Emerging Art Direct to Collectors

Toward the end of August Artsy posted an interesting article on how many emerging artist are selling directly to collectors and bypassing the traditional and once sought after gallery/artist partnership. It is interesting how the marketplace is changing based upon collector habits and technology.

Artsy reports
In 2008, Damien Hirst dodged his long-time dealers and took a complete exhibition of his work straight to Sotheby’s. The unprecedented sale surpassed all estimates, bringing in roughly $200 million (of which his galleries at the time, Gagosian and White Cube, did not partake), and raising a major question: Do artists need galleries to sell their work?

Hirst’s auction house stunt was made possible by his significant history of commercial success. But a number of emerging artists are toying with the same express route to market, bypassing their dealers in a quest for a greater share of the earnings, a need for quick pocket-change, or the desire to test their e-commerce earning potential. These artists often position their sales as a critique of how the art market functions; taken together, they suggest a growing dissatisfaction with the traditional gallery sales model.

Snagging a gallery was once a watershed moment in an artist’s career. Galleries cultivate a collector base, host public exhibitions, take work to art fairs, supplement or advance fabrication costs, and produce publications about the artist, with the goal of ensuring them a place in art history and selling their work. For their efforts, the dealers typically keep 50 percent of the proceeds from a work’s sale.

But for some artists, the lure of 100 percent is too good to resist. Australian-born, New York-based artist CJ Hendry spent a year selling her hyperrealist pen-and-ink drawings of commercial consumer goods through Instagram, before finding representation with a dealer in Australia in 2014. While she credits him with being instrumental in her career development, she didn’t renew her contract with him when it expired earlier this year, thinking she might try striking out on her own.

“I felt like I had outgrown what that relationship could offer me in terms of advancement,” she said.

She has found brand collaborations to be a viable alternative, noting that the right brand will support her vision and ability to make art, just as her gallery once had. For her first one, with shoe designer Christian Louboutin at Anita Chan Lai-ling Gallery during March’s Art Basel Hong Kong, Hendry presented “Complimentary Colours,” an exhibition of drawings inspired by the shoe brand’s color palette. She negotiated the terms herself, noting that she had turned down many previous offers for brand collaborations until Louboutin, because the company offered her “a lot of autonomy.”

For British artist Andy Holden, selling direct-to-consumer wasn’t as much an alternative as a way to rustle up some cash while he was just starting out, living with his parents and “quite cash poor.” He staged his first direct-to-consumer sidewalk sale of his work outside of a three-person show he was included in at London’s Peles Empire in 2006, where he shilled “Beerbottle Stalagmites” just outside the gallery. These were miniature versions of the four-foot plaster and paint sculptural works resembling melting mountains on view in the exhibition, made from leftover materials in his studio, including the empty bottles of beverages he consumed while working.

The “original multiples,” as he called them, went for about £30 outside. He has sold an estimated 2,000 of them since then, hawking them outside of different shows, as well as online, keeping 100 percent of the profits, even after he signed with Works|Projects in 2010 (although he parted ways with the gallery in 2014). His brother would often stand by their curbside-parked van, enticing gallery-goers to buy a “souvenir” of Holden’s work from a selection laid out on a blanket at his feet.

The sales eventually became a type of self-referential performance art, as when Siobhan Carroll, head of programming at the non-profit Collective Gallery in Edinburgh, asked him to stage one in front of his 2013 solo show at the gallery, “Folly and Landscape.” She said the sale was in keeping with Collective’s interest in “working with artists to consider the politics behind a commercial art space,” and noted she still keeps her own souvenir stalagmite on her windowsill. Holden ceased the sidewalk sale performance after this iteration, but continued selling the beer bottles online until they sold out recently.

Brad Troemel and Joshua Citarella, two artists who are currently represented by Marinaro and Carroll / Fletcher galleries, respectively, also started selling work online after a particularly grueling slog through Art Basel Miami Beach in 2015. Each had sold work through their then-respective galleries, but returned home to New York exhausted and somehow still unable make their student loan payments. Their experience is shared by artists, most of whom are notoriously low earners, at all stages of their careers, but younger ones in particular are increasingly likely to have the additional burden of student debt. A 2013 Wall Street Journal analysis found that recent art school graduates in the U.S. have, on average, higher debt and lower salaries compared with peers who went to liberal arts or research colleges.

