Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: art fairs

The LRFA blog welcomes Meg Malloy, partner at Sikkema Jenkins & Co. gallery

Meg Malloy
Partner
Sikkema Jenkins & Co.

SIKKEMA JENKINS & CO. ENJOYS A LONG AND RESPECTED HISTORY IN THE CONTEMPORARY ART WORLD FOR DISCOVERING EMERGING ARTISTS WHO GO ON TO GAIN GREAT CRITICAL AND COMMERCIAL SUCCESS AND SUPPORTING ESTABLISHED CONTEMPORARY ARTISTS WHOSE CAREERS THEY NURTURE. LOCATED AT 530 WEST 22nd STREET IN THE WEST CHELSEA ARTS DISTRICT IN NEW YORK CITY, THE GALLERY WAS FOUNDED IN 1991 BY BRENT SIKKEMA AS WOOSTER GARDENS. BRENT SIKKEMA BEGAN HIS GALLERY WORK IN 1971 AT THE DIRECTOR OF EXHIBITIONS AT THE VISUAL STUDIES WORKSHOP IN ROCHESTER, NEW YORK. HE OPENED HIS FIRST GALLERY IN BOSTON, MASSACHUSETTS, IN 1976. MICHAEL JENKINS, WHO HAD WORKED ON PROJECTS WITH THE GALLERY SINCE ITS OPENING IN 1991, JOINED AS DIRECTOR IN 1996, AND BECAME A PARTNER IN 2003.

Sikkema Jenkins Gallery
530 West 22nd Street
Chelsea, New York

SIKKEMA JENKINS & CO. WAS ORIGINALLY LOCATED ON WOOSTER STREET IN SoHo AND IN 1999 MOVED TO ITS PRESENT CHELSEA LOCATION SUBSEQUENTLY UNDERGOING EXTENSIVE RENOVATION AND EXPANSION.  THE GALLERY IS AN EXTREMELY INVITING ENVIRONMENT, WITH A DEDICATED AND ACCESSIBLE STAFF EAGER TO EDUCATE AS WELL AS TO PLACE WORKS.

MEG MALLOY, A PARTNER AT SIKKEMA JENKINS, IS THE PERFECT REPRESENTATIVE OF THE OPEN UNPRETENTIOUS SPIRIT OF THE GALLERY AND THE LRFA BLOG IS DELIGHTED TO WELCOME HER TODAY.

MEG, THANK YOU, IN THIS BUSY SEASON OF THE ART YEAR, FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

Vik Muniz: Surfaces
Current exhibition
Sikkema Jenkins & Co.

WHAT WERE YOUR EXPERIENCES GROWING UP THAT ENCOURAGED AN INTEREST IN ART?

I was born in Chicago and raised in Glencoe, a suburb north of the city. I am the oldest of six.   My mother had wanted to be an artist, and going to museums was a part of my childhood.  The Art Institute also had a great outreach program and before any school trip there, museum docents would come to school and educate us about what we might see.  My parents were involved in a local theater group and I took part in the youth version, always on the management side as a producer or v.p.-  never as a performer.    In high school and college, friends and I used to take the train to the city and to go the Art Institute.  We would just wander.  I was always struck by Georgia O’Keeffe’s Sky Above Clouds, which was installed at the top of a grand staircase at the museum: it seemed so majestic, and it motivated me to read her biography. I loved thinking about her work, and what sounded to me like an impossibly exciting life in art.

 

Georgia O’Keeffe
Sky Above Clouds

DID YOU PAINT OR HAVE AMBITIONS TO BECOME A PROFESSIONAL ARTIST?

 I never had any talent for art making, though  I enjoyed it.  I really thought I would go into publishing. I worked on the school newspapers in both junior high and high school.  One close friend did have parents who were collectors, and another had a mom who ran a gallery downtown.    

WHAT WAS YOUR ACADEMIC BACKGROUND, AND HOW DID IT LEAD YOU INTO THE ART WORLD?

 I went to The University of Illinois at Champaign Urbana and studied Comp Lit.  

My plan was to follow my favorite aunt’s career path in publishing.   Because comp lit is interdisciplinary, we often looked at visual art. My interest in its history was piqued, and I added art history classes to my course of study.  I was a resident advisor and had a number of artists on my floor  – I  loved visiting their studios and talking about what they  were doing.

Kara Walker
Turbine Commission Tate Modern

Then  I took a museum studies class and decided I should go into museum education.   With that goal in mind, I decided to go to grad school in art history, and ended up at UC Berkeley. There I had a job at the art museum bookstore, and then became the intern for Connie Lewallen, a wonderful curator and human being.   She ran the Matrix program, which focused on one contemporary artist at a time in a frequently changing exhibition program, always with an accompanying brochure.  I loved the variety and the engagement with the artists and their ideas.  It was compelling.  I also became the de facto house sitter for the curators — all of whom had great contemporary art and libraries, and I loved being immersed in those environments.

Erin Shirreff
San Francisco Museum of Art

SO MANY INFLUENCES LEADING YOU TO NEW YORK AND A CAREER IN THE ARTS. IN OUR NEXT LRFA BLOG, MEG WILL  DETAIL HER FIRST EXPERIENCES IN THE NEW YORK ART WORLD.

PLEASE JOIN US!

A profound commitment to the interests of the artist with gallery director, Maria Bueno, of Cheim & Read

Art Basel 2019
Cheim & Read

IN HIS RECENTLY PUBLISHED BOOK, BOOM, A FASCINATING AND COMPREHENSIVE COMMENTARY ON HOW THE CONTEMPORARY ART WORLD AND MARKET HAS EVOLVED, MICHAEL SHNAYERSON WRITES:

TRADITIONALLY, DEALERS LARGE AND SMALL HAD TRAVELED TO A HANDFUL OF FAIRS: FIAC IN PARIS, NEW YORK’S ARMORY SHOW, AND THE MOST ESTABLISHED FAIR, ART BASEL SWITZERLAND. WHEN ART BASEL MIAMI BEACH JOINED THE PACK IN 2002, AND FRIEZE LONDON IN 2003, THE PACE REMAINED, FOR A WHILE, MANAGEABLE. YET EACH YEAR, MORE NEW ART FAIRS SPROUTED, IN ONE COUNTRY AFTER ANOTHER…CLARE McANDREW, THE CONSULTING ART-MARKET ECONOMIST WHO NOW WORKS FOR ART BASEL, COUNTED 260 MAJOR FAIRS. WITH MORE AND MORE ART TO BE SEEN AND SOLD, DEALERS FELT THAT THEY HAD NO CHOICE BUT TO BE A PRESENCE IN AT LEAST A FEW OF THE PROLIFERATING SHOWS. IT WAS A COSTLY DECISION. 

