.”
To some extent the use ofTru Vue’s glazing in muse-ums does influence the
choice of glazing materialsby retail custom framers.“The fact that museumsaround the world depend onthe reliability and high per-formance of our products toprotect and display theirworks of art lends support toretail framers when they rec-ommend Tru Vue productsto their customers,” saysMs. Hays.
Optium Acrylic is typicallythe preferred choice in themuseum world because itprovides solutions to theirchallenging aesthetic andconservation needs. Tru Vuehas worked closely with themuseum community to de-velop this product to meetsuperior aesthetic standards,
as well as conservation stan-dards. It is shatter resistant,anti-reflective, and providesanti-static and UV protection.In fact, Tru Vue is preparingto release a new glazing inSeptember that is alsosought after by museumsand high-end framers, ananti-reflective, laminatedglass product called UltraVueLaminated Glass.
Most recently, Tru Vue’sOptium Acrylic glazing wasused to frame 110 photo-graphic works in the Art In-stitute of Chicago’s exhib-ition “Abelardo Morell: TheUniverse Next Door,” that
runs until Septem-ber 2, and thentravels to the J.Paul Getty Mu-seum in Los Ange-les, and the HighMuseum of Art, At-lanta. Showing arange of works andseries made from1986 to the pres-ent, it includesmany of his famous“Camera Obscu-
ras” and his newer colorphotographs. Says ElizabethSiegel, associate curator ofphotography at the Art Insti-tute, “This museum quality,non-reflective glazing is ide-ally suited to Morell’s work.Made with a large-formatcamera that allows a greatrange of detail, Morell’s im-ages are carefully printed,with rich blacks and subtletones. Optium allows us topresent this work free of anydistracting reflection orglare, greatly enhancing theviewing experience for thethousands of viewers we areexpecting this summer.”She adds, “One can’t speakenough of the importance of
MAX MOULDING EXPANDSMACARON COLLECTION
LOS ANGELES—MaxMoulding adds a larger pro-file to its Macaron Collectioninspired by the brightly col-ored mini meringues known inFrance as macarons. The col-lection is now available in twosizes: 1 9/16 inches wide and1 3/16 deep; and 1-inch wideand deep. Its contemporaryprofile with a silver lip comesin the nine colors, shownabove. Call (800) 282-9966or: www.maxmoulding.com.
HAUPPAUGE, NY—DecorMoulding and SouthernMoulding have added glosswhite and gloss black to theirRenaissance line of compopatterns. They are availablein three sizes: 1 3/4, 2 1/2,and 3 1/4 inches. For details,call (800) 937-1055 or visit:www.decormoulding.com.
TRU VUE’S GLOBAL REACH
Installation view of “Abelardo Morell: The UniverseNext Door.” Courtesy of the Art Institute of Chicago.
Universal piano June13 full-page ad_Layout 1 6/24/13 9:26 AM Page 1
carefully selected framingand glazing materials. First,they protect the work—fromtouch and, in the case of UVacrylic, UV exposure; sec-ond, it is an integral compo-nent of display within anexhibition.”
Gemini Moulding of Elgin,IL, supplied Tru Vue’s OptiumAcrylic for framing the works.Says Don Berg, Gemini vicepresident, “It’s been excitingto be a part ofthe Morell exhibit fromthe earlieststages.” Hee x p l a i n s ,“Once we hadthe dimensionsfor the pieces,we ran multiplecalculations tomaximize theyield from eachOptium sheet.Rather than re-lying on a CNC router, whichrequires a wider margin, wecut them by hand to optimizethe material for a custom fit.”As a Tru Vue Fine Art marketpartner, Gemini Moulding hasbeen involved with many proj-ects related to museums andspecial collections. “When amuseum selects Optium, youknow that it’s been chosenfor an extraordinary, valuable,and important collection,”says Mr. Berg.
Earlier this year, Tru Vue’sOptium Acrylic glazing wasused in the framing of morethan 100 artworks at theRijksmuseum in Amsterdam.The museum that featuresDutch art from 1200 to thepresent hung in 80 galleries,re-opened in April to the public after a 10-year renova-tion. Idelette van Leeuwen,the Rijksmuseum’s head of paper conservation, com-
ments, “This way of exhibit-ing works of art on paper isas close as we can get to ac-tually putting the works in thehands of the public. Tru Vue’scontribution of Optium for allthe frames used for draw-ings, prints and photographsmakes it possible for theRijksmuseum to give the pub-lic an optimal view of the artin the new galleries. Theviewer can study the art froma very short distance withoutendangering it. This allows fora close, almost intimate expe-rience of the art.”
Larson-Juhl, manufacturerand distributor of framingproducts worldwide, and TruVue’s distributor in TheNetherlands, provided themuseum with the Optiumglazing. In fact, Larson-Juhlhas worked with the Rijksmu-seum for many years, supply-ing it with matboards andspecialty papers.
