Art Advisor Girl

Moved

2011-08-12T22:01:00.000-07:00

Dear Reader,
Thanks for stopping by! We've moved to artadvisorgirl.wordpress.com :)
Looking forward to hearing from you there, and thanks again!
Love,
AAG

Art Terms

2009-02-09T23:19:00.000-08:00

So, I've written about editions and prints, and given you some of the arguments why they're good things to collect, own, possess and someday, maybe, even sell. For the beginner collector and for the sophisticate, they are all of those things, especially when the squeeze on the dollar is on. To help you with the infinite terms involved with prints and things in art in general, I'll publish a glossary of Art Terms to discuss in lay terms what can be confusing techniques. Starting alphabetically, I'd like to begin with the Aquatint.

By definition, an aquatint is produced with the same printing technique as an etching, except that the areas between the etched lines were traditionally covered with a powdered resin that protected the surface from the biting process of the acid bath (contemporary artists use spraypaint instead of powdered resin). The granular appearance that resulted in the print aimed at approximating the effects and gray tonalities of a watercolor drawing. Aquatint is an intaglio printmaking technique, a variation of etching; and uses marks made onto a copper or zinc plate to hold ink. The process requires that an ink-loaded plate is passed through a printing press that holds a sheet of paper tightly against the inked plate, resulting in a transfer of ink to paper (the print). The process can be repeated again and again, depending on the artist's technical choice. Famous artists who employed this technique include Francisco Goya (image right, El sueño de la razòn, or The sleep of reason produces monsters, from his series, Los Caprichos, 1799).

The process requires an application of acid to make marks on the metal plate that will eventually hold the ink, and powdered, acid-resistant resin (or today's spraypaint) in the plate's ground to create a tonal effect. Variations in tone are controlled by the level of acid exposure over large areas, and the resulting image is developed by invidual large sections at a time, not as a whole. The plate must be heated to melt the resin, which forms a fine even coat, at which point the plate is dipped in acid, producing an even level of corrosion that is sufficient to hold ink. The Aquatint process is very similar to Mezzotint, an earlier printmaking method that was intensely laborious (a famous contemporary mezzotint printer is Yozo Hamaguchi). Printmakers favored Aquatint methods because of the watery effect of the process, ease of creating large areas of tone without time-consuming cross-hatching, and durability of the print plates.

Prints

2009-01-20T07:03:00.000-08:00

A great example of the life of an image through editions is this print by Shepard Fairey, American street artist, whose screen print of Barack Obama and following among young, apathetic American voters helped to put a new face to American leadership.

If you visit Shepard's website, Obey Giant, this note is the artist's response to requests for more prints:

Thanks for all those who bought the print in support of OBEY and OBAMA. Unfortunately, the print is sold out and we do not plan on producing another edition. The edition was released earlier today with great response. The PROGRESS screenprint was exclusively available through OBEY and the HOPE offset print will be distributed by the OBAMA Camp as an awareness campaign.

I believe with great conviction that Barack Obama should be the next President. I have been paying close attention to him since the Democratic convention in 2004. I feel that he is more a statesman than a politician. He was against the war when it was an unpopular position (and Hillary was for the war at that time), Obama is for energy and environmental conservation. He is for healthcare reform. Check him out for yourself www.barackobama.com. Proceeds from this print go to produce prints for a large statewide poster campaign.

Thanks.

-Shepard

The artist's original edition of this work was 350, unnumbered and unsigned. Various copies of the print are available for auction all over the world at various prices, for a number of reasons. Depending on the success of Obama's reign, the value of the print will continue to soar and it is, without any question, already more historically significant that any headline-bearing newspaper announcing the changing political guard.

Editions ... again!

2009-01-15T14:34:00.000-08:00

Dear Reader,

Do you feel abandoned? With the swing of life from 2008 to 2009, it seems like the winter hibernation of the art world and the holidays is finally over, as streets and galleries come back to life with traffic. Actually, during the break, we were out and about, working the art life, attending events (parties!), exhibitions around town and reading about economic reverberations everywhere, especially as they concern the art market.

