RUTH-ANN THORN: Publisher LISA TENAGLIA

Art Business News / www.artbusinessnews.com / www.artexpos.com
18
July 2008
19
Women From All Ends of the Art World Share Their Stories
Lisa Tenaglia: Gallery Owner
Ruth-Ann Thorn: Publisher
Although she has no formal background in
art, Ruth-Ann Thorn was surrounded by creative
influences as a child. Thorn grew up in an artistic
community in Portland, Ore., and her mother was
an artist and a dancer. These influences exposed
her to art of all types and led to her involvement in
theater productions. Thorn credits her success in
the art industry, however, to both of her parents.
“I was raised in an artistic family, but my sister
and I were also raised in a very strong work-ethic
environment,” she says. “As a woman, the main
thing that’s influenced me to be successful is that
my mother and father never treated us genderspecifically. My dad was very
big on the fact that we needed
to learn how to do everything
because he didn’t want us
growing up dependent on
anyone.”
Thorn believes learning
to work hard and be selfsufficient at a young age is
indicative of how a person
will respond to adversity in
his or her adult life.
“When you learn selfJames and Ruth-Ann Thorn are shown
esteem as a child—that you
at Artexpo Las Vegas 2007 with their
can do something and acdaughter, Isabella Ruth Thorn.
complish it—you are not as
fearful when you get older to
try something,” Thorn says. “It doesn’t make it
easier when you fail; it just makes it easier for you
not to be afraid to try new things.”
When Thorn was 21, she was hired by Images
International Gallery in Hawaii as a sales representative. At the time, she was the youngest person
the company had ever hired. Although Thorn was
initially intimidated by the sales aspect of her new
position, she received a lot of support from the
gallery owners, which is a mantra she has been
following and expanding upon as a gallery owner
and publisher today.
“I think I look at things from the salesperson’s
and gallery owner’s point of view; when I am working with an artist and promoting [him or her], I’m
always thinking about how that’s going to affect the
consultant who is on the floor,” she says.
In 1993, Thorn and her husband, James, opened
a small, home-based gallery in Carlsbad, Calif. Then
in 1997, the business expanded to La Jolla, Calif.,
with their first brick-and-mortar operation.
The growth in her career was very stressful,
Thorn recalls. “We were both working with three
kids and running the business,” she explains.
But the hard work continued to pay off for the
Thorns as they expanded to the publishing business with Crown Thorn Publishing. Thorn’s diverse
experience and positive mindset have been the
main reasons the publishing company has been
so successful.
“Some publishers have never worked the floor
and never owned a gallery; they cannot truly
understand what a gallery owner goes through,”
Thorn says. “Gallery owners are under an enormous amount of pressure to make ends meet.
When I think about promoting an artist, I think
James and
Ruth-Ann
Thorn co-own
Crown Thorn
Publishing.
about how this is going to affect them, and unless
you’ve run a gallery, you don’t get all of those little
aspects of it.”
Although she has never experienced gender
bias, Thorn says that being a woman in the art
industry does have some decided advantages.
“Women have the ability to listen more to people’s needs,” she explains. “There’s an element of
compassion with women. This means we are able
to work with clients on a very intimate level. As
a publisher, I’m able to work with artists. For the
most part, artists are very emotionally charged, so
you have to be sensitive to whatever might be going
on and be able to work with them.”
Thorn recognizes the human element in every
aspect of the art business. “It’s about the artists; it’s
about the clients; it’s about the gallery owners,” she
says. “When you come from that point of view, it
keeps you doing business the right way because you
know that every decision you make has a trickledown effect. Every decision you make, you need to
make sure you are doing it with integrity in mind.
If a person does that, then there’s no way they won’t
be successful in life.”
Lisa Tenaglia, owner of New River Fine Art in
Fort Lauderdale and Naples, Fla., has always had
a passion for art. Tenaglia graduated with a communications degree and also studied art history
at Southern Methodist University in Dallas. She
then began working as a sales manager in the communications field.
She held the position for 10 years before a corporate merger pushed her out of a job. But, the
seemingly disastrous occurrence opened a window
of opportunity for Tenaglia to eschew the business
world and follow her passion for art.
In 1997, Tenaglia began drafting a business
plan, and one year later, New River Fine Art Gallery opened in Fort Lauderdale. Selling art was
something that came naturally for the former sales
manager and fledgling gallery owner, but managing a business was something completely new.