Michael Shnayerson, BOOM, Public Affairs, New York, pp. 362-363.

Michael Shnayerson
Boom
Mad Money, Mega Dealers, and the Rise of Contemporary Art

A FEW GALLERIES ARE GETTING MORE AND MORE OF THE MARKET SHARE. MANY COLLECTORS ARE VISITING ART FAIRS AS THEIR PRIMARY SOURCE WHEN BUILDING AND ADDING TO THEIR COLLECTIONS AND FREQUENT THE GALLERIES LESS AND LESS. AT THE SAME TIME, JENNIFER FLAY, ARTISTIC DIRECTOR OF FIAC, IN AN INTERVIEW IN THIS WEEK’S FINANCIAL TIMES,  POINTS OUT THAT ART WORLD INDIVIDUALS MAY SOON NEED TO RE-EVALUATE THEIR CARBON FOOTPRINT WHICH COULD POTENTIALLY BRING THE FOCUS OF THE MARKET BACK TO REGIONAL AND LOCAL SITUATIONS.

IN THIS CLIMATE OF ECONOMICAL, SOCIAL AND ENVIRONMENTAL CONCERNS, THE RESPONSIVE ART MARKET IS UNDERGOING A TRANSFORMATION IN ITS WAY OF DOING BUSINESS.

TODAY, WE WELCOME BACK MARIA BUENO, PARTNER AT CHEIM & READ, WHO HAS OPTED TO OPEN AN UPTOWN GALLERY FOCUSED ON CONNOISSEURSHIP, THE SECONDARY MARKET AND AN UNFLAGGING COMMITMENT TO THE BEST INTERESTS OF THE ARTIST.

https://www.cheimread.com

Frieze, New York, 2018
photo taken by Brian Buckley courtesy of Cheim & Read, New York

MARIA, WHAT ART FAIRS DOES CHEIM & READ PARTICIPATE IN, AND WHY?

Art Basel and Art Basel Miami Beach. The outstanding quality of the material on view brings in people who are important to us, from curators to collectors to museum patrons. We take these fairs very seriously and our presentations reflect that effort.

WE ARE IN A CHANGING AND VOLATILE ECONOMIC CLIMATE. HOW DO YOU THINK THAT WILL IMPACT ON THE CONTEMPORARY ART MARKET?

It is hard to predict but collectors will always find the resources to acquire a work of the highest quality no matter the circumstances. We strive to source and show work of this quality level so that collectors feel comfortable and confident in what we are showing and offering them. We have worked hard to establish a loyal client base which we hope will follow us into the next chapter of the gallery’s history.

WHAT IMPACT DO YOU THINK IT WILL HAVE ON THE GALLERY SYSTEM?  WHAT ARE THE DIFFERENCES IN REPRESENTATING ARTISTS NOW AND EVEN A FEW YEARS AGO SINCE SOME DEALERS HAVE NUMEROUS GLOBAL LOCATIONS?

Dealers will need to find innovative ways to continue doing business and make sure artists have the freedom and flexibility to make their work. Today it seems like everyone is vying for “worldwide exclusive representation” – these representation wars are tiring and not necessarily in the best interest of the artists. Why not have several dealers with whom you like and respect working for you? 

Ron Gorchov
Opening exhibit September 2019
Cheim & Read
23 East 67th St, New York

WHAT ARE THE GALLERY’S PLANS FOR THE FUTURE?

Our new gallery opened on September 26th with an exhibition of historical, never before exhibited paintings by Ron Gorchov. We plan to mount 3-4 exhibitions per year, most of which will have a historical focus and examine key periods in artists’ oeuvres. Catalogues and other publications will add to our commitment to original scholarship. We also plan to participate in select art fairs. We will continue to work directly with a number of artists whom we have had long relationships with and will continue to pursue meaningful projects on their behalf. We will also concentrate on private sales in the secondary market. This work is informed by our depth of knowledge developed by decades of connoisseurship and our extensive archive.

 

Lynda Benglis
Catalina
Museum of Cycladic Art Athens, November 2019

 

WHAT DO YOU THINK IS THE IMPACT OF OUR SOPHISTICATED AND EVER DEVELOPING TECHNOLOGY ON ARTISTS’ WORK?  WHICH ARTISTS EMBRACE THESE INNOVATIONS MOST SUCCESSFULLY?

While Cheim & Read has always had a particular interest in the traditional medium of painting, technology has been helpful in executing a sculptor’s concept in more ambitious scales. Lynda Benglis for example continues to push the boundaries of this medium and uses new technology with her foundries to create incredibly intricate and detailed works on monumental scales. It’s exciting for all of us to see come to life.

Lynda Benglis at The Cycladic Museum, November 22, 2019

“Lynda Benglis: In the Realm of the Senses” opens at the Museum of Cycladic Art, Athens. The exhibition curated by Dr. David Anfam is the first solo exhibitions for Benglis in Greece, a country that has great significance for Benglis aesthetically and culturally. 

THERE ARE CERTAINLY TRENDS IN COLLECTING, MORE THAN EVER, SINCE IMAGES AND ARTWORKS ARE ACCESSIBLE BECAUSE OF THE INTERNET, INTERNATIONAL ART FAIRS, AND THE GLOBAL MARKET.  HOW DO YOU DIFFERENTIATE WHAT IS A TREND THAT WILL RECEDE ALONG WITH THE MONETARY VALUE  FROM AN ARTIST THAT WILL CONTINUALLY COMMAND A PLACE IN THE MARKET WITH ONLY SLIGHT EBBS AND FLOWS ?

In most instances, you can only know these things with time. For us, we continue to show and support artists we believe in, no matter the trends. It is this steadfast commitment to a particular vision that I think differentiates us from other dealers. 

IN OUR NEXT LRFA BLOG, MARIA WILL SHARE HER PERSPECTIVE ON TRENDS IN THE ART MARKET AND THE CONTINUED FOCUS AND FUTURE OF CHEIM & READ.

PLEASE JOIN US!

