artPark

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 countries.

In addition to his international efforts, Muhammad is equally devoted to helping charities at home. He has visited countless numbers of soup kitchens and hospitals, and helped such organizations as the Make-A-Wish-Foundation and the Special Olympics. He annually participates in "Fight Night," which generates funds for the Muhammad Ali Parkinson Research Center at Barrow Neurological Institute, in Phoenix, Arizona. At the State Capitol in Michigan, he advocated new laws for protecting children. He is also the namesake of the Muhammad Ali Boxing Reform Act (sponsored by Senator John McCain), a law that regulates professional boxing to protect boxers from unscrupulous promoters and poor health and bout conditions. In recent year, Muhammad has testified before the United States Senate several times regarding boxing reform.

For his humanitarian efforts, Muhammad has been the recipient of countless awards. In addition to being honored by Amnesty International with their Lifetime Achievement Award, the Secretary-General of the United Nations bestowed upon him the citation of United Nations Messenger of Peace. In Germany, he was honored with the 2005 Otto Hahn Peace Medal for his involvement in the U.S. civil rights movement and the United Nations. He was also named the International Ambassador of Jubilee 2000, a global organization dedicated to relieving debt in developing nations. Other honors include an Essence Award, an XNBA Human Spirit Award and recognition from the National Urban League; 100 Black Men; Givat Haviva; the Oleander Foundation; The National Conference of Christians and Jews; Time magazine; and former President Jimmy Carter, who cited Muhammad as "Mr. International Friendship."

Muhammad recently published a memoir entitled, The Soul of a Butterfly: Reflections on Life's Journey, in which he discusses the meaning of religion, forgiveness, and some of the defining moments in his life and career. He is also the co-author of Healing: A Journal of Tolerance and Understanding and The Greatest: My Own Story.

In 2005, Muhammad opened the Muhammad Ali Center in his hometown of Louisville, Kentucky. In addition to displaying a selection of his memorabilia, the Center's exhibits focus on themes of peace, social responsibility, respect and personal growth. In 2006, he partnered with CKX, Inc. to form Muhammad Ali Enterprises, for the licensing of his name, image and likeness and to continue promoting his cultural and philosophical legacy throughout the world.

Whether promoting tolerance and understanding, feeding the hungry, studying his religion, or reaching out to children in need, Muhammad Ali is devoted to making the world a better place for all people. No athlete has ever contributed more to the life of his country, or the world, than Muhammad Ali.

Richmond's Arts in the Park

Sunday was a gorgeous spring day, and since Rob and I have downsized our athletics from three sports (biking, running and swimming) to one (swimming), we found ourselves with a little extra free time during the weekend. So, we headed for Richmond to take in the Arts in the Park Festival. Our main goal was to check in with Foust whose work we represent and will take with us to the Affordable Art Fair in NYC this June. It is always such a pleasure to see her work and talk art. And here’s a little scoop: Buy now, because when the wider world (i.e. NYC) sees her linocuts, prices will rise accordingly!

In between visits with Foust at her booth, Rob and I walked around to check out the art and see if we wanted to buy anything for ourselves. These fairs are always a mixed bag, and this one was no exception. I’ll start with the bad, because that is just how I am.

First, too much travel photography. Yes, you took pictures on your vacation to Tuscany and other exotic lands. Yes, they are nice and colorful. But they are not art. Sorry. Second, if you are going to show paintings, paint well. Respect the craft. Third, to be interesting, jewelry shouldn’t just be a bunch of beads a fifth grader could string together. Fourth, I don’t want to see your signature the first time I look at your work. It should not be that big. One woman even altered the placement of her signature to integrate it into each painting. No, no, no. Let the work speak. Fifth, a woman describing her husband’s artwork tried to make giclees sound like the original egg tempera paintings. We know egg tempera – it’s not a medium that makes multiples possible. Turns out the works being sold were digital prints of scanned images. Her unwillingness to call them digital reproductions bordered on fraud. They were reasonably priced and lovely, but they were simply photocopies of egg tempera paintings. Fine and fair, just don’t say the medium was egg tempera. The medium was a computer. (I’m no snob, at least not completely; we bought a giclee from a different artist. So there. But I knew what it was. No dissembling.)

