Category: marketing

Artist Marya Lowe shares a boldly colorful collection of contemporary fiber art, fueled by a self-taught process. View more of her portfolio on her website.

I am a textile artist and came to it in the common way, by making traditional quilts. I made reproductions of old quilts, bought and studied vintage quilts, and immersed myself in quilt and fabric history. This led to an in-home business restoring antique quilts for several years.

“Old Barn Door” textiles, 26″ x 43″

One day, a piece of abstract art simply bewitched me. Soon I closed the restoration business and began again to study everything I could about art, especially abstract textile art. Having no formal art education in my background, I taught myself by trial and error. I attended workshops, and studied and read about abstract art.

“Chartreuse-I” textiles, 23″ x 21″

Perhaps the biggest boost was an early self-challenge that lead me to my bedrock element, which I call a wonky. I challenged myself to make 100 small improvisational blocks in 100 days. Of course, after 100 days I had well over 100 blocks. This exercise taught me a lot about contrast, shape, and the value of black and white in a design.

“Lightness-IV” textiles, 19″ x 17″

I began to group these wonkies together into art quilts. I found that using these colorful, energetic, visually-textured blocks against a calm background provided me with the artistic foundation I could return to again and again, developing it in new ways. Look for the wonkies in my work—you will almost always find some!

“Hidden In Plain Sight” textiles, 37″ x 39″

My work is color-drenched. Saturated darks, bright clear colors, and edgy colors grab attention. I mix visual textures freely so that there is a busyness to almost all of my work.

“Surfacing-I” textiles, 23″ x 24″

A friend once advised me to “control the chaos” and I honestly do try to control it….but just barely. Chaos and serenity seem to belong together in my work. That mirrors my life: there are no holds barred in my studio, but once I leave it, I strive to keep my life calm and simple with a strongly formed foundation. It is this balance of chaos and calm that appeals to me in both my life and textile work.

“Seedpod-VIII”, textiles, 25″ x 23″

I create primarily fused collaged abstracts. Now and again the hum of my old Singer Featherweight entices me to return to machine-pieced work. I use commercially printed cotton fabrics, silks, vintage fabrics, re-purposed clothing, canvas, African batiks, my own hand-dyed fabrics, paper, paint, hand-embroidery, machine—whatever the piece requires.

“St. John Bananaquits and Sea Grape Leaves” textiles, 53″ x 49″

I tend to work in series, which allows me to mine a particular image or concept and present it in various ways. Some series approach realism, but always with an abstracted element, as in my Seedpods series, or my series called Earth, Sea, Sky.

“From the Depths” textiles, 24″ x 32″

Most of my series embrace totally abstract art. I feel that this allows me to convey a mood or thought in my own way. It also allows the viewer to approach my work with his or her own history, interests, and interpretations. Sometimes it simply lets me play with color combinations or shapes that entice me with no underlying message, just a canvas of energy, edginess, or ease.

Marya Lowe invites you to follow on Instagram. 

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Art Business News recently had the opportunity to chat with James Bacchi about his life in the art business. The story is an interesting one, beginning in New York’s East Village in the mid 1980’s where he curated exhibitions for some of New York City’s most famous nightclubs including Limelight, Area, the Tunnel and The Palladium. This led to the opening of On the Wall Gallery in New York’s SOHO district. With am ove to San Francisco in the 90’s, he opened the award-winning ArtHaus Gallery in San Francisco1996-2021. Today he owns JAMES BACCHI CONTEMPORARY in Palm Springs, where he exhibits and continues to represent an impressive roster of California and New York artists.  

Q: Introduce the gallery — who are you and what is the vision of your gallery for your artists? 

A: We are pleased to introduce James Bacchi Contemporary.  Celebrating forty years in the art business in New York, San Francisco and most recently Palm Springs. More than a gallery owner, James Bacchi is a curator, art consultant and collaborator. His notoriety in the art world and his continued success stems from his ability to fearlessly reinvent himself.  

