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.
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.
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.
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 7th 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
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
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"
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.
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.
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.
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.
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 20th 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.
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.
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!
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.
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.
In my attempt to make the month of April All-Glass-All-The-Time, I want to share a little info I picked up during a round table discussion featuring some heavyweights in the art world.
A few months ago, I wormed my way into a packed auditorium to hear a discussion between a couple of well established art collectors (Lorie Peters Luthier and Michael Abrams) and two high-profile DC gallerists (Martin Irvine and Jack Rasmussen). The subject was Collecting Art moderated by Miami art commentator Bill Dunlap.
Lorie and Michael are collectors of photography and admitted to their collecting addiction. They were both very open about their habits and how-to secrets. Great stories and insight from two very down to earth people.
The discussion turned interesting – for me, at least – when the panel was asked "what is the new collectible?" Without much hesitation, everyone simultaneously said, "Glass." That got my attention fast. It was agreed that for the past few decades, photography has been the hot collectible. Back in the 50s, you could pick up a Stieglitz, Arbus or Cunningham for virtual pennies. Each of these artists’ work now fetches many thousands in the secondary market. Photography will remain a top collected medium, but for those in the know, art glass is what is next. In twenty years, we’ll all be staring at a piece of highly touted sculptural glass costing $50,000 and asking ourselves, "Why didn’t I buy that in 2008 when it was only $500 or $1,000?"
Like photography was 80+ years ago, high end glass art is a relatively new commodity. The glass movement is attributed to the actions and work of Harvey Littleton (pictured left) back in the early 1970s. Since then, we have seen the work of top end glass artists rise from the category of "craft" to high "art". My first job in an art gallery was at a Boston glass gallery. We sold the work of Littleton, Dale Chihuly (pictured right), Lino 
Tagliapietra, William Morris, Dante Marioni, Tom Patti, Jon Kuhn, Richard Marquis, and the other big boys at the time. Those were heady days, and the savviest of collectors were on top of it buying their work when it was reasonably priced. In a matter of just 10-15 years each of those artists were commanding prices in the $100s of thousands and represented in museums around the world.
This is what I believe is happening now: Each of those uber-artists employ(ed) a slew of young glass artists in their studios. As we have seen, these guys are getting older, slowing down and even retiring (see William Morris). Their apprentices are now out on their own and making a go of it by themselves. This next generation is taking what they learned from the masters, putting thier own artistic twists on it, and are changing the glass world as we speak. Techniques are breaking from the traditional blowing and casting. A lot of exciting stuff is out there. So much of it is now narrative driven, contextual, and includes a variety of media.
The Seattle area (and the west coast in general) remains a hotbed for glass, but while these younger artists are establishing themselves, they are moving outside of the bigger cities and into the rural areas. Rent is cheaper, and the cost of setting up and running a glass studio is far more reasonable – regulations are a bit more relaxed too. Discovering their work can be a challenge but well worth the effort. Most importantly, however, their prices are reasonable! We have also seen a massive movement in the medium here on the east coast, primarily spearheaded by the goings-on at the Washington Glass School (DC).
So, keep your eyes out for this new wave of art glass and be ready to jump on the train with some smart purchases while prices are within reach. As Lorie and Michael said: for them (and many others), collecting art is an addiction, and one of the true thrills of art collecting is getting in on the ground floor of the next hot thing. Glass is it! I promise it will satisfy your buying desires and compulsions.
With this said, I encourage you to drop by Migration this month and feast on the superlative work of Tim Tate, Erwin Timmers and Michael Janis (pictured left: Janis' Serving as Witness). These three artists are the next generation and have already seen a huge rise in their stock over the last couple of years. There are plenty of stories of those who picked up a Tate for $600 a few years ago - now his work is 10 times that and continuing to go up. Erwin and Mike are following suit.
Migration also represents two of the fastest rising stars from the west coast – the husband and wife team of Jeremy Newman and Allison Ciancibelli (pictured
right: Fall Transitions). These two young artists are taking traditional glass blowing in a new direction with their nature inspired mixed material sculptures. Their reputation is growing quickly on the west coast, but their work is still new to those of us here in the east. In just the last year, we have seen them garner loads of attention from some heavy hitting collectors around the world.
Now is a great time to collect glass. No… wait… Now is THE time to collect glass.
