January, 2012 - Art World News

Transcription

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Art World News
J A NUA RY 2 012
THE INDEPENDENT NEWS SOURCE
L A R S ON - J U H L
PRESIDENT & CEO
STEVE MCK ENZIE
SUCCEEDED B Y
DREW VA N PELT
St ev e Mc K en zi e, president
and CEO of L ar s o n -J u h l,
a wholly owned subsidiary
of B er k s h i r e Hat h aw ay
In c ., has left the company
to pursue other opportunities, it was announced earlier this month.
Dr ew Van Pel t , who most
recently was president of a
digital marketing firm, will
replace Mr. McKenzie as
Chief Executive Officer of
Larson-Juhl. Warren E.
Buffet, Berkshire Hathaway’s chairman and CEO,
said of Mr. Van Pelt, “Drew
brings a strong, fundamental analytical process and a
fresh perspective that will
continued on page 24
GA L L ERY FRA NCHISE
L A UNCHE S
Ru t h -A n n and J am es
Th o r n are opening an
E x c l u s i v e Co l l e c t i o n s
gallery at The Forum
Shoppes, Las Vegas, that
will be a model for their
national concept of gallery
franchises/partnerships. It
will be the testing ground
for the operation due to roll
out in 2013. See page 16.
SHOWCASING THE OPEN
EDITION PRINT MA RKET
As part of Art World News’
focus on the open edition
print market, we present
“An Art World for the 100%”
by J o an n e Ch ap p el l of
Ed i t i o n s L i m i t ed , page 34;
and “What’s Hot!”
featuring the latest best
selling images, page 40.
Thornwood Gallery, Houston, with James Leonard’s work, center.
VISIBILITY ON MANY
PLATFORMS A ‘MUST’
There’s no easy answer to the question of how to make art
and framing more relevant today. But talking with representatives of many of the diverse segments of the art and framing
industry, yields valuable insights. Coming across loud and
clear is that visibility matters, whether it be in terms of gallery
and frameshop location, so- tiveness in selling art and
cial media, or bringing the art framing. Yet, it is not any one
to the people with outdoor individual element, rather a
displays, or corporate, health- combination, that seems to
care, hospitality, and other in- bring the best results. Accorterior design projects. Col- ding to IBM’s presentation
laboration also can elevate on its website under Smarter
awareness of art and effec-
QUOTE OF THE MONTH:
“We can do what we do as
individuals to introduce other
people to art in a manner that
is welcoming so they can dip
their toe into the water.”
Ron Cavalier, page 14
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INSIDE THIS ISSUE
VOLUME XVII
ISSUE 1
GE Capital a
Sponsor of Artexpo
Pat Buckley Moss
Raises Awareness
Framing: New Year,
New Outlook
FRA MING
Pag e 26
Among the sponsors of the
upcoming Artexpo New York
is GE Capital, a company
specializing in financing for
the luxury market including
jewelry, art, and photography.
Moss Portfolio’s Pat Buckley
Moss has kicked up her efforts to support her galleries,
as well as their many charitable efforts by making many
appearances at fundraisers.
Columnist Greg Perkins discusses how custom frameshops should look back at
what has worked for them in
2011 and expand on that in
order to grow their business.
B RA NDING
Pag e 32
Page 18
Page 20
Page 26
DEPARTMENTS
A RTISTS & PUB L ISHERS
Pag e 10
GA L L ERY L IGHTS
Pag e 13
B USINESS INSIDER
Pag e 34
L EGA L ISSUES
Pag e 36
WHAT’ S HOT IN
OPEN EDITIONS
Pag e 40
CAL ENDA R
Pag e 42
Branding: Building
Your Gallery Brand
Legal Issues:
Posthumous Works
Presenting
New Art Releases
Industry veterans Ruth-Ann
and James Thorn explain the
importance of building the
gallery brand in an effort to
establish relevance, as well
as to bring in revenue.
Copyright laws and artists’
moral right statutes have provided artists and their heirs
with legal protections so only
the artist and their heirs have
the right to reproduce works.
The New Art section features
current releases in an array
of mediums, edition sizes,
image sizes, and price points,
as well as company contact
information.
Page 32
Page 36
Page 43
NEW A RT
Pag e 43
OPEN EDITIONS
Pag e 44
CL ASSIFIEDS
Pag e 45
A DVERTISER INDEX
Pag e 46
A r t w o r k f eat u r ed i s
“ Wh y Sh o u l d We St ay ? ”
b y Ray Har e
f r o m B l azi n g Ed i t i o n s ,
Eas t Gr een w i c h , RI.
Th e o r i g i n al o n c an v as ,
84 b y 60 i n c h es ,
r et ai l s f o r $30,000.
Cal l (401) 885-4329,
w w w.b l azi n g .c o m .
A RT WORL D NEWS
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IN OUR OPINION
WHY 2012 WILL BE
A BREAKOUT YEAR
ope springs eternal and
folks with an optimistic
eye always see the future
as offering more than the past. In
part, that may be the reason they
outperform their peers that don’t
share such a disposition. Happily,
even for those members of the
art and framing industry with less
buoyant demeanors, the facts
are starting to stack up to suggest 2012 will afford significant
improvement.
H
Retail Sales: For the past
year aggregate retails sales increased 4.7% and industry observers noted more discretionary purchases took place that
were not merely replacement
purchases. The hardwired consumer-driven nature of the public is waking up.
Employment: The year is
starting off less bad for the nation’s job scene and modest improvement will give more
consumers purchasing power.
Home Improvement: A recent Harvard study identified
stability in housing prices and
access to capital as the two
foremost drivers of new residential projects. As a price floor
in real estate has been established in most markets, consumers will be putting more
money into their homes.
Election Year: Historically
economies do better during
election years and 2012 is expected to be no different.
Consumer Debt: After going cold turkey on acquiring
new debt, consumers are once
again dipping their toes into the
water by financing discretionary purchases.
Business was Better: For
many reasons, the majority of
art and framing businesses
posted improvement in 2011.
As a confluence of forces
these positive trends, among
others, support the expectation
of an improved year. However,
even though the rising tide of
economic growth has the potential to help all businesses,
the caveat is that each business in our industry needs to
identify the path to their success and the conviction to
move forward with confidence.
John Haffey
Publisher
A RT W ORLD N EWS
Ed i t o r i n Ch i ef
Man ag i n g Ed i t o r
Pr o d u c t io n Man ag er
Ed i t o r at L ar g e
Co lu mn i s t s
Sar ah Seam ar k
sseamark@optonline.net
K o l een K af f an
kkaffan@optonline.net
Su e B o n a v e n t u r a
awnimage@optonline.net
J o Yan o w -Sc h w ar t z
To d d B i n g h am
mo@tbfa.com
B ar n ey Dav ey
barney@barneydavey.com
J o s h u a K au f m an
JJKaufman@Venable.com
Co n t r i b u t i n g Wr i t er s
Pu b l i s h er
A s s o c i at e Pu b l i s h er
In f o r m at i o n Tec h n o l o g i s t
Gr eg Per k i n s
C r i s t i Sm i t h
J o h n Haf f ey
jwhaffey@aol.com
B r o o k s Ma l e
jbmale@aol.com
J o e Gar d el la
Ed i t o r i al A d v i s o r y B o ar d
Ph i l l i p Gev i k , Gallery Phillip, Don Mills, Ontario, Canada
St ev en Har t m an , The Contessa Gallery, Cleveland, OH
Ph i li p M. J an es, Arts Exclusive Inc., Simsbury, CT
Hei d i L ei g h, Animazing Gallery, SoHo, NY
Ru t h -A n n Th o r n, Exclusive Collections Gallery, San Diego, CA
ADVERTISING SALES INFORMATION
Eas t er n U.S. & In t er n at i o n al
John Haffey, Publisher
Phone (203) 854-8566
Fax (203) 854-8569
jwhaffey@aol.com
Mi d w es t & Wes t Co as t
Brooks Male, Associate Publisher
Phone (847) 705-6519
Fax (847) 776-8542
jbmale@aol.com
Art World News (Volume XVII, 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.
PA GE 8
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TCE-JAN12 Ad:Layout 1
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ARTISTS & PUBLISHERS
McCallum Gallery Opens in Toronto
Alvar’s Work at Biblical Museum
Gary McCallum has fulfilled
an
adventure
his soul has
long craved
with
the
opening of
McCallum
Gallery on
Y o n g e
S t r e e t ,
To r o n t o .
Owner
of
Artistic Con- Gary McCallum, left, owner of McCallum
n e c t i o n s , Gallery, with Carlos Rodriguez, center,
p u b l i s h e r of Fotiou Frames and collector Ken McIver.
and
artist
representative, Mr. McCallum’s 1,100-square-foot gallery
has an international flavor with artists Yana Movchan, Oksana
Movchan, Vitali Movchan, Kornelija Ozolina, Tatiana Baker,
Mr. McCallum himself, and illustrator Walter Lantz, as well as
mouth-blown chandeliers from Ireland, Latvian ceramics, and
Russian folk art. Call (416) 590-1704, www.mccallumgallery.com.
Following
his early creation of two
Biblical
themed lithograph suites,
Alvar, whose
work is represented by
DE Fine Art,
has turned
his focus to
creating a
series of “Descent from the Cross” by Alvar is an oil
paintings of painting measuring 78 3/4 by 59 inches.
a religious
nature. Three of these works have subsequently been hung
at the Museum of Biblical Art in Dallas. In related news, DE
Fine Art is partnering with American artist Joe McFadden to
represent his work in the U.S. The artist’s oil paintings, featuring saints from daily life and historical significance, capturing humor and whimsy, retail for $2,850 to $12,750. For
more information, call DE Fine Art, Atlanta, at (770) 3009733 or visit the website: www.de-fineart.com.
Brilliance in Color Hosts Hart Exhibit
Relationships Are Everything!
Brilliance in
Color recently
conducted a
large and historic
event
featuring the
bronze and
acrylic sculpture of Frederick
Hart
(1943- 1999).
The gallery is “Daughters of Odessa” by Frederick Hart.
one of four locations owned and operated by the Cutter family of St. Augustine, FL. The 5,000-square-foot gallery was filled with 70
bronze and acrylic elements, and a large group of Frederick
Hart collectors attended two private dinner parties honoring
his prestigious career. Also in attendance were Lindy Hart,
widow of Frederick Hart, and Bob Chase Sr. of Chase Art
Companies, representative of Hart’s work. For Chase Art:
www.chaseart.com; Cutter & Cutter, www.cutterandcutter.com.
Arts Exclusive Gallery in
Simsbury, CT, partners with
several non-profits in the area
believing that relationships are
paramount. “That is what
keeps different organizations
alive,” says Philip Janes,
gallery owner. One such partnership his gallery has is with
the Faith Mulira Health Care
Center Inc., a U.S.-based notfor-profit that supported the
construction of a new healthcare facility in Masooli, Uganda. “The Story Teller” by Jerry
Today, monies raised go to- Geier, terracotta, ($3,400).
wards operating costs of the
clinic. Through the partnership with Arts Exclusive, anyone
purchasing a painting or sculpture who wishes to support the
cause receives a 10% discount with another 10% going to
the Masooli clinic. To reach Arts Exclusive, call (860) 6515824 or visit: www. arts-exclusive.com.
