Federation of Modern Painters and Sculptors, founded in the WPA era, and alive and active today

DURING ITS YEARS OF OPERATION, THE GOVERNMENT-FUNDED FEDERAL ART PROJECT (FAP) OF THE WORKS PROGRESS ADMINISTRATION (WPA) HIRED HUNDREDS WHO COLLECTIVELY CREATED MORE THAN 100,000 PAINTINGS AND MURALS AND OVER 18,000 SCULPTURES FOR MUNICIPAL BUILDINGS, SCHOOLS AND HOSPITAL. THE FAP WAS PART OF PRESIDENT ROOSEVELT’S NEW DEAL DURING THE GREAT DEPRESSION THAT SOUGHT TO PUT AS MANY UNEMPLOYED AMERICANS BACK TO WORK AND BUOY MORALE.

IN THIS SOCIAL AND POLITICAL POST-DEPRESSION CLIMATE, ONE OF THE MOST LONG-LASTING AND ACTIVE ARTISTS’ ORGANIZATIONS, FOUNDED IN NEW YORK CITY IN 1940, THAT EMERGED IS THE FEDERATION OF MODERN PAINTERS AND SCULPTORS. WHILE THE WPA FAVORED MORE TRADITIONAL FORMS OF ART, NARRATIVE AND PORTRAITURE, THE FEDERATION OF MODERN PAINTERS AND SCULPTORS SUPPORTS ARTISTS WHOSE WORK IS ALSO ABSTRACT, GEOMETRIC AND MORE EXPERIMENTAL IN NATURE. OUR TRAVEL EXPERT, NICHOLAS CHRISTOPHER WHO HEADS TURON TRAVEL CATERING TO INTERNATIONAL TRAVEL FOR ARTISTS, ART FAIRS AND ART DESTINATIONS, IS A SERIOUS ARTIST AND A MEMBER OF THE FEDERATION.

THE LRFA BLOG IS VERY PLEASED TO WELCOME NICHOLAS BACK, WEARING HIS ARTIST’S HAT (BERET?),TO TELL US OF THE HISTORY, PRESENT AND FUTURE OF THE FEDERATION.

https://www.fedart.org/

Promote the welfare of free progressive artists working in America; to strive to protect the artists’ general and cultural interests and to facilitate the showing of their work; and to take legitimate action in furtherance of such purpose.

MISSION STATEMENT, FEDERATION OF MODERN PAINTERS AND SCULPTORS, JUNE 19, 1940

Mark Rothko
Sacrificial Moment, 1945
National Gallery of Art, Washington

The Federation of Modern Painters and Sculptors, founded 1940, emerged from a very energetic period of post WPA American History during which every working group of like-minded professionals created Unions, Associations & Federations, a multiple of political and quasi-political organizations.

It was both through creative and political crossroads that the Federation was formed, taking their cues from the Federation des Artistes, founded in 1871 by Courbet, Pottier Daumier and Manet.  Both historic periods were filled with opposing political and cultural forces, which needed to be addressed by the art world.

Milton Avert
Gaspe Pink Sky , 1940

Founded by Mark Rothko, Adoph Gottlieb, Milton Avery, Meyer Shapiro & Ilya Bolotowski, to name a few of the early members.  The purpose of the Federation is to ‘.. promote the cultural interests of free progressive artists working in America and to facilitate the showing of their work.’  This artistic ensemble measures the merit of the artists’ work, not encumbered by past or present trends or definitions.

 

Ilya Boltowsky
Abstraction, 1940

For over 70 years the Federation of Modern Painters & Sculptors has maintained these principles.  Allowing for a free and fluid expression of each member’s work.

Now is its 78^th years the Federation of Modern Painters and Sculptors maintains a very active presence in the art world, while always being nurtured by its history.

THE NEXT LRFA POST FOCUSES ON THE HISTORY OF THE FOUNDATION,  WRITTEN BY THE GREAT POET/CRITIC DORE ASHTON.

WESTBETH’S ARTISTS’ HOUSING WAS CONCEIVED IN THE 1960s AS A PARTIAL SOLUTION TO THE ACUTE NEED TO PROVIDE AFFORDABLE HOUSING AND STUDIOS FOR ARTISTS AND THEIR FAMILIES. HOW APPROPRIATE THAT WESTBETH GALLERY WILL HOST THE NEXT EXHIBITION OF MEMBERS OF THE FEDERATION OF MODERN PAINTERS AND SCULPTORS.

THE EXHIBITION IS ENTITLED SOUND AND IMAGE  FEATURING WORKS BY CURRENT MEMBERS OF THE FEDERATION ON THE THEME OF IMAGE AND MUSIC.

MORE TO FOLLOW!

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

 

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

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

http://www.goldglit.com/about

STEVEN, WELCOME BACK!

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

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

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

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

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

 

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

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

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

PLEASE JOIN US!