The artist/gallerist relationship at Cheim & Read with director Maria Bueno

CHEIM & READ
23 East 67th Street

CHEIM & READ GALLERY HAS ALWAYS BEEN PRESCIENT ABOUT THE FUTURE OF THE ART MARKET. IN 2018, AT A PANEL AT ART BASEL MIAMI BEACH, CO-FOUNDER HOWARD READ,  AT “THE FUTURE OF THE ARTIST AND GALLERIST RELATIONSHIP” DISCUSSION, ANNOUNCED THE GALLERY’S PLANS TO OPEN ON THE UPPER EAST SIDE, AND LEADING THE WAY TOWARDS A NEW MODEL OF GALLERIES THAT IS MORE PROGRESSIVE. WHILE CONTINUING TO DEAL ON THE PRIMARY MARKET, WORKING DIRECTLY WITH ARTISTS IN RELATIONSHIPS THAT CHEIM & READ HAS LOVINGLY CULTIVATED OVER THE YEARS, THE GALLERY WILL CREATE  A MORE FLEXIBLE INFRASTRUCTURE, FOCUSING ON THE SECONDARY MARKET, COMMISSIONS, AND TARGETED ART FAIRS.

Art Basel Miami Beach
Conversations 2018
Howard Read

http://www.artnews.com/2018/12/07/dealer-howard-read-announces-new-art-commissions-farewell-castelli-model-business/

MARIA BUENO, DIRECTOR AT CHEIM & READ, CELEBRATES HER 10TH ANNIVERSARY AT THE GALLERY AND SHARES WITH THE LRFA BLOG THE GALLERY’S ENORMOUS RESPECT FOR ITS ARTISTS, AND SENSITIVITY TO THE ARTIST/GALLERIST RELATIONSHIP.

MARIA, WELCOME BACK AND THANK YOU FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

WHAT WERE THE SUBSEQUENT STEPS THAT LED YOU TO CHEIM AND READ?

I graduated college, moved to Europe for a year (and worked for a gallery in Barcelona), and then came back and worked for Phillips in their contemporary art department. I started there as an administrator, then a junior specialist, and although I enjoyed the educational component of learning about new artists as well as the evening sales adrenaline rush, I missed the connection to working directly with artists. I kept in touch with Cheim & Read and when the timing was finally right, joined them in 2010.

Al Held
The Yellow X

HOW LONG HAVE YOU BEEN WITH THE GALLERY AND WHAT IS ITS BUSINESS STRUCTURE?

Next year will be my 10th year anniversary with Cheim & Read. It has been an honor and a privilege to work with John Cheim and Howard Read. They encouraged me to find my own identity and style as a dealer, supported projects or initiatives I thought would be beneficial to the gallery, and entrusted me to form my own relationships with the artists they so carefully cultivated over their careers.

For over two decades, Cheim & Read represented over twenty artists and estates and most of our focus was building and supporting these artists on the primary market. We also had a strong presence in the secondary market with artists with whom we had an interest or particular expertise. In June of 2018, we announced that we would be relocating from Chelsea to a more intimate gallery on the Upper East Side and shifting our business model to one that is more nimble, flexible, and in line with John Cheim and Howard Read’s interest in pursuing projects and working with artists they are truly passionate about.

Serge Poliakoff
Bleu Rouge
1951

DO YOU HAVE WORKING RELATIONSHIPS WITH SPECIFIC ARTISTS OR IS YOUR FOCUS PRIMARILY IN THE SALE OF WORKS FOR ALL THE ARTISTS THE GALLERY REPRESENTS?

We have a very organic approach to working with artists – there is no such thing as an “artist’s liaison” at Cheim & Read. John and Howard have their longstanding relationships with our artists and I support their efforts by developing my own relationships so that we can best service the needs of the artists on an individual basis. It has a family-like quality that I think is rare for galleries in the present day and has served us well throughout the gallery’s history.

Milton Resnick
Board Painting
courtesy of Cheim & Read

WHAT ARE THE WAYS IN WHICH A GALLERY BEST REPRESENTS AN ESTATE? IS THE EMPHASIS ON PLACING WORKS IN COLLECTIONS OR MUSEUMS OR IN ARRANGING MUSEUM EXHIBITIONS ON AN INTERNATIONAL BASIS?

Our strategy is to first mount exhibitions of important but perhaps overlooked periods in an artist’s career. The goal here is to expose curators, collectors, and the general public to a body of work that perhaps has not been seen in many years or has not been explored in further depth.

Notable examples of this are Al Held’s Alphabet Paintings (2013), Hans Hartung’s late paintings (2010), the work of Serge Poliakoff (2016), and the Board paintings of Milton Resnick (2018). These exhibitions are accompanied by scholarly publications with writing from curators or critics that helps to reframe this work a contemporary context. These efforts usually begin important conversations with museums to acquire works for their collection and/or mount their own presentation of the artist. We also establish more in depth strategies with each estate to feature works at art fair presentations or other exhibition or project opportunities, undertake outreach efforts to institutions and foundations to feature and/or acquire works, create and/or help organize an estate’s archive, and much more.

Hans Hartung
The Last Paintings 1989
Cheim & Read exhibition

IN OUR NEXT LRFA BLOG WITH MARIA BUENO, DIRECTOR OF CHEIM & READ, WE WILL EXPLORE JUST A LITTLE OF THE GALLERY’S VERY RICH HISTORY.

VISIT CHEIM & READ’S NEW UPTOWN SPACE, AT 23 EAST 67TH STREET, AND ITS EXUBERANT INAUGURAL EXHIBITION CELEBRATING THE WORK OF RON GORCHOV.

https://www.cheimread.com/

 

The importance of the new technology in the art market as analyzed in the Bank of America Private Bank survey

THE DIGITAL REVOLUTION HAS DRASTICALLY AFFECTED MANY INDUSTRIES, CHANGING THE WAY WE COMMUNICATE, ACQUIRE AND SELL PRODUCT. ONE OF THE INDUSTRIES THAT HAS, SURPRISINGLY, BEEN IMPACTED LESS THAN ONE WOULD THINK, GIVEN ITS BASICALLY VISUAl NATURE, IS THE ART MARKET AS SEEN IN THE RECENT PIERCINGLY INFORMATIVE AND COMPREHENSIVE BANK OF AMERICA PRIVATE BANK REPORT.

