Art Business News: Complete Winter 2015 Issue

MIAMI ART WEEK’S

MUST-SEE SHOWS

Ins & Outs

of Art Restoration

ICY INSPIRATION Art forged in extreme polar landscapes

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DECOR

Go Corporate for Bigger Profits

Trending: Rustic Frames Set Goals to Grow Your Business

Blabber Mouth

When No One is Looking

BessetteArt.com

Sócrates Márquez

“Life is Beautiful in Orange” – Mixed Media, Acrylics, Latex, Spray paint on canvas - 84” x 56” - detail

Limited Editions available exclusively through The Greenwich Workshop

www.greenwichworkshop.com / ushersc@greenwichworkshop.com

@socratesmarquez Facebook: socratesmarquezny Top Emerging Artist 2014 – Art Business News

info@socratesmarquez.com www.socratesmarquez.com

“The image does not emerge mechanically from the camera, It happens stylistically from the mind of the artist”

AN EXTRAORDIN ARY VIEW OF THE ORDIN ARY 954-817-8870 | www.michaeljoseph.com | mj@michaeljoseph.com

A R T F A I R S

M A G A Z I N E

B O O K S

G A L L E R Y

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CONTENTS 28

FEATURES

24 28

ANGELS OF RESTORATION

BY I SA B E L T H OT TA M

POLAR ART

Landscape painter David Rosenthal gets inspiration from Antarctica’s cruel environs

This relatively new therapy approach gains traction in the U.S.

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CONTRIBUTORS

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INSIDE THE FRAME

News and notes from the art world

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ART BEAT

Build a connection with online visitors through video

BY BILL CRUMLIC

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15 MINUTES

Artblend’s Michael and Elaine Joseph do it all

A CAMPAIGN FOR VISUAL LITERACY

BY I SA B E L T H OT TA M

One art teacher’s assessment of arts education

BY SAMUEL FRANDINO

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ADVERTISER INDEX

MUST-SEE MIAMI

72

PARTING SHOT

Plan your Miami Art Week schedule with our selection of the top shows

Check out the DECOR section on p. 53.

THE ART OF GIVING

Painter Lisa Schuster’s art and charitable efforts go hand in hand

BY MEGAN K APLON

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PERSPECTIVES

BY ERIC SMITH

ART THERAPY’S EXPANDING REACH

BY FAR AH JOAN FAR D

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An inside look at art conservation and restoration

BY JACK HAMANN

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COLUMNS & DEPTS.

On the Cover: “Shine,” Souren Mousavi.

This page: “ErebusIce Tongue Sunset,” David Rosenthal.

LYSAKOV

Art Company

Portrait Of A Mature Young Man

Walks Of A White Peacock

Victor Lysakov lysakovartcompany.com

PERSPECTIVES THE FUTURE IS HERE

A

s I write this, it’s Oct. 21, 2015: Back to the Future Day. Thirty years ago, we watched Marty McFly zoom ahead into the future, discovering new inventions, cars, games, and hoverboards. We haven’t yet mastered time travel, but we have seen some of the other futuristic products that the 1989 hit movie Back to the Future Part II predicted would come to life, such as video glasses (hello, Google Glass), hands-free video games, and news drones, and the Chicago Cubs are in the playoffs.

One thing that hasn’t changed is original artwork. The creative process and construction of paintings, drawings, sculptures, and other media remain parallel to the methods Matisse, Picasso, Rembrandt, Rodin, and other masters employed decades or hundreds of years ago. Such masterworks are timeless; humans made them with sweat, passion, creativity, planning, innovation, and dedication.

I remember reading years ago that, as technology rapidly advances and the latest e-products arrive on our doorsteps at ever-faster speeds, our desire to purchase and collect handmade things, such as art, will become greater. We covet things that take great talent to produce.

As we reflect on the timeless appeal of art, it’s also essential to look ahead to the future of the market. What’s in store for 2016 and beyond? Many experts believe that the art market will maintain positive growth, even in our lackluster economy.

Auction results remain strong, and there’s an ever-increasing emphasis on art as an asset class in ultra-high-net-worth portfolios. Perhaps we will soon see the first billion-dollar auction. Wealth managers are adding ancillary products, such as finance and advisory services, geared toward the art world, and art fairs continue to remain strong. Many galleries attribute more than 50 percent of their annual revenue to participation in art fairs.

Everything’s going electronic—pricing, auction results, sales, and magazines—including ABN, which is available in both digital and print versions. Stay up to date, or you could get left behind. Your mission for 2016, should you choose to accept it, is to continue the trend. Get out there and break new ground: produce top-notch events, update your business’ website, compose great paintings, and meet new collectors.

Wishing you all the best in your endeavors!

ERIC SMITH P.S. Sorry, Back to the Future fans; the Cubs came just short of making it to the World Series.

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Winter 2015 Phone: 888-881-5861 Email: letters@artbusinessnews.com Web: artbusinessnews.com CEO/Publisher Eric Smith Editor-in-Chief Megan Kaplon Managing Editor Linda Mariano Copy Editors Nina Benjamin, Fran Granville Contributors Bill Crumlic, Farah Joan Fard, Samuel Frandino, Jack Hamann, Melissa Lalka, Isabel Thottam Editorial inquiries: letters@artbusinessnews.com Art Director Mike O’Leary Graphic Designer Lizz Anderson Advertising Rick Barnett Managing Director, Exhibitions & Media Sales Email: rick.barnett@redwoodmg.com Phone: 831-747-0112 Ashley Tedesco Director of Media Marketing Sales Email: ashley.tedesco@redwoodmg.com Phone: 831-970-5611 Rosana Rader Director of Sales & Exhibitions Email: rosana.rader@redwoodmg.com Phone: 831-840-4444 Operations and Finance Geoff Fox Finance Director Email: geoff.fox@redwoodmg.com Laura Finamore Sales Administration Email: lfinamore@madavor.com Subscriptions Subscriptions to Art Business News are available to U.S. subscribers for $20 for one year (4 issues). Call 855-881-5861 or visit us online at artbusinessnews.com.

Art Business News is published four times per year by Madavor Media. The name “Art Business News” is a registered trademark of Redwood Media Group. All rights reserved. May not be reproduced in any form whatsoever without express written consent of publisher.

WINTER 2015

Copyright © 2015

Flying is fun !

E XH I B I T I ON

CONTRIBUTORS Bill Crumlic is owner of CrumlicMedia in New York.

He has worked in broadcasting since 1987 and has specialized in video for artists and galleries since 2009. In September 2015, he received the Thumbtack.com Best Video Editor in New York Award.

Farah Joan Fard is a Boston-based writer and media manager. When she’s not producing content or working on media projects, you may find her volunteering, writing, or drumming.

Jean Leclercqz Kelza December 3rd-9th 2015, Opening December 3rd-4th at 6PM www.flyingmachines.be GATEWAY ART CENTER NYC 4 WEST 43rd ST, NEW YORK, NY

Samuel Frandino is a graduate of SUNY New Paltz who entered the teaching field in 1995 after a career as a scenic and stage carpenter. Originally a teacher in an interdisciplinary literature-based program for the gifted, he became a high school art teacher in 2002.

Jack Hamann is a writer and documentary producer. He is the author of On American Soil, and a frequent contributor to The Writer magazine.

Isabel Thottam is a freelance writer and social media strategist. Isabel writes for Monster’s Career Blog and the Equifax Finance and Identity Theft blogs. She also manages social media for Batch Nashville.

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WINTER 2015

UPCOMING EXHIBITS Mulhouse, FR Nov. 13-15

Montpellier, FR Dec. 4-6

Seoul Character Lic, South Korea Dec. 16-20

Hong Kong Lic. Jan 11-13

For more information on Katherine Austin, her artwork, events, and ENitsua Foundation for The Arts, please visit www.enitsuafineart.co Contact : inquiry@enitsuafineart.onmicrosoft.com

Paris, FR Feb. 4-7

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INSIDE THE FRAME ACCESSIBLE INVESTING Madelaine D’Angelo, 28, received her formal arts education at Catholic University of America, New York University, and Harvard University. With that background, along with parents who collected Roman antiquities, D’Angelo felt right at home in the art world. She could see, however, that other young adults around her had trouble identifying with the traditional model of the art market. Who could better reach out to the new generation of art investors and collectors than a fellow millennial?

Inspired by the sharing and crowdfunding economy that spawned Kickstarter, Uber, Airbnb, and others, D’Angelo founded Arthena, an equity crowdfunding platform that allows individuals to invest in a curated collection of art for a minimum investment of $2,500.

Potential investors can browse the collections and curators on Arthena’s website and choose the one that most appeals to their personal taste and preferences. Individuals who have invested using Arthena gain access to exclusive studio visits, gallery shows, lectures, and other events.

2015 Pebble Beach Concours d’Elegance Poster THE ORGANIZERS of the Pebble Beach Concours d’Elegance car show selected U.K.based artist Peter Hearsey to create the poster for the 2015 edition of the annual event.

London native Hearsey began his art career working for advertising agencies before venturing into freelance illustration. When he became a full-time painter in the 1980s, he discovered his passion for automobiles, and they became his subjects of choice.

Hearsey exhibited his painting for the first time at the Lime Rock Vintage Fall Meet in Connecticut in 1989. In 1993, he joined the Automobile Fine Arts Society.

Hearsey’s poster for the 2015 Pebble Beach Concours d’Elegance features a 1949 Ferrari 166 Mille Miglia like the one that Kleenex heir Jim Kimberly raced. That car, which in 1951 was the first Ferrari to race at Pebble Beach, was exhibited at this year’s event on Aug. 16.

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Mitigate Your Risks When Buying Art Online

BY MELISSA LALKA Online platforms for the sale of fine art represent a growing segment of the auction world. Such sites provide a familiar shopping experience for young collectors and millennials, but, as the number of online auction houses grows, buyers should keep a few considerations in mind before they make a purchase.

ESTABLISH PROVENANCE AND AUTHENTICITY Ensuring accurate provenance is vital because any discrepancy in provenance can have long-term effects on future ownership. Collectors should find out whether the sellers provide any guarantees to back the authenticity of the pieces they purchase. Buyers should also review the documents regarding provenance before buying the artwork and ensure that the sellers include these documents as part of the sale. Diligent research is crucial; fine art insurance covers risk of physical loss, such as fire and floods, but not forgeries.

GaudiLab/Shutterstock.com

DETERMINE WHEN THE TITLE WILL CHANGE HANDS Collectors should find out whether the title will change hands once they agree to purchase a piece or after the piece is in their possession.

Title usually changes hands once the buyer makes the payment, and it then becomes the new owner’s responsibility to insure the piece.

DETERMINE HOW THE VENDOR IS STORING THE ITEM Collectors should ascertain how the vendor will store the piece before shipping it. Chubb Personal Insurance recommends that pieces remain professionally packed and stored above ground, not in basements, where there are inherent issues with moisture. The item should be properly spaced from other items and elevated six inches above the ground. The storage space should also have central-station fire and burglar alarms, as well as temperature and humidity controls.

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ASCERTAIN PACKING AND SHIPPING METHODS Collectors should ask who is responsible for packing and shipping their new purchases. If the seller takes responsibility for these tasks, the buyer should ensure that the seller intends to use a professional handler with experience in packing and shipping fine art, including the nuances of crating. Keep in mind that transportation vendors do not cover valuables to their full value unless all parties have agreed upon this coverage in writing. Also, collectors should check the shipper’s references and testimonials.

PRIVACY Many collectors wish to remain anonymous when purchasing fine art. They should ensure that the online vendor does not intend to share their personal information with the public. Buyers should also make sure, as with any other online transaction, that they are buying from a reputable, secure site.

Melissa Lalka is a worldwide fine art manager for Chubb Personal Insurance.

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INSIDE THE FRAME BID FROM BED

Six established auction houses came together to create Bidsquare, an online bidding tool that allows users to employ their computers or mobile devices to bid on pieces from anywhere. Bidders can bid in real time for items at a live auction, submit absentee bids for items, or even participate in timed online-only auctions.

Bidsquare, a partnership among Brunk Auctions, Cowan’s Auctions, Leslie Hindman Auctioneers, Pook & Pook Inc., and Rago and Skinner, features items from more than 80 vetted auction houses.

Art collectors are increasingly turning to the web to make their art purchases, and Bidsquare seeks to capitalize on that trend. According to a recent issue of the Hiscox Online Art Trade Report, online art sales reached an all-time high of $3.5 billion in 2014.

Bidsquare has experienced triple-digit sales growth, with a total bidding value of $100 million.

America’s Most Beautiful Landscapes—Rendered in Tape UTAH-BASED ARTIST Chad Farnes, a counselor at Taylorsville High School in Taylorsville, Utah, began creating tape art in college as a way to decorate his apartment and those of his friends. In the years since, Farnes has perfected the art form, capturing the beauty and magnificence of Utah’s monuments and landmarks; he recently completed a series inspired by the United States’ 75 national parks.

“These landscapes have become the pulse of the current generation and will be the lifeblood of future ones,” says Farnes, an avid outdoorsman and localhistory enthusiast.

“Redwoods National Park,” Chad Farnes

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WINTER 2015

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ART BEAT

BY BILL CRUMLIC

VIDEO CONNECTION

ADD VIDEO TO YOUR PROMOTIONAL MATERIALS AND FORGE A DEEPER CONNECTION WITH YOUR COLLECTORS

B

efore investing in your artwork, many art buyers would like to meet you, the artist, and hear about your experiences. But what about the people who aren’t in the gallery where your artwork is being shown? How can you create opportunities to make connections, build a following, and sell your work?

Art buyers can read about your artistic background and see your work on your website, gallery site, and social media pages, such as Facebook, Twitter, Google+, or Instagram.

While these digital outlets offer buyers the ability to familiarize themselves with you and your artwork, are they enough to create a lasting connection?

Video has emerged as the most effective way for artists to create an emotional connection when in-person contact isn’t an option. Viewers get to see your work in a setting of your choice, hear your comments about your inspirations, watch you create your art, and get to know you. Hearing your voice provides the viewer with a more intimate connection to you and your work than viewing photos and reading text does.