A video of a discussionwith museum curators at theRijksmuseum on the framingprocess of the 100 artworks,can be viewed at the web-site: www.tru-vue.com/museums/product-education/#/rijksmuseum.
Another show in the workswhere Tru Vue’s Optium isbeing used is at A+D, the Ar-chitecture and Design Mu-seum in Los Angeles, for itsexhibit that opened at theend of July, “Never Built,”
featuring projects that onlysaw the drawing board.
Tru Vue’s acrylic collectionof glazing offers a range offeatures recommended for:Anti-reflective display re-quirements for optimal view-ing; anti-static applicationsincluding friable media (char-coals and pastels), fragilesurfaces, lightweight papers,textiles; abrasion resistancefrom minor scratches associ-ated with frequent cleaning,high traffic areas, and alsotraveling; UV protection for
the display ofl ight-sensi t ive objects wherelight is not filteredat the source;and crystal cleartransmitted colorwhen typical yel-low color castfrom existing UV-filtering glazing isobjectionable.
Tru Vue offers15 conservation
and non-conservation gradeglazing products. Its glassproducts are: • Museum Glass• Conservation ReflectionControl
• Reflection Control Acrylic• Premium Clear Acrylic
To reach Tru Vue, visit thecompany’s website locatedat: www.tru-vue.com orphone (800) 621-8339.
LARSON-JUHL PRESENTSDEVON COLLECTION
NORCROSS, GA—The newDevon Collection from Larson-Juhl is designed tocelebrate the authentic lookof aged, reclaimed wood.Similar to the look of Euro-pean country antiques, Devonfeatures complex detailing onthree traditional profiles inweathered finishes of black,dark walnut, and grey. For details: www.larsonjuhl.com.
PRESTO INTRODUCESADIRONDACK
BETHEL, CT—Adirondackfrom Presto Frame & Mould-ing features a natural pinepanel bracketed by delicateembossing, patterned after anantique frame that housed apicture of an Adirondackcamp. It comes in threewidths: 1 1/4, 1 3/4, and 2 5/8inches in walnut or gray. Visit:www.prestoframe.com or phone (800) 431-1622.
ART WORLD NEWSPAGE 34
Installation view courtesy of the Rijksmuseum, Amster-dam, with framing using Tru Vue Optium Acrylic glazing.
by Greg PerkinsWhen artwork is matted fordisplay in a gallery or mu-seum, the mat color is oftenwhite or off-white. Whenpresenting a variety of art,keeping the mat colors neu-tral helps create a co-hesive look throughoutthe space, and allowsthe colors of the vari-ous pieces of art tomake their own state-ments.
Those same whitemats may also be theperfect choice for theperson who purchasesthe art to hang in theirhome. Then again, theymay not be a goodchoice at all. It’s impor-tant to look at eachpiece of art on its ownmerits and do what isbest for it, and the spe-cific circumstances ofwhere it will hang.
As you can see in the twoframed prints, one design in-cludes a simple white mat
border, while the other hasfour layers of matting, creat-ing a faux French Mat look.The white mat causes theart to look yellowed, while aslightly darker mat colorhelps the art look fresher.
The four layer mat also hasthe visual weight and inter-est to prevent the framefrom drawing attention out-ward, away from the art.
The darker bands of color inthe three lower mats serveto pull the viewer from theframe back to the bird.
If the design with thewhite mat were to be placed
on a darker wall color, thebrightness of the whitewould be even more appar-ent. Although we are taughtto frame to enhance the art,
not the room, it is generallypossible to do both quite ef-fectively. What we should allavoid is choosing mat colorsthat match the room thathave nothing to do with thecolor scheme of the art.
Don’t get me wrong,I love white mats. I dorealize they have theirplace, though. High-end art is one of thoseplaces. More colorfulmat choices take on adecorative appearancemore suited to decora-tive art prints.
Within the range ofneutral mats, there arealternatives to whitethat still maintain thedignity of important art,while at the same time,blending better with it.
Greg Perkins is CustomerPrograms Manager for Larson-Juhl. He may bereached via e-mail at: [email protected].
PAGE 36 ART WORLD NEWS
DETAILS OF A FRAME DESIGN
MATTING ARTWORK ON PAPER
Framed print with simple whitemat border, causing the art to look yellowed.
Framed print with four layers ofmatting, adding visual weight andinterest to the piece.
The Professional PictureFramers Association (PPFA)Consumer Awareness Com-mittee has spent the pastfew months revamping itsconsumer “Find-A-Picture-Framer” website with its in-ternational listing of PPFAmembers. The website at:www.findapictureframer.com
includes a blog, framegallery, “PPFA Frames ForGood” section, YouTubevideos, and an ideas center.There are links to the PPFAFacebook pages on customframing in general, as well as on framing military andsports memorabilia. Addi-tionally, there are links to
Twitter and Pinterest. Infor-mation is provided aboutCertified Picture Framer(CPF) and Master CertifiedPicture Framer (MCPF) des-ignations.