Tenaglia straightens a Susan Rankin piece at her Fort
Lauderdale gallery.
“I’d been in sales, so that was easy for me,”
Tenaglia says. “The biggest problem was learning the business side. It’s managing cash flow and
people and that side of the operation that was the
greatest challenge.”
After fully committing herself to the business
and investing countless hours and energy, Tenaglia
found that her hard work was finally paying off.
She took a high-end approach to her gallery in an
effort to exude excellence to her clients.
“To be successful, we focus on quality and have
a drive for an atmosphere of excellence in whatever we do, including the art that we present, the
customer service we provide and the training we
give to the staff,” she says. Tenaglia also credits her
success to the group of professionals with whom
she has surrounded herself.
“It has taken a long time to put together that
team,” she says. “That’s always a challenge—hiring
and training and keeping good people. If you hire
good people and allow them to do the jobs that you
hired them to do, you will be successful.”
In 2003, Tenaglia opened a second gallery location in Naples, Fla. She still thinks there is a lot
of growth potential in the market but does not
necessarily think it requires expanding to a third
location. One way she makes the most of every
growth opportunity is being receptive to the needs
of her collectors and the community.
“The business of art is not a 9-to-5 job,” Tenaglia
says. “You never know when or where your next
client is going to come from. I’m a firm believer
in networking within the community and giving
back to the community. We offer the gallery to be
used as a facility for a lot of charity events, and that
gives us exposure within the community.”
Tenaglia’s galleries focus on a mix of contemporary, limited-edition prints, originals and master
prints. Over the past few years, she has noticed a
shift in the focus toward a greater desire for high-
Lisa Tenaglia, owner of New River Fine Art, Fort
Lauderdale and Naples, Fla.
quality original contemporary work. She has also
seen strong growth in her galleries’ master print
program. Glass and sculpture have been flying off
the shelves, something she attributes to its classical
appeal that fits contemporary design trends.
“I think it follows the trend of having open floor
plans in homes,” Tenaglia explains. “It is a return to
a very traditional art form, while at the same time,
filling a need in contemporary design. Homes are
open and spacious and airy, and you need threedimensional work to fill space from a design side.
From a fine-art collecting perspective, sculpture
has always been a very classic form of fine art.”
Tenaglia says although the art world might be
somewhat male-dominated, the only pressure she
has ever felt to succeed is that which she puts on
herself.
“Women are becoming more respected as professionals in all professions,” she says. “We are
becoming more prevalent in the art world. I don’t
believe that there is a glass ceiling for women in
art. If you do your personal best, it doesn’t matter
your gender, race or religion. If you are doing your
best and providing quality products and quality
service, you will succeed.”
Clockwise from left:
“Spell Bound” by Glen Tarnowski, Masterpiece Publishing
No matter what the style, medium or gender of the artist, interpretations of women in art are everywhere.
“Venus” by Normunds Braslins, Gallery Bestejs
Shown from left:
“Pensive II” by Karl Gray, Gango Editions
“Love Me 1” by Andrei
Protsouk, Art & Design
Publishing
“At The Back of Her Mind” by Vladan Ignatovic, Progressive Editions
“Twilight” by Elena Ilku,
Artaissance
“Spring Awakening” by
Irene Sheri, Collectors
Editions
“Vintage Woman Golfer”
by Bart Forbes, Editions
Limited
Access a slideshow of Women in Art imagery with a related podcast online now at www.artbusinessnews.com!
Art Business News / www.artbusinessnews.com / www.artexpos.com
20
July 2008
21
Women From All Ends of the Art World Share Their Stories
Lisa saltman: art consultant
Susan Fisher Sterling:
museum director
Susan Fisher Sterling is director of the National Museum
of Women in the Arts (NMWA).
Susan Fisher Sterling has been working toward
equality for women in the art community for the
past 20 years. Recently named Director of the National Museum of Women in the Arts (NMWA)
in Washington, D.C., Sterling explains the importance of the NMWA in contemporary culture.
“The idea behind the women’s museum is, in
some ways, to act as a goad or a prod to continually keep in people’s minds that women are not
just exceptions or oddities,” she says. “If you look
at contemporary art, women represent more than
half of the practicing artists, and they are some of
the most important people working today.”
After receiving her doctorate in art history from
Princeton in 1987, Sterling decided to go into mu-
seum work. She was fascinated by the concept that
she could see the history of the world through art
and understood that beautiful objects, both traditional and contemporary, carry cultural and
social weight. “I thought this was a tremendously
engaging idea,” she recalls.