If you are ready to take advantage of the power of video to communicate with your buyers, you may find the following tips on videography elements helpful in charting the path that works best for you. Investing more in time and equipment will make the final outcome better and easier to produce, and you can quickly get started with consumer-level equipment.

VIDEO CAMERA In recent years, consumer video cameras have decreased in price and increased in quality. Automatic settings make it easier for those with no video experience to enjoy high-quality video at a reasonable price. However, I suggest using manual focus; otherwise, the camera constantly tries to autofocus and sometimes ruins important shots.

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STORYTELLING WITH AN INTERVIEW Recording a short interview is not necessary, but it does provide narrative. You can make a one-minute video, with music, showing highlights of your artwork. When you’re ready to include an interview, make sure that viewers immediately see you speaking and then add shots relating to what you are talking about. Reappear occasionally throughout the video and at the end. Briefly answer one question. Tell viewers the key point you want them to know about your artwork. When shooting your interview, place yourself slightly to the side of the center of the frame and look just to the side of the camera, toward an open space. This view is better than a centered one in which you look straight at the camera.

TRIPOD AND CAMERA MOVEMENT Tripods help keep the camera level and are essential for avoiding shaky, blurry shots. Let the tripod do its job, and keep it simple. Avoid pans, tilts, and zooms at first. Save the fancier techniques for after you have gained some experience.

LIGHTING Lighting is especially difficult in art galleries. Gallery walls are well-lit to show the art, but space that is more than two or three feet from the wall may have low lighting. Use a light on your artwork’s “face” or place it within the gallery lighting. Avoid showing shadows on the wall from the lighting.

Inexpensive camera lights can light only a few feet. Using light stands helps move illumination to one side of the camera, making for a more dramatic look. Look into the camera’s viewfinder to make sure everything looks good before recording. If your camera is auto-color-balanced for indoor lighting, it will show any light coming through the windows as blue. If your camera is balanced for outdoor light, the indoor lighting

WINTER 2015

will look yellow. Filming at night, when there is no sunlight coming through the windows, makes it easier to adjust the camera to accommodate indoor lighting.

away from cheesy transitions and effects. They may look cool when you first see them, but sticking to the basics will keep your viewer engaged.

SOUND QUALITY AND MICROPHONES Do not rely on the built-in microphone on the camera for an interview. Instead, when buying a consumer camera, make sure it has a jack to accommodate a microphone. Clip-on lapel microphones are best because they remain close to your mouth and will make your audio clearer. They also help reduce background noise, such as that from air conditioners, street activity, echoes, and footsteps.

PHONE VIDEO With cell phone cameras making great leaps forward in the past five years, it has become possible to make decent videos using your phone. Limit their use to just shots of the works, people looking at the work, and people interacting with you, however. And if you use a phone to record, make sure to use a tripod. You can find inexpensive adapters online that accommodate the use of tripods with cell phones.

BACKGROUND MUSIC A melody in the background can set the tone of a video, but you must have a license for any music you use. Professionals buy music from vendors and libraries to ensure that it is available for use. If you use music without paying for the license, YouTube will remove the video, and it will be of no use to you. Look for free music on Google or purchase inexpensive, royalty-free music online. Steer toward ambient music with no lyrics, so that it will not distract the viewer. YouTube also offers music options for your videos.

ORIENTATION Record video horizontally, not vertically. Imagine fitting the video you shoot onto a TV screen. Always shoot video in the same orientation as the way in which you watch TV.

EDITING Research shows that most viewers watch an online video for about three minutes. Limiting your video to one to two minutes increases the chance that a viewer will watch it all the way through. Professionals use video-editing software to make the videos look and sound great. Consumer-level programs, such as Windows Movie Maker and iMovie, offer a place to start. When searching for freeware, remember that free software often comes with spyware, so use caution. Stay

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I hope these tips are helpful. If the idea still seems overwhelming, or if you simply want to focus on the art and have someone else handle the video, seek the help of a professional videographer.

Artists today have more control than ever for sharing their work. Video can be a fun experience and a large part of an artist’s marketing plan. It is a chance to expand, reach new markets, and connect with buyers. Your art will have a chance of finding the right home if you can spread the word using new media. ABN Bill Crumlic is owner of CrumlicMedia in New York. He has worked in broadcasting since 1987 and has specialized in video for artists and galleries since 2009. In September 2015, he received the Thumbtack.com Best Video Editor in New York Award. bill@crumlicmedia.com

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15 MINUTES

BY ISABEL THOTTAM

FULL SERVICE

ARTBLEND OWNERS MICHAEL AND ELAINE JOSEPH COVER ALL THE BASES OF ART MANAGEMENT AND CONSULTING, OFFERING THEIR CLIENTS A PATH TO SUCCESS

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and concert production company and an artist and tour management company that worked with local, regional, and national talent.

As the digital age came to fruition in the late 1990s, the music industry began to change, and Michael left his company to move to Fort Lauderdale, Florida, to pursue his passion for fine art photography. Elaine then joined as his business manager, and in 2005 they opened Artists Haven Gallery to exhibit and market fine art photography. Over the next eight years, they expanded the business, opening Ocean Wave Media and Ocean Wave Photography Gallery and launching Artblend magazine. In 2012, they merged their companies, creating Artblend Inc., and moved into a brand-new, 6,200-square-foot facility. Since entering the business more than a decade ago, they’ve welcomed the occasion to share with their community, build lasting relationships, benefit charities, and support the arts on a global scale.

Michael and Elaine recently shared their story and advice for successfully managing an art business using technology and media.

ART BUSINESS NEWS: Can you explain a bit about how the idea for Artblend came into being and what aspect of the business you each focus on?

ELAINE JOSEPH: The idea of establishing our art business happened because I was managing Michael’s photography career and artists were constantly asking me if I’d be interested in managing them. We enjoyed a lot of success with his career using our tactics and methods to get him in front of serious art buyers. The real strength came from exhibiting at the major art fairs and online marketing.

MICHAEL JOSEPH: In our company, Elaine operates what I consider to be the front of house. She is truly the COO and CFO [chief operating officer and chief financial officer]. Every successful company needs that rock. Since I am an artist at heart, it is natural that my position is primarily working one on one with the artists to do consulting and career coaching. I would be remiss if I did not mention our invaluable gallery manager, Sarah Emmets, who so wonderfully and faithfully handles all the day-to-day coordinating and logistics.

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All photos courtesy Artblend Inc.

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team of award-winning professionals, Michael and Elaine Joseph focus on current trends and technology to assist artists worldwide through their company, Artblend Inc. They use Artblend as a way to examine and redefine the traditional criteria for artists to run a successful art business. Artblend operates as a full-service, art-related business offering gallery and art fair exhibitions, marketing and promotion, book publishing, and magazine profiles to emerging, midcareer, and established artists from around the world.

With Elaine as the president and editor-in-chief and Michael as the vice president and publisher, this duo has established a new paradigm in the art industry. Elaine and Michael met more than 27 years ago and have been together ever since. They were both highly successful during the 1980s with individual careers in the music industry.

Elaine established herself with one of the top-ranking national record store companies, doing store management, promotions, marketing, and buying.

Michael owned his own stage lighting

Clockwise from left: “G-Force,” by Artblend artist Barbara Bilotta; Elaine Joseph; The exterior of the Artblend gallery in Fort Lauderdale; Michael Joseph.

ABN: What inspired you to want to help more artists in the areas of marketing, branding, web design, and the like?

EJ: It was obvious to us both that many artists did not know where to turn to get professional help, especially from people they would find trustworthy, reliable, and sincere. Our experience in the music industry was not much different from that of the art industry. We are still dealing with talent, and talent needs to be managed. With manage-

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ment comes responsibility. It is really essential to understand that business is about building a lasting relationship. In our line of work, if done correctly, the line of where being a client ends and friendship begins is blurred.

ABN: How exactly does Artblend help artists? What do you look for in the artists you work with?

MJ: When I speak with artists, it is easy for them to relate to me. They will succeed if they develop a long-term strategy and plan for success. We never judge art. Art is subjective. For us, it is more about the individual and the

building of a lasting relationship. We look for ambition, good communication skills, and candor. With that said, what we look for in an artist in one word is passion.

EJ: We can best serve artists by listening to their needs, desires, and goals.

As a full-service art company, we are involved in many aspects of the art industry. We have formulated a plan for success devised from the history of Michael’s career as an artist. We have a system called the “six spheres of success.” This is a strategy for attracting art buyers through marketing and

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From top: “Undisturbed,” by Artblend artist Scott Harris; The interior of the Artblend gallery.

Opposite page: Artblend magazine.

exhibiting. It encompasses all the techniques and tools that I used to launch Michael’s career.

ABN: How many artists do you work with?

EJ: Over the last 10 years we have worked with hundreds of artists from around the world. Artblend is a multifaceted art company with much to offer. In our art gallery, we represent between 35 and 45 artists exhibiting with us full time. Our biannual publication, Artblend magazine, regularly has 20 to 26 artists featured per issue.

Our involvement at multiple art fairs each year involves us working with 20 to 40 artists per show. On top of that, you can add on dozens more artists that we do book publishing and marketing for.

ABN: What social media platforms should artists be using, and how?

EJ: Facebook, Twitter, Instagram, and LinkedIn are the crucial ones. They should be posting announcements of any events, exhibits, and happenings they are involved in. Keep your audience interested and following you by

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WINTER 2015

All photos courtesy Artblend Inc.

ABN: Can you share a success story from one of your clients?

MJ: Some years ago, an emerging photographer approached us. He had a clear vision of what he wanted to accomplish, and he had a budget and was willing to invest. One of the first things we did was introduce him to one of our top corporate art consultants. In less than two months, he landed a huge commission job with her for five times the amount of what he had invested with us. Today, he is a writer, an art consultant, and the owner of a popular online art gallery. And, yes, his photography career is flourishing.

posting new work. By sharing something of interest that is beneficial to others, this will create more reciprocity.

ABN: What are most artists doing wrong with their marketing and branding?

EJ: I am not one to pick out things that are wrong. That’s being negative.

I like to rather focus on the positive.

What they can do is to be consistent and keep it simple and clean. The goal is to develop a synonymous name and art recognition. You have only one opportunity to make a first and lasting impression. You have to stand out and remain above your competition because, in the art world, everyone within three feet of you is your competition.

ABN: How do you help an artist who is starting from scratch, truly working from the ground up?

MJ: That is an area I know very well.

When I was starting out as a black-andwhite architectural fine art photographer, it was very difficult. I had far more rejections than acceptances. I know a lot about perseverance, commitment, and how to take constructive criticism. For those artists who are more advanced, of course, there is still plenty that we can do to help them as well.

ABN: What are some successful things you’ve seen artists do on social media?

EJ: I like the interesting way in which some artists have created contests, with voting and such. Th is is wonderful because it can provide the artist with useful data to evaluate and adjust to.

As an example, they can track what images, color trends, sizes, and subjects are the most popular. It is much like how a corporate business might use a focus group.

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You have only one opportunity to make a first and lasting impression. You have to stand out and remain above your competition because, in the art world, everyone within three feet of you is your competition.

ABN: Do you build the websites for each artist? Do you manage them, or does the artist?

MJ: We develop and build websites for artists as part of our services. It is essential today that an artist has a very good website. Their website should be “responsive,” which means it can be viewed on all devices, such as a phone, a tablet, a TV, and a PC. We can manage or they can self-manage their website. We use current WordPress technology that is fairly simple and easy to use.

ABN: What are some effective ways for artists to use their websites?

MJ: A website is an instant showcase of who you are and what you are all about.

It is open 24/7, 365 days a year. Anyone can go online at any time and check you out, from anywhere in the world. It is so cost-effective and one of the best investments an artist can ever make. We discover over 90 percent of our artists from viewing websites. Conversely, nothing is more of a turnoff to us than a bad web-

site, meaning one that is not functioning properly or has technical glitches. If you have those problems, forget about it; you lost us in the first 15 seconds.

ABN: How have you found video to be effective for artists’ brands?

Why types of content do you use video to promote?

MJ: Video is the hottest medium today.

Especially when it is on your website, video can increase your search engine optimization (SEO) radically into a top ranking position on Google and Yahoo.

YouTube is also a phenomenon!

ABN: What are three tips you’d give to artists who are just starting out and who want to build their brand or promote themselves?

EJ: You must invest in your career for others to invest in you or even notice you. Successful people want to do business with other successful people.

Building an art career is a marathon, not a sprint. ABN

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MJ Laberge, Red Velvet

Spectrum Miami

Exhibit. Attend. Experience.

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THE COST OF

Conservation&Restoration HOW DO CONSERVATORS RESTORE DAMAGED ART WORKS, WHAT DOES IT COST, AND HOW DOES IT IMPACT VALUE?

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B Y I S A B E L T H OT TA M

magine walking through a beautiful exhibit of famous paintings at a museum. You look closely at a Picasso and lean forward in admiration. Suddenly, you lose your balance and, without thinking, latch onto the painting to catch your fall. Whoops. You’ve left a fistsized hole in a million-dollar painting.

It may sound impossible, but it happens more often than you think. This year, a 12-year-old Taiwanese boy tripped and accidentally punched a hole in a $1.5 million Paolo Porpora oil on canvas. His accident is one of many unfortunate slipups to damage expensive works of art. In some cases, people

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purposely damage artwork. In 1990, a man sprayed sulfuric acid on Rembrandt van Rijn’s “The Night Watch.” This action was the third time someone purposely damaged Rembrandt’s famous work; vandals with knives slashed it in 1911 and 1975.

In the case of the Porpora painting, the boy’s family did not have to pay for the damages. Fortunately, the painting was insured and is currently undergoing restoration. But who spends the time and money to fix these valuable artworks when accidents happen? How much does it cost, and what does insurance cover?

More important, how does one fix a painting with a hole in the middle of it, and does the artwork lose value due to the damages?

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Ana Alba

Enter the art conservator, the quiet hero who spends countless hours performing delicate work to restore and conserve damaged pieces of art.

