artPark

An Insider's View?

If there was any question of the increased interest that the role of the art market plays in the economy, look no further than the recently developed Art Market Confidence Indicator maintained by a London-based group called ArtTactic.

From their website:

ArtTactic was set up by Anders Petterson in 2001 as a response to increasing interest for responsive and dynamic art market research and commentary. ArtTactic has developed methodologies and analytical frameworks for the art market often used by economists and people in the financial markets. By combining both qualitative and quantitative research tools with an in-depth knowledge of how the art market works, ArtTactic is giving art market analysis a new dimension.

Sounds like a good thing to measure… until I saw how their Art Market Confidence Indicator is calculated. Apparently, the Confidence Indicator (developed in May 2005) is based on the "opinions of a small group of carefully selected ‘insiders’ (the sample is currently around 160 individuals)." The insiders are collectors, auction houses, advisors and other art professionals.

So, 160 art insiders are surveyed, and this is supposed to give me insight into the future direction of the art market? Seriously? And these folks want us to buy their reports? I think I’ll pass on their numbers and graphs.

Wouldn’t it be better to survey a wider audience? You know, people who are on the actual front lines of the art market, like real artists, gallery owners, museum development personnel, government types, etc. Maybe then we could get a good measure of the sentiment in the art market as a whole.

Trawick Prize

I am thrilled to see and pleased to announce that Warren Craghead is one of the 53 semi-finalists for this year’s Trawick Prize: Bethesda Contemporary Art Award. Warren will be exhibiting his quixotic and fearless drawings at Migration in January 2009.

2008 marks the 6^th annual Trawick Prize. Over 350 artists from Maryland, Virginia and Washington D.C. submitted artwork to the competition. Up to 15 artists will be invited to display their work from September 2-27 in downtown Bethesda at Heineman Myers Contemporary Art. The top four winners will be awarded a total of $14,000 in prize monies making this visual art competition one of the largest in the nation.

Former Second Street Gallery director, Leah Stoddard, is one of the three jurors for the competition. Leah has always had a sharp eye for talented artists and their evocative work. No doubt worthy winners will be selected.

Another Migration favorite, Susan Jamison, is also a semi-finalist. Good luck to both Warren and Susan.

Stocks, Bonds, or Monet?

Oil is now $140+ a barrel. Gas is over $4 a gallon. The Dow is at its 2008 low (and going lower). The Federal Reserve is hand tied. Banks are beginning to flinch under the stress. The bond market is doing nothing. Home values are dropping. Even the unemotional Steven Pearlstein of the Washington Post says the economy and its future are looking pretty grim. Ugh!

I was ruminating over these issues today with a buddy today. He asked the question, "So where are we supposed to put our investment dollars?" My first reaction was a shouted "Cash!" But then I thought for a second…

A Monet water lilies painting just set a new record for the artist and sold for $79 million at auction earlier in the week. Other art auction houses are seeing above average sales on high-end art. The world of contemporary art is still rocking along. And, it looks to me as though the more reasonable (i.e. grassroots) art market where work valued at the less than $10,000 level is booming too.

So, if you are as pessimistic about the economy as most people around here are and looking for some place to put your money that is a bit less volatile than the stock market, bond market, real estate market, etc. and not in a sock under your mattress, I recommend buying art. Not only is it proving to be a sound investment, but it is good for the soul, and supports the career of any number of very talented artists.

Piedmont Council of the Arts

Laura and I attended the Piedmont Council of the Arts’ annual meeting last night at the McGuffey Arts Center. Executive Director, Maggie Guggenheimer, made a very thorough and insightful presentation reviewing PCA’s accomplishments over the past 12 months and a glimpse of what is in the works for the next 12 months. Of particular note was the "unveiling" of PCA’s updated website and new blog. Give them both a look.

Chesapeake Bay Swim – 2008

The following is some news of a different sort – but it’s a big part of how Laura and I spend our free time...

On June 8, Laura and I completed our annual swim across the Chesapeake Bay. It was my 7^th and Laura’s 4^th consecutive time. Whew!

For a little info and background:  The Chesapeake Bay Swim is (in my mind) the premier open water swim race on the east coast. Over 600 people show up for it annually. The race is 4.4 miles long starting on the shores of Sandy Point State Park, crossing the Bay between the twin bridges, and finishing on the shores of Kent Island by Hemingway’s Marina. Swimming that kind of distance is one thing, but for this race, contending with the turbulent and unpredictable conditions is the real challenge. This year was no different.  The main culprit was a flood current that we all had to work against primarily during the second mile of the race.

The uniqueness of this event is unparalleled. Organizers work with local, state and federal officials to pull it off. It is the only time the shipping channel under the bridges is completely closed to boat traffic (and it requires an act of Congress to have it happen). The Coast Guard has the final say whether the event goes off or not. Risk of tragedy is extremely high. Although most people who start get themselves across, there have been a couple of years when 80% have been pulled from the waters before finishing. Safety is paramount and it takes the efforts of hundreds of organizers and volunteers to make it happen. Bottom line: It is an extreme privilege to compete in this race. Laura and I love it.

