leslierankow

Contemporary and Modern Art Advisory Service

The art of the print with Jeff Bergman, director of Pace Prints

Jeff Bergman
Director
Pace Prints

THE HISTORY OF PRINTMAKING DATES BACK AS EARLY AS THE 15th CENTURY. IN GERMANY, INDIVIDUAL PRINTS OFTEN DEPICTED RELIGIOUS IMAGES AND WERE CARRIED BY CRUSADERS ON PILGRIMAGE. FROM CIRCA 1402 TO 1425, THE FIRST PHASE OF THE WOODCUT DEVELOPED, HAND-COLORED AND INCREASINGLY COMPLEX IN WHICH SINGLE IMAGES ON A BLANK BACKGROUND EXPANDED TO INCLUDE LANDSCAPE AND ARCHITECTURAL ELEMENTS. IN 15th CENTURY ITALY, PARTICULARLY IN THE CULTURED NORTHERN CITIES, SUCH AS FLORENCE AND MILAN, THE RENAISSANCE MOVEMENT STIMULATED ARTISTS’ RECEPTIVITY TO EMBRACE PURELY AESTHETIC AND DECORATIVE CREATIVE PATHS.

TODAY, PRINTMAKERS NOT ONLY CONTINUE TO MAINTAIN THE LEGACY OF TRADITIONAL TECHNIQUES BUT ALSO TO EXPLORE NEW INNOVATIVE PROCESSES AVAILABLE THROUGH MODERN TECHNOLOGY.

PACE PRINTS, LOCATED IN NEW YORK UPTOWN AT 32 EAST 57th STREET OFF MADISON AND IN CHELSEA AT 521 WEST 26th STREET, IS A WORLD-CLASS PUBLISHER AND DEALER FOR MODERN MASTER AND CONTEMPORARY PRINTS THAT IS A WORLD CLASS PRINT PUBLISHER AND GALLERY.

Dick Solomon
Founder, Pace Prints

FOUNDED BY RICHARD SOLOMON, IN 1968, PACE PRINTS IS A EXCEPTIONAL  RESOURCE FOR BOTH CONTEMPORARY AND MASTER PRINTS OFFERING AN EXTENSIVE ROSTER OF INTERNATIONALLY RECOGNIZED ESTABLISHED AND CUTTING-EDGE ARTISTS. PRINT EDITIONS HAS ALWAYS PROVIDED THE ART ADVISOR AND COLLECTOR AN OPPORTUNITY TO ACQUIRE WORKS BY CONTEMPORARY LUMINARIES AS CHUCK CLOSE, SOL LEWITT, ED RUSCHA AND FRANK STELLA WITHIN MORE MODEST BUDGETARY PARAMETERS.

http://paceprints.com/

TODAY, THE LRFA BLOG IS DELIGHTED TO INTRODUCE JEFF BERGMAN,  DIRECTOR OF PACE PRINTS, TO INFORM US ABOUT THIS VITAL AREA OF ART-MAKING.

JEFF, MANY THANKS FOR YOUR CONTRIBUTION. HOW DID YOU FIRST BECOME INTERESTED IN ART?

Well first off, thanks for involving me in your project!

The Aldrich Museum
Ridgefield, Connecticut

I became interested in art as a child.  My grandfather was a graphic artist for a Jewish Department Store in Midtown.  I had been drawn to visual art from an early age but my formative experience with contemporary art was at The Aldrich Museum in Ridgefield, CT.  I was a student docent there in the mid-90’s when Harry Philbrick was running the program.  He went on to run the Aldrich for many years.  He and Nina Carlson trained high school age kids to really discuss the work they saw.  We were grounded in the physical first and then went on to make our own associations.  We were handed research materials like a grown up docent was and were given an education.  I loved being in front of art and having those conversations.  I still do.

Wassily Kandinsky
Illustrative composition in
Point and Line to Plane

WHAT EDUCATIONAL STEPS DID YOU TAKE TO DEVELOP THIS INTEREST?

Beyond the Aldrich, I went to a public HS that had a surprisingly good Art History course.  After HS I went to Hampshire College in Amherst, MA and did a concentration in Art History and Theory, writing my thesis on Wassily Kandinsky’s text Point and Line to Plane.  Hampshire allowed me to craft my own course of study.  I took classes at Smith and Amherst often, utilizing resources at all 5 colleges.

Studying Kandinsky and the Bauhaus in an undergrad program alongside brilliant professors was a true gift.  Sura Levine, a brilliant scholar and a good friend to this day, was my advisor from day 1.  Hampshire had contemporary artists teaching innovative courses and I took a sprawling foundation class with Walid Raad, Jacqueline Hayden and Joan Braverman that introduced me to much of the art theory I would dive into over the next 4 years.  We were told to buy the recently deceased John Berger’s slim treatise Ways of Seeing that first day of class.

FEATURED PRINT
Kate Shepherd
Teddy 2016
Monoprint
40 1/4 x 60 1/2 inches
Unique
Published by Pace Editions, Inc.

Later I took courses with Barbara Kellum at Smith and Christoph Cox at Hampshire that allowed me to think more critically about the theory and critique of visual art.  Ultimately I was happy to ground my studies in Kandinsky’s concrete notions at the birth of abstraction.

Sol LeWitt: Prints
Installation view
September – October 2016
Pace Prints

HAD YOU ALWAYS BEEN INTERESTED IN PRINTMAKING OR WERE YOU INITIALLY DRAWN TO PAINTINGS AND SCULPTURE?  WHAT ARTISTS FIRST RESONATED WITH YOU AND HOW DO YOU EVALUATE THEM TODAY?

Printmaking was something I came to during college as I looked at the work of Bauhaus artists, and generally at the work of early 20th century art in Europe.  Initially the work that really excited me was Kandinsky’s which was always on view at the Guggenheim and MoMA and then Sol LeWitt at the Aldrich and Mark Rothko at the Tate (now Tate Britain).

My good friend Katie Commodore who is an artist and printmaker was always kind enough to let me see what she was working on at RISD so I got a sense of contemporary printmaking that way.

FEATURED PRINT
Robert Rauschenberg
Cock Sure 1993
Color silkscreen, hot wax, silver pigment dust and acrylic
Edition of 17

IN THE NEXT LRFA POST, JEFF WILL INFORM US OF HIS PROFESSIONAL HISTORY AS CURATOR, SCHOLAR AND DEALER IN PRINTS.

PLEASE TAKE ADVANTAGE OF HIS EXPERTISE AND DEDICATION TO THIS FIELD, AND ASK THIS GENEROUS GUY ANY QUESTIONS YOU MAY HAVE.

THANK YOU!

 

When at Documenta, enjoy Dusseldorf with Turon Travel expert, Nicholas Christopher

 

MARTA MINUJIN
The Parthenon of Books
2017
Documenta 14

IN HIS ENGAGING BOOK, HIT MAKERS: THE SCIENCE OF POPULARITY IN AN AGE OF DISTRACTION, Atlantic SENIOR EDITOR, DEREK THOMPSON, EXPLORES THE ECONOMICS OF THE CULTURAL MARKETS THAT INVISIBLY SHAPE OUR LIVES. ALONG WITH OTHER INFLUENCES, THE MAKING OF A BLOCKBUSTER, BE IT A BUSINESS, A VISUAL ARTIST, OR A POP STAR, IS NOT REALLY ABOUT QUALITY, BUT ABOUT EXPOSURE AND AUDIENCE.

THIS SUMMER, SEVERAL EUROPEAN VENUES COALESCE TO PROVIDE THE COLLECTOR, CURATOR AND ART ENTHUSIAST ENORMOUS EXPOSURE TO A WIDE RANGE OF ARTISTS, GALLERIES, AND CURATORIAL PLATFORMS: ART BASEL, THE VENICE BIENNALE, AND DOCUMENTA 14.

TO ENRICH YOUR EXPERIENCE AT DOCUMENTA 14 OR, AT THE LEAST, HAVE A TRULY INFORMED ARM CHAIR VISIT, CHECK OUT THIS EXCELLENT INTERVIEW IN FLASH ART WITH DOCUMENTA CURATORS, MONIKA SZEWCZYK AND HENRIK FOLKERTS ON THE THEMES OF THE EXHIBITION AND THE CHALLENGES OF PRESENTING A SHOW IN BOTH ATHENS, GREECE AND KASSEL, GERMANY.

http://www.flashartonline.com/2017/06/monika-szewczyk-and-hendrik-folkerts-on-documenta-14-kassel/

Dusseldorf skyline

TODAY, THE LRFA BLOG IS DELIGHTED TO ENLIST THE EXPERTISE OF NICHOLAS CHRISTOPHER, FOUNDER OF TURON TRAVEL, THE TRAVEL AGENCY FOR THE ART WORLD, TO ENHANCE OUR JOURNEY. NICHOLAS, LEAD THE WAY!

https://www.turontravel.com

Frank Gehry
Dusseldorf

Dusseldorf is a quick train ride from Kassel, the site of Documenta 14, and well worth a visit while you’re there. 

