Art Business News Spring 2016 Digital Edition

Page 1


LaunchPad Artist

Renuka Adhav BUSINESS SMARTS for Artists

THREE-DIMENSIONAL The Season’s Best Sculpture Exhibits


DECOR The Pros of Polystyrene

History of Frames, Part I Start a Frequent Framers Club

Ok Seo

CONTEMPORARY ART Artexpo New York | Booth# S400 April 14–17, 2016

+82 10 4750 3019 1 310 997 7411 A Song of Oblivion I Acrylic on Canvas 90cm x 135cm(35.4” x 53.1”) 2016

Talieh Kesh, Migration, acrylic on canvas, 36” x 48”

Uwe Arendt, Arrogance, mixed media, framed 35” x 43”

Dani Olivier, Pointillism, archival print on dibond, 32” x 48”

Manss Aval, Pesci Rossi, oil on canvas, quadryptich,, ~80” x 80“, (each panel 40” x 40”)


v isit us at : Art Exp o, N e w York


B o o th # R 2 1 4 / R 2 1 5



B o o th # 4 3 9

R e d D ot , Miam i

S a n D i e g o , C A , by appointment, 8 5 8 - 6 0 5 - 0 8 8 7 F a x 8 5 8 - 6 0 5 - 5 8 8 4 s a l e s @ f i n e a r t m a y a . c o m w w w . f i n e a r t m a y a . c o m


Art Company

Portrait Of A Mature Young Man

Walks Of A White Peacock

Victor Lysakov

Fabian Perez painted Pope Francis “Pope Francis inspired me to paint him because of his sincere humility and immeasurable compassion”… Those were Fabian Perez’s words related to his decision of painting a portrait of the pontiff, coincidently both from the same country, Argentina. The artist finished the painting in 2014 and it was his goal to present it face to face to the Pope. In August 2015 the dream come true and Fabian Perez is invited from the pontiff’s right-hand to the Vatican City. Perez flew to Rome within five days of hearing the news for his encounter with the Pope. He attended to the Papal Audience where the painting was presented. Francis walked up to Fabian and expressed: “When I see this painting, I see a reflection of myself”. According with the pontiff’s private secretary, Francis was so fond of the piece that he did not hang it in the Vatican collection as originally planned. Instead, he wanted it all to himself. A real rejoicing for Fabian Perez and another example of the strong essence the artist is able to paint onto a canvas. To learn more about Fabian Perez, visit his website Contact Information: /


Black Phone III

Fabian Perez Studio

Now represented by

La HerrerĂ­a Art Studio LLC

English Rose VII

Inquiries and Info:



RALPH BENEDICT CERAMIC DESIGN Ralph Benedict | 920-290-1940



erik laffer Solo Booth | S204 APRIL 14 - 17, 2016 | NYC | PIER 94

518.424.5396 | |

Diana Cummings IMPRESSIONIST ARTIST 619-920-8557


Booth #S106


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









LIANE CHU Our world is beautiful. Do you realize it?

If A Tree Falls Collection

As a young artist born in the late 90s, Liane wanted to use her artwork to reflect the environment we live in. She has “Hope Faith Love” towards the world and wish people realize that the world is slowly dying, as it is a global Issue. Having lived in Hong Kong, Shanghai and New York and traveled across the world, her charity projects, different cultural experiences and her values has shaped her work. Liane latest collection “If a tree falls” uses a combination of crackle paste, ink, gesso, acrylic to create an unique style reflecting in the texture and movement within the painting. Liane is currently selling her painting as she donate portion of the profit to charity to help girls in Africa for better education.


There has been a revival in interest in antique Japanese bird and flower scroll paintings. With growing demand and decreasing availability prices are up.

The original scrolls were painted on rice paper mounted on silk. Our archival inkjet prints are on extra strong fine grained canvas, hand mounted with traditional wooden rods.

Simultaneously there has been a revolutionary change in computer enhanced simulation of flat painted, detailed, colorful original paintings, particularly suited to Japanese scrolls.

Our scrolls measure five feet long by two feet wide, about two thirds the size of the originals, making them ideal for the modern home. They are easy to roll and store in a special reinforced card board tube, which comes with each scroll.

McGrath & Laverge have applied this new form of representation to a selection of 18th century master pieces, making these rare treasures available to todays buyer at reasonable cost.

For further information visit our website:



Kristina Chkhan

Artexpo NY Booth #S201

oil painting landscape/seascape artist email:



Kalin Luy Ken, Kalin Luy PeruKen, Peru


HOPE Karen

Karen Cauvin Eustis, Cauvin USA Eustis, New Orleans

DEFIANCE | Dinett Hok, Panama

Frandy Jean


BOOTH #266

For more information on Katherine Austin, her artwork, events, and ENitsua Foundation for The Arts, please visit Contact :



Amber Grise Art


QA &

with Litsa

HOW DO I ADVANCE MY ART CAREER? Litsa Spanos, President of ADC, Art Design Consultants and Founder of Blink Art Resource, is an established art consultant, award-winning gallery owner, educator and artist advocate. Her goal is to use artwork to create enjoyable, energizing and inspirational environments from the home to the office and any space inbetween. In this issue, Litsa answers artists’ most commonly asked questions and gives quick and easy tips to get you ahead in your art career. Be sure to check out the opportunities she and her team offers to artists, and visit ADC/Blink at Artexpo New York in booth #109.

“At Art Design Consultants and Blink Art Resource, we believe in inspiring and empowering artists to continue to do what they love, create art!”

310 culvert street, cincinnati, oh 45202




w w w. a d c f i n e a r t . c o m

OPPORTUNITIES FOR ARTISTS QUESTION: What is the best way to get my work into galleries? LITSA SPANOS: Do you have a beautiful website featuring current work that has been professionally photographed? Do you have a cohesive body of work that represents your signature style? If so, you’re ready to start approaching galleries. TIP: Do your homework! Research galleries to make sure what they sell is comparable with your style of work. You wouldn’t want to take your nonrepresentational abstracts to a traditional gallery. Q: Are art fairs worth my time and money? LS: Yes! Local and national art shows get your work in front of the people you never would have had the opportunity to before. But plan in advance. Save your dollars, create a strong body of work, rest up, and roll up your sleeves. Trade shows are not for the timid!


$250,000+ IN AWARDS

gallery contracts purchase awards and much more!

WHEN Artist entries open FEB 22, Awards JUNE 25 WHAT ACA is an annual, juried national arts competition and exhibition open to artists working in any medium and style. It connects private and corporate art collectors, design professionals, industry experts, and artists. HOW

do what you love better

TIP: Choose these shows like your galleries. It has to be the right fit. Even though they are expensive realestate, don’t be tempted to “over-stuff” your walls. Doing this actually turns off buyers and no one wants that. Q: How do I connect with the right people? LS: Getting your artwork out there means YOU getting out there, so people can associate your artwork with a face. Exhibition openings and art crawls are a great way to meet gallry owners and to see what type of artwork they show. Attending local and national interior design shows and conferences builds your knowledge of what designers and trade buyers are looking for and what’s selling.

Success Summit WHEN MAY 13th & 14th WHAT Go beyond the brush to learn the business tools and knowledge you need to be competitive in gaining industry recognition and financial sustainability, ultimately to have a rewarding and successful art career. HOW

TIP: Set aside a marketing and advertising budget. Treat your art career as a real business. Q: Is social media worth it? LS: Absolutely! Write a weekly blog, create a monthly newsletter, and post new works and recent achievements. It’s important to tell your story. Be consistent and make sure to use great visuals and meaningful content. TIP: Make it habit to post on a regular basis. Pick a time of day that you know you’ll be free and to post every day, or if you’re in and out of the studio you can schedule posts in advance.


