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ARTICLES FOR THE MONTH OF JUNE 2009
Contributing Bloggers: John Harbinger Jr.and David Harbrenig

Getting into a Gallery

 Showing your art online, on websites like artLAnow, has many advantages, but for most artists the real thrill comes from having an exhibition in a prestigious ‘real’ bricks & mortar gallery with solid walls - where one can mingle with real people who have come to appreciate your work. The competition for those spaces is hard –really hard. Resumes and portfolios are sent in and get no reply, telephone calls go un-answered and CD’s, slides, emails and letters all go un-answered. Getting into those sacred doors is a long uphill struggle that only the most determined and dedicated artists are prepared to endure. Here are a few pointers to guide through the process –but remember, the all important principle for success: “If at first you don’t succeed try, try and try again.” Persistence, determination and a thick skin in addition to great talent are the keys to opening those doors.

Most gallery manager or owners do not want to see your original art during the first step of ‘triage’(sorting) so, prepare a CD disk with examples of your work, or slides or a portfolio of small printed photos. Also prepare a written description of the works to accompany the disk etc.

Make sure there is a sufficient body of representative work from which the gallery can consider an exhibition.

Make sure you have realistic expectations about prices. Come prepared to hear, and accept, the commissions that Galleries take for exhibiting your work, which can be from 35% to 50%. No, the lower commission galleries are not necessarily the best people to work with, and no, the 50%-ers are not crooks! The commissions go to cover all advertising, press release and reception costs and remember the overheads for a real gallery are enormous. Last, but not least, try to remember that the gallery owner is also a business operator – he/she is there to make a profit.

As you go into any meeting with a gallery manager or owner, keep the artistic ego under wraps. They are not interested in your ‘trip’ and your quest to enlighten the world through your art. They are looking for ‘merchandise’ that they can sell. They need to be able to see the potential of the work without your long winded explanations of angst and id.

There are different working approaches in galleries. Try to do some research about each gallery before contact. Some galleries operate as “residential galleries”, i.e. they represent a fixed number of artists who repeatedly show new work at the gallery. These can be great opportunities, however, to get in, you generally have to befriend a few of the current residential artists and court their favor. They don’t want direct competition, but, at the same time, the gallery owner will be looking to enlarge the group to provide the clientele with art to suit their needs and taste. These galleries put a premium on the triangular relationship; owner, artist and clients.

Next there are the “show” galleries, where the manager/owner assembles art according to a theme. If an owner has your CD on file, and your work fits into to the theme of a proposed exhibition, your chances of inclusion are greatly increased. In these themed shows, each artist is normally represented by a few pieces. In these types of shows, the gallery often expects the artist to replace work as it is sold throughout the period. Once again, this presents another kind of opportunity, even though the relationship with the “show gallery” might end at the conclusion of the exhibition, since the gallery objective has been to promote, not the artists, but a certain type of art. The owner has used the show to find buyers interested in a certain genre of art, not those who collect certain artists.

The galleries for “new and emerging artists” work on a different principle where there is no big investment into shows with publicity and costly receptions. (Thus the commissions are generally lower.) The object of the gallery is to test new ground (cheaply), to interest their existing clientele in the latest ‘discovery’ and broaden their client base. These galleries work on providing art on a budget to their followers. Some of them have arrangements with more higher-end galleries to pass on to them the more commercially successful artists that have begun their careers through them.

The last type of gallery is the “art association gallery” which is a very good place to start. In general you submit you work for approval, fill in an application form and, if all is well, you get allotted a time. The commissions are low because basically the association is providing you a space –all the rest you do yourself. You take care of the publicity, the invitations and the reception. All sales, of course, go through the association gallery. The objective here is to promote local artists and help them overcome the difficulties in finding wall space in the other galleries.

Breaking into the gallery circuit is extremely difficult. It is even more difficult to maintain a presence once you’ve had your first exhibition, since, succeeding gallery owners will want to know if the previous exhibition was a “success”. Don’t be discouraged. If art is your life, your passion, the driving energy that gets you up in the morning, persevere and keep ringing on the doors.

 

What is Art?

 We know it when we see it or hear it. We feel it when it moves us, but we often find it difficult to define in words.

The definition of art is as controversial as the question as to whether art can be defined or, if there is any philosophical usefulness of a definition. Reading through the many Artists’ statement from our members at Artlanow, it would seem that each artist has his/her own ‘definition.’

So, I’ll leave it to one of the great writers of the past to give us his own simple version

Leo Tolstoy (1828-1920) wrote an essay called “What is Art” published in 1896. The two following quotes are taken from that essay:

“If the spectators or auditors are infected by the feelings which the author has felt, it is art.”

“Art is a human activity where one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that the other people are infected by these feelings and also experience them.”

 

 

Three Sayings that Made me Smile

 

(they have nothing to do with Art)

“I never make mistakes. I once thought I did – but I was wrong”

“Of all the things I’ve lost in life, I miss my mind the most.”

“The customer is always wrong.” (the LAPD)

 

 

Online Artists’ Exhibition – Exposure, Effective & Cost Efficient

 These are worrying times. The economic statistics are still not good; people are tightening their belts and the consumer purse strings that drive the economy forward are shut. The analysts tell us that there is really no reason for such a drastic slump, that the upswing will come when investors and the average working Joe simply overcome their fears of spending. When it comes to making cuts, we, artists know that we are first to go before the firing squad. Who’s going to invest in art, amid all this economic doom and gloom, when maybe they’ll have no job tomorrow to pay the mortgage? Over the past year Art sales at all levels have suffered from the fall-out of the recession, that is not a recession, maybe a stagflation, or maybe just a bump on the economic highway. No matter what the economists call it, it has been hard times for artists.

So, the question is how do you ride out the turbulence, make the best of the situation and get the best for your buck at the same time? The experts have always said that when the economy is weak, that is the time to advertise more. For the Artist, the internet gives endless opportunities to advertise you and your work. There are great sites in cyberspace, like Artlanow.com where you can promote and advertise your artwork, sometimes for free and almost always at reasonable prices. Online Art Galleries like ours give you great exposure, they are effective and are cost efficient compared to other advertising platforms.

There is no doubt that consumers are turning to the internet to make purchases of all kinds and, correspondingly, the number of websites selling art and offering exhibition space is growing yearly. There are literally hundreds of thousands of artworks for sale on the worldwide net.

Choosing the right online gallery for your artwork is very important. Get the best for your buck by researching.

In our opinion, the discerning Artist should look for oversight by collective websites where quality standards of content are maintained. Look, too, for sites combining the good content with guarantees of secure payments and refund policies. Financial aides, such as these have helped the online Art Market to acquire a positive reputation for buyers and sellers.

Almost all websites offering Exhibition Gallery space do so, either for monthly or yearly fees, or on a commission basis, paid when Art works are sold. Most of these sites are open to Artists worldwide on the supposition that we are in a global economy and therefore all ‘consumer products’ (including art) should be in the global store window. While this statement may be true, some of the larger ‘worldwide Art stores’ are very much overstocked and have little quality control. 

At artlanow our concept is limit our membership to one region, so that Art buyers can, if they wish visit the Artist’s studio to see the work first-hand, and follow the artist’s career more closely by attending exhibitions etc. We also ‘curate’ our website, much in the same way that a real gallery director examines the works presented for representation.

From the financial aspect, collective Artist’s Websites are a great deal for the Artists. The yearly fees are usually below the price of one (low budget) painting sold by the Artist and the commissions, if applicable are, in general, less than the 35%-40% taken by ‘real’ gallery owners on actual sales.

Real physical galleries still play a very important role in the Art Market, but in these troubled times their role is ever more dominant and more prominent in the high end. Well-heeled buyers, seem to prefer to trust the judgment of a “qualified” art expert than to buy according to their own taste. Galleries and Gallery owners acquire reputations and buying from a reputable Gallery can give added value to a painting once purchased. The Gallery becomes part of the provenance. Due to the place these ‘real’ galleries occupy in the Art Market, competition between Artists for ‘real’ Gallery space is fierce. In a physical Gallery there are tremendous overheads to meet; rent, utilities, city administration charges, employees, property insurances and other costs. Real Galleries are limited in number because in order to sustain themselves owners must continually make sales to meet their costs and the risks are high. This is the all important factor when selecting which Artists they represent. Sales are essential to meet the monthly expenses.

Despite the economic setbacks, the internet is still gaining ground in the Art world because, on the web, artists have exposure with very limited costs and virtually no risks. There is no competition for wall space since cyber space is without boundaries. The doors of the online gallery are never closed and Artists are able to bypass the intermediary scrutiny and criticism of the physical Gallery director and go directly to the Art Collector.

Art lovers and Art Collectors, too, have understood the advantages of buying on the internet. Most people have limited budgets for Art purchases and they are prepared to spend time on the net browsing for the right Painting or Sculpture at the right price.

Our advice is to check out all the available websites out there. Find which ones suit your art and which ones attract the buyers you think are looking for your art. Check the fees and commissions (including the fine print) and then put your art out there to been seen, appreciated and sold.

 

Two Artists connecting to Art

The newspapers today carry lots of articles about the deaths of two quite famous Los Angeles residents, the actress Farrah Fawcett (of Charlie’s Angels fame) and singer Michael Jackson. Although they are best known for careers in the entertainment industry both had some kind of connection to Art. Farrah Fawcett, in addition to her television and film acting was also quite an accomplished sculptress. In 2002, a rather controversial exhibition at the LACMA included a large statue of her by a local Los Angeles artist and also a bronze statue by her of him. In the exhibition there were also some of her other smaller works. Ms. Fawcett’s interest in art dated back to the late 1960’s when she was an Art major at the University of Texas in Austin.

Michael Jackson did not perhaps paint or sculpt himself, but his persona inspired modern day artists like Jeff Koons and Andy Warhol to create images of him as iconic statements of today’s pop culture. In the new Broad complex at the LACMA there is a Koon’s sculpture called “Michael Jackson and Bubbles.” In 1984 Andy Warhol, whose name is synonymous with the Pop Art movement in the USA, did a portrait of Michael Jackson. Working from a photograph, he used a silk screen process to recreate the portrait on canvas, which was then re-finished by hand. Given Warhol’s fascination with the heroes of Pop culture, Michael Jackson, who was at the zenith of his career at the time was the ideal subject matter.

 

 

The Astronaut Artist –Alan Bean

 In November 1969, Apollo 12 Astronaut Alan Bean walked on the moon’s surface for 7 hours & 45 minutes. He was the 4th man to stroll on the lunar surface after Neil Armstrong, Buzz Aldrin (both of Apollo 11) and his Apollo 12 flight colleague Pete Conrad. 12 men have walked on the moon so far. Since his lunar experience 40 years ago, and his retirement in the 1981 from the NASA space programs, Bean has spent much of his free time painting not only earthly subjects but mostly extraterrestrial scenes from his adventure into outer space.

