Expanding Horizons: International Collaborations 

Motivated to dispel the stereotypes cast by years of conflict and grim headlines, Nour first sought to showcase Syrian artwork. Her mission was to reveal a side of Syria distanced from politics and war. 

Nour’s gallery embraces diversity and fosters creativity through extensive collaborations. Now boasting partnerships with over 30 artists from an array of cultural backgrounds, Nour curates a tapestry of global artistic expressions. Each collaboration highlights unique perspectives and narratives, enriching the contemporary art scene with innovative and thought-provoking creations. 

The gallery offers an eclectic mix that caters to diverse tastes and artistic appetites. Recently, Nour expanded its horizon by forging alliances with several prestigious galleries located in the south of France, a region celebrated for its rich artistic heritage and vibrant cultural scene. This strategic move allows Nour to present a broader spectrum of art styles, ensuring that the gallery meets the nuanced preferences of its discerning clientele. 

The diversity of artists represented by Nour brings a wealth of perspectives, each contributing to a richer, more inclusive art narrative. The gallery’s dedication to showcasing a wide range of cultural voices underscores its mission to be a platform where art transcends cultural divisions and unites people in a shared appreciation of creativity and beauty. 

A Gallery’s Vision Sets the Course 

Chamoun Gallery’s journey is deeply rooted in a passion for art and a commitment to innovation, collaboration, and personalized service. As the gallery grows, Nour’s distinct approach continues to shape it into a prominent name in contemporary art. 

Nour’s involvement in the art world goes beyond professional aspirations; it’s a heartfelt dedication to celebrating beauty, fostering creativity, and leveraging the transformative power of art. This vision underpins every aspect of Chamoun Gallery, driving artist collaborations, gallery partnerships, and tailored art consultations. By transcending boundaries, the gallery aims to create meaningful connections and elevate the art experience for all. 

The Rise of Online Galleries in the Art World 

While some traditionalists may argue that the tactile experience of viewing art in person is irreplaceable, the rise of online galleries is undoubtedly transforming the art world. As digital platforms continue to evolve, they are likely to become an integral part of the art ecosystem, providing new opportunities for artists and collectors while enriching the overall experience of art appreciation. 

It provides artists with unprecedented global exposure. No longer restricted by geographical limitations, emerging and established artists can now reach audiences far beyond the walls of traditional galleries. These platforms serve as a democratizing force in the art world, allowing artists to showcase their work to a diverse and international audience. 

For collectors, the online gallery experience offers unparalleled convenience and accessibility. Collectors can browse, compare, and purchase art from the comfort of their own homes, exploring a vast array of styles and mediums that might not be available locally. 

Setting the Standards, Making Connections 

Integrity and Professionalism: At the heart of Chamoun Gallery’s operations is a deep respect for ethical standards and professional conduct. The gallery is committed to transparency in its dealings with artists, clients, and partners. Whether through the fair representation of artists or the responsible management of its exhibitions and collections, Chamoun Gallery upholds the highest levels of integrity in all its endeavors. 

Creating Harmony through Awareness: Chamoun Gallery firmly believes in the power of art to create harmony, fostering a heightened sense of awareness and a deeper appreciation for aesthetics. The gallery believes in its transformative ability to foster harmony in our world. By promoting awareness and understanding through art, they strive to spark meaningful dialogue, bridge cultural and social divides, and nurture a sense of unity among diverse audiences. Chamoun Gallery’s mission is to use art as a catalyst for connection, encouraging empathy and creating a more harmonious and inclusive society. 

 _____________________ 

About Chamoun Gallery and its Founder, Nour Chamoun 

Nour Chamoun is the founder of Chamoun gallery. She is originally from Aleppo, Syria, and now calls Montreal home. Nour’s love for art was ignited during her studies in civilization history at St. Basil’s tourism school in Aleppo and further enriched through her pursuit of Art History at the University of Montreal. Her vision for Chamoun Gallery stems from a believing that the power of art can be transformative, creating harmony by elevating awareness and aesthetic appreciation. 

For more information, please visit the Chamoun Gallery website: www.chamoungallery.com 

All photos courtesy of Chamoun Gallery. 

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Q: Introduce yourself and your gallery — who you are and what is your vision?

A: Making our youth dream come true, my husband Emanuele and I opened VALENTINARTE Art Gallery in 1987.

VALENTINARTE, since Valentina was the name chosen for our daughter born shortly before. She had brought so much happiness into our lives and we wanted to replicate the same successful result with the Gallery.

Q: What is your background?

A: Our primary goal was selling ART, quality ART. We started to sell ancient and modern art in the early years and then started inserting contemporary art into our gallery without falling into the obvious and the predictable.

