January, 2014 - Art World News

Transcription

JAN14-cover-radiant orchid Max_Layout 1 1/9/14 11:26 AM Page 1
Art World News
J A NUA RY 2014
THE INDEPENDENT NEWS SOURCE
PRINT-ON-DEMAND
AND COPYRIGHT
A CLOSER LOOK AT
MOULDING DESIGN
Joshua Kaufman, a leading
attorney in art, copyright,
and licensing law, discusses
copyright issues that
frameshops and galleries
offering print-on-demand
services should be aware
of. He also provides background information on copyright because, as he says, it
is at the core of our business, yet a very misunderstood doctrine. Page 46.
Have you ever wondered
who decides the colors,
styles, and profiles of the
frame mouldings available
to custom framers? Are you
curious how they make
their selections and why
they choose to bring one
concept to market versus
another? Greg Perkins
describes how the process
works at Larson-Juhl.
Turn to page 42.
TOP DOGS ARTIST CHRIS
COLLINS’ CHARITY WORK
KOLIBRI WINS TOP
PRINTING AWARDS
Chris Collins, known for his
colorful paintings and prints
of English bulldogs distributed by Lyrical Fine Art,
has been attracting media
attention while benefitting
Bulldog charities. Page 24.
Kolibri Art Studio of Los
Angeles has received major
awards for prints it has
made for Chalk & Vermilion
Fine Arts and The Thomas
Kinkade Company. See
article, page 28.
Steve Alpert’s SoHo exhibition, with his dog Ray, shown. Page 22.
MELDING TRADITIONAL &
INTERNET MARKETING
Art galleries and frameshops are literally drowning in a sea of
“I gotta be there,” whether it be MySpace, Instagram, Twitter, Facebook, LinkedIn, Pinterest, Patch, Reddit, YouTube,
Vine, or Flickr, in the view of Ken Warren, owner of Westport
River Gallery and Westport Picture Framing in Westport, CT.
Mr. Warren, who has coun- exclusive and therefore the
seled galleries on navigating skill lies in deciding how best
between the emotionally laden to incorporate a Web presissues of social media and ence and a select few social
traditional advertising and PR media outlets into the gallmarketing, emphasizes that ery or frameshop’s traditional
the new and old marketing marketing initiatives.
continued on page 18
channels are not mutually
Casa Bella
Collection
from Max
Moulding.
Turn to
page 40.
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INSIDE THIS ISSUE
DEPARTMENTS
ARTISTS & PUBLISHERS
Page 10
FRAMING
Page 38
MOULDING DESIGN
Page 42
LEGAL ISSUES
Page 46
OPEN EDITIONS
Page 47
ART RESTORATION
Page 51
WHAT’S HOT
IN OPEN EDITIONS
Page 52
NEW ART
Page 58
VOLUME XIX
ISSUE 1
Art and Influence and Sagebrush’s New
The Beatz Goes On... Year Plans
Twenty Years of
Britto Central
Music producer mogul Swizz
Beatz, who has actively been
touting the importance of art
in one’s life, recently acquired
a Leroy Neiman portrait of
the late Nelson Mandela
from American Fine Art Inc.
Sagebrush Fine Art, owned
by Michael and Susan Singleton, is marching into the New
Year with a handful of new
artists and a renewed commitment to protect the copyright
of each work by their artists.
More than 150 people attended the 20th anniversary
celebration of Pop artist
Romero Britto’s eponymous
space on acclaimed Lincoln
Road in South Beach, Miami,
called Britto Central.
Page 16
Page 22
Page 26
Opportunities for
Custom Framers
Behind the Scenes
In Moulding Design
Art Restoration: A
Perfect Fit for Artists
Nuggets of useful information
to help steer marketing initiatives by custom framers can
be found in the recent survey
by Unity Marketing on the art,
wall decor, picture frame, and
custom framing industry.
In the first installment of a
two-part series, Greg Perkins
takes readers on a exclusive
look behind the scenes at the
many stages that go into creating a new moulding design
at Larson-Juhl.
While art restoration may not
be practiced by many artists,
they are often well-suited for
it as it combines the experience of working with various
mediums and the talents of
blending colors.
Page 38
Page 42
Page 51
CLASSIFIEDS
Page 61
AD INDEX
Page 62
CALENDAR
Page 63
Artwork featured is
“ City View” by Ferjo
from CJR Fine Arts.
Go to page 58.
ART WORLD NEWS
PAGE 7
JAN14-Opinion_Layout 1 1/9/14 11:09 AM Page 1
IN OUR OPINION
LEVERAGE
WHAT WORKS
s better fortune finds
its way into the art
and framing industry
in 2014, the most pressing
question at the start of the
year is, “Where is growth
going to come from?” For
many, the axiom of “A rising
tide raises all boats” will
apply. Stated another way, a
large swath of the population
of retailers will prosper as
they simply maintain the
balance of what has driven
their business forward. Perhaps validated by strong
year-end sales, those business owners will operate
under the same business
model in 2014.
A
For other art galleries and
frameshops, the final months of the year provided
something of a litmus test
to determine the viability of
each facet of their business.
The evaluating assumption
is, if an initiative is going
to be profitable and worthwhile, its goodness will un-
doubtedly shine through during a good selling season.
By extension, anything that
under-performed in the final
quarter falls under intense
scrutiny in January.
A RT W ORLD N EWS
Editor in Chief
Managing Editor
Those art and framing retailers most likely to outperform their peers are those
that are willing to input
change into their business
by going “long” into what is
working while “shorting out”
of weaker activities. At least
in the first half of the year,
this will be the recipe for
success for many framers
and gallerists.
Production Manager
Editor at Large
Columnists
John Haffey
Publisher
Koleen Kaffan
kkaffan@optonline.net
Sue Bonaventura
awnimage@optonline.net
Jo Yanow-Schwartz
Todd Bingham
mo@tbfa.com
Barney Davey
barney@barneydavey.com
Joshua Kaufman
JJKaufman@Venable.com
Co ntributing Writers
This doesn’t suggest in
any way that innovation is
put on hold in 2014. Rather,
the approach will be to identify what you do best in your
business, and do it even
better—a concept that is
grounded in innovative thinking both within and beyond
the box.
Sarah Seamark
sseamark@optonline.net
Publisher
Associate Publisher
Information Technologist
Greg Perkins
Cristi Smith
Zella Hannum
John Haffey
jwhaffey@aol.com
Brooks Male
jbmale@aol.com
Joe Gardella
Editorial Advisory Board
Phillip Gevik, Gallery Phillip, Toronto, Canada
Steven Hartman, The Contessa Gallery, Cleveland, OH
Jeff Jaffe, POP International Galleries, New York
Heidi Leigh, AFA, SoHo; Las Vegas; New Orleans; Belcastel, France
Ruth-Ann Thorn, Exclusive Collections Gallery, San Diego, CA
ADVERTISING SALES INFORMATION
Eastern U.S. & International
Midwest & West Coast
John Haffey, Publisher
Phone (203) 854-8566
Fax (203) 854-8569
jwhaffey@aol.com
Brooks Male, Associate Publisher
Phone (847) 877-4568
Fax (203) 854-8569
jbmale@aol.com
Art World News (Volume XIX, Number 1) ISSN 1525 1772 is published 10 times a year by
Wellspring Communications, Inc.: 143 Rowayton Avenue, Rowayton, CT 06853.
Phone (203) 854-8566 • Fax (203) 854-8569; To order additional copies or back issues
e-mail: jbmale@aol.com or fax to (847) 776-8542. Please indicate which month and year you
are requesting. Single copy price is $10.00.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or
by any means, electronic or mechanical, including photography, recording, or any information
storage and retrieval system, without permission, in writing, from the publisher.
PAGE 8
ART WORLD NEWS
JAN14-A&P-pg1_Layout 1 1/9/14 9:58 AM Page 1
ARTISTS & PUBLISHERS
Fabienne Delacroix Comes to Town!
Fazzino’s Super Bowl Art Unveiled
Solo shows
at
Axelle
Fine Arts in
Boston and
SoHo
for
Fabienne
Delacroix
in early December met
with success.
The artist,
who lives in
Madagascar,
attended
opening re- Fabienne Delacroix’s “September in Central
ceptions in Park,” acrylic painting, 25 1/2 by 21 inches,
both cities, retailing for $10,500.
and sales of
her originals and prints were good. Daughter of naif
Master painter Michel Delacroix, Fabienne’s works capture
the spirit of the changing seasons in a simpler, quieter
France of the past. Her paintings retail from $1,800
to $10,500. For further information, visit the website located
at: www.axelle.com or telephone (212) 226-2262.
A star-studded
unveiling of the
14th officially licensed Super
Bowl artwork
created
by
Charles Fazzino,
including a limited edition print,
poster, and commemorative
products, took Official Super Bowl artist Charles Fazzplace in New ino, second from left, holding a comYork in Decem- memorative helmet, is joined by, from
ber.
Fazzino, left: New York-New Jersey Super Bowl
whose work is host committee CEO, Al Kelly Jr.; owner
represented by of the New York Jets, Robert “Woody”
Museum
Edi- Johnson III; and co-owner of the New
tions, donated York Giants, Laura Tisch.
two paintings,
one to benefit the host committee’s Snowflake Youth Foundation, and the other, the Breast Cancer Research Foundation. Visit: www.fazzino.com or call (914) 654-9370.
Pamela Sukhum’s Big Gift of a Mini
As part of artist Pamela
Sukhum’s
“Giving
Back Through Giving
Art” initiative, she
created a collection
of mini original paintings to raise money
for her The Beautiful
Project. The Big Gift
of a Mini promotion
features 20 oil on
canvas mini paintings measuring 6 by
6 inches. Each piece
retails for $300 with “Celebrate” by Pamela Sukhum is an
all of the proceeds oil on canvas measuring 6 by 6 inches.
going directly to
The Beautiful Project, a non-profit founded by Sukhum.
For more information on Sukhum’s art, call Infinite
Vision Art, Minneapolis, at (612) 207-8148 or visit the
website located at: www.infinitevisionart.com.
PAGE 10
Art Traditions’ New Zu Ming Ho Print
Richard Zu Ming
Ho, whose work
is published by
Art Traditions of
Westlake Village, CA, recently visited
Westlake Village
Gallery to meet
with his art
dealer,
Elliot
Blinder, to celebrate the re- Richard Zu Ming Ho, left, and his art
lease of his dealer Elliot Blinder with his new
latest giclée edi- “Bronze Age I” print release shown.
tion
“Bronze
Age.” The artist is currently teaching drawing at Shanghai
University in China, where he is also working on a large
mural. The giclée in an edition of 50 is available in three sizes:
20 by 20 inches retailing for $950, 30 by 30 for $1,250, and
36 by 36 for $1,650. For details, call (805) 496-7100 or go
the website: www.wlvart.com. See New Art, page 58.
ART WORLD NEWS
Lyrical-SEP13_Layout 1 9/6/13 1:56 PM Page 1
Tim Gagnon “Between the Red”
Original Acrylic on Canvas 24 x 36”
Daniel Del Orfano “Our Paris”
Hand Embellished
Limited Edition Canvas
44 x 24 and 32 x 18”
Cathy Nichols “Shelter”
Original Acrylic on Board 22 x 28”
(631) 787-8585
Ferjo “Fiddler”
Limited Edition Canvas 24 x 20”
WWW.LYRICALFINEART.COM
A&P
Karla Inspires Kids to Eat Healthy
AFA’s Daniel Merriam Exhibition
Karla Chambers,
whose paintings and
prints are inspired by
the organic berries
and vegetables that
she grows on her
farm in Oregon, has
created a recipe and
coloring book for
children entitled The
Color of Nutrition.
“Our goal is for
a child to realize
that they can make Karla Chambers with her book “The
‘healthy food choi- Color of Nutrition” and her triptych
ces’ by looking for painting entitled “The Colors of Nutrinatural, bright col- tion,” available from Arnot Galleries.
ors. Children learn
their colors before they can read, so I know through fine art
and creativity we can help them connect the dots to better
nutrition,” she says. Chambers’ work is represented by Arnot
Galleries. Visit: www.arnotgallery.com or call (212) 245-8287.
AFA, SoHo, hosted a
full house for a
reception for Imaginary Realist artist
Daniel Merriam and
his new exhibition,
“Head in the Clouds.”
Unveiled during the
opening were 24 new
acrylic on panel paintings and four new limited edition giclées on
paper and canvas.
AFA has four locations: New York, Las
Vegas, New Orleans,
and Belcastel, France.
For further information, phone AFA in
New York at (212)
226-7374 or go to AFA gallery owners Heidi Leigh and
the gallery’s website: Nick Leone, left, flank artist Daniel
Merriam during the opening reception.
www.afanyc.com.
Will Bullas Event at Gallery 601
Gallery 601, Boise, Idaho,
was the setting of a fundraiser with Greenwich
Workshop artist Will Bullas. The artist was on-hand
to meet with collectors
and help raise money for
the local food bank. Bullas also spent the day at
the gallery painting a festive moose, decorated with
mistletoe, on the gallery’s
storefront window. Attendees were asked to
bring five cans of food to
the annual food drive
event, and raffle tickets
were sold to win an orig- Will Bullas paints Gallery 601’s
inal watercolor by Bullas storefront window for the event.
titled “Ebenezer Goose.”
Phone (208) 336-5899 or go to: www.gallery601.com. To
contact The Greenwich Workshop, Seymour, CT, call (800)
243-4246 or visit: www.greenwichworkshop.com.