After reading Brendan Fitzgerald’s article in C-ville Weekly about the UVa Art Department’s exhibition spaces Rawstuff and Off-Grounds Gallery I was driven to find out more. Brendan reported that the Off-Grounds Gallery will cease its operation at the end of this school year. Dang! This is one of the best things going for Virginia art students – being able to exhibit their work in a commercial gallery setting far from the safe confines of the University (Off-Grounds Gallery is located at the corner of Main Street and McIntire Road). What a great opportunity for students to experience the realities of exhibiting their work in the "real world." Not to mention, the potential of getting feedback/critiques from outside the inner sanctum of their collegiate circle (e.g. me).
I gave a call to William Bennett, associate professor of art, and asked what the future of the Off-Grounds Gallery is. He confirmed that it will indeed close after June 1, and there is no current plan to find an alternative off-grounds location. Apparently, the McIntire Road location was always intended to be temporary. It simply filled the need for exhibition space until the completion of Ruffin Hall (pictured) – the new home for the Studio Arts Department – scheduled to open this coming fall (fingers crossed). Bennett says the new building will offer ample wall and floor space needed for students to exhibit their work.
I’m happy to hear of updated facilities for the students, but am entirely disappointed there will no longer be an organized opportunity for them exhibit outside of the university. Exposure for an artist is paramount to their career. Limiting that exposure to the very few who wander through the university halls is a shame.
Writer’s note: I hope UVa officials see the advantage an off-grounds exhibition space gives its art department over other competing schools. What a tremendous teaching resource.
So… For good or for bad, I plan to give some attention to these last remaining exhibits at the Off-Grounds Gallery with the intention of offering a little feedback and exposure to the young artists. As I understand it, exhibits are scheduled one per week. I’ll try to stay on top of them all, but I already noticed the show that opened Friday has already been taken down (glad I stopped by Saturday). Stay tuned for my reports.
Recently, I wrote about the highly anticipated opening of the Armory Show in New York City. The Armory is the most significant art fair in the US to open since the talk of economic recession started soon after Art Basel Miami Beach last November. Much of the art world has been standing on the sidelines waiting to see the results of the Armory (holding their collective breaths).
It has been reported that sales were much better than expected. Here is a nice article on the show and its review of sales. Mike Hoeh also has a positive report. (Yes, that was a large exhale you just heard.)
Looks like a lot of European collectors swooped in and took advantage of the suffering dollar. Regardless of who is buying, I'm glad to see that art is still selling at a healthy pace.
This Friday evening, after leaving work but before you get in your car to go home (or while on your way home), stop by Migration and give yourself a visual treat before starting the weekend.
In honor of the forthcoming Spring, the promise of warmer weather and a successful showing, we are having a Closing Reception of Migration’s March exhibit featuring the newest paintings by Santa Fe artist Arturo Mallmann.
We'll be open late this Friday and offering light refreshments in honor of the closing of Arturo's show of deeply layered evocative paintings. Several of the works have been sold and are gone, but many remain on exhibit and available for you.
What: Arturo Mallmann - Closing Reception
When: Friday, March 28. 5:30-7:30
Where: Migration: A Gallery (corner of 5th and Water)
Following this show in Charlottesville, we will be exhibiting Arturo’s work in New York City at the Affordable Art Fair this June.
Image: Hombre y Mujer en las Nubes (acrylic and resin on board, 36"x60").
Due to the sudden cancellation of artDC, Laura and I started a search for a gallery fair to take its place on our calendar. Seeing how art fairs around the world are canceling with alarming frequency, we were focused on finding an established fair in an established locale. Although high quality fairs exist all over the US (but, like artDC, many are struggling to find their success), New York City and Miami seem to be rising to the top of the art fair destinations.
With that in mind, we choose the Affordable Art Fair in New York City to satisfy our needs and give us the best hope for success. It touts itself as "the place for new and established collectors to discover and buy paintings, drawings, sculptures, video, photography and limited edition prints from distinguished galleries, all priced from $100 - $10,000." This is right up Migration’s alley as we strive to work with both new and established collectors (but a heavy leaning towards the "new"), and a majority of the art we represent falls in this "affordable" category. The dates worked with our exhibition schedule too. The only thing left was to be accepted.
Due to the late nature of things, we were a bit concerned about getting in. Luckily, the organizers had extended the deadline for applications. Bottom line… we’re in!
We will be representing the following artists at the fair:
Alan Dehmer 
Joachim Knill 
Randall Stoltzfus 
Foust 
Arturo Mallmann 
We are especially looking forward to introducing Brian’s, Alan’s, Joachim’s, Foust’s and Arturo’s art to the New York market (Randy lives in Brooklyn and has already exhibited with great success in NYC). These six artists have been so well received at each fair we have taken them, not to mention here in Charlottesville. NYC is in for a surprise.