For the record, I finished in 4^th place overall, and Laura finished in 364^th out of the total 623 men and women who started. Just getting across is always a worthy goal (this year 602 actually made it all the way across). We are both pleased with our final results. Of special note… Laura was one of the very few who competed without a wetsuit – just to make things a little tougher.

Finally, the race is a fundraiser for the March of Dimes and for the preservation of the Bay’s health through the Chesapeake Bay Foundation. Since the event was started, over $1,000,000 has been raised.

Here are a few pictures to give you a very small idea of what this event is all about.

 

 

What we saw at AAF NYC

During the four and a half days of the Affordable Art Fair, neither Laura nor I had much of a chance to get outside our own booth and fully study all the other great art exhibited at the fair – heck, it was so busy, we had to remind ourselves to take restroom breaks. We did however, get a few chances to take a spin around the fair and at least catch what other galleries had up on their walls. There were over 70 galleries at AAF exhibiting a minimum of three artists’ work each (total of more than 300 artists’ work under one roof - yowza). It was particularly nice to see a large amount of high quality drawing and printmaking exhibited. Overall, we thought the work exhibited was very even - no dogs at this fair.

Although this is far from a thorough list of what struck us as being particularly good work, it is a sampling of what caught our eye:

Ray Maseman (printmaking) @ New Grounds Gallery (Albuquerque, NM)

 

David Wheeler (painting) @ Art Movement (London)

 

Laurel Hausler (painting and drawing) @ Nevin Kelly Gallery (Washington, DC)

Macha Suzuki (drawing) @ Sam Lee Gallery (Los Angeles)

 

Marianela de la Hoz (egg tempera) @ Alida Anderson Art Projects (Media, PA)

 

Some of our already known favorites were also represented at the fair, including Maggie Taylor, Tim Tate and Lenny Campello.

Charlottesville Art representing in New York City

Last week, Migration exhibited at the Affordable Art Fairin New York City. The fair is a juried event for exhibitors. We were judged and accepted primarily on the quality of the artists we intended to exhibit. Needless to say, we were very pleased to be accepted and included with the other 70+ galleries hailing from around the country and world (US, Europe, Asia, Canada, South America and Australia). For us, it was particularly important that we had the opportunity to introduce our artists’ work to the New York art market as well as show off the quality of work we have here in little old Charlottesville.

From the feedback Laura and I got (both in word and, the most relevant indicator of approval, sales), the Charlottesville art scene was well represented in New York City. In fact, we received a lot of praise as being "one of the best galleries at the fair" (modesty is forcing restraint here). Laura and I obviously give all the credit to the six artists we exhibited: Brian Mallman, Foust, Arturo Mallmann, Randall Stoltzfus, Joachim Knill and Alan Dehmer.

During the fair, two different documentary film makers spent a notable amount of time filming in the Migration booth and interviewed us about the significance and importance of our artist’s work. Some of our patrons were also interviewed as they strolled through. We also had two Japanese news teams focus on the Migration booth as part of their fair reports. We’ll link to these international video feeds as soon as they are posted.

Migration and its artists also got some attention from the local media. Read a few of the reviews of AAF NYC here, here, here, here, and here.

In addition to what Migration was doing, one of Charlottesville’s top artists, Michael Fitts, was represented at AAF NYC by Bethesda, Maryland gallery The Fraser Gallery. Prior to the final day of the fair, Catriona Fraser reported that 75% of all of Michael’s work sold at the fair.  (I’m not sure, but he may have sold out by the time the fair closed on Sunday). Well done, Michael.

And, it was a real treat to see former C’ville gallery owner (Nature Gallery) Laurel Hausler’s spiritual and beautifully haunting paintings at the fair. Laurel is represented by Nevin Kelley Gallery in Washington, DC. Laurel’s work truly stood out on the fair walls in Chelsea.

So, I can safely say that the Charlottesville art scene was not only well represented in NYC, but it scored big! [insert sound of cheering crowds.]

Affordable Art Fair NYC – Recap

Who said the art market is suffering? Yes, we’ve all read the news of how the glum US economy is hurting the art market; there have been plenty of reports from Christie’s and Sotheby’s about the latest Picasso hitting the auction block selling for $41 million rather than the expected $44 million. But, I have reported in the past that I hate seeing the art market solely measured by the multi-million dollar sales of famous work on the secondary market. This just isn’t an accurate way to measure what is really happening out there. It’s like judging an entire iceberg by measuring only the tip sticking above the surface of the water. So much more lies out of sight. I am here, however, to say that the grass roots art market is far from dead.

As first hand experience, I offer this: Laura and I spent last week in New York City where Migration exhibited at the Affordable Art Fair. All art offered at the fair was priced between $100 and $10,000 (hence the name "Affordable" and, I believe, is a better representation of the broader art market rather than what a Picasso or Van Gogh or Koons is currently selling for). It was billed as "the place for new and established collectors to discover and buy paintings, drawings, sculptures, video, photography and limited edition prints from distinguished galleries." Over 70 top-notch galleries from around the world exhibited.