 James’s vision for his latest gallery and for his outstanding roster of artists is to provide an inspired, intimate exhibition space and art consultancy where he can introduce these artists and their work to the worldwide audience of contemporary art collectors, architects and designers that converge at The Shops at Thirteen Forty Five in Palm Springs, California. 

Q: What is your background? 

A: My background incorporates many facets of the Art Business including public relations, curating exhibitions, owning galleries and corporate art consulting. Having the opportunity to delve into all these arenas has served me well Inside James Bacchi Contemporary.

Inside James Bacchi Contemporary
(Detail): Works by Scott Idleman, Lucky Rapp, Howard Hersh, Ricardo Carbajal Moss and Mark D. Powers.
Ricardo Carbajal Moss, Mark D. Powers featured in Warming Up – A Group Show now on exhibit.

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

A: “My work philosophy evolves around my solid relationships with the artists and collectors I work with, my art selection process, my integrity and the pure enjoyment derived from what I do. I love the art business,” says Bacchi. “Every work of art I represent, and exhibit is one I would want to include in my personal collection. I believe my passion for the work has the greatest impact on the success of James Bacchi Contemporary.”      

Q: What is your vision for the next year? Next 5 years? 

A: At 69 years young, my vision today focuses far more on the present and immediate future, unlike in the early stages of my career where I felt the importance of long-term goals and five-year plans. These days, I’m all about being fully committed with no commitment. Strange as it sounds, it offers tremendous freedom, satisfies my desire for short term results, and leaves me open to all the possibilities. 

For example, finally, after all these years in the business I recently enjoyed my first sold out exhibition with master printmaker, Eric Rewitzer. The show, MCM Monsters, not only sold out but presented me the opportunity to orchestrate five commissions with the artist for collectors. The exhibition generated tremendous media attention including NBC-TV. From planning the exhibition to delivering the last commissioned work took all of six months.  

Next year will feature a sequel to MCM Monsters opening in February 2025 in conjunction with Modernism Week in Palm Springs. Until then, I am curating Group Exhibitions and Pop Ups, spotlighting works by JBC represented artists. This allows me creativity and the opportunity to constantly rotate inventory and most importantly, place the work.  

Collaborators James Bacchi and Susaye Greene discussing their latest project, Meta Contemporary, over lunch at the Casa Del Mar Hotel in Santa Monica, CA. My vision also includes more collaborations. I am currently collaborating with artist, singer, songwriter, Susaye Greene, aka The Last Supreme, on Meta Contemporary.  This gallery/auction platform, located in the Metaverse, will feature events and exhibitions with an auction component designed to benefit various arts related organizations. We are beyond excited by this project. Please stay tuned.       

Q: What artist(s) inspire you? 

A: In addition to the artists I represent, I do have a bucket list of artists that inspire me.  Presently, they include Timothy Cummings, Donld Roller Wilson, Simen Yohan, Banksy, Yoshitomo Nara, and Anthony James.  I recently caught David Hockney’s Drawing From Life exhibition at the National Portrait Gallery in London. It was awe inspiring! 

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

A: The best advice I received came from a colleague, art collector, and dear friend.  Years ago, I recall discussing some aspects of my business I wasn’t pleased with.  Her response, “If it’s not working, change it!”  That advise has very much become my life mantra. Thank you, Paula Davidsen.    

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

A: The only place you can count on finding me is in the pool every morning at 7:00am.  Aside from that, anywhere that offers great art, live music, theater, dance, or good Chinese food — I’m there! 

See more at www.jamesbacchicontemporary.com 

Photos all courtesy of James Bacchi Contemporary. 

Canadian painter Anita Skubleny shares a dynamic portfolio of pet and wildlife art, created in pastel and oil. See more from this talented artist by visiting her website.

I grew up in Moose Jaw, Saskatchewan. My love for drawing and animals has been with me for as long as I can remember. When I grew older, I moved to Sherwood Park, Alberta, where I decided to pursue art seriously. I took art classes from local artists for many years before branching out on my own, initially focusing on pastel pet portraits.