PAGE 12
Olbinski at Studio Vendome in SoHo
Surrealist
painter Rafal
Olbinski,
whose work
including paintings,
drawings, graphics,
and posters is
represented
by Patinae Inc.
of Stamford,
CT, enjoyed an Rafal Olbinski, far right, is joined by, from
opening
re- left: Antonio “Nino” Vendome, chairman,
ception in De- Vendome Group; Tamara Weg, gallery dicember at the rector; Sherri Nahan of Patinae Inc.; Peter
recently open- Hastings Falk, Rediscovered Masters curaed Studio Ven- tor; and Robert C. Morgan, art critic.
dome in SoHo.
A month long exhibit of his paintings was held at Studio Vendome’s two locations on Spring and Grand Streets. For the
galleries: www.studiovendome.com; to reach Patinae Inc.,
call (203) 461-9124 or go to: www.patinae.com.
ART WORLD NEWS
A&P
Wild Apple’s New Catalogue, Artist
Artist Duaiv Partners with Ferrari
Wild Apple has
released its redesigned catalogue for 2014,
featuring new
and top-selling
works
from
more than 40
artists, including a new collection by the
recently signed
Ellen Gladis.
With
288
pages, the catalogue measures 8 1/4 by “Red and Orange Poppies I” by Ellen
10 3/4 inches– Gladis measures 27 by 27 inches ($27).
a change from
the previous square format—making it more portable. Gladis’
work is influenced by the beauty of mother nature and the
beach lifestyle, and retails from $17 to $27. Telephone (800)
756-8359 for more information, or visit: www.wildapple.com.
Duaiv, the Frenchborn artist known for
his colorful paintings, has partnered
with Ferrari Palm
Beach to decorate a
Ferrari 458 Spider to
be featured at exclusive events in the
area. Because such
a high-end car required a deft touch
with applying the
design wrap, Duaiv Artist Duaiv with a Ferrari 458 Spider
worked with Wraps1 decorated with his signature painting.
.com. The decorated
Ferrari made its first appearance at Palm Beach International
Raceway in October, and in January will be at The Breakers
Palm Beach for a Ferrari show and also at the International
Polo Club in Palm Beach. During the past year, Duaiv has
participated in numerous events with Park West Gallery
on land and at sea. For further information on Duaiv’s artwork,
visit the website located at: www.duaiv.com.
Jonathan Mandell’s Mosaic Artwork
Unique Framing at Carmel Gallery
Jonathan Mandell is a Narberth, PA, artist who likes to
think what he creates with ceramic tile pieces as tactile
paintings and sculptures.
“The grout lines act as drawing lines, defining depth perspective and the volume of
form,” he notes. Utilizing
such materials as hand-blown
glass shards, ceramic tile,
semiprecious stones, and
minerals, Mandell makes
wall-mounted panels and
three dimensional forms
which evolve into paintings,
sculptures, and vases. His Floral glass vessel by
work, much of which is com- Jonathan Mandell, 26 by 60
missioned, is held in corporate by 26 inches ($22,000).
and museum collections. Retail prices are $2,000 to $60,000, depending on size. For
more, visit: www.jonathanmandell.com or call (610) 668-9909.
PAGE 14
“Summer Sunset, Martis Valley,” a giclée by Elizabeth
Carmel, is mounted into a reclaimed door.
The Carmel Gallery, Truckee, CA, recently created a special art and framing project for a customer looking to use an
old reclaimed door as a unique frame. The gallery provided
a special custom-sized print, “Summer Sunset, Martis Valley” by artist and gallery co-owner Elizabeth Carmel, specially sized to a 72- by 21-inch giclée on canvas. The
resulting unique art piece was dry mounted and fitted into
the door by gallery co-owner Olof Carmel and framer David
Dory. For more details, call the gallery at (888) 482-4632 or
visit the website, located at: www.thecarmelgallery.com.
ART WORLD NEWS
A&P
Art and Influence and the Beatz Goes On...
Recently music
his own contribuFinally, Mandela was re- 2012 interview in The New
producer mogul
tion to the freedom leased on February 11, York Times’ style magazine
Swizz Beatz, aka
struggle of his peo- 1990. He was elected ANC Swizz Beatz said, “I don’t
Kasseem Dean,
ple just like his president in 1991 and wan- want to use my star power to
acquired a Leroy
ancestors before ted to end the white minority sell paintings. I would like to
Neiman portrait of
him. He became rule. He won the Nobel use it to help bring awarethe late Nelson
politically involved Peace Prize in 1993. He was ness to certain situations that
nurture
Mandela
from
in 1944 when elected South
kids.” Swizz
American Fine Art
he helped form Africa’s first
has
been
in Scottsdale, AZ.
the ANC Youth democratically
n a m e d
In an interview
League. In 1949, elected PresiGlobal Amwith Black Enterwith the help of dent. He stepprise, Swizz Beatz “Nelson Mandela” Mandela, the ANC ped down after
bassador to
suggested, “that by Leroy Neiman. adopted a more one term just
the
city’s
people invest in art
public hospiradical mass-based as he said he
that they love and just be policy called the Programme would. He contal system
smart about the research. At of Action. In 1952 he was tinued his work
for his work
the end of the day, even if the charged under the Suppres- with the Nelin
raising
value doesn’t grow at least sion of Communism Act and son Mandela
healthcare
you have something on your sentenced to nine months of Children’s Fund
awareness.
wall everyday that you love to hard labor. After that he was that he establook at and inspires you.” arrested in the 1956 Treason lished in 1995.
L e r o y
Leroy Neiman created this
Neiman will
Neiman
limited edition serigraph in
always be
c r e a t e d An earlier photo of Nelson
1997. In the piece Neiman
as
Mandela’s Mandela and Leroy Neiman. known
not only captured Mandela’s
the quintesportrait in
love of his country of South
support of Mandela’s ten- sential American artist. For
Africa, but also the way the
nis tournament in 1997, decades he captured all that
country was unified with all
that benefitted the Fund. America has to offer: The culthree lines of the flag conNeiman personally pre- ture, the people, the drama,
verging with the image of
sented the painting to its pastimes and its history.
Mandela. Neiman made
Mandela at the benefit, When it came to helping othMandela very small in comand each tennis player ers Leroy Neiman was alparison to the flag, which
was given one of the lim- ways there to donate his time
demonstrates who Mandela Swizz Beatz, aka Kasseem
ited edition prints. The art- and money to help those who
was and that he did not want Dean, left, with Phil Koss of
work was revered by wanted to make themselves
himself to be the center of at- American Fine Art. Shown is the critics and supporters better and give everyone a
tention, but rather the coun- Leroy Neiman portrait of the
alike around the world as chance to step up for a better
try to be the focus. The late Nelson Mandela that Swizz a poignant, symbolic mas- life. Nelson Mandela inspired
original painting was created Beatz acquired from the gallery. terpiece.
millions of people around the
on the South African flag
world throughout his entire
itself, exemplifying the way Trail. He was later acquitted
Swizz Beatz, a philanthro- life. Mandela’s influence and
Mandela was one with his and traveled around Africa pist himself, also enjoys inspiration is evidenced in the
country.
and England trying to gain painting and donates the pro- way Swizz Beatz gives back
support for the struggle. In ceeds to the Children’s Can- to children and the commuFrom a very young age 1964 he was sentenced to cer and Blood Foundation nity in his own special way.
Written by pkiv
Mandela dreamed of making life in prison.
and other organizations. In a
PAGE 16
ART WORLD NEWS
JAN14-Cover story page 1_Layout 1 1/9/14 10:39 AM Page 1
WEST COAST ART &
FRAME EXPO HIGHLIGHTS
MELDING NEW & OLD MARKETING
LAS VEGAS—With more
than 200 exhibitors of art and
framing-related products, the
15th annual edition of the
West Coast Art & Frame
Expo takes place January
20–22 at the Paris Las Vegas
Hotel & Casino. The National
Conference, offering some
90-plus seminars and workshops, runs January 19–22.
Topics range from The Goltz
Standard: Pricing Strategies,
presented by Jay Goltz; to
Making Financing a Part of
Your Business Model, compliments of GE Capital, presented by Regina Leadem.
The WCAF Expo is also the
setting for the PPFA Annual
Convention.
continued from page 1
Judging by the results of a
shopping survey by Wanderful Media, a Silicon Valley
newspaper-backed shopping
platform, the value of an online presence as a means to
bringing customers into
brick-and-mortar stores can
no longer be ignored. It
found that multiple online experiences drive consumers
into stores: e-mail promotions, coupons, online ads,
and so on; and 55% of the
1,000-plus adults surveyed
searched for a product and
found a store location. Yet a
survey by online marketer
Yodle reveals that less than
half of small businesses,
48%, have a website.
Highlights include:
Sunday:
11:45 a.m. – 1:15 p.m.
PPFA annual meeting, luncheon, and International Open
and Print Framing Competition celebration.
5 p.m. – 7 p.m.
PPFA Welcome to Vegas reception & vendor showcase.
Monday:
12:30 p.m. – 2:30 p.m.
Lunch & Learn: Understanding Your Business Insurance
Needs, presented by Rob
Markoff.
6 p.m. – 7:30 p.m.
Design Star Framing Edition
awards ceremony hosted by
Larson-Juhl. Winners will be
announced.
Wednesday:
8 a.m. – 10 a.m.
Successful Retailing: A Panel
Discussion led by Jay Goltz.
Show hours:
Monday and Tuesday:
11 a.m. – 6 p.m.
Wednesday:
10 a.m. – 4 p.m.
PAGE 18
So, for those who want to
dip their toe in the water,
how to begin? Myths that
Mr. Warren adroitly dispels
are that just because everyone is on Facebook, you
need to be there; nobody
takes ads in local newspapers or sends direct mail.
“All false,” he says. “There
is no collective ‘right,’ and
what works in Tulsa may not
work in Boston. But in a land
of drunkards, it’s hard to remain sober and see a logical
path. Knowing who your
clients are, and who you
want to reach, is the first
step to maintaining a plan
that includes social media.
But go slow,” he cautions.
Galleries and frameshops
that we talked with agreed
that the foundation of a successful social media strategy
is built on the solid foundation of an effective website,
one that describes exactly
who you are and what services you offer. “Better to do
a good focused job on one
website than be in four awkward and unfocused social
media sites. You have control
over your website, but less
control over your social
media footprint,” Mr. Warren
observes.
Jim Miller of Artframe Inc.,
Pickerington, Ohio, in business 25 years, agrees. He
launched his first website in
1994, “So I was an early
player, and right from the be-
signed to promote preservation framing, with an emphasis on creative, protective
displays for three-dimensional objects—and provide
consumers with information
about what can be done—
and to inspire ideas.” He custom frames artwork and
objects that have high personal or monetary value—
that is his niche. His website:
Being approachable
on your
website is
key, as at
Westport
Framing
where,
under the
photo of
the sailboat, it
reads:
“Much in
life may be
easy, but effectively framing a picture is not an easy task.
Get the wrong frame and your picture may never look good.
Visit Westport Framing in Westport and let us discuss your
framing needs. And if you need an original oil painting or
European lithograph, see the many works next door at our
Westport River Gallery.”
ginning I didn’t want the site
designed to do transactions
because I didn’t believe Internet buying was conducive to
custom framing. He does not
think that Web-based businesses that offer posters,
prints, and readimades work
as well as most people think.
“They offer low prices, but
shipping and fees can make
the prices close to or higher
that for framing (from a brickand-mortar store); and our
products are of a higher quality and we offer more
choices. And I don’t want to
be compared with Internetbased framing businesses. I
don’t want any association
with that, so I don’t sell online. I wanted my website de-
www.artframe.us conveys
the essence of his business,
“Custom framing is all we do,
and we do it very well.” He
confidently invites visitors to
the site to: “Compare our
price. Compare our quality.
Compare our value.”
A PPFA educator and contributing writer for Picture
Framing Magazine, Mr. Miller
does not use social media
for his business, but says
he would consider YouTube
because he has made a
number of videos for his
own use in training. “That
could be useful for training
other framers and I could
ART WORLD NEWS
SMALL BUSINESSES
ANTICIPATE
IMPROVING CONDITIONS
WOODSTOCK VT—Confidence among small business
owners increased in the late
fall, in part because a greater
number expected business
conditions to improve in the
months ahead. That is according to the November Wall
Street Journal Vistage
Small Business Confidence
Index that is based on survey
responses from owners and
executives. A November 21,
2013, article in the WSJ,
says of the 820 small business surveyed online, 27%
expected better conditions
over the next 12 months, up
from 21% the previous
month; 70% said they are
readying for stronger sales,
up from 68%, and 44% said
they plan to increase spending, up from 40%.
Among the participants was
John Chester, co-owner of
Wild Apple, Woodstock, VT,
publisher of open edition
prints and licensor, who told
the WSJ he has started seeing stronger demand from
Wild Apple’s manufacturing
customers for licensed images for various products
from wallpaper to mugs. The
increased activity he sees as
“a sign that the economy is
getting healthier.”
Because the small- and
mid-sized business sector
creates 75% of all new jobs
and generates 50% of all national revenue, “the opinions
of these business leaders
provide a clear snapshot of
current economic, market,
and industry trends...These
insights provide a leading indicator for employment, capital expenditure, sales,
and revenue and profit
trends,” according to Vistage
International’s website:
www.vistage.com.
PAGE 20
MARKETING
adapt them to interest consumers. It is amazing how little people know about
custom framing—and how
little they realize what they
don’t know. I would use
YouTube for that purpose.”
Glenn Avolio, owner of
The Frame-up in Goleta, CA,
uses an effective combination of traditional and Internet
marketing, with his website
as the cornerstone. “Ninety
percent of people are going
to the Internet first when
they are looking for something, so having your website
show up when they are searching is very important.” Of
his own website: www.the
frame-up.com, Mr. Avolio,
whose custom frameshop
was named Small Business
of the Year by Goleta Chamber of Commerce in 2013,
says, “I am not thinking that
people are going to hang out
at my site, but they will see
framed art and spend just
enough time to feel that this
is a viable establishment with
good taste. And they may
call or drop in. I think that
is what people are mostly
doing.”