Dusseldorf, the capital of North Rhine-Westphalia, is a thriving international metropolis. Although the city was largely destroyed in WWII, those interested in modern architecture will have a great deal to see. The promenade on the bank of the Rhine is one of the most beautiful in Germany and the harbor hosts some spectacular post-modern  architecture, the centerpiece being Frank Gehry’s Spiral Constructions. 

The Dusseldorf Academy, founded in 1762 as a school of drawing, is internationally renowned for its graduates, such artists as Sigmar Polke, Anselm Kiefer and Joseph Beuys. The School of Photography is equally notable for the teachers, Bernd and Hilla Becher, and their students that include Andreas Gursky, Candida Hofer, Thomas Ruff and Thomas Struth. 

 

Erika Hock
Second Home
Sammlung Philara
April 28 – July 25, 2017

Sammlung Philara 

A former factory curated by art collector Gil Bronner,  the Philara combines a permanent exhibition of Bronner’s personal collection along with 4 temporary exhibitions featuring the works of both established and new artists working in almost every format.  This combination allows the participant to enjoy a cornucopia of experiences.  The collection also offers numerous interdisciplinary events with concerts, readings and lectures planned throughout the year.

NRW- Forum Dusseldorf

Considered more of a cultural center than a museum, the NRW-Forum attempts to blur the line between art and culture. Divided into 3 different exhibitions, the Forum allows you to explore multiple mediums and collections ranging from photography featuring Ralf Brueck, a graduate of the renowned Dusseldorf School of Photography (with the collection exploring digital image manipulation) to a mixed media collection from Olaf Breuning. Futurists will love Planet B, an installation focusing on relocation and establishment on a new planet.

Setareh Gallery
Dusseldorf

Setareh Gallery on Konigsallee

A contemporary art collection in Dusseldorf, the Setarah (which translates to “star” in Farsi) Gallery is the place to go to see some of the best curated exhibitions. The current show, “The shadow does not avoid the sun” includes works by such marvelous German artists as Per Kirkeby, Markus Lupertz and Wolfgang Betke.

RESTAURANTS

Great food and drink are always a mainstay for the Germans and the lucky visitors who need to rest and dine during their busy art viewing.  Here are a few of the many delicious restaurants in Dusseldorf.  None of them will fracture your wallet, but they all will leave you satisfied.

Sansibar Restaurant

Sansibar

– View of the Rhine

Boasting exquisite panoramic views over the Rhine River from its perch on Media Harbor,  Sandbar is a high-class lounge-come-bar that offers a multitude of international dishes. From juicy steaks to sushi, oysters, fresh fish and the traditional German curry-wurst, this joint by Breuninger is a smorgasbord of flavors. What’s more, great wines abound, with more than 350 types on offer from the cellar. Located on the first floor of the Breuninger Center, Sansibar is a delight for all palates.

Victorian Restaurant

Victorian Restaurant

– Award winning gourmet dining

Victorian is a multiple award-winning restaurant that’s hailed for its gourmet dishes, cooking methods and innovative combinations that change daily. Expect a menu that ranges from fresh fish in the main to delicious starters, such as radish, cucumber and mustard that manage to challenge tasters’ perceptions. The restaurant has a major focus on lunch, but also has delightful dinner options and an impressive collection of wines from all over the world.

Dorfstube

An Old Fashioned German Tavern( A common German name for German taverns or pubs is Kneipe)

Uber-traditional Dorfstube is a complete timber restaurant with a nostalgic hint of the old-fashioned German village tavern. The restaurant is quirky with curious pieces of décor, like the grand old Alkoda stove, accompanied by home-made wood grinders, cook-clocks and lines of classic tea cups with reindeer prints, specifically designed in line with the original Black Forest kitchen. But Dorfstube offers far more than just traditional design, it also impresses with extravagant dishes, such as warm oxtail pralines and coq-au-vin from local farmers, followed up by a crispy rhubarb crumble.

Uerige Brewery

Uerige

Why not stop at a brewery?

Breweries are typical places for Germans to meet and chat after a hard day at work, but characterful Uerige is not only a local meeting places but also home to some of the best regional German beer in the country. With a friendly and cozy atmosphere spread across six major rooms, patrons have plenty of space to celebrate German cuisine, beer or just being in Düsseldorf. On the menu, distinctive types of sausages, soups, tartare, and red beet carpaccio with goats’ cheese rub shoulders, while for dessert try the super-light and creamy panna cotta.

THE LRFA BLOG IS DELIGHTED TO NEXT WELCOME JEFF BERGMAN, THE DIRECTOR OF PACE PRINTS. PACE ENJOYS A WELL-DESERVED REPUTATION FOR OUTSTANDING PUBLICATIONS OF CONTEMPORARY EDITIONS. FOUNDED BY DICK SOLOMON IN 1968, PACE OFFERS ARTISTS A COLLABORATIVE ENVIRONMENT AND INNOVATIVE PRINTMAKING TECHNIQUES.

UNTIL THEN!

Pack your bags! Join travel expert, Turon’s Nicholas Christopher, at Documenta 14

DOCUMENTA 14
Opening June 10th in Kassel, Germany

DOCUMENTA, HELD EVERY FIVE YEARS IN KASSEL, GERMANY, ITS TRADITIONAL HOME, REPRESENTS ONE OF THE MOST IMPORTANT ART EXHIBITS IN THE WORLD FOR CONTEMPORARY ART AND IDEAS.  FOR THE FIRST TIME SINCE ITS INCEPTION IN 1955,  DOCUMENTA HAS TWO VENUES, THE FIRST IN ATHENS, GREECE THAT OPENED ON APRIL 18th AND THE SECOND IN KASSEL OPENING ON JUNE 10th.

HEADED BY ADAM SZYMCZYK, FORMER DIRECTOR AND CHIEF CURATOR AT THE KUNSTHALLE BASEL FROM 2003 UNTIL 2014, THIS CELEBRATED POLISH ART CRITIC AND CURATOR IS KNOWN FOR INTRODUCING RELATIVELY UNKNOWN ARTISTS INTO THE PUBLIC SECTOR. IN DOCUMENTA 14, ENTITLED “LEARNING FROM ATHENS”, HIS CURATORIAL INTENT IS TO EXPLORE BOTH CONTEMPORARY AND HISTORICAL INTERPRETATIONS OF THE SOCIO-POLITICAL THEMES THAT SHAPED EUROPE THEN AND NOW: IMMIGRATION, THE FINANCIAL CRISIS, CENSORSHIP AND DISPLACEMENT. ARTISTS HAVE CREATED WORK FOR BOTH LOCATIONS AND THE CUSTOMARY 100 DAY FESTIVAL HAS BEEN EXTENDED TO SPAN 100 DAYS IN EACH OF THE TWO CITIES.

Documenta 14
April 8 – July 16, 2017
Athens, Greece

THE LRFA BLOG IS VERY PLEASED TO WELCOME BACK OUR TRAVEL EXPERT, NICHOLAS CHRISTOPHER, TO SHARE THE HISTORY OF DOCUMENTA AND HIGHLIGHTS OF KASSEL AND ITS ENVIRONS WITH US. FOUNDED BY NICHOLAS, THIS YEAR TURON TRAVEL CELEBRATES ITS 38th ANNIVERSARY! TURON WORKS WITH  A GROWING NUMBER OF INTERNATIONAL ART FAIRS, ART AND ANTIQUE FAIRS AND SPECIAL ART EVENTS TO CREATE A SEAMLESS PROCESS THAT BENEFITS THE EVENT PATRONS, THE EXHIBITORS AND THE VENUE.

https://www.turontravel.com

WELCOME BACK, NICHOLAS.

Documenta takes place every 5 years in Kassel, Germany.  For the 2017 edition, the theme has been expanded and it started in Athens, Greece, this April, moving on to Kassel June 10th.  Calling itself the ‘museum of 100 days’, Documenta goes beyond a forum for contemporary art’s current trends displaying new innovative exhibition concepts. 

Adam Szymczyk
Artistic Director
Documenta 14

Documenta Athens, curated by Adam Szymczyk, drew criticism from the local arts community for ‘Cultural Imperialism’ with Germany being a European economic power house as opposed to Greece which is still undergoing drastic austerity programs.  Mr. Szymczyk feels that by presenting work in Greece, Documenta can exert influence in the arena of the European Union. “A cultural enterprise of this magnitude has power to influence politics,”  he says. The Athens event ends July 10th.

