Commedia dell’Arte Needlework, France, c. 1690, wool and silk, depicting the characters Harlequin, Il Dottore, and Scaramouche performing before an audience on an outdoor stage. (Lot 544 in the October 6, 2012 auction, Estimate $4,000-6,000)

I think collecting is somewhere in my DNA.

As a child I collected stamps and multicolored beach glass. As a young person I read that Alexander Calder collected “stones with holes right through them,” so I collected, and still have, shells and stones with holes right through them. Throughout my adult life, my collection focused on actors, acting, and the history of both.

After World War II, at the age of 22, I was discharged from the army and joined Lee Strasberg’s professional acting class. In many ways, Mr. Strasberg was a controversial figure in the world of the theater. However, one thing is beyond dispute – he was an extraordinary scholar of the theater, of actors and of the acting profession.

From the early days and later into his work in The Actor’s Studio, of which I am a member, he would share with us not only his knowledge but also his deep admiration for the profession of acting.  His respect for the Siddons, Keanes, and Duses of our profession led me, and many others, to begin honoring our work and collecting prints, playbills, and artifacts of our history.

So, as much as 60 years ago, with the limited means of a young actor, I began searching antique shops, book stores, and fairs for anything and everything that related to the international acting profession. It was exhilarating to find a book print from the 1780s of Sarah Siddons as Lady Macbeth for three dollars, or later a 1690s needlework of Commedia dell’Arte actors for four figures.

Over the years as my career moved from acting into directing, and from directing into teaching, the walls of my home became covered with these ancestors of mine, helping me to share with my students knowledge of those who came before, their lives, the clothes they wore, and the choices they made.

Three or four pieces of art in my collection relating to the theater could only have been done by someone centuries ago who cared as deeply about actors and the theater as I do.

One is an English needlework picture of the 1790s, beautifully accomplished, with animals, bees and insects. With tiny stitches in black thread, a young child sewed into the needlework every single word of Jacques’ speech, The Seven Ages of Man, from As You Like It.  How that young girl (or her teacher?) must have loved Shakespeare. I also adore a 1690s French needlework, depicting three of the great Commedia actors of that period, doing their work. Those comedians were the rock stars of their time. Following prints of the actors and stitching them into a scene that includes an audience watching was an enormous amount of work.  We will never know the needle pointer’s name, but I feel that he or she had to care about the theater and those actors the way I do.

Like many other collectors, I recognize profoundly that I have been a caretaker of these objects large and small; my private pleasure is in restoring, repairing and museum matting as many as I can – no matter their significance. I hope another will find as much joy in them as I have.

Antoine-Louis Barye, Hibou (Owl),  bronze. To be auctioned on September 7, 2012 in Boston
(Lot 370, Est. $1,500-2,000)

The violent, dramatic sculptures of Antoine-Louis Barye draw you in with their tense compositions and meticulous – some might say obsessive – attention to detail.  Barye had an innate ability to understand the behaviors and muscularity of all animals, and this served him especially well in his renderings of hunting cats, rearing bears, and stampeding elephants.

In Hibou (Owl), I can’t help but be drawn to the charm of this magnificent bird with its wings spread as though it will take flight in the next instance.  The small detail of the rat caught in the owl’s talons can easily by overlooked, and for a milk-toast like myself who has trouble watching the violence inherent in a hockey game (I prefer baseball), this is just as well.  Barye, however, reveled in the gore; in the destruction rendered by tooth and claw.

We all root for the underdog — I’m a die-hard Red Sox fan — but the fight for the underdog only draws us in if there’s at least a small chance of victory.  Such is the case in Barye’s Tiger Devouring a Gavial of 1830.

Antoine-Louis Barye, Tigre dévorant un gavial (Tiger Devouring a Gavial), 1831, bronze. To be auctioned on September 7, 2012 in Boston (Lot 363, Est. $3,000-5,000)

Considered one of his most successful compositions, he showed it in the Paris Salon, where it was purchased for the Luxembourg Gardens, and is now in the Louvre.  Although the gavial is clearly in an “underwater” position, the outcome of this tense and violent scene is not fully determined, making the composition all the more climactic and riveting.  The tiger’s grip with teeth and claws seems unassailable; the claws actually penetrate into the reptile’s flesh.  Yet the gavial swings his toothy maw around towards the cat’s leg, remaining vigorous and valiant up to the very end of the fight.

