Collecting Art Spring 2022

in The Palm Beaches

A guide presented by the Cultural Council for Palm Beach County

Expanding minds. Inspiring community.

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President & CEO Dave Lawrence

Vice President of Marketing & Programs

Jennifer Sullivan

Director of Artist Services

Jessica Ransom

Marketing Manager

Nick Murray Creative Lead Grazie Prokopetz

Publisher Terry Duffy Editorial Director Daphne Nikolopoulos Editor Mary Murray Art Director Frank Pace

Digital Imaging Specialist Leonor Alvarez Maza

Contributing Writers

Nick Murray, Judy Martel, Susie Stanton Staikos

Contributing Photographers

Jerry Rabinowitz

Production Director

Selene M. Ceballo

Production Manager

Kayla Earle

Digital Pre-Press Specialist

George Davis

Published by Palm Beach Media Group North P.O. Box 3344, Palm Beach, FL 33480 Telephone: 561.659.0210 • Fax: 561.659.1736 www.palmbeachmedia.com

Copyright 2022 Palm Beach Media Group North Inc. All rights reserved.

It is my sincere pleasure and honor to welcome you to Collecting Art in The Palm Beaches. No matter if you’re just starting to build your collection or you’re a seasoned professional, I know that in the pages ahead you’ll find inspiration, introspection, and analysis that will help you in your journey.

My husband Jeff and I have long been collectors of fine art. We started our journey early on with antiques that we would blend with the design of our homes. Then, we continued on to collect rare preand post-WWII automobiles that are aesthetically astonishing and sculptural in nature. Within our Palm Beach home, we favor the works we have on display by Hudson River school artists—moving scenes of landscape that transport you to different places in an instant. We also host a varied collection of contemporary work in our home in Miami, and nautical-themed works in our home on Cape Cod.

There’s a unique joy in collecting the work of local artists and creative professionals. To me, these talented individuals are an integral part of the tapestry of any community. They have the innate capability to touch people through their expression and ability, and even encourage others to express themselves. Embracing artists and their work is so important to who we are as humans, and that connection is core to what I think defines “community.”

I also have some tips that I’d like to impart to those using this guide to begin their own collection here in The Palm Beaches. I encourage you to purchase pieces that move you. The pieces I’m most fond of are the ones where my interpretation of the artist’s meaning (even if it’s not at all what the artist intended) evolves and changes over time.

It’s a treat when you have an art collection that you continue to enjoy not just on your own, but also by loved ones you want to share it with over many years. It is with that sentiment that I wish you the best of luck on your journey to collecting art!

Thank you,

Frances Fisher

Vice Chair, Board of Directors, Cultural Council for Palm Beach County Founder, Frances and Jeffrey Fisher Charitable Foundation Chair, Board of Directors, Ann Norton Sculpture Gardens

The Art of Collecting Local

By Nick Murray

From Worth Avenue and Antique Row to arts districts in Downtown Delray Beach and Lake Worth Beach, The Palm Beaches are home to dozens of top-notch galleries and studios offering curated selections for collectors at any level. If you’re eager to support the work of emerging artists and the creative economy at large, you can do so by collecting works by artists based here in Palm Beach County. Here are four galleries and organizations that’ll

inspire you to hang local art on your walls—in addition to spending a fun weekend exploring cultural hot spots in The Palm Beaches.

The Village Art Studios, Tequesta

At the northern tip of Palm Beach County sits the laidback village of Tequesta, home to many artists inspired by the area’s seaside environment. One of Tequesta’s hidden gems, The Village Art Studios has spotlighted

and sold the original works of local artists for 10 years. The gallery offers small studios and gallery space at an affordable price to creatives who live in Palm Beach County year-round.

The gallery’s owner and founder, Julie Silk Beaumont, prides herself on the organic process of sourcing the artists featured within. “A lot of [artists] have heard about the gallery and they’ll come walking through just to take a look,” she says.