The duo said they wanted to avoid incurring the additional debt that comes with investing in making work before it’s found a buyer. When artists are tasked with producing a lot of work upfront for shows and fairs, even if dealers provide funds for the materials and shipping, the sale totals don’t always yield enough to compensate them for their labor and time, Troemel and Citarella said.

They decided to launch a new model, an online Etsy store called Ultraviolet Production House, where they sell their collaborative photo-conceptualist works to buyers only after they’ve been paid. The artists prototype an art object by Photoshopping together free stock images they find on the web, list it for sale on Etsy, and promote it on Instagram. Once a work is purchased, they send the materials for its fabrication, but leave assembly to the buyer, like an IKEA for art.

Their “products” are coyly pointless despite sounding utilitarian, intended to critique today’s mindless consumer culture. For instance, one of the items currently for sale on the site, Sage PowerCleanser for Men, is represented by an image of an image of a couple cleaning an apartment, the man holding a Dirt Devil that the artists have Photoshopped sage smudge sticks onto. If purchased for the listed price—$500—the artists would send a hand-held vacuum and some sage.

In May, the duo reintroduced their work into the gallery space at Detroit’s Bahamas Biennale. The exhibition, called “Ultraviolet Production House: Showroom,” was exactly that: a showroom for 20 of their works (all purchased beforehand through a direct deal with a single collector) available through their Etsy store and fabricated for the first time, on site, by the artists. The prices were higher than if they were purchased off the website to reflect what the artists had established as their hourly rate for labor, which varied by piece.

UV Production House, Have A Cord Problem And a Spare Half Hour? Try Using Some of That Excess Length To Liven The Room With a Scene From Your Favorite Planet Earth Episode Including The Commercials That Aired During It. Courtesy of UV Production House.

“If you can buy it off of our website for cheaper, then why would you buy it from a gallery?” said Citarella. “We wanted to open up the question of price-shopping for an artwork like you would any other good.”

It’s worth noting that Holden, Hendry, Citarella, and Troemel have all worked with dealers, and two out of the four still have gallery representation, a fact that reflects dealers’ continued importance in the art ecosystem. But even dealers have been questioning their own relevance in an age when smaller galleries struggle to survive.

London-based art dealer Marine Tanguy broke from the gallery model in 2015, when she started an eponymous agency to support artists and their projects outside of brick-and-mortar gallery spaces; she takes a 30 percent cut, less than the typical dealer’s 50 percent. After managing London’s Outsiders Gallery for over a year and then helping to open Los Angeles’s De Re Gallery, Tanguy decided escalating rents and the merry-go-round of art fairs were making the contemporary gallery business model unsustainable, especially for those working with new artists.

“Growing talent takes time and doesn’t generate a lot of revenue in the beginning,” she said, noting that when an artist does finally achieve recognition, she or he is often scooped up by a bigger gallery. That led her to start looking at art like a used-car salesman, a sure sign she needed to try a new approach.
“While I was working in galleries, I was looking at works of art like retail products that I needed to get off the shelves to make way for new inventory,” Tanguy said.

She said that many of the artists she works with nonetheless go on to sign with a gallery, despite the fact that her agency finds alternative public funding and commissioned projects for them while offsetting their studio costs, much like a dealer would, while still allowing them to show with other galleries.

“I think a lot of artists want to tick that box of having gallery representation,” she said, adding that it offers a certain amount of intangible professional and social validation. “But I think more artists need to diversify their revenue stream nowadays if we want a more responsive model that reflects market realities.”
Source: Artsy


Art Crime

Fellow appraiser Cindy Charleston Rosenberg, ISA CAPP sent me an interesting article from artnet about a Minister of Justice from Monaco who recently resigned due to influence peddling and working with a Russian oligarch to contact a dealer who supposedly misrepresent art the Russian purchased.

artnet news reports

In what the French press is calling “Monaco-gate,” Philippe Narmino, the minister of justice for Monaco, has resigned after French newspaper Le Monde published text messages revealing that he worked on behalf of Russian oligarch Dmitry Rybolovlev to influence a billion-dollar art fraud case.

Narmino, 64, reportedly decided to take “early retirement” just hours after Le Monde posted the texts, which suggest “a vast influence-peddling scandal at the heart of Monaco institutions,” according to the newspaper. artnet News reached out to Monaco’s Ministry of Justice, which referred us to the Monaco Court of Justice. The court had not responded to request for comment as of publication time.