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Urban Primitive 3-D Pop Artist James Rizzi Dies
Internationally recognized
Pop artist James Rizzi,
known for his colorful, cartoon-like drawings and 3-D
constructions and sculptures, died at age 61 at his
home in SoHo on December 16, 2011. Rizzi gained
recognition over the years
for featuring his images in
unlikely places such as on
German postage stamps, in
tourist guides in New York,
on album covers and in
videos for the band The Tom
Tom Club, a Lufthansa jet,
and even an oval glass ceiling in one of Europe’s largest
shopping malls. Having studied art at the University of
A RT WORL D NEWS
Florida, the Brooklyn-born artist made
a name for himself
early as a street
artist in New York
and helped coin the
term “urban primitive” with his work.
In 1976, he participated
in
the
Brooklyn Museum’s
exhibit, “Thirty Years
of American Printmaking.” He was
the official artist for
the 1996 Summer
Olympics in Atlanta,
the Montreux Jazz
Festival in Switzer- James Rizzi.
land, and the
World Cup in
France.
Today, Rizzi’s
work is managed
by Art 28 GmbH
& Co. KG in
Stuttgart, Germany. Visit the
company’s website at: www.
art28.com.
James Rizzi is
survived by his
mother, Roberta
McDonald; sister,
Roberta McRizzi;
and his brother,
Billy Rizzi.
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Trash 2 Art at Columbia Art Gallery
Shown are Linda Steider’s recycled glass wall pockets
created using discarded glass in the Trash 2 Art show.
Columbia Art Gallery, Hood River, OR, recently held an
event featuring the work of 14 artists creating art using objects otherwise destined for the trash or recycling in a show
called Trash 2 Art. Mediums included handmade bags, sculpture, jewelry, paper, and glass. The opening event also featured a recycled art workshop conducted by artist Cynthia
Caudill. For more information, phone the gallery at (541)
387-8877 or go to: www.columbiaarts.org.
Christian Artist James Seward Dies
Somerset Fine Art artist
James Seward, known
for his Christian-related
imagery, passed away
suddenly of complications from a heart attack in his home on
December 26, 2011.
He was 85 years old.
Born in Opelika, AL, Seward earned a bachelor’s degree from the
Art Institute of Chicago,
where he met his wife
Lyn. He went on to illustrate books and maga- James Seward.
zines for religious publishers before signing with Somerset in 2003. His work is
published as limited edition giclées on paper and canvas,
as well as open edition prints. The artist leaves his wife,
five children, eight grandchildren, 11 great-grandchildren
and a great-great grandchild, born the day after his passing. For more information on Seward’s artwork, phone
Somerset Fine Art, Fulshear, TX, at (800) 444-2540 or go
to the website: www.somersetfineart.com.
Fundraiser at Mark Moore Gallery
Spread the Word, a
one-night exhibition
and silent auction
was held recently at
Culver City, CAbased Mark Moore
Gallery benefiting
826LA. The gallery
provided more than
80 contemporary,
local artists with a
vintage pulp novel to Artist Adam Miller created #65,
use in the creation auctioned during the 826LA event.
of a piece of art. The
work was then auctioned off to raise money for 826LA, a nonprofit founded by novelist Dave Eggers, dedicated to supporting students aged 6 to 18 years old with their creative and
expository skills and to assist teachers in inspiring students to
write. Attendees paid a $25 entry fee (part of the donation)
and enjoyed music, food and drink during the auction. For
the gallery, call (310) 453-3031, www.markmooregallery.com.
PA GE 12
Mimi Stuart’s Art Benefits Kids
Actor Kevin
Sorbo, who
played Hercules in the
popular TV
show, rec
ently hosted
a Celebrity
Golf Tournament & Benefit at the
S i l v e r a d o From left, are: Life coach, Dustin Brown;
Resort
in Mimi Stuart with her artwork “Grateful;”
Napa, CA, Greg and Linda Beck, the highest bidders for
to
raise Stuart’s painting; and actor Kevin Sorbo.
funds and
awareness for A World Fit For Kids. Among those supporting
the effort was Artist of Energy Mimi Stuart of Rye, NY. For
more details on Stuart’s artwork, visit: www.mimiart.com.
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GALLERY LIGHTS
Pictured at Lyons Wier Gallery, New York City, are, from
left, gallery owner Michael Lyons Wier, rapper Swizz Beatz,
and artist Tim Okamura at the opening of Okamura's exhibit
“Bronx • Brooklyn • Queens.”
Gallery owner Jack Rutberg, left, of Jack Rutberg Fine Arts,
Los Angeles, is shown with artists Llyn Foulkes, center, and
Iva Hladis during the opening reception of the show titled
“Hans Burkhardt: Within & Beyond the Mainstream.”
Celebrating at the AddisonArtGallery, Orleans, MA, are, from
left, painter John F. Murphy, collector Judie Elwood, painter
Marc Kundmann, and collector Richard Elwood, during a
show featuring new work by the gallery’s artists.
At the Michael McCormick Gallery, located in Taos, NM,
gallery owner Michael McCormick, left, and artist Angus
MacDonald are pictured in front of “Le Sacrifice,” a new,
large-scale painting by MacDonald.
Painter Billy Solitario celebrates a show of his new artwork,
including “Seven Oyster Shells” and “Four Shell Study” with
his wife Nikki and son Enzo, at the opening on White Linen
Night held at LeMieux Galleries, located in New Orleans.
Greenwich Workshop artist Will Bullas is pictured during a
reception at Gallery 601 in Boise, ID, alongside collector
Alison Kaestner with the latest addition to her collection,
“Polar Night Cap” by the artist.
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WEST COA ST A RT &
FRA ME SHOW HIGHL IGHTS
VISIBILITY ON MANY PLATFORMS
LAS VEGAS—Three weeks
out from opening day,
attendee pre-registration for
the trade-only Wes t Co as t
A r t & Fr am e Sh o w had
already surpassed last year’s
numbers and booths were
sold out. The number of exhibiting companies is approximately 189 for the January 30
to February 1 show at The
Mirage Resort & Casino on
the Las Vegas Strip. The National Conference of seminars and workshops runs
January 29-February 1.
continued from page 1
Commerce, “Customers
approach a sale empowered
by technology and transparency, with more extensive information from more
sources than ever before.
They expect to engage with
companies when and how
they want, in person, online,
and on the go. And they
want these methods to tie
together seamlessly.”
Highlights include:
Su n d ay, 5 p .m .–7 p .m . PPFA
reception and vendor
showcase.
Mo n d ay : St ar t i n g at 11 a.m .
Max Moulding 20th anniversary celebration at its booth.
Mo n d ay : 12.30 p .m .–
2.30 p .m . Rob Markoff of
Gallery Services presents a
Lunch and Learn seminar:
Understanding Your Business
Insurance Needs, Lunch
served compliments of
Capax-Frame It. Registration
is necessary.
Mo n d ay : 6 p .m .–7.30 p .m .
“Black is Cool! White is Hot!”
hosted by Larson-Juhl. Custom framing is typically anything but black and white, but
black and white is exactly
what this special event is all
about. Registration needed.
Tu es d ay : 4 p .m .–5 p .m .
PPFA International Framing
Competition Awards, at the
PPFA booth.
Wed n es d ay : 8 a.m . Breakfast panel discussion moderated by Jay Goltz of Artists
Frame Service Inc.
Sh o w h o u r s :
Monday and Tuesday:
11 a.m.–6 p.m.
Wednesday: 10 a.m.–4 p.m.
PA GE 14
Such a multi-faceted approach to selling art has just
been implemented by Bob
Pejman, art and gallery
owner with locations in
Short Hills, NJ, and Scottsdale, AZ. He is spearheading an initiative by 22
galleries in Scottsdale to reenergize this once booming
art enclave. “I think the key
to gallery survival is to promote the gallery and its art
to people who have money
and are art buyers,” he
says. The 22 galleries have
united to form an alliance,
Main Street Art Galleries.
Each has contributed to a
marketing budget in order to
promote the street as a destination. “We want to bring
affluent people in—and then
you have a shot at selling
them—get them off the golf
course and into the galleries.”
The marketing agenda includes:
• Advertising in an assortment of magazines. As
Mr. Pejman points out, advertising space is often far
less expensive than it
used to be.
• The establishment of a
collective website: www.
mainstreetartgalleries.
com where each gallery
has a link to their own
site.
• A newsletter that is pub-
lished and distributed to
resorts and via direct mail.
The newsletter is also
ward making people comfortable with art. For years
he has placed sculptures on
Animazing Gallery’s presentation of framed art for its exhibition “World of Froud” at its SoHo location.
Greenwich Avenue and in a
park on Nantucket where
kids call it “statue park.”
“Children bring their mothers to see it and they get to
appreciate it. With luck
these people
will find it important to include art in
their lives.” Mr.
Cavalier also
encourages
people to donate art to local
schools
and
other organizations. He feels
that in a sense
an entire generation of potential art lovers
has been lost,
in large part due
to cut-backs in
art classes in
The framing center at Animazing Gallery, the school currwith corner samples and matboard selec- iculum. “We can
tions on roll-out walls and artwork waiting do what we do
as individuals to
to be framed in the flat file.
introduce other
Ron Cavalier, owner of people to art in a manner that
Cavalier Galleries in Green- is welcoming so they can dip
wich, CT, and on Nantucket, their toe into the water.”
MA, feels that public displays of art go a long way tocontinued on page 15
posted as a PDF on the
Main Street Galleries’
website. (The newsletter
is produced by Art World
News who also arranged
for its printing.)
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VISIBILITY
Visibility in the form of
great locations that attract a
well-heeled and/or art appreciative audience is a
major factor in the success
of Animazing Gallery in
SoHo and its sister gallery in
the Château de Belcastel in
France. Heidi Leigh, coowner with Nick Leone,
says, “We are lucky, for one
thing, with the synergy and
support of 24,000 people
who come through the
chateau each year looking at
the exhibitions that are also
shown in SoHo. They come
from all over the world.” She
describes the location of Animazing Gallery in SoHo as
“extraordinary,” situated on
the corner of Greene and
Broome, with numerous
very large windows in which
art can be displayed. “And
that makes a big difference.” She estimates 30%
to 40% of sales are to new
clients and walk-in traffic.
“And there is new stuff
happening on Facebook
and our blog all the time.”
They also have a newly revamped
website
with
sleeker templates that provides an instant press kit
that serves as a glimpse
into the events, media coverage, and evolution of
Animazing Gallery and Animazing Monde d’Illustration
at the Chateau de Belcastel.
The press kit also outlines
the mission of the galleries
and their featured artists Dr.
Seuss, Maurice Sendak,
Charles Schulz, Chuck
Jones/Warner Bros, Daniel
Merriam, Ralph Bakshi, and
Tim Burton.
Animazing’s blog, she
says, gets about 3,000
views a day. “We share information that is relevant in
the industry. For instance,
when we found there was a
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Tim Burton balloon in the
Macy’s Day parade, we
were the first to show what
it looked like—and that is
fun stuff. When we heard
Johnny Depp was doing a
movie on Dr. Seuss we
blogged that. It (what is
blogged) can be relevant in
many ways but with a human
interest element where it is
citing because, in a sense,
they become more visible.
Mrs. Markoff is a corporate
art consultant, educator,
coach, writer, and owner of
Artrageous! in San Diego.
It’s very important, too, to
listen to what clients want.
“In a corporation they want
art that is very different, that
sets them apart.” Instead of
art on paper,
they
may
choose art on
glass, metal,
bamboo, and
other
substrates.
Groupings of,
say, small art
boxes, glass
pieces, or ceramics are
popular.
