Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Not to be missed: The New York Art Business Conference, April 9th

The Art Business Conference
April 9, 2019
Bohemian National Hall, New York

LOUISE HAMLIN HAS ORGANIZED YET ANOTHER BRILLIANT ART BUSINESS CONFERENCE, EVEN MORE COMPELLING THAN LAST YEAR’S, WITH TOPICS AND SPEAKERS THAT PROVIDE INVALUABLE GUIDANCE AND ADVICE IN TODAY’S COMPETITIVE GLOBAL ART WORLD TO THE ART PROFESSIONAL. IT PROVIDES AN OPPORTUNITY TO CATCH UP WITH COLLEAGUES AND TO MEET MANY NEW EXPERTS IN AREAS THAT CAN PROVE VITAL TO YOUR ART BUSINESS.

HELD THIS YEAR AT BOHEMIAN NATIONAL HALL, 321 EAST 73rd STREET, ON APRIL 9th, THE AGENDA INCLUDES THE FUTURE OF COLLECTING; CONSERVATION, DAMAGE AND COVERAGE; THE FUTURE OF AMERICAN ART; AND FEATURES SUCH DISTINGUISHED SPEAKERS AS ANDREW SCHOELKOPF, PRESIDENT OF THE ART DEALERS ASSOCIATION OF AMERICA, EDWARD DOLMAN, CHAIR OF PHILLIPS AUCTION HOUSE AND TOM ECCLES OF THE CENTER FOR CURATORIAL STUDIES AT BARD COLLEGE, JUST TO NAME A VERY FEW.

Book now!

http://www.theartbusinessconference.com/nyc/agenda/

Bohemian National Hall
321 East 73 Street
New York

IT IS THE PLEASURE OF THE LRFA BLOG TO SHARE THIS YEAR’S ENTIRE PROGRAM WITH YOU. LOUISE, THANK YOU!

Tuesday April 9, 2019

08.30 – 09.30: Delegate registration and breakfast networking in the Business Pavilion

09.30: Opening remarks from the conference chair, Devang Thakkar

09:40 – 10:40: The Future of Collecting: How will the next generation collect art, antiques and collectables?  This panel brings together three perspectives to discuss the challenges in the mid-market, the evolution of art finance & UHNW collecting, plus valuable insights from the recent record breaking Rockefeller sale, on building a global campaign, sustaining buyer interest and the challenges of promoting a high-profile collection covering many price points and collecting categories. Speakers: Thomas Galbraith (Hindman), Joshua Greenberg (Bank of America Private Bank) & Amy Wexler(Christie’s)

Andrew Schoelkopf
President, ADAA

10:40 – 11:10Export of Art from the UK – challenges for the US purchaser and the Brexit effect. Protection of British cultural heritage has come under scrutiny recently particularly against a backdrop of Brexit. The UK government is currently undertaking a consultation looking at proposed changes to the export licensing system. This session will examine the potential challenges for the US purchaser of artworks looking to export works from the UK in this climate. Speaker: Amanda Gray (Mishcon de Reya)

11:10: Presentation by Mary Buschman (ARIS Title Insurance Corporation)

11.15 – 11.40: Morning refreshment break and networking in the Business Pavilion, Kindly sponsored by ARIS Title Insurance Corporation

11.40 – 12.20: Conservation, Damage and Coverage – Healthy, Wealthy and Wise: Conservation of contemporary art is often covered by fine art insurance.  Discover how conservators use cutting edge techniques to restore  contemporary art and learn how to optimize coverage after a minor bump or catastrophe. Speakers: Suzanne Siano (Modern Art Conservation), Natasha Fekula (AXA XL) & Wendy Lindstrom (Mazzola Lindstrom), moderated by Sarah Douglas (ARTnews)

Bohemian Hall Conference Room

12:20 – 12:50: View from the Top: Shaping the future of the US Art Market: Andrew Schoelkopf, President of the Art Dealers Association of America, in conversation with Megan Fox Kelly, President of the Association of Professional Art Advisors.  Megan and Andrew will discuss the challenges of the US art market today, the evolving roles of art dealers, gallerists and art advisors and how their respective associations are setting standards for the industry

12.50 – 12.55: Presentation by Leo Naut (Invest HK)

12:55 – 14:00 – Buffet lunch is served in the Business Pavilion, kind sponsored by Invest HK

Edward Dolman
Chair, Phillips Auction House

14:00 – 14:20 – Keynote Speech: Edward Dolman (Phillips)

14:20 – 15:15 – Behind the Transaction: This panel brings together leading organisations at the forefront of transactions across the global art market. Our panelists will discuss the decisions behind buying processes, purchaser confidence and how technology is facilitating the online buying process.  The session will also explore the major challenges for the industry and how the buying process is evolving to meet these. Speakers: Mary Buschman (ARIS Title Insurance Corporation), Adam Fields (ARTA), James Ratcliffe (The Art Loss Register) and moderated by Alex Forbes (Artsy)

15:15: Presentation by Bill Charron – Chair of PAIAM US

15:20 – 15:40 – Refreshment break in the Business Pavilion 

15:40 – 16:40Public Art Commissions: Realising the Vision: The Head of Public Art and Head of Acquisitions at Qatar Museums Authority (QM) will present on specially commissioned Public Art pieces for Doha, and how artists have tackled challenges with QM regarding the environment, site constrains while dealing with cultural sensitivities. The panel discussion will also explore the following: Commissioning public art: where to start? · Testing the commission: essential questions around materials & techniques · How artists and cultural organizations can interact and impact each other’s views during the commissioning process? · Challenging projects & installations in public spaces (monumental works) · Why commissioning art in public spaces brings ongoing political and social debates to the community? Speakers: Abdulrahman Al Ishaq (Head of Public Art, QM), Clemence Bergal (Head of Acquisitions, QM) & Tom Eccles (CCS Bard), moderated by Helen Stoilas (The Art Newspaper)

Tom Eccles
CCS Bard

16:40 – 17:10 Presentation: The Fifth Anti-Money Laundering Directive – what does this mean for the art trade? These recent changes to

EU legislation are relevant to anyone working with European clients, but could also become legislation in the US in the future.  This presentation will cover the status of European AML regulations and how they will be changing under the Fifth Directive. What does the Fifth Directive seek to prevent and when will it come into force?  Who is required to comply with the regulations?  What does compliance involve? What are the practical steps in relation to KYC, understanding the transaction, source of funds and risk assessment?  This practical session will offer guidance and advice. The Fifth Directive applies to any transaction involving a European art dealer trading in works of art valued at €10,000 or more, regardless of the payment method used. Speaker: Michelle Stroube (Mishcon de Reya)

17:10: Closing remarks by Walter Biggs (ARCIS)

17:15 – 18:15 Evening Networking Drinks in the Business Pavilion, kindly sponsored by PAIAM

Introducing One Art Nation, a unique source for collectors and art professionals, with co-founder Julia Wehkamp

Julia Wehkamp & Amanda Dunn
Co-founders
One Art Nation

ONE ART NATION IS A UNIQUE WEBSITE PROVIDING VALUABLE INFORMATION TO COLLECTORS AND ART PROFESSIONALS AROUND THE WORLD. IT IS AN EXCEPTIONAL SOURCE FOR ART EDUCATION AS WELL AS ART MARKET NEWS, TRENDS AND EVENTS. AS THE CONTEMPORARY ART WORLD EXPANDS EXPONENTIALLY, ART FAIRS, AUCTIONS, SOCIAL MEDIA SITES, ARTIST COLLECTIVES, ADVISORS, PRIVATE DEALERS AND GALLERIES HAVE SPRUNG UP WORLDWIDE IN RESPONSE TO THE  EVER-GROWING INTERNATIONAL INTEREST IN CONTEMPORARY ART AND THE ART MARKET.

THROUGH EDUCATIONAL TALKS AND PROGRAMS, EXPERT INTERVIEWS AND ARTIST SHOWCASES, ONE ART NATION (1AN) IS DEMYSTIFYING THE PROCESS OF BUYING ART FROM START TO FINISH. ITS GOAL IS TO BRING TOGETHER PROMINENT ART EXPERTS FROM ACROSS THE GLOBE TO ADDRESS TOPICS THAT RANGE FROM BUILDING, MAINTAINING AND PROTECTING A COLLECTION TO TAX AND FINANCIAL ASPECTS OF OWNING ART. THIS IS THE TYPE OF CONTENT THAT MATTERS MOST TO ART COLLECTORS AND PROFESSIONALS, BOTH EXPERIENCED AND NEW.