Rybolovlev, 50, is a mining billionaire and a majority owner of AS Monaco football club. He allegedly recruited Narmino and other officials in the Ministry of Justice to help him pursue Yves Bouvier, a prominent Swiss art collector and dealer who once represented the billionaire. Rybolovlev claimed that Bouvier cheated him out of as much as $1 billion by misrepresenting sale prices on some 38 artworks, including pricey masterpieces by Leonardo da Vinci, Pablo Picasso, Amedeo Modigliani, and Van Gogh—which the billionaire bought for a total of $2 billion.

According to reports, hundreds of text messages exchanged between Rybolovlev, his attorney and close associate Tetiana Bersheda, and Narmino included information about an all-expenses-paid ski trip for Narmino and his wife at the billionaire’s Swiss chalet in Gstaad, as well as a private helicopter ride and other expensive gifts.

The messages also reportedly suggest Bersheda was in close contact with the Monaco police about a plan to arrest Bouvier after “luring” him to Monaco. The dealer was arrested there in early 2015 following the allegations by Rybolovlev and then released on €10 million bail. Several high-ranking Monaco police officers—including former police chief Regis Asso—are also reportedly involved.

Ron Soffer, an attorney for Bouvier based in France, says the charges against his client are bogus. “Mr. Bouvier strongly believes in his innocence and that he will not be charged with any crime,” the lawyer told artnet News. “He continues to have confidence in the impartiality of the Monaco judiciary and the investigating magistrate leading the investigation.”

Francis Szpiner, another Paris lawyer working for Bouvier, told Le Monde that he had long suspected that Rybolovlev’s connections and influence with local officials played a role in the Bouvier dealings. He claims there is now evidence that the police, the prosecutor’s office, and the minister had done everything possible to carry out the scheme. Szpiner said he wanted to call on Prince Albert to investigate these officials.

A spokesman for Rybolovlev had not responded to artnet News’ request for comment as of publication time.
Source: artnet news 


Antiques and the Paris Biennale

NY Times has an interesting article on the current level of interest of antiques and how it is impacting the Paris Biennale fair. According to the NY Times article, the Pairs Biennale fair has been an important show for the past 29 years which caters to high end collectors. One dealer mentioned the cost for a booth at the Biennale would be around  €150,000.

There are the typical quotes we have seen in the past about collectors looking for select pieces to decorate with, but to also mix in with different styles and tastes. The article also notes the higher interest and prices for contemporary works, compared to older works.

The NY Times reports
PARIS — What is the future of the grand old art and antiques fair?

Back in the 1980s and ’90s, prestige events such as Tefaf in Maastricht, the Netherlands, and the Grosvenor House antiques fair in London were the fixtures around which the international collecting calendar revolved.

But tastes have changed. The famously stuffy Grosvenor House fair was discontinued in 2009, and now most of the world’s wealthiest collectors choose to spend their millions at contemporary art fairs like Frieze and Art Basel, leaving traditional events to come up with new strategies to survive in today’s increasingly internationalized market.

The Biennale des Antiquaires in Paris, whose 29th edition opened on Sept. 11, is one of the most upscale of these traditional fairs. Taking place in the magnificent setting of the Grand Palais, the event is now (rather confusingly) held every year and has (rather counterintuitively) reverted to its core specializations of pre-1960 art and antiques. It no longer features fashion jewelry giants such as Bulgari, Cartier and Van Cleef & Arpels, whose booths in the early 2010s attracted droves of free-spending Asian and Russian clients, who looked at little else, prompting complaints from other exhibitors.

“It’s the most important art and antiques fair in Paris. It’s been that for many years,” said the second-time exhibitor, Pascal Izarn, a Paris dealer who specializes in museum-quality 18th-century French clocks and decorative objects. “People don’t collect the 18th century from floor to ceiling any more,” Mr. Izarn said. “They mix with modern and contemporary.”

The biennale’s organizers, the Syndicat National des Antiquaires, adopted the atemporal, gray styling characteristic of Frieze Masters in London and other fairs trying to find a new audience for old things. The number of exhibiting dealers shrank to 94, compared with 125 last year, with two thirds of them based in France.

“It’s not that international any more. It’s too French,” said Nikolas Barta, an Austrian collector based in Vienna, who has been a regular visitor to the Paris biennale, as well as Art Basel, Tefaf and Frieze. Mr. Barta, 62, buys artworks from the 18th to 21st centuries. “And it’s a bit quiet,” he added during a somnolent Tuesday afternoon at the fair, when there were fewer than 200 visitors browsing under the cast iron and glass roof of the Grand Palais. By this stage, most dealers had typically made just one or two sales.