Though The Village Art Studios mainly serves as a space for creative professionals to create and sell their work, it also invites visitors to come by on the second Saturday of each month for live music, sidewalk painting, and more.

Beaumont offers this advice to collectors who are just starting to source at local galleries: “You really need to go after what attracts you. If it doesn’t attract you again and again, it means nothing. It has to speak to you.”

The Village Art Studios, 578 N. U.S. Highway One, Tequesta, 561.310.8499

The Box Gallery, West Palm Beach

Activist, designer, performer, entrepreneur, writer, critic— there are not enough words to adequately describe the award-winning artist Rolando Chang Barrero. He also happens to be a gallerist and owner of The Box Gallery in West Palm Beach, which started as an empty storefront on Belvedere Road.

“We gutted it and turned it into what it is now: an empty, white box that can be used for a number of different art forms,” explains Barrero. “We have performing arts, music, dance, print media, visual arts, kinetic works…I just wanted it to be a very flexible space.”

Barrero saw a dire need in the area to serve alternative artists seeking to show their work and “do things in a nonconventional way, in a non-dainty space in case things needed to get roughed up a little bit. That’s why the walls and floors are concrete.”

The driving force behind The Box Gallery’s programming and exhibitions is “activist art” that addresses current civic engagement issues and topics curated either by Barrero or guest curators. The artists featured within these exhibitions come from around the world, though most are currently living and working here in South Florida. The main question Barrero asks when interviewing new artists interested in showing their work is, “How much

The Box Gallery rotates its exhibitions monthly and is a must-visit for any collector seeking to add well-crafted, thought-provoking works to their home. Barrero’s tip for budding collectors is to start practically: “Buy a variety of different smaller works and see what you could live with, what you enjoy being with the most, and then head in that direction.” The Box Gallery, 811 Belvedere Road, West Palm Beach, theboxgallery.info, 786.521.1199

Mtn Space, Lake Worth Beach

One of the newer additions to the gallery circuit is

have you invested in yourself before coming to ask me to invest in you?”

THE BOX GALLERY INTERIOR (ABOVE); ARTS WAREHOUSE INTERIOR (BELOW); ONE OF THREE GALLERIES AT THE CULTURAL COUNCIL IN LAKE WORTH BEACH (OPPOSITE PAGE)

Mtn Space, which is centrally located in the heart of Downtown Lake Worth Beach. What started as a project for gallerist/owner Melissa Delprete to hone her skills as a painter ultimately evolved into something she wanted to share with the community. “I really wanted to make sure that when I decided to do this, that I stepped up to the plate and made [Mtn Space] a cultural and educational space for those outside of the Miami area to be able to visit,” she says.

Mtn Space looks to exhibit emerging and established artists from the local and global arts communities and build relevant, diverse, and self-aware programming. “I think it’s really important to support local artists because of the reward that you get from it,” says Kenneth Schofield, Mtn Space’s gallery director. “You get to know your community. It’s easier to start conversations. It’s immediate and close and intimate. I think that [collecting local] is something that should be done because it connects you to where you are.”

Delprete agrees. “When you start investing in your own community, you are not only lifting up that one artist, but you’re lifting up the entire community,” she adds.

Though the team at Mtn Space deals with collectors of all levels, they know how to speak to the nascent art-lover who walks through their door. Delprete points out that these individuals should “see art, go to museums, go to galleries, go to open studios. That’s kind of the best thing that you can do as a collector is just to be informed.”

Schofield also advises collectors to “actively look as often as possible and engage with what you’re looking at. Constantly overstimulate yourself with as much art as you possibly can.” Mtn Space, 502 Lake Avenue, Lake Worth Beach, mtnspace.com, 561.285.4883

Arts Warehouse, Delray Beach

More than a dozen galleries dot the bright, beautiful streets of Downtown Delray Beach’s Pineapple Grove Arts District. One gallery in particular stands out among the rest for its unique mission and makeup.