When customers in theU.S. and Canada input theirzip code on the website, a
list of retail frameshops in aradius from 10 to 100 milesis provided, most of whichare linked to their websites.Another feature is an inter-national database of PPFAframers that allows con-sumers in other countries tosearch for a retail framernear where they live.
*Ad Template-revised_Layout 1 8/1/12 11:38 AM Page 1
PAGE 38 ART WORLD NEWS
BUSINESS INSIDER
by Elliot BlinderBack in the days beforecomputers and e-mail,artists and art deal-ers met and talked.Like buyers andsellers, we negoti-ated face to face;except when theartist had reachedrock-star status. Inthe 1980s therewas Andy, andeveryone else.
Most art dealershave an Andy Warhol story.I myself have a few, but thebest one I remember almostdidn’t happen. It began in1984 when I was a vice pres-ident of Martin LawrenceLimited Editions, the publish-ing company which thenowned and operated sometwenty Martin Lawrence Galleries.
My cousin Marty Blinder,president and founder of thecompany, had been courtinga relationship with AndyWarhol for a couple ofyears. It had begun with thepurchase of little paintingsof Dollar Signs; and thenlimited edition Warhol seri-graphs for our rapidly ex-panding retail chain,followed by the purchase ofa large group of smallWarhol paintings; littletreasures.
Gradually, over a periodof many months, Martymanaged to peel back most
of the layers of Warholagents, managers, and go-betweens until finally, in
June of 1986, hewas granted anaudience with theicon himself. Os-tensibly, the pur-pose of theaudience was todiscuss a one-on-one interview, anda proposal to produce a newseries of Camp-bell’s Soup Box
paintings. These paintingswere to be reminiscent, but an updated version ofhis famous Campbell’sSoup Cans.
C a m p -bell’s SoupCans toCampbell’sSoup Boxeswould bringAndy’s artand famefull circle,back to itsfantastic be-g i n n i n g s .From there, it would be onto the enormous Americanboomer generation, throughthe fastest growing shop-ping mall art gallery chain inthe nation.
With 100 paintings of 100different Campbell’s SoupBoxes, Martin LawrenceGalleries was going to makeAmerica’s already best-known artist a “household
name” in homes all acrossthe U.S.A. Remarkably,Warhol loved the wholeidea. So did we.
They met at the Factorywhere Warhol showedMarty his new paintings.They were silkscreened oncanvas, stretched and laidon the floor. About 60 differ-ent varieties of Campbell’sSoup Boxes. It was brilliant;a perfectly positioned mar-keting idea.
Picture the cover of TIMEmagazine. It was possibleThe Soup Box would fit perfectly in that rectangularformat with the red letters
framing an inset picture ofAndy hugging my bear-shaped cousin Marty.
Andy and his disciplestook swashes of color andwith a quick stroke here andthere, in a couple of colorsof acrylic paint strategicallyplaced, they made each oneinto a unique original Warholpainting, each one instantlyworth about $16,000 when
sold in our galleries. A tidysum, especially to a com-pany that had just gone pub-lic. On the back of eachcanvas Warhol signed hisname in black. Warhol didnot sign the front of hispaintings because he didnot want his signature to be-come part of the image.Martin Lawrence wouldorder over 60 paintings insmall, medium, and largesizes. Two gigantic 60- by60-inch paintings were alsocreated as part of an “Edi-tion of Original Paintings”by Andy Warhol. One, a 60-by 60-inch Tomato SoupBox was for Marty’s per-sonal collection. Eventually
he installedit behind thedesk in hisLos Angelesoffice.
D u r i n gthe inter-view thatday, whichactually tookplace on thefloor at his
studio on 32nd Street inManhattan, Andy rambledand Marty mostly listened.Marty gave me the record-ing to transcribe, but notmuch of the conversationthey recorded on tape, forhours, was useable.
I swear that most of whatwas said during a period that
MEETING ANDY WARHOL
continued on page 39
Elliot Blinder.
With 100 paintings of 100 differentCampbell’s Soup Boxes, Martin Lawrence Galleries was going to
make America’s already best-known artist a household name
stretched agonizingly overseveral hours, made nosense, had little to do withthe questions Marty or hisassociate Michael Kohn hadasked, and often soundedlike drug- and alcohol-in-duced ramblings of OzzyOsbourne.