I promised to discuss editions in an earlier blog, and to be honest, it's really dry stuff, but there are some basics that need to be understood by the beginner art collector - so here we go:

Editions are an easy way for the artist to introduce his work to a developing art market, and for novice collectors to invest in artworks. By definition, an edition is a closed set of copies of a particular work. We hear references to editions in terms of prints and books, as limited or unlimited sets. A limited edition is closed in terms of numbers of copies, for example, an artwork will be limited to 9 editions, or 9 copies; each edition of the artwork will be numbered in chronological order, as created, from 1 to 9; and marked consecutively 1/9 to show the first work of an edition of nine works. Editions can range from as few as 2 to whatever number the artist decides to choose, and generally, depending on the artist's reputation and the skill level of the artwork, the edition number of the work will have a direct impact on the value (price) of individual works. An unlimited edition, is a set of works that will have unlimited copies. These works may be noted as from an unlimited edition, although usually not, and will not have a numbering system.

Voila! I'll follow up and pick this up again next post!

Happy New Year! (...in 40 seconds)

2009-01-01T12:08:00.001-08:00

Happy New Year! Whether we know each other, or not, I hope all your wishes come true for 2009 and beyond.

Early in 2008, I began this blog on art collecting because of questions that came up from novices and seasoned collectors about collecting art. Questions ranged from the importance of original (one of a kind, or singular) work versus editioned (copies and/or multiples) works. Depending on the circumstance, I've advocated one thing or another, and yes, I do stand by what I say (or in this case, write). My initial intent was to follow a formal line of ideas forming general philosophies toward art collecting, but it seems too many things come up in life, and it's much more fun and perhaps more relevant, to address the issues of art collecting as they arise. For now, this blog's organization is informal and simply chronological. If there is anything you wish to know in particular, and don't find it here, please write to me and let me know. I will do everything I can to assist you and develop a collecting plan.

Lately, the case for collecting art has arisen a lot in my immediate personal circle. By way of explanation, among my personal friends, I'm the only one that collects art on a selective basis (planned and with focus), and often defend what some see as a frivolous or silly pastime as an academic pursuit, formal, worthy of high mindedness and considerable investment. Even in today's gloomy economic times? Yes, because the presence of the arts is, whether visual or performance, what separates man from beast. Art is the particular dialogue of soul to soul that compels us like no other thing. It is appreciation for beauty, however we may perceive it, and the effect of it on our lives.

An example of this is something I found purely by chance this morning. As I wrote in a separate blog today, I opened my Yahoo account instead of work email, to escape from the remnants of 2008, relax and find cool things that are endlessly fascinating ... here is one exciting discovery, and my entire justification for starting a video collection:

The video, as you'll see from the first page, is credited to Eirik Solheim at eirikso.com. From his website, he seems to be an ordinary guy in Norway with a particular talent for cameras, he's marvellously intelligent, and enjoys considerable personal integrity. Further reading shows he has a worldwide following, not just resulting from his simply elegant and marvelous video. I hope you enjoy his video, and if you do, please let him know (email him at eirikso@eirikso.com). Every artist should receive thanks and appreciation for beautiful work! Bravo, Mr. Solheim, I am definitely a fan!

Happy Holidays!!

2008-12-24T16:11:00.000-08:00

... and best wishes for 2009!
Micaëla

To the new collector (or to those who think they don't know anything about art, so they won't collect),

2008-12-23T07:57:00.000-08:00

Dear Reader,

I'm in California, working from home right now, it's 2 minutes before 8 am, and my neighbor, Vern (working to stay afloat in this economy), is coming over at 8 on the dot (he's very punctual) to finish up a job in my home he began yesterday...groannnn...so I'd better type fast and get dressed.

Vern and I talked yesterday about collecting art - how it's a cultural thing, good for the soul and good for the community. He saw art collecting as a pursuit of the wealthy, a luxury, akin to foie gras, champagne and driving a murcielago ... well, if you're reading this (and the countless other blogs in blog land about art collecting), you know that's not true. So what's it all about? It's like good food - an excellent burger, a root beer float, fabulous fresh popcorn, or exquisite dining - and music - it's about experiencing pleasure in life.

