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Beautify, Challenge, Enhance In March of this year, 812 Maplewood was approached by an investment firm looking for an art advisor to facilitate building a corporate art collection. Their goal was to create brand unity across their five office locations spanning the Unites States. What's more, the CEO requested high impact art that would leave an impression on its audiences and imbue their building with energy and dynamism. Beyond capitalizing on the aesthetic value of art, our aim was to enhance client perceptions of the firm while boosting employee moral, inducing productivity and evoking creative thinking. Accordingly, the purpose of the collection was to beautify the space, challenge and motivate its audiences, and enhance internal and external brand perceptions. To achieve the collection goals, we set off to source works of art from around the world differing in style, medium, and subject matter. Across the five office locations, the art collection comprises nineteen artists, of which, eight are women, and eleven are from outside the United States. In addition to the vast array of artists represented, we worked with the firm to highlight their unique company culture. The bull motifs featured across every location - a none to subtle call to their profession - were not the only reference to the firm's identity. Represented across a number of works are the destinations from the firm’s corporate excursions. Vistas and cityscapes from New Zealand, Napa, Paris and Madrid are found throughout each of the offices. Over the course of four months, we sourced, proposed, coordinated sales, managed transportation, oversaw framing, and organized delivery and installation for more than 200 unique and limited edition artworks. At last, following the final installation at the company headquarters, we organized a collection inauguration event. There we hosted two of the artists represented in the collection. They created the collection's final artworks live, in front our client's employees, as well as led brief lectures detailing their backgrounds, processes, and conceptual motivations. The event ended with an art tour through each of the artworks housed in that office. As always, it was such a pleasure to work with all of the artists, installers, framers, and partners for working alongside me to make this possible. We are so happy our wonderful client entrusted us to bring this collection to fruition.

A Review of the contemporary artist, Danh Vo's Chicxulub exhibition now on at White Cube - Bermondsey. 11 September – 2 November 2020 White Cube Bermondsey Currently occupying the massive White Cube art complex located South of the Thames, is an exhibition entitled Chicxulub by the Danish-Vietnamese artist Danh Vo. Throughout the course of his career, Vo has often explored heritage, culture and politics in an effort to illuminate the dichotomy of individual and shared history. His focus can largely be ascribed to his personal history, when as a child, he and his family were forced to flee Vietnam for Denmark. The emotional complexities that arose from such an upheaval and the attempt to assimilate to European culture provided Vo ample inspiration for his artworks. Found objects, like photographs and historic documentation, are an integral aspect of his practice. Such media demonstrates the effect context plays on the understanding and interpretation of art. While he compiles "ready-mades" to express his own agenda, the "objects ... retain the sublimated desire and sadness of individuals and entire cultures" under which they were initially conceived [1]. "to trace the effects a single idea or event can reap" Danh Vo now lives and works on a farm Germany, where he contrived Chicxulub. The title, which translates from the Yucatec Maya language to mean "the devil's tail," appears to reference the famous Chicxulub impactor, as in the asteroid accredited for the extinction of the dinosaurs 66 million years ago. This allusion recalls the butterfly effect a single event has on the course of history - from asteroid, to extinction, to the introduction of new life forms (please excuse the wealth of omitted intermediary phases). In effect, this parallels the events of the artist's life (or any life really, but for the sake of argument we'll stick to Vo). The 1975 fall of Saigon to Communism eventually resulted in Vo's relocation to Denmark, which forced him to question the idea of identity, and finally this led to his artistic exploration of history from a personal and communal level. This is all to say that, in my opinion, the title merely indicates the exhibition's intention to trace the effects a single idea or event can reap. Here, that entity would comprise of Christianity. The stained glass and religious iconography are none too subtle references to Catholicism. Vo has previously explored the contradictory nature of religion, which oft preaches peace and goodness, while simultaneously serving as the basis for many a war throughout history. Presently, however, he compares the export and proliferation of religion to that of "multinational brands,"[2]. He juxtaposes religious iconography alongside crates bearing familiar brand names of soda, liquor, and milk. In the spirt of the Starz television drama American Gods, it reads to me that contemporary Gods, like globally recognized brands, have replaced the old traditional Gods and religious icons, which are here overgrown with flora. The White Cube's gallery exhibition guide suggests the works hint at "a basic human desire to escape or perhaps retreat," and that the exhibition itself "is the Garden of Eden after the coming of knowledge," [3]. In my own experience, this reading did not come across when viewing Chicxulub. However, I would concur that the space exudes a certain quality of "nostalgia,"[4]. The exhibition itself is quite immersive in terms of the viewer's senses, incorporating both exteroception and smell. Several