April, 2011 - Art World News

Transcription

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Art World News
A P R I L 2 0 11
THE INDEPENDENT NEWS SOURCE
CHICA GO DEA L ER
A C C U S E D OF F R A U D
A RTEXPO NEW YORK
A N ENCOURA GING SHOW
U.S. Postal and FBI agents
removed works of art from
the Kass Meridian Gallery
in River North, Chicago, in
early April. The gallery
owner and an employee,
as well as a New York art
distributor, have been
indicted on federal fraud
charges for allegedly producing and/or selling counterfeit limited edition prints
by Dali, Chagall, and other
Masters in a scheme that
dumped thousands of
counterfeit prints onto the
market. Article, page 23.
A r t ex p o New Yo r k was a
much better show, with a
lighter mood than in the
previous two years as if
those attending feel the
worst is over. Galleries that
came to the three-day show
in late March on Pier 94
bought more, with less
emphasis on consignment—something that is a
very encouraging sign for
the industry. Clearly there
is a long way to go,
but no doubt there is
improvement. The full story
begins on page 18.
WIL D A PPL E IS A GREAT
PL A CE TO WORK !
K EN ORTON TO EXPA ND
GA L L ERY NETWORK
Wi l d A p p l e, Woodstock,
VT, publisher of open edition prints owned by John
and Laurie Chester, is
ranked one of the best
places to work in Vermont
in the small- to mediumsized business category.
About 25% of the evaluation was based on workplace policies, practices,
and demographics, and
75% on an employee
survey. See page 23.
K en Or t o n is expanding his
dealer network and looking
to work with more galleries
in the U.S. to represent his
paintings and prints. Select
galleries will be provided
territories. The English-born
artist is self-published,
except in the U.K. where his
work is represented by
Washington Green, and his
oil paintings available only
at Harrods of London.
Turn to page 18.
Nim Vaswani of The Road Show Company opens WisbySmith Fine Art in Dallas, a 4,600-square-foot gallery.
GALLERIES BENEFIT
FROM ART AUCTIONS
Art auctions—either held in the gallery, at a different
location, or online—have proven to be a lucrative way for galleries to bring in new buyers, whilst also providing an extra
service to existing collectors. At the same time, they reduce
inventory taking up valuable space. Auctions feature large
amounts of artwork that, for
one reason or another, is no
longer viable on the showroom floor. These events
can breathe new life into a
gallery by providing muchneeded cash flow while
adding a new dimension to
the business itself. “Auctions offer galleries a chance
to move slower selling artwork, and the cash generated allows them to
purchase better selling product, reinvest the money
somewhere else in the busiJamali’s untitled #10645,
ness, or even just survive in
pigmentation on cork, 57
some instances,” says Sage
by 79 inches. See page 12.
continued on page 14
IDENTIFYING
FRA MING
OPPORTUNITIES
Industry veterans discuss
how frameshops can tailor
their businesses to the new
economy, page 29. New
framing products, page 31.
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KEN ORTON
Unistor, 54x36
Hockney Lines, 54x36
Ken Orton paints light.
In the purest sense of those words.
His subject matters vary. All are lovingly seen and skillfully
rendered but are transient objects that merely
intercede and interplay with the immensity of his light.
Ken is currently seeking gallery representation
throughout the USA and Canada for the sale of his
original paintings and archival pigment prints.
www.kenorton.us
[email protected]
cell: 941.416.1341 ny: 607.326.3338 fl: 941.484.0380
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INSIDE THIS ISSUE
DEPARTMENTS
A RTISTS & PUB L ISHERS
Pag e 10
FRA MING B USINESS
Pag e 26
FRA MING ROUNDTA B L E
Pag e 29
NEW FRA MING
PRODUCTS
Pag e 31
A RT & B USINESS
Pag e 33
SA L ES TRA INING
Pag e 37
XTRA...XTRA ...XTRA ...
Pag e 39
CAL ENDA R
Pag e 40
NEW A RT
Pag e 41
VOLUME XVI
ISSUE 4
Artexpo New York an
Encouraging Show
Art Walks:
Hidden Benefits
Custom Framing
Fashion Designs
Artexpo New York, held in
late March on Pier 94, was a
lighter mood than in the previous two years as if those
attending feel the worst may
be behind them.
Art walks, such as the 4th
annual SoHo Arts Walk, can
be a means to not only stimulating activity in an arts district but also to strengthening
bonds between like-minded
business people.
This month, columnist Greg
Perkins continues his article
describing how custom framers can add excitement
and relevance to their frame
designs by using fashion as
a stylebook.
Page 18
Page 21
Page 24
Gilded Moon Framing Framing Roundtable: New Framing
Makes History
Finding Opportunities Products
Jill and Paul Choma, owners
of Gilded Moon Framing,
members of Larson-Juhl’s
partnership program, recently restored and moved
in to the historical 1903 Millerton National Bank building.
During a recent panel discussion, framing industry experts talked about giving
customers an alternative reason to visit a business so as
to draw in people who have
not previously visited the shop.
As part of this month’s focus
on framing, New Framing
Products showcases new
releases in moulding and
frames, and includes contact
information such as phone
number and Web adddress.
Page 26
Page 29
Page 31
A RTEXPO HIGHL IGHTS
Pag e 42
OPEN EDITION PRINTS
Pag e 44
CL ASSIFIEDS
Pag e 45
A DVERTISER INDEX
Pag e 46
A r t w o r k f eat u r ed i s
Sam i r Sam m o u n ’ s
“ Wal k i n g w i t h Gi an t s ,
Oc t o b er ” f r o m
Sa m m o u n F i n e A r t .
Go t o p ag e 10.
A RT WORL D NEWS
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IN OUR OPINION
ACTING WITH
PRECISION
hings are getting busy
for gallery and frameshop owners. At the
same time as resources
and manpower are stretched, sales are starting
to improve in meaningful
ways. Finally, what many
have hoped is now becoming a reality and with it a
new basket of managerial
challenges.
T
By virtue of wearing
many hats—an expansive
result of downsizing—owners’ actions and thoughts
are very much grounded in
“issues of today” or short
term orientation. This is also
a product of being in survival mode to meet the goal
of just keeping the doors
open to grasp the opportunity of the next day.
only address, “What do I
need to do today?” but to
expand the question to
include, “What does the
business need to do
today?”
Ed i t o r i n Ch i ef
Man ag i n g Ed i t o r
Though the shift might
appear to be semantically
created, in practice, it has
great meaning. Conceptually it’s the first step toward
acknowledging the business’ migration from survival mode to the threshold
of growth mode. It makes
the distinction that the
gallery or frameshop is
not merely a professional
practice but, in fact, a team
driven organization—even if
the body count is below historical levels.
Pr o d u c t io n Man ag er
Ed i t o r at L ar g e
John Haffey
Publisher
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Pu b l i s h er
A s s o c i at e Pu b l i s h er
In order to be successful
one must act successfully.
And to accomplish that feat,
the business owner must
believe that newfound success is possible.
On the heels of improving
sales, owners now need to
cycle back into their role as
the chief executive of their
business. They need to not
PA GE 8
A RT W ORLD N EWS
In f o r m at i o n Tec h n o l o g i s t
J o h n Haf f ey
[email protected]
B r o o k s Ma l e
[email protected]
J o e Gar d el la
Ed i t o r i al A d v i s o r y B o ar d
Ph i l l i p Gev i k , Gallery Phillip, Don Mills, Ontario, Canada
St ev en Har t m an, The Contessa Gallery, Cleveland, OH
Ph i li p M. J an es, Arts Exclusive Inc., Simsbury, CT
Hei d i L ei g h, Animazing Gallery, SoHo, NY
Ru t h -A n n Th o r n, Exclusive Collections Gallery, San Diego, CA
ADVERTISING SALES INFORMATION
Eas t er n U.S. & In t er n at i o n al
Mi d w es t & Wes t Co as t
John Haffey, Publisher
Phone (203) 854-8566
Fax (203) 854-8569
[email protected]
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Phone (847) 705-6519
Fax (847) 776-8542
[email protected]
Art World News (Volume XVI, Number 4) ISSN 1525 1772 is published 10 times a year by
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A RT WORL D NEWS
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Progressive Fine Art 2586 Dunwin Drive, Unit 5A Mississauga, Ontario L5L 1J5
1.800.487.1273
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ARTISTS & PUBLISHERS
Sammoun Painting Benefits Museum
Mark Hopkins’ Doc Holliday Bronze
A painting by Samir
Sammoun entitled
“Spring” has been
donated by Boston’s
Galerie d’Orsay to
the Museum of Fine
Arts, Boston, for its
annual fundraiser
Give the Arts a
Chance 2011. The
framed oil on canvas, 24 by 20 inches
($3,250), is among
the offerings of fine
art, resort getaways, Samir Sammoun’s “Amandiers en
box seats to Red Fleurs” exhibited at Galerie d’Orsay.
Sox games, precious jewelry, and more. Shown is another painting by Sammoun, “Amandiers en Fleurs,” currently on display at
Galerie d’Orsay. To reach Sammoun Fine Art, Brossard,
Quebec, call (514) 992-8918, www.sammoun.com; Galerie
d’Orsay: www.galerie-dorsay.com; and MFA: www.mfa.org.
After much research and getting into the spirit of the Old
West, Mark Hopkins announces the release of his
“Doc Holliday” bronze sculpture in an edition of 50. Doc
is part of the Western Ways
Collection that Hopkins has
been building over the years
featuring “Wyatt Earp,”
“Jesse James,” “Head ‘Em
Up,” “Day’s Work,” “Headin’
Home,” and “Aces and
Eights.” His newest release in
the collection measures 12 by
19 by 12 inches and retails for
$2,795. For more on the “Doc Holliday” by Mark Hopsculptor’s work, call Mark kins, limited edition bronze.
Hopkins Sculpture, Loveland,
CO, at (800) 678-6564, www.markhopkinssculpture.com.
Society of Landscape Painters’ Show
One hundred artists from
New England have come
together to share the distinctiveness of their art in
a newly released hardcover book authored by
Lexington, MA, writer E.
Ashley Rooney and with
a foreword by Arlene
Hecht, owner of Gallery
333 Fine Art in North
Falmouth, MA, whose
sculpture is shown. 100
Artists of New England
offers a fresh look at the
region’s rolling hills and
autumn colors through
these artists’ oil paint- “Les Deux” by Arlene Hecht,
ings, glass and metal bronze sculpture, 12 by 7 inches
sculpture, and wood- with an 8-inch revolving base.
works. Designed as a resource for dealers, artists, and collectors, the 224-page
book, published by Schiffer Publishing of Atglen, PA, retails
for $45 from bookstores and online retailers. It can also be
purchased from the publisher at: www.schifferbooks.com.
This spring,
thirty members of the
Washington
Society of
Landscape
Painters are
presenting
their work in
a show entitled “The Illuminated
Landscape”
at the Edi- “Golden Light Over the Dune” by Jack Pardue,
son Place pastel on sanded board, 14 by 11 inches.
Gallery in
Washington, DC. Founded in 1913, the society is one of the
oldest landscape painting groups in the U.S. Its exhibit
opens April 19 and runs for five weeks at the gallery that
specializes in working with non-profit arts organizations to
sponsor exhibitions. For details on the society and on the
work of its members including Jack Pardue whose “Golden
Light Over the Dune” is shown, visit: www.wslp.org.
PA GE 10
100 Artists of New England
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Hessam’s Tribute to NY Fire Fighters
Gareri Named CEO of Roma Moulding
To mark the 10th anniversary of 9/11
Hessam Abrishami
unveiled his painting
“Still Standing” at
Artexpo New York
that he created to
benefit the FDNY
Foundation. Valued
at $24,000, the
commemorative
painting will be auctioned off with proceeds going to the
families of FDNY
victims, as well as
towards fire fighting Studio Fine Art’s Kaveh Abrishami with
training and new Anthony Devita, deputy chief, third diviequipment. News of sion of the New York Fire Department at
the Iran-born artist’s the unveiling of Hessam’s 9/11 tribute
compassionate ges- “Still Standing” at Artexpo New York.
ture was aired on
New York metropolitan area radio and TV stations. Phone
Studio Fine Art at (888) 403-2089, www.studiofineart.com.
Roma Moulding, Woodbridge, Ontario, a leading provider of Italian moulding and one of Italy’s
largest moulding manufacturers, has appointed
Tony Gareri Chief Executive Officer. “As vice
president of Sales & Marketing and Chief Designer at Roma Moulding, Tony has demonstrated outstanding leadership of the company’s
mission to ensure the independence and in- Tony Gareri.
tegrity of the standard-setting process,” says
John Gareri, company chairman. “With over 15 years of industry experience, the last five in increasingly senior managerial roles, he will play a key role in positioning the company
foundation to successfully meet the challenges of the industry’s rapidly-changing economy.” For more information on
Roma, visit: www.romamoulding.com or call (800) 263-2322.
Mimi Stuart Salutes Aviation Legends
Two artists,
Michelle
Rouch
of
Tucson, AZ,
and
Mimi
Stuart
of
Rye,
NY,
known as
the Artist of
Energy,
were invited
to
create
artwork for Movie star Harrison Ford and Mimi Stuart
the 8th an- with her Living Legends of Aviation artwork.
nual Living
Legends of Aviation Awards. The artists displayed sevenfoot tall paintings along the red carpet at the star-studded
gala event at the Beverly Hilton where Harrison Ford, pictured above with Stuart, presented Pat Epps with the Harrison Ford Aviation Legacy Award. For Stuart’s art, call (914)
967-4466, www.mimiart.com; for Rouch: www.rouch.com.
