artPark

Diving Into the Jury Pool

Last summer, I had the pleasure of being a member of the ArtInPlace panel of jurors. As a reminder: ArtInPlace is an annual selection of sculptures presented in public spaces (mainly along roadways) throughout the city of Charlottesville.  Read my 2008 review here.  The deadline for submitting applications is upon us – so interested artists should hurry.

Last year's panel was a large (eight members) and diverse group which made the selection process very dynamic. In the end, I thought the pieces selected satisfied the tastes and needs of the panel members and, most importantly, the public who got to view the sculptures on a daily basis.

This year, Laura has been asked to be on the juror panel. She jumped at the opportunity. This is one of the best ways to have a direct impact on what art people get to see and determine how Charlottesville gets to present itself as an art loving community to the gazillions of people who drive through our streets.

Selections won’t be finalized until September, and the work won’t be placed until October. I'll keep you posted on the developments.

Fraud alert!

Richmond based and legally bankrupt electronics merchant, Circuit City, recently announced it found an original Alexander Calder tucked away in one of its corporate office closets. It is now being sold on eBay and is listed as "Famous Artwork found at Circuit City." Go here for the listing.

It's being described as "Alexander Calder's 1970 Hand-Signed Lithograph 'Wave' (This is No.113 of 120 / Size: 44.5"x33.75")". At the current bid of $1,500+ this seems like a steal, right? But, hold on buckaroo. Think about it for a second and read between the lines. Here is the made up story description of the piece:

After Circuit City filed for bankruptcy, the bankruptcy judge appointed Liquid Asset Partners to handle the sale of all assets inside Circuit City's distribution centers and corporate offices. While clearing out the remaining rooms at Circuit City's corporate office in Richmond, VA, liquidators stumbled upon something special. Tucked away in one of the office closets, they found an assortment of paintings; one stood out above the others, an original Calder. The 1970 hand-signed lithograph titled "Wave" can be instantly recognized as a Calder by its abstract flow of bright contrasting colors and bold lines. Featuring his signature "Calder Red" and bright blue with black outlining, one could define Calder's work with this one piece. Liquidators set the "Wave" aside, until further decision could be made about the artwork's fate.

I smell a fake. Is eBay really the best way to sell this piece? My guess is Liquid Asset Partners did try to unload the piece in the traditional way though recognized art dealers but came up short because LAP couldn't provide an inkling of a reasonable provenience for the piece (no mention of when it was purchased, from whom it was purchased, how much it was purchased for, no invoice, no documentation – it was simply "found" in a closet). Without the proper paperwork, this thing is of virtually no value.

For me, the icing on the cake is that the folks at Liquid Asset Partners couldn't even take a half decent photograph of the piece. I believe someone is trying to pull a fast one to make an easy buck. Buyer beware.

Artomatic 2009

 

Artomatic is here! 2009 marks its 10th anniversary and it opens to the public on May 29.

Whoa. Wait. What's that you say? "What the heck is Artomatic?"

In a word (or two), Artomatic is a month-long art festival in DC featuring over 1,000 visual artists and 600 performing artists. And it’s FREE to the general public. This year, Monument Realty and the Capitol Riverfront BID have provided a brand-new 275,000 square foot building to host Artomatic, right next to the Nationals Stadium. The event features NINE floors of visual and installation art, theater performances, dance and comedy, three music stages, street performances such as fire dancing and drum troupes, and a film screening theater. Workshops and seminars are also held all month. You better eat your Wheaties before you go.

With four stages, four bars and a lounge on each floor, the 10th Anniversary Artomatic is bigger than ever. 52,500 people attended Artomatic last year, and 70,000 are expected this year. This is a do-not-miss event. Yes, naturally, you have to wade through a heck of a lot of junk art (repeat: nine floors covering 275,000 square feet), but there are always some serious gems in the crowd. Personal favorites will include the crew from the Washington Glass School (Michael Janis, Tim Tate, Erwin Timmers, et al), and some great work coming out of Sunderland, England (38 artists are jumping the pond for this event) giving this year’s Artomatic a decidedly international flare.

Stay tuned to the Artomatic blog for live reports and a plethora of personal opinions. Something interesting is always happening at Artomatic.

Employment Opportunity at PCA

Piedmont Council of the Arts, the leading arts agency of Charlottesville and Albemarle County, seeks candidates for the Communications Manager position. PCA offers programs and services for artists and arts organizations, educators, and young people and also serves the community at large by coordinating arts-related initiatives with area partners.

This part-time position (15-20 hours/week) is integral to the realization of PCA's vision to be the nexus for all things arts-related in the Charlottesville-area community. The selected candidate will be directly involved in the local arts community, support a growing nonprofit arts organization, and gain experience in an energetic and professional work environment. Enthusiastic individuals with an interest in serving communities through the arts are encouraged to apply.

For the full posting and additional information, go here.

Opportunities

ArtInfo, the website for all things Art, has launched a new Art Jobs Board for jobs, internships, residencies, and artist calls for entry. There are categories for nonprofits, museums, artist's assistants and arts administration, as well as consulting, editorial, and curatorial. There also are sections specifically for artist submissions and artist's residencies.

Although a majority of the listings are based out of New York, there were plenty of opportunities from the other corners of the country (Texas, Utah, California, Arizona, Florida, DC, etc.) and a notable number from abroad.

I'd say it's worth staying tuned into this site.

Opening tonight

Tonight, Laura and I will be headed to Piedmont Virginia Community College to enjoy the opening of Vessels featuring the pottery Tom Clarkson, Kars Marshall and Kevin Crowe (in the North Gallery). The show will run through April 23.

Tom Clarkson has been a long time friend of ours, and we have been proud to exhibit his pottery at Migration. Tom's work expresses all that is artistic in functional pottery - marrying form and function in vessels whose beauty simply needs no function.

Also opening at PVCC (in the South Gallery) is Automatic Artifacts featuring Tracy Davis, Kathleen Free, Judith Minter, Virginia Rice Thompson, Laurie Thurneck, Christine McDowell Tucker, Brigitte Turquois, Staiger White and Susan von Hemert.

Opening reception starts at 5:00pm. Don't miss it.

Seattle, Washington

Laura and I have returned from a week in Seattle. We covered a lot of ground, saw a lot of beautiful things (landscape and art), ate a lot of food, drank gallons of coffee, and had a terrific time with my brother and his wife – thanks, Ted and Cheri for making the trip happen.

On the art scene, Laura and I made a bee-line to the William Traver Gallery. As Seattle is something of a Mecca for art glass, and Traver is the gallery, we had to stop and see the beautiful things on display. Ben Rosenblatt, the gallery manager, gave us a first class tour, and we had a good time sharing gallery fair war-stories. Laura and I were wowed by the sand cast glass pieces by Bertil Vallien, Ethen Stern's blown and carved minimalist work, and Davide Salvatore's "instruments". It was also nice to reconnect with the work of one of my long-time favorite glass artists, Hiroshi Yamono.

   

[Images include: Left, Moro 1 by Bertil Vallien; Middle, Caotica by Bertil Vallien; Right, Russett Islet by Ethan Stern]

   

[Images include: Left, Springarpa by Davide Salvadore; Middle, Fish Hanger #136 by Hiroshi Yamano; Right, From East to West-Nagare #39 by Hiroshi Yamano]

Laura and I also paid the $15 each for admission to the Seattle Art Museum and spent a half day touring the newly re-designed galleries. I have always considered SAM a particularly excellent and well thought of mid-sized museum. But, after this visit, I have to bump it up to one of my absolute favorite art museums – period. As I said, the size of the museum is modest and the collections, although diverse, will not set the world on fire. But it is the curation and impeccable display of the collections that made me see and appreciate things at a much greater level than I have in any other museum I've visited in the last 20 years.

SAM's mid-century modern work was perfectly displayed – not too much, not too little. Standing in the large gallery populated with both sculpture and paintings was thoroughly fulfilling. It wasn't much, but it covered it all. Strolling through the Australian Aboriginal galleries, however, is where it hit me... Here, displayed side-by-side with the traditional and historic pieces were contemporary pieces. I now have a brand new appreciation for the beauty of this genre. Another touching exhibit was in the African Art galleries – 18th and 19th century work surrounded by a William Kentridge film titled "Shadow Procession" (1999). It was an incredible experience. Oh... and, I'll never look at a porcelain display again without comparing it to the outrageous and dazzling display in SAM's Porcelain Room – it's a must see for every visitor. This is what a museum experience is all about.