Dating back to the 10th century, in the 1800s, Kassel was the capital of the Brothers Grimm Fairy Tale Route.  Totally rebuilt after World War II, it still has a few examples of its earlier historical sites, the 18th century Wilhelmshohe Castle being one of its more prominent landmarks.

Wilhelmshohe Castle
Kassel

Founded by Arnold Bode, a German architect, painter and designer, Documenta is an exhibition which displays modern and contemporary art. From its first edition in 1955, Documenta was able to establish itself as a key international rendezvous for avant-garde work. Taking place every five years, Documenta 13 was the latest exhibition and was held in 2012.  Arnold Bode’s focus wanted to introduce art that was banned during the Nazi era, essentially bringing Germans up to speed with expressionism, fauvism, cubism, Blauer Reiter, Pittura Metafisica and Futurism, all of which was considered degenerate by the Regime.

Arnold Bode
1900-1977

The 1st edition focused on abstract art and featured the work of Kandinsky and Picasso.  130,000 people visited the exhibitions, thus establishing the show’s international credentials. Documenta features a variety of artistic mediums including, but not limited to, sculpture, performance, research, painting, film, photography and installation, as well as text-based and audio works. Moreover, it provides a platform for artists who want to experiment with new practices in the fields of literature, science, ecology, aesthetics, politics and – naturally – art.

 

 

Marta Minujin
The Parthenon of Books
Documenta 14 Kassel

Kassel opens to the public on June 10th and anticipates a steady stream of art enthusiasts visiting through September 17th. Most of the 160 artists that are participating will be showing in both cities and it will be interesting to see if their projects hold different gravitas within these two settings.
IN THE NEXT LRFA POST, NICHOLAS TAKES US ON A TOUR OF SOME OUTSTANDING MUSEUMS AND RECOMMENDS SOME DELICIOUS GERMAN CUISINE TO FUEL US ON OUR WAY.

PLEASE JOIN US!

The art market, present and future, with international dealer, Christophe Van de Weghe

Van de Weghe Fine Art
ART BASEL 2015

MORE THAN NINETY ART FAIRS THROUGHOUT THE WORLD NOW DEFINE THE RHYTHM OF THE GLOBAL ART BUSINESS. IN A PANEL DISCUSSION ON THE RISE OF ART FAIRS ORGANIZED BY STROPHEUS LLC,  A NEW YORK BASED COLLECTIVE OF ART LAW AND BUSINESS PROFESSIONALS, MODERATOR JUDITH PROWDER, A MEMBER OF THE NEW YORK BAR ASSOCIATION AND FACULTY AT SOTHEBY’S INSTITUTE OF ART, CONCLUDES:

There are dozens of NYC art fairs. With the rise and rise of art fairs, sheer survival in the commercial art context now requires galleries to participate in a half a dozen or more art fairs a year – from New York to Maastricht to Dubai to Hong Kong to São Paolo – with stops along the way. Some dealers make as much as two-thirds of their sale at fairs. Art fairs have indeed transformed the business of art and even the production of contemporary art. For serious collectors the international art fair circuit is an imperative, while visiting only a few of galleries in NY, London and Berlin seems – well – almost quaint.

https://stropheus.com/

Van de Weghe Fine Art
ART BASEL HONOG KONG 2017

TODAY, THE LRFA BLOG IS VERY PLEASED TO RESUME ITS CONVERSATION WITH CHRISTOPHE VAN DE WEGHE, FOUNDER AND PRINCIPLE OF VAN DE WEGHE FINE ARTS, LOCATED AT 1018 MADISON AVENUE, NEW YORK.

http://www.vdwny.com

 

Van de Weghe Fine Art
FRIEZE MASTERS 2015

CHRISTOPHE,  FAIRS HAVE GAINED CRITICAL AND COMMERCIAL DOMINANCE IN THE ART MARKET – A CONCENTRATED AND INTENSE PLAYING FIELD OF CURATORS, COLLECTORS, AND DEALERS. I KNOW YOU PARTICIPATE AT ART BASEL MIAMI, ART BASEL, FRIEZE MASTERS, AND MAASTRICHT. CLEARLY, YOU BELIEVE, AS I DO, THAT THE FAIR HAS BECOME AN INTEGRAL ELEMENT IN THE ART BUSINESS.

Fairs are a very important part of our operation. We present annually at TEFAF Maastricht, Art Basel Hong Kong, Art Basel, FIAC Paris, Frieze Masters London and Art Basel Miami Beach. We have participated in ADAA’s Art Show at the Park Avenue Armory, The Pavilion of Art and Design London, EXPO Chicago, Arte Fiera Bologna, the Palm Beach Art Fair, ARCO Madrid and ART Hong Kong.

This year we also participated in TEFAF New York Spring, sponsored by TEFAF Maastricht, held for the first time at the Park Avenue Armory from May 4-8th. I am very excited about this fair and its strong future.

Van de Weghe Fine Art
TEFAF NYC SPRING 2017

WHAT DO YOU SEE AS THE TRAJECTORY OF COLLECTING IN THE TIME AHEAD?

The architects of today are building modern, contemporary spaces. In 2016 alone, in New York, 6400 apartments were new construction, characterized by high ceilings and large-scaled rooms.  The scale and delicacy of Impressionist works cannot survive in these spaces and the best of these works are all in museums.

The contemporary collector, the younger generation of hedge fund guys and tech wizards, all want young artists and they all want the same ones. Basquiat only made 900 paintings and 3400 drawings in his lifetime.

The problem with dealing with living artists is that they are commanding too much money. I don’t agree with the amounts that collectors are paying because I am not convinced these works will hold value.  There has been a huge correction in the photography market. Cindy Sherman will survive but a lot of them will not.

WHAT IS YOUR ADVICE TO SOMEONE INTEREST IN ART AND IN BUILDING A COLLECTION?

 My advice is to development a good relationship with 2 or 3 galleries where you respect their program.

HOW WOULD YOU CHARACTERIZE A GOOD DEALER OR GALLERIST?

 

Beyeler Foundation
Basel, Switzerland

I once asked Ernst Beyeler, “In your opinion what does it take to be a good dealer?

He replied, “Honesty, courage, passion and hard work.”

LRFA ASIDE:  ALL OF WHICH CHRISTOPHE POSSESSES IN SPADES!

Ernst Beyeler (1921–2010) was a titan of the international art scene in the twentieth century. Born in Basel, Switzerland, he began his career as an apprentice in an antiquarian bookstore, eventually taking over the business and shifting his focus from books to dealing and collecting art. Through his discerning eye for art, his close relationships with many of the twentieth century’s great artists, and his role in the foundation of Art Basel and the Fondation Beyeler, he transformed his hometown into a hub for international art.

Van de Weghe Fine Art
Henrique Oliveira Installation
April 28 – June 30, 2017

 

TO COMMEMORATE ITS 10th ANNIVERSARY, IN 2014 VAN DE WEGHE FINE ART PUBLISHED A BEAUTIFULLY DOCUMENTED AND ILLUSTRATED CATALOGUE OF GALLERY EXHIBITION HIGHLIGHTS.  FOR FURTHER INFORMATION, CONTACT THE GALLERY AT info@vdwny.com.

VAN DE WEGHE NEW YORK
Published in 2014 to document the gallery’s 10th anniversary

 

CHRISTOPHE, WHAT IS THE CURRENT EXHIBIT AT VAN DE WEGHE FINE ART?

Although the gallery usually presents works from the secondary market, I am very excited to present the work of a young Brazilian artist, Henrique Oliveira. In 2013 I saw his installation at the Palais de Tokyo in Paris where he created a spectacular Gordian Knot of wood and sculptural vegetation that interacted with the architecture of the space.

It is quite exciting to see the way in which Henrique has  transformed the gallery into a site-specific installation, a fusion of urban design, sculptural elements and plant life. The installation was labor-intensive and we documented its progress throughout. 

AND WHAT ARE YOUR PLANS FOR THE FUTURE OF VAN DE WEGHE FINE ART?

I love what I do. My greatest wish is to have all my kids work with me.

AND I’M CERTAIN THEY WILL.

CHRISTOPHE, SO MANY THANKS.

 

PACK YOUR BAGS! OUR TRAVEL MAVEN AND EXPERT, NICHOLAS CHRISTOPHER OF TURON TRAVEL, WILL TAKE US TO DOCUMENTA 14 OPENING ON JUNE 10th IN KASSEL, GERMANY. FOR THE FIRST TIME,  ATHENS, GREECE ACTED AS CO-HOST OF THIS EXTRAORDINARY EXHIBITION, TITLED “LEARNING FROM ATHENS”, THAT TAKES PLACE EVERY FIVE YEARS.

PLEASE JOIN US!