furnaces are dispersed throughout the space, emanating heat and the familiar and somewhat comforting scent of burning wood. The exhibition was lengthy and encompassed a wealth of subject matter to be considered. This review if neither comprehensive nor absolute, solely my interpretation of the historical allusions and artwork when presented in unison. Returning to the notion that context drives an audiences' understanding of artwork, this exhibition is sure to elicit a myriad of conclusions unrelated or even in opposition to my own. There are just two weeks left of the exhibition, and for those not in London or wary of public spaces, virtual tours are available through the White Cube website [5]. by Isabelle Barker [1-4] https://whitecube.com/exhibitions/exhibition/danh_vo_bermondsey_2020 [5]https://whitecube.com/channel/channel/danh_vo_bermondsey_2020 #DanhVo #artist #artexhibition #review #WhiteCube #Bermondsey #London #Vietnam #Denmark #Germany #contemporaryart

So you've decided to start collecting art but you don't know how or where to start. Check out our step-by-step guide below for advice on how to make the move from art enthusiast to art collector! 1. The Big Why Before handing over your credit card, it's advisable to define a collection goal. Ask yourself, "Why do I want to collect art and what do I want my collection to say?" In the case of the former, perhaps you are looking to fill the walls of a new home or office space, or maybe you are hoping to diversify your portfolio by investing in art. As for the latter, you might choose to support artists of a certain demographic or to collect works of a singular style, subject matter, or even color palette depending on your project. The art world is vast and constantly growing. Narrowing your parameters serves to weed through the many choices so you can find the pieces that best fit your needs and interests. 2. Money, Money, Money The next step is to determine what your budget looks like. This can be an annual amount you are willing and able to spend towards growing your collection, or a lump sum to finish a project like decorating the walls in a new home. Regardless, I believe you can collect art at nearly any budget. Some of my own favorite pieces are silly little cartoon prints I picked up while strolling down Portobello Road in London. Worth about £5 GBP a piece, their value is entirely emotional. Even so, these cartoons are irreplaceable. They carry some of my favorite memories from traveling with my mom and are cute to boot. Whether $5 or $5 million, pick a starting point. Notably, the higher your budget, the less you will be limited in your selections. Blue chip artists and works that require a significant amount of logistical planning will come with larger price tags. If you plan to collect works from Mark Bradford, place a 9 ft Hunt Slonem in your garden, or ship an 8 by 10 foot framed painting from halfway across the world, account for these costs in your budget. 3. Time to Research With your collection goals and budget in place, it's time to crack open the textbooks. True beginners should start by learning the mediums, styles, and techniques used in art. (I have compiled a list of significant terminology in a separate post for your convenience.) Once you have a working knowledge, check out editorials like The Art Newspaper and Artnews, where you can read about leading exhibitions, up-and coming artists, and art market trends. A significant part of your research should also include looking at artwork. Instagram is a great jumping off point to find mid-career artists you might not otherwise come across. Additionally, I highly recommend new collectors expose themselves to artworks in-person to get a sense of the effects different mediums produce. Physical works will never fully translate through an image on a website. Great places to learn about art and discover what styles and mediums you prefer - aside from museums - are galleries. Galleries frequently hold artists talks where attendees receive more in-depth understanding of an individual artists inspiration and techniques. As with anything, the more you expose yourself, the more you will know. 4. Where to Look Online Sites like Artsy, Artnet, and Saatchi Art make buying art easy. Purchasing "site unseen" is increasingly popular, as technology eases communication between distant parties and allows higher quality imaging. Buyers can sort available artworks by price, size, style, and color to find pieces that fit their preferences and requirements. Brick and Mortar While online art stores have undoubtedly simplified art sales, buyers still won't be able to see the work "in the flesh" until it arrives on their doorstep; and artworks always read a bit different in person. Accordingly, art fairs, local art galleries, and artist studios are great places to search for new artworks. 5. Oh for the Love of Paperwork Let's go ahead and assume that while browsing a local Contemporary art gallery you found the perfect artwork to purchase. After settling on a price, you should always request both a Certificate of Authenticity (CoA) and a Valuation Document. The former will verify the authenticity of the painting should you ever be interested in deaccessioning (selling) the piece, and the latter will verify the value of the work for insurance purposes. Save both the CoA and Valuation, along with your bill of sale. If you purchase a work from the secondary market, you'll want to request additional documentation. A Condition Report records the physical condition of a work of art and lists any damages to the artwork (and/or the frame if applicable). This protects a buyer from undisclosed damages, and protects a seller from false damage claims. A Provenance Report records past transaction and exhibition history to authenticate an artwork and verify legal ownership. 