Airport, please! the LRFA blog heads to London for Pace’s exhibition Creating Abstraction of seven international sculptors

Pace Gallery
Hanover Square
London

 

Creating Abstraction, a group exhibition that brings together seven female artists whose experimental approach to material and engagement with Modernism has pushed the boundaries of abstraction opens on February 3rd. Airport, please! the LRFA blog is looking forward to visiting Pace’s new gallery in Hanover Square and seeing this thought provoking exhibit co-curated with Carla Chammas, that centers on the idea of multi-disciplinarity as a means of exploring abstraction. In a time of Covid, complicating  travel, communication and personal connecting, the LRFA  blog applauds Pace Gallery for assembling such a diverse and intellectual survey show very much worth a visit.

In bringing together an array of work by these seven artists, Creating Abstraction offers a window into each individual’s complex, layered, radical work as well as the broader context of their practice.

https://www.pacegallery.com/exhibitions/creating-abstraction/

THE ARTISTS

Carla Accardi

On view from 3 February through

12 March, across the full expanse of Pace’s recently opened Hanover Square gallery, Creating Abstraction looks at the ways in which various Modernist movements were disseminated across the world and interpreted by artists from Britain, Italy, Lebanon, Morocco, Portugal, Singapore and the United States. This exhibition creates dialogues between the sculptures, paintings, textiles, works on paper, video, photography, and installations of Carla Accardi (1924-2014), Leonor Antunes (b. 1972), Yto Barrada (b. 1971), Saloua Raouda Choucair (1916-2017), Barbara Hepworth (1903-1975), Kim Lim (1936-1997) and Louise Nevelson (1899-1988). Despite vastly disparate nationalities and socio-economic backgrounds, there is a shared sensibility between these artists who each found inspiration in Modernism’s non-hierarchical approach to material, and abstraction’s rich capacity for multi-disciplinary experimentation.

Saloua Rouada Choucair

Saloua Raouda Choucair is widely considered the first abstract artist in Lebanon. Inspired by mathematics, architecture and Islamic design and poetry, her pioneering practice encompassed sculpture, painting, drawing, jewellery, and textile. The modular structure of her sculptures, such as Poem (1972-74) or Poem (Ramlet el Beida) (1966/2013), which, like the stanzas of Arabic poetry can stand alone or be presented as a whole, have a particular resonance with the sculptures of Singaporean-British artist, Kim Lim. Lim’s practice, which traversed wood, bronze, marble, stone, fibreglass, aluminium, slate, and ink primarily took the form of sculpture and printmaking. Like Choucair, Lim took immense inspiration from the aesthetics of ancient Eastern art, travelling extensively across the Middle East and Asia throughout her life. In sculptures such as Caryatid (1961) Lim’s elegant fusion of historical sculptural forms with a distinctly Modernist aesthetic is particularly apparent.

Kim Lim

Lim and Choucair’s prints, works on paper and paintings have a shared sensibility with the work of Italian artist Carla Accardi, who’s avant-garde practice paved the way for many twentieth century movements in Italy. Best known for her experiments in sicofoil, a transparent plastic material, Accardi’s sculptures and paintings investigate both the formal and spatial effect of line, shape and gesture. The graphic quality of Accardi’s work such as Fondo Rosso (1959) or Segni Grigi (1986), resonates strongly with Choucair’s dynamic gouache paintings on paper.

Barbara Hepworth

An innovator of the Direct Carving technique and the first sculptor to pierce their forms, Barbara Hepworth is recognized as a master of British Modernism. Though most commonly recognised for her groundbreaking sculptures, which included bronze, stone, wood and string, her practice also encompassed painting, lithograph, collage, and drawing. Three Forms (1971) and Stringed Figure (Curlew) (Maquette) (1956) creates an enchanting dialogue with Louise Nevelson’s sculptures and collages. Unlike Hepworth, Nevelson’s artistic practice was additive, assembling materials found in the streets surrounding her studio to construct sculpture, collage, and installation. By painting the elements of her sculptures entirely black, white, or gold, Nevelson erased their former functions, focusing attention on their form. In Untitled (1971), a monumental monochromatic black sculpture, Nevelson nestles forms within a larger structure akin to a cabinet of curiosities.

Louise Nevelson

By including both twentieth century artists who were instrumental in the development of abstraction, and contemporary artists – Yto Barrada and Leonor Antunes – Creating Abstraction considers the legacy of Modernism today. Barrada’s work in textile, photography and video speaks at once to the multifaceted, multidisciplinary histories of Modernism and to her own personal landscape. In Velvet collage #6 (2021) Barrada references the hard-edge abstraction and Modernist history of the ‘grid’ while also drawing from her own daily life – the velvet is dyed using homemade pigments forged from the plants in her Tangier studio garden. Similarly, Antunes’s research-based practice actively responds to the histories of overlooked female Modernists, anni #26 I (2020) is a reimagining of Anni Albers’s abstract weavings in glittering brass. Antunes’s installation, indirect lighting (group 2) (2021), which extends from floor to ceiling with ceramic sculptural pieces spiralling in space, echoes the modular sculpture of Choucair, Lim, and Nevelson.

Yto Barrada
Marian Goodman Gallery
New York

   

 PACE GALLERY

Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.

Leonor Antunes

Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of President and CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program—comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon. The gallery has also spearheaded exploration into the intersection of art and technology through new business models, exhibition interpretation tools, and representation of artists engaging with technology.