“Waiting” pastel, 16″ x 20″

For about four years, I dedicated myself to creating pastel pet portraits full-time. However, I felt the urge to explore different mediums and techniques, which led me to switch things up.

“Crimson Nocturne” oil, 20″ x 20″

For nearly three years now, I have been a student and Navigator of Mastrius.com, a platform that offers the opportunity to learn from numerous talented artists. I have consistently studied under artists who share my passion for painting animals, a subject that has always resonated deeply with me. I firmly believe in the importance of continuous learning and experimenting with new techniques to grow as an artist.

“Ragamuffin” acrylic, 12″ x 12″

Throughout my artistic journey, I have experimented with various paint mediums, including watercolor, acrylic, and oils. Currently, I am captivated by the richness and versatility of oil paints. The vibrant colors and slow drying time allow me to bring animals to life on canvas, capturing them just as I envision—full of life and color.

“Soul Searching” oil, 14″ x 14″

One of my greatest joys in painting is capturing the eyes of the animals. For me, the eyes are the window to their soul. When I achieve the look I desire in the eyes, the rest of the painting naturally falls into place.

“Distant Thunder” oil, 14″ x 14″

There is an immense beauty in animals and nature, and I strive to convey my deep love and respect for them through my paintings.

“Song of the Night” oil, 14″ x 14″

My hope is that this connection resonates with viewers, allowing them to feel the same admiration and appreciation as I do.

Anita Skubleny invites you to follow on Instagram and Facebook. 

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

01:48 The birth of Cowgirl Artists of America (CGA)

03:01 Balancing her art and organization admin

03:29 Exhibition programs and the jury process

06:42 We all experience rejection

08:57 Emotional intelligence and mindfulness

14:47 Every juror has a perspective and they will vary wildly from one another

16:24 Common mistakes in art applications

20:27 Space considerations are one reason you might be rejected

22:23 Handling rejection with professionalism

25:16 More about emotional intelligence and mindfulness

26:44 What are your rejections trying to tell you?

29:24 Rethinking that disgruntled email you may want to send

31:54 The importance of professional communication

36:53 Therapy and support systems for artists

38:44 Upcoming CGA exhibition and events

From my personal experience, art has the power to heal and transform. Through pain, I find beauty; through strength, I connect to vulnerability. My sculptures aim to represent the coexistence of opposites within a single entity, mirroring the complexity of the human experience. 

The large-scale sculptures I create embody a dichotomy: the aspects of myself unveiled to the world and those concealed within. Through these works, I invite viewers to delve into their shadow selves, dissecting personal experiences and emotions to uncover their own meanings within the forms. 

My work as a sculptor revolves around this exploration of duality, demanding a level of physical engagement that is both exhausting and exhilarating.  

I am in perpetual metamorphosis, constantly deconstructing and reconstructing, transforming trauma and captivity into physical forms that embody an incarnation of freedom. 

Every piece I create is a reflection of my life, both literally and figuratively. Wielding chainsaws, chisels, sledgehammers, and sanders, I tell my story—a visceral form of communication. It is a journey of discovery where each cut and strike reveals something new and unexpected, subliminally guiding the physical process of creation through destruction. 

This intense physicality channels a powerful, primal expression of energy and intent that I’ve only recently felt free to unleash.  

I have found that my purpose is to use art to amplify my voice and my goal is to dismantle societal barriers. Continuously learning, I embrace the judgments that come with presenting my diverse and authentic self. By passionately engaging in various forms of self-expression, I aim to challenge the traditional narratives that confine women to singular roles. 

“Veil” by Constantin Ford

I’ve never understood why people can’t grasp that someone feminine can also be fiercely powerful. Society often perpetuates a narrow definition of strength, associating it with traditionally masculine traits and overlooking the profound power inherent in femininity. This misconception diminishes the complexity and depth of feminine strength, which can manifest in countless ways—from nurturing and compassion to resilience and fierce determination. By embracing a more inclusive understanding of power, we can recognize and celebrate the dynamic capabilities of those who embody both femininity and strength. This duality should be seen as a source of empowerment rather than a contradiction. It is essential to challenge and change these outdated perceptions, fostering a culture that values and respects the diverse expressions of power in all individuals. 