Arts Warehouse is a nonprofit organization that works as an arts incubator funded and staffed by Delray Beach’s Community Redevelopment Agency (CRA). The organization is home to three galleries and 15 individual studios, which local artists can apply to use at an affordable rate and hone their craft in a communal space among other creatives. They can also take part

in professional development opportunities (workshops, events, technical assistance) during their tenure (a maximum of four years).

“The vision of the CRA when Arts Warehouse was developed was to really be a hub for visual artists and also artists as businesses,” explains Arts Warehouse’s manager, Grace Gdaniec. “One mission of the CRA is to support small businesses, which a lot of artists are independently owned businesses trying to make their way.” Each of the studios are a working and selling space, where artists can host collectors interested in their creative process.

Each year, Arts Warehouse mounts an exhibition of their resident artists’ work within their public gallery. For the other 11 months of the year, the Arts Warehouse staff curates shows based on a theme, material, social concern, etc.

Gdaniec explains why it’s important to collect work by local artists: “It’s about acknowledging artists as you would any local business. It’s generating goodness at a local level. And, if you like the work, if [the piece] is in your price range and if you’re wanting to support local, there are so many positives to shopping at Arts Warehouse or other galleries in the area. Purchase because you are getting that personal attachment to the work. I like to think that knowing the artist makes that investment easier.” Arts Warehouse, 313 N.E. 3rd Street, Delray Beach, artswarehouse.org, 561.330.9614 ❖

MTN SPACE EXTERIOR (ABOVE)

Boca Raton

ROSENBAUM CONTEMPORARY

150 Yamato Road rosenbaumcontemporary.com, 561.994.9180

Delray Beach

ADDISON GALLERY

206 NE 2nd Street addisongallery.com, 561.278.5700

SPONDER GALLERY

413 E. Palmetto Park Road, Suite 106 spondergallery.com, 561.241.3050

Jupiter MAC ART GALLERIES

460 Military Trail, Unit 101 macfineart.com, 561.429.4829

Lake Worth Beach

STEIDEL CONTEMPORARY

500 N. Dixie Highway, Suite 305 steidelcontemporary.com, 561.283.2446

Palm Beach

ACQUAVELLA

340 Royal Poinciana Way, Suite M309 acquavellagalleries.com, 561.283.3415

BEN BROWN FINE ARTS 244 Worth Avenue benbrownfinearts.com, 561.366.9985

FINDLAY GALLERIES 165 Worth Avenue findlaygalleries.com, 561.655.2090

GAVLAK

340 Royal Poinciana Way, Suite M334 gavlakgallery.com, 561.833.0583

IN THE PALM BEACHES

HOLDEN LUNTZ GALLERY

332 Worth Avenue holdenluntz.com, 561.805.9550

PACE GALLERY 340 Royal Poinciana Way, Suite M333 pacegallery.com, 561.444.3922

THE PALM BEACH ART COLLECTION 139 North County Road thepalmbeachartcollection.com, 301.674.2671

PAUL FISHER GALLERY

The Brazilian Court Hotel, 301 Australian Avenue paulfishergallery.com, 561.832.5255

PROVIDENT FINE ART 125 Worth Avenue providentfineart.com, 561.249.7929

Palm Beach Gardens

CALL OF AFRICA’S NATIVE VISIONS GALLERIES

PGA Commons, 4600 PGA Boulevard, Suite 105 nativevisions.com, 561.741.1600

ONESSIMO FINE ART PGA Commons, 4530 PGA Boulevard, Suite 101 onessimofineart.com, 561.355.8061

STUDIO E GALLERY

PGA Commons, 4600 PGA Boulevard, Suite 101 studioegallery.com, 561.799.3333

West Palm Beach THE PEACH 3950 Georgia Ave. thepeachwpb.com, 561.532.0900

Additional Galleries

ZERO EMPTY SPACES

Open throughout Palm Beach County zeroemptyspaces.com, 844.427.8788

Marc Straus is a poet, writer, doctor, and art collector who lives with his wife, Livia, in Chappaqua, New York. He currently runs MARC STRAUS, a contemporary art gallery located on Manhattan’s Lower East Side. These tips were provided by Straus during his presentation at the Cultural Council’s Emerging Collector Tour in February 2022. *