  • ART AND TECHNOLOGY
  • The art market remains one of the few industries still largely undisrupted by technology. We’re seeing innovation, but it’s still at the fringes. While online transactions are increasing, the growth of online sales has slowed, growing at 9.8% in 2018 versus 12% in 2017.
  • Internet-native art companies are trying to help. In June, private equity firm Cove Hill made an investment in online marketplace LiveAuctioneers, aiming to accelerate online sales growth for their auction house partners, while Invaluable has made it easier to source and buy lower value items. Major galleries like Gagosian and David Zwirner launched digital sales channels, but the digital revolution still eludes the art world.
  • On the transparency front, Christie’s became the first major auction house to record sales via Blockchain with the sale of the Ebsworth collection in November. At the request of the seller, Christie’s partnered with Blockchain-secured registry Artory to record its transactions. It’s an interesting development, but we’re a long way from Blockchain becoming industry standard.
  • The most significant art world technology has been the rise of Instagram. Artists market themselves, museums announce exhibits, dealers initiate sales, and collectors tout their purchases through the platform. In 2017, when the “Untitled” Basquiat sold at Sotheby’s for over $110 million, Yusaku Maezawa posted his photo on Instagram to let the world know of his acquisition. Younger collectors, artists, dealers and auction specialists are increasingly using Instagram to enhance their personal and professional brands. Expect the new status loop to fuel a herd mentality for some artists and more price volatility. So collector beware.

 

  • AS AN ASIDE, ARTISTS ARE CREATING WORKS THAT REPRODUCE EFFECTIVELY ON INSTAGRAM IN TERMS OF COLOR, DIMENSIONALITY AND SURFACE WITH THEIR AESTHETIC PRESENCE IN PERSON SOMETIMES TAKING A BACK SEAT.

 

  • ART LENDING

    Our art lending business grew by 20% year-over-year, as you all continue to unlock capital from your art to build hotels, buy sports franchises, expand companies and even buy more art, just to name a few. The four most common situations we’re seeing are:

    1. The balance sheet arbitrage: With historically low interest rates, more of you are unlocking capital from your art to redeploy into higher-return areas of your financial life, like private equity.

    2. Working capital line: During the current economic expansion, more of you are using art loans to fund the growth of your privately held companies.

    3. Monetizing a collection: The passage of the 2017 Tax Cuts and Jobs Act eliminated the 1031 Like-Kind Exchange, making it more expensive to sell art. Instead of selling art and dealing with paying the 28% federal tax + 3% health care surtax + state taxes + sales commission, many of you have chosen to leverage your art via an art line to generate liquidity.

    4. Guarantees: We’re seeing more of you using art facilities to back guarantees at auction (but we advise caution).

    We estimate that total U.S. art loan commitments stand at $16 billion. We’re proud to have a significant portion of those loans, and we remain staunchly committed to the space. Given our forecast of continued low interest rates, stratified wealth creation, and expansion of the collector base, we expect continued growth in the space.

    Top five artists we lend against, by value:

    1. Willem de Kooning

    2. Andy Warhol
    3. Constantin Brancusi

    4. Paul Cezanne

    5. Roy Lichtenstein

    AT THE CLOSE OF THE SURVEY, BANK OF AMERICA PRIVATE BANK TARGETS THE OPPORTUNITY ZONES AND THE EFFECT OF CAPITAL GAINS TAX INCREASES AND THE REPEAL OF THE SECTION 1031 LIKE-KIND EXCHANGES PROVISION. THIS IS INVALUABLE INFORMATION FOR ANY ONE INTERESTED IN THE ART MARKET: DEALERS, GALLERISTS, AUCTION SPECIALISTS, AND MOST OF ALL COLLECTORS.

    PLEASE JOIN US!

     

The art of relationships: art fairs, appraisal services, museum curators at Debra Force Fine Art

Debra Force
Art League Presents
Kalamazoo Institute of Arts

DEVELOPING A DIALOGUE WITH MUSEUM CURATORS AND MUSEUM BOARDS AND PLACING WORKS IN INSTITUTIONAL VENUES IS ONE OF THE GREAT ACCOMPLISHMENTS OF ONLY A HANDFUL OF GALLERIES.  IT REPRESENTS AN INVESTMENT OF TIME AND SCHOLARSHIP AS WELL AS ONE OF NURTURING RELATIONSHIPS. SEVERAL CONTEMPORARY GALLERIES HAVE DIRECTORS WHO FOCUS SOLELY ON CULTIVATING MUSEUM RELATIONSHIPS FOR THEIR ARTISTS, TRAVELING ACROSS THE COUNTRY TO NEGOTIATE EXHIBITIONS AND MEETING WITH BOARDS OF MUSEUMS AND CURATORS TO PRESENT WORKS BY ARTISTS THEY REPRESENT. IT IS AN ART FORM IN AND OF ITSELF.

AS THE CHICAGO APPRAISERS ASSOCIATION NOTES:

The trick to selling to museums whether it be a large institution like the Metropolitan Museum of Art or your local historical society is scholarly research, provenance and a lot of patience. Nothing moves fast with museums. They do not have to necessarily operate on at a yearly profit, so they move at their own maddening slow pace.

IT IS A MARK OF THE QUALITY OF THE WORK AND THE EXPERTISE OF THE DEALER THAT DEBRA FORCE HAS SUCH GREAT SUCCESS IN PLACING ART WORKS IN VERY PRESTIGIOUS MUSEUMS.

TODAY, THE LRFA BLOG CONTINUES ITS DIALOG WITH DEBRA TO LEARN ABOUT THIS ASPECT OF THE ART BUSINESS.

http://www.debraforce.com

DEBRA, THE GALLERY HAS AN EXTREMELY ACTIVE AND IMPRESSIVE TRACK RECORD OF STRONG RELATIONSHIPS WITH NUMEROUS MUSEUMS. HOW DID THAT COME ABOUT?

I started out more in the museum field and have an academic background, so have always felt a special affinity for institutions.  Throughout my career, I have made a point of visiting the curator or director of the art museum wherever I am traveling and have welcomed them to the gallery.  At times, we’ve organized small events for museum collecting groups and patrons, including special Saturday visits to discuss American art, using our inventory as visuals.  I have also spoken at various institutions and to their collecting groups, including the Smithsonian American Art Museum and the High Museum, etc. 

I have always attempted to match works of art with the right institution and find it rewarding to do so.  Museums to which we have sold works in recent times include:  Art Institute of Chicago, Museum of Fine Arts, Boston, Metropolitan Museum of Art, Vero Beach Museum, New Orleans Museum of Art, Pennsylvania Academy of the Fine Arts, Virginia Museum of Fine Arts, Montclair Art Museum, and Museum of Fine Arts, Houston, among many others.

Norman Bluhm
X, 1964
Oil on canvas

WHAT WOULD YOU DEFINE AS THE MOST SIGNIFICANT DIFFERENCE BETWEEN A SALE TO A COLLECTOR AND A SALE TO A MUSEUM?