6. Logistics Following your purchase, you'll need to arrange transportation, delivery, and installation. These days many galleries and online art platforms factor delivery and even installation into their services, but not all! For certain media, you may also want to hire an electrician to install a clock outlet to hide electrical cords. 7. Tips on Protecting your Investment Protect your investment by ensuring your paperwork is in order and always stored in a safe location. Insure your artwork. Don't let a natural disaster, burst pipe, or thief leave you in the lurch. Frames not only elevate the visual impact of your artwork, but they protect your investment. Unframed canvases are liable to warp. Works on paper should be framed behind UV protective glass or acrylic and hung out of direct sunlight. Acid free mats are the only acceptable mats. Ensure you are storing undisplayed works correctly in order to avoid damaging your art. Keep abreast of artists from your collection to see if their market appreciates. If so, have applicable works appraised and adjust their insurance value. How Art Consultants Can Help As you may have noticed, properly building an art collection can be quite the time commitment. Fortunately, it's a commitment you can outsource and still end up with an entirely personalized art collection. The role of an Art Consultant is to guide clients towards quality artworks that fit their collection criterion, ensure clients pay a fair market value for their art acquisitions, and help my clients manage and protect their collections. If you're interested in 812 Maplewood's fine art advising services or would like to learn more, contact us to set up your initial consultation!

If you are going to join the world of art collecting, it's time to start picking up the lingo! Read on to learn 30 terms you may not know, but are likely to come across when buying art. ART MARKET TERMINOLOGY Appraisal: An evaluation of an artwork’s market or insurance value Artists Proof: Artist’s proofs are the first prints made in an edition to check printing quality and color. When offered for sale, they are signed ‘A/P’ and frequently listed at a higher price than the rest of the edition prints. Artist Resale Rights (ARR, ‘Droit de Suite’): Entitle living artists, and the estates of artists who have died within the last 70 years, a royalty each time their work is sold in the EU or UK. **Right subject to certain conditions and not applicable in the United States. Authentic: Describes the qualities of an original work of art as opposed to a reproduction, fake or forgery. Biennale: Academic, rather than commercial, art fairs that takes place every two years Blue Chip Art: Refers to artworks created by the most widely recognized and successful artists in the marketplace (i.e. Kaws, Basquiat, Rothko, etc...) Bought-In: A lot offered at auction that either fails to sell, or fails to receive a bid above the reserve price, so it is purchased from the consignor by the auction house. Brick-and-Click: Gallery with both a physical (brick and mortar) location and an online presence Burned: A lot offered at public auction that fails to sell and consequently takes a hit to its perceived value and attractiveness. Buyer's Premium: Percentage of the hammer price paid to an auction house, in addition to the hammer price. **Generally between 10-25% of the hammer price. Catalogue Raisonné: Detailed listing of all the known works by an artist. Certificate of Authenticity (CoA): Document offered with a Bill of Sale to confirm the authenticity of an artwork being purchased, **Issued by artist or their estate. Commission: Condition Report: Records the physical condition of a work of art and lists any damages to the artwork (and/or the frame if applicable). This protects a buyer from undisclosed damages, and protects a seller from false damage claims. Consignor: A seller who offers a lot at auction. Due Diligence: Steps taken by a professional in order to satisfy a legal requirement, especially in buying or selling something. **In art, due diligence usually requires examination of legal ownership, authenticity, and condition of an artwork. Edition: Frequently referring to various printing processes, artworks that are part of a series are know as editions. Editions can be "limited" to a specific number of works or "open" without a set amount. Estimate: Price range an auction house believes a lot will sell for Flipping: A practice popularized by art investors, flipping artwork occurs when buyers purchase a work with the intent to resell for a profit. Guarantee: In order to remove the risk of an artwork being burned at auction and incentivise the seller to consign a work, auction houses can guarantee to purchase a consignment. A guarantee can be posted by an auction house, by a third party or jointly between an auction house and a third party. Hammer Price: The final bid on a lot accepted by an auctioneer before the gavel. **Does not include taxes or Buyers Premium. Lot: A single unit offered for sale at an auction. **Generally a single artwork or object, but can consist of multiple items offered jointly. Primary Art Market: Artwork sold for the first time. **Generally sold directly from an artist or from a representing gallery. Private Sale: Discreet sales occurring between buyers and sellers and often negotiated by galleries or dealers. **While auction houses specialize in public sales (auctions), many houses have launched private sales departments. Provenance Report: Records past transaction and exhibition history to authenticate an artwork and verify legal ownership. Reserve: The minimum amount of money a consignor is willing to accept for their lot. Retrospective: An exhibition that overviews an artist's work over the course of their career. Secondary Art Market: Artwork that is resold in the marketplace. **Generally occurs through auction houses, but galleries and dealers can also work in the secondary market. Valuation: A description and current value of a work of art, often used for insurance, and tax purposes. White Glove Sale: An auction where every lot offered is sold.