This was a far cry from September 1996, when Melinda Gates, the philanthropist and wife of the Microsoft founder, Bill Gates, was wowed at the Paris event by a set of four 17th-century Gobelins gold-thread tapestries on the booth of the Paris dealer Galerie Chevalier. The tapestries had been made for Louis XIV’s minister of finance, Jean-Baptiste Colbert.

“Melinda said to her decorator, ‘If you find a place for them. I’ll take them,’ ” recalled the gallery’s founder, Dominique Chevalier. Mrs. Gates’s decorator, the New York-based Thierry Despont, duly found a place and they were sold for a price that Mr. Chevalier declined to divulge.

The tapestries have since been bought back by Galerie Chevalier, and were on its booth at this year’s biennale, priced at €4 million, or about $4.7 million.

Interior decorators like Mr. Despont were key drivers of sales at the major antiques fairs in the ’80s and ’90s. Dealers would stock their booths thinking of influential tastemakers like Alberto Pinto (who died in 2012 and whose private collection was being auctioned at Christie’s in Paris during the biennale this month), Jacques Grange, Roberto Peregalli and Jacques Garcia.

“They weren’t just decorators,” said Camille Leprince, a former Paris biennale exhibitor. “They turned clients into collectors. It was great for dealers.”

Mr. Grange, Mr. Peregalli and Mr. Garcia were all spotted at the V.I.P. previews of this year’s biennale, but with the wealthy increasingly living in contemporary interiors, buyers of antiques are being more selective.

“Many clients today ask us for classic contemporary design and at the biennale some of these clients are looking for a grandiose piece to embellish their décors,” said Linda Pinto, the decorator’s sister, who is now director of his Paris-based company.

Mr. Leprince said that this year, he preferred to hold a pop-up show of mid-18th-century Strasbourg-factory faience at the Galerie Vandermeersch in Paris, rather than commit to the Grand Palais. “We’d rather keep our expenses low and hold a small, academic exhibition,” said Mr. Leprince, who estimated the cost of his gallery show and catalog at about €10,000, compared with €150,000 for a booth at the fair. “But you do lose some customers,” he added.

Mr. Leprince is participating the 10th annual “Parcours de la Ceramique et des Arts du Feu” gallery trail of specialist dealer exhibitions, mainly in the Carré Rive Gauche district of Paris. Dealers of tribal art have their own “Parcours des Mondes” event running concurrently nearby in Saint-Germain-des-Prés.

The star attraction at Galerie Vandermeersch was the only known set of four white Strasbourg faience commedia dell’arte figures inspired by the artist Jean-Antoine Watteau made under the supervision of the notable ceramist Paul-Antoine Hannong. On consignment from a French collector, who had reunited the figures after buying them as two pairs at separate Tefaf fairs, Mr. Leprince gave the price as between €200,000 and €250,000.

Meanwhile, the value of such rarities was put into perspective by some of the prices being paid at Christie’s for the decorative objects once owned by Mr. Pinto. On Tuesday evening, five telephone bidders battled over a 2008 gilt-bronze “Bureau Croco” by the French designer Claude Lalanne, which featured a top molded in the shape of a crocodile skin. This soared to €847,500, more than four times the estimate. This price made some kind of sense, given the current fashionability of designs by Mrs. Lalanne and her late husband, François-Xavier Lalanne.

But then 20 lots later, an amusing if hardly museum-quality pair of late 18th-century Chinese Export porcelain tureens shaped as ducks sold for €187,500 against a low estimate of €15,000.

This result was a telling reminder that:

• Auction house prices can only go up, while dealer prices can only go down, and

• European 18th-century objects look seriously underpriced compared with their Chinese equivalents.

Perhaps if more people were aware of that, more would visit the Paris biennale and its satellite dealer shows.
Source: New York Times 


New Art Logistics Model

Fellow appraiser Susan Tarman, ISA AM sent me an article from artnet news about ARTA, a new tech startup. ARTA is a logistics company which will partner with art collection management software Artbase and Phillips. The app will integrate with Artbase and soon other inventory management software and will allow the shipper to received quotes from over 300 shippers.

artnet news reports
In an increasingly difficult economy, the startup says a new model for shipping will help galleries maximize resources.
Eileen Kinsella, September 13, 2017

If New York City-based tech startup ARTA aims to disrupt the high-end art shipping business, today they are a little closer to their goal. The company has announced $3 million in seed funding from investors that include current client David Zwirner Gallery, Sotheby’s, several venture capital firms, and a consortium of Chinese and European investors.