PA GE 12
Framerica Promotes Kevin Milano
Kevin Milano, a long-time member of Framerica’s national sales team, has been named
its Senior Sales Director. In his new role,
Kevin will maintain certain existing responsibilities while assuming the Northeast sales
territory and international accounts for the
Yaphank, NY-based moulding supplier. He
can be reached directly by phoning (800)
372-6422, e-mail at: [email protected]. Kevin Milano.
New River’s Jamali Show a Success
New River Fine
Art’s exhibit,
“ J a m a l i :
Mantras and
Meditations,”
held at the Las
Olas Blvd. location in Fort
Lauderdale,
FL, attracted a
strong turn out,
as well as sales
of the artist’s Jamali, center, at New River Gallery with collepaintings and ctors Wade Bolton, left, and Eric Rosenblatt.
prints that center on Mystical Expressionism. Prices for Jamali’s paintings
ranged from $6,800–$55,000. To reach New River Fine
Art, call (954) 524-2100 or go to: www.newriverfineart.com.
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FORD SMITH REA CHES
WORL DWIDE MA RK ET
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ART AUCTIONS BRING IN NEW SALES
continued from page 1
Stark, gallery director of
American Visions Art Gallery
in Folsom, CA.
ATLANTA—An exclusive
showing of the work of Fo r d
Sm i t h was hosted in April by
Seer v c o r p, provider of executive suites and virtual offices
to mobile business professionals, Fortune 500 companies, and other businesses
worldwide. Says Cristi Smith,
co-owner of Fo r d Sm i t h Fi n e
A r t , Roswell, GA, “With Servcorp, Ford’s ‘collector’ happens to be a corporation
comprised of art enthusiasts
who are passionate about his
art. Their enthusiasm for what
his paintings lend to their environment made them eager
to share it with clients, colleagues, and neighbor businesses. Ford was able to
meet and mingle with these
qualified art prospects who
would never have otherwise
had this opportunity to view
his work and establish a personal connection.” Additionally, Servcorp being an international company, Mrs. Smith
notes, “Ford is their primary
artist in each new location, so
their clients from 20 countries
are surrounded by his paintings every day. This worldwide introduction to the art
inevitably leads to new collectors. With the American economy still teetering, this is a
tremendous opportunity."
Shown is the artist’s new
acrylic, “Serendipity Moon,”
48 by 48 inches, $18,500 retail. For more on his art, call
(770) 552-5942 or visit: www.
fordsmithfineart.com.
PA GE 14
Ford Smith regarding auctions, and has learned that
many collectors appreciate
having a new way to grow
their collections. “By keeping the guest list limited to
your current collectors or top
prospects, you’re practically
guaranteed success,” she
says. “These are the people
that have bought art from
you in the past and, in the
case of your top prospects,
could likely buy in the future.
To that end, you are providing them an exclusive opportunity to acquire art at what
so. This works much, much
better than hosting an event
with a large number of general audience visitors about
whom you know very little.”
Eric Dannemann, president of Martin Lawrence
Richard Hart, owner and
Galleries, with 10 locations
principal auctioneer at Baterthroughout the U.S., feels
bys Art Auction and Gallery,
that while auctions have seva full-service gallery and auceral benefits, success detion house in Orlando, FL,
pends on various factors.
notes that his business is in
“The dynamics for a suca highly tourist-trafficked
cessful auction contain many
area, so he uses auctions as
elements that must work
a way to connect with many
symbiotically, such as offerof his local collectors, keeping great artwork at a great
ing them engaged and eduvalue, contac a t e d .
gious energy
“Twenty-five
from art conpercent of
sultants,
a
our
sales
professional
come from
a u c t i o n e e r,
auctions,”
and, most imMr.
Hart
portantly, a
says. “Most
sense of urof our aucgency. Contion clients
sultants must
are collectors
impart
to
from our reclients that if
tail gallery.
they wish to
Those that
own a work of
buy from our
art in that sea- Martin Lawrence Galleries holds its auctions in high-end
auctions are
son’s
auc- hotels, local to their gallery locations.
always looktions, it is
ing to learn
imperative that they seize could be an exceptional more about art. Auctions
the opportunity now.”
value. Before the auction have to be a part of the
even begins, the collectors gallery, and they have to be
Martin Lawrence Galleries and prospects have been en- educational and informaholds several auctions a ticed and highly motivated by tive.” Baterbys is housed in
year around the country. The the pre-set opening bid a 10,000-square-foot space
Spring 2011 schedule alone prices they see in the book- that features unique walls,
includes five auctions in lets handed to them as they designed to swivel out of the
cities such as New York, arrive, and the atmosphere way to make room to accomSan Francisco, and New Or- becomes highly charged. modate 150 seats for attenleans. Summer of this year Aside from the potential to dees of auctions. When an
marks the opening of the save money on art, here you auction is over, the showcompany’s eleventh gallery have a gallery brimming with room can be put back to disin Las Vegas. Ideally, auc- passionate collectors, and play the artwork.
tions offer galleries an outlet competition is sparking. And
to clear out some inventory, then the bidding begins! At
Creating an “experience”
making room for new, fresh times, the competition can different to what people
works of art. Cristi Smith, become extremely lively and would get at the gallery
owner of Ford Smith Fine quite entertaining for all in alone, is important to the
Art, Roswell, GA, has spo- the room. Keep in mind that atmosphere, says Stoney
ken with a number of the gal- the number of guests should
leries carrying the work of be fairly modest, say fifty or
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FA ZZINO WORK S WITH
STUDENTS ON FORT
L A UDE RDA L E
CENTENNIA L MURA L
NEW ROCHELLE, NY—
Ch ar l es Fazzi n o , who enjoyed an exhibition of his work
at The Museum of Art/Fort
Lauderdale that kicked off the
city’s 2011 Centennial Celebration, is now giving his time
to work with students at Fort
Lauderdale High School.
Named official Centennial
artist, Fazzino is helping the
students create a City of Fort
Lauderdale Centennial
Legacy Mural installation. A
grant was awarded to artist
and high school art teacher
Brian Fitzgerald to fund the
mural, and his students researched the city’s history,
changing landscape, culture,
and celebrations. All components, combined with students’ personal experiences,
were woven into the final design. Fazzino has been working with and inspiring them
through distance learning and
classroom mentoring, and
also “wowed” them with visits
to offer tips on how to apply
paint skillfully to give depth to
their artwork, and really make
the mural pop.
Shown is Fazzino’s new print
release from Mu s eu m
Ed i t i o n s , “Apple-Y in the
Center of it All,” 13 by 16 1/2
inches, edition of 300 retailing
for $900. Call (914) 654-9370,
www.fazzino.com.
PA GE 16
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AUCTIONS
staff heightened energy,”
says Giovanna Stark, owner
of American Visions Art
Gallery. “It feels like lots of
action is going on, even
though there may only be a
few bidders. Everyone gets
excited—from the artists
themselves who feel it
draws added attention to
their pieces to the retail
community around us who
express that they get some
of the pulses of energy coming from the attraction of the
auction.”
work is a once in a lifetime
opportunity. “First, do not
skimp on the auctioneer, the
Goldstein, executive vice
food, or the drinks for your
president of sales at Park
esteemed guests,” Mrs.
West Gallery. The company,
Smith stresses. “It’s a
headquartered in Southfield,
unique and exclusive event
MI, holds auctions in its
and should be treated as
gallery and at sea. “Auctions
such. Hire a professional
are effective because clients
auctioneer and enough help
enjoy the experience—from
to ensure that the art is
the preview to the bidding to
moved quickly and seamseeing the presentations—
lessly. Second, make aucand that certain indescribtions a rarity for your gallery.
able energy that only an
This sort of event should be
auction can provide. In a
extraordinary and excepgallery, artworks may hang
tional. The last thing you
on a wall for months waiting
Alexander Salazar, owner want to do is to train your
for a collector. An auction is of Alexander Salazar Fine clients to wait for an auction
not only a fun and exciting Art and Auctions in San to make a purchase. My adevent, it also
vice is to
helps
clients
consider
evaluate what
hosting one
works they are
no more than
interested in colevery other
lecting and a
year, or posprice point at
sibly just the
which they are
one time.”
comfortable
She
also
spending more
notes that,
quickly; espesince you’ve
cially when there
hired the aucare 300 other
tioneer, use
people
there
this opportuwho may be innity to pick
terested in the Baterbys Art Auction and Gallery, located in Orlando, FL, his/her brain
same artworks.” features walls that can be moved to accommodate both
on how to be
successful in
a gallery and an auction house setting.
Making
an
an auction.
auction special helps create Diego, saw the benefits of Listen to the auctioneer
ambiance. “We absolutely holding art auctions early on when he gives you advice
take pleasure in offering in his business model as a about how to prepare for the
clients an elegant setting for way of appealing to all types auction (booklets, paddles,
our live auctions,” Mr. Dan- of collectors. He opened the how to efficiently handle the
nemann says. “They are typ- gallery space in 2010, fol- many financial transactions,
ically held at very high-end lowed a few months later by etc.). While an auction crehotel ballrooms or interest- an auction house nearby. “I ates a lively and bustling ating city venues around have found that some collec- mosphere, it should be
the U.S. and in the general tors never buy at galleries, meticulously organized and
vicinity of a local Martin but prefer to acquire at executed.”
Lawrence Gallery. The idea auction because of the feelis for clients to enjoy a night ing that they are getting a
Many galleries also find
out on the town while also better price.” Mr. Salazar’s that sticking to stricter rules,
having the opportunity to auction house oftentimes such as no layaway or inadd to their art collection.”
holds events tied in with house financing on auction
local charities.
pieces, lets collectors know
Gallery staff play a big
that there is a difference
role in generating exciteRules for auctions do between this sale and ones
ment centered around the need to be set in order for
event. “Auctions give the people to know that the artA RT WORL D NEWS
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APR11 Artexpo Page1:Layout 1
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K EN ORTON TO EXPA ND
GA L L ERY NETWORK
K en Or t o n
ROXBURY, NY—K
has announced that he is expanding his dealer network
and looking to work with more
galleries across the U.S. to
represent his paintings and
prints. Select galleries will be
provided territories. The English-born artist is selfpublished except in the U.K.
where his work is represented
by Washington Green, and
his oil paintings are available
only at Harrods of London. He
is adding more galleries in the
U.S. because, “I want to
spend more time painting and
less time on the road exhibiting at art shows.” Orton is a
figurative and landscape
painter who has most recently
focused on the disused and
redundant, using dilapidated
motels, rusting old cars, and
mothballed aircraft as his
themes. But he is perhaps
best known for his light-filled
paintings of mason jars where
refraction and reflection impart the form itself. Shown is
“Unistor,” an oil painting, 36
by 54 inches. Orton’s originals sell in the $6,000 range.
His canvas prints, published
in editions of 99, hand-enhanced by the artist, sell for
$750 in smaller sizes and for
$1,200 in larger sizes. For details, call (941) 484-0380 or
cell: (941) 416-1341. Visit:
www.kenorton.us or:
www.kenortongallery.com.
PA GE 18
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ARTEXPO AN ENCOURAGING SHOW
Artexpo New York was a
lighter mood than in the previous two years as if those
attending feel the worst is
over. Galleries that came to
the three-day show in late
March on Pier 94 bought
more, with less emphasis on
consignment—something
that is a very encouraging
sign for the industry. Clearly
there is a long way to go, but
no doubt there is improvement. And the general concensus was that the quality
of the art displayed by the
372 exhibitors was higher.
Artists from 20 countries
were represented, and more
than 200 SOLO artists participated. Designers did not
seem to attend in such large
numbers as at previous Artexpos but consumer attendance was strong. Despite
so many art shows on the
Pier in the preceeding
weeks of March, The Armory Show, The Pier Antiques Show, and the
Architectural Home Design
Show, some were buying.
has to come from consumers. But we will not lose
sight of who we are in that
Artexpo offers artists and
publishers an opportunity to
broaden their distribution.”
from artists, publishers, and
galleries in front of people
year-round.
From an exhibitor’s perspective, Alan Blazar of
Blazing Editions said of
the
show,
“There is a
lot
more
wholesale interest than
we have seen
in a couple of
years.” The
traffic,
he
said, is better
and the mood
is
better.
“The last two
years, galleries would say,
Woody Slaymaker of Slaymaker Fine Art and ‘I love the art
his daughters Martha, left, and Elisabye with but I’m not
Anna Razumovskaya of Anna Art Publishing buying anything.’” At
who gave the Slaymaker girls each one of
this edition of
her sketches displayed on the mannequin.
Artexpo,
Mr. Smith is, in fact, planning Blazing immediately made a
to hold a show in Miami in few small sales to galleries
the winter of 2011 to coin- in the first couple of hours—
cide with Art Basel, Art two of them to new and the
Miami, and the many other others to existing accounts.
According to Eric Smith, shows. He added that the “More people are optimistic
CEO of Artexpo, trade atten- launch of the online market- now,” Mr. Blazar continued.
dance was simi“My
printlar to last year,
making comwhile consumer
pany
has
attendance inseen an uptick
creased signifiin the last
cantly. “We had
couple
of
more exhibitors
months which
and they gave
means peoout more tickple are startets—and we did
ing to sell
a really good onthrough. Peoline marketing
ple are getand social media
ting back to
program,” he ex- LaMantia Fine Art Inc.’s James LaMantia, left, and Robert b u s i n e s s . ”
plained.
Dis- Bluver, right, flank their new artist Daniel Del Orfano.
M i c h a e l
c u s s i n g
Havers
of
attendance, Mr. Smith said, place Artexpo Studio was Progressive Fine Art agreed.