Barye’s Panther Seizing a Stag depicts a similar level of violence, but here, at least to me and other 21st century observers, the violence seems all the greater as the victim is no longer an unfriendly crocodile-like reptile.

Antoine-Louis Barye, Panthère saisissant un cerf (Panther Seizing a Stag), bronze. To be auctioned on September 7, 2012 in Boston.
(Lot 356, Est. $5,000-7,000)

All the stag can do is kick and collapse onto his attacker, as the panther pulls the muzzle of his victim to the ground with an enormous paw, while trying to break the stag’s neck with a vice-like bite directly behind the stag’s antlers.  The outcome in this battle is nearly certain, even if we do hope for a miraculous escape for the stag.

In spite of the horror of these violent bronze sculptures, they are still beautiful and riveting. We still stare. We still watch. I continue to watch baseball even now, when the Red Sox find themselves under 500. In baseball and in art, it’s hard to look away when the outcome is uncertain and possibly dire.

I am much more optimistic and excited about presenting these works at our next Paintings & Sculpture auction. On September 7th, this group of Barye bronze sculptures will be sold at auction in Boston. For that week, at least, I’ll take a break from baseball. Join us for the free public preview September 5th through 7th.

Heather and Kathryn from the Marketing Department with Kathy, Robin, and Elizabeth from the American & European Works of Art Department at Skinner, Inc.

As an art appraiser and appreciator, I’ve always enjoyed AD 20/21: Art & Design of the 20th & 21st Centuries. This year, the show has moved beyond just modern design and prints to feature more contemporary art than I’ve seen in the past. The show is open from March 15– 18, 2012 at the Boston Center for the Arts

Last night, I stopped in with my colleagues, Kathy Wong and Elizabeth Haff, for a visit. We saw too many wonderful and beautiful things to describe in one blog post, but a few of our favorites were found in the booths for Artists for Humanity and Room 68.

At Artists for Humanity, a dress made out of Vitamin Water labels pulled me in for a closer look. The clever design and unusual material reminded me of the reality show Project Runway. In fact, the dress was made for Fashion Week in Boston.

Artists for Humanity is a group that provides underprivileged high school kids with art employment opportunities. These young people work on design projects, logo development, and fine art projects, and many go on to graduate from art school and continue working in the arts.

On the back wall of their booth, I was intrigued by two works that almost looked cubist, with a graffiti-like feel. It turns out that a couple of the kids in the program were indeed graffiti artists, so their mentors encouraged them to take that style, and create a piece that looks like graffiti without words.

Room 68 showed off concepts in contemporary design, including everything from the One Shot Stool by Patrick Jouin to cleverly designed vases, ceramics, and textiles. The moving parts of the stool were all cut from a single piece of material, and like an umbrella, it folds up into an easy shape for carrying.

Although the objects on display at the show many be on the pricier side for some, Kathy Wong looked online after the show and discovered that their prices for design accessories start at a very affordable $15.

We all appreciated the integration between fine art, design, and prints, and with such a range of styles and prices, there’s sure to be something for everyone. Have you been to the show? Let us know in the comments or on the American & European Works of Art Facebook page which booth was your favorite.

Jane Prentiss, Director of 20th Century Design at Skinner, Inc. enjoyed the show as well. Here are her impressions.

Inside the Cyclorama building

If you love art and design, or if you’re looking for decorative accessories for your home, AD 20/21: Art & Design of the 20th & 21st Centuries is the place to be this weekend. The show is open from March 15– 18, 2012 at the Boston Center for the Arts.

Ted Landsmark, president of the Boston Architectural College, and Tony Fusco of the Fusco & Four  Marketing Agency always do a fabulous job putting this show together, and I look forward to it each year as a way to kick off the spring season.

Almost all of the dealers, designers, and artists at the show come from New England. It’s heartening to see fabulous art and design coming from the Boston area, and meeting the artists who make it happen.  Even more interesting to me than the individual pieces of art is how designers choose to place different pieces together in mock room set-ups or arrangements. I love seeing how 20th Century Design pieces can be mixed with contemporary art and other unique accents.

The show takes place in the Cyclorama, a round building that was originally constructed in 1884 to house a 360-degree painting of the Battle of Gettysburg by French artist Paul Philippoteaux. People visiting the painting would stand on a platform, and turn to see the painting all around them. Real cannons, fences, and stone walls took up the space between the viewer and the painting, creating an almost virtual reality experience.