ONE ART NATION  OFFERS NUMEROUS VIDEOS THAT COVER A WIDE RANGE OF TOPICS  FROM THE HABITS OF SUCCESSFUL COLLECTORS TO EMERGING ARTISTS: A POPULAR ENTRY-LEVEL MARKET AND HOW TO APPROACH SELLING YOUR COLLECTION.  IT OFFERS AN ART ADVISORY 101 PROGRAM TO INFORM ASPIRING ART ADVISORS AND AN ART WEALTH MANAGEMENT PROGRAM: UNDERSTANDING ART AS AN ASSET CLASS FOR FINANCIAL ADVISORS, JUST TO HIGHLIGHT A FEW TOPICS THAT PROVIDE TRANSPARENCY IN A RELATIVELY UNREGULATED INDUSTRY.

THE LRFA BLOG IS DELIGHTED TO WELCOME JULIA WEHKAMP, A FOUNDING PARTNER OF ONE ART NATION, AN ONLINE PLATFORM OF BOTH DEPTH AND BREADTH IN ITS CONTRIBUTION TO THE ART COMMUNITY.

JULIA, THANK YOU SO MUCH FOR CONTRIBUTING TO THE LRFA BLOG

WHEN WAS ONE ART NATION FOUNDED AND BY WHOM?

One Art Nation (1AN) was founded by Amanda Dunn and I. We officially launched at Miami Art Week 2013. In bringing together our skills and experiences, we wanted to create an innovative and unique platform, separate from the conventional online art networks offered. Through extensively examining the market and listening to the needs of collectors and professionals, it became clear that accessible and relevant education was required. By combining our experience in fine arts and international marketing expertise with education-centric business skills, 1AN has become the trusted source of education for art enthusiasts, collectors and professionals across the globe.

Art Advisory
ONE ART NATION

WHAT IS ITS MISSION?

Ultimately, 1AN aims to create transparency in the art market, while securing its position as the leading online education platform, offering a complete solution for art enthusiasts, collectors and professionals. 1AN fulfills a growing need for new and innovative online art tools required to broaden the scope and depth of the art market. 

WAS YOUR BACKGROUND IN THE ARTS AND WHAT INSPIRED YOU BOTH TO CREATE ONE ART NATION?

Amanda previously worked for Christie’s Auction House in London on their marketing team. On the other hand, I have focused on developing and operating international continuing education programs using innovative and creative methods. Working in the art industry allows me to incorporate my passion for art and culture, while applying my experience and skills in education and event management.

In speaking with various auction houses and established galleries, we determined early on a common challenge: they were not connecting with the new generation of art collectors, whether they be young professionals looking to diversify their portfolios, those coming from emerging markets, etc. And it’s understandable… a gallery can be an intimidating space for a new collector, never mind an auction house! So we wanted to create a non-threatening environment where people can interact with art experts across the globe and learn the A-Z’s of collecting: from how to choose a gallery to the succession planning of an established collection. Organically, art market education for professionals followed based on demand.

IN OUR NEXT LRFA BLOG POST, JULIA WILL EXPAND ON THE MANY EDUCATIONAL PROGRAMS THAT 1AN OFFERS.

PLEASE JOIN US!

All sides now: a 360 degree perspective on American art, with Ellery Kurtz

A Lifetime of Collecting: Selections from the William & Abigail Gerdts Collection
of American Still-Life Painting
Godel & Co.

THE APPRAISERS ASSOCIATION OF AMERICA, ESTABLISHED IN 1949, IS THE PREMIER NATIONAL ASSOCIATION OF PERSONAL PROPERTY APPRAISERS WHO FOCUS ON FINE AND DECORATIVE ARTS. WITH A MEMBERSHIP OF OVER 750 INDEPENDENT APPRAISERS AND AFFILIATED PROFESSIONALS IN 100 DIFFERENT AREAS OF SPECIALIZATION, THE APPRAISERS ASSOCIATION’S ROSTER OF WELL-ESTABLISHED PROFESSIONALS HAS THE WIDEST RANGE OF EXPERIENCE AND EXPERTISE IN THEIR RESPECTIVE FIELDS.

IT MAKES  PERFECT SENSE THAT ELLERY KURTZ, WHO HAS BEEN DEEPLY INVOLVED IN THE WORLD OF AMERICAN ART AND ITS MARKET, WOULD DECIDE TO ADD TO HIS ALREADY IMPRESSIVE CREDENTIALS IN THIS FIELD BY BECOMING A MEMBER OF THE APPRAISERS ASSOCIATION OF AMERICA.

Go Figure! American Figurative Painting 1830-1960
Godel & Co.

 

ELLERY, HOW DID THIS ALL EVOLVE?

I have worked in four major New York galleries over time, all of which specialized in American Art: Kennedy Galleries; Andrew Crispo Gallery; Spanierman Gallery; and Godel & Co. In some ways all of them were the same.  The business process and marketing techniques were really quite similar.  But each gallery had its own sense of style, some of which was due to the age of the gallery or the age of the owners. One of the main differences between Spanierman Gallery and Godel was that at Spanierman we changed the exhibition every 4-6 weeks.  A catalogue was usually produced for each exhibition.  With an inventory of literally thousands of works of art, which included a number of artist estates, the gallery had to employ 2-3 dozen people.

American Impressionism
Godel & Co.

 

While at Godel, with an inventory of around 500 works of art, the gallery only required 6-7 employees.  What was hung was usually a cross-section of different periods and styles which was pulled from the bins.  As one came down for sale or loan, another work would be pulled from the bins to replace it.  In my fifteen years at Godel only two special exhibitions were held with an accompanying catalogue, both still life exhibitions.  Ira and Howard are about as different from one another as two people could be personality wise, other than their appreciation of American Art of course which is why we were all there. One similarity stands out. Both allowed a high level of autonomy to their sales staff which was extremely beneficial for both businesses.

The Genius of American Art: Folk to Modernism
Godel & Co.

YOU ARE ALSO A LICENSED APPRAISER AND A CERTIFIED MEMBER OF THE DISTINGUISHED APPRAISERS ASSOCIATION OF AMERICA. WHAT ARE THE SERVICES THAT YOU PROVIDE?

Yes, I am a Certified Member of the Appraisers Association of America.  I do not believe there is such a thing as a “licensed” art appraiser.  I think that term only applies to Real Property appraisers, those who appraise real estate.  Mostly I have written insurance appraisals and appraisals for clients who are donating art work to an appropriate institution and several estate appraisals.

Appraisers Association of America

HOW DO YOU EVALUATE A WORK FOR INSURANCE PURPOSES OR FOR ESTATE PURPOSES?

When I first became an appraiser in 2003 I struggled a bit with the fact that the same painting can have different values based upon the circumstances and purpose of the appraisal.  Coming from a strictly commercial side of the art world I always understood that there was an asking price and then there was a selling price. But the difference was arbitrary and ambiguous.  For assorted reasons a seller would not take less than…. while a buyer would not pay more than. Sometimes it depended upon current bank account status and cash flow, while at other times it might depend upon what a spouse might think. 

As an appraiser, I am always looking at that spread, both at private galleries and auctions.  Drawing comparisons and deciding upon proper valuation is determined as much by the artwork and the market as it is by the current circumstances.  An appraisal for insurance purposes is always going to be the highest value that can be assigned, while an appraisal for a work of art being donated will usually be assigned a somewhat lower value.  With an estate appraisal you have to also consider the market at the time of death which usually has me looking back a little bit in time to understand the market at that moment.

Jasper Cropsey
Autumn – On the Hudson
National Gallery of Art

 

HOW MUCH DO CONDITION AND PROVENANCE AFFECT THE VALUE OF A WORK?

For me condition is a crucial factor.  Sometimes even more than the artist of the painting.  If a painting is a wreck then, as a dealer, I have zero interest in the painting. None. As an appraiser I must take condition into consideration to place a value on it and naturally that greatly affects value.  Most collectors and museums are very picky about condition and they should be. 

Provenance is important but that falls below who the artist was and the overall quality of the painting itself.  Who owned the painting or where it might have been exhibited or illustrated might give a greater level of importance because of how it was accepted by famous and sometime astute collectors as well as how well-known it became.  But you can be sure that there are private collectors and families who own magnificent paintings that have not been seen for many decades which are equally important and often in much better condition because they have been treasured objects hidden away from public view for so long.

Georgia O’Keeffe
Jimson Weed
Indianapolis Museum of Ar

HOW MUCH DOES THE PERIOD IN WHICH THE WORK WAS CREATED AFFECT ITS VALUE?

Paintings of the Hudson River School can be as valuable as a Modernist work.  So period is important when you apply it to how it can be placed.  Obviously, a collector who concentrates solely on Hudson River School paintings will place a higher value on a great luminist work, while a collector of Modernism will be willing to place similar or higher values on a well composed and brilliant work by one of the Stieglitz Group.  I only see period as relevant to a collector’s personal taste or a certain direction that a museum is focusing on to grow their collection.