“When you look at our in- well received. The idea, he “We are seeing most of our
dustry, how can you get said, is to keep Artexpo clients.” For big clients who
more growth from galleries going all year, not just at the
when some are closing. It show, and to keep artwork
A RT WORL D NEWS
APR11 Artexpo Page 2:Layout 1
ARTEXPO NEW YORK
couldn’t attend, he e-mailed
images of artwork from his
booths “and we are selling
that way too.” Woody Slaymaker of Slaymaker Fine Art
noted, “Our credit card (processing) machine has been
very active and the batches
have been high. People are
so negative about the economy that I am surprised we
are selling well.” The benefit
of Artexpo, he said, is that it
is the last bastion of art
shows where you have a
wholesale trade. “At some
shows I have been to everyone is discussing the meaning of art and this (Artexpo)
is very much the money
show, and I like it where it is
an industry show and dollars
are being turned.” Mr. Slaymaker said he had been
doing well with his art on
paper. “Thirty-five hundred
dollars for art on canvas
might be too much for a
gallery to sell but they can
sell a $950 painting on
paper.” The first day he primarily sold to galleries, very
few interior designers,
space planners or architects—“a lot of galleries,
and that is the true core of
the business.” What he did
not like about this year’s Artexpo was that it had only
one day designated to trade,
and he would like two.
Del Bloss III of Global Fine
Art looked at the show as a
way to sell to consumers directly, more so than galleries. “We approached
Artexpo as a retail show, not
so much a trade show. The
industry has changed so
much in recent years and
things are moving slowly, but
it is moving in the right direction. It will just take a while
longer to see the real results
in the industry.” The shortened show this year, which
A RT WORL D NEWS
5/2/11
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Page 1
went from four days to
three, was not something
that was appreciated by all
exhibitors. “I’m not sure it
way? We’ve already spent
the money to ship everything and to fly here. We
could have used the extra
day to sell and meet with
more people.” Danny
Stern of SPS Limelight
Agency, a longtime exhibitor, sees it as a necessary way for the Los
Angeles-based company
to touch base with East
Coast clients. “Without a
crossroads like Artexpo,
could this exchange really take place? Otherwise we are fishing in the
dark,“ he said.
Rami Rotkopf of Smart
Publishing remarked that
those attending the show
were viewing the future
with a more positive attiJane Seymour with her son
Sean Flynn whose High Dynamic tude. “The new clients
Range photographic prints drew are looking to build their
business, while existing
a crowd to Coral Canyon
clients are looking to rePublishing’s booth.
fresh their inventory. We
was a great idea to have the brought all new lines for
show be only three days, in- artists because we have nostead of the four that it was ticed that for the last six
last year,” said Susan Nagy months we’ve been getting
calls from galleries.” As
always, Artexpo provided
a great platform for introducing new artists, and
Studio Fine Art took the
opportunity to present
the sculpture of Persianborn Kambiz Sharif from
Vancouver whose abstract wood and bronze
works utilize intricate
conceptual ideas. Studio
Fine Art also attracted a
large crowd at its booth
for the official unveiling
of Hessam Abrishami’s
commemorative painting
entitled “Still Standing,”
Sergey Cherep and his wife
marking the 10th anniverRenee with the artist’s new
series of black-and-white paint- sary of 9/11.
ings, shown behind them, of
The smaller setting of
trees captured before the storm.
the show appealed to
Luks, Coral Canyon Publish- artist Marta because she
ing. “We’re already here! said that it made it easier to
Why not have the extra day?
Why limit the show in that
MEL A NIE WOL K CREATES
NEW L INE OF PRINTS FOR
CHRISTIA N A RT MA RK ET
WOODBRIDGE, NJ—
Mel an i e Wo l k , known for her
inspirational fine art paintings
and prints, is introducing a
new line of open edition prints
especially for the Christian
art market. The line is scheduled to debut at the 2011
In t er n at i o n al Ch r i s t i an
Ret ai l Sh o w , July 10–13, at
the Georgia World Congress
Center in Atlanta.
Says Michael Wolk, the
artist’s husband and manger
of Melanie Wolk Inspirations,
“Melanie has a genuine heart
for God and wants to make
her work available to anyone
who wants to have it.” He
added that the base of her
market remains in the fine art
realm, where her textured
mixed media paintings with
sand, gel, and metal in acrylic
or oil on canvas or linen are
sold through select galleries
across the country.
Shown from her fine art collection is “Fireproof,” a mixed
media painting, 24 by 30
inches, retailing for $2,500.
The image is also available
as a giclée on canvas in an
edition of 75, 24 by 30, that
sells for $850.
For information, telephone
(973) 632-5577, e-mail:
[email protected] or go
to: www.melaniewolk.com.
PA GE 19
APR11 Artexpo Page 3:Layout 1
B IL L CL INTON SL ATED A S
K EYNOTE SPEA K ER AT
L A S VEGA S MA RK ET
LAS VEGAS—World Market
Center is rolling out the red
carpet for Pr es i d en t B i l l
Cl i n t o n who will be the
keynote speaker for the Summer 2011 L as Veg as Mar k et ,
August 1–5. “A Conversation
with Bill Clinton” will focus on
the challenge of globalization,
emphasize the world’s growing interdependence, and
point the way toward a common future based on shared
goals and values. "Globalization has changed the furnishings industry more significantly than anything else in
our time," says Robert Maricich, World Market Center
president and chief executive
officer. "It indisputably has
created new challenges as
well as opportunities for our
industry.” For more, visit:
www.lasvegasmarket.com.
THE A FFORDA B L E A RT
FA IR B RINGS 60-PL US
GA L L ERIES TO NYC
Th e A f f o r d NEW YORK—T
ab l e A r t Fai r New Yo r k Ci t y,
May 5–8 at 7 West on 34th
Street, will showcase contemporary work from over 60 international galleries, with the
majority of the art selling in
the price range of $5,000 or
less. To encourage attendance, there is free admission on the Thursday from
6 p.m. to 8 p.m. Possibly for
the first time at a show, there
will be a special section of
nine galleries exhibiting solely
work by women artists in response to the interest in
women artists and feminine
art. Founded 12 years ago by
Will Ramsay of London, England, AAF now has fairs in
Europe, Australia, and Singapore, as well as New York.
For show details, visit:
www.aafnyc.com.
PA GE 20
5/2/11
12:24 PM
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ARTEXPO NEW YORK
York is my ideal location, I
decided to take the chance.”
That risk was worth it, as
West placed in the top 10
artists in the SOLO section,
as well as signed on with a
York for the show, allows me
to reconnect with people
and to see what others are
speak with people about her
doing. Continuity of doing a
work and company, Marta
show like Artexpo can be a
G. Wiley Studios, New York.
very important factor be“In the late ’90s, the show
cause people need to
was in a big venue and you
see the artist year after
would see so many people
year to know that they
that it would make you
are dedicated to their cadizzy,” she said. “This show
reers.” Ken Orton from
is more about the art and the
Roxbury, NY, who has
artist and that makes it much
exhibited as a SOLO
more intimate.”
artist for several years,
added, “My art seems to
Daniel Deljou of Deljou
fit in the niche of what
Art Group said, “The stanthis show is about: qualdard of the SOLO artists is
ity, carefully crafted, finhigher this year, and we
ished artwork.” The
have signed several.” He
show was good for him
conceded that it is expenand he sold 10 paintings,
sive for his company to do
mostly in the $6,000 rethe show and take 16 or 18
tail price range and
booths. “But I think we First time exhibitor Paul Grisar,
mostly to consumers.
should be here to support left, of Artglaz in Belgium, with
Chuck
Marksberry,
the industry and meet our pin-up artist Jon Hull whose
owner of Charles Harold
clients. Our customers work, shown, will be produced by Company of Tampa, who
came in from Europe, Aus- Mr. Grisar in the new medium of has exhibited every year
tralia, and Brazil, as well as Artglaz where prints in editions of for six years, concurred.
from across the country.” 8 are produced on metal plates.
“We made more sales to
He added that he sold a lot
the public than we have
of originals on the set-up gallery in Cincinnati, made seen in the past.”
evening. “Artexpo is very many sales, and dozens of
important for our industry new connections, some as
Amongst the galleries atand it needs the support of far as Moscow. Jane Water- tending the show, Dave
publishers and galleries be- ous, a SOLO artist from the Griswold of Beacon Fine
cause it is the glue that Bahamas and repeat ex- Arts Gallery in Redbank, NJ,
keeps everything together.” hibitor and a show award said it seemed to him that
the show had
Corey West
gone full circle
of
Sonora,
back to more
CA, exhibited
what it was
for the first
like in the
time in the
’80s, featuring
SOLO secta lot of artists.
ion, but origi“Because of
nally planned
the
smaller
to make her
booths, you
debut in Los
can find a diaAngeles.
“I
mond in the
was going to
rough.” Kim
do
Artexpo Artist Tenold Peterson, far left, is pictured with his wife
Miller, co-ownLA. In fact, I Karen, as well as Thomas Karr of Tenold Peterson Studios.
er of Ocean
was paid and
Galleries, with
ready when the show was winner from last year’s two locations in New Jersey,
cancelled. The show organiz- show. “Artexpo has brought along with her husband
ers offered me double my me great exposure in the art Josh, appreciated seeing
booth space in New York or world. I live in the Bahamas Fotiou Frames at the show.
a refund. I figured that since throughout the year, so to
I had already paid, and New get away and come to New
A RT WORL D NEWS
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ART WALKS: HIDDEN BENEFITS
Art walks can be a means to
not only stimulating activity
in an arts district but also to
strengthening bonds between like-minded business
people—relationships that
can ease the way in difficult
times. Heidi Leigh of Animazing Gallery made that
point when she addressed
the five gallery representatives that she invited to her
gallery to plan the 4th Annual SoHo Arts Walk that
begins on May 19. “We (our
galleries) are really different
from each other and we
don’t have to feel threatened by each other. It is
wonderful to have everyone
here and the Arts Walk will
be better because of the
collaborative effort. Relationships can be established
through this—and they can
be a great comfort. To have
friends and a support system makes all the difference
for a business.”
co-owner with Nick Leone
of Animazing Gallery with a
location in SoHo and the
Chateau de Belcastel in
France, representing surreal
art rooted in illustration.
Those attending the
meeting were: Maria Constantinides of Michael Ingbar
Gallery, established in the
late ’70s and representing
New York architectural imagery; Derek Arnold of
Asian-based Frontier Art &
X-Power Gallery that recently opened in SoHo, and
where the aesthetic bridges
art and life; Scott Broadfoot
of Broadfoot & Broadfoot, in
business 30 years with a
contemporary
abstract
focus; Leon Yugrakh of
Opera Gallery representing
over 300 artists in about 14
cities worldwide; Jerry Kajpust of Leslie/Lohman Gay
Art Foundation whose owners began presenting gay
and lesbian art in ’69 and
were also instrumental in
keeping the steel cast buildings and the artists working
in SoHo; and Heidi Leigh,
The SoHo Arts Walk poster.
A RT WORL D NEWS
In all, Mrs. Leigh noted
that more than 20 galleries
will be participating in this
year’s SoHo Arts Walk
every third Thursday, May to
September, 11 a.m. to 7
p.m. “to share their savvy
and invite visitors to enjoy
refreshments”
Thursday
was chosen for the Arts
Walk because, as Derek
Arnold pointed out, “It is an
unspoken thing that Thursday is the day you go out to
galleries.”
It was also agreed to hold
the Arts Walk in August. “It
is different in every city,”
said Scott Broadfoot, “but
we do an incredible business in August with tourists
—and they are buying decent art. People still come to
SoHo because it is the aesthetic of ‘That is where you
buy art.’” Leon Yugrakh
added, “The tourists are
more financially deep-pocketed nowadays.”
Publicity represented a
large part of the discussion
on how best to get the word
out about the Arts Walk. It
was agreed that a poster will
be created for galleries to
display prominently, and
5,000 postcards will be
printed at a cost of $500 with
all participating galleries’
names, addresses, and a
map printed on it to be distributed by the galleries. The New York
media will be notified
and a listing presented in magazines
and newspapers that
target tourists, as
well as in the Gallery
Guide. Concierges
will also be notified.
Gallery websites will
have a link to the
SoHo Arts Walk
website: www.soho
artswalk.com. Some
of the galleries are
looking into adding
video to their entry
on the site.
Facebook will also be
central to the marketing initiatives. Plans were made to
set up a page for the SoHo
Arts Walk, with all the participating galleries having a
presence, as well as featuring news about their shows.
Galleries taking part in the
walk include Arcadia Fine
Art, Broome Street Gallery,
The Drawing Center, Eli
Klein Fine Art, Jamali, Louis
K. Meisel, Martin Lawrence
Gallery, Morrison Hotel
Gallery, OK Harris, Peter Lik
Photography, Pop International, Ward-Nasse Gallery,
and William Bennett.
For further information,
visit the website: www.
SoHoArtsWalk.com or contact Animazing Gallery at
(212) 226-7374.
TA G GA L L ERY A ND THE
J A PA N COUNCIL REL IEF
FUND RA ISE MONEY FOR
J A PA NESE EA RTHQUA K E/
TSUNA MI VICTIMS
TA G Gal l er y ,
SAN DIEGO—T
an artists’ cooperative, has
paired with the U.S.–Japan
Council Earthquake Relief
Fund to host an art sale, benefitting the victims of the recent earthquake and tsunami
in Japan. Fifty-percent of all
proceeds from sales from the
show will go to the organization that supports immediate
relief and long-term rebulding
of the Tohoku region of
Japan. Donations were also
accepted during the event.
The reception included paintings and mixed media work
from artists Cy n t h i a A l ex an d er and Su k i K u s s. Shown is
“Edge of the World II–Map
Study” by Kuss, a mixed
media, measuring 20 by 24
inches. For more information,
telephone (310) 829-9556 or
go to: www.taggallery.net.
PL EIN A IR EA STON TO B E
HEL D J ULY 18–24
EASTON, MD—The 7t h
A n n u al Pl ei n A i r –Eas t o n !