However, Mr. Avolio is
well aware that the work he
does in his community is
beneficial. The Frame-up, he
says, “is pretty well-known
in the area for quality product
and excellent customer service; and I am very involved in
the community.” He donates
framed art for charity auctions, is active in the shopping center where his store
is located and is a member
of the Merchants Association, as well as the local
Chamber of Commerce.
These activities make him
very visible in the community.
“If people have an opportunity to know you, and know
what you do, they will utilize
your services. You don’t do
it for that reason, but it does
end up having a positive effect.” In tandem with traditional marketing initiatives,
such as being out and about
in the community, he is utilizing social media more and
more. Last year, for the first
time, he did not run an ad in
The Yellow Pages. Instead,
he has done ads from time to
time on Facebook. “It doesn’t take a lot of dollars to get
topics: updates on kids’ art
parties and birthday parties
held at the frameshop and
gallery; paint and wine nights
for adults; painting classes,
and more. “People get inundated with e-mails every day
from all over the place. I want
to make sure people keep
me in mind—I don’t know if it
is too much or too little. I try
to send out different messages—about our framing
and about our classes—and I
share photos and information
The framing counter at The Frame-up in Goleta, CA.
more activity—it jumps our
hits up, but I’m not sure if it
brings people in the door.”
He believes, however, that
Facebook is a powerful
means of finding something,
and it does increase his SEO
(Search Engine Optimization)
and that helps to make his
website more visible when
people are searching online
for a brick-and-mortar custom frameshop.
John Gaston of Gastonart
& Frame in Shrewsbury, MA,
is similarly involved in his
community while being super
active through social media
and having a very descriptive
website: www.gastonartand
frame.com that states: “People you can trust with all your
art treasures.” Mr. Gaston
sends frequent e-mail blasts
to his mailing list on different
through Facebook.” He also
writes personal e-mails, and
always responds when
someone e-mails him. “I
don’t want them to shut me
off, but at the same time, you
need to be in people’s faces
all the time. I can’t stand it
personally!” Mr. Gaston
coaches his son’s hockey
team, and he likens it to the
e-mails he gets from hockey
equipment suppliers. “I don’t
read them all, but I don’t unsubscribe. And there have
been times when their emails have prompted me to
purchase because it was
such a good deal that I took
advantage of it. Maybe on
Tuesday I interest someone
where as on Monday I didn’t.” He may get one or two
responses from an e-mail
ART WORLD NEWS
JAN14-news-Sagebrush_Layout 1 1/9/14 11:00 AM Page 1
STEVE ALPERT ON THE
PROS AND CONS OF
POP UP GALLERY SHOWS
NEW YORK—Artist Steve
Alpert recently held his
second Pop Up show in an
elegant SoHo space, this time
featuring the drawings of
Glen Palmer-Smith, as well
as his own landscape and
seascape paintings. The positives were that the majority of
his 300-plus collectors and
friends attended the show.
But sales were not what he
hoped for. He believes,
“Those who are buying art are
tried and true people who go
to galleries—and have a relationship with them.”
Having experienced Miami Art
Week in early December, exhibiting at Red Dot, he feels
“the art fair thing is over saturated,” although he did make
good contacts, picked up a
couple of galleries, and will be
exhibiting his work in Seoul,
South Korea, as a result of
the fair. Moving forward, he
says he plans to focus on providing paintings for the 10 or
so galleries that represent his
work, none of which are in
New York City where he held
the Pop Up.
Apart from his abstract landscapes and seascapes, Alpert
is also known as a military
artist. Last winter, a play entitled The Steadfast, based on
his painting “Legacy,” featuring the eight uniform eras of
the United States Army, made
its debut in New York.
Alpert and Palmer-Smith
share a New York studio. For
more on Palmer-Smith’s work,
go to: www.glennpalmersmith.com. For Alpert’s landscapes and seascapes that
retail for $5,000 to $12,000,
visit: www.stevealpertart.com,
for his military artwork, go to:
www.steadfastfineart.us, or
call (917) 623-0147.
PAGE 22
SAGEBRUSH’S NEW YEAR PLANS
Sagebrush Fine Art, Salt Lake who will offer a wide, diverse ings are fun while at the same
City, Utah, owned by Michael range of art to strengthen cat- time realistic.” Some of the
and
Susan
egories that have not company’s strong selling catSingleton, is
been strong for us. egories include typography,
marching into
These categories in- Holiday, Christmas, and Halthe New Year
clude florals, land- loween. “Our ‘men’s art’ has
with a handful
scapes, figurative, sold tremendously well in all
of new artists
abstract, and contem- manner of mediums,” he says.
and a renewed
porary. I am pleased to “Much of the art we acquire
commitment
say that in 2013 we gets licensed for ‘alternative’
to protect the
added some wonder- products. Men’s art is very popcopyright of
fully talented new ular on tin, wood, and other
each work by Susan and Michael
artists to
their artists. Singleton.
the Sage
“One of the
team.”
many new projects for 2014 These artists inwill be to hammer down hard clude Helen Chen,
on the many companies who Holly Stadler, Sharon
copy, counterfeit, use our art France, Andrew Sulillegally, and to also prosecute livan, Sally Barlow,
to the full extent of the law,” Cassandra Cushsays Mr. Singleton. Sage- man, Evelyn Jenkins
brush Fine Art is a member of Drew, Mark Mabry,
The Art Copyright Coalition.
Lynn Garwood, Lisa
Keys, Lisa Longfel“We are filing copyrights low, and Ninalee
for our art as it arrives, thus Irani. Mr. Singleton
strengthening our position for adds that they are “Shady on the Westside” by Ninalee
being financially compensated always looking for Irani measures 12 by 12 inches ($12).
in a major way if a violation new and exciting taltakes place. This problem must ent. “New artist, Ninalee Irani’s wall décor products. Our trastop and we will not stand for art has been receiving much ditional art has always been
it.” Mr. Singleton notes that attention and gaining a lot of our strong suit and it continues
fighting copyright infringe- traction in several major retail- to be strong.” This includes
ment is vital to the open edi- ers in North America,” he Americana, Folk, country, milition print market
tary, firefighters, America’s ‘unand is an issue that
sung heroes,’ and religious art.
we have remained
strong on.
Sagebrush continues its partnership with Grand Image and
The Singletons
publishes, markets, and sells
established Sageopen edition paper prints from
brush Fine Art in
the collection. Mr. Singleton
1991 and named
notes that the market’s ecothe company after
nomic challenges have not been
their first daughter,
easy, even as recovery is setSage. The comting in. “You might say 2013
pany’s first catawas like taking all the emologue back then
tions—tough, exciting, disfeatured some 65
heartening—and putting them
images in total. “Life Cycles” by Danny Phillips measinto a blender and turning it on.
Today, they carry ures 12 by 12 inches and retails for $12. The outcome and what you
the open edition
make of it will determine the
work of more than 300 artists, says. “Ninalee paints in oil success, or failure, of your busiand counting. “One of Sage’s and texture and enjoys paint- ness for the new year.” Call
top priorities for 2014 is to ing subjects that are fleeting (800) 643-7243 for details or:
continue adding new artists in some way. Her bird paint- www.sagebrushfineart.com.
ART WORLD NEWS
JAN14-news-collins_Layout 1 1/9/14 10:24 AM Page 1
RARE POSTERS
TO DISTRIBUTE
MAGRITTE INSPIRED
GIFT COLLECTION
BROOKLYN, NY—As an
official partner of the René
Magritte Foundation, Art
Wise, dba Rare Posters Inc.,
has exclusive rights to distribute the René Magritteinspired gift collection. This
collection includes stationery,
notebooks, magnets, tableware, T-shirts, men’s ties,
women’s silk shawls, and
more, with retail prices from
$99–$250 for framed prints.
Shown is a Magritte figurine,
“Le Fils de l’homme,” (The
Son of Man) from Magritte’s
self portrait painted in 1964.
The figurine, 5 1/4 by 4 1/4
inches, sells for $69.95. Rare
Posters’ Jason-Louise
Graham notes that Magritte
posters have always been
among the company’s best
sellers, and that the Magritte
gift collection could “help
diversify galleries and
frameshops’” offerings.
The collection launches at the
same time as interest in
Magritte is high due to the
traveling show “Magritte: The
Mystery of the Ordinary,
1926-1938” at The Menil
Collection, Houston, February
14–June 1, and The Art
Institute of Chicago, June 25–
October 12. To reach
Rare Posters, visit the website: www.rareposters.com or
call (718) 788-0791.
PAGE 24
CHRIS COLLINS’ CHARITY WORK
Top Dogs’ Chris Collins was the The Howard Stern Show ing one of Ice T as a bulldog.”
the featured artist for the where he presented the host
with a portrait
Petco FounCollins also saw some of his
called “Baby collectors supporting the Long
dation PresH o w a r d . ” Island Bulldog Rescue, an orents the Beth
Collins also ganization that helps, heals,
Stern Benefit
appeared on and homes English Bulldogs
for Bulldogs
the local CBS throughout the northeast. “It
event held in
affiliate’s show, was such a great turnout,”
New York
The Couch, Collins says, “and more than
with all proalong with re- a dozen collectors from my
ceeds donality TV star first New York City show
ated to Long
Coco, who held in May of this year,
Island Bullwith her rap- showed up.”
dog Rescue.
Collins’ large
colorful paintings of bulldogs were on Top Dogs artist Chris Collins
display, along celebrates during the event
with special with host Beth Stern and his
c o m m i s - English bulldog, Bacon.
sioned sculptures by Collins, Shelly Mars, per/actor husNub Graffix, and Celebrity, auc- band Ice T,
were also at
tioned off during the event.
the event.
More than 275 people atCollins cre- Chris Collins, at right, poses with his brother
tended the event and over
$100,000 (and counting) was ated another Sean Collins, center, and radio icon Howard
raised. That is nearly double painting spec- Stern of The Howard Stern Show after apwhat was raised the previous ifically for the pearing on the Sirius XM program.
year. The benefit was hosted event that was
For more information on Top
by Beth Stern, model, televi- auctioned off. “With all four
sion personality, animal rights of the artworks that I created Dogs by Chris Collins artwork,
advocate, and wife of SiriusXM for the event, more than phone the distributor Lyrical
Radio’s Howard Stern. As $10,000 was raised,” Collins Fine Art, Hauppauge, NY,
part of the marketing for the says. “We also received a at (631) 787-8585 or visit:
event, Collins appeared on couple of commissions, includ- www.lyricalfineart.com.
MARKETING
blast of 1,800. “Those one or
two may not come in to make
a purchase, they may just
have a question or comment.” He spends well over
an hour a day on Gastonart &
Frame’s social media. “It is a
lot of time—an hour before
the shop opens, and even at
night, at home. Sometimes it
is sharing interesting articles.” He might post a picture of a framed sports
jersey, “and that could trigger
something and get someone
off the couch and into my
store.” He says it’s all about
being out there—and staying
in touch.
He has found advertising
on Facebook to be comparatively affordable. He says you
could spend $200 on an ad in
a newspaper and get nothing.
He has paid $20 each for
posts on Facebook that
5,000 will see. “Some of
those have ‘liked’ it, and
reached out to me to see
what we do.” He uses tradi-
tional marketing, too, and has
just done a direct mailing at a
cost of $250 to 5,000 homes
in a targeted area. The bottom line is that all of his activities are designed to drive his
framing business, and that
includes ArtmakerZ, a division of Gastonart & Frame,
that hosts art classes, paint
parties, kids’ art parties, and
education programs. “When
I get a full class, it is profitable. I pay a teacher, and we
use a space in the shop that
ART WORLD NEWS
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ART WORLD NEWS
PAGE 25
JAN14-news-britto_Layout 1 1/9/14 10:57 AM Page 1
BEAUX-ARTS AUCTION
HOUSE OPENS IN QUEENS
LONG ISLAND CITY, NY—
Beaux-Arts Auction has
opened its doors in a 7,500square-foot space in the burgeoning arts area of Long
Island City, dealing in fine art,
antiques, decorative items,
jewelry, silver, and related
items. The company is
founded by Michael Capo,
third generation art and antiques dealer; and Marc
Lester, who brings a background in the auction business. A “soft” opening auction
in October realized $250,000.
Among the works offered was
a Joan Miró “Chanter des
Rues II” color lithograph and
a Jean-Michel Basquiat untilted crayon on paper drawing, shown above. Visit:
www.beauxartsauction.com.
ART LOS ANGELES
CONTEMPORARY
JANUARY 30–FEBRUARY 2
SANTA MONICA, CA—Art
Los Angeles Contemporary,
featuring 70 blue chip and
emerging galleries from
worldwide, with a focus on
Los Angeles galleries, takes
place at Barker Hangar. Produced by Fair Grounds
Associates, the show offers
curator-led panel discussions,
artist talks, and more. For details, visit: www.artlosangeles
fair.com, (323) 851-7530.
PAGE 26
20 YEARS OF BRITTO CENTRAL
More than 150 people attended Beach Mayor Philip Levine
the 20th anniversary celebra- capped off the evening by offition of Pop
artist Romero
B r i t t o ’s
eponymous
space on acclaimed Lincoln Road in
South Beach,
Miami, called
Britto Central.
The event
was hosted
Photo by Gustavo Caballero/Getty Images for
by collectors
Britto Central Inc.
Irma and Nor- From left are Irma and Norman Braman, Romero
man Braman, Britto, Alina and Anthony Kennedy Shriver.
alongside
Alina Shriver, owner of Shriver cially declaring December 11
Art, exclusive licensing agent Romero Britto Day.
for Britto, and her husband
Anthony K. Shriver.