Finally, a note to the organizers: Show more craft. Don’t fill the booths with bad, repetitive paintings and photographs. It dulls the senses. There was some nice clay work, but not quite nice enough to buy. And, I was surprised to see very little wood - only a couple of turners and maybe three people showing quality furniture.

Since we are the sellers of art in our day jobs, it is always good to see things from a buyer’s perspective. It’s a good reminder that to inspire you to make a purchase, a work must be high quality, presented well and stand out from the rest. A number of things did, and we went home with three of them. This is what came home with us:

Richmond artist Keith M. Ramsey. Wow. Young, talented, and an Edward Hopper fan to boot. Enough said. Look for yourself. We bought a small acrylic painting that feels a little like this one from his web site. Keith is a good colorist and has a great sensibility. Keith also has a lot to say through his art; he takes himself seriously; and he is one to watch.

Maryland artist Curtis Woody. Just look at this…  I love hands. This one made me tear up. Had to buy it. This is the giclee we bought. It’s not an "original", which I’m slightly embarrassed about, but until we get the gallery completely off the ground, we’ll be hard pressed to buy originals from artists as well known as Curtis. We’d love to figure out a way to show his work one day – maybe as part of a group show.

Richmond artist Kim Young creates some terrific jewelry and wall assemblages. Very folk art feeling. I am a new fan and customer. Kim works a lot with found objects and old globes which she cuts and refashions into pins and earrings. I hadn’t seen affordable work like it before which is saying a lot. And, as it turns out, she is friends with Foust. Small world!

We also spent a good amount of time looking through the booth of Eli Thompson. He does cityscape  etchings. Besides loving etchings, Eli’s quality stood out. They require talent and commitment. Eli had that. Although we didn’t pull the trigger and buy one, we’ll keep an eye on his work.

With all that said, I do believe we represent the best artists in the world at Migration. Seriously. But it is always good to look and acquire, if not originals, at least reminders in some form of what touched you on that day.

Tim Tate X 2 = $82,000

This news was broken by our good friend Lenny Campello… This past weekend, two Tim Tate Video Reliquaries were auctioned for $41,000 each for a total of $82,000. The auction was caught on video – watch it here. These were the same type of Tim Tate Reliquaries that were just exhibited at Migration last month and priced at $7,000 each.

You do the math!

As we have said leading up to (and during) our exhibition of Tim’s work (and Mike Janis’ and Erwin Timmers’) last month, this is the hottest art on the market right now. These three artists are pushing the current glass movement into a new level of importance. Proof is in the price tag.

For those who were on the fence about buying one (or two, or three) of Tim’s pieces while they were here in Charlottesville, all is not lost. Laura and I will be happy to contact Tim and help you bring a piece home. Give us a call.

Opening night - Suzanne Howes-Stevens

Last night, Migration opened its newest exhibit featuring the paintings of Connecticut artist Suzanne Howes-Stevens. The weather was perfect, and the crowds responded by coming out in force. It was a terrific night filled with beautiful art.

A repeated observation of the evening was seeing how deeply engaged everyone was. That says a lot about Suzanne’s artwork, but it also says a lot about our patrons. Often people can float into a gallery and float out and you never know how they are responding to the art. Last night, it was clear those who came really enjoyed and were touched by Suzanne’s map themed “waterland” paintings. Once in the gallery, everyone lingered and pondered each of the pieces. The art spurred conversations and passions. Although a difficult choice, people eagerly picked out their personal favorite – it was different for everyone. 

Migration represents artists from all across the country. We do our very best to bring our artists to Charlottesville for their respective openings. Suzanne and her husband graciously drove down from their home in Connecticut. During openings, the one thing each of our artists regularly comment on is how engaged and cogitative our Charlottesville patrons are. Questions, comments and observations are rarely mundane. For them, Charlottesville art lovers are deeply quizzical and thoughtful. People here recognize high quality work and freely express their appreciation for it.

Thanks to those who came out and visited last night.

Migration’s exhibit of Suzanne Howes-Steven paintings will run through June 27, 2008.

Hey, did someone step in something?

What’s that smell coming from the University of Virginia Art Museum? Well, at least we know it’s not dog poop.

Yesterday, Brendan Fitzgerald of C-ville broke the story of the UVa Art Museum excluding a piece of art from its newest exhibit featuring the work of Irwin Berman (read Brendan’s article here – way to get the scoop, Brendan). This morning, Brian McNeill of the Daily Progress followed up with more information (read Brian’s article here – and don’t miss Laura’s most excellent quote at the end).