Q: What is your work philosophy and how does that impact your gallery?

A: Our aim has always been to make Italian creativity loved by a large international clientele who had already chosen Lake Como and Bellagio as a destination for the Grand Tour in the nineteenth century and continue to choose it as a top Italian destination not to be missed.

Several choices were made in proposing artists. We met Italian ones over the years and many well-known or emerging artists. We always offer quality works, because art must not be a sterile reproduction but grant goosebumps and shivers to observers. It must make people falling love, drift them away for a few moments, evoke sensations, and excite them.

You fall in love with the painting, It remains in your memory and when you revisit it, it must go on making you feel the same emotions.

Over the thirty-six years, the Gallery has made itself known for its precise style, love for art and detail, care, and customer attention.

We receive letters of thanks and visits, perhaps unexpected after years, of art-loving collectors from all over the world, who return to rediscover the same joy experienced the first time.

Q: What does exhibiting at Artexpo New York 2023 mean to you? 

A: Unfortunately, Emanuele passed away in 2016 and after that, I have continued to work alone. It’s hard. To save all the commitment and work done before, not losing in quality and proposals, but rather trying to improve by joining the Italian Gallerist Owners Association and participating in events dedicated exclusively to art, such as Artexpo New York, which allows me to stay updated on trends and novelties and follow the market.

For tickets to Artexpo New York visit this link.

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Q: Introduce yourself and your gallery — who you are and what is your vision?

A: My name is Mark Ilitzky, and I am Lilac Gallery’s manager. Lilac Gallery was established in 1972 as “LILAC Fine Art” by Hungarian-born American artist Albert S. Nemethy who immigrated to the United States in 1950 where he eventually settled himself in the Hudson Valley. Lilac Gallery re-opened in Manhattan in 2012 with a mission to bridge Fine and Contemporary Art. Today the gallery’s vision is to present uplifting works of art into the art world and to bring them into the homes of our collectors seamlessly. Whether our clients are first-time buyers and need assistance along the way in selecting their first piece of art, or have been collecting for years, we aim to make the process of acquiring art an enjoyable and celebrated experience.

Q: What is your background?

A: Originally from Guadalajara Mexico, I moved to the United States back in 2013, where I have been living and working in NYC since. With more than 15 years of practice as an architect, and also with a Master’s degree in Urban Development, I was the chief executive of ILIstudio. I worked on several urban design projects starting from their early stages of analysis and planning, to their management and development. Having a leading role in the design and construction of urban projects for many years provided expertise and a wealth of knowledge and vision for the gallery’s operations some years later.

Q: What is your work philosophy and how does that impact your gallery?

A: My working methodology is based on efficiency and sustainability. I try my best to keep innovative and proactive steps relying on effective and deep-rooted organizational habits. At Lilac, we believe in having a consistent influx of new arrivals from the artists that we represent, keeping our inventory fresh and exciting. Building client relationships and understanding where their particular interest lies is one of the key pillars upon which the gallery was built and we keep client satisfaction at the top of our priorities.

Q: What artist(s) inspire you?

A: I am utmost passionate about the contemporary artworks of the artist that we represent, as they bring a brand new emerging form of art into the current market. On the other hand, I am as well very inspired by the French impressionist movement by artists like Claude Monet, the abstract expressionist movement by artists like Jackson Pollock and Elaine de Kooning, and Post-Impressionism with works by Paul Cézan and Jacques Zucker.

Q: What is the best advice you’ve received?

A: There have been great pieces of advice that I have received during my career that changed my life in such a positive way that it’s very hard to choose one. But probably, if I would have to say one, it would be that to achieve success in any endeavor that you seek, you must have a very clear objective. And from there, to build the necessary basic moves you would have to perform to achieve that. These activities or tasks should be kept very simple and to have them executed in the most straightforward and proficient way.

Q: When you are not working, where can we find you?

A: When the weather allows I love to be outdoors, especially being in touch with nature, also in my free time you could find me visiting auction houses, out-of-town art exhibitions, attending comedy shows, and of course, spending time with family.

Q: What does exhibiting at Artexpo New York 2023 mean to you?

A: Since this would be the first time that Lilac Gallery will be participating in Artexpo New York we are very excited to have the opportunity to showcase the latest arrivals from our represented artists and to meet new art enthusiasts in the iconic venue of Pier 36. And of course, being a part of one of the most prestigious art fairs in NYC, we find it an honor and privilege to be a part of this 2023 edition.