“Britto Central, as it was
christened by Romero himself,
A retrospective exhibition of became a working studio
over 150 pieces of art, dis- and gallery,” says Mrs. Shriver.
plays, photographs, and mem- “It has hosted events, stuorabilia were presented during dents, international collectors,
the event. Britto also unveiled world leaders, charities, and
an original portrait that he visitors from all over the
painted for the Bramans who world. Romero thrived in this
have been close friends of environment, painting some of
the his for many years. Miami the most iconic images of
his career. It was during this
time that the bold, brilliant Art
of Happiness was born!”
To contact Britto Central
Inc., phone (305) 531-8821 or
visit the website at: www.britto
.com. For more information on
Britto’s artwork, call the artist’s
exclusive worldwide publisher,
Magical Thinking Art, Miami,
at (305) 938-2861 or go to:
www.magicalthinkingart.com.
Photo by Gustavo Caballero/
Getty Images for Britto Central Inc.
Pop artist Romero Britto is
shown with Miami Beach
Mayor Philip Levine.
NEW REPORT ON RESALE ROYALTIES
The United States Copyright
Office released a new report
in December, updating its analysis of resale royalties for
the first time since 1992. This
new analysis is important to
visual artists, including illustrators, painters, photographers, and sculptors, and the
market for the sale of their
work. Many of the Copyright
Office’s recommendations will
be reflected in the new version of Congressman Jerrold
Nadler’s (NY-10) Equity for
Visual Artists Act, which he
plans to introduce early in
2014.
“Visual artists deserve a
share in the sales and resales
of their creative works. Today’s
report from the U.S. Copyright Office reflects what visual artists and their families
already knew, our nation’s
laws that govern the art market are sorely in need of updating,” said Congressman
Jerrold Nadler (NY-10), the
Ranking Democrat on the Judiciary Subcommittee on the
Constitution and Civil Justice.
“I want to thank the Copyright office for their detailed
analysis and their recommendations which will be very
helpful as we move forward
with the newest version of
our bill, the Equity for Visual
Artists Act. I am particularly
pleased that the Copyright
Office now supports a resale
royalty right for visual artists.
I urge my colleagues to take
a careful look at their report
and to join me in my efforts
to ensure that visual artists
get the compensation they
deserve.”
Some 70 countries have
enacted resale royalty provisions in their laws, over 30
of them since 1992, including the U.K., which is home
to one of the world’s most
significant art markets. The
full report is available at:
www.copyright.gov/docs/
resaleroyalty/usco-resale
royalty.pdf.
ART WORLD NEWS
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ART WORLD NEWS
PAGE 27
JAN14-Print Awards page_Layout 1 1/9/14 10:14 AM Page 1
EMERALD EXPOSITIONS
TO ACQUIRE GLM
KOLIBRI WINS TOP PRINT AWARDS
WHITE PLAINS, NY—Emerald Expositions Inc. of San
Juan Capistrano, CA, and
George Little Management
(GLM) have announced that
Emerald has agreed to
acquire GLM from Providence
Equity Partners for $335 million. GLM creates face-toface buying, selling, and
networking platforms for designers, product developers,
manufacturers, retailers, and
operators through more than
20 leading tradeshows in the
U.S. serving industries including art & design, antiques &
jewelry, home furnishings,
textiles, stationery, and paper
products. GLM has about 130
employees and operates out
of six U.S. offices.
Kolibri Art Studio of
highly professionLos Angeles received
al.” The Kinkade
major awards once
serigraph required
again in the fine art
85 screens, and
print category of the
was challenging beSpecialty Graphic Imcause “there is a
aging Association’s
lot of detail, colors,
(SGIA) 2013 Golden
blending, and layImage Award Compeers.” He believes
tition. The annual comthat serigraphy is
petition
celebrates
presently making a
industry-leading excelcomeback.
The
lence and covers alDouglas Hofmann
most every item, no
print was equally
matter how complex, “Bird of Paradise” by Douglas Hofmann is a
challenging,
he
created by specialty digital print with hand-made serigraph texture says,
because
imaging. Hundreds of plates, published by Chalk & Vermilion Fine
there is a lot of
entries were evaluated Arts in an edition of 325, 40 by 32 inches,
gold, and that is difby an elite team of im- retailing for $2,675, framed.
ficult to reproduce,
aging professionals,
particularly in relawho awarded gold, silver, • Complexity and registra- tion to the half-tones of the
and bronze ribbons to the
tion.
skin. It takes time. “Many
best prints.
• Color appearance and proofs and tests.”
brilliance.
Best of Show went to • Uniqueness and innovaCommenting on the award
Kolibri Art Studio in two cattion.
and what it means to offer
egories for both a serigraph • Special effects and the such a fine print, Catherine
and a digital print, for which
“Wow” factor.
Bigelow, marketing manager,
they also won gold ribChalk & Vermilion
bons. They are “Snow
Fine Arts and MarWhite Discovers the
tin Lawrence GalCottage” by Thomas
leries, says, “We
Kinkade, a serigraph
want our cuspublished by The
tomers to know
Thomas Kinkade Comthat what they are
pany; and “Bird of Parbuying is of the
adise” by Douglas
highest
quality.
Hofmann, a digital print
Knowing that “Bird
with hand-made seriof Paradise” has
graph texture plates,
received this prespublished by Chalk &
tigious award is just
Vermilion Fine Arts. “Snow White Discovers the Cottage” by
one of the ways
“To receive these Thomas Kinkade is a serigraph published by
our
consultants
prestigious awards for The Thomas Kinkade Company in an edition
help clients to uneach of the entries we of 500, 27 by 18 inches, retailing for $1,995.
derstand the high
submitted is a huge
caliber of artwork
accomplishment... I’m very
Mr. Lazutin, who founded we offer. It also helps to
proud of the Kolibri Art Kolibri Art Studio in 1990 show new potential clients or
Studio team,” says Sergei with Herta Headrick, and customers that prints are a
Lazutin, Kolibri’s master became sole owner in 2007 great way to begin an art colprinter and owner.
when she retired, says, “We lection that will enhance their
won because the prints lives for years to come.”
Judging criteria used by a were complicated.” He takes
panel of judges from the pride in the depth of knowlLikewise, Mark Hill, execAcademy of Printing Tech- edge of the printers at Kolibri, utive vice president, sales
nology included:
“people who have worked
• Image definition.
for me for 20 years and are
Emerald is a leading operator
of large business-to-business
tradeshows in the U.S., producing 65-plus tradeshows
and conference events per
year in nine diversified endmarkets, including general
merchandise, sports, hospitality and retail design, and
more. GLM brings efficiencies
and opportunities to the flow
of merchandise through
tradeshows, consumer
events, and digital platforms.
Events include NY NOW, formerly New York International
Gift Fair; SURTEX, The
Original Miami Beach
Antique Show, the National
Stationery Show, and the
International Contemporary
Furniture Fair.
The transaction is anticipated
to close this month (January
2014). The acquisition will be
funded with approximately
$200 million of debt and a
$140 million equity investment from Onex Partners III,
who acquired Emerald in
June, 2013. For Emerald:
www.emeraldexpo.com; for
GLM: www.glmshows.com.
PAGE 28
ART WORLD NEWS
ToddGoldmanAd-1pg-REVISED-AUG12_Layout 1 8/2/12 3:19 PM Page 1
David & Goliath
(203)854-8566
todd@davidandgoliathtees.com
www.toddisstupid.com
JAN14-Arnot page_Layout 1 1/9/14 10:13 AM Page 1
BONFOEY GALLERY
CELEBRATES 120TH
ANNIVERSARY WITH
EXHIBIT OF LOCAL ART
CLEVELAND—Bonfoey
Gallery celebrates 120 years
selling art and custom framing
in the Cleveland area with an
exhibition titled, “120 Years
of Art in Cleveland.” many of
the local artists it has represented, such as Frank Oriti,
Viktor Schreckengost, Clara
Deike, and Carl Gaertner,
whose “Around the Bend —
Cuyahoga River,” a gouache
on paper from 1925 depicting
the local Cuyahoga River, is
shown above.
The exhibit features work
from the gallery’s rich history
dating back to 1893 when it
was established by Asher D.
Bonfoey as The Bonfoey
Picture Framing Company.
Today, Bonfoey Gallery is
owned by Richard G. Moore,
president, who has been
with the company since he
was a teenager in 1955. It
has a roster of approximately
100 artists and more than
2,000 works of art. The custom framing department
makes up approximately
60% of their three-floor,
15,000-square-foot facility.
Over the years, Mr. Moore
has expanded the business
by offering art restoration, art
appraisals, storage, shipping,
and installation.
For further information,
telephone Bonfoey Gallery
at (216) 621-0178 or visit
the website located at:
www.bonfoey.com.
PAGE 30
ARNOT WEBSITE TRANSFORMS BUSINESS
Since Arnot Gallery in Manhattan revamped its website
(www.arnotgallery.com) last
summer,
Internet-related
sales have increased significantly. Prior to the revamp,
they accounted for about
25% of retail and wholesale
sales; today, 70%. These
numbers include those who
have made a purchase because the website brought
them to the gallery, as well
as those who have chosen
what they want to buy from
the website, and concluded
the sale over the phone. “I
ask new people how they
find us, and nine out of ten
say, ‘Your website!’” says
Vicki Arnot, co-owner of the
gallery with her husband
Peter. “Sometimes it is City
Guide or a hotel concierge,
but today’s world is so
geared to the Internet that
people will start shopping online and then come in afterwards to see the painting.”
The new website, she
says, has made a huge difference to the business, and
she felt the benefit immediately. “Galleries don’t always
realize that if they have an
old website, they don’t necessarily pair up with what is
going on in the Internet
world, and you miss the
waves bringing in the Internet
surfers. You need the basic
building blocks on your site
PRINT AWARDS
and marketing for The Thomas Kinkade Company, says,
“We were obviously delighted to receive these prestigious awards.” Originally
released in 2008 as a limited
edition giclée, “Snow White
Discovers the Cottage” was
the first release in the com-
to catch that
artists reprewave. I was not
sented. “A lot
aware of this
of
people
until we had a
want to know
new one built. I
more about
never
underyour artists
stood why our
when
they
gallery was not
see the work
getting the aton your site—
tention on the
so it’s almost
Internet
that
like a referother galleries
ence library.”
were.”
Mrs.
Arnot did try a
Her advice:
paying service “The Recital” by Guan Ze “If you stick
to achieve a Ju, oil, 30 by 40 inches.
to the basic
higher
SEO
principles in
(Search Engine Optimiz- building a website you will get
ation). “But we didn’t find it yourself out on the Internet
worth it.” Instead, she had successfully. It is not necesthe website rebuilt, and to in- sary to have all the bells and
crease its viability she sends whistles. I think simplicity is
out frequent news blasts and key because people want to
navigate your
site with ease.
They
want
things to flow
and be easy.”
A number of
her
Webbased sales
are to overseas clients,
from Europe,
Jakarta, Australia,
and
“Clear Water Breakers” by Maurice Meyer, e l s e w h e r e .
an oil painting measuring 40 by 30 inches.
“After all, we
are only a tap
has a presence on Facebook. away on the computer.” To
She also includes substan- reach the gallery, visit the
tive biographical information website at: www.arnotgallery
on many of the 200-plus .com or call (212) 245-8287.
pany’s Disney Dreams Collection, and quickly sold out
in all four sizes “creating a
great demand to release
this title five years later in
the reserved serigraph edition.” Mr. Hill continues,
“The Thomas Kinkade Company proudly continues its
tradition of innovation and
fine print publication and
is honored to receive these
illustrious awards.”
For Kolibri Art Studio, visit
the website at: www.kolibri
artstudio.com or telephone
(310) 538-4855; for Chalk &
Vermilion, go to: www.chalkvermilion.com or call (203) 8699500; and for The Thomas
Kinkade Company, visit: www.
thomaskinkade.com or call
(800) 366-3733.
ART WORLD NEWS
Masterpiece-left_Layout 1 11/11/13 11:24 AM Page 1
Masterpiece-right_Layout 1 11/11/13 11:25 AM Page 1
JAN14-Tru Vue article page 1_Layout 1 1/9/14 11:13 AM Page 1
FRAMERICA INTRODUCES
COMO CROSSHATCH
YAPHANK, NY—Framerica’s
Como Crosshatch is the first
of several elegant finishes
being launched in their new
Valore Collection. Its dull silver finish is enhanced by fine
white crosshatches giving it
an aged appeal. Como is
available in profiles ranging
from 5/8 to 3 inches in width.
Call (800) 372-6422 or visit:
www.framerica.com.
LARSON-JUHL’S NEW
INTERMEZZO COLLECTION
NORCROSS, GA—With profiles and finishes that work in
harmony, Larson-Juhl’s new
Intermezzo Collection reflects its musical namesake.
The collection of authentic
cherry wood veneers manufactured on treated ayous,
comes in four transitional profiles and a complimentary fillet. The polished luster of its
three finishes, umber, sable,
and mahogany, are designed
to create the look of elegant,
fine furniture. To learn more,
visit: www.larsonjuhl.com.
PAGE 38
OPPORTUNITIES FOR CUSTOM FRAMERS
Nuggets of useful information to help steer marketing
initiatives by custom framers
can be found in the most recent survey by Unity Marketing on the art, wall decor,
picture frame, and custom
framing industry. While statistics show that the custom
framing market hasn’t fared
as well over the three year
period from 2009 to 2012 as
the overall decorative market, there is good news for
those in the business. Sales
of original art have risen
24.6% since an earlier survey conducted in 2010 by
Unity Marketing (www.unity
marketingonline.com).