The funds will help the three-year-old ARTA, which bills itself as the Kayak or Expedia of the art shipping industry, to expand internationally, beginning with a London office. The startup has hired six new employees, including heads of marketing and engineering, and is launching partnerships with inventory management site ArtBase and auction house Phillips next week. It has also taken a booth at EXPO Chicago, which previews Wednesday for VIPs.

“I’m always looking for a way that technology can make an antiquated industry more efficient,” founder and CEO Adam Fields, who formerly worked for Artspace, told artnet News. “We recognized that shipping was a huge problem both for online and offline sellers when it comes to large, fragile, expensive pieces. Galleries like David Zwirner would call us and say ‘We can’t ship this $50,000 piece via FedEx or DHL. It needs crating, it needs insurance, it needs installlation.’ That was the catalyst for how ARTA started.”

In a statement, Zwirner called ARTA “a game-changer for logistics in the art world,” and praised its “transparent model.”

Instead of waiting days to obtain and compare prices, ARTA offers a platform where anyone—whether a gallery, auction house, collector, or art adviser—can get quotes from the top 300 art shippers around the world, according to Fields.

“The sales pitch isn’t really too hard,” he said. “It’s such a huge problem for galleries. If you’re a big gallery you might have three or four or five registrars. Maybe instead of having five, you can have three. For a small gallery, you might be the sole revenue generator who is also responsible for shipping. If you’re able to plug into our platform, you can really enhance the user experience for your clients. Better, faster, cheaper is the name of the game.”

Next week, ARTA will launch an API (application program interface) with ArtBase and Phillips auction house. “So now we’re essentially allowing anyone with an inventory system, starting with ArtBase and an auction house, to effectively hit a ship button within their inventory system—which is the system they are using on a daily basis—to get quotes and manage the logistical process,” Fields said.

Ultimately, though, Fields believes ARTA will help galleries’ bottom line in an increasingly difficult economic environment. “In a world where the margins are getting lower, it’s turning more competitive and galleries are closing down consistently,” he stated. “This is utility and a platform that can really help maximize resources.”
Source: artnet news


AAA Annual Conference

As I mentioned in yesterdays post, the AAA annual conference is quickly approaching.

The conference is scheduled for Sunday November 12th and Monday November 13th at the New York Athletic Club, 180 Central Park South (at 7th Avenue). Registration for the two days is  $550 - Registration (ends 11/5) for AAA members and  $600 for on-site registration and for non members - Registration (ends 11/5) $650 and $700 for on site registration. There are also one day registrations as well.

The program has some great art market professionals from trade press, to financial and legal experts, IRS, auction house specialists and appraisers.  The recent Kollsman case will be an interesting presentation and discussion, as will old master authentication and discussion on the global art market.

AAA always puts on a great conference program and the networking opportunities are excellent as well. If I am correct, the November New York impressionist and modern sales exhibitions at Christie's and American art at Sotheby's may be open for viewing as well.

For more information on registration, the program and lodging, click HERE

The full program, from the AAA website includes
Sunday, November 12
 • • • • • 9:00 - 9:30am Keynote • • • • • •
Judd Tully, Art Critic and Journalist

• • • • • 9:30 - 10:30am Panel • • • • • •
Changing Environments
of the Global Art Market
Evan Beard, U.S. Trust
Brian Boucher, artnet
Anders Petterson, ArtTactic
Judd Tully (moderator)

 • • • • • 10:30 - 11:30am Coffee Break • • • • • •
 • • • • • 11:00am - 12:00pm Panel • • • • • •
Old Masters & Authenticity
Robert Simon, Robert Simon Fine Art
Nica Gutman Rieppi,
Art Analysis & Research

• • • • • 12:00 - 1:00pm Panel • • • • • •
Appraising Income Producing Property
Steven R. Schindler,
Schindler Cohen & Hochman LLP
Theodore Feder, Artists Rights Society
Brian Cummings (moderator)