[Image above: Inopportune-Stage One by Cai Guo-Qiang]

Another museum that we visited was the Woodland Park Zoo – yes, zoos are museums too. My brother, a Zoo docent par excellence, gave us the grand tour. We were able to see the real thing and learn far more than from your standard National Geographic special or text books. Woodland Park Zoo has made it their mission to save animals and their habitats through conservation leadership and engaging experiences, inspiring people to learn, care and act. It was particularly gratifying to have such up-close experiences with the monkeys, apes and the raptors.

Other "flavors" of Seattle we enjoyed were found at Freemont Coffee (our best coffee experience while in Seattle), Nana's Soup House (rocking soup menu), and Capitol Hill artist Jesse Edwards is one to keep an eye on.

[Image: Tyrone Biggums-Dave Chapelle Show by Jesse Edwards]

 

Call for artists (to donate)

This one goes out to artists in the central Virginia area...

Charlottesville's Art in Action (not to be confused with Virginia Artists in Action) is sponsoring an afternoon of art and advocacy on the campus of the University of Virginia here in Charlottesville. They are seeking donations of original art to be auctioned – proceeds will go to seven local charities. Here is their press release:

Charlottesville's Art in Action, An Afternoon of Art and Advocacy on the Lawn, will be held Sunday, April 5, 2009, from 1-4pm on the South Lawn at UVa. The purpose of the event is to celebrate and honor the efforts of Charlottesville organizations by using art to bring the University and Charlottesville communities together.

We are currently requesting donations of original art of any size or form that reflect the efforts of one of these seven organizations: Albemarle Housing Improvement Program, Alliance for Community Choice and Transportation, Charlottesville Community Scholarship Program, Charlottesville Emergency Food Bank, Community Bikes, Shelter for Help and Emergency, or the Music Resource Center. The art will be auctioned off to benefit the organization they represent.

Please submit a paragraph describing the thematic connection to one of these organizations by Friday, March 20, 2009, with a short description of your art piece(s), dimensions of the work(s), and any additional display requirements to Vinu Ilakkuvan at [email protected].

The art pieces themselves can be turned into 36 East Lawn on the Wednesday prior to the event, April 1st, from 6:15pm to midnight.

The success of this event depends on art submissions, and we would greatly appreciate your contribution!

We're on Facebook

I finally took the plunge and opened a Facebook page. Beyond the advertised "social networking" reasons, I have found that a lot of artists post their most recent work on their Facebook page instead of taking the time (and expense) of updating their website every time something is created. This helps us stay more current on what our artists have been up to.

In addition to my own Facebook page (search Rob Jones Migration or Rob Jones artPark), go to the Migration page (search Migration: A Gallery) and become a fan. Fans will stay current on the Gallery’s doings as well as be able to see our latest promotion of new artists, new artwork, special edition offerings, discussions, and events.

So, if you Facebook, check us out. Become a Friend... or a Fan.

The February Blahs

It would be okay with me if we just carve the month of February off the calendar. Go from January (when we are still giddy after the Holidays and New Year celebrations) straight into March (when the daffodils start to pop and spring is in the air). February just doesn't seem to produce much other than continued cold and nasty weather and a collective blah.

As for the arts, I can’t say I've gotten too excited about much out there this month – another strike against February. Luckily, Laura and I are headed to Baltimore this weekend to attend the American Craft Council Show which is guaranteed to perk us up. Other than that… not much at all.

One good thing about February is that it seems to have become a good time to revamp marketing efforts - for us and for artists. I’ve already reported on the re-design of artPark and the updates to Migration's website (two principal marketing tools for Migration). But I have also seen a few artists take advantage of these ugly days, stay inside, and rework their websites. If you are an artist and it's been a number of months since you last updated your website with new photos, future exhibitions, current resume, fresher artist statement, etc. then now is a great time to do it.

Our good friends Jeremy Newman and Allison Ciancibelli who own and operate Twisp River Glass in Washington did just that. Not only do they create some of the finest and most beautiful glass art made today (pictured at right), they now have one of the slickest and most straightforward websites. Check it out here and take notes. This is a great website.

Only one more week left in February.

[Image: Collective Rise by Jeremy Newman and Allison Ciancibelli – blown glass, and recycled wood and metal.]

Migration attending AAFNYC 2009

Again this year, Migration will be exhibiting at the Affordable Art Fair in New York City (May 7 -10 at 7 West 34th, NYC). Laura and I had such a wonderful time last year that we are thrilled to repeat again this year. We will be representing seven stellar artists' work: Michael Janis, Arturo Mallmann, Randall Stoltzfus, Brian Mallman, Tim Taunton, Warren Craghead, and introducing Ashley Williams. Samples of their work are pictured below (for more, check out each artist's Photo Album to the right or go here).

 Michael Janis (fused glass)

Let's take a step back for a second... You're probably asking yourself, "Why in the world would they be excited about going through the trouble and expense of exhibiting in NYC? Haven’t the Joneses heard we are in a deep economic recession and the art market is crashing? The risks are huge. Sales could be zero." No, we don’t live under a rock. So, yes, we are well aware of the glum news about how art is not selling. In fact, most recently, the ADAA Art Show just opened at the Armory in NYC. Reports (including this one by Bloomberg's Katya Kazakina) indicate attendance is down and sales are meager.

 Arturo Mallmann (acrylic & resin on board)

Followers of artPark know my feelings about articles like this that scream how a Picasso just sold for $2 million less than expected - oh the horrors; or how only two thirds of Sotheby's latest offerings were bought - heaven forbid. Screw that, I say.

 Randall Stoltzfus (oil on canvas)

Why does anyone measure the global contemporary art market on the below expected purchase price of a Picasso or Matisse? This is complete bunk. Think of the tens of thousands of talented living artists out there creating and selling their work for far less than what is offered at Christie's or Sotheby's. Why are we fixated on what the Picassos, Warhols, Lucian Freuds, Cindy Shermans, Sol LeWitts, and the like are selling for? This is not the art you and I buy!

 Brian Mallman (graphite on board)

This brings us back to why Laura and I are excited about the Affordable Art Fair. As the quirky name alludes to, everything found at AAF is "affordable" - priced between $100 and $10,000 (most is less than $5,000). Fear not, this is not the kind of art you find at your local street craft fair. Rather, this is the kind of fair that museum curators, designers and collectors attend. Virtually all the art is of great quality made by some of the top contemporary artists around the world. The exhibiting galleries are juried and those selected base their reputations on representing high quality work. So, for $2,000-$3,000 you can pick up a fantastic oil painting by a young or emerging artist who has been vetted by a professional in the field. Oh... and there will be plenty of work by established artists with international reputations for sale as well.

 Tim Taunton (oil and glaze on board)

During the last 6+ months, what we have found is, despite the crappy headlines, people are still buying good art. They just aren't buying as much of the multi-million dollar stuff that makes it on the evening news. Instead, buyers are exercising their sharp eye and seeking sweet deals - the kind of savvy purchases that don’t make the headlines.

 Warren Craghead (graphite on paper)

Bottom line: This is an excellent time to shop for and buy high quality art that is meaningful to you. And, as always, Laura and I will do all we can to make a piece of art yours. We believe the purchase of art should be easy, fair and fulfilling, and we are committed to assisting that principle in every possible way.

 Ashley Williams (drawing on paper)

So, look for us at the AAFNYC. We'll be the ones with excited smiles on our faces - not the sour expressions currently found on the faces of gallerists trying to sell million dollar paintings. Like last year, we will have a limited number of passes available for the Preview Party on May 6 (last year's party was a load of fun) and passes for the May 7-10 general admission. Contact me and I'll do what I can to hook you up with a pass.

The 500 Series from Lark Books

Laura and I are getting ourselves ready to attend this year’s American Craft Council Show in Baltimore (Feb 27-Mar 1). There will be over 700 of the country’s best high end craft artists exhibiting again this year. Unfortunately, we will only have one day to take it all in (therefore the early preparations we have to go through like carbo loading and a few extra minutes on the treadmill). Cruising the aisles is always a blast albeit a bit overwhelming. Regardless, we are excited to see old friends and discover some of the new and exciting things going on in the craft world.

As we get ready, I thought of the terrific "500 Series" of books published by Lark Books (you know how I like things in series). These books beautifully and simply present some of the finest contemporary craft art. I had already included a couple in The artPark Market, but now have increased Lark’s offerings. Take a look at the ones listed below. They all retail for $24.95 each, but are currently priced at $16.47. Laura and I are slowly adding to our collection from this series… you should too.