Co m p et i t i o n & A r t s Fes t i v al
will be held July 18–24, attracting artists, collectors, art
and nature enthusiasts, students, tourists, local businesses, and spectators to the
7-day festival. Call (410) 8227297, www.pleinaireaston.com.
PA GE 21
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AFTER HOURS AT ARNOT
To better service its trade sales. “Clients can bring in
clients, Arnot Galleries of a couple in the evening
New York is holding rather than the husband or
evening receptions at its wife alone—and they feel
57th Street gallery
and
showroom.
The idea is for highend designers, decorators, architects,
and space planners
to be able to bring
their clients, who
may be working
professionals, to
the gallery after
hours to see the art
in person. Vicki
Arnot, co-owner Preparing for a wine tasting at Arnot
with her husband Galleries: Paintings by Wu Jian and
Peter of Arnot Gal- Luigi Rocca are shown.
leries, says, “We
have created a gallery in less pressure. It’s a better
our showroom so we can buying atmosphere.”
work with designers more
constructively and invite
Arnot Galleries also parthem in with their clients ticipates twice a year in
after work to view the art in Gallery Night on 57th
a gallery setting and enjoy Street, the latest being on
a glass of wine. Nowadays Thursday, April 28. Some
one has to ask oneself, 64 galleries are located on
‘How do I create a better 57th Street, many staying
business environment to
meet
the
needs of my
clients?’ You
have to think
outside the
box. Today,
more
and
more of our
clientele
needs
to
show
the
paintings to An array of Arnot Galleries’ paintings.
their clients
so that they can see the art open later in the evening
hanging and visually under- for art aficionados. To add
stand it. And by hosting an excitement, Arnot Galleries
opening reception on a planned a wine tasting at
monthly basis we create an the gallery for the evening
environment where we in- with their Portuguese wine
vite clients to bring cus- distributor. To reach Arnot
tomers.” There is a crowd Galleries for more informaof people, a festive atmos- tion, call (212) 245-8287 or
phere, and activity, all of visit the website located at:
which is conducive to www.arnotart.com.
PA GE 22
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DEALER ACCUSED OF FRAUD
The owner and an employee
of a River North art gallery in
Chicago and a New York man
have been indicted on federal
fraud charges for allegedly
producing and/or selling
counterfeit limited edition fine
art prints by Dali, Chagall, and
other Masters, federal law
enforcement officials announced in early April. The
charges stem from an international investigation of fraudulent artwork that became
public in Chicago three years
ago when federal agents executed search warrants at
the Kass/Meridan Gallery
(KMG), also doing business
as Allegro Art on West Huron
Street, Chicago. In March
2008, seven defendants from
Europe, Florida, New York,
and Illinois were charged with
fraudulently producing and/or
selling $5 million worth of
counterfeit fine art prints.
Subsequently, two additional
defendants were charged.
The indictment announced in
April brings to 12 the total
number of defendants who
have been charged in
Chicago as a result of this
investigation.
The
new
indictment
charges Alan Kass, owner,
operator, and president of
KMG, with 13 counts of mail
and wire fraud in an indictARTEXPO NEW YORK
“We were especially pleased to see a picture frame
supplier in attendance, since
framing is an important component of our business. The
show offers a unique opportunity for us to see the vendor’s selection of frames in
person; it is much easier for
store owners to view the
frames at Artexpo than have
A RT WORL D NEWS
ment by a federal grand jury.
Kass allegedly sold hundreds
of counterfeit and unauthorized prints and other purported original artworks,
supposedly by such artists as
Calder, Picasso, Lichtenstein,
Miró, Warhol, Haring, and
Marini, as well as Dali and
Chagall, and fraudulently obtained more than $480,000
for them from victims in the
U.S. and other countries.
Also indicted were Sawyer K.
Cade, a KMG employee, and
John Panos, of New York and
Florida, who allegedly distributed counterfeit, unauthorized
and forged artwork, which he
sold to Kass and others.
Kass, 73, of Chicago; Cade,
47, of Chicago, also known
as “Alexander E. Swing,”
who was charged with four
counts of mail and wire fraud;
and Panos, 64, primarily of
New York, who was charged
with one count of mail fraud,
will be ordered to appear
for arraignment at a later
date in U.S. District Court
in Chicago. The indictment
seeks forfeiture of $480,000
from Kass.
Service in Chicago, and
Robert D. Grant of the Federal Bureau of Investigation.
Kass allegedly acquired the
fake art from various sources
including Panos and Michael
Zabrin, one of nine defendants who were previously
charged. Zabrin of Northbrook, IL, was a principal in
Fineartmasters and Zfineartmasters. Panos, who was a
principal in Equity Art Brokers
and Prestige Art, obtained
many of the allegedly counterfeit and unauthorized
prints he distributed from
Leon Amiel Jr., who was
among the nine defendants
charged previously and who
was a principal in Glass Inter
Corp. and LLA International
of New York. Both Zabrin and
Amiel have pleaded guilty to
the federal art fraud charges
brought against them three
years ago and are awaiting
sentencing this spring in Federal Court in Chicago.
The charges were announced by Patrick J. Fitzgerald, U.S. Attorney for the
Northern District of Illinois, together with Thomas P. Brady
of the U.S. Postal Inspection
Anyone who suspects that
they might be a victim of
fraudulent art sales from
KMG or Allegro Art may submit information to law enforcement authorities via
the fraudulent art complaint
referral form posted on the
U.S. Attorney’s website at:
www.justice.gov/usao/iln.
the vendor bring them all to a
store.” Veronique Hammons,
owner of Gallery Veronique in
Cincinnati, came back after a
hiatus to attend Artexpo because “things are going better. Mostly I want to know
what is out there, bring new
art into the gallery, create
new relationships, and reinforce old relationships eyeto-eye.” Roy Saper of Saper
Galleries, East Lansing, MI,
said he found the show to be
far different from what it once
was with many publishers exhibiting. “But it is vital for the
business because it gives exposure to artists and gives
the trade an opportunity to
make contact with them—
and that is necessary for
the future of the industry. It’s
great for artists, great for the
trade, and great for the public
to see art they would not see
otherwise. Museums show
different art.”
WIL D A PPL E VOTED
ON E OF T H E B E S T
COMPA NIES TO WORK
FOR IN VERMONT
Wi l d
WOODSTOCK, VT—W
A p p l e has been recognized
as third out of the 11 smalland medium-sized businesses in the Top 20 Best
Places to Work in Vermont
2011. The awards program
was created in 2006 and is a
project of Vermont Business
Magazine, Vermont Chamber
of Commerce, Vermont Department of Labor, Vermont
Department of Economic Development, and Best Companies Group. The statewide
survey and awards program
is designed to identify the
best places of employment in
Vermont, benefiting the
state's economy, its workforce, and businesses. Says
John Chester, co-owner with
his wife Laurie of the art publishing and licensing company, “This award was a
thrilling surprise! We entered
to see how we stack up, admitting that the last few years
have been difficult for us. My
goal was to be included in the
top 10 within three years, so
we’re ahead of schedule!
Wild Apple is very fortunate to
have such a motivated, engaged, and fun group of people who create and foster our
culture and work environment.” Shown is a new open
edition print release, “Rainbow Garden III” by Lisa Audit,
12 by 12 inches. To reach
Wild Apple, call (800) 7568359, www.wildapple.com.
PA GE 23
MARCH11 L-J Framing Part 2 page 1:Layout 1
ROMA CA RES EVENT
SEEK S SUPPORT TO
RAISE $25,000
FOR SICK K IDS
WOODBRIDGE, Ontario—
The Ro m a Car es 2011 Benefit to support Sick Kids is a
charity organization created
by Roma Moulding employees to raise $25,000 for Sick
Kids hospital. The charity art,
wine, and cheese event with
a silent auction and entertainment will be held on May 5.
Among those attending are
local councillor Rosanna
DeFrancesca and Miss Teen
Ontario—World 2011 Lauren
Howe. To reach its goal for
Sick Kids, Roma counts on
the support of area businesses and sponsor donations. For more information,
contact Roma Cares via email at: romacares@roma
moulding.com or call Vicki
Forde at (800) 263-2322.
PRESTO FRA ME &
MOUL DING CATA L OGUE
Pr es t o Fr am e
BETHEL, CT—P
& Mo u l d i n g has released its
new 2011 moulding
catalogue that showcases the
company’s veneers ranging
from raw natural to polished
antiquity. Also featured are
hundreds of new designs that
encompass a wide variety of
designs. For details, call
(800) 431-1622, or visit:
www.prestoframe.com.
PA GE 24
5/2/11
1:03 PM
Page 1
CUSTOM FRAMING FASHIONS
Custom framing designs
can be hot! They relate to
trends and make a fashion
statement, as shown when
Larson-Juhl hosted a Framing Fashion Show in Las
Vegas. Greg Perkins continues his article describing
how custom framers can
add excitement and relevance to their frame designs. In the previous issue
he focused on the Little
Black Frame and here he
covers the theme of Color.
child’s room, they can create
it. Or their child can… Other
ideas include framing a row
of actual crayons, a vintage
kid’s birthday card, or a baby
dress. The important element is color.
Texting Tweens: When
teens and tweens break
away from their cell phones
and texting habits, they also
like to personalize their bedrooms with color and pattern. The custom bulletin
board, shown below, is perfect for Texting Tweens. It is
Rock
Me
Baby
presented
Color: The Beat
similar to the jewelry board
by Lynn Fey-Duncan,
Goes on!
shown previously, but the
Larson-Juhl Marketing. The
obvious difference comes
mat is B8571 Hunter Green;
The next set of models to inner moulding, Confetti
from the fun color scheme.
hit the runway completely 140639; the outer is Taffy
A splashy patterned fabric
shifted gears from Black to 172408; the tail is rope with
was first wrapped over the
the second trend focus: Crayolas glued to it.
bulletin board, then surColor: The Beat Goes On.
rounded by a stacked
It’s been said that when the many parents today. You can moulding combination in pink
economy is down, hemlines “Go Fly a Kite” but you can and blue-green. This is a
get longer, hairstyles get also hang one. The kite- popular color scheme for
softer, and lipstick sales
tween girls.
go through the roof. The
Bulletin
lipstick barometer, as it’s
boards procalled, is all about peovide young
ple wanting color to
girls with a
cheer themselves up.
place
to
The same is true in framshow
off
ing. According to the
their “likes”
Color Marketing Group,
of the mo“Self-inflicted optimism”
ment or boys
is the philosophy of
may use it
many consumers who
for
sports
are choosing colors that Texting Tweens: Patterned fabric is mounted to a memorabilia
will enhance their lives bulletin board. Inner moulding is Confetti II 14064; or for photoand lift them out of fru- the outer, Thornhill 541693.
graphs.
gal fatigue. A perfect example was at the recent shaped artwork, top of page, Vintage Vibe: Now we
Golden Globe Awards was enhanced by adding a move on to the mellower side
where there was a sea of tail, extending well past the of color with Vintage Vibe.
green dresses on the red outside edge of the frame. The colors of vintage art, texcarpet this year.
The tail was embellished tiles, and artifacts often melwith crayons, making it a fun low out over time. This
Rock Me Baby: Kicking way for a proud parent to beautiful Asian textile, seen
off the color fashions was show off their budding Pi- at the top of the following
one of the most perfect casso. By merchandising page of this article, is fraplaces to use colorful this idea in your shop, you med using a distressed and
frames—art by kids or for can also show consumers weathered frame showing
kids. Decorating a child’s that if they can’t find the
room is a major focus for right piece of art for their
A RT WORL D NEWS
MARCH11 L-J Framing Part 2 page 2:Layout 1
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FRAMING FASHIONS
CUSTOM FRAMING
how a moulding with a color
finish can make a statement
in a more subtle way.
Vintage Vibe: The mat featured here is B4153 Jacana
Suede; the inner moulding
is Enhancer 171G; the fillet
is Nouveau 166340 which
fits inside the inner moulding; the middle moulding
is Vermont 321720; and
the outer moulding is
Vermont 521720.
For a hint of elegance, a
gold fillet and a gold enhancer were added inside
the lip of the frame. A successful retailer that has
brought vintage color to the
forefront is Anthropologie.
You may have also noticed
a growing trend in art prints
featuring vintage subjects
and motifs. These offer
more opportunities to capitalize on this look.
A RT WORL D NEWS
Mod Squad: The trend toward modernity in home furnishings and art continues
to grow in consumer popularity. Along with this look
comes vibrant colors and
strong contrast. Larson-Juhl
calls the corresponding
framing trend Mod Squad.
This artwork by Thomaspaul, shown at right, is
called “Love Birds.” The reproduction print was cut
into four equal pieces, each
framed individually. It is currently very fashionable to
hang groupings without
space between each frame.
This dissected print looks
great hung that way. The hot
yellow and white stacked
moulding combination becomes an extension of the
art. Many reproduction images can be cut into pieces
to create one-of-a-kind wall
groupings. This concept will
provide your customers
with a high style look, while
offering you a nice upgrade
to boost your bottom line
profits. It’s a win-win for
both of you!
Friday Night Lights:
This is not only the name of
a TV show, but also captures America’s love of
sports. The example, shown
at right, is a homage to the
2010 Superbowl using a
blue moulding as a liner
rather than the primary
frame. Even metallic finishes, like the outer frame
used here, right, are read as
colors, so choose your
metallics as carefully as any
other colors, In general,
sports memorabilia is an-
colorful fillets
can be used to
complement a
wide range of
sports team colors. The line up
includes: framed
jerseys, baseball
cards, collectibles,
sports
merchandise, as
well as awards.