Both are rewarding, especially if helping a client build a collection; there is a sense of pride in coming up with a theme or plan and finding works to illustrate the goal.  From the museum standpoint, it is so exciting to place a work in an institution where it will be studied and admired for posterity.  It is less interesting to work with clients who are mostly buying art for decorative purposes, but it can be challenging just the same.

Martin Johnson Heade
Cluster of Roses In a Glass
Circa 1887-1895

THE GALLERY IS A REGULAR EXHIBITOR AND PARTICIPANT IN SOME VERY PRESTIGIOUS ART FAIRS. WHICH ONES DO YOU FIND THE MOST PRODUCTIVE AND WHY, IN TERMS OF ATTENDANCE, SALES AND INTRODUCING NEW COLLECTORS TO THE GALLERY

We do a variety of art fairs to reach different audiences.  The best one for traditional American art is the one called The American Art Fair (TAAF) which takes place every Nov. at the same time as the major American Paintings auctions.  We have sold major works there, including ones by Martin Johnson Heade, Thomas LeClear, Thomas Hart Benton, and Oscar Bluemner.  It is the only fair that extols traditional American art; no works by living artists are allowed.

Milton Avery
Pink Island, White Waves, 1959
Oil on canvasboard

Of late, because of the emphasis on art from the second half of the 20th Century and 21st Century, we have exhibited at the Seattle Art Fair in August and Art Miami in December.  In both cases, we have focused upon Post-War era works as well as Modernism.  These fairs give us a chance to meet new clients and to exhibit works that we do not feature in the gallery on a regular basis.  We might also show works by living artists such as Wolf Kahn, Wayne Thiebaud, or Jamie Wyeth.

John Marin
Hudson River Galley, 1911
watercolor on paper

The Art Fair, sponsored by the ADAA in New York in March, is a favorite of ours.  It also allows us to promote our 20th-century material, generally with a thematic approach such as a tribute to the 100th anniversary of the Armory Show of 1913, social commentary, or urban/rural landscape.  We have consistently sold well at this fair, selling works by Marsden Hartley, Walt Kuhn, Charles Sheeler, Max Weber, Charles Burchfield, John Marin, and Alice Neel, among others.

We have also tried fairs in Palm Beach and Chicago as well as others in New York, always experimenting with new venues to determine where we best fit.

THE GALLERY ALSO PROVIDES LICENSED APPRAISAL SERVICES. WHAT DOES THAT ENTAIL AND WHAT DO YOU PROVIDE?

I have been doing appraisals for over 30 years, beginning when I was at Christie’s.  We presently provide formal insurance valuations for both private collectors and museums and assist the latter with insurance figures for exhibition loans.  Over the years, we have appraised entire museum collections.  We do not presently do gift tax or estate appraisals, but we do offer consultation and recommendations for clients in need of either.

O. Louis Guglielmi
Elements of the Street, 1947
Oil on canvas

THE GALLERY TAKES WORKS ON CONSIGNMENT ON OCCASION. WHAT ARE THE CRITERIA WHEN CONSIDERING A WORK OF ART FOR RESALE?

We try to find the best quality works that we can from any period of American art, beginning in the 18th Century up to about 1980. 

For example, we have portraits by Benjamin West and Thomas Sully, landscapes by Jasper Cropsey and Thomas Moran, still lifes by Heade and William Harnett, genre scenes by Eastman Johnson and Winslow Homer, Ashcan works by Robert Henri, William Glackens, and Everett Shinn, Modernist pieces by Stuart Davis, Marsden Hartley, and Arthur Dove, Regionalist scenes by Thomas Hart Benton, and Surrealist and Magic Realist pieces by George Tooker and O. Louis Guglielmi, among others. 

Winslow Homer
Green Apples, 1866
Oil on canvas

We attempt to find the best of any given artist and work with pieces in a variety of price ranges to accommodate clients with varying pocketbooks.  Generally, most of our inventory is on consignment; it is very difficult to buy works at auction for resale, given public access to price records on the internet.

IN OUR NEXT LRFA BLOG POST, DEBRA WILL CONTINUE TO OUTLINE THE EXTENSIVE SCOPE OF SERVICES THAT THE GALLERY PROVIDES.

WE LOOK FORWARD TO HAVING A BIRD’S EYE VIEW OF THE HIGH STANDARDS THAT THE GALLERY SETS IN PROVIDING EXPERTISE IN EVERY ASPECT OF THE BUYING, EXHIBITING AND SELLING OF AMERICA ART.

UNTIL THEN, THANK YOU ALL!

 

 

NB The works illustrated in this blog are from the gallery inventory

London September 4th, The Art Business Conference continues to grow both in attendance and relevance

 

IN A RECENT PODCAST PRODUCED BY ART AGENCY, PARTNERS, AN ALWAYS INFORMATIVE AND LIVELY FORUM, CHRISSIE ILES FROM THE WHITNEY MUSEUM, CAROLYN RAMO FROM ARTADIA, AND HAMAZA WALKER FROM LAXART, JOINED THE ARTICULATE EDITOR OF IN OTHER WORDS, CHARLOTTE BURNS, TO DISCUSS “ART ACROSS AMERICA”. THEY POSED THE VERY RELEVANT QUESTION OF WHERE GREAT ART IS BEING MADE IN AMERICA TODAY.  THERE IS A GREAT DEAL OF CONVERSATION IN THE ART WORLD NOT ONLY ABOUT THE GLOBALIZATION OF THE ART MARKET (OLD NEWS) BUT ALSO ABOUT THE EXCELLENT QUALITY OF ART BEING MADE THROUGHOUT THE UNITED STATES OUTSIDE OF THE MAJOR MARKET HUBS AND THE INCREASING SUPPORT BY COLLECTORS AND CURATORS OF THE INNOVATIVE ART OF THE REGIONS.

IT IS NO SURPRISE, THEREFORE, THAT LOUISE HAMLIN, FOUNDER AND ORGANIZER OF THE UNIQUE ART BUSINESS CONFERENCE HAS FOCUSED ON THIS SUBJECT FROM THE PERSPECTIVE OF THE MOST POPULAR AND TALKED ABOUT TOPIC OF ALL, THE ART FAIR.  THE NEXT ART BUSINESS CONFERENCE THAT TAKES PLACE IN LONDON ON SEPTEMBER 4th AT THE CHURCH HOUSE CONFERENCE CENTER IN WESTMINSTER, LONDON, GATHERS TOGETHER SENIOR ART MARKET PROFESSIONALS, GALLERISTS, ADVISORS, LEGAL EXPERTS, ART FAIR DIRECTORS AND COLLECTORS. EACH YEAR IT BECOMEs MORE AND MORE POPULAR AND CONTINUES TO GROW BOTH WITH AN INCREASE IN ATTENDANCE AND AN AGENDA FILLED WITH FIERCELY KNOWLEDGEABLE EXPERTS IN EVERY AREA OF THE ART MARKET.

http://www.artagencypartners.com/podcast/art-across-america-with-chrissie-iles-carolyn-ramo-and-hamza-walker/

http://www.theartbusinessconference.com/home

THE LRFA BLOG AND LOUISE, AFTER OUR “LUNCH BREAK” AND A CHANCE TO LEARN ABOUT LOUISE’S PROFESSIONAL HISTORY IN THE ART WORLD AND THE HISTORY OF THE CONFERENCE, WILL RESUME THE AGENDA FOR THE FORTHCOMING CONFERENCE.