Let’s Get Digital

By Judy Martel ARTISTS AND COLLECTORS NAVIGATE THE

BRAVE NEW WORLD OF NFTS

Derived from the Greek word “krypton,” crypto is defined as “hidden” or “not perceived of immediately.” It’s an apt description for digital assets created on secure computer blockchain databases that few can wrap their heads around. Initially part of a rarefied subset of the financial world for a class of virtual currency such as Bitcoin, all things crypto remained solidly in the background—mostly the playground of techies and finance geeks.

So when crypto art began its slow awakening, many dealers, artists, and collectors took little notice. Then, in March 2021, it burst onto the scene in a big way,

with the even less-comprehensible name of nonfungible tokens, or NFTs. An NFT of a virtual collage that the artist Beeple (real name Mike Winkelmann) created over a period of 13 years sold for nearly $70 million at a Christie’s auction. Like it or not, the art world had to catch up quickly to this emerging medium.

NFTs are digital files with a unique identifier on the blockchain. Unlike a physical (fungible) piece of art, the owner displays the NFT electronically, with many collectors showcasing their personal art gallery on their phone, tablet, or television.

Because the blockchain provides indisputable proof of ownership, the provenance of a piece of art is no longer in question, which is what makes NFTs valuable to both collectors and artists. “I think artists who don’t want to miss out are making NFTs, even though they don’t really know what they are,” says Palm Beach County artist Ates Isildak, who specializes in music videos, short films, and photography. Security from art theft is a big part of the appeal, he believes.

Michael Greenwald, director at Tiedemann Advisors in Palm Beach and the company’s director of digital asset education, says the buzz around NFTs has helped legitimize and publicize the work of digital artists who have chosen to create outside the realm of the traditional visual medium. “If you look at how the masterpieces came to be, it’s because they told a story of a moment in time,” he notes. “Ultimately, the artist has to put forth the best expression in the medium that tells the story. Some may be physical, but some will live better in a non-physical space.”

As collectors of contemporary art, Greenwald says he and his wife, Nolan, are excited about a future that explores new methods of creation, but they haven’t invested in NFTs yet. “At this point, we’re more interested in collecting physical art, but Nolan and I are watching the NFT space very closely to see how the secondary market is playing out.”

Isildak has already dipped into the NFT realm, minting two NFTs of his short films that he offers for sale on his website. Minting refers to the process of converting a digital asset into the blockchain. While he wanted to familiarize himself with the process and cost (a four-minute video cost him $80 to mint and a one-minute video was $30), Isildak hasn’t found interested buyers and has adopted a wait-and-see attitude going forward.

“The only people I know who have made money are those who are not in art themselves, but they’re on the forefront of technology,” he explains. “They are not typical art purchasers; they’re into fads and want to get in on the ground floor of something interesting and new.”

Indeed, skeptics have grumbled about the

ATES ISILDAK FEATURING ROGER JACKSON, FABULOUS MUSCLES (OPPOSITE PAGE). BEEPLE, EVERYDAYS: THE FIRST 5000 DAYS (ABOVE); LARVA LABS, CRYPTOPUNK #7523 (BELOW).

“financialization” of art, suggesting that NFTs reduce art to financial assets to be bought and sold merely for profit. As evidence, they cite the stratospheric price of NFTs, the volatility of cryptocurrency as the preferred form of payment, and the potential for fractionalizing a piece of art so that several buyers can own part of a single work. But Greenwald sees it differently. “I think it’s exciting and, overall, it’s good for the artist and the art world. Ownership means different things to different people, and this opens up a new marketplace for artists, buyers, and sellers.”