When Sterling came to the NMWA as a contemporary curator in 1988, the fledgling museum was
still trying to gain traction as a viable institution.
She was interested in helping expand the national
and international stage for women artists in addition to increasing the museum’s stature.
“I thought it was important to try and help the
institution speak for itself,” Sterling says. “The only
challenge I faced was how far my enthusiasm, intelligence and ambition would take me.”
The founder of the museum, Wilhelmina Cole
Holladay, was a pivotal influence for Sterling as
she progressed through her early years at the
NMWA.
“The vision Wilhelmina had to create the museum was very important and continues as we
move forward,” Sterling explains.
Sterling spent her first 13 years as a curator and
the last eight as deputy director. Working at the
same institution for more than 20 years has helped
her better understand the core mission of the museum. Having that depth of knowledge creates a
sense of emotional attachment that can only be
achieved through a long-term commitment to the
museum and the vision behind it.
Since the inception of the museum, Sterling says
women’s names are being more frequently associated with high-level commissions and large-scale
No matter what the style, medium or gender of the artist, interpretations of women in art are everywhere.
Sterling explains the work of artist Chakaia Booker to
NMWA patrons in May 2006.
exhibitions, but there is still a radical difference
between how many museum shows feature men
as opposed to women.
Although the NMWA has an excellent historical
collection, Sterling hopes the area of contemporary
art is where the museum will truly make its mark.
A recent successful endowment campaign that
raised more than $40 million will help solidify
that goal.
“The museum is only 20 years old, so we have
our entire future ahead of us,” Sterling says. “We
need to collect great contemporary works now so
the museum is seen to have an excellent historical
collection 100 years down the road.”
As director, her plans are to continue the mission she established 20 years ago. “My vision for the
museum is simple: In 10 years, I want the NMWA
to be recognized at home and abroad as one of the
most important and best supported niche museums in the United States,” Sterling says. “I want
us to carry the message of equity for women to a
new generation.”
When Lisa Saltman graduated from the University of Arizona with a degree in fine art
and graphic design, she never
dreamed she’d be an art consultant. In fact, she didn’t even
know what an art consultant
was.
“There are all of these different avenues in the arts, and
when I was going to college, no
one told me about them,” Saltman says. “I didn’t know that
there were so many different
ways you could make a living
in the art world.”
Instead, Saltman immediately went into the
commercial side of the business as a graphic designer and art director. In just a short time, she had
developed a thriving graphic design company, but
the high pressure and long hours were taking their
toll. Saltman was looking to get into the fine-art aspect of the art world when a friend introduced her
to the concept of a career as an art consultant.
“Many people think that either a gallery or museum is the only avenue they can take (for a career
in the art world), but it’s not,” she says. “There’s
just so much more.”
So, Saltman contacted a consultant and asked if
she could intern while she continued her graphic
design business. It wasn’t long before she realized
her true passion.
“I just loved it, and 25 years later I’ve got this
thriving business,” she says.
Saltman Art Associates is based out of Oak
Park, Calif., and mostly works with private collectors and the hospitality and corporate industries.
On the corporate and hospitality side, Saltman
often works with interior designers and architects
“I think there was this need for some other
kinds of pieces that were a little more sophisticated,” she says. “People can start collecting if
they want to and still feel like they are getting a
really nice fine-art piece. Also, it can satisfy the
hospitality and corporate industries that are more
budget-conscious.”
Saltman has had a passion for art since she was
a little girl, and she credits her mother, who was
an interior designer, for encouraging her to pursue
an art-related career. She also credits her staff for
her success.
“I’m lucky to have a supportive staff that understands the goals, mission and integrity of Saltman
Art,” she says. “I have some really loyal people that
have been with me for years and have really helped
keep me organized. All those things are so impor-
Lisa Saltman, founder of Saltman Art Associates
that give her blueprints and color boards to aid the
art selection process. The client could be looking
for thousands of pieces to decorate hotel rooms or
large-scale murals to fill a public space.
“[The hospitality side] is not as personal,” she
says. “It’s more budget-oriented, and we’re trying
to create an ambiance within an environment so
it’s inviting for the clients and guests at the corporation or hotel. With a private collector, however,
it’s a little more personal. We talk about what kind
of collection they want, or if they want decorative
art to try to build a collection.”