STRUCTURAL AND AESTHETIC DAMAGE Though people often refer to conservation and restoration as one entity, they have a few distinctions. Conservation is the profession and the starting point for a conservator, whereas restoration describes parts of the process.

Beyond conserving the original materials, conservators consider the restoration side of their practice to encompass areas requiring fillers, colors, or coatings to reconstitute a missing component of the art. The process is tedious and an art form in itself. Art conservators see variations of damage, but they all fall into one of two categories: structural or aesthetic.

Structural damage might be the result of storage in an improper environment, the deterioration of materials, or poor handling practices. Human intervention falls into this realm and is a top contender for what causes the most damage to art. Aesthetic or cosmetic damages are due to the fact that the artwork has old varnishes, causing discoloration, or has paint flaking off the surface.

Conservators also experience inherent vice, a problem that occurs when the material the artist used is not compatible with the coatings an art conservator uses in restoration. This problem occurs most often with works of modern and con-

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Ana Alba's restoration of a painting she calls "Chicks and Oyster."

The signature on the painting wasn't legible, and Alba has yet to be able to identify the artist.

temporary art, because such artists use experimental acrylics, which are more sensitive than oils. “[Contemporary artists] are creating multimedia works of art, and those are naturally harder to care for than a traditional painting,” says Ana Alba, an independent art conservator in Pittsburgh and founder and owner of Alba Art Conservation. “But our code of ethics is to use most things that are reversible because we can’t change the artist’s intent or chosen materials. However, I have treated cardboard before, and no one should expect that to last a thousand years.”

THE COST OF CONSERVATION AND RESTORATION Museums have access to technical equipment that independent conservators lack, according to Rhona MacBeth, a conservator at the Museum of Fine Arts in Boston. For example, museums have X-ray machines, which allow conservators to look below the surface of paintings to document their condition and quality. Infrared cameras can cost $50,000 to $100,000, but conservators can also perform repairs with SLR (single-lens reflex) cameras that cost approximately $1,000.

“In a big museum like the MFA, we have a huge scientific department that can do an analysis of coatings to see how [a painting] was made,” explains MacBeth.

Independent art conservators typically do not own huge pieces

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of equipment. Instead, they pay to send samples to a lab for scientific analysis, later adding this expense to a customer’s bill.

“In the public realm, conservators will have an hourly rate, and a conservation treatment will either be charged according to that rate or a total project cost,” says Nicholas Dorman, chief conservator at the Seattle Art Museum.

Alba’s projects can range from simple cleanings of personal paintings for a few hundred dollars to more involved projects costing thousands of dollars, depending on the size and condition of the artwork. Alba bills her clients by the hour. If there’s a bigger issue, she’ll address that in her estimate.

Providing an estimate is part of the American Institute for Conservation’s code of ethics. Conservators must provide a treatment proposal with cost estimates and an examination report. The customer must sign it before any treatment can occur.

Peter Himmelstein, paintings conservator at Appelbaum & Himmelstein Conservators and Consultants in New York City, works for individuals and small institutions, noting that some clients pay out of pocket, whereas others receive grants to fund the conservation. He says a small painting with an average amount of restoration work can cost $800 to $1,000. A larger painting with damages can cost $10,000 to $15,000.

Grants to fund conservation come from a variety of sources.

The National Endowment for the Arts awards grants annually, and New York State offers a $7,500 grant for treatment.

The MFA in Boston employs five conservators. Two are staff on yearly contracts, whereas others work on special projects funded through foundations or grants.

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Photograph © Museum of Fine Arts, Boston

Photograph © Museum of Fine Arts, Boston

Jacki Elgar and Philip Meredith—two Museum of Fine Arts, Boston, conservators—work on a Japanese screen titled “Southern Barbarians Come to Trade,” a piece attributed to Kano Naizen on anonymous loan to the Museum of Fine Arts, Boston.

In some cases, insurance claims will pay for treatments, as was the case when the Taiwanese boy’s family did not have to pay for restoration efforts.

Himmelstein explains that there is all-risk art insurance, which covers liability for fire, flood, and theft. However, he says there is no professional liability insurance for conservators.

“Owners should expect to pay insurance while the art is in the conservator’s hands, but it does not cover the work,” says Himmelstein. “We provide insurance to the owner at a low-level amount for free, as $2,000 to $5,000 will cover most of it. For a more valuable painting, they can increase the coverage when needed—say, if it’s going to take four to five months to complete.”

Most museums don’t have listed policies. However, Himmelstein says that insurance in a museum will cover the cost of treatment if something is damaged and incurs a loss of value or if someone bumps into a piece of artwork. The insurance covers the cost of the treatment to repair the damage.

Between costs and insurance, conservation is an expensive business. “Oddly, people don’t seem to balk at spending money on cars or house maintenance, because these things have both utility and aesthetic importance,” says Dorman. “Although paintings can be quite valuable, their status as primarily aesthetic objects means people often consider conservation as something of a luxury—a luxury on top of a luxury, if you like.”

THE BIGGEST COST IS TIME “Time, experience, and the training that people have is what customers are paying for,” says Himmelstein. “Conservation is time-consuming, so that’s where the cost is.”

Time accounts for the largest expense because conservation is labor-intensive. MacBeth and Dorman work with professional staffs to conserve and restore museum pieces.

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Moreover, museums often work on multiple pieces at once with various deadlines.

Conservators say that it can take two to three weeks to restore a painting. However, this timing can vary depending on a piece’s condition, the extent of damage, and the painting’s size. A large painting with extensive damage could take months and, in some cases, years.

“It’s very labor-intensive,” says MacBeth. “It could take a few days if it’s not a big intervention. For a tiny bit of restoration or surface cleaning, such as taking grind off the surface, it can happen in a day or two. But I have worked on paintings for years at a time.”

appear. Though they usually can do something, conservators might not be able to completely restore a piece, and the cost of treatment could outweigh the cost of the painting.

“The American school is different from the European school, which might be more stringent on cleaning. Here, it’s common practice to remove a varnish because you’re returning it back to the originally intended appearance,” says Alba. “But there have been big controversies on this [issue], such as the Sistine Chapel cleaning and at the National Gallery with a Rembrandt.”

Alba refers her clients to a local appraiser before agreeing to treatment, explaining that they will be able to better determine the market cost of the artwork, whether they need to conserve the piece, and how likely it is to resell.

THE IMPACT OF INTERVENTION Zema says that conservators can restore paintings with 50 percent or less damage. As long as the damage does not The life cycle of a painting varies depending on its condition, materially affect the original work, they can restore the paintthe materials the artist used, and the amount and quality of ing without decreasing its value. Think of it this way: If a car the restoration it has undergone. needs a new engine and a new body, the owner needs to re“In recent decades, conservators have given considerable place it with a new car. thought to … lengthening the period between treatments,” “You don’t want to be filling in the face because of a hole in says Dorman. “We know that, even when we raise the flags of the canvas. If restoration has been done on a significant part, reversibility and minimal intervention, our work is precisely it won’t have much value,” Zema explains. “The value will that—an intervention—and it has an impact on the art.” never be what it would be without the big touch-ups.”

Conservators and appraisers seem to agree that conserStructural and cosmetic vation doesn’t decrease a damages can harm a work of painting’s value. However, “Although paintings can be quite art, and improper treatment this factor depends on the conservator’s ability to restore valuable, their status as primarily could affect the value. The the piece without changing aesthetic objects means people important thing to note, however, is that many paintings in anything about the art. often consider conservation as great museums worldwide have “While few forms of conservation treatment can really something of a luxury—a luxury undergone some type of restoration. But, as Zema points be said to be objective, conon top of a luxury, if you like.” out, when restored correctly servators are trained to try to keep the visible signs of their without significant damage, interventions as unobtrusive as possible,” says Dorman. the artwork’s value will not change.

“People argue [that] it would be better if no one ever “These issues don’t always disturb the audiences who enjoy those paintings, because conservators have carefully treated touched it,” says MacBeth. “[But] it’s incredibly rare to come across an old painting that hasn’t been restored. If the restora- the paintings to reduce the visual impact of such damages,” says Dorman. tion is done well, I’m not sure if it adds to the value. There’s always a bit of subjectivity here, depending on how someone MacBeth agrees, explaining, “If you do it in an educated believes [the restoration] to have been done.” way, it can be fun to see what happens after the restoration.

Scott Zema, an appraiser at Ark Limited Appraisals in SeThen you end up buying something that no one else realized attle, says that most canvas paintings have had restoration work was as beautiful as it is.”

Art lovers should not overlook the work of art conservadone because canvas, in various forms, disintegrates over time. tors; without restoration and conservation, the paintings “Restoration is a huge part of value determination,” says they enjoy in museums or their homes could disappear.

Zema. “If restored correctly, there is no loss in value. But you Conservation does not devalue art; rather, it restores what have to look at the quality of conservation and the amount of damage; it all comes into play in [affecting] the value.” was once beautiful so that audiences can continue to admire Alba explains that conservators cannot make damage disthe artwork for years to come. ABN

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POLAR ART

INTREPID PAINTER DAVID ROSENTHAL FINDS INSPIRATION IN THE EXTREMES OF THE ANTARCTIC

B Y JAC K H A M A N N

THE TEMPERATURE was 30 below.

The wind blew with a vengeance. It was blisteringly, achingly cold. At this temperature, watercolors freeze solid; oil paints turn to crayon—but David Rosenthal was ready to paint. In extreme weather conditions—and extreme geography—is where Rosenthal makes his art. And few, if any, artists have dared venture where Rosenthal has in pursuit of his craft: to Antarc“Moon Over Ice Shelf,” David Rosenthal

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tica, the unforgiving landscape of the Earth’s frozen underbelly.

“I don’t care who you are. You don’t sit out in those conditions and do a plein air painting,” says Rosenthal.

“It’s so austere, and it’s not friendly. It’s just this cold, icy, beautiful place. It’s a great experience to be there, but it’s not a heartwarming experience.”

Rosenthal, 62, whose home is in Alaska, has pioneered a path that accomplished artists rarely travel, and the many fits and starts and de-

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“The instructors treated me like I was slow because no one paints landscapes.

They wanted me to do the latest cutting-edge whatever. To me, it just sounded like nonsense.”

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tours along his lifetime journey offer unexpected lessons about stubbornness, sensitivity, and art’s role in our planet’s health. Antarctica might not be heartwarming, but Rosenthal compensates with fire in his belly.

••• BORN AND RAISED in Maine, Rosenthal grew up exploring the great outdoors. At the University of Maine, he majored in physics, but he was distracted and disengaged. Increasingly, he picked up pen and paper and spent hours doodling, mostly sketching Maine’s abundant trees and hills. On a whim, he added art to his class schedule.

“The instructors treated me like I was slow because no one paints landscapes,” Rosenthal recalls. “They wanted me to do the latest cutting-edge

whatever. To me, it just sounded like nonsense.” After college, he never took another art lesson. But he kept drawing—and painting—landscapes.

In 1977, at 23, Rosenthal crossed the continent for a summer job at a salmon-processing factory in Cordova, Alaska. For hours on end, he toiled on the canning assembly line and moved heavy loads to and from the freezer.

During downtime, he took long hikes and marveled at the soaring glacial peaks embracing Cordova’s harbor.

His supervisors, appreciating his hard work and moxie, offered him promotions and year-round employment.

They gave him an apartment in the factory and agreed to keep his work schedule flexible so that he could head out on the trails to sketch.

“I was not exposed very much to

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From left: “Glacier Twilight”; “Mount Erebus at Sunset”; “Taylor Valley in Sun.” All paintings by David Rosenthal.

what [artists] were doing in the outside world or what they thought was the art that should be done,” he says.

“At that time, landscapes were not just out of fashion; they were looked down on. But I wasn’t really a part of that art world, so I just kept working on my landscapes.”

After seven years at the factory, Rosenthal tried his hand at fishing.

As a crewman on an old trawler, he’d work four-hour shifts scanning the water for salmon and then spend eight-hour shifts in his cabin. While staring at the ocean or at rivers spilling into Bristol Bay, he began to absorb the way sunlight, shadows, and wind affected the color and texture of the water. While in his cabin, he taught himself how to use glazes, adding new layers after each shift on deck.

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“Fishing doesn’t seem like a good way to go for an artist, but, for me, it was pretty important,” he says.

••• SINCE 1958, the National Science Foundation (NSF) has invited select artists and writers to spend weeks or even months with American scientists living and working in Antarctica.

Creatives are encouraged to help document the continent’s natural and scientific history and to share its unique geography, scenery, and climate with the rest of the world. Placements there are highly competitive—notable alumni include filmmaker Werner Herzog and writers Carl Safina and Barry Lopez.

Selected applicants get no stipend, but they receive transportation to and from Antarctica, as well as room and

board in relatively spartan barracks.

The biggest benefits are opportunities to hitch helicopter rides to remote scientific field stations, including regular visits to the South Pole.

Rosenthal began applying for the NSF’s Antarctic Artists & Writers Program in the late 1980s. When he failed to make the cut, he crafted an alternative plan. He got a job as a laborer, working for contractors who support scientists year-round in Antarctica. At first, he drove a forklift. Later, he was part of the team assembling field gear for researchers.

Eventually, he got a chance to travel to distant scientific camps to see the terrain for himself.

“My idea,” says Rosenthal, “was that, when I became the artist in residence, I wanted to know what I was

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going to be dealing with and where I was going to be going. [After] the fourth application, I finally got it.”

Sadie Wechsler

•••

THERE’S ALWAYS THE NORTH The planet’s upper latitudes also offer opportunities for artists, including The Arctic Circle (TAC) program. Seattle’s Sadie Wechsler first heard about the program in an email to Yale’s master’s of fine art alumni. A photographer who combines images into digital collages, Wechsler—like David Rosenthal—has always been drawn to dramatic landscapes. After a bicycling trip through Iceland, she applied to a 2015 TAC expedition to the Norwegian polar island of Svalbard, located within just 10 degrees latitude of the North Pole.

“It’s very mountainous, and the mountains are tall and pointy,” she says. “Some parts remind me of formations in Utah; others look a bit like places in Iceland.”

There’s very little vegetation, and polar bears roam freely.