“What happens,” says
Mrs. Markoff,
“is a trickle
down effect,
with people
working at
the corporation liking the
art. They call
that
Ceramic grouping by corporate art consult- and
leads to resiant Barbara Markoff of Artrageous! in San
dential sales.
Diego. Visit: www.theartconsultant.biz.
It happens a
really informative in a partic- lot.” Other tips include:
ular arena, which keeps your • Be visible through netcollector interested.”
working—it is as important as ever.
The “new” never loses its • Timely information oblustre, and one thing Bartained through contacts
bara Markoff believes the
and acted on immediately
art and framing industry
can get you the deal.
needs to do is to continu- • Know all the different
ously show new art and
styles and price points to
new framing products—and
stretch a customer’s
“change it up all the time.
budget.
Fresh and new inspires • Consider the “green” aspeople to buy.” This also
pect, especially with archimeans frequently re-hanging
tectural projects now
the gallery and redesigning
being LEED certified
the window displays. Again,
(Leadership in Energy and
this ties in to visibility.
Environmental Design)
Passers-by will look at a
and some clients wanting
gallery or frameshop—or
Just Green Art.
any retail store—where the
windows are “new” and excontinued on page 22
PETER MA X CHOSEN TO
PA INT HUL L OF
L UXURY CRUISE L INER
DALLAS—Pet er Max
enjoyed two successful backto-back shows at Mi l an
Gal l er y in Fort Worth, TX,
and Wi s b y -Sm i t h Fi n e A r t in
Dallas, owned by Nim
Vaswani of the Ro ad Sh o w
Co m p an y . Says Tal Milan of
Milan Gallery, “We were very
lucky to have Peter tell stories
about the Beatles in his studio and making art for the
Russian president Gorby. The
400 or more who came got a
great show and Peter stayed
late to get all the dedications
and art signed. There was a
huge turn out.” The dual
location exhibition presented
Max’s newest works, including “Umbrella Man,” shown,
an acrylic painting measuring
16 by 20 inches.
The shows in the late fall coincided with the announcement that the Artist has been
chosen by Norwegian Cruise
Lines to paint the hull of its
luxury cruise liner Breakaway
in the iconic “Peter Max”
style. Known for creating high
visibility images, Peter Max at
one time painted a Continental Boeing 777 jumbo jet, a
600-foot stage for Woodstock
Music Festival, and a giant
mural for the Winter
Olympics. To reach the
Road Show Company, visit:
www.roadshowcompany.com.
PA GE 15
JAN12 Crown Thorn Franchise page:Layout 1
CROWN THORN
P U B L I S H I N G’ S OR I GI N A L
THREE A RTISTS
A b o v e: “ En l i g h t en m en t ” b y
A s en c i o , ed i t i o n o f 195,
25 b y 40 i n c h es , $1,400.
Mi c h ael Fl o h r ’s “ L o n d o n
Rai n ,” ab o v e, ed i t i o n o f
195, 48 b y 36 i n c h es ,
r et ai l i n g f o r $1,800.
Ch r i s t o p h er M’ s “ Co o k i n g
w i t h Wi n e,” ab o v e, ed i t i o n
o f 88, 22 b y 30 i n c h es , an d
a r et ai l p r i c e o f $900.
PA GE 16
1/19/12
3:05 PM
Page 1
GALLERY FRANCHISE LAUNCHES
Ruth-Ann and James Thorn
are opening a flagship Exclusive Collections gallery in
Las Vegas that will be a
model for their national concept of gallery franchises
/partnerships. Located at
The Forum Shoppes at
Caesars, the 2,100-squarefoot gallery on the third level,
scheduled to open on or before March 1, will be the testing ground for the franchise
operation that will roll out in
the first half of 2013. “We
would like to have 10 galleries in the first five years,
and by the tenth year, 25 to
30,” says Mr. Thorn, who together with Ruth-Ann has
been in the gallery business
since 1988, opened their
first gallery in 1992, and
founded Crown Thorn Publishing in 1995. They have
been working on the franchise concept for two years,
as well as operating three Exclusive Collections galleries
in San Diego, and Crown
Thorn Publishing. “We will
start with company-owned
franchise stores and look at
galleries who want to commit
to a franchise and also those
who would like to buy a franchise,” he explains.
The idea is to focus on the
Las Vegas gallery for a year
to get all the systems and
procedures in place, and operating smoothly. Currently,
a team is being assembled
comprising a CFO, an IT person, an operations manager,
and an HR person “to create
a business in a box.” The
sole vendor will be Crown
Thorn Publishing which will
also serve as the fulfillment
house for the franchise galleries. For some time,
Crown Thorn has exclusively
represented the work of
Asencio, Michael Flohr, and
Christopher M. Three new
looked at what they
have done, and followed suit. We have
written articles on the
subject for Art World
News. (Turn to page
32 for Building Your
Gallery Brand.)
“Some galleries out
“Enchanted Forest” by Daniel Ryan, there may have been
edition of 50, 24 by 18 inches ($475). running as traditional
galleries but, because
artists have now also been of the power of branding, fasigned: floral artist Gloria vorable margins, and a powLee, treescape artist Daniel erful support team in the
Ryan, and self-described form of Crown Thorn, RuthPop surrealist Michael
Summers.
Several
sculptors will
also
be
signed. This
will allow the
franchise galleries to offer
paintings,
limited edition prints,
and sculpture that is Michael Summers’ “Living in Technicolor,”
only available edition of 50, 30 by 22 1/2, retail $650.
to them, and
nowhere else. This serves Ann, and me, and our industhe consumer better and try expertise, they will enjoy
value is maintained because a lowering of threshold of rethe sale of the art is tightly sistance in closing sales,”
controlled, eliminating back- says Mr. Thorn. For details,
door practices and undercut- call (619) 858-3574, e-mail:
ting. Mr. Thorn believes the info@ecgallery.com or visit:
industry suffers because it is www.ecgallery.com, www.
fractured and there is no crownthornpublishing.com.
economy of scale or uniform
branding. “Our pricing will be
consistent, as will our quality,
packaging, marketing, and
branding.”
In discussing the allure of
a franchise, Mr. Thorn notes
the power of branding in the
retail market. “We don’t
think galleries are different
from any other luxury purveyor—Louis Vuitton, Hermès, Nordstrom. We have
“Summer Dance” by Gloria
Lee, edition of 50 with a 24by 24-inch image ($400).
A RT WORL D NEWS
crown thorn jan12 ad revised:Layout 1
1/23/12
10:34 AM
Page 1
Is it your dream to own and operate a fine art gallery? We are expanding our brand
and are seeking those with a passion for the arts! Training and financing available.
For more information, contact our national headquarters at (619) 895-3027.
JAN12 Artexpo NY REV page:Layout 1
T H E C H U C K J ON E S
EXPERIENCE HA S ITS
GRA ND OPENING AT
CI RCUS CI RCUS
LAS VEGAS—A permanent,
interactive experience at Circus, Circus Las Vegas resort
and casino celebrating the art
of animation and the life of director Chuck Jones called
Th e Ch u c k J o n es Ex p er i en c e, held its grand opening
on January 19. Among the attendees were Chuck Jones’
widow Mar i o n J o n es, daughter L i n d a Cl o u g h , and grandchildren Cr ai g K au s en , To d d
K au s en , and Val er i e
K au s en . With nearly 10,000
square feet of space, The
Chuck Jones Experience features interactive exhibits, displays, and the largest
collection of original animation art from Jones, as well as
his fine art—with more than
250 pieces on permanent display. Other facets of the attraction include: Chuck Jones
Center for Creativity Learning
Center with 1,000 square
feet of space housing a
learning center teaching the
field of animation; The Chuck
Jones Movie Theatre, a
1930s style movie house
where attendees can “meet”
Chuck Jones via a short film
introduced by his character,
The Connecticut Cat; Chuck
Jones’ Studio featuring a
recreation of his office; and
the Acme Workshop where
attendees can create their
own sound effects and
voiceovers for a Chuck Jones
cartoon. Go to: www.chuck
jonesexperience.com. For
more on the art of Chuck
Jones, call Linda Jones
Enterprises, Irvine, CA, at
(800) 660-7791, www.lje.com.
PA GE 18
1/19/12
5:17 PM
Page 1
GE CAPITAL A SPONSOR OF ARTEXPO
Among the
cated from
sponsors of
Pier 94 to
the upcomPier 92 in
ing Artexpo
order to run
New York,
the
exact
March 22–25, on Pier 92 in same days as the ArchitecNew York City, is GE Capi- tural Digest Home Design
tal. The company specializes Show on Pier 94. The two
in financing for luxury market shows conclude what has besegments, including jewelry, come known as New York’s
art, bridal and giftware, and month-long celebration of art
photography. “They
are sponsoring our
VIP lounge
dedicated to
gallery owners and retailers, and
the reason
they
are
doing that is
because
they want to “Why Are We Waiting?” by Ray Hare, original
promote fi- on canvas, 84 by 60, from Blazing Editions.
nancing options for galleries,” says Eric and design. The Armory
Smith, CEO, Artexpo. As the Show runs March 8–11 on
company’s website says, Piers 92 and 94, followed by
“Offering your customers fi- The Pier Antiques Show,
nancing will help you
sell more to more
people.” Says Mr.
Smith, “This should
be a hot spot for galleries. If they go to
GE’s booth (at the
front of the show) and
meet with them, they
can get set up—and it
will improve sales for
2012.” Other sponsors include Citibank,
Prohibition Distillery,
The New York Ob- “Memory Pool” by Ahni Kruger,
server, Free Arts New mixed media on handmade paper,
York, Fredrix Artist measuring 20 by 16 inches.
Canvas, La Rosa Del
Monte Worldwide Movers, March 17–18 on Pier 94.
Pop-chips, Palo Mamajuana, “We think it’s a great idea to
Heavenly Organics, Interior run the shows together (ArtDesign Society, Deljou Art expo and the Home Design
Group, and New Wave Art.
Show) because there is an
overlap of hospitality and deThis year, Artexpo has sign people, as well as archimoved up a week, and relo- tects, who can flow between
both shows.” He expects the
move to boost attendance at
Artexpo considerably. Trade
days are Thursday and Friday, with Saturday and Sunday, trade and consumer.
Much of the show promotion
will be via social media. Artexpo has 36,000 fans on
Facebook, according to Mr.
Smith. The New York Observer will also promote the
show, among others.
At press time in early January, 220 exhibitors were
signed up for Artexpo. Mr.
Smith hopes the final count
will be 250. Approximately
150 will be independent
artists in the SOLO pavilion,
taking up about one third of
the floor space. The show
will feature art from over
20 countries, including Argentina, Australia, Belgium,
Brazil, Canada, China,
Cyprus, Denmark, France,
Ghana, Italy, Israel, Japan,
Mexico, Nigeria, Russia,
Spain, Senegal, United Arab
Emirates, as well as the
United States. “If you’re in
the art industry, you need to
be at Artexpo,” says Mr.
Smith. “Whether you’re a
buyer or an exhibitor, you
can attend our innovative,
free education seminars for
up-to-the-minute information
on a myriad of topics.” They
include The Art Business
Plan, Effective and Creative
Gallery Marketing, Powering
Your Marketing with New
Media, Checklist for Art Licensing, 2012 Color Trends,
and the Relationship Between Artist and Collector.
For more information,
contact Mr. Smith at (216)
225-0962 or Rick Barnett,
president, business development group, at (831) 7470112, or visit the website:
www.artexponewyork.com.