  500 Animals in Clay

  500 Figures in Clay

  500 Glass Objects

  500 Ceramic Sculptures

  500 Wood Bowls

  400 Wood Boxes

  500 Necklaces

  500 Earrings

  500 Baskets

  500 Metal Vessels

The artPark redesign

Regular followers of artPark have probably noticed a few changes here. After a couple of weeks of digging things up and redesigning the site, the dust has settled and I hope you find your visits to be more informative and entertaining. As always, I will be posting articles that cover a variety of art related subjects (mainly the visual arts), and I will continue to promote the work of artists represented by Migration: A Gallery. The biggest change will be in an increased number of reviews and critiques of the art and exhibitions I visit (or encounter). Most will be here in the Virginia area, but I will be out and about with my eyes peeled.

I would also like to highlight some specific items in the sidebars: First and foremost, on the left, is a direct link to the Migration: A Gallery website. Laura and I have also done a little redesign there. We hope you find it a bit more streamlined.

Also prominently displayed on the left is a link to The artPark Market. Here you will find a listing of books, music and movies I highly recommend. This link is sponsored by Amazon.com. Any purchases you make through this link will be greatly appreciated.

Further down on the left are a couple of special causes that mean a great deal to us. First is our local chapter of the SPCA. Many of you know that Piper, our gallery dog (pictured right) came to us via the CASPCA. Laura and I also support the Chesapeake Bay Foundation and their efforts to clean up and protect this cherished and environmentally important waterway. Please consider supporting these causes.

Further down on the left is a listing of links to interesting art related reading. These are time tested blogs and websites that I frequent and recommend.

In the right-hand sidebar, I have devoted most of the space to artists Laura and I believe to be among the finest in the country. The Photo Album section is filled with many of the artists represented by Migration. Each individual album is filled with examples of a specific artist's portfolio. If after flipping through the images you have any questions on a particular artist or piece of art, please contact me - I'll be happy to help. As always, the art is for sale, and my primary goal is for you to own any piece of art that you find visually stimulating and/or touches you. During our years of selling art, Laura and I pride ourselves on completing every transaction in a fair and accommodating way. The purchase of art should be easy and fulfilling, and we are committed to assisting that principle in every possible way.

Below the Photo Album section is a listing of artists (and links to their websites) who we believe in strongly. Some are established artists with national and international reputations and some are emerging. Regardless, every artists’ work is outstanding and would compliment any collection. Again, you can contact me directly for additional information.

Thanks for your patience during this redesign. I know the posts have been few and far between recently, but now that I have put away my cyber-shovel and html-hammer, I will get back to sharing my thoughts on what is happening in the art world.

As always, thanks for reading.

Maggie Casey - You saw her here first

This time last year, I reported on a group of artists I saw exhibiting at the American Craft Council's Baltimore exhibition who caught my eye (out of the 700+ artists exhibiting at the convention center). I highlighted a handful of them with a shout out. One included Portland, Oregon fiber artist Maggie Casey. Today, flipping through the newest issue of American Craft Magazine I spotted a two page feature written by Joyce Lovelace on Maggie. Nice. Very few young artists get that kind of spread in a glossy national publication.  She's the real deal.

Here's a little snip from the article (read the whole thing here):

"I just love string," she says. "I guess it's the line and pattern, and the way it moves, the stretching and tension." Her sculptures, made mainly of string (sometimes with wood or metal supports and whatever found objects serve her purpose), are best described as architectural/ mathematical constructions, or 3-D drawings. They range from room installations, such as Staircase in Abandoned Racquetball Court to smaller works like Splitting. All are what Casey calls "frozen moments, celebrating an instant" - ghostly rocking chairs, a gust of wind, silk organza tossed and captured midair. Her approach combines meticulous plotting and craftsmanship (skills she honed as a seamstress and pattern maker), active engagement with a given environment, a fascination with cause and effect, and an affinity for material.

I will continue to keep a close eye on Maggie and the progression of her art. At just 26 years old, she has a very long a bright future ahead of her. Oh... and remember... I gave Maggie props a year ago.

Marketing C'ville as a “Creative Community”

A little while ago, I attended and reported on the Piedmont Council of the Art’s Creative Conversation regarding the Marketing of Charlottesville as a Creative Community. Now, Sean Tubbs of the Charlottesville Podcasting Network has produced and narrated an excellent 45 minute condensed version of the 2 hour roundtable discussion. Go here and listen to the podcast. It’s eye opening (or should I say ear opening). I believe this same conversation between various community arts leaders could be heard in virtually any city in the US. Promoting the arts everywhere across the country faces the same questions and issues - it's not unique to Charlottesville.

UVa Art Museum hires new director

Thirteen months after unceremoniously dismissing its long time director, Jill Hartz, the University of Virginia Art Museum has finally filled the vacant post. Bruce Ambler Boucher left his position as curator of European sculpture at the Art Institute of Chicago and will assume his new job as director of the UVa Art Museum on March 1.

Prior to his time in Chicago, Dr. Boucher taught art history at University College London for 24 years and spent two years as visiting member of the research department of the Victoria and Albert Museum. He earned his bachelor of arts in classics and English (Harvard University), his master’s degrees in English language and literature (Magdalen College, Oxford University), and a doctorate degree with a thesis on the Venetian sculpture of architect Jacopo Sansovino (Courtauld Institute of Art, University of London). Dr. Boucher is widely known as an expert on the 16th-century Italian architect Andrea Palladio, whose work influenced Thomas Jefferson’s designs – i.e. the buildings of UVa.

This should be an interesting fit with the University and the city of Charlottesville.  I'm hoping for progressive exhibition programming, outreach to the community outside of the University, and an aggressive acquisitions program.

Welcome to Charlottesville, Dr. Boucher.

Andrew Wyeth – RIP

Famed American artist Andrew Wyeth passed away in his sleep today. He was 91. Although the art world will sorely miss him, his paintings portraying the hidden melancholy of the people and landscapes of Pennsylvania's Brandywine Valley and coastal Maine will live on.

Wyeth's artwork has been a personal favorite of mine.  I believe the importance of his oeuvre dives deeply into the history of art.

"I think one's art goes only as far and as deep as your love goes." - Andrew Wyeth

PCA’s Creative Conversations

I just got back from attending the second edition of the Piedmont Council of the Arts' quarterly program called "Creative Conversations" – a forum for idea exchange and collaboration. The topic today was "Marketing Charlottesville as a Creative Community." PCA Executive Director Maggie Guggenheimer led the gathering of the 30+ attendees who represented a wide range of arts related organizations and individual artists from the central Virginia area (mainly Charlottesville).

This two hour round-table session covered questions such as 1) How do the arts and creativity shape our community; 2) What are the benefits of marketing Charlottesville as a creative community; 3) How can we maintain or grow arts audiences during the economic downturn; 4) How can we work together to support and promote the arts in Charlottesville; and 5) What marketing methods and strategies should we use?

I’m not generally into participating in group discussions like these. To me, they always seem to veer off track quickly and little gets done – although a lot gets said. For this, however, I bucked up and not only attended but participated (to a degree). And, as I expected, Maggie did a good job of keeping us all on point.

Early on, I spoke up and questioned whether Charlottesville is actually considered an arts and culture destination (if it's not an "arts town" then we can’t market it as one?). I truly believe the city wants to be, and its citizens think it is "artsie." But, from my experiences, when you mention Charlottesville, most outsiders first think of history, red brick, white columns and Thomas Jefferson. History and culture we have... but the arts?  When Laura and I exhibit at various gallery fairs around the country, people look at our marquee and say, "Charlottesville? I didn’t know there was art in Charlottesville."  'Nuf said.

I do have to say that Charlottesville is definitely a place to be when it comes to music, food and drink. But does this make it artsie? Is this the place you would expect to see creative and beautiful contemporary visual arts?  Is this where an artist wants to live and pursue his/her career?

Despite my opinion, the group decidedly pronounced Charlottesville the arts center of Virginia (note: comparable cities included Lynchburg, Roanoke, Staunton and Danville). So, off we went to the break out sessions and continued the round-table discussions.

The results: It was widely accepted that there needs to be a central, authoritative resource for the posting of events and maps to arts destinations. PCA seemed to be the logical choice to be that clearinghouse of information (although increased funding would help that actually happen).