He first took to painting in the early 60’s while he was a test pilot. In order to develop what was a relaxing hobby, he took watercolor lessons at night while his daytime hours were spent racing through the skies and preparing for space missions. Doing mostly still life painting at that time, he used his brushes and paints as a way to unwind from the rigors of his demanding career. In the late 1970’s, long after his Apollo 12 moon walk, he realized that his passion for painting flowers and fruit was quickly diminishing. One weekend he decided to paint something different. Using a photo of fellow astronaut Pete Conrad taken on the moon, he set about making a painting from it and discovered a new enthusiasm for different subject matter- spacesuits, rocket ships, lunar modules and lunar landscapes.

Transforming himself, from a rational, analytical test pilot and engineer to an imaginative and emotive artist has been slow process spanning almost 30 years for Alan Bean. He has recently said that after leaving NASA in the early 80’s, he “made up his mind not to be an astronaut who painted, but an artist who used to be an astronaut.”

In the 1980’s he began to experiment, transforming his realistic grey-toned lunar landscapes, with the blue and white Earth behind, into vibrant works of rich and exciting colors. For the past twenty years his experimentation as an artist has continued as he has looked for new ways to create unusual and spectacular views of space. Mr. Bean methods sometimes reflect his scientific pragmatism. He likes to build scale models of the scenes he paints and sets up artificial lighting to simulate the sunlight on the moon –sometimes calculating the angles to get the correct positioning of shadows. His paintings tell the story of space exploration, a story in which he has personally played such an important part. Through them he can show us something of his own amazing experience, looking at our world from so far away, a view we will never get to see and which, for us earthbound souls, remains an impossible dream.

Although his name is largely unknown in the greater art world, Mr. Bean, now 77 years old, is finally being recognized as the ‘Artist who used to be an astronaut.’ He has developed a loyal following among a select group of private collectors who have paid prices way above $100,000 for his work and he has shown in several galleries. Next month, in July, the Smithsonian Air & Space Museum will be exhibiting 45 of his works and will be selling a book of reproductions of his paintings. 40 years after that momentous day when man planted foot and flag on the lunar surface, the public will be able to enjoy the art work by one of the 12 extraordinary men in this world who have been where no-one has been before.

 

 

Art in the Good (Prehistoric) Life

 We tend to consider the Arts- music, painting and poetry etc., as being part of a civilized world. After a hard day’s work bringing home the bacon, cultural activities like these help heal our troubled minds and bring us relaxation and enjoyment. An article in todays (June 25) Los Angeles Times about the discovery of a musical instrument dated to 35,000 years ago, made me think about how our ancestors, the Flintstones, passed away their recreation time. Did they, too, while away their leisure time with the Arts as we do nowadays? Imagine, prehistoric man returning home to his nice warm cave after a hard day of hunting and gathering. After a hearty barbeque of mammouth ribs (no dishes to do), a few burbs and a nice delousing by the adoring wife, he settles down to a relaxing evening of painting and music. If we put together the evidence archaeologists have found about life in the old stone age period, the scenario might not be too far fetched. 

The Paleolithic period, or Old Stone Age, has been classed as the longest phase in the development of human history. This was basically the time when we humans evolved as a species and managed within 20,000 years or so, to discover fire and make basic tools from stone. Yes, those were the good ole’ days when life was slower and fashions in clothing changed once every 2000 years instead of twice a year. Those were the days when caves were rent free and the wheel, which would lead to the cart, to the chariot, to the carriage, to the automobile and then to endless traffic jams had not yet been invented. Now, most of us have read about, or even seen, examples of the cave paintings that Fred Flintstone and his contemporaries did to brighten up the family home. There are scenes of communal hunting showing Fred was part of a group – perhaps he was in a sporting or hunting ‘members only’ club? On some cave walls there are strange symbols, interpreted by archaeologists, as proof of magical and supernatural beliefs. When you add to the picture the discovery of musical instruments from the period, then you can begin to see that Fred and his pals, had a pretty good cultural life. They had art and music -and good wholesome food; the only thing missing was the movies!

The article, in todays newspaper, is about the discovery of a prehistoric flute in a cave in Germany. The flute had been fashioned from the wing bone of a griffin vulture and is now the oldest known example in the world of a musical instrument. There are five precisely drilled holes on the 9” long thin hollow bone and I’m sure some talented 21st Century flutists could still play a fine tune on it. It just goes to show that, with the security of a rock roof over our heads, it took us Homo sapiens no time at all to develop our love of the Arts. It is a love that will endure the atomic age, the new age, the cyber age, and into the next stone age……

 

The Muse

In Ancient Greece the relationship between the artist and the muse was one of reciprocity. The woman, who inspired the poet acted as intermediary for the Gods offering the man access to divine skills, memory and knowledge with which he could create. The art itself was never about the muse, but, once finished, the writer would publically proclaim and celebrate her involvement in the act of creativity. The role of the muse implied a lack on the part of the artist; a missing element that could only be filled in a momentary loss of self-possession by absorbing the power, the beauty and the insight of the muse. From Classical Greece to Rome and through to the Renaissance, when painting was first seen as visual poetry, artists and poets transformed the ideal of the muse from a conduit of divine intervention to something akin to the inspiration of ‘a guardian angel.’ Artists by the 15th assumed that their own creative genius was innate rather than divinely given, and the muse, which by then, was no longer confined to woman, was perceived more as a trigger to release the hidden talents within.

By the nineteenth century, and the Romantic period, the figure of the muse had evolved again. The muse was more about earthly beauty, love, ideals, relationships and intelligence of mind. The relationship between the artist and the muse had evolved from the ethereal and purely spiritual to the platonic and even physical, fed by fervor, passion, and physical idealism. Literature about 19th & 20th Century writers and artists is full or stories of their inspiration and the suffering from their involvement with the muse. By this time the role of the muse is pro-active: drawing fervent male attention to self, and ensuring that it is sustained by the fires of jealousy and possessiveness. Often, adding to this most powerful attraction is the empathy of the muse with the artist and his work – a combination as powerful as any addictive drug.

The female muse, in her purest form, is almost like the feminine part of the male artist. The artist seeks intellectual and spiritual ‘intercourse’ with the muse but in a reversal of gender roles: she, the muse, penetrates his mind in an inspirational way and consequentially he is then able to conceive a new work. Many examples from the last two Centuries show, that when the role of the muse is limited to penetration of the the mind rather than physical congress, the relationship stimulates the artist to his most heightened creativity, and when it enters the realm of the physical there is a degeneration. The muse is rarely a paid model; the muse is rarely the repeated personage of a painting - as one would paint one’s companion or spouse. Artists like Rubens, Bonnard, Renoir, Charles Blackman and Brett Whiteley painted their wives over and over again, but they were their subjects rather than their muses. The true role of the muse should remain un-changed and timeless. For an artist to create unfettered by jealousy and physical torment, the dependence on the muse must remain free of the physical, as absolute and as divine as the exaltation of the ancient Greek poets.

 

 

 

A brief history of oil paints

The Flemish painter Jan Van Eyck is often mentioned as the inventor of oil painting. Many stories tell that the Flemish painters working around Van Eyck tried to keep the preparation a secret from the other European schools but gradually, during the 15th century, the recipe filtered its way across Europe and artists in the southern countries learned how to make the new oil based pigments. The stories are nice, but, not historically accurate. Until 2008, the earliest work painted in oils that has been scientifically documented can actually be traced back to the 13th century in England. As many of you know, until the discovery of a suitable method of oil paint preparation, artist were primarily using tempera, an egg-yolk based paint. The breakthrough in oil paints came when linseed oil was added to the egg tempera. The oil base preparations produced colors that were much more durable. They were resistant to water erosion and were more suitable to the cold North European climates. The linseed oil allowed for a buildup of transparent layers that rendered subtler tones and glowing colors. In brief, oil paints opened up a new world of aesthetics and possibilities to Artists who adopted the new techniques. By the beginning of the16th century Venetian and Florentine masters were painting works that are as beautiful and pristine today as when they were created.

In 2008 the old accepted history of oil painting was overturned. A team of Japanese, French and American scientists identified oil paints on samples studied in the Bamyan caves in Afghanistan. The caves made the headlines world-wide when the Taliban government, a few years ago, decided to blow up a couple of huge ancient statues of Buddhas carved in to the exterior rock face. Scientific analysis has shown that the murals inside the caves were painted in the 7th century. From samples taken from 12 out of the 50 caves, modern micro spectroscopy and X-ray techniques show that the paints examined were indeed oil paints. For example, samples taken from one of the caves of a a scene of Buddhas in vermillion robes, sitting cross-legged amid palm leaves, show that the paints used were prepared using walnut and poppy seed drying oils. The results from other caves show a high diversity of pigments and binders and the evidence is conclusive that these ‘oil paintings’ were done eight centuries before Van Eyck ‘invented’ his own version of oil paint. The works in the Bamyan caves were probably done by artists traveling along the Silk Road, the ancient trading route between Europe, Central Asia and China.

The Taliban, in their fervor to destroy any art works that do not conform to their radical Islamic views, were preparing at a certain moment to erase the offending murals in the Bamyan caves. Luckily they were prevented from doing so, and an interesting piece in the jigsaw of art history has come to light.

 

 

 

Some Artists are just - different

There are some truly weird and wonderful tales on the internet about Art and Artists. Looking up something about auction prices, I came across this: In June 2005, Bonhams in London sold 3 paintings by a recently deceased artist called ‘Congo’ for $25,620. Any artist (alive or dead) would love to know that his/her work could command such prices in one of the world’s most prestigious auction houses. The 3 works were put on the block alongside paintings by Renoir and Andy Warhol. Unfortunately neither the work by the Impressionist master, nor the piece by pop art Andy, managed to get to the reserve prices –and remained unsold. However, bidding for the three ‘Congo’s was brisk and plentiful. Now, you are probably wondering “who was Congo, and what kind of art did he make?”

Congo was born in 1954 and during his lifetime was a prolific artist producing about 400 drawings and paintings. His best period, apparently, was between the ages of 2 and 4. No, it is not a typo error –his best paintings were done at a very early age! Unfortunately poor Congo lived a short life, and died in 1964 of tuberculosis at age 10. Now, let’s get down to business, or rather, should I say, monkey business? Congo, whose work was so hotly pursued by art collectors more than 20 years after his death, was a Chimpanzee. His keepers had discovered his penchant for art while he was in their care and they encouraged his ‘talents’ by supplying him with the necessary materials to fulfill his artistic vision. Like so many artists, his work was un-appreciated and even scorned by the critics of his time, however, it was rumored that one of his fans back in the 50’s was Pablo Picasso, who is reported as having hung a Congo painting on his studio wall after receiving it as a gift.

Now, we’ve all heard about the intelligence of Elephants, and their extraordinary long memories. How many of you knew that there are Art schools for Elephants? In Thailand, Elephants have traditionally been kept as working animals. Nowadays they are trained in all kinds of activities to keep the tourists amused and entertained. Among the many talents the locals have discovered in their elephants is their capacity and enjoyment to create paintings. In various regions of Thailand some individual elephants have demonstrated some surprising skills. The local mahouts (keepers) have taken the whole thing very seriously and have organized Elephant Art Classes, not only for the tourists’ amusement but also as recreational activity for the hard working beasts. Different artistic techniques and styles are emerging among the ‘students’ in regional areas and there are some who have demonstrated real promise. At the end of each show organized for the tourists’ amusement, some of the masterpieces sell at prices that would satisfy any struggling artist. As with Congo the chimpanzee, it appears that the young elephants demonstrate the best talents for art, however, the article I came across on the net mentioned a particularly gifted female Elephant in her late 30’s. I wonder if Bonhams in London has sent anyone out to Thailand to look for acquisitions for up-coming auctions.