Today, Pace has nine locations worldwide including London, Geneva, a strong foothold in Palo Alto, and two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent galleries in Asia and the first to Seoul.

Saloua Raouda Choucair,
Trajectory of a Line, 1957-59,
brass,

CREATING ABSTRACTION

Despite vastly disparate nationalities and socio-economic backgrounds, there is a shared sensibility between these artists who each found inspiration in Modernism’s non-hierarchical approach to material, and abstraction’s rich capacity for multi-disciplinary experimentation.

On view from 3 February – 12 March, across the full expanse of Pace’s recently opened Hanover Square gallery, Creating Abstraction looks at the ways in which various Modernist movements were disseminated across the world and interpreted by artists from Britain, Italy, Lebanon, Morocco, Portugal, Singapore and the United States. This exhibition creates dialogues between the sculptures, paintings, textiles, works on paper, video, photography, and installations of Carla Accardi (1924-2014), Leonor Antunes (b. 1972), Yto Barrada (b. 1971), Saloua Raouda Choucair (1916-2017), Barbara Hepworth (1903-1975), Kim Lim (1936-1997) and Louise Nevelson (1899-1988).

During a time of intense personal concerns, it is refreshing to see women artists exploring the legacy of Modernism and abstraction in this beautiful exhibition.

 

 

Airport, please! To Marfa: to see the new Agave Garden and Judd’s Chinati Foundation

Marfa, Texas
Chinati Foundation/Donald Judd

Marfa, Texas is an iconic town, a cultural stronghold of vitality and vision. Thanks to the artist, Donald Judd, the small desert city in west Texas is known as an arts hub. The Chinati Foundation, founded by Judd, displays huge indoor and outdoor installations on an old army base. The Ballroom Marfa Arts Center hosts exhibitions, concerts and the Marfa Myths cultural festival. Outside the town, a viewing platform from which the mysterious orbs known as the “Marfa Lights” is a phenomenon worth experiencing.

Unlike other towns that have tried to reinvent themselves as art destinations, Marfa is a town that grew organically. It all started when the acclaimed minimalist artist left New York City in the 1970s for this dusty dot of a town. He wanted to escape an art scene that he claimed to disdain. With the help of the DIA Foundation, Judd acquired an entire Army base, and before he died in 1994, he filled it with art, including light installations by Dan Flavin and Judd’s own signature boxes. Ironically, now this once tiny town perched on the high plains of the Chihuahua desert is nothing less than an art world station of the cross, like Art Basel in Miami, or Documenta in Germany.

Agave Franzosini

The most recent addition is a reflection of the renewed awareness and appreciation, triggered by the pandemic, for the outdoors,  for nature and for the environment. “The Agave Garden is a space for the community of Marfa and a celebration of the biodiversity of our region,” said Rainer Judd, President of Judd Foundation. “Don(ald Judd) wrote, ‘my first and largest interest is my relation to the natural world, all of it, all the way out.’ This thinking is central to the work of the Judd Foundation and supports Judd’s interest in the region and his commitment to the city of Marfa. The garden is open to the public and incorporates  Donald Judd Furniture into the setting.

https://juddfoundation.org/article/judd-foundation-opens-agave-garden-in-marfa/

Rainer Judd

THE AGAVE GARDEN

The garden was designed and planted in partnership with Jim Martinez, principle of a Marfa landscape design company that specializes in native plants of Texas and the Southwest. Martinez selected more than twenty agave species native to the Trans-Pecos region including: Agave ferox (Giant Agave), Agave havardiana (Harvard Agave), Agave lechuguilla (Chihuahua Agave), Agave parryi neomexicana (New Mexico Agave), Agave parryi truncata (Artichoke Agave), Agave ovatifolia (Whale’s Tongue Agave), and Agave victoria reginae (Queen Victoria Agave).

Agave plants

The selection of the agave species was based on those local to the Chihuahuan Desert that have had historical use for food, beverage, fiber, cultural ceremony, and beauty for the indigenous tribes of the surrounding regions. Martinez also considered the evolution of the agave species as well as their use and importance to the insects, birds, and mammals.

 

The garden is situated outside of the Cobb House, Whyte Building, and Gatehouse, three buildings on five and a half lots of property purchased by Donald Judd in 1989. Judd intended that these three buildings and the neighboring structures, which house his Art Studio and Architecture Studio, to be united as a complex enclosed by an adobe wall that was to run the length of Oak Street.  The two benches installed in the garden were originally designed by Judd  for his residence in Marfa. The benches are intended to provide a contemplative place for visitors to spend time in the garden.

http://2021 Judd Foundation press release

Donald Judd Furniture

THE CHINATI FOUNDATION

“Most art is fragile and some should be placed and never moved again.” So wrote American minimalist sculptor Donald Judd, founder of the Chinati Foundation. Located on a 340-acre tract of desert land that includes abandoned US Army buildings, Chinati is a contemporary art museum that embodies Judd’s belief that art and the surrounding landscape are inextricably linked. It opened in 1986 with the specific intention to present permanent large-scale installations by a limited number of artists, including Judd himself. Each artist has work installed in a separate building on the museum’s grounds, while temporary exhibitions showcase modern and contemporary work in diverse media. The collection includes iconic examples of the work of Carl Andre, John Chamberlain, Dan Flavin, Roni Horn and Robert Irwin and a limited number of other artists who share Judd’s sensibility.

https://chinati.org/

 

Heading to Hauser & Wirth’s new gallery, in Monaco, with Airport, please!