HOW MUCH DOES SCALE OF THE WORK AND MEDIUM AFFECT THE VALUE?

Scale varies too as a value factor.  But all things being equal, such as condition, artist, quality, and provenance, then usually the larger works do have greater value.  When an artist is known for working in a certain medium then that does require additional consideration as well.  Many artists are known for their watercolors and those can sometimes bring prices as high as an oil painting, while others did watercolors more for sketching immediate impressions.  Some excel at one, some at the other. You have to take each artist independently when you consider medium.

National Arts Club
Gramercy Park South
New York

YOU LECTURE ON AMERICAN ART. PLEASE TELL US ABOUT THE APPRAISERS ASSOCIATION OF AMERICA SERIES.

The AAA has a lecture series each year which are given at The National Arts Club.  Last October, I gave a lecture entitled American Modernism: 1900-1950, in which I discussed the beginnings of the movement and its rise as well as discussing values of paintings, both long past and recent by focusing on similar paintings sold at various times or even the same painting being sold repetitively. 

I like to think that I have a different take on the art world than some dealers because I have been on all sides of the business.  I started out as an art lover, became an artist, moved on to becoming a “gallerist” with many different positions from entry level to directorship, became a collector and finally an appraiser. Joan Collins once sang, I have looked at love from both sides now. If I could sing, which I can’t, I might sing I have looked at love from all sides now.

THE LRFA BLOG APPRECIATES THE OPPORTUNITY TO LEARN ABOUT THE HISTORY OF THE GALLERIES AND MARKET SPECIALIZING IN AMERICAN ART FROM SOMEONE SO WELL-VERSED WITH ALL ITS ASPECTS. ELLERY, THANK YOU SO MUCH!

IN OUR NEXT POST, WE WELCOME JULIA WEHKAMP, THE CO-FOUNDER OF ONE ART NATION, A WONDERFUL ONLINE SOURCE FOR ART–RELATED EDUCATIONAL PROGRAMS, INTERVIEWS AND SEMINARS BOTH FOR THE COLLECTOR AND FOR PROFESSIONALS IN THE ART WORLD.

PLEASE JOIN US!

Ellery Kurtz, dealer and appraiser of American Art, on the collector profile

Edward Hopper
Early Sunday Morning
Whitney Museum of American Art

IN JANUARY 2018, SEPH RODNEY, WRITING FOR HYPERALLERGIC.COM, ASKED AND ANSWERED “IS ART MUSEUM ATTENDANCE DECLINING IN MANY MUSEUMS ACROSS THE US?”  THERE ARE SIGNS THAT ATTENDANCE IN MANY MUSEUMS ACROSS THE COUNTRY IS SLOWLY FALLING BUT THE REASONS WHY ARE STILL TO BE DETERMINED. ART AND CULTURE MUSEUMS MAY BE IN TROUBLE. STATISTICAL EVIDENCE COMING OUT OF THE SCENE IN BALTIMORE, WHICH SEEMS TO BE FINDING CORROBORATION NATIONWIDE, CONVEYS A NARRATIVE OF MUSEUM VISITING BEING ON THE DOWNTREND.

THERE IS EVIDENCE THAT PEOPLE ARE BECOMING LESS INCLINED TO VISIT MUSEUMS AND GALLERIES, AND FOR THOSE OF US WHO ARE INVESTED IN THESE INSTITUTIONS AS ONE OF THE KEY BULWARKS AGAINST THE ENCROACHING COLONIZATION OF CIVIC SPACE AND ENGAGEMENT BY THE RELENTLESS COMMODIFICATION OF EXPERIENCE,THIS IS DISPIRITING NEWS.

THE GALLERIES, EXCEPT FOR A HANDFUL OF “UBER-GALLERIES” SUCH AS DAVID ZWIRNER, PACE AND GAGOSIAN ARE EXPERIENCING A SIMILAR DECLINE OF VISITORS, AS REPORTED IN ARTNET IN JULY 2018 BY RACHEL CORBETT.

TODAY, DEALERS SAY THEY NO LONGER VIEW PHYSICAL GALLERIES AS THE PRIMARY SITE OF SALES AND NETWORKING. INSTEAD, THEY NAME ART FAIRS AS THE NUMBER ONE VENUE FOR MEETING NEW CLIENTS, FOLLOWED BY THE INTERNET, ACCORDING TO TEFAF’S 2017 ART MARKET REPORT. NEARLY A THIRD OF DEALERS EXPECT TO DO EVEN FEWER SALES AT GALLERIES IN THE FUTURE, THE REPORT SAYS—AND THEY EXPECT GREATER DROPS IN THIS AREA THAN IN ANY OTHER, INCLUDING PRIVATE SALES, AUCTIONS, ONLINE SALES, AND FAIRS.

https://hyperallergic.com/421968/is-art-museum-attendance-declining-across-the-us/

https://news.artnet.com/market/foot-traffic-galleries-new-york-1318769

IN TODAY’S LRFA BLOG POST, AMERICAN ART GALLERIST AND APPRAISER ELLERY KURTZ WILL ADD HIS INSIGHT TO THE CURRENT TREND AS IT APPLIES TO THE AMERICAN MARKET.

Robert Henri
Mary Fanton Roberts
Metropolitan Museum of Art

ELLERY, WELCOME BACK!

HOW DO YOU ACCOUNT FOR THE DOWNWARD TREND IN THE AMERICAN ART MARKET AND DO YOU SEE IT REBOUNDING AND WHY OR WHY NOT?

Younger generations want more modern material. Today’s younger generations of the Millennials, GenX are a sharing society.  They rent rather than own, whether it is a place to live or a car.  They enjoy without actually possessing.  Galleries and museums put their inventory and exhibitions online which stops people from actually going to see the artwork.  If you are looking for…say a Robert Henri painting, you don’t have to physically go from gallery to gallery anymore.  You only need to look at various websites to see who actually has something available.  This is, in my opinion, one of the things that affects the market most. It stops collectors from experiencing the true thrill of the treasure hunt.  Walking into a gallery and “discovering” a painting on the wall or in a back room stacked among others.  You may find your Henri on a website, but you miss seeing the amazing George Luks that the gallery has not yet put on its site or has held back for one reason or another. You miss seeing the texture, brushstrokes, true colors, and impact of size. It is a total disconnect from the paintings themselves.  The acquisition of a work of art should be purely personal and up close experience.

George Luks
Street Scene (Hester Street)
Brooklyn Museum

WHAT WOULD YOU ADVISE A YOUNG EMERGING COLLECTOR IN TERMS OF COLLECTING AMERICAN ART?

How do we get young collectors interested when it takes enormous amounts of money to buy works of quality?  That is a really tough question.  Let’s say you are old enough and have enough money to start a collection.  Upon leaving your local museum you are inspired to collect Hudson River School paintings.  But where do you find such quality anymore?  The one or two examples of a painting by say Bierstadt, or Gifford, or Heade, that come to market are not usually the quality you just saw at the museum.  Instead they are second or third-rate works. 

Stanford Gifford
Sunset on the Hudson
Wadsworth Atheneum

If you want a first-rate work you have to wait, sometimes years and if you are lucky enough to be notified by a dealer that such a work is for sale ahead of every other collector that the dealer has already established relationships with, then you will need to quickly marshal your finances to make the leap.  Where does the next painting for your collection come from?  You like modern work? You want an oil painting by Edward Hopper? Good luck. With less than a few dozen still in private hands, and some of those already promised to a museum, you may never get a chance.  What is a young or new collector going to do?  Turn their attention to some other field. 

So I do not see the market rebounding regardless of a return to more affluent times. Dealers in American Art will become like dealers in Old Master paintings with fewer and fewer as availability of great works lessens.

Martin Johnson Heade
Sunset, A Scene in Brazil
New Britain Museum of American Art

WHICH AMERICAN ARTISTS DO YOU FEEL ARE MARKET-PROOF AND WILL SURVIVE AND BE VALUABLE DESPITE A DOWNWARD TREND?

I’m not sure if I would say that any artist is market-proof.  I have never thought of value in that manner.  That would be tantamount to saying that I think the price of IBM will always stay the same or go up.  We all know how that goes.  But there are artists whose reputation is untouchable and in general have seen a remarkable rise in price over the almost fifty years I have been in the art world. For instance, large landscapes by Albert Bierstadt would hardly fetch $100,000 fifty years ago.  Today a large luminist painting by the artist would handily bring a million dollars or in some cases multi-millions.  The same could be said of Edward Hopper, Winslow Homer, John Singer Sargent. But I am talking about iconic paintings by the most famous artists America ever produced.