It consisted of hours ofspewed, unintelligible psy-chobabble; and very littlethat a serious Warhola-philecould call valuable insight or information. I knew mycousin didn’t do drugs, so lis-tening to the tape a few dayslater in L.A., the scariestnews came when I learnedthat Andy was also stone-cold sober during the entireinterview. I had the greatpleasure of supervising thetranscription of this tape; atask no less daunting than itwas hysterically funny.
Back at the office in Cali-fornia, we struggled andlaughed and finally managedto boil it down to a con-sommé of about 25 re-sponses we could use in thepublication of our 1986 cat-alogue called Warhol:Campbell’s Soup Boxes,(Library of Congress Cata-log Card #86-91855). Iwrote almost all of the pro-motional copy for MartinLawrence in those days,and often acted as Marty’sspeechwriter or ghost-writer. I wrote the introduc-tion to this book ofCampbell’s Soup Box Paint-
ings, though Marty signedhis name to it. I was excitedjust to be involved in anyproject with Andy Warhol,and looked forward to meet-ing him soon with a mixtureof anxiety and anticipation;thinking over and over whatI’d say if we did meet; andhoping I would not soundlike a dull thud or a screech-ing car wreck. My firstchance to meet Andy wascoming soon. Marty was inthe in-crowd now.
Martin Lawrence Galleriesquickly mounted an Exhibi-tion of the New Warhol SoupBox paintings in our Robert-
son Boulevard Gallery, lo-cated in the heart of thedesign center of West Holly-wood; and immediately adja-cent to Beverly Hills. Therewas a great deal of industrybuzz around the event, be-cause Warhol, who was 56at the time, was rarely seenin public and never in LosAngeles.
It was not uncommon forAndy to fail to show at well-
publicized events held in hishonor. He’d stood up pressand celebs, fans, and eventhe in-crowd before. Butthis time The Factory hadcalled to confirm. Andy willbe there. He won’t staylong, they admonished, buthe will fly in and fly out andwho knows what he’ll say ordo or wear, or who willbreeze in with him.
There was a very trendy,expensive invitation sent to acarefully screened guest listthat included all of the L.A.Press, and a cadre of L.A.curators. Press releaseswere sent to all the local and
trade media. Art critics fromevery paper confirmed. Mar-tin Lawrence Galleries tookout $20,000 worth of adver-tising in the Calendar Sec-tion of the L.A. Times,ordered klieg lights, catering,and champagne. We hiredsecurity guards and alertedthe police.
Mayor Tom Bradley re-ceived a personal invitation.The mayor was a good friend
of Marty’s since our com-pany had been active in pro-moting Los Angeles duringthe 1984 Summer Olympicsknown as the Games of theXXIII Olympiad. Marty was an active donor to the Demo-cratic Party, and our citycouncilmen and our localcongressman also con-firmed.
On the appointed nightyou could feel the excite-ment swell the room(s) asthe gallery filled with smartand trendy people from allwalks of life, sipping cham-pagne, glowing, and lookingaround to see who was inthe in-crowd. You could geta Greenwich Village highjust taking it all in. Warholwould be here any minutenow.
Limos arrived from timeto time depositing theirclients—dressed to thenines—and wave after waveof anticipation came overthe room whenever some-one entered or anotherstretch limo arrived at thecurb. People spilled outonto the street to watch andwait for his approach. He’llwear black of course, butwhat else would he wear?Whispering was gaining mo-mentum: “Here he comes.”“There he is…!” “Nope…just more press”
The crowd buzzed, smoked,and drank for nearly three hoursuntil finally everyone realizedthat Andy wasn’t coming after
BUSINESS INSIDERcontinued from page 38
I was excited just to be involved in any project with Andy Warhol andlooked forward to meeting him with a mixture of anxiety and
anticipation... thinking over what I’d say if we did meet and hoping I would not sound like a dull thud
DriftwoodLaMantia Fine Art,Northport, NY,presents “Drift-wood” by DanielDel Orfano as a giclée on canvas,available in twosizes: 29 by 50inches in an editionof 95 ($2,150) and17 1/2 by 30 inchesin an edition of 50($995). For more information, phone(631) 787-8585 orgo to: www.lamantiagallery.com/fineart.
Watercolor Florals
Bon Art, located in Norwalk, CT, presents Charlotte Duffy’s “Watercolor Florals,” an open edition print meas-uring 26 by 24 inches, and retailing for $38.50. For further information, telephone (203) 845-8888 or go to the web-site located at: www.bonartique.com.
Freedom Tower
Robert Finale Editions, Canton, GA, debuts “FreedomTower” by Robert Finale, a giclée on canvas in an edition of100, total. The image is available in three sizes: 36 by 24inches ($1,480), 27 by 18 inches ($1,100), and 18 by 12inches ($720). Phone (770) 345-8691 for further informa-tion, or visit the website at: www.robertfinaleeditions.com.