For a photographer, the constant Arctic summer daylight presented both a challenge and a delight. “I’ve never shot with so much light before; it was amazing. I rarely needed my tripod,” she says. Even so, she admits she was often overwhelmed, unable to adequately process the sights and sounds of such a dramatically vast and barren terrain.

TAC expeditions attract a variety of creatives. Wechsler’s group included choreographers, ceramics artists, and various multimedia creators, among others. They hailed from Korea, Scotland, New Zealand, Denmark, and elsewhere. “It was amazing to watch the dancers interpret the landscape,” she says. “And it was great to be able to see where we were through so many different perspectives.”

A common interest among the artists in Wechsler’s group was the effect of climate change on Far North terrain, animals, and indigenous people. They saw plenty of icebergs and marveled as a polar bear and her cubs devoured a reindeer. But Wechsler found Svalbard locals reluctant to converse about climate. Much of the island’s economy revolves around extracting minerals from the land and fish from the sea, actions that Norwegian taxpayers heavily subsidize.

Like the NSF’s Antarctic program, TAC doesn’t pay a stipend. Unlike NSF’s program, however, TAC doesn’t provide transportation. Wechsler had to pay for her airfare of approximately $2,000 and a room, board, and travel fee of $6,000.

Now that she’s photographed the Far North, where would Wechsler like to travel next?

She’s thinking of filling out an application for Antarctica.

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AFTER MONTHS of total darkness, the sun rises at McMurdo Station for about five minutes, then sets for almost 24 more hours. Within two months, the sun will shine 24 hours a day. But the light is like nowhere else on earth. “For four months, the sun just circles above the horizon,” Rosenthal says. “You can use it as a clock. If you look at my paintings and you know the terrain, you can tell what time it is, just from the shadows.”

Rosenthal paints in the realist style.

Every image is exactly as he sees it, without editorializing or stylization. He puts his signature on the canvas back, not the front. “When you’re looking at one of my paintings, you’re seeing what I see in my head,” he says.

To the uninitiated, his paintings resemble photographs. But Rosenthal says the differences are dramatic. The human eye processes images with a mix of bright light and deep shadows far better than a camera lens can. Our brains see colors with more nuance than do digital pixels. Light passing through a glass lens distorts perspective. After 35 years, Rosenthal prides himself on stripping a scene of distortion. Those who have seen Antarctica’s Mount Erebus tell him that his paintings capture the iconic volcano far more accurately than any photograph.

“I started doing it this way because I was stubborn,” he says. “But I’ve realized over the years that that’s the key to what is valuable about my work.”

••• OVER A 10-YEAR stretch, Rosenthal had spent a total of 60 months, or five years, on the Earth’s southernmost continent. He was there during six

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Courtesy David Rosenthal

Clockwise from left: “Ice Cave,” David Rosenthal; Rosenthal stands in front of Antarctic pressure ridges; Rosenthal sketches on ice skates in Antarctica.

Southern Hemisphere summers, five as a contract laborer and one as artist in residence. He was also there throughout four long winters, twice more as artist in residence. When temperatures reached 30 below zero with howling winds, he sketched with pen and paper, just as he did as a young man. He then reconstructed the scene from drawings and memory with oils or watercolors in the relative warmth of the indoors.

His longest continuous Antarctic stay was 16 months. “But it never felt like home,” he says, “because you’re only there by the brute force of the U.S. government and all their support.”

Nearly four decades since he first arrived in Alaska to process fish, Rosenthal's home is still Cordova. His work has earned acclaim and respect, though not big-city exposure—not yet. He was selected as artist in resi-

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Rosenthal prides himself on stripping a scene of distortion. Those who have seen Antarctica’s Mount Erebus tell him that his paintings capture the iconic volcano far more accurately than any photograph. dence for two national parks. He has even seen art schools soften their stance on landscape painting.

Scientists have been so impressed with Rosenthal's Antarctic oeuvre that they’ve asked him for permission to include selections of his work in textbooks. His meticulous—if inadvertent—documentation of the retreat of remote glaciers has helped those studying the effects of climate change.

“I many times say to people, ‘I’m really lucky to be able to watch the end of the Ice Age,’ because that’s where we are,” he says. “We’re truly at the end now.”

After so many seasons in the Far North and Far South, I ask Rosenthal whether he’d like to try painting at the Equator, where the temperatures are warmer and light is radically different.

“No,” he laughs. “I hate the heat.

I hate the bugs.” ABN

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THE

E XPA N D I N G R EACH

O F A R T T H E R A PY

THOUGH IT’S A RELATIVELY NEW APPROACH TO MENTAL HEALTH TREATMENT, ART THERAPY IS GAINING TRACTION AND MAKING A DIFFERENCE IN PEOPLE’S LIVES B Y F A R A H

Mopic/Shutterstock.com

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ou’ve probably seen adult coloring books in craft stores and bookshops. The art industry has enthusiastically promoted the hobby as a fun tool for stress management. And why not? Art is clearly a means of expression and can provide an effective way to relax and unwind.

Take this theory a step further, and you may find yourself in the field of art therapy. Art therapy helps a variety of people, including veterans, people with mental illness, children with autism, and individuals undergoing cancer treatment, just to name a few.

Research has demonstrated art’s effectiveness on child development, yet people often think of art educators as babysitters with crayons and paint.

They tend to receive less funding than teachers of core subjects and are the first to find themselves on the chopping block when budgets come up short. If that’s how society treats arts education, how will it handle art therapy?

The analysis of that question may be tricky, given that art therapy is a relatively young profession; the American Art Therapy Association was founded in 1969. The U.S. government

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J OA N FA R D

and educational institutions are developing guidelines and qualifications for those who wish to practice art therapy in the United States, and social acceptance of this therapy is growing.

Art therapy fi nds use in a range of settings, including hospitals, psychiatric facilities, schools, senior centers, rehabilitation programs, and private practices, according to the American Art Therapy Association.

REGULATING THE PROFESSION Donna Betts, PhD, is the president of the board of the American Art Therapy Association and an assistant professor of art therapy at George Washington University. She has worked with both children and adults and has researched and presented internationally on assessment, adoption, foster care, autism, and eating disorders.

Betts has always been interested in art. Adopted as an infant, Betts used art as a way to explore her identity, but art therapy didn’t enter her realm of awareness until she was in her 20s, when she began studying both art and psychology at the undergraduate level. She found art therapy to be the perfect marriage of her interests, and she went on to get a

doctorate in art education with a focus on art therapy.

Today, Betts says, more young people are being exposed to art therapy as it gains prominence in the field, and the United States is not alone in using art therapy as an effective approach to various physical and mental afflictions, including emotional distress, addiction, social development, anxiety, self-esteem issues, and more.

“I think that there is increasing recognition globally of the benefits of art therapy as a unique and distinct profession and not as some modality,” says Betts.

According to Betts, the profession of art therapy developed around the same time—about 60 years ago—in the United Kingdom and the United States. In the U.K., the National Health Service recognizes and manages art therapy, lending the practice credibility and allowing for a national reach. Conversely, although the art therapy credentialing and board certification process in the United States is managed nationally through the Art Therapy Credentials Board, the status of art therapy licensure varies from state to state.

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GET SCHOOLED Universities with graduate art therapy programs approved by the Education Program Approval Board of the American Art Therapy Association Adler Graduate School Richfield, Minnesota Adler School of Professional Psychology Chicago, Illinois Albertus Magnus College New Haven, Connecticut Antioch University Seattle Seattle, Washington Caldwell University Caldwell, New Jersey College of New Rochelle New Rochelle, New York Concordia University Montreal, Quebec, Canada Drexel University Philadelphia, Pennsylvania Eastern Virginia Medical School Norfolk, Virginia Emporia State University Emporia, Kansas Florida State University Tallahassee, Florida George Washington University Alexandria, Virginia Hofstra University Hempstead, New York Lesley University Cambridge, Massachusetts Long Island University, Post Campus Brookville, New York Loyola Marymount Los Angeles, California Marylhurst University Marylhurst, Oregon Marywood University

“Because of that [arrangement], it varies state by state in terms of your ability to practice or your ability to get an art therapy license,” says Betts.

“However, I do think [the benefits of art therapy are] equally recognized both here and in the U.K.” As the profession becomes more established, certification standards have been set, and the American Art Therapy Association continues to gain momentum in establishing state-bystate licensing procedures. The association is also working to make art therapy licenses available in more states. This task is an uphill battle because many state legislatures don’t fully understand what art therapy is.

“The reason for all [the regulations] comes back to protecting the public from harm,” says Betts. “As with any viable mental health profession, ... we are motivated primarily by the need to protect [patients] from … people who may say they are practicing art therapy when, in fact, they have not received the proper training.”

AMAZING IMPACT Cathy Malchiodi, PhD, is the founder, director, and lead faculty member of the Trauma-Informed Practices and Expressive Arts Therapy Institute, and she is the president of Art Therapy Without Borders.

With art programs being cut, and many non-core teachers given less and less financial support, it’s becoming more difficult for children to get oneon-one attention in art classes. As many school districts dismiss the necessity for art in public schools, many art therapists may feel it is a struggle to get a community on board. Therapists feel that if people don’t value arts in education, they probably won’t regard it as a valid form of therapy.

“One of the greatest misconceptions about art is that it is a frill,” says Malchiodi. “Recent research is proving

just the opposite: Art is not an extra; it is an integral part of learning. Art therapy takes this [concept] a bit further by emphasizing not only the application of art activities with children with disability challenges, but also the importance of a relationship with a helping professional.”

Art therapists, Malchiodi points out, know which artistic and developmental benchmarks to look for and the ways to design art projects and activities for children and adults with physical and psychosocial challenges.

This kind of learning becomes a “whole body experience, rather than just a ‘frontal cortex’ one,” when the arts are involved, says Malchiodi. With art, the individual learns not only through words and thought, but also through movement, sight, and touch.

Despite the various benefits art therapy may provide to a patient, many misconceptions about the field remain.

“One of the most [prevalent] misconceptions about art therapy is that drawings can [help] … diagnose problems or disorders,” Malchiodi explains.

“While each person may represent what is emotionally, socially, or physically challenging for them in their artistic expressions, it is not really possible to diagnose illnesses or disorders through a particular artwork.”

Instead, art therapy gives each individual the opportunity to express a unique experience, life history, and cultural narrative, says Malchiodi.

In this way, both Malchiodi and Betts agree, art therapy can act as an integrative mental health approach, addressing the body as a whole.

“We are not just addressing mental health issues, but the whole interconnected system that makes up a human being,” says Betts.

According to Betts, the art-making process can help children and adults who have trouble communicating verbally because of a communication

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"We all operate in a verbal world, but the art is like a bridge to open that up.

So, if someone is blocked verbally, the art therapy can help start a dialogue between the therapist and the patient." disorder or a history of trauma. Making art can enable them to access parts of their brains that they cannot access using words alone.

“I see this as a bridge between what’s going on within the person and the verbal world,” says Betts. “We all operate in a verbal world, but the art is like a bridge to open that up. So, if someone is blocked verbally, the art therapy can help start a dialogue between the therapist and the patient.”

Malchiodi is currently working with veterans returning from combat and their families, including children.

“What is repeatedly memorable about this work is the courage these children show through their artwork. I believe art therapy is really a method for enhancing and supporting resilience in all children, rather than only a method of treating disorders or problems,” says Malchiodi. “These children have taught me so much about not only courage, but also how important art expression can be in well-being and [in] telling important stories about their experiences as children in military families.”

EXPANDING ART THERAPY With the rising profile of the profession comes an increase in the number of universities offering master’s degrees in art therapy, thus fortifying the standards for practicing therapists and exposing more people to the field.

Betts finds that students who study art therapy, become certified, and have a passion for the field often end up finding work and promoting the profession.

The U.K.’s National Health Service has promoted art therapy through so-

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cial media, often posting videos of clients speaking about their experiences.

Malchiodi dispels the myth that only artists and disturbed individuals use art therapy. Patients may find themselves creating art and then discussing it with their therapists. She also mentions how the use of one’s hands and imagination can be fulfilling for clients and how the use of art therapy can reduce the need for pain medication in cancer patients and reduce anxiety in children. The use of art therapy can also help Alzheimer’s patients improve their cognitive skills.

According to the United States Department of Labor, the American Art Therapy Association had 5,000 members in 2013, the same year Pediatric Reports did a study titled “Expressive Arts Therapy for Hospitalized Children.” In January, Psychology Today discussed a study on art therapy’s effect in a prison setting. Organizations such as Miami’s Rise Up Gallery have been getting press coverage for workshops and exhibits demonstrating artwork of disabled artists, with a major exhibit running this summer. The gallery started the program as a therapeutic art workshop in collaboration with Jackson Memorial Hospital.

With all of these developments—and perhaps also the popularity of adult coloring books and the like—art therapy is gaining respect and recognition around the country and the world. Perhaps with this rise in recognition of art therapy’s effect and increase in awareness of the required training for licensed therapists, communities will reinforce art as an essential tool for development, healing, and education. ABN

Mount Mary University Milwaukee, Wisconsin Nazareth College of Rochester Rochester, New York Notre Dame de Namur University Belmont, California Phillips Graduate Institute Chatsworth, California Pratt Institute Brooklyn, New York Naropa University Boulder, Colorado New York University New York, New York Saint Mary-of-the-Woods College Saint Mary-of-the-Woods, Indiana School of the Art Institute of Chicago Chicago, Illinois School of Visual Arts New York, New York Seton Hill University Greensburg, Pennsylvania Southern Illinois University at Edwardsville Edwardsville, Illinois Southwestern College Santa Fe, New Mexico Springfield College Springfield, Massachusetts University of Louisville Louisville, Kentucky Ursuline College Pike, Ohio Wayne State University Detroit, Michigan

arttherapy.org/ aata-educational-programs

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VISUA L LITERACY

THE HOLY GRAIL OF ART

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WINTER 2015

TODAY’S ART EDUCATION SHOULD GO BEYOND THE GOALS OF MONEY-MAKING OR ART FOR CREATIVITY’S SAKE

BY SAMUEL FRANDINO

Popova Valeriya/Shutterstock.com; saichol chandee/Shutterstock.com ; Monkey Business Images/Shutterstock.com

M

any years ago, I worked for a theatrical scene shop that was engaged in a variety of projects at a new Universal Studios theme park. One project involved having artists “age” the exteriors of buildings to fit whatever milieu a scene required.