Winslow Homer
The Gale
Worcester Museum

What seems to be moving in a positive way are modernism, illustration and post-war paintings. But if I were to give any advice to any collector young or old, new to the game or an old hand, it would always be, provided you have fallen under the spell of the painting, to spend more than you think you can afford if the artwork is significant for the artist.  Stretch a little because those are the works that bring the greatest pleasure. 

IN OUR NEXT LRFA BLOG POST, ELLERY WILL SHARE HIS EXPERTISE ON THE ART OF THE APPRAISAL, A HIGHLY RESPECTED FIELD THAT, WHEN DONE WELL, RELIES ON A GREAT AMOUNT OF DILIGENCE AND RESEARCH AND AN ASTUTE EYE. ELLERY HAS ALL THREE.

THANKS FOR FOLLOWING THE LRFA BLOG!

Ellery Kurtz and the Spanierman Gallery, a heyday in American art

 

John Henry Twachtman
American, 1853-1902
Kepler Cascades, circa 1895.

SINCE ITS FOUNDING BY IRA SPANIERMAN IN THE 1960S, SPANIERMAN GALLERY’S EXHIBITIONS, RESEARCH AND CATALOGUES HAVE MADE AN IMMEASURABLE CONTRIBUTION TO AMERICAN ART HISTORY AND CONNOISEURSHIP. MR. SPANIERMAN’S SCHOLARSHIP AND DEEP UNDERSTANDING HAVE PLAYED AN ESSENTIAL ROLE IN BUILDING THE BODY OF KNOWLEDGE THAT NOW EXISTS ON AMERICAN ART AND ARTISTS FROM THE COLONIAL ERA THROUGH THE MID-20TH CENTURY. SPANIERMAN GALLERY HAS ALSO PLACED MANY WORKS OF ICONIC VALUE IN PROMINENT PUBLIC AND PRIVATE COLLECTIONS ACROSS THE COUNTRY.

Philip Leslie Hale
Collection of Spanierman Gallery at Doyle

IN 2012, THE GALLERY INVENTORY WENT ON THE BLOCK AT DOYLE AUCTION HOUSE. SPANIERMAN GALLERY’S EXTENSIVE COLLECTION OF TRADITIONAL AMERICAN ART CREATED AN EXCITING OPPORTUNITY FOR COLLECTORS AND CURATORS TO ACQUIRE WORKS CAREFULLY CHOSEN BY ONE OF THE ART WORLD’S LEADING FIGURES IN AMERICAN ART. MR. SPANIERMAN’S EYE FOR THE EXTRAORDINARY, THE UNIQUE, THE INTERESTING AND THE BEAUTIFUL WAS WELL DEMONSTRATED.

https://doyle.com/auctions/12pt02-european-american-modern-contemporary-art/spanierman-gallery-llc-collection

William Merritt Chase
At the Seaside
Metropolitan Museum of Art

IN 2014, SPANIERMAN GALLERY CLOSED. ANTIQUES AND THE ARTS INTERVIEWED IRA AT THE TIME.

NEW YORK CITY — Spanierman Gallery, a leading specialist in American art, is closing its doors in December. The gallery’s owner and namesake, Ira Spanierman, said that, at age 86 and after more than 60 years in business, he is ready for some time off.

“I didn’t want to sell my business to anyone because I don’t want to entrust my name. I want to go out the way I came in,” Spanierman told Antiques and The Arts Weekly.

Founded in 1928, Spanierman initiated catalogue raisonné projects for the artists John Henry Twachtman, Theodore Robinson and Willard Metcalf, and sponsored work on Winslow Homer. It has organized or underwritten exhibitions of Homer, Twachtman, Fitz Henry Lane and Emile A. Gruppe, among others, and has sold to nearly every major museum in the United States plus many abroad.

Raphael
Lorenzo de Medici

Ira Spanierman said that his most exciting discovery may have been a portrait of Lorenzo de Medici by Raphael that he bought for $325 in 1968. Auctioned by Christie’s in 2007, it brought $37.3 million.

Spanierman said he was instrumental in selling Alice Walton her first historical American painting, a landscape by William Merritt Chase.

https://www.antiquesandthearts.com/web-10-3-14-spanierman-closing/

Boston Harbor, Sunset
Oil on canvas
Los Angeles County Museum of Art
Gift of Jo Ann and Julian Ganz, Jr.

ELLERY, WE MET WHEN YOU WERE A DIRECTOR AT SPANIERMAN. IRA WAS LEGENDARY IN HIS COMMITMENT AND PASSION FOR AMERICAN ART AND EDUCATING BOTH AMERICAN AND EUROPEAN COLLECTORS IN THIS FIELD.

WHAT ARE SOME OF THE MAJOR COLLECTIONS YOU WORKED ON?

I joined Spanierman Gallery in 1986 as their Registrar.  The American Art world was on fire with paintings coming out of the woodwork and new collectors, as well as older collectors acquiring paintings on a regular basis.  One of the collections I helped build was for a very quiet but astute gentleman who acquired wonderful Impressionist and Modernist paintings by artists such as Winslow Homer, Theodore Robinson, Willard Metcalf, Childe Hassam, Edward Hopper and many others.  Every 8 to 12 months a new work was added to his walls.  Another quiet but diligent collector was buying luminist paintings of the Hudson River School.  Both of these collections are of the highest caliber.

Victor Dubreuil
Grover Cleveland
White House Historical Collection

WHAT ARE SOME OF THE MUSEUM PLACEMENTS THAT YOU HAVE MADE?

One of the more satisfying experiences for me was placing a small recently rediscovered trompe l’oeil painting by Victor Dubreuil of a postcard President Grover Cleveland tacked to a wood background.  The White House Historical Association acquired the painting for the residence. Although it was far from being what I would have called an expensive work of art, I felt like a million dollars. I was extremely proud of that sale. Placing an American painting of an American President into the most famous residence in America made me feel….well, very American.

HOW DOES SELLING TO A PRIVATE COLLECTOR DIFFER FROM SELLING TO A MUSEUM OR PUBLIC INSTITUTION?

Museums require more patience as their acquisition process is more involved and has more hurdles to jump.  Initial curator visits turn into requests for paintings to be sent to the institution for multiple board meetings.  The process often takes many months.  Still, placing works with a museum is quite rewarding.  Knowing that those paintings will now be seen by hundreds of thousands of people thanks to my efforts does make the waiting worthwhile.

Private collectors do require patience as well, but in a dissimilar fashion.  Collectors generally do not have as much knowledge as museum curators although there are always exceptions.  While there are many private collectors who are knowledgeable about the artist, there are other factors that still require explanation such as condition, or historical significance.  Collectors react to paintings more intuitively while museums are far more focused on historical significance and how a work “fits” into the collection academically.

Willard Metcalf
Summer Morning, Giverny

CAN YOU TRACK THE INTEREST IN AMERICAN ART FROM WHEN YOU FIRST STARTED TO WORK IN THE FIELD TO THE PRESENT TIME?

Looking back to 1970, scholarship in American Art has exploded.  In 1970, while you could have a rather large library dedicated to American Art, the amount of publications since then has been incredible.  Museums and galleries both published monographs, catalogue raisonnés, coffee table books, and countless exhibition catalogues on private collections, individual artists, movements or themes.  The level of scholarship increased with each year. Dozens of galleries devoted their bin space strictly to American Art.  New museums opened that were dedicated to American Art and older museums added works to their collections annually. It became competitive. Auction prices rose dramatically with the exception of years of economic distress.

Frederic Childe Hassam
The Afternoon in the Rain

HOW DO YOU ACCOUNT FOR THE PEAKS AND VALLEYS OF THE AMERICAN ART MARKET?

It was those years when markets slowed down as prices dropped but the troughs were always accentuated by the peaks and prices moving up as economic prosperity returned after each recession.

The current downward trend has many reasons.  The economic recession of 2008 took the wind out of the sails after many good years of strong headwinds.  It has not quite returned.  Why? Older buyers have filled their walls. Important collectors have donated their collections to museums or promised them upon their demise.  Not enough top end material is being discovered anymore. 

IN OUR NEXT LRFA BLOG POST, ELLERY WILL ANALYZE THE PROFILE OF THE CURRENT COLLECTORS AND HOW THEIR ATTITUDE AFFECTS THE CURRENT MARKET FOR 19th AND 20th CENTURY AMERICAN ART.

WE HAVE WITH US A GREAT EXPERT IN THIS FIELD WHO HAS PLACED MANY MASTERPIECES OF AMERICAN ART IN BOTH PUBLIC AND PRIVATE COLLECTIONS. ELLERY IS AN ASTUTE OBSERVER OF THE EBB AND FLOW OF ITS MARKET. ELLERY AND THE LRFA BLOG WELCOME YOUR QUESTIONS AND COMMENTS ON THE SUBJECT.