The design of the building provides a wonderful context in which to view the art and decorative pieces on display.

The Skinner American & European Works of Art Department attended as well, and they share their thoughts on the show here.

Booths at AD 20/21

Fitz Henry Lane, Manchester Harbor

Skinner set a new world record for a painting by Fitz Henry Lane in November 2004: a record that still stands today. The $5.5 million price bested the previous world record price for the artist by over $1.5 million. Even more exciting, this was the third record price that Skinner set for a work by Fitz Henry Lane, who is widely regarded as one of the foremost American painters of the 19th century. At the time, this painting was also the most valuable artwork ever sold at auction in New England.

Skinner still holds the world record for a work by artist Fitz Henry Lane, set when Manchester Harbor sold for $5.5 Million in a Skinner American & European Paintings & Prints Auction in Boston in November 2004

Lane was born in 1804 in Gloucester, Massachusetts, and spent much of his youth sketching the Cape Ann shore, north of Boston. He also seems to have undergone two name changes, only one of which was of his own doing. He was born Nathaniel Rogers Lane. As a young man he changed his name, possibly to differentiate himself from the well-known miniature painter Nathaniel Rodgers. He apprenticed with William S. Pendleton, the Boston lithography firm, in the early 1830s, specializing in topographic views. At this time, he began signing his works “F.H. Lane.” Lane fell out of favor with collectors in the late 19th century, and remained that way well into the 20th century. As of the 1930s, if scholars considered Lane at all, they considered his name to be Fitz Hugh Lane. In fact, when Manchester Harbor sold in 2004 this was still thought to be the case. It was not until 2005 that researchers in Gloucester, Massachusetts rediscovered the 1831 letter Lane had written to the Commonwealth of Massachusetts requesting
a name change to Fitz Henry Lane.

Whether you call him Nathaniel, Hugh, or Henry, the artist probably saw the works of Robert Salmon and Washington Allston in Boston in the early 1840s. It was at this time that he decided to concentrate on painting. The paintings of the late 1840s and early 1850s reflected Lane’s earlier graphics training, in conjunction with the influence of the marine artists of the earlier generation. As is apparent in Manchester Harbor, the foreground details with its figures, piers, and spits of land, the scale for the work while accentuating the vastness of the view and its light. The low placement of the horizon line allows for an expansive sky. Tinted with the warm hues of sunrise and reflected in the calm waters, the light becomes the focus of the work, as is typical of Luminism.

The horizontal arrangement of the composition creates stillness in spite of the great, varied activity of the foreground. In conjunction with the concentration of light around a sun viewed through clouds just above the horizon, Manchester Harbor foreshadows the increasing calm and poetry of Lane’s mature Luminist style as it would emerge in the late 1850s.

From my experience as an appraiser of fine paintings and prints for Skinner and on Antiques Roadshow, I know how rare it is to find a masterpiece like this one. Every time I sell a fabulous painting at auction, I wonder how many more there can be left to find? But I know there are many more amazing finds out there.

If you have an exceptional painting or print by a well known artist, and would like me to take a look, please call and set up an appointment at 508-970-3299.

This lovely arrangement interprets an 18th/19th century portrait of a gentlewoman as Diana, Goddess of the Hunt (Lot 310 in the February 3, 2012 Paintings auction)

Several months ago, Skinner art appraiser Kathy Wong agreed to arrange all of the flowers for a friend’s wedding. I know you’re wondering what this has to do with antiques and auctions, but just stay with me for a minute. The friend happens to be a Skinner colleague, so this past fall we have all enjoyed watching the process as Kathy brought in ideas to show to the bride-to-be: designs for table arrangements, bouquets, boutonnières, and more.

It turns out that, in addition to being a great art historian, Kathy has a fantastic eye for color and design.

Now, Kathy is putting her design talents to work for the sake of art and a terrific cause. In conjunction with the February 3rd Prints and Paintings auction in Boston, Kathy will interpret several of the lots presented as flower arrangements. Have you ever seen the Museum of Fine Art’s Art in Bloom or the Worcester Art Museum’s Flora in Winter? Our presentation will be similar, but we are adding a slight twist. The arrangements will be sold during the Paintings & Prints auction to raise money for the Boston Public Library’s Fine Arts Library in the historic McKim building in Copley Square.