And this is where the
good news comes in for
framers: The original art and
custom framing categories
share a similar audience in
terms of demographics and
purchasing habits. More
buyers of original art purchased custom framing than
wall decor and picture frame
buyers, and 58% of custom
framing consumers also
bought art. This natural alignment provides opportunities
for custom framers to take
advantage of demand in the
art market.
Three primary trends
emerged from the Unity Marketing survey findings:
• Art buyers skew young.
• They are online.
• They are attracted to original art.
Custom framers are in a
strong position to leverage
these trends, and there are
strategies that they can use
to target the art buying audience. David Lantrip, MCPF,
GCF, director of education
for Franchise Concepts Inc.,
parent company of Deck the
Walls, Framing & Art Centre,
and The Great Frame Up,
sees the younger audience
as a blind spot for many custom frameshop owners. “I
think framers are missing a
huge opportunity to market
to the newer generations replacing the Baby Boomers
who have been our traditional
demographic,” he says.
In fact, both the art and
custom framing markets
skew to a younger demographic. Fifty-five percent of
ley, CA. “This is where most
of your marketing dollars
should go.”
Survey results and an
analysis of the industry show
how important online marketing has become for art and
custom framing. The strongest growth in art sales from
2009 to 2012 was in the direct-to-consumer channel,
with a compound average
growth rate of nearly 21%.
This was led by the Internet
A partial view of The Framer’s Workshop’s website that
looks and navigates like an extension of the retail store.
art buyers and 56% of custom framing consumers are
age 44 or younger. The
under-44 demographic also
spends more on art, while
the same audience spends a
similar amount on custom
framing compared to their
older counterparts.
Targeting a younger audience impacts many things,
from marketing strategies to
the brick-and-mortar location
and how it is designed.
A modern aesthetic appeals
to this group in everything
from advertising to in-store
displays. Having a strong
Internet presence is essential for this demographic.
“Your website needs to
stand out,” recommends
Kirstie Bennett, owner of The
Framer’s Workshop in Berke-
with an increase of nearly
200% in the three-year period. When Amazon.com reentered the fine art market
this past summer after a
failed
partnership
with
Sotheby’s in the late-1990s,
media coverage of its move
focused on the growth of online art buying and expansion
of the market, including new
art buyers who aren’t motivated by investment or collecting.
Even for businesses not
selling online, the importance
of the Internet is apparent.
According to the Forrester
Research study, “The State
of Consumers and Technology, 72% of Gen Xers (born
1965 through 1977) use the
ART WORLD NEWS
JAN14-Tru Vue article page-2_Layout 1 1/9/14 11:14 AM Page 1
MAX MOULDING’S NEW
CASA BELLA COLLECTION
LOS ANGELES—Max
Moulding introduces the
Casa Bella Collection inspired by the ornate beauty of
Spanish Renaissance architecture, its embossed patterns and pleasing
proportions recalling the
Spanish Golden Age. Casa
Bella is available in five profiles, each in three antique finishes: gold leaf, silver leaf,
and mahogany, with widths
from 11/16 to 1 1/8 inches.
For details, call Max Moulding
at (800) 282-9966, e-mail
info@maxmoulding.com, visit:
www.maxmoulding.com or
come see us at WCAF Expo
in Las Vegas, booth #705,
January 20–22.
PRESTO FRAME &
MOULDING DEBUTS MESA
BETHEL, CT—Mesa from
Presto features a sophisticated hand-leafed finish with
an acid wash treatment and
subtle color accents. Finishes
are: worn copper, dusty
ochre, putty green, and slate
blue. The step profile is available in 1 1/4- and 2 1/4-inch
widths. Call (800)431-1622 or
visit: www.prestoframe.com.
PAGE 40
CUSTOM FRAMING
said they choose custom
framing to preserve and protect a piece. Thirty-seven
percent custom frame because they have a special
piece that requires it.
also seen many succeed,”
says Joe Maxwell, vice president of distribution sales
at Tru Vue. “Unfortunately,
some of the businesses that
closed just weren’t able to
adapt to an industry in transition. But their business will
go somewhere, and a portion
of it will go to other custom
frameshops that are able to
serve the needs of today’s
customer.”
Internet to research products
or businesses. Internet use
for purchases continues to increase for all generations.
The use of smartphones and
Art and framing specialty
other mobile devices is also shops are still the top choice
promoting growth in this area. for custom framing. This reMs. Bennett’s experience flects attitudes consumers
with her own store reflects have about custom framing.
this. Much of her new busi- Having trust (61%) in a cusness comes from customers tom framer’s ability to do a
who have visited her website good job with their piece
Some of the ways custom
or read about The Framer’s and confidence (52%) in the framers reach out to the art
Workshop on Yelp. Ms. Ben- people who worked there buying market is by particinett adds that it is not enough were the top two factors in- pating in art shows, placing
just to have a website. It fluencing where a consumer ads in art show programs or
needs to look and navigate choses to custom frame in on websites, and incorporatlike an extension of the retail the Unity Marketing survey.
ing news from the local art
store,
with
community
samples
of
on their own
Framing is one of the few truly custom websites and
work and information
that
through social
products people can buy anymore—
help potential
media. FurniDavid Lantrip, Franchise Concepts
customers unture stores
derstand cusare another
tom
framing
place to tarand make them comfortable
Custom framer Meg Glas- get art buyers. According to
with the staff’s expertise. She gow of The Gallery at Finer the Unity Marketing survey,
also recommends participat- Frames in Eagle, Idaho, found consumer purchases of art in
ing in social media. “It’s a that even during the reces- this channel have increased.
great way to stay in touch and sion people continued to cusre-connect with customers tom frame because their art
Rising interest in original
and actually has brought me was of value to them. It was art also indicates an interest
business,” says Ms. Bennett. important to them to protect in the custom experience.
it, as well as enjoy it. Ms. People want to put someSearch engine optimiza- Glasgow’s business grew thing unique on their walls,
tion (SEO) is important, too. during this time, despite the and custom framers are seeEven if a custom frameshop pressures of a difficult ing this in what people are
doesn’t also sell art, the market. “I made a conscious bringing in to be framed. In
owner can incorporate key- choice to focus on those fact, items like personal phoword phrases that art buyers projects that brought in the tographs and original art are
are using in searches. Adver- most revenue, like framing being framed as much as art
tising budgets can migrate to original art, collectibles, and reproductions, according to
online options, such as ban- things that had meaning for the Unity Marketing survey.
ner ads, promotions on local customers.”
Mr. Lantrip sees a role for
review sites like Yelp or City
custom framing in a world
Search, or cross marketing
Custom framers who have where most products are
on websites for local artists done well through the eco- mass merchandise. “Framing
and galleries not offering nomic downturn adapted to is one of the few truly custom
framing services.
changes in the industry that products people buy anymany believe are permanent. more,” says Mr. Lantrip.
The strong interest in orig- Custom framing is seen as a “Even furniture labeled as
inal art among buyers in the higher-end item that people ‘custom’ is generally style C
category aligns with the pri- purchase because they value with fabric A. Framers have a
mary reasons for custom it. “While the industry has real opportunity to give cusframing. Per the Unity Mar- seen businesses fail over the tomers exactly what they
keting survey, 55% of people past five or so years, we’ve want for their piece.”
ART WORLD NEWS
ART WORLD NEWS
PAGE 41
JAN14-L-J Part 1 page 1_Layout 1 1/9/14 10:48 AM Page 1
FRAMES
A BEHIND THE SCENES LOOK AT MOULDING DESIGN
by Greg Perkins
Have you ever wondered
who decides the colors,
styles, and profiles of the
frame mouldings available to
custom framers? Are you
curious how they make their
selections and why they
choose to bring one concept to market versus another? I cannot answer for
everyone, but I do know
how it works at Larson-Juhl,
manufacturer and distributor
of custom frame mouldings.
At Larson-Juhl, the art of
moulding design is managed
by a team of designers.
They begin by studying domestic and international
trends for their inspiration.
They look inside and outside
the framing industry, and
consider what is happening
in both residential and commercial environments. The
inside view helps them understand what framers are
doing today, while the outside view helps them see
what trends are happening
now and likely to trend in
the near future.
One of the team’s most inspirational sources of design
trends is Maison Objet in
Paris. This huge show is
tic trends. They are Highpoint in North Carolina and
World Market in Las Vegas.
In addition, the designers
attend
art
shows, such
as Art Basel,
Miami Beach.
The designers are
members of
the
Color
Marketing
G r o u p
(CMG).
If
Doug Rozenboom (Larson-Juhl) and Meg
you are not
Glasgow (The Gallery at Finer Frames) con- familiar with
sulting on a moulding design project.
it, this group
brings demade up of showroom after signers from a wide variety
showroom of home furnish- of industries together to
ings, accessories, art, tex- forecast the popular colors
tiles, and more. It’s where for the upcoming year. Durdesigners from all over the ing their travels, the design-
Inspiration
The main categories the
design team studies are
home furnishings, accessories, and art. Custom
framing coexists with all of
those areas so it makes perfect sense to know what’s
currently popular, as well as
what’s on its way in and its
way out.
PAGE 42
This shows part of the design team on a Skype call with
the manufacturer of a new moulding collection.
world gather and it’s the
launching point for many innovative products. In the
U.S. there are two other
prominent shows the design
team attends to view domes-
ers like to visit retail stores
to see what product lines are
currently available to consumers. Even clothing stores
are worth perusing. They
show the colors people are
purchasing and provide a
sense for the styles people
are gravitating to.
Online research is also a
huge part of the design
team’s ongoing studies. In
addition to all of the websites
within the product categories
already mentioned, there are
also blogs showing how real
people are living and the
types of products they are
purchasing. The team aggregates all of the available information in order to create
a “demand cycle” for what
framers and consumers
want.
The designers are passionate about their jobs, and
inspiration can come from
anything, at any place, at any
time. It could be the natural
beauty of the landscape, the
oxidation on various objects
near the sea, or the sleek finish of a vase on a café table.
A designer’s eyes are always
open, seeking a new look or
figuring a way to reinterpret
something we have all seen
into a moulding unlike anything currently available.
Additional
Expertise
Larson-Juhl owns several
factories and employs skilled
craftsmen who often have
years of experience and their
own strong passion for what
ART WORLD NEWS
ART WORLD NEWS
PAGE 43
JAN14-L-J Part 1 page 2_Layout 1 1/9/14 10:50 AM Page 1
FRAMES
MOULDING DESIGN
they do. Within the realm of
the materials and equipment
they have to work with, they
may do some of their own
research and development
and bring additional ideas to
the designers.
Larson-Juhl also realizes
the importance of investing
in the manufacturing teams
and facilities. They are encouraged to learn new
things, including some interaction with people at other
Larson-Juhl manufacturing
locations. By sharing their
knowledge with each other,
they all benefit.
A New Type of
Collaboration
Larson-Juhl hosted a customer event called Design
Star this past January at the
West Coast Art & Frame
Expo in Las Vegas. Framers
had a chance to showcase
their design skills in different
categories. The winner, Meg
Glasgow of The Gallery at
Finer Frames in Eagle, Idaho,
became the 2013 Design
Star. In addition to other
prizes, part of her award
was to collaborate with the
Larson-Juhl design team to
develop a new moulding collection. This was definitely a
new experience for her, but
also for the designers.
“What a thrill!” says Ms.
Glasgow. “When I entered
the Design Star competition,
PAGE 44
I had little idea about what lay
ahead, and the experience
has exceeded any expectation I had. Working with the
working with Larson-Juhl’s
Marketing team to plan the
launch of the new collection.” According to Ms.
Glasgow, “A lot of work
went into creating a
beautiful finish that is
right on trend to delight
the customer and is
easy for framers to
work with. I will be on
hand at WCAF Expo
this year to help with
the unveiling of these
great new mouldings.
I’m so grateful to have
had this experience.”
The new Axel Collection was a
collaboration between the
Larson-Juhl Design Team and
Meg Glasgow, our 2013 Design
Star winner.
“We could not have
imagined a better collaborative experience
than we have had this
past year working with
Meg,” says Doug Rozenboom, Larson-Juhl’s Senior
Vice President, Global Merchandising & Product Devel-
design team taught me so
much about the months of
work that go into bringing a
new moulding to market. It
was
a
treat for
me to join
the team
to create
the profiles and
finish of
t h e
mouldings, but
there was
m u c h
more to it
than that.
I learned
some of The Axel collection responds to the current dethe com- mand for authenticity and natural finishes. This
p l i c a t e d collection is wrapped in veneer, reclaimed from
issues in beams in an old building taken down in Italy.
manufacturing the product, such as opment. “When we decided
sourcing raw materials and part of the Design Star win-
ner’s prize was a chance to
collaborate on a Larson-Juhl
moulding collection, we
could not have dreamt of a
better scenario. Getting to
work with Meg was like getting three winners in one.
She was able to talk to us as
a consumer, a framer, and a
designer, fully knowledgeable in all areas.”
They first met via Skype,
but Meg also joined the design team for a meeting at
Larson-Juhl’s
office
in
Atlanta. At that meeting,
Meg and the team discussed
various concepts. The designers already had a list of
projects they wanted to
pursue and one of them happened to mesh with what
Meg was hoping for. During
the meeting they also met
with the manufacturer via
Skype and got into the
details of the project. Designer
Paula
Jackson
worked closely with Meg
to finalize the profile shapes,
sizes, and finishes. The new
collection is called Axel.
As mentioned previously,
it will be introduced at the
WCAF Expo 2014, January
20–22, at the Paris Hotel and
Resort, Las Vegas (www.
wcafshow.com).
Part 2 of this article will run
in the following issue of Art
World News.
Greg Perkins is Customer
Programs Manager for
Larson-Juhl. He may be
reached via e-mail at: Greg_
Perkins@LarsonJuhl.com.