FIRE AWAY!

 

First steps in a distinguished career in American art with Ellery Kurtz

Museo Nacional Thyssen-Bornemiszra
Madrid, Spain

THE THYSSEN-BORNEMISZA COLLECTION WAS ONE OF THE MOST IMPORTANT PRIVATE COLLECTIONS OF PAINTINGS OF THE 20THCENTURY AND ITS HISTORY IS A FASCINATING ONE. ALTHOUGH ORIGINALLY A PRIVATE COLLECTION, TODAY IT BELONGS TO THE SPANISH PUBLIC AFTER ITS ACQUISITION BY THE GOVERNMENT IN 1993, JUST A YEAR AFTER THE MUSEUM OPENED. IN 2004, A SIGNIFICANT PART OF THE CARMEN THYSSEN-BORNEMISZA COLLECTION WAS ADDED TO IT; A COLLECTION OF OVER TWO HUNDRED WORKS THAT ADD TO THE EXAMPLES OF ARTISTIC STYLES AND GENRES OF THE PERMANENT COLLECTION.

THE ADDITION OF THE THYSSEN-BORNEMISZA MUSEUM CREATED ONE OF THE MOST IMPORTANT CONCENTRATIONS OF ART IN THE WORLD IN THE VERY HEART OF MADRID; WITH THE PRADO MUSEUM AND THE MUSEO REINA SOFÍA, THE “ART TRIANGLE” WAS FORMED. THE COLLECTION OF INTERNATIONAL PAINTINGS IN THE THYSSEN-BORNEMISZA COLLECTION PERFECTLY COMPLEMENTED THE OLD MASTERS IN THE PRADO MUSEUM AND THE MODERN AND CONTEMPORARY PAINTINGS FOUND IN THE MUSEO REINA SOFÍA.

Childe Hassam
Fifth Avenue at Washington Square, New York
1891
Museo Nacional Thyssen-Bonemisza, Madrid

BARON HANS HEINRICH THYSSEN WAS A RARE AND VORACIOUS EUROPEAN COLLECTOR WHOSE RESPECT AND INTEREST IN THE ART OF AMERICAN 18th AND 19th CENTURY NORTH AMERICAN PAINTINGS WAS UNIQUE AT THE TIME. THE MUSEUM  ALSO OFFERS AN EXCELLENT SAMPLING OF 19TH CENTURY AMERICAN PAINTINGS, WHICH HAD BEEN ALL BUT ABSENT FROM EUROPEAN MUSEUMS, ARTISTS SUCH AS JOHN COPLEY, WINSLOW HOMER, CHILDE HASSAM AND JOHN SINGER SARGENT.

ELLERY, IT MUST  HAVE BEEN VERY EXCITING TO SHARE IN THE MOMENTUM OF THE AMERICAN ART MARKET WHEN YOU STARTED AT KENNEDY GALLERIES AND THEN WORKED AS THE REGISTRAR AT ANDREW CRISPO, A GALLERY THAT WORKS CLOSELY WITH BARON VON THYSSEN AND HIS PASSIONATE ACQUSITION OF AMERICAN ART.

John Peto
Books, Mug, Pipe and Violin
Museum Thyssen-Borenmiszra, Madrid

WHAT WERE THE HIGHLIGHTS OF YOUR EXPERIENCE AT KENNEDY GALLERIES? WHAT DO YOU THINK WERE THE MOST IMPORTANT LESSONS YOU LEARNED?

With no formal art education or training I was a sponge.  One great painting after another passed before me and I continued to listen and learn…and most importantly to see.  Two people in particular I think of as my mentors…legendary dealers Rudy Wunderlich and Larry Fleischman.  I am thankful to them both for taking time to discuss art and for their interest in me. I remember the first sale I ever made of a pair of paintings by Francis A. Silva.  Marvelous coastal scenes that were extremely detailed and luminist.  It was an exhilarating moment for me, one that was to repeat itself many times.

Francis A. Silva (1835-1886
On the Coast, Cohasset, Massachusetts

WHAT WAS YOUR  NEXT POSITION?

After four plus years, in 1975  I moved on to my next position as Registrar at Andrew Crispo Gallery. My education expanded, working with a stable of contemporary artists as well as masterpieces of 19thand 20thcentury American Art.  The gallery was putting together one of the great collections of American Art at that time for Baron Hans Heinrich Thyssen-Bornemiza.  Everything from colonial to contemporary art was passing through our hands there for possible acquisition by The Baron and indeed The Baron bought again and again making multiple purchases with each visit. It was a heady time.  The paintings that the Baron acquired then, now comprise most of the collection which is housed and exhibited in The Museo-Nacional Thyssen-Bornemiza in Madrid.  

John Singer Sargent
Portrait of Millicent, Duchess of Sutherland
Museo Nacional Thyssen-Bornemisza, Madrid

DID YOU CONTINUE TO PURSUE YOUR OWN WORK AS AN ARTIST WHEN YOU AT CRISPO?

While working at the Andrew Crispo Gallery I was also pursuing my own career as an artist and when Andrew saw my paintings I was invited to put up my first one-man show, which was extremely successful.  It was followed by a second successful show a few years later.  However in 1985 the gallery closed due to a scandalous homicide that was committed by another employee and in which Andrew Crispo was implicated. 

WE MET WHEN YOU WERE A DIRECTOR AT SPANIERMAN GALLERY. IRA SPANIERMAN WAS LEGENDARY IN HIS COMMITMENT AND PASSION FOR AMERICAN ART AND EDUCATING BOTH AMERICAN AND EUROPEAN COLLECTORS IN THIS FIELD. WHAT ARE SOME OF THE MAJOR COLLECTIONS YOU WORKED ON?

John Twachtman
Snow Scene
Museum Thyssen-Borenmiszra, Madrid

In 1986, I joined Spanierman Gallery as their Registrar.  The American Art world was on fire with paintings coming out of the woodwork and new collectors, as well as established collectors acquiring paintings on a regular basis.  One of the collections I helped build was for a very quiet but astute gentleman who acquired wonderful Impressionist and modernist paintings by artists such as Winslow Homer, Theodore Robinson, Willard Metcalf, Childe Hassam, Edward Hopper and many others.  Every 8 to 12 months a new work was added to his walls.  Another quiet but diligent collector was buying luminist paintings of the Hudson River School.  Both of these collections are of the highest caliber.

Edward Hopper
Hotel Room
Museum Thyssen-Borenamisza, Madrid

IN OUR NEXT POST, THE LRFA BLOG LOOKS FORWARD TO FOLLOWING ELLERY’S PATH IN THE EXTRAORDINARY WORLD OF THE MOST CELEBRATED MASTERS OF AMERICAN ART.

PLEASE JOIN US!

The LRFA blog welcomes Ellery Kurtz, American art expert and appraiser

Ellery Howard Kurtz, AAA
Certified Member, Appraisers Association of America, Inc.

ELLERY KURTZ ENJOYS AN OUTSTANDING REPUTATION IN THE FIELD OF AMERICAN ART. HIS EXPERIENCE INCLUDES DIRECTORSHIPS IN SEVERAL  MAJOR AMERICAN GALLERIES AND HIS KNOWLEDGE AND EXPERIENCE WITH AMERICAN PAINTING, SCULPTURE AND WORKS ON PAPER STRETCHES ACROSS TWO CENTURIES.  HE HAS HELPED TO ESTABLISH MANY IMPORTANT PRIVATE COLLECTIONS AND PLACED MANY SIGNIFICANT WORKS IN MAJOR AMERICAN MUSEUMS AND INSTITUTIONS, INCLUDING THE WHITE HOuSE.

HIS KNOWLEDGE OF THE HISTORY OF AMERICAN PAINTING, ITS CULTURAL AND HISTORICAL HERITAGE, IS PROFOUND AND HIS APPRECIATION OF THESE WORKS IS DEEPLY EVIDENT. ELLERY IS A CERTIFIED APPRAISER AND MEMBER OF THE AMERICAN ART APPRAISAL ORGANIZATION AND AN EXPERT IN THIS FIELD.

THE LRFA BLOG IS DELIGHTED TO WELCOME ELLERY AND LOOKS FORWARD TO SHARING HIS ALMOST INFINITE KNOWLEDGE OF AMERICAN ART AND THE AMERICAN ART MARKET WITH US.

ELLERY, WE HAVE KNOWN EACH OTHER A LONG TIME BUT I AM UNAWARE OF YOUR EARLY EXPERIENCES WITH ART AND LOOK FORWARD TO LEARNING ABOUT THEM.

The Metropolitan Museum of Art, New York

HOW DID YOU FIRST BECOME INTERESTED?  WERE YOUR PARENTS COLLECTORS OR DID YOU CREATE ART AND SEGUE INTO SELLING IT, AS MANY OF US HAVE?