Shore Break
Addison Art Group, Delray Beach, FL, debuts VadimKlevenskiy’s “Shore Break” as a giclée on canvas in an edi-tion of 95, measuring 60 by 36 inches. The retail price is $2,400. Phone (561) 278-5700 for further information, orgo to the website located at: www.addisonartgroup.com.
all. “He does this…” was allhis people would say. “Youknow, he does this all thetime.” The show, Warhol’sfirst in L.A. in 20 years, wasa smash hit anyway.
Elliot Blinder is a publishedauthor who has consulted on projects with the City of Los Angeles, the U.S.Olympic Committee, Sen.Ted Kennedy, Maxim’s,Warner Brothers, The Dis-ney Stores, Los AngelesDodgers and others. As avice president of MartinLawrence Limited Editions,(1983-1988), he oversaw
publishing and distributionfor artwork produced for theMartin Lawrence Galleries.Mr. Blinder has written or ed-
ited books including “The Artof Hiro Yamagata,” “WarholCampbell’s Soup Boxes”and “Collected Works ofFanch Ledan.” His articleshave appeared in “RollingStone,” “The Village Voice,”
the “Cambridge Phoenix,”“Fusion,” “Elegant LivingMagazine” and “BostonAfter Dark;” and he is cur-
rently a Yahoo! Sports andYahoo! News contributor.
Originally from Bostonand New York, he makes hishome in Southern California,and is CEO of Westlake Vil-
lage Gallery, LLC, www.wlvart.com, publisher and dis-tributor of fine art limited editions, and the manage-ment firm for internationallyrenowned artists includingMark King, DELLORCO,Arbe, Maurice Meyer, ZuMing Ho, and others. He is on Facebook at: www.facebook.com/wlvart andalso his blog is: www.elliotblinder.blogspot.com.
Look out for our follow-up article in a future edition ofArt World News, chroniclingthe renaissance of MartinLawrence Galleries afterthey were acquired by Chalk& Vermilion Fine Arts.
The crowd buzzed, smoked and drankfor nearly three hours until everyone
realized that Andy wasn’t coming afterall. The show, Warhol’s first in L.A. in
Purple WhimseyJeni Lee’s“ P u r p l eWhimsey”from GangoEditions isthe best-selling printfor Junefrom PODExchange,P a n a m aCity, FL. Re-tail price isbased onthe imagesize chosen.Telephone
POD Exchange at (888) 406-2858 or visit:www.podexchange.com.
Elk“Elk” by Lynnea Washburn measures18 by 18 inches and 12 by 12 inches,retailing for $18 and $10, respectively.Telephone Gango Editions, Portland,OR, at (800) 852-3662, or go to:www.gangoeditions.com.
BloomPhil Gleissner’s “Bloom” measures24 by 36 inches and retails for $34.Telephone Poems Art Publishing, SaltLake City, Utah, at (888) 447-6367 or go to the website located at:www.poemsart.com.
World Map“World Map” byPaul Duncan meas-ures 48 by 24 inchesand retails for $76.Telephone Rosen-stiel’s of London, in the U.S. at (480) 305-0714 for further information, or go to the website located at: www.felixr.com.
Here are the best selling prints from the month of
June
Morning Stroll
“Morning Stroll” by Steven Harvey meas-ures 48 by 36 inches and retails for $55.Phone Haddad’s Fine Arts, Anaheim, CA,at (800) 942-3323, or go to the website
at: www.haddadsfinearts.com.
Evening TideTom Reeves’ “Evening Tide” meas-ures 36 by 36 inches and retails for$65. Telephone PI Creative Art,Toronto, Canada, at (800) 363-2787for further information, or go to:www.picreativeart.com.
JUL-AUG13-noe-pg1_Layout 1 8/5/13 3:38 PM Page 1
ART WORLD NEWS PAGE 45
Rain I“Rain I” by Patricia Pinto measures 22 by 28 inches and retails for $25. For further information, telephoneSundance Graphics, Orlando, FL, at(800) 617-5532 or visit the website located at www.sundancegraphics.com.
Nightfall
“Nightfall” by Donna Young measures 27 1/2 by 27 1/2 inches and retails for $38.For further information, telephone WinnDevon, Richmond, British Columbia, at(800) 663-1166, or: www.winndevon.com.
Family Roots“Family Roots” by Britt Hallowellmeasures 18 by 18 inches and re-tails for $20. For more details, tele-phone Penny Lane Publishing,New Carlisle, Ohio, at (800) 273-5263, or go to the website at:www.pennylanepublishing.com.
Grande and Glorious“Grande and Glorious” by JudyShelby measures 27 by 27 inchesand retails for $32. For further in-formation, telephone Classic Col-lections, Irvington, NY, at (914)591-4500, or go to the website at:www.classiccollections.com.