Louise Bourgeois
Spider in Monaco

Over a nearly 30-year history, Hauser & Wirth has created physical spaces in locations where their artists and collectors reside—of course in the large urban cities of London, New York, and Los Angeles but also in legendary resort communities and seasonal gathering spots such as Southampton and St. Moritz. In July 2021, Hauser & Wirth will also open an extraordinary center for the arts on King’s Island, in the port of Mahon in Menorca. The artists and estates represented by the gallery has always been  its driving force for expanding in the areas of art, education, conservation and sustainable development. The impact of the events of the last year and one-half have acted as a compelling catalyst to accelerate Hauser & Wirth, and every major network of galleries, auction houses, and art fairs, in developing new and innovative, often technologically based, ways to present and sell works of art.

https://www.hauserwirth.com/

Hauser & Wirth
Gallery Interior
Monaco

On June 19th, located in the heart of Monaco, near the historic Hôtel de Paris, Hauser & Wirth’s latest gallery features a spectacular main exhibition space, an impressive 350 square yards cube with 30 foot high walls, lit by a dramatic skylight. The conversion of the site has been conducted by Selldorf Architects, New York, which has collaborated with Hauser & Wirth on its spaces internationally since the founding of the gallery in 1992. In Monaco, Hauser & Wirth occupies the lower spaces of a building designed by Rogers Stirk Harbour + Partners and owned by the Société des Bains de Mer.

https://www.hauserwirth.com/news/32176-hauser-wirth-monaco-opens-inaugural-exhibition-louise-bourgeois

The inaugural exhibition ‘Louise Bourgeois. Maladie de l’Amour’ (Love Sickness although it sounds so much better in French!) runs from  June 19th until September 26th, 2021. A monumental public sculpture from the French American artist’s Spider series, a bronze arachnid over three meters tall, will be installed in the gardens adjacent to the gallery.

One Monte-Carlo
Gallery facade
Monaco

‘When we were invited to play a part in the continuing revival of the art scene in Monaco,’ says Iwan Wirth, President, Hauser & Wirth, ‘we saw that it offered an exceptional opportunity to present our artists in the heart of city, engaging with the vibrant contemporary scene across the south of France, strengthening our European presence. In former times, Monaco was a destination for artists, writers, and filmmakers who were as captivated as we have been by the Côte d’Azur.

Louise Bourgeois
Hauser & Wirth Monaco

INAUGURAL EXHIBITION, HAUSER & WIRTH, MONACO: LOUISE BOURGEOIS

The works in the inaugural exhibition by Louise Bourgeois span a period between 1947-2008 and draw on recurring themes of anxiety and longing, emotions which the artist repeatedly evoked to create her personal visual vocabulary. Along with Bourgeois’ monumental Spider sculpture dating from 1996, one of the artist’s most enduring and iconic motifs, two further aluminium sculptures are suspended inside the gallery. ‘Untitled’ (2004) gently rotates, as a continuously morphing form. The abstract spiral belongs to an important series Bourgeois made during the 1990s and shares a particular affinity to a previous work entitled ‘Les Bienvenus’ (1996), commissioned by the French Government and installed in the Parc de la Mairie in the village of Choisy-le-Roi, France, where she grew up.

Louise Bourgeois

LOUISE BOURGEOIS

Bourgeois’s work is inextricably entwined with her life and experiences. ‘Art,’ as she once remarked in an interview, ‘is the experience, the re-experience of a trauma.’  Employing motifs, dramatic colors, dense skeins of thread, and a vast diversity of media, Bourgeois’s distinctive symbolic code enmeshes the complexities of the human experience and individual introspection.

Rather than pursuing formalist concerns for their own sake, Bourgeois endeavored to find the most appropriate means of expressing her ideas and emotions, combining a wide range of materials – variously, fabric, plaster, latex, marble and bronze – with an endless repertoire of found objects. Although her work covers the range of painting, drawing, printmaking, and performance, Bourgeois remains best known for her sculpture.

 

Bourgeois’s work was included in the seminal exhibition ‘Eccentric Abstraction,’ curated by Lucy Lippard for New York’s Fischbach Gallery in 1966. Major breakthroughs on the international scene followed with The Museum of Modern Art in New York’s 1982 retrospective of her work; Bourgeois’s participation in Documenta IX in 1992; and her representation of the United States at the 45th Venice Biennale in 1993. In 2001, Bourgeois was the first artist commissioned to fill the Tate Modern’s cavernous Turbine Hall. The Tate Modern’s 2007 retrospective of her works, which subsequently traveled to the Centre Pompidou in Paris; The Guggenheim Museum in New York; The Museum of Contemporary Art in Los Angeles; and The Hirshhorn Museum & Sculpture Garden in Washington D.C., cemented her legacy as a foremost artist of late Modernism.

 

In response to the isolation and distancing of the pandemic, many of the major galleries have successfully opened branches in luxurious resort areas, Palm Beach and the Hamptons, on the East Coast. The debut of a new Hauser & Wirth gallery on the Cote d’Azur is a seductive destination and supports Monaco’s efforts to establish an active art scene with Monaco Art Week and the Monte-Carlo fair.

See for yourself! Airport, please!