Apparently, a curatorial decision was made to exclude a scatological piece of art by Irwin Berman from his show at UVa titled Sedentary Pleasures scheduled to open this Saturday. The particular piece at issue is a combination of a 3 minute video (animated) and an accompanying sculpture. The video tells a story of UVa’s former mascot, Seal the dog, rising from its grave and devouring UVa’s current Cavalier mascot who had just poked at a puppy with his saber. Seal then defecates the Cavalier in all its stinky orange and blue glory on a three-legged stool (writer's note: I have not personally seen the video and am paraphrasing from Brian's McNeill's article). The sculpture is – you guessed it – a stool with fake orange and blue poop on it. Collaborating with Berman on this project were Michael Wartella, Sam Retzer, and UVa art professor William Bennett. Berman, Wartella and Retzer are all UVa alumni.

As reported, Carol Wood, a University spokesperson, stated that the Museum rejected the piece on the grounds it "didn’t fit in with the parameters of the exhibit." I’m a little curious why this info comes from the Public Affairs Department and not from the Museum. Wouldn’t Interim Museum Director, Elizabeth Turner, be best suited to speak on the matter? Until someone does a better job of explaining what is going on, the Museum risks having the ugly word "censorship" splashed across its front door.

Censorship is a trigger not to be pulled lightly (or ever, for that matter). And, Berman’s artwork is simply not worthy of censorship in any form. UVa needs to tread carefully on this issue. Rightly or wrongly labeled, I believe the Museum needs to come out from behind the curtain and tell us what is going on to avoid being labeled "censors." Circling the wagons is not the best way to handle this situation.

The Museum straddles a thin line between being both a public and private institution. Furthermore, it is an institution of higher education. Being exclusionary is nowhere UVa wants to go, and it should know better. Due to the recent list of questionable (and cloaked) actions of the Museum, it should be very careful where it steps next. The mess currently found on the bottom of its shoe might only get worse.

All is not lost for Berman, however: His stool on a stool artwork will be on display at Les Yeux du Monde. The piece was originally conceived as a fundraiser for the University’s Art Department. The artists intended to donate proceeds generated from the video to the University.  Migration’s gallery dog, Piper, has another idea… She says, due to the despicable depiction of a dog being threatened by a saber wielding human, any proceeds from this piece of art should be donated to the SPCA and not UVa. Right on, Piper!

Suzanne Howes-Stevens

During the months of May and June, Migration: A Gallery will feature the paintings of renowned Connecticut artist Suzanne Howes-Stevens. Join us this First Friday, May 2 from 5:30pm to 8:00pm for a reception with the artist. Earth Openings is Suzanne’s second show at Migration and will run through June 27, 2008. To honor the artist’s commitment to protecting the beauty and health of our endangered waterways, Migration will donate a percentage of the sales made during the exhibit’s May 2 opening night celebration to the Chesapeake Bay Foundation.

Suzanne Howes-Stevens' work combines beauty with a mission.  Working oil paints so that the opaque medium takes on the spontaneous and delicate quality of watercolor, Suzanne captures scenes of the world at its edges, where the water meets land - primarily images inspired by her lifetime spent living along the New England coast. She uses maps as a background and a border to ground her work with a sense of place and meaning.

Suzanne regularly searches for inspiration while paddling in her kayak or canoeing through various New England waterways, taking her camera along to record these hidden life-giving places. Then in her studio, Suzanne refers to the snapshots and creates her pristine worlds. Suzanne’s use of maps as her "canvas" allows her to emphasize the borders that exist between water and land. Those spaces that we love so much are disappearing; this is often reflected in the water scenes drifting into the map area. Hers is a potent imagery with a poignant feeling and innate beautify that will not leave you unchanged.

In Suzanne’s words:

For many years I have been attaching maps and nautical charts to canvas and panels and layering oil painted images over them. I seek to merge the topographical aspects of the maps with the visual expression of the layers of land and water and light. The maps provide grounding or an anchor for the landscape images, serving as a metaphor for our connection to the earth and our journeys across it. They also help me to establish the structure of the painting and often suggest the physical elements of the places mapped; the water movement, the trees and grasses which seem to echo the actual lines and grid works within them. Trees become roads, grasses and foliage become topography lines, lines of latitude become horizons, and so on.