Personally, I think a central listing is terrific, but I believe to advance and promote Charlottesville as an arts destination there needs to be a broader, deeper and more consistent discussion of the specific events, shows and exhibitions in town. Listing them on a calendar does little to promote Charlottesville as a creative town. Thoughtful and authoritative articles and reports will further enlighten people to not only what is going on, but the quality of what is going on. It's not enough to simply say "see Billy Bob play his trombone at the Performing Arts Center"; we need more information why we should see Billy Bob play (because he's the most innovative yet recluse trombone player in the world, and we are lucky to have him perform in Charlottesville – or something like that). I plan to continue my part in that as I look to review the local visual arts and comment on the arts in general.

All in all, Creative Conversations is an excellent program sponsored by the PCA. I was happy to participate and pleased to see that a large number of the heavy weights in this arts community attended. With more events and open discussions like this, Charlottesville may very well end up as a much larger dot on the arts map.

The Art of Moving Well

Laura writes:

It was a good Sunday. Actually got a chance to read more than the bare minimum of the newspaper (Washington Post, to be specific). Usually, between the two of us, Rob and I just hit Arts, Sports and Outlook. Sometimes I read Metro (makes me feel like I live in a big city with none of the actual subway riding), and Rob does the front section. But today was good. I'm not sure why I am bragging, though. The two articles that inspired us to write were in our regular go-to section, Arts, which the Washington Post now calls Style and Arts. Rob will write his opinion of Paul Richard's wonderful and thought provoking article on Walt Disney later, but I wanted to commend Sarah Kaufman's article on Cary Grant. Read it here.

I grew up an only child who spent a lot of time watching old movies. A lot of time. Seriously. Way too much time. It gave me a bit of a warped view of reality. But hey, whose childhood doesn’t warp them a little?  Anyway... I agree with Sarah's assessment of Cary Grant's magical grace wholeheartedly. Who wouldn't? But what makes the article really interesting is her analysis of the importance of physicality in acting. Cary Grant apparently trained as an acrobat. This athleticism allowed him to totally control his body and use it as a tool to convey more than words could about his characters. I am a big fan of the point where athleticism meets art. But, the body is an important tool even when its owner isn't an athlete. Think of Phillip Seymour Hoffman's slubby characters. The CIA slob in Charlie Wilson's War wouldn't have been nearly as powerful in someone else’s hands. So it goes both ways, and it’s not about being fit. (How having a strong and pain free body helps with creativity is another story. As is the link between sports and art. More on that eventually.)

Okay, you may be thinking "duh" about the link between the body and the art when it is the performing arts. But what about visual art, when we never, or rarely, see the artist in the work? With two caveats – I am not an artist and I do not have good proprioception – I will plunge ahead. I think that an artist's relationship with his or her body can and should show up in the work. Think about the obvious – large scale sculpture generally takes a strong back. But there are other subtle ways the body influences creativity.

How you feel has to influence the type of work you want to make, and how you feel is dependent in part on your body. Your own size and ability influence how you see the world. Thank god art isn't only made by one kind of person in one kind of body, but as a sports fan and an athlete and gallery owner and art buyer, I have seen the benefits of strength and grace on art (art you feel as well as see). The body even influences how a work of art is viewed. If you see a tiny collage piece, you may picture the artist as a small woman. A large abstract must be done by a muscular young guy. The more you control or are at least aware of your body as a tool, the more it can work for you, I would think. You don't have to look or act or make art like Cary Grant to learn from him.

(Above image: Cary Grant in "North by Northwest" - Viking Press/MGM Library Of Filmscripts)

Obama portrait by Shepard Fairey

This has been widely reported on over the last couple of days, but it makes me feel so good, I thought I would mention it here too…

The original portrait of Barack Obama by LA graphic design artist Shepard Fairey (also known as a "street artist" out west) will soon hang in the National Portrait Gallery. Super-lobbyists and uber-collectors, Tony and Heather Podesta, purchased the piece and have donated it to the Portrait Gallery. Regarding the donation, Tony says:

It seemed like a historic moment for the country, and a chance to do something for art and Democrats.

Well said, Tony. I especially like the focus on the artistic value of the portrait. We have all seen the realistically painted portraits of the previous presidents all holding a traditional pose. To me Fairey's style marries Obama's message and brings us all forward.

What really cracks me up is that it will initially hang in the "new arrivals" gallery on the first floor of the museum – near the newly unveiled portrait of Laura Bush. That should create quite a contrast, don't you think?

I will try to drop by and see it when Laura and I attend the Inauguration festivities on the 20th.

(Information and quotes for this post were pulled from this Washington Post article by Amy Argetsinger and Roxanne Roberts. Above image of Barack Obama by Shepard Fairey)

Art Beat

I just spent some time reading Art Beat – the arts blog of PBS's Online NewsHour. It was my first time to the site. Check it out here.

Art Beat covers news from the world of visual arts, literature, film, music culture and performing arts. Articles are written by senior correspondent Jeffrey Brown. Give it a read. Of course, the first post was a conversation with Andy Goldsworthy so you know I was hooked.

Drawings by WARREN CRAGHEAD and BRIAN MALLMAN

The Dot and The Line

In literature, it is often said, "the pen is mightier than the sword." But, for the visual arts, I proclaim it is the modest pencil that wins the strongman competition. Drawing is the core building block for all artists. The simplicity and diversity of graphite makes it (when in the right hands) one of the most versatile and expressive means to convey a two dimensional image. A properly wielded pencil can reveal tremendous grace and evoke a vast depth of meaning in its simple strokes.

This month at Migration, Laura and I have brought the work of two of the finest drawers in the country together. Warren Craghead, from Charlottesville, Virginia, will be exhibiting pages from his recent illustrated books including This Is A Ghost and How To Be Everywhere (based on the poetry of Guillaume Apollinaire). He will also be showing a series of new collages and signed copies of his books. Brian Mallman, from Los Angeles, California, is a master of graphite on board (paper too) whose work explores themes of connection, interaction and communication. Brian's detailed yet quirky images have been highly acclaimed everywhere we show them.

 

   

  

Warren Craghead believes in the power of drawing as an expressive medium and has exhibited his work internationally. Quietly, Warren is changing the face of the art world by lifting comics to the realm of high art. He has also published many works including the Xeric Grant winning Speedy and several collaborations with poets and writers, one of which was nominated for a Pushcart Prize in 2006. In 2008 alone, Warren has received great praise as an Ignatz Prize nominee for Outstanding Artist; winning a Notable Selection award from This Year's Best American Comics (editor: Lynda Berry); and, most recently, being selected as a finalist for the prestigious Trawick Prize.

Warren received an MFA in 1996 from the University of Texas at Austin [writer’s note: Hook’Em Horns!] and a BFA in 1993 from Virginia Commonwealth University in Richmond, Virginia. He also attended the Skowhegan School in 1993. Warren describes his work as follows:

My work explores the absurd idea of how to be everywhere. It insists that art can be accessible, cryptic, and beautiful all at the same time. My drawings, collages, paintings, book and mail art are inspired by my experience in the ordinary world. They contain spontaneous without thinking narratives that process and encode everyday life and the written word into discrete, pictographic, nonlinear stories that can be encountered everywhere: a sticker on a pole, a booklet in a newspaper, a postcard in the mail, an image on a website, a collage in a gallery.

(The above images of Warren's work include: Top Left, This is a Ghost; Top Right, Untitled collage; Bottom Left, cover to How to Be Everywhere; Bottom Right, Lisboa)

 

     

  

Brian Mallman's drawings have been a mainstay at Migration since we opened. He was also a focus of our exhibits at both the artDC and AAF NYC gallery fairs where he garnered loads of attention and sales from a variety of sophisticated collectors, gallerists and news media. Brian has been living and working as an artist in Los Angeles since 2003, where his prices are steadily rising as he gathers impressive kudos. He earned a BFA in drawing from the Milwaukee Institute of Art and Design and was an artist-in residence at the Atlanta Contemporary Arts Center before launching his West Coast career. His mastery of the graphite line plus his choice of subject matter - relationships - make his work extremely resonant. About his work, Brian says:

Human interaction and levels at which people are able, or not able, to connect with themselves and with each other has always fascinated me. Much of what we do and how we behave is an attempt to understand and prove our own existence. We surround ourselves with objects, people and philosophies in an attempt to define ourselves as individuals and therefore reinforce our existence. Much of my recent work deals with the subtle hierarchies that are established when people interact and the posturing and gesturing that takes place to create and reinforce these hierarchies.

(The above images of Brian's work include: Top Left, Meetings #15; Top Right, Meetings #18; Bottom Left, Meetings #33; Bottom Right, Meetings #16)

Laura and I have long sought to bring these two drawing heavyweights together in one show [note: Interestingly, but not surprisingly, both artists have admired one another's work]. We could not be more pleased to make our final Charlottesville exhibit The Dot and The Line. Warren's and Brian's art sums up much of what we deeply admire in today's visual arts scene.