 

Van de Weghe Fine Art, a stellar exhibition history from Magritte to Carl Andre

Van de Weghe Fine Art
1018 Madison Avenue
New York City

CENTRAL PARK IS A SINGULAR DESTINATION IN NEW YORK. WHILE UPTOWN NO LONGER HAS A MONOPOLY ON UPSCALE LIVING, IT DISTINGUISHES ITSELF AS A HEARTLAND FOR EXCELLENT SCHOOLS, CLASSIC RESIDENCES, GREAT DINING AND THE LEGENDARY MUSEUM MILE THAT INCLUDES THE METROPOLITAN, MET BREUER AND THE GUGGENHEIM. IN THE LATE 19th CENTURY, NEW YORK’S ROBBER BARONS BEGAN BUILDING ALONG THAT STRETCH OF FIFTH AVENUE, PRIVATE RESIDENCES THEN, MUSEUMS NOW SUCH AS HENRY CLAY FRICK’S MANSION ON 70th AND FIFTH AVENUE AND THE NEUE GALLERY NEW YORK ON 86th STREET OFF FIFTH. BUILT BY INDUSTRIALIST WILLIAM STARR MILLER’S AND LATER OCCUPIED BY MRS. CORNELIUS VANDERBILT III, THE NEUE GALERIE WAS RESTORED TO ITS ORIGINAL CONDITION BY THE BRILLIANT ARCHITECT ANNABELLE SELLDORF WITH SUBTLE ADDITIONS OF ALL THE MODERN STANDARDS REQUIRED BY TODAY’S MUSEUMS.

Van de Weghe Fine Art

IN 2008, VAN DE WEGHE FINE ART RETURNED TO THE UPPER EAST SIDE TO OPEN A SECOND GALLERY AT 1018 MADISON AVENUE BETWEEN 78TH AND 79TH STREET, ULTIMATELY CONSOLIDATING TO THIS SINGLE NEW YORK VENUE. SINCE ITS INCEPTION IN 1999, THE GALLERY HAS PRESENTED SECONDARY MARKET MODERN, POST-WAR AND CONTEMPORARY EUROPEAN AND AMERICAN MASTERS. THE GALLERY HAS A LOYAL AND HARD-WORKING TEAM THAT  ALLOWS CHRISTOPHE TO TRAVEL WORLDWIDE TO VISIT COLLECTORS AND TO PARTICIPATE IN THE ART FAIRS THAT TAKE PLACE AROUND THE WORLD.

http://www.vdwny.com/

VAN DE WEGHE FINE ART,  1018 MADISON, IS HOUSED IN A LANDMARK ART BUILDING LOCATED BETWEEN 78th and 79th STREET NOTED FOR ITS BLACK AND WHITE TERRAZZO SIDEWALK CREATED BY ALEXANDER CALDER IN 1970.

The sidewalk was completed in 1970 and professionally restored in 2002 at a cost of $100,000 by the building owners from 1014-1018 Madison with the support of the Calder Foundation and NYC Landmarks Commission. Calder stayed at the 1016 townhouse with Klaus and his wife (who were dealers of modern works) frequently during the height of his career, and the mark he left is not only on the sidewalk in front.

Alexander Calder
Terrazzo Sildewalk
1018 Madison Avenue

CHRISTOPHE, WHAT PROMPTED YOUR RETURN TO THE  UPPER EAST SIDE?

I was the first gallery in Chelsea to show secondary market works in an exposed public space, giving the public, dealers and collectors access to my material. Most collectors of secondary market works tend to congregate uptown and stay in hotels or have homes on the Upper East Side. I had always loved the 1018 building and when Per Skarstedt’s space became available, I was excited to be in a space of his again.

RENÉ MAGRITTE
Van de Weghe Fine Art
November 2 – 22, 2006
Installation view

WHAT ARE SOME OF THE EXHIBITIONS AT 1018 MADISON THAT STAND OUT AND WHY? YOUR EXHIBITION HISTORY COVERS SUCH A WIDE SPECTRUM OF ARTISTS AND SIGNIFICANT MODERN MOVEMENTS. WHAT IS THE THINKING BEHIND YOUR CURATORIAL PROGRAM?

My thinking has always been very consistent. If I like a work as a collector and would want it in my home, then I will buy it.

Our 2016 exhibition of works by Rene Magritte has a special resonance for me. I feel close to him as he is a Belgian artist and my favorite surrealist and there is my family connection with the Magritte Room at the Grand Casino in Knokke.

Rene Magritte
Memory
1948

Our exhibit concentrated on the paintings, gouaches and drawings Magritte made in the 1940s and 50s. Magritte had developed a rich vocabulary of images of everyday objects and, unlike many surrealists,  utilized the techniques and materials we associate with academic representation.  While other surrealist painters tend towards a biomorphic abstract style, I am drawn to the simplicity and directness of Magritte’s images that also offer a wealth of meanings, symbols and poetic metaphor. 

DUANE HANSON
Queenie II, 1988
Bronze, polychromed in oil, mixed media with accessories
Lifesize

THE GALLERY HAS PRESENTED SEVERAL EXHIBITIONS OF THE WORK OF DUANE HANSON.

Yes, the gallery has worked with the estate of Duane Hanson for many years. I view him as one of the most important and influential American sculptors of our time. Hanson’s hyper-realists figurative works of the 1960s represent a radical return to figuration following a long period of abstraction in American art. His work was somewhat radical for its time. He studied at Cranbrook at a time when abstract art reigned, yet he embraced the figure and was a spokesman for the socio-political conscience of his time.

The works are cast from life, family, friends and neighbors often dressed in second-hand clothing. Life-size and lifelike, made of cast fiberglass and polyester resin, the figures are so faithful to reality that they often fool the public into believing they are real. In our 2013 Hanson exhibit, we concentrated on sculptures of ordinary people in everyday situations. Traveller, a bronze completed in 1987, presents a tourist who has taken a respite from his journey taking an improvised nap atop his baggage. In Bus Stop Lady, a polyvinyl work from 1983, a middle-aged woman waits for a ride with her shopping bags.  Both these subjects reflect a momentary pause en route to an unknown destination.

DUANE HANSON’S CHINESE STUDENT, 1989
REMEMBERING TIANANMEN SQUARE
JULY 6 – 31, 2014

In 2014, we installed Hanson’s Chinese Student, 1989: Remembering Tiananmen Square, to commemorate the 25th anniversary of the protests. In the late 1960s Hanson began to address social and political subjects in his brutally realist manner. In Chinese Student, Hanson marries the political with the personal. An ordinary student turned political activist sits on the ground holding a protest sign, human in his vulnerability yet symbolic of the political violence.

Andre/Judd
Van de Weghe Fine Art
May – June 2014

THE RANGE OF EXHIBITIONS IS SO BROAD WITH THE SINGULAR CRITERIA OF QUALITY AND ART HISTORICAL SIGNIFICANCE AS THE COHESIVE THREAD. YOU OFTEN EXHIBIT WORKS BY THE MINIMALIST WORKS, A PERIOD I PARTICULARLY APPRECIATE. WHAT ARE SOME OF THE EXHIBITIONS THAT DOCUMENT THIS MOVEMENT?

IN 2014, we juxtaposed the works of Carl Andre with those of Donald Judd. Both artists are key figures in Minimalism, using industrial and simple materials and repetitive forms to explore our sense of time and space. Both Andre and Judd are emphatically non-representational artists, creating seemingly simple works that demand close attention. 

Andre is best known for his floor installations, consisting of tile-like metal forms, and I was very pleased to be able to offer two strikingly different examples of these. 81 Ace Zinc Square, 2007 is a sprawling plane of 81 zinc plates arranged in a square with a mottled metallic surface. It occupied most of the floor in the main gallery while 6 Glarus Copper Integer, 2002 is a small arrangement in brilliant copper. 

Donald Judd

Judd, an art writer and theoretician as well as an artist, created simple, elegant forms from industrial materials: metals, plywood, concrete and Plexi. We were able to present a group of works that represent the series for which he is best known. Untitled, 1995, a “Swiss Box” aluminum enameled in reds and blues showcases Judd’s sense as a colorist while Untitled, 1969-1970, a bull-nosed “Progression” in shining brass, is emblematic of Judd’s elegant simplicity of form and material.

THE ART FAIR HAS DEVELOPED AN INTEGRAL PRESENCE IN THE ART MARKET, OFFERING A LEVEL OF CONCENTRATED SALES AND EXPOSURE TO COLLECTORS WORLDWIDE. MANY COLLECTORS PREFER ATTENDING FAIRS AS THEY PROVIDE A WIDE SPECTRUM OF ART IN A CONCENTRATED VENUE.