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• Unswerving representation of artist innovators, consistently bringing forward-thinking cutting-edge art to the fair
• Articulate and distinctive presentation of each artist’s work, exceeding all display guidelines
• Consistent exhibition at the fair over a period of three or more years

From the amazing list of exhibitors, Artexpo’s curators present the inaugural group of Visionaries — an acclaimed group of exhibitors giving Artexpo attendees a first-hand opportunity to see and collect incredible original art.

This year’s Artexpo New York takes place March 30-April 2, 2023, at Manhattan’s newest destination for art, Pier 36. Each year, the fair’s special programs range from immersive artist-led Art Lab experiences to compelling Art Talks and exciting Meet the Artist sessions.

Check out the 2023 Artexpo New York Visionaries. Don’t miss their exceptional exhibit and artists!

Art Love Gallery – Booth 207

With a background in art, film, and TV production, Art Love Gallery founder and artist Jackie Fuchs bring a keen eye and business acumen to the artists she represents. A successful artist herself, she guides artists’ careers, carefully shaping their individuality and brand. Art Love Gallery has established itself as an award-winning gallery with exhibitions at art fairs and pop-ups, always giving art collectors something new and innovative for their collections.

Artavita / World Wide Art – Booth 107

World Wide Art began in 2006 with a simple approach of printing an art book presenting the work of noteworthy artists from all over the world. Noteworthy means original, with an element of inspiration, vision, and originality; plus mastery in the artist’s given medium. Artavita is the online forum for these same artists to be seen and collected. With art that is continually new and fresh from both emerging and established artists, the Artavita World Wide Art curated exhibitions are a must-see at international art fairs.

K-Art Projects USA – Booth 109

Headquartered in Miami, K-Art Projects USA is dedicated to nurturing new contemporary art by providing exhibition opportunities and resources for emerging artists and curators. The company’s mission, led by founder Tata Fernandez, is to promote art appreciation within the international community, inspire and assist collectors, and generate resources that support artists’ creative endeavors through art awareness, artist promotion, and art procurement. K-Art Projects USA has demonstrated consistent experience, innovation, and creativity in engaging audiences through inspired exhibitions.

Mecenavie Gallery – Booth 305

Since 2004, Paris’ Mecenavie Gallery has been serving talented contemporary artists, providing them with high-quality services, including exhibitions in French and international art fairs, auction sales, and corporate rentals. By striving to give artists opportunities at multiple levels, Mecenavie also gives art lovers and collectors the ability to enjoy, learn about, and collect art at fairs, online, and directly from the artist.

Sarona Gallery / A&E Fine Art – Booth 307

Sarona Gallery is a fine art and jewelry gallery based in Tel Aviv, Israel. The gallery is a unique concept combining the fine art of paintings and sculptures and fine jewelry — all by Israeli artists and designers. Partner A&E Fine Art is based in New Jersey representing innovative artists to a global audience of collectors. With more than thirty years of experience in the art world, Sarona Gallery / A&E Fine Art comes together to present a curated group of exciting contemporary artists at Redwood art fairs annually.

The Gallery Steiner – Booth 300

The Gallery Steiner is a modern art gallery in the heart of Old Town Vienna, one of the most prestigious locations in Vienna’s city center. The mission of the company, led by Michelle, Corinna, and Dominic Steiner, stands for professionalism, modernity, diversity and internationalism. Since its founding in 2008, the gallery has established itself as a meeting point for qualified art collectors and a hub for internationally recognized and modern artists.

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Q: Introduce yourself — who you are and what your gallery’s vision is?

A: Founded in 2018 as an e-commerce gallery, Artios showcases a number of emerging and established international artists selected for their unique creative and intellectual vision. The gallery aims to connect beautiful works of art with enthusiastic new owners and provide a platform for emerging artists of all styles and genres. We are working towards achieving this by creating online and physical exhibitions, printing art catalogs and advising our artists on various marketing strategies.

Q: What is your background?

A: Founders Elena Iosilvich and Ellen Opman bring their rich backgrounds to the development and business of establishing Artios Gallery, providing expertise to both the artists they represent and the collectors they serve. Elena Iosilevich (Seroff) is a New York-based artist and entrepreneur. She is the Founder and Art Director of Artios Gallery. Elena studied fashion design at LEX University in Tallinn and received a BA in Decorative art from Kaliningrad Art and Industrial College. Elena is an active member of many reputable art organizations, such as the National Association of Women Artists and the Association of Women Art Dealers. Elena has been living and working in NYC since 1996. Originally from Ukraine, Ellen Opman immigrated to the US over 30 years ago. Ellen holds a business degree from the City University of New York. Before co-founding Artios Gallery, she worked in several international firms in New York and London, UK. Currently, Ellen is combining her business commitments with pursuing a Master’s degree in the Museum Studies field.