Attend our Fine Art Gallery walk on February 2nd to view the art-inspired bouquets.

The BPL’s Fine Arts Library is a tremendous resource open to all, and as art appraisers, we use the library constantly in our research. The librarians are extremely knowledgeable, and work under difficult conditions – anyone who has gone in there to do research on a hot July day knows exactly what I’m talking about! Given the number of books I request in the course of a single visit, I can’t imagine that they are ever thrilled to see me, and yet they are always welcoming and considerate. It is one of our favorite places to work, and yet it is a place desperate for an upgrade. We realize that the amount we raise for them will only be a drop in the bucket, but it is our very small way of saying thank you.

Plus, won’t it be nice to come to the Paintings & Prints auction preview and see all the fresh, colorful flower arrangements? There’s nothing like a little bit of spring in the middle of winter!

The preview will be open to the public on Wednesday, February 1st, 12 to 5 pm; Thursday, February 2nd, 12 to 8 pm; and Friday, February 3, 9 to 10:30 am at Skinner’s Boston auction gallery. The auction begins at noon on Friday, February 3rd. We hope to see you there!

Lot 468: Walter Launt Palmer (American, 1854-1932) The Pine Grove, c. 1917, Estimate $8,000-12,000 in the February 3, 2012 Auction of American & European Works of Art

One of the distinct joys of being a fine art appraiser and cataloguer is getting to physically handle a work and bring its forgotten history to light. When we are lucky, the owner provides documentation for provenance or context. More often than not, what we work with are anecdotes that we must verify or rule out independently. At the heart of cataloguing is looking at a work objectively and asking the fundamental question “What does that mean?” of any inscriptions or marks.

Recently, I had the pleasure of puzzling over a winter scene by Walter Launt Palmer.  Palmer was acclaimed in his lifetime for his winter scenes and it’s easy to see why—he essentially did for snow what Monet did for haystacks, which is to say that he represented snow with a depth of color and texture that no other American artist had previously. As far as art historical categories go, Palmer is considered a Tonalist more than an Impressionist, owing in large part to his muted palette and stylistic restraint.

In cataloguing, examination of the reverse of a work is de rigueur. What we hope to find are titles, dedications, labels and other bits of information to tell us about its former life. In the case of our Palmer, we found a promising lead—an effaced title and stamp (see Figure 1).  After a process of trial and error, we explored the possibility that the 1917 volume of the American Art Annual—a venerable publication in print from 1898 to 1948—might have further information for us.  To my surprise, under the heading “Paintings Sold at Auction: Season of 1916-1917” was an entry for a Walter Launt Palmer work entitled “The Pine Grove,” 30 x 22 inches, sold as lot 154 in a sale entitled “War Relief” to Otto Bernet. The consignor believed that her father had purchased the work at auction in New York, and ours measured exactly 30 x 22 inches. Could this be our work? More information was needed. What was this “War Relief” sale, and more importantly, was a catalogue produced?

Figure 1

Further research turned up the following:

• The “War Relief” sale was held May 3 to 4, 1917, and comprised of works donated by the American Artists’ Committee of One Hundred, of which Palmer was a member (1)

• Most members of this artist Committee had trained or exhibited in France, and this American relief alliance formed in 1916 out of gratitude and concern for their French mentors and counterparts (2)

• The sale was handled by the American Art Association (our AAA acronym!), an auctioneer established in 1883 (3)

Figure 2

Sometimes tracking down primary source material is as tricky as finding out that it exists in the first place. There were less than three copies of the sale catalogue in public collections nationally, and the only book form was located in the Brooklyn Museum library. With the help of a library assistant, we found that the catalogue description matched our work (see fig. 2).

There is still more to know about this work, such as whether or not the previous owner, Collier Whittemore Baird (1888-1977), an executive in the rubber industry, acquired it directly from Otto Bernet or through an intermediary. The American Art Association Records, microfilmed through the Smithsonian Archives of American Art (SAAM), may yield further clues.

Larger contextual questions also remain, such as what was Palmer’s involvement with the war relief committee and how many other sales did he participate in? The American Artists’ Committee of One Hundred Records, also through the SAAM, may be revealing.  

As cataloguers, we are the temporary custodians of these works, and consider ourselves lucky when we’ve found enough to pique the interest of the next owner—ideally, a devoted researcher.