What's so cool about seeing something that doesn't make sense? Well, if you like jazz, rock and roll, or classical music, you took time, once, to figure it out and decide whether you like it, so give the fine art a minute or two, or more. It's like deciding how you want to look today, at work or when you go out. What looks good? With art, it's exactly the same thing - it's essentially about what pleases you to look at (and all the subsequent thoughts and emotions that come with that), what looks good wherever it is (or where you plan to put it), and for most people, what you can afford.

As I wrote earlier (and if I didn't I'll write it now), the best way for an art collector to begin is to visit museums and galleries, and to take time to figure out the kind of art you like. Take your time, and make a commitment, a purchase - a small purchase - and see how you feel about what you bought. Hate it? Get over it and figure out why you hate it, and don't run. We all make mistakes, hopefully they're not costly and we recover. Try this over time, there's a lot of art out there that you can test the waters with - books, postcards, posters, even clothing (and that's also what copyrights, editions and licenses are about - let's save it for another time) - and have fun with, after all if it's about pleasure, make sure it is fun!

So it's the holidays, 2008 and all its misery is ending and there is new hope with 2009. Go out and have fun, open your eyes to everything around you and enjoy, look at everything like it's new and indulge yourself! ...and congratulations, you're on your way to becoming an art collector.

Happy holidays and best wishes for 2009!
Micaëla

Art Fairs

2008-12-02T16:37:00.000-08:00

Dear Art Collector,

The art mecca is in full swing these days at the Art Basel|Miami Beach hoohah. What's the big deal...? This is it, an exceptional smorgasborg of art for the partaker, where collectors of every discreminating ilk browse and search, and purchase. For neophytes, this could be the beginning of a very serious collection habit.

Thousands, literally, thousands of artists - emerging, mid-career, and established - present artworks, solo or sponsored by their gallery of choice. The parties and celebrities descending on Miami Beach (South Beach) are a wonder to behold, the walking equivalent, in many ways, to the artworks on the walls. Galleries from all over the world come and set up their booth, or in some cases, a hotel room, fêted and hosted by promoters and curators. Go! If you're in Miami - throw yourself in the throng, fight your way past the gawkers, join the fray! There's nothing like it and it's worth every minute of your time!

Micaela

Dear Art Collector:

2008-11-19T10:28:00.000-08:00

My collection began when something caught my eye and my personal aesthetic began to grow. Today, I'm summarizing one of the things I've learned in my experience, as a gallerist and collector, collecting artwork depends on collecting information. A few years ago, I began to promote the artworks of my friends and the people I admired, essentially, the work of people I collected. I began, unknowingly, a process that forms the basis of my advice to all emerging artists and collectors.

First, there's nothing like information - lots of it. I'm a busy girl, my time is valuable, and I can't surf the internet or wander the streets of wherever (I'd rather see the sights!) looking for information, so I sign up for every email announcement I find related to an artist's work, and I love websites that make this easy for me to do. Acquiring information helps me research the value of the work I'm considering, as it should be directly related to the artist's professional development and show growth.

Second, I give information. If the artist is online, I write to him/her and let him/her know about my interest in the work. Most artists love this and reply favorably. Occasionally, they're overwhelmed by passionate love letters from people like me, and I hear nothing. No problem, I search for galleries online and write to them - they usually reply very quickly - and I let them know who I like and ask to be advised of the artist's work and professional development. I want to know if the artist is showing his work and where.

The last part of this little trilogy is the purchase. There is nothing that makes you a real collector like an actual purchase and your name on the artist's list of collectors. Eventually, I'll find something I can't live without and make the plunge. Sometimes, it's painless, often it's huge and there are considerations. Such as price, and whether I can negotiate favorable terms (a discount) ... to which the answer often depends on my relationship with the artist.

In summary, building a good relationship is essential to collecting. To do this in the 21st century, (1) sign up for artist emails, it's a great timesaver; (2) let the artists know you're a fan, it might help when (3) you finally make that purchase. Yes, I'm an art collector too, you know that, that's why you read my blog, right?

David Hockney and editions (finally!)

2008-10-22T07:12:00.000-07:00

Yesterday, I received an email from a friend with a link to David Hockney's website...which is very cool, and here it is for your visual enjoyment. Mr. Hockney is a contemporary artist with works covering a wide range from drawings, paintings to stage and theatre design.

The best part of the home page of Mr. Hockney's website is the copyright warning, which brings us some of the things related to fine art editions, copies and the values placed on them.