Details of the Affordable Art Fair are:
Where: Metropolitan Pavilion, 125 West 18th Street New York City
When: June 12-15
There is also a Private Preview Cocktail Party on June 11. Be among the first to preview AAF NYC 2008. For information on how to purchase tickets please call (212) 255-2003 or email info@aafnyc.com Free drinks will be served.
Hope to see you there.
It's not a unique story, but this one has a nice ironic twist...
Fisk University, located in Tennessee, has historically struggled financially. To cover some of its fiscal obligations, they looked to deaccession portions of its art collections. This is not a novel idea, especially when administrators see multi-million price tags on comparable artwork going in auctions. Many institutions have done it or considered doing it.
Writer’s Note #1: I do not support a museum’s decision to sell items from its collections in order to meet operating expenses. A great deal of thought and work generally goes into the process of acquiring artwork for a museum. At no point in time do I believe the intention was to acquire art for resale and profit. Nuf’said. Back to the story:
For Fisk, all of its buildings have been mortgaged, and all other loan options have been exhausted, but it is still in jeopardy ceasing its operations. To cover costs, Fisk proposed to sell 50 percent of its stake in a 101-piece art collection for $30 million. The collection in question was donated by Georgia O'Keefe. O'Keeffe divided the bulk of her late husband Alfred Stieglitz's nearly 1,000-piece collection of paintings, sculptures, prints and photos among six institutions in 1949. The artworks given to Fisk also included works by Pablo Picasso, Pierre-Auguste Renoir, George Grosz, Arthur Dove and John Marin.
Officials at the Georgia O'Keeffe Museum (which represents Georgia O’Keefe’s estate) say Fisk has violated the terms of the artist's gift to the school, which mandated that the artworks not be sold and that they be put on public display (Fisk's Carl Van Vechten Gallery, which houses the Stieglitz Collection, has fallen into disrepair, and the entire collection has been in storage since November 2005). As a consequence, they want the entire collection removed from Fisk's control and sent to New Mexico.
The issue was taken to court, and Judge Ellen Hobbs Lyle barred Fisk from selling any of the art.
End of story, right? Nope.
Now, The O’Keefe Museum took Fisk back to court and demanded the return of the entire collection due to Fisk’s breach of the terms of the 1949 gift. Fisk fought to retain the collection.
Writer’s Note #2: Funny how Fisk was willing to get rid of the collection (via sale), but now they apparently are willing to fork up the legal fees to keep it. Someone’s balance sheets are going to look pretty screwy.
Ultimately, the judge ruled that while Fisk violated the terms under which Georgia O’Keeffe donated the art to the institution, it should not lose the works to the O’Keefe Museum. The judge permanently banned the sale of the 101-piece O’Keeffe collection, but also ruled that Fisk must take the artworks out of storage and display them by October (which is likely to cost them a bit of money to do so).
Writer’s Note #3: Hey, Fisk… Watch what you ask for.
A month ago, an art heist was reported from Switzerland. In a broad daylight armed robbery, three thieves stole a Monet, van Gogh, Degas and Cezanne from the E.G. Buehrle Collection. Together, the paintings were valued at $163 million. Read my report here.
I predicted that none of these masterpieces would ever resurface. Well… I guess I gave the thieves too much credit (or the investigators not enough credit). Two of the paintings - the Monet and van Gogh - were recently found in an unlocked abandoned car parked in front of a Zurich mental hospital about 500 meters from the museum. There has been no comment on whether a proposed ransom was met.
Forensic investigations are intensive and ongoing. Hopes for the return of the other two paintings are high.
It takes a special person to steal fine art for ransom. With that said, I find the tie to mental hospital all too appropriate.
I was a juror for this year’s Charlottesville in 2 Dimensions art exhibit. The other two jurors were Laura Chatterson and Suzanne Chitwood. The theme this year was "Passionate About Charlottesville." Artists of all ages were invited to submit work that represents their view of the essence of Charlottesville and explores their passion for the community which is their home. Work was divided into three age categories: 1) Grade School/Middle School, 2) High School, and 3) Adult. There was also a "Juror’s Choice" award. Awards were cash prizes.
Judging art is always a challenge. And, selecting "the best" is even harder. This show was no different. Having a panel of three jurors, however, made the process a little easier. If one of us was sitting on the fence about a certain piece, the other two helped give a push to one side. This is not to say we didn’t have our differences though. But, overall, I believe we did a good job, and the winners in each category should be proud of their work.
C2D opens to the public this evening at the McGuffey Arts Center. The show is hung in the second floor gallery. At 6:00pm, Charlottesville’s mayor, Dave Norris, will hand out the awards. A list of the winners and images of their work will be posted on the C2D website soon.