ART WORLD NEWS
Jan14-Joshua Kaufman page 1_Layout 1 1/9/14 10:42 AM Page 1
LEGAL ISSUES
PRINT-ON-DEMAND AND COPYRIGHT
by Joshua Kaufman
protect the idea, just the exThe test for copyright in- type of licensed material
Print-on-demand is a grow- pression of the idea once it fringement is a subjective from a print, postcard,
ing phenomena among re- is fixed in a tangible form. A one. Under copyright law, screensaver, mouse pad,
tailers in the art and
week does the test is “substantially sim- snow globe, check, puzzle,
framing
industry.
not go by ilar.” Different courts have towel, or fabrics, those are
More custom framewhen I do set up various tests to deter- all derivative works and
shops and some galnot get a mine whether one work is or even though the media has
leries
are
now
call from an is not substantially similar to changed and there are inoffering to print work
i n c e n s e d the other; works do not need herent differences due to
brought in by a cusartist
or to be identical or nearly iden- the underlying transformatomer or sent to them
p u b l i s h e r tical to be infringing. Courts tion to a different medium,
electronically. Howwho is call- have held, however, that those would all still be conever, print-on-demand
ing to com- paraphrasing—be it textual sidered infringements.
raises certain copyplain and to or visually—of the underlying
right issues that any
seek action work can be considered subTo avoid an infringement
retailer considering it
a g a i n s t stantially similar. Transform- claim, one must only use the
should be aware of Joshua Kaufman.
somebody ing a work from one medium original idea and not copy
from the outset. But,
who “stole to another is infringing. If I any of the underlying expresbefore we delve in them we their idea.” They claimed to create a painting and you sion of the idea. Pasting and
need a little background in- have been the first to come create a sculpture of it, and cutting parts of an underlying
formation on copyright as it up with a
work can also
is at the core of our busi- new way of
an infringeAnyone who is working with print-on- be
ness, yet a very misunder- expressing a
ment as well.
demand and acquires a file from
stood doctrine.
landscape,
So, if someone
textural mausing Adobe
an artist or publisher to print needs
One acquires a copyright terial, a stillPhotoshop, or
to be extremely careful in any
simply by the act of creating life, or form
other
techthe artwork. Therefore, the of portraiture,
niques
takes
modification of the work.
moment the brush leaves and so on.
components of
the canvas, the fingers Perhaps they
an
artwork,
leave the clay, the shutter is were the original one who all that happened is it has rearranges them, from horisnapped, the stylus leaves came up with the idea, but been transformed from one zontal to vertical, or takes
the tablet, or the saved but- copyright does not protect medium to another, that part of them and incorpoton is clicked, a copyright that idea. So, another artist would not stop it from still rates those parts in their othvests in the creator. It is im- is able to take the underlying being an infringement. En- erwise original work, that can
portant to note that in each idea and create an original larging, reducing, and/or also be found to be infringof the above examples the work of their own which cropping would also be ing. It does not have to be
concept that the artist is try- embodies the idea of deemed to be infringements. simply copying the whole
ing to convey has been fixed another, but not the first
work; copying portions of a
in some tangible form, be it artist’s expression of that
The creation of a deriva- work can also lead to an incanvas, hard drive, clay, or idea. So, the question be- tive work would be consid- fringement.
negative.
comes how close the sec- ered an infringement. Forond artist’s derivative ex- get all the old wives tales
So, a framer who is workOne of the most frustrat- pression of the same idea about X% or X number of ing with print-on-demand
ing aspects of copyright can be to the first original ex- colors changed, etc. By that and acquires a file from an
protection for an artist or pression without infringing we mean where you take an
publisher is that it does not on the underlying copyrights. artwork and apply it to any
PAGE 46
ART WORLD NEWS
JAN14-OE_Layout 1 1/9/14 11:08 AM Page 1
OPEN EDITION PRINTS
SunDance Graphics
"The Sea"
by
Andi Metz
Image Size: 12” x 12”
$10
E-MAIL:
sarah@sundancegraphics.com
www.sdgraphics.com
9580 Delegates Dr.
Orlando, FL 32837
407.240.1091
www.sundancegraphics.com
Image
Conscious
“Sweet Surprise”
by
Christie
Image Size:
24" x 36"
800.532.2333
www.imageconscious.com
Editions
Limited
“No Place to Fall”
by William Vanscoy
Image size:
18” x 18”
Retail price:
$20
800.228.0928
www.editionslimited.com
E-MAIL: customerservice@editionslimited.com
4090 Halleck Street, Emeryville, CA 94608
Gango Editions
www.gangoeditions.com
Image Size:
48” x 24”
E-MAIL: info@gangoeditions.com
2187 NW Reed St., Portland, OR 97210-2104
ART WORLD NEWS
“Sense
Memory”
by
Hollingsworth
Image Size:
36” x 24”
800.532.2333
Haddad’s
Fine Arts Inc.
“Casa
Blanc II”
by
Jeni Lee
800.852.3662
Image Conscious
“Repose”
by E. Jarvis
Image Size:
26” x 26”
Also available as
a custom size giclée.
800.942.3323
Fax: 714.996.4153
www.haddadsfinearts.com
E-MAIL: cfskeen@haddadsfinearts.com
3855 E. Mira Loma Ave., Anaheim, CA 92806
PAGE 47
LEGAL ISSUES
COPYRIGHT
artist or publisher to print
needs to be extremely careful in any modification of the
work. If a customer asks
you to vary the colors, so
they match their décor, or
could you crop it in a certain
manner because the customer wants to highlight just
a specific part, those can all
end up being infringing activities. As such, the print-ondemand framer should,
unless they clear it up with
the artist or publisher from
whom they receive the file,
stick to the file as provided
to them. On the other hand,
to be clear, publishers and
artists who wish to maintain
the integrity of the artworks
should include in their printon-demand agreements with
their framers or other customers, restrictions on any
modification to the underlying artworks.
How Long
Does a
Copyright Last?
Once an artwork is fixed
in a tangible form and a
copyright attaches, the duration of the copyright will
normally be the life of the
artist, plus 70 years. If a
work is considered a Work
for Hire, the duration is 95
years from publication (publication in copyright terms
means offering copies to
the general public) or 125
years from creation for an
unpublished work.
PAGE 48
A caveat on the reproduction of older works, as the
durational limits I mentioned
are for works created after
January 1, 1978. Generally
speaking, U.S.-created
works which were published
before 1923 will be in the
public domain. For works
created from 1923 to January 1, 1978, their status remains a giant question mark
and an area fraught with potential problems. Prior to
1978, the duration of copyright was 28 years, plus a
For works that were still
protected by copyright
either in the initial 28 years
or registered and in their
second 28-year term on
January 1, 1978, when the
current law went into effect
were automatically extended
for a minimum of 67 years.
For unpublished works the
term became life plus 70 or
January 1, 1978.
So how do you know if a
work was originally published with a copyright no-
Another area that framers can find
themselves with exposure is when
people come in with family photos
and ask for them to be reproduced
or manipulated.
possibility of an additional 20
years or a total of 56 years.
However, in order to obtain
the first 28 years of protection, a work needed to be
published with a copyright
notice on it, and before the
28th year would have to be
registered with the copyright
office in order to get the second 28 years. Failure to do
either of those would thrust
the work into the public domain and anyone would be
allowed to copy it.
Also, any U.S. work published without a copyright
notice, until March 1, 1989,
would enter the public domain. These restrictions
only apply to U.S. works,
not foreign works.
tice? How do you know if it
was registered with the
copyright office and so on?
There is a one word answer
to this dilemma: Research.
You have to research the
history of the artwork. Often
one is not able to ascertain
all the facts necessary, or
even if they do determine the
work is still protected by
copyright, they cannot find
the author. There is a term
for that type of protected
work: “Orphan Works.” You
use those works at your own
risk, because if the author
does come out of the woodwork years later, you could
be found to be liable of infringement.
Another area that framers
can find themselves, once
they start delving into the
digital world, with exposure
is when people come in with
family photos and ask you
to reproduce or to manipulate them, make a montage,
clean them up, crop them,
and so on. The photographer who took those family
pictures, i.e., wedding pictures and such, own the
copyrights in the work (unless they have entered the
public domain as set out
above).
Therefore, simply framing
old wedding pictures or
making a montages of existing photos would not cause
the framer to be liable. However, if they are asked to
scan them or manipulate
them in any way liability can
attach. That is why most
photo houses will not do
that, or they require a letter
in writing indemnifying them
from liability signed by their
customer.
It is also a question of
who has the rights to grant
print-on-demand printing
rights. For publishers, it is
important that you make
sure that your underlying
agreement with your artists
provides for print-on-demand. Many older, standard
contracts that are used in
the industry do not provide
for it. These are contracts
that are tried and true, that
publishers have used for
years but have not augmented or updated to cover
ART WORLD NEWS
ART WORLD NEWS
PAGE 49
LEGAL ISSUES
COPYRIGHT
print-on-demand. To be prudent, one should make sure
that prior to offering their
images on a print-on-demand basis that they have
that right covered with their
artists. It would take a simple fix of a contract, but I
would not recommend offering print-on-demand rights
to framers unless your Publisher-Artist contract clearly
covers these rights.
Framers should, of course,
inquire of the publishers to
ensure that they do have
print-on-demand rights before they make prints because if they make prints
and the publisher does not
have rights, while the publisher may be liable, under
copyright law so is the
framer. That would be in
addition to the publisher’s
liability. Also, when we are
talking about acquiring
rights, it is important to understand who owns copyrights. In most cases, it is
going to be the individual
artist. However, that is not
always the case. There are
circumstances where the
artist has not assigned their
copyrights or granted exclusive licenses to their publishers or third parties. In
those instances, you need
to make sure that the person granting print-on-demand rights is in fact, the
appropriate person.
The term “Work for Hire”
is often batted around and
PAGE 50
probably misused more than
used correctly. However, for
our purposes, there would
be a Work for Hire if an employee, in the scope of his
or her employment, created
artwork. Thus, the employer
would be considered the
copyright owner. Therefore,
if you are working with
somebody who is an employee of a publisher or of
some entity, then the entity
or publisher will own the
copyright, not the individual
artist.
able for the quality of the
print. If the proper printing
equipment and inks are not
used and the works fade
over time, or if you are starting to print on more exotic
material as is not uncommon today, like Plexiglas,
metal, and board, and the
works do not last, i.e., they
crack or get damaged in any
other way, it will be the
framer who is liable.
If a framer sells a work on
the less expensive side and
If you embark on print-on-demand,
make sure you understand the rights
and exposure which comes when you
undertake this new revenue stream.
Also, if an artist is creating a work and they have
their own corporation or
LLC you need to make sure
that the corporation or LLC
has signed off on the paperwork and not the individual
artist, and vice versa to
make sure that the proper
entity is granting the rights
of the publisher and/or
framer for print-on-demand.
Quality Issues
Another area which will
add to a framer’s exposure
which is unique for print-ondemand, is the quality of the
prints. Assuming that the
shop is obtaining a digital
file from the publisher and is
using their own printing
equipment, they will be li-
does not insist on having
customers buy UV glass or
acid-free matting, and then
the works fade or discolor
and you have not advised
your customers as to the
risk, the framer will be liable
and will have no one to turn
to. I always recommend to
my framer clients that they,
as part of their invoice, have
a check box where they
have offered acid-free
mounting and UV protecting
glass or Plexiglas and if the
customer declines, they
have customers initial the
form, something like declining insurance on a car rental
application. In that way,
when the artwork fades or
cracks as a result of being
exposed to sun or the acid
in the mats seeps into the
print and discolors it, a
framer has proof that they
have informed the customer
of the risk. Because you can
be sure a couple of years
down the road when the
damaged or faded print is
brought back to the frameshop by an indignant customer, they will not
remember that you had advised them of the potential
damage if they frame on the
cheap.
All in all where print-ondemand will end up in the industry, is really a marketdriven decision. However, if
you embark on it, make sure
that you understand the
rights and exposure which
comes when you undertake
this new revenue stream.
Joshua J. Kaufman, Esq. is
a partner in the law firm
of Venable, LLP, and Chair
of their Copyright & Licensing Group. He is one of
the country’s foremost attorneys in art, copyright,
and licensing law. Mr. Kaufman has published more
than 200 articles, co-authored several books, and
is a regular lecturer on various topics in the Art Law
and Licensing fields. Mr.
Kaufman is also an adjunct
law professor at American
University Law School
where he teaches Art Law,
and is counsel to the Art
Copyright Coalition. To
reach Mr. Kaufman, e-mail
him at: jjkaufman@venable
.com or telephone him at
(202) 344-8538.
ART WORLD NEWS
JULY_AUG 13-Art Restoration Part 1 page 1_Layout 1 1/9/14 11:17 AM Page 1
ART RESTORATION
ART RESTORATION: A PERFECT FIT FOR AN ARTIST
by Anabela Ferguson
The world of art restoration
is a fascinating combination
of art and science. Interestingly, it is a study that is not
well-known or practiced by
many artists. Yet artists are
well-suited for restoration
work as it combines the experience of working with
various mediums and the talents of blending colors and
paint.
I have researched, studied, and practiced common
sense techniques and have
found great success in
restoration work. I have restored numerous pieces
and established a solid clientele that continues to need
restoration work. The world
is full of art, and much of that
work is aged and a perfect
candidate for restoration. In
terms of potential work, the
sky is the limit for aspiring restorers.
Restoration techniques
are specific to each medium
and material, but there are a
few basic steps that are
common to all:
• Take photos for “before
and after” documentation.
Make sure to use captions if done electronically.
It is also a good idea to
create a video of the
process.