13.00 – 14.00: Lunchtime discussion tables and buffet lunch served in the Business Pavilion and Media Pavilions sponsored by Richard Nicholson, Willis Towers Watson 

Dirk Boll
President, Christie’s EMERI

THE FIRST TOPIC WILL ADDRESS THE CURRENT MARKET, AND THE SURGE OF ONLINE AUCTION PURCHASES IN THE DECORATIVE ARTS WITH THE PRESIDENT OF CHRISTIE’S EMERI. THE COLLECTION OF PEGGY AND DAVID ROCKEFELLER AT CHRISTIE’S IS A WONDERFUL EXAMPLE OF THE WAY THE AUCTION HOUSE HAS USED BOTH LIVE AND ONLINE AUCTIONS TO THEIR ADVANTAGE AND TO ACHIEVE ASTONISHING RESULTS FOR THE ROCKEFELLER ESTATE NOT ONLY WITH THE MASTERPIECES OF FINE ART BUT ALSO WITH THE ENORMOUS CUMULATIVE COLLECTION OF DECORATIVE ARTS AND FURNITURE INHERITED AND WELL AS COLLECTED BY PEGGY AND DAVID ROCKEFELLER.

14.00 – 14.20: Why brown is the new black?  Whether new audiences coming to auctions online, or a re-birth for the decorative arts sector, there are exciting developments impacting the way in which people are engaging with collecting today. Christie’s has been instrumental in shaping opinions and influencing a new appreciation for heirlooms in recent months.  As tastes evolve, Dirk Boll, President of Christies’s EMERI, discusses current trends and shares predictions for the future of collecting with Anna Brady (The Art Newspaper).

Anna Brady
The Art Newspaper

FROM THE RENOVATION AT THE FRICK TO THE COSTUME INSTITUTE AT THE MET, AND THOSE ARE ONLY IN NEW YORK, THE TOPIC OF REVENUE OPPORTUNITIES FOR MUSEUMS IN THE 21st CENTURY IS NOT ONLY RELEVANT BUT CRUCIAL. LOUISE HAS JOINED TOGETHER AN ESTEEMED PANEL OF INTERNATIONAL MUSEUM CURATORS TO EXPLORE THIS SUBJECT.

14.20 – 15.20: The Entrepreneurial Museum: With contributions from the Royal Academy of Arts, the Van Gogh Museum and the National Portrait Gallery, this international panel will explore, in the wake of funding cuts, what are the new revenue opportunities for museums?  This will also explore how museums are working more closely with the art trade together with a focus on travelling exhibitions, with new data and research on the growth of the travelling exhibitions market globally.  Speakers: Charles Saumerez Smith (Royal Academy), Jessica Litwin  (National Portrait Gallery), Milou Halbesma (Van Gogh Museum), Louise Steward  (National Portrait Gallery),  Bernardine Brocker Wieder (Vastari) and moderated by Jane Morris (Culture Shock Media & The Art Newspaper).

Milou Halbesma
Director Public Affairs
Van Gogh Museum

AS THE VALUE OF ART HAS INCREASED AND THE NUMBER OF COLLECTORS, NASCENT AND ESTABLISHED, CONTINUES TO GROW, THE ISSUE LEGAL RIGHTS AND SOLUTIONS AFFECTS EVERYONE INVOLVED IN THE BUSINESS OF ART.

Adrian Parkhouse
Farrer & Co
Chair, Art & Heritage Group

15.20 – 16.20: Comparative Art Law: Arbitrate, Mediate or Litigate? This session brings together a panel of art law experts from the UK and Germany to explore a series of art law cases and possible art law solutions, whether through arbitration, mediation or litigation. Speakers: Nicola Wallace (4 Paper Buildings), Richard Edwards QC  (3 Verulam Buildings), Friederike Grafin von Bruhl (K&L Gates) and moderated by Adrian Parkhouse  (Farrer & Co)

16.20 – 16.40: Refreshment break in the Business Pavilion and Media Lounge 

James Green
David Zwirner Gallery

THE CHANGES IN THE ART FAIR AND THE INVOLVEMENT IN LOCAL COMMUNITIES AND CHALLENGING SOCIAL AND POLITICAL TIMES WILL CLOSE THIS CONFERENCE.

16.40 – 17.40:  The Evolving Art Fair. This panel discussion will explore how art fairs are evolving into new geographical areas, working with local communities and also working in some challenging political/economic climates.  Our panellists will discuss the question of market saturation of the art fair model and the session will ultimately explore the insights and dynamics of the art fair business model and all that is involved in putting together a successful art fair. Speakers: Jagdip Jagpal  (India Art Fair), Touria El Glaoui  (1:54), James Green  (David Zwirner) and Kamiar Maleki (Contemporary Istanbul), moderated by Melanie Gerlis  (Financial Times)  

17:40: Closing address

18.00 – 19.00: Evening networking drinks in the Business Pavilion and Media lounge 

19.00: Conference close


IN OUR NEXT LRFA BLOG, WE LOOK FORWARD TO RESUMING OUR INTERVIEW WITH LOUISE HAMLIN, FOUNDER OF THE ART BUSINESS CONFERENCE, ON ALL OF THESE TOPICS AND MORE.

PLEASE JOIN US!