A RT WORL D NEWS
8/24/11
9:26 AM
Page 1
JAN12-news-Moss:Layout 1
1/20/12
MUSEUM EDITIONS LTD.
REL A UNCHES NEWLY
DESIGNED CHA RL ES
FA ZZINO WEB SITE
NEW ROCHELLE, NY—
Mu s eu m Ed i t i o n s L t d .,
exclusive publisher of the
work of 3-D Pop artist
Ch ar l es Fazzi n o , has relaunched the artist’s
website that has been newly
designed, located at:
w w w.f azzi n o .c o m. Taking
more than six months to
redesign, the website is a
collaboration between
Museum Editions and
DragonSearch Marketing.
New features of the website
include all of the artist’s current 3-D Pop art releases, his
new original works and commissions, his appearance
schedule, as well as a complete biography, the artist’s
blog and press room. Part of
the website features a 3-D
virtual art gallery that makes
it possible to view the work
three-dimensionally. Shown
is a new release titled “On the
Wings of Broadway,” a limited
edition 3-D print measuring
8 by 7 inches.
In related news, New York
Giants’ wide receiver, Victor
Cruz, helped unveil Fazzino’s
artwork for the upcoming
Super Bowl XLVI. NBC
Sportscaster Bruce Beck
served as emcee and Miss
Teen USA Danielle Doty was
also in attendance.
For further information on
Fazzino’s work, telephone
(914) 654-9370 or go to the
newly redesigned website
located at: www.fazzino.com.
PA GE 20
11:25 AM
Page 1
MOSS RAISES AWARENESS, PROFILE
Moss Portfolio artist Pat
When it comes to Pat and
Buckley Moss kicked up
her 34 local P. Buckley Moss
her efforts to support
Society chapters’ commither galleries, as well as
ment to helping charities,
their many charitable efthe economy has only fueled
forts in 2011 by making
their efforts. “If anything, the
more than 20 appearfinancial situation has made
ances and participating
the chapters more commitin fundraising events.
ted than ever,” Mr. HenderFor example, the month
son says, “perhaps because
of October saw Pat
the economy spurs a sense
traveling to Hanover,
of urgency to help those
PA; New York City;
who have been adversely afWaynesboro,
VA;
fected by it. Much of the efOmaha, NE; Wayfort by the chapters is
nesville, Ohio; and
directed at children’s health
Kalona, Iowa; meeting
and education, which is Pat’s
with collectors, educatmain focus having grown up
ing children, and raising
with dyslexia. Another cause
money for charities Pat Buckley Moss.
close to Pat’s heart is raising
such as breast cancer
money for cancer charities.
awareness, children with dis- her marine subjects. The The Trees of Life Chapter,
abilities, and youth pro- miniatures show is perhaps Defiance, Ohio, held a bengrams. The end of the year the most popular and needs efit for a local family of a
saw Pat winding down her the most consistent replen- woman who lost her battle
busy schedule to spend ishment. Sales of her origi- with cancer at the age of
some time with family
forty. The benefit was
and friends during the
called “Defiance Has
holidays and then
Talent and Heart” and
head straight to her
featured 16 entries.
studio for a winter of
The event had aucuninterrupted painttions and a competiing. Jake Henderson,
tion, all to raise
president of Moss
money for the family.
Portfolio, Mathews,
In the end, a total of
VA, mentions that
$17,777 was realthe company has
ized. “This particular
also been working to
event shows a growmake their Moss
ing trend of many
galleries stronger in
chapters to use their
this tough economy. “Read, Learn, Discover” depicts the Ottumwa interest in, and the
“Pat’s efforts have Public Library located in Ottumwa, Iowa.
backing of, Pat and
been channeled in
the Society to partner
two directions in light of the nals have improved more with all kinds of other entistill troubled economy, to than any other medium in ties (local businesses and
support her galleries and these harder economic organizations) to achieve
develop her charitable en- times.”
higher levels of fundraising.”
deavors. We have been
In 2011, Moss Portfolio reconcentrating on making
Pat’s full-size originals leased 70 new limited ediPat’s original works more sell from $1,500 to more tion giclées and one poster
readily available to Moss gal- than $30,000. While the created to commemorate
leries by creating special miniature pieces retail from the Bristol (VA) Rhythm and
shows that can move from $1,500 to $3,000. Mr. Hen- Roots Festival.
gallery to gallery. For exam- derson notes that in 2011,
ple, a show of a dozen minia- the average sale for originals
Telephone (800) 430-1320
tures or a show of Pat’s ranged from $5,000 to for further information, or:
floral subjects, and one of $15,000.
www.pbuckleymoss.com.
A RT WORL D NEWS
11/28/11
4:13 PM
Page 1
JAN12-Arnot page:Layout 1
1/20/12
WORL D MA RK ET CENTER
L A S V E GA S N A M E S
J A MIE DRA K E A S 2012
D E S I GN I C ON
LAS VEGAS—Wo r l d
Mar k et Cen t er L as Veg as
has named designer J am i e
Dr ak e as its 2012 Design
Icon and will present him
with the award at the Wi n t er
2012 L as Veg as Mar k et that
runs January 30 to February
3. The award recognizes an
interior or furniture designer
who has made significant
contribution the industry,
with past recipients including
Christopher Guy, Larry
Laslo, Juan Montoya, Roger
Thomas, and Vicente Wolf.
“Each year, as a Market, we
strive to deliver what’s new on
every front,” said Robert
Maricich, CEO, International
Market Centers. “We’ve seen
Jamie Drake do the same
with his bold, colorful designs
and believe he is very deserving of industry recognition.”
Previously, Drake has received other awards, such
as the IFDA New York Circle
of Excellence for Interior Design and the Andrew Martin
International Designer of the
Year, as well as having been
featured in Architectural
Digest, Elle Decor, House
Beautiful, The New York
Times, and Interior Design.
World Market Center
Las Vegas, a property of
International Market Centers,
is an integrated and
hospitality contract furnishings showroom and trade
complex showcasing furniture, decorative accessories,
gift, lighting, area rugs,
home textiles, as well
as the Las Vegas Design
Center open to consumers
and designers.
For further information,
visit: www.wmclv.com. For
International Market Centers,
go to: www.imcenters.com.
PA GE 22
10:03 AM
Page 1
WHY FRAMING MATTERS IN ART SALES
Framing choices can
have to be understanding
make or break art sales,
that framing is almost as
in the view of Vicki Arnot,
much an art as the art itself.
co-owner with her husYou have to be observant of
band Peter of Arnot Galyour client. Making a sale is
leries in New York. She
not just selling artwork, but
likens the relationship beunderstanding the needs of
tween a piece of art and
clients. There is a lot of psythe framing it is housed in
chology to sales. In art and
as a hand inside a glove.
framing sales, I believe it is
The glove must fit per- Claudio Simonetti’s “Spring in
all about giving a certain level
fectly to feel comfortable. Bloom,” an oil painting, 40 by 30
of comfort to the client. Peo“When a client is inter- inches, is housed in an ornate
ple hang a painting on their
ested in a framed piece hand-carved antique gold frame.
wall because it makes them
of art their subconscious
feel better. After a day at
may tell them that the fram- frame to another. “I had a work they can go home, sit
ing is not right for them— customer once who almost down with a glass of wine in
even if you, as the one who didn’t buy a painting
chose the framing treat- because she doesn’t
ment, like it! You always like gold—she prefers
have to have alternative op- silver. It was a painting
tions available. At Arnot Gal- by Christian Nesvadba
in a perfect gold
frame hanging on
the wall; 95% of
people would have
jumped at it. I
quickly put it in a Luigi Rocca’s “New York, Times
silver frame and Square Traffic,” oil, 38 by 28, in a
saved the sale.” simple black shadowbox floater
Then a Simonetti frame to show off the artwork.
caught this customer’s eye, and Mrs. front of the painting, and say
Arnot immediately took to themselves, ‘How nice it
out a corner sample of a is to be home.’”
Guy Dessapt’s “5th Avenue at
Central Park,” oil, 20 by 16, in an
brushed pewter mouldornate readymade gold frame.
ing and put it next to the
To reach Arnot Galleries
painting to bring out the for information on its artists,
leries we make it very easy blues and pinks. “And the call (212) 245-8287 or visit:
to move the art from one client said, ‘I’ll buy it!’ You www.arnotart.com.
VISIBILITY
James Baldwin, owner of
Baldwin Art Group, Ringgold,
GA, agrees that word-ofmouth is crucial. He credits
word-of-mouth as a key reason as to how, when the
Great Recession took hold in
2008, that he turned his business around. Pre the Great
Recession, this wholesale
supplier of framed art
counted residential as at least
80% of its business, with
20% commercial. Today, it is
the opposite, with the lion’s
share of revenue derived
from supplying corporate
specifiers primarily in the
fields of healthcare, education, and assisted living. An
average ticket price for a 32by 40-inch piece of art,
framed and matted, is $179
to $219, wholesale. What
gets his company noticed, according to Mr. Baldwin is that
the artwork it supplies is en-
hanced by in-house artists to
make it unique and stand out
with hand-embellishment and
custom finishes. “We work
with designers, architects, or
specifiers that are looking
for something really unique
at a reasonable price,” he says.
“As a family-owned business for 30 years,” he says,
“we are off the radar and do
things differently from most.
And it is word-of-mouth that
A RT WORL D NEWS
12/12/11
9:27 AM
Page 1
1/19/12
4:58 PM
Page 1
NEW CEO A PPOINTED
AT L A RSON-J UHL
VISIBILITY
about our product that brings
in the orders.”
contribute greatly to LarsonJuhl going forward. We’re
very excited to have Drew on
board, and Berkshire
Hathaway remains as excited
about the company as on the
day we first invested.” (The
sale of Larson-Juhl to Berkshire Hathaway was completed in February 2002.)
Mr. McKenzie was thanked
for his contributions to the
company, and Mr. Buffet said,
“We appreciate Steve’s commitment and dedication to
Larson-Juhl over the last 20
years, and we wish him the
best in his future endeavors.”
Established more than a century ago and headquartered
in Norcross, GA, Larson-Juhl,
a leading designer, manufacturer, and distributor of custom frames, has an
international distribution network of more than 24 facilities
across the U.S. and a presence in more than 17 other
countries. For information,
visit: www.larsonjuhl.com.
SOCIETY OF UNIQUE
A RTISTS TO HOST
A RT B ATTL ES CA NCER
NEW YORK—Although the
primary focus of the So c i et y
o f Un i q u e A r t i s t s (SUA) is to
promote unique artists and
art forms, the organization
headed by industry veteran
Jacqueline Simon, also supports humanitarian issues.
On March 24, SUA is hosting
a fundraiser Art Battles Cancer with all proceeds going to
the Cohen Children’s Medical
Center at North Shore, NY,
for its ongoing oncology research and new inpatient
pavilion. For details or to
make a donation, e-mail:
events@suartists.org or:
www.suartists.org.
PA GE 24
Likewise, Framecrafters
Inc. of Houston, manufacturer of framed wall decor,
mirrors, and
photo frames,
established in
1955,
has
made
big
changes since
the economy
tanked in ’08.
“One of the
strengths of
Framecrafters
is its ability to
be
diversified,” says Scott Jones, production coordinator. “We
didn’t put ourselves in a corner by tying up 80% of business with one customer, or
exclusively working on fulfilling orders for one segment of
the market. Then, if something happens, it is the kiss of
death.” Instead, seeing the
value of e-commerce, framecrafters looked at the potential of its website. “We saw
that we could build the best
website in the world but could
not drive sufficient customers
to it. And if you can’t drive
traffic, you are not going to
sell anything. So we teamed
up with companies that have
significant online sales and
national brand recognition.”