And while we are discussing Elephants I would lie to mention Brittany. She is an African elephant (The elephants in Thailand are the Asian kind) at the Milwaukee County Zoo. She, too, has demonstrated a passion for painting and her artwork is sold at the zoo's gift shop to raise funds. This painting pachyderm has a penchant for abstract expressionism, and minimalistic conceptual art. She is also known for painting her keeper, the walls, the ground around her canvas, and splashing paint into the air.

Zoos and aquariums across the USA, for some time now, have encouraged animals to paint as a way to mentally stimulate them in captivity, but it is only recently that the management companies have latched on to the idea of selling the works. On the net there are stories of birds, pigs and even turtles who have taken to paints and brushes.

It seems that the sea lions, in addition to all their fun and games at the zoo, have demonstrated some particular skills. In North Devon, England, two gifted artists called Morgan and Aero, who paint with the brushes between their teeth, are known to step back from the canvas from time to time, and applaud their own work with their flippers. Last year in 2008 some of their work was displayed in reputable art gallery in England in a show organized to raise money for charity. How’s that for making a splash in the art world?

 

 

Donations of Art –You give and you get back a tax deduction

The story we posted previously in this month’s art blog about the couple in Manhattan, who amassed a superb collection of contemporary art works and then donated almost the entire collection to Art Museums, made me wonder about the tax implications of such generous acts. Besides the personal ‘spiritual’ satisfaction of giving, does this kind of donation accord the donor more down to earth rewards - like tax benefits. Given the extraordinary, modest financial means of the couple in New York it is clear that theirs was a purely altruistic act of generosity, however, most charitable donations of Art are made by people of wealth. Without detracting from the merit due to donations by the rich, (it is to be heartily lauded), we would like to point out some of the returns they can obtain from the IRS in exchange for their magnanimity.

The IRS rules state that if you have owned an artwork for at least 12 months, you can donate it to an IRS approved charity or non-profit organization and claim a deduction on your tax return for the appraised fair market value (FMV). If the FMV is less than $5000 an appraisal by a qualified appraiser is not required to be attached as supporting documentation for your deduction. If the fair market value is above that amount the IRS will require an expert appraisal as supporting evidence.

The actual purchase price that you paid for the art is irrelevant to the amount you can claim to deduct. If the painting, or whatever, was bought at least 12 months previously and has since increased in value, the amount of deduction can be very advantageous.

If you do have artworks that you might consider donating, consult your tax accountant and advisor. The tax code changes often and these are matters that are always open to interpretation, so make sure you have expert professional advice. You can get some basic info online by reviewing IRS publications (like IRS Publication 561) which provide information on determining FMV.

IRS Publican 561 - Determining the Value of Donated Property says that for contributions of paintings, antiques and other objects of art:

A claim for tax deduction should be supported by a written appraisal from a reputable source, unless the deduction is for $5,000 or less. Examples of information that should be included in appraisals of art objects - paintings in particular—are found later in the 561 publication under ‘Qualified Appraisal.’

If the art you donated was valued at $20,000 or more, you must attach a complete copy of the signed appraisal to your return. For individual objects valued at $20,000 or more, a photograph of a size and quality depicting the object, preferably an 8 x 10 inch color photograph or a color transparency no smaller than 5 inches, must be provided upon request.

If you donated an item of art appraised at $50,000 or more, you can request a Statement of Value for the item from the IRS. Said request must include the following:

A copy of a qualified appraisal of the item and a $2,500 check or money order payable to the Internal Revenue Service. This is a processing fee for your request and is applicable to a maximum of three items of art. If your claim for deductions concerns more than three pieces of art, an additional $250 for each item in excess of three should be sent.

A deduction for $50,000 or more will also require you to complete Form 8283, Section B – again we advise you to consult a professional tax accountant when filling in these kind of tax forms.

The tax examiner will also need to know the location of the IRS territory that has responsibility for your return. Normally, if the request you file lacks essential information the IRS will notify you or your tax attorney to re-file the lacking info within 30 days.

‘Charity begins at home’ so, if you have some nice pieces of art at home, and are feeling generous, follow the example of the Vogels in Manhattan. While the museum or non-profit will benefit from your sense of charity, you can benefit from a nice tax deduction.

 

 

 

Are you a right-brained artist, left brained or – half brained?

First of all, we know you’re not half brained. If you’re reading this blog then you are obviously an intelligent person with a curious mind. Your left and right hand side brains are working side by side right now as you read this article. But are the neurons on both sides firing simultaneously at the same rates?

Research in the late 1960’s by American psycho-biologist R. Sperry led to new understandings in how the human brain thinks. From his research, for which he was awarded a Nobel Prize in 181, medical scientists saw that the two halves of the brain process information that leads to different perceptions. The right brain is visual and processes information in an intuitive and simultaneous way. It registers first the whole picture then the details. The left brain commands speech and verbal understanding. It processes information in an analytical and sequential way, looking first at the pieces then putting them together to get the whole. Basically who we are and the extent of our own talents and our perceptions of the world are due to whichever side of the brain is more dominant in the whole picture. Following Sperry’s findings, subsequent researchers in the field have come to even deeper understandings of the workings of the brain. More recent research shows that, although the two sides of the brain do have specific attributes, their overall functions are not as polarized, and as simply separated as Sperry once thought.

How does all this matter to the Artist?

When you start a painting, do you already visualize the final work in your mind? If so, your right brain in is action already. As you develop the painting, mapping out the composition, matching and mixing colors, placing in the shadows and highlights, the right brain is still dominating. It allows you to work on various things simultaneously. However, as you work, you need to be able to look critically at what you’re doing; to analyze whether the elements go well together –this is where the left hand side of the brain springs in to action. Take this little quiz to find out if your thinking is dominated by your right or left brain. Whatever the results you obtain, remember when beginning a new project that you can deliberately set out to use the 'right brain' way of thinking in your painting or drawing. Plan it out, stage by stage, visualize it to the end rather than working on 'auto-pilot' and going with the flow. Trying a different strategy will help you get some startlingly different results.

Answering these questions will give an indication as to which side of your brain is dominant.

Question 1: When beginning a painting have you:

A) A idea of how to begin and then rely on yourself to develop it by stages

B) An overall idea of what the completed painting should look like

Question 2: When using new materials do you:

A) Read the instructions

B) Jump in and see what happens

Question 3: When painting do you work on:

A) One painting at a time until it’s finished

B) Several paintings at once, all at various stages

Question 4: Which kind of painting do you prefer:

A) Realistic and photographic type

B) Abstract and fantasy

 

Question 5: When you’re working on your art time passes:

A) Slowly, you’re aware of the time you’ve spent working

B) Quickly, almost un-noticed

Question 6: Your studio or painting area is:

A) Neatly organized with everything in place

B) Chaotic and utterly disorganized

Question 7: How often do you make decisions based on intuition and hunches?

A) Rarely

B) Often

Question 8: Do you find it easier to remember someone’s:

A) Name

B) Face

Question 9: How often are you late for appointments and meetings:

A) Very rarely

B) All the time

Question 10: Do you like music playing while you paint?

A) No

B) Yes

 

Question 11: When someone critics your work, are you affected by:

A) What they say

B) How they say it

 

Question 12: Do you gesticulate with your hands when you talk:

A) Hardly ever

B) All the time

 

Question 13: Your best ideas come when you’re:

A) Sitting up

B) Lying down

 

Question 14: You’d like a new sable brush. Do you:

A) Buy it only if you have the money

B) Charge it to your credit card regardless..

 

Question 15: When a fellow artist ask you for your opinion about his/her art – Do you:

A) Think carefully before answering because you don’t want to discourage or hurt their feelings

B) Say exactly what is on your mind even though it might upset.

 

Question 16: When you open a new ‘how to’ painting book, do you:

A) Start at the very beginning and read through chapter by chapter

B) read whatever sections appear interesting and catch your eye

 

Question 17: Do you prefer:

A) Dogs who obey their owners

B) Cats who retain their independence

 

Question 18: When you hang a painting on a wall, do you:

A) Use a tape measure to ensue it’ll be in the right place straight away

B) Put it where you think it will be right and then keep adjusting

 

Question 19: Do you prefer:

A) Working individually

B) Group activities and collaboration

 

Question 20: Do you have patience to continue this quiz:

A) Probably

B) Probably not.

* If you have answered most of the questions with A’s, then the left hand side of your brain is dominant. If the majority of your answers were B’s, then the right hand side is dominant. The greater difference in number, between the A answers and B answers, shows to what degree one side of the brain out performs the other.

 

 

How to build an Art Collection on a budget

 

A documentary film by Megumi Sasaki entitled “Herb and Dorothy” came out at the beginning of this year. It is movie about an amazing couple, Herb and Dorothy Vogel, he a postal clerk and she a librarian, who have spent their lives and modest incomes acquiring a superb collection of contemporary art.

In the early 1960s, when little attention was paid to Minimalist and Conceptual Art, the couple began purchasing the works of unknown artists. During all the years they collected art they were guided by two basic rules: the piece had to be affordable, and it had to be small enough to fit in their one-bedroom Manhattan apartment. Within these guidelines, they proved themselves visionaries of the art world. Many of the struggling artists, whom they chose to support and encourage, went on to become world-renowned. After more than 30 years of collecting the Vogels had accumulated more than 4,000 artworks, filling every corner of their living space. When it became almost impossible to move in their apartment they sat down and decided that they would have to do something about the situation.

In 1992, the Vogels made headlines that rocked the art world. They decided to donate, as an outright gift, most of their entire collection to the National Gallery of Art. Many of the works they had acquired at modest prices had, by then, appreciated so significantly that their collection was worth several million dollars. Amazingly the Vogels had never sold a single piece from all the works that had acquired over the years. Dozens of other museums around the country have since received smaller donations of work from the Vogels.

Herb and Dorothy still live in the same apartment today and the apartment is slowly filling again with more recently purchased works by unknown emerging artists.

The Vogels, with their discerning taste, patronage and generosity are a rare example of modern day collectors. In a recent book, written by the chairman of Sotheby’s UK, called “Great Collectors of Our Time: Art Collecting Since 1945.” The author cites Herb and Dorothy Vogel among the top art collectors in the world, alongside the Getty and Rockefeller Museums.

The latest movie “Herb and Dorothy” provides a unique insight in to the world of contemporary art through the eyes of two very unlikely collectors. Their passion, perception, and understanding of new trends in art and, above all, their willingness to support emerging artists through acquisitions, redefines what it means to be a patron of the arts. Despite their very modest means, they have been categorized with past patrons like the Medicis of Italy during the Renaissance.