Occasionally the maps are completely covered over or are only faintly visible beneath the paintings. These works are most often inspired by the marshes and swamp lands of New England. During my childhood, playing in and exploring the tide pools of Cape Cod Bay, I developed a reverence for the sea and shores, and a deep connection to my seafaring ancestors. In my adult life, somewhat landlocked in Connecticut, I have learned to love the marshes and swamps, which I see from most highways throughout New England. These places of humble beauty and silent regeneration are always present and near, but hidden and unvisited at the same time. They are only noticeable during the late fall and winter when the foliage has fallen.

If you look at any topographical map of the eastern United States you will see vast areas of undeveloped wetlands. I call them "Marginalia" referring to the fact that they are, like the coastal marshes, the edges of the earth or the margins, which hold the secrets of a universe quietly vibrating with new life. I like to think of my paintings as gentle reminders of the unseen fragility of "waterlands" which are often totally unprotected from development and ultimate destruction.

Suzanne’s skillful and sensitive paintings become feasts for the soul as well the eyes. Watery scenes are rendered by delicate brushstrokes filled with the tenderness and passion she has for these fragile habitats. Despite the quiet and reflective tone of Suzanne’s paintings, their transcendental qualities generate a tremendous amount of power. Each piece is a moving and respectful reminder of the absolute beauty unspoiled Nature possesses.

About Suzanne Howes-Stevens:

After studying fine arts at Massachusetts College of Art (BFA) and Hartford Art School (MA), Suzanne taught painting and drawing at Manchester Community College from 1973-1997. During those years, she also created an extensive body of work. An early retirement from teaching in 1997 allowed her to focus completely on her painting. The grants she has received include a Connecticut Commission on the Arts Grant, a Greater Hartford Arts Council Individual Artist Fellowship, a Weir Farms Visiting Artist Award, the Ruth Chenven Foundation Grant, and the George and Helen Segal Foundation Grant. Suzanne's work is represented by the finest galleries on the Eastern seaboard and can be found in numerous public and private collections, including the William Benton Museum, AT&T, Fidelity US Trust Co., Meditech, and Northwestern Community College. Suzanne’s honors and excellent reviews are numerous.

Artisans Center of Virginia

I was invited to be a panelist during last weekend’s Artisans Center of Virginia Craft Conference & Business Institute held in Roanoke, Virginia. The subject of my discussion group was Pricing Art. Not a simple subject to cover in an hour and a half. Joining me on the panel were Marilyn Mars and Diane Stavola.

A large and lively crowd attended. Looked like everyone wanted to know the magic formula for pricing. Wish I knew it myself. I presented from the perspective of the commercial gallery. Diane spoke from the artist’s point of view. And, Marilyn, an art appraiser, provided a lot of great tips and insights. Overall, we stressed the need for consistency in pricing one’s body of work and the need to plan ahead (i.e. set goals). Simple concepts, but very hard to do in an unstable economy.

The Artisans Center of Virginia supports and promotes the culture of Virginia artisans through education, entrepreneurship, research, galleries and exhibitions. The Center believes that quality, handmade fine craft strengthens the cultural, educational and economic vitality of local communities. The ACV also exists to give a statewide presence to the more than 3,000 craftspeople who call Virginia home.

For additional information on the ACV please contact Michael Dowell (ACV Executive Director) at Michael@artisancenterofvirgina.org The mailing address is PO Box 452, Waynesboro, Virginia 22980. Phone is (540) 946-3294.

Rawstuff Gallery

Laura and I caught the latest exhibit of UVa art student’s work at the temporary site called Rawstuff Gallery. The space is tucked behind and above the Studio Art-Craft House on Main Street in Charlottesville and is run entirely by students. Our effort to get there was well worth it.

Despite being a little rough around the edges (with a name like Rawstuff, what else should I expect) I was thrilled to see such a high level of energy and passion in the work. It gave me a lot of hope and enthusiasm about the art being produced at UVa.

So, down the road, keep your eyes open for these four very talented artists (I believe they are all underclassmen):

Sara Yenke, Rebecca Cummings, Sarah Horton and Arlene Sherwood

Image: by Rebecca Cummings

Seiz, Wade and Dunnan @ UVa Off-Grounds Gallery

This is the fourth report from a series regarding the University of Virginia studio art student exhibits at the Off-Grounds Gallery.