Saltman says her company does everything
from suggesting and advising on purchases to
placement, framing, delivery and installation. “We
see the whole project through,” she says. “A lot
of people are intimidated by the art world, and I
think they are so pleased when someone comes in
and makes it more accessible for them and makes
them feel comfortable being part of this world—the
more creative world.”
Her newest endeavor, GessoArt, is a fine-art
catalog that offers high-quality limited-edition
prints at affordable prices.
Saltman is shown working on an art-consulting project.
tant. If you have mismanagement, even if you have
the best product, it just won’t happen.”
For Saltman, the energy of life and beauty of
the surrounding world provide her motivation.
“Wherever I go, I find inspiration,” she says. “Art
is all around you, and we all take it for granted.”
Shown from left:
“Something Shared II”
by Renzo, Masterpiece
Publishing
“Milan Memories” by
Spartaco Lombardo, Paul
Robinson Fine Art
“Yiao Mother and Son”
by Alexander Chen, Tom
Binder Fine Arts
“Color of Passion” by
Hessam Abrishami,
Studio Fine Art
Shown from left:
“Flow” by Monica Stewart, Image Conscious
Untitled by Emmanuel Carmi
“1920 Bathing Beauties 2” by Ceravolo
“No Tears over Spilled Wine” by M.D.
Abramowitz, Abramowitz Fine Arts, Inc.
Access a slideshow of Women in Art imagery with a related podcast online now at www.artbusinessnews.com!
Art Business News / www.artbusinessnews.com / www.artexpos.com
22
July 2008
23
8 Women Artists: 8 Unique Perspectives
Tina Palmer
Goli Mahallati
Education: University of Tehran, Iran, B.A.;
AIC of Boston, M.A.
Style/Medium: Figurative and Abstract
Studio Location: Porter Ranch, Calif.
Publisher: Studio Fine Art
Years in the business: 8
Web site: www.studiofineart.com
▲ “Red Jacks,” oil on canvas
by Andrea Alvin
Andrea Alvin
Education: Fresno State College; Art Center
College of Design, B.F.A.
Style/Medium: Oil on Canvas
Studio Location: Rhinebeck, N.Y.
Publisher: Linda Jones Enterprises
Years in the business: 20
Web site: www.andreaalvin.com
“Beyond simple representation, I try to capture
the childlike feeling of delving into another world
where we are safe, solitary adventurers gazing up
at the next great wonder, staged, lit and ready
for its close-up.”
Describe your unique experience of succeeding
as a woman in the art world.
I learned early on not to accept no for an answer. I was told that I was too young to attend Art
Center, but I enrolled at age 18 anyway. Certain
majors (in the late 1960s) were considered off-limits
to women because they had little chance to succeed in those fields, which was unacceptable to
me. I never learned to type because I was sure that
no matter what kind of job I had in art, being the
woman, I would be assigned the typing jobs first.
I have been lucky enough to work as a professional
artist my entire adult life, and I have divided that
time between commercial art and painting.
“To me, art should not seek balance, as this
does not reflect the conflict—
the dynamics of real life that
create exciting art. I feel that
good art expresses pure and
honest feelings.”
How has the female perspective influenced your art?
What has attracted many
collectors to my work is my
portrayal of women. It is true that many male artists paint women also, but I paint women from the
standpoint of a woman. No one can truly understand how women feel except other women. I don’t
filter my emotions—I just paint what I am feeling.
My experience as a woman colors my experiences
and my interpretation of life.
▶ “Arches,”
collagraph print by
Marjorie Tomchuk
▶ “Approaching
Storm,” collagraph
print by Marjorie
Tomchuk
Marjorie Tomchuk
Education: University of Michigan, B.S., M.A.
Style/Medium: Embossed Prints on
Handmade Paper
Studio Location: New Canaan, Conn.
Publisher: Self-Published
Years in the business: 30
Web site: www.mtomchuk.com
Education: Studied illustration and advertising
at Northern Virginia Community College. Largely
self-taught; influences include Georgia O’Keefe,
Adolf Sehring and Robert Hopper
Style/Medium: Original Acrylic Works
on Plaster
Studio Location: Washington, D.C.
Years in the business: 7
Represented By: Discovery Galleries
E-Mail: [email protected]
“I hope to be able to explore
unbelievable possibilities with
grand ideas, going to a whole
other level of creating beautiful work that people will enjoy
viewing.”
How has a career in art changed your life?
My life has included plenty of unique ups and
downs, which have made me a stronger woman
and never kept me from being an artist. When
you make a living doing what you always dreamed
of, you feel independent, and as a female, I have
found it very satisfying to have a career as a working artist.