My interest or rather my fascination with art started as a child.  My mother, Sylvia, was an amateur painter who initially had a dream of being a fashion illustrator. Unfortunately, economics and WWII forced those ambitions to be put aside.  But she continued to paint throughout her lifetime into her 90th year.  As a little boy I would watch her work on a painting which was fascinating to me.  She had this old wood paint box that her father had bought for her with saved pennies when she was a teenager.  From that old wood box came pure magic, colors of every shade squeezed from magic tubes somehow leaped to from her wood palette to her canvas by means of a magic wand…her brush.  She put drawing materials in my hands very early in life which cemented that fascination. I fell in love.

As I grew older, every now and then my parents would take me a museum like the Metropolitan Museum of Art.  Those visits completely mesmerized me.  Standing in front of one masterpiece after another was pure joy. 

Frederic Church
Heart of the Andes
Metropolitan Museum of Art

WHAT STEPS DID YOU TAKE TO GET TO KNOW MORE ABOUT ART?

When I was in my late teens I bought my own magic tools… paints, brushes and canvas and started painting, with no formal training or education.  In 1969 I was a liberal arts student at Bronx Community College.  Like most of my generation I had my own place and needed a job to pay for books and rent.  After filling out an application at an employment agency I was sent for an interview at an art gallery.  I had never even been in an art gallery until that moment.

American Wing
Metropolitan Museum of Art

WHAT WAS YOUR FIRST JOB IN THE ART WORLD?

So here I was, in 1970 being interviewed by Margaret Wunderlich at Kennedy Galleries, Inc., for a position as an art handler, although back then the job was called “stock clerk.”  It was amazing.  Kennedy was one of the most important and famous galleries for American Art, but I had no idea what was about to unfold in front of me.  Learning from the staff in every department I became completely immersed and soon after left school to pursue a career.

Kennedy Galleries
1874 – 2005

COMPELLED BY PASSION, ELLERY WAS GUIDED INTO A PROFESSION IN THE ART WORLD.  THE PRESTIGE OF KENNEDY GALLERIES AS A REPOSITORY FOR THE FINEST OF AMERICAN ART WAS A VERY NICE FIRST STOP INDEED!

FOR OVER 125 YEARS, KENNEDY GALLERIES WAS THE FOREMOST AUTHORITY AND DEALER IN AMERICAN ART. FOUNDED IN 1874 BY H. WUNDERLICH, THIS GALLERY HELPED BUILD THE FINEST COLLECTIONS OF PAINTINGS AND SCULPTURE IN BOTH THE UNITED STATES AND EUROPE.

IN 2005, KENNEDY GALLERIES’ THEN PRESIDENT MARTHA FLEISCHMAN CLOSED THE GALLERY BUT CONTINUED AS A PRIVATE DEALER.

Fleischman says she plans to open office space in midtown Manhattan some time in March and is looking forward to the opportunities and flexibility that running a private dealership afford. “We have a wonderful inventory, including modernist works and Hudson River School paintings,” she notes. “The gallery will still exist as an entity. The important thing is that even though it is going private, the gallery will continue to be a figure in the landscape of American art.”

http://www.artnews.com/2005/02/01/kennedy-galleries-to-close-will-go-on-as-private-entity/

PLEASE JOIN US NEXT WEEK TO LEARN MORE OF ELLERY KURTZ’S PROFESSIONAL JOURNEY IN THE AMERICAN ART LANDSCAPE.

THANK YOU.

PRVTVW NY disrupts the conventional gallery system with founder Madeleine Paternot

Without Qualities
Private View, New York
Installation

There is tremendous power in resourcefulness and creativity, in opening one’s mind to the possibility of something new, something unexpected and different. The world tells you to do things a certain way, but don’t ever be afraid to turn those paradigms on their heads if you can make up  better way. Look to your imaginations to solve the problems that arise in your lives.

Madeleine Paternot in 3 x 3,  A Memoir about Men, Motherhood and Mastering the Art of Life

THE TERM “WHITE CUBE” AS DEFINED BY THE TATE MODERN REFERS TO A CERTAIN GALLERY AESTHETIC CHARACTERIZED BY ITS SQUARE OR OBLONG SHAPE, WHITE WALLS AND A LIGHT SOURCE USUALLY FROM THE CEILING.  THE WHITE WALLS THAT WERE EMBRACED BY THE DE STIJL AND BAUHAUS MOVEMENTS SET THE PRECEDENT OF EXHIBITING WORKS AGAINST WHITE WALLS IN ORDER TO MINIMIZE DISTRACTION. A PARALLEL EVOLUTION IN ARCHITECTURE AND DESIGN PROVIDED THE RIGHT ENVIRONMENT FOR THE ART.  IT IS A DEFINITION THAT HAS EXPANDED TO EXEMPLIFY THE CONVENTIONAL GALLERY SYSTEM OF REPRESENTING A ROSTER OF ARTISTS THAT REFLECT A DEALER’S TASTE AND AESTHETIC AND FOR THE PURPOSE OF HAVING AN IDENTIFIABLE PRESENCE IN THE ART WORLD.

https://www.tate.org.uk/art/art-terms/w/white-cube

Knee Deep
Private View, New York
September 12 – November 14, 2018

MADELEINE PATERNOT, CO-FOUNDER OF THE 3-D SCULPTURE PARK AND FOUNDATION IN VERBIER AND ITS MORE RECENT COUNTERPART, PRIVATE VIEW, A NEW COLLABORATION WITH BUSINESS PARTNER ALAINA SIMONE, IN NEW YORK’S SOHO, HAS INTRODUCED AN EXCITING ALTERNATIVE TO THE WHITE CUBE.

https://www.prvtvw.com/exhibitions-1/

THE LRFA BLOG WELCOMES MADDY BACK TO TELL US ABOUT HER MOST RECENT CREATIVE VENTURES.

WHAT WAS THE INSPIRATION FOR YOUR OPENING OF PRIVATE VIEW?

Private View is really an extension of my practice and ethos from Verbier 3-D.  I am focused on creating a space that enables artists to exchange ideas within a setting that feels more like a private home. I am trying to go beyond the confines of a white cube gallery and create a space that welcomes dinners, artists’ talks and authentic exchanges like a salon. I even have my own private art studio within the space, because I really like the fact that the ‘making of art’ is always visible within the constraints of a gallery. This idea was also instrumental at Verbier 3-D where the public is invited regularly to see the making of the work during that artist’s residency. I dislike the way the commercialization of galleries has too frequently divorced the visual process of the artwork from the selling of the artwork. I believe the two should co-exist.

Private View
Dinner

 

THE INAUGURAL EXHIBITION, WITHOUT QUALITIES, FEATURED THE WORK OF TWO ETHIOPIAN – AMERICAN ARTISTS TARIKU SHIFERAW AND LUAM MELAKE, REPRESENTED BY ADDIS FINE ART ALONG WITH AN ANCILLARY EXHIBITION OF WORKS BY TAMIKA RIVERA AND NAOMI CLARK REPRESENTED BY FORT MAKERS OF BROOKLYN AND YOUR WORK. WHAT IS THE CONNECTING THEME?

Without Qualities is a separate show from my studio. It was a first time collaboration with Addis Fine Art, a gallery based in Addis Ababa, Ethiopia and London and Fort Makers, a multidisciplinary and immersive art brand founded by Nana Spears who is based in Brooklyn.  This exhibition was curated by PRVT VW’s Director Alaina Simone.  We were able to show emerging artists based in NYC, and provide an international platform for artists or galleries who don’t have a physical space in New York City.

In short, it’s as if we are inviting people into our NYC home and sharing our city with them. Fort Makers is a collective based in Brooklyn and we collaborated with their founder Nana Spears, who works with artists to create functional art pieces that are at the intersection of design, craft and fine art.  Essentially the works nod towards the Bauhaus movement, which is additionally an underlying premise of our space, as PRVTVW hosts artist and curators in a Residency to actually live within the space like a home which is our new Time + Space Residency.  We are dedicated to exposing the process of how we live and create which leads to the physical presence of my painting in the studio within the gallery.

Knee Deep
Private View, New York
Installation
September – November 2018

THE MOST RECENT EXHIBITION, KNEE DEEP, INTRODUCED A GROUP OF EMERGING ARTISTS THAT EXPAND OUR VISUAL AWARENESS OF URBAN LIFE AND STREET CULTURE. MADDY, PLEASE TELL US MORE ABOUT THE EXHIBITION.