 

It’s always about the image, at the Yancey Richardson Gallery with director Matthew Whitworth

Laszlo Moholy-Nagy
K VII
Oil on canvas
Shape of Light at the Tate Modern
until October 14, 2018

CURRENTLY AT THE TATE MODERN, THE EXHIBITION SHAPE OF LIFE EXPLORES THE RELATIONSHIP BETWEEN PHOTOGRAPHY AND ABSTRACT ACT, A SUBJECT FIRST ADDRESSED IN THE UK ON SUCH A MAJOR SCALE. THE BIRTH OF ABSTRACT ART AND THE INVENTION OF PHOTOGRAPHY WERE BOTH DEFINING MOMENTS IN OUR VISUAL HISTORY.  SPANNING THE CENTURY FROM THE 1920s TO THE PRESENT, THE SHOW BRINGS TO LIFE THE INNOVATION FOUND IN PHOTOGRAPHY AND ITS SHARED HISTORY WITH ABSTRACT ART. THANKS TO THIS EXHIBITION, WHICH CONTINUES THROUGH OCTOBER 2018, WE CAN TRACE THE DIALOGUE BETWEEN SUCH PHOTOGRAPHERS AS MAN RAY, ALFRED STIEGLITZ, JARED BARK AND MAYA ROCHAT.

Jared Bark
Untitled (JBARK PB 1973)
Vintage gelatin silver photobooth prints

IN ANTICIPATION OF THE TATE MODERN SHOW, THE APRIL/MAY SOLO EXHIBITION AT YANCEY RICHARDSON GALLERY IN NEW YORK FEATURED JARED BARK’S AMAZING PHOTOBOOTH PIECES COMPRISED OF UNIQUE VINTAGE PHOTO BOOTH ASSEMBLAGES THAT FORM ABSTRACT IMAGES. MINIMALISM IN GENERAL AND THE WORK OF SOL LEWITT IN PARTICULAR IMPACT ON BARK’S PHOTOGRAPHY, A PERFECT EXAMPLE OF THE DIALOGUE BETWEEN ABSTRACTION IN PAINTING AND IN PHOTOGRAPHY.

YANCEY RICHARDSON OPENED IN SOHO IN 1995 AND MOVED TO CHELSEA IN 2000. CURRENTLY LOCATED IN A GREAT GROUND FLOOR EXHIBITION SPACE ON 22nd STREET, YANCEY RICHARDSON GALLERY IS ONE OF THE FIRST DEDICATED TO PHOTO-BASED ART.

TODAY, THE LRFA BLOG IS DELIGHTED TO CONTINUE ITS CONVERSATION WITH MATTHEW WHITWORTH, A DIRECTOR AT THE GALLERY.

http://www.yanceyrichardson.com/

Rachel Perry
Soundtrack to my Life
February – March 2018

HOW DO YOU SEE THE EVOLUTION OF THE GALLERY IN PARTICULAR AND THE PHOTOGRAPHY MARKET IN GENERAL SINCE YOU HAVE BEEN THE DIRECTOR AND SINCE YOU HAVE BEEN IN THE ART WORLD?

 With the gallery’s move 4 years ago to a ground-floor space on the same block, I can’t help but think that we’re seen as a more of an equal to the larger galleries showing painting, sculpture, and other works on paper. It levels the playing field a bit, as far as attendance for sure, to be able to be seen from the sidewalk. With that being said, along with a forward thinking program, we’ve developed quite a few new relationships with collectors who had never purchased a photograph or walked into a “photography gallery” before. That cross pollination can also be seen in the mixed-media art fairs we participate in, where we tend to do quite a bit better sales wise than at the photography specific ones. This has certainly changed since I started so many years ago when, if you wanted a specific piece by an artist, you knew there was probably only one place you could get it.

Bryan Graf
Field Recording (Sun Room)
Unique chromogenic print

HOW HAS TECHNOLOGY AFFECTED THE NATURE OF PHOTOGRAPHY?

One thing I’ve noticed is that the artists that use digital technology, don’t seem to be trying to make it as good as or just like analog anymore. Digital photography and printmaking have crossed into their own realm, where it’s OK to be digital and use the technology to its own end. Funny, though — now there’s been a return to analog with younger artists. It’s hip to use film and listen to vinyl records.

Gregory Crewdson
The Haircut, 2014
from the series Cathedral of the Pines

WHAT ARE SOME OF THE TECHNICAL ADVANCES THAT PHOTOGRAPHERS ARE EXPERIMENTING WITH THAT CHANGE THE IDEA OF WHAT A PHOTOGRAPH SHOULD BE?

Speaking to my previous point a bit more, I like to refer back to Gregory Crewdson’s last show at Gagosian. While I had mixed thoughts on the subject matter, I thought the printmaking and technical aspects of the work were so new and curious. They really were their own “thing.”

David Maisel
Terminal Mirage 22
Archival pigment printIN WHAT WAYS HAS THE ART OF PHOTOGRAPHY REMAINED THE SAME?

It’s always going to be about the image and it’s underlying strength.

DO YOU AGREE THAT PHOTOGRAPHY HAS TAKEN A TREMENDOUS LEAP FORWARD AS AN ESTABLISHED ART FORM AND AN AREA TO COLLECT?

Yes, absolutely. It used to be achieved by scale. Take the photographs of Andreas Gursky and Jeff Wall. There had never been prints that big before. Were we seduced by their imagery or their size? Today, more importantly, I see artists using photography to expand, and in some cases clarify, their voice. For example Mickalene Thomas. She may be best known for her bedazzled paintings taking on classical male artists’ views of women, but she broke out of an earlier rut in her practice by picking up a camera. She continues to make new photographic work today.

Mickalene Thomas

IN OUR NEXT LRFA BLOG POST, MATTHEW WILL PROFILE THE CURRENT COLLECTOR BASE AND EXPLORE PHOTOGRAPHY’S EARLIER INFLUENCES.

STAY TUNED!

 

On the Cutting Edge: Contemporary Print editions at Pace Prints

Pace Prints
IFPDA Fair
Park Avenue Armory

IN 2009, THE INTERNATIONAL FINE PRINT DEALERS ASSOCIATION ESTABLISHED A FOUNDATION TO INSPIRE AND SUSTAIN A KNOWLEDGE AND CONNOISSEURSHIP OF FINE PRINTS FOR  A NEW GENERATION OF COLLECTORS, CURATORS AND ARTISTS. THE ASSOCIATION ITSELF, IFPDA, A NON-PROFIT DEDICATED TO THE APPRECIATION OF PRINTS AS WORKS OF FINE ART, INCLUDES AN INTERNATIONAL COMMUNITY OF DEALERS FROM OLD MASTER TO CONTEMPORARY AND PUBLISHERS OF INTERNATIONALLY RECOGNIZED CONTEMPORARY ARTISTS.  THE IFPDA FAIR, HELD ANNUALLY AT NEW YORK’S PARK AVENUE ARMORY, HAS LONG BEEN CELEBRATED FOR THE QUALITY OF ITS EXHIBITORS AND RANGE OF FIRST-TIER PRINTS.