Airport, please! Artfields, a town in South Carolina, transformed into a cultural destination, reopens after the pandemic

ARTFIELDS
April 23 – May 1, 2021

We believe art is a field that endures—through flourish and fallow. …Artfields

Spring has finally arrived. A time of regeneration. And there is nothing that represents the symbol of regeneration more than the town of Lake City, South Carolina. Today, the LRFA blog travels to a small town in South Carolina, by plane to Florence, SC and then 20 minutes by car, for an overwhelmingly engaging experience: ARTFIELDS: 2021, April 23-May 1st.

Artfields mural

The town itself, every shop, restaurant, The Inn at the Crossroads, the Library, the McNair Space Center, as well as three large gallery exhibition spaces established since Artfields was founded, is transformed into both indoor and outside spaces that display art, installation, video, sculpture, painting, photography, murals, and craft.

https://www.artfieldssc.org/

Darla Moore

Conceived and founded by visionary investor and philanthropist, Darla Moore, Artfields started in 2013 with a simple goal: to honor the artists of the 12 Southeastern states launching a phenomenal  annual art competition and festival to transform her once small, poor rural hometown into a thriving cultural destination. Passionate about the state of South Carolina and its rich legacy, Darla founded the Moore School of Business in its capital, Columbia, to further her commitment to education, in 2019 she endowed the Continuum, a 46,000 square foot center for tech education and workforce development in Lake City.

Moore Farms Botanical Garden

She founded and chairs the Palmetto Institute, a nonprofit think tank aimed at bolstering per capita income in South Carolina. She is the founder and chair of The Charleston Parks Conservancy, a foundation focused on enhancing the parks and public spaces of the City of Charleston, to highlight just a few of the commitments she has made to support and transform her beloved hometown and state.

Jones-Carter Gallery

The competition and exhibition offers over $100,000 in cash prizes. The winners of two People’s Choice Awards are determined by the votes of people visiting ArtFields; a panel of art professionals selects all the other awards, including the $50,000 Grand Prize and $25,000 Second Place award. Winners of the competition have had life-altering opportunities to engage in inspiring foreign travel, to exhibit in other venues and to develop their potential as professional artists.

Jamieson Kerr
Director, Artfields Collective

Up to 400 works of art are on display in locally-owned venues, from renovated 1920s warehouses and professional art spaces such as Jones-Carter Gallery and TRAX Visual Art Center to the library, the history museum, the Ronald E. McNair Life History Center, restaurants, boutiques and other shops. During ArtFields, Lake City, once one of South Carolina’s most prosperous agricultural communities, becomes a living art gallery as they recognize, celebrate and share the artistic talent of the Southeast.

Carla Angus
Education and Program Manager

As a visible way to show the power of art to revitalize and invigorate, the ArtFields Collective commissions artworks each year to enhance overlooked corners of the town. The Collective has commissioned over 9 murals and sculptures and an additional 9 artworks have been commissioned and contributed by other involved donors.

The ArtFields Collective is living, breathing proof of the power of art, a reminder that its beauty and soul and energy live within each of us—even in the harshest of seasons. In these divided and divisive times, Lake City’s Artfields has integrated its black and white, young and old, residents into a united, engaged community, working together to choose artworks, to welcome visitors and school groups to exhibitions and cultural events throughout the year  and to enjoy the rewards of living in the thriving town of Lake City.

Make ARTFIELDS a destination during the festival or at any time of the year. It is truly an enlightening, moving (and fun!) experience.

Lake City, South Carolina

Have a look at a huge selection of talent in this year’s competition!

https://www.artfieldssc.org/galleries/?festival_year=2021

 

Airport, please! Gagosian London reopens an extraordinary exhibit by Rachel Whiteread

Gagosian Gallery London
Grosvenor Hill

We’ve taken digital gallery hopping for granted, looking online at a great many exhibitions instead of seeing them in person and telling ourselves we “saw” the show. A familiarity with the theme of an exhibit, a new direction a familiar artist is exploring, seemed to suffice. Now that we have been so long deprived from an easy access to museums and galleries, the level of anticipation of viewing works in person is truly appreciated. Long may this last, a renewed appreciation of seeing contemporary shows in person and a significant increase in the very old habit of spending a day on the Lower East Side or Chelsea, or Mayfair or the Marais.

This week, London galleries have reopened from the pandemic quarantine with some extraordinary exhibitions. Airport, please! First stop, Rachel Whiteread: Internal Objects, at Gagosian Grosvenor Hill. At last, a lockdown masterpiece, says The Guardian, in a recent article by Jonathan Jones reviewing the exhibition in London. As many of us have struggled with metaphorical ghosts in the loneliness and unease of lockdown, Rachel Whiteread has confronted her Ghost, a work she created in 1990, an icon of a new approach to sculpture, purchased by collector Charles Saatchi. Whiteread is celebrated for her ability to poetically capture the memory of a space.

Rachel Whiteread
Ghost, 1990
Plaster cast

In Internal Objects, Whiteread had revisited this early work during the lockdown, creating two remarkable new works, Poltergeist and Doppelganger. These works were not cast but assembled, two derelict exploding structures, shattered and abandoned, unified by being painted overall in a pure white.

The Guardian, Rachel Whiteread: Internal Objects.

https://www.theguardian.com/artanddesign/2021/apr/12/lockdown-masterpiece-covid-pandemic-rachel-whiteread-internal-objects-review

Rachel Whiteread
Poltergeist

RACHEL WHITEREAD

Dame Rachel Whiteread (born 20 April 1963) is an English artist who primarily produces sculptures, which typically take the form of casts. She was the first woman to win the annual Turner Prize in 1993.