Without getting into the details of copyright law, the big deal about copyright is that the image belongs to the creator, in this case, Mr. Hockney, and can't be used by anyone for any reason (technically, I shouldn't use it here, so I'll write to Mr. Hockney and ask his permission, if he declines, I'll remove the image). I used the image because it links to his site, which is the best artist's site I've ever seen. It's full of information about Mr. Hockney, his full biography even contains details about his parents and education. His gallery of works includes singular (one of a kind) works and editions, and all the works are fully described in terms of title, medium, and size. The edition works are described in terms of edition.

What is an edition? My favorite online source for quick info is Wikipedia, and it defines 'edition' as 'a number of prints struck from one plate, usually at the same point in time. ... [an edition] may be a limited edition, with a fixed number of impressions produced on the understanding that no further impressions (copies) will be produced later, or an open edition limited only by the number that can be sold or produced before the plate wears. Most modern artists produce only limited editions, normally signed by the artist in pencil, and numbered as say 67/100 to show the unique number of that impression and the total edition size.' Prior to the 20th century, and modern copy machines and digital print tools, artworks were reproduced by methods such as lithography, mezzotint, and etching, among others. The works were copied under the instruction of the artist, generally on the belief that they were worthy of reproduction and were a good source of supplemental income for the artist.

A numbering system for editions was developed to show how many prints were developed, with the belief that the artist would not print more than the number stated. For example, Mr. Hockney's work, Black Plant on Table, 1986, was printed in a limited edition of 30 (the actual work is a set of 6 printed pages arranged in a fixed order). Modern artists such as Roy Lichtenstein, Pablo Picasso, Henri Matisse, and countless others printed favored images using this system. In some cases, the artists or their publishers didn't number their prints, relying on a finite limit to the print edition. For example, Pablo Picasso created a dry-point portrait of Max Jacob (image, left) to illustrate his works, which were printed and never numbered, leaving the question of the work's authenticity up to provenance.

The problem of authenticity is huge with regard to prints. As a result, all kinds of rules and specialties have developed to prove the work as authentic. Probably the easiest rule to remember is whether the work is signed, as a true signature is the first mark of authenticity for any artwork. That kind of proof adds value to any work, and especially to copies, or editions.

Alright, this could go on almost forever, it's such a long topic, so I'll end this note for now as follows: the concept of editions is good for the general public and for the artist, for the same economical reasons. The problem with it is value and worth. Next edition blog, I'll discuss the different numbering systems. It's dry stuff, so I don't expect you to hold your breath - and in case you can't wait for the blog to come out (it's dry to write too), send me an email - micaela@micaela.com - and let me know how I can help you!

Resources...art fairs, exhibitions, publications, word of mouth

2008-10-13T10:58:00.000-07:00

I'm sorry, I know, I said I was going to write more about editions … and I will, next time. There is so much going on for art collectors to know about that I don't feel right limiting this to academia, so please be patient and understand that we live in exciting times!

First, a couple of publications that I swear by that keep me up to date on contemporary fine art: Artforum, Art Ltd., Juxtapoz (lots of edge in this one, so be careful...). Glass Quarterly and American Craft, are my favorites for glass sculpture. New American Paintings is great for the latest in regional painterly discoveries. Advice for making a selection? Go to your local newstand (please, find one that carries art mags) and browse browse browse. Obviously, buy the one that you can't put down (we feel for booksellers...), or borrow it from your local library and enjoy.

Exhibitions seem like a no-brainer, but it's surprising how some of the best galleries are completely unnoticed by middle America, leaving the best and the brightest art for the pickings of the very wealthy and adulation of the highly appreciative but sadly very less than wealthy … Please, GO to the galleries! Their efforts to promote their artists are astounding (worthy of much unsung praise), they generally don't charge for your visit, and are amazing repositories of expert information about the artists they represent. With this crrrrazzzy economy, your visit (whether your purchase or not) is welcome welcome welcome (yes, I know, I repeat for emphasis...!).

