Submissions from artists come in on a daily basis.  There are so many great, talented artists out there, how do you choose?  Picking artists is subjective.  When I first started, I put a corps of people around me that I thought I wanted to be inspired by, the people I wanted to be identified with.  As time went on, I began to diversify. For me, it is a feeling both about not only the work, but the artist. There is a lot of chemistry going on. Not only do I look at the work, but the person sending out the signals. Knowing and recognizing  my own desire for their work can be communicated to others and trusting his/her sheer talent.  It is also imperative for me to feel that I can do something for the artist, and of course, that he or she feels this way too.  It is vital from the first conversation that we are on an adventure together.  How successful that adventure is requires spending a lot of time together, with a plethora of ideas, trust and effort on both sides. At its best, a friendship, a marriage that should last forever. Personally, I need to feel a connection with the artist from the outset.  My intention  is always to have close, long term relationships with the artists I represent, so I must choose carefully. Its a great feeling to work closely with an artist and enable them to produce artwork that will outlast time.

     In these tough economic times, on any given day I get at least five phone calls from people who are looking to sell art.  I used to buy and trade art, but no longer do it as it became more of a headache than it was worth. Even though I am an art dealer, there are things that I might sell, but experience has shown me  that some things, including art, out of fashion may come back.  Whether we like it or not, there is always an element of fashion and hype, an element of the “art of the moment”, although I should clean up some areas of the collection.  The other thing that happens has to do with the really bad works you have bought to be nice to somebody, or that you did on the impulse of the moment, etc.  I have so many of these pieces done for exactly this reason.  They are so fair that they are not worth anything, so I figure why sell them. I dont want fair, I want exceptional.  Except for cleaning up my inventory, there is no reason to do it, because I cannot sell them. The good things that may not meet my taste of the day now, may be the the taste of the day in ten or twenty years.  I can open up any art magazine from the 1980′s, and you would probably recognize only a few names. It will be exactly the same in another twenty years for the last issue.

     One of the mistakes that too many people make is to equate a piece of art with its total value and its price on the market.  “It went down so why should I keep something that has lost its value? I think you need to take a longer -term view and a more quieter view of the market.  The market is one dimension, but some artists come back later.  Ed Rushcha never had a market unti about ten years ago. Some people come back and, as I said before, if a piece isn’t worth anything, why sell it? Or if a piece you paid $100,000 for is now worth $2o,000, is it because the market collapsed, or because the artist was hyped and his market collapsed?  Except for food, shelter, college or taxes, I don’t see any reason to sell.

With Basquiat’s anniversary of his death this past week, I felt it only fitting to write this weeks blog about him. He was considered an exceptional creative talent by any standard, and at a young age gained great fame and became a cultural hero to younger artists. Basquiat is a mesmerizing character with a fascinating  but very sad story.  Not since Jackson Pollock has there ever been an art personality whose life was as troubling and engrossing as Jean-Michel Basquiat’s way too short life. 

Basquiat, who began his career as a street graffiti artist using the tag SAMO, quickly took the downtown gallery world by storm, always having his eye on fame. And, when he got it, it went to his head. Basquiat ran away from his family home in Brooklyn when he was just a teenager. He lived on the streets of the Lower East Side for several years, but his talent, personal charm and sense of style quickly garnered him celebrity status. He was recognized by art dealers and collectors, and his large canvasses began selling for huge sums. He became an instant art star.

Basquat became a regular on New York’s downtown art scene, frequenting VIP rooms at exclusive clubs, befriending Andy Warhol and hanging out with The Factory clan.  He wore expensive Armani suits while painting, and sported dreadlocks as though they were his crown.  And he, like many of his cohorts, rode the roller coaster of drug addiction.  His talent and artistry leads me to thoughtful contemplation of how talented young artists are effected by celebrity. Basquiat painted fast — he created more than 1000 paintings during his brief career — and lived with abandon.  Basquiat reminds us of the many extraordinarily talented and spirited young artists whose lives have been turned upside down by the spoils and stresses of fame.

Basquiat whose desire for vindication and acceptance saw him beholden to a critical community that dealt with him in equal and opposite measures of acceptance and exclusion. Sadly, within the young age of about 27, Basquiat’s accomplishments concluded almost as swiftly as when it all developed, when he died from an overdose of drugs. His death was a painful loss to the art world. His tragic life elicits emotions of sorrow but at other times frustration, due to his wild behavior; a troubled young man who lived a cavalier life full of drugs and reckless sexual liaisons, which ultimately claimed his life. Basquiat’s life was as colorful, wild, reckless and thought provoking as his art. Although his life seems disturbing, is he the only person we know of that has given in to ferocious excesses?

Don’t we all know someone like him? I know I do.

     As most of you already know, Kings Wood Art is partnering up this month with Gilt Groupe. We are ECSTATIC and HONORED!  But many of my clients have been asking why…your business is doing well, why mess with something that is working? Why are you using a new model? I feel the need to answer!

     I have always said I wanted to make art accessible to everyone and change the way the world experiences art, and this is one way to really do that. We are excited about the partnership with Gilt Groupe because it allows Kings Wood Art to provide new opportunities to Gilt’s clientele. By showcasing more artists on the Gilt Groupe site, its members can experience first-hand the many ways art can complement and inspire fashionable lifestyles. Because of these unique online offerings, we can now provide its clients with more opportunities to make investments that actually grow in value over time.