WHEN The 2016 print publication is SOLD OUT! Opportunities for online and expo representation still available! WHAT Blink Art Resource puts your art at the fingertips of trade buyers through our annual catalog, online artist portfolios and national exhibits like Spectrum Miami, Artexpo New York and more! HOW

RUSUDAN KHIZANISHVILI +995 555 42 17 41 2015 - Solo Exhibition: Mauregard Gallery, France 2015 - Group Exhibition: Andly Marhol Gallery, Brussels, Belgium 2015 - Solo Exhibition: Vienna, Galerie Am Roten Hof


2015 - Group Exhibition: CFCC’s Wilma W. Daniels Gallery, NC, USA 2015 - Group Exhibition: winner in Call For Chelsy, Chelsyw, NY, USA 2015 - Solo Exhibition: Makowski Galerie, Berlin, Germany

“Photography and Street Art in a new way ”

for more information about limited edition prints,original pieces and custom commissioned work.please contact GL Wood.

213 804 8449

2015 - Crawling Border: Participant of Georgian National Pavilion on the 56th Venice Art Biennale 2015 - Group Exhibition: Artist’s Book, Georgian National Museum of History, Tbilisi, Georgia






Ann Rea has learned how to cash in without selling out BY JACK HAMANN







News and notes from the art world


Pointillism artist Jonathan Brender



Tips to be a better businessperson




Spectrum Miami 2015 was one for the ages

Kris Gebhardt on the connection between physical fitness and artistic success





A sneak peek of the 2016 AENY event PHOTOS BY ROBERT J. HIBBS






Using art as collateral for a loan BY AL A N E . K AT Z



Top places to view 3-D art between now and September BY MELISSA HART

78 24


LaunchPad artists Brittany Segal and Renuka Adhav BY ISABEL THOT THAM

111 ADVERTISER INDEX 112 PARTING SHOT Check out the DECOR section on p. 91. On the cover: “Oil and Water,” Renuka Adhav. This page: “Marin Melts Dusk,” Ann Rea.

“Untitled,” Brittany Segal



hat an exciting start to 2016 we’re having here at Redwood Media Group. With two new acquisitions and an upcoming show premier, we’ve got our hands full in the best possible way. As I think back to the whirlwind that was 2015, I’m amazed at the challenges we overcame on the path to producing our fan-favorite shows and further expanding our repertoire. It all started with the unexpected news that we would have to move Spectrum Miami to a new location. After the initial shock wore off, we tackled our seemingly endless to-do list: Notify all 165 exhibitors and countless attendees, reprint VIP passes, revamp all our marketing materials, and purchase more advertising. In essence, we had to do everything necessary not only to fi x the issue but also to meet and exceed everyone’s expectations. It worked. Spectrum Miami was a huge success, with solid sales and more than 30,000 collectors in attendance. Moving to a new location proved to be a positive thing because the new venue was closer to hotels, had improved parking, and drew larger crowds. (Read more about Spectrum Miami’s success on page 62.) Shortly after the show wrapped, we signed the contracts on two new acquisitions, Art Santa Fe and Red Dot Art Fair Miami, which we’re thrilled to add to the RMG lineup. We’re also launching Spectrum Indian Wells in March and our first-ever [FOTO SOLO] in April at Artexpo New York. Speaking of Artexpo, exhibitors and trade buyers will be happy to know that we’re adding an all-new VIP lounge to the show, replete with a champagne bar and comfy furniture, offering a quiet place to ink new deals. We hope to see you at all of our events this year! In this issue, you’ll find a host of thought-provoking and informative articles, including Priscilla Tallman’s profile of Kris Gebhardt, a proponent of physical fitness and proper nutrition for artists, on page 68; Lee Mergner’s interview with pointillist painter Jonathan Brender on page 38; and a comprehensive guide to spring’s best sculpture exhibitions on page 72. That’s just a little taste; we hope you’ll enjoy those pieces and many more. Here’s to another productive year, full of exciting developments and continued success! With appreciation,


Spring 2016 Phone: 888-881-5861 Email: Web: CEO/Publisher Eric Smith Editor-in-Chief Megan Kaplon Managing Editor Linda Mariano Copy Editors Nina Benjamin, Fran Granville Contributors Jack Hamann, Melissa Hart, Alan E. Katz, Lee Mergner, Priscilla Tallman, Isabel Thottam, Laura Zabel Editorial inquiries: Art Director Mike O’Leary Senior Designer Lizz Anderson Advertising Rick Barnett Managing Director, Exhibitions & Media Sales Email: Phone: 831-747-0112 Ashley Tedesco Director of Media Marketing Sales Email: Phone: 831-970-5611 Rosana Rader Director of Sales & Exhibitions Email: Phone: 831-840-4444 Operations and Finance Geoff Fox COO/CFO Email: Laura Finamore Sales Administration Email: 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 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. SPRING 2016

Copyright © 2016

Grapes of Wrath

Still Waters

Scratching the Surface

Bubblegum Alley

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

Eugene writer and teacher Melissa Hart is the author of Wild Within: How Rescuing Owls Inspired a Family (Lyons, 2014). Her website is

Alan E. Katz is a partner in the New York City law firm Greenfield Stein & Senior, LLP, where he specializes in art law, real estate law, and software licensing.

Priscilla Tallman is a freelance writer passionate about fitness and health. She stays active by doing CrossFit, yoga, and tennis and believes life is truly lived better in motion. Isabel Thottam is a freelance writer and social media strategist who writes for Monster’s Career Blog and the Equifax Finance and Identity theft blogs and manages social media for Batch Nashville. Laura Zabel is executive director of Springboard for the Arts, which operates Creative Exchange, a platform for sharing free toolkits and resources for artists and communities. 28




RIYA SHAR MA lives and works in Kalol (N.G) Dist.Gandhinagar, Gujarat, India. She holds a professional press card from the New York Institute of Photography and is an official photographer for their PhotoWorld Magazine. Riya Sharma’s Story Published in UK Two Biggest Selling Newspaper ABPL Group Publication: Asian Voice London and Gujarat Samachar London on 16th January 2016 for Exhibiting in The Brick Lane Gallery ( London) January 2016. As the First Indian Artist. Riya Sharma was honoured by Lions Club of kalol ‘CIA’, Lions Club of Kalol MAIN, Lions Club of CITY & KALOL & NAGRIK SAHKARI BANK LTD with certificates n gifts! Riya Sharma was featured in Divya Bhaskar Newspaper ( India ) twice for her work in June 2015.“ Her one of The black & white shot Taken by Mobile Phone is being published in Worldwide photography group official Facebook page under album Precious shots.” one of the artwork name Pious Devotee of Riya Sharma’s was selected by lens culture editors and featured in Exposure Awards Competition Gallery 2015. Riya Sharma is the First Indian To be graduated in Travel Photography and Professional Photography under New York Insitute of Photography (NYIP). Her Interview was Featured in Business of the Week on 20th November 2015. Riya Sharma at the age of 21 is Selected as first Indian Artist Agora Gallery (NewYork ) April 2016 and SPECTRUM Miami 2016 a juried, contemporary 5 Day Art Show/Fair. • •

INSIDE THE FRAME New Exhibit at ArtsWestchester Explores Femininity OPENING MARCH 15, the exhibit SHE at ArtsWestchester in White Plains, New York, features 11 local artists examining and questioning what it means to be a woman in contemporary America. The artists use a variety of media to explore the themes of body, self-presentation, and gender roles. An opening reception will take place on Sunday, March 13, from 3 to 5 p.m., and the show will run through June 25. “Vir Domesticus,” Tricia Wright

GLOBAL FINE ART TO REPRESENT PHILLIPS AND VOJVODIC Global Fine Art Inc. recently announced the addition of two European painters to its family of artists. The South Bend, Indiana, distributor will now represent UK postsurrealist painter Frederick Phillips and Serbian landscape artist Vladimir Vojvodic. Global Fine Art will manage the gallery representation of these two artists and connect their work with collectors throughout the United States and North America. Prices for Phillips’ original works will range from $12,000 to $40,000, and prices for Vojvodic’s will range from $5,000 to $15,000. From left: “Coming,” Vladimir Vojvodic; “Synthesis,” Frederick Phillips.



Alliance for Young Artists and Writers

Names New Assistant Executive Director

THE ALLIANCE for Young Artists and Writers—a nonprofit group that seeks to identify students with exceptional artistic talent, showcase their work, and provide scholarship opportunities—recently welcomed Debra Samdperil as its new assistant executive director of programs. Samdperil previously served as associate vice president for nondegree programs at the School of the Museum of Fine Arts, Boston. In her new role, Samdperil will lead the outreach efforts for the Scholastic Art and Writing Awards, for which the alliance serves as administrator, and she will work with the external-relations team to develop and sustain other projects and partnerships. At the School of the Museum of Fine Arts, Boston, Samdperil led the regional scholarship submissions for the Scholastic Art and Writing Awards.