Through my work, I strive to create a platform that encourages people to explore and celebrate their multifaceted identities without fear of criticism or limitation. This involves not only creating art that speaks to these themes but also participating in discussions, collaborations, and community initiatives that support and uplift women’s diverse contributions. My goal is to inspire a cultural shift where women’s diverse talents and ambitions are recognized, respected, and celebrated, propelling the conversation forward towards a more inclusive and equitable society. 

Leading with this theme, I named my first series of sculptures “Emergence,” depicting the body’s ascension from the depths of traumas dark waters, highlighting curves as they rise towards the light of freedom. To carve these models, I used raw, industrial materials typically seen as harsh and inflexible. I manipulated these to create feminine, refined forms. This juxtaposition challenges the traditional use of art mediums, particularly when modeling for large-scale sculptures, where softer, more conventional substances are often preferred. The result is a body of work that represents the tension between strength and fragility, exposure, and concealment.  

This year, each exhibit represents not just a culmination of my efforts but a dynamic milestone in my ongoing exploration of artistic expression, as I showcase my work in Monaco, Madrid, and Miami. These sculpture projects embody my commitment to continually evolve, refine, deconstruct, and construct my work.  

“Fluid Amber” by Constantin Ford

As I prepare for these upcoming exhibitions, I am excited to share my latest creations with a diverse international audience. Each venue offers a unique opportunity to connect with people from different cultures and backgrounds, fostering a global dialogue through my art. I look forward to the inspiration and insights that these experiences will undoubtedly bring, further fueling my passion for art and its power to transcend boundaries. 

In my creative process, I constantly push boundaries by experimenting with new tools, techniques, and scales. This relentless pursuit of innovation allows me to infuse fresh perspectives into my pieces, ensuring that each creation is a unique reflection of my artistic growth. Whether I’m working on a delicate, intricate piece or a monumental sculpture, I immerse myself in the physicality of the process, channeling energy and intent into every detail. 

My approach is not static; it is a living, breathing evolution of ideas and forms. By deconstructing traditional methods and reconstructing them in novel ways, I challenge both myself and my audience to see art from different angles. This continuous cycle of creation, social examination and experimentation consistently keeps my work relevant, allowing me to engage deeply with contemporary themes and push the conversation forward in the art world. 

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Author’s bio: 

Constantin Ford is a contemporary artist specializing in the transformative process of ‘subtractive sculpting’ whose work has been showcased across Europe and the United States. Ford meticulously carves a variety of materials to unveil abstract feminine forms. In her artistic exploration of the shadow self, she often tears the female form in two, symbolizing the contrast between materialized and conceptualized reality. Through these contortions, she conveys the complexities and dualities within the human experience. 

Ford studied Art and Design at the New York University’s Fashion Institute of Technology (NYU FIT). She draws inspiration from nature and a diverse range of influences including Egon Schiele, Constantin Brâncuși, Georgia O’Keeffe, Lucien Freud, Jean Arp, Francis Bacon, Salvador Dalí, Louise Bourgeois, and Zaha Hadid. 

 Learn more at https://www.artsy.net/artist/constantin-ford  

Artist Pam Little presents a collection of digital paintings that captures western wildlife in all seasons. See more by visiting her website.

I started creating artwork in elementary and high school. We were an Air Force family, so I’ve lived in several different places and environments. From Hawaii to the Upper Peninsula of Michigan, Texas, Florida, and now to Montana.

“Bitterroot Alpenglow” digital painting, 10” x 30”

I graduated from Florida State University with a B.A. in Visual Communications. Later I received an M.A. in Biomedical Communications from the University of Texas Southwestern Graduate School.

“Dunraven Spring” digital painting 16” x 20”

Until I left graduate school, all my work was in traditional media. I worked especially in pencil and pen and ink drawing, watercolor, and acrylics. I did use a computer to type my thesis, but not too long after that, we medical illustrators began to explore digital artwork.