Van de Weghe Fine Art
TEFAF NYC SPRING 2017

VAN DE WEGHE FINE ART IS  A STELLAR PARTICIPANT IN THE BEST INTERNATIONAL FAIRS, CAREFULLY CURATING EACH BOOTH WITH WORKS BY ESTABLISHED MODERN AND CONTEMPORARY MASTERS. IN OUR NEXT LRFA BLOG POST, CHRISTOPHE WILL SHARE HIS THINKING ON THIS SIGNIFICANT ASPECT OF THE ART BUSINESS.

YOUR COMMENTS AND READERSHIP ARE VERY MUCH APPRECIATED!

 

 

A focus on quality: Van de Weghe Fine Art’s exhibition history

ALEXANDER CALDER
Three Segments, 1973
Hanging Mobile
VAN DE WEGHE FINE ART
November 2001 – January 2002

THE ART MARKET EMBRACES MANY WAYS OF DOING BUSINESS. PRIVATE DEALERS AND GALLERIES OFTEN CONCENTRATE ON A PARTICULAR MEDIUM, SUCH AS PRINTS OR PHOTOGRAPHY, A SPECIFIC PERIOD RANGING FROM OLD MASTERS TO CUTTING-EDGE CONTEMPORARY ART, OR A DISTINCT GENRE SUCH AS REPRESENTATIONAL OR ABSTRACT. AN ESSENTIAL DECISION FOR A GALLERIST OR DEALER IS WHETHER TO REPRESENT WORKS FROM THE PRIMARY OR SECONDARY MARKET AS A DIFFERENT SET OF CONSIDERATIONS FACTOR INTO THAT DEFINING CHOICE.

 

FRANK STELLA
Catal Hüyük (level VII) Shrine VII .45, 2000.
Aluminum and stainless steel
12’8″ x 14’4″ x 11’2″ (3.86 x 4.37 x 3.4 m)
VAN DE WEGHE FINE ART
November 2001 – January 2002

THE FIRST SALE OF A WORK OF ART EITHER FROM AN ARTIST’S STUDIO OR FROM A GALLERY DEFINES THE TERM “PRIMARY MARKET”. THE “SECONDARY MARKET” REPRESENTS WORKS THAT HAVE ALREADY BEEN SOLD AT LEAST ONCE AND FIND THEIR WAY BACK ONTO THE MARKET. THERE ARE MANY REASONS COLLECTORS CHOOSE TO DEACCESSION A WORK APART FROM THE OBVIOUS LIQUIDATION OF AN ASSET, AMONG THEM THE OPPORTUNITY TO UPGRADE TO A MORE SIGNIFICANT WORK BY THAT ARTIST, TO PROFIT FROM A SIGNIFICANT SURGE IN THE VALUE OF THE WORK SINCE ITS INITIAL PURCHASE OR TO DIVERSIFY THE HOLDINGS IN THEIR COLLECTION.  SOME GALLERIES DEPEND ON SECONDARY MARKET SALES OF ESTABLISHED ARTISTS OR ARTISTS’ ESTATES TO SUPPORT EXHIBITIONS OF WORKS BY THE EMERGING OR CUTTING-EDGE ARTISTS THEY REPRESENT.

THE ULTIMATE CRITERIA FOR WORKS IN THE SECONDARY MARKET IS QUALITY : THE SIGNIFICANCE OF THE WORK IN THE CONTEXT OF THE ARTIST’S OEUVRE, PROVENANCE, ITS EXHIBITION HISTORY, CONDITION, AND RARITY IN THE MARKET.

AS A DEALER AND GALLERIST, SINCE ITS OPENING IN 2000, VAN DE WEGHE FINE ART HAS FOCUSED ON SECONDARY MARKET WORKS OF ART, SETTING THE HIGHEST STANDARD OF WORKS OF IMPECCABLE QUALITY BY ESTABLISHED MODERN AND CONTEMPORARY MASTERS IN THE CONTEXT OF EXHIBITIONS THAT DEEPEN OUR UNDERSTANDING OF THESE ARTISTS.

THE LRFA BLOG IS VERY PLEASED TO WELCOME CHRISTOPHE VAN DE WEGHE BACK.

CHRISTOPHE, IN 2001 YOU OPENED A BEAUTIFUL, EXTENSIVE SPACE ON 23rd STREET IN CHELSEA WITH AN INAUGURAL EXHIBITION OF MONUMENTAL SCULPTURE BY FRANK STELLA, RICHARD SERRA AND ALEXANDER CALDER.

RICHARD SERRA
Kamakura Keystone, 1987
3 Hot-Rolled Steel Plates
VAN DE WEGHE FINE ART
November 2001 – January 2002

HOW DID THE MOVE FROM YOUR FIRST GALLERY ON EAST 76th  TO MUCH LARGER QUARTERS AFFECT YOUR EXHIBITION PROGRAM?

I decided to buy the space in Chelsea, and closed on September 13, 2001. I was crazy to do it then but I made the deal with the broker, Howard Reed, shook his hand, and did it! 

I have kept my concentration on the secondary market, specializing in work by modern, post-war and contemporary European and American artists. The gallery offers historically focused exhibitions, all accompanied by publications, that impact art historically as well as on the secondary market. It is my intent to promote works of quality, offer scholarship and value to our collectors.

http://www.vdwny.com

RICHARD SERRA
Where I’ve Always Come From, 1969/1981
VAN DE WEGHE FINE ART
February – May 2002

WHAT WERE SOME OF THE EXHIBITIONS IN THE 23rd STREET GALLERY THAT RESONATE THE MOST STRONGLY WITH YOU?

In February 2002, the gallery presented Richard Serra’s Prop sculptures. The exhibition was the first to focus on this dimension of his work, one of the most important series in his oeuvre. These sculptures are formed as metal plates, bars and falls of lead or steel. As a young man, Serra first encountered the material, lead antimony, used in commercial sheet metal, pipes and castings when working as a young man at steel mills and shipyards  to help send himself to school.

I wanted to deal with the volume, weight, mass, and directionality of the space … to make the volume of the space tangible, so that it is understood immediately, physically, by your body; not so that the sculpture is a body in relation to your body, but that the volume, through the placement of the sculptural elements, becomes manifest in a way that you experience it as a whole.–Richard Serra, 1992, Art of Our Time: 1950 to the Present, Walker Art Center. 

The exhibition was an incredible monumentally scaled installation involving a whole crew and engineering specialists. Our gallery walls needed to be reinforced to sustain the weight of the sculpture.

BRUCE NAUMAN
Neons, Sculptures, Drawings
Van de Weghe Fine Art
October 17 – December 14, 2002
Installation view

Another exhibit I was very pleased to organize was a historical exhibition of the works of Bruce Nauman. Nauman’s contribution to the aesthetic practice at the turn of the 21st Century has been nothing short of astounding. He has really been a sort of father figure for contemporary artists in the same way that Picasso was for his generation. He was a pioneer of new media such as video in the 60s and installation in the 70s and the exhibit included a wax version of Nauman’s iconic Henry Moore Bound to Fall, two early resin and fiberglass works from 1965 and a wonderful array of over twenty works on paper including a seminal group of drawings from the 60s based on the artist’s body as well as large-scale works that relate to his neons and sculptures.

 

ANDY WARHOL
Self-Portraits 1963-1986
Van de Weghe Fine Art
Installation view

An exhibition of which I am particularly proud is Warhol Self-Portraits: 1963 – 1986, that we held in April/May 2005. It was the first New York show devoted to Warhol’s images of himself and included  more than thirty-five paintings, with examples of almost all of the self-portrait images that Warhol made throughout his career.

I very much liked how many different variations exist. We would not be able to put together this exhibition today as the insurance would be prohibitive and I’m happy to have been able to do it when I did.

ANDY WARHOL
Self-Portraits 1963-1986, Van de Weghe Fine Art
April 20 – May 27, 2005

IN OUR NEXT POST, CHRISTOPHE WILL CONTINUE TO TRACK THE HISTORY OF GALLERY EXHIBITIONS.

CHRISTOPHE HAS A PARTICULARLY ASTUTE KNOWLEDGE OF  MASTER ARTISTS AND THE MARKET. DO TAKE THIS OPPORTUNITY TO POSE ANY QUESTIONS YOU MIGHT HAVE.

THANK YOU ALL FOR FOLLOWING THE LRFA BLOG!