Holtzman Gallery

Played a Big Part in Claridge Hotel Resurrection Atlantic City, New Jersey, has until recently had a bleak narrative. Casino closures and a dwindling number of visitors have rocked the local economy. However, a few stories of innovation and resurgence have emerged to revive hope for the future of this East Coast tourist destination. One especially uplifting story is that of the Claridge Hotel. Built in the late 1920s, the “skyscraper by the sea,” as it was known, was once the tallest building in Atlantic City and featured a 20,000-square-foot casino. The hotel’s famous and infamous guests included John F. Kennedy, Marilyn Monroe, Al Capone, and Frank Sinatra. But in 2005, all gaming operations at the hotel ceased, and things didn’t look good for the Claridge. However, since TJM Properties purchased it in 2014, the story has changed. The newly renovated 1920s-themed boutique hotel now boasts a restaurant and a theater, and the casino space that

sat empty for almost 10 years features a fine-art gallery. David Holtzman owns and operates the gallery, which he touts as the one of the largest independent fine-art galleries in the world. The gallery at the Claridge is Holtzman’s second gallery location; his first is in Ventnor, New Jersey, which he opened a few years earlier. The Holtzman Gallery at the Claridge—which is dedicated to Alex Holtzman, David’s late father, who was an avid painter and art collector—showcases the work of more than 50 artists, including Anthony Quinn, Burt Young, and Francis Mesaros in a museum-like setting. Since opening its doors in March 2015, the Holtzman Gallery at the Claridge has hosted jazz nights, cocktail receptions, and meet-the-artist events, and in March the gallery plans to host a fashion and art show, which it says will be the first of its kind in Atlantic City.

Clockwise from top left: “God’s First Touch,” Francis Mesaros; “Zorba, A Self Portrait,” Anthony Quinn; The Holtzman Gallery at the Claridge.



ART FOR THE BLIND JOHN OLSON, a former Life magazine photographer, has pioneered a way for blind people to experience art. Olson’s company, 3DPhotoWorks, converts 2-D images, including paintings, drawings, collages, and photographs, into 3-D products that have texture and depth and that include sensors that play audio clips when a user touches them. From left: A young child explores the 3-D version of Emanuel Gottlieb Leutze’s “Washington Crossing the Delaware”; John Olson poses with the 3-D versions of Leonardo da Vinci’s “Mona Lisa” and Vincent Van Gogh’s “Dr. Gachet.”

Last of Stolen N.C. Wyeth Paintings Recovered In October 2015, an anonymous third party returned to authorities the last two of six stolen N.C. Wyeth paintings. The six paintings were stolen from the Portland, Maine, home of Joseph Soley in 2013. Four were subsequently recovered in December 2014 at a Beverly Hills pawnshop. Lawrence Estrella, a New Hampshire man with a record of previous burglaries, was convicted of illegally transporting the final two paintings across state lines. The value of the two paintings recovered in October, “Go Dutton, and That Right Speedily” and “The Encounter on Freshwater Cliff,” has been estimated at hundreds of thousands to millions of dollars. The Portland Museum of Art recently featured all six recovered paintings by the New England native in a special exhibit. No one has been arrested for the theft of the final two recovered paintings.

N.C. Wyeth circa 1920.






TRANSITION Oil on Canvas, 4’ x 5’

HER EARTHLY VISION Oil on Canvas, 5’ x 4’

BETWEEN THE LINES Oil on Belgian Linen, 3’9” x 5’3” | (251) 967-7677 Artexpo NY Booth #242

H. ALLEN BENOWITZ Fine Art Photography

H. Allen Benowitz, a selftaught photographer, born and raised in Brooklyn, NY, and a graduate from the Interboro Institute of Business, migrated to Miami, FL, in the 1960s, where he currently resides. As an evolution from the accomplishments of his professional court reporting, legal videography, and videoconferencing career, the camera became a natural segue to photography, awakening an earlier passion from childhood.

To purchase art, contact:

H. ALLEN BENOWITZ 1800 NE 114 Street-1710 N. Miami, FL 33181-3412 305.586.1181 Viewings by appointment

Mr. Benowitz has been invited by His Majesty, King Mohammed VI, to photo journal his country’s Moussem de Tan-Tan annual festival. 20,000 tribesmen and foreign dignitaries met for a cultural and professional exchange mission south of Casablanca in the Sahara Desert. It has been declared by UNESCO as a World Heritage for Peace and the Humanities. Mr. Benowitz also

returned from Cuba on a humanitarian mission where he photographed “Life in Cuba.” A preview of his new work from his 28-day trip to Asia has been well received. He has exhibited and/ or lectured in Florida, Massachusetts, North Carolina, and New York. More recently, his work has been on display at the Louvre in Paris, Fr. His photo subjects include Nature, wildlife, people, architecture, and adventure travel.





enezuelan-born painter Jonathan Brender’s bright pointillism pieces have made him popular with collectors in the United States and Europe. The South Florida resident, who first received his artistic education in ceramics and sculpture, spoke with ABN contributor Lee Mergner at Spectrum Miami, where he contemplated light, inspiration, and the changing nature of art as a career. ART BUSINESS NEWS: Do you remember your first piece of work that others recognized? JONATHAN BRENDER: I do remember. The beginnings of my art were from a trip I took to Australia in the back country where the Aborigines live. I stayed there for two months learning their art of pointillism. They used to do big faces with a million dots—aborigine faces, maybe kangaroos. I was so amazed at their patience and how many points [it took]. I started modifying that art into [portraits of] modern icons. My first [pointillism piece] was a face of Bob Marley, which had immediate success in my exposition in London. Then I knew I had something going on,


something different from other artists. I started pursuing that, and, in two years’ time, I started attending Spectrum and other shows, and it just skyrocketed. I can only make 10 to 12 paintings a year because it takes that much time, and physically it takes a toll on my shoulders and on my fingers. Once I started selling out all my yearly productions or collections, I knew that I really had something special and different. ABN: What drew you to that form? JB: I think it’s the time-consuming aspect of each painting. I need that time consumption to maintain my mind in the same way. For me, working eight hours, 10 hours, 12 hours a day for a month and a half doing only points … keeps me from going insane. ABN: For most people it would be the opposite! Do you listen to music while working? JB: Yes, only classical and jazz. And, [contrary to] what people might think, I can’t drink a drop of alcohol when I’m painting because I cannot have my hands shake even just an itty bit. When I’m painting, I’m at my most sober time.

ABN: How has your work evolved over the years? JB: I’ve been doing this for 15 years. It has evolved, first of all, in the number of dots I do. When I started out, I did 20,000 or 25,000 dots. Now, I’m up to 180,000 dots. Also, I’m incorporating a few UV tints and inks that work only in darkness or with a UV light. I’m also doing some geometrical forms that you can see only from far away, and, from near you can see only the dots. I think I’ve come a long way. ABN: What is your relationship with the people who buy your art? JB: Usually, nowadays, I don’t even meet my clients. When I started out, I sold them personally to each of my clients. Now, it has become somewhat of a real business, where my PR manager takes care of all the sales. It’s really strange when I meet the real buyer. And they’re mostly from Europe. I really don’t get to meet them personally, which is something I really would like to do. ABN: Why has Europe been a better market for you? JB: I was born in Venezuela, but I’m an American. The place to be historically for


“Untitled 4,” by Jonathan Brender

art, besides Europe, is America. I collect pop art from American artists, which is hugely collectible. But Europeans, I think, buy more art. I think Americans buy more expensive art but fewer pieces. But Europeans like the emerging artists. They’ll buy an entire collection of one emerging artist. It’s a different market. It’s really interesting—the chemistry between the European buyers and the American buyers. It’s totally different. ABN: How has technology changed the business side for you? JB: That’s something I’m still trying to adapt to. A hand-painting artist [like myself] doesn’t have the time for this


new media—Facebook, Instagram, and whatever. You get to the point where you have to hire somebody to manage that. But if you don’t have sales, then you can’t manage that. So you’re without an arm or a leg. Thank God I do sell out my collections each year, so I have two people to take care of that. It’s a really important part of being an artist in this day. ABN: Technology has changed things for the galleries, as well. JB: Nobody walks into a gallery now unless they have bought from there before. Now you go online and you have 100 pages—Saatchi, Amazon, whatever—that specialize in handmade art. Now you

don’t have to walk through three or five or eight galleries. Now you just go online and find whatever you’re looking for. People who buy art … have something on their mind that they really want to buy. They have to research. The technology now goes like the left hand with the right hand for the artists and their paintings. ABN: But it’s hard to really experience the 3D and tactile aspects of art online. A JPEG is very different from a piece of art. JB: On my website, you can see my paintings, but you can’t really appreciate each of the dots I do because it’s a digital image. You have to look at it closely.