Q: What is your work philosophy, and how does that impact the gallery?

A: Artios aims to be an inclusive and diverse place. Our philosophy is to provide our clients with various styles and genres suited to various tastes and needs. We constantly search for new talent, be it a local artist or someone who lives abroad. In today’s increasingly interconnected world, an online representation allows us to reach more people worldwide. As part of our strategy, we partner with art-selling global platforms. This partnership is essential for helping to expand our business and giving us a perspective on contemporary art trends and interests. 

Q: What artists and art styles do you represent?

A: Artios Gallery prides itself on selecting high-quality, exceptionally talented artists whose unique vision shapes the contemporary art scene. Our artists work in many styles and media, including abstract and figurative oil and acrylic paintings, prints, photographs, and digital art. They come from sixteen countries across South and North America, Europe, and the Middle East. The variety of styles our gallery represents is a testament to cultural diversity, the richness of imagination, and the versatility of methods used to create art.

Q: What is the best advice you’ve received?

A: The most important thing is humor. Everything else is nonsense. Here is a famous quote by Walt Whitman: “Keep your face always toward the sunshine, and shadows will fall behind you.”

Q: When you are not working, where can we find you?

A: Being at work is a constant process of our weekday schedule. However, when we are not working, you can find us touring the galleries of The MET or attending the numerous exhibitions and art fairs NYC offers.

Q: What does exhibiting at Artexpo New York 2023 mean to you?

A: First and foremost, exhibiting at Artexpo New York allows thousands of people interested in art to see our gallery. As participants, this exposure allows us to forge new connections with potential clients, artists, and other exhibitors. It allows us to familiarize the audience with our talented artists, showcase their art and tell their stories, and learn more about other exhibitors. We are thrilled to be a part of the most buzzed-about art fair in New York.

Tickets for Artexpo New York 2023 can be purchased here.

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A: I opened Jen Tough Gallery in the Bay Area of California in February 2017. We moved to Santa Fe, NM a month before the Covid shutdown, and unfortunately, the gallery was never able to open. Fast forward two years, and we’re now remodeling our new space in Santa Fe, with an expected opening in the spring of 2023! 

We are thrilled to be running a new artist-focused business called AIR Studios (“AIR” stands for Artists in Residence) which are artist studio rentals by the week, with open studios each and every weekend. We were inspired by the origins of Canyon Road (the famous art gallery area of Santa Fe), which was created by dozens of artists opening their studios to the public. We believe that the future of art selling is changing to a more artist-centered model, and we want to help facilitate that with AIR Studios, where artists can meet and sell directly to the public. Our new building will also feature four exhibition spaces for Jen Tough Gallery, a sculpture garden, and more. We cannot wait for this new chapter!

Q: What is your background?

A: I was part of a very liberal, academic-focused family in a conservative area of Ohio, which helped me live up to my last name. I lived in Scotland as a kid, in Colorado for a bit to be a ski bum, and moved to Los Angeles in the early 90s. I have a BFA (general fine arts) from Ohio State University, attended the Art Academy of Cincinnati for foundation work and Parsons / The New School for study in West Africa. I am the former art director for Urban Outfitters, Warner Bros Records, and numerous magazines. My clients included a variety of creative work for Drew Carey and several years in branding and design for Nike.

Q: What is your work philosophy and how does that impact the gallery?

A: I am extremely work-focused and genuinely love working. I enjoy creating new things, working with artists, and watching them succeed. I’m not a big fan of the current gallery system with the top-tier mega galleries shutting out the vast majority of artists, dealers, and buyers, with only 1% being able to take part. Most of the money and authority have now stagnated at the top, leaving new talent shut out. I just can’t see this as being a good thing for society in the general long term. I believe that the time is right for artists to take back the selling and exhibiting process, and I hope that AIR Studios can help facilitate that by giving artists a beautiful place to create and show their work to the public.

Q: What artists and art styles do you represent?

A: I have a wide variety of art and artists that I exhibit and represent, from abstract expressionists like Sarah Boyts Yoder to photo collage work by Liz Steketee, to quirky drawings by Laura Klopfenstein. I like to have a diverse roster from artists all over the US.

Q: What artist(s) inspire you?

A: I’m always inspired by artists who persevere and keep working despite the enormous barriers now present, especially for emerging or “re-emerging” older artists. I also have art crushes on Robert Gober, Mark Bradford, Diane Arbus, Banksy, Amy Sherald, Joseph Beuys, Robert Motherwell and Jenny Holzer… too many to list!