So, the question, one can ask, is how did they do it? From the movie it is clear that, for the Vogels, collecting art was not only a passion. For them it was fun and an adventure. They enjoyed attending galleries and visiting studios. They enjoyed talking with young artists. They also did their homework by researching the outcomes of past exhibition of artists they particularly liked. They kept themselves informed about each artist’s progress and bought works by the same person to help promote his/her career. Another interesting tip from the movie is that they always negotiated prices –even sometimes bartering for a work. They developed direct relationships with many artists and often purchased in cash at prices well below what they would have paid through galleries. If any of you feel the same driving passion as the Vogels (with the same very limited budget) learn from their example. Go to art events and openings, visit street art fairs, artists’ studios, galleries, or big name museums. Get out there and be recognized as someone who loves art. And remember, most $1,000,000 paintings were bought by the first time buyer for $1000. Art doesn’t only brighten and benefit your soul, it can also bring benefit your wallet.

 

 

 

People have always needed Art around them, no matter where they are, no matter where they go.

 

On May 22, 1993, an aluminum sculpture painted with acrylic paint was launched to the Mir space station. The art work, called “Cosmic Dancer” by American born artist Arthur Woods, who lives in Switzerland, was sent off into space as part of a scientific investigation to observe the properties of sculptures in weightlessness and to evaluate the advantages of having works of art in the small environment to which space crews are confined. The cosmonauts on board Mir, at the time, filmed a video documentation showing the sculpture and themselves giving an informative and appreciative commentary about the presence of the work onboard. The cost of sending the sculpture in to space was approximately 100,000 dollars and the financing was realized through the sale of an edition of 99 versions of the sculpture.

On September 3 1995, on board the EuroMir 95 space mission, ESA astronaut Thomas Reiter from Germany took with him 20 works of art that had satisfied the criteria for flight on Mir.

The twenty works were selected in the course of a competition entitled "Space and Humanity” organized by a cultural and astronautical society based in Switzerland. They were chosen from a total of 171 works submitted by artists from all over the world for flight on the Euromir 95 mission.

During the flight, Reiter and a fellow Russian cosmonaut judged which of the twenty works in their opinion best illustrated the theme of “Space & Humanity.” All the twenty works were later returned to Earth and exhibited in galleries and museum around Europe. In November 1995, one hundred young European artist students gathered at the Euro Space Center in Transinne, Belgium to listen to and talk with the space crew about the relevance of art in space exploration.

It is comforting to know that astronauts and cosmonauts are taking Art with them on their journeys to the beyond. If ever they come across aliens, they’ll have something to show them and look at together over a glass of wine.

As an extra bit of info about Art in Space - one lucky artist has already seen his work go into space many times: a NASA research pilot called Mark Pestana has designed the mission badges for a least nine space shuttle crews. How’s that for achievement that goes un-noticed by the Art world? 

Another interesting story about unusual working places for artists is the following: In July 2008 Pakistani born Artist Nasser Azam, who has lived for many years in England, decided to create his latest art in conditions similar to the weightlessness of the Mir space station. To create a zero gravity ‘masterpiece’ he flew several times 23000 feet skyward aboard a Russian aircraft specifically designed to simulate the effects of weightlessness. The parabolic flight path creates conditions of zero gravity for short periods. To prepare for this new adventure, Azam trained beforehand at a Cosmonaut facility in Russia. Before undertaking the flights, he first drew disembodied figures inspired by the works by Francis Bacon and then filled in the pre drawn figures using acrylic paints during the moments of zero gravity.. I wonder how he managed to keep the paint from floating around in the aircraft!

The bizarre event, in any case, turned out to be quite profitable for him, as the painting he completed during the zero gravity experience was sold in auction later on for more than $330,000 in New York.

I hope it was enough to cover all his expenses.

 

Who controls the prices –the Artist or the Collector?

 

Here’s an article posted June 12 in a New York journal. The New York State Supreme Court has a case before it where an artist called Alexander Melamid is suing a pair of collectors who are trying to maintain certain prices for his works in an upcoming exhibition and sale in London, England. In 2005 the two art collectors purchased a dozen works by Melamid for $1.2 million, allegedly (according to the artist) with the intention to resell them at prices of $450,000 each. In the meantime, of course, the economy has pooped and the art market has gone splat.

Melamid has been planning an exhibition at Phillips de Pury in London, where, in light of the current financial meltdown, prices for his latest works were expected to be between $80,000 and $150,000 a piece. The two collectors claim they have the contractual ability to forbid the sale of any future works by the artist at prices that undercut the prices they paid for their “investment” in his work 4 years ago. They want the minimum sales price for work in the upcoming show to be $270,000 per painting, which according to the Gallery owners in London, and the artist, himself, is too far above what present ‘market’ conditions can sustain. The Artist is suing the two collectors for interfering with his exhibition.

Alexander Melamid, originally from Russia, has painted a series of portraits of hip-hop artists like Snoop Dog and 50 Cent in a style similar to the realistic Old Masters.

In all the markets, prices go up and down and up and down –but there again- manipulation by investors is nothing new either.

 

 

 

 

When the Art Critic is ‘Comrade, Putin’, the Artist would be wise to listen.

 Here’s an article that caught my eye in the BBC News online site from a few days ago. Russia’s Prime Minister and Top Gun Vladimir Putin who is known among other things, for his deadly stare and karate chop has been giving his advice to one of Russia most famous painters. Mr. Putin, who dabbles with the paints and brushes from time to time, was visiting an exhibition of work by 79 year old artist Ilya Glazunov a few days ago when he stopped in front of a large painting of a medieval knight. After viewing the painting quite closely, Mr. Putin turned to the artist and said “The sword is too short. It is only good enough for cutting sausages.”The artist, a little taken aback, but mindful of the powerful authority of the critic before him, agreed with Putin’s remarks and said that he would remedy the error.

Sometimes there is criticism that you just cannot afford to dismiss. The long ‘sword’ that Mr. Putin carries has certainly cut up more than sausages during his time in the Kremlin.

Artist Ilya Glazunov &Critic

 

 

 

Lots of Artists’ quotes reveal subtle insights into the artist’s own perception of Art

 Let’s start with a few quotes attributed to Pablo Picasso (1881-1971)

“Every child is an artist. The problem is how to remain an artist once one grows up.”

Picasso is also merited with the quote: “Everything you can imagine is real.”

This one is also his: “I am always doing that which I cannot do, in order that I may learn how to do it.”

Picasso also came up with this remark about artists: “There are painters who transform the sun into a yellow spot, while there are others, by their art and imagination, can transform a yellow spot into the sun.”

Paul Gauguin(1848-1903) came up with these two gems: “I shut my eyes in order to see what I wish to paint.”

And then: “Art is either plagiarism or revolution.”

The French writer Andre Gide (1869-1951) was quoted as saying in an interview: “Art is a collaboration between God and the Artist –and the less the Artist does, the better.

Another great writer, Tom Stoppard has said “skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.” (Ouch!)

Here’s another scathing critic of modern art from Al Capp (1909-1979): “Abstract Art is a product of the untalented, sold by the unprincipled to the utterly bewildered.”

Another biting remark is accredited to Ambrose Bierce (1842-1914) who defined Painting as “the art of protecting flat surfaces from the weather and exposing them to the critic.”

I like this one from Salvador Dali(1904-1989): “Have no fear of perfection. You’ll never achieve it.”

Andy Warhol(1928-1987) has a prolific list of quotes attributed to his name. The one I like is: “Making money is an art. Painting is an art. Doing good business is the best art of all.”

Andy also said: "My instinct about painting says, 'if you don't think about it, it's right.' As soon as you have to decide and choose, it's wrong. And the more you decide about, the more wrong it gets."

Here are some words of wisdom attributed to the great satirist and playwright Oscar Wilde (1854-1900): “Every portrait painted with feeling is a portrait of the artist himself, not of the sitter.”

And on that encouraging note here’s an up-lifting quote from Henry Ward Beecher (1813-1887): “Every artist dips his brush into his soul and paints his own nature into his pictures.”

 

 

 

The Starving Artist

 

John Dreamer worked day and night, stopping only occasionally to eat a hastily prepared sandwich or drink a glass of beer. He had lived like this for six months since moving in to the loft which, by now, was filled with paintings he has created. John thought little about food and even less about sleep. Totally absorbed by his Art, what he thought about least of all was his rent.

There was a sharp knock at door. His landlord now stood before him, demanding the three months' rent that John owed on the loft.

“Give me a couple of weeks,” pleaded John. “I know I'm on the verge of making

some sales.”

“Sorry, out of the question” the landlord said. “You told me that story last month. Either you pay up today or you’re out.”

“Look,” John replied, “think of it as an investment. Someday this loft will be famous, and you'll be able to charge a fortune for it. Someday, people will visit this disgusting loft and say, John Dreamer used to paint here.’”

“If you don’t pay your rent now,” the landlord said, “they'll be able to say it tomorrow morning.”

 

 

Le vernissage:- Varnishing your paintings

 In Gai Paris, when Monsieur or Madame say they’re off to an art exhibition opening they will declare “Nous allons à un vernissage.” Translated to English it means literally “We’re going to a varnishing.” In the past it meant that the artist had put the final touch to an art work –the varnish. It was an event to be celebrated with wine and food (as openings are today) since the artwork was ready for viewing.

What are reasons for varnishing a painting?

Varnishes are applied to paintings that are not going to be framed under glass to protect them from dirt, dust, and pollution in the environment. Varnishes are also used to homogenize the final appearance of a painting, by making the surface appear equally glossy or matte. The varnish intensifies the luminosity of the pigments on the painting surface by the refraction of light. This is effect is called "saturation."Although most varnishes are clear, some artists like to tone or alter their transparency with the addition of pigments and other materials. Toned varnishes are often used by restorers to balance a painting whose appearance has changed with age. The cardinal rule for using varnish is to wait until all the layers of paint have completely dried. On thickly textured oil paintings this can take up to six months. Applying varnish before all the layers have dried will seal humidity into the paint pigment and lead to decay, bubbling and rapid deterioration.

For the technically minded, who want to know what’s in the bottle before using the contents: varnishes are solutions of natural or synthetic resins in organic solvents that dry to a solid film when spread thinly on a surface. Nowadays, there are many different types of varnishes. Reading the information on the container will help you understand their various properties and effects.

The benefits of applying a clear resin as a final protective coating for a surface were realized during Antiquity. The ancient Greeks used waxes, for example, on the surfaces of their mural paintings and, by the Renaissance, a variety of ‘varnishes’ had been developed ranging from egg white to tree resin. Until modern synthetic industrial production began, most natural varnishes were produced from tree resins (mastic and dammar), fossil resins (copal), and insect excretions (shellac). Many of these are still preferred by artists and restorers today.

Now to the question: - to varnish or not to varnish? Many contemporary artists do not like the shiny surface effect that is created by the use of varnish (even the matte ones.) However, without varnish, dirt and dust become ingrained into the top paint layer and they are very difficult to remove without causing damage. So, if you want a painting to be enjoyed by the world in 500 years from now, a varnishing would be a wise thing to do. In time, as varnish tarnishes and becomes discolored, experts can remove it and re-varnish the painting, revealing the undamaged original colors.

“What about acrylics?” you ask. Among many artists and conservation experts, there are concerns about the effects of varnishes on acrylic paintings. The use of acrylics nowadays as a preferred medium has not been around long enough to stand the tests of time. One foreseeable problem in the future is that the solvents used to remove tarnished varnishes are likely to damage the acrylic paints beneath. 

