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. 

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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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The Evolution of Pop-Up Galleries

Pop-up galleries have quickly become a beloved trend in the art world. Originally, these spaces were makeshift solutions for artists to showcase their work without the commitment of a permanent gallery. Today, they serve as innovative platforms for artists and curators to experiment with their surroundings and presentation styles. During the last decade, temporary galleries have hosted many new exhibits worldwide, indicating a shift in how art is consumed and appreciated.

These Galleries Are Experiencing a Boom

Pop-up galleries are transforming the art market landscape by offering flexible and cost-effective alternatives to traditional art fairs. According to Artsy.net, dealers reported that 46% of their sales by value occurred at art fairs. However, the costs associated with these fairs are substantial, with dealers spending approximately $4.8 billion in 2018, an increase of 5% from the previous year. This financial strain is pushing many galleries to explore innovative models like pop-ups. These temporary spaces reduce overhead costs and allow for creative engagement with new audiences. As a result, pop-up galleries are becoming an increasingly popular choice, especially among small to mid-sized galleries seeking to maintain visibility and viability in a competitive market.

Cultural and Artistic Impact

The nomadic nature of pop-up galleries has reshaped the art landscape by offering a platform for unconventional and emerging artists. These spaces often allow for riskier, more experimental works that might not find a home in traditional galleries. By doing so, they challenge artists and audiences to rethink art’s role in society. In the bustling U.S. art market, pop-up galleries have also become a crucial venue for diversity, showcasing artists from various backgrounds who might not otherwise receive gallery representation.

Advantages of Pop-Up Galleries

These galleries offer several unique benefits that are reshaping the art scene.

Flexibility

Their flexibility allows them to occupy any space available, from a park corner to an abandoned building, making art accessible in places you’d least expect. This adaptability benefits artists by providing various contexts to display their work and engaging a broader audience.

Catering to Current Events

Another significant advantage is their ability to quickly set up in response to current events, providing a platform for artists to comment on real-time issues. This immediacy can make art feel more relevant and connected to everyday life.

Boosting Neighborhoods

By nature, pop-up galleries can rejuvenate underutilized spaces, adding value to neighborhoods and encouraging community interaction. They often create a buzz, attracting locals and tourists alike who are eager to experience art in novel settings. Such dynamic environments can dramatically increase foot traffic, which benefits local businesses and boosts economic activity in the area.

Challenges Faced by Pop-Up Galleries

While the nomadic nature of pop-up galleries offers unique opportunities, they also come with their own set of challenges.

Funding

For starters, the transient nature of these galleries can make it difficult to secure funding. Investors often hesitate to put money into ventures that might seem temporary or unstable. This funding challenge is exacerbated by the logistical complexities of setting up exhibitions in non-traditional spaces, particularly when transporting priceless masterpieces. Ensuring the safety and security of these artworks, often in spaces not originally designed for such displays, requires careful planning and significant resources.

Permanence

Another significant hurdle is the lack of permanence, which can affect how audiences perceive these galleries. Since pop-up galleries do not have a fixed location, maintaining a consistent visitor base can be tricky. Art lovers might visit once or twice, but it’s hard to build long-term visitor relationships without a permanent address. Additionally, this impermanence can impact artists’ ability to gain sustained exposure.

Impact on Community Engagement

However, these challenges do not dampen their vital role in community engagement. They often act as catalysts for local development, sparking interest and bringing people together in underutilized spaces. Here are a few ways these galleries positively impact communities:

• Boosting local economy: Temporary exhibitions attract visitors who are likely to spend money at nearby businesses.
• Enhancing community spaces: Pop-up galleries help beautify and revitalize neighborhoods by occupying vacant or underused properties.
• Encouraging cultural dialogue: They provide a platform for artists to engage directly with diverse audiences, promoting inclusivity and understanding.

Despite these benefits, the unpredictability of operating in ever-changing venues remains intimidating for many organizers.

Future Trends

The future of these galleries seems promising, driven by their ability to adapt and innovate. Emerging technologies like virtual reality and augmented reality are beginning to play a role, allowing for digital exhibitions that can reach a global audience without the need for physical space. This technological integration solves logistical issues and opens new possibilities for interactive and immersive art experiences.