This is always a
great category
to merchandise
and market—to
Beth Acker, West Region Sales, and
show customers
Mark Nichols, South Central Region
ideas to celeSales, present: Mod Squad. The art is
“Love Birds” by Thomaspaul, #1123041 brate their professional
and
at www.artthatfits.com. Inner moulding
is Confetti 140653; outer, Taffy 172401. college teams
or their favorite
other huge category where up-and-coming sports star.
colorful frames and mats
can be used. It’s a highly Part 3 of this article continprofitable category to pro- ues in a future issue.
Friday Night
Lights:
The upper
mat is
B4156 Rye
Suede and
the lower mat is
C5522 Navy
Suede; the
inner moulding
is Confetti
140640
and the
outer moulding
is Lucerne
350793.
mote within your community…especially when you
are focusing on your favorite local teams. LarsonJuhl’s Confetti line of
mouldings and full range of
Greg Perkins is the customer programs manager
for Larson-Juhl, Norcross,
GA. To reach him, send
an e-mail to: Greg_Perkins@
larsonjuhl.com.
PAGE 25
MARCH11 Gilded Moon page 1:Layout 1
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2:26 PM
Page 1
FRAMING BUSINESS
GILDED MOON FRAMING MAKES HISTORY
When Jill and Paul Choma,
owners of Gilded Moon
Framing in Millerton, NY,
found they needed to move
their custom frameshop and
art gallery because their current building was being sold,
they seized the chance to
buy the historical 1903
Millerton National Bank
building and restore it to its
former glory. In business
eight years, and a member
of Larson-Juhl’s partnership
program, the Chomas were
supported throughout the
process by their local community. Jon Scutieri, Mayor
of the Village of Millerton,
voted one of the coolest
towns in America in Arthur
Frommer’s Budget Travel,
was delighted with the idea
of the Chomas’ intent to update the bank building because it had undergone
previous renovations that
took away much of its historic charm and character.
The Chomas, who completed the five-month renovation and opened Gilded
Moon Framing in its new
historic location last winter,
describe the challenges of
the process and how they
dealt with them.
Firstly, they toured the
premises with their bank
manager, and it was then
decided that the old bank
building would be an ideal
space for Gilded Moon
Framing.
The
location
would also allow the
PA GE 26
Chomas to continue their
collaboration with awardwinning lifestyle store Hammertown Barn and sublet
space to them and have
their furniture and furnishings utilized throughout the
custom framing store. Indeed, the extensive space
©ianjphoto.com
Jill and Paul Choma, owners
of Gilded Moon Framing.
spiral, they expanded
their business in their
former location. “We
partnered with Hammertown Barn to create a cozy, intimate
atmosphere
where
people could look at
local art and framing in
©ianjphoto.com
a contemporary home
This
newly
renovated
historic
setting. By instituting
that goal, our sales in- building in Millerton, NY, is home
creased and we had a to Gilded Moon Framing.
very successful year.
Annual revenue increased The New York Business
by 28% from 2008 to Development Corporation
2009,” says Mr. Choma.
played a key role in the
transaction as the Chomas
Purchasing the landmark were able to secure a loan
bank building proved to be a through The Small Business
challenge, but the Chomas Jobs Act of 2010. Mr.
received guidance through- Choma explains, “Financing
out. Their business loan offi- was provided by our local
cer from a local credit union credit union, Hudson Valley
was instrumental in analyz- Federal Credit Union, and
ing Gilded Moon Framing in New York Business Develorder to buy the building opment Corporation. We
and, as the process moved participated in NYBDC’s
forward, Paul and Jill say 504 plan which means 50%
they gained the confidence financing from a regular inthey needed to take on a stitution (in our case
project of this magnitude. HVFCU); 40% is financed
by NYBDC, and we put in
10%. With this program we
financed our renovations, as
well.” After purchasing the
building for $250,000, renovations totalled $150,000.
in the bank building of 2,600
square feet on the main
floor, 1,500 square feet in
the basement workshop,
and a further 1,500 square
feet of loft space, “gives us
the potential of expanding
upstairs
with an art
g a l l e r y, ”
says
Mr.
Choma. He
and his wife
are
not
averse to
taking reasoned risks.
In
2008,
when
the
©ianjphoto.com
economy
The
spacious
framing
design
area
makes use
started its
of
natural
light
through
the
windows.
downward
With the help of architect
Ray Nelson of Earthwise
Architecture, the Chomas
presented the Village of
Millerton Planning Board a
full set of detailed plans outcontinued on page 28
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MARCH11 Gilded Moon page 2:Layout 1
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FRAMING BUSINESS
GILDED MOON
lining the renovation plans
for the bank building. After
receiving full approval, support, and praise from the
planning board, the Chomas
began renovations which included making the building
energy efficient, complying
with ADA (Americans with
Disabilities Act) guidelines,
restoring the original hardwood floors and fireplace,
updating all windows, unearthing and restoring original architectural details,
creating a “children’s nook”
in the bank’s vault, updating
to energy efficient lighting
PA GE 28
lighting, and
paint color
selection.
Their goals
with
this
huge undertaking were
to include a
larger custom framing
workspace,
©ianjphoto.com consolidate
A quiet seating area where clients can
cutting and
browse through catalogues and magazines.
joining operations, and
and putting in new air condi- to utilize new outdoor
tioning. In addition to these spaces for events. A sculpupdates and renovations, Jill ture garden is also in the
and Paul turned to Greg works on land owned by
Perkins of Larson-Juhl to the Chomas. It will be a colassist with the retail layout, laboration between them
and Eckert Fine Art, Kent,
CT, which is relocating to
Millerton. Located two
hours from New York City
where Connecticut, Massachusetts, and New York
meet, many of Gilded
Moon’s customers are second home owners. Retail
prices for custom framing
range from $170 for a basic
metal frame and double mat
to $1,200 for a water gilded
frame with a fabric liner, fillet, and matching fabric mat.
The average ticket price
is $400 to $500. To reach
Gilded Moon Framing, telephone (518) 789-3428 or
visit the website at: www.
gildedmoonframing.com.
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FEB11-Framing Panel page 1:Layout 1
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2:44 PM
Page 1
FRAMING ROUNDTABLE
FINDING THE OPPORTUNITIES
What are the new opportunities out there for custom
frameshops? That was the
subject of a panel discussion
that drew a packed audience
at the West Coast Art &
Frame Show in Las Vegas
in January. Panelist John
Ranes, industry educator,
consultant, and co-owner
with his wife Sarah of the
award-winning The Frame
Workshop, Appleton, WI,
said that it’s all about giving
customers an alternative
reason to visit your business
and drawing in people who
have not previously visited
your shop whether it be new
framing models, gifts, or
printing. “Evolution is what
this is all about. A business
is not a stagnant entity—it
grows and changes.”
The discussion was hosted by business entrepreneur, author, and speaker, Jay
Goltz, owner of Artists
Frame Service, Chicago. In
his introduction, Mr. Goltz
noted that this is a time of
Survival of the Fittest with
less business out there and
fewer frameshops. Now is
the time, he said, to consider
whether we should do things
differently and look at new
opportunities. “Some of you
should do what you are
doing now, just do it better,
and others should be considering getting into gifts, printing, and other avenues.”
Custom framing, he said, is
a much more design-driven
business than it was ten
A RT WORL D NEWS
years ago, and so what does
the next ten years look like?
“We have good options to
think about. The market has
changed, and you can get
ahead.”
Mr. Goltz estimated that
for every retail framer attending the WCAF show,
ten did not. “People say
they are not doing as well
CA, with a background in art
retailing and corporate art
consulting; Reed Hecht,
product manager-professional imaging at Epson
America who brings extensive technology knowledge
and marketing experience
and training; and Chris
Paschke, fine artist, calligraphic designer, and owner
of Designs Ink, Tehachapi,
The Frame Workshop, Appleton, WI, owned by John and
Sarah Ranes, has added gifts as a new revenue stream to
its custom framing business, as well as a retail website.
as they want and can’t afford to come to the show. I
say, ‘Can you afford not
to?’ The word ‘afford’ doesn’t belong in the business
world.” I encourage you to
go out and look at new
things and try them. Your
customers may like something new.”
In addition to Mr. Ranes,
the panelists were: Joyce
Polish, sales consultant for
Editions Limited, Emeryville,
CA, art gallery and custom
frameshop.
Mr. Goltz noted that Mr.
Ranes had the courage to
borrow money in the middle
of the recession to expand
his gallery and frameshop
and add gifts. “Now,” said
Mr. Ranes, “14 months later,
I have come off my second
best year in business. That is
the up side.” The down side
are the added expenses. But
in the fourth quarter, gifts,
collectibles, and his Internet
sales were up. Custom framing was flat. “The reason we
expanded into other revenue
streams was to support each
segment of the business. All
successful framers must be
successful retailers.” Mr.
Ranes said he goes to gift
shows all around the country,
as well as a high-end craft
market in Philadelphia that is
a good fit for him. “It takes
time, investment, and energy,” he said. Mr. Goltz
pointed out that a retailer
could bury themselves in inventory, and Mr. Ranes
agreed, and advised, “Buy
things you are passionate
about. Buy what will fit.
When you buy things you
love and understand you will
be a more avid salesperson.
I also recommend people
don’t buy everything they
know and love because it
may not fit into the identity of
the business, so it’s good to
have someone to counter
check. And understand it
takes time and slowly
grows.” Mr. Goltz added,
“You need to know when to
cut bait if something does
not sell. Cut the price and
get rid of it. The key is to get
inventory out the door. You
have to get cash back out of
your inventory.” Mr. Ranes
said customers have bought
very expensive gifts from
The Frame Workshop. “People still have money to spend
at the high end.” But more
PAGE 29
FEB11-Framing Panel page 2:Layout 1
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2:49 PM
Page 1
FRAMING ROUNDTABLE
FRAMING DISCUSSION
exciting than that, he said,
was when he noticed four
women browsing through
his frameshop and gallery,
“coming to us like a department store. This increased
traffic fuels the overall success of the business.”
Joyce Polish of Editions
Limited talked about the
number of choices available
now in the print market that
were not there before because of digital printing, the
various substrates that are
now used to print on, as well
as eco-friendly products.
“The digital world gives you
the opportunity to bring in
new product and new customers,” she told the audience. “You can get designers and art consultants
wanting to work with you.
They do the leg-work for you
once they find you have a lot
of diversity to offer. You want
to bring in new product that
will attract people other than
retail customers to your business.” Digital printing on demand offered by publishers
means that prints can be
made in many sizes, and can
fill a need for large art at a
low price in a bad economy.
“So we are providing more
opportunities for clients. You
can show people volumes of
inventory on the Internet.
You need to work with an art
publisher’s consultant and
they can walk you through
their inventory, and then you
can work with a designer in
your frameshop or gallery
PA GE 30
and show them the art and
framing choices.” Editions
Limited’s Studio EL division,
she said, can print on acrylic
up to 10 feet wide and on
aluminum up to eight feet. Although the company still
publishes catalogues, she
suggests showing designers
and art consultants the printon-demand art selection on
a laptop.
based ink printers from 17 to
64 inches wide, and also solvent machines. He added
that framers should be mindful of copyright issues when
printing art. “Be careful,” he
said. “You can’t do it all. Be
sure when you reproduce an
image that the person has a
right to reproduce it.” Mr.
Goltz added that for a relatively small cost, framers can
get their toe in the water and
establish an alternative revenue source.
Reed Hecht of Epson
America
said he saw
an interest
C h r i s
from people
Paschke of
in printing in
Designs Ink
their frametalked about
shops. If you
networking,
only offer
saying,
c u s t o m
“People that
framing, you
don’t do netwait for the
working in
customer to
many cases
come in with
have gone
a piece of
out of busiart to be
ness
bestretched or
cause it is a
framed. “If
part of figuryou get ining out what
volved
in
the commup r i n t i n g Through networking, Chris
nity around
y o u r s e l f , Paschke, artist and owner of
you needs.”
now some- Designs Ink, Tehachapi, CA,
After
she
one comes created this installation for
moved
to
to you with a the Tehachapi Depot Railroad Tehachapi, a
digital file of Museum. The project brought town of apthe family on recognition and more business proximately
vacation and to her new gallery and custom 7,000 with
you can print frameshop.
other comit and frame
munities,
it for them. It is about oppor- some very affluent, nearby,
tunity—and there is a lot of she began to develop her
opportunity from people who framing business when the
walk into your shop with a economy went down in
digital image.” Epson, he 2008 to a point where she
said, offers a wide variety has become known as
of printers, including water- “The” framer in town. “Net-
working means being involved in community events.
The Chamber of Commerce
has committees.” She is on
the Main Street committee.
She also participates in First
Fridays when art-related
businesses stay open late.
“You find a lot of people
coming in.” Ms. Paschke
went on to explain how,
through networking, she met
someone on the local planning commission that led to
her mounting a large number
of photographs for an exhibition at Tehachapi Depot Railroad Museum. “Because of
this, another museum in
town hired her to work on a
project and that, in turn, led
to another project from a
client that she describes as
“one of the best I ever had.”
Ms. Polish of Editions
Limited reminded the audience of the importance of
store merchandising. “Do
unusual framing and display
it. People may buy off the
wall.” With one of her
customers, she suggested
he buy several canvases,
stretch them, and hang
them. “He wound up doing
three spas and the designer
is working with him on other
projects.” Mr. Goltz added,
“I don’t think that having
2,000 corner samples on
display in your shop will
drive you to success. You
should probably be using
300. Free up your wall. With
all the newly available wall
space, put up new framing
and new substrates that will
inspire people to bring
things in to you.”