Art fairs are a lot more than your neighborhood craft show. In the past 10-12 years, they have grown into big big business on an international scale, showing art represented by 'big boy' galleries such as Gagosian and Mary Boone, and attended by everyone from Damien Hirst to the quiet investor with his/her private art consultant to celebrities like Beyoncé (and Jay-Z), Brad Pitt and Robert de Niro. Some of the most famous fairs are Art Basel, Art Basel Miami Beach (billed as the most important art show in the United States, a cultural and social highlight for the Americas), and the Armory Show (international fair of new art) held annually in New York. As a result, smaller, satellite fairs have grown around these fairs where some of the newest galleries around collect to show the latest art, such as at Art Fair Now, Bridge Art Fair, and Frieze, to name just a very very few. SOFA is yet another fair, specific to sculpture in its various iterations as described fully by its proper name - Sculpture, Object and Functional Art.

Lastly (did you think this would never end?! It's been a while and I have a lot to say today...!), if you have a friend (okay, maybe they're not really your friend), who owns, rents, borrows (or God forbid, steals) artwork you love … ask about it and use time tested traditions of word-of-mouth to find what you want.

Good luck and the best to you! Write to me if you have any suggestions or questions or objections to any of this.

Damien Hirst...Beautiful Inside My Head Forever

2008-09-24T17:38:00.000-07:00

As early as 1996, Damien Hirst's work drew the kind of collector's attention that earned 6 figures. Today, the world economy fails in an era of toxic mortgages and government bailouts, yet art world aficionados and financiers (who else has the cash?) line up for "Beautiful Inside My Head Forever" Damien Hirst's novel debut solo exhibition consigned for auction at Sotheby's held about 200 works that brought in whopping sales of $43, 316,574 (actually, someone at the Financial Times estimated Hirst's net at nearly $200 million). And voilà! The vanguard of emerging artists for fame and gain is Damien Hirst, past winner of the Turner Prize, and the most prominent of the Young British Artists (YBAs).

Hirst's works are fantastic (truly), decadent (sine qua non), fascinating (hypnotic, even), and illative of a remorseless, pointed and wicked intellect. His absorption with death and decadence - manifested by choice of subject and use of materials, constant playfully bright schemes, that make light of dark ideas that are themselves excessive, in concept and execution, and consequential work - become visual puns, fodder for common humor. Mentored by Charles Saatchi, the art collector's collector (a god, in his own art world right, maybe), Hirst's future, you might say, was as assured as if he'd been born with a silver spoon (just look at that chart, above).

So why are we writing about this artist? Yes, his concepts are bizarre, his works are many things to many people, but most importantly, for the obviously privileged and rarefied few who fell in step to the Sotheby's hammer on 16 September, Hirst's works are immensely, and profitably, collectible!
(Image: Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1992. Tiger shark, glass, steel, 5% formaldehyde solution; 213 x 518 cm., Metropolitan Museum of Art, NYC)

Art Collector 101: Definitions - Sculpture

2008-09-16T10:59:00.000-07:00

Someone dropped this note in my email box this morning about the future of video. Considering it was written by YouTube head honcho Chad Hurley, I read it, and am passing it on to you. Yes, it's a little dry (honestly, it's pretty dry), but it's good to hear there is life in video. (The image on the right is from Scott Kiernan's video, Standing Wave, 2007.)

How does video relate to sculpture? Yes, well, buckle-up, here's today's wikipedia definition for sculpture: three-dimensional artwork created by shaping hard or plastic material, commonly stone (either rock or marble), metal, or wood. Some sculptures are created directly by carving; others are assembled, built up and fired, welded, molded, or cast. A person who creates sculptures is called a sculptor. Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture. The definition goes on to describe types of sculpture:

Free-standing sculpture, sculpture that is surrounded on all sides, except the base, by space. It is also known as sculpture "in the round", and is meant to be viewed from any angle. (image, right, Thomas Scoon, Companions, 2008. Cast glass + granite)
Relief - the sculpture is still attached to a background; types are bas-relief, alto-relievo, and sunken-relief
Site-specific art
Kinetic sculpture - involves aspects of physical motion
- Fountain - the sculpture is designed with moving water
- Mobile (see also Calder's Stabiles.)
Statue - representationalist sculpture depicting a specific entity, usually a person, event, animal or object
Stacked art - a form of sculpture formed by assembling objects and 'stacking' them.