Clockwise from top left: “Untitled 1,” by Jonathan Brender; Brender at Spectrum Miami; “Untitled 5,” by Jonathan Brender.

“Art is supposed to be seen in real life and in the real light. But you either modify, or you die. You either keep up with the times, or you wither. It’s a fight between the old-school art that we love and cherish and the new age.” For me as an artist, it’s hard that people like to look first at the work on a computer. Art is supposed to be seen in real life and in the real light. But you either modify, or you die. You either keep up with the times, or you wither. It’s a fight between the old-school art that we love and cherish and the new age. ABN: Light is a big issue for all art, but how does light affect your work? JB: I only work with yellow light, and, interestingly enough, I can’t work with light hitting directly on the canvas. I need light to be from any of the sides, so I paint on a light shadow. It’s really different from other painters, who need natural light or white light. I need yellow light and [to be in the] shadows.


ABN: Why is that? JB: It makes me measure the dots and the position of the dots better. ABN: Like the filmmakers’ magic hour? JB: Yes, I actually start at 7 a.m., and when the light gets heavy, I can’t paint anymore. ABN: What was the last piece of art you saw from another artist that inspired you or struck you? JB: I can’t think of any emerging artists that really wowed me recently, but I would say that my favorite artist in history is Jackson Pollock. At that date he started doing his style, it was a revolution. No one dared to do that. And

the colors he used. It was so simple but yet so shocking. I think the first painting I saw of his was No. 203 or something. I remember my first paintings. I didn’t put names; I put numbers. He was my biggest influence, although my technique has nothing to with that. He was so bold and so risky. And I also identify with his personal life [laughs]. ABN: What do you get from coming to a show like Spectrum Miami or Artexpo New York? JB: I have a great connection with Spectrum and with Artexpo. First of all, the organization is incredible. The friendliness, for it being an art event, is unbelievable. The networking I see here is really difficult to find in other places, mainly because the ambiance here is not that of old-school galleries. Everybody here is young. There are new galleries. Everybody is on the same page. Nobody thinks they are bigger or better than anybody. Everybody here is the same. This attracts me the most [to] the Redwood shows. ABN


Sydney Wellman • Purple Barn Studios • • 412-996-8607

HUA YUAN origins of oriental cultural legacy

polished by the sands of time

the silk road huayuan

历久 弥新

Huayuan seeks to present the legendary cultural heritage of the ‘Ancient Silk Road’, and is dedicated to enhancing the influence of Dunhuang art's historical and miraculous legacy in the world.

Mogao Cave 57 - guan yin

mogao Cave 428 Buddha

gautama buddha

maijishan121 - wispering between buddha and disciple

silk road cutural heritage thangka・ suzhou embroidery・ lacquer painting・dunhuang art from THE ANCIENT SILK ROAD

Thursday 14th to Sunday 17th April 2016 | at Pier 94 | 1 (212) 574 4579 | 424 BROADWAY 6FL NEW YORK NY

Blabber Mouth

When No One is Looking





aking a living as an artist is an expansive, ever-evolving challenge. However, artists have found ways to make it work for centuries, pooling income from sales, patronage, teaching, grants, fellowships, and day jobs. New opportunities for artists have recently opened up through digital platforms, social media, and licensing, and knowing which business opportunities to take on can be overwhelming. But, just as the practice of fundamental creative techniques can make artists’ work better, artists can practice fundamental business techniques that will make their professional work stronger. Work of Art: Business Skills for Artists, a free digital toolkit from Springboard for the Arts in St. Paul, Minnesota, guides artists through those business practices. It covers career planning, marketing, legal considerations, business plans, and more. The toolkit is based on a series of professional-development workshops that have been delivered to more than 5,000 artists in 80 communities. The toolkit includes 12 units with activities and templates to use in planning your career goals and strategies, as well as a series of videos of artists sharing their experiences and best

business practices. Here are five tips to get you started from the Work of Art toolkit; think of them as the business equivalent of stretching your canvases and sharpening your pencils before you get ready to start your masterpiece. MAKE TIME TO MAKE ART You can’t make a living as an artist if you’re not making art. But life can be complicated, and distractions are everywhere, so making time for your work requires setting goals. Use the S.M.A.R.T. (simple, measurable, action, relevant, and time-bound) framework to clearly articulate your goals and get your art going. GET YOUR PORTFOLIO IN ORDER Getting your work out into the world is a key part of making a living and a life as an artist. But what work should you be introducing? And how do you make sure that the work is right? Use the “Portfolio” module in the toolkit to clean up your artist statement, résumé, and work samples. The pieces you exhibit to the world should be your best work and representation of you now and historically.

The Springboard for the Arts Work of Art toolkit; A cartoon from the “Time Management” module of the toolkit.



A Springboard for the Arts workshop; Laura Zabel, executive director of Springboard for the Arts.

PRICE YOUR WORK RIGHT Selling work can be a daunting challenge for any artist, and setting the price can seem like a high hurdle. Depending on your arts practice, you may have material or studio costs, labor costs for your working time, overhead costs for getting your work to market, and a profit that you want to make. If that challenge sounds daunting, don’t worry; the “Pricing” unit walks you through the steps to help you nail your price point. PROTECT YOURSELF Artists face many issues around the use of images, copyright, intellectual property, and work for hire. The “Legal Considerations” module helps you get up to speed on legal terms and covers the questions you should ask to protect yourself in contracting. It also includes a sample cease-anddesist letter template, just in case you need to use it. FIND YOUR CIRCLE Whether your practice is solo studio time or communityengaged creation, you put in the work to make it better. The same is true for your business practice, and it’s even better if you have a circle of support. Work with other artists to share information, opportunities, and support. ABN Laura Zabel is executive director of Springboard for the Arts, which operates Creative Exchange, a platform for sharing free toolkits and resources for artists and communities.


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booming art market has many investors viewing their collections in a new way—as cash machines.” So reported The Wall Street Journal in an article by Andrew Blackman from June 14, 2015. Blackman notes that, with art prices rising, many collectors realize that the value of their art collections has increased substantially. However, collectors have many valid reasons to keep their art rather than sell it if they want to tap into that wealth. A collector may prefer to use the proceeds from a loan, rather than a sale, to purchase additional artwork, raise cash, expand a business, invest in a new business, refinance debt, diversify an investment portfolio, or fund life events, such as a divorce settlement or estate taxes. Why has the art lending market become so hot? From the art collector’s perspective, numerous reasons exist for borrowing against, rather than selling, art. For example, the sale of art involves significant transaction costs and taxes. The federal long-term capital-gains tax on profit from the sale of art is 28 percent. Adding state and local taxes can result in a total tax bill of 40 percent or more on the gain, depending on the seller’s legal residence. Furthermore, the negative publicity that may result from selling a trophy piece of art, particularly through an auction house, in which the sale is well-known to the public, could lead the collector’s peers to assume that the seller is in financial distress. Both major banks and smaller specialist lenders offer art-secured loans. Private banks typically offer loans ranging from $1 million to $10 million, with the loans generally not exceeding 50 percent of the appraised value of the art that the seller pledges as collateral. There is sometimes also a minimum value of $100,000 to $200,000 for each piece of art