A RT WORL D NEWS
APR11-NewFram-pg1:Layout 1
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2:53 PM
Page 1
NEW FRAMING PRODUCTS
Larson-Juhl’s New L7 Collection
Larson-Juhl, Norcross, GA, debuts the L7 collection featuring three hand, water-gilded finishes on stained and waxed
wood. Manufactured at Larson-Juhl’s Senelar facility in
France, the collection introduces five new profile shapes
and a complementary square-shaped fillet. The profiles include a large cap shape with a 1-inch width and 2 1/4-inch
rabbet depth, as well as two float frames. For more information, phone (800) 438-5031, or go to the company’s website
located at: www.LarsonJuhl.com.
Framerica’s Estate Cherry Addition
Framerica, Yaphank, NY, has added Estate Cherry finish
with three new profiles. The BW220, BW221, and BW222
profiles, measuring 1 1/2, 2 1/4, and 3 1/2 inches in width,
with a slightly angled front lip and curved back are now
available. For further information, telephone (800) 372-6422
or visit the website at: www.framerica.com.
Fotiou Frames Adds to South Beach
Ten Plus Inc. Introduces New Series
Ten
Plus,
Inc., Santa
Fe Springs,
CA, introduces the
new 10 series, a 2 1/8
-inch wide
moulding
available in
brown
or
black
finishes with a
gold lip. For
further information, telephone (562) 404-0088, send an e-mail to: ten
[email protected], or go to: www.tenplusframes.com.
A RT WORL D NEWS
Fotiou Frames, Woodbridge, Ontario, Canada, introduces
additional profiles and colors to its South Beach Collection.
Colors now available include yellow, red, green, and blue
in high gloss lacquer. For more information, telephone
Fotiou Frames at (800) 668-8420 or visit: www.fotiou.com.
PAGE 31
APR11-NewFram-pg2:Layout 1
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Page 1
NEW FRAMING PRODUCTS
Dakota by Presto Frame & Moulding
Decor’s American-Inspired Profile
Presto Frame & Moulding, Bethel, CT, presents Dakota, a
new collection of swirling burl veneer moulding featuring a
distressed overlap and broken edge. Finishes include cocoa
and latte, as well as three widths: 3/4, 1 3/4, and 2 5/8
inches. Call (800) 431-1622 or: www.prestoframe.com.
D e c o r
Moulding &
Supply,
Hauppauge,
NY, presents
a
moulding
(9565) designed to
reflect the
essence of
the American
flag,
with carved
stripes and
folk
art
stars. The
finish is hand-applied. Telephone (800) 937-1055 for
further information, or visit the Decor Moulding website located at: www.decormoulding.com.
PA GE 32
A RT WORL D NEWS
MAR11 C Smith Article Part 2 page 1:Layout 1
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3:14 PM
Page 1
ART & BUSINESS
PAINTING YOUR OWN ECONOMIC LANDSCAPE
Part 2 of Cristi Smith’s article on “Using the ‘D’ Word,”
where she explores the
uncomfortable subject of
discounting and how to do
it with integrity.
If you have a large inventory you’d like to move
quickly, a live auction is perfect for that purpose. I won’t
dwell on the subject of auctions for long because my
views are expressed in the
article beginning on page 1
Unconventional
of this issue. But in sumAdded Values
mary, these are lower margin, higher
Everyone unvolume
derstands
events that
“value-addeds,”
can serve
such as free
to re-enershipping,
pergize your
sonal delivery,
gallery by
and discounted
providing
framing, but what
necessary
about
other
cash flow.
ideas
for
However, I
“addeds” that
would caucan
actually
tion a gallserve to emo- Cristi Smith.
ery to make
tionally draw the
auctions a
buyer to the art? Try offering rarity. This sort of event
a personalized dedication should be extraordinary and
card to the client from exceptional. The last thing
the artist. Most artists are you want to do is to train
happy to enhance their your clients to wait for an
client’s acquisition experi- auction to make a purchase.
ence. While speaking to My advice is to consider
clients in our own gallery, I hosting one no more than
mention that when Ford was every other year, or possibly
studying painting in college, just the one time.
he was also the cartoonist
for his college newspaper.
The Questions of
Accordingly, in the closing
of a sale, I’ll often ask Discounts
Ford to draw a self-portrait
We spoke to many galcaricature with a personal
written dedication for the leries and received their
collector. This small gesture feedback on the taboo topic
can make a big impression of discounts. Almost everywith a prospective client and one was loath to speak
often renders the question specifically about his or her
own policies. Rather, they
of a discount moot.
A RT WORL D NEWS
preferred to talk in generalities, and it was quite interesting to hear their varied
opinions on the topic. I once
had a CEO who, at times
when I would take an unwavering stand on an issue
that actually might require
more nuance, would say to
me, “Cristi, there’s no
sense in being more
Catholic than the Pope.”
new customers will ask for
one. The manner in which
they ask and the verbiage
they use can tell you a great
deal. For example...
Is This Your
Best Price?
This person has asked
you a “yes” or “no” answer. Your answer should
That phrase kept coming be an emphatic “Yes.” Why
back to me as I discussed on earth would you ever
this topic with galleries. admit that your pricing is
Meaning that while it’s im- anything other than the best
portant to have standards, possible? Be prepared to
there are times that practi- tell them why. Perhaps having
taken
the
economy
into
There are as may possible
consideraresponses to the question of tion, you
discounting as there are ways have negotiated
with
that new customers will ask
the artist or
for one. The manner in which the
pubthey ask and the verbiage
lisher, have
persuaded
they use can tell
them
to
you a great deal.
offer
the
lowest possible price on the art, and
cal exceptions ought to be have reflected those savconsidered. This is the situ- ings in your price.
ation many gallery owners
Additionally, if you and
find themselves in today.
your sales team believe that
One thing to keep in mind your offer is truly a great
is that you need to listen value, then when you look
carefully to how a client your customer in the eye
broaches the subject of dis- and tell him so, he’ll believe
counts with you. There are as well. This only works if it
as many possible responses actually is true, so you must
to the question of discountcontinued on page 34
ing as there are ways that
PAGE 33
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ART & BUSINESS
ECONOMIC LANDSCAPE
ensure that any savings you
might receive from a publisher or artist are reflected
in the price. Make sure your
sales team knows this too.
What Kind of
Discount can I
Receive on This?
This customer has been
trained to expect a discount.
Any discount. He just wants
to feel that he’s won something. Right away, let him
know the obvious reasons
that he should not expect a
discount at your gallery—
that you have pricing integrity, that this artist is
exclusive, that the price of
the art is already exceptional…use whatever you
have in your arsenal.
Then, as I discussed earlier, be prepared to offer this
customer a “value-added”
to make him feel that he is a
savvy art buyer who negotiated a good deal. You may
try offering a small percentage off, or a slightly lower
price. When you employ this
technique, everyone wins.
That’s More
Than I Want
To Spend
This particular kind of
customer is far more determined and is likely seeking a
discount greater than the
standard-bearer of 10%.
PA GE 34
They are letting you know
right away that they believe
the list price is not actually
“real” or firm.
Again, explain why the art
is a great value and employ
all of your sales training tactics to close the sale. If that
doesn’t work, ask the customer what they had hoped
to spend.
After hearing their answer, which will more than
likely be below the list price,
explain why this particular
piece of art warrants a
an acceptable sale (and
profit) in the end.
My Budget
Is $$$$
Basically, this person is
telling you that this is what
they want to pay, and usually it’s a good deal less than
the price on the tag. Assuming you’ve already employed
all of your best selling techniques and extolled in every
way imaginable the virtue of
the art, you have a serious
decision to make.
If the price of the art is much higher
than they want to spend, you have to
make use of all of your ‘value-addeds’
without losing real money in the sale.
You might use a ‘value-added’ along
with a more substantial discount in
order to reach a compromise. That way
you both feel good about the deal and
often you achieve an acceptable sale.
higher budget. If the price
of the art is much higher
than they want to spend,
you will have to make use
of all of the “value-addeds”
you have in your cache
without losing real money
in the sale. You might well
use a “value-added” along
with a more substantial discount in order to reach a
compromise.
That way, you both feel
good about the deal. Many
times, you’ll walk away with
You can decide whether
you’d like to take less for
the painting in order to
move it, or you must be prepared to walk away (with
your reputation intact).
Often, the very fact that
you are willing to walk away
from the deal can turn it
around. In that moment, the
customer knows that you
are serious and mean what
you say. This technique
could also work with the
dreaded “I can give you...”
I Can Give
You $$$$
Right Now
Without a doubt, this
statement puts you in a very
uncomfortable position. In
most cases, the offer is far
lower than acceptable. You’d
like to make a sale, but not
at the risk of your reputation
or pride. My advice is to decline politely, then briefly explain why you are unable to
accommodate them, citing
gallery operations, compensation to the artist, the importance of the artist, and
most importantly, respect for
and consideration of the collectors who have acquired
the art at its real value. You
may have missed a sale, but
you can’t continue to be in
business if you’re operating
at a financial loss. If you lose
your reputation that could be
even more damaging.
With a combined perspective unique to the art industry, Cristi Smith is co-owner
and president of Ford Smith
Fine Art. Ms. Smith owns
the Ford Smith Gallery in
Roswell, GA, and is the
agent and publisher for her
husband, artist Ford Smith.
Cristi Smith’s expertise
spans two decades in the
retail advertising and marketing arenas with executive
leadership in Fortune 100
retailers in addition to startup companies from the highend home decor industry.
She may be reached by calling (770) 552-5942 or visit:
www.fordsmithfineart.com.
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ART AUCTIONS
AUCTIONS
done in the retail gallery. The
build up to the event is
important. Mr. Goldstein
suggests “hosting a wellstaffed auction preview in
which clients can view the
artwork, ask any questions,
etc. Most people who bid at
auctions have likely previewed the artwork and determined that they are going
to bid before the item makes
it on the auction block.”
At CFM Gallery, located
in Chelsea, New York City,
auctions are held onlineonly. “We don’t hold the
auction in the gallery. All of
the bidding is done online,”
says owner Neil Zukerman.
“We usually run the auction
through our website, but recently held one using eBay.
It worked out really well, because I didn’t have to keep
track of the bidding. It does
cost a little to use eBay, but
the amount of time and effort that I did not have to put
into running the auction
made it worth it.”
When choosing artwork
for the auction, galleries
often have different criteria,
but diversity is important.
“Auctions need a careful
balance of artists, styles,
and mediums,” says Giovanna Stark. “Some pieces
in the mix need to be highly
desirable—yet you don’t
want to put a valuable piece
of art into the mix if that
artist is going to be coming
to the gallery in the next few
A RT WORL D NEWS
months. We have to be
careful to not devalue the
work of any of the artists
that we have. So the selection is balanced, we will have
a few pieces that we would
be glad to move out, and a
few pieces we can sell knowing we may not make a profit.”
tertain customers. Some
states require the auctioneer to be licensed after attending a state-recognized
auction school. “I have found
that an educated and passionate and fun auctioneer
can make bidders raise their
paddles,” Mr. Salazar adds.
Auctions at Park West
Gallery feature different
numbers of work, depending on the type of event.
“There is a large range,”
says Mr. Goldstein. “I’ve
“Galleries need an experienced auctioneer who is
not just a ‘bid caller’ but
someone who can present
the artwork effectively, is
well-spoken, has taken the
Celebrating it’s 42nd year in business, Park West Gallery
holds monthly auctions featuring hundreds of pieces of art.
seen auctions with six
works of art, and auctions
where 1,000 pieces were
made available. There needs
to be a balance of enough
selection versus overloading clients with too many
choices. My recommendation is around 250 works at
a preview, followed by an
auction limited mainly to
works that are requested in
the preview.” Hiring a professional, accredited auctioneer elevates the event,
and often-times, helps en-
time to educate themselves
extensively about the artworks, will conduct the auction with utmost integrity,
and will keep the audience
engaged and interested in
the artworks being presented,” says Mr. Goldstein.
Gallery One in Mentor,
Ohio, has been in business
for 37 years. Since then,
they’ve held hundreds of
auctions, but it was their
first foray into this different
way to sell art that really
shaped gallery owners
Norah Lynne and Alan
Brown’s mind set. “We held
our first auction in 1977
when we were approached
by a woman that ran a local
charity,” Mrs. Brown says.
“We knew absolutely nothing about it and were intimidated at first, but she was
persistent. We hired a major
auctioneer to run the event.
Right away, he began taking
bids off the wall—essentially, he was faking bids.
Our ethics were reeling.
These were our collectors
that he was lying to and we
were livid. At the end of the
auction, he got to leave, but
we had to still face our customers and if they lost trust
in us, any future business
would have been lost.”
The auction, in fact,
turned out to be highly successful for the gallery and
the non-profit involved, the
Browns knew there was
something to them, even
after the bad experience with
the auctioneer. “We knew
that we wanted to do more
of these events and sent
Alan to auctioneer school.”
Mr. Brown received a CAI
(Certified Auctioneers Institute) and AARE (Accredited
Auctioneer of Real Estate)
designation from University
of Indiana. Outside of the
gallery, he also donates his
time as an auctioneer as
a community service. The
Browns also specifically buy
work for auctions. “When
we are looking for art to buy
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ART AUCTIONS
AUCTIONS
for the gallery, we may
come across something that
we know will work really well
in an auction and we will buy
it specifically for that purpose,” Mrs. Brown says.
“Sometimes we’ll make an
exceptional buy of something, and put it aside for the
auction.” Gallery One also
includes their website in the
auctions. “The last few auctions that we have had were
very poorly attended, but
despite that, we ended up
having the biggest volume
of sales ever. We run so
much of the auction on our
website and in the gallery simultaneously that we have
been able to include, not
only locals, but also collectors that are not in our
area.” She notes that many
of the online bidders are locals that just felt like staying
at home. “These online bidders already know us as a
gallery with quality work, so
they feel confident.”
Mr. Zukerman uses auctions strictly as a way to rid
his gallery of miscellaneous
pieces, something he is
honest about to his customers. “Those buying from
our auctions are generally
existing clients—in fact
about 85% are regulars.