Grand Reserve“Grand Reserve” by MarcoFabiano measures 36 by 24inches and retails for $27. Formore information, phone WildApple, Woodstock, VT, at (800)756-8359, or visit the websiteat: www.wildapple.com.
Here are the best selling prints from the month of
June
Aeronautic Blueprint III“AeronauticBlueprint III”by VisionStudio is anopen editiongiclée meas-uring 18 by29 inches($65). CallWorld ArtG r o u p ,Richmond,VA, at (804)213-0600,w w w . t h ew o r l d a r tgroup.com.
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PAGE 46 ART WORLD NEWS
CALENDAR
July 25 –29: Art South-ampton located in a pavilionbehind Southampton ElksLodge, adjacent to South-ampton Golf Club off Route27A. Produced by Art MiamiLLC Productions. Visit: www.art-southampton.com or tele-phone (305) 515-8573.
July 29–August 2: LasVegas Market, World Mar-ket Center, Las Vegas.Visit: www.lasvegasmarket.com, (888) 962-7469.
August 1– 4: ArtAspen,Aspen Ice Garden, Aspen,CO. Hamptons Expo Group.For more information, visit:www.art-aspen.com or call(631) 283-5505.
August 9–11: 22nd an-nual Loveland Sculpture In-vitational under tents besideLake Loveland, CO. Love-land Sculpture Group. Call(970) 663-7467 or: www.lovelandsculpturegroup.org.
August 10–11: 30th an-nual Sculpture in the Park,Benson Sculpture Garden,Loveland, CO. LovelandHigh Plains Arts Council. formore information, visit: www.sculptureinthepark.org.
August 17–21: NY NOW(formerly New York Interna-tional Gift Fair), Javits Convention Center and Pier94, New York. George LittleManagement. Visit: www.
nynow.com or call (800)272-SHOW.
September 19–22: ExpoChicago, Navy Pier, Chica-go. Produced by Art Exposi-tions LLC. Visit the website:www.expochicago.com formore information, or call(312) 867-9220.
September 19 –22:Houston Fine Art Fair,George R. Brown Conven-tion Center, Houston. Hamp-tons Expo Group. Visit:www.houstonfineartfair.comor call (631) 283-5505.
October 3– 6: SpectrumNew York, Javits CenterNorth, New York City. Pro-
duced by Redwood MediaGroup. Contact Eric Smith,e-mail: [email protected], (216) 225-0962,or Rick Barnett at: [email protected],(831) 747-0112 or: www.spectrum-newyork.com.
October 3–6: AffordableArt Fair NYC, The Tunnel at 28th St. and 11th Ave.,New York. Produced byRamsay Fairs. Visit: www.affordableartfair.com or tele-phone (212) 255-2003.
October 19–24: Interna-tional Home FurnishingsMarket, High Point, NC.Call (800) 874-6492 or visit:www.highpointmarket.org.
Monica, CA, finds it easier todo charity work as the re-quests come in throughoutthe year. “We try to look ateach request separately,”she says. “Part of the con-sideration is if they are a localgroup, or one that is sup-ported by one of our staffmembers or customers. Forlocal groups, we will donate apartial discount on services,such as framing. This opensthe door to possible repeatbusiness.” Ms. Randall willalso donate poster art andold inventory to numerouslocal charities, includingschools and police and firedepartment functions.
Being close to collectorswill also bring in requests.“We have customers that will ask, right after buying a piece of art, for us to makea donation to their child’sschool fundraiser,” Mr. Milan mentions. “It can bedifficult. You have to reallypick and choose what youcan do.”
Making (and sticking to) aplan at the beginning of theyear as to which charities to do can keep the businesson track and profitable. MilanGallery accepts donation requests in January and Feb-ruary for the year, and makessure that charities know ofthis time frame. This waythey can map out their workand event schedules to notdisrupt regular business inthe gallery.
Mark Karelson, director ofAtlanta-based Mason MurerFine Art who do about 30charity events a year, saysthat quite a lot of work mustbe done to research the or-ganizations. “We look at themission and the efficiency ofthe non-profit,” he says.“We consider their ability toprovide their services withminimal non-project-relatedoverhead.”
Charity Navigator (www.
charitynavigator.org) is oneway to look into the validity ofa non-profit. As an independ-ent evaluator, they assessthe financial health, account-ability, and transparency ofsome of the largest charitiesin the U.S.