Framecrafters takes the orders from these companies
and does their fulfillment.
“You have to receive, fulfill,
and ship in a 24-hour time period. Framecrafters has always been a high volume and
fast paced facility, so it was
easy to move into this type of
work. “You have to be willing
to make changes and be forward-looking,” notes Mr.
Jones.
Chris Paschke, who operates her own commercial
picture framing and design
business, Designs Ink, in
Tehachapi, CA, says, “It is a
tough topic because things
have so drastically changed
in the last five years—although it had been coming
for a while. It is so different
that now we are having to
-demand, she says. Prior to
print-on-demand a publisher
would print, say 3,000 of her
prints, inventory them, and
try to sell them over time. “I
will never again know that I
have 3,000 prints available
for sale,” says Ms.
Paschke. “And the people
who are really
Left, Chris Paschke’s “My
benefitting
Son,” 21 by 21 inches, orig- are the connal as commissioned. Below, sumers.” Big
detail, fine art calligraphy
Internet comfeaturing deep bevel
panies would
wrapped and tired mats that buy 500 of
have been dry pigment tinted her images,
and lettered as a complete
but some of
fine art presentation. Visit:
those compawww.DesignsInkArt.com.
nies
have
merged, and
don’t need
reinvent
multiple imourselves,
ages. “The
which
is
market is difwhy I have
ferent and it
got
back
makes
it
into framing
much more
so
much
difficult for an
more.” This
artist.
The
framer,
reason I exist
artist, designer, educator, is that I am multi-faceted.
and consultant, says, “It And what has kept me afloat
has been necessary for me is networking. It has all
to have a lot of eggs in my boiled down to that.”
basket so that if one broke,
there were others to bring in
She does, however, see
money.” Just a few weeks new people coming into the
ago, she was presented with industry. At this January’s
the Distinguished Service West Coast Art & Frame
Award by the Photo Market- Show, Ms. Paschke is once
ing Association, an honor again an instructor, taking
only twice given to a framer. about a dozen classes, including “Mastering MountHer artwork is repre- ing” and “Design Elements.”
sented by Wild Apple, Grand She says, “It is not true that
Image, Artaissance, and no new people are coming
Trends International, among into the industry. At WCAF,
others. She also licenses half of my class might be
her own images. However, brand new framers. Someshe finds “margins have got times they have bought a
tighter and tighter.” She be- shop going out of business
lieves the art and framing in- or someone has retired.”
dustry has been changed for New blood, coupled with inever by the impact of the In- ventiveness and high visibility
ternet, as well as the crash. must surely be seen as a
“Mark-ups are so narrow good sign for our industry.
now, it is very hard to compete,” she says. Com- Sarah Seamark is Editor in
pounding all this is print-on Chief of Art World News.
A RT WORL D NEWS
1/16/12
10:23 AM
Page 1
JAN12 Framing article-Greg-page 1:Layout 1
TEN PL US INTRODUCES
M4 SERIES OF
REA DY-MA DE FRA MES
SANTA FE SPRINGS, CA—
Ten Pl u s In c . introduces the
M4 Ser i es of ready-made
frames, available in gold and
silver. The company has also
added a black with gold lip
finish to the TP-40BG frame.
For further information, telephone (562) 404-0088 or
visit the company’s
website located at:
www.tenplusframes.com.
MA X MOUL DING DEB UTS
L E CL ASSICS COL L ECTION
LOS ANGELES—Max
Mo u l d i n g introduces L e
Cl as s i c s , a collection that is
designed to suit today’s refined interpretation of classic
style. With 10 profiles from
1 3/16 to 4 15/16 inches wide,
Le Classics comes in finishes
of gold leaf, silver leaf, matte
black with silver, mahogany
with gold, antique black with
gold, and antique black with
silver. Four floaters measuring
1 7/16 to 3 inches, with gold
and matte black with silver finishes, are also available. Call
(800) 282-9966 or visit:
www.maxmoulding.com.
PA GE 26
1/20/12
10:11 AM
Page 1
NEW YEAR, NEW OUTLOOK
by Greg Perkins
more about e-marketing. Were your 2011 sales
Are you completely satisfied There is a lot you can do with where you want/need
with your business? If not, e-mails, e-blasts and e- them to be? Most busiyou have an opportunity to newsletters at a low cost or ness owners want more
change it. You are the driver even no cost.
money coming in. Perhaps a
and you can steer it in whatbetter question is, are you
ever direction you want to
the amount you need
Look Both Ways! making
take it. Unlike so many indiin order to pay all the bills,
Kids are taught to look grow your business at the
viduals who make New
Year’s resolutions they never both ways before crossing a rate you want to, and earn a
keep, for your business you road. Business owners can healthy profit after paying all
should set measurable ob- look both ways, too. You the bills? If your answer is
jectives, as well as deadlines should look back to review “no,” please keep reading.
to insure follow through. For everything that helped or hurt Even if your sales are where
some frameshops, 2011 your business in the past they need to be, but not
was a year of recovwhere you want them
ery and growth. If that
to be, you can keep
was the case with
reading, too!
your business, now is
the perfect time to
Are you attracting
keep the momentum
the types of cusgoing and to make it
tomers you want
even better. Successto do business
ful times are the best
with? When you
times to push harder.
opened your busiIf you can broaden
ness, you likely had a
your customer base
target customer in
while things are going
mind. Even if you have
well, you will have
never formally written
more people to help
a plan, you probably
you through slower Interactive Frame Design: Many people find think of a particular
times in the future. it challenging to visualize what their custom type of shopper who
Think about the ads, framed piece will look like complete. If you would be your ideal
activities, etc. that use visualization software in your shop, or customer. Have you
generated the best re- Web-based design tools like this one from been successful in atsponse for your busi- Larson-Juhl’s website, you can help your
tracting that type to
ness this past year customers see the result, making it easier
your store? If you
and expand upon for them to agree to place the order.
have managed to gain
them in hopes of an
just a few, review who
year. Look ahead at all the they are, what they buy, etc.
even greater return in 2012.
things you can do to improve Inquire how they found out
If 2011 sales didn’t live up your business moving for- about your business in the
to your expectations, take a ward. For 2012, focus on ex- first place? Find the common
serious look at why they fell panding on activities that denominators and do what
short. It’s so easy to blame proved themselves in 2011 or you can to repeat those sucbusiness woes on the econ- research ideas that you have cessful actions to see if you
omy, but doing so isn’t going not tried that may work hand- can build a customer base
to help anything. Give your- in-hand with other things you with more people just like
self every opportunity to suc- are already doing. For exam- them. If your business is
ceed by thinking open- ple, set up a Facebook page doing well, but you are atmindedly about what you can to help direct people to the tracting a different type of
do to make a difference this website you have been im- shopper than you planned
coming year. For example, if proving over the past year. to, you have a couple of opyou didn’t do much to market As you review 2011, here are tions. First, can you be satisyour business last year be- some basic questions to ask fied, continuing to build your
cause you didn’t feel you had yourself so you can best plan
the budget to do so, learn for the year ahead.
A RT WORL D NEWS
NEW OUTLOOK
business with that type of
customer. If so, think consciously about the group you
have succeeded with in spite
of focusing on a different
clientele and determine if you
can make changes to do an
even better job of appealing
to them and meeting their
needs. If you are still intent
on attempting to attract your
original audience, are you up
for making whatever changes
you may need to in order to
gain their business? It could
mean changing locations,
changing products, or maybe
just changing how you market your business.
Is your store’s appearance working for you?
Your retail space should help
define your business and
project the right image. It
should appeal to your target
audience so they will want to
come in and be comfortable
spending time there. If you
have already succeeded in
creating a good environment,
are there small changes that
would make it even better or
more up to date? Think of
your store as an ongoing project. When you keep making
small changes and improvements on a regular basis, you
will avoid the need for a major
overhaul down the road. A full
remodel could be expensive
and also disruptive to the flow
of your business. A benefit of
making smaller changes more
often is your customers see
things happening. If a business continues to change, it
appears more successful and
we all like to be a part of success.
If your current store design
is not helping you achieve
your business goals, make a
list of what you could do to
get it working better for you.
Get estimates for the work,
A RT WORL D NEWS
1/20/12
2:02 PM
budget accordingly, and decide the best time to work on
each item. If there are quick,
inexpensive changes you can
make immediately, your customers will begin to see the
new direction and get a
chance to become comfortable with it. Hopefully these
changes will help you attract
new business which in turn
may generate the income
to do some of the other
things you want to do in the
near future.
Give the front of your store a
facelift with a new sign, awning
or plantings. Set your store
apart from neighboring businesses and do what you can to
make it inviting, as has Palladio in Philadelphia. Visit them
at: http://palladiodesigns.com/
Are you showcasing
products and services
that appeal to your target audience? Review the
products you are currently
showing. If you are using a
POS system, you may be
able to get a report to fully understand which items are hot
and which are not. In addition,
are your customers asking
you for products you don’t
currently have? It may be time
to clean house. You can make
way for more variety within
the categories that people are
purchasing and add new
items to satisfy what they are
asking for. The better your
product selection matches
Page 1
with your customers’ tastes,
interests, and requests, the
better off you will be. That
said, also leave room to take
your business to the next
level (higher price point) by
keeping or adding appropriate
products. They may not sell
often, but they will enhance
your profits when they do
sell. Also review your menu
of services. Are there some
you use and others that people never take advantage of?
Or do you have customers
asking you if you offer services you don’t currently provide? Evaluate the positives
and negatives of each existing and potential service.
Do they all provide a good
return on investment? If not,
do you at least break even
and generate a lot of good
will that may lead to future
business? Services need to
be a win-win for you and
your customers in order to
be worthwhile.
Is there anything you
can do to decrease
your fixed overhead
expenses? It is always
smart to do what you can
to reduce expenses, but it
becomes the most critical
at times when sales aren’t
as strong as they need to
be. There are some
monthly bills you may not be
able to alter, but there are
others you probably can
change. For example, when
your lease is up for renewal,
you may have more bargaining power today than you
did at the time of your last
lease signing. It never hurts
to ask if you can get a break.
Be prepared with facts about
your sales and your neighboring businesses, etc. that
will help support your request. Another thing is to
check with your insurance
agent from time to time to
see if you might be over-incontinued on page 28
ROMA’ S ‘ SIMPLY ROMA’
ADDITIONS
WOODBRIDGE, Ontario—
Ro m a Mo u l d i n g has added
to its Si m p l y Ro m a collection
including Ruvo, Versailles,
Messina, Lavo, and Modena.
The new releases include 84
additions featuring high-gloss,
metallic overlays, gold and
silver leaf film, and wood
veneer finishes. For further
information, telephone
(800) 263-2322 or go to:
www.romamoulding.com.
PRESTO FRA ME &
MOUL DING PRESENTS
MA CEDONIA
BETHEL, CT—Pr es t o Fr am e
& Mo u l d i n g introduces
Mac ed o n i a, a new line of
moulding featuring a generous rabbet, sloping back, and
flat top for the underpinner.
Black is complimented by an
antiqued gold lip. Brown has
a soft silver lip, and gold and
silver have a wash that softens the leaf. For information,
call (800) 431-1622 or visit:
www.prestoframe.com.