The painters at the shop achieved this effect by using the specialized art of scene painting. As I walked along one themed street, I watched a talented painter create rust stains that appeared to have been there for years, but had been placed there only an hour before.

He would paint an area and then stand back several feet to look at what he had just done before going back to the wall to paint. After repeating this sequence a few times, a supervisor told him to speed things up because there was a lot of area to cover. There was a brief discussion about art and process that ended with the supervisor telling him that this wasn’t his home studio: This was art for money, we give the client what they want, when they want it, and we don’t go broke doing it.

Neither that scenic artist nor his supervisor started out with a vision of art as a money-maker. Young children make art just for fun, so from the start their first art teacher is coming into the game in the second quarter. That student has an expectation of what “art” is going to be like, and it is a positive expectation that doesn’t involve factual content or vocabulary. If you were an elementary school art teacher looking into those eager faces, would you want to be the person who makes a child hate art by asking them to prove their learn-

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ing in some sort of assessment? Probably not. In the absence of some higher power forcing you to perform such an atrocity, you substitute factual content with something else. You open the doors to creativity with performance tasks in various media and techniques.

That scenic artist had made the transition from wide-eyed excited child praised for his creativity to artist in the service of capitalism. And I bet he was happy to be there, as I bet you’re happy to be working in the arts, too, probably looking to get in deeper. But there was a lot to learn in order to get from wideeyed child to employed artist cashing a check from the client, company, or gallery: facts about materials, techniques, and tools, not to mention contracts, taxes, and bookkeeping.

Students who dream of becoming working artists, and the rest who live in a culture increasingly bombarded with imagery, must develop a visual literacy, the holy grail of art education. Visual literacy provides students with the ability to express their thoughts and emotions and to understand the expressions of others.

If you ask children what they think of a painting, you’ll probably get simple value judgments. “It’s good.” “I like it.”

“I don’t like it.” They require a special vocabulary to express why they feel a certain way. With knowledge of the elements and principles of art, children are able to identify the artist’s technique and have the words to express what they see and why the art creates those feelings.

Visual literacy provides a connection between vocational art education and creative expression, as well as the

tools necessary to understand the subtle messages and manipulations around us.

It allows a 16-year-old art student who is desperate to communicate a sense of isolation and sadness to go beyond the stereotypical symbols that are so common in many artists’ early work. In a more commercial application, visual literacy enables fast-food restaurants to stimulate their customers’ appetites and increase turnover rate by adopting a yellow and red color scheme. Conversely, the decor of an upscale restaurant in Manhattan with a prix fixe menu is likely to be considerably more muted; the last thing they want is for you to feel rushed or still be hungry after dropping $1,000 in a single evening.

To effectively express yourself, or to collaborate with others, you have to learn the content of art. In most school districts, the delivery of that content is very similar. Young art students are encouraged to be creative in an age-appropriate range of media, and even if they are all following the same instructions leading to similar outcomes, at some point they are encouraged to make personal choices. They will do performance tasks like mixing colors, but unless testing of concepts is mandatory, the art teacher clings to the hope that the students are learning, or at least able to remember how they ended up with the color green they used in a particular project.

As the students grow, so does the range of projects they work on and the media they use. In high school they can start to take art classes in specialized subjects, like drawing, painting, crafts, ceramics, digital art, graphic design,

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shooarts/Shutterstock

and photography. In a fully functioning art program, a few students will take coursework in preparation for art education beyond high school. Although this K-12 curriculum has long served educators well in the past, it is incomplete and increasingly inadequate for producing students who understand imagery and the way it’s used to manipulate personal and public decisions.

Educators must introduce students to the ubiquitous use of imagery beyond the students’ personal conceptions of what art is. Generations of humans have believed in their science textbooks’ simplistic representations of atoms, waves of energy, and the solar system. These images do not reflect reality, however; they are visual analogies and metaphors that fit on the page. Musical notes and even the letters of the alphabet are images to which we assign sounds and combine to make melodies and words that in turn communicate thoughts and emotions. The use of imagery as a representation of some concept too large for us to imagine—deconstructed and abstracted to fit what we can understand—is an important part of visual literacy, though it does not fall into the accepted paradigm of art.

Although it may not lead directly to personal expression or occupational skills, a visual-literacy curriculum reveals to students how the presentation of

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In today’s world, images are unavoidable, and they manipulate our selection in everything from products to presidents. The business of art is everyone’s business, not just the business of those who are cashing checks.

ideas through images affects their perception of the world. These images often define their understanding of concepts or social issues for the rest of their lives.

This idea might seem like a lot to add to what many art teachers think of as too little time to begin with, and it is a diversion from spending time in the traditional pursuits of art education. Some students already don’t like art, or art class, even without this added component.

A very smart seventh grader once told me that art was his most difficult class. In every other class, the teachers told him what to do and how to do it.

Math was learned processes, and social studies was facts and dates. The answers in those classes were either right or wrong. In art class, however, he felt lost without explicit instructions and blackand-white answers.

How do students approach the question: What makes a bowl “art” instead of just a bowl? Considering this type of question tends to give students pause.

Ask them whether an ugly bowl is artwork, and the students have to ponder what “ugly” means and what “art” means. It may be the first time they’ve confronted an interpretive question.

In their increasingly diverse culture, they will confront issues for which the answers are unclear. A comprehensive education in art can help them begin to tackle these situations.

The problem with much of the discussion about art education is that it is highly subjective. The simple fact that every person is required to attend school means that everyone has their own personal experience from which they construct an opinion. As a middle school and high school art teacher, I’ve met hundreds of parents at open houses, and I am often struck by how many of them fondly remember their own art classes, even decades after graduating from high school. Many remember their art teachers as trusted confidants, and some talk about the hours they spent in the art room after school or when they should have been in other classes. I want to ask these parents whether they learned anything about art in their classes, but I don’t want to ruin the magic of the moment. I bet that one in 100 knows the basic elements and principles of art, and that estimation is generous.

We can’t continue to model curricula after our nostalgic personal experiences or to offer art education only to those who intend to find employment in the field. Everyone, especially a child growing up today, needs to understand the nature and the power of imagery. In today’s world, images are unavoidable, and they manipulate our selection in everything from products to presidents.

The business of art is everyone’s business, not just the business of those who are cashing checks. ABN

WINTER 2015

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Must-See CHECK OUT ABN’S CURATED LIST OF EVENTS AND SHOWS YOU WON’T WANT TO MISS DURING MIAMI ART WEEK

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WINTER 2015

Miami MIAMI ART WEEK has exploded into a well-known destination that attracts some of the top artists and galleries in the world. From the sophisticated Art Basel for the cultural connoisseur to a host of Wynwood venues with an international collection of galleries and emerging artists, Miami has something for everyone.

It’s a week of surprise and delight. A stroll through South Beach or Wynwood will enchant you with amazing public art and installations, unparalleled people-watching opportunities, and marvelous unpredictable happenings. It’s a nonstop art experience in a whirlwind of splashy soirées, parties, unveilings, and celebrations.

At this time of year, Miami’s local museums and galleries present their most compelling work, and, as you might imagine, a fashionable crowd is never far behind.

Magazines and designers host events and parties in posh venues from the Design District to the rooftops in South Beach.

Miami is now home to the largest, most anticipated art event in the country, with more than 20 art festivals and shows during the first week of December. You need not be a member of the artistic elite to enjoy the many events that take place during Miami Art Week. Just being there will ensure an amazing art experience.

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FloridaStock/Shutterstock

Here are ABN’s picks of must-see Miami shows.

Robert J. Hibbs

Aqua Art Miami December 2–6 Aqua Hotel 1530 Collins Avenue, Miami Beach aquaartmiami.com In the Aqua Hotel in Miami Beach, Aqua Art Miami will this year celebrate its 11th edition. Aqua has gained recognition for its focus on supporting an international gathering of new and established galleries with strong emerging and midcareer artists. Because the show is in a hotel, Aqua Art Miami is also a great place to relax, take a break, and rest your feet.

Art Basel Miami Beach December 3–6 Miami Beach Convention Center 1901 Convention Center Drive, Miami Beach artbasel.com Art Basel Miami Beach is the main

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attraction during Miami Art Week.

It’s certainly the largest show, with more than 260 galleries exhibiting works from North America, Latin America, Europe, Asia, and Africa.

The venue showcases a range of paintings, sculptures, drawings, installations, photographs, and videos—from masterworks to new pieces by emerging stars.

Art Miami December 1–6 Art Miami Pavilion 3101 NE 1st Avenue, Midtown Miami artmiamifair.com In its 26th year, Art Miami is the original and longest-running contemporary art fair in Miami and continues to showcase a variety of unparalleled art from more than 125 international galleries. It is a must-attend event for serious collectors, curators, museum directors, and interior de-

signers to see important work at the forefront of the international contemporary art movement.

Art on Paper Miami December 1–6 Deauville Beach Resort 6701 Collins Avenue, Miami Beach thepaperfair.com Art on Paper will launch its first show during this year’s Miami Art Week.

With roots in New York, Art on Paper Miami’s exhibiting galleries will feature sculpture, drawing, painting, and photography, all unified by the medium of paper.

Context December 1–6 Context Art Miami Pavilion 2901 NE 1st Avenue, Midtown Miami contextartmiami.com Context, sister fair to Art Miami, has established itself as a seri-

WINTER 2015

Robert J. Hibbs

Opposite page, clockwise from top: “Atmosphere” at Art Miami; Outside Design Miami; The crowd at Spectrum Miami; Miami Project “Paper Balloon.”

Riyaz Jamani

Riyaz Jamani

This page, clockwise from above: Live demo from Jordan Matter's yoga dancers; Art Miami; Sculpture at Art Miami.

ous market for top collectors to acquire important works from a collection of specially curated international galleries representing emerging and midcareer cuttingedge works of art.

Fridge Art Fair Miami’s third edition is The Fridge Fudge Pop, featuring the innovative works of artists, collectives, and galleries—positioned as a boutique soft-sell venue for all to enjoy.

Design Miami December 2–6 Meridian Avenue and 19th Street, Miami Beach miami2015.designmiami.com This global design forum brings together some of the most influential collectors, gallerists, designers, curators, and critics from around the world in celebration of design culture and commerce.

Ink Miami Art Fair December 2–6 Suites of Dorchester 1850 Collins Avenue, Miami Beach inkartfair.com Ink Miami is unique among Miami’s fairs for its focus on contemporary works on paper by internationally renowned artists. The International Fine Print Dealers Association sponsors the show and selects exhibitors from among its members of leading contemporary artists, who offer collectors a diverse survey of 20th century masterworks and justpublished editions.

Fridge Art Fair Miami December 3–6 Miami Beach Holiday Inn 4333 Collins Avenue, Miami Beach fridgeartfair.com

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Miami Project December 1–6 7275 Collins Avenue, Miami Beach miami-project.com Art Market Production hosts Miami Project, a show focusing on creating a high-quality venue for modern and contemporary galleries from around the world and the diverse selection of artwork created by the artists they represent.

Miami River Art Fair December 3–6 James L. Knight International Center 400 SE 2nd Avenue, Midtown Miami miamiriverartfair.com In its fourth year, the Miami River Art Fair is an international contemporary art fair and the only waterfront art fair during Miami Art Week. It features both indoor exhibitions and a unique Riverwalk Sculpture

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Robert J. Hibbs

Robert J. Hibbs

Alejandro Jofre Luis Gomez

Mall, which shows an international collection of monumental sculpture on the banks of the Miami River.

NADA Art Fair Miami Beach December 3–5 The Fontainebleau Miami Beach 4441 Collins Avenue, Miami Beach newartdealers.org Founded in 2002, New Art Dealers Alliance (NADA) is a nonprofit collective of professionals working with contemporary art. The NADA Art Fair is a collection of the youngest and strongest art galleries dealing in emerging contemporary art. It is the only major American art fair by a nonprofit organization.

Pinta Miami December 1–6 Mana Wynwood 318 NW 23rd Street, Midtown Miami pintamiami.com

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Since 2007, Pinta has offered a curated boutique dedicated to the art of Latin America, Spain, and Portugal. The fair showcases the galleries and artists that foster Pinta’s mission of giving greater exposure to Latin American and Iberian art.

Pulse Miami Beach December 1–5 Indian Beach Park 4601 Collins Avenue, Miami Beach pulse-art.com PULSE showcases progressive art from an international community of emerging and established galleries, most of which focus on three artists or fewer at the fair.

Red Dot Art Fair December 1–6 1700 NE 2nd Avenue at NE 17th Street, Midtown Miami reddotfair.com

Red Dot Art Fair offers a unique selection of approximately 60 galleries exhibiting contemporary painting, sculpture, photography, and secondary-market works. Red Dot features galleries specializing in emerging, midcareer and established artists who present work of lasting value.

Satellite December 1–6 Four oceanfront venues between 73rd and 75th Streets, Miami Beach satellite-show.com Satellite is a new alternative exhibition that will be presented during Miami Art Week at several beachfront venues. Renowned art curators and groundbreaking art organizations will be the stewards at each venue. This year’s curators will present new and exciting projects that run the gamut of art,

WINTER 2015

Opposite page, clockwise from top left: Scope Art Fair's Dean Project; LIfe is Art mural event at Spectrum Miami; Opening night crowd at Spectrum Miami; Sculpture at Red Dot Art Fair.

music, performance, new media, and technology activations. The involved sponsors hope that the inaugural exhibition fosters honest and thoughtful interactions.

Scope Miami Beach December 1–6 801 Ocean Drive, Miami Beach scope-art.com SCOPE Miami will once again present groundbreaking work, special programming, music, design, and fashion. Established as an incubator for emerging work, SCOPE celebrates its 15th year of introducing galleries to the contemporary market.