Much like sculpture, a print is an original work of art that can exist as a multiple, rather than a copy of a work in another medium.

http://www.ifpda.org/about

How & Nosm at Pace Prints workshop

IT IS NO SURPRISE THAT PACE PRINTS WAS ONE OF THE FOUNDING MEMBERS OF IPFDA. WITHOUT EXCEPTION, THE PRINTS EXHIBITED AND PUBLISHED AT PACE CHAMPION THE INNOVATIVE CREATIVITY THAT ARTISTS REALIZE WHEN COLLABORATING WITH A MASTER PRINTER AND EXPLORING WORKING THIS MEDIUM.

TODAY, IT IS A PLEASURE FOR THE LRFA BLOG TO CONTINUE OUR CONVERSATION WITH PACE PRINTS’ GALLERY DIRECTOR, JEFF BERGMAN, ON CURRENT EDITIONS AND ART FAIRS IN WHICH PACE PARTICIPATES.

http://paceprints.com/about

JEFF, WELCOME BACK!

WHO ARE SOME OF THE ARTISTS THAT HAVE RECENTLY BEEN INVITED TO PUBLISH EDITIONS WITH PACE? WHAT ARE THE CRITERIA OF THE GALLERY TO INVITE AN ARTIST TO PUBLISH?

In the last year we have worked with Chuck Close, Leonardo Drew, Daniel Heidkamp, Jenny Holzer, Kate Shepherd, Shahzia Sikander, James Turrell and Dan Walsh to name a few.  We hope the artists that come and work with us will feel that what they do in our shops will help them explore their practice in a new way.  There are no concrete criteria for our partnership with an artist.

Ryan McGuinness
Figure Drawings, 2014, installation view, Pace Prints, New York

WHAT IS THE CUSTOMARY SIZE OF AN EDITION? HOW ARE EDITIONS DISTRIBUTED?

There is no customary size for an edition.  Our editions rarely exceed 50 these days, though in the 70’s might have always been 100 or more.  We are the dealer for our publications in almost all instances so all the work flows from us.

THE ART FAIR HAS BECOME THE GREAT MARKETPLACE OF THE CURRENT ART WORLD. WHAT IS YOUR PERSPECTIVE ON THE EMERGENCE OF INTERNATIONAL ART FAIRS WITH RESPECT TO THE PRINT MARKET?

The global art fair market for prints follows the same path as it does for unique work.  It is important to our collectors and artists that we participate, and as a founding member of the IFPDA fair in NY, we will continue to stay involved locally.

Pace Prints
ADAA The Art Show, 2017
Installation view

WHAT FAIRS DO YOU PARTICIPATE IN?

Currently we participate in Art Basel Miami Beach, Art Basel Hong Kong, the ADAA Art Fair and the IFPDA Fair and often at Art Basel Switzerland.

 

JAMES TURRELL
Installation View
Pace Prints


ONE OF THE ARTISTS FOR WHOM I HAVE GREAT RESPECT IS JAMES TURRELL, RECENTLY HONORED WITH A RETROSPECTIVE OF HIS WORK AT THE GUGGENHEIM MUSEUM IN NEW YORK THAT WAS PRESENTED CONCURRENTLY AT THE LOS ANGELES COUNTY MUSEUM OF ART (LACMA) AND THE MUSEUM OF FINE ARTS, HOUSTON. TURRELL WORKS DIRECTLY WITH LIGHT AND SPACE TO CHALLENGE THE VIEWER’S PERCEPTION BOTH OF HIMSELF AND HIS WORLD.

Pace Editions printers Bill Hall and Sarah Carpenter discuss printing James Turrell’s newest suite of aquatint etchings, which was exhibited for the first time at the IFPDA print fair, November 5-9, 2014.

 

http://www.paceprints.com/video/james-turrell-prints-and-process

HOW DID PACE PRINTS TRANSLATE THIS VISIONARY ARTIST INTO THE PRINT MEDIUM?

I think that the artist describes this best in this video (created by Pace Prints) about the print process when he says “it’s something to take the qualities of light and make a print editions…but I am quite well pleased”.

How & Nosm
Stacked prints
Pace Prints

PACE PRINTS IS ALSO A STRONGHOLD FOR ARTISTS SOUGHT AFTER BY ACTIVE “YOUNG COLLECTORS”.  WHO ARE SOME OF THE ARTISTS THAT HAVE GAINED A GREAT DEAL OF ATTENTION, BOTH AT AUCTION AND IN THE GALLERY SECTOR, THAT YOU HAVE RECENTLY PUBLISHED?

In November at the IFPDA our fair booth contained work by Chuck Close, Leonardo Drew, Jenny Holzer, KAWS, Shahzia Sikander and James Turrell.  This certainly covers the cross-section of artists you are talking about.

LEONARDO DREW
42P 2014
Pigmented handmade paper
Published by Pace Editions, Inc.

ANOTHER ARTIST WHOSE WORK HAS INTERESTED ME SINCE HE FIRST EXHIBITED AT SIKKEMA JENKINS IS LEONARDO DREW. THE MATERIALS IN HIS WORK ARE CHALLENGING: WOOD, RUSTED IRON, COTTON, PAPER, AND MUD. DREW, WHO GREW UP IN A PUBLIC HOUSING PROJECT, TRANSFORMS MEMORIES OF HIS CHILDHOOD SURROUNDINGS INTO INTENSE, ELABORATE AND OFTEN THREE-DIMENSIONAL RELIEFS AND SCULPTURES.  HOW DID PACE TRANSLATE THESE PICTORIAL CONCERNS INTO PRINTS?

Our papermaking studio is a real laboratory where artists like Leonardo Drew have found a way to create sculptural dimensions while working with paper.  Ruth Lingen and Akemi Martin have used a number of papermaking techniques in collaboration with the artist, which he speaks about here:

http://www.paceprints.com/video/leonardo-drew-his-new-body-cast-paper-works

PLEASE JOIN US WHEN JEFF BERGMAN SHARES HIS PERSPECTIVE ON THE FUTURE OF THE PRINT MARKET IN THE NEXT LRFA BLOG.

 

IN THE MEANTIME, VISIT PACE PRINTS SUMMER EXHIBITIONS, “SELECTIONS”

32 East 57th Street

AL JENSEN
Alfred Jensen, “Portfolio, #1,” 1973, screenprint, 35 x 35 Inches, edition of 150

521 West 26th Street

Keith Haring
“USA 19-82,”
On exhibit Pace Prints Chelsea

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!

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!