• Do not take a shortcut on
research. Each piece
should be thoroughly
studied and techniques
and solutions should be
ART WORLD NEWS
carefully researched. The
Internet offers an unlimited supply of information
and the prudent restorer
will do their homework.
• Be sure to test the
medium in an inconspicuous place before applying
chemicals and solutions.
• Be patient. The work can
move through the various
stages of cleaning. At this
point, it is wise to examine
the surface for damage with
a magnifying glass and ultraviolet light. This examination
will help to determine the
suitability of products and
the best methods to use for
the course of the restoration.
Remove excess
dirt and particles on
the back of the art
piece. A small attachment to your vacuum
cleaner can be used
Above, an oil painting is
shown before restoration
and at right, it is shown
after restoration.
be tedious at times but do
not rush it. Always ensure
the work is completely dry
before proceeding to subsequent steps. Sometimes, drying time between steps may be several weeks, especially if
using oils.
Oils
When working with oils,
start by disassembling the
piece. Remove the frame,
stretcher, or anything else
connected to the painting.
Place the oil face down on
two Kraft pieces of paper on
a flat surface where it can
remain, undisturbed, as you
to clean dust or spider webs
off the canvas. Without using
any pressure, use small and
low suction and a back and
forth motion with the vacuum
until the visible dirt is mostly
gone. Do not use the vacuum cleaner on the face of
the art piece as it may cause
scratches or other damage.
Rather, use a soft cloth and
white vinegar on the front to
gently remove any surface
dirt and dust.
After the initial, gentle
cleaning of the front and
back surfaces, we will begin
the actual cleaning process
on the face of the piece. It
may be necessary to try numerous cleaners before finding the one that provides
optimum results. Plastic
gloves must be used when
trying thinners and cleaners.
Potatoes and onions can
also be used without adding
pressure against the canvas.
With gentle, soft strokes, the
dirt will rise to the surface
where it can be removed
with a clean, dry cloth. Then,
if needed, use linseed oil and
turpentine or even a small
solution of acetone
with a small amount of
mineral spirits to clean
surface dirt. Special
care is required when
treating old varnish or
shellac that is sometimes stubborn in
aged oil paintings.
Once the painting is
cleaned, try varnish
remover in a corner of the
painting with a cotton swab.
Make sure to use a retarding
solvent to stop the removal
of paint while cleaning the oil
painting. Keep an eye on the
cotton tip and change the
cotton as soon as it becomes dirty. Be careful not
to drop dirty cotton into a
clean solution. Once the
process of cleaning the oil
with chemicals is finished,
allow it to dry completely before starting the next phase
of the restoration.
PAGE 51
JAN14-noe-pg1_Layout 1 1/9/14 11:02 AM Page 1
WHAT’S HOT IN OPEN EDITIONS
Grand Reserve
“Grand Reserve” by Marco Fabiano measures 36 by 24 inches
and retails for $27. For more information, telephone Wild Apple,
Woodstock, VT, at (800) 7568359 or: www.wildapple.com.
Here are the
best selling prints
from the year of
2013
Footbridge
Organic Layers I
Jeni Lee’s “Organic Layers I” measures
24 by 36 inches and retails for $32. Call
Gango Editions, Portland, OR, at (800)
852-3662 for further information, or go to
the website: www.gangoeditions.com.
“Footbridge” by Jessica Jenny measures
36 by 24 inches and retails for $40. Telephone PI Creative Art, Toronto, Canada, at
(800) 363-2787 for further information, or visit
the website located at: www.picreativeart.com.
Looking At You
“Looking At You” by JT Winik
measures 18 by 18 inches and
retails for $26. Telephone Poems
Art Publishing, Salt Lake City,
Utah, at (888) 447-6367 for further
information, or go to the website
at: www.poemsart.com.
Azure World Map
Oncoming Storm
“Oncoming
Storm” by
Bobbie
Goodrich
measures
48 by 16
inches and
retails for
$54. Telephone Rosenstiel’s, London, in the U.S. at (480) 305-0714 for further information, or go to the website located at: www.felixr.com.
PAGE 52
“Azure World Map” by Vision Studios is an
open edition giclée print measuring 40 by 30
inches. The retail price is $145. For more information, telephone World Art Group in
Richmond, VA, at (804) 213-0600 or visit
the website: www.theworldartgroup.com.
ART WORLD NEWS
JAN14-noe-pg2_Layout 1 1/9/14 11:05 AM Page 1
Grand and Glorious
“Grand and Glorious” by Judy
Shelby measures 27 by 27 inches
and retails for $32. For more information, telephone Classic Collections Fine Art, Irvington, NY, at
(800) 628-7518, or visit the website: www.classiccollections.com.
A New Day
“A New Day” by Marla Rae measures 18
by 24 inches and retails for $24. For further information, telephone Penny Lane
Publishing, New Carlisle, Ohio, at (800)
273-5263 or go to the company’s website
at: www.pennylanepublishing.com.
Repose
“Repose” by E. Jarvis measures 26
by 26 inches and retails for $35. For
more information, telephone Haddad’s Fine Arts, Anaheim, CA, at
(800) 942-3323, or go to the website at: www.haddadsfinearts.com.
New York – Times Square
“New York –
Times Square”
by photographer James
Blakeway
measures
40 by 13 1/2
inches and retails for $30. Call Blakeway Worldwide Panoramas Inc., Minnetonka, MN, for more details at (800) 334-7266, www.panoramas.com.
ART WORLD NEWS
Wild Orange Sherbet I
“Wild Sherbet I” by
J.P.
Prior
measures
24 by 24
inches and
retails for
$42. Phone
Winn Devon
Art Group
Inc., Richmond, British Columbia, at (800) 663-1166
or go to the website: www.winndevon.com.
Well Traveled
“Well Traveled” by Lars Van de Goor from
Galaxy of Graphics was the best selling
print for 2013 from POD Exchange. Phone
POD Exchange, Panama City, FL, at (888)
406-5858 or go to the company’s website
located at: www.podexchange.com.
Teal Woods
“Teal Woods”
by Roberto
Gonzalez
measures 27
by 27 inches
and retails for
$32. Phone
SunDance
Graphics, Orlando, FL, for
further information at (800) 617-5532 or visit
the website: www.sundancegraphics.com.
PAGE 53
MARKETING
MARKETING
was empty. It made some
noise. It’s another way for
me to get people to buy
framing.” And, of course, all
these events are promoted
on his website and then pictures posted afterwards on
Facebook. In this way, all of
his initiatives are interconnected—completing a circle.
media, so
you can’t
just keep
that
as
your main
focus
in
looking for
clients.
You should
incorporate what
ever
is
A Paint and Wine Night hosted by ArtmakerZ, available to
a division of Gastonart & Frame in Shrewsyou
and
bury, MA, where painting events and
what your
classes are designed to drive framing
budget can
sales. This photo can be found on Facebook
afford.”
at: ArtmakerZ at Gastonart & Frame.
Ms. Kaluza
says the
ers, as well as collectors, gallery continues to do seacome to do research on an sonal and event-driven ads in
artist because we don’t just the local newspaper. “We do
show the art that we have, postcard mailings occasionbut the art that is available by ally, but not the 10,000 that
a certain artist, including sec- we used to mail. It will be a
very targeted mailing.”
Salespeople in the gallery
still make phone calls to specific clients when a new print
has been released
that the client
might like. “We always call our best
collectors.”
When Janice Kaluza
joined Gallery One in Mentor, Ohio, eight years ago,
her first task at the gallery, in
business 40 years, was to
refurbish the website which,
she says, was little more
than a signpost with html
pages and no database.
Today, it has a shopping cart,
features new works in the
gallery, a
timely letter
from
Gallery
One’s owners Norah
Lynne and
A l a n
Brown, gift
certificates,
a
sign-up
for
the
g a l l e r y ’s Gallery One owners Alan and Norah Lynne
newsletter, Brown, both left, pose with artist and author
and much Dean Morrissey and Kristina Lange, founder
more. Art- of Marilyn’s Voice, at the gallery’s annual
work and Cold Nose – Warm Art kids’ art contest.
biographical information is provided ondary market work—almost
on some 400 artists, and like an encyclopedia.”
that feature alone attracts Gallery One is also very acmany visitors to the website. tive on Facebook, Twitter,
“We seem to be a place and Pinterest. “But not
where other galleries or deal- every customer is on social
PAGE 54
own following on Facebook.
The purpose of the contest
is to recognize and reward
the artistic efforts of young
people and to encourage the
adoption of rescue animals.
The models for the 2013
competition were adoptable
pets from local rescue organizations Lake Humane
Society and Marilyn’s Voice.
Judging was by artist and
award-winning children’s author Dean Morrissey, who
typically has an exhibit of his
paintings and prints at the
gallery to coincide with his
announcement of the Cold
Nose – Warm Art winners. A
representative from Marilyn’s Voice attends the event
and talks about the nonprofit’s work in rehabilitating
and finding homes for dogs
rescued from dire circumstances. Not only does the
contest bring people into the
gallery, it creates plenty of
buzz in the local community
One of the
gallery’s
most
successful initiatives that inte- Clancy Brown, right, with Shayna, who
grates social media has his own Facebook following. He
with the brick-and- also inspired Gallery One’s Cold Nose
mortar gallery, as – Warm Art children’s painting contest.
well as with the
local community is its annual and on Facebook—a perfect
Cold Nose – Warm Art con- melding of new and traditest for kids. The contest tional marketing techniques.
originated shortly after the
Browns acquired Clancy, a
rescued pedigree Lakeland Sarah Seamark is Editor in
Terrier, who now has his Chief of Art World News.
ART WORLD NEWS
ART RESTORATION
ART RESTORATION
Once the piece has been
thoroughly cleaned and is
dry, the next step is to add
paint (if necessary). This
process is known as “inpainting.” Make sure the colors match those of the
painting before adding the inpainting to the piece. Do not
use linseed oil or liquin to the
mix; it could add excess
gloss and if the painting is old
and flat, the change in texture
will be dramatic. Then wait
eight days and at that time,
apply finishing varnish.
Some pieces may require
the application of a sealant
before inpainting. In some
cases, a clear varnish works
well as a sealant on oil paintings. In other cases, such as
when paint is flaking, a partial patching with reversible
materials may be needed. If
there are holes in the canvas
and multiple areas need to
be covered, cut a piece of
unprimed linen or canvas two
inches larger than the area to
be treated. Soak the unprimed linen or canvas in lining compound. Apply the
linen or canvas to the back of
the painting and gently pat it
before ironing to flatten the
edges. It may be necessary
to add additional lining compound for a good seal and
then iron the patch with a
non-steam iron calibrated to
no more than 275 degrees.
Once it is dry, pull the Kraft
paper away from the front of
the painting slowly and only
when it is completely cool.
ART WORLD NEWS
Turn the painting over and
use lining compound remover on a cotton swab. Be
careful not to rub the area
with too much force; just
pat it with a cotton swab until
the compound that leaked
through the linen or canvas
patch is removed.
an older oil. For a newer
painting, use a neutralizer to
remove the excess compound.
Once the surface has
been cleaned, fill in the gaps
left by the holes and tears
with putty. While the putty is
drying, place a piece of
new linen on the putty to
create the natural indentations of the linen and
give the puttied area an
even canvas appearance.
Once the putty dries, it
may be necessary to
Make sure to add a strong
piece of masonite larger than
the painting in addition to the
Kraft paper to make this a full
and safe experience. Turn
the painting over and use lining compound cleaner to remove excess compound in
When working with paper
documents, it is important
to realize that no aged documents or drawings will
ever be 100% restored or
changed back to their original state. However, the appearance can be significantly
improved and with conservation materials, the life expectancy and value of the
document or drawing can be
extended.
To begin the cleaning
process for old collectables,
examine the paper and inks
closely. A magnifying glass
provides an advantage and
helps to identify smaller imperfections. Do not brush
the dust or surface dirt off.
Rather, white bread crumbs
can be used to remove
dust particles. Simply roll
bread crumbs on the paper
and they will collect the dust
and dirt.
Above, artifact before
restoration and at right,
after restoration.
If the painting is suffering from multiple areas of
flaking paint, it may be
necessary to add a full
liner to protect the painting
from more paint loss. Start
by pouring compound in the
center of the back of the
damaged piece and work
outwards.
Aged Documents
And Drawings
gently sand the puttied area
to produce an even surface
before inpainting the oil.
After inpainting is finished
and the oil is completely
dry, seal with clear varnish.
I prefer a glossy or medium
glossy varnish. The varnish
will provide an even gloss
throughout the painting
and will protect the painting
against smoke, dirt, and
grime.
If you are dealing with a
document on paper, start by
testing the area with one
drop of water in the nondamaged area and then in
the damaged part of the document. If the water drop
does not absorb quickly, the
paper is not damaged and
does not need to be treated.
If it does absorb quickly, then
the paper has broken fibers
due to oxidation and acidic
damage and must be treated
with a special solution.
PAGE 55
ART RESTORATION
ART RESTORATION
Frequently, aged documents and drawings may
have discoloring and brown
spots called foxing. These
occur when aged documents
and drawings have been exposed to poor storage and
care; humidity, iron, and acid
will cause chemical changes
and will show as reddishbrown areas. Typically, some
of the discoloration from the
foxing effect can be lightened by applying a mixture of
ethanol and ammonia. Lay
the paper on clean blotters
and lay flat on a vacuum
table for solution absorption.
PAGE 56
Spray the solution onto
the paper using a smooth
back and forth motion, making sure the entire surface
area is treated. It may be
from the vacuum table and
place it on a flat surface. Flatten it with weight blocks and
blotters for absorption of the
humidified print for a couple
Frequently, aged documents and
drawings may have discoloring and
brown spots called foxing that occurs
with poor storage.
necessary to spray the solution several times to reduce
and remove the foxing.