Materials used for sculpture have generally, and historically, been sought to produce works of art as permanent as possible, working in durable and frequently expensive materials such as bronze and stone: marble, limestone, porphyry, and granite. More rarely, precious materials such as gold, silver, jade, and ivory were used for chryselephantine works. More common and less expensive materials were used for sculpture for wider consumption, including hardwoods oak, box/boxwood, and lime/linden); terra cotta and other ceramics, and cast metals such as pewter and zinc (spelter).

Many sculptors seek new ways and materials to make art. Jim Gary used stained glass and automobile parts, tools, machine parts, and hardware. One of Pablo Picasso's most famous sculptures included bicycle parts. Alexander Calder and other modernists made spectacular use of painted steel. Since the 1960s, acrylics and other plastics have been used as well. Andy Goldsworthy makes his unusually ephemeral sculptures from almost entirely natural materials in natural settings. Some sculpture, such as ice sculpture, sand sculpture, and gas sculpture, is deliberately short-lived. (image, right, Mark Abildgaard, Twister, 2008, detail. Cast + sandblasted glass, stainless steel)

Sculptors often build small preliminary works called maquettes of ephemeral materials such as plaster of Paris, wax, clay, or plasticine, as Alfred Gilbert did for 'Eros' at Piccadilly Circus, London. In Retroarchaeology, these materials are generally the end product.

In contemporary terms, modern sculpture forms are now practiced outdoors, and often in full view of spectators, thus giving them kinship to performance art in the eyes of some. Ice sculpture is a form of sculpture that uses ice as the raw material. It's popular in China, Japan, Canada, Sweden, and Russia. Ice sculptures feature decoratively in some cuisines, especially in Asia. Kinetic sculptures are sculptures that are designed to move, which include Mobiles. Snow sculptures are usually carved out of a single block of snow about 6 to 15 feet (4.6 m) on each side and weighing about 20 - 30 tons. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall. Sound sculptures take the form of indoor sound installations, outdoor installations such as aeolian harps, automatons, or be more or less near conventional musical instruments. Sound sculpture is often site-specific. A Sand castle can be regarded as a sand sculpture. Weightless Sculpture (in outer space) as a concept is created in 1985 by the Dutch artist Martin Sjardijn. Lego brick sculpting involves the use of common Lego bricks to build realistic or artistic sculptures sometimes using hundreds of thousands of bricks. (image, right, Jonathan Russell, Pendants, 2005. Copper, bronze, stainless steel)

Hi...you made it this far. Relax. We'll discuss editions in another post!

Art Collector 101: Definitions

2008-09-15T09:13:00.000-07:00

The next posts will define general terms of fine art, sculpture, painting, drawing, photography + video, figurative/representational art and abstract/non-representational art.

Fine art, as defined by Wikipedia, is any art developed primarily for forms, including form aesthetics rather than utility.^[1] This type of art is often expressed in a limited number of visual and performing art painting, sculpture, dance, theatre, architecture and printmaking. Schools, institutes, and other organizations still use the term to indicate a traditional perspective on the art forms, often implying an association with classic or academic art.

I know, using Wikipedia for a definition seems too easy...the problem is there is so much information out there, and the idea here, is just to give you a general idea. Write to me if you'd like more. By the way, did you hear about the Goya print stolen from Bogota? The stolen artwork was a priceless engraving on view for public exhibition (image above credit: AFP/File photo). It is described as priceless for its extreme rarity.

The Logan Collection

2008-09-12T11:53:00.001-07:00

Well, I thought I was done with my short note on the Logan Collection at the SFMOMA yesterday...nope. First, I need to credit the image of the artwork in yesterday's post, below, it's "The Sleep of Reason," 2005, by Sui Jianguo, mixed media installation view. Photo: Courtesy of SFMOMA. Second, I want to let you know I received a quick email from one of the publishers at Art Ltd. Magazine about an article, "Pacific Overtures: Influential Curators of Asian Art," by Scarlett Cheng in this month's issue. Well done, Ms. Cheng!

Read it!