“The content of my art has always had a direct
tie to the environment. My preference has been
to create images that have been distilled from
what I have seen while traveling to sites around
the world.”
▲ “Melody of Autumn,” giclée on
canvas by Goli
◀ “One Summer Day,” acrylic on
canvas by Goli
How has the role of women in the art world
changed in the last five to 10 years?
There are many more women in the art world
today, and they are readily accepted as having valid
artistic talents. In recent years, more emphasis has
been placed on quality and innovation of ideas
rather than the question of whether the image was
created by a man or a woman.
Erica Hopper
Education: University of the Americas; San Diego State
University, Graphic Design, Fine Art
Style/Medium: Figurative and
Abstract Oil on Canvas
Studio Location: Rancho Mirage, Calif.
Publisher: Blazing Editions
Years in the Business: 25
web site: www.blazing.com
▲ “Quality’s Time,” wood sculpture by Nomi Faran
Nomi Faran
Education: Avni Institute, Tel Aviv, Israel
Style/Medium: Bronze, Stone and Wood
Sculptures
Studio Location: Kibbutz Yagur, Israel
Publisher: Not Applicable
Years in the business: 26
Web site: www.nomifaran.com
“I believe in perfection, and it is very difficult.
But there is no other way for me. I work with
stone, wood and bronze and enjoy the hard job.
All I need is good health to be able to go on as
much as can.”
How is femininity expressed in your work?
Almost all of my sculptures are connected with
my life as a woman, mother, wife and grandmother.
Whenever someone visits my gallery, it is clear at
the first minute that most of my sculptures tell the
stories of my life.
▲ From left: “Sun Glow,” original work by Tina Palmer;
“Tranquility,” original work by Tina Palmer
“I favor an entrepreneurial
approach in terms of selecting
more than one theme or subject matter to work with. The
freedom and spontaneity to
choose is part of the incentive.
From this comes the privilege
to travel or simply observe, carrying back an imprint of some particular essence that
applies to my work.”
Describe your unique experience as a woman in the art
world.
Succeeding as a woman in the art world wasn’t unique,
but it was challenging in the sense of determining the best
criteria to journey my work into a sensible arrangement
of galleries and finding a quality publisher. Having had
prior experience in the textile design industry helped me
qualify my menu towards a more determined presentation
and gave me opportunities beyond my studio door. This
took long hours and perseverance.
▲ From left: “Grapes of Prose”
and “T xoxo” by Erica Hopper
No matter what the style, medium or gender of the artist, interpretations of women in art are everywhere.
Shown from left:
“Sense of a Woman” by Anna Razumovskaya, Anna Art Publishing; “Luciana at the Balcony” by Fabian Perez, Robert Bane
Editions; “It’s Not What It Seems To Be III” by Leda Prado, Ward-Nasse Gallery; “Mistress of Ceremony” by Erte, AJ Fine Arts
Shown from left:
“The Allure” by Michael and Inessa Garmash, Collectors Editions; “Halo” by M.L. Snowden, Masterpiece
Publishing; “Joy Series 1” by Edosa Oguigo, Artaissance; “Meditation Study II” by Max Kab, Editions Limited
Access a slideshow of Women in Art imagery with a related podcast online now at www.artbusinessnews.com!
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24
8 Women Artists: 8 Unique Perspectives
Patricia Hansen
Education: Brigham Young University, B.F.A.
Style/Medium: Contemporary Realism in Watercolor
Studio Location: Saratoga Springs, N.Y.
Publisher: Self-Published
Years in the business: 31
Web site: www.patriciahansen.com
“Enticing the viewer into the moment of my vision, I arrange colors,
shapes, patterns and textures that
are rhythmically pleasing to the
eye, and at the same time, I recreate a dreamlike vacillation between
the reality of my subject and my
imagination.”
How have you succeeded as a woman
artist?
I was fortunate to study with notable contemporary watercolor artists such as Millard Sheets, Jade Fon,
Robert E. Wood and Rex Brandt, to
▲ “Tuscan Villa,” giclée on
canvas by Patricia Hansen name a few. I also mentored with
Marie MacDonnell Roberts who
taught me design and structure.