When presenting the work
to clients, I let them know
that this is miscellaneous
work and here is an opportunity to get some bargains.
For us, no education is
needed. One big rule is to
PA GE 36
always be honest. Auctions
help me to reduce my inventory of those items no
longer germain to what the
gallery is doing.”
For Mrs. Brown, choosing artwork for auction is
ever-changing. “Maybe it’s
an original done years ago
by one of our gallery artists,
and the style is slightly different. That would be a perfect piece for an auction. It
gets the artist’s existing collectors excited and allows
“When we do a show with
Michael Godard, he’ll start
the evening with a sketch
that he then auctions for his
favorite charity. Sometimes
the piece will sell at a high
price, other times it will be
lower, depending on the
mood, the audience, and the
times. All the funds for this
piece are given to the charity, but it gives the evening
a great feel and people get
into the spirit of things. For
Godard, it’s a highly personal touch that connects
A bonus effect of holding auctions
is that it reinvigorates a collector’s
interest in other pieces in
your gallery.
them to obtain a rare piece
of work. An auction also allows an item to be priced
the way it should be because the public is setting
the price. It’s a valid representation of what the price
should be.” Charities can
play a big role in a successful auction as well. First, it
allows the gallery to do
fundraising work, whilst also
bringing new people into the
gallery. Park West recently
did an auction for the Florida
Caribbean Cruise Association Foundation, and raised
nearly $30,000 for their children’s outreach programs to
the Caribbean and Latin
America. At American Visions Art Gallery, Giovanna
Stark touts the advantages
of getting the artists involved to create a buzz.
him right away to the very
large group of people who
have come to the show.”
Sage Stark warns of auctions that may not live up to
expectations. “There are
some downsides to auctions, such as receiving offers that may not fit the
galleries’ desired profit
margins. This can often be
corrected by setting a disclosed, or undisclosed, reserve price. Depending on
how the auctions are structured, a bidding client may
be able to withdraw their
offer and create a bit of a
dilemma. Having tight requirements on participating
in the auctions may solve
this problem, but allowing
customers to easily bid without collecting too much in-
formation makes everybody
feel welcome to participate.”
As an added service to
loyal collectors, some galleries hold auctions to help
sell someone’s personal collection or estate, with the
gallery getting a percentage
of the sale. A bonus effect
of holding auctions is that it
reinvigorates a collector’s
interest in other pieces in
your gallery. “We found that
our clients pay attention to
all the artists in the auction,
even though they browse
through the gallery often
and might just pass them
by,” says Giovanna Stark.
“One client came in to look
at some of the other sculptures we had by Todd
Warner. We’ve had his work
in the gallery since the day
we opened eight years ago,
and yet our client hadn’t
paid that much attention to
the collection.”
Another perk is getting
your customer’s undivided
attention. “Auctions allow the
gallery to get a large number
of people together at one
time, and have them captivated for an hour or more,”
Mr. Hart adds. “If the event
is done by professionals,
and in an educational manner, the audience will become
enlightened and in a position
of knowledge to make that
decision to bid, and ultimately own art themselves,
without being sold too.”
Koleen Kaffan is Managing
Editor of Art World News.
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SALES TRAINING
LOSE THE LOOKY LOOS?
by Todd Bingham
“Looky loos.” “Tire kickers.” “Artvarks.” “Gallery
grunts.” There is a myriad of
terms we salespeople have
coined over the years to describe this
animal.
You know
the one I
m e a n :
They come
into
the
gallery and
spend an
hour asking Todd Bingham.
questions
and wasting your time, only
to waltz out, tossing “thanks,
I’ll think about it” over their
shoulder.
There is something about
challenging economic times
that seems to increase the
frequency of this kind of
customer. Lately, we’ve
heard it from not a few
gallery directors and salespeople. “What’s with these
tire kickers?” is the plaintive
cry, “Don’t they realize that
this is our livelihood? Don’t
they see that we’re working
here not just dispensing information. We’re not museum docents! Why don’t
they let us know beforehand
that they’re not buyers!”
Actually, they do. But I’m
getting ahead of myself.
In my twenty or more
years as a gallery director
and sales trainer for art
salespeople, I was always
frustrated with this kind of
A RT WORL D NEWS
situation—that salespeople
would become truculent and
resentful when they realized
they had just invested an
hour in someone they
thought was a customer,
only to have it come to
nothing. As the gallery
director/sales trainer,
two things were worrisome to me: One, the
salesperson invariably,
if unknowingly, allowed
those feelings to pervade their interaction
with the next customer,
if not the rest of the entire day. And two, they failed
to concede the possibility
that they just might have
been a co-conspirator in the
whole affair. “You might as
well poison your own
clients,” I used to say.
Deliberate
Looky Loos
I worked in a gallery on
Rodeo Drive in Beverly Hills
for quite a few years and
there, like most tourist-oriented art gallery locations,
this kind of thing occurs frequently, perhaps more often
than in most art gallery venues. We often had couples
or small groups of people on
holiday who would consider
it part of their vacation’s entertainment to be wined and
feted by staff from a fancy
art gallery. People are just
naturally more inclined to
misrepresent themselves in
those circumstances than
they might, say, in their local
gallery on Main Street.
Questions Are
The Answer
But, let’s set aside for a
moment the clear and predictable likelihood that there
are those who would deliberately set about to waste
our time. Those types of
people are a small group
and I have always been confident that with good “qualifying skills” they can be
identified—and dealt with. I
don’t mean rudely dismissed, but something that releases them to continue
cruising, without tying up
our salesperson.
I’m not sure it’s even fair
to speculate on this, but I’ve
been in the gallery business
since 1979 and I can assure
the reader that for the most
part, I have been right on
the mark when I say that
most art gallery salespeople
don’t or won’t bother qualifying their prospective customers. Most art salespeople are in too much of a
hurry to start selling (read:
talking), believing that they
only have a minute or two to
make some
kind of impression beThe qualifying process is
fore
the
two-fold: First, we want to
customer
know if the person is in a
walks out
position to purchase art and, the door.
And, basisecondly, if they are, what
cally, that’s
kind of a person are they?
true. It’s esNot, what kind of art do they pecially true
in tourist-orilike, but rather, who this
ented locapotential buyer is.
tions, where
people are
cruising,
No, what I’m talking anyway. It does not, howabout is the otherwise well- ever, absolve the salespermeaning, honest, and good- son from his or her first
intentioned local customer assignment, which is to
who happens into your qualify the customer. The
gallery on a Tuesday after- qualifying process is twonoon and with whom you fold: first, we want to know
spend a good deal of time if the person is in a position
but “can’t close.” What do to purchase art. And secwe do with those folks? Or, ondly, if he or she is in such
at least, what can we learn
from them?
PAGE 37
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SALES TRAINING
SALES TRAINING
a position, what kind of a
person are they? Not, what
kind of art do they like, but
rather, what kind of person
are they? Armed with that
information, we can then
best decide what, if anything, we have in our merch
mix to sell to them and
moreover, what is the best
way to present that art to
them? Because we know
that there are basically four
different types of art buyers
and it matters how the art is
presented if we want it to
resonate with them.
The only way to determine that kind of information
is by listening, not talking. A
few pointed questions put
to our new friend should be
enough to elicit the information we need. Admittedly,
evaluating that information
does require a mixed bag of
social skills: intuition, experience and patience, among
them. But with practice, I’ve
seen even the most unlikely
of salespeople become
quite adept at ferreting out
the information and using it
to skillfully make a case for
whatever artwork he is selling. I once had an ex-football
player working for me who
became extremely good at
this process; so good, in
fact, that he consistently
scored higher on the commission ledger than most
of the other, more “presentable” salespeople on
staff. Even though seemingly rough around the
PA GE 38
edges and not particularly
eloquent, this individual
wasted no time—either his
own or that of the customer
—in cultivating short term
selling situations that did not
portend to bear fruit. Yet, in
so doing, he was never rude
or dismissive and seemed
to make friends with everyone. How did he do it? He
asked the right questions,
then he shut up and listened
to the answers.
Customers will absolutely
tell us if they are not actual
buyers. They just don’t use
words when they do it.
son wouldn’t stand much of
a chance of closing a sale.
A basis—as we defined
it—consisted of a qualified
buyer with the right art at the
right time. That means that
the salesperson had taken
the time to get to know who
they were working with, was
convinced that the person
was in a position to purchase artwork, or at least
had the distinct inclination to
do so, and they had determined with the customer’s
own admission that they
were taking the right work of
art with them into the view-
As a gallery director, I made it a rule
that no presentations were delivered on
the floor of the gallery. No art was
discussed in full unless it was in a
viewing room. A basis for closing a sale,
as we defined it, consisted of a qualified
buyer with the right art at the right time.
Don’t Make a
Presentation
Without a Basis
As a gallery director, I
made it an ironclad rule that
no presentations were delivered on the floor of the
gallery. No art was discussed in full unless it was
in a viewing room.
ing room. Now of course,
this also meant that there
were nearly always customers wandering around
the gallery who did not meet
that criteria and who had
been “set loose” by one of
our salespeople. (A reason
that “gallery awareness” or
some system of customer
assignment was so critical in
our gallery.)
There are a few reasons
for this, but the first of them
is that we know that without
establishing a clear basis
with a customer, a salesper-
In galleries that are not
large, or without the benefit
of a viewing room (and if
yours is one of those, I suggest you build one right
away), the same dynamics
apply: If you cannot establish
in a few well-formed questions that your prospect is at
least inclined to want to own
art, has access to discretionary dollars with which to
purchase that art, and is empathetic with the type of artwork you show then you do
not have a viable potential
customer. What you have is
a looky loo.
“So, what do we do with
them at that point?” was the
question I invariably got
from new salespeople in
training. “That’s up to you,”
I would reply, “but common
sense dictates that on a
slow day, you might stay
with the person just to practice your skills. You also
want to ensure that the
gallery’s reputation is enhanced by your interaction
with a visitor, even if they
aren’t a real customer. You
never know when someone
may develop into a customer, who at the moment
is not in a position to purchase.” On a highly trafficked Saturday, however,
when the gallery is packed,
it’s critical that you and your
staff learn to qualify quickly.
Traffic Is Traffic
When I was coming up,
back in the early ’80s, I had
a gallery director who used
to hover over us novice
salespeople and criticize us
mercilessly when we didn’t
make sales. “But the traffic
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XTRA...XTRA...XTRA...
Sharon Brening Takes the Gold!
Indorato Debuts Screen Paintings
Sharon Brening has
made history in that for
the first time ever, the
gold medal award for
best oil painting has
been awarded to a
woman artist in the
Western Artists of
America Show & Sale
at the Pearce Museum
in Corsicana, TX. Brening shares, “I feel
driven to continue painting the stories of the
Native Americans that
I have come to know
as friends and help to “I Saw an Eagle Fly,” award-winning
preserve their rich her- oil painting by Sharon Brening.
itage. From the beginning, I felt the need to preserve these cultures. Their rituals
and traditions deserve to be saved and revered. To understand the significance of tradition in daily life adds more than
just paint to canvas.” For more on Brening’s work: www.
sbrening.com; for WAA: www.WesternArtistsofAmerica.com.
Michael Indorato’s new
concept of screen paintings that he has been developing for several years
was introduced at Artexpo
New York to what the artist
describes as a “great response.” The paintings are
on wood with a layer of
acrylic paint topped with a
layer of screen mesh,
which is painted with an
image, such as the dove,
shown. The effect of the
paint on the screen creates
various, random patterns
that mimic pixels on a computer screen. The work retails for $3,500 to $4,000.
For more details, contact
Indorato Studio of Art,
Manahawkin, NJ, at (609)
978-8100, or visit the website: www.indorato.com.
SALES TRAINING
Exceptions to
Everything
is bad,” we would complain.
“It’s like someone parked
a bus out front and all
the hayseeds got off and
came in here!” (Yes, I’ll admit
we might have been a little
unkind about it.) “Hey,” he
would say, “traffic is traffic is
traffic.” What he meant was
that if the gallery is getting
traffic, the gallery is getting
customers. It’s what we do
with them as salespeople
that makes the difference.
As I got more mature in
the business, I began to see
that his theories were not
necessarily correct. His view
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was essentially rooted in an
attempt to play the numbers;
thinking that the more times
a prospective customer is
“hit on” by one of us, the
odds were such that a sale
just had to take place,
sooner or later.
Well, of course, this was
sheer nonsense, as I came
to realize. As salespeople
we cannot create a sale
out of black smoke. But
there is something to be
learned from his approach. If
you spend all your energies
on a customer who is just
stringing you along, you severely diminish your effectiveness with the next
customer you encounter.
Of course there are exceptions. I have seen miracles
happen during a stellar presentation to a seemingly unqualified prospect. I have
seen sales made to folks I
would have thought couldn’t
justify the purchase of a plastic teapot, never mind an expensive work of art.
But the fact of the matter
is that times are tough. Discretionary spending is down,
people are strapped. If you
are getting traffic in your
gallery, consider yourself
lucky. Don’t complain about
“Dove Takes Flight, a Prayer
for Peace” by Michael Indorato, mixed media on wood
panel, 20 by 36 inches.
a long-winded conversation
with someone who is not
qualified to purchase. But at
the same time, it’s our responsibility as salespeople to
hone our skills at qualifying to
ensure that we are working
with a customer who is actually in a position to purchase.
Not just someone who is just
kicking the tires.
Todd Bingham is a consultant
and trainer to the art gallery
business. In association with
Art World News, he has
written eight books on selling
art in a retail gallery, all
available on his website:
www.toddbinghamfineart.
com, or (760) 806-7699.