• • • • • 1:00 - 2:30pm Networking Luncheon • • • • • •
(included in registration fee)
• • • • • 2:30 - 3:45pm Connoisseurship Sessions • • • • • •
1. Pennsylvania Impressionists
    Alasdair Nichol, Freeman's
2. The Gentleman's Auction:
     Appealing to Modern Men
    Chris Barber, Skinner, Inc.
3. Lalique Glass
    Nicholas Dawes,Heritage Auctions
4. Pre-Columbian Art: An Appraisal Primer
    Howard Nowes, Eternity Ancient Art

• • • • • 3:45 - 4:15pm Coffee Break • • • • • •
• • • • • 4:20 - 5:30pm Panel • • • • • •

Damage & Loss
Laura Doyle, CHUBB
Christopher Gaillard, AAA,
Gurr Johns
Leah Hutton, MacLarens
Sabine Wilson, Ph.D., AAA(moderator)

Monday, November 13

 • • • • • 9:00 - 9:30am Keynote • • • • • •
Eric Kandel, M.D., Professor, Columbia University, Director, Kavli Institute for Brain Science, Co-Director, Mortimer B. Zuckerman Mind Brain Behavior Institute
• • • • • 9:30 - 10:30am Panel • • • • • •
The Kollsman Case: Invest Now or Pay Later
Paul Cardile, AAA,
Paul J. Cardile Appraisal Services
Lauren Rich, Lowy
Brad Shar, Lowy
Deborah Gerstler Spanierman, AAA DGS Fine Art Consultants, Inc. (moderator)

• • • • • 10:30 - 11:30am Coffee Break • • • • • •
 • • • • • 11:00am - 12:00pm Panel • • • • • •
Just What is Art Deco, Anyway?
Barbara Deisroth,
Barbara E. Deisroth, LLC
Jared Goss, Independent Art Historian
Carina Villinger, Christie's
Molly Seiler, AAA, Molly Seiler Art Advisory & Appraisal Services (moderator)

• • • • • 12:00 - 1:00pm Panel • • • • • •
Digital & Video Art:
Conservation and Restoration
Robert Bielecki,
Robert D. Bielecki Foundation
Joanna Phillips, Guggenheim
Steve Sacks, Bitforms
Louky Keijsers Koning, AAA, LMAK Gallery (moderator)
• • • • • 1:00 - 2:30pm Networking Luncheon • • • • • •
(included in registration fee)

• • • • • 2:30 - 3:45pm Connoisseurship Sessions • • • • • •
1. What's Hot, What's Not -
      the Current Silver Market
     John Ward, Sotheby's
2. Appraising Oriental Rugs and Carpets
     Mark Topalian, M. Topalian, Inc.
3. Using Costume and Jewelry to Date
     Paintings and Decorative Arts
     Alexia Palmer, Betteridge Jewelers, Inc.
4. Watches: Luxury or Lie? 
     Adam Harris

• • • • • 3:45 - 4:15pm Coffee Break • • • • • •
• • • • • 4:20 - 5:30pm Panel • • • • • •
1. Ask the IRS
Robin Bonner, IRS 
Karin Gross, IRS
2. USPAP, IVS, and Appraiser Credibility 
     in a Global Market
Barry Shea,
 Barry Shea and Associates
Source: AAA 


Art Law Day, November 10, 2017

I cant believe it is almost time for Art Law Day and the AAA annual conference.  Art Law Day kicks off the appraisal weekend schedule on Friday, November 10th.

I have listed the Art Law Day program in this post and in the next few days post on the AAA Conference program, which takes place on Sunday November 11th and Monday, November 12th.

For more info on the AAA conference, click HERE.

Art Law registration fees are as follows:

  • AAA Members & Cardozo Alumni - $235 - Registration (ends 11/5) and $250 - On-site
  • General Admission  $350 - Registration (ends 11/5) and $400 - On-site

Art Law Day 2017 is on Friday, November 10. It is held at Benjamin N. Cardozo Law School, 55 5th Avenue. Check-in begins at 8 am. The program begins at 9:00 am, and ends at 4:30 pm.

There will be an evening reception on Friday, November 10 from 4:45pm - 6:00pm. The Reception will be located at the Salmagundi Club, at 47 5th ave. All Appraisers Association members and Art Law Day attendees are invited to attend.

For more information
Contact Kathryn Moldenhauer, Program Director
212.889.5404x11, programs@appraisersassociation.org

For online information and to register for Art Law Day, click HERE.