San Francisco Museum of Modern Art - Logan Collection

2008-09-11T08:45:00.000-07:00

If you live in a world class city, what would you do on a sunny weekend? What does that have to do with your fine art collection? Who wants to know and why...? I visited the Logan Collection exhibition at the San Francisco Museum of Modern Art (SFMOMA). Wow. I grew up in the Philippines, and during my childhood visited important museums in Manila, Singapore, Bangkok, and Hong Kong, so I tend to have a blase attitude when it comes to Asian art, particularly when collected by non-Asians. Please don't misunderstand, I love Asian art, I love the aesthetic, but I'm Eurasian and grew up around non-Asian collectors who professed a love of all things Asian, only to be disappointed by their so-called collections.

The Logan Collection is a wonderful surprise. Tasteful (well, I guess that depends on one's taste, huh?), thoughtful and carefully selected, the SFMOMA wrote that the works reveal "a spectrum of individual responses to the utopian dreams that have been driving Chinese society since 1949. Approximately 50 paintings, sculptures, and installations spanning 1988 to 2008 convey a sense of the shadows, masks, and monsters that have haunted the China's collective psyche during its process of modernization. The exhibition offers insight into the post-Tiananmen Square art and cultural scene, and features a diverse range of artists, including Ai Weiwei, Fang Lijun, Li Songsong, Liu Hung, Liu Xiaodong, Yu Youhan, Zhang Huan, and Zhang Xiaogang." The exhibition is ongoing now through Sunday, October 5, 2008.

Please GO.

Art collecting...for others...

2008-08-30T07:34:00.000-07:00

There is something to be said about collecting art for someone else...it's not as much fun as doing it for me! I'm at a stalemate right now for two different clients seeking two different artworks - one is for the ever elusive work - the rare work that isn't even on the market yet by Wayne Thiebaud, and the second is for the Hamaguchi "Watermelon Slice"...if you know of a private Thiebaud or this Hamaguchi, please please do let me know!!!

On another note...artnet reviewed a book I read about art collecting a while ago. Have a look at what artnet has to say!

Watermelon Slice

2008-08-26T12:49:00.000-07:00

A favorite client ran in last week! She dropped in right after work with exciting news...she's looking for Yozo Hamaguchi's "Watermelon Slice"...oh... We had that work a few years ago on exhibition. She fell in love with it then, but wanted something by Lucien Freud. Oh. I wonder if she ever got the Freud ...did you hear about the portrait he painted that was destroyed by the sitter? Wow. Back to Hamaguchi. Once upon a time, long ago, there was an art dealer in San Francisco who was Yozo Hamaguchi's exclusive gallerist, with print after precious print available for the taking, actually, for the eligible taking, as his prices were rather high. As anyone who follows Hamaguchi's work know, the prints were rare and precious by virtue of making - a mezzotint is an exquisitely difficult labor of love that can be forever damaged by the slightest touch. Prices for Hamaguchi's work soared during his lifetime, and seemed to hover at ethereal levels after his death, only to come crashing at the dawn of the 21st century, when every auctioneer from east to west suddenly had one available. Today, I can't find "Watermelon Slice" anywhere, and I do wish I could because I have a client that would love to own it. Let me know if you're willing to sell it...

What is an original print?

2008-08-22T17:21:00.000-07:00

Seattle's Davidson Galleries defines it as follows:

The word "print" is commonly used to refer to objects in two distinct categories:

1) Original impressions transferred directly from a matrix manually generated by an artist

2) Photographic or digital reproductions of works originally executed in other media

Photo reproductions and original prints can both be produced in “limited” or “signed” editions and produced by the same processes, such as lithography or silkscreen. Shared descriptive terminology allows for confusion over the term “print.” However, there is a significant difference between the intrinsic value of an original print and a photo reproduction print.

The defining distinction for originality is the artist's intention when conceiving and executing the work. When the artist selects a specific medium to produce an image, only that medium or combination of media can be considered "original."

While some original prints are appraised for tens of thousands of dollars, photographic or digital reproductions of original artworks are not intrinsically worth much more than the cost of production (even if they are published in "limited editions" and marketed for high prices.) Unfortunately many buyers are misled by vague or inaccurate descriptions to spend significant amounts on reproduction prints that are considered by museum and print experts to have neither artistic merit nor real monetary value.

Davidson Galleries exhibits and sells original prints printed from surfaces generated by the artist and intended from the outset for that purpose. These include lithography, serigraphy, etching, engraving, mezzotint, woodcut and monotype. We do not appraise or sell reproductions.