The artPark Market

By now you know I encourage everyone to purchase original works of art. My motto: If something touches you and you can afford it, buy it. It’s a no lose deal - you get something that enriches your life; and you support an artist who in turn is now more financially able to continue creating their art for others.

To a smaller degree (but no less important), I also encourage the purchase of Books, Music and Movies through the artPark Market. The folks at Amazon have developed a way for me (and people like me) to promote certain items that I personally recommend. Take a look at what I’ve got listed at the artPark Market. You just might make a few new discoveries.

I have recently added these three items:

 Peter and the Wolf (dvd). Technically stunning, and thematically dark, this amazing adaptation of Sergei Prokoviev's classic children's piece, features marvelous stop-motion animation from director Suzie Templeton. State-of-the-art digital technology and a new orchestral recording bring to life this fantastical retelling of Prokofiev’s classic fable of a magical world in which little boys can find the strength and courage to overcome their fears and the ever-present dangers that surround them. This film received the Academy Award for best animated short in 2007 and is one dvd worth owning and not just renting.

  Fleet Foxes (cd). This Seattle band draws influences from the traditions of folk, pop, choral, gospel, sacred harp singing, West Coast music, traditional music from Ireland to Japan, film scores, and their NW peers. The subject matter ranges from the natural world and familial bonds to bygone loves and stone cold graves. In other words: imagine a pastoral choir overwhelming a sweeping folk-rock band, in the middle of a sunlit forest in the spring. This is a stunning cd of glorious instrumentation and vivid lyricism.

 The Wind Up Bird Chronicle (book by Haruki Murakami). Haruki Murakami is a master of subtly disturbing prose. Mundane events throb with menace, while the bizarre is accepted without comment. Meaning always seems to be just out of reach, for the reader as well as for the characters, yet one is drawn inexorably into a mystery that may have no solution. In this beautifully written book, Murakami explores both the surface and the hidden depths of Japanese society at the end of the 20th century. Don’t be put off by the density. You will be rewarded.

New art from Twisp River Glass

The glass blowing team of Jeremy Newman and Allison Ciancibelli has been kind enough to send some new pieces of their exquisite artwork to Migration. Understandably, getting glass artwork from their Twisp, Washington studio across the country is never an easy task, so we consider this a real treat. I strongly encourage you to come by the gallery and take a peek at their new work. Here's a view:

  Alder Stone - $2,100

  Ancestor's Pair - $2,800

  Renewal Stone - $2,200

  Evening Ridgeline - $2,100

Like their other work that has sold to collectors around the world, the forms are simple, earthy and serve as blank slates for their abstract, narrative imagery created by layering colors of glass and adding frit, powdered glass, and steel fibers. The surface is acid-etched, giving the finished piece a soft, matte finish and stone-like appearance. Their work is meant to remind people of our interconnection with nature, with each other, and with our collective past.

Jeremy and Allison have also sent some beautiful vases (sorry no pictures). They are priced $250 for the small ones and $450 for the larger ones. These are a bargain and a great opportunity to own work from the two hottest young glass artists in the country.

For more about their work, read this article or give us a call at Migration.

All Eyes on Miami

Yesterday marked the VIP opening receptions of the nearly 20 gallery fairs going on simultaneously this week in Miami – commonly known as Art Miami, anchored by the uber-fair Art Basel Miami Beach.

Fresh off a successful fair in New York City last June, Migration was courted by a couple of the smaller Miami satellite fairs. Laura and I didn't jump at the ego-inflating invitations; instead we weighed our options cautiously. Ultimately, we declined the invitations - although we did choose to apply to a couple of the larger fairs. Luckily for us, organizers were a bit slow to make their selections and Laura and I had time to clearly see the rumblings in this fall's economic shakedown. Needless to say, we are not attending Miami... and we thank the heavens for that decision. I am happy to take risks like any other small business owner, but, Laura and I prefer to close out 2008 enjoying the successes the year has provided rather than risk losing at Miami.

Norman Braman, a seasoned Miami collector, said this about the current climate:

I look at this downturn as opportunity time. I've had works of art that have been offered to me that are very exciting, but no one knows how serious the downturn is. As I told one dealer, 'The problem is, I don’t know what the bottom is, so I don’t know what's reasonable.'

When you can't define what is "reasonable" in any market, it's safe to avoid it.

Of course, we will all hear the glorified stories of the various million dollar sales of masterpieces during this week. But what about the sales of the under-$10,000 emerging artists' work? We'll have to wait and see I guess.

Early articles have reported smaller crowds, less-frenzied buying, and lower prices. Stay tuned to artInfo.com for all the reports coming out of Miami.

Shawn Colvin taps Maggie Taylor

Hey, Charlottesville… You can say you saw it here first!

Grammy nominated folkrock singer Shawn Colvin, has a new album out – "These Four Walls." It's another great one for Ms. Colvin. But what is important to me is the image she chose to grace the album cover. Ms. Colvin picked the art of Florida photographer Maggie Taylor. Specifically, Maggie's "Woman with a Stone Skirt" is used for the cover. This is the same photo we brought to Charlottesville a year ago during Migration’s November 2007 Photography Invitational (read my review of Maggie's art here). Good to see the power players in the music industry catching up to what we do here in Charlottesville.

  

This is probably the first time I’ve been excited about album cover art since the world switched from 12.5" x 12.5" vinyl sleeves to 5" x 5" CD inserts. Gone are the days of artists getting full-blown exposure through collaborating with pop music artists. Case in point: Little known Georgia folk artist, Howard Finster, became a household name soon after Michael Stipe and R.E.M. used his art for their 1984 album "Reckoning." The following year, Talking Heads used Finster's art for their 1985 album "Little Creatures" (which Rolling Stone awarded the album cover of the year). Finster's fame instantly became mainstream - including his selection to be part of the Venice Biennale - and visitor attendance to his Paradise Gardens home (an absolutely incredible visual art installation) in rural Summerville, Georgia exploded.

  

Just think of the millions of "Reckoning" and "Little Creature" albums that were sold in the mid-80's. That’s a lot of eyes seeing Finster's art who otherwise would have never heard of him. Those were great days for visual artists and getting exposure through album cover art. Let's hope for the same for Maggie Taylor.

SOFA Chicago 2008

This time last year, Laura and I had started the tedious task of packing up the art of six different artists and making the final preparations to exhibit at SOFA Chicago. We put a lot of effort (physical and mental) into the show and were really pleased with the results. This year, however, we spent some time looking into our business crystal ball trying to see the signs of exactly how the 2008 fair would treat us. We ultimately chose to play it safe and stay home. It was a difficult decision, but now with the economy rollercoastering its way down and everyone tightening their purse strings, we feel okay about our decision. Regardless, it will be tough not being part of the pageantry and spectacle that can only be found at SOFA.

This year’s show will be held from November 7^th through 9^th – with a special preview gala (not to be missed) during the evening of the 6^th – in the Festival Hall of Chicago’s famous Navy Pier.

Out of the hundreds of artists being exhibited by the 100 international galleries attending the fair, besides the Tagliapetras, Chihulys, Morrises, Pattis, and Maloofs, Laura and I recommend you seek out (and buy) the work by these artists:

  Adrian Arleo @ Jane Sauer Gallery

  Carolyn Morris Bach @ William Zimmer Gallery

  Michael Bauermeister @ del Mano Gallery

  Mark Chatterly @ Next Step Studio & Gallery

  Steffen Dam @ Galleri Gronlund

  Kathy Frey @ Mowen Solinsky Gallery

  Janice Ho @ Covet Gallery

  Joel Hunnicutt @ Katie Gingrass Gallery

  Michael Janis @ Maurine Littleton Gallery

  Jim Martin @ Covet Gallery

  Tim Tate @ Maurine Littleton Gallery

Supporting the Arts: Obama v McCain

Go figure… Barack Obama and John McCain have differing positions regarding federal support for the arts.

During these final days of campaigning, if you were still sitting on the fence (although I can’t believe any thinking person could be undecided at this point) consider the little discussed position of the two candidates regarding the arts. Kate Linthicum of the LA Times has written a nice article on the subject. Here are a couple of highlights:

Democrat Obama has spoken about the importance of the arts often on the campaign trail, and his official party platform includes a two-page arts policy statement that calls for increased government funding for the National Endowment for the Arts. Republican McCain has been practically mum on the issue, although two weeks ago his campaign released a four-sentence statement that calls for funding for arts education to be left to local entities, where "local priorities allow."