Yet another exhibition of the University of Virginia's 4th year (i.e. senior) studio art students' work was up last week. I dropped in on it Friday evening. Again, I got there as the final set-up of tables, drinks and food for the reception was taking place. I muscled through the noise and general chaos and gave a good look at the work of Alyson Seiz, Emily Wade and Calvine Dunnan.

Alyson Seiz - Beauty and the Blonde

Oh, goodness. Where do I start? My mind is flooded with all the ridiculous blonde jokes we have all suffered through over and over. I can't see straight. Maybe reading Ms. Seiz's artist statement will help…

I have a strange relationship with the culture of which I am part. Being a blonde suburbanite was a context I lightheartedly enjoyed growing up, but as I journeyed further into the world of academia, I began to question the culture that shaped who I am. It is a heavily stereotyped group, sometimes desirable but other times scoffed at for being phony, nondescript, material or mainstream. My work reflects my interest in the perception of this group, by itself and by others. Painting has provided a contemplative forum for me to investigate the subtext involved with blondeness and the women who claim to it. I do not praise it, nor do I reduce it. I am not exempt from this group because I am an artist, nor do I want to be. The exploration of this misrepresented margin of people captivates me, as I hope it does my viewers.

Okay. You're blonde. Your hair color shaped who you were as a youngster. You believe blondes are stereotyped. And, through your art you want to break that cycle.

Sorry. Nope. I don't get it.

I read the title of the show, "Beauty and the Blonde", as blondeness being the Beast amongst the Beauty? Made me want to see some real tortured images.  Seiz’s statement further labels blondes a "misrepresented margin of people" like they are lepers or something. Wow.  Big issues.  But, I didn’t see it in the paintings.

What I expected to see is the real person behind the pain of all the blonde jokes and negative stereotypes. These are real people; not the Paris Hiltons we see splashed throughout the headlines. It should be about what it means to be blonde behind closed doors. How one suffers and struggles by being blonde. Instead, through Seiz's work titled "Sugar and Spice and Everything Nice", "Bride-To-Be", "The Weigh-In" and "Preference", I saw the struggles that everyone deals with concerning big issues such as self image, entering adulthood, and societal pressures. Everyone deals with this: blonde brunettes, women, men…

Siez states that her paintings provide "a contemplative forum for me to investigate the subtext involved with blondeness and the women who claim to it." Instead, I see a young woman who clings to it.

What I did get from Seiz's paintings was a high degree of skill in her craft. At no time did I ever have to look beyond the technique of her painting style in order to get the message. Seiz takes on and conquers the challenge of rendering mirrored images, severely foreshortened figures and raking light with great aplomb. She has proven her skill as a painter, but now we need to work on the message.

One last issue I have with the presentation of Ms. Seiz's paintings: Included on the one page artist statement was a price list of her work. Not a problem and frequently done. However, at the bottom of her price list she says, "all work half off for friends and family." Say what!?!?! Either Ms. Seiz has a lot of friends and family, or she never intends to sell to any one other than her friends or family. I'm not saying don't give friends and family a discount; rather don't ever spell out that fact on your price list.

Emily Wade - Out of the Indigo: Healing Through Art

Ms. Wade (not a blonde) suffers in a different way than Ms. Seiz. Wade struggles with chronic pain in her hands and arms which has challenged her ability to create. In order to circumvent the pain that wielding a brush causes her, Wade has found the use of watercolors on yupo as a bearable medium to work with. Already attracted to her deep blue loosely handled images, I further cheered her use of yupo. (I have written in the past about one of my favorite artists, Randall Tipton, and his magical watercolors on yupo. Read the article here.) By abandoning a precisely held brush and beng able to push the water based pigments across the plasticized paper, Wade creates very fluid, expressive and beautiful images.

Wade says she uses both indigo and Payne’s grey to "…convey sadness and pain in my own work. By painting with these colors, I discovered that they possess an intense beauty that I cannot move away from." The technique, imagery and use of color have converged for Wade to make a collection of lasting and moving images. All are good choices.

Wade also included a painting of her hands in the exhibit titled "As They Are." This was the one piece that was executed on paper and not yupo. Artists’ rendering of hands is both a rite of passage and very intriguing. Hands are their tools of the trade. Their livelihood. Getting in touch with their own hands through their own imagery is a classic art school project. In "As They Are" Wade confronts her hands... her tools... and the source of her pain. Strangely, she chooses to render them in precise and delicate brushstrokes required by the application of watercolors on paper. I can only imagine the grimaces on her face as she completed this particular painting.