From our perspective, the results of the fair were tremendous. For starters, the attendance figures were huge – from a long line of people strung down the block on Wednesday’s opening night, to a constant flow of people coming through the doors each of the following four days. But what truly stood out in my mind was the overall high level of energy at this fair. Virtually everyone was thoroughly engaged, genuinely inquisitive, thoughtful, appreciative, and most were savvy enough to look at everything, take notes, and return with a list of excellent questions about the art and artists. Neither Laura nor I ever felt any of that "art attitude" or snobbery that often floats through some of the other gallery fairs out there.

Although dubbed "affordable", the quality of art exhibited was terrific and the gallerists were all working hard to keep up with the many potential customers. To top it off, the AAF administrators and staff maintained a great enthusiasm and professionalism throughout the four and a half days. Kudos to fair director Laura Meli for her most excellent work. (I particularly like this quote from Ms. Meli and how the fair is an excellent opportunity for collectors and artists: "It's a way for those interested in the arts to get their first exposure to the art world. It's a way for experienced buyers to see galleries they've grown to love and be introduced to new and young artists. And it's a way for us to help artists get the exposure that they need to continue to make the beautiful things that we enjoy so much.")

Bottom line… We all may be grumpy about spending $4 per gallon of gas, but there is still a strong desire to buy beautiful and meaningful artwork which enriches our daily lives. The grass roots art market is alive and well.

All the hard work Laura and I put into exhibiting at AAF NYC paid off in spades. Promoting and selling the artwork of Migration’s artists is what it is all about for us. Fair attendees clearly enjoyed and appreciated the work we exhibited, and they bought (with gusto) what they loved. Sales were made to museum collectors, first-time art buyers, experienced collectors, local buyers and international buyers. We sold a significant number of pieces from each of the six artists we exhibited (even a complete sellout of Arturo Mallmann’s paintings). It was a great fair for us and our artists.

We’ll be back next year.

Affordable Art Fair - Opening Night

Wow!  What a night... Last night was the opening of the Affordable Art Fair in New York City (located in the Altman Building / Metropolitan Pavilion at 135 18th Street).  The doors opened at 6pm on a beautiful early summer evening, and a line of people quickly strung down the street.  Inside, the energy was flowing and spirts were high.  It was great to see such a large and engaged group of people.  For over three hours, Laura and I were moving fast to keep up with everyone.  It was great.

As we had hoped, the best part was introducing our artists' work to the New York crowds.  Better yet, each of them garnered a great deal of attention... and sales.  We can now say that Alan Dehmer, Joachim Knill, Brian Mallman, Foust, Arturo Mallmann and Randy Stoltzfus have all been successfully shown in New York.

Laura and I will post a more indepth article detailing what we see and experience during the next four days.  In the meantime, come to the Fair and see it all for yourself.  Migration is at booth A-301.  AAF NYC runs through Sunday evening.

Quotable quote

I love this one…

"At the end of the day, you can’t hang money on your wall. The only reason I like money is you can buy art with it."

Said by Miami real estate developer and art collector Martin Margulies. Mr. Margulies opened The Margulies Collection at the Warehouse in Miami in 1999 to house (and be available for public viewing) his extensive collection of over 4,500 pieces of contemporary and vintage photography, video, sculpture and installation.

SOFA New York 2008

SOFA New York was held last weekend. 67 leading international galleries offered masterworks in ceramics, glass, metal, wood and fiber by major artists. Reports thus far are very positive. Record turnout and record sales.

From the SOFA website:

"While we knew from the recent spate of contemporary art auctions, the pulse of the market was feverish, we were a bit taken back that a similar frenzy of buying marked our 11th edition Opening Night festivities," said Mark Lyman, founder of the SOFA fairs in Chicago and New York, and vice president of dmg Art & Antiques which also owns and produces the prestigious Palm Beach fairs, among others. "Dealers reported solid attendance on the floor throughout the weekend and a considerable number of new collectors from here and abroad."

Good attendance… Successful sales… This is all great news as Laura and I prepare to exhibit at the Affordable Art Fair in NYC next week. Wish us luck.

Look 3 - Festival of the Photograph

It’s that time of year again… Big pictures of animals hanging in the downtown trees have returned. That means Charlottesville’s Festival of the Photograph is back for its second year. The Festival bills itself as:

3 days of peace, love and photography. A festival for those that love the still image, celebrating the careers of legendary artists, emerging talents and the best work from the past year.

Charlottesville’s historic downtown will be transformed into a living image with exhibitions, master classes, insight conversations, outdoor screenings, and special events – allowing photographers and enthusiasts from around the world to show work, meet new artists, and celebrate photography.

June 12 - 14 will be all about photography here in Charlottesville. For a full schedule of exhibitions, events and destinations, go here.

 

 

Pinhole Photography Workshops

The popularity of digital photography has risen exponentially over the last decade. There are still a huge number of artists who use film photography and traditional printing techniques. But, more and more frequently, Laura and I are approached by photographers showing off their digitally snapped and enhanced images printed by high-end inkjets. Some of this work is absolutely terrific. However, most of it is hobbyist work – not quite the art we are looking for.