… Obama's was the most detailed, [Narric] Rome said. The Illinois senator formulated it with the help of his 33-person National Arts Policy Committee, whose members include Michael Chabon, the Pulitzer Prize-winning novelist, and George Stevens Jr., founder of the American Film Institute.

According to Rome, McCain never submitted an arts policy proposal; his campaign released its statement on arts education after 18 months of prodding.

… Rome said Obama was the first presidential candidate to have a national arts policy committee. "That's significant," he said. "That is not a fundraising arm. It was built to be a policy committee. Artists not only are being used as part of the campaign but also to further art policy."

Of course, the nominees' positions on the arts probably won't be a deciding factor on November 4. But I do believe how each of these two guys view this country’s future contributions to the world through its arts and advancing cultural endeavors is a significant indicator as to who will lead us in a positive direction.

The solution to our credit woes

Another day, another rollercoaster day for the Dow. Ugh. From the headlines, I think we all get the message that many of the financial problems are due in part to the lack of viable sources of credit. Well, I found the answer… ArtLoan. ArtLoan is the first and only private lender to offer asset-based financing to the antiques and fine arts community. From their website:

The equity in your fine art, collectibles and art-related assets is a powerful financial tool. Use it to manage your portfolio, achieve personal goals, create wealth-building solutions, or provide a constant flow of working capital for your business. Using effective borrowing strategies to put your art equity to work can help preserve cash, avoid potential tax exposure, and prevent untimely dispositions of assets.

Accessing the equity in your antiques, collectibles, and fine art is no longer a challenge. ArtLoan provides dealers, investors, and private individuals who own art-related assets the means to discreetly leverage these assets with an Equity ArtLoan ™ and soon, with their own personal ArtLoan Creditline™. With an Equity ArtLoan™ you may borrow against your art-related assets, thereby accessing the equity in these formerly illiquid properties, quickly and easily. With a personal ArtLoan Creditline™, clients have the flexibility of drawing funds against their line of credit without incurring interest fees or expenses until the cash is actually needed and accessed.

Just another example of how art ownership is more and more becoming a recognized fiscal asset.

Keeping up with… JIM MARTIN (and others)

Laura and I just got a terrific email from one of Migration’s top sculptors, Jim Martin. Despite our love of his work, coming from Santa Barbara, California, it has been hard for us to keep a supply of Jim’s exquisite metal sculptures on hand in our Virginia gallery.  Getting them across the country is a chore. Our last full-scale exhibit of his work was in Chicago where we were exhibitors at SOFA Chicago last November. Jim’s work sold extremely well there – no surprise. People were quick to respond to the mix of archaic, classical and modern in Jim’s sculpture. It has been often said that his distinctive and elegant forms are made with the meticulousness and precision usually reserved for fine jewelry.

Because Laura and I decided not to exhibit again in Chicago this year, we were thrilled to see that Jim is keeping the SOFA torch burning and will be in Chicago again. This time, however, he will be both an exhibiting dealer and artist! As a dealer, Jim has opened up Covet Gallery based in Santa Barbara. Jim describes the gallery as…

Covet Gallery represents emerging and mid-career American artists whose technique and craftsmanship distinguish their work, underscoring their artistic vision. Art that is well made is a pleasure to collect and display. We feature jewelry and sculptural objects of metal, clay and fiber as well as contemporary painting in oil, mixed media and encaustic.

In addition to exhibiting Jim’s beautifully crafted and engineered metal sculpture at SOFA Chicago, Covet Gallery will also be representing the work of one our most-est favorite designer-jeweler-metalsmith, Janice Ho (pictured right), as well as former Migration outstanding artist, Brooke Marks-Swanson. After having her first child last year, Brooke is back at creating and showing her abstracted midwestern scratched-metal landscapes.

Beyond Jim, Janice and Brooke, Covet Gallery will also be representing the following artists at SOFA: Michael Barnard, Barbara Bouman Jay, Hideaki Miyamura, Victoria Moore, Iva Morris, Brian O'Connor, Eric Silva and Akiko Sugiyama.

If you attend SOFA Chicago this year (November 7-9), drop by Booth 1201 and say to Jim and his crew. Oh… and buy a couple of things too!

Second Street Gallery follow-up

As I move through life, I am constantly amazed at the timing of certain events. My most recent example: Yesterday, I posted a little piece on how I was disappointed that the nonprofit gallery, Second Street Gallery, seemed to be a little secretive about announcing its new Executive Director. Read it here. Shortly afterwards, Laura and I receive the following email:

From: Steve Delgado, President of SSG Board of Directors [mailto:[email protected]]
Sent: Wednesday, September 24, 2008 3:47 PM
To: [email protected]
Subject: Special Announcement from Second Street Gallery

Dear friends of Second Street Gallery,

I am writing to share with you a special announcement about Second Street. As many of you know, the gallery recently went through a transition with Leah Stoddard, our Executive Director of eight years who was an instrumental and unforgettable part of Second Street's 35 year history. The launch of our 35th year is a testament to gallery members, individual and corporate sponsors, the SSG Board of Directors, and all of our staff past and present.

After interviewing candidates from all over the country, the Board of Directors is pleased and excited to report that we have concluded our search and that in fact we didn't need to look very far for the person who will lead Second Street Gallery into its next 35 years. As yesterday was her first day on the job, I am happy to introduce to you our new Director, Rebecca Schoenthal.

Rebecca Schoenthal studied art history at Connecticut College, where she earned her BA, and earned her MA and PhD in art history from the University of Virginia. Since 2004, she has been an important and self-described "vociferous" member of our Artist Review Panel, a group that supports the Director in making curatorial decisions for the gallery. She has acted as curator, done development work, and taught for a number of institutions including San Francisco MoMA, the University of Virginia, and Randolph-Macon Woman's College. She's been described as having "a keen sympathy for local communities in how they embrace art," and is "extremely successful in building and educating audiences." She's also been described as "energetic, savvy and ambitious," a description which the SSG Board of Directors can attest to. To that end, she's active in our community as a member of the Board of Architectural Review in Charlottesville and as a small business owner--experiences that have put her in touch with the day-to-day challenges that small organizations like Second Street face. She's truly a unique combination of art historian, educator, curator and small business person.

Please stop by the gallery to welcome Rebecca to SSG.

Sincerely,

Steve Delgado
President, SSG Board of Directors

Weird, huh? I’d like to think the suggestive powers of artPark had something to do with it, but I’ll stick with chalking it up to coincidence.

At least we now know what’s happening at SSG.

Follow-up: Lehman Brothers and Neuberger Berman

As a follow-up to Laura’s excellent article about the Lehman Brothers collapse and the state of the Neuberger Berman art collection, Artnet News reports the following:

Lehman’s Art Collecting Unit To Be Sold

The 158-year-old investment bank Lehman Brothers filed for Chapter 11 bankruptcy on Monday, Sept. 15, 2008, sending shockwaves through Wall Street and international financial markets. Its assets are now set to be liquidated. Exempted from the bankruptcy filing, however, is Neuberger Berman, Lehman’s giant asset management unit and one of its few profit-making divisions in recent months. The company is now taking bids for Neuberger, with five private equity firms reported as possible buyers: Kohlberg Kravis Roberts, Hellman & Friedman, Clayton Dubilier & Rice, Bain Capital and CVC Capital Partners. Whoever wins it will walk away, along with the business, with one of the most distinguished corporate art collections.

…Selections from the approximately 600 works in the collection are extensively displayed in the Neuberger Berman offices around the globe. Whether the new owner keeps the art collection or would consider auctioning it off into the hot contemporary art market remains to be seen.

What stands out to us is whether or not the collection will be kept intact or sold off. My hope (and prediction) is that it will remain intact. Knowing the current people who are working to add to the collection, it is a well thought out and cohesive collection. It would be a shame to break it up.

Artnet also reports the following about the ripple affect of the Lehman bankruptcy on the arts in general and specifically museum funding:

Museums Lose Big in Lehman Collapse

Whatever the fate of Neuberger Berman, however, the collapse of Lehman Brothers is destined to pass like a cold wind through the museum world, which has leaned on the investment firm for untold millions of dollars in arts patronage (charitable giving at Lehman Brothers totaled $39 million in 2007, according to a story by Bloomberg reporter Philip Boroff). In recent years, Lehman has been the lead sponsor for a range of museum initiatives, from the Brice Marden retrospective at the Museum of Modern Art and the Jackson Pollock show "No Limits, Just Edges" at the Guggenheim Museum to the "Young Friends of the Norton" program at the Norton Museum of Art in West Palm Beach, Fla., and a show about the pleasures of collecting contemporary art at the Bruce Museum in Greenwich, Conn.