If you have decided against varnishing, you can still decide to frame your painting under glass. The frame, itself, gives some protection to the painting; the glass definitely protects the surface from polluting particles but it does change the appearance of the painting. You have to consider the aesthetic effect when taking the glass option.

Now to the varnisheing: First, read the instructions on the label!

Get yourself a good varnishing brush. Work in good lighting so that you can see that every part of the paint surface has been evenly varnished. Do not apply the varnish too thickly. Two thin layers are better than one thick one. Wait for the first layer to thoroughly dry before application of the second. We’ll be happy to take a look in 500 years from now to see how your work has stood the test of time.

 

 

How to take photos of your Art

Your website is like your store front window. What you hang in that window will, or will not, excite the potential customer’s interest. Now imagine, you have filled your store interior with beautiful merchandise and then you begin put a few examples into the front window to entice passing customers on the sidewalk. Arranging the display from the inside of the store, everything looks fine. .You sit back in the store and wait for customers. But what if you have forgotten to do the most important elementary ground work? Potential customers are walking by they can hardly appreciate your merchandise because the window glass is full of scratches, is covered in dust and smears and the exterior overhead awning casts a dark shadow over your display. If you go out, polish the scratches, wipe off the dust and stains and roll up the awning so that the sunlight brightens up your display the chances of success increase dramatically.

The quality of the photos you publish online represents in a way, the condition of the glass and the awning on the store front. The photos are the only representation of your artwork by which a potential buyer can make any kind of judgment. If the photos are of bad quality, it is safe to assume that potential buyers will not be tempted to enquire further. If the photos are not sharp, with good luminosity and definition, the chances of selling the actual art greatly diminished. I am not saying that you should start “improving” the merchandise by photo-shopping out all the blemishes and imperfections. Photographs of your art should be as true to the original as possible –especially concerning the colors.

There are so many different models of computer monitor screen that you can never really know how they will slightly modify the hues and tones of your work. Also, don’t forget that individual users adjust the brightness control of their screens to whatever level they prefer. To ensure that the photos you have published are true color representations you can always look at them in different browsers on your computer (Internet Explorer, Safari, Firefox etc.) and, maybe check out your website on a friend’s computer or in a retail computer store.

Taking the photos: The basic rules.

Rule No 1: Even though it seems obvious. We will repeat the obvious. DO NOT take photos of work that you have already framed behind glass. No matter what you do, the glass will distort the colors and there’ll be some kind of reflection. The results are invariably bad. Always remove protective glass before.

(If the work is already framed, and you think it best to keep the frame in the image, make sure the whole frame is included.)

Rule No. 2 Natural outside light will give the best results unless you have some photographic lighting equipment –and know how to use it. If you have no access to proper flashes you will actually get the best result by photographing your work out in the sun. Wait for a cloud free day, when the sun shines bright and watch out for shadows from trees, clouds and such. It is a good idea to prepare a one colored background against which you can place the work to be photographed.

Rule No.3 Invest in a tripod (cheap ones cost less than $10 online.) Taking your photos this way helps overcome the problem of shaky hands and of heavy click fingers that diminish the sharpness of the image.

Rule No.4 If you have to use a flash, use an indirect flash by obscuring the flash with a very thin piece of white paper or (if you have invested in equipment) a reflector umbrella. This way you avoid the localized bright spots that come out on the image due to the flash.

The Camera: In this day and age we all seem to have digital automatic cameras. Provided that your camera has at least 2 mega pixels of capacity, which is not a lot nowadays, you should be able to get good quality photos that can be published at 500 X 500 pixels online. This size gives an online buyer a fair view of the work from which he/she can make an educated judgment. An online image of 500 X 500pixels = 250,000 pixels which is equal to 0.25 mega pixels. One mega pixel is about the same as a 4” x 4” regular print of 300 dpi (dots per inch.) A digital resolution of 72 psi is sufficient quality for posting images on the web.

If you are photographing a small painting you can get good results by putting the work on the ground and leaning over it. Make sure that your own shadow is not in the picture. Larger paintings should be photographed at eye level if you are photographing free hand or at the level of the tripod. You can use your easel to get the right height and use a white thin cardboard, for example, as background to hide the easel from the image. Always take a lot of photos of each work. Later you can view them and choose the best one for publication.

If you are taking pictures of sculptures in the sunlight you might need a reflector. It is basically a white surface with which you can reflect the sunlight onto the shaded side of the sculpture in order to soften up sharp shadows. You might need a friend to assist in this otherwise you spend too much time in adjustments between the camera and the reflector.

Working Inside: For studio shots you are going to need at least two flashes with reflector umbrellas. Position the umbrellas so that you get an even spread of light which. You don’t want reflexes or shadows in the picture. If your camera allows it, adjust the flashes's lead lights. If you have a light meter, measure the light so that you get the same value (8/250 or 8/125 is sufficient) at various points on and around the painting.

Make sure the flashes, the camera and the painting are all placed on the same horizontal line.

When taking pictures of sculptures you can use basically the same reflector and lighting settings, but since you probably want to bring forth the forms and shapes of the sculpture, then you can experiment more to avoid too much flatness in the image.

Now that you have taken the photos you want –lets prepare them for the internet.

Tips for the Web: JPEG compression is the most common way to make image-files small enough to fit on the net. Remember, however, every time you copy and save a JPEG compression the quality of the images diminishes. JPEG compression works by removing colors from the image data. It's a good idea to keep a TIF-file as a master copy of your image from which you can which save JPEG-images for publication. It is wise to only save a JPEG-file once.

When saving a JPEG/JPG-file the program asks you what degree of compression you want. JPEG-compression is measured on a scale from 0 - 100. The lower the number the smaller the file, but the image will also be more ‘damaged’. A value between 70-80 on the scale is sufficient for your art pictures.

GIF images are limited to 256 colors per image. This format should only be used for monochrome art or works with few and clean colors.

And now some advice: Do not digitally enhance your images excessively with all the special effects in photo shop etc. Your goal is to take photos that represent your art work as closely and truthfully as possible.

And lastly- some more advice: Once you got the images just right do not forget to add as much description to accompany the photo. Interested buyers want to know as much as possible about the work that interests them, so give as much info as possible- the title, the size, the medium, whether it is an original, giclee or print etc.

Good luck and good shooting!

 

 

We have good news & bad news. A Picasso is stolen and a Renoir recovered

 A couple of days ago we posted an article called “How and where, do thieves sell art?” I hope we didn’t give any ideas to anyone because – whoops – the art thieves have struck again; this time in France. Sacre bleu! In the latest heist, ‘les bandits’ stole a notebook of sketches by Picasso valued at $7.5 million to $11 million from the Pablo Picasso Museum in Paris. Early Tuesday morning Museum personnel discovered that the sketchbook was missing and called in the local Inspector Clouseau to investigate the crime. The Picasso Museum was closed for the day while the intrepid detectives searched for clues. We wish them bonjour and bonne chance.

According to a report put out by the French Culture Ministry, the sketchbook was stolen overnight. No alarms were triggered and there were no obvious signs of a break-in at the museum, which is located in the city's Marais district.

The note book, which has the word "album" inscribed in gold on the cover, contains 33 original Picasso drawings done between 1917 and 1924. It is shiny red and 16cm by 24 cm in size. How do we know? It was in the Ministry report...So, keep your eyes open for a red sketch pad.

Oh, how the thieves love Picasso. Fortunately he was a prolific artist so, no matter how much gets stolen, there’s still plenty left for us to enjoy.

Over the past decade, Picasso’s have disappeared from an exhibit near Zurich in Switzerland; from the Paris apartment of the artist's granddaughter; from museums in Sao Paulo, Brazil; from the Manhattan apartment of a collector; and from a Rio de Janeiro museum during Carnival.

According the Art Loss Register based in London there are, at present, more than 700 (yes, seven hundred!) works by Pablo Picasso missing world-wide.

And while another Picasso joined the Loss Register, the good news is that another painting will soon be struck off the list. Last week police in Venice, Italy announced the recovery of a painting by French Impressionist artist Pierre-Auguste Renoir that was stolen in 1984.

Italian police revealed that they are investigating the claims of a person from Treviso, just north of Venice, who says that he bought the painting at a rummage sale. There are no details as to how the authorities managed to locate the painting that disappeared 25 years ago after being stolen from a villa in Rome. The police spokesman gave out a statement saying “in our investigations and verifications we were aided by Interpol, the French and the British police.”

At Artlanow we say “Bravo”, “Felicitations” and “Good Work Chaps.” 

With such good police work, we hope to announce the recovery of the Picasso sketchbook in 2034.

 

 

 

A little Goodwill can bring great rewards.

The next time you drop by your local Goodwill store take a closer look at the paintings on the walls. You might find some undiscovered gems. Two paintings left in a Toronto Goodwill donation bin last fall were sold on Tuesday for $134,000. A sharp eyed worker at the Toronto Goodwill store noticed the discarded paintings while routinely going through the contents of the bin. The employee, Helen Zhuang, realizing the paintings were better than the usual assortment of art contributions decided to put them aside for a special evaluation. Goodwill consulted art experts and appraisals at Waddington’s auction house, who determined that both the paintings were by Federico Del Campo, a renowned 19th-century painter of European scenes. The two works, both dated 1895, are of a sunny Venetian backwater and of a Venetian canal with two ships. During the auction they sold for $66,000 and $68,000 to the same buyer after brisk bidding by international collectors.

Del Campo was a Peruvian-born artist, who lived from 1837 to 1927. He studied in Madrid and travelled widely throughout Europe.

No one knows where the paintings came from or who donated them to Goodwill. According to a Goodwill spokesperson, the money raised at the auction will go towards creating jobs in the community. From a little goodwill they really did reap lot of reward.

 

 

 

Dealing with Critics and Criticism

So, it’s the opening of your show. Quite a lot of people have turned up. Some of them familiar faces; friends and relatives - people you know. It’s a good start; you greet them, and later at the event progresses, you walk around the gallery, glass in hand, trying to over-hear some of the comments. Of course, you are quietly thrilled when you hear good comments. It’s normal, we all love compliments. But how do you handle the bad remarks. Every artist has to deal with criticism but how to you deal with the critics? How do you react to criticism by people who obviously have no artistic training and are not artists themselves? Theirs is an immediate gut reaction –they either like it or don’t like it. How do you, as an artist evaluate their criticism? They might not have studied art but they are pretty skilled in the art of scathing remarks! Negative remarks from people you respect hurt more, but, the truth is- all bad criticism is painful. So how do you react? What do you say to the un-trained critic? Do you reply with; “You have no idea what you’re talking about!” or do you say “Thank you for your comments. I will consider them.”

Perhaps the most depressing negative remarks come from the “experts”. These are the people with degrees and awards and are, perhaps, in positions to influence opinions - like the local media art critic for example. They are people who the artist, maybe, looks up to. A bad word from them can feel like a damnation to never paint or draw again. These are the people who ‘know’ –or do they really? Look how often in the past, artists, who are now recognized as masters in their different movements were derided by their contemporary ‘experts’. Artists have often had uneasy relationships with their critics. In order to sell, artists need positive opinions for their work to be viewed and purchased. Unfortunately for the Van Goghs of the world, only later generations eventually discover the true value of some artists who are derided and discarded by the critics of their time.