 

 

Setting a high standard: Van de Weghe Fine Art opens in 2000 with a Warhol exhibit

Current Exhibition
HENRIQUE OLIVEIRA
Van de Weghe Fine Art

THE ART EMPIRE CREATED BY LARRY GAGOSIAN IS OFTEN SCRUTINIZED AND ANALYZED AS ARE MOST HIGHLY SUCCESSFUL OPERATIONS IN EVERY INDUSTRY. IN 2016, PHAIDON PUBLISHED “MANAGEMENT OF ART GALLERIES”, A UNIQUE RESEARCH PROJECT ANALYZING THE INNER LIFE OF ART GALLERIES BY MAGNUS RESCH, ART MARKET ANALYST, TECH ENTREPRENEUR AND PhD IN ECONOMICS. ONE OF THE UNDISPUTED CHARACTERISTICS OF GAGOSIAN’S SUCCESS, A NETWORK OF 16 OUTSTANDING GALLERIES AROUND THE GLOBE, IS THE INDEPENDENT, ENTREPRENEURIAL SPIRIT OF ITS DIRECTORS.

https://www.amazon.com/gp/product/0714873268/ref=as_li_tl?ie=UTF8&tag=magnusresch-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=0714873268&linkId=c7800f188d45652867475947b6ce55b9

CONFIRMED BY CAIT MUNRO IN AN ARTICLE ON ARTNET, AUGUST 5, 2015:

With spaces all over the world, Gagosian relies on a team of trusted directors to manage day-to-day operations and liaise with big-name artists and collectors. Each employee is reportedly assigned to manage an artist, while collectors are assigned to whomever they dealt with upon first contact.

IN 2015, JOURNALIST BRIAN BOUCHER, A CONTRIBUTING EDITOR TO ARTNET news TOOK A LOOK “INSIDE GAGOSIAN GALLERY’S TALENT FACTORY”, TRACKING THE PROFESSIONAL ACCOMPLISHMENTS OF “FORMER STAFFERS WHO HAVE GONE ON TO DO GREAT THINGS ON THEIR OWN”.

THE ARTICLE WOULD NOT HAVE BEEN COMPLETE WITHOUT A PROFILE ON CHRISTOPHE VAN DE WEGHE, FOUNDER AND OWNER OF VAN DE WEGHE FINE ART, 1018 MADISON AVENUE, BETWEEN 78th AND 79th STREET IN NEW YORK.

http://www.vdwny.com/

Christophe van de Weghe

Christophe van de Weghe, New York dealer

After spending seven years as a salesman with Gagosian, from 1993 to 2000, Christophe van de Weghe has gone on to run a Madison Avenue gallery. Van de Weghe exhibits at top art fairs like Frieze Masters, Art Basel, TEFAF and FIAC. He deals in modern and contemporary artists from Carl Andre and Francis to Rudolf Stingel and Christopher Wool.

 

Carl Andre
Third Copper Square, 2007
Andre / Calder/ Judd
August 1 – September 2, 2010

When asked what was the best thing he learned from the master dealer, Van de Weghe was unsentimental: “How to buy and sell artwork!”

One thing you probably didn’t know about the Belgian-born dealer is that from 1986 to 1989, he was an accomplished professional tennis player, ranked among the top 500 in his class worldwide by the Association of Tennis Professionals, he told artnet News.

https://news.artnet.com/market/gagosian-gallery-art-world-talent-factory-349742

CHRISTOPHE, WELCOME BACK TO THE LRFA BLOG. TO CONTINUE…

GAGOSIAN IS AN EXTREMELY POWERFUL INTERNATIONAL FORCE IN THE ART WORLD, REPRESENTING ARTISTS’ ESTATES, ESTABLISHED CONTEMPORARY MASTERS AND CONTEMPORARY ARTISTS WITH ACKNOWLEDGED CRITICAL AND COMMERCIAL RECOGNITION.

WHAT PROMPTED YOUR DECISION TO LEAVE AND OPEN YOUR OWN GALLERY?

After seven years, I had accumulated great experience and was doing well financially, but it was in me to have my own business. I had an entrepreneurial spirit from the start, liking the challenge of taking risks.

In 2000, I had heard about a small space on 76th Street between Park and Madison that housed Per Skarstedt, and I was very interested. After seven years, it was time to do it! I asked Larry if he would have lunch with me and told him I wanted to show him something, that I wanted him to see a space and was thinking about opening my own gallery. “I need your blessing, Larry, everything I know, I’ve learned from you and it is very important that you agree it’s time to fly with my own wings. There was one artist, in particular, that I was very close to that I wanted to exhibit. Larry said it was a very good idea and to do it. My first sale, in partnership with Larry, was a Warhol and it sold quickly. 

 

ANDY WARHOL: Works on paper from the early 60’s
An illustrated catalogue, with an essay by Gerard Malanga, who worked with Warhol during the ‘60s

THE INAUGURAL EXHIBITION AT VAN DE WEGHE FINE ART IN NOVEMBER-DECEMBER 2000, WAS ANDY WARHOL: WORKS ON PAPER FROM THE EARLY 60s. EVERY WORK WAS FIRST-TIER, WARHOL’S MOST ICONIC IMAGES:  THE CAMPBELL’S SOUP CANS, DOLLAR BILLS, AD LOGOS AND CELEBRITY PORTRAITS. THE EXHIBIT INCLUDED RARE, HAND-MADE WORKS ON PAPER AS WELL AS UNIQUE SILKSCREENED IMAGES. THE EXHIBIT WAS DOCUMENTED WITH AN ILLUSTRATED CATALOGUE WITH AN ESSAY BY GERALD MALANGA WHO HAD WORKED WITH WARHOL DURING THE 60s.

CHRISTOPHE, YOU SET A PRECEDENT WITH THIS EXHIBIT IN LAUNCHING SHOWS WITH HISTORICAL SIGNIFICANCE AND CURATORIAL IMPORT. HOW DID YOU DECIDE ON THIS SHOW AND WHAT DO YOU RECALL OF THE PUBLIC’S RESPONSE AT THE TIME?

When I opened the exhibit on 76th Street with Warhol’s Works on Paper From the Sixties I was able to obtain some great loans culled from a number of private collections. The exhibit provided a great opportunity to document Warhol’s talent as a draftsman and his experimental use of techniques that trace his path from the handmade to the ready-made.

One day during the show, I was sitting in my office and two people called, one a prominent Hollywood star and the other a famous singer in a well-known band. I was very proud that these people, whom I didn’t know, would call me to ask about the exhibit and that I had taken the leap to have my name on the door.

I soon outgrew the space and moved to 23rd Street between 10th and 11th Avenue in Chelsea.

LVR ASIDE TO CHRISTOPHE

I remember stopping by 76th Street to see an exhibition and visit with you. You sounded me out about taking a big space in Chelsea. I must have been playing devil’s advocate (“the voice of reason”) and I clearly remember your reply. 

This is the right time for me to do this. I have no wife and children yet and can take the risk”.

It rang so true. I was impressed by Christophe’s self-awareness and sense of purpose. I was certain the move would be expansive in every sense.  It is so nice when one’s powers of prediction prove  true – and in this case, it was accurate and  then some!

 

VAN DE WEGHE FINE ART
2003
521 West 21st Street

IN OUR NEXT BLOG POST, WE WILL TRAVEL TO CHELSEA AND THE OPENING OF VAN DE WEGHE FINE ART IN A  4000 SQUARE FOOT GALLERY SPACE. THE NEW LOCATION AFFORDED THE GALLERY THE OPPORTUNITY  TO PRESENT  MORE EXTENSIVE EXHIBITIONS AND SIGNIFICANT LARGE-SCALE WORKS.

PLEASE JOIN US!

An introduction to Christophe van de Weghe, international art dealer and New York gallerist

Christophe Van de Weghe

CHRISTOPHE VAN DE WEGHE LAUNCHED VAN DE WEGHE FINE ART IN 1999 WITH A STELLAR EXHIBITION OF ANDY WARHOL WORKS ON PAPER FROM THE EARLY 60s.

Andy Warhol
Works on paper Installation

FROM ITS INCEPTION TO THE PRESENT DAY, VAN DE WEGHE FINE ART SETS THE HIGHEST STANDARD OF EXCELLENCE IN EXHIBITING SECONDARY MARKET WORKS BY MODERN AND CONTEMPORARY EUROPEAN AND AMERICAN MASTERS.

IT IS TRULY A PRIVILEGE AND A PLEASURE TO INTRODUCE CHRISTOPHE, A TRUSTED FRIEND AND COLLEAGUE, TO THE LRFA BLOG. I HAVE ADMIRED HIM SINCE OUR FIRST ENCOUNTERS WHEN HE WORKED AT GAGOSIAN GALLERY AND HIS INTERNATIONAL RECOGNITION AND SUCCESS HAVE FAR SURPASSED EVEN MY INITIAL CONVICTION THAT HE WOULD BECOME ONE OF THE GREAT DEALERS AND GENTLEMEN IN THE ART WORLD.