PA GE 27
FRA MERICA A NNOUNCES
SILVER SMOK E GL OSS
YAPHANK, NY—Sm o k ed
Gl o s s is the first in a series
of gloss wood furniture
finishes being offered by
Fr am er i c a. Its silver
“smoked” cherry grain add
new flavor to traditional gloss
mouldings. Silver Smoke is
available in profiles from 1
to 3 inches wide. Focusing
on current design trends,
Framerica is presenting
Re c l a i m e d , I n d u s t r i a l ,
Mo t t l ed Met al s , and other
new collections at the West
Coast Art & Frame Show
(booth 402). Call (800) 3726422, www.framerica.com.
A RT STRONG B A GS
FOR TRA NSPORTING
FRA MED A RT DEB UT
NEW YORK—A new product,
A r t St r o n g b ag s, has hit the
market. Made with two layers
of polyethylene bubbles,
shock-absorbing foam,
brushed neo-technological
fabric, all surrounded by metallized film, the bags come in
15 sizes, 18 by 20 to 65 by
70 inches, retail $30 to $150.
Visit: www.artstrongbags.com.
PA GE 28
1/20/12
10:28 AM
NEW OUTLOOK
sured or improperly insured.
For example, if you switched
from stocking inventory and
cutting frames in your store
to ordering chops or joins, it
may change your business
classification from something
like light manufacturing to retail and reduce your premium.
Evaluate every expense to
see what you can do. Businesses, including some utilities, have gotten more
competitive so shop around.
Is there anything you
can
purchase
that
would help business
long term? There is a
phrase it takes money to
make money. Is there a piece
of framing equipment or a
new form of technology that
you can invest in to reduce
labor costs or save time each
day? If the initial investment
will pay for itself in a short
time or provide you with
more time to spend marketing your business, or to
change displays, it may be
worth the expense.
What marketing have
you done previously
that helped your success? Whether your business is exceeding expectations or in need of a jumpstart, marketing is one thing
you should never stop doing.
The right types of marketing
will help you build your current
business and create a stronger foundation for the future.
What types of marketing have
you done in the past year that
helped you draw in new business or boost sales with your
existing clientele? Review
everything you did so you can
plan effectively for the coming
year. Part of this process also
means taking a serious look
at what didn’t work. Maybe
you have a habit of running an
ad that is no longer generat-
Page 1
ing the response it did previously. If that’s the case, consider redirecting those dollars
to increase something that is
working or try something new.
Try Something
New!
After completing your personal business review of
2011, also spend time considering new things you can
do that you have not tried
previously. There are several
ways to approach this:
• First, what have you seen
E-Marketing: If you have
been sitting back to see if emarketing works and will
stick around, it’s time to start
doing some of it for your
business. Many businesses
use it and have been successful with it. E-Marketing
includes individual e-mails,
sending E-Blasts to a group
of people, and E-Newsletters
when you want to communicate more information at one
time. The big advantage of
E-Marketing is cost. You can
do these for little or sometimes no money. Whether
you are on a tight budget or
Blogs have become popular as a way for businesses to
build a “community” of followers. A blog gives you free
rein to write about and show pictures of whatever you want
to promote. Blogs also enable you to share your personality, giving your frameshop more character than a typical
Webpage or ad. Shown is Chesterton, IN-based Framing
Concepts’ blog: www.framingconceptsblog.blogspot.com.
and liked that other businesses are doing? Could
you add some of them to
your business?
• If you belong to a business
association, ask other
members what has worked successfully for them
to increase their business.
• A stroll through a mall is
another way to see what is
being done in terms of instore marketing and merchandising.
Hopefully these will all generate some ideas you can implement as you update your
own plan. After going through
this process if you are still
lacking ideas, here are a few
key categories to focus on.
just want to maximize your
exposure, jump on this
wagon and give it a try.
Social Media: Social
Media is another form of EMarketing, but specific to
sites such as Facebook, Twitter, and Google+. The idea
here is to create a “community” of followers who check
in more frequently to find out
what’s happening in your
business. A great benefit is
when your consumers begin
to learn more about your personality and like you as a person. Suddenly an otherwise
impersonal business takes
on a life of its own and peocontinued on page 30
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9:27 AM
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1/20/12
10:34 AM
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NEW YEAR – NEW OUTLOOK
NEW OUTLOOK
ple enjoy their relationship
with it and with you.
Website: I have heard more
than one seminar speaker
talk about the importance of
a good website. In fact, they
say it should be more cool
than your store because the
people who are likely to go
to it for their first encounter
with your business want to
be impressed by it. Keep the
content fresh and do what
you can to create some interaction versus a static site
where there is nothing for
your customers to participate in.
Automation: Computerized matcutters and pneumatic joining machines are
now a common site in
frameshops. If you haven’t
joined the ranks of businesses using them, consider
it. The time they can save
you is time you can devote
to growing your business in
other ways. Also, time is
money so saved time is a
cost savings. Also look into
networking your computers.
For example, set it up so
your point-of-sale computer
where you enter custom
framing orders sends the information directly to your
back room where the work
will be done.
Store Interior: If you are in
the business of selling framing and/or art, you are in the
business of interior design.
For your clients to trust your
PA GE 30
frame design skills, it helps to
have a store that’s an example of good design. If your
store looks dated or is not
cohesive, people may assume that represents your
taste and skills. When you
create a well-designed environment, you will likely find
more people accepting of
your ideas.
Merchandising:
Merchandising is all about how
you display and organize
your products. Different
stores can take the exact
same product lines and
make them look completely
unique from each other. Fixtures, lighting, and signs all
play a key role in creating
great displays. By elevating
the quality of each display,
you stand to elevate the perceived value of what you display.
In Store Events: If you are
looking for a way to bring
people into your store, host
an event. Some frameshops
host artist shows, but with
fewer shops selling art, you
may want to look at alternatives. You could have a show
focused on custom framing
techniques and tie it in with a
seminar on frame design,
ideas for what to frame, how
to display art, etc. Some
businesses host events for
groups, such as a photography club, allowing them to
conduct their business meeting followed by a short presentation on various ways to
frame photos. It may be a
good way to pick up a new
customer or two. I have even
heard of shops allowing a
group to use their space,
without a seminar or program of any type. The
thought is, people who
would otherwise not come
Many people probably pass
your shop without even
knowing it’s there. Use a
sandwich board sign out on
the sidewalk to capture
more attention. Come up
with some “call to action”
messages that change regularly to keep people looking.
into the store will be there for
the meeting and may be see
a few things they like or pick
up an idea that leads to a return visit.
The Grand Plan
After you’ve had ample
time to review the past and
think about the future, it’s
time to put your ideas into a
workable and realistic plan.
It is critical to make your
plan manageable so you will
follow through with it and
make it affordable so you
can implement it. When you
create your plan, lay out
timetables detailing when
everything needs to happen
to keep it on track. A plan is
only as good as your ability
to use it and stick with it
throughout the year. With
that in mind, think about the
peaks and valleys in your
typical business year. Save
your best ideas for the
busier times when more
people will be likely to respond to them. Use downtimes to accomplish some
of the more arduous tasks
that may be difficult to complete when times are busier.
Keep in mind you can plan
ahead, working on some
tasks in advance of when
they need to be complete.
There is no such thing as
being too organized or too
prepared. It will make your
life so much easier when
you don’t fall into a last
minute panic.
There is no correct answer for creating a successful plan. Your business is
unique and it takes a unique,
well thought out plan to
make it be the best it can be
for your situation. If you work
hard to be successful, doing
some of this up front work is
likely to make your daily routine easier. Good Luck and
much success in 2012!
Greg Perkins is customer
programs manager for Larson-Juhl, Norcross, GA. To
reach him, E-mail: Greg_
Perkins@larsonjuhl.com.
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10:34 AM
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JAN12-Brand-Building page 1:Layout 1
1/19/12
3:25 PM
Page 1
BRANDING
BUILDING YOUR GALLERY BRAND
by Ruth-Ann Thorn and
James Thorn
Who are You? More importantly, who do your customers say you are as a
gallery? For some strange
reason we have found that
art galleries feel they are exempt from the laws of marketing. Gallery proprietors
often express the ideal that
selling art is not the same as
“retailing” other products
therefore, the rules of marketing other products do not
apply to art. Here’s a news
flash—the buyer does not
agree. In fact, the “luxury
buyer” whose age is 35–55
demands greater marketing
and fantastic branding.
Why? Simply because no
one “needs” anything.
That’s right; we haven’t experienced real “need” in
this country for a very long
time. This is especially true
in the luxury market. Being
heard amidst the competition for luxury items is a
daunting task in today’s
crowded marketplace of luxury goods and services.
We find this to be true
each time we pick up a magazine, watch the television,
or surf the Web. As a result,
it is critical to seek new
ways of increasing brand
awareness and more importantly, create brand loyalty.
One of the most important
tasks involved in ensuring
an art gallery’s success is to
develop an effective branding strategy.
PA GE 32
What is branding?
• A brand is the sum that
makes up the whole identity of who you are as a
gallery. It is the emotional
takeaway
that
your
clients talk about with
friends, family, and fellow
art collectors.
Your brand is
what others
decide it is—
not necessarily what you
decide.
the most compelling, relevant, and consistent brand
experiences for their customers. If your gallery
brand does not standout
amidst the overwhelming
retail machine, your
gallery will not survive!
Why is building a gallery
brand so important? There are
two reasons—
relevance and
Ruth-Ann and James Thorn.
revenue.
• If your gallery
does not stand out in a Non-brands
crowd, it is irrelevant. Irrelevance equals extinc- Going the Way
tion in the retail market. It Of the Dinosaur?
may not happen right
Our four-year-old daughter
away. However, trust us...
it’s coming. At best, it is an expert on dinosaurs.
means struggling to keep She recently asked me,
“Momma, why did the diyour doors open.
• Revenue is enjoyed by nosaurs die?” Momma anthose who remain rele- swered, “Well, honey, they
vant. The modern consum- could not adapt.” As art
er and the new shopper publishers and gallery ownare overwhelmed with ers it is our job to keep a finmessaging and informa- ger on the pulse of what’s
tion. Consequently, they happening in the retail world
have higher expectations both locally, nationally, and
and therefore the brand’s internationally. Here’s what
message must captivate we see: The big brands are
the consumer immediate- winning and the small Mom
ly. Companies seeking to and Pop businesses are
experience long-term suc- being pushed out. Take a
cess will have to create look at the highly populated
shopping centers throughout America—what will you
find? The National brands
are dominating the market
place. Why is that? Consumers like brands they
know and can identify with
because it takes the guess
work out of the decision to
purchase. In other words, it
lowers “threshold resistance.” Secondly, the “Mom
and Pop” brands can’t pay
the high rent to better leverage off the marketing and
branding of “like” brands.
As retailers, we must learn
to adapt our brand to the
buyer. We need to position
our galleries with strong
branding which means we
must take a good look at
how we are doing business
and make changes.
How do I build a strong
brand for my gallery?
• To successfully develop
your gallery’s brand you
need to go through a series of discovery exercises. Once you have
defined who you are and
more importantly, who
your clients want you to
be, you will then be empowered to make the
needed changes to your
current mode of operation. Such changes could
be gallery location, gallery
decor, artists represented, staffing, etc.
• Your brand message will
need to be executed via
A RT WORL D NEWS
JAN12-Brand-Building page 2:Layout 1
BRANDING
advertising and marketing
campaigns that will provide
a consistent, unique, and
relevant message to current and potential customers.