Print Glossary

a la poupée: Plate inking technique where different colors are applied only to individual areas rather than using a separate plate for each color printed in succession. This requires enormous control to keep the colors from bleeding at edges where different colors abut.

aquatint: A "wet" technique for creating tones using the action of acid on a metal plate. The area to be treated is sprayed or sprinkled with a resin or paint particles which partially protect portions of that surface. The acid etches the areas not protected, resulting in a textured printing surface.

artist's proof: A certain number of impressions pulled outside of a numbered edition for the artist. Artist's proofs are designated on the print with the letters "AP" in pencil usually in the lower left where the edition number is located. The French term "epreuve d'artiste" is also frequently used, noted by the letters "EA." Artist's proofs have the same value as work from a numbered edition.

chine collé: A process for laminating two sheets of paper, one carrying the image information, together in the course of printing.

collograph: A printing surface built up by collaging which is then sealed to prevent ink absorption and to permit multiple impressions to be printed.

edition: A numerical designation indicating the number of impressions pulled or printed from the completed print matrix. In fraction format, the top number indicates the specific impression while the bottom number represents the total number printed.

engraving: A "dry" technique employing a tool called a burin to remove portions of the metal plate surface by incision. Those marks when inked end up carrying the image information.

etching: A "wet" technique using acid to mark (etch) the surface of a copper or zince plate where permitted by the selective removal of the protective surface covering called a ground.

mezzotint: A "dry" technique requiring extensive plate preparation using a tool called a rocker to uniformly mark the surface. Image generation comes from scraping and burnishing down the rough surface to control the range of printed tones.

monoprint: A single impression pulled from a surface which has editionable qualities but where unique applications do not produce an edition.

monotype: Image printed from a plate or surface which carry no permanent mark and transfer cannot allow for edition repetition.

state: Condition of the printing surface documented by one or more impressions reflecting changes undertaken by the artist to that surface.

woodcut: An image created by inking and printing what remains of the original surace of a piece of wood, working across the grain.

Gallerist

2008-08-17T21:09:00.000-07:00

I like this name for my profession - and I like the NY Times article that defines it! It's a perfect job description.

Multiples

2008-08-16T17:46:00.000-07:00

If you'd like to begin collecting art as an investment, or for whatever visual pleasures you seek to indulge, there are a few things to learn.

An easy-on-the wallet way to begin is to purchase a multiple original. This means your art purchase has siblings, editions, or commonly known as: copies. Depending on the artist, a multiple original is considered original because it’s part of a limited group of work the artist selected with the belief that the original work will enjoy a high demand. Multiple originals are generally more affordable than singular or one-of-a-kind works, which is why they’re a good place to begin an art collection. The reason is, the artist believes the selected multiple original will have broad appeal, which he's decided to multiply, and offer a copy of it to more than one collector, making it’s price more accessible to new collectors.

Pictured at right is an image from Roberto Matta's closed editions series, "Carne Amont."

Collecting Fine Art

2008-08-16T14:50:00.000-07:00

Collecting fine art is a funny/serious thing in our contemporary time. It's been a delicate matter since art patrons realized that supporting their favorite artists was an ongoing investment, the price of pleasing some visual indulgences as costly and addictive as a favorite cocktail...and did we mention the keeping up with the Jones' syndrome? Okay, let’s discuss this seriously.

I’d like to start with personally defining fine art. Wikipedia (you're reading a digital article, right? so let's keep it digital) defines fine art as "any art form developed primarily for aesthetics rather than utility.^[1] This type of art is often expressed in a limited number of visual and performing art forms, including painting, sculpture, dance, theatre, architecture and printmaking. Schools, institutes, and other organizations still use the term to indicate a traditional perspective on the art forms, often implying an association with classic or academic art." Mirriam-Webster states fine art is defined as a function dating to 1739. It is further defined as: 1 a: art (as painting, sculpture, or music) concerned primarily with the creation of beautiful objects —usually used in plural b: objects of fine art and 2: an activity requiring a fine skill.

The definitions go on and on, please click on Mirriam-Webster or Wikipedia for the full source definitions, I'm sure you get the general idea. In my case, and for purposes of this blog, I want to discuss collecting painting and sculpture.