Change the blotters, as
needed, to assist in the absorption of the foxing effects. Remove the paper
of weeks. Repeat a few
more times and wait for the
paper to dry completely before reapplying more solution. The brown spots will
slowly be transferred from
the print into the blotters.
Part Two of this article continues in a future issue.
Anabela Ferguson is owner
of Brush Strokes Fine Art
LLC, Springfield, VA. She is
an artist, custom framer, and
conservator, who offers art
restoration services to galleries, insurance agencies
(for damaged artwork), and
collectors. To contact her,
call (571) 594-3717, e-mail:
Anabela7973@aol.com; visit:
www.Anabela-Artist.com or:
www.anabela-ferguson.blog
spot.com. To see live restorations go to: YouTube. She
is also on Facebook and
Twitter. Samuel Ferguson
assisted with this article.
ART WORLD NEWS
JAN14-NewArt-pg1_Layout 1 1/9/14 10:53 AM Page 1
NEW ART
City View
Saba with Letter V
CJR Fine Arts, Wellington, FL, presents “City View” by
Ferjo as a giclée on canvas available in two sizes: 60 by 40
inches in an edition of 99, retailing for $3,600 and 40 by 30
inches in an edition of 350, retailing for $1,800. For more
details, call (561) 333-9472 or go to: www.cjrfinearts.com.
Fabian Perez Art Publishing LLC, Beverly Hills, CA, debuts
“Saba with Letter V” by Fabian Perez as a giclée on
canvas, available in three image sizes: 45 by 30 inches in
an edition of 200 ($3,000), 30 by 20 inches in an edition
of 150 ($2,200), and 18 by 12 inches in an edition of 150
($1,200). For more information, call (310) 990-1676 or go
to the website located at: www.fabianperez.com.
Mission Accomplished III
Bronze Age II
Eric Christensen Fine Art & Editions, San Jose, CA, presents “Mission Accomplished” by Eric Christensen as a
giclée on canvas, available in three sizes: 48 by 36 inches
in an edition of 80 retailing for $2,040, 40 by 30 inches in
an edition of 150 retailing for $1,580, and 32 by 24 inches
in an edition of 125 retailing for $1,420. For more details,
call (408) 445-1314 or visit: www.ericchristensenart.com.
PAGE 58
Art Traditions,
Westlake Village, CA, presents Zu Ming
Ho’s “Bronze
Age II” as a giclée on canvas, available
in three sizes
with a total
edition of 50:
36 by 36 inches
retailing
for
$1,650, 30 by
30 inches retailing for $1,250,
and 20 by 20 inches retailing for $950. Telephone
(805) 496-7100 for further information or go to the
company’s website located at: www.wlvart.com.
ART WORLD NEWS
JAN14-NewArt-pg2_Layout 1 1/9/14 10:55 AM Page 1
Moonrise Over Annapolis
John Barber Editions, Annapolis, MD, presents “Moonrise
Over Annapolis” by John Morton Barber, available in three
editions: a giclée on canvas in an edition of 50, measuring
32 by 17 inches ($675); a giclée on paper as a remarqued
artist proof edition of 75, measuring 22 by 12 inches ($350);
and a giclée on paper in an edition of 600, measuring 22 by
12 inches ($160). For further information, phone (888) 2782624 or go to: www.annapolismarineart.com.
The Muse
Swan
King
International,
Montara, CA,
p r e s e n t s
Michael Parkes’
“The Muse,”
bronze bust in
an edition of 90.
Measuring 19
by 20 by 10
inches, the retail
price is $7,800.
For more details, call (650)
728-1400
or
visit: www.the
worldofmichael
parkes.com.
Middle Class (View from Madison
Ave.)
Swept Away 12-04
Artist Socrates Marquez, New York, presents “Swept
Away 12-04,” a mixed media painting measuring 96 by 54
inches. The retail price is $10,300. For further information,
call (646) 671-7484 or visit the artist’s website located at:
www.socratesmarquez.com.
ART WORLD NEWS
Self-published
photographer
Slawek, Indianapolis, presents “Middle Class (view from
Madison Ave.),”
available as a limited edition print in
various mediums:
13- by 19-inch
photograph printed
on watercolor paper
or on velvet Epson
photo paper in an
edition of 250
($560) and a 25by 34-inch printed
on aluminum plates
or on canvas in an edition of 75 ($4,900). Phone (317) 8261021 for more details, or visit: www.gotoslawek.org.
PAGE 59
JAN14-GalleryLights_Layout 1 1/9/14 10:37 AM Page 1
GALLERY LIGHTS
Smart Publishing artist David Schluss, right, is pictured with
singer Sir Cliff Richard when he stopped into Blue Gallery on
Las Olas Blvd. in Fort Lauderdale, FL, to admire Schluss’
paintings, limited edition prints, and bronze sculpture.
Pejman Editions International artist Bob Pejman, second from
left, is shown during an exhibit of his new palette knife oils at
Signature Gallery, Laguna Beach, CA, with, from left, director
Jessica Fry, and consultants Jenny Simons and Michael Mitchell.
Artist Greg Haberny, right, and photographer Terry Richardson
are shown during the exhibition of Haberny’s mixed media
work and art installation called “Burn All Crayons,” located
at the New York-based Lyons Wier Gallery.
Artist Joshua Dildine, center, is flanked by collectors Theresa
and Nano Rubio at Mark Moore Gallery, Culver City, CA, during
a reception for two concurrent exhibitions at the gallery of the
work of mixed media artists Kim Rugg and Ryan Wallace.
Pictured at Memphis-based Inspiration Gallery are Robert
Finale Editions co-owner and artist Robert Finale, center, with
collectors, from left, Mike and Emily Cockrell, Lisa Cockrell,
and co-owner of Robert Finale Editions Susie Finale.
At Anderson O’Brien Fine Art, Omaha, NE, artists Rein and
Margot Vanderhill celebrate during “Accidentally On Purpose,”
a show featuring Christina Narwicz’s oil on canvas work.
PAGE 60
Photo Credit: Bryce Bridges Photographic
ART WORLD NEWS
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JAN14-index_Layout 1 1/9/14 12:28 PM Page 1
ADVERTISERS
COMPANY LISTING
PHONE
PAGE
American Fine Art Inc. ..................................................32, 33
COMPANY LISTING
PHONE
PAGE
Michael Godard Fine Art Associates ....................................15
www.americanfineartgallery.com
www.michaelgodard.com
800.466.8276
Arnot Galleries ............................................................63, 64
www.arnotgallery.com
212.245.8287
Artexpo New York ..............................................................6
www.artexponewyork.com
216.225.0962
Blakeway Worldwide Panoramas Inc. ..................................21
www.panoramas.com
800.334.7266
Bentley Global Arts Group ..................................................43
www.bentleyglobalarts.com
888.456.2254
Bon Art ............................................................................25
www.bonart.artiq.com
203.845.8888
Digital Technology Group ..................................................45
www.dtgweb.com
800.681.0024
Editions Limited..................................................................47
www.editionslimited.com
800.228.0928
Framerica ....................................................................1, 19
www.framerica.com
800.372.6422
Gango Editions..................................................................47
www.gangoeditions.com
800.852.3662
GE Capital........................................................................41
www.gogecapital.com/luxury
866.209.4457
Haddad’s Fine Arts Inc. ......................................................47
www.haddadsfinearts.com
800.942.3323
Image Conscious ..............................................................47
310.538.4855
Larson-Juhl ......................................................................2, 3
www.larsonjuhl.com
800.438.5031
Linda Jones Enterprises ......................................................27
www.lje.com
800.660.7791
Lyrical Fine Art...................................................................11
www.lyricalfineart.com
631.787.8585
Martin Lawrence Galleries ....................................................9
www.martinlawrence.com
Park West Gallery ..............................................................49
www.parkwestgallery.com
800.521.9654
Parrot Digigraphic Ltd. ..................................................8, 61
www.parrotcolor.com
877.727.7682
P. Buckley Moss Galleries Ltd. ............................................4, 5
www.pbuckleymoss.com
800.430.1320
Pease Pedestals ................................................................41
www.peasepedestals.com
847.901.4440
Penny Lane Fine Art & Licensing ..........................................43
www.pennylanepublishing.com
800.273.5263
PicturePerfectFrame.com ....................................................57
www.pictureperfectframe.com
805.277.7210
POD Exchange ..................................................................49
www.podexchange.com
888.406.2858
Robert Bane Fine Art ....................................................34, 35
www.fabianperez.com
310.205.0555
Sun Dance Graphics ..........................................................47
www.sundancegraphics.com
407.240.1091
The Art of Todd Goldman....................................................29
www.toddisstupid.com
203.854.8566
The Thomas Kinkade Company............................................27
www.tkopportunities.com
800.366.3733
800.532.2333
Kolibri Art Studio Inc. ........................................................25
www.kolibriartstudio.com
702.478.3301
203.869.9500
Tina Palmer Studios Inc. ......................................................56
www.tinapalmerart.com
703.798.1240
Tru Vue ............................................................................39
www.tru-vue.com
800.621.8339
Universal Arquati Moulding ................................................31
www.universalarquati.com
800.668.3627
Wall Moulding & Associates ..............................................23
www.wallmoulding.com
800.880.9315
Wild Apple ......................................................................17
www.wildapple.com
802.457.3003
Max Moulding ..................................................................13
Winn Slavin Fine Art ....................................................36, 37
www.maxmoulding.com
www.winnslavin.com
800.282.9966
949.376.2645
Art World News, (ISSN 1525 1772) Volume XIX, Number 1, is published 10 times a year by Wellspring Communications, Inc.,
143 Rowayton Ave., Rowayton, CT 06853. (Phone 203.854.8566) (Fax 203.854.8569). Single copy price $10.
Send address changes to: Art World News, P.O. Box 129, Rowayton, CT 06853.
PAGE 62
ART WORLD NEWS
JAN14-Calendar-Vertical_Layout 1 1/9/14 11:32 AM Page 1
CALENDAR
January 17–20: Miami
International Art Fair, downtown Miami aboard Seafair.
Produced by IFAE. Visit:
www.mia-artfair.com or call
(239) 949-5411.
January 19–22: PPFA
(Professional Picture Framers Association) Annual
Convention, Paris Hotel,
Las Vegas. For information,
visit: www.pmai.org/ppfa.
“Vineyard Leaves of Willamette Valley I & II”
Arnot Gallery, New York • (212) 245-8287
www.ArnotGallery.com
arnotart@aol.com
January 20–22: West
Coast Art & Frame Expo,
Paris Las Vegas Hotel &
Casino. (National Conference schedule of workshops and seminars begins
January 19.) For details,
visit: www.wcafshow.com or
call (800) 969-7176.
January 23–27: Art Palm
Beach, Palm Beach County
Convention Center, Palm
Beach, FL. Produced by
IFAE. Visit: www.artpalm
beach.com, (239) 949-5411.
January 26–30: Las
Vegas Market, World Market Center, Las Vegas.
Visit: www.lasvegasmarket
.com, (866) 229-3574.
Stahlbush Farms, Oregon • (541) 757-1497
www.stahlbush.com
sif@stahlbush.com
ART WORLD NEWS
January 30–February
2: Art Los Angeles Contemporary, The Barker
Hangar, Santa Monica, CA.
Produced by Fair Grounds
Associates. Call (323) 8517530 or go to: www.art
losangelesfair.com.
February 13–16: Palm
Springs Fine Art Fair, Palm
Springs Convention Center,
CA. Produced by Hamptons
Expo Group. Visit: www.
palmspringsfineartfair.com.
February 14–16: Southeastern Wildlife Exposition,
Charleston, SC. For details,
visit: www.sewe.com or call
(843) 723-1748.
March 5–9: The Art Show,
Park Avenue Armory, New
York. Produced by the Art
Dealers Association of America. For details, visit: www.
artdealers.org.
March 6–9: The Armory
Show, Piers 92 and 94, New
York. Produced by Merchandise Mart Properties
Inc. For details, go to:
www.thearmoryshow.com.
April 3–6: Affordable Art
Fair, Metropolitan Pavilion,
New York City. Visit: www.
affordableartfair.com or call
(212) 255-2003, .
April 4–6: Artexpo New
York, SOLO, and Decor
Expo, Pier 94, New York
City. Produced by Redwood
Media Group. Telephone Eric
Smith at (216) 225-0962,
Rick Barnett at (831) 7470112 or visit the website:
www.artexponewyork.com.
April 5–10: International
Home Furnishings Market,
High Point, NC. Phone
(800) 874-6492 or visit:
www.highpointmarket.org.
April 10–13: Toronto Art
Expo, Metro Toronto Convention Centre, Toronto.
Go to: www.torontoartexpo.
com or call (866) 228-4238.
PAGE 63
Arnot-JAN14_Layout 1 12/20/13 12:49 PM Page 1
2014, Celebrating the Masters Past to Present
Antoine Blanchard
‘Paris Madeleine, Side View’
24x30”
Luigi Rocca
‘Tomato Detail’
60x45cm or 18x24”
Original painting. Hardcover artist-signed book, gift with purchase.
Deceased artist, Marcel Masson, painted in 1961. Original oil painting.
Claudio Simonetti
‘Gondolas on Parade’
24x36”
MALVA
‘Reflective Hues’
32x32”
Dealers of Fine Original Oil Paintings for Five Generations
ARNOT GALLERIES, SINCE 1863
HERBERT ARNOT, INC.
250 West 57th Street, 10th Floor, New York, NY 10107
Phone: 212-245-8287 • 'After Hours' phone number: 917-570-7910
E-mail inquiries: arnotart@aol.com
www.arnotgallery.com

January, 2014 - Art World News

Transcription

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