In addition, your brand message must be realized and
consistently echoed by the
gallery’s principals, customer relationship efforts,
R&D teams, marketing staff,
sales team, strategic gallery
partners and most important, your customers.
How do we begin the discovery process? This is a
list of questions to begin
you on the path of developing your gallery brand:
• What do your collectors
A RT WORL D NEWS
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2:54 PM
Page 1
know about your gallery’s
brand now?
• What is the stable and familiar message of the
brand?
• What makes your gallery
brand different from other
galleries?
• What is your gallery
brand best at?
• How is your gallery brand
trying to affect your city,
state, country, and world?
• Is your gallery brand message Clear, Defined, and
Powerful?
• How do you define in
words what you want to
bring to the collector?
• What message does your
gallery décor and layout
send?
• What message does your
gallery location send?
• What brands are you associated with?
• Who are your retail neighbors?
• Where do your collectors
like to shop?
• Where do your collectors
socialize?
• How do you describe your
collectors’ demographic?
(Age, income, where they
live, where they play, children or not, conservative,
liberal, other.)
• What brands do your collectors currently shop?
Building a gallery brand is
a matter of survival in the
22nd century. Without a strong
brand the art market will become more and more challenging. In order to remain
relevant and have consistent
revenue fueling your gallery,
your brand must be clearly
defined. In the next part of
this article we will explore
each question and create a
strategic outline to heighten
your gallery’s brand.
James and Ruth-Ann Thorn
own four retail galleries
located in San Diego and
Las Vegas. They have been
leaders in the art industry
for nearly 25 years conducting sales training seminars
and teaching gallery management both nationally and
internationally. For further
information about how to
successfully own and operate your branded gallery,
contact the Thorns at
(619) 895-3027.
PAGE 33
JAN12 Joanne Opinion page:Layout 1
1/20/12
10:39 AM
Page 1
BUSINESS INSIDER
AN ART WORLD FOR THE 100%
by Joanne Chappell
The American public’s disillusionment with the economy is ever
present in our
daily lives and
our bottom
line. In fact,
the much publicized
Occupy Oakland
movement
has been at
times just down the street
from our gallery. What does
this movement and the current economy mean to the
art industry? It is not enough
to sell to the 1%, we must
be successful with the 99%,
a demanding and discerning
market.
As an art business owner
for over forty years I have
been through many ups and
downs. My business has
grown and shrunk and grown
PA GE 34
again, but I have always been
loyal to my staff and to a
very large stable of artists
across the country. It is not only
important to me
personally, but
comes across to
our customers in
our product and
in our services.
We have very low
staff turnover and
our customers love this support and continuity.
Our goal is our customers’ success. Therefore, it is
important to be a leader in
growing markets, for example the healthcare field. We
must give our customers
the tools to succeed: innovative product and unique
design. For instance, we developed a sustainable product in the form of affordable
bamboo art prints printed
with green technology. (Always produced and manufactured in the U.S.) In
tough times we continue to
employ and financially support literally hundreds of
artists across the country.
They repay this loyalty with
talent and vision that sets us
apart. Our customers know
that through our huge network of artists we are always on the cutting edge of
trends in the industry. Innovative, inspirational, and
unique artwork is the cornerstone of our business
and it is essential to thriving
in a tough economic climate.
I maintain the perspective
that artwork is not just a luxury item. It promotes quality
of life in our every day. In
healthcare venues Evidence
Based Design has proven
that artwork is restorative
and promotes healing, in
hotel settings it showcases a
luxury brand, and in an office
it projects an image of success to clients. Our staff and
artists continuously work to
convey this perspective to
the public—artwork is an essential component of your
every day experience.
The economy has changed our business—we work
harder, longer, and strive to
be ever more creative. However, we must never lose
sight of the things that are
important to everyone: fresh
innovation, loyalty, and quality. We support our customers, we support our
artists, and we cater to
100% of the public.
Joanne Chappell Hagan is
the President and Owner of
Editions Limited Galleries,
located in Emeryville, CA:
www.editionslimited.com.
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JAN12-Legal page 1:Layout 1
1/20/12
10:42 AM
Page 1
LEGAL ISSUES
POSTHUMOUS WORKS: KEEPING THE GENIUS ALIVE
by Joshua Kaufman
tants are often not given ketplace dictate what methFrom the beginning of time, any credit or recognized). ods and what techniques
we have created artworks, Throughout history artists are accepted on a long-term
but the tools
have delegated and basis.
and methsupervised the creCopyright laws and
ods
have
ation of their artchanged and
works, and have artist’s moral right statutes
evolved.
not necessarily par- have provided artists and
We started
ticipated in the ac- their heirs with legal proby rubbing
tual creation of their tections so only the artist
vegetable
artworks. For exam- and a generation or two of
pigments
ple, most sculp- their heirs have the right to
tors leave the reproduce works, and in Euonto cave
art of transforming rope for even longer periwalls and firtheir original clay or ods, the right to dictate how
ing mud in
wax creations into an artist’s works will be creprimitive
bronze to the expe- ated and attributed (“Moral
ovens. We Joshua Kaufman.
rienced hands at a Rights”). Deciding if and
evolved to
the use of tools for carving foundry. Even their signa- how a work of art is to
in stone. When metallurgy tures are applied by the be reproduced has always
became
available,
we
started making works in
bronze. With the invention
Deciding if and how a work of art
of paint we began applying
is to be reproduced has always been
it to canvas, wood, and
cloth. As soon as we figured
the purview of the artist, and those
out how, we began mixing
who the artists have designated as
paint and plaster to make
being responsible for their legacy.
frescoes. Then, we began
creating reproductive artworks through molds, woodcuts, metal plates, and lith- foundry as part of the mold been the purview of the
ographic stones, as well as or by adding a chop. Gener- artist, and those who the
silkscreens, and offset print- ations of artists have en- artists have designated as
ing. With the advent of pho- trusted the creation of their being responsible for their
tographs new mediums of prints of their works to legacy. Generally, this reart we re-recognize. Now, trusted printers, ateliers, or sponsibility falls on the
we have begun using the now to computer artists. artist’s heirs, other memcomputer as a tool to create Photographers relied on bers of their family, or close
professional darkrooms to friends who understand
our artworks.
transform their negatives their work and wishes.
Some artists have work- into magnificent photo- These trusted individuals
ed in solitude while others graphs. These practices are granted control of the
have collaborated; and many have been going on and ac- artist’s copyrights and Moral
have brought in assistants cepted for hundreds of Rights. It has been the artist
to help them (even though years. In the end, connois- and their chosen ones who
the collaborators and assis- seurs, critics, and the mar- determined how to protect
PA GE 36
and maintain the legacy of
the artist. In some countries, the control of an
artist’s legacy is dictated by
statute if the artist dies without specifying his or her
choice of an artist’s representative in their will.
All of which brings us to
the issue at hand: posthumous works. When an artist
passes away today, and for
the last several hundred
years, the ability to continue
creating works of the artist
using their molds, their lithographic plates, their woodcuts, their etching plates,
their silkscreening, and today, their digital files, has
been available to us. How,
whether, and what type of
works are to be created
after an artist dies is generally decided by the artist in
his or her will, the artist’s
heirs or those who the artist
designated as the protectors of his or her legacy.
These decisions are usually
based on the expressed
wishes or statements made
by the artist while they were
alive, or what those who are
closest to the artist believes
the artist would want their
legacy to be. The law has
generally recognized those
individuals as the carrier of
the flame and to be entitled
to make those decisions.
The art world and the marketplace have also generally
followed the same path.
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LEGAL ISSUES
POSTHUMOUS WORKS
It is not to say that decisions of heirs regarding
posthumous works is uniform; quite the opposite is
true. There are artists and
their heirs who categorically
refuse to have any posthumous works created. There
are others who decide that
only works which have been
finished by the artist but not
signed or released should
be released posthumously.
(Example: A partially sold
limited edition which was
started to be sold by the
artist but at the time of
death a number of prints or
sculptures from the edition
remain unsold or not fabricated). Others decide that
the posthumous works
should only come from preexisting molds or plates.
While still others, in following what they understand to
be the wishes or nature of
the artist, allow the artwork
to continue to reach the
public in new or different
formats and mediums than
those originally created by
the artist.
There are no U.S. laws
which dictate what can and
cannot be done in regard
to posthumous works. One
should not confuse U.S.
Customs regulations created
for import tax purposes or
the never-ending dispute
among those in the art world
as to what constitutes an
“original” with the creation
of the posthumous works as
they are totally separate isPA GE 38
sues. What we do have in
the United States are individual state disclosure statutes
which govern limited edition
print reproductions and limited edition sculptures.
These laws require anyone who is selling a limited
edition artwork to provide
the potential consumer with
full disclosure regarding the
artworks, i.e. how many
pieces in the total edition,
how many in sub editions,
where they were created,
Artists or publishers would
number limited editions with
a denominator which appeared to indicate the size
of the edition (e.g. 25/150
to designate the work as
number 25 in edition of
150). Then they would create other related editions
with slight variations from
the original edition and give
them different names; they
would call them Deluxe
Editions, European Editions,
Remarqued Editions, Artist
Proof Editions, and so on.
With a proper Certificate of Authenticity
containing all the basic facts
surrounding a limited edition being
provided, the art consuming public can
make an informed decision as to
whether or not they want to buy a work
and at what price point, knowing full
well what they are acquiring.
the method used in their
creation, when they were
created, if they were created posthumously, who
signed the works, whether
they were actually signed by
the artist or mechanically by
an autopen or by an estate.
If there is disclosure of the
salient facts, as required
by statute, the creation of
posthumous works is perfectly legal.
The limited edition disclosure laws were put into
effect because years ago
there were abuses in the
reproduction marketplace.
However, the consumer
going into the gallery would
only see the denominator on
the print in front of them and
believe that that denominator number indicated the
full size of the edition (150
in our example) when the
actual number of reproductions of the image was
much larger.
There was also a lack of
disclosure that an edition
had not been signed by the
artist but rather mechanically signed by an autopen
or that a work was a posthumous one. All of these
undisclosed factors could
affect the value of a work.
So to alleviate this problem
“Disclosure Laws” were
passed requiring Certificates of Authenticity to accompany each artwork that
was marketed as a limited
edition. With a proper Certificate of Authenticity, containing all the basic facts
surrounding a limited edition
being provided, the art consuming public can make an
informed decision as to
whether or not they want to
buy a work and at what
price point, knowing full well
what they are acquiring.
You will find posthumous
works from contemporary
artists’ estates and from
great Masters such as
Rodin, Degas, Renoir, and
other prominent artists. The
posthumous works are created under the supervision
of the estates of the deceased artists or by those
to whom the artist delegated responsibility for their
legacy. Ultimately, the determination of what the artist
would have wanted done
with their artworks after they
pass has been left to those
closest to the artist and/or
chosen by the artist.
There are, of course,
those who claim that no
posthumous works should
be created, that somehow
it is improper and inappropriate to create a posthumous
work. These statements
are made irregardless of
A RT WORL D NEWS
1/20/12
POSTHUMOUS WORKS
whether or not there is full
disclosure as to the nature
of the works, specifically
that they are posthumous
and that they were approved and sanctioned by
the artist’s representative.
These individuals seem to
believe that the choice of
whether copies or new versions of an artist’s work
should continue to be
created after the artist has
died should not be left to
the artist’s representative.