Kim Miller, co-owner withher husband Josh of OceanGalleries in Stone Harbor andAvalon, NJ, has been activefor years in local, regional,and national charities at their
two New Jersey locations.“We don’t necessarily havestrict guidelines, but we lookfor charities that are mean-ingful to us in some way—particularly when they arebenefiting something nearand dear to us,” she says.“A few years back, we werehosting the incredibly tal-ented Howard Behrens, whosuffers from Parkinson’s Dis-ease, so we were eager tosupport the Michael J. FoxFoundation. This summer, we
worked with young artist Au-tumn de Forest to help theHurricane Sandy Relief Fund.Our Stone Harbor gallerywas one of many businessesat the shore that sufferedtremendous water damagefrom the storm, so we wereexcited that de Forest wouldwork with us on such an im-portant cause.” This eventgarnered a lot of media atten-tion from local newspapersand TV news programs, tothe Huffington Post, The
Wendy Williams Show, andThe Today Show.
“On a community basis,we try to support whatevercharitable organizations wecan as it is our way of givingback to the local area whichhas been so good to us overthe years,” Mrs. Miller says.“When we tie-in a charity toan event, we normally do asignificant amount of re-search to make sure thattheir goals and values alignwith ours. We then work to-gether to plan a meaningfulway to raise funds. It’s usu-ally a win-win with the chari-ties we support as our clientshave the chance to learnabout the organization andthe charity generally drawstheir own supporters wholearn about our galleries.”
After years of doing manyevents, Ms. Snowden saysthat Michael J. Wolf FineArts now concentrates onone big event a year. Thebenefit to this is that it buildsanticipation among collectorsand makes the event special.“We do a Thomas Arvidthree-day event that benefitstwo cancer charities: SusanG. Komen for the Cure andMovember, a prostate can-cer foundation.” Arvid playsa big role in the event, as at-tendees purchase raffle tick-ets for artwork, wine, and giftcertificates, and the artistpicks the tickets during a re-ception.
This year’s event, taking
Art One Gallery is located on the highly foot-traffickedThird Street Promenade in Santa Monica, CA.
place in November, is partic-ularly important as it coin-cides with the San DiegoBay’s Annual Wine andFoods Festival in which Arvidhas been chosen the 2013Featured Artist. The gallerywill hold a preview of an orig-inal painting created by Arvidwith a guest list that includescollectors, as well as all ofthe important people fromthe Festival. The painting willthen be auctioned at the fes-tival and limited edition printswill be sold at the gallery.“People get really excited atthe opportunity to win anoriginal piece of Arvid art,while also supporting an im-portant cause.” This year’sauction will benefit charitieslinked to the festival.
The event with the galleryincludes private dinners withthe artist and a reception.“Our collectors are great andlove hanging out withThomas, having him sign theirwork, and adding to their col-lection. This year is a veryspecial occasion because,not only is the painting valuedat $80,000, but the waitinglist for an Arvid original com-mission is five years. Thistype of collector buzz cancreate lasting effects.”
Mr. Karelson has seenfirsthand that working withcharities can help galleriesgain more access to mem-bers of their community withdisposable income. “The the-ory is correct, but results
vary greatly,” he says. “Itcertainly has worked out thatway on more than one occa-sion, but one must choosethe organizations carefully.”
Mrs. Miller, whose galleriestypically participate in threeto five significant charitableevents per year, has foundthat it’s best to have a variety.“While it is true that higherprofile organizations havesupporters with higher dis-posable income, we try to sup-
port a mix of charities. How-ever, we try to remain altruis-tic in our goals of selectingand working with non-profits.”
Oftentimes the charity willhandle most of the details ofthe event, but gallery staffstill play a big role. “Our teamworks closely with the devel-opment or public relationscontact at the charity to co-ordinate all efforts, from dis-semination of the information,creation of an invitation, to at-
tracting supporters,” Mrs.Miller says.
Mr. Karelson says thatstaff participation varies. “Weraised $80,000 for ChrisKids’ one night on our owninitiative where we handledthe entire event,” he says.That night benefited the non-profit that works with abusedand neglected youth in theAtlanta area, and featuredsome 300 guests and 50 vol-unteers. “At other events,
we simply provided venuespace at a deep discount.”
While a charity event is notnecessarily about the gallerymaking sales, then and there,it does happen. Mr. Milansays that he always hastrained personnel available togive private gallery tours andthat has lead to spontaneoussales. “We have had peoplebuy art during an event thatwas unexpected. One time, awoman at a reception was
sitting at her table, got the at-tention of one of our staff andpointed to a painting saying,‘Can I buy that piece rightthere?’ That was a $6,000sale, just like that.”
Mr. Milan also feels thatone must be selective withwhich donations they make.“It’s a tough decision whenchoosing to give art away,”he says. “You don’t want togive away your best art, butalso don’t want to give some-thing away that doesn’t prop-erly represent your gallery.”
One downside to openingthe gallery to others is thatthere are costs that need tobe absorbed. “Charity eventsbring in food and wine,” hesays. “I have to have my car-pets professionally cleanedevery other month. It’s thenature of the beast, but inthis economy, it can be an-other expense that cannot beignored.”