“Spring on Scapegoat” digital painting 20” x 30”

This was a tidal change at first, and a little scary. But soon it became another media to use, no different from any other. I learned Photoshop, Painter, and now use primarily Procreate on my iPad Pro.

“West of Cody” digital painting 14” x 36”

I moved to Montana from Miami for a medical illustration position. Then I began to explore the mountains, national parks, and all the beauty of the Rocky Mountain West. I’ve also always loved animals and nature, and they became a large part of my artwork.

“Walkin’ Here” digital painting 20” x 30”

After I met my husband Howard in 2001, one of our first trips was backpacking in Montana’s Bob Marshall Wilderness. We soon realized that we weren’t going to experience much of “The Bob” on foot. In 2003, we started going horseback, with Jack and Karen Hooker on their horse packing trips. On that first trip, we were married up on Scapegoat massif. In Montana, you don’t need an officiant and Jack was glad to fill in. You only need witnesses, and paperwork filed at the courthouse.

“Morning Calm” digital painting 18” x 20”

We did those trips through 2012. During that time, we began our two-to-three a year trips to Yellowstone. Both places, plus our acreage in the woods on Downing Mountain outside Hamilton, have inspired almost all my artwork from then until now.

“Making Travel Plans” digital painting 20” x 30”

The photographs I take are my references. I may use several in one piece, a landscape, flower, animal, sky. Moving around and assembling those pieces is my sketch-making process.

“Winter Warmth” digital painting 12” x 24”

I also play with the color, brightness and saturation of the photos. However there’s nothing that can’t be changed in the painting process. I’ve exhibited in a number of juried shows through the years and continue to do so. Enjoy my work!

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

01:39 Embracing your unique ‘must be nice'

07:33 Merging art and speaking

16:28 The sketchbook comes first in Jason’s creative process

21:29 Navigating comparison and jealousy

24:04 Playing your own “game” in art and life and why it’s important

27:03 Embracing your unique artistic voice

30:12 Moving beyond comparison

37:03 Building diverse income streams as an artist

38:38 The power of partnership in art and business

40:30 Jason’s marketing strategies

42:28 Jason’s upcoming events and creating experiences

Artist Julie Kornblum shares a delightfully quirky portfolio created using fiber techniques with recycled materials. Visit her website to see more.

The roots of my fiber and textile artwork are among my earliest memories of my mother bent over her sewing machine while I played with fabric scraps on the couch. My grandmother knitted and crocheted and taught me during the summer of 1972.

“Plastic on the Beaches Gyre #2″ Coiled basketry wall piece incorporating discarded plastic items, 28″ x 28″ x 5”

In an era when all girls took Home Economics, I became an avid sewist through junior high and high school. I also did crewel work (embroidery with yarn rather than thread) and macrame. I did batik in ninth grade art class, because in 1974 adults allowed 14-year-olds to paint with hot wax on cloth.

“Five Seconds to Forever” coiled basketry, disposable and discarded plastic objects and surplus wire, 6″ x 4″ x 4″

When I arrived in Los Angeles at age 20, I entered the fashion industry through sewing. I attended the Fashion Design program at Los Angeles Trade Technical College and worked as a pattern maker in the garment district.

“Pacific Rim” coiled basketry, used plastic shopping bags, telephone wire, discarded objects, five gallon lids, and hubcap. 20″ x 24″ x 24″

Later when I returned to school to complete a degree, I was happy to find a fiber and textile program in the art department at my local university. Since I was married with children and a house in the San Fernando Valley, a long commute across Los Angeles to any other university was not going to happen. It turned out the Fiber Art program at California State University Northridge was the most perfect place in the universe for me at the time.

” Plastic in the Trees I” weaving, surplus yarns, used plastic shopping bags, 43″ x 42″ x .5″

There I learned weaving  and basketry, and began experimenting with non-traditional materials. Often, people had surplus materials they didn’t want to throw away, hoping students could use them. My professor accepted donations of all kinds of things, and she encouraged us to use them. Soon I searched for and found scrap and recycle yards for surplus materials I could use in my fiber arts. I became starkly aware of the vast amount of discarded stuff in the world.