in the collection being pledged. Specialty lenders often deal with loans starting as low as $100,000. Lenders offer a variety of loan types in today’s market. They can be term loans for as long as 10 years, structured as interest only; partially amortizing or fully amortizing facilities; lines of credit to fund short-term cash needs; revolving-credit facilities to fund recurring cash needs; recourse loans; or nonrecourse loans. In recourse loans, the art serves as collateral for the loan, but the borrower also must give a personal guarantee of repayment. If the borrower defaults and the art that has been pledged as collateral is of insufficient value for the bank to recover the full amount of its loan, then the bank can make a claim on the borrower’s other assets. A nonrecourse loan does not require the borrower’s personal guarantee, and the lender can look only to the art that has been pledged as collateral. Some banks offer art-secured loans at interest rates of only 2.5 or 3 percent to ultra-high-net-worth collectors, such as hedge-fund manager Steven A. Cohen, whose art collection is reportedly worth an estimated $1 billion. In contrast, some small specialty lenders, such as Borro, can charge interest rates as high as 59 percent on an annualized basis in California and 47 percent in most other states. Most private bank loans are in the high-single-digit to low-double-digit range, however. Even with these sky-high interest rates, the art-lending market is estimated at $9.6 billion a year, according to the Deloitte Luxembourg and ArtTactic Art & Finance Report from 2014. However, when you consider that global art sales that year were estimated at $63 billion, it is clear that only a small percentage of the art market is taking advantage of the benefits of borrowing against one’s art. Art lenders have concerns that are specific to art as collateral. For example, the value of art is subjective and may fluctuate to a greater degree than other types of collateral. Art is relatively illiquid, and the provenance and authenticity of art present unique challenges to a lender. To establish provenance, the borrower must provide the lender with proof, such as purchase documents, exhibition history, and sales history, and must state whether any catalogs have included the artwork. Authenticity issues, on the other hand, relate to whether the artist alleged to have created the artwork did in fact do so. Certain types of artwork carry other risks that the lender must consider as well. Art from ancient civilizations faces the possibility that the gov-


ernment of the country of origin will try to recover it. The borrower must convince the lender that he or she is the legal and beneficial owner, that no other ownership claims exist, and that the artwork is not war booty or stolen goods.

Art lenders have concerns that are specific to art as collateral. For example, the value of art is subjective and may fluctuate to a greater degree than other types of collateral. In the United States, the lender will secure its interest in the collateral by filing a Uniform Commercial Code (UCC) financing statement, which in effect tells the world that the lender is the holder of the security interest in the artwork. This mechanism is generally not available to lenders in Europe. The lender must file the UCC financing statement in the state of the borrower’s principal residence. If the borrower has multiple residences, it is good practice to file in all such states. Because the value of art can vary significantly over time, the lender will often claim that it has the right to do an annual appraisal of the art at the borrower’s expense. The loan-to-value ratio usually cannot exceed 50 percent; if the appraisal indicates that the value of the art has declined, then the borrower may have to repay a portion of the loan, reduce the size of a revolving credit facility, or pledge additional collateral to the lender. Generally, the lender will permit the art to remain in the home or warehouse of the borrower. In some circumstances, however, the lender will require that the art be stored in a warehouse, where the lender would have unfettered access to reappraise or seize the art in the event of a default by the borrower. The lender may permit the borrower to loan the art to a third party, such as a museum or gallery, but may insist upon an agreement with the third party establishing the lender’s rights to access or seize the artwork. Using art as collateral for a variety of loans, while in most cases maintaining the ability to continue to enjoy the art, has great appeal to many art collectors. ABN


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Adam Tramantano “What you see isn’t just what you see, it’s what you feel, it’s what you try to think and try not to think. It’s the entire experience of life as you are seeing. It is the presence.”

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Selling Art




“Drifting,” by Ann Rea 54


Ann Rea was once one of those artists. Stuck in a cubicle. Staring at a screen. Collecting modest paychecks for work entirely unrelated to the five years it took her to earn an art degree. And hating every minute of it. “I had to pay back a student loan,” Rea recalls. “I had to pay a mortgage. I had to pay for adult life. Art just wasn’t a practical option.” These days, however, Rea’s art is more than practical; it’s downright lucrative. Gone are the cubicle, screen, and static paychecks. In their place are paintings, patrons, and the joy of a career that more than pays the bills. Except that, as Rea tells it, art is not a career. She points to the U.S. Bureau of Labor and Statistics, which in 2014 listed only 3,300 fine artists employed in the United States. “There are no jobs for fine artists,” says Rea. “If there are no jobs for fine artists, then there are no careers for them, either. “If you want to make art and make money, then pursuing an art career is a dead-end road,” she says. “Successful artists run businesses.” They didn’t teach business at the Cleveland Institute of Art, where Rea focused on industrial design, graduating in 1987. Art school left her with student-loan debt and the impression that artistic success depends on pursuing permission from the art establishment. For Rea, that strategy was toxic. She grew up in what she says was an alcoholic household. A relatively brief marriage ended when her ex revealed his own drinking issues. Relentless ennui and sadness plagued her unhappy years at various desk jobs. At the urging of a friend, Rea pulled her brushes and a canvas out of storage.


“I started painting again as a way to alleviate my own anxiety and depression,” she says. “I had no intention of actually selling my work at that point or even showing it.” The more time she invested at her easel, the better she felt. The better she felt, the more her art blossomed. “Anxiety is a preoccupation with the future, and depression is a fixation on the past. When I paint, I’m able to be 100 percent in the present,” Rea explains. Rea had talent enough to enter the world of galleries and representatives, but that move proved a poor pairing. Looking back, she says, she felt that the art establishment had abused her in ways that felt like abuse at the hands of her family, her ex, and a lecherous former boss. “As soon as I recognized that, I said, ‘Well, hell no. Why am I doing this? I don’t like it that I’m not getting paid. I don’t like it that people lost my art. I don’t like it that they sent it back damaged. I don’t like it that I have to wait for a show. I don’t like it that they’re asking me if they can discount my work and have me eat the discount. I don’t like that. It doesn’t work for me.’” Rea reached a turning point. She says she “fired” the galleries she worked with, relationships she now describes as “pretty lame.” “I don’t want to work that damn hard for permission to just show my art so it might sell, and they keep half or maybe more. “I’d much rather cultivate a relationship with a patron. Get paid up front. Not allow any discounting. Keep all of the money. And through that relationship, get repeat purchases and referrals to their friends and family. That’s a smarter way to go.”

Ann Rea’s 10 Signs

You’re Approaching Your Art as a Hobby, Not a Sustainable Business 1. You’re using Etsy as your primary distribution channel. 2. You display your résumé on your website instead of communicating clear benefits to your target market. 3. You have “poverty consciousness,” and you take some pride in it. 4. You have a website versus an e-commerce site. That’s like having a store without a cash register. 5. You proudly display inventory that you’ve already sold. Think about it. Would Tiffany’s display a diamond engagement ring in the front window if it were not for sale? 6. You spend more time hoping versus planning daily focused action. 7. You do not have an up-to-date onepage business and marketing plan. 8. You do not have professional photographs of your inventory or yourself. 9. You enter art contests for validation. (Please tell me you don’t pay to enter these contests.) Selling—not showing— your art is validation. 10. You don’t have a mentor who has accomplished what you want to accomplish. 55

“Rushing Home,” by Ann Rea

Remembering San Francisco In 1905, Henri Matisse visited Collioure, France, near the Spanish border. His paintings of the village’s churches are among his most respected works. Other artists, including Pablo Picasso and André Derain, also found inspiration in the same small village. More than a century later, Ann Rea visited Collioure with one of her mentors, landscape painter Gregory Kondos. She was struck by a particularly stunning view of the Chapel of St. Vincent, but her easel was unavailable. An hour later, she saw a Matisse drawing of that same scene in a museum. That vivid interpretation was the most memorable moment of her French adventure, and the memory of the chapel was stuck in her head forever. Returning home to San Francisco, Rea considered how landscape paintings can evoke powerful memories and emotions. She has focused the idea into a new business, Remember San Francisco. “People come from all over the world to experience San Francisco, and they get herded to the usual places,” she says. “I’ll offer an artist’s tour, perhaps three per season, where a visitor can go and experience the city from an artist’s unique perspective.” Visitors to her new e-commerce site,, will receive geo-coordinates to her favorite, often hidden, spots. When visitors reach the venue, they’ll have a chance to use her website—and, soon, a smartphone app—to hear or watch Rea describe the site’s artistic and emotional appeal. If her customers find their own inspiration at any of the locations, they can purchase a fine-art print of that spot. “A friend of mine had a medical condition and faced certain, imminent death,” says Rea. “When he and his wife reminisced about their many years together, they talked mostly about the places they had traveled. Travel memories are among our most powerful, and fine art of places we remember offers unique value.”