Q: What is the best advice you’ve received?

A: I’ve received so much incredible wisdom from my dear friend Drew Carey over the years. Namely, stay optimistic, work hard and don’t look for shortcuts, and always be kind.

Q: When you are not working, where can we find you?

A: At an art event or museum, trying to grow things in NM soil, reading, exploring New Mexico, or hiking in gorgeous Santa Fe with my two dogs, daughter and husband.

Q: What does exhibiting at Red Dot Miami 2022 mean to you?

A: I’m super excited about this year’s Red Dot! After two years of shutdowns and limited travel, I think this fair is going to be incredible! I love exhibiting with Redwood Art Group because they are in my opinion, the most artist and gallery-friendly group running fairs today. I cannot wait!

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In addition to this, the work of the gallery is aimed at addressing and correcting the racial bias that leaves black artists and black art underrepresented in many art institutions around the world. It also emphasizes the importance of visual arts to communities by organizing public programs, lectures, symposia, forums, and the like. All of these also ensure that the promotion and sale of artworks are met with critical engagement and appreciation. TAAG Gallery specializes in artist management, art collections, art management, art sale, art leasing, industry reports, auctions, and art commissions.

Featured Artists

At their booth at the Artexpo Dallas 2022, TAAG will be showing the works of 6 artists: Daniel Gyekyi Gyan, Sisqo Ndombe, Madoti Oluwadamilare, Bara Sketchbook, Kelani Fatai, and Wilson Imini. Several of the works being exhibited are figurative and portrait paintings featuring black subjects. The paintings, in style, composition and theme, explore personhood, identity, urbanity, strength, human beauty, personal history and individual agency.

Daniel Gyekyi Gyan

Daniel Gyekyi Gyan is a Ghanaian artist currently living and working in Accra, Ghana. Gyan studied at Accra’s Ghanatta College of Art and Design. He graduated in 2008 and took to painting in earnest. The sources of his inspiration derive from his immediate neighbourhood, the internet, fashion, models and urban culture. His canvases bear all these influences, as he strives to bring into every piece as much of his world as he can.

Madoti Oluwadamilare

Madoti Oluwadamilare is a contemporary artist based in Lagos, Nigeria. He taught himself and mastered his art through practice and consistency. Inspired by his environment, his paintings capture the struggle of individuals who try to be upright amidst the harsh reality surrounding them. His paintings are bright-colored and show figures with flower or lightbulb heads. His clean lines, great facility with color, and carefully selected contemporary backgrounds express a range of moods: self-assured, thoughtful, calm, flummoxed, and cheerful.

Sisqo Ndombe

Sisqo Ndombe is a Congolese artist who makes figurative paintings with magical realist or surrealist elements. His work makes use of bright colors and shows subjects with ecstatic gazes. This may be read as a celebration of self and of identity. His paintings with their pairings of dual figures, with their holding of cockerels and flowers, speak to inheritance, beauty, complexity, and African spirituality.

Kelani Fatai

Kelani Fatai is a young Nigerian artist based in Lagos, Nigeria. He studied painting and design at the Yaba College of Technology, Yaba, Lagos. His works are figurative paintings with a strong focus on portraits of women dressed in fashionable clothes. Very notably, the backgrounds in his paintings are covered in flowers. The realism and strongly aesthetic quality of his paintings, done in a style reminiscent of Kehinde Wiley, give them their great appeal.

Bara Sketchbook

Bara Sketchbook is a painter whose works are done in strong and vivid neon colours. The subjects of his painting are often presented in intimate poses, and from how much character he infuses through the use of colours and intense gazes, one can surmise that they have strong, complex personalities. He, very pointedly, is a painter of illustrious figures.

Wilson Imini

Wilson Imini is a young painter based in Abuja, Nigeria’s capital city. His interests and œuvre are focused on figurative paintings of famous figures in which he blends life portraiture with imagination. The paintings are done in bright—or more appropriately, bold colours. There are large swathes of sky and grass and intense young faces tinged red. The figures in the paintings are self-assured and powerful, occupying a central world in which all forces and influences seem to belong to and revolve around them.

Rodney Asikhia will be exhibiting at Booth 114 at Artexpo Dallas from September 16 – 18, 2022.

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One of the top urban art galleries in the nation, End to End, E2E is a Graffiti & Street Art term that refers to a huge graffiti piece that covers a wall from one end to the other. On a subway train, it refers to a piece that covers the entire train, end to end. The street abbreviation is E2E.

This lexicon has been the inspiration behind End to End Gallery in their downtown Hollywood, Florida, gallery. Jeremiah Heller, owner and curator, created the space to feature a curated collection of modern and urban contemporary art from his own personal collection. It truly embodies the meaning of the E2E term and creates a unique viewing and rich collector experience.