Moreover, there is a growing trend of pop-up galleries upholding handcrafted family traditions by featuring artisanal and locally crafted works. This supports local artists and preserves cultural heritage, making these temporary galleries a crucial part of the art ecosystem.

Steps to Launch a Successful Pop-Up Gallery

Setting up a pop-up gallery requires careful planning and strategic execution. Here are some ways to approach the task:

1. Establish clear goals, such as reaching new audiences or testing a market.

1. Choose a location that aligns with your target demographic and consider timing your opening with major art events to maximize foot traffic.
2. Negotiate terms that suit your budget and ensure the space meets all necessary legal requirements.
3. Prepare a detailed budget, accounting for rent, utilities, and staffing.
4. Focus on art and community engagement, possibly outsourcing daily operational tasks to concentrate on sales and artist relationships.

Final Thoughts on the Nomadic Nature of Pop-Up Galleries

The nomadic nature of pop-up galleries makes them more than just temporary art spaces. They are dynamic platforms that challenge traditional norms and encourage innovation in the art world. While they face various challenges, their benefits make them invaluable. As we move forward, these nomadic galleries will likely continue to evolve, further impacting artistic expression and community engagement in profound ways. Their ability to adapt and transform makes them an enduring part of the contemporary art scene, continually bringing art closer to the people.

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Author bio:

Ella Marquez works at a logistics and moving company, Logicstics, an expert in the field whose track record of excellence and forward-thinking approach has earned the trust of numerous businesses in various industries. Ella loves exploring innovative art trends and gallery movements worldwide.

The post The Nomadic Nature of Pop-Up Galleries and the Impact on Artistic Expression appeared first on Art Business News.

WHAT IS THIS PLACE? 

The Glass Outhouse Art Gallery is a nonprofit organization created by Laurel Siedl. The gallery opened its doors in September 2009. Laurel refurbished a building where she raised rabbits into an art gallery. The place is now transformed into spaces that feature artists from all over the country. Laurel’s passion for art is palpable in every corner of this unconventional space. Meeting her is akin to stepping into the mind behind the madness, an experience that leaves a lasting impression on all who visit.

The Glass Outhouse Art Gallery stands out not only for its unique setting in the desert but also for its commitment to showcasing emerging artists and promoting the culture of art collecting. Collecting art has long been a passion for many individuals, ranging from seasoned collectors seeking to expand their portfolios to novices eager to start their art collections. The gallery provides a welcoming environment for both seasoned collectors and new enthusiasts, offering a diverse selection of artworks that cater to varying tastes and preferences. Art collecting is not just about acquiring pieces; it is a deeply personal and enriching experience that allows individuals to connect with the stories behind each artwork, the emotions they evoke, and the artists who created them. The Glass Outhouse Art Gallery recognizes the significance of this connection and aims to foster a sense of community among art collectors, artists, and visitors alike. It is located at 77575 Highway 62 Twentynine Palms, CA 92277.

THE GALLERY/TRAILERS

The gallery itself is a mix of trailers and structures housing two galleries and eight rooms brimming with collections of artwork. From sculptures and assemblages that seem to emerge from the earth to original oil paintings and crafted works, GOA showcases a medley of artistic expressions that push boundaries and spark intrigue. If you are visiting the desert during the hot months, this is a good place to enjoy the indoor, air-conditioned trailer galleries. If you are unsure if you have arrived, look out for glimpses of the tall Pepsi Can from the highway before you turn off the main road.

The artwork is both whimsical and professional and is on full display in each gallery. The eclectic energy of the gallery creates a vibrant atmosphere where creativity thrives and boundaries blur. When I visited GOA I was lucky enough to view the work of Suzanne Ross.  Her pieces beckon viewers with their symbolic allure. Like a moth drawn to the flame, you will also be drawn into each room of the GOA gallery while you meander the rock-enclosed trails around each structure. In addition to the visual feast of artworks, visitors to GOA can also enjoy live performances by local bands on some occasions, adding a dynamic layer of entertainment to their artistic exploration.

