Across the pond: considerations for shipping in our global market
SAFE ART TRANSPORT, BASED IN LONG ISLAND CITY, NEW YORK OFFERS A WIDE RANGE OF SERVICES: INTERNATIONAL AND DOMESTIC SHIPPING, CRATING, STORAGE AND INSTALLATON. WERNER LEDERER, THE OWNER AND FOUNDER OF SAT ,( 1306 38TH AVE LONG ISLAND CITY, NY 11101-6034 (718) 392-8910), www.safeart.com, IS A FOCUSED AND DEDICATED ENTERPRENEUR, ALWAYS READY TO ACCEPT A CHALLENGE AND, MORE INTERESTINGLY TO ME, FIND A SOLUTION. HE HAS TACKLED INSTALLATIONS THAT REQUIRE PRECISE INSPECTION OF THE SITE, PLANNING AND TEAMWORK, ADAPTABILITY IN THE FACE OF POTENTIAL DANGER TO THE TEAM, THE ARTWORK OR THE VENUE. ALL THESE ATTRIBUTES ARE REASSURING FOR THE DEALER, GALLERY OR COLLECTOR WHO HAS PLACED THEIR PRIZED AND VALUABLE POSSESSIONS IN SAT’S COMPETENT HANDS.
I HAVE CERTAINLY SHIPPED WORKS FROM EUROPE AND ASIA AND RELY ON THE EXPERTISE AND SOLIDITY OF THE ART TRANSPORT COMPANY IN EXPEDITING THESE SHIPMENTS, IN PROVIDING SECURITY OF TRANSPORT AND APPROPRIATE CONDITIONS TO MAINTAIN THE PRISTINE CONDITION OF THE WORKS. WHAT ARE SOME OF THE CONSIDERATIONS? WHAT IS THE PROCESS OF CUSTOMS CLEARANCE AND WHAT IS REQUIRED? WHAT ARE THE MOST COMMON PROBLEMS THAT OCCUR IN THIS PROCESS?
It is important to have a shipping company, which can expedite the necessary requirements, to avoid delay of the artwork. Most important shipments are escorted by couriers to ensure proper handling along the way.
I KNOW THAT YOU WORK EXTENSIVELY WITH PRIVATE COLLECTORS BUT ALSO WITH AUCTION HOUSES, GALLERIES AND MUSEUMS. WHAT ARE THE SIMILARITIES AND DIFFERENCES IN YOUR CONCERNS WITH EACH OF THE TYPES OF CLIENTS TO WHOM YOU PROVIDE TRANSPORT, INSTALLATION AND STORAGE SERVICES?
There is a very big difference between handling art at a private residence, and being on a busy loading dock at one of the bigger venues. Proper packing is the key to ensure the safe arrival of your artwork. One of our biggest challenges is art fairs. The sheer volume of artwork going into one hall with very limited access is a logistical nightmare.
I AM ALWAYS MORE THAN SLIGHTLY ENVIOUS AT THE EXTRAORDINARY COLLECTIONS THAT THE SAT TEAM GETS TO SEE. WHAT ARE SOME OF THE OUTSTANDING COLLECTIONS THAT COME TO MIND? HOW DO YOU CHARACTERIZE ONES THAT ARE EXCEPTIONAL FROM ONES THAT ARE MORE PREDICTABLE?
We have indeed seen some wonderful collections, from private living rooms decorated with Michelangelo, Van Gogh and Rembrandt to some of the permanent collections in museum vaults and artists’ studios.
WHAT ARE SOME OF THE MOST MEMORABLE INSTALLATIONS YOU HAVE ACCOMPLISHED AND WHY?
Julian Schnabel’s 42’ x 46’ “Ahab” at Frankfurt’s Opernturm. Or Ursula Von Rydingvards 45’ high “Katul Katul” at the Queens Family Court house comes to mind.
The planning and execution were very complex.
YOU HAVE REGALED ME, DISCRETELY OF COURSE, WITH WONDERFUL STORIES OF YOUR LONG COLLABORATION WITH JULIAN SCHNABEL, PAINTER AND FILMMAKER. SCHNABEL HAS ENLISTED YOUR EXPERTISE FOR MANY YEARS BOTH HERE AND ABROAD. I LOOK FORWARD TO YOUR SHARING SOME OF THE GREAT ART ADVENTURES YOU HAVE HAD WITH SCHNABEL INSTALLING HIS MONUMENTAL WORKS IN VARIOUS VENUES.
IF YOU WOULD LIKE TO POSE A QUESTION TO WERNER, MAKE A SUGGESTION TO ME ON A TOPIC THAT I HAVEN’T COVERED, OR HAVE ANY OTHER COMMENTS OR CRITICISMS, I WELCOME THEM.
THANKS FOR FOLLOWING ALONG!