Heller has developed a loyal following for the hottest urban artists on the planet. From Banksy and Mr. Brainwash to Martin Whatson, Kaws, and Kai, the End to End exhibition at Artexpo Dallas will be an impressive and newsworthy booth.

Szabolcs Bozó (b. 1992, Pécs, Hungary) lives and works in London. Recent solo exhibitions include Balaton, Sifang Art Museum, Shanghai (2022); The Explorer, Carl Kostyál, London (2021); Busójárás (Carnival), Almine Rech, Brussels (2021); ‘Home Again’ at L21 Palma de Mallorca, Spain (2020); ‘Big Bang’ at Semiose Gallery, Paris (2020); and a two-person show with Richard Woods at L21, Palma de Mallorca, Spain (2019).

Group exhibitions include ‘Summer Summer Group Show’, Ross+Kramer, New York; ‘Kawaii’, Almine Rech, Shanghai (2021); ‘Stockholm Sessions’, Carl Kostyál Stockholm (2021); ‘Can’t Wait to Meet You’, Primary Projects, Miami (2021); ABC Gallery, Budapest (2020); ARCO, Madrid (2020); Ramp Gallery, London (2019) and L21 Gallery (2019). Bozó has participated in The North Hill Residency (Pasadena, CA) and L21xCamper Foundation (Mallorca) and will participate in the Carl Kostyál invitational artist residency with Canyon Castator at Mohilef Studios, Los Angeles in 2022.

In 2022, Bozó will be at M Woods Museum, Beijing in May, as well as a homecoming presentation at Art Market Budapest alongside works by Austin Lee and James Ulmer with Carl Kostyál in October.

Eliot Greenwald (b. 1983, Portland, ME) is a self-taught artist currently based in Ashfield, MA. Most recently, his work has been exhibited at Best Western, Ridgewood, NY (2022); M+B, Los Angeles (2022); Taymour Grahne Projects, London (2021); Harper’s, Los Angeles and New York (2021 and 2020); Gana Art Nineone, Seoul (2021); Hesse Flatow, New York (2021 and 2020); and Emmanuel Barbault Gallery, New York (2020). His work has appeared in Artmaze, Artnet, and Juxtapoz, among other publications. Greenwald is represented by Harper’s and will present his second solo exhibition with the gallery in 2022.

Made of soft ground & etching on 300gr off-white Arches Velin paper, hand finished by the artist with watercolor, wash & pencil. Dimensions (per print): 31.5 by 23.6 in | 80 by 60 cm. Edition of 70

“I am excited to be featuring Tristan Eatons’s Monsters Limited Edition Set of 5 framed 3D Works. The mural of the edition can be found at Universal Studios Hollywood.”

End to End Gallery will be exhibiting at Artexpo Dallas September 16-18 at Booth 133. Tickets are available here.

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John Dowling will be showing several pieces from his “A Miracle In The Making” collection, including two large 60” x 78” abstract pieces surface mounted on acrylic. His digital paintings are best observed in larger sizes, although the smaller formats are also exceptionally striking. However to truly understand Dowling’s vision he prefers to share them in the larger formats. Another interesting facet of Dowling’s vision is that the pieces are meant to be viewed both as individual works and also as montages of dozens, hundreds, even thousands of works that then form a distinctly new image. When complete, they can measure hundreds of feet in length and width for use in large arenas, atriums, and permanent grande installations.

Dowling’s odyssey began in the ’80s. While recovering from a devastating illness he spent time painting his photos on his laptop as art therapy. Dowling was and is a preeminent photojournalist and fine art photographer and has photographed countless celebrities, models, politicians, executives, wildlife, landscapes and nature, high-profile events, and life in general. Often Dowling would walk daily marathons to grow new arteries as he was born with a genetic mutation in his liver that destroys them. He is lucky to be alive and looking forward after 30 years of fighting the effects of this mutation to the cure that was just announced and will be available sometime in the next year.

During his days working with film and in traditional darkrooms Dowling experimented obsessively with multiple exposure photography and montages. Years later while recovering from those grueling marathons and surgeries Dowling began to photo-retouch old photographs from his family albums and friends’ ancestry photos that were ripped and torn. Later he would superimpose many digital images taking the most attractive portion of each shot to create a master print comprised of many photographs to create one world-class portrait. As Dowling’s retouching and compositing became more and more elaborate he started to paint his photographs with abstract textures and combine images to create illusions.

