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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
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“The image does not emerge mechanically from the camera, It happens stylistically from the mind of the artist”
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PERSPECTIVES THE FUTURE IS HERE
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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. 6
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
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,
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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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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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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
THE COST OF
Conservation&Restoration HOW DO CONSERVATORS RESTORE DAMAGED ART WORKS, WHAT DOES IT COST, AND HOW DOES IT IMPACT VALUE?
I
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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WINTER 2015
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. 32
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
WINTER 2015
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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Eye of the Storm
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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