“The Fifth Element” overshot weaving, cotton and wool yarn, and used plastic shopping bags, 86″ x 86″ x .5″

Environmentalism came into my life in my very formative pre-teen years. I went from middle school, through high school, became an adult, and moved to California in the decade of the 1970s. I remember the first Earth Day. The Environmental Protection Agency was established by a very conservative Republican president. Upon gaining my degree in 2002, I decided to focus my artwork on the use of surplus materials, and to avoid buying new materials as much as possible.

“Stash of Trash” coiled basketry with used plastic bags and discarded objects, 24″ x 18″ x 10″

My intention at that time was to reinterpret traditional fiber arts using nontraditional materials. Then I learned about the plastic trash floating in the oceans, in remote areas known as gyres. I refocused my work to address the issue of plastic pollution in the environment. That was twenty years ago. The awareness of plastic pollution is now nearly ubiquitous. Awareness of the plastics problem has not led to any decrease in the amount of new plastic entering the trash stream. Solutions for cleanup remain elusive.

“Gyre” coiled basketry wall piece incorporating discarded plastic items, 45″ x 45″ x 2″

In the last few years, I’ve had opportunities to create commissioned work employing a variety of fiber arts materials and techniques. I continue my plastic awareness work. It remains central to my body of exhibition artwork.

Julie Kornblum invites you to follow on Facebook and Instagram.

Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Click below to sign up for our twice-monthly email. You’ll get all this plus opportunities and special offers that you can’t get anywhere else!

Wow, that flip book pulitas, Alyson, looks interesting. Is it search-engine friendly? What does it look like on a phone?
I have been writing my art newsletters since about 1998, about two years after I started using the Internet to sell and show my art. I can say that the more you write, as well as the more you understand what it is you want to accomplish with your art, the easier it all gets.
That being said, I usually spend at least three days JUST creating the newsletter. Thanks to Mailchimp (sadly, I refused to use for years because I worried about protecting the privacy of my subscribers), publishing is easier and fast.
I try to write about subjects that are not just about me. Obviously, I am connected to those subjects by interest, but I do not want a newsletter that just says, “here is my new work, please buy it.”
I always work on the images first. Depending on the topic, that takes a great deal of time…I take lots of images all the time . . . of almost everything. Editing and then formatting takes me a long time. I am also slow and sadly, easily distracted, and getting worse with age.
While going through the images, the theme of the text emerges. Also, I know what art I will introduce in each newsletter, although I change the focus depending on news items that come in time to include them. I try to connect them. Sometimes, I set projects aside to focus on a project that is connected to my art newsletter topic.
I write my text in Word and then create the Web page for it. The newsletter that subscribers get (through Mailchimp) is often truncated with links encouraging my readers to visit the Web page version. This is because my newsletters are image-heavy. I am telling stories after all. I want my illustrations!

Because I am so slow, I tend to edit myself as I go along. I should get an editor, but I cannot seem to really want one. However, I view my newsletter in several different formats along the process and it is not unlike holding your painting in front of the mirror to evaluate the shapes in reverse to check your design.

I later use the newsletter content in one or more blog posts at least a day later. I do this because I know that there is some overlap in subscribers, but mostly as a marketing tool to get more mileage out of my writings and images.
Also, my blog posts are set up to automatically post to my Facebook pages (business and personal), Twitter, and LinkedIn (the latter two I am hardly active with other than this). So, by publishing my blog entries on different days and different times of days, I hope to increase my audience.

Also, as Alyson does, sometimes I will find ways to link from one newsletter to another. Most of my newsletters stay on my site permanently. They continue to find readers who never knew they were looking for me . . . all because I wrote about a topic of interest to them. Now, off to publish another in a few hours. Thank you for this post!