On the other end of the spectrum from digital photography is Pinhole Photography. Like a lot of people, I made my first pinhole camera in my 7^th grade art class. Although very simple, it provided all the magic the science and art of photography can offer. What a blast I had with that camera. The concepts and potentials ran wild in my mind as I roamed the house and neighborhood "snapping" shots of anything that would hold still long enough.

Moving away from the instantaneous nature of digital photography, pinhole photography forces you to slow down and become much more intimate with the craft of photography and your subject-matter. Pinhole images are softer (less sharp) than pictures made with a lens; the images have nearly infinite depth of field; and wide angle images remain absolutely rectilinear. They are a true throwback and provide a unique quality of beauty.

With this in mind, I am thrilled to report that Steve Griffin, the multi-talented artist who exhibited his acrylic on canvas Strata series of paintings at Migration last January, is conducting 2-day Pinhole Photography Workshops in his Colonial Beach, Virginia studio throughout the summer. From now through August 29, Steve is teaching Friday-Saturday workshops that include making a camera, taking pictures, and learning old-fashioned darkroom skills. Steve is a newly retired University of Mary Washington art professor. His artistic and professorial skills guarantee that his workshops will be entertaining, enlightening and rewarding for all ages.

For anyone with an interest in photography, I highly recommend enrolling in one of Steve’s workshops. For additional information, contact Steve or Gale Griffin at (804) 224-9339 or (804) 761-1113; or email them at griffinstudiocb@verizon.net

Peter Schjeldahl

There has been something of a debate brewing regarding the fall of quality art criticism (and a sub-argument regarding the actual value of art criticism in general). Personally, I believe much of today’s "criticism" has been reduced to: simple, adjective-filled descriptions of pieces of art; feel-good, "everyone’s a winner," vapid writing; or, worse, critics using most of their column’s allotted word count talking about themselves instead of the art. Ugh.

With that said, there is a nice little Q&A by Jillian Steinhauer with New Yorker art critic, Peter Schjeldahl. Read it here. Mr. Schjeldahl is a lyrical writer who balances his candor and honesty with broad and deep context. It makes for valued criticism…. and enjoyable writing. In Mr. Schjeldahl hands, art criticism is far from dead.

From the interview, some of my favorite lines by Mr. Schjeldahl are:

… there’s always a lot of philosophical obscurity around. We have a very specialized civilization where the farther inside anything you go, the less you understand. Take shop talk, which can be quite enchanting. It’s great to hear mechanics talking, or even computer geeks, when you understand every fourth word. There’s a kind of poetry to it.

You don’t prepare to love art. I mean, why would you, in a busy world? And if you love it, if you have a proclivity for it — and not everybody does, and good luck to everybody — you’re going to want information. But you’re going to want it because of your experience, not in order to have the experience. It’s like anything else that exists purely because humans enjoy it. You don’t read the chemical content of candy before you eat it.

…it is a challenge; try writing about music. The thing is, there’s something really easy about art, which is that it holds still. Almost everything else we think of as an art unfolds in time. The task of description is an essential operation of art criticism, and it’s the thing I work hardest at and that I want to go by the quickest. I want to make it seem really easy and transparent.

Image: Photo of Peter Schjedahl by Alex Remnick, courtesy Thames & Hudson

The Affordable Art Fair – New York 2008

As we reported earlier, Migration will be an exhibitor at this year’s Affordable Art Fair in New York City. The AAF will be held in the Metropolitan Pavilion/Altman Building in Chelsea from June 12-15. There will be a special VIP preview cocktail party during the evening of June 11. Over 70 international galleries will be exhibiting. Keep tabs on the happenings at the AAF website (and here too, of course).

For the Fair, we have selected to show the best work from these six artists: Brian Mallman, Alan Dehmer, Foust, Arturo Mallmann, Joachim Knill and Randall Stoltzfus. Why did we pick them? The price and media constraints of the Fair were a factor - you gotta follow the rules. But, first and foremost, their work reflects a passionate engagement with the contemporary world necessary to allow their work to stand out. With their art, they put you directly in this mess the world is in and pull you out of it. There is no higher purpose for art than to possess these twin powers.

To explain the second reason we chose them, we must turn to a recent article written by Blake Gopnik of the Washington Post. While discussing the recent unveiling of the MLK memorial model, Gopnik discusses the rise in importance of figurative art. For us, Blake’s words had the uncomfortable ring of truth. (Note: I am loathe to agree with Gopnik, so I figure (pardon the pun) what he said must be, at the very least, true-ish.) In the article, Gopnik said:

What would a monument to King look like that was as forward-looking, as change-inspired as the man himself? I've no clear idea. It would probably be figurative, like most of today's best art. Abstraction has lost the power it once had to make us think in terms of big ideas; it's mostly come to have the feel of lobby decoration.

If you interpret "figurative" broadly, as one must, then all of the works we will be exhibiting at AAF are figurative. None of them let you pass by without being changed, like lobby decoration. That is exactly why we are putting our gallery’s resources behind them.

And so that you can get a sampling of what Migration will be exhibiting at AAF - even if you can’t make it to NYC - we have created an AAF Photo Album in the sidebar with images of some of the art we’ll be exhibiting. Consider it a pre preview. And, if you see anything you have to have, let us know before we load it into the van.