These artists, most of whom are based on the East Coast, originally come from both the South and the Midwest. Patrick Eugene, who is Haitian-American, captures the complex joys, anxieties, and confusions associated with coming-of-age in New York. Adrienne Gaither, originally from Cincinnati but now working in Washington, D.C., paints work that is constructed as geometric abstractions, merging different times–past, present, and future in schematic visions; her art works imaginatively with familiar imagery that builds accomplished visuals. Karmimadeebora McMillan is influenced by her southern childhood; she makes brightly colored, quilted landscapes, incorporating racist propaganda and including black dolls purchased in southern flea markets. Howard Sherman is a committed artist with studios in both Houston and Harlem. His work embraces both abstraction and cartoonish figuration, demonstrating an awareness of the history of painting. 

Knee Deep
Private View, New York

IN WHAT WAYS DOES THE GALLERY DIFFER FROM THE CONVENTIONAL GALLERY SYSTEM AND IN WHAT WAYS DID IT REPLICATE IT?

Our program is serious in the aspect that we are working with artists who are exhibiting with prominent institutions in the US and abroad.  Our mission is to make the audience comfortable with the way art is viewed and experienced.  We follow industry standards in the way that the gallery is conducted, but we strive to create a feeling of warmth that you would get from being welcomed in an host’s home. 

WHAT ARE SOME OF YOUR ADDITIONAL PROJECTS FOR PRIVATE VIEW?

This past summer we developed a new painting Residency in Verbier. It was an invite-only Residency. We collaborated with Lower East side gallery Pablo’s Birthday and Verbier 3-D to create this new venture. Our first painter was Tessa Perutz, who made landscapes of the park and surroundings.  It was a great way to expand the Residency outreach and programming of Verbier 3-D.

WHAT ARE SOME OF THE SPECIAL PROJECTS THAT YOU AND YOUR BUSINESS PARTNER AND THE GALLERY DIRECTOR, ALAINA SIMONE, ENVISION IN THE TIME AHEAD?

Knee Deep Artists Talk
Private View, New York

 

 

We are now building and developing a Time + Space Residency in New York in collaboration with Verbier 3-D.  The first artist invited to NYC is Chloe Dewe Mathews, who completed her residency in Verbier in 2016. With her, we produced a book called In Search of Frankenstein which was launched at the British Museum and sold out very quickly. She has since produced a book with Aperture and is in New York promoting her second book Caspian: the Elements.  We are also looking to develop a series of curated dinners, where artists gather together around a long table in the gallery, to enjoy a home cooked meal made by me in the gallery kitchen, and discuss set themes.

Chloe Dewe Mathew
Caspian: The Elements

IN TERMS OF YOUR OWN WORK, WHAT CAN WE ANTICIPATE?

I am working on my first novel, a memoir, entitled 3 x 3

AN EXCERPT:

“Perhaps the act of creation somehow stitches back 

together the thing that started to unravel, through beauty,

through release. Maybe making art is like making peace.”

Madeleine Paternot  in 3 x 3, A Memoir about Men, Motherhood and Mastering the Art of Life

Blue Chair
Madeleine Paternot

MADDY, IT HAS BEEN AN ABSOLUTE DELIGHT TO LEARN OF ALL YOUR FEARLESS ENDEAVORS. THANK YOU SO MUCH FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

NEXT, WE WELCOME ELLERY KURTZ, AN AMERICAN ART SPECIALIST, SEASONED EXPERT AND A CERTIFIED MEMBER OF THE APPRAISERS ASSOCIATION OF AMERICA, INC. WITH SPECIALTY IN 19th AND 20th CENTURY AMERICAN PAINTINGS AND SCULPTURE. WITH ELLERY AT THE HELM, WE WILL EXPLORE THE AMERICAN ART MARKET, ITS SHIFTS AND TURNS, AS WE LOOK AT WORKS THAT REVOLUTIONIZED THE 20th CENTURY FROM THE PERSPECTIVE OF THE 21st.

PLEASE JOIN US!

 

 

 

 

With Madeleine Paternot: Changing the cultural and environmental landscape with art

ANDRE MALRAUX WAS A 20th CENTURY FRENCH ART HISTORIAN, PHILOSOPHER AND CULTURAL POLITICIAN. HE CONCEIVED OF A MUSEE IMAGINAIRE, A MUSEUM WITHOUT WALLS, CONTAINING ALL THE MAJOR WORKS OF ART REPRESENTED IN OUR IMAGINATIONS. THE CONCEPT RESTS ON A PHILOSOPHICAL VIEW OF ART AND ART HISTORY AS ESSENTIALLY ARISING OUT OF A DIALOGUE BETWEEN THE WORKS.

THE 3-D SCULPTURE PARK IN VERBIER, REALIZED BY MADELEINE PATERNOT AND KIKI THOMPSON, HAVE TAKEN MALRAUX’S CONCEPT AND TURNED IT INTO A REALITY.

“The power of art is its ability to articulate human emotions and values such as beauty and truth. On the mountain, faced with such sublime vistas, the visitor can experience these works of art…completely removed from the gallery or museum, directly confronting the truth of nature. This is the true meaning of a museum without walls.” 

Paul Goodwin, Verbier 3-D Curator

Verbier 3-D Sculpture Park

WHAT WAS YOUR FIRST ART-RELATED BUSINESS VENTURE?

I’ve always had a passion for converting spaces and real estate.  I have renovated over seventeen properties.  While I was living in Verbier, Switzerland before I moved to New York, I yearned to build an art community. I took a barn from the 1800’s and created a studio and art gallery that also functioned as an office. The Art Barn, hosted small exhibitions and it became a place for local artists to gather.   


Zak Ove
Elephant Walk
Verbier 3-D Sculpture Park

WHAT GAVE YOU THE IDEA AND VISION TO OPEN A SCULPTURE PARK IN VERBIER?

The Art Barn was my first endeavor where I discovered my love for construction.  I enjoyed the physicality of building the space and I was able to parallel my love for art and community. The Art Barn became a real space that enabled me to promote different activations to bring awareness to the local art community. I felt that the dialogue we created around the different needs of the artists in the canton of Valais was valuable not only the artists but the community at large. 

When I moved to New York, I participated in a residency program at the School of Visual Arts along with my lifelong friend, Kiki Thompson.  Kiki and I were intrigued by the idea of bringing international artists to Verbier to engage with the local Swiss artists and landscape.  Verbier is known for being extreme and there is nothing more extreme and radical than installing monumental sculptures on top of a high altitude mountain. Additionally, we felt that we could provide opportunities for artists abroad while also engaging local Swiss artists.

Gregory Coates
Fences, 2011
Verbier 3-D Sculpture Park

WHO ARE SOME OF THE ARTISTS THAT YOU HAVE INCLUDED IN THE PARK AND WHY?

When we conceptualized the park, there was very short lead time so we invited artists who were in our inner circles to participate. At first it was the artists who were willing to take a leap of faith with us and our lack of track record. We were very fortunate that Paul Goodwin, a curator from from Tate Britain took a liking to our audacious project and this helped to give us some credentials. We have been able to work with outstanding artist such as Zak Ove, Will Ryman (who later became the father of my third child), Olaf Breuning, Andrea Hasler, Chloe Dewe Mathews and James Capper to name but a few. Now under the co-curatorial directorship with Alexa Kusber and Paul Goodwin, we look for artist with themes of migration and the environment. This year we launched our very first painter in residence in Verbier.  It was a new collaboration between a Lower East side gallery Pablo’s Birthday, whose owner Arne Zimmerman coincidently has a chalet in Verbier. Tessa Perutz a NYC based painter was invited for 6 weeks to make paintings based around the sculpture park.  In 2019 we will work with Swiss-German sculptor Karsten Fodinger.



Andrea Hasler
Avant/Apres 2014
Verbier 3-D Sculpture Park

WHAT ARE SOME OF YOUR FAVORITE PROJECTS THAT THE FOUNDATION HAS FUNDED?

The very first year in 2011, one of my favorites was Zake Ove’s Elephant Walk.  It is entirely made of found and recycled local objects and materials. I remember having a lot of fun helping him source materials from the local garbage center.

Another favorite was Andrea Hasler’s land art piece, Avant/Apres from 2014. It was a hot pink “red carpet” with a VIP rope sculpture representing intestines.  Her commentary was about which side of the mountain is the VIP section, depending on which side of the rope you find yourself.

Very excited about James Capper’s Aero Cab which was installed on the mountain this Summer 2018.  The sculpture reminiscent of a hybrid between a plane and a snow machine, will actually slide down the mountain this week during the Verbier Art Summit and Art Geneva. There is a playfulness about his work, which engages me as a parent of three boys.

James Capper
AERO CAB 2018
Verbier 3-D Foundation

WHERE DO YOU SEE THE FOUNDATION HEADED? DO YOU PLAN TO EXPAND ITS SCOPE AND, IF SO, IN WHAT WAYS?