Global macroeconomic conditions, including the recovery from the COVID-19 pandemic and its impact on disposable income and investment decisions, and the increasing importance of emerging markets, such as China, has significant impact on the high-end art world, influencing both supply and demand[1]. Fluctuations in the stock market and other investment sectors affect the confidence and purchasing power of high-net-worth individuals and institutions.  Monetary policy decisions by central banks, particularly in the context of interest rates and inflation, can influence the attractiveness of art as an investment compared to other assets. The growing role of technology and digital platforms in art sales, create new avenues for market participation, changing the dynamics of price transparency.

The result is that, increasingly, high-end artists, art dealers, and collectors need specialized financial services to manage their unique financial, tax and business requirements and turn to their estate planning attorney, accountant or other professional for guidance. For those advisors, here’s an overview of what financial services is required by artists, collectors, and dealers as well as the top firms offering specialized financial services for the owners and creators of art.

Tailored Financial Services for High-End Artists 

• Holistic Financial Planning

Firms can provide a comprehensive approach to financial planning. They offer real-time portfolio monitoring through advanced web-based tools, granting artists continuous access to their financial data. This facilitates better decision-making and proactive asset management.

Artists, given the significant value of their work and the potential for financial loss, require robust risk management services. Advisors conduct comprehensive insurance policy reviews to ensure adequate coverage for commercial, personal, life, health and disability risks.

Artists frequently utilize their art collections to access liquidity without needing to sell their pieces. Firms such as, The Fine Art Group and Christie’s Art Finance offer bespoke financing solutions secured against fine art and jewelry. These loans can be used for various financial needs, including art acquisitions, business investments, or personal financial requirements.

• Wealth Management and Asset Preservation

As artists’ wealth increases so too does the need for more specialized services, including asset management and investment planning, risk management, multi-generational wealth preservation strategies, and coordination with other professionals, such as investment managers and estate attorneys.

Advisors with profound knowledge of the art market offer valuable insights and services, such as art valuation and provenance research, market trends and investment opportunities, and assistance with buying and selling art.

• Personalized and Confidential Service

High-profile artists often favor boutique firms or dedicated teams within larger firms that provide personalized service and ensure strict confidentiality regarding their financial matters.

Image courtesy of Getty Images

Art Dealers and Collectors

• Expertise and Market Knowledge

Art advisors bring extensive knowledge of art history, market trends and artists’ careers, which is invaluable to collectors and dealers. They offer insights into current market dynamics, aiding clients in making informed decisions about buying, selling and managing art collections.

These firms provide a broad spectrum of services tailored to the varied needs of art collectors and dealers. Offerings include Market Analysis Reports, art identification and sourcing, detailed Artist Market reports, due diligence, negotiation and acquisition logistics, and auction bidding.

Art Advisors deliver personalized guidance aligned with the unique tastes, interests, and investment goals of their clients. They assist in defining collecting objectives, curating collections, and providing ongoing support with valuations, appraisals, and collection management strategies.

• Access to Exclusive Opportunities

Advisors often have connections with collectors, institutions, fiduciaries, and art galleries, granting clients access to artworks and opportunities unavailable to the public. This includes private sales, exclusive gallery visits, and bespoke market research. 

These firms must excel in providing robust advocacy during intricate financial negotiations and crafting tailored marketing plans. Operating independently from galleries, auction houses, and dealers, they offer objective advice and unwavering support throughout the buying and selling process.

• Trust and Confidentiality

High-profile clients appreciate the discretion and personalized service these firms deliver. Advisors build trust through their industry expertise, extensive connections, and steadfast commitment to their clients’ best interests.

Image courtesy of Getty Images

Conclusion

The intersection of art and finance is a sophisticated domain that necessitates expert guidance and tailored services. As artists, collectors, and dealers navigate this complex landscape, the specialized services offered by attorneys, accountants, and other professionals, as well as family offices, with expertise in artwork becomes invaluable. These professionals provide essential estate planning, tax planning and management services. Family Offices enhance the value and impact of these firms that provide financial services to artists, dealers, and collectors, through oversight and coordination of multiple different strategies.

If you’re an artist, collector, or dealer seeking to optimize your financial strategy and manage your art investments, consult an estate planner, accountant or other professional who knows the art market and is ready to offer personalized and comprehensive solutions that will help you achieve your financial goals while preserving and enhancing your art portfolio.