Finally, if you might be in NYC in mid-June and want to attend the AAF, please contact us and we might be able to send you complimentary tickets… if we still have some.

   Alan Dehmer - "Seek"

   Foust - "Shoulder Surfing"

   Brian Mallman - "Meetings 16"

   Arturo Mallmann - "Vision of the Future"

   Joachim Knill - "Tomato Crossing"

   Randall Stoltzfus - "Coriolis"

Gardner Museum Theft Information

For all you arm-chair art heist sleuths out there, the Boston Herald has launched a website dedicated to information regarding the 1990 theft at the Isabella Stewart Gardner Museum in Boston. In that heist, thieves swiped 13 works including three Rembrandts, a Vermeer (pictured below) and five Degas drawings. Among other bits of news, the site includes updates on tips received so far. In particular, if you like real-life tales of mobs, drugs, murder, larceny and shady behavior in general, then checkout the write-ups on the list of suspects here. Entertaining reading to say the least.

Let’s not forget the Gardner Museum is offering a $5 million reward for information leading to the return of the works in good condition. So… if you happen to have direct knowledge but are afraid of losing anonymity by coming forward, feel free to let me know.  I’ll come forward with the evidence and we can split the $5 million 60/40.

Are anti-depressants killing art?

In this current pill popping culture we live in, are over-prescribed anti-depressants cutting short our ability to create truly soul searching, multilayered, art?

This is the question posed by World-Herald writer John Pitcher. Read his entire article here.

Is Dr. Phil putting the kibosh on deep, narrative art? What happens to the creative spirit in a world addicted to happiness? Bland sameness? Hallmark card poetry? Muzak?

Post-Katrina Culture

I reported a while back about a production of Waiting For Godot in the deserted streets of New Orleans’ Lower Ninth Ward. It was a particularly powerful political and social statement made through the arts.

Carmen K. Sisson, writing for the Christian Science Monitor, reports on one Katrina devastated town that is using the arts to make another type of statement. Bay Saint Louis, Mississippi was destroyed as badly as any other Gulf Coast town two and a half years ago by Hurricane Katrina. It, however, is experiencing a more successful revival than its Gulf Coast neighbors. This sleepy little fishing town is basing its comeback on the broad support of the arts. It begs the question, "Can the arts save a town?" For Bay Saint Louis, Mississippi, the answer appears to be "Yes!"

As reported by Ms. Sisson:

Hurricane Katrina drew the curtains on the theater, as well as on Bay St. Louis, two and a half years ago. But the arts community refused to let the lights dim, and today they're helping revive a town in one of the rare success stories of post-Katrina life on the Gulf Coast.

Across the region, the hurricane's imprint continues to be as somber as an Edvard Munch painting: damaged downtowns, destroyed neighborhoods, FEMA trailers serving – seemingly endlessly – as homes. But here in Bay St. Louis (pop. 8,000), arts mavens and tourists are returning, and homes and businesses are being rebuilt, helping to resurrect the economy and sharpen the community's identity as a cultural hub.

This is a beautiful thing. Read the entire article here.

Guggenheim rolls snake-eyes in Las Vegas

In the fall of 2001, the Guggenheim Museum and the State Hermitage Museum joined forces and opened the Guggenheim Hermitage Museum at the Venetian Hotel in Las Vegas. This past weekend, the Las Vegas satellite museum closed its doors permanently and the strange three-way marriage ended. Read the press release here.

All in all, the failure of this venture doesn’t surprise me at all. Although there is no specific reason for the closure, it has to be assumed un-met attendance goals and low revenues were the primary reasons (fyi: the space is being filled by a Louis Vitton boutique and a theatre where "Phantom of the Opera" will play eight times a week – go figure). This begs the question: Who goes to Las Vegas for museum quality art?

As I see it, people go to Las Vegas for the following reasons (in no particular order): convention, gambling, show girls, quickie marriage, grade B entertainment, buffet dinning, free drinks, more gambling, and general debauchery. Very few people are prepared to go to Las Vegas and be wowed by Titians, Renoirs, Picassos and Van Goghs. It’s just not that kind of city. (Writer’s note: While attending a convention in Las Vegas, Laura did go to the Guggenheim Hermitage Museum. She even bought me a hat to prove it. I wear it all the time.)

This reminds me of the well documented experiment of placing the violinist Joshua Bell in a busy Washington DC subway station playing some of the most elegant music ever written on one of the most valuable violins ever made. The result was a show of overwhelming ambivalence to the maestro by the hundreds of subway patrons who hurried past him. After great debate about the public’s empathy towards the arts, it was concluded that people were simply not prepared to listen to the beautiful music of Joshua Bell while in a subway. I suggest the same is true for Las Vegas and high level art museums. Appreciating fine art is not on the usual "to do" lists of Las Vegas visitors. Thomas Krens, the swashbuckling former director of the Guggenheim, should have seen this from the get-go and curbed his colonial enterprise.