Combining the knowledge they
shared with the development of my
own personal style led me to enter
national art shows. I earned full signature status in the Transparent Watercolor Society of America (TWSA),
the Catherine Lorillard Wolfe Art
▲ “Woman in Floral Hat,” giclée Club, Inc. (CLWAC) and the National
on canvas by Patricia Hansen Watercolor Society (NWS) and received top awards in all three (the
most notable being the “Purchase Award”—the highest
award in the NWS). These accomplishments led to a solo
show in 2002 at the Triton Museum of Art in Santa Clara,
Calif. In 2005 I began making giclées and exhibited them
at Artexpo. To my delight, I found an audience in the
Japanese and Korean markets as well as some independent
galleries in the United States.
Michel Keck
Education: Self-Taught
Style/Medium: Abstract and Mixed Media
Studio Location: Rensselaer, Ind.
Publisher: Keck Fine Art Publishing
Years in the business: 7
Web site: www.michelkeck.com
“The creation process for me is
very automatic and emotionally
charged. Almost every painting
takes me to a point of complete and
utter frustration, but then always
leaves me at a place of pure calm.”
SOURCES
n Abramowitz Fine Arts, Inc.: 732-335-0380;
www.abramowitzfinearts.com
n AJ Fine Arts: 718-531-7830; www.erte.com
n Anna Art Publishing: 416-607-5450; http://anna-art.com
n Art & Design Publishing: 570-476-4407;
http://andreiart.com
n Artaissance: www.artmystyle.com
n Blazing Editions: 401-885-4329; www.blazing.com
n Ceravolo: 631-726-2523; www.ceravoloportraits.com
n Collectors Editions: 800-736-0001;
www.collectorseditions.com
n Crown Thorn Publishing: 619-895-3027;
www.crownthornpublishing.com
n Discovery Galleries: 301-913-9199;
www.discoverygalleries.com
What is your perception of women in the
art industry?
I have to say: I honestly don’t think my perception of female artists
is any different than my
perception of male artists in the art world. My
perception of artists in
▲ “Day of Reckoning,” oil, general—regardless of
pastel, acrylic and graphite on whether they are female
canvas by Michel Keck or male—is that they
are a very strong-willed
bunch. To tell people that
you are an artist when
they ask you what you do
for a living is never easy.
Most don’t understand
it. To make a living as
an artist is an even more
▲ “All or Nothing,” oil, pastel,
difficult task. You have to
acrylic and graphite on canvas by
Michel Keck be tough to make it as an
artist—tough or crazy or
perhaps a little of both. I also perceive true artists to be
those who are following their calling—even when at
times they find life may have been easier had they gotten a “real job.”
n Editions Limited: 510-923-9770; www.editionslimited.com
n Emmanuel Carmi: [email protected]
n Gallery Bestejs: www.bastejs.lv
n Gango Editions: 503-223-9694; www.gangoeditions.com
n Image Conscious: 415-626-1555;
www.imageconscious.com
n Keck Fine Art Publishing: 219-866-7552;
www.michelkeck.com
n Linda Jones Enterprises: 888-660-7792;
www.andreaalvin.com
n Marjorie Tomchuk: 203-972-0137; www.mtomchuk.com
n Masterpiece Publishing: 949-376-2645;
www.masterpiecepublishing.com
n National Museum of Women in the Arts: 202-783-5000;
www.nmwa.org
n New River Fine Art Gallery: 954-524-2100;
www.newriverfineart.com
n Nomi Faran: 972-4-984-8596; www.nomifaran.com
n Patricia Hansen: 518-587-5715; www.patriciahansen.com
n Paul Robinson Fine Art: 770-424-3465;
www.paulrobinsoninc.com
n Progressive Editions: 416-860-0983;
www.progressiveeditions.com
n Robert Bane Editions: 310-205-0555;
www.fabianperez.com
n Saltman Art Associates: 818-989-3320; www.saltmanart.com
n Soho Editions: 914-591-5100; www.sohoeditions.com
n Studio Fine Art: 888-403-2089; www.studiofineart.com
n Tom Binder Fine Arts: 800-332-4278; www.artman.net
n Ward-Nasse Gallery: 212-925-6951; www.wardnasse.org
No matter what the style, medium or gender of the artist, interpretations of women in art are everywhere.
Shown from left:
“Girl on Green Stool” by Thomas Tribby, Artaissance; “From a Rose” by Vladimir Volegov, Soho Editions; “Transition"
by Henry Asencio, Crown Thorn Publishing; Untitled by Shana, Progressive Editions
Access a slideshow of Women in Art imagery with a related podcast online now at www.artbusinessnews.com!