Whiteread was one of the Young British Artists who exhibited at the Royal Academy’s Sensation exhibition in 1997. Among her most renowned works are House, a large concrete cast of the inside of an entire Victorian house; the Judenplatz Holocaust Memorial in Vienna, resembling the shelves of a library with the pages turned outwards; and Untitled Monument, her resin sculpture for the empty fourth plinth in London’s Trafalgar Square.

She was appointed Commander of the Order of the British Empire (CBE) in 2006 and Dame Commander of the Order of the British Empire (DBE) in the 2019 Birthday Honours for services to art.

Bio, Tate Modern

GHOST

Ghost (1990) was Whiteread’s first large-scale sculpture and set in motion the ambitious, architecturally scaled works for which she is widely recognized today. Made by filling a room of a Victorian house in North London with concrete to create a solid cast that picks up the details of the walls, mantle, and windows, Ghost is a positive room-sized object that reveals itself gradually, as one encircles the huge form. Whiteread expanded on this working method in House (1993; destroyed 1994), cast from an entire Victorian terrace house. Whiteread created this work after all the other terraces in the row had been demolished, and it stood alone as a reminder of the working-class homes that once spanned the street. The sculpture sparked heated debates around issues of real estate, class divisions, and urban sprawl.

Gagosian Gallery, artist biography 

https://gagosian.com/artists/rachel-whiteread/

20 GROSVENOR HILL, GAGOSIAN GALLERY, Mayfair London

20 Grosvenor Hill has transformed a dated office building into a striking double height, day-lit gallery space. The entire 21,800 sq ft development has been let to the globally renowned Gagosian Gallery.

British architects TateHindle designed the exterior of the building replacing the old 1990s façade with handmade Roman bricks in a blue-grey palette. The design achieves a contemporary feel while also complementing the building’s historical context.

Award-winning architecture practice Caruso St. John created the interior scheme having previously designed galleries for Gagosian in Rome and Paris.

Grosvenor Hill and the surrounding area has been associated with the arts since the 1870s when Sir Coutts Lindsay opened the Grosvenor Gallery.  Gagosian Gallery at 20 Grosvenor Hill builds on this rich heritage.

Airport, please! We’re off to Maryland, to experience Glenstone, a synergy of great art, architecture and nature

Glenstone Museum

Guided by the personal vision of its founders, Mitchell and Emily Wei Rales, Glenstone is a private contemporary art museum located in Potomac, Maryland, just 15 miles from downtown Washington, D.C.

Glenstone founders
Emily and Mitchell Rales

Glenstone opened its doors to the public in 2006 and has provided discerning visitors with an experience of great art housed in a phenomenal architectural series of building in a beautiful setting. Glenstone seamlessly integrates art, architecture and nature into a serene and contemplative environment. A great destination at any time, now that spring is here and given the seemingly endless restrictions of the covid-19 virus, Glenstone offers a memorable and safe outdoor experience.

Richard Serra

The art collection assembles post-World War II artworks of the highest quality that trace the greatest historical shifts in the way we experience and understand art of the 20th and 21st centuries. These works are presented in a series of refined indoor and outdoor spaces designed to facilitate meaningful direct encounters with the works.

Charles Ray
Horse Rider

The Gallery was designed by the legendary architect, Charles Gwathmey, a founding partner of Gwathmey Siegel. In addition, the Pavilions offer 50,000 additional square feet of exhibition space featuring changing shows focused on the work of a single artist.

The Pavilions Water Court

Designed by Thomas Phifer and Partners, the eleven Rooms are unique, some hosting changing exhibitions and others conceived to show a particular artist’s work, thus deepening our understanding of the scope and breadth of the work and its place in the history of 20th and 21st Century art.

Michael Heizer

The rooms are connected by an enclosed passage that looks out onto an 18,000 square foot water court offering the viewer a chance to enjoy nature as well with its cultivation of seasonally changing plant life. In addition, 300 acres of landscape offer a thoughtfully conceived setting for the remarkable art and architecture that includes paths, trails, streams, meadows and forests as well as the extraordinary collection of contemporary outdoor sculpture.

Ellsworth Kelly

Next week, on April 8th, the museum will open its first touring exhibition of the works of the pioneer artist/quilt maker, Faith Ringgold. The collection of Glenstone Museum includes some of Faith Ringgold’s most politically powerful, flag inspired works. The paintings speak to America’s violent history of racism and injustice. Glenstone is the only venue in the United States for the exhibition which travels on to London’s Serpentine Museum and Sweden’s Bildmuseet.

“Faith Ringgold’s powerful depictions of the African American experience are as arresting today as they were when she first started making art nearly 60 years ago,” Emily Wei Rales, director and co-founder of Glenstone, said in a statement. Rales, who is curating the Glenstone exhibition, continued: “Her art has had a strong presence at the museum ever since we displayed one of her iconic paintings in our inaugural installation at the Pavilions in 2018, so it only seemed fitting for Faith Ringgold to be the first touring exhibition hosted at Glenstone. We are thrilled to collaborate with the Serpentine and the Bildmuseet in touring this major retrospective around the world, and in bringing it to American audiences.”

Faith Ringgold
Who’s Afraid of Aunt Jemima?