Isildak is cautiously excited about NFTs and remains open to new methods of creating and collecting. “I think it’s moving forward and more artists are trying it,” he says. “It’s a brand-new world and people are seeing what sticks and what doesn’t.” ❖

Photo FINISH

Story By Susie Stanton Staikos Photography by Jerry Rabinowitz

CURATE A COLLECTION OF FINE ART PHOTOGRAPHY IN A SNAP

These days, anyone with a smartphone can take a photo at a moment’s notice. But with museum collections and art fairs devoted to fine art photography, the medium is attracting serious collectors like Jaye Luntz. As a child, she grew up surrounded by the works at her parents’ gallery, the Holden Luntz Gallery on Worth Avenue. As an adult, she runs JL Modern Gallery, also on Worth, geared toward a younger clientele. We caught up with Luntz to get her tips for wouldbe photography collectors. What are the first steps in starting to collect photography?

Luntz: The process usually begins by seeing an image that pulls you in emotionally. The beauty of photography is capturing a moment that actually occurred. The would-be collector has to understand that, unlike buying a

painting, there are editions in photography that give multiple opportunities to collect something. It is important to educate yourself, and there are many resources. Starting a relationship with a gallery and having conversations with them can provide a wealth of knowledge. When galleries knowthe artists, they can pass on additional information. A gallery would educate you, keep you engaged with an artist, and give guidance in building a collection.

What other resources might be useful to a new collector?

It’s important to do your own research once you have fixed your mind on something. There are amazing online resources that will allow you to find out more about an artist through a Google search. There are books about the artists and some excellent online publications that provide more in-depth knowledge and [cover] a wide range of artists—like L’Oeil de la Photographie (Eye of Photography), Aperture, Dazed, and Artsy. Museums offer opportunities to see established collections, and art fairs showcase the different artists and genres galleries are offering.

What should a collector know about editions?

Like prints and lithographs, signed photography editions made during the artist’s lifetime are more valuable. There are also editions that are made posthumously. When it comes to vintage photography, it was not usual for photographers to think of their work as having fine art value, and they didn’t always produce editions. When collecting vintage photographs, you’re not necessarily going to find them in pristine condition. There may be some creases or silvering on the print. It’s part of the print’s history and rather like a patina. If you are fixated on the condition of a print, it may take you some time to appreciate the beauty of a vintage print.

JAYE LUNTZ SITS WITH THE HARRY BENSON BEATLES FORTIETH ANNIVERSARY PORTFOLIO, WITH BENSON’S THE BEATLES (PILLOW FIGHT), 1964, IN THE BACKGROUND. (ABOVE); LUNTZ AT HER WEST PALM BEACH HOME IN FRONT OF BERNARD FAUCON’S CHAMBRES D’AMOUR PORTFOLIO, PRODUCED BETWEEN 1984 AND 1989 (BELOW).

What about budget?

It’s good to have a budget in mind, but it can limit you from seeing something extraordinary. Give yourself some space to breathe.

What photography-related materials are collectible?

Contact prints are really interesting and give you the opportunity to look into the photographer’s mind and see how their mind works and how they switch their focus. You can also see the photographer’s selection. It’s another way of looking at photography and giving you a narrative of the entire shoot. Sometimes the artist doesn’t want you to see the images that weren’t selected and won’t sell negatives because reproductions could be made that were never intended to be printed. An enlargement of a contact sheet can be more interesting. Anyone collecting photography should understand the foundation and the history of photography. To know how a print is made is really important, and to understand that before digital there was only one roll of film or your glass plate negative and you had to think about the construction of the image prior to taking it.

How do you go from being a casual collector to building a serious collection?

That’s when you switch from having an interest in photography to becoming a collector. Once you’re looking at it from a holistic perspective and want to incorporate important pieces of history along with beautiful fashion, a particular artist and another artist who may have studied with them and been directly influenced by them, I think that’s when you have a holistic understanding of the medium. That’s a really exciting point to get to. You’ve taken something that was an interest that aesthetically drew you in, to something that you’ve curated, and you can start to see the history right in front of you. Hanging a house becomes important because having certain pieces next to each other and the dialogue between the pieces can be so interesting. How two different artists influenced each other in their understanding of light or composition, or to see how two different artists may have captured New York from different perspectives, that’s amazing curation. When you have a relationship with a gallery, they can help you with the hang, give you that insight, and make you think differently.