Spectrum Miami December 2–6 1700 NE 2nd Avenue at NE 17th Street, Midtown Miami spectrum-miami.com

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Robert J. Hibbs

This page: Artwork by Ancizar Marin of ArtSpot International Art Show at Spectrum Miami.

Spectrum Miami is a juried, contemporary art show featuring an international slate of contemporary artists and galleries. Spectrum provides attendees with an immersion in a fine art experience, during which guests can enjoy exciting events, live performances, latenight parties, educational seminars, and signature programs, such as Spotlight Artists, LaunchPad, Art Labs, and Art Talks.

Untitled December 2–6 Ocean Drive and 12th Street, Miami Beach art-untitled.com With a commitment to presenting exceptional contemporary art, Untitled’s innovative approach to the art fair model will feature an international array of galleries, nonprofits, and institutions in addition

to a variety of special projects, performances, and installations.

X Contemporary December 2–6 3401 NE 1st Avenue, Midtown Miami x-contemporary.com X Contemporary debuts in 2015, with a group of exhibitors representing emerging and midcareer artists. The X represents a destination point and an area of intersection— an evocative title for an art fair that will emphasize a crossover between the visual and the performing arts and invite unique music, fashion, and brand collaborations.

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PAYING FORWARD the Gift of Art

Lisa Schuster had graduated from business school and was running an art publishing business before she ever tried her hand at painting. Someone who had always appreciated art, she’d never considered herself an artist, and, when she finally allowed herself the freedom to test out her skills at age 30, she found that she had considerable talent. Today, though best-known for her abstract collection,

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Schuster is also an accomplished floral and landscape painter and creates captivating drawings with pen and paper.

Schuster is also known for her generous heart. She donated the first painting from her “Splash!� abstract collection to a charity auction and has continued donating her work and participating in charity events ever since. The following is her story as told to Art Business News editor Megan Kaplon.

WINTER 2015

I’ve always felt like my art career found me. While working on my MBA at Xavier University, one of the requirements before graduating was to design a company incorporating all the aspects of the curriculum. I chose art publishing.

After I completed my degree, my father encouraged me and funded me to actually bring the business concept to life, and it grew into a large family business.

Then, after years of working with artists through the publishing company, I decided to try painting, and, eventually, I ventured out on my own as an independent artist.

Our art publishing business supplied framed prints to the furniture industry—a huge variety of things, from barns to scenery. We’d use sand and glass and all these different textures and media on different kinds of boards and canvases.

It was a hodgepodge of a billion different things, and, through trying all this new stuff, I was able to weed out what I really liked doing the best. And it turns out it was plain old oil paint.

Entering the art world so relatively late, I had to deal with some insecurity. I did well in school, but it was in business and in books, nothing to do with art. It was such a brand-new world to me.

I eventually opened a gallery to unload the mountain of original paintings I had accumulated over the years, and I used that space and time to develop a signature look.

It’s hard to describe my painting style, because I do so many different things—from photo realism to pretty wild abstracts. My abstract collection entitled “Splash!” is my most popular. For these paintings, I use oil paint on metal sheets to create ethereal, vibrant abstracts.

I donated my first completed “Splash!” piece to a live auction event sponsored by Kindervelt, the charitable auxiliary of the Cincinnati Children’s Hospital Medical Center, to see how it would fly. It generated a lot of interest for me and thousands of dollars for the organization. After everything that I had painted in my career, that first “Splash!” painting was the thing that felt the most like me, so it was very

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validating to get the positive response from the Kindervelt auction.

I support three primary charities every year: Juvenile Diabetes Research Foundation (JDRF); Family Nurturing Center, an organization that provides child-abuse treatment, prevention, and education programs to families in the Northern Kentucky and Greater Cincinnati area; and Kindervelt. My sister was diagnosed with Type 1 diabetes when she was 7, and, 40 years later, my mother still gets emotional talking about the excellent care my sister received from Cincinnati Children’s during that terrifying time. Although I have no direct experience with child abuse, just knowing that it happens—and with horrifying frequency—is enough to make you take what action you can to support the children affected.

I always say yes when someone asks me to be involved in a charity event or an auction, even if it’s just donating a rolled-up print or giclée. I have a deep and diverse group of generous and charity-minded friends. When they ask, I say yes. If the cause is worthy of their precious time and energy, it is worthy of mine.

There are two main reasons I participate in charitable events. First, it’s true that whatever you give, you get back more. Through my donations, I have been rewarded with new friendships and business relationships that will last a lifetime.

You just never know where one act of kindness can lead you. I donated a piece 10 years ago to Grace Jones—esteemed designer and owner of Dwellings, the fabulous interior design studio in Cincinnati—and she introduced me to Litsa Spanos, owner of the wildly successful Art Design Consultants, who in turn connected me with Gallery One in Naples, where I now exhibit my work.

The other thing is, although I have put way more than 10,000 hours into my craft, it would be foolish to suggest that I wasn’t unwittingly blessed with a gift for art, for which I am forever grateful. It feels good and right to share this. ABN lisaschusterart.com

Striding for Cancer Research One of Lisa Schuster’s charitable projects for this holiday season was an abstract painting she created for the American Cancer Society’s annual Striders' Ball. This year, the event’s theme is “Hats Off to a Cure,” and Schuster’s painting features most prominently the theme colors—red, black, and cream—in addition to a highlight color for each of the various cancer ribbons: white for lung cancer, light blue for prostate cancer, teal for ovarian cancer, and so on.

“Clearly, there is no way to paint cancer pretty,” Schuster writes in her donation letter to the chairwoman of the event. “What I have tried to accomplish in this painting is to honor the heroic efforts of all those who do what they do to inspire hope, generate awareness, and move toward a cure. Thank you for inviting me to do what I do to support this noble cause.”

Above: “Striders’ Ball.”

Opposite page: “Erythite,” donated to a fundraiser for the Cincinnati American Heart Association; “Pavillion II,” donated to a fundraiser for the Behringer-Crawford Museum in Covington, Kentucky.

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H. Allen Benowitz

H. Allen Benowitz

Fine Art Photography Landscape • Wildlife • People • Adventure • Architecture H.Travel Allen Benowitz

Fine Art Photography H. Allen Benowitz

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Fine Art Photography Fine Art Photography Fine Art Photography Landscape • Wildlife • People • Landscape • Wildlife • People • at during Landscape • Wildlife • People •Spectrum-Miami Landscape • Wildlife • People • Adventure Travel • Architecture Adventure Travel • Architecture H. Allen Benowitz Landscape • Wildlife • People • Adventure Travel • Architecture Adventure Travel •booth Architecture Visit my exhibit S1025

Miami Art Week Visit S1025 my exhibit booth S1025 Visit my exhibit booth Adventure Travel • Architecture at Spectrum-Miami during at Spectrum-Miami during Week December 2 - Art 6, 2015 at Miami Spectrum-Miami during at Spectrum-Miami during Adventure Travel • Architecture

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Miami Art Week Miami Art Week Miami Art Week at Spectrum-Miami during December 2 6, 2015 3011 NE 1st Avenue at 2 NE- 30th St December 2 - 6, 2015 December 6, 2015 Miami Art Week

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December 2 FL - 6,33137 2015 Spectrum-Miami Tent Miami, Tent 3011 NE 1stSpectrum-Miami Avenue at NE 30th St Spectrum-Miami Tent 3011 NE 1st Avenue at NE 30th St December 2 6, 2015 Miami, FL 33137 3011 NE 1stby Avenue at NE 30th St Viewings Appointment Miami, FL 33137 Spectrum-Miami FLTent 33137 Viewings by Appointment H. Avenue AllenMiami, Benowitz, 3011 NE 1st at NE 30th St Viewings by Appointment H. Allen Benowitz, by Appointment Miami, FL 33137 1800 Viewings NE 114 St. – 1710 Benowitz, 1800 H. NEAllen 114 St. – 1710 H. Allen Benowitz, Miami, Fl. 33181 1800 NE 114 St. 1710 Viewings byMiami, Appointment Fl.– 1800 NE 114 St. –33181 1710 Miami, Fl. 33181 H. Allen Benowitz, Miami, Fl. 33181 305.586.1181 1800 NE 305.586.1181 114 St. – 1710

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WINTER 2015

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Contemporary Art Spectrum Miami Booth# 600 A Song in the Red Church I Acrylic on flax 100cm x 120cm (39’ x 47’) 2015

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WINTER 2015

Masters of the Art of Giving Framing Couple Megan Prenderville & Mike Harper

BY MEGAN KAPLON

ALSO IN THIS ISSUE Set Goals, Discover Success

BY CLAIRE SYKES

Mending the Supplier-Framer Relationship

BY ED GOWDA

Consider Rustic Frames

BY ELISE LINSCOTT

WINTER 2015 decormagazine.com info@decormagazine.com ______ CEO/Publisher: Eric Smith Editor-in-Chief: Megan Kaplon Managing Editor: Linda Mariano Copy Editors: Nina Benjamin, Fran Granville Contributing Editors: Paul Cascio, Tara Crichton, Ed Gowda Art Director: Stacy Dalton Graphic Designer: Lizz Anderson ________ Advertising Rick Barnett Managing Director, Exhibitions & Media Sales rick.barnett@redwoodmg.com 831-747-0112 Ashley Tedesco Director of Media Marketing Sales ashley.tedesco@redwoodmg.com 831-970-5611 Rosana Rader Director of Sales & Exhibitions rosana.rader@redwoodmg.com 831-840-4444 _______ Operations & Finance Geoff Fox geoff.fox@redwoodmg.com ____ Subscriptions Visit decormagazine.com for subscription information. _________ DECOR serves all segments of the art and framing market, including art and framing retailers, picture framers, interior decorators, artists, home-furnishing providers, OEM/volume framers, gift retailers, photo studios, suppliers, distributors, and manufacturers. The magazine features articles and columns from longtime and well-known industry experts and top art and framing retailers.

Cover Image: McKay Imaging Photography

Team Notes WINTER 2015 Each issue, our Team Notes column will offer an inside perspective on art and design, featuring stories and recommendations from members of the RMG team. This issue, we’re looking back at the past year and contemplating which galleries and exhibits stood out to us and inspired us the most in 2015.

“I recently visited the new National Geographic Fine Art Gallery in La Jolla, California.

I have always loved the photos published in National Geographic, because each picture tells a vivid story and helps create an awareness of issues affecting the world and its various life forms that otherwise we might never have known about. The thing that made the biggest impact on me was seeing those beautiful photographs in such a large format, making them all the more striking. What a great idea to pull these photographs from the archives and allow the public an opportunity to enjoy them in their own homes.”

— Kelly McNeill, Exhibitor/Attendee Relations Manager “I had the pleasure of visiting Conde Contemporary Gallery, located in Miami’s historic Little Havana neighborhood, where I was truly inspired by the work of Andres Conde. He is able to materialize the essence of human character, strength, and emotion. Leo Tolstoy said, ‘Art is not a handicraft, it is a transmission of feeling the artist has experienced.’ Conde’s work is steeped in tradition and rich in history, and it shows pride in one’s roots, origins, and family. I am always moved when viewing his work.”

— Mira Fox, Operations Manager “I recently had the unique opportunity to slip into Bread and Salt, a gallery space in San Diego, and experience Neil Shigley’s ‘Invisible Drawings and Prints’ in almost complete solitude. It was a moving experience to be able to stand in front of these compelling works with no distractions. Neil has an amazing ability to capture the character and soul of people living on the streets in such a raw way.

Looking into the eyes of a person on the streets can sometimes be unsettling and create mixed feelings. Standing in front of ‘Mark’ and looking into his eyes had an unexpectedly strong impact on me—I felt a deep connection to ‘Mark’ and left with a desire to know more about his life.”

— Ann Berchtold, Founder and Director of Art San Diego “I recently visited the Taft Museum in Cincinnati, Ohio, where I was impressed not only with the art, but also with the beautiful 1820s historic home the museum was housed in. Walking down the halls and stepping into each room, I got to see works by Rembrandt, Turner, and Corot. The works of art were not just oil on canvas—each had a life of its own. No matter how many shows I have been to or how many artists I work with, I always wonder: Someday, will someone look at these artists’ work the way I do these historic masterpieces?”

— Rosana Rader, Exhibitions Account Executive D E CO R M AG A Z I N E .CO M

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HINTS OF VENICE

Fotiou Frames has released a series of frames featuring hand-embellished fresco finishes. Inspired by the colors and culture of Italy, the 2¼-inch-wide Vintage Fresco frames are available in seven finishes at fotiou.com.

With his expertise in architecture, Frank Lloyd Wright, the king of mid-20th century design, built a large following of admirers and imitators. In his honor, custom framer Larson-Juhl has created a line of moulding with rich wood tones, metal accents, and wax finishes. Available in four profiles and two finishes, the Wright collection is available at larsonjuhl.com.

NEW FROM URBAN ASHES

SUSPEND YOUR ART

Urban Ashes continues to expand its offering of reclaimed and repurposed home decor items with the Suspension Frame and the Valet Tray. The Michigan company repurposes maple floorboards and plaster lath boards from Detroit into beautiful goods that also keep usable resources from going into landfill and create jobs for ex-felons. You can find the new items at urbanashes.com.

Wexel Art’s floating frames allow your artwork to make a statement. The frames use single or double panes of acrylic to suspend artwork and make it easy to change the item on display. Wexel Art frames are available in all standard sizes at wexelart.com.

NEWSMAKERS ATTEND EUROPE’S FRAMING EXPO

If you’re looking for a reason to journey to Europe next year, you might want to consider the FamaArt Trade Show. FAMA Europe, the European consortium of picture framers, organized the show, which will take place in Bologna, Italy, March 4-6, 2016. It will showcase some of Europe’s top frame manufacturers, as well as fine art, machinery, moulding, and digital printing devices and accessories. In 2015, buyers from 50 countries visited the event. For more information, visit famaart.it.

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THE GUERRILLA FRAMER

Corporate Sales The Other Half of Your Framing Business By Paul Cascio There’s no better way to dramatically increase sales than through a corporate sales program. Corporate sales are so important that I often refer to them as “the other half of the framing business.” A good corporate sales program provides an additional opportunity to make money.