In the South, many of the quilts made during the Civil War were made by African-America slaves on plantations. As an artist concerned with feminism and racem Ringgold had immersed herself in creating story quilts as an expression that acknowledges both cultural and personal history. Domestic arts—sewing, quilting, weaving—have long been associated with women, and her quilting reflects the folk traditions and the struggles and achievements of Black women.

All the more reason to make Glenstone a destination this spring!

Faith Ringgold The American Collection#6 The Flag is Bleeding #2, 1997

Heading west, with Airport, please! to the Desert X 2021 Art Biennial in Coachella Valley, CA

Coachella Valley, California
Nicholas Galanino
Indian Land

“As much as the desert is a state of place, it is also a state of mind. Its borders are not singular but multiple, and it is defined as much by social geography as physical boundary.”

… Neville Wakefield

Ghada Amer
Women’s Qualities

The call of the outdoors, warmer weather and the austere beauty of Coachella Valley, California, are overwhelmingly tempting reasons to head west, to see the third edition of Desert X, a massive exhibition featuring large-scaled  site-specific works by artists who explore the desert as both a place and an idea.

Alicia Kwade
ParaPivot (sempiternal clouds)

Desert X is amongst one of the first art experiences in the region since the lockdown. Apart from the artist projects it has commissioned, DX21 offers a safe viewing experience for public art. The works explore the reality of those who live in the desert and the socio-political context that shapes their lives. Curated by artistic director Neville Wakefield, and co-curator Cesar Garcia Alavarez, Desert X 2021 features many newly commissioned works that challenge our society’s conventions while imagining a shared future. As we, at long last, see an end to the restrictions of the covid-19 pandemic, this seems the perfect moment for these sculptural installations.

Eduardo Sarabia
The Passenger

Participating artists include Ghada Amer, Judy Chicago, Alicja Kwade, Oscar Murillo, and many others commissioned specifically for this project built on themes explored in previous iterations, looker deeply at ideas essential to the sustainability of our future, our identity and our history.

DX21 acknowledges the Cahuilla People as the original stewards of the land and pays its respects to the Cahuilla nation, past, present and emerging, whose identity is linked with the Coachella Valley since its inception. Projects will explore the themes of land rights and ownership, the desert as border, migration, and the racial narratives of the West.

Serge Attukwei Clottey
The Wishing Well

Neville Wakefield is a distinguished curator interested in exploring the ways in which art behaves outside of institutional venues. This interest led him to co-found Elevation1049, a site-specific biennial in Gstaad, Switzerland, and, for the last three years, to organize the recurring Desert X exhibitions in the Coachella Valley region of Southern California. As senior curatorial advisor for PS1 MoMA and curator of Frieze Projects, he gained a reputation for challenging the conditions that shape art in both commercial and noncommercial contexts. He has worked extensively with international institutions, including the Schaulager in Basel where he curated the Matthew Barney retrospective Prayer Sheet with the Wound and the Nail.

Kim Stringfellow
Jackrabbit Homestead

The LRFA blog recommends a stay at Two Bunch Palms, a contemporary wellness escape, famous for its lithium rich geothermal hot springs and lush grounds.  You’ll return to our constrained daily life truly refreshed.

Two Bunch Palms

Core values stand the test of the pandemic at the Sean Kelly Gallery with Senior Partner, Cecile Panzieri

Cecile Panzieri and Sean Kelly of Sean Kelly Gallery

That the pandemic has shifted how art is bought and sold is evident in the 255% rise in online-only auction sales between January and August, to nearly US$597 million from US$168 million in the same period last year. Of the experts surveyed, 24% expect auction sales overall will rise in the next six months, while 39% expect rising sales to continue for a year.

The ability of the major auction houses to pivot quickly to digital sales, and eventually to hybrid models involving live-streams from their global locations, buffered the initial steep losses the houses experienced in the first part of the year, ArtTactic said. Still, year-end results will likely be significantly down from 2019 levels, the report said.

In 2019, global auction sales from Christie’s, Sotheby’s, and Phillips were US$9.74 billion, down 19.8% from a year earlier.

Art Basel Miami OVR
Sean Kelly Gallery
December 2-6, 2020

Galleries and art fairs that mostly sell works in the primary market also quickly, and largely successfully, transitioned to digital programming and sales in 2020, allowing confidence in the primary market to rise from a level of 3 on ArtTactic’s indicator last May to 39 in November. Of experts the firm surveyed, 36% are optimistic about the next six months (compared to only 2% who were in May) and 29% are neutral.

BARRONS.COM/PENTA, Abby Schultz, November 20, 2020, ArtTactic Finds “V-Shaped” Recovery in Market Confidence

https://www.barrons.com/articles/arttactic-finds-v-shaped-recovery-in-market-confidence-01605909874?reflink=article_emailShare

SEAN KELLY GALLERY REMAINS TRUE TO ITSELF, IN WHATEVER FORM THE CURRENT CLIMATE DEMANDS: VIRTUAL, DIGITAL, ONLINE, OR LIVE. THEIR CORE VALUES REMAIN INTACT, THEIR COLLECTORS AND ARTISTS LOYAL AND THE GALLERY PROVIDES A SAFE PORT IN THIS PANDEMIC STORM.

TODAY, THE LRFA BLOG IS HONORED TO CONTINUE ITS CONVERSATION WITH CECILE PANZIERI, SENIOR PARTNER AT SEAN KELLY GALLERY, ON THE EFFECTS OF THE PANDEMIC ON THE GALLERY IN PARTICULAR AND ON THE ART MARKET IN GENERAL.