This work will find a new home at the February 3, 2012 American & European Works of Art auction in Boston.

Edward Hopper (American, 1882-1967) Night Shadows, 1921, Auctioned for $27,255 in September, 2010

“Want to come up and see my etchings?”

The opportunity to throw out a line like this may be one motive to collect prints, but there are much better reasons. Collecting prints is the auction equivalent of “having your cake and eating it too.”

“Print” is a broad term that, in the context of fine art, refers to a work for which the artist creates the printing matrix, such as an etched plate, a lithographic stone, or a carved woodblock, and uses this to create multiple impressions of an image.

The artist may or may not be the actual printer, but generally approves of the quality and methodology of printing, and often signs his or her prints by hand.

Prints tend to be smaller in scale than paintings – unless you’re looking at Modern and Contemporary works – and generally invite the close, intimate scrutiny that a smaller space engenders. This intimacy lends itself extremely well to adorning the walls of a regular-sized home.

If you have a limited budget—who doesn’t these days?—you should consider prints.

Because of their very nature, prints are less expensive than paintings. Prints are multiples, rather than one-of-a-kind works of art, so clearly they are less rare. This also means that condition is extremely important. In buying a unique work, if you absolutely love the image you may be more accepting of some minor condition problems.

With prints, however, the rules change. Consider an iconic etching like Edward Hopper’s Night Shadows of 1921. If that is the work you want, then you have options. This work was printed in an edition of 500. The very next one to come up at auction might be laid down or have trimmed margins or staining — all negative condition issues. If you’re willing to overlook those problems, you could get one of those 500 etchings for around $25,000 or less. Or, you can hold out for a fantastic impression in pristine condition for $40,000.

Thomas Hart Benton (American, 1889-1975), Threshing

The Hopper in poor condition may not be within your price range, but here’s another example: Let’s say you want to buy Thomas Hart Benton oil—just a minor one. Well, you need to be ready to spend $300,000 to $500,000. That’s the price of a house! It’s simply beyond most people’s budgets. And that doesn’t even address the cost of a prime example of his painting – his record for auction prices is just over $2.4 million.

But, you can get a great Thomas Hart Benton lithograph—a quintessential example of his work—for $3,000 to $5,000. That’s not cheap, but it’s only a mortgage payment or two, and if you’re in love, what are a few mortgage payments? And since you’re wondering; for a major Hopper painting, plan to spend the price of the house, two new cars, plus 4 years of college tuition… or over $1,000,000. Suddenly $25,000-40,000 seems like a bargain.

My advice to you is, “have your house and decorate it too.”

So, should you collect prints or paintings? It’s a few mortgage payments versus the whole house. You make the call!

View the Fine Paintings & Prints Auction Catalogue for our February 3, 2012 auction.

5. The Prado: Madrid, Spain

Rogier van der Weyden, Deposition at the Prado in Madrid

I was overwhelmed with my first visit to the Prado in 2007. This famous museum can be very crowded, but I found that the early evening hours tended to be quieter.

On my first visit, I knew I would finally be able to study many incredible Spanish masterworks, but I was unprepared for the impact of an early Flemish painting that I did not even realize was in the Prado: Rogier van der Weyden’s Deposition. I was thunderstruck by its beauty, color, and scale. The figures are almost life size.

After visiting the Prado, I’d recommend a side trip to the nearby Museo Sorolla.

4. Père Lachaise Cemetery: Paris, France

Years ago I saw an exhibit of photographs by Willard Traub of this amazing cemetery on the outskirts of Paris. I had never heard of it before, but I made a point of going on my last trip to Paris. Père Lachaise cemetery opened in the early 19th century, and it is the burial place of many famous painters, composers, authors, and other luminaries, as well as Parisian families.

Frédéric Chopin is buried there, his gravestone bedecked regularly with offerings of flowers, candles, and musical manuscripts. You can also visit the burial places of Jean-Auguste-Dominique Ingres, Eugène Delacroix, Théodore Géricault, Oscar Wilde, Georges Seurat, Amedeo Modigliani, Isadora Duncan, Gertrude Stein, Edith Piaf, and Jim Morrison, to name only a handful. What truly charmed me was the very touching sculpture that adorned many of the early gravesites.

When you visit, purchase a map, and you can also rent a little electric cart to get up and down the hills if you like.