Our opinions about most things change drastically with circumstances and time. Our opinions about all things contemporary undergo revisions with the passage of time. Opinions are not definitive forever. They are not immune to change. So, remember, just because a person is educated in art doesn’t mean he/she knows everything. The only person, who knows exactly what an art work is about, understands the essence, the message or concept, is the artist who created it. Sure, the ‘experts’ may know a lot, but do they grasp exactly what you, as an artist are doing? You have a unique style and a unique way of doing things. Don’t let every bad comment crumble the ego. Try to see if there is anything to be learned from criticism but don’t let it destroy your enthusiasm and the confidence you have in your creative self. Sometimes, constructive comments really can help you reevaluate your work and lead to better things.

Next time an artwork of yours is critiqued in a negative light, (it doesn’t matter by whom) you decide if the comment can help, or if the words should go in one ear, out the other and be forgotten.

Gabriel Von Max painted “Monkeys as Judges of Art” in 1889 to show what he thought of Art critics

 

 

 

The Age of Success

Not every article posted at Artlanow has to be about Art – does it? Sometimes there are things we come across that are just interesting, weird, funny or nice. So, for those who are following us for the Art news or general Art info, this is a diversion. It is a light hearted look at the stages in life where we measure our successes on a different scale…..

At age 4: success is not making pee-pee in your pants

At age 10: success is making your own meals

At age 12: success is having friends

At age 18: success is having a driver’s license

At age 20: success is having sex

At age 30: success is having money

At age 40: success is having money

At age 50: success is having money

At age 60: success is having sex

At age 70: success is having a driver’s license

At age 75: success is having friends

At age 80: success is making your own meals

At age 85: success is not making pee-pee in your pants.

What ever age you might be – we wish you success.

 

 

How and where do thieves sell stolen art?

Some professional burglars can neutralize just about every complicated alarm system ever designed without triggering the alarm itself. Once inside the protected building they are then capable of overcoming any additional locks, reinforced doors and every other mechanical and electronic device that has been installed to provide security against theft. There have been some spectacular heists of art works over the years including one that happened right here in a West Hollywood gallery in July 2002 when thieves cut from their frames two oil paintings by Maxfield Parrish valued at $4 million. The monetary value of that theft, however, was far from being the highest . In 1990, two guys dressed in police uniforms showed up at the side entrance of the Isabella Stewart Gardner Museum in Boston claiming that they were answering an emergency call. The unsuspecting museum guards let them in and were immediately overpowered, tied up and locked in the basement by the two (unarmed) phony cops. During the next couple of hours, the thieves proceeded to cut from their frames art works valued at $300 million, loaded them into a waiting vehicle and off they went. Included in the heist were paintings by Rembrandt, Manet, Degas and Vermeer. The police and the FBI have never recovered any of the works until this day despite a $5 million award for information. One more example of a daring art theft happened 5 years ago when thieves walked into a Norwegian museum one Sunday afternoon and calmly walked out with two Edvard Munch paintings valued at $75 million.

Now the question one might ask is “Where do you sell a painting that is recognized world-wide and is universally known to be stolen? I presume the thieves don’t put them up for auction at Christies or Sothebys. Surely no one in the legitimate market will be tempted if somebody whispers in their ears “Psst, I can get you a great deal on a Rembrandt , a Degas or a Munch. Cash price only.”

So, what DO art thieves do with the loot? Interpol, the world’s police detective network, estimates that art theft can be a very profitable enterprise for the swift of hand, intrepid burglar. According to their statistics it is the 4th most lucrative type of crime in the world after drug trafficking, money laundering and illegal arms trading. A special data base called the Art Loss Register has approximately 145,000 stolen works catalogued in its files and adds about 10,000 every year. With so much information available about stolen art - to whom do the thieves sell? Well, I guess they have to find a rich art collector who is willing to possess a Rembrandt etc. without ever being able to show to it any of his friends or to anybody else for that matter. (Maybe some of the thieves just keep the paintings for themselves in the hope that one day that can claim the reward from the insurance companies?) Most, obviously, must find buyers some-how, even at very heavily discounted prices, or the heists would not continue to occur. Imagine, somewhere in a hidden basement somebody is looking at a stolen masterpiece, rubbing his hands together, smiling and saying to himself “ Ah, ‘tis mine, all mine.” When you think about it – the really clever thieves, once they’ve sold a stolen work to somebody, could always go and steal it again…and again….and again. What are the new ‘owners’ going to do –call the police?

 

 

 

Is this the world’s largest art prize or the world’s biggest art scam? Deadline July 31 2009

YOU DECIDE?

 Every month we publish details at Artlanow about up-coming juried competitions. Many of these competitions offer to the winners, cash awards, prizes and the chance to participate in a real exhibition. Almost all of the juried competitions ask for participation fees – which in legitimate cases are used to cover organizational costs and the awards promised. Some of the juried competitions we publish are about online competitions only, organized by online only art galleries. In many of their proposals the only prize, accorded to the winners in return for their fees, is a ‘special winner’s exhibition’ on the same website. At Artlanow, we try to weed out the ones we feel are without real merit, where perhaps the entry fee paid by the artists is the overall motivating factor for the organizing website rather than the goal to promote legitimate competition through juried opinion.

Having said that , we’ll let you make up your own minds about the purpose and legitimacy of the following announcement that is currently online at http://www.artprize.org Is this the world’s largest art prize or is it the biggest online art scam yet?

At ArtPrize you’ll read about “a radically open art competition, giving away the world's largest art prize. The competition is open to any artist in the world who can find space. Open to anybody in the city who wants to create a venue. Open to a vote from anyone who attends. Part arts festival, part social experiment - this international art contest is decided solely on a public vote. Call for entries ends July 31, 2009. Art festival begins Sept. 23, 2009. We admit…it’s an experiment. A fun experiment. Come and see.”

On the website they list the important information for participation:

04/23 Artists can apply 07/31 Registration ends

08/15 Matching ends 09/23 Opening day

10/01 Top 10 Announced 10/08 Winner announced 10/10 Closing day

 

THE PRIZE

1st place: $250,000 * 2nd: $100,000 * 3rd: $50,000 * 4th: $7,000 * 5th: $7,000

6th place: $7,000 * 7th: $7,000 * 8th: $7,000 * 9th: $7,000 * 10th: $7,000

 

THE BASICS

At ArtPrize, any artist—from established to emerging—has the chance to show work. Any visitor can vote. The vote will determine who wins the largest art prize in the world. We also took the unusual step to allow people in the city to open a venue and choose the artists to show in their space. There is not one official curator or jury for the competition.

The number of venues is fluid, so the number of competing artists is fluid. The possibilities are wide open.

We can't predict what will happen, but it should be a lot of fun finding out. Come and see.

Top prize: $250,000 - Dates: September 23 to October 10 - Location: Grand Rapids, MI USA

Winner is determined by public vote - All attendees of the event can vote

Top 10 entries will receive a prize - Multiple artists can collaborate on an entry

Artists may only submit one entry - Property owners/renters in downtown Grand Rapids can become a venue. Number of artists represented is limited by the number of venues available.

 

FINISHED READING? GO TO THEIR WEBSITE AND GET ALL THE DETAILS –WHO KNOWS ?

 

 

 

The Art of the Self Portrait

 Artists have always used self-portraits to explore the basic question of “Who am I?” A mirror or a photograph can show a person what he or she looks like physically, but that physical image does not reflect the whole self. Self-portraiture obligates the artist to embark on a journey of self-exploration. He/she must make decisions about how to represent him/herself authentically. Each detail of the self-portrait, the facial expression, the posture, clothing, background, colors, texture, and style should in some way express the real person. Obviously circumstances and time influence people’s appearances, however, the fundamental person within remains relatively unchanged.

Let’s not forget that Artists have always had practical reasons for making self-portraits; they get a model who is always available and works for free. Self-portraits are also a good way for an artist to practice rendering different expressions and moods. A good self portrait will always serve as a great advertisement of the artist’s skill to potential customers. And then there are the ego motivated reasons: self-portraits represent the artist’s quest for immortality -he/she leaves behind an image that will outlive the artist. This, of course, is in the hope that it will be of interest to future generations. Secondly, a self-portrait can help the artist delve into his own mind and soul andgain a better understanding of him/herself. In addition, a self portrait can preserve a moment in time, a memory wished to be preserved. Last and not least, let’s not forget that a self portrait can be a pretty handy gift to someone, who you are sure would like to have you hanging on their wall.

Two types of self portrait. The real guy on the sidewalk is on the right hand side.

 

 

 

For some Artists & Art lovers, renting art is a good option

 Artists are always looking for new ways to exhibit their art, and new channels that can lead to sales. In Los Angeles, one option worth exploring is the possibility of depositing art with companies who then rent them out. The artist receives a commission each time the work is rented and the company is responsible for preparing the leasing agreements, the incoming payments and the insurance coverage to protect the art in case of damages, theft and loss. The LACMA, for example has a rental department accepting work from ‘qualified’ artists. Many of the stores who deal mostly in framing accept works for consignment with a view to either selling them or renting them out. An internet search will probably bring up a number of similar options in the greater Los Angeles area.

Let’s take a look at some of the advantages for all the parties involved in this kind of enterprise.

First of all, art rentals are great deals for corporate businesses.

Renting art conserves cash flow, is tax deductible and it doesn't require major capital investment.

The corporation gets to ‘redecorate’ cheaply every few months by changing the art. For businesses looking to purchase, renting with an option to buy, enables them to better evaluate the art before committing. In large corporation buildings, where a lot of art is rented, discounted purchase prices can be obtained and passed on to valued staff members as incentives and bonuses.

Second, let’s examine the advantages of renting art as an option for the home. 

The home owner can enjoy hanging beautiful art in the salon without having to spend a lot of money.

Art rental companies will generally include an ‘option to buy’ clause in the lease contract. In addition, lease payments may be credited against the eventual agreed selling price. The home owner gets to live with the work for some time before making a final decision to buy or not. It is an option that helps avoid costly mistakes. In certain contracts, renting for an extended period of time leads automatically to ownership when sufficient monthly payments have been made to cover the ‘real’ estimate of market worth. The great thing about renting art for the home is that you get to change the paintings on the wall whenever you get tired of looking at the same ones.

Other potential clients that the rental companies target are; stores (for window displays etc.), restaurants, bars, hotels, and in Los Angeles there is, of course, the movie industry. Film production companies require special release forms from artists and representing agencies before they’ll point the cameras at any art work.

If you are interested in renting art before you buy, or if you are an artist looking for an additional source of revenue, do your own research online and ask around. You might find some interesting deals to help you on the way.

 

 

 

Is Los Angeles THE City for Contemporary Art?

When the Broad family donated $60 million to create the Broad Contemporary Art Museum at the LACMA, one of the goals behind this wonderful gift was to push Los Angeles to the top of the charts as a global capital of contemporary art. The new complex, designed by Renzo Piano, has drawn large crowds of visitors since its opening in 2008. Reactions to the design and architectural innovations of the building have caused as much heated discussion as the choice of art acquisitions within.