Calvine Dunnan - Postcards, 1947-1963

Dunnan transforms old postcard pictures to lithograph prints. All are landscapes – coastal scenes, rivers, canyons, bridges, etc. In this, he displays an excellent body of prints. Lovely work. However, I think Dunnan misses the mark he sets out to hit. Dunnan’s artist statement refers to the nostalgia of not just the landscape images of the past caught on the decades old postcards, but also the messages found on those cards – memories of long past family vacations. The breakdown of Dunnan's lithographs to three (sometimes four) colors and simplifying the lines and images makes for a lovely design, but striking the nostalgic chord in my mind is only present in the titles listed on the gallery price list.

For young artists, I generally discourage the use of the written word on their art. I prefer the image to tell me what is being said. Let me figure it out through your imagery, design and choice of colors. Here, however, it’s the text found on these 50 and 60 year old postcards that is fascinating… and truly nostalgic. Dunnan’s prints present an excellent situation to add the written snippets of these quaint travel journals. Throw me back to the 50s when exploring the country from the backseat of the family station wagon was the norm.

For the exhibit, Dunnan included a book of the actual postcards from which he drew his inspiration: Pictures on one side and the handwritten message on the back. Finding myself more interested in reading the postcards than looking at the art simply confirmed my thoughts about Dunnan’s body of work. Regardless, I did find Dunnan’s prints to be well executed and very pleasing.

Final Days of Janis, Tate and Timmers at Migration

Migration's current exhibit featuring the glass sculpture of Michael Janis, Tim Tate and Erwin Timmers will be on display for only a few more days.  If you haven't been to the gallery to catch this show, do so now.  The pieces not sold by Wednesday the 30th must be returned to the artists.

Read reviews of the show here and here and here and here.

And if you would like a little info on the importance of this new movement in glass, read this and this.

Susan Jamison

Last Saturday, Laura and I were treated to a visit at the gallery by Roanoke artist Susan Jamison. Susan was in town for the 2nd Street Gallery Art Auction Benefit – she donated one of her exquisite egg tempera paintings to the auction.

My first introduction to Susan’s paintings and drawings was in a January 2007 exhibit at 2nd Street Gallery. Finding her work tucked in the back of the gallery, I felt like I had discovered a visual treasure. I was wowed. Three months later, I was thrilled to see her paintings again – this time represented by Martin Irvine (Irvine Contemporary) at last year’s artDC gallery fair. I specifically told Martin how pleased I was to see Susan’s work in the show. He smiled knowingly and agreed.

Now, a year later, it is clear to me Susan is on the right track as her reputation is soaring.

Having admired an artist’s work for a while then getting a chance to meet them in person is always an interesting experience. Sometimes the artist’s personality just doesn’t match their art. In this situation, it was a joy to discover that not only do we like Susan’s work, but we found her to be a thoroughly engaging, thoughtful and delightful person. Laura and I spent probably too long talking with Susan and sharing stories. It was such a pleasure finding out how attuned she is to the business side of her work, but still being reasonable, practical and fair about it all.

In describing Susan’s work, it would take a lot of effort for me to say it any better than this write up by the folks at Irvine Contemporary:

Jamison uses large-scale panels to depict fantasy worlds that appear both timeless and of our own moment. Jamison combines two classic forms: the portrait, in a traditional Renaissance profile position, and panels reminiscent of Audubon and naturalist illustration and Asian art forms. The exquisitely rendered details in the paintings evoke a magical realism that balances naturalism with strikingly original allegories of the feminine.

Susan Jamison’s paintings read like vivid dream states of the figures depicted in the compositions: animals, insects, birds, and objects of the women’s world like needles, thread, and fabric, become symbolic projections of fantasies, fears, desires, and sexual longing. Like Fairy Tales and Renaissance allegory paintings, Jamison’s imagery captures primal and archetypal emotions about the body, sexual identity, and human relationships to the natural world.