John F. Akers, a senior board member at Lehman -- he chairs the firm’s "compensation and benefits committee," which now sounds like a misnomer -- has served as a trustee at the Metropolitan Museum of Art, which has received support from the investment bank. Other Big Apple institutions that have received Lehman Brothers funding are the American Folk Art Museum, the Asia Society, the Brooklyn Museum of Art, the Dahesh Museum of Art, the Frick Collection, the International Center of Photography, the Japan Society, the Jewish Museum, the Morgan Library & Museum, the Museum of Arts & Design, the New Museum of Contemporary Art and the Whitney Museum of American Art. In New York, that’s what you call a "royal flush."

Elsewhere in the United States, the Art Institute of Chicago, the Dallas Museum of Art, the Miami Art Museum, the Museum of Contemporary Art, Los Angeles, the Neuberger Museum of Art in Purchase, N.Y., the Philadelphia Museum of Art and the San Francisco Museum of Modern Art are all listed by Lehman Brothers as having been beneficiaries of the firm’s giving in 2007.

Nor is the damage limited to the U.S. In the UK, Lehman is partnered with the National Gallery, the Tate Modern and Tate Britain, the Royal Academy of Arts and the Victoria & Albert Museum. In Germany, Lehman has given to Frankfurt’s Städel Museum. In France, it supports the Musée du Louvre. And in Japan, Lehman is listed as a "Diamond"-level supporter of Tokyo’s Mori Art Museum (in fact, Lehman shares a headquarters with the Mori in the Mori Tower).

Beyond all this, the now-defunct company also had a notable philanthropic focus on supporting "excellence in the arts for children." Its 2007 philanthropy report boasts of giving grants to New York organizations like the Alliance for Young Artists and Writers ($25,000), ArtsConnection ($25,000) and DreamYard ($20,000) -- all of which focus on arts education for school children -- as well as $30,000 to the Massachusetts College of Art in Boston. In the UK, Lehman gave £21,400 to support activities for disadvantaged young people at London’s Design Museum, and £10,000 to do outreach to hospital schools at the National Portrait Gallery.

This isn’t the end of corporate museum funding as a whole, but it does show the wide ranging affects that the failure of a long standing corporate entity has on many areas of our lives.

Alan Dehmer Photograph Won’t Be Hitting the Auction Block

In the midst of the recent finacial market craziness, here’s some good news: Neuberger Berman, a division of Lehman Brothers, is doing just fine. No, I don’t fully understand how a company can pick and choose which of its assets to include in a bankruptcy proceeding, but I’m happy anyway. (Go here for a little explanation of what’s going on with Lehman Brothers and Neuberger Berman.)

And a more succinct explanation from their web site: "Neuberger Berman is operating as usual and is not subject to the bankruptcy proceedings of Lehman Brothers Holdings Inc. Our portfolio management, research, and trading operations are fully functional, and our portfolio managers continue to actively manage our clients' assets and will do so going forward. All mutual fund assets are segregated from Lehman Brothers and are held by the custodian, State Street Bank & Trust."

Why do we care? Because Neuberger Berman has a terrific and active art collection. Curated and directed by Michael Danoff and his staff of at least five, this collection is a visionary, guiding force in the contemporary art world. Oh, and did I mention that Mr. Danoff himself selected an Alan Dehmer photograph from our booth at the Affordable Art Fair in June? (Low Country, pictured left) He saw it and reserved it at 5:55pm on the night of the Opening Preview, which started at 6pm. Two hours later, he came back and bought it. A delightful gentleman.  It is an honor to have a work included in such a prestigious collection.

Here’s a little history on the Neuberger Berman collection that comes from a press release about the exhibition’s stop at the Tampa Museum of Art in 2004:

"Contemporary art in the workplace has been a part of Neuberger Berman's corporate culture since the investment firm was founded in 1939. The Neuberger Berman Art Collection supports the efforts of living artists and creates a stimulating, enriching environment for employees and visitors. Crosscurrents at Century's End reflects the diversity of the firm's international contemporary collection, which includes nearly 600 works housed in Neuberger Berman's corporate headquarters in New York and satellite offices in cities across the United States, including Tampa (see their catalog here). The collection consists predominately of paintings, photographs, sculptures, and drawings. At Neuberger Berman, art is integrated into the workplace and the daily working environment. This is the first public exhibition of selections from the collection, and the Tampa Museum of Art is the final stop on a four-city tour.

In 1990, Neuberger Berman decided to set aside funds for the purchase of works by emerging to mid-career artists, with an emphasis on the former. The collecting principle of the program is to acquire stimulating works that reflect various directions emerging in today's art. Thus the collection ranges from fascinating reprises of tradition to phenomena that appear startlingly new. The focus is on the particular work rather than the representation of a movement or direction. The collecting program follows a belief that no a priori restrictions on style or media should dominate. Acquisitions are open-ended as a celebration of contemporary art's diversity - limitations are primarily due to ceiling height and relatively limited space for three-dimensional objects."

The late, lamented Lehman Brothers has done its own share of arts supporting, so we are very sad to see them fall. The Metropolitan Museum of Art has a Robert Lehman Collection housed in the Robert Lehman Wing. And even regular Joe Wall Streeters do their part to keep the contemporary art scene alive. See this article for more.

So, as left wing as we are ideologically, it helps to remember that rich people and rich companies can be terrific patrons of the arts... if they can stay in business. Keep on trucking Neuberger Berman and thanks!

Trawick Prize winners

I reported earlier about this year’s Trawick Prize and its Charlottesville connections: Former 2nd Street Gallery director, Leah Stoddard, was one of the three jurors, and Cville’s fantabulous artist Warren Craghead was one of the 14 finalists.

Yesterday the winners were announced. Maggie Michael from Washington, D.C. was awarded "Best in Show" with $10,000; Dan Steinhilber of Washington, D.C. was named second place and was given $2,000; Bernhard Hildebrandt of Baltimore, MD was bestowed third place and received $1,000; and the "Young Artist" award of $1,000 was given to Ryan Browning of Mount Airy, MD. Congrats to all.

The 14 finalists’ work is currently exhibited at the Heineman Myers Gallery in Bethesda, MD. The show looks terrific.  Get a sampling of everyone’s art here.

Pricing Art (part 3)

We’ve devoted the previous 2 posts to the subject of pricing art and the theories behind art pricing. Discussing the numerous and varied concepts is a little like nailing jello to the wall... Not so easy. But, to boil it down, I would say this:

For Artists: Price your work as (reasonably) low as you can for as long as you can.

For Buyers: If you love it and can afford it, buy it.

At Migration: Laura and I have long believed that if someone loves a particular piece of art we will do all we can to make sure they own it and have it in their lives.

Pricing Art (part 2)

Our summer intern, Katie Jenkins, was presented with the question of how art is priced. After talking about it with us, she did a little research of her own. Here’s what she has to say on the subject of pricing art:

 

A few recent comments about the pricing of many of the clay pieces currently at Migration, including a question from a gallery visitor regarding the "value" of one of Steve Mitchell’s ferric chloride pots, made me consider the undoubted flexibility of the art market. (The client wanted to know why the work, at $425, was so inexpensive and whether it would increase in price.) Laura came to my aid, loaning me Talking Prices: Symbolic Meaning of Prices on the Market for Contemporary Art by Olav Velthuis (2005, Princeton University Press) a book loaned to her by one of Migration’s artists, Randall Stoltzfus. (If you don’t have time to read the book, the extensive notes and tables are pretty interesting by themselves.)

After reading the ethnography, I got a strong sense that the art market is not a true capitalistic environment generally associated with the word "market" due to its ambivalence about the process of assigning value to its products. The ambivalence comes naturally from the fact the art dealers are part of the capitalist structure by necessity and part of our cultural life by choice. (With chapters titled "Exchanging Meaning", "Promoters versus Parasites" among others, you quickly begin to understand the strange and rarefied world inhabited by the art market.)

So then, how should we attempt to understand why the art market simply cannot function as a normal market does, especially when it comes to pricing?