PAGE 39
APR11-Calendar:Layout 1
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CALENDAR
April 29–May 2: Art
Chicago, The Merchandise
Mart, Chicago. Merchandise
Mart Properties Inc. For further information, visit: www.
artchicago.com or telephone
(312) 527-3701.
May 15–18: National Stationery Show, Jacob Javits
Convention Center, New
York. George Little Management. For registration: www.
nationalstationeryshow.com
or call (800) 272-SHOW.
May 5–8: The Affordable
Art Fair New York City at 7
West 34th Street, opposite
the Empire State Building.
For more information, visit:
www.aafnyc.com or telephone (212) 255-2003.
June 14–16: Licensing International Expo, Mandalay
Bay Convention Center, Las
Vegas. Advanstar Communications. For registration, call
(888) 644-2022 or go to:
www.licensingexpo.com.
May 15–17: SURTEX,
Jacob Javits Convention
Center, New York. George
Little Management. For registration, visit: www.surtex.
com. Call (800) 272-SHOW.
July 7–August 31: Festival of the Arts, Pageant of
the Masters, Laguna Beach,
CA. Festival of Arts. Call
(800) 487-3378 or go to: www.
LagunaFestivalofArts.org.
PA GE 40
July 18–24: Seventh annual Plein Air Easton Competition & Arts Festival, Easton,
MD. For information, visit:
www.pleinaireaston.com or
call (410) 822-7297.
August 1–5: Las Vegas
Market, World Market Center, Las Vegas. Visit the
website for further information: www.lasvegasmarket.
com or telephone (888) 9627469 for details.
August 12–14: 20th annual Loveland Sculpture
Invitational, under tents beside Lake Loveland, CO.
Loveland Sculpture Group.
Call (970) 663-7467 or www.
lovelandsculpturegroup.org.
August 13–14: Sculpture
in the Park, Benson Sculpture Garden, Loveland, CO.
Loveland High Plains Arts
Council. Call (970) 663-2940
for more information, or visit
the website: www.sculpture
inthepark.org.
August 13–18: New York
International Gift Fair, Jacob
Javits Center and Piers 92 &
94, New York. George Little
Management. Phone (800)
272-7469, www.nyigf.com.
September 22–25: The
Affordable Art Fair New York
City at 7 West 34th Street.
New York. For more information, visit: www.aafnyc.com
or phone (212) 255-2003.
A RT WORL D NEWS
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NEW ART
Roy Rogers’ Got Nuthin on Me
Rhinebeck, NY-based artist Andrea Alvin’s “Roy Rogers’
Got Nuthin on Me” is an oil on canvas measuring 48 by 36
inches. The retail price is $7,500. For more information,
phone (845) 876-4965 or go to: www.andreaalvin.com.
The Café in Arles
MAC Fine Art, Miami, presents Elena Bond’s “The Café in
Arles” as a giclée on canvas in an edition of 95. The image
size is 40 by 24 inches and the retail price is $2,200. For
more details, call (305) 572-9860, www.macfineart.com.
Sparkling Koi
Miami No. 2
Progressive Fine Art, Mississauga, Ontario, introduces Vito
Piacente’s “Miami No. 2” as a digital print on polished
acrylic in an edition of 20. The image size is 70 by 40 inches
and the retail price is $8,400. For more details, telephone
(800) 487-1273 or visit: www.progressivefineart.com.
A RT WORL D NEWS
C o r a l
Canyon
Publishing,
Malibu, CA,
presents
“Sparkling
Koi”
by
Jane Seymour as a
giclée
on
p a p e r ,
mounted on
wood with
lacquer finish and diamond dust,
in an edition
of 95. The
image size
is 10 by 16
inches and
the retail price is $3,250, framed. For more information,
phone (310) 456-9477 or go to: www.janeseymour.com.
PAGE 41
APR11-AEHighlights-pg1:Layout 1
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ARTEXPO HIGHLIGHTS
At the Huckleberry Fine Art booth are, from left, artist J Scott
Nicol, gallery director Alexis Greenberg, owner Boots Harris,
and artist Rob Gonsalves. Both artists were on-hand to
paint in the booth and to meet with attendees.
Vicki and Peter Arnot, owners of Arnot Galleries, New
York, flank Italian artist Antonio Sannino, second from left,
whose work they have represented for over 15 years, and
Franco Senesi, owner of galleries in Capri and Positano.
Global Fine Art artist Thomas Easley, left, is pictured with
vice president Del Bloss III in front of the artist’s new
triptych titled “Raising the Sky” which generated a lot
of buzz from attendees.
Artists Dominic Pangborn, left, of Pangborn Design, Detroit,
and Michael Indorato of Michael Indorato Galleries, East
Manahawkin, NJ, discuss Pangborn’s mixed media paintings, wall sculptures, and designs displayed in the booth.
Artist Marta of Marta Wiley Studios, an exhibitor for the
past nine years, stands in front of her painting, “Path with
Heart,” one of 100 pieces created specifically for the 2011
Artexpo New York show.
SOLO artist Jeremy Bortz from Thornhill, Ontario, brought
about 60 new pieces of art to his booth. The artist has done
the show for many years, in an effort to help build his presence and brand in the art market.
PA GE 42
A RT WORL D NEWS
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Page 1
SOLO artist Jane Waterous from Nassau, Bahamas, keeps
returning to Artexpo in New York because of the great
response she has received from galleries and consumers.
This year, she brought 30 new pieces of art to display.
SOLO artist Corey West of Sonora, CA, stands before her
mixed media on canvas artwork. During Artexpo, the artist
placed in the top 10 of SOLO artists and met with several
galleries from the U.S., Canada, and Russia.
SOLO artist Alex Noble of Tokyo, Japan, is a first-time
exhibitor and brought a handful of his detailed mixed media
work. He chose to do Artexpo in New York, because he is
hoping to expand into the United States art market.
The Brazilian Group increased their presence to three booths
this year. Pictured in one of the booths are, from left, painters
Giseli D’Ajuz and Thereza Theodora; manager Sheyla Ataide,
painter Isabel Roberts, and assistant Byron Mendes.
SOLO artist David Juter and his wife Sarah with his paintings that the Brooklyn, NY, artist creates in layers of
acrylic under oil with a top coat of resin. The British-born
artist’s work retails in the $1,300 range.
Two artists from the Japanese Association, Mayuko Mura
Kami, far left, and Yukina Kobayashi, far right, flew in from
Tokyo, despite the desperate situation. With them are
Tomoyuki Ono, president, and artist Rosangela Bombieri.
A RT WORL D NEWS
PAGE 43
APR11-OE:Layout 1
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Page 1
OPEN EDITION PRINTS
Sun Dance
Graphics
“Floral Soiree II”
by
Rebecca Lyon
Image Size:
12” x 12”
Item #: 8247
407.240.1091
Wild
Apple
“Pumpkin Poppies II”
by Shirley Novak
Image Size:
18" x 18"
Retail Price:
$16
802.457.3003
www.sundancegraphics.com
www.wildapple.com
E-MAIL: [email protected]
9580 Delegates Dr. Orlando, FL 32837
Editions
Limited
Zhee Singer
Studio
“Flora”
by Robert Ginder
10451
“Royal Carnation Flower
– Ashlin Red”
800.228.0928
413.664.0740
www.editionslimited.com
4090 Halleck Street Emeryville, CA 94608
New York
Graphic
Society
“Patchwork I”
by Judi Bagnato
Image Size:
26" x 26"
Retail Price:
$36
800.677.6947
PA GE 44
www.ZheeSingerStudio.com
Haddad’s
Fine Arts Inc.
“ Co l o r Sp l as h I”
800.942.3323
Fax: 714.996.4153
www.nygs.com
www.haddadsfinearts.com
129 Glover Avenue Norwalk, CT 06850
3855 E. Mira Loma Ave. Anaheim, CA 92806
A RT WORL D NEWS
APR11-Classifieds:Layout 1
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4:27 PM
Page 1
CLASSIFIEDS
AUCTIONS
Gallery For Sale
Mancos, southwest Colorado,
20-year old fine custom framing
studio and small gallery in growing artist
community. Tourist area, 10 miles to
Mesa Verde N.P. and 30 miles to
Durango. Only frame shop in town,
owner retiring, will train as needed.
900 sq. ft. framing studio, 1,200 sq. ft.
historic home (currently rented) on
50’x150’ commercial lot on Main Street.
$395K for both buildings, business with
tools framing supplies inventory, and
customer base mailing list.
$95K for business only.
Great location for artist(s) to show their work.
Price reflects fair market value,
no brokers, serious inquiries only.
Call: 970-375-4543
FOR SALE
Bittan Fine Art
WE BUY ART!
Looking for ends of editions, close-outs
and mixed bag inventory of limited
edition prints. Will consider original
paintings as well. Let us turn your
unsold inventory into $$$.
We need volume art for auction dealers.
Please e-mail information to:
[email protected]
Reference in e-mail subject “art for sale”
For Amazing Deals
on your next art purchase visit:
www.bestartauctions.com
NO RESERVE AUCTIONS
Advertising
in
Art World
News’
Classified
section
is easy!
Classified advertising pays!
Adv ertis ing in
ART WORLD NEWS
is a co nstant reminder of who yo u are,
w hat you do and how y ou can be re ache d.
P hone (2 03) 85 4-85 66
Small Ad
Big Results
Call John Haffey at
203.854.8566,
or send an e-mail to:
[email protected]
FINGERHUT GALLERY
Seeking New Artist for our Discriminating Collectors
Fingerhut has been a successful promoter of artists for over 35 years
with a reach of over ten thousand collectors, and a walk-in gallery that
welcomes hundreds of new collectors each week.
Accomplished artist would possess… strong history and story behind their art.
Timing is everything.
Please contact Marie Covell with imagery/bio via email only.
[email protected]
Please no artist representatives or phone calls. All styles considered.
FINGERHUT GALLERY of Laguna Beach California
A RT WORL D NEWS
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ADVERTISERS
COMPA NY L ISTING
PHONE
PA GE
COMPA NY L ISTING
PHONE
PA GE
Arnot Galleries ..................................................................48
New York Graphic Society ..................................................44
www.arnotart.com
www.nygs.com
212.245.8287
Art and Coin TV ..............................................................32
www.artandcointv.com
424.212.8423
Editions Limited..................................................................44
www.editionslimited.com
800.228.0928
Ford Smith Fine Art LLC ......................................................15
www.fordsmithfineart.com
413.6640740
800.677.6947
Park West Gallery ..............................................................28
www.parkwestgallery.com
800.521.9654
Pease Pedestals ................................................................40
www.peasepedestals.com
847.901.4440
Progressive Fine Art..............................................................9
www.progressivefineart.com
800.487.1273
Haddad’s Fine Arts Inc. ......................................................44
www.haddadsfinearts.com
888.552.5942
Ken Orton Gallery ..............................................................6
www.kenorton.us
941.484.0380
LaMantia Fine Art Inc. ........................................................22
www.lamantiagallery.com/fineart
866.638.1800
Larson-Juhl ......................................................................2, 3
www.larsonjuhl.com
800.438.5031
MAC Fine Art ....................................................................13
www.macfineart.com
Smart Publishing ................................................................11
www.smart-publishing.com
954.746.5750
Sun Dance Graphics ..........................................................44
www.sundancegraphics.com
407.240.1091
Ten Plus Inc. ......................................................................27
www.tenplusframes.com
888.944.8899
Wellspring Communications ................................................47
e-mail: [email protected]
20.854.8566
305.572.9860
Wild Apple ......................................................................44
The Moss Portfolio............................................................4, 5
www.pbuckleymoss.com
Museum Editions ................................................................17
www.fazzino.com
914.654.9370
ADVERTISING SALES
INFORMATION
Eas t er n U.S. & In t er n at i o n al
John Haffey,
Publisher
Phone 203.854.8566
Fax 203.854.8569
[email protected]
Mi d w es t & Wes t Co as t
Brooks Male,
Associate Publisher
Phone 847.705.6519
Fax 847.776.8542
[email protected]
For more advertising information,
visit us online at...
w w w .a r t w o r l d n e w s .c o m
PA GE 46
www.wildapple.com
802.457.3003
800.430.1320
Zhee Singer Studio ............................................................44
www.ZheeSingerStudio.com
413.6640740
Open Edition Prints, Page 44
Classifieds, Page 45
Art World News, (ISSN 1525 1772) USPS 17661 Volume XVI,
Number 4, is published 10 times a year by Wellspring
Communications, Inc., 143 Rowayton Ave., Rowayton, CT 06853.
(Phone 203.854.8566) (Fax 203.854.8569). Single copy price $10.
Periodical postage paid at Norwalk, CT, and additional mailing offices.
POSTMASTER: Send address changes to:
Art World News, P.O. Box 129, Rowayton, CT 06853.
A RT WORL D NEWS
HouseAd-Revised-new:Layout 1
4/15/11
2:42 PM
Page 1
APR11-ArnotAd.qxp:Layout 1
4/15/11
11:02 AM
Page 1
ANTONIO SANNINO
© Antonio Sannino
© Antonio Sannino
Toscana Vigneti
Wolfgang See Austria
100x100cm
100x100cm
39x39”
39x39”
© Antonio Sannino
© Antonio Sannino
Liana
Toscana
100x100cm
39x39”
90x95cm
35x37”
DEALERS OF FINE ORIGINAL PAINTINGS FOR FIVE GENERATIONS
ARNOT GALLERIES, SINCE 1863
HERBERT ARNOT, INC.
250 West 57th Street, New York, NY 10107
Located on 57th Street between Broadway and 8th Avenues, 10th floor
Phone: 212-245-8287 • 'After Hours' phone number: 917-570-7910
E-mail inquiries: [email protected]
Website: www.arnotart.com or www.herbertarnotinc.com

April, 2011 - Art World News

Transcription

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