Across London, galleries have once again opened their doors. But while physical operations resume, the days of meandering down Cork Street and popping into exhibitions found by happenstance remain distant. The walls are full, but the galleries are all but empty. Recently, after a day spent visiting newly re-opened London mega-galleries, I found myself reflecting on my experience. I was particularly concerned with adaptations to gallery operations, and how they, along with current events, shaped my perception of the exhibitions. As for operational changes, the previously intimidating atmosphere high-end galleries are renowned for has been exacerbated. Unsurprisingly, visitors are now required to book appointments to assure national distancing guidelines are met. Gallerists sit behind plexiglass walls donning the now familiar haint blue masks. Upon entering reception, my greeting, “hello,” was again and again garbled and unintelligible under my own mask. I was instructed to sign in through QR codes affixed to the walls, as the British government requires businesses to gather contact information to more efficiently track transmission trajectories. As well, further QR codes - providing exhibit information and artist biographies - have replaced paper exhibit guides. With that I was on my own, left to leisurely wander the spaces with unimpeded views. Isn’t this what I once spoke of wistfully of after one too many experiences elbowing my way through overcrowded corridors in the Louvre? If so, it certainly did not feel like I anticipated. After completing my allotted 30 minutes, I smiled at the gallerists in thanks and goodbye before remembering my mask. The end of my visits were each marked by a muffled, "thank you," squeaked out over my shoulder before returning back to the street. Damien Hirst's Mandalas at White Cube Moving on to the specific exhibitions, I began my day at White Cube in Mason's Yard. Nearly a year ago exactly, I stood in line for hours in anticipation of Damien Hirst's Mandalas exhibition preview. With a beer in hand and classmates interspersed throughout the line, it felt like the square surrounding the gallery was vibrating with energy. This time, the sky was grey with clouds and the square was entirely still. Now showing is Georg Baselitz’s Darkness Goldness, a series that focuses on distorted representations of the hands. Here, Baselitz’s larger than life paintings and sculptures draw on his historic interest in “oversized [and]…‘monstrous’ hands”[i]. His continued interest and investigation into the subject matter is attributed to the idea that "hands are the primary means [by] which we connect with the world.”[ii] However, in the current context of global events we are reminded of the loss of physicality we have all endured. While the importance of touch seems to have inspired the series, the series now reminds viewers that our connections to the world and to other individuals are no longer tactile. Further, several prints resemble the skeletal structure of a hand, contributing a sinister impression when juxtaposed against the pandemic. This is only underscored by the dark ink backgrounds which produce a “ghostly” or heavenly aura. In summation, current analysis of the exhibition illustrates how contemporary events can color perceptions of art made under different circumstances - most of these works were created in 2013, well before the pandemic. [i] https://whitecube.com/exhibitions/exhibition/georg_baselitz_masons_yard_2020 [ii] https://whitecube.com/exhibitions/exhibition/georg_baselitz_masons_yard_2020 Josh Smith's Specter at David Zwirner Continuing on to David Zwirner, Josh Smith's Specter was accompanied by a short artist statement commenting on his experiences and processes whilst creating the exhibition. He spoke of wandering New York streets during the strictest months of lockdown. He claimed he had never been happier. The city was clean, life was relaxing, and completing works came easier than ever before. Even knowing this, a single thought played on refrain “empty spaces echoing empty streets.” Aside from two gallery hosts and myself, there was no one else in this three story exhibition space. As for the exhibition itself, the works portrayed the barren streets of New York City in muted dark tones. The title, Spectre - synonymous with the terms ghost, shadow, and phantom - affords an initial glum or dark connotation. In contrast with his aforementioned claims of contentedness, it seemed to me an oppressive melancholy enveloped his exhibition. Either happy is merely relative, or I clearly misread his art. To me, the empty roads and dark colors of the painting evoked a sense of loneliness that seemed to parallel the activities of London’s own once bustling, but now bare streets. A sentiment only further underscored by the somber atmosphere of the gallery itself. Nonetheless, the works were beautiful in their desolation. Mary Weatherford’s Train Yards at Gagosian At last I arrived at Gagosian where the gallery