In essence, it’s like having another business—and another profit center.

Despite the benefits and profit potential, most retail framers pay inadequate attention to developing and maintaining their corporate sales programs.

Framers who neglect corporate sales tend to always have an excuse for their actions. “I’m too busy,” they say. “I opened a retail store so that customers would have to come to me,” “I just don’t have enough

having customers who buy from you on a weekly, not yearly, basis and who buy dozens of frames at once, instead of just one or two. Corporate accounts are the gifts that keep on giving. Your best customers will be your corporate accounts.

Sure, it takes effort to start a corporate sales business, but that investment in time and effort produces handsome returns. I consider the investment to be minimal relative to the benefits corporate sales offer. For this reason, I encourage you to place more focus on corporate sales.

If you are still not convinced, take a look at some of the advantages of corporate sales in comparison to retail sales.

First, corporate customers spend more—sometimes, a lot more. Big sales,

Imagine having customers who buy from you on a weekly, not yearly, basis and who buy dozens of frames at once, instead of just one or two. Corporate accounts are the gifts that keep on giving. hours in the day,” or “I’m not in a big city.”

In my opinion, none of these excuses provide adequate justification for leaving so much low-hanging fruit on the trees.

Whether you operate a retail store or a home-based business, a corporate sales program offers opportunities that have too much potential to ignore. This situation is especially true when you look at all the benefits, direct and indirect, that a good corporate sales program offers.

To envision corporate sales, imagine

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as you know, equal big profit. Business customers also tend to spend more often than the typical retail customer. It’s not unusual to have a corporate customer buy from you on a weekly basis.

Also consider that retail customers often frame items that they already own, whereas corporate customers often buy the art in addition to the framing. Even if it’s only poster art, the additional profit can be significant, and taking an order for art requires only a small amount of time and effort.

Corporate customers have other advantages over retail customers, too.

Many corporate customers have a go-to frame that they use repeatedly. This practice enables you to buy frame moulding in box quantities, which reduces your cost basis and adds to profit.

Although it’s only a minor consideration, in my experience, corporate customers seem less picky than retail customers. They are less likely to care that a particular gold frame doesn’t perfectly match another shade of gold in their decor. And when it comes to design, a corporate customer often simply instructs you to, “Frame it appropriately.” You still want to do a great job, of course, but you may be able to do it using a moulding that you already have in stock.

I always provide free basic installation service on corporate jobs. This practice can become a sales opportunity because employees of the business customer will sometimes ask the installer about framing items for their home or purchasing art.

Installations that go beyond a simple picture hook hammered into the wall while the installer’s feet are firmly planted on the floor do incur fees. Art installation can even become a significant part of your business should you choose to become proficient at it and if you are willing to take on the risks involved.

Corporate installations also provide great exposure for your work. A lot more people will see your framing in the lobby

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3523studio/Shutterstock

of a hotel than in a retail customer’s family room.

One final advantage of corporate sales is that it’s not seasonal. Your corporate customers will buy from you year-round.

Now, let’s take a look at the excuses that framers typically offer for not putting more effort into a corporate-sales program.

I’M TOO BUSY. Can you really be too busy to ignore something that could potentially double your income?

I OPENED A RETAIL STORE SO THAT CUSTOMERS WOULD HAVE TO COME TO ME. This excuse is legitimate only if you’re happy with the number of customers coming through the door and the amount of money you’re making.

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I JUST DON’T HAVE ENOUGH HOURS IN THE DAY. If you open your store at 10 a.m., you still have an hour between 8:30 and 9:30 to pick up and deliver from your corporate accounts. That’s typically all it takes once you’ve established the accounts. And, if necessary, you can hire someone to handle deliveries for you.

I’M NOT IN A BIG CITY. Although larger cities certainly have the potential to produce greater sales volume, they are also likely to have more competition.

Corporate accounts are everywhere. They exist in the form of restaurants, hotels, large employers, government institutions, and more. I got my start in Hartford, Connecticut, a city of only 125,000 people, and I did well. Don’t be deterred by the fact that you’re not in a big city.

Stop making excuses and start making money. If you don’t have a corporate sales program or if the one you have is generating less than half of your total sales, make a commitment to increase this important segment of your business. There’s no better time to do it than right after the holidays, when retail sales slow down. The only significant investments are time and effort, but the payback can be tremendous.

Make a strong commitment to making corporate sales the other half of your framing business. ® Paul Cascio is the lead instructor for The American Picture Framing Academy (pictureframingschool.com). Cascio also provides business and sales training and consulting. Contact Cascio at pdc@pictureframingschool.com.

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OP-ED

THE

FRAMER-SUPPLIER RELATIONSHIP

Suppliers need framers, and framers need suppliers, so how can we all work together for everyone’s benefit?

By Ed Gowda Lately, I have been hearing complaints from independent than expected. Disappointed customers spend less money framers that the quality of products they receive has been and come back less frequently, leaving the independent frame on the decline. There is a lot of speculation about why this shops with a smaller market share, less demand for their prodmight be the case. uct, and less money to spend with the suppliers.

From my perspective, it appears we may be stuck in a One way of getting around these quality issues is by keepdownward cycle. Independent framers order less due to ing more materials in stock. This may not be realistic for many decreased demand, loss of market small independents, as it requires extra share, and disappointment from cusspace, but it helps keep the customers Independents need tomers over quality and increased happy. The huge discount framers get to find a way to show turnaround times caused by quality for buying moulding by the box, for the suppliers that issues. Suppliers in turn rely more example, is intended to compensate they are important to heavily on supplying big-box stores for the fact that the box is uninspected and larger online framers that pay from the manufacturer, so there may be them—not just a whiny less for the materials, restock less fresome bad sticks or spots that need to be inconvenience that the quently to save on shipping and storage cut around. The price usually more than suppliers have to deal costs, and use materials that they may makes up for the inconvenience and with until they can do have rejected in the past to maximize waste, however. Having the moulding without them. sellable supply. in stock means that if there is someUnfortunately, these actions cause thing wrong with the piece intended for framers to be more observant about the quality of the mate- the customer, it can be tossed aside and there will still be plenty rials they are receiving. Increased scrutiny combined with left to get the job done in a timely manner. an actual increase, no matter how slight, in distribution of Framers may also need to give the suppliers a bit of a break questionable material causes a dramatic increase in sensitivity on what they find acceptable. Some complaints I have heard are and complaint. Framers are forced to either use the materials just unreasonable, and I’m sure suppliers would agree. Some as well as possible or return them, causing customers to get of the leaders in our industry have called for a zero-tolerance either a lower quality product or a longer wait time to get the policy when it comes to damaged or flawed materials, but I replacement materials. Customers are then disappointed if prefer more of a situational acceptance. If, for instance, the top the product is not up to their standards or has taken longer and the bottom sheets of foam board in each box have marks

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fotohunter/Shutterstock

from the corrugated cardboard, I use those sheets to make spacers, filler, or any number of other things for which I need full sheets of board but for which smoothness is not critical. I really don’t need the suppliers to tack on the extra expense of lining the boxes with sheet metal or whatever other nonsensical solution has been suggested. I certainly do not feel compelled to return every sheet of foam that is not in pristine condition.

I buy it by the box, not by the sheet. If the entire box were unusable, that would be a problem. If a sheet or two has to be repurposed, the box still has the same value to me.

On the other hand, I would hope that suppliers would also take into consideration the best interests of the independent framers who for years have been their main supporters. It may seem easier for suppliers to focus on the low-maintenance big-box stores because they don’t have the time to argue over the minutiae, but it’s important to remember that the big-box stores’ ultimate goal is to eliminate the suppliers.

Independents need to find a way to show the suppliers that they are important to them—not just a whiny inconvenience that the suppliers have to deal with until they can do without them. Suppliers need to understand that we independents are their greatest supporters and genuinely care about their

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continued existence. The big boxes and online guys are just buying from them until they can set up their own facilities. At that point, both the independents and the distributors will face the possibility of extinction.

Let’s all try to have some sympathy for the other guy’s situation. I think that most framers understand that the suppliers are doing what they can to survive an uncertain period in the history of our industry. I also hope that the suppliers know that the loss of market share, the appearance of favoritism toward the big buyers, and what we see as a slip in quality control have caused some paranoia among the independent framers. Offering certain products exclusively to specific buyers, dramatically changing discount structures, pursuing large corporate clients and retail consumers, openly posting wholesale prices, making justified returns difficult, and shipping more unacceptable product aggravates our growing distrust. It might be time to step back, take a breath, and evaluate and communicate where we each need our industry to go. ® With three Framing Palace locations in Maryland, Ed Gowda has specialized in custom framing for more than 25 years. One of his passions is to share information and ideas within the industry.

Contact him at framingpalace.com.

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Lisbeth Sterling / And Be Merry / Mattson's Fine Art

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VIP OPENING NIGHT PARTY April 14th: 4PM–7PM

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SETTING GOALS Draw your road map to success and achieve your business goals with these tips By Claire Sykes

It’s wonderful to wander if you’re rambling down country roads or strolling leisurely through the mall, open to whatever catches your eye. When it comes to your framing business, however, you probably won’t get far if you don’t know where you’re going.

Successful business owners set goals for themselves. They know where they’re headed and why, and they know exactly how to get there. When you set specific, realistic, and measurable goals, you create a road map for yourself. With it, you can steer your business in the direction that you want it to go, and you’ll be more likely to reach your destination.

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WHY IT’S IMPORTANT You may think that your framing business is cruising right along, but it could be merely coasting—or even stalled—without your realizing it. Setting goals gives you a more focused view. If you want to achieve certain goals, you tend to notice those things that can help you and those that can hinder you.

Goals give you control so that you can drive your business forward, instead of drifting aimlessly. They also help you set priorities, making you more aware of what tasks to take on and when, given what you ultimately want to accomplish. All of these goals feed your motivation by providing the vision of a desirable

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WITH YOUR GOALS IN SIGHT, YOU CAN TRANSPORT YOUR BUSINESS FORWARD, DRIVING YOUR DREAMS AND THOSE OF YOUR BUSINESS TOWARD YOUR DESIRED DESTINATION. outcome. Even the most mundane tasks take on meaning if they help you reach your goals.

When you set goals, everyone associated with your business benefits. Employees feel encouraged to set their own job goals that can in turn help you achieve those of your business. This technique stretches staff members’ capacities and allows them to feel that they are part of a team. Setting goals contributes to more effective interactions with customers and vendors, who will enjoy doing business with energetic and organized companies.

WHAT IT TAKES Along with ambition and a sense of purpose, setting goals that yield successful results requires the following qualities: A positive attitude. Attitude begins with supportive selftalk about your abilities and dreams. Write your affirmations in the present tense and read them aloud daily. This exercise trains your subconscious to accept your statements as true.

Imagination. Each day, take quiet time to visualize yourself reaching your goals. Look at magazines and newspapers for pictures of your desired results and display them next to your written affirmations.

Compatible goals. It’s not appropriate to ask staff about their personal goals. But if they’re saving for a car, an engagement ring, or a vacation—and they enjoy working with you—they will likely feel motivated to do their best, which only helps further the success of your business.

Motivation & commitment. The drive to succeed requires desire and perseverance. Find ways to build and encourage these qualities in yourself and in your staff by providing the right support, motivation, and rewards.

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Incentives. Know what gets you and your staff going.

Maybe it’s going for a quick run before you tackle those invoices or playing upbeat music for your warehouse staff. Contests and games also create fun and encourage everyone to work as a team toward their goals.

Positive reinforcement. Reward your and your staff ’s successes with praise, cash bonuses, dinners out, or days off. Give employees public recognition by posting their accomplishments on a break-room sign or by awarding an employee-of-the-month title.

Organization. Successful goal-setters keep strict track of their progress and wisely manage their time and tasks. Help yourself achieve this organization by running your framing business in a systematic, standardized, and orderly fashion.

Independence & self-confidence. Are you and your staff self-directed and self-assured? Those qualities help you maintain the motivation and resolve to stay on course, especially when the going gets tough.

Flexibility. If you’re poised for change, you can adjust your goals in response to uncontrollable obstacles and unexpected opportunities that any business may face, such as a weak economy or a large-volume customer.

Perspective. When you can manage and respond to the smallest details while maintaining a focused view of the big picture, both within and outside your business, you have the vantage point from which to better achieve your goals.

BREAKING THROUGH THE BARRIERS In any journey, you’re bound to come up against some roadblocks. Whether they’re mere potholes in the pavement or

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READY, SET, GOALS! Your personal goals, such as starting a family or traveling the world, can influence those of your business. Your business goals support your personal ones and reflect what you consider to be successful for your company. Your staff members’ personal and professional goals motivate them toward their own definitions of success and can help you reach your own goals.

With those points in mind, use the following steps to achieve your goals: LOOK WITHIN. Identify where you are, so you have a starting point on which to base your goals.

Determine what you really value, how you can improve, the impediments in your path, and how you can overcome them.

VERIFY YOUR VISION. Make sure that your vision reflects your values and connects with your core goals without conflicting with related goals. Imagine accomplishing your goals and the success that doing so will yield.

LOOK AROUND YOU. Imagine yourself responding to threats, such as an economic downturn or increased competition, and opportunities, such as a financial windfall or increased industry support.

SET YOUR GOALS. You’ll never reach your goals if you don’t name them. Afterward, you can figure out how to attain them.

PRIORITIZE. Define long-term goals that you can reach in one to five years and short-term goals that you can achieve on a monthly, weekly, or daily basis. Manageable steps will enable you to master skills to push you forward.

BE SPECIFIC. Write your goals with enough detail so you’re sure about what you want to achieve. Doing so will give you a clear and complete map to lead you along a focused route right to your destination.

BE REALISTIC. Don’t overwhelm yourself with too many goals. Your goals should stretch you beyond your comfort zone so that the challenge feels exciting—but not so far that you can’t reach them.

ESTABLISH A TIMELINE. Choose daily, weekly, and monthly deadlines for each step to motivate you to stay on schedule. Set aside time during the day to work toward your goals.

MONITOR YOUR PROGRESS. Note whether each step brings you closer to your goals. Keep track, giving yourself rewards as you go. Revisit your goals daily so you can adjust them as you face changes.