PABLO PICASSO: Works on Paper, Van de Weghe Fine Art November 7 – December 17, 2013, Installation view

THE LRFA BLOG IS DELIGHTED TO SHARE THE GALLERY’S SEVENTEEN-YEAR HISTORY AND CONTRIBUTION TO OUR KNOWLEDGE AND APPRECIATION OF THE HISTORICAL SIGNIFICANCE AND IMPACT OF SUCH MODERN MASTERS AS PICASSO AND ALEXANDER CALDER AND CONTEMPORARY LUMINARIES AS BASQUIAT, WARHOL, KELLY AND SERRA.

http://www.vdwny.com

CHRISTOPHE, WELCOME!

YOU ARE ORIGINALLY FROM BELGIUM, A COUNTRY ALTHOUGH SMALL IN SIZE THAT ENJOYS A LONG AND IMPRESSIVE ARTISTIC TRADITION REFLECTING THE INFLUENCES OF BOTH ITS FRENCH AND DUTCH CULTURES.

WHAT WAS THE PATH THAT BROUGHT YOU FROM A CHILDHOOD IN EUROPE TO A LIFE IN NEW YORK?

I used to be a tennis player but I was injured when I was 18 ½ years old and has a serious back issue. I couldn’t play professionally for two years and had to have back surgery. I had been on a tennis scholarship at school and had traveled the whole world.

I didn’t want to go to college at all so I decided to go to California to attend Pepperdine University. The main campus is in Malibu with a 830-acre campus overlooking the Pacific Ocean. I shifted my sports to swimming and shifted my academy focus to art history. I was interested in art dealing and in the art that I viewed in museums.

DID YOUR FAMILY COLLECT ART? WHAT WERE YOUR FIRST POSITION IN THE ART WORLD? WAS IT ALWAYS IN THE GALLERY SECTOR?

My family were not collectors. My parents were divorced but my stepfather was a collector. My first job was my own business. When I returned to Belgium, I opened a small gallery by the sea, in the Belgian town called Knokke, which is located in the province of West Flanders.

Knokke was a seaside resort, a gathering place in the summer for some of Europe’s wealthiest families and attracted film celebrities such as Frank Sinatra, Maurice Chevalier and Marlene Dietrich.  The centerpiece of the town is a modern building, the Casino, that housed a wonderful mural, Le domaine enchante, a series of eight canvases that Magritte painted to fulfill a commission from Gustave Nellens, owner of the seaside Casino Communal at Knokke-le-Zoute in Belgium.

 

Rene Magritte Le Domaine Enchante Casino, Knokke

I began showing some American artists such as Ed Ruscha, whom I had met when I was in California and had become friends with the gallery dealer Jim Corcoran. Jim had introduced me to Ed Ruscha and I gave him a show in 1993. I didn’t sell anything at the time – the works were black and white with letters.

Edward Ruscha
The End #1
1993
Tate Modern

It was the early 90s and the art market was dead. The art gallery scene that flourished in the 80s was decimated by a recession and Jim Corcoran, whose gallery was the premier showcase for California artists such as Ed Ruscha, Billy Al Bengston and Kenneth Price, closed. Corcoran joined forces with the collector, Goldman Sachs chair, Robert Mnuchin, in a new gallery venture in New York, C&M Arts.

Larry Gagosian and Masa Takayama
Opening of Kappo Masa

WHEN WE FIRST MET AND BEGAN WORKING TOGETHER, YOU WERE A DIRECTOR AT GAGOSIAN GALLERY IN NEW YORK. HOW LONG WERE YOU WITH THE GALLERY AND WHAT WERE SOME OF THE PROFESSIONAL HIGHLIGHTS THAT STAND OUT FROM THAT PERIOD OF TIME?

At the time, the biggest gallery was Pace. I was interested, from the beginning, in the art market, the auctions and the New York art world. I attended a lot of sales, and would write down all the prices of the things that sold, analyzing what was selling, trying to determine why the art market goes up and the way in which it goes down. I’d always spend May and November in New York during the auction months, and one evening, at Nell’s, a popular bar/restaurant on West 14TH Street, I met Larry Gagosian.

Having just attended an auction uptown, I said to Larry, “You bought a wonderful David Hockney. I’d love to have a job with you. I think I can sell.” And he said, “Come by tomorrow and drop off your resume.”

I went by the gallery the next day and Larry looked at my resume. He told me I had zero experience, that I was a professional tennis player, but that he’d give me one month. “See what you can do”, he said. During that month, I made every appointment imaginable with potential buyers, went to every opening, and only on the very last day of the trial month, I sold a Basquiat for $50k- it was 1993. I gave Larry the invoice, put it on his desk, and said, “I’ve made a sale”. He said, “OK, I’ll give you a job at $30k a year plus 10% of the gallery profits.

 In three and one-half years, I was the top sales person. Larry had two galleries in New York, one uptown and one downtown and one in LA and had shows with David Salle, Phillip Taaffe, Warhol and Basquiat.

IN OUR NEXT LRFA POST, CHRISTOPHE WILL DISCUSS THE OPENING OF HIS FIRST GALLERY IN NEW YORK AND SOME OF ITS MANY EXCEPTIONAL EXHIBITIONS.

IN THE MEANTIME, BE SURE TO VISIT THE VAN DE WEGHE BOOTH #8 AT  TEFAF, AT THE PARK AVENUE ARMORY ON 57th STREET, THE ILLUSTRIOUS MAASTRICHT FAIR LAUNCH IN NEW YORK AND THE GALLERY.

https://www.tefaf.com/fairs/tefaf-new-york-spring

CURRENTLY, AT VAN DE WEGHE FINE ART, 1018 MADISON AVENUE, BETWEEN 78TH AND 79TH STREET, THE GALLERY HOSTS AN INSTALLATION BY THE BRILLIANT CONTEMPORARY BRAZILIAN ARTIST, HENRIQUE OLIVEIRA, WHOSE WORK CHRISTOPHE FIRST VIEWED IN PARIS. DON’T MISS IT!

Henrique Oliviera
Palais de Tokyo Installation
2013-2016

 

HENRIQUE OLIVEIRA
Drawing for the Present Installation, 2017
Van de Weghe Fine Art

Taxes: present and future with art business specialist, CPA Steven Goldglit

PASSING A BUSINESS FROM ONE GENERATION TO THE NEXT IS USUALLY A GRADUAL PROCESS RATHER THAN A SINGULAR EVENT OFTEN COMPLICATED BY FAMILY DYNAMICS OR THE DIFFICULTY OF THE FOUNDER TO PASS ON THE TORCH BUT SUCCESSION PLANNING IS A CRUCIAL COMPONENT FOR ANYONE INTERESTED IN LEAVING A LEGACY.

IN ENTREPRENEUR.COM, SERIAL ENTREPRENEUR MARK TOREN WRITES:

One great benchmark of leadership is to create your legacy and then step away from it to ensure it goes on without you. If you leave and your legacy goes with you, then the vision wasn’t big enough. To create a legacy strong enough that when you step down, the dream carries on, you should be thinking about autonomy and your personal exit strategy at all times to test weaknesses and holes in your big vision. 

https://www.entrepreneur.com/article/231855

TODAY’S LRFA BLOG POST EXPLORES THIS QUESTION WITH TAX EXPERT AND CPA STEVEN GOLDGLIT.

GOLDGLIT & COMPANY, WAS ORIGINALLY FOUNDED AS A PARTNERSHIP BETWEEN STEVEN AND HIS FATHER, A BUSINESS IN WHICH SHARED VALUES, MUTUAL RESPECT AND THE SPECIALIZATION OF TAX AND BUSINESS PLANNING FOR THE ART WORLD, CREATED A SUCCESSFUL SYNERGY.

http://www.goldglit.com/about

STEVEN, CREATIVE WORK IN GENERAL, THE ROLE OF AN ADVISOR OR DEALER, OR THE IDENTITY OF A GALLERY SEEM SO CLEARLY ASSOCIATED WITH A SINGULAR VISION. DO MANY GALLERIES AND ART-RELATED BUSINESSES HAVE BUYERS? CERTAINLY INVENTORY IS A CONCRETE ENTITY THAT CAN BE EVALUATED BUT HOW IS THE REPUTATION OF THE BUSINESS AND ITS ARTIST AND CLIENT BASE (AND WHETHER THEY REMAIN LOYAL TO A NEW OWNER) DETERMINED?

The sale of a gallery to an unrelated person is a very difficult transaction and you rarely see this put into action. Most change in ownership of a gallery is within a family between generations – Sonnabend, Pace, etc. Sales to outside persons are rare and tend to fail. As there are no contracts between Artists and Galleries and the continued representation of an artist by a gallery is based solely upon relationships, if the artists and collectors have no previous relationship or confidence in the new owner the gallery will fail. As such, 3rd party purchasers are very leery of the industry and galleries tend to have a measurable lifespan without turnover.