Rather, these self-appointed
critics believe that they
know better what the artist
would have wanted than the
A RT WORL D NEWS
11:05 AM
Page 1
artist’s family and believe
that their opinions should
supersede the public right
to acquire posthumous versions of an artist’s work re-
heirs, and the informed art
buying public. The heirs,
keeping in mind the artist’s
wishes, alone should determine what posthumous art-
An artist’s legacy should be left to the
artist, his heirs, and the informed
art buying public.
gardless of the fact that all
of the relevant details regarding the artworks have
been disclosed to the
prospective purchaser at
the time of purchase.
An artist’s legacy should
be left to the artist, his
works are created, how
they are created, in what
media they are created, and
their price points. The art
buying and art appreciating
public will be the ultimate
judge in deciding whether
to embrace the works or
reject them.
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. He 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.
Contact him via e-mail at:
jjkaufman@venable.com or
call (202) 344-8538.
PAGE 39
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WHAT’S HOT IN OPEN EDITIONS
Tranquil Shore
“Tranquil Shore” by A. Micher
measures 24 by 18 inches and
retails for $25. Phone Haddad’s Fine Arts Inc., Anaheim,
CA, at (800) 942-3323 or visit:
www.haddadsfinearts.com.
Here are the
best selling prints
from the month of
December.
Cowboy Puppy
Robert Dawson’s “Cowboy
Puppy” measures 24 by 18
inches and retails for $43.
Call Bentley Global Arts
Group, Walnut Creek, CA,
at (800) 227-1666 or: www.
bentleyglobalarts.com.
Memento 4
Archiva’s “Memento 4” measures 35 by 35
inches and retails for $60. Phone New York
Graphic Society, Norwalk, CT, at (800) 6776947 or visit the website: www.nygs.com
I Heart America
Editions Limited Galleries,
Emeryville, CA, presents
“I Heart America” by Aaron
Foster, measuring 36 by 24
inches. The retail price is
$38. Phone (800) 228-0928
or: www.editionslimited.com.
Castanets
Silvia Vassileva’s “Castanets” measures 39
3/4 by 20 inches ($27).
Call Wild Apple, Woodstock, VT, at (802)
457-3003 or go to:
www.wildapple.com.
PA GE 40
Type of Wine I
“Type of Wine I” by SD Graphics Studio
measures 18 by 18 inches and retails for
$20. For more information, call SunDance
Graphics, Orlando, FL, at (407) 240-1091,
or visit: www.sdgraphics.com.
A RT WORL D NEWS
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10:32 AM
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JAN12-Calendar:Layout 1
1/20/12
11:19 AM
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CALENDAR
January 18–22: The Affordable Art Fair Los Angeles, Event Deck at L.A. Live.
For more information, visit
the website: www.affordable
artfair.us/losangeles.
January 20–23: ArtPalmBeach, Palm Beach County
Convention Center, West
Palm Beach, FL. International
Fine Art Expositions. For
more details, telephone
(239) 495-9834 or visit:
www.artpalmbeach.com.
January 27–29: Outsider
Art Fair, 7 West 34th St.,
New York City. Sanford L.
Smith & Associates. Telephone (212) 777-5218 or go
to: www.sanfordsmith.com.
PA GE 42
January 30–February 1:
West Coast Art & Frame
Show, Mirage Resort &
Casino, Las Vegas. The National Conference schedule
of workshops and seminars
begins on January 29. Visit:
www.wcafshow.com or call
(800) 969-7176.
January 30–February 3:
Las Vegas Market, World
Market Center, Las Vegas.
Visit: www.lasvegasmarket.
com or call (888) 962-7469.
February 5–9: Spring Fair
International, NEC Birmingham, England. Emap Ltd. In
the U.S., contact Adam Ash
at (609) 921-0222, e-mail:
a.ash@whitehoundadv.com
or: www.springfair.com.
February 17–19: Southeastern Wildlife Exposition,
Charleston, SC. For information, call (843) 723-1748 or
visit: www.sewe.com.
February 18–21: Quadrum Saca, Bologna, Italy.
New Company SRL. Phone
(011-39) 051-860002 or go
to: www.quadrumsaca.com.
March 7–11: The Art
Show, Park Avenue Armory,
New York. Art Dealers Association of America. For details, call (212) 488-5550 or
visit: www.artdealers.org.
March 22–25: Artexpo
New York, Pier 92, New
York City. For more information, call Eric Smith at (216)
916-9321, Rick Barnett at
(831) 747-0112 or visit:
www.artexponewyork.com.
March 23–26: Art Naples,
Naples International Pavilion,
Naples, FL. For information,
call (239) 949-5411 or visit
the website located at: www.
artfairnaples.com.
April 19–22: The Toronto
Affordable Art Fair, presented by the Toronto Art
Expo, Metro Toronto Convention Centre. Call (866)
228-4238 or (416) 2656988, or visit the website:
www.torontoartexpo.com.
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NEW ART
No Reason to Go Inside
LaMantia
Fine
Art
Inc., Northport,
NY,
presents
Daniel Del
O r f a n o ’s
“No Reason to Go
Inside.” The
hand-embellished giclée
on canvas is
available in
two sizes:
45 by 34
inches
in
an edition
of 95 and
26 1/4 by
20 inches in
an edition of 50, retailing for $2,300 and $995,
respectively. For more details, call (866) 638-1800 or go
to the website at: www.lamantiagallery.com/fineart.
Last Time I Saw Paris
Appleridge Fine Art, Eagle Creek, OR, presents Lynn Butler Flores’ “Last Time I Saw Paris,” watercolor on 300-lb
watercolor paper, measuring 20 by 16 inches. The retail
price is $500. For more details, telephone (503) 637-3373.
Up for Discussion
Winter’s Carol
Mark Hopkins Sculpture Inc., Loveland, CO, presents
“Winter’s Carol” by Mark Hopkins, a bronze in an edition of
10, measuring 6 by 4 inches. The retail price is $550. For
further information, telephone (800) 678-6564 or visit the
website located at: www.markhopkinssculpture.com.
A RT WORL D NEWS
Eric Christensen Fine Art & Editions, San Jose, CA, debuts
“Up for Discussion” by Eric Christensen is a giclée on
canvas available in three sizes: 48 by 36 inches in an
edition of 100 ($2,280), 40 by 30 inches in an edition of
125 ($1,880), and 32 by 24 inches in an edition of 150
($1,650). For further information, call (408) 445-1314 or
visit the website located at: www.ericchristensenart.com.
PAGE 43
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OPEN EDITION PRINTS
SunDance Graphics
"Vino"
by
Heather
French-Roussia
Image Size:
36” x 24”
Item #: 8668
407.240.1091
www.sdgraphics.com
www.sundancegraphics.com
E-MAIL: sarah@sundancegraphics.com
9580 Delegates Dr. Orlando, FL 32837
Editions
Limited
“Flora”
by Robert Ginder
Image Conscious
“Poet’s
Walk”
by
Christie
Image Size:
36" x 24"
Retail Price:
$35
800.663.1166
www.imageconscious.com
Zhee Singer
Studio
10451
“Royal Carnation Flower
– Ashlin Red”
800.228.0928
413.664.0740
www.editionslimited.com
E-MAIL: customerservice@editionslimited.com
4090 Halleck Street Emeryville, CA 94608
New York
Graphic
Society
“Patchwork I”
by Judi Bagnato
Image Size:
26" x 26"
Retail Price:
$36
800.677.6947
PA GE 44
www.ZheeSingerStudio.com
Haddad’s
Fine Arts Inc.
“ Vu e Hi s t o r i q u e
– To u r Ei f f el ”
800.942.3323
Fax: 714.996.4153
www.nygs.com
www.haddadsfinearts.com
E-MAIL: richard@nygs.com
129 Glover Avenue Norwalk, CT 06850
E-MAIL: cfskeen@haddadsfinearts.com
3855 E. Mira Loma Ave. Anaheim, CA 92806
A RT WORL D NEWS
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CLASSIFIEDS
SERVICES
Bittan Fine Art
WE BUY ART!
Looking for ends of editions, close-outs
and mixed bag inventory of limited
edition prints. Will consider original
paintings as well. Let us turn your
unsold inventory into $$$.
We need volume art for auction dealers.
Please e-mail information to:
BittanArt@aol.com
Reference in e-mail subject “art for sale”
For Amazing Deals
on your next art purchase visit:
www.bestartauctions.com
NO RESERVE AUCTIONS
A dve r ti sin g in
ART WORLD NEWS
is a cons tant r emind er of wh o yo u are,
wh at yo u do a nd ho w yo u c an be re ac he d.
P ho ne (2 03 ) 85 4-85 66
A RT WORL D NEWS
PA GE 45
JAN12-Index:Layout 1
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ADVERTISERS
COMPA NY L ISTING
PHONE
PA GE
Artexpo New York ............................................................25
www.artexponewyork.com
www.larsonjuhl.com
Arnot Galleries ..................................................................48
www.arnotart.com
212.245.8287
Art & Coin TV....................................................................33
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424.212.8423
Barney Davey....................................................................34
www.barneydavey.com/AWN
800.334.7266
Crown Thorn Publishing ......................................................17
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DUAIV ..............................................................................23
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Editions Limited............................................................35, 44
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800.372.6422
Max Ginsburg ..................................................................21
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McCallum Gallery................................................................6
www.mccallumgallery.com
416.590.1704
The Moss Portfolio............................................................4, 5
www.pbuckleymoss.com
800.430.1320
New York Graphic Society ..................................................44
www.nygs.com
Blakeway Worldwide Panoramas Inc. ..................................41
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COMPA NY L ISTING
PHONE
PA GE
Larson-Juhl ......................................................................2, 3
800.677.6947
Park West Gallery ..............................................................42
www.parkwestgallery.com
800.521.9654
Parrot Digigraphic Ltd. ..................................................8, 45
www.parrotcolor.com
877.727.7682
PB&H Moulding Corporation ..............................................45
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800.746.9724
Pease Pedestals ................................................................39
www.peasepedestals.com
847.901.4440
Sun Dance Graphics ..........................................................44
www.sundancegraphics.com
407.240.1091
The Art of Todd Goldman....................................................19
www.toddisstupid.com
727.462.6205
Thomas Charles Editions LLC ................................................9
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623.582.4500
Haddad’s Fine Arts Inc. ......................................................44
Wellspring Communications ................................................47
Image Conscious. ..............................................................44
Wild Apple ......................................................................37
LaMantia Fine Art Inc. ........................................................11
Zhee Singer Studio ............................................................44
www.haddadsfinearts.com
www.imageconscious.com
www.lamantiagallery.com/fineart
800.942.3323
800.663.1166
866.638.1800
ADVERTISING SALES
INFORMATION
Eas t er n U.S. & In t er n at i o n al
John Haffey,
Publisher
Phone 203.854.8566
Fax 203.854.8569
jwhaffey@aol.com
Mi d w es t & Wes t Co as t
Brooks Male,
Associate Publisher
Phone 847.705.6519
Fax 847.776.8542
jbmale@aol.com
For more advertising information,
visit us online at...
w w w .a r t w o r l d n e w s .c o m
PA GE 46
e-mail: jwhaffey@aol.com
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203.854.8566
802.457.3003
413.664.0740
Open Edition Prints, Page 44
Classifieds, Page 45
Art World News, (ISSN 1525 1772) Volume XVII,
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.
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ART BOOKS SELL ART
Wellspring Communications, Inc., parent company
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Building on our deep experience helping the trade to
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Art World News
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January, 2012 - Art World News

Transcription

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