MEASURE YOUR RESULTS. Your results may come in the form of monthly revenues or favorable customer comments. Whatever your goals, document tangible evidence of the outcome so it’s clear whether you’ve reached them.

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extensive detours, you need to know how to navigate them.

From faltering faith to fear of defeat, self-doubt can make for a bumpy road for even the most determined of goal-setters traveling through unknown territory. Therefore, fortify your affirmations, restock your imagination with fresh views of your vision, and distance yourself from anyone who doesn’t share your belief in your dreams.

Family issues and illness, a struggling economy, and business problems can all obstruct your path. Accept them, work toward a resolution, and adjust your goals accordingly. Then, with eyes forward, maneuver around any boulders ahead and don’t let them do you in.

If these barriers prevent you from attaining your goals, reevaluate your goals. Decide whether they are unrealistic and evaluate any miscalculations you may have made. Perhaps you didn’t start with the right resources, and you need to seek out people and information that can better support your efforts.

No matter how you arrive at your conclusions, remember that all your efforts still count. Taking any reasonable risk strengthens you because doing so shows you where to make changes. This attitude helps you turn a potentially negative experience into a positive one.

A NEVER-ENDING ROAD There’s no single route to achieving your goals. If one road reaches a dead end, take another. Just before you arrive at your goal, set new goals that push your limits and prod you forward.

When you and your staff successfully reach your goals, savor the satisfaction that comes with achieving what you’ve set out to accomplish. Then, ask yourself why you were so successful, so that you can apply that knowledge to future goals. Finally, reward yourselves with that dinner out or day off.

Make goal-setting an integral part of your business. Enjoy the journey, stopping occasionally to take in the view. And be ready to swerve in an unexpected direction should an opportunity inspire you. With your goals in sight, you can transport your business forward, driving your dreams and those of your business toward your desired destination. ® Claire Sykes is a freelance writer in Portland, Oregon. Her business management articles appear in dozens of retail trade publications. She also writes about graphic design, photography, the visual arts and music, health and wellness, philanthropy, humanitarian aid and development, Native Americans, and other topics for national publications.

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Don’t Miss the 3rd edition of

FRAME PRODUCERS

MOULDING ACCESSORIES

MAT BOARDS

DIGITAL PHOTO PRINTING

FINE ART

CUTTING MACHINERIES

BolognaFiere 4-6 March 2016 After the successful last edition Famaart 2016 is back in Bologna with three days of business networking and market trends!

In collaboration with

A

l Touch a on s er P

AFTER BELOVED SHOP DOG CHOPPER WAS DIAGNOSED WITH CANCER, FRAME TO PLEASE OWNERS MEGAN PRENDERVILLE AND MIKE HARPER OPENED THEIR HEARTS AND THEIR DOORS TO A VARIETY OF CHARITABLE CAUSES A family tragedy inspired framing couple Megan Prenderville and Mike Harper to add charitable efforts to their business plan three years ago. Ever since, the owners of Frame to Please in Red Bank, New Jersey, have expanded their involvement with charities, and they’ve reaped the rewards in their bottom line and in the immense satisfaction they’ve gained from giving back to their community.

This is their story as told by Prenderville to Art Business News editor Megan Kaplon.

the world was not going to save our poor little Chopper, but we wanted to reach out and help animals that did have a chance.

Chopper is still with us nearly four years since his initial diagnosis. He has been examined by several veterinarians, and they’ve brought up his case at national conferences, but there’s no medical explanation for why he’s survived. I think it has something to do with the fact that people come in on a daily basis and ask about him and his brother, Yoshi.

Creating the Paws for a Cause kiosk and donating to Save U.S. Pets Foundation fulfilled my heart so much that I decided ••• to expand this mission of giving back to the community. So last When I was a senior in high school, I was very much involved in December, in the other hallway kiosk in our building, we opened and enthralled by the arts, and I took a part-time after-school job up a booth called Art from the Heart. We choose artists with the in a picture framing shop. I’ve pretty much been doing it ever since. same passion for the community that we have, and we feature My husband, Mike—an illustrator who had stopped illus- their work in a 60-day show. We don’t take any commission from trating because of technological advances that came with the these shows; instead, that money goes directly to a foundation computer age—and I decided to start a picture framing busi- of the artist’s choosing. ness out of our basement. Within five years, it had grown to the The only restriction we put on the charity each artist point that we needed to move to a chooses is that it has to be a retail brick-and-mortar shop, and legitimate 501(c)(3) foundation.

Charity and art seem to work we’ve been in the same location in so well together. They’re both such Right now, we have illustrator Red Bank, New Jersey, ever since.

Mike Kupka showing in the personal choices. Art speaks to We have two shop dogs that Art from the Heart booth. His people differently—it speaks to their we bring to work every day, and show, “Capturing the Game,” they are very well-loved, special features Kupka’s sports illustraheart, and so does charity. dogs within the community. In tions. When we asked him what 2012, one of the dogs, Chopper, was diagnosed with cancer and foundation he’d like to support, he immediately said pediatric given four to six weeks to live. The experience of dealing with cancer, so, together, we selected the Ashley Lauren Foundation. his medical care inspired us to convert one of the kiosks in the Katie Benson, a paper-crafts artist, was another one of the hallway into a pet-boutique shop we dubbed Paws for a Cause artists we featured in the Art from the Heart kiosk. She does that would benefit the Save U.S. Pets Foundation, a charity that these amazing little paper crafts, and she makes adorable aprons; grants money to people who can’t afford emergency health care she is just über-creative in everything that she does. She went for their pets. It seemed like a good fit because all the money in into the kiosk and just magically transformed it. It was very

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McKay Imaging Photography

Clockwise from above: Mike Harper and Megan Prenderville with chopper and yoshi outside Frame to Please; Prenderville with artist Katie Benson; Mike Kupka's Art from the Heart opening; Prenderville, Chopper, and Yoshi with photographer Kim Levin; Harper at another Frame to Please charitable event. dreamlike, what she had created, and I was really shocked and very pleased that she did so well with that show. She chose to donate to the Save U.S. Pets Foundation as well.

We have a book signing by photographer Kim Levins coming up in the Paws for a Cause booth. She just published her 20th book, and since Chopper and Yoshi have been included in one of her books, they’ll be at the signing too.

There have been happy coincidences along the way when our charitable efforts have really benefitted our business. Mostly, though, we enjoy sharing our networking group with the artists and with the foundations they choose. It’s about bringing three circles together and creating a larger circle. We give the artists access to all of our social media and our press releases, and we hold an opening for them.

Charity and art seem to work so well together. They’re both WINTER 2015 EDITION

such personal choices. Art speaks to people differently—it speaks to their heart, and so does charity.

We’re so grateful to have been in business all these years, especially since Red Bank is such a competitive area. We feel that we’ve set ourselves apart by having two stores that give to local charities—not to mention that it’s just a socially responsible thing to give back and thank our customers for patronizing our stores. It’s a little bit different from just going into a big-box store where you make a purchase and that’s it. We’re different; we continue on our relationship with our customers. ® SINCE ABN CONDUCTED THIS INTERVIEW, CHOPPER PASSED AWAY. MEGAN AND MIKE PLAN TO CONTINUE RAISING MONEY FOR SAVE U.S. PETS IN HIS MEMORY, AND IF YOU WOULD LIKE TO CONTRIBUTE TO THE CAUSE, VISIT SAVEUSPETS.COM.

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Return to

Rustic

This fall, as the leaves were starting to turn and the weather was becoming cool and crisp, I took a ferry to Nantucket Island, 30 miles off the coast of Cape Cod in Massachusetts. Herman Melville’s Moby-Dick describes the island as “an elbow of sand.” In the summer, Nantucket is a playground for the rich and famous, but it’s also home to many skillful artisans, and downtown galleries proudly display the works of local artists

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along the cobblestone streets. I especially enjoy visiting Nantucket in the fall, when most summer visitors have left and the island returns to its peaceful, quiet state.

As I was browsing the town’s Farmers and Artisans Market—the last one until spring returns—I found two beautiful photographs by local artist Kaity Farrell. One photo was of Great Point Lighthouse, which is on the northern tip and the most remote part of the island;

it requires a four-wheel-drive vehicle and at least 20 minutes of driving on the beach to reach it. I have special memories of spending long summer days with friends there and winter days when the only other people around were serious fishermen casting off from the beach.

When I saw the photo, a giclée print with a scene of the lighthouse just before sunset and with a flock of gulls overhead, I knew just the kind of frame I wanted: a

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Julia Ardaran/Shutterstock.com; Lapina/Shutterstock

THE STEADILY INCREASING POPULARITY OF DRIFTWOOD AND RECLAIMED WOOD FRAMES By Elise Linscott

rustic, reclaimed, or driftwood frame with natural tones to complement the tones in the beachscape. And, as I found when I visited local frame shops, I wasn’t the only one.

Rustic styles have become more popular in recent years, as trends have shifted away from the more formal and traditional styles of the past. More consumers are looking for natural-looking and reclaimed wood for both home and business interiors, including frames that complement a rustic design.

Nantucket is no exception. Its grayshingled homes are naturally weathered, and artists often carve reclaimed wood from its shores into art. As other trends have waxed and waned over the years, rustic frames have held their own, slowly yet steadily gaining popularity.

“I love the reclaimed wood frames,” says Blake Richard, owner of Nantucket Frameworks. “I love the look of them, … and I sell quite a [few] of them.”

Since opening Nantucket Frameworks 15 years ago, Richard’s clientele has expanded to include galleries, shops, and designers, as well as individual customers who want to frame prints and paintings for their homes.

Of the 200 frame styles Richard stocks, only two are truly reclaimed wood frames, and 15 more are driftwood or rustic-looking; still, the rustic frames that he stocks do well. He estimates that the rustic-style frames are in the top three or four most popular frame groups he offers, with plain white being the most popular at the moment. The rustic frames Richard carries are mostly in varying shades of gray and white, though he stocks a couple of black driftwood frames as well.

Though these frames have some obvious applications for such things as my print of the lighthouse and beachscape, for example, beach-themed artwork isn’t what sells most of Richard’s rustic frames.

Richard says he’s framed more mirrors than

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artwork in the reclaimed wood frames.

If customers are interested in the rustic or reclaimed frames, Richard will often show them more than just a corner sample to make sure they know what they’re getting.

“With the reclaimed wood and even some of the other driftwood I have, a lot of times I’ll pull a full stick of it because sometimes a corner sample doesn’t actually show the full detail, like nail holes right through the top of the frame,” explains Richard. “Every time I sell a reclaimed wood I say, ‘Just so you know, this is part of the character of the frame; it might have nail holes or other imperfections.’ ” For customers who like the idea of a rustic frame but don’t want actual reclaimed wood complete with nail holes, Richard offers a selection of factory-produced driftwood frames, which are also popular.

These frames have clean lines, no flaws, and no nail holes or nicks.

Some of Richard’s frames are preassembled, but many require cutting and sizing, and some of the authentic reclaimed wood frames require additional work in that regard. “[The gray reclaimed wood frame I stock] starts out as a larger piece of wood, and they run it through a saw to make it 1.5 inches wide. It cuts into the inside of the wood, which is not naturally weathered like the outside, so when I’m doing those, I use a gray stain [on] the inside lip of the frame, so it has a gray look like the rest of it,” he says.

“I’ve seen people who don’t take the time to do it, but I think [omitting] it looks terrible.”

These rustic, reclaimed, and driftwood frames are becoming popular across the country. As I wandered through my Seattle neighborhood this fall, I stopped into a few local frame shops to check out their selections of rustic frames. The shop owners all say the same thing: Rustic frames are popular and have been gaining steam in recent years. Most frame shops

I visited, however, don’t carry any truly reclaimed wood frames.

Art that incorporates rustic-style and reclaimed wood is not a new trend, either.

My mother, a fine artist who paints still lifes, remembers meeting another artist at a show years ago who did some of her paintings on reclaimed barn wood. Those pieces always sold out, she told my mother.

Some style trends fade quickly. Take gold frames, for example.

“Ten years ago, gold frames were flying out the door,” says Richard. “Now, they’re only about one of every 40 framing projects that I do. But reclaimed woods and driftwoods have held their own, and their popularity has even slightly gone up.

“I think [the demand for driftwood and reclaimed-wood frames] is probably going to become stronger as the years go on,” he continues. “I figure the white has to phase out eventually, and the reclaimed and driftwoods are going to step up even more then.” ® Elise Linscott is a freelance journalist based in Seattle. A Massachusetts native and Western New England University grad, Linscott previously worked as a staff reporter for a newspaper, and she loves getting outdoors, meeting new people, and exploring.

69

Eye of the Storm

Wheels of Change

Black Ice

Mountains Crumble to the Sea

Portrait

ADVERTISER INDEX ADVERTISER

PAGE

Altitude Design

8

H. Allen Benowitz

50

Art+ Magazine

15

Jonathan Brender

BC

Artblend

3

Lysakov Art Company

5 2

Art Design Consultants

10

Michael Joseph

Artelisted

41

OK Seo

51

Palette Art

70

Barton Studios Bessette Studios Deborah Ann Haines ENitsua Fine Art FamaArt Gryphon Fabricators

7 IFC 51 9 65 IBC

Redwood Media Group

22, 60

Richard Noble

50

Serene Compositions

52

Socrates Marquez Stefan Georg Originals

1 41

“Gates of the Arctic,” Chad Farnes

71

PARTING SHOT

“Moment of White,” Brett Lethbridge

Brett Lethbridge is an award-winning artist with a national reputation for his boundless creative energy. The Australia-based artist’s work ranges from the sublime and beautiful linework of his drawings to the vivid richness and exquisite detail of his large paintings.

Lethbridge exhibits in Australia and internationally and has regular showings of new creations at his own gallery in Brisbane. The gallery, which he opened in 2004, has proved very popular as a home for Lethbridge’s newest paintings and as a space in which other artists and art lovers can share their love for the creative world.

Lethbridge Gallery | lethbridgegallery.com | brett@brettlethbridge.com 72

WINTER 2015