What is the best way to display and look after fine art photography?

It’s important to protect against direct sunlight. I never put glass on a print, especially a vintage print as glass can break and damage an image. I always put UV Plexi on a work, which blocks out around 97-98 percent of harmful UV rays. It’s important to work with a good framer and to have a framer who you continually go to who gets to know what you have in your home. I personally like a more eclectic look, but others may prefer to use the same style frame. For a portfolio of prints, it’s best to have the same frame, especially if the prints are in a grid. In displaying works, I wouldn’t limit yourself to walls, in the sense that small framed pieces can become objects and can be set on stands or incorporated in bookshelves. Works

on a wall will look like a gallery. When they are placed with objects there’s a sense of discovery that gives the display a more modern and contemporary look, even with vintage prints.

How should people approach merging their collections? When two individuals get to share a home and their collections, or one of the partners has not collected before, it’s time to sit down, have a talk, and explain each piece, the story behind it, the history, and how it fits into the collection. That develops a better understanding and appreciation of the works. It brings it alive and re-excites you about your collection. When you collect pieces together, all of a sudden it’s not only your decision. There’s another voice that might say, “No, this doesn’t work for me.” In my experience, if both partners don’t want the same piece and they bring it home, it comes back. ❖

EDOUARD BOUBAT, LA BASTILLE, 1954; NEAL SLAVIN, SABRETT HOT DOG VENDORS, NYC, 1974; JACQUES-HENRI LARTIGUE, BOBSLED RACE: ZISSOU AND MADELEINE THIBAULT IN THE BOBSLED, MME. FOLLETÊTE, TATANE, AND MAMAN ROUZAT, 1911. (OPPOSITE PAGE, FROM LEFT)

GLOSSARY OF ART TERMS

ABSTRACT

Abstract Art that does not attempt to represent an accurate depiction of a visual reality but instead use some combination of shapes, colors, forms and gestural marks to achieve its effect.

Archival Refers to artistic materials that are resistant to

deterioration or loss of quality and have a neutral or slightly alkaline pH, which allows a longer lifespan for the work of art when kept in controlled conditions.

Appropriation

An artistic strategy, the intentional borrowing, copying, and alteration of preexisting images, objects, and ideas.

EILEEN LYONS, OCEAN WALK NO. 1, 2021 OIL ON CANVAS, 60 X 60 INCHES

Sourced from The Museum of Modern Art (MoMA)

Assemblage

A three dimensional work of art made from combinations of materials such as found objects, metal, wood, textiles, etc.

Brushwork

The manner in which a painter applies paint with a brush.

Ceramics

Objects, such as pots and vases, made of clay hardened by heat.

Collage

Derived from the French verb coller, meaning “to glue,” collage refers to both the technique and the resulting work of art in which fragments of paper and other materials are arranged and glued or otherwise affixed to a supporting surface.

Conceptual Art

Art that emerged in the late 1960s, emphasizing ideas and theoretical practices rather than the creation of visual forms. Conceptual artists used their work to question the notion of what art is, and to critique the underlying ideological structures of artistic production, distribution, and display.

Contemporary

This term refers to artwork created by living artists.

Diptych

A work of art consisting of two sections or panels, usually hinged together. A three paneled artwork is a triptych.

Edition

A copy or replica of a work of art made from a master. It commonly refers to a series of identical impressions or prints made from the same printing surface, but can also be applied to series of other media such as sculpture, photography, and video.

Expressionism

Encompasses varying stylistic approaches that emphasize intense personal expression. Renouncing the stiff bourgeois social values that prevailed at the turn of the 20th century, and rejecting the traditions of the statesponsored art academies, Expressionist artists turned to boldly simplified or distorted forms and exaggerated, sometimes clashing colors. As Expressionism evolved from the beginning of the 20th century through the early 1920s, its crucial themes and genres reflected deeply

humanistic concerns and an ambivalent attitude toward modernity, eventually confronting the devastating experience of World War I and its aftermath.