     By leveraging the exclusive relationship KWA has with its artists, and Gilt Groupe’s large online member base, Gilt can now showcase both the newest masterpieces in the art world and the most dynamic new talents propelling today’s art culture. We certainly won’t profit much, because of the discount. But more importantly is that what we will gain is long-term, loyal customers.

     KWA offers an expansive collection of art in a wide range of styles and media. Our collection is attractive to a diverse array of buyers from the art aficionado seeking a signature piece to high-impact designers questing for the latest in upscale interior design. We appreciate that every person can enjoy art, and our personal service and competitive prices are designed to make our art accessible to all, We offer limited editions and original works from the most recognized artists to rising stars and make them available for sale, at affordable prices. Now working with Gilt, everyone will be able to own an authentic piece  art.

             I hope this answers your questions and tames the curiousity!!  What are your thoughts on this new model for the art market?

     Online gallery shopping for art is what I like to think of as not only Viewing In Private, but in home easy access. This type of shopping offers –or so it claims– all the perks of visiting high profile brick-and-mortars galleries and art fairs such as Frieze or Art Basel – namely, you are able to access first class works by first class artists represented by first class galleries­– without any of the pressure or inquisitive looks of fellow collectors or intimidating super sleek dealers. Better yet, you can do it from the comfort of your home (in your pajamas!) Are we witnessing the birth of the new model of buying art, soon to efface its ‘earthy’ competitors?

     Of course, no virtual experience can compare with actually experiencing the art in the flesh. It applies to every medium, but especially to painting, sculpture and immerse installations. How can a viewer grasp all the nuances on a laptop screen? Having said that, serious art collectors and buyers are nowadays very used to buy works they have only seen on the internet or by images sent by galleries by phone, and online galleries have now become a permanent fixture within the art market. These are tough times for the art market,  so the best way for galleries  to stay afloat is  to find new demographics, and bring the work to them via their site.

     At the end of the day, the adrenalin of a real art galleries and fairs, namely all the gazing around, gossiping and air kissing is what makes seeing and buying art exciting and fun. And a good dealer will always make a better sale in person, also showing directly other available works or artists.  Or maybe  not?  I am very curious to see if anyone has done any studies. I would love to see the results / reports of  brick and mortars vs. online dealers after the research finishes.

What is it that makes collecting art so exciting, so inviting and so sexy? Could it have anything to do with seeing a Warhol purchased for $1700 that sells at auction for over $38 million?   For me, the answer is “no,” and obviously, “yes.” 
 
My own collecting is not about amassing pieces for future auction value, or for what some “expert” says is important.  What excites me is the opportunity to enjoy that piece of art on a daily basis. Of course,  there is also that ego trip of possession (I call it the “look what I’ve got” syndrome) and the actual action of selecting, purchasing, of making a personal aesthetic decision that defines my individuality and personality. 

Art collecting is an obsession. Art is always up close, personal and understandable. It comes with this tactile, sensual approach similar to when our emotions are stimulated by anything going on around us. I try to pay attention to each piece of art on my own terms, not listening to every opinion of the critics and other galleries.  Knowledge cannot be everything when it comes to something so subjective.  Sometimes, you can know too much and feel too little. For me, intuition is my best asset when it comes to selecting the right piece for any space. 

 Purchases for my own collection are entirely intuitive. They involve my passion and emotions. The art must ultimately intrigue me and inspire curiosity. Most of the art in my collection speaks my own instincts.  It may be a throwback to an addiction I’ve harbored since childhood, when I dreamed alone amid that wonderland of Barbie dolls. 

 My collection means something to me… and me alone. The reaction I have to a painting at first impact, without thought, is the impression that usually lasts.  Meanwhile, I loathe to admit that yes, money does matter, too. In this day and age, understanding the complexities of composition requires a degree of education and sophistication. Anyone with the sensitivity, the desire and the resources can be intrigued to invest in an interesting collection. 

 Regardless of your budget, you would not want to select a painting that will not hold its value.  If the appraised value of a work keeps rising, it helps to remind you that you’ve made a smart choice. Even if you choose never to sell it, a picture looks better when someone offers you two, three or 400 hundred times the return on your initial investment.  

 Yes, art is an investment…but not only a financial one.  When you invest in art, you also invest in a new attitude, a new way of viewing the world.  It’s the one investment that always enriches your life.
 
Call it what you like, an illness, crass materialism, obsession or passion, but there are many like me who seek out great art to provide that feeling of bliss.  It’s the feeling of transcendence you get when you fall in love… or view a true masterpiece!

In the art industry, as in all kinds of business, establishing and maintaining good client relationships will go a long way toward success! When you treat and serve your customers right, there is always a return on your investment. I am always amazed at how some businesses treat their clients, no one goes out of their way for anyone anymore.  I should not care as this usually ends up in my favor, but I still always feel bad for those who have not been treated as they should.   At my gallery, I am not happy unless I have given everything I have to give.I know that if I do not take care of my customers, somebody else will. I live by Nelson Boswell’s powerful rule – always give people MORE than what they expect to get. I may not always have the answer, but I will do my best to find it. With two little ones (4 & 7), I may not have the time, but I will make it.  Quality in my service is  not what I put into it, it is what my clients get out of it.