Rarely will someone who is on their way to shake hands with a row of one-arm bandits drop into a museum and admire fine art. The closing of the Guggenheim Hermitage Museum in Las Vegas is disappointing, but it should come as no surprise. I got a groovy hat out of it though.

Develop a Relationship - part 2

This is the second entry of a two part series regarding the rewards of establishing a relationship with an art gallery. In part 1, I discussed the "How to" of creating a relationship. Basically, it’s as simple as finding a gallery that shares your sensibilities and starting a conversation with the owner/director. Kind of like the early stages of dating.

Today, I’d like to discuss the rewards of establishing this relationship and how to take advantage of it. Some things will be obvious. Some things may be new to you. Feel free to comment and add your thoughts – I’d love to hear them.

So you’ve started this conversation and, ultimately, a relationship with a gallery…  Keep in mind that the primary goal and reward of having ties to a particular gallery is in getting you access to the art you like and potentially saving you money. Here’s how that can happen:

I promise you, what is hanging on a gallery’s walls is not all the art the gallery has to offer.  If there is something that sparks your interest, let us know.  We might have something else that isn’t on display that may be more up your alley.  Many galleries do most of their business this way.  It’s called "back room sales".  Although it may sound exclusive, there is nothing exclusive about it.  It’s a simple matter of the gallery not having enough wall space to show everything.  Of course, you will never gain access to the "back room" without talking to the owner/director first.

Put yourself on the mailing list.  It's more than just getting little postcards with pretty pictures that you stick on your refrigerator. These mailings announce exhibitions in advance of the show opening.  If what is on the card is of interest to you, give the gallery a call.  Chances are the work is already at the gallery and, although not hung, is available for viewing.  At the least, visit the gallery a day or two before the opening.  I guarantee that the art is in the gallery and probably in the process of being hung.  What this gives you is a first crack at it. Ever go to an opening, get there early, and see a bunch of red dots already on things. Those in the know got there before the opening – you can too. And, I can't tell you how many times we have sold a single piece of art multiple times. By that I mean there is one piece that multiple people want to buy. It's usually the best piece in the show and the first to go. By getting an early look, you get to see things before anyone else. You can be the one who gets the preview at the collection and avoid the disappointment of losing out on the one you like best.

In addition to the mailing list, sign up for the gallery’s email list too (if the gallery offers it). Mailing cards is expensive. Email is not. Galleries are relying on email more and more to get the word out about exhibits and other news or events. Email blasts can announce shows or other special opportunities like a new acquisition from an artist, or a closing reception, or an after hours event. It’s just another way to stay in the loop and get first crack at an opportunity. Oh… and don’t forget to check to see if the gallery has a blog – it’s another great source for inside information.

Virtually every gallery has a business relationship with a local framer and receives discounted prices on framing.  As you know, framing can be expensive.  But by buying unframed art from the gallery (remember to ask about any work that is unframed) then getting it framed yourself, you are likely to save a bit.  You can save even more if your go to the gallery’s framer and get it framed at the gallery’s discounted rate.  Suddenly, you own the art you like, framed the way you want, all at a reasonable price.

As a friend of the gallery, you get notices to special events. Specifically, I’m talking about the gallery’s participation in an art fairs.  Migration has exhibited at international art fairs such as ArtDC and SOFA Chicago, and this June, we are exhibiting at the Affordable Art Fair in New York City.  As an exhibitor, we receive a number of VIP passes to these shows (and free admission passes).  We in turn give them to our clients and patrons (the passes are of no use to us sitting in our pockets).  VIP passes give you free access to the numerous events at the fair – in particular, the preview party. Again, this gives you the all important first crack at the available art. And let’s not forget the VIP treatment (no lines, a quiet lounge to relax in, drinks, food, access to events and lectures, etc.). As one of our patrons has said, "It’s the only way to do a fair."

Finally, another thing to keep in mind… Gallerists see a lot of art.  I mean A LOT.  It is our job.  It’s what we do.  And, more importantly, it is our passion.  So, use our experience and knowledge.  As your relationship with a gallery develops and widens the more we will learn about your tastes and needs. This, coupled with our exposure to hundreds of artists’ work, increases the odds that we might help you find something that you can’t live without.  It doesn’t always have to be something we have in the gallery.  We come across dozens of great artists who we do not represent.  Regardless, we have access to them; we can introduce you to their work; and we can potentially broker a deal for you.

In addition to all these rewards, don’t forget the standard services an art gallery should provide: 1) Delivery and installation. 2) In home selection – giving you the opportunity to see the art in your own space. 3) Art searching – finding the special piece for fill your needs and taste. 4) Decorating services - art shouldn't match your sofa, but it should echo the feeling of a room or home. It's your castle. We can help. And 5) Developing an acquisition plan.

So, next time you visit an art gallery, keep in mind the many services a gallery can offer you. Introduce yourself. Start a conversation. Don’t be afraid to say what you like and don’t like. Something good can ultimately come of it… like finding you a piece of art you can’t live without and possibly saving you some money too.

Develop a Relationship

No, no.  This is not some singles dating advice.  I’m talking about developing a relationship with an art gallery. 