Frieze Viewing Room 2020

Art Basel Miami OVR
Sean Kelly Gallery

IN THIS VERY COMPETITIVE ART WORLD, IN WHICH ARTISTS ARE AS CONSCIOUS OF THEIR PROFESSIONAL STANDING AS THEY OF THEIR ARTISTIC DEVELOPMENT, WHAT ARE YOUR GOALS WITH RESPECT TO REPRESENTING THE WORK?

We share and do everything we can to foster our artists’ ambitions and our ambitions for them.  We want their work to be critically recognized, publicly exhibited, and collected. We want to facilitate their creative vision.  Our ability to succeed in these areas comes from decades of experience and nurtured relationships, but this alone is not enough: the artists are integral to making our efforts successful.  Our artists  understand this.  The pandemic with all its challenges has reinforced the core values that bind us: trust, integrity,  hard work and passion for what we do.   Together we are well positioned to navigate the current stormy waters. 

TEFAF New York Fall 2019

HOW DO YOU PLACE WORKS IN BOTH PRIVATE AND PUBLIC COLLECTIONS? ARE THE PROCESSES SIMILAR OR DIFFERENT OR DO THEY OVERLAP?  

Over the years, we have had the pleasure of getting to know collectors who were at different points in their collecting history.  We have wanted to create a gallery experience where one would feel welcome to explore, discover and talk about art, be it with Sean, me or my other colleagues.  If a museum wants to acquire a work by one of our artists, we will do our best working with the artist to facilitate an acquisition. Our collectors understand that institutions are a priority, they are generous and excited for the artists when this happens.  Over the years we have placed works in the collections of many museums worldwide.  My experience with our collectors over the years is that acquiring a work is a pursuit they love and a question of timing: “the right work at the right time”.   We value our collectors, their passion and support for the gallery’s program.  They know that when solicited they can trust and rely on our opinion.   I derive a lot of satisfaction from being part of the “matching” process and  fulfilling the quest along the way.

Zona Maco 2020

HOW IMPORTANT DO YOU THINK ART FAIRS ARE TO BOTH THE PRESENCE OF THE GALLERY AND TO THE ARTISTS IN THE GLOBAL MARKET?  

Art fairs are important as they provide visibility to the gallery and its program, and the opportunity to meet existing and new collectors, private and institutional from all over the world in an “acquiring” or research mode.  It is instrumental to the expansion of the gallery’s activities and network.  I am a “people” person and very much enjoy attending and working at art fairs.  Operating a gallery of our size without art fairs as we just experienced these past few months has meant less income.  Virtual art fairs are not the same: they require a great deal of planning but our collectors find them both overwhelming and underwhelming, and are learning how to “visit” them, the same way we are learning how to best participate in them, and what technology can or cannot do for the remote art viewing experience.  More and more people from all over the world spend a lot of time looking at art, and more and more, purchasing art on the internet as well.  What we do not know is how profound and lasting  this trend is.  

ADAA Art Show 2020
Solo presentation by Idris Khan

WHICH ART FAIRS DOES THE GALLERY PARTICIPATE IN AND WHY?

Until the pandemic forced the cancellation of all art fairs, we participated in Art Basel, Art Basel Miami, Art Basel Hong Kong, Armory Show, ADAA , Zona Maco, Taipei Dangdai, TEFAF NY  and Frieze NY.   We felt that each fair complemented our activities at the gallery.  We have been deliberate in making sure that we do not become too dependent on them.   The core of our business is gallery driven, it is solid.  The past few months of distant/remote working have validated our prudence.

Frieze Viewing Room 2020

THE LRFA BLOG LOOKS FORWARD TO CECILE’S PERSPECTIVE ON THE CURRENT MARKET AND FUTURE PLANS OF SEAN KELLY GALLERY IN OUR NEXT POST.

PLEASE JOIN US!

Outstanding highlights from Sikkema Jenkins with gallery partner Meg Malloy

Sheila Hicks

LAUNCHING SOLO SHOWS AND GROUP EXHIBITIONS EVERY MONTH THROUGHOUT THE YEAR CREATES A PHENOMENAL WORKLOAD FOR A GALLERY BUT THIS IS JUST THE PROVERBIAL TIP OF THE ICEBERG OF THE EFFORT IT TAKES TO SUPPORT ARTISTS, PLACE THEIR WORK IN COLLECTIONS, BOTH PRIVATE AND PUBLIC, GAIN INTERNATIONAL RECOGNITION FOR THEIR WORK AND ORGANIZE EXHIBITIONS IN OTHER GALLERIES AND MUSEUMS. SIKKEMA JENKINS & CO. EXEMPLIFIES A GALLERY DEDICATED TO A LONG-TERM COMMITMENT TO THEIR ARTISTS, CONTINUALLY ADDING NEW TALENT TO A ROSTER OF ESTABLISHED ARTISTS, AND GIVING THEM A PERMANENT COLLABORATION BETWEEN GALLERY AND ARTIST TO PROVIDE BOTH COMMERCIAL AND CRITICAL SUCCESS.