Most of us accept and are usually understanding of the fact, that museum art is expensive. Unfortunately, at the same time, we generally believe that expensive art must be good art- especially if it’s hanging on a museum wall. How many of us, however, would have wanted to buy the same art years earlier when it was probably accessible (price-wise) to most hard working people? We all know, in our hearts, that high prices do not guarantee quality. High prices do, however, guarantee celebrity - and celebrities (live ones and ones hanging on the wall) arouse our curiosity. Film stars, business moguls and top athletes are all talented people in their own professions however, what incites the general public to the point of veneration is the perceived big bucks life style that comes with the job. Money generates interest in more ways than percentage rates. In museums the huge price tags with all the zeros create an aura of bizarre celebrity around the art works and draw in the public to see them. We are curious to see the art that the museum paid so much money for… “Look, here I am standing right next to $20 million dollars!”

When the new Broad Museum opened there was an extravaganza party attended by many A-list Hollywood people and moneyed Los Angelenos. The celebs came to see the celebs on the walls before Joe Smoe and family were allowed in the door. The art made a spectacular backdrop for a gathering of the rich and famous who spent the evening posing for photos besides the contemporary works. The whole event was a fantastic public relations success. The public was shown how art attracts people with money and the impression is generated that interest in art and moreover, owning a collection of well known art goes hand in hand with success.

However, with perspective, has the Broad Museum achieved its goal to make Los Angeles a global capital of contemporary art? Well, in my opinion – maybe. It is certainly helping L.A. displace New York as the US Capital of Art. A stroll through its three floors is an entertaining and rewarding look at Art over the last 60 years. Where ever you look, you have the impression that you are viewing art that you know so well from magazines, books, TV, and news articles. You are looking at the celebrities of art –right there in front of you –in ‘person.’ The colorful, larger than life, playful works by Jeff Koons, for example, are almost so familiar that you can almost think of them as characters from your favorite shows. It’s as if you’re visiting a studio set instead of an art museum. In fact, the whole complex and the entire collection leave one with a lightness of mind and relief that the intellect is not over-taxed.

The important contribution the Broad has made to the L.A. contemporary art scene is that has stimulated local galleries and institutions to exhibit more of the rising stars from worldwide. The latest concepts, the outlandish, the experimental and the truly bizarre are now on display in L.A galleries at prices that many can afford. Look at the galleries in downtown Chinatown in Chung King Road. If you what to see what is happening NOW in the art world this is the area to visit. If the Broad Museum exhibits the kitsch, pop, cheesy and sleezy art of contemporary successful artists, then Chinatown is showing us the art world’s paparazzi version of Brad & Angolina, Paris Hilton and the Oscars. It is about today. Yesterday is no longer interesting. The Art exhibitions change so dramatically, so rapidly in concept and style that there is no way to discern any movement or school or style. They don’t have time to grow and develop and become ‘established’ as such – and if they do, they are bought for big bucks and acquired by museum. Take the time to visit the Chung King Road galleries (Art Walks and receptions are on Saturday evenings) because for some of the art you see there now, the Broad Contemporary will be paying millions for you to see, in ten years time. And remember, the lucky buyers, who make the right choice now, will also find themselves with a ‘celebrity’ on the (dining room) wall in ten years from now. 

 

 

We all have our dreams

Yes, we all have our dreams; what we would like to do with our lives; how we’d like to show the world what we have to offer; show the world the creativity busting to get out, and most of all, be appreciated and recognized for it. How lucky are those who get to realize their dreams? Imagine how great it is to do what you love, AND make a good living from doing it. Happy are the doctors who love treating the sick, and who are handsomely rewarded for it. Happy are the engineers who love building things and get paid well for it. Happy are the accountants who love counting numbers and get paid well to do it. And happy, oh, so happy, are the artists who do what they love and people BUY their work –yes, people buy it and appreciate it –and appreciate them. Art is not a profession that you decide upon lightly. Given the chance of success, only the most dedicated, insane, foolish lunatic could look around the world and say: ”Yes! I think I’ll be an Artist. I don’t want to be Jacques (or Jill) - the designer/teacher/advertiser, who paints at the weekend, but Jacques THE sculptor, or Jill THE painter. I am an Artist!” Those who dream of being full-time artists - this is my life, this is how I earn my living artists - are chasing a dream that has many nightmares along the way. Is it worth it? Only success will tell. In the meantime, how does the rent get paid? Where’s the food on the table coming from? What will happen with all those red bills? When a starving artist is hungry he can still paint, but when he dies of starvation pursuing his dream, what has he achieved? In that inspiring light, why would any young person in his/her right mind study for an arts degree, in the first place? Am I asking too many questions….? No? Well, here are some more…

The graduate with a science degree asks, ‘Why does it work?’ The graduate with an engineering degree asks, ‘How does it work?’ The graduate with an accounting degree asks, ‘How much does it cost?’ The graduate with a law degree asks ‘Who gave permission for it to work?’ The graduate with an arts degree asks ‘Would you like plastic or paper?’ at the checkout counter. Yes, my aspiring young Picasso 2, that is one of the nightmares waiting along the way while the dream of being an Artist gradually fades away on the distant horizon.

So, you are asking, ‘what do those dreams actually mean?’ I can’t tell you, but on the net you’ll find the answer. If you are the curious kind and can’t afford psycho-analysis (how many artists can?) go to astrocenter.astrology.msn.com where a Dream Dictionary gives an analysis of the meaning of dreams.

What does it mean if you dream that you ARE an Artist? The Dream Dictionary tells us…

It is a symbol of creativity, of the ability to create your own world the way you want it.

1. If you dream of a famous artist, you need to ask yourself what this particular artist means to you, and how you feel about his or her work. If you're a fan, then you're on the right track, either with regard to a specific matter you're concerned about or your life in general.

2. If you dream of an artist who is an unknown male figure, then your intellect is trying to convey a message about something you're working on. Consider the picture: Is it just begun, half finished, nearly complete? Is it a good painting, or is it a mess?

3. If the artist is an unknown female figure, then the picture concerns matters of the emotions. Again, look at the picture itself, as well as the other symbols in the dream, to judge what the picture is trying to tell you. The same goes if YOU are the artist.

What does it mean if you dream about a painting? The Dream Dictionary also has the answer..

If you dream of a painting, of any kind, it indicates that the dreamer is about to embark on a project very important to him or her. Discerning the circumstances of that project, and the details, are dependent on other symbols in the dream.

1.Dreaming of a house being painted, indicates that information previously kept from you will soon come to light.

2.If you dream of being an artist and painting a picture that is beautiful and happy, then you have the power to create whatever circumstances you want the most in life. A dark, foreboding painting, however, indicates a pessimistic outlook on life, and therapy might be of great assistance.

3.If you watch while someone else paints a picture, you may have the feeling of being on the outside looking in and need to take control of your life - again, depending on the atmosphere, circumstances, and other symbols in the dream.

The Dictionary has spoken. May all your dreams of being an artist be of you, painting pictures that are beautiful and happy, so that you have the power to get what you want most in life.

 

 

 

Appraising and authenticating art can be a risky business. Things you should know about express warranties and disclaimers.

We all tend to moan about the commissions they take for their services, but given the possible lawsuits they might incur for a wrong “diagnosis” it does seem that art dealers and auctions houses do take risks in order to earn their keep.

An important service provided by art dealers is that of appraising and of verifying artworks. They do this provide to promote and facilitate sales and at the same time, bring it is a service that brings in additional revenue. However, appraising and authenticating art do not come without risks and potential liabilities. Let’s take a look at some of the risks that they run in order to reap and keep the profits and benefits.

First of all, bear in mind that appraising and verification imply a certain expertise that goes beyond the realm of simply selling merchandise. Not all art dealers are qualified to give such expert opinions on every kind of art. There is a fair amount of inter-consulting between dealers who have specific knowledge about specific artists and their art. However, if an appraisal or authentication is given, then the law is there to scrutinize the ‘quality’ of the expertise. There are two areas of state and federal law that come into play when authentication and appraisals take place: contract and tort law. Although there are great similarities in the state laws there are also important nuances in each that have bearing on individual circumstances. An art dealer usually sells either an artwork he or she owns, or a piece consigned by a collector or artist. The Uniform Commercial Code (UCC) is the statute that most commonly covers these types of transactions. The Particular details in each jurisdiction of the UCC must be carefully considered by art dealers when doing sales or appraisals. Let’s just take a look at some generalities.

The concept of express warranties: (basically the thing is what I say it is). An express warranty can be given without even using the words ‘express warranties’, or guarantee, as long as the buyer reasonably understands the seller is affirming certain essential qualities of the work. The buyer is essentially relying on these representations and is buying the work in good faith. An express warranty, in general, outlines the core description of the goods being sold. It is an understanding that this description is to be a basis of the bargain. It is not necessary that the does not seller to intend to create an express warranty. If it is part of the understanding of the purchaser, it has been created nevertheless. Furthermore, if a seller states that he/she acted in good faith that is not a defense if the express warranty turns out to be false.

Express warranties can come from all kinds of situations: sales contracts, catalogs, brochures, advertisements, Web sites and other related types of sales or marketing materials. As in any sales transaction, if the artwork does not conform to the affirmation or promise made, then the express warranty has been breached. There are some aspects of the law that all artists who sell directly online should keep in mind. However, almost all artists sell their own work online, and rare are the cases that disputes about artworks or refunds to dissatisfied customers lead to law suits.

Back to the dealers….An express warranty, then, arises is from an art dealer's description of the artwork, as long as that description becomes a basis of the bargain. If a gallery owner, art consultant or appraiser makes statements regarding an artwork's creator, school, time period or provenance authenticity, he or she is providing an express warranty. This is not a statement of opinio

Talking about value or aesthetics can be considered opinion but proffering specifics about the artist and provenance make up an express warranty. The more knowledge the gallery or art dealer claims to have in a specific area, the higher the level of responsibility and exposure for being inaccurate. Therefore, one who deems him or herself an expert rather than a generalist will be more likely to be found liable. The ones who expose themselves to the most damaging situations are those who have little-to-no expertise in the field. They give warranties or representations about artworks, and argue later, before the Courts, that their comments should not be considered an express warranty because there should not have been reliance them in any case. These people can be found liable for negligence simply because they were at fault for giving an opinion on something they knew little or nothing about. (If you don’t know-better not to say).

An art buyer's has no obligation to examine purchased goods in order to ensure the accuracy of the seller's representations. The exception, of course, is if there is some glaring error that would have caused a reasonable person to suspect the representations were wrong. By the way, the Courts have held that selling at an extraordinary low prices do not necessarily provide sufficient notice to deny a claim for breach of warranty. However, a price that is too good to be true might trigger an obligation on the part of the buyer to investigate. If a buyer purchases the work and gets a second opinion, that might alleviate some of the exposure of the original appraiser. It could be argued that the buyer had depended on his own personal expertise or the expertise of someone else, rather than the dealer's expertise. The circumstances show that the buyer had not accepted the opinion of the art dealer, and had sought appraisal or authentication elsewhere. In this situation the express warranty of the dealer could well be negated.