3. The Rijksmuseum: Amsterdam, Netherlands

I have never been to Amsterdam, but this is on my list of must-see places. My fantasy includes a lovely barge trip soaking up Netherlands’ culture and landscape, then making my way to Amsterdam to The Rijksmuseum to enjoy the works of Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael, Jan Steen, and Pieter Claesz.

2. The Hermitage: St. Petersburg, Russia

The cultural capital of Russia and traditionally its window on the west, St. Petersburg is home to amazing museums and historical sites. The Hermitage, said to be the largest museum in the world, was founded by Catherine the Great in 1764, and it is made up of a collection of buildings along the Neva River including the famous Winter Palace.

This photo shows the nearby domes of the Church of our Savior on Spilled Blood, built 1883-1907 on the site of the assassination of Tsar Alexander II. The romantic domed architecture harks back to styles of the 16th and 17th centuries.

1. Hagia Sophia: Istanbul, Turkey

I can’t wait to visit Istanbul, the bridge between Europe and the Middle East. First stop: Hagia Sophia. Dedicated in 562, the basilica served for a thousand years as a cathedral, then five centuries more as a mosque, and now, since 1935, as a museum. It’s truly a cultural and historical crossroad. I hear that Istanbul is bidding for the 2020 summer Olympics, which would be yet another reason to visit!

For more fabulous art destinations around the world and even back in time, visit Robin Starr’s Art Museum Road Trip, then add your own destination.

Where would you go if you could travel anywhere to see art? Share your road trip with us on Facebook.

During the day, Brian Tolle's "Tempest," 2010 is a spiraling path, but at night it takes on the aspect of a tumultuous sea filled with phosphorescence.

Last week, I had the opportunity to travel to Florida for one of the year’s most spectacular art shows: Art Basel Miami Beach. I spent the first part of the trip with fellow art appraiser Kathy Wong, and then my husband and 7-year-old son joined me as traveling companions.

In addition to spotting famous and emerging artists (Julian Schnabel, Orlan, the controversial Mr. Brainwash, and Marina Abramovic, to name a few), we snapped photos of many pieces of art that struck us as beautiful, original, shocking, or thought-provoking. You can view the full gallery on the American & European Works of Art Facebook page.

I’m happy to report that despite “The Great Recession,” sales seemed brisk.  By 11:35 am on Wednesday (the VIP opening started at 11:00), Sikkema Jenkins & Co., New York, had already sold a huge diptych by Kara Walker entitled Pastoral.  A departure from her silhouette images, this piece was a monumental drawing of a mother hiding in an alleyway during a riot.

Interestingly, many galleries opted out of the tradition of placing red dots on labels to mark pieces as sold. The reason? A potential collector seeing a red dot might not make an inquiry, and each inquiry is an opportunity to attract new clients.

This year, the show introduced an initiative to get the general public involved as well. “Art Public” brought in art lovers who might feel that they fall outside of the usual Art Basel audience. This show transformed Collins Park (right next to Bass Art Museum and the Mr. Brainwash show) with 24 pieces of public art. Each morning the show was open, you could see groups of students touring with their teachers.

Some of Our Favorite Pieces from Art Public in Collins Park

Anish Kapoor plays with voids and vessel-like forms in Black Stones, Human Bones from 1993.

Theaster Gates: "Stand-Ins for a Period of Wreckage," 2011 features a series of waist-high columns, each with its own unique feature. Some are crumbling; others have a high, polished top; still others seem to crack to reveal stacks of dinnerware inside.

Chakaia Booker: "Holla," 2008 uses cut up pieces of tires layered over a steel frame to create a serpentine figure that is deeply textural. The construction and craftsmanship are beautiful. Visible behind are works by Damien Hirst, George Rickey, and Robert Indiana.

It’s simply not possible to fit everything I loved at Art Basel Miami Beach into one blog post, so I asked my son for his take on the trip. His favorite? A work by Mexican artist Rafael Lozano-Hemmer, titled Shadow Box #5: The Years Midnight. A surveillance camera mounted on the right side of the screen picks up viewers standing in front of the work. As you look at the piece, you see yourself, but with a smoky mist rising from your eyes. As you move, the mist goes with you. The interactivity was a blast for all ages (Watch a video of my husband interacting with the piece on Facebook).

All three of us are glad to be back home, and already looking forward to next year.