ONE OF THE CHARACTERISTICS OF YOUR FIRM IS YOUR AVAILABILITY, YOUR HANDS-ON ATTENTION TO CLIENT CONCERNS AND COMMITMENT TO OUR WELL-BEING. IS THAT A LEGACY THAT YOU INHERITED FROM YOUR FATHER? HOW WOULD YOU CHARACTERIZE THE STRENGTHS AND SPECIALTIES OF OTHER MEMBERS OF THE TEAM?

Yes, my father was very much like me in his approach to the firm and client needs. I like to see myself as extremely loyal to my clients and willing to do almost anything (legal of course) for them. I know they appreciate this about me and trust me with all aspects of their lives. I become friends with many of my clients and we rarely lose a client unless something goes very wrong. Our team at Goldglit & Company LLP takes its clues from me and treats our clients the same as I would. We try to never let a client down and always try to meet their expectations of how we should work for them. We are now 10 people at Goldglit & Company with more clients than ever before so our principles get challenged all the time, but we always remember how we should be treating our clients and working hard for them, and that always rises to the top. We have CPAs and Accountants with tax specialties, estate expertise and general accounting skills. Our staff is picked based upon how they can interact with our clients and by their strengths.

 

WHAT ARE YOUR PLANS FOR THE FUTURE OF GOLDGLIT AND COMPANY? DO YOU GROWING THE FIRM OR INCLUDING A MORE DIVERSIFIED CLIENT BASE?

I am very happy with the size of the Firm and do not think we will grow any more unless our client base continues to grow. We do work with new clients all the time but try to limit clients to the Arts – Galleries, Artists, and Designers. If a business does not have any ties to any of these fields I am not as aggressive to bring them on as clients. But exceptions always apply!  My 2 business partners have been bringing on new clients as well, but they always are tied to the Arts

 

WHAT DO YOU ANTICIPATE AS THE TAX REFORMS AND CHANGES WE WILL FACE AS INDIVIDUALS, SOLE ENTREPRENEURS AND CORPORATE ENTITITES IN THE YEARS AHEAD?

As mentioned earlier the new Administration has indicated a desire to lower tax rates – Corporate taxes, personal income taxes and capital gains tax. With the failure of the attempted restructuring of Obamacare (Affordable Care Act)it seems that amending the tax code and tax rates will be pushed further down the line for completion. But the Administration and Congress have clearly stated that lowering tax rates is a primary goal, one that will be addressed within the first 6-9 months of the new Administration. I do believe this will be accomplished in some form before the end of 2017, and if they are successful it may mean significant tax cuts for tax year 2017 and into the future, and all taxpayers need to be aware of this and plan accordingly.

NEW YORK CITY IS THE ART DESTINATION IN THE MONTH OF MAY WITH A FULL CALENDAR: THE FRIEZE ART FAIR, THE OPENING OF MAASTRICHT’S TEFAF AT THE PARK AVENUE ARMORY, AUCTION PREVIEWS AND SALES. GALLERIES PLAN IMPORTANT EXHIBITIONS IN ANTICIPATION OF THE MUSEUM CURATORS, COLLECTORS AND DEALERS THAT DESCEND UPON THE CITY.

NO ONE IS MORE RESPECTED OR ADMIRED THAN CHRISTOPHE VAN DE WEGHE, A SEASONED SECONDARY MARKET DEALER AND FOUNDER AND PRINCIPLE OF VAN DE WEGHE FINE ARTS WHOSE EXHIBITION HISTORY IS MUSEUM WORTHY. IT IS WITH GREAT PLEASURE THAT THE LRFA BLOG WELCOME CHRISTOPHE IN OUR NEXT SERIES OF POSTS.

THE LRFA BLOG LOOKS FORWARD TO YOUR COMMENTS AND QUESTIONS!

 

 

The role of a manager in an artist’s world, with tax expert Steven Goldglit

 

THE DEBATE OVER WHETHER VISUAL ARTISTS NEED MANAGERS LEAPED TO THE FOREFRONT OF ART WORLD WHEN, IN 2015, UNITED TALENT AGENCY’S JOSHUA ROTH LAUNCHED A FINE ARTS DIVISION TO MINE A NEW MARKET. TRADITIONALLY, THE PRIMARY GALLERY REPRESENTING AN ARTIST’S WORK HAS HAD THE PROPRIETARY ROLE OF ORGANIZING EXHIBITIONS BOTH AT THEIR VENUE AND AT OTHER GALLERIES AND MUSEUMS AND SECURING PUBLIC COMMISSIONS. OFTEN ARTISTS, PARTICULARLY ESTABLISHED ONES WHO ENJOY AN INTERNATIONAL REPUTATION, REQUIRE ADDITIONAL ADVICE AND EXPERT COUNSEL FOR A LARGER AND LONGER-TERM PERSPECTIVE. A MANAGER OR MANAGEMENT TEAM WITH EXPERTISE IN MARKETING, BUSINESS MANAGEMENT, LEGACY AND ESTATE DECISIONS COMES ON BOARD TO WORK IN TANDEM WITH THE GALLERIES AND WITH A TEAM OF SPECIALISTS SUCH AS ATTORNEYS AND TAX ADVISORS.

SINCE ITS INCEPTION, GOLDGLIT AND COMPANY HAS NURTURED ITS RELATIONSHIP WITH VISUAL ARTISTS, GALLERIES, PRIVATE DEALERS AND MANY IN OTHER CREATIVE FIELDS. IN TODAY’S LRFA POST WITH STEVEN GOLDGLIT, FOUNDER AND PRINCIPLE OF THE TAX AND ACCOUNTING FIRM, WE EXPLORE THE ASPECTS OF BUSINESS AND FINANCIAL PLANNING CRUCIAL TO SUCCESS.

http://www.goldglit.com/about

STEVEN, WELCOME BACK!

SO MUCH OF A GALLERY OR ART ADVISORY SERVICE AND, NOW THAT I THINK OF IT, AN ARTIST’S BUSINESS IF THEY ARE NOT REPRESENTED FULLY BY A GALLERY OR IF THEY PREFER TO MANAGE THEIR OWN MULTIPLE GALLERY REPRESENTATIONS, ARE TRANSACTIONAL.

DO YOU ADVISE CLIENTS IN TERMS OF POTENTIAL DEALS SOLELY IN TAX TERMS OR IN A MORE GENERAL ADVISORY CAPACITY?

We advise clients on transactions on a regular basis, along with their attorneys. We will handle any aspect of the deal – negotiation, terms, tax implications etc., but will not handle contracts. We always insist upon the use of an attorney for that aspect of the transaction.

I KNOW YOU ENJOY VISITING GALLERIES AND ATTENDING OPENINGS. DO YOU AND YOUR WIFE COLLECT?IF SO, WHAT IS THE AREA OF INTEREST? HAVING AN ENORMOUS PROFESSIONAL LEGACY FROM YOUR DAD AS WELL AS EXPERIENCE AS MANAGING DIRECTOR OF THE FIRM, ARE YOUR CHOICES INFLUENCED BY AN ARTIST’S STANDING IN THE ART WORLD?

My wife Lisa and I have become art collectors and have a rather wonderful collection – in my opinion. We attend Art Fairs around the world and have purchased art from Galleries and Artists I work with and know well, and from galleries and artists I have no previous connection to. We are drawn to art on a piece by piece basis, but tend to gravitate towards more conceptual artworks.

 

CREATIVE WORK IN GENERAL, AN ART ADVISORY SERVICE OR THE CHARACTER OF A GALLERY SEEM SO CLEARLY ASSOCIATED WITH A SINGULAR VISION. DO MANY GALLERIES AND ART-RELATED BUSINESSES HAVE BUYERS? CERTAINLY INVENTORY IS A CONCRETE ENTITY AND CAN BE EVALUATED BUT HOW IS THE REPUTATION, ARTIST ROSTER AND CLIENT BASE (AND WHETHER THEY REMAIN LOYAL TO A NEW OWNER) DETERMINED?

The sale of a gallery to an unrelated person is a very difficult transaction and you rarely see this put into action. Most change in ownership of a gallery is within a family between generations – Sonnabend, Pace, etc. Sales to outside persons are rare and tend to fail. As there are no contracts between Artists and Galleries and the continued representation of an artist by a gallery is based solely upon relationships, if the artists and collectors have no previous relationship or confidence in the new owner the gallery will fail. As such, 3rd party purchasers are very leery of the industry and galleries tend to have a measurable lifespan without turnover.

IN OUR NEXT LRFA POST, STEVEN WILL SHARE HIS EXPERT OPINION ON THE VIABILITY OF SELLING AN ART BUSINESS AND THE GENERAL TAX LANDSCAPE THAT LIES AHEAD.

PLEASE JOIN US!