Read the fine print - Disclaimers. Generally, Courts do not look favorably on disclaimers because they create contradictions. The art dealer is stating that a work was created by a certain artist and the provenance is accurate; and then, in the fine print disclaims the buyer's ability to rely on the veracity of those statements. If a warranty and a disclaimer are inconsistent, the disclaimer is usually found to be inoperative.

However, there have been rulings that have led to modifications of language in contract disclaimers. In Park Burnett v. Weitz, an interesting case example from 1962, the Court upheld auction-house disclaimers in terms of their "as-is" language. If you buy “as is” the meaning also implies that you buy it whatever it is (or whatever it turns out to be.) A number of states have passed specific auction-house laws limiting their ability of exposure when selling art. The same states have passed laws stating that it is incumbent on art buyers, not to verify the credentials of the dealer, but to make sure they understand the disclaimers. I guess it all comes down to the fine print as always.

 

 

Art fairs & Events –June 2009

It’s June, and summertime is here! Here’s a look at some of the events that might interest you at the weekends…. In addition to the selection below, remember to look into the extra activities that the big museums like the LACMA, the MOCA and the Getty organize. When was the last time you were there?

Santa Monica –Contemporary Crafts Market will be held from Friday to Sunday June 5- June 7 between 10am-6pm at the Santa Monica Civic Auditorium, 1855 Main St. There is a $7 admission fee with free admission for children 12 and under. You can get details by phoning directly to 808 422 7362 or by going to http://www.craftsource.org.

The Contemporary Crafts Market showcases over 230 of the nation’s finest artists and artisans and their works. The show will present a broad range of pieces including intricate jewelry, unique glassware and ceramics, hand-painted textiles, custom furniture, mixed-media creations and much more. All items on display and for sale have been jury-selected for their exceptional quality.

The Montrose Art & Crafts Festival is in its 26th year. This year’s happening will be on Sat and Sun June 6-7 from 10am-6pm. More than 425 fine artists, craftsmen, musicians and entertainers will be on hand to sell their works and to provide an atmosphere of gaiety. This is a great family event with a children’s activity area –and there is plenty of good food to eat. Set by the Montrose Shopping Park, you’ll be able also to walk around the very quaint historic, century old retail district.

The Art-A-Fair Festival in Laguna Beach begins this year on June 26th and the weekend activities continue until August 30. The Laguna Beach art festival is organized in three different, closely located venues and you can by an all-in-one ticket to visit them all for $19. At the Art-A-Fair nearly every art form is represented at the show and there is live entertainment, art demos and free workshops to add to your enjoyment. You’ll find all of this at 777 Laguna Canyon Rd (Sun thru Thur: 10am - 9pm

Fri and Sat: 10am-10pm). For more details about all the summer activities call 949-494-4514 or visit the website at http://www.art-a-fair.com

Redondo Beach Arts & Crafts festival is held this year on June 27 & 28 between 10am-6pm. Check out the Riviera Village Summer Festival at http://www.rivieravillage.org This is an outdoor festival with arts and crafts, food booths and beer garden, carnival rides, live music and dancing.

Don’t forget that on the 2nd Thursday of each month –this month it will be Thursday June 11- you can go on a self guided tour on the downtown galleries to see the latest in the Los Angeles art scene. The L.A. Downtown Art Walks give an insight into what kind of work the gallery owners are looking for at the moment.

 

 

A Selection of Juried Competitions: - Deadlines: June 2009

"Watercolor West XLI Annual Juried Exhibition" Watercolor West announces a call to artists for the "Watercolor West XLI Annual Juried Exhibition", held September 12 - October 24, 2009 at the Riverside Art Museum in Riverside, California. There are awards for $12,000 in cash and merchandise. Juror: Scott Moore. Submissions of transparent watercolor only; no collage, ink, white paint, acrylic or gesso. No Yupo or canvas. This is an open invitation to all living artists. Entries must be original and painted within the last two years. For details visit http://watercolorwest.org or send a SASE to: 3961 Toland Circle, Los Alamitos, CA 90720. The entries fees are $35 for non-members /Members: $30 for one or two slides or digital entries. Questions & Inquiries? Contact Francesca Brayton at exhibitions@watercolorwest.org DEADLINE June 1.

"18th Annual National Juried Exhibition" by The Art Institute & Gallery in Salisbury, Maryland announces a call to artists for an exhibition held September 13 - October 10, 2009. Awards: Best in Show - $1,000 and a Solo Exhibit at the AI&G Foyer Gallery in 2010.; There will be two awards for Excellence Awards - $500.00 each, and 3 Honorable Mentions. The Juror is Nevin Kelly, Owner/Director Nevin Kelly Gallery of Contemporary Art, Washington, DC. All artists age 18 and older, residing in the United States are eligible. They are accepting 2D & 3D artworks. 2D Maximum size is 5'x5' (60"x60"); 3D Max size not to exceed 40" in two dimensions and 5' in third dimension. Submit digital images only 150-200 dpi (5x7"). Visit http://www.artinstituteandgallery.com for more details or send a SASE to: Art Institute & Gallery, 212 W. Main St., Suite 101, Salisbury, MD 21801.

$35.00 total for up to 3 entries. Please contact Karin Hoffman, Director - National Exhibition at aiandg@comcast.net with questions or call 410-546-4748. DEADLINE June 1.

"Brand 38: Works on Paper" The Associates of Brand Library and Art Center announce a call to artists for "Brand 38: Beginnings", an annual national exhibition of works on paper. The exhibition will be held September 19 - October 23, 2009 at the Brand Library Art Galleries in Glendale, California. There are $4000 in awards. Juror: Ruth Weisberg. Participation is open to artists residing in the United States. Any work on paper: watercolors, collages, prints, photography, paintings, 3-D work, etc. Submit JPEG only, $20 for first, $10 each additional, 3 images maximum. Visit http://www.brandlibrary.org for details, or send SASE to: Brand 38, 1601 West Mountain Street, Glendale, CA 91201. Irena Raulinaitis at irena@irenar.net can answer your questions or call 818-244-0654. DEADLINE June 3.

"Black and White" The Center for Fine Art Photography in Fort Collins, Colorado invites photographers working in all mediums, styles and schools of thought to participate in "Black and White", August 28 - September 26, 2009. Awards: $500 plus two year online gallery show. The exhibition is open to amateur and professional photographers world-wide. Experimental and mixed techniques are welcome. $35 ($20 for Members) for up to three images. Go to their website to download a rospectus or contact the office at cfe@c4fap.org (Tel: 970-224-1010.) DEADLINE June 9

"17th Annual Strictly Functional Pottery National" The Market House Craft Center announces a call to artists for the "17th Annual Strictly Functional Pottery National", held September 26-October 25, 2009 at the 560 S. Prince, Lancaster, Pennsylvania. Cash Awards and Purchase Awards for the winners. Juror: Pete Pinnell. Open to residents of the 50 United States. The exact work presented to the acceptance committee must be available to show- no substitutes. Maximum size must not over 30 inches in any dimension or weight over 20 pounds. The work must be for sale at a max price ceiling of $600: 35% commission. Entry fees: $30 for up to three digital images; $55 for slides. Deadline: June 10, 2009. More information is available at http://www.strictlyfunctionalpotterynational.net/sfpnap.html or send a SASE to: Market House Craft Center - SFPN, PO Box 204, East Petersburg, PA 17520-0204. Questions? Contact Jean Lehman or Kevin Lehman at jlehman73@earthlink.net or call 717-560-8816; or 717-291-2154. DEADLINE June 10

"Mile High National" -call for entries. The Pastel Society of Colorado announces a call to artists for the "Mile High National", held August 8 - September 27, 2009 at the Longmont Museum & Cultural Center, Longmont, Colorado. There is $3500 in awards. Juror: Susan Ogilvie. Open to US residents, age 18 and over, original paintings only, completed within last 2 years, not in previous PSC show, no class work or computer work, use photo/reference material by artist only. There are two categories in the show: traditional, abstract/non-objective, multimedia at least 80% pastel, framed min. 11x14 to max. 30x36. Slide or digital entry. Fees: $15 per image for members, $20 per image for non-members. For more details and a prospectus visit: http://www.pastelsocietyofcolorado.org, or send a SASE to: D. Fechenbach, 2204 Stratford Ct., Highlands Ranch, CO 80126. Questions? Please contact Diane Fechenbach at dfechenbach@qwestoffice.net. DEADLINE June 19.

"Works on Paper" call for entries. The Philadelphia Water Color Society announces a call to artists for the 109th Philadelphia Water Color Society Anniversary International Exhibition of Works on Paper, held October 3 - December 18, 2009 at the Philip and Muriel Berman Museum of Art at Ursinus College in Collegeville, Pennsylvania. Eligible media include: pastel, water media, drawings, and original hand pulled prints. See the details at www.PWCSociety.org or send SASE to PWCS, 916 Sage Road, West Chester, Pa 19382. 2 entries per person: $15 members, $45 nonmembers. Selection Juror: Stephen Quiller & Awards Juror: Stephen Doherty. Prizes over $6,000 are there to be won. DEADLINE June 22

"2009 California Open Exhibition" TAG Gallery in Santa Monica, California announces a call to artists for the 2009 California Open Exhibition, August 19 - September 4, 2009. There is $1000 in Cash Awards. Juror: Michael Zakian is Director at the Frederick R. Weisman Museum of Art, Malibu. This s a call to all U.S. artists 18 years or older working in computer art, drawing, mixed media, painting, photography, printmaking, and sculpture. For hanging works themaximum size is 48"h x 36"w including frame and no more than 30 lbs. Sculptures must weigh no more than 40 lbs. $30/1 to 2 entries, $5/each additional, 6 maximum (slides or jpgs). For more information, visit http://www.taggallery.net or send a SASE to: TAG Gallery, 2903 Santa Monica Blvd., Santa Monica, CA 90404. Questions? Email TAG Gallery at theartistsgallery@verizon.net or call 310-829-9556. DEADLINE June 27.

"2009 Art Kudos International Juried Competition"

The 2009 Art Kudos Online Competition is open to all Artists 18 years or older. Selected finalists will appear in a year-long online exhibition at www.artKudos.com beginning August 15, 2009. Cash awards totaling $3,750. Juror: Scott Canty, Senior Curator for the City of Los Angeles Cultural Affairs Department and Director of Exhibitions at the Palos Verdes Art Center. Drawings, paintings, printmaking, photography, digital art, sculpture, installations, ceramics, fiber art and mixed media are eligible. N.B.* - Media not accepted: video/film and wearable art (clothing or jewelry). $30 entry fee. Prospectus: http://www.artkudos.com/callforentries.html DEADLINE June 30

"2009 Orange County Invitational Exhibit and Sale" The Bowers Museum California Arts Council announces a call to artists for the "2009 Orange County Invitational Exhibit and Sale", held September 19-20, 2009 at the Bowers Museum of Cultural Arts Outdoor Courtyard in Santa Ana, California. Juror: Janet Blake, Curator of Collections Laguna Beach Art Museum. This is open to all representational artists submitting only original art (sorry no photography). There is a $40 entry fee. To request a prospectus, write to Jim Draughon at jadraughon@aol.com or call 714.282.7501. DEADLINE June 30.

 

 

 

 

 

 

 

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