What makes Dowling’s work so unique is his extensive use of layers that cause each viewer to have different perceptions of what they see. A unique technique of leading the viewer to have false affirmations of what they see, as well as challenging the human conscious mind to see what actually exists. The actual term for this psychological effect is scotomization. Dowling relies heavily on this illusionistic technique and has taken it to a level rarely if ever seen in the art industry both historically and presently. These shapes, patterns, and illusions often lead to the viewer working to find the objects in his pieces and to moments where the observer has a “eureka moment” or epiphany.

Today, collectors are retaining Dowling to create and curate leased pieces to form galleries in their homes and offices that can change seasonally, or permanently for those who invest in Dowling’s art. In the early days Dowling’s museum-quality prints sold for a few thousand dollars, however, within a year, offers on Dowling’s abstract pieces increased to well over $5000 on editions of 100. Now Dowling is receiving offers for well over $7500. Larger 1 of 1 editions is selling for over $150,000. In addition, each piece in his collection has a master NFT that is valued at between $150,000 and $349,000. There are 218 individual works of art in Dowling’s “A Miracle In The Making” fine art collection, his first collection to be released since the ’80s. He is already receiving offers on the entire collection which includes reproduction rights. Dowling will retain author rights.

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Their complexity means that these questions are tackled by experts, who tend to forget what is essential—namely that museums are for the general public.

We work for the public, and the visitor is our central concern. This may seem obvious as, armed with statistics, we trumpet our successes and our visitor footfall. The risks we refer to are things like overcrowding and commercialization. The reality, however, is very different.

All too often, museums stand empty. A recent study on cultural practices carried out by the French Ministry of Culture shows that 71% of French adults never set foot in museums. This study, carried out every ten years, highlights long-term trends: in 1974 the figure was 72%. Progress has indeed been disappointing given that so many major new museums have opened over the past fifty years: the Pompidou Centre, the Musée d’Orsay, the Musée du Quai Branly, Louvre Lens and Pompidou Metz to name but a few.

This is all the more disappointing as, in parallel with the emergence of so many new museums, increased emphasis on mediation and a new focus on artistic and cultural education in schools were supposed to attract a broader spectrum of visitors.

And yet the endless queues at the entrance to the Louvre and popular exhibitions tend to refute this observation. How can a visible increase in footfall be squared with a deeper sense of disenchantment? Three factors come into play:

• School groups flock to museums; this is obviously a very good thing, although when children grow up most of them fail to
• Tourism attracts visitors from far This is also a very good thing, although people will visit a museum thousands of miles from home, they may never set foot in a local gallery or museum.
• Regular visitors keep coming back. This concerns a minority of visitors who make the most of the wide range of museums on offer. Cultured urbanites obsessed by how long they must wait in line to see the Morozov Collection are unaware of the chasm that separates them from the rest of

A “winner takes all” situation emerges. Major museums and prestigious exhibitions generate long queues, whereas elsewhere museums are empty and most people never visit them. We need to understand this apathy. The challenge is to spark interest and to foster a desire to discover what museums have to offer.

Somewhere in France, when the lockdown was over, I saw that the pavement cafés were full of people—but I was one of the few visitors to the remarkable museum nearby. Why should this be? Is the admission fee too expensive? Do people not have enough time on their hands? If so, why are theme parks, immersive experiences, and sporting events, which are more expensive and time- consuming, so popular?

For France Museums, which supports museum projects, this is a crucial question. How can we make people want to visit and return to museums? “The museum,” said Sherman Lee, “is a primary source of wonder and delight for mind and heart.” How can we ensure that his words continue to ring true?

We must hammer home the message that a museum is a place unlike any other. Its grand ambition—and its extraordinary presumption—is to defy time and space.

Michel Foucault coined the paradoxical concept of the heterotopia, or realized utopia. He believed that the museum, as an example of a heterotopia, “aims to enclose all times, all epochs, all forms and all tastes in one place, so as to constitute a place of all times which itself exists outside of time and is out of reach of its jaws”.

What can we learn from this? The museum must not become an ordinary place. It must offer wondrous experiences; it must provide insights into the mysteries of creation; it must invite us to embark on new journeys.

This is a daunting ambition. Though the museum must never be ordinary, each visitor must feel as if they are on familiar ground. The museum is a place for integration and sharing where the notion of community is key. It is a place that is open to difference and intelligence. It is a place of communion, not of luxury. This must be its fundamental approach at a time when fundamental values are being called into question: the equal right of all human beings to dignity, freedom of thought and expression, and respect for others. To paraphrase Roland Barthes: “The artwork puts no pressure on the viewer. It speaks to the truth of emotions, not of ideas: it is thus never arrogant, never coercive […]”.