The program includes
Friday, November 10

• • • • • 8:00am - 9:00am Check-In and Coffee • • • • • •

• • • • • 9:00am - 9:10am Welcome • • • • • •

• • • • • 9:15am - 9:45am Keynote Address  • • • • • •

Robert Lynch, CEO & President, Americans for the Arts

                                          • • • • • 9:45 - 11:00am Panel • • • • • •

(E)state of the Art: Planning for and with Artists

David Dorsky, Attorney and Director, Dorsky Gallery Curatorial Programs
Bennet H. Grutman, CPA, Davis & Grutman

 • • • • • 11:00am - 11:15am Coffee Break • • • • • •

  • • • • • 11:15am - 12:30pm Panel • • • • • •

The Value of Non-Uniqueness: Multiples & Editions

Panelists TBA

  • • • • • 12:30pm - 1:45pm Lunch • • • • • •

    • • • • • 1:45pm - 3:00pm Panel • • • • • •

Regulating the Art Market:
Will Ethical and Similar Considerations Spoil All the Fun?

Sandrine Giroud, LALIVE
Jason Hernandez, Stearns Weaver Miller
Lori Spector, Lori Spector Fine Art, Inc.
Howard Speigler, Herrick, Feinstein LLP

    • • • • • 3:00 - 3:15pm Coffee Break • • • • • •

 • • • • • 3:15 - 4:30pm Panel  • • • • • •

Safe Guarding Private and Confidential Information

Lance Gotko, Friedman Kaplan Seiler & Adelman LLP
Cynthia D. Herbert, AAA, Appretium Appraisal Services
Eric Kahan, Collector Systems
John F. Mullen, Mullen Coughlin
Steven Pincus, DeWitt Stern

 • • • • • 4:45 - 6:00pm Reception  • • • • • •
Salmagundi Club
47 5th Avenue, New York City


On Collecting Art

The Huff Post recently posted an article on how to buy art in the marketplace today. It discusses prints, and various forms of giclees, and hand embellished prints as well as original works. It touches on buying from local galleries, making payment over time and other information when dealing with a local gallery and emerging and seasoned artists. Many of the artists may not be well known beyond their geographic area and or gallery representation, but it is not unusual as an appraiser to see this sort of entry level art in some of our client's collections.

The Huff Post reports
Fairly recently, a well-known artist friend of mine, was having a special release of her work to help raise money for a worthy cause. There were pieces priced for every level of collector to be able to own something special and unique. This was the point, to make the work and event accessible to all. Despite this fact, and the fact that even the more one of a kind and original piece of art were very low priced, in my experience and opinion, there were still people complaining about the price. I see this often on social media. People commenting that they wish they could own a piece, but they cannot afford their prices, and again, their prices are often very low compared to much of the market, and for an original piece. In seeing this so often, it dawned on me that people do not realize that there is an art to buying art, and that you can collect and grow a collection on any budget. The problem is that people don’t understand the process, their options, and the types of work available to them. They think collecting art means that they can only buy original pieces, so they are deterred by sticker shock.

To start, let’s define different types of work you can acquire from an artist. You can buy a high-quality print. These are not the posters of days gone by that you are thinking of. These are images of their originals, done on high quality paper, and that can be very attractive. Also, don’t forget the many art books you can buy, that allow you access to a multitude of works by your favorite artists. There are also the toys for grown-ups they design, that are incredible. Later in this article, one of the gallery owners mentions that there is only one original, and that could not be truer. Prints (above image is a print) are an affordable option to own your favorite image, your favorite artist, and to allow you to sit with several artists’ works in your home, and decide who really speaks to you over time. A next step up might be a Giclée, which is a slightly higher quality fine art or photograph reproduction using high-quality printers. From here you might want to move up to a Signed print or Giclée, that are slightly costlier, are made in much smaller series (they are signed and numbered), and are more sought after.

A next wonderful step up that you can take, and that I love, is the Hand-Embellished Prints and Giclée’s. These are almost always signed, are exceptionally small batches, and are each unique in their own way. The artist takes a Print or Giclée, and they embellish it with paint, glitter, mica, leaving, anything that gives it a little “bling,” and an extra special touch. When I have the chance to own a hand-embellished piece, I jump at it. The next step is your first big move. You have decided that you are absolutely in love with a certain artist, and that you simply must own an original piece of their work. If you feel like this, you absolutely need to. That is part of living with different prints and artists, to get to the point of confidence in the investment of an original piece. To feel that any saving or sacrificing is worth the effort. It took me almost a full year of monthly payments to own my first Gary Baseman original (hint: most galleries will work out at least 3-4-month payment plans to make the investment more feasible for you), and there was never a moment where I doubted the effort or expenditure.