This is Part 1 (don’t worry, there are only 2 parts) of a relatively broad subject.  Today, I want to encourage people to take advantage of all that an art gallery has to offer.  Believe me, it’s more than just the art on the walls. Creating a lasting a rewarding relationship is as simple as starting a conversation with the gallery’s owner/director.  Tomorrow, I will share some of what a relationship with a gallery can provide you.

The "how to" seems as simple as going out on a date. Wait… For some people that’s the hard part. Maybe that’s why people are intimidated by art galleries. You feel like you are putting yourself out on a very thin line - exposing some of your insecurities. Like, your lack of understanding of 20^th century expressionism might be exposed. Yikes! Well… in reality, it’s not that hard or that scary. Using Migration (Laura’s and my gallery) as an example, here are a few things to remember:

1) Migration is an art gallery whose mission is to gather works of art that are beautiful, conceptually rich and important in our times and beyond; 

2) Migration is a retail business, and its business is to gather and present works of art that Laura and I believe people will bond with and buy;

3) We are passionate about the artists we represent and the specific works of art we show at Migration.  Every commercial gallery and gallerist is the same; and

4) Believe it or not, we are really good at what we do.

If you don’t already have a favorite gallery, the best way to start is to get out there and check out the local gallery scene. If one stands out in your mind by exhibiting art that strikes your sensibilities positively, I encourage you to take the next step and develop a relationship with that gallery. By doing so, you can get the most out of that gallery and what it is doing.

The easiest thing to do is start up a conversation. As an example, here’s what we see at Migration on a  daily basis: People come into the gallery; Piper (our gallery dog) barks ferociously; we say "hi" and "welcome" (while trying to corral and quiet Piper); we then generally offer to help with any questions they may have about the art, artists and/or gallery.  Sometimes this kicks off a great conversation about the art and people’s reactions to it.  Other times, nothing comes of it.

Now, of course, I’m assuming that if someone comes into the gallery, they have an interest in art or, more specifically, an interest in the art at Migration. It would appear we all have something in common to talk about, right?

To really get the ball rolling and expand on your experience, let us know what you think of the art. That’s the point of the artwork, isn’t it?  To make you think… to make you feel… even if just for a moment.  It is, in fact, the reason Laura and I love being involved in the arts: No matter what the art is, it generates a feeling or an emotion in the viewer – like awe, love, disgust, sadness, hate, laughter, or, possibly, a flood of personal memories. Tell us about it.

Although you should go ahead and assume that Laura and I have strong feelings about everything we show at Migration, that doesn’t mean we expect everyone to like it. Let us know what you think. And, don’t worry, if you don’t like something - we won’t kick you out and end the relationship (or worse, release Piper on you). We can handle the criticism. It’s all part of growing together and learning more about one another.

What these kinds of conversations do is introduce you to us and give us a better idea of what you like in art.  Share with us your likes and dislikes.  And more importantly, tell us why you do or don’t like something.  Our goal is to find art for you that you want to have as your own. We might have something not displayed that is more up your alley.  Pulling something from storage could make your visit more satisfying.  Good for you and good for us. By learning your likes and dislikes, we can increase the odds of finding something that you might want to take home with you and have in your life.  You can put us to work for you, and we will be better equipped to not waste your time.

Oh… and before you leave the gallery, make sure you give us your address for the mailing list. Maybe email is better for you - Migration sends regular email announcements. This may seem like a step to making a commitment, but all it really does is keep you informed of future shows, news and events at the gallery.

So start a conversation with the owner or director of a gallery that you believe has similar sensibilities as you.  A relationship will start and you will soon have the opportunity of being rewarded by our business and our expertise. Heck, what’s the worst thing that can happen… a stimulating conversation between nice people.  Doesn’t sound too bad to me.

Okay, so after all that, maybe it is a little like dating… Take a look at the gallery. Is the first impression good? Do you like what you see? Pretty/Handsome? Come back and check out another exhibit. Same quality as before? Have a glass of wine at the next opening. Loosen up a little. Work up the nerve to introduce yourself to the owner (or maybe the exhibiting artist). Ask a few questions. Start a little conversation. Give them your phone number (mailing address, actually). See if you hear back from them. The relationship might blossom. You learn something special about the gallery, its artists and its owners. In return, they find out a little something about you. There may be a painting or sculpture you fall in love with immediately (love at first site). Or, it may take a little while for the love to blossom (you’re just a little shy). Ultimately, you find something you can’t live without. You buy it. Take it home. Live with it forever – happily ever after. And it all started with a little conversation.

Put another way… We had a gentleman who repeatedly came to the gallery to "visit" a specific painting. He even admitted to walking past the gallery after hours just to get a look at it through the windows (he apologized for the nose prints on the glass). Through continued conversations with us, he finally decided to buy it and take the piece home with him. When he made the decision, he said to us, "After dating it for weeks, I finally get to take it home and sleep with it." A happy story.

Next, I'll list a few of the rewards a relationship with a gallery can provide. Stay tuned.

Members Only

I came across this article written by Tyler Green regarding the state of museum memberships. Having spent a number of years working in various museum membership departments, it made me think a bit, and I have to agree that there simply has been very little innovation in museum’s membership drives.