Figurative

Representing a form or figure in art that retains clear ties to the real world.

Geometric

Resembling or using the simple rectilinear or curvilinear lines used in geometry.

Gouache

A water-based matte paint, sometimes called opaque watercolor, composed of ground pigments and plantbased binders, such as gum Arabic or gum tragacanth.

FIGURATIVE SERGE STROSBERG, SOUL MAN, 2004 OIL AND OIL PASTEL ON CANVAS, 43 X 49.5 INCHES

The opacity of gouache derives from the addition of white fillers, such as clay or chalk, or a higher ration of pigment to binder.

Impasto

An Italian word for “mixture,” used to describe a painting technique wherein paint is thickly laid on a surface, so that brushstrokes or palette knife marks are visible.

Impressionism

A label applied to a loose group of mostly French artists who positioned themselves outside of the official Salon exhibitions organized by the Academie des Beaux-Arts.

Rejecting established styles, the Impressionists began experimenting in the early 1860s with a brighter palette of pure, unblended colors, synthetic paints, sketchy brushwork, and subject matter drawn from their direct observations of nature and of everyday life in and around Paris. They worked out of doors, the better to capture the transient effects of sunlight on the scenes before them. With their increased attention to the shifting patterns of light and color, their brushwork became rapid, broken into separate dabs that better conveyed the fleeting quality of light. In 1874, they held their first group exhibition in Paris. Most critics derided their work, especially Claude Monet’s Impression, Sunrise (1872) which was called a sketch or impression, rather than a finished painting. From this criticism, they were mockingly labeled Impressionists.

Installation

A form of art, developed in the late 1950s, which involves the creation of an enveloping aesthetic or sensory experience in a particular environment, often inviting active engagement or immersion by the spectator.

Landscape

The natural landforms of a region; also, an image that

has natural scenery as its primary focus.

Mandala

A sacred Hindu and Buddhist art form, generally circular, that symbolizes the universe.

Medium

The materials used to create a work of art, and the categorization of art based on the materials used (for example, painting, drawing, sculpture).

Mixed media

A technique involving the use of two or more artistic media that are combined in a single composition.

Perspective

Technique used to depict volumes and spatial relationships on a flat surface, as in a painted scene that appears to extend into the distance.

Photograph

An image, especially a positive print, recorded by exposing a photosensitive surface to light, especially in a camera.

Portrait

A representation of a particular individual, usually intended to capture their likeness or personality.

Screenprint

A stencil-based printmaking technique in which the first

MANDALA

DAVID RUBINSON, TRANSLUCID SYMMETRY, 2020 DIGITAL IMAGE ON PLEXIGLASS, 20 X 20 INCHES

PERSPECTIVE

DAN REMMEL, BLUE STATION, 2018 ACRYLIC ON CANVAS, 36 X 36 INCHES

STILL LIFE

TERRY PESSO, BOWL OF FRUIT WITH ORCHID, 2021 ACRYLIC ON CANVAS, 24 X 24 INCHES

step is to stretch and attach a woven fabric tightly over a wooden frame to create a screen. Areas of the screen that are not part of the image are blocked out with a variety of stencil-based methods. A squeegee is then used to press ink through the unblocked areas of the screen, directly onto paper. Screenprints typically feature bold, hard-edged areas of flat, unmodulated color. Also known as silkscreen and serigraphy.

Sculpture

A three-dimensional work of art made by a variety of means, including carving wood, chiseling stone, casting or welding metal, molding clay or wax, or assembling materials.

Still life

A representation of inanimate objects, as a painting of a bowl of fruit.

Watercolor

Paints composed of pigments ground to an extremely fine texture in an aqueous solution of gum Arabic or gum tragacanth. The absence of white fillers, such as those in gouache, creates a medium with luminous transparency.

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