BEYOND THE WALLS OF THE GALLERY

The surrounding 29 Palms desert landscape provides a serene backdrop for contemplation and inspiration. The vast expanse of the desert, with its rugged terrain and stark beauty, has long been a source of fascination for artists seeking to capture its essence in their works. The Glass Outhouse Art Gallery serves as a bridge between the natural landscape and the world of art, merging the two in a harmonious union that enriches the creative experience for artists and visitors alike. As visitors explore the gallery and immerse themselves in the diverse artworks on display, they are invited to embark on a journey of discovery and appreciation for the beauty and complexity of the artistic world.

UPCOMING EXHIBIT AT GOA

Looking ahead, Sherri Scott Studios will exhibit at GOA with TheDANCE collection in March, offering a glimpse into the artist’s unique vision. TheDANCE_boulders, mountains, and trails is a vibrant piece that captures the essence of the desert landscape in a symphony of colors and shapes. Each element in the painting, from the resolute boulders to the majestic mountains and meandering trails, invites viewers on a visual journey filled with vitality, grandeur, and rhythm. The artwork celebrates life’s diverse dances and serves as a testament to the enchanting spirit of GOA Gallery.

For art collectors seeking to venture off the beaten path and discover a world where creativity knows no bounds, Glass Outhouse Art Gallery is a destination like no other. Immerse yourself in the magic of GOA and experience the thrill of uncovering hidden treasures in the desert’s artistic wonderland. Look up, look down, and wherever you step, you may see some artwork. Take some photos and share your crazy finds! The desert landscape and community never disappoint when you are looking for adventures!

NOW THAT YOU ARE OUT IN 29 PALMS, PUT THESE STOPS ON YOUR LIST

Lunch: Founded in 2015 by chef Everton Gordon, Kitchen in the Desert is a Caribbean and New American restaurant and bar in Twentynine Palms, CA. Locally owned and run, KITD serves up the best family-style dishes in a tropical desert oasis setting. Combining organic ingredients with heritage spice recipes, KITD has become the premier spot for elevated dining in 29 Palms.

Visit the Historic 29 Palms Gallery: This gallery opened in 1963 in a historic adobe built in 1936 by the Stubbs brothers for western author Tom J. Hopkins. Twentynine Palms Artists’ Guild is an all-volunteer, 501(c)(3) non-profit organization that owns and operates the 29 Palms Art Gallery. Don’t forget to visit the gift shop as well for unique artistic finds! If you are traveling, there are easy-to-carry prints available to purchase in the Gallery and Gift Shop as well.

For more outdoor installations, visit Desert X locations: Desert X is produced by The Desert Biennial, a not-for-profit 501(c)(3) charitable organization founded in California, conceived to produce recurring international contemporary art exhibitions that activate desert locations through site-specific installations. Its purpose is to present public exhibitions of art that respond meaningfully to the conditions of desert locations, the environment, and indigenous communities; promoting cultural exchange and education programs that foster dialogue and understanding among cultures and communities about shared artistic, historical, and societal issues; and provide an accessible platform for artists from around the world to address ecological, cultural, spiritual, and other existential themes.

End your day with drinks and music poolside at the famous 29 Palms Inn: The Inn is a popular destination for creatives, writers, artists, and amateur/professional photographers, so bring your camera.  I also recommend staying at this unique property in one of their casitas or at one of their retreat events. Make sure you also visit the boathouse on the pond.

Enjoy Sherri Scott Studios: After immersing herself in the action sports design world for several years, Sherri Scott is now embarking on an exciting artistic adventure.  Driven by a deep passion for the arts, she enjoys experimenting with traditional and contemporary media in her paintings.  Inspired by her exploration of the outdoors, she finds inspiration in the picturesque landscapes and the captivating elements of land and sea.  A versatile artist and designer, with a strong background in designing for brands including her successful apparel line, she brings a unique perspective to her designs.  Her technical design skills and creative vision blend seamlessly to create her work.  Today her deep appreciation shines through in her artwork, she continues to push boundaries and explore new artistic horizons.