The challenge that faces any museum is to avoid the idea that it is merely there to present a collection. Its artworks serve a much broader purpose: the museum uses them to create a sensory experience that conveys a particular message and brings stories to life. The curator and art historian Henri Loyrette often tells the story of the writer Charles Péguy, who went to the Louvre as a student and experienced what he called a “promotion of being” leading to an “immediate perception of the long and visible trajectory of humanity”.

It is our job, as museum professionals, to ensure that visitors can enjoy a similar experience. We must provide an environment that sparks the kind of aesthetic emotion that only the original artwork can make us feel. It is an environment that must welcome us, guide us, inspire us, excite us, and take us on a journey. The way artworks are presented, the place where they are displayed, the interpretive resources that enrich the experience, and the visitor journey comprising all the different aspects of that experience. All of these components together make up a coherent system.

It is an open-ended system: visitor expectations today are not the same as they were fifty years ago. It is a system that must reach beyond the boundaries of the museum: the idea is to reach out locally and globally using the range of tools that modern technology has made available. It is an open system that can host all forms of art: music, film, dance, theatre and so on.

For the magic to work, the relationship between the visitor and the artwork must be nurtured and never curtailed. The artwork must function as an artwork: as Nelson Goodman says, “while most of the users of a library know how to read the books there, many visitors to the museums do not know how to see, or how to see in terms of, the works there. […] Making works work is the museum’s major mission […] The myths of the innocent eye, the insular intellect, the mindless emotion are obsolete. Clearly, works of science work in this way too, as do the collections of museums of science and natural history […] Museums of different kinds do have some different problems, but their common end is improvement in the comprehension of the worlds we live in. Somehow, the immutable work and the volatile viewer must be reconciled. Attention must be held long enough for a work to work”.

To paraphrase Roland Barthes who, referring to works of literature, recalled the importance that should be accorded to the reader: “An exhibition is made up of multiple works from several cultures that enter into a dialogue, parody one another or compete with one another; but there is a point at which this multiplicity comes together: that point is not the curator but the viewer (…) The unity of an exhibition lies not in its origin, but in its audience”.

Interactive world map from the Louvre Abu Dhabi Exhibition : Rembrandt, Vermeer & the Dutch Golden Age 2019 (Department of Culture and Tourism Abu Dhabi Photography by Jonathan Gibbons)

The challenge facing the museum is to include all visitors while fighting tooth and nail against the dangers of sectarianism and essentialism. Equality in dignity and rights, a living principle of humanism, is reflected in the equality in dignity and rights of every artwork. This in turn is a living principle of the universalism embodied by the Louvre Lens and Louvre Abu Dhabi.

The “heterotopian” museum is a hybrid, welcoming, radiant, exacting, enjoyable and scholarly place. Today’s museum, if it intends to open its arms to the public, is not like the museums of yesteryear. It is a complex system that requires cutting-edge expertise of a kind offered by France Museums.

Set up to bring together French national museums to work on the pioneering Louvre Abu Dhabi project, France Muséums capitalizes on this unparalleled experience, using its expertise and that of its partner network to run museum- and heritage-related projects. The shortcomings of many museum projects are not due to lack of resources, ambition, or talent; they arise from a failure to ask questions, to define expectations and to formulate goals. The job of France Museums is to help support projects from concept to implementation. These challenges have led us to organize a symposium in the French Pavilion at Expo 2020 Dubai, accessible both physically and remotely, on January 15, 2022. This will be an ideal opportunity for numerous experts in the field to shed new light on these questions.

Author’s bio: Herve Barbaret is the Chief Executive Officer of France Museums. Prior to his appointment at Agence France-Muséums, Barbaret has been General Secretary at the French Ministry of Culture since June 2017. He has been assisting the French Minister of Culture by both managing the ministry, which employs 750 public servants, and implementing transversal cultural policies. Throughout his career, he has developed on-the ground managerial expertise as well as a high-level relational skill in both administrative and business sectors.

Hervé Barbaret has more than 15 years of experience in the cultural field where he held various positions such as Deputy General Director at the Cité de l’architecture et du Patrimoine (2004-2007, a cultural institution in charge of promoting architecture), Managing Director of Musée du Louvre (2009-2015), member of the Boards of Directors of Agence France-Muséums, Louvre Lens and of the Louvre Endowment Fund. He has been involved in major cultural projects: the creation of the Cité de l’architecture et du patrimoine, the Musée du Louvre’s Department of Islamic Art, the birth of Louvre Lens and Louvre Abu Dhabi, a project he has been supporting during its prefiguration phase and cherishing for many years.

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