We are actively looking for a main sponsor, ideally a company that has strong links with the environment. We would like more funding to further the residency program, as education and cultural exchange are the pillars of the sculpture Park. More funding would enable us to increase our educational outreach to local and international audiences.

IN OUR NEXT LRFA BLOG POST, WE WILL VISIT WITH MADELEINE PATERNOT AT PRIVATE VIEW NEW YORK, AN EXHIBITION AND CULTURAL MEETING PLACE THAT EXTENDS THE GOALS OF THE VERBIER FOUNDATION TO NEW YORK’S CONTEMPORARY ART SCENE!

STAY TUNED!

The Verbier Art Summit: Innovation and Change with Madeleine Paternot, co-founder of Verbier’s 3-D Sculpture Park

Art Geneve 2019
Geneva, Switzerland
January 31 – February 3

FROM JANUARY 31st TO FEBRUARY 3, 2019, ART GENEVA’S SALONS DES ARTS IS HOLDING THE 8th EDITION OF ITS MODERN AND CONTEMPORARY ART FAIR. OVER THE COURSE OF 7 YEARS, ARTGENEVE HAS ESTABLISHED ITSELF AS AN INTERNATIONALLY RECOGNIZED CONTEMPORARY AND MODERN ART FAIR. THIS YEAR, IT WILL GAIN IN EVER-INCREASING POPULARITY BY THE ADDITION OF DECORATIVE ARTS, HISTORIC AND CONTEMPORARY DESIGN AND TRIBAL ART, AND FEATURE PAD (THE PAVILION OF ART AND DESIGN FAIR THAT IS SO WELL ATTENDED IN PARIS AND LONDON).

Art Geneve
Palexpo, Geneva
January 31 – February 2nd, 2019

PACE GALLERY IS OPENING A NEW SPACE IN GENEVA IN MARCH AND IS PARTICIPATING FOR THE FIRST TIME IN ARTGENEVE. THE GALLERY, LOCATED IN THE CENTER OF THE CITY AT THE QUAI DES BERGES 15-17, PROVIDES PACE A PLATFORM TO FURTHER STRENGTHEN ITS ENGAGEMENT WITH THE REGION’S CULTURAL INSTITUTIONS, COLLECTORS AND PUBLIC.

TO QUOTE MARC GLIMCHER, PACE’S PRESIDENT AND CEO:

“As the art world grows increasingly global, embracing new commercial centers and strengthening relationships with communities of collectors around the world are key elements of our mission to advance the international engagement with our artists’ work.”

HAUSER AND WIRTH RECENTLY ADDED YET ANOTHER GALLERY TO ITS INTERNATIONAL EMPIRE, ITS THIRD IN SWITZERLAND, WITH A NEW SPACE IN ST. MORITZ, . THE SWISS DEALERS HAVE RETURNED TO THEIR ROOTS, OPENING LAST DECEMBER WITH AN EXHIBITION OF WORK BY LOUISE BOURGEOIS.

ON A YOUNGER NOTE, VITO SCHNABEL GALLERY WAS FOUNDED IN ST. MORITZ IN 2015 AND CURRENTLY FEATURES AN EXCEPTIONAL EXHIBITION, THE AGE OF AMBIGUITY, CURATED BY BOB COLACELLO, WITH A DIVERSE RANGE OF ARTISTS SUCH AS RASHID JOHNSON, JEAN-MICHEL BASQUIAT, JAQUELINE HUMPHRIES, AND ANDY WARHOL.

Vito Schnabel Gallery
St. Moritz

GAGOSIAN HAS HAD ITS FEET FIRMLY PLANTED IN SWISS SOIL SINCE 2010, OPENING AT THAT TIME WITH A STUNNING INAUGURAL EXHIBITION, “GIACOMETTI IN SWITZERLAND”, CURATED BY THE GIACOMETTI FOUNDATION AND BY ANNETTE GIACOMETTI, AND IS CURRENTLY EXHIBITING OUR SARDONIC KITSCH AMERICAN PAINTER, JOHN CURRIN.

Verbier Art Summit 2019
February 1 – 2

SWITZERLAND IS BURSTING WITH CONTEMPORARY ART AND IDEAS IN EARLY FEBRUARY AND TODAY’S LRFA BLOG IS DELIGHTED TO HAVE  MADELEINE PATERNOT, CO-FOUNDER OF VERBIER’S 3-D FOUNDATION AND SCULPTURE PARK, SHARE THE DETAILS OF THE EVENTS TAKING PLACE AT THE VERBIER ART SUMMIT.

Verbier Art Summit

MADDY, WELCOME BACK. PLEASE TELL US ABOUT JAMES CAPPER’S WORK AND WHY HE WAS CHOSEN AT THE 2018 ARTIST IN RESIDENCE.

Capper’s work AERO CAB creates a modern platform for visitors to consider the role of the engineer in relation to creating solutions in fragile natural environments in places such as Verbier, and to the possibilities of broadening the scope from the technical aspects of engineering to those aspects that directly affect communities and the environment.  Capper, an artistic engineer, was invited to Verbier, Switzerland to become immersed in the local glacial environment to develop new work responding to the 200th year anniversary of the Giétro Glacier and its catastrophe of 1818.

In 1815,  ‘Year Without Summer’, marked the beginning of a three-year period of severe climate deterioration of global scale, unforeseen chaotic and chilling weather caused many glaciers in Switzerland to increase in mass. The Giétro Glacier therefore advanced and loomed over the valley. This caused alarm of the threat of falling ice, avalanches and the possibility of the ice dam that had formed, bursting. The Giétro Catastrophe is one of the most famous and most disastrous historical events in the Swiss Alps related to climate change. Its folklore is embedded in the local history of the surrounding areas and recently resurrected due to this year’s anniversary fused with current debates on effects of the present-day period of amplified global warming – the Anthropocene.

James Capper
Artist in Residence 2018
Verbier 3-D Foundation

The Verbier Art Summit is an international platform for discourse connecting thought leaders to key figures in the art world to generate innovative ideas and drive social cahnge. This year, our 3-D Foundation offers test runs of AERO CAB with artist James Capper. 

Verbier 3-D Foundation Art Summit Events:

Friday 1st February :
13h – 14h: Art Walk in the snow through the Verbier 3-D Sculpture Park with artist James Capper and 3-D curator Alexa Jeanne Kusber

James Capper’s AERO CAB Test Runs at the Verbier Art Summit

As part of our continued cultural partnership in 2019 with the Verbier Art Summit, we would like to invite you to experience an afternoon of experimental sculptural demonstrations (test runs) of AERO CAB with the artist that will take place on 2 Feb and 3 Feb 2019.

Saturday 2nd February :
13h – 14h: Test run of AERO CAB with artist James Capper

Sunday 3rd February :
13h – 14h: Test run of AERO CAB with artist James Capper

 

The Verbier 3-D Foundation is pleased present, AERO CAB a new sculptural work by British artist  James Capper which is currently on exhibit at an altitude of 2,300 meters in the Verbier 3-D Sculpture Park. The artistic engineer was invited to participate in our 2018 Artist Residency to become immersed in the local glacial environment to develop new work in response to current debates on climate change.

James Capper’s sculptural machines have specific, functional uses, but the tangible impact they have on the environment also engages with essential questions concerning the relationship between the natural world, art and technology. The application of hydraulic engineering ensures each work has the capability of landmarking or sculpting when operated, however, the experimentation and refinement deployed transcends componentry and purpose, rendering them as works of art.

This all comes together when Capper operates his creations in person, as the testing of his work is a crucial part of the artist’s practice – the outcome never specifically predetermined. Once the behaviour of AERO CAB is identified during these test runs, Capper will continue to develop the work through the medium of film.

Visitors are also invited on 1 February for a curator-led walk through of Verbier 3-D Sculpture Park with Verbier 3-D’s Chief Curator Alexa Jeanne Kusber and artist James Capper.

Alexa Jeanne Kusber is an American independent curator and creative based in Zurich. Throughout her career, she has maintained a focus on questioning and expanding the notion of curating.

She co-curates the Residency Programme with British curator Paul Goodwin at the Verbier 3-D Foundation, creating a space for artists and experimentation to meet in an alternative context in which the artists’ practices are challenged to create cutting-edge contemporary art in relation to place.

Furthermore, we are excited to be included in the VIP programming for Art Geneva for the AERO CAB event on 2 February.

James Capper
Aero Cab

IN OUR NEXT LRFA BLOG POST, WE RETURN TO PRIVATE VIEW NY, MADDY’S MOST RECENT UNDERTAKING, ITS LINKS WITH THE VERBIER ARTIST-IN-RESIDENCE PROGRAM AND SOME WONDERFUL PAST AND CURRENT EXHIBITIONS.

PLEASE JOIN US!