Living near San Francisco’s Golden Gate Bridge, Rea grew increasingly confident painting landscapes bathed in the Bay Area’s hazy warm light. Rea reached out to the region’s renowned wineries, where she’d paint a permanent reminder of a memorable setting. In her first year painting vineyards, Rea earned more than $100,000—far more than she’d ever made in her office jobs. As word of her business model spread, Rea took the next step: teaching other artists what she had learned. Rea created the website Artists Who Thrive and copyrighted the phrase “Making Art Making Money.” Her online seminars made her a minor sensation, and an interview with podcast guru Alex Blumberg introduced strangers to some of the darker chapters in her life’s journey. “Most of my closest friends had never heard those stories,” she says. Those dark chapters, however, are central to her curriculum. First and foremost, she tells her students to find their personal purpose. “Look at the three most painful moments and three most joyful moments in your life,” she says. “Ask yourself: What was the lesson in each of those moments, and what was the lesson in all of it? That’s your purpose, because, if you look at the most painful moments in your life, they stand in stark contrast to your most deeply held values.” For Rea, those values were financial and creative independence. Armed with that insight, Rea tells her students, “You don’t want to sell art. Why? Because selling art sucks. You want to create value above and beyond your art and sell that.” In her case, accompanying clients to a favorite spot and creating a memory they’ll hang on their wall and cherish


“Leaving Summer,” by Ann Rea

is added value beyond the art. Her patrons see more than art; they remember an experience. For some, Rea’s approach is simply too commercial—a sell-out. Rea, however, insists she is selling art without selling out. “If you want to truly deliver unique value and a passionate mission that will resonate with other people, you cannot sell out. You have to absolutely stand firm in who you are and what you stand for. And know your values. And never, ever compromise. “When you submit to the art establishment and try and figure out [its] crazy rules, that’s more of a sell-out.” Recently, Rea’s easel time has had to take a backseat to her seminars and


consulting. But at the start of 2016, she says she’s determined to bring her art back to the fore. The sudden death of two close friends has added new urgency and perspective. “Life is precious—and short,” she says. Even so, she’s not ready to cede the bully pulpit. She recently relaunched her Making Art Making Money website with a renewed determination to free fellow artists from a wait-to-bediscovered mindset. “The new creative class of artists is leveraging the Internet to reach [its] target market and delivering a unique value proposition. That’s the type of artist I can help. “Artists need to take their power back. It’s long overdue.” ABN

“You don’t want to sell art. Why? Because selling art sucks. You want to create value above and beyond your art and sell that.”


ARTEXPO N E W YO R K 2 0 1 6




FOR 38 YEARS AND COUNTING, Artexpo New York has been changing the way people buy and sell art. An annual juried art show, Artexpo brings the biggest publishers, galleries, and collectors face-to-face with hundreds of established and emerging artists. It is exactly what it claims to be: the world’s largest fine-art marketplace. There, many of the world’s most renowned artists, including Andy Warhol, Peter Max, Robert Rauschenberg, Robert Indian, Keith Haring, and Leroy Neiman, launched their careers. Which artists will get a chance at fame this year? In 2016, Artexpo will host more than 400 innovative exhibiting artists, galleries, and art publishers from across the globe, showcasing exciting original artwork, prints, paintings, drawings, sculpture, photography, ceramics, giclées, lithographs, glass work, and more—all under one roof. The show will take place from April 14–17 at Pier 94, New York City’s hub for art, fashion, and design events. Each year, thousands of art-industry insiders flock to Artexpo New York in search of the art and artists that will shape trends in galleries worldwide. Annually hosting more than 28,000 avid art enthusiasts, it is also the largest international gathering of qualified trade buyers, including gallery owners and managers, art dealers, interior designers, architects, corporate-art buyers, and art and framing retailers.


Opposite page, clockwise from top left: Aisle upon aisle of artwork delights the throngs of show attendees; Exhibitors brush up on business skills during Artexpo’s Topics & Trends seminars; Surveying the fine paintings of Anna Art Publishing.


THREE SHOWS IN ONE As in past years, Artexpo, a juried collection of global galleries, art publishers, and established artists, will colocate with [SOLO], a juried exhibition of innovative, independent artists from around the world. This year, Artexpo will also include [FOTO SOLO], which features collections of fine-art photography from the world’s finest abstract, contemporary, and realist photographers. [FOTO SOLO] thus echoes [SOLO]’s philosophy of supporting the career opportunities of independent artists.

ARTEXPO NEW YORK EVENTS This year’s show is jam-packed with fabulous parties, live demonstrations, helpful seminars, and more. Thursday’s VIP Opening Night Preview Party from 4 to 7 p.m. will kick off the weekend and will include complimentary beverages, hors d’oeuvres, and entertainment, as well as the unveiling of the 2016 Poster Challenge winner. The soirées continue with Friday Night at Artexpo from 5 to 7 p.m., with more libations


and chances to mingle with artists and gallery owners. Throughout the weekend, attendees will have a chance to get up close and personal with the artists during exclusive meet-the-artist events and demonstrations, and with thousands of artworks on display, they’ll be sure to find the piece of art they’ve been looking for.

TOPICS & TRENDS EDUCATIONAL SERIES Alongside the three shows, the event features four days of cutting-edge Topics & Trends, seminars and conference classes offering expert perspectives on art and the economy, small-business management, art marketing, social media for artists, and other subjects. Free with admission, the series once again promises to be jam-packed with valuable information and ideas. Topics & Trends has something on the slate for everyone, with artists sharing experiences and expert advice in Art Talk sessions and industry experts giving practical advice on art licensing, event marketing, color trends, and design ideas.


Artexpo New York 2016 Hours & Location

VIP Opening Night Preview Party Thursday, April 14 4 – 7 p.m. Open to all attendees

EXHIBITORS: RETURNING FAVORITES AND NEW FACES Favorite exhibitors will be in the halls again this year. Mattson’s Fine Art, Art Design Consultants, Progressive Fine Art, Smart Publishing, and Artblend return with some of their most popular artists as well as new artists and collections to excite you. Favorite artists will include Socrates Marquez, Samir Sammoun, Brad Robertson, Louise Cutler, Nick Paciorek, James Paterson, and John Napoli, who will be there to greet attendees with their new collections. And you won’t want to miss the new [FOTO SOLO] extension of the [SOLO] pavilion, where some of the best fine-art photographers will be showcasing their amazing work. Put it on your calendar. It’s always a don’t-miss event, and this year won’t disappoint. It’s an unrivaled opportunity to see and buy great art, meet the artists, learn their stories, and enjoy all the excitement Artexpo has to offer. ABN


Opposite page, clockwise from top left: Examining the whimsical work of James Paterson Sculpture Gallery; Picasso pieces at the Masterworks Fine Art booth; Artexpo’s bustling registration desk; An inspiring Art Talk with glass artists from Mattson’s Fine Art. This page: Two attendees take in the work of Florencia Aise at the Wynwood 28 booth.