The paintings engage our ideas of exposure, touch, and vulnerability: the heads and faces of the figures, each with eyes closed, are "exposed" for our viewing through the use of early medical drawings of biological features of the human head. This exposure of an underlying layer of the body is a metaphor for disclosing the interior life of each female figure. The bodies of the female figures are also nude but decorated with traditional henna tattoo patterns that at once expose each figure and focus attention on the organic and sensual surface of the body. The compositions invite viewers into haunting imaginary spaces drawn from the artist’s singular vision.

Laura and I are particularly attracted to the mystical elements of Susan’s art, and how she creates links between the human existence to that of the natural world. Specifically, the association between women, plants and animals sparks an image of extreme femininity. It engages and interests me every time. Stylistically, I’m drawn to the complete absence of background and shadow. Often we see this technique employed and it flattens the picture by bringing the imagined background forward. However, Susan’s renderings in near scientific detail give the absence of background an infinite sense of space. Beautiful work.

Susan is currently exhibiting at Spanierman Modern in NYC. The show runs through May 3. Catch it if you can. Or drop by Irvine Contemporary in Washington, DC (1412 14th Street NW) and ask for a viewing of the pieces they have there.

Side note: 2nd Street Gallery director, Leah Stoddard, reports that the Benefit Auction was a huge success. All but 6 of the 100+ pieces available were purchased.

"Endurance and Aggression"

Last Friday the Wall Street Journal ran an article by Kevin Helliker on open water swimming, which will be an Olympic sport for the first time in ages. Hooray! It's a great piece; here's the link:

http://online.wsj.com/article/SB120847591898524775.html

Kevin's first sentence is: "Open water swimming requires endurance as well as agression." I would submit, only half jokingly, that survival in the art world requries these two traits as well. I may see parallels when others don't, given Rob's and my passion for open water swimming. But one of our artists, who is a disciplined athlete himself, made the comment to us as we headed into our first art fair, which was artDC last year: "It's a good thing you both are endurance athletes." A fair is definitely like a long race with few pit stops.

So, to parpahrase Bill Murray, we got that going for us. But is the aggression there? Not sure. Something to ponder as we head into AAF NYC. I promise no bared teeth, though.

- Laura

Kempson, Kleberg & Rivera-Morales @ UVa Off-Grounds Gallery

This is the third report from a continued series regarding the University of Virginia studio art student exhibits at the Off-Grounds Gallery during the months of April and May.

Last week, a Distinguished Major Studio Art Exhibition at Off-Grounds Gallery featured Emily S. Kempson, Matt Kleberg and Camila M. Rivera-Morales. I dropped in prior to the Friday evening reception and checked out what was hanging.

Emily S. Kempson – Things Worth Sharing

Regarding Emily Kempson’s paintings, I really only have a couple of things to say.  First and foremost, I recommend that Ms. Kempson remember to respect the viewer.  This has little to do with her actual artwork.  Rather, I am focusing on the fact she spelled out (literally) what she intends to make us see and feel.  Part of her display was a series of four large scale painting titled, as a group, across the top "Four Responses to an Offense".  They also included individual subtitles: "Self Blame," "Justice," "Mercy" and "Revenge".  Yes, spelled out in big black letters under each painting were these words.  Thanks, Emily, I got it.  Believe me, I was able to see that in each respective painting… without the words.  In the future, remember, the moment you hang your work publicly, it is more about the viewer than it is about you.  Let us gratify ourselves by allowing us to figure it out.  It is far more powerful to show and not tell.

One of the real treasures of art is that a single piece can be and/or mean different things for different people.  When a piece is labeled with a distinct emotion, the viewer is robbed of his or her own interpretation.  Trust that the work says what you want it to say, but also trust the viewer will see it for himself.

About the artwork: Kempson focuses primarily on the human figure (strangely, the image she chose for the show card – although her best – was very much unlike all the others she hung).  Pleasant structure in each piece, but nothing over the top.  She uses dynamic modeling and plenty of symbols to tell her story.  Clearly, a lot of thought and emotion went into the creation of each piece.

Matt Kleberg – And Also With You

More portraits this week!  This time they were small.  Kleberg executes his paintings with a nice style and top-rate craftsmanship.  I particularly liked the flat, angular brushstrokes which add to the sense of artistic drama.  However, I’m not sure if Kleberg’s strong color palette lends itself to each portrait.  Is color used simply for the sake of using it, or as a design element, or (like the Fauvists) is it used to convey a sense of emotion?  If color is used to convey emotion, its success will have to be determined by his individual sitters.  Portraiture tends to be such a personal genre – made even more so by the intimate scale of many of Kleberg’s paintings.  Kleberg admits to this in his written statement:

As a painter, I look to portraiture as one way to honor relationships that teach me, challenge me, and refresh me…   [M]y desire is to use color and mark making to illustrate the richness of each subject’s identity, while the smaller scale of many of the works welcomes close inspection.