THE LRFA BLOG IS VERY PLEASED TO WELCOME  BACK MEG MALLOY, PARTNER AT SIKKEMA JENKINS & CO., TO SHARE A VERY FEW OF THE MANY HIGHLIGHTS OF GALLERY NEWS AND TO SPEAK ABOUT THE GALLERY’S HOPES AND PLANS FOR THE FUTURE.

https://www.sikkemajenkinsco.com

Arturo Herrera

MEG, WELCOME BACK. WHAT ARE SOME OF THE EXHIBITIONS THAT YOU HAVE HAD IN THE LAST FIVE YEARS AT THE GALLERY THAT ARE PARTICULARLY MEMORABLE?

Kara’s last show was so exciting. We placed all of the works in the main space with major museums, and all of them have been on view at those institutions since those acquisitions.  I was just up at the Harvard Museums where I saw how many classes were held in front of Kara’s piece,  and it was great to see the work MoMA bought front and center in the rehang of the collection!   Mitch Epstein’s show addressing our uses and abuses of the land was very powerful, and will be shown at the Amon Carter next year.  Vik’s current show Museum of Ashes is striking a chord with visitors. It focuses on the tragic fire at  the National Museum in Rio and the loss of its irreplaceable artifacts, by recreating them out of the actual ashes.  

Louis Fratino

Louis Fratino’s show was so fresh and tender, and Jennifer’s work for her most recent show was just so powerful. It’s hard to convey how much pleasure I get  out of each of our artists’ shows.  Walking through the space and looking for four to five weeks, you really connect and see more, or learn to understand something different over time. It  Is such a gift.

MANY OF YOUR ARTISTS ARE HONORED WITH MUSEUM EXHIBITIONS AND SHOWS AT OTHER PRESTIGIOUS GALLERIES HERE AND ABROAD. HOW DO YOU ARRANGE FOR THESE AND HOW DO YOU PUBLICIZE THEM TO THE ARTIST AND GALLERY’S BEST ADVANTAGE?

We send out email blasts and use Instagram to announce exhibitions and awards.  We have also started making e-books for our shows with installation shots  to better share with a non local audience what the gallery and our artists are up to!

Josephine Halvorson

RECENT AWARDS AND MUSEUM EXHIBITIONS: 

Jeff Gibson wins the  MacArthur Foundation Fellowship

Kara Walker’s commission at Turbine Hall at the Tate Modern

Vik Muniz opening the new museum in Sarasota

Josephine Halvorson wins the James and Audrey Foster prize at the ICA, Boston

Jennifer Packer at MoCA this spring and the Serpentine this fall

Erin Shirreff at SF MoMA  now through November

Deana Lawson with survey forthcoming at Ica Boston at PS 1

Arturo Herrara’s  new work at Corbett vs Dempsey forthcoming

Marlene McCarty exhibit at the UB Art Galleries in Buffalo

Sheila  Hicks in MoMA’s Surrounds, the installation section on the 6th floor

Erin Shirreff

HOW HAVE YOU SEEN THE GALLERY SYSTEM CHANGE AND ADAPT TO GLOBALIZATION IN GENERAL AND HOW HAS SIKKEMA JENKINS APPROACHED THESE CHANGES IN PARTICULAR?

There is a wider worldwide audience.  There is also a lack of interaction as people use places like Artsy for inquiries.  I don’t like that!  I think we need a sense of who a buyer is. 

WE ARE IN THE THROES OF THE PRESENCE OF UBER-GALLERIES BOTH IN THE BRICKS AND MORTAR WORLD AND AT THE ART FAIRS. HOW DO SUBSTANTIAL, LONG-TERM BUT MORE MODEST GALLERIES DEAL WITH THIS COMPETITION?

We cannot compete with the uber galleries. But we can keep doing what we do best. Show great artists, work as hard as we can for them, place the work in the best collections we can, and remain approachable!

Mitch Epstein

WHAT EXHIBITIONS ARE YOU PLANNING FOR THE SEASON AHEAD?

We are currently showing Zipora Fried, a wonderful artist who was with the great  Stellar Rays until they closed. It is our first solo show with her and we are thrilled.  In the back galleries we are showing new  Cameron Martin paintings paired with vintage Kepes photographs.   Cameron’s show at James a Fuentes last year was a stunner, and we are delighted to show these new pieces.  In January, we will show new work by William Cordova and Josephine Halvorson’s Foster Prize show.  Then we will show Kara Walker, including some pieces that will go to Kunstmuseum  Basel for her forthcoming show there. In  May we will show  Merlin James, a still undervalued painter who’s got a terrific artists following.

We have to get Arturo Herrera and Kay Rosen on the books, both such strong wonderful artists

Kay Rosen

WHAT ARE SOME OF THE PLANS FOR THE GALLERY IN THE FUTURE?

To keep going!  To support our artists as best we can and to keep the non-uber gallery alive!

MEG, THANK YOU SO MUCH FOR YOUR WONDERFUL CONTRIBUTION TO THE LRFA BLOG AND TO SIKKEMA JENKINS & CO.  GALLERY. IT IS NO WONDER THAT THE GALLERY HAS SUCH A LOYAL AND DEDICATED TEAM AND CONTINUES TO GROW AND THRIVE.

TIS THE SEASON, AND IN OUR NEXT LRFA BLOGS, WE ARE DELIGHTED TO ANNOUNCE THE LRFA BLOG ANNUAL TRADITION:  POSTS FROM DOUG FLAMM, GAGOSIAN’S RARE BOOK EXPERT, WITH THIS YEAR’S IRRESISTIBLE GIFTS.

 

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!