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About the author:

Sherri Smith spends time painting between two cities: Solana Beach www.sherriscottstudios.com and Yucca Valley www.yuccavalleylandings.com in her studio in a hangar at the Yucca Valley Airport. The influence of these locations inspires her artwork in land + sea + desert + horizons. Exhibitions: Joshua Tree National Park Association, 29 Palms Gallery, Laguna Art Gallery, Santa Barbara CAW, Las Lagunas, Off The Track and OMA [Oceanside Museum of Art]. 

Upcoming project in 2024: Yucca Valley public art project and exhibitions at the new Hi-Desert Artist gallery. Please visit her websites to view artwork at www.sherriscottstudios.com and www.yuccavalleylandings.com. Social: @sherriscottstudios, @yuccavalleylandings

Learn More: https://www.facebook.com/pages/The-Glass-Outhouse-Art-Gallery/317055216531, https://29palmsinn.com/about/, https://www.kitd29.com/, https://desertx.org/about/about, and https://visit29.org/

All images courtesy of Sherri Smith.

The post Discover The Artistic Crazy Wonderland of the Glass Outhouse Gallery appeared first on Art Business News.

No. 1 Planning is Key

One of the first things art dealers should know when moving to a new space is that planning is crucial. Before even packing the first piece, you must clearly understand your new space’s dimensions and layout. Drafting a detailed floor plan, factoring in where each piece of art will reside, is invaluable. For instance, larger installations might demand strategic placements, while smaller pieces can be more flexibly accommodated. Factoring in visitor movement is equally essential. Are there pieces that you want every visitor to notice immediately? Or specific routes you want them to take? All this takes forethought.

No. 2 Insurance, Insurance, Insurance!

When relocating an art gallery, standard property insurance doesn’t cut it. The unique nature of artworks requires a specialized policy, notably fine art moving insurance. This kind of coverage, often encompassing transit insurance, guarantees protection against potential damages or losses during the move. Moreover, once the art pieces settle into their new home, having comprehensive art insurance is non-negotiable. Consider, for instance, the immense historical and monetary value of a 16th-century Renaissance artwork. Your insurance policy must be tailored to address every possible risk scenario associated with such priceless pieces.

No. 3 The Right Movers

Let’s draw a parallel. Imagine you have a cherished family heirloom, perhaps a century-old necklace passed down through generations. Would you hand it over to a stranger without a second thought? Similarly, when it comes to moving artworks, you wouldn’t trust them with just any moving company. While general movers are adept at relocating everyday items like couches or refrigerators, art pieces are a different ballgame altogether. They are not just ‘items’ but embodiments of culture, history, and emotion.

Different artworks have varied requirements. A fragile sculpture, for example, can be vastly different from a delicate canvas in terms of its moving needs. That is where art-specific movers come into play. These professionals undergo specialized training that equips them to handle a diverse range of art forms. They understand the intricacies of packing, transporting, and setting up artwork to ensure their safety.

Furthermore, one significant advantage of hiring such experts is the custom crating solutions they offer. Instead of generic boxes, they provide bespoke crates tailored to each artwork’s dimensions and vulnerabilities. Whether you’re moving a colossal sculpture or a petite porcelain piece, these custom crates are designed to hold the artwork snugly, preventing any movement that might cause damage.

No. 4 Climate Considerations

Art, unlike inanimate objects, is sensitive to its surroundings. Just as a plant might wilt in extreme heat, artworks too can suffer in adverse environments. Temperature swings and changes in humidity levels are more than just minor inconveniences for art; they can lead to irreversible damage. Paintings may fade, canvas might stretch or shrink, and sculptures could distort. Thus, when relocating art, the primary concern isn’t merely moving from Point A to Point B. It’s about ensuring that the entire journey and the destination provide a stable environment for the artwork.

Given these concerns, you should consider investing in climate-controlled vans that maintain consistent temperature and humidity. For instance, an oil painting, with its layers of paint and varnish, can become damaged in a humid environment, leading to issues like mold or the paint lifting off the canvas. Similarly, a wooden sculpture exposed to rapidly changing temperatures might crack or warp. By acknowledging the delicate nature of art and its interaction with the environment, one can take informed steps to protect and preserve it during relocation.