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Author’s bio:

Matthew Erskine is the Managing Partner of Erskine & Erskine(www.erskineco.com), a fourth-generation law firm based in Worcester, MA. He focuses his estate planning and trust services practice on serving business owners, professionals, individuals, families, collectors, and inheritors of significant assets. He is a regular columnist in this category for FORBES.COM and a frequent guest on financial TV.

Norwegian photographer Randi Grace Nilsberg shares a collection of haunting, ethereal imagery. View more of her portfolio on her website.

I’m a fine art photographer living in the small town of Horten in Norway. When I was nine, I got my very first camera. Someone gave it to me on a family trip to England to visit my grandparents. The camera didn’t last long, and the cost of film was high, so it took some time before I could afford to pursue the art of photography.

“Stillness of Heart” photography, printed on Hahnemühle photo rag, 60cm x 40 cm

The real passion for photography came to life when I was a teenager. A photo of a snow-covered apple in National Geographic Magazine piqued my interest in the world of photo art, but it took me years to go from a hobby photographer to a full time professional. However, photography was always important to me and gave me an extra income beside other jobs I had until I was laid off and had to make a decision about my career.

“Colorful Layers” photography, printed on Hahnemühle photo rag, 60cm x 40 cm

Through my camera I feel a connection with nature, a connection I hope to share with the viewer. If we don’t connect with nature, how are we going to preserve and take care of it? Most of my images have elements of nature in them, even when it comes to a colorful abstract or a shot where a piece of nature’s treasures has been brought home to play a role in a still life arrangement. Seashells, feathers, flowers and leaves are all beautiful models in my studio.

“It’s Raining Again” photography,  printed on Hahnemühle photo rag, 60cm x 40 cm

I create by experimenting with different techniques and styles, from soft and subtle colors to iridescent brights. Maybe it’s a weakness that I can’t stick to one cohesive style, but there is always something new to learn, and I want to evolve!

“Balance and Harmony” photography, printed on Hahnemühle photo rag, 60cm x 40 cm

My camera is always with me, and when I see something intriguing, I will capture it no matter what style it will fit into. That’s why my art is not always close-knit. I change my style now and then, going from pieces with digital enhancements to black and white photos, landscapes, seascapes, composites and so on. I do try to maintain order by keeping similar works connected in series.

“Sense of Summer” photography, printed on Hahnemühle photo rag, 60cm x 40 cm

If something catches my eye through its light, shadows, colors or textures, I will put my name on it and experiment. Everything starts with a photo, but I often add digital texture layers to amplify the mood I wish to convey. I believe moody images can be relaxing to contemplate as well as create an emotional connection with the viewer.

“Peaceful Winter” photography, printed on Hahnemühle photo rag, 60cm x 40 cm

My inspiration comes from the beautiful Norwegian landscapes as well as travels abroad and the artworks of other brilliant artists. I find inspiration in the way light sifts through branches of a tree and in the amazing details of a feather or a tiny flower. You know, the things we often take for granted and that we actually have to look for to appreciate.

“What Tomorrow Brings” photography, printed on Hahnemühle photo rag, 60cm x 40 cm

In addition to being featured online I have had my work exhibited locally as well as in Carrousel du Louvre, Paris.

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“I was working like seven days a week and crazy hours. I was just so tired and I felt that I was not making enough money and I was getting frustrated. Then I decided to say, wait a minute, you have to fix that.”—Monique

“When you have an evergreen course, you have to keep reminding people that it's out there. It doesn't have a start date and an end date. It is constant.”—Alyson

“I increase the price every time I [add value to a course].”—Monique

“I'm not going to send to a collector [information] about my online course. I don't want to bother people the wrong way. So I want to make sure that I target the people for my newsletter the right way.”—Monique

“[On my calendar] there's a square and I put painting day. Don't bother me, nobody can call me. It's my day, so this is the only thing I'm going to do. It’s because I do the planning sessions with you.”—Monique