associates were kind enough to allow me to squeeze in a last-minute booking (you cannot book for the same day online). It was a rainy weekday, so this might not have otherwise been allowed. Now exhibiting at the Grosvenor Hill location, is Mary Weatherford’s Train Yards. Typified by her experimentation with color, gesture and light, her works are bold and dynamic. As the title suggests, the current exhibit references to mass transportation, and serves as an abstraction of the locale at night. In terms of composition, Weatherford paints her works to replicate sound, producing an artificial synesthesia if you will. The clanking of railroad work, the chirp of crickets, and the chime of bells should be visible. Notably, the series was begun in 2016 and Weatherford has continued to produce works into 2020. As I entered the gallery, I again could not help examining the art in juxtaposition to the pandemic. The series was initially created to reflect the impact of the transcontinental railroad in America. Today, the mere idea of mass transportation recalls the early chaos in airports as travelers fled home and the enduring apprehension, with some individuals completely avoiding public transport in fear. The Takeaway While grateful for the opportunity to forgo “virtual viewing rooms” and at last view works in person once again, the experience left much to be desired. The atmosphere prickled with tension. Rather than the peace and calm achieved after reaching the summit of a mountain on a solo hike, it was like being alone and adrift in still waters unable to see what swims beneath you. (Disclaimer: my hobbies color my metaphors). It left me sad, uneasy and longing for a time before. At its very core art is the intention to communicate an idea, a message, a feeling from the artist to his audience. The arts are largely a social mechanism, from academies, to salons, to museum, studio, and gallery visits. Even an artist who works alone thrives through collaborative experience, whether it be criticism, marketing, collecting, research, etc…  After so many months of experiencing and studying art alone, I find myself eager for the return of the social art experience. by Isabelle Austill-Barker #review #megagalleries #London #galleries #JoshSmith #MaryWeatherford #GeorgBaselitz #WhiteCube #Gagosian #DavidZwirner #art #covid

Now on display at The Royal Academy of Arts, Picasso and Paper grants visitors the opportunity to immerse themselves in the ingenuity and creativity of one of the most globally revered artists from the 20th century, Pablo Picasso. Spanning twelve rooms, you will certainly need to set aside some time to truly appreciate the exhibition. With over 300 works consisting of a wide variety of media – including ink drawings, collages, sketches, sculptures, poems, letters, and even a documentary utilising stop-motion and time-lapse to show the evolution of one of his works from beginning to end – visitors are led chronologically through the life and works of the artist. Beginning with works from his childhood, the exhibition demonstrates the evolution of Picasso’s creative processes and style over the course of his life. Moreover, the exhibit keys into major life events of the artist and how these impacted his craft: how the death of Charles Casagemas, a dear friend, drove the creation of his Blue Period; how his fascination for the circus led to the Rose Period, and how each of his affairs factored into his works. While at times the show veers from strictly displaying works on paper, the small selection of sculptures and canvas paintings are largely justifiable as they illustrate how Picasso’s works on paper were often used as preparatory studies for final pieces. Unfortunately, this led to the inclusion of a rather disappointing reproduction of Les Demoiselles D’Avignon. However, as an entire room is dedicated to sketches and preparatory works for the resulting painting, this ill advised inclusion can be forgiven. Here, the works on paper show viewers the incredible evolution the composition of a single work of Picasso’s underwent. A few rooms later, illustrating an early example of the intermingling of fashion and art, visitors are treated to costume and set design studies from the ballet, Parade. A reproduced costume from the production sits alongside watercolour and ink sketches. As a whole, the exhibition is made up of  a diverse collection of works. From the pieces created while Picasso was a child, to those produced in Nazi occupied Paris, to his emulations of Delacroix and Manet, this vast array of works demonstrates Picasso’s insatiable desire to create. Visitors walk away with the knowledge that the prolific nature of Picasso was due to an unending desire to explore and experiment with materials. by Isabelle Barker Royal Academy of Art, Picasso and Paper, 25 January – 13 April 2020 https://www.madeinbed.co.uk/reviews/the-royal-academy-of-arts-picasso-and-paper-review #picasso #royalacademyofart #RAmuseum #modernart #londonexhibitions