Show Hours Thursday, April 14 noon – 7 p.m. Trade-only day Friday, April 15 noon – 7 p.m. Saturday, April 16 10 a.m. – 7 p.m. Sunday, April 17 10 a.m. – 6 p.m. Show Address Pier 94 711 12th Ave at 55th Street and the West Side Highway New York, NY 10019-5399 61


SPECTRUM From international art collectors to Miami Art Week fashionistas, Spectrum Miami 2015 attracted art lovers of all kinds to its five-day fine-art extravaganza in its amazing new location in Miami’s Arts and Entertainment District. More than 29,000 people attended the world-class contemporary art show, which took place Dec. 2–6. Throughout the week, throngs of people enjoyed Planet Fashion TV’s “Art Loves Fashion” show, Life Is Art’s live Artplay creation, and the extraordinary Art Lab Illumination Project that lit up the tent and the night sky over Spectrum Miami. The electric energy that the show promised and delivered was a magnet to attendees, who reveled in the city’s palpable Miami Art Week buzz. Take a look at some of the highlights from this year’s amazing show and read interviews with two Spectrum exhibitors. 62




CUL AR Photos by Robert J. Hibbs Interviews by Lee Mergner

Clockwise from top left: A dreamy original from the Kevin McPherrin Gallery watches over the showgoers; Max Zorn attracts a crowd with his innovative packing-tape art; Spectrum’s “Light the Night” Art Lab illuminates the show entrance; Bold bursts of color fill the Tanner Lawley Group booth; Mingling at the Opening Night VIP Party.




Q&A with artist MAX ZORN ABN: How did you come upon

on my window and put the video up

ABN: But you’re able to work

your unique technique of creating

on YouTube. I was gone for a week to

around it?

art with packing tape?

surf, and I came back to something

MZ: Sometimes when the day is

MZ: It started with the idea to do

like 3,000 emails, and I thought I

over, I do peel some pieces off

street art in Amsterdam. Amsterdam

must have been spammed. I didn’t

that are really in places I can’t use

has these beautiful old streetlamps,

even read them. But then I thought I

them. Other than that, I can usually

and I saw so much street art in the

should check that video, and maybe

cut them to make them part of the

daytime, but no artist was using

I’ll have 20 or 30 clicks on it. I had

artwork. Most of the time, it works.

city lights and streetlamps as a

over 100,000 in the first week and

canvas. I started with little sketches

on up to over a million soon after.

ABN: What do you get from that

with colored markers on Plexiglas.

People asked me for artwork, and


And one night I put up one of these

people asked me to events, and I

MZ: It was born first out of necessity

sketches with a piece of brown

was totally not ready for it. But it was

to have people understand what

packing tape. It was the first time I

the moment when I had to decide,

these works are made of. We

saw how the packing tape interacts

“Do I take that chance, and do I start

had them at exhibitions, and

with light and creates the sepia tones

working and diving into that crazy

people liked it, but there was no

that remind us of old photography.

pool and start swimming?” I decided

understanding between the artwork

I thought that was interesting. The

to do that. I had all day to develop

and the audience. So, I thought,

next morning I still had that roll of

techniques. Every day of the week, I

“All right, I have to just show it.” I

tape. I started on my kitchen window,

was taping. It gave me the chance

didn’t like it at the beginning. It was

unrolling strips, and I cut it with my

to develop myself and my skills with

like a math teacher looking over

sushi knife and layered it a little bit.

that medium, which is great.

your shoulder when you’re taking a

People asked me for artwork, and people asked me to events, and I was totally not ready for it. But it was the moment when I had to decide, “Do I take that chance, and do I start working and diving into that crazy pool and start swimming?”

test—like I was being observed and not in a good way. But it’s something I pulled through with, and now I really love it. It’s a cool thing to show people the process to an artwork, not only the finished result. Art in the making is what fascinates me.

It stuck nastily on the window and

ABN: How long was the original

ABN: How do you deal with the

it looked pretty ugly, but there was

video in real time?

business side of being an artist?

already some potential to be seen.

MZ: I think the actual process was

MZ: I have a manager. She takes care

something like five hours. I took some

of the business side, but she’s an

ABN: How long has this journey been?

breaks, drank some coffee. It was

artist in spirit, so we don’t fight often

MZ: That was about five years ago

nothing planned out. It was the key

about things. We have very clear

when I had the idea to do street

to transport what [my art is] made

ideas about what we want to do. It’s

art. It was not a big thing. I liked

of to the public that was not even

a gut feeling. If we don’t want to do

it, but it was nothing that I even

so interested in art. YouTube isn’t

something, we don’t do it. It’s not

showed people much. But it got

necessarily for art lovers. But that

about the money so much. We have

popular in Amsterdam where I live.

was the bridge to the audience.

enough money for the both of us to keep going and do what we both like.

People would write me emails, asking me, “How do you do this? I

ABN: Here at the show, you’ve

don’t understand how this image is

been handing people a piece of

ABN: Do you do a lot of art shows?

made of tape.” At one point, I was

tape and asking them to place it

MZ: I did about six this year and

just really sick of answering these

on a canvas.

one or two solo exhibitions. It’s a

questions because I really couldn’t

MZ: It’s a dangerous game, I’ll tell

lot of work to show, but I enjoy the

satisfy anybody with my answers. So

you, because they can drop them in

attention, and it’s very fulfilling to

I filmed myself making a little artwork

weird places.

connect with the audience.

Clockwise from top left: RMG’s Rick Barnett interviews Max Zorn in front of a work in progress; A wide variety of mediums are showcased at Spectrum Miami; Discussing a piece from Work of Art Gallery; Provocative works at the Blink Group Gallery booth; Taking in a piece by Natasha Kertes.



Clockwise from above: Attendees stop to admire paintings from Work of Art Gallery; Tanner Lawley of Tanner Lawley Group with RMG’s Linda Mariano; Nonstop crowds filled the booths during the show weekend; Excitement and intrigue at the Max Zorn Gallery booth; There was something for every attendee to enjoy at Spectrum Miami.




Q&A with artist & gallery owner TANNER LAWLEY ABN: How did you get into the

was “LOVE” right across the middle.

artist [who works in] San Diego.

business side of the art world?

And I started building background,

He’s got great scale, proportion,

TL: I went to college for business

background, background. I use

[and] color theory. He does these

and got a degree in business

high-energy music when I paint,

city scenes, but he puts living-room

administration with a concentration

like electronic dance music, and

furniture in the middle of places

in finance. When I got back to Dallas,

as I was painting that heart on the

you wouldn’t expect it—out under

I got a job working as a handyman

piece, a song by Calvin Harris came

an oak tree or in a vineyard or in

for a fine-art gallery. I became the

on, called “How Deep Is Your Love?”

Times Square. It’s really nice high-

owner’s right-hand man. I mixed his

While I was painting the heart, that

designer-type furniture—couches or

paints, I built the studio, I hung the

song was just jamming, and, when I

chairs. I’ve got [his work] in my front

artwork, I painted the walls, I sold

finished the heart, that song ended.

window, and every day someone

the artwork, I delivered the artwork,

Knowing that “LOVE” was the first

comes in and looks at it. His stuff

I installed the artwork, [and] I ran

thing I painted on there months ago, I

is so hot right now, I can’t keep it

the staff. I was the utility player. He

thought that was the perfect name for

in the gallery. He’s shipping me 11

[gave] me the fire. One of the first

the piece: “How Deep Is Your Love?”

new pieces because I’ve sold out his inventory just in a matter of two

pieces I did was an itty-bitty one. It was terrible. I didn’t know what I

ABN: How have your experiences as

months. He would be one of my

was doing. I didn’t understand the

an artist shaped your approach to

artists to watch.

medium. He looked at it. We had an

running a gallery?

honest relationship, and he said to

TL: They’ve made me a better gallery

people that have blown my mind,

me, “Tanner, I don’t think this is your

owner. [Artists] want to get paid a

and it makes me realize just how

strength. You don’t really have a

fair wage. We want people to deal

little I am in the world of art. But I’m

talent for this. You can’t learn this. It’s

with us honestly. When [galleries] sell

OK with that. I’m only seven years

something you’re born with. You’re

something, let us know—those types

in. I haven’t been doing this forever.

very talented, and you can do a lot of

of things. I’ve made certain rules

That’s what I love about coming

things, but this isn’t one of your things.

because I represent my friends who

to a show like this. I’ve seen a ton

You’ll never be an artist.” He didn’t

are artists, and I pay all of my artists a

of artwork that I would love to sell,

know me and my God very well. I am

higher percentage. They get between

and, before the end of the show, I’m

a very faithful person, and I believe

55 and 75 percent of the sale. I share

going to talk to some of the artists.

in positivity. Faith is believing that

my gallery list with them, so whoever

I may not know them yet, but I’m

things that haven’t happened yet are

owns their work gets a copy of the

going to get to know them. You see

going to turn out in a positive way.

invoice, so they know exactly who

that level of expertise at this show.