I believe that the answer might lie in the symbolism within the art world. Everyone can interpret the symbolism within art itself, but there are also clues to the larger art world found in the way that people communicate within the market. There is significantly less explicit discussion about the dealing of the art than about the art itself. Velthuis’ observed a basic dichotomy in every gallery he entered that embodies the communication within the art world. The architecture of galleries- art in the front and business in the back- is the perfect example of how the art world operates. While the visual design of galleries generally emulates museums- crisp white walls, solid floors, and the art- the business operations of the gallery are all hidden. The complex intricacies of a billion dollar industry therefore are represented by a minimalist design, making it look "easy." There is as much artifice in the art market as there is art – and without it, people are suspicious. Straight dealing is perplexing.

But art does not just communicate visually, and neither does the market. The verbal communication between artists, their gallery representatives, and their clients is another symbol of how the art market operates. The poetic language used to describe any piece of art is often transferred into the methods of describing prices, sales, and business relationships so that numbers, ratios and other data on value are rarely discussed in economic terms. The stories told by the gallery owners that Velthuis interviewed used words like "humble" and "seductive" to describe certain prices of artworks.

As for advertising art, gallery owners wisely let the piece of art be the primary marketing tool for the gallery, receptions and the artist - just as they should let the art work explain its own value. Other dealers let factors outside of the individual piece symbolize its market value, especially who made it (the fame of the artist), who has it (a prominent collector or gallery), or who wants it (auction prices or museum acquisitions). These references unfortunately can have more of an impact on the value of a piece than the quality of the art itself.

Velthuis describes the art market as being a "communication market" as much as an art market and a "dense fabric of mutual gifts and favors"; and I think most people would agree. Regular quid pro quo transactions and numerous discounts to acquaintances encourage the flexible market. This equally beneficial relationship between buyers and sellers definitely is exclusive to the art market.

This brought to mind an exhibit I saw in NYC last fall: a series of photographs of gallery desks. You saw the occasional decorative flower on the counter, guest book, or even the top of the gallery attendant’s head, but other than that, every single image was pure white. While the artist Andy Freeberg described his exhibit "Sentry" as an attempt to examine the question "are we setting up barriers to the simple eye-to-eye contact that affirms our humanity", I think it is also relevant to the representation of the market within the galleries that supports a system that ultimately allows individuals to interpret and set a unique value to art, ideally with limited interference. While you can attempt to set a price of a piece of art based on the costs of production, the size of the piece, or the quantity produced, the real value undoubtedly lies in the essence of the art.

I think the best example of correct pricing methods was mentioned on page 136 of Talking Prices. When asked why he had priced one artist’s work lower than the expected $4,000 tag, one gallery owner claimed "it (the artwork) does not want that price yet".

Pricing Art: Through the Looking Glass and Down the Rabbit Hole

(Laura’s note: Rob should probably be writing on this since he gave a talk on pricing art at a symposium for craft artists a few months ago, but I thought I’d give him a break from the heavy lifting.)

In the process of doing research prior to opening Migration, I talked with a very respected, long-time gallery owner in my hometown of Chapel Hill. He has since moved his gallery to Durham. Go here for a virtual tour of the new and spectacular gallery. Joe has been a gallery owner and art dealer for almost 40 years. I asked him many questions during the three hours he generously allotted for our meeting. The advice that was most sticky was this: "Tell your artists to price as low as they can as long as they can." Now, Joe represents many artists whose works approach and exceed $20,000, which may not seem low, but that was not his entire point. His point was that it’s good to start low at the beginning of your career and finish high. He and I have no problem explaining a low price to a client; it’s much harder, especially in a small market like Charlottesville or Durham, to explain a high price, especially for an artist with a short resume.

Pricing art and craft is tricky. Some craft artists price by the square or cubic inch. Some painters price their work depending on how much they like it. [Insert sound of shuddering.]

As a gallery owner and art buyer, I like prices to make sense. Sometimes they make sense because an artist is famous (Damien Hirst internationally or Dean Dass locally). Sometimes they make sense because the work is simply spectacular and obviously technically difficult and time consuming (Joachim Knill). Sometimes they make sense because of value for size ("Hey, I can get an original work of art to hang over my sofa for about the same price as my sofa. Cool!")

But often prices baffle the uninitiated buyer. In an attempt to de-baffle the pricing of contemporary art, I had our wonderful intern, Katie Jenkins, think about this issue and read an interesting book on the subject, Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art, by Olav Velthuis, published in 2005 by Princeton University Press.

The book promises to address "How do dealers price contemporary art in a world where objective criteria seem absent?" Velthius attempts to answer this question from a sociological perspective. I would argue that objective criteria are not always absent, but that’s just quibbling.

I would sum up my advice on buying art this way: If you like it and can afford it, buy it. My advice to artists would be the same as Joe’s. Unless you have the larger art world contacts to "make it work" (as Tim Gunn would say), don’t bother with pricing a work higher that the price you want for it just so people will think it’s valuable. Those aren’t long term customers anyway.

Stay tuned for part 2.

Who deserves a DaVinci or a Velvet Elvis?

For a city that bills itself as the "cultural and creative capital of Central Virginia" and often lures visitors with promises of the best the arts has to offer, I thought it was time to put Charlottesville's breast beating to the test and start handing out awards to those individuals/groups who actually live up to these lofty standards… and expose those who fall desperately short.

Since I am acting as judge and jury here, the focus will primarily be on the visual arts – you know… the stuff we see… like painting, sculpture, photography, etc. Maybe someone else will carry the torch for theater, dance, and music.

For this, there will only be two awards: the "DaVinci" for those who are doing something truly positive and promoting the visual arts in Charlottesville, and the "Velvet Elvis" to those who, despite their elevated position in the cultural scene, are dragging the visual arts backwards.

    

So, follow me during the next couple of weeks as I reveal my picks for Velvet Elvis winners and those who earn a DaVinci distinction.

Naturally, as I expose the most deserved, I encourage comments in support or rebuff.

Come along… this will be fun.

Hanging (and re-hanging) art

When Rob and I used to live in Atlanta and I had free time (this usually happened when Rob was out of town) I cut things. I cut everything from my hair to the sleeves on t-shirts to limbs from the pine trees in our front yard. Now, when I have free time (i.e. trying to procrastinate), I move art around in the house. 

Over the many years of doing this, I’ve found that when we bring a new piece of art home, we find a place for it that best suits its size and shape. A no-brainer. What can happen, though, is that you often don’t get to see your favorite pieces when you are actually at rest and can enjoy them. They may make the room look great for a photograph, but if you are walking by them and not seeing them, you won’t feel the joy that living with challenging and beautiful and meaningful art can bring. (Assuming that’s the kind of art you buy!)

Case in point is a tall folk art painting Rob and I bought about 5 years ago. It was, and is, a favorite piece and it deserved a place of honor. It looked great hanging on the wall directly opposite the front door. We always saw it when we walked in. Great, right? The problem, which somehow I noticed when I had other work to do… but ah, that could wait, the art problem was urgent… was that coming home was the only time we saw it. So I moved it to another wall where we now enjoy it when we eat breakfast and dinner. It is a little cramped in its new space, but we can see it and see it often. I’m certain no "decorator" would place it there, but the piece has become a living thing to me. A spectacular trade off, in my opinion, and something to consider when you hang art. When will you get to look at it is as important as whether it looks good over your sofa.

Living with your art collection hung in a variety of different places makes sense to us. Eventually, you will find the exact place for a specific piece. But, make sure you have a good supply of putty and paint to patch your nail holes. Disposable foam brushes or even q-tips are great if you develop a habit such as mine.

Stampington's Artful Blogging

This past Sunday, after a tough swim workout, Laura and I dropped into Downtown Athletic to pick up a couple of bits of sports gear (Tyr fins of Laura and K-Swiss tennis shoes for me). We then dropped into Chipotle for a big, fat burrito lunch. Needing to walk off the poundage we each downed, we hiked over to the local Barnes & Noble to check out the latest issue of Runner’s World. [How’s that for a few sentences of pure product placement?] While perusing the magazine shelves, I found something that caught my eye: A glossy magazine called Artful Blogging.

Stampington & Company has now begun producing this glossy quarterly to go along with their collection of other art related magazines. This was all new to me – didn’t know it existed. Artful Blogging advertises itself this way:

Even if you’ve never read a blog, you’re sure to find inspiration in the art-filled pages of Artful Blogging magazine. With hundreds of full-color photos from bloggers around the world, this publication is a feast for the eyes as well as the soul. Share the journey of self-discovery, creative expression and the growing community of artful bloggers everywhere.

As the sport of blogging gains strength (in numbers) every day and is commonly considered a cancer to traditional print publications, I find it interesting that there is a magazine actually promoting blogs and blogging. At $15 an issue, we’ll see how long that lasts. But, hey… Maybe they’ll consider running a feature on artPark.