Several galleries, such as Corey Helford Gallery (which also has an amazing print side I showcased an image of earlier), hold “Art Collectors Starter Kit” shows 1-2 times per year. These are shows where some very well-known artists, make pieces of work that sell for about $800-$1200 each. A Huge discount from their typical original works which can cost many thousands more. I buy from these shows to continue to expand my collection, and to be able to own original works by a greater variety of artists. Again, even at these low rates for an original piece, galleries will let you split these payments up to 3-4 months on average, making that splurge, much less of a sacrifice. From here, you can decide if you want to be on the look-out for pieces of work by certain artist that go the next step up. Get to know gallery owners and Directors by e-mail. Let them know your lists of loves and must-haves, and the will reach out of something comes across their path in your price range by that artist. This is how I acquired my second Gary Baseman original (I had an obsession early on in my collecting), and tapped into the resources that these professionals have. My next original was a Camille Rose Garcia (something Jan Corey and I had in common). They can often locate pieces from private sellers, that you would otherwise not have access too.

To emphasize, and support this method of collecting and building your assortment of art, I interviewed the owner, Jan Corey, of Corey Helford Gallery, to get a professional take on the art of art collecting. I was pleased to hear that Jan’s journey and path mirrored my advice. Corey Helford has both an original art side, a print side to the business, as well as holds, “Art Collector’s Starter Kit” shows each year. Here are some of Jan’s thoughts:

“My first foray into art collecting started with buying comic books. I think they were only 25 cents when I started. Oh, how I wish I still had my early issues, but who knew comic books would soar in price. I was especially drawn to the covers of the books. I was collecting art by incredible artists and being entertained. These artists included, Jack Kirby, Frank Frazetta, Frank Miller, Alex Schomburg just to name a few. Much later in my art-collecting journey I could pick up some original artwork by a few of my comic book heroes. I think comic books are a great way to start collecting art. I still collect comic books. I buy specific series to read and I also buy comics just based on a great cover.

I started added toys and prints to my collection next. I love prints and add them to my collection frequently. There’s only one original after all. My first big print purchase was one of Camille Rose Garcia’s hand embellished prints. Camille was also my first major painting purchase. Before I found pop-surrealism, I collected a variety of genres. Photos were my first love …and then one day I saw a postcard with a skull headed man driving a colorful vehicle that resembled an ice cream truck, but it had a piece of meat painted on the side. Children ran excitedly toward the odd man with a skull for a face and an Abraham Lincoln hand puppet. The palette was bright and cheerful and the feeling of, I found my home, washed over me. It was my first introduction to the crazy wonderful world of pop-surreal art! I exclaimed to my husband “I have to go to this show!” and he said, “Nah, I don’t like the meat.” Ha ha. Of course, Mark Ryden is one of his favorite artists now. A very important note about collecting is buy what you love and don’t listen to the peanut gallery. I don’t buy art for investment; I buy art that I want to love, and want to look at every day. If the work increases in value someday, that’s wonderful, of course.” Please visit Corey Helford’s site to see Brandi Milne’s (top photo) current show, to sneak a peek at their show that will open in a few weeks, as well as to view all the prints that have available, which composed many of the images of this article to make a point.

I hope this article shed light on the MANY options that you must own works by your favorite artists, to explore work by new artists, and to start to discover what art you love and that speaks to you. As you can see from Jan and I, we still buy books, prints, giclée’s, and hand-embellished pieces. We care more about if the work evokes something in us, than if it is by the biggest name you can find. We are grateful for the many options that are available to us, and that make making art a part of your life, and your home, within reach for just about anyone. Many artists sell prints for as little as $15-$35 ($250 on the very high end), so it is not as hard as you may have thought to quickly build up your collection. Believe it or not, artists WANT to offer these options, as they want their work to be accessible to anyone who it speaks too. They appreciate each fan, from a print owner, to the owner of one of their originals. We also must remember, that creating a painting or work of art takes a great deal of time, expense and very hard work on their end. This is their living, and they deserve to be able to thrive at it. In return, they make sure that their work is something we can afford and enjoy within our means.
Source: Huff Post