Fear is the exact opposite: Things that

has it. I love for them to be able to get

I’ve heard over and over that this

haven’t happened yet turn out in a

in contact with those people. I pay

show compares with any of the big

negative way. I always choose to look

them immediately. Those are three

shows out there. People seem to

for the positive and believe that I can

simple things that I think are a big

like this one more. It’s more for us.

do anything that I put my mind to.

deal in the art world.

It’s more for the residential buyer.

I pride myself on being a gallery

Here in Miami, I’ve seen so many

It’s more attainable. Having all the

ABN: Tell me about your painting

for the working artist. Every one of

artists here makes a difference. You

“How Deep Is Your Love?” that

these artists is out there hustling and

go to a lot of those bigger shows,

has attracted a lot of attention

working. I know their families. I’ve

and the artist isn’t there. That’s very

at this show.

played with their kids. For me, that’s

important when you’re purchasing

TL: This one was a big 5-by-5 [foot]

my motivation.

or acquiring artwork for your home. You want to get to know the artist. It

canvas, and, for three months, I took all the paint that I could scrape off

ABN: You were an Artist to Watch in

makes such a better story. It makes

the other paintings as I was painting

Art Business News in 2010. Who would

it something that they’re going

them, and I would put it on the

you name a current Artist to Watch?

to pass down to their kids’ kids

background of this piece. The very

TL: A guy whose work I’m selling a lot

because they have that personal

first thing I painted on this piece

of is Pete Tillack. He’s an Australian

connection. ABN






ris Gebhardt is a piece of work— literally and figuratively. His art reflects the winding road that led him to the canvas; his body reflects the daily dedication to training that led him to physical health and mental stamina. “I don’t consider myself an artist but more of a reporter. All my art is tied to my unique life experiences,” says Gebhardt. Those unique experiences have taken him all over the world and through several phases of his life. Even with setbacks and injuries, his passion for physical fitness and health has never wavered.



KRIS GEBHARDT KNOWS THAT PHYSICAL WELL-BEING PLAYS AN INTEGRAL ROLE IN AN ARTIST’S CREATIVITY AND CAREER SUCCESS BY PRISCILLA TA L L M A N A member of the Ball State University football team in the early ’80s, Gebhardt was living the student athlete life until he endured a careerending knee injury in 1984. Without the structure and discipline collegiate sports offered, his physical and mental game suffered along with his health. “I ballooned up to 250 pounds,” he says. “I was a washed-up jock.” But he didn’t wallow for long. Instead, he quickly found himself a job as a member of the personal security team for Tom Monaghan, founder of Domino’s Pizza Corp., and worked himself back into shape. He stayed fit, running five or six miles a day and, at the urging of his boss, started training to become a pizza-franchise owner. With franchisee training nearing completion, however, he realized he


was more into fitness than he was into selling pizza. In 1989, he moved to Indianapolis to begin life as a fitnessequipment sales rep. Again, Gebhardt got restless; he believed it was more important to show people how to use and be successful with the equipment, rather than just sell it. In 1990, he settled on personal training. “Nobody took fitness seriously back then. It was personal training before there was personal training,” says Gebhardt. However, he took it seriously—so seriously that he put pen to paper and published his first fitness book, Body Mastery, in 1992. Gebhardt is now the author of four books about fitness and health. In 1996, he began training high-profile rock ’n’ roll legend John Mellencamp, who had suffered a heart attack several years earlier. Mellencamp needed a fitness program that would get his heart healthy and his body ready to begin touring. For six years, Gebhardt traveled all over the world on three rock tours with Mellencamp. As the years of touring came to a close, Gebhardt developed a passion for art and began experimenting with photography and mixed media. But instead of booking shows in the United States, he quietly started showing his work online and overseas under the name “Kristian” in an effort to gain confidence. In 2005, Gebhardt booked his first stateside show in Louisville, Kentucky, and then booked several in Miami, New York, and at various private exhibits that could hold his 80-by-84inch pieces. One of these shows, Art Basel Miami, featured two things with which he was intimately familiar: fitness and rock ’n’ roll.


“All art is physically demanding; if you are physically clear, it stirs creativity. If someone comes in to buy a piece of art, they are buying you,” says Gebhardt. It’s no surprise, then, that Gebhardt combined his varied life experiences and made the natural connection between physical and mental fitness and selling art at art shows. Selling creativity, Gebhardt believes, takes stamina. Artists’ financial investments in their booths, their creativity, their travel, and their work should also reflect their investment in their health. A neglect of one’s physical self, Gebhardt says, reflects in the artist’s presentation of his or her work. But the converse is true, as well: Being fit and having the mental and physical stamina to work big art shows gives the artist an edge. An edge, Gebhardt believes, that is available to anyone who chooses it. “Our outer shell is a reflection of our inner being, how you are feeling, and the painting you give to the world,” says Gebhardt. As an artist and a businessman, Gebhardt believes that a daily training regimen is vital for producing and selling his best work. With art shows and gallery openings around the nation, Gebhardt says the following things can affect how you sell art and your overall experience at any art show.

restocks each morning. Gebhardt’s hard rule is “no fast food.” If you plan your meals beforehand, eliminating fast food is easy. Remember that the best food at a venue is usually gone by noon, so having a plan for nutrition is paramount.

NUTRITION: “Don’t leave your food up to someone else. Take your nutrition into your own hands,” says Gebhardt. As soon as he and his wife, Angela, arrive in the city where they will be showing art for the week, they hit the deli. The couple brings a small cooler with snacks, snack bars, sandwiches, and waters for the day and

WEIGHT TRAINING: “Moving blood brings oxygen and nutrients to parts of the body. Blood is life,” says Gebhardt. Weight training creates demand on the body to move blood to your muscles, and your muscles in turn move the blood throughout your body. Weight training releases endorphins and oxygenates the body and mind. In essence,

HYDRATION: Pack water to bring along and drink plenty of it throughout the day. The venue may sell juice drinks, but they are full of sugar and will leave you depleted of energy in the long run. If you are well-hydrated, you will likely need to take some bathroom breaks. Use these breaks to stretch your legs, take a quick walk around the venue, and get your blood flowing. EXERCISE: A full day of travel can be rough on your body. “On the day you arrive, go right to the gym. It’s critical that you exercise every day; it helps with jet lag, revives [you], and gets blood going to move out toxins,” says Gebhardt. Most hotels offer enough equipment for you to get daily exercise, and, if not, you can always take a brisk walk to get your heart pumping. Daily movement and exercise are also good for your posture. Good posture communicates confidence, and confidence helps sell art. Poor posture and visible exhaustion may cause you to miss an opportunity.


Clockwise from left: “Our Battles Choose Us,” by Kris Gebhardt; Gebhardt poses with his painting “Tribulation”; “Play the Fool,” by Kris Gebhardt.

it clears out the cobwebs and helps you focus your mind and body. MENTAL STAMINA: “Mental stamina is a byproduct of [your] focus on the whole body,” says Gebhardt. When you combine nutrition, hydration, exercise, and weight training, you will have a clearer mind and more confidence to deal with the emotions inherent in exhibiting and selling art. When you go up against the biggest and best artists in your space, people will judge you on


what you create. If your mental game is off, it may show up in your posture or energy levels. Having a fitness and nutrition regimen will help your body recover from physically and emotionally draining days and keep you energized longer. GEBHARDT ADMITS that it’s emotionally demanding and mentally taxing to put your career on the line at a big art show and expose your creativity. But throughout his life, he’s seen the ability of health and fitness to counterbalance

the intense and varied feelings that come with the territory of selling art. Though he no longer trains rock stars and billionaire business moguls, Gebhardt is still passionate about getting his message to those who are willing to make a change. You may experience several career paths or experiences, but you have only one body. “Keep going for it; you have to celebrate these things. [My art] looks like my life. Our scars are so important; my career is full of them,” says Gebhardt. ABN