Due to the kaleidoscopic use of color, my first reaction was to compare it all to Matisse’s 1905 portrait of his wife titled  "The Green Line" (pictured right).  With this in mind, Kleberg’s portraits were derivative.  But I shook that.  After looking a bit longer at the collection, they did become more personal.  Tenderness and a genuine sense of caring by the artist shone through.  I credit Kleberg’s painterly technique for this.

The good news is that Kleberg’s portraits were not hung with last week’s exhibit of James Dean Erickson’s oversized portraits on cardboard.  A comparison would have been unavoidable and unfair to both artists.

Camila M. Rivera-Morales – I’m So (Maybe) Sorry

Camila Rivera Morales exhibited two different bodies of work in the show.  One, her aluminum lithographs (printed on a waxed paper, I believe), were particular strong abstracts.  Primarily monochromatic, they felt like highly refined yet dreamy Rorschach ink blots.  After giving up trying to find any identifiable images caught in the layers, I was able to relax and simply enjoy the lightness and balance of each piece.

Rivera-Morales also exhibited handmade books.  First were small story books. They were cute and engaging, but, ultimately, they did not hold my attention for more than the first couple of minutes (alas, I should blame myself for that).  The other book exhibited was much more substantial.  A small label implored the viewer to take the time and read the whole thing.  Since I had a chunk of time and found the physical texture of the cover and pages pleasing in my hands, I gave it a whirl.  I got through the forward and well into the following pages.  Despite claiming that she is no journal writer rather a "list maker," I found her lists to be daily journals – plain and simple. Standard rants and thoughts of a college student. I put the book down.

Her statement poses some moderately simple questions: 

Can you react to something personal in an impersonal setting?... Can you and I relate here?... Is this about me or about you?

From my experiences, I can safely say, absolutely, I often react to something personal in an impersonal setting.  And, yes, we should be able to relate with one another through your art.  But, Cami, your journal is so clearly about you and not me (or any one else).  There is no doubt in my mind that some day your journal will have a tremendous amount of value.  To whom… I don’t know.

After leaving the exhibit, I felt like I had been beaten over the head.  Too much was spelled out (literally) leaving very little to discover or appreciate on my own. A little subtlety would have gone a long way.

What Whitney says - JOHN GRANT

Whitney Strickler is Migration’s current intern. She is a 4^th year art history student at the University of Virginia. To give you a refreshing voice on this blog, Laura and I asked Whitney to review some shows currently up in Charlottesville. Many thanks to Whitney, for these thoughtful reviews.

John Grant - Along the Garden Path @ McGuffey Art Center

After seeing a sampling of John Grant’s recent works at Migration’s photography invitational this past winter, it was interesting to see a large collection of his photos of flowers, fruits and vegetables on display at the McGuffey Art Center. Grant has been experimenting with materials to print his digital photographs on, and I am particularly intrigued by those he prints on sheets of aluminum. One image at the McGuffey exhibit, "Radishes", reflects light as you move past it giving the red color of the vegetables tonal variation and a 3D quality that is not found in the photos printed on paper. I know it is an extremely difficult medium to print on but the effect created by the metal on the image is fascinating. The canvas material also provides a unique perspective on the photographic subjects; the flowers in these works have a softness and serenity that is lost in the sharpness of the metal works. Each medium contributes to the photograph with its own distinctive qualities.

One piece in particular caught my eye; it is entitled "Mystical Rose" and shows a single rose encased in a faint glass bulb. The image is reminiscent to me of the rose from "Beauty and the Beast." The faint outline of the bulb around the flower gives it the sense of being untouchable, preserved in timeless beauty. The flower shows minor flaws: a slender tear in one petal, a few petals have begun to slightly droop at the edges. The rose represents flawed beauty but its imperfections make it only more mystical and unattainable to the viewer. Grant’s simple, direct, and organic approach to photography provides insight into the beauty available for viewing everyday ‘along the garden path.’