I did my own little survey of benefits offered by various museums and institutions in this area and some of the major ones along the east coast. I looked at the Smithsonian Institution, Chrysler Museum of Art, Metropolitan Museum of Art, Museum of Modern Art, Baltimore Museum of Art, and, closer to home, Virginia Museum of Fine Arts, University of Virginia Art Museum and Second Street Gallery.

For the Individual level (costs range from $30 to $75) benefits usually include a collection from the following list:

- Free Admission (but plenty of university museums and the Smithsonian don’t charge an admission fee.  In Baltimore, the Walters and BMA also no longer charge an admission fee);
- Free or discounted admission to special exhibits;
- Discount at the Museum Gift Shop and Cafe (generally 10%);
- A personalized membership card;
- A quarterly newsletter or calendar;
- Advance notification of exhibition announcements, gallery talks and luncheons;
- Discounts on other pay-for activities and travel opportunities;
- Members only preview receptions;
- Reciprocal benefits with other area museums (however, this is often only offered at the higher membership levels.  And, many university museums offer this benefit – but, as mentioned before, most university museums do not charge an admission fee);
- Free or discounted parking;
- And (my personal favorite), recognition in the annual report.

This has been the same list of benefits offered for as long as I can remember.  There has been virtually no innovation for decades.

From my days working in museum administration departments, I can’t say I blame the membership personnel for this lack of innovation. As a whole, I found that the higher-ups (i.e. directors) considered the lowly individual members to be more of a nuisance and an expense. Simply put, marketing for someone’s annual $30 was not worth it to the museum director. He was far more interested in landing the big donors and grants. Why put your effort in brining in 100 new members at $30 when that same time and effort should be put into landing a patron at the $3,000 gift level? I always hated that attitude. I found it to be elitist and shortsighted.

With that said... Some museums do offer its members more than cheap wine at a preview party and reduced parking rates. To really get something out of your membership, I suggest looking into joining the more specialized groups at your local museum. It costs a little extra, but I believe the focused interests and benefits these groups offer return far more bang for the buck. For example, the Smithsonian has a Young Benefactors group; MoMA has a list of Affiliates to choose from; the Baltimore Museum of Art has its Friends Groups; and The Virginia Museum of Fine Arts has various Support Groups too. Check them out.

There are also private “young collectors” groups springing up. Some of these are offered through galleries, but most are individually run. Here you get some great tips from experienced collectors and access to their collections. The parties are better and the wine is much tastier too.

The Greatest of All Time

Laura and I had a very special honor today… We were able to spend a few moments with the single greatest living icon in American history – Muhammad Ali. No one alive today has elevated sport, politics and religion like Muhammad Ali.

   

Despite his age and ailments, he remains The Greatest. And, I can tell you that the strength in his arms, hands and mind proves it.

For a little refresher course, here is a bit pulled from his website (sorry about the length, but being The Greatest means you have done a lot of noteworthy things in your life):

He's still the most recognizable man on earth. And over forty years after he burst onto the scene as a gold-medal winner at the 1960 Rome Olympics, Muhammad Ali remains a magical figure, known and loved throughout the world.

Dubbed "Athlete of the Century" by GQ magazine, Muhammad continues to receive accolades for his contribution to sports. He has been named Sports Illustrated's "Sportsman of the Century," the BBC's "Sports Personality of the Century," the World Sports Award's "World Sportsman of the Century," and the State of Kentucky's "Kentuckian of the Century." In 2005, he received the United States of America's highest civil award, the Presidential Medal of Freedom.

As a boxer, Muhammad brought unprecedented speed and grace to his sport, while his charm and wit changed forever what the public expected a champion to be. His accomplishments in the ring are the stuff of legend – two fights with Sonny Liston, where he proclaimed himself "The Greatest" and proved he was; three epic wars with Joe Frazier; the stunning victory over George Foreman in the Rumble in the Jungle; and dethroning Leon Spinks to become heavyweight champion for an unprecedented third time. But there was always far more to Muhammad than what took place in a boxing ring.

Muhammad's life and career have been played out as much on the front pages of newspapers as on the inside sports pages. His early embrace of the Nation of Islam and his insistence on being called Muhammad Ali instead of his "slave name," Cassius Clay, heralded a new era in black pride. His refusal to be inducted into the United States Army anticipated the growing antiwar movement of the 1960's. His willingness to stage his much-promoted and publicized fights in such far-flung locales as Kinshasa, Manila, and Kuala Lumpur signaled a shift from superpower dominance toward a growing awareness of the developing world.

Daring to go against political policy to help people in need, Muhammad has made goodwill missions to Afghanistan and North Korea; delivered sorely-needed medical supplies to an embargoed Cuba; traveled to Iraq and secured the release of 15 United States hostages during the first Gulf War; and journeyed to South Africa to meet Nelson Mandela upon his release from prison.

Today, championing the causes of the developing world has become a major focus of Muhammad's life. He has been instrumental in providing over 232 million meals to the world's hungry. Traveling across continents, he has hand-delivered food and medical supplies to children in Cote D'Ivoire, Indonesia, Mexico, and Morocco among other cou