No. 5 Upgraded Security Systems

Beyond the art’s intrinsic value, galleries often become targets for theft. In your new space, re-evaluate your security measures. Are there blind spots that need surveillance? Could a more advanced alarm system be integrated? You should think about digital security, like surveillance cameras, and physical barriers, like reinforced entry points or security personnel.

No. 6 Storage Solutions

While a gallery displays art, not every piece might always be on show. The new space should have provisions for safe storage. Think beyond mere square footage. Is the storage climate-controlled? How easy is it to access frequently rotated pieces? And remember, as collections grow, so should storage capabilities.

No. 7 Lighting Matters

Lighting isn’t just about visibility. It shapes perceptions, moods, and engagement. For example, a Baroque painting, with its intricate details and deep shadows, demands different lighting than a minimalist modern sculpture. Therefore, your new gallery will require diverse lighting solutions, from spotlights to ambient lights. Consulting a lighting expert can make a world of difference, ensuring each piece is viewed in its intended glory.

No. 8 Engaging the Local Art Community

A relocation isn’t just physical; it’s also about re-establishing connections. So, dive into the local art scene. Engage with local artists, critics, and enthusiasts. For instance, an inaugural event or open house can be a golden opportunity to introduce yourself, display your collection, and establish connections.

No. 9 Digital Updates

In our digital age, a gallery’s online presence is not just a modern convenience but a cornerstone for the future of the art world. Therefore, you must update your gallery’s address across all digital platforms, from your official website to social media pages. Moreover, consider introducing your new space with virtual tours to make a mark and engage with contemporary audiences. This immersive experience provides potential visitors with a captivating glimpse of what awaits them in your gallery.

No. 10 Feedback Loop

Every change offers a learning curve. After your move, actively seek feedback. How do regular visitors feel about the new setup? Is there something they miss from the old space? Such feedback can be a goldmine for improvements.

What Art Dealers Should Know When Moving to a New Space: The Bigger Picture

Moving a gallery isn’t merely about physical relocation. It’s about ensuring art remains preserved, showcased beautifully, and accessible. It’s a dance between logistics and aesthetics, practicality and passion. Therefore, as you embrace this exciting new chapter, remember everything art dealers should know when moving to a new space. Here’s to new beginnings, flourishing in your new environment, and continuing the ever-evolving journey of showcasing magnificent art.

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Author bio:

Catherine C. White works as a content writer for Family Affair Moving Orange County. With a deep-rooted passion for art, Catherine expertly melds her professional knowledge with her love for the artistic realm, offering readers invaluable insights and perspectives.

The post Gallery Relocation Guide: What Art Dealers Should Know When Moving to a New Space appeared first on Art Business News.

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.

The post Meet the Gallery: Lilac Gallery appeared first on Art Business News.

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.

The post Meet the Gallery Owners: New York’s Artios Gallery appeared first on Art Business News.

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!

The post Meet the Gallery: Red Dot Miami Spotlight Recipient Jen Tough Gallery appeared first on Art Business News.

Let’s take a look!

Many myths surround the art world and, specifically, art galleries. It’s essential to separate the true from the false.

MISCONCEPTION: ART GALLERY OWNERS LIVE LAVISH LIFESTYLES

The Art Industry is often alluring to outsiders because of what it appears to them to be. People tend to associate it with money, prestige, and glamour, but it is nowhere as glitzy as it seems.

Note that generalizing either of the two statements would be a huge misconception, so we will not attempt to do so. Still, we can freely say that the overwhelming majority of gallerists aren’t in it for the money. Instead, they are in this line of business for one reason – because they are passionate about art. And that’s what helps them navigate the booming art world and the competitive art market – passion and dedication.

Plus, nothing significant separates a gallerist from any other business owner. Just like them, gallerists have their fair share of ups and downs. But if we were to make it a bit more challenging, we could say galleries do not serve any necessity. Instead, they’re merely an item of luxury. Therefore, the owners rarely really have a 100% certain monetary benefit.

Some gallerists live a life of luxury; some do not. It would be a misconception to make any generalizations.