Mr. Jaffe concludes thathelping the community withfundraising events has a rip-ple effect that can be goodfor everyone involved. “Whatcomes around goes around. Iwouldn’t advise anyone inbusiness to just do charitywork for the sake of publicityalone. We believe that ourclients are the backbone ofwhat we do and being an active part of the community-at-large can really make animpact in many ways.”
Koleen Kaffan is ManagingEditor of Art World News.
Chalk & Vermilion Fine Arts, Greenwich, CT, presents Erté’s“Ready for the Ball,” a bronze sculpture with hand-appliedpatina and polished embellishments in an edition of 462.Measuring 22 by 18 1/2 by 5 inches, the retail price is$12,500. For further information, phone (203) 869-9500 orgo to the website located at: www.chalk-vermilion.com.
Midsummer (Cardinal)
Mark Hopkins Sculpture Inc., Loveland, CO, introduces“Midsummer (Cardinal)” by Mark Hopkins, a bronze sculp-ture in an edition of 25, measuring 18 by 7 by 8 inches. Theretail price is $1,895. Call (800) 678-6564 for more information, or visit: www.markhopkinssculpture.com.
Gaia’s BreathEichinger SculptureStudio, Portland, OR,is offering a precastprice on “Gaia’sBreath,” a bronzesculpture, availableSeptember 2013. Thesculpture stands 4 feettall and is in an editionof 50. The precastprice is $12,500. Pre-cast offer price is avail-able only for the firstfifteen or until the fin-ished bronze goes intoproduction. For moredetails, call (503) 223-0626 or go to: www.eichingersculpture.com.
Oh, The Places You’ll Go!
Chase Art Companies, Northbrook, IL, debuts the eighth,and final, sculpture in the Tribute Collection II. Titled “Oh, The Places You’ll Go!” the bronze sculpture is in anedition of 195, measuring 12 by 9 3/4 by 7 inches. The re-tail price is $6,495. For more information, call (847) 564-2000 or visit the website located at: www.chaseart.com.
Sculpture DuLac Inc.in Saint-Sauveur,Quebec, Canada,presents “FallingInto You (Envole VersToi)” by JacintheDugal-Lacroix, abronze sculpture inan edition of 8,measuring 17 by 37by 10 inches. Theretail price is $7,500.Phone (450) 340-1632 or visit: www.sculpturedulac.com.
Defending LibertyMark Hop-kins Sculp-ture Inc.,Love l a nd ,CO, presentEli Hopkins’“DefendingLiberty,” abronze in anedition of100, meas-uring 6 by 7 by 5inches. Theretail priceis $895.Phone (800)6 78 - 6 564 or go to the artist’swebsite located at: www.artofelihopkins.com.
GardenReverie
Studio Bonêt, Or-land, CA, debutsTamara Bonêt’s“Garden Reverie,”a bronze sculpturein an edition of 50,measuring 8 by 15by 8 inches. The re-tail price is $4,500.For more details,call (530) 865-8700or go to: www.tamarabonet.com.
CuboidZaluski Sculp-ture, located inRonkonkoma, NY,offers “Cuboid” bySteven Zaluskias an original kinetic, weldedaluminum sculp-ture with clearpowder coating.Measuring 30 by78 by 30 inches,the retail price is $15,000. Formore information,phone (631) 580-9613 or go to thewebsite: www.zaluskisculpturestudios.com.
DE Fine Art, Nor-cross, GA, offersAlvar Sunol’s “LosCuatro Elementosde la Naturaleza,” abronze sculpture,available in two fin-ishes: ages verdeand classic bronze,shown. In an edi-tion of 45, thesculpture meas-ures 10 1/4 by 17inches and retailsfor $11,000. Fordetails, call (770)300-9733 or: www.de-fineart.com.
TangoR o b e r tBane FineArt, BeverlyHills, CA,p r e s e n t s“Tango” byF a b i a nPerez, ab r o n z esculpture inan edition of195. Meas-uring 18inches high,the retailprice is$ 1 8 , 0 0 0 .The sculp-ture ismounted ona hand shaped black quartz base. For more information, call (310) 205-0555 or go to: www.fabianperez.com.
Raven onStoneMorrison Gallery,Kent, CT, presents“Raven on Stone”by Peter Woytuk asa bronze on stonemeasuring 20 by120 by 12 inches.Price available uponrequest. For furtherinformation, tele-phone (860) 927-4501 or go to thewebsite at: www.morrisongallery.com.
Startled Sky NymphSwan KingE d i t i o n sLLC, SanFrancisco,d e b u t s“S t a r t l e dS k yNymph,” alost waxb r o n z esculpture byM i c h a e lP a r k e s ,available inan edition of90. Measur-ing 10 by 29 by 12inches, theretail priceis $8,800.P h o n e(650) 728-1400 or visit: www.theworldofmichaelparkes.com
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