MISCONCEPTION: GALLERIES ARE LOADED WITH MONEY

Yet another common misconception relating to the seductive image of running an art gallery is that galleries make huge profits. If only that were true! But unfortunately, it is not. Many galleries, particularly the smaller ones, are barely getting by these days. Merely renting an exhibition space takes a large chunk of their profits. Now add to that the costs of marketing, production, shipping, and insurance, and you’ll understand why most would agree that the opposite is far more often the case.

MISCONCEPTION: GALLERY REPRESENTATION WILL MAKE ONE’S CAREER AS AN ARTIST

Not true. There is much more to becoming a successful and established artist than merely putting your art in the gallery. There is no such thing as an instant fix and overnight success. It happens gradually over time. And it takes a lot of dedication, hard work, consistency, and planning to make any headway in the art world. It is a series of peaks and valleys and trials and errors until one has reached a steady and successful track record of exhibitions, sales, and accomplishments.

Getting art gallery representation is not a way to jumpstart your career as an artist. That takes a lot of hard work and dedication. Therefore, getting gallery representation will not make one’s career as an artist, but it is one step forward in the long and arduous journey.

MISCONCEPTION: GETTING A GALLERY SHOW MEANS THE ARTIST IS AUTOMATICALLY GOING TO SELL A LOT OF THEIR WORK AND MAKE A LOT OF MONEY

Also, not true. There are no guarantees whatsoever that merely showing at a gallery means the artist will sell all the artwork and fetch a handsome amount of money. Gallery shows offer exposure, but it is up to the artists to make the most of it. So, work hard and spare no effort.

MISCONCEPTION: GALLERIES ONLY SHOW ‘SALABLE’ ART

Naturally, any seller would prefer items that sell easily. And galleries, too, want the art that they display to be top-notch, no doubt about that. However, galleries do not decide what pieces to show based on their salability alone. Far from it.

The art industry is an exceptionally unique world of exploration, discovery, innovation, learning, expression, inspiration, and creativity. Thus, galleries are a lot more than just cold selling machines. That is one of the most common misconceptions about art exhibits, whereas, for the most part, it is the passion that drives them. They love bringing new art and budding artists to the public eye all the time. What’s more, they have the utmost faith in the artists they show and sincerely believe that the work they create is worthy of showing – whether they ultimately end up selling or not.

MISCONCEPTION: ART SELLS ITSELF

One of the most common misconceptions about art galleries is that all gallerists do is sit around and wait for clients to pop in and buy the artwork. This is not the least bit true – no art sells itself. The opposite is far more often the case. Galleries must promote the show and bundle their forces with the artist to convince potential buyers that a piece is worth adding to their collections. A collector may like a work of art, but that doesn’t necessarily mean they want to buy it. There’s a difference between liking and purchasing. That difference is called selling. Gallerists spend all day, every day, bending over backward to make artwork sales.

A visitor liking a work of art is one thing. Them making a purchase is another.

MISCONCEPTION: ALL ARTISTS HAVE TO DO IS BRING IN THEIR ARTWORK

The opposite is not the least bit true, either. Galleries are not responsible for doing all the work while the artists kick back, cross their fingers, and hope for the best. Selling art is a full-time job, of course. However, active and ongoing participation from both parties is crucial for any thriving gallery/artist relationship. Only if they work side by side can everyone’s reputation benefit.

MISCONCEPTION: ART SHOWS ARE ONLY FOR WEALTHY PEOPLE

One of the most common myths about art galleries is that they are only meant for the rich. Sure, there are some exhibits out there that can be on the expensive side. But then again, many others are affordable or even free. One does not have to be a collector or rolling in it to be able to enjoy and appreciate fine art.

Countless other statements could easily find their way to our list of the most common misconceptions about art galleries. However, there’s only so much that we can cover. Hopefully, we’ve managed to debunk at least some of the falsehoods circling the art world.

Author’s Bio: Kendal Timms is an art lover, self-proclaimed bibliophile, mother of three wonderful children, and soon-to-be grandmother. As a retired art teacher and art collector, she has a remarkable talent for instilling art appreciation and encouraging open-mindedness and creativity, which is why she started writing creative articles about various art-related subjects, including practical how-to blog posts for moving companies like Zippy Shell Columbus.

The post The Most Common Misconceptions About Art Galleries appeared first on Art Business News.

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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