"Hermes' rigid box packaging is so coveted that a set of three used boxes sold at auction for up to $100."
I try to incorporate boxes like these into my art work. This video talks about history behind these boxes.
"Hermes' rigid box packaging is so coveted that a set of three used boxes sold at auction for up to $100."
Please read article "100 YEARS OF CHANEL" page 36 Sept. 2014 issue of Southlake Arts:
Giddens Gallery’s 'UpCycle Fine Art' was highlighted on CBS channel 11 in conjunction with the recent Grapefest. Giddens Gallery continues to grow in its recognition as a leading Art Gallery in the DFW area.
This link will take you to the video; http://dfw.cbslocal.com/video/10583588-28th-annual-grapevine-grape-fest/ . Our 45 segment is at the end. This was aired 3 times on Friday 9/12/14.
My notes from article:
Brand Amy-Amy Cappellazzo by Dodie Kazanjian
Major changes afoot in the overheated contemporary-art auction market.
Amy Cappellazzo worked for Christie's auction house in contemporary art market. Marc Porter-chairman of Christie's Americas hired her in 2001. Her job was meet with clients, assessing artworks, speaking on panels and at seminars, attending art fairs and bring business from London to São Paulo, Los Angeles to Hong Kong. Born in Buffalo N.Y. 1967. She played an important role in starting Art Basel Miami Beach.
She quit to create a new model, to be someone who will offer full-service expertise across the board to buyers and sellers, dealers and auction houses, museums and artists. Nothing like this exists under one roof. She wants to bridge art and commerce, she is uniquely positioned to provide it. "I want to build my own empire," she said. (Super-agent to the art world at large.) A full-service business. Art collecting is now way beyond being a private passion because the stakes have become so big. She will be an adviser who can tell you how to weed and grow your collection, identify and sell not essential so you can buy the irresistible. A few high rollers have offered her money up front to buy for them, manage and build a collection. She is also going to advise established artist, not to represent them but to offer the market-savvy expertise she's acquired over the years. (Dealers won't like this) She will be an active catalyst in the larger art-world revolution, where all the old distinctions and boundaries-between artistic disciplines, artists and dealers, museums and galleries, connoisseurs and speculators, fashion and art-have become blurred.
The art world is in a rapid revolution-Amy said. There has to be a reconsideration of its structure in every single way.
"Art collecting, once an elite passion for the few, has become a fiercely competitive occupation for a whole new class of buyers- hedge-fund managers, oligarchs (one of the rulers or upper class) in Russia, oil-rich sheiks and sheik-as (wife of a sheik) in Doha and Abu Dhabi, freewheeling capitalists in post-Mao China. Since the recession, a lot of these recent collectors have decided that their money is safer in art than in stock and they treat it the same way, as a major asset class- connoisseurship giving way to speculation. The contemporary-art market came through the 2008 recession virtually unscathed, and since then the new buyers have driven prices to sometimes-obscene heights. The latest high is the $142.4 million for Francis Bacon's 1969 three-part portrait of Lucian Freud at Christie's in November. (The evening sale total, $691 million, was the largest ever recorded.)
What is happened is the race for business between Christie's and Sotheby's in contemporary art, by far the most lucrative and glamorous area of the market today, is unrelenting. In order to get (superstar works) for the major evening sales, both houses often have to give up so much of their commission to the seller that their profit margin becomes razor-thin. This is why they are being forced to find other streams of revenue.
The art market has becoming global, fueled by Internet, giving new collectors access to all sorts of formerly privileged information. Contemporary art and artist became the darlings of a culture of celebrity and auction prices soared higher and higher.
2012 Christie's major focus was to beat out Sotheby's and Gagosian to partner with the Andy Warhol Foundation for the Visual Arts on a series of Warhol sales most happing online. This was a big game changer in the industry. "We're now representing artists' estates." Thousands of minor works priced at less than $100,000 each are being made available through e-commerce and promoted through social media. There is enough material to keep going for the next five years. Whole auctions will be going online soon, but that won't happen with the big evening sales for a very long time -if ever.
She advises "for young collector just starting out, look at American Minimal artists: Donald Judd, Dan Flavin, Carl Andre, Agnes Martin-and 1970s Brice Marden."
She wants to do it all. Sounds like a great job to have. Maybe she could learn to paint too. -cjm
If you like to read original article it is found at Vogue.com Vogue Magazine March 2014, page 594.
Blog: My notes and comments from
“The 3 stages of art collecting” article by Sue Hostetler
If you are a Young professional-join the young professionals membership groups at places like the San Francisco Museum of Modern Art, the New York MoMA and The MET for the institution's "behind-the-scenes" access to exhibits, curators and trips to artists' studios and galleries.
Along the way learn the politics and economics of “The Art World".
cm*(What or who are/is the “The Art World”? Good question, but I’ll come back to this question later.)
Young professionals in general start out focusing on establishing themselves and becoming wealthy. Supporting the arts comes later.
What the visual arts have to offer to young professionals is a community experience.
cm*(What is meant by community experience? An exciting opportunity (event/party hosted by “The Art World”) for young professionals to meet and connect with other young professionals in a setting that promotes dialogue about “The Art World”. Who are these young professionals?)
Young professionals in the corporate world like Marianna Stark director of strategy for Gap Inc./Old Navy. She has chosen art in the mid-three-figure range and buys what she loves and to support the work of Bay Area-based emerging artist.
cm*(The Bay Area must be close to her home, work and her social circles. Ever wonder why some art is collectible? “The Art World” says who and what to collect, because they collect it too. But how do they decide? Emotional appeal and not to match the decor.)
2. Living with a masterpiece
The home may not be the right environment for all art works big collectors like Mr. and Mrs. Eli Broad, Philanthropist, entrepreneur and founding chairman of the Museum of Contemporary Art, Los Angeles collect. They have 500-works and counting.
cm*(I would think it helps to be chairman of a museum when you collect art.)
A home can have such problems of too much light to hang photographs. “What you hang in the living room is different from what hangs in the bedroom. Obviously you might not want disturbing imagery in the bedroom.” said Mr. Broad. Limited space even in the biggest of mansions can be a problem to hang an entire collection so occasional rotate pieces from storage gives the opportunity to live with different pieces. Most pieces are not picked to match the decor but chosen to have emotional appeal.
Owning and living with masterpieces makes you a steward and have the responsibility to make sure they're seen now and in the future by the widest possible audience.
cm*(A wide audience also helps the value of a collection too.)
How to do this is by loans or build your own museum to house your collection. Mr. Broad said "I can't say we have any favorites, though what “The Art World" considers to be the greatest masterpieces, if measured by value, would be the Jeff Koons's "Rabbit" and then "Flag" by Jasper Johns's, so I suppose they're the two pieces I would likely grab if there were a fire."
cm*(I can just see him running with those pieces under his arms as a fire takes over his mansion. I understand why he built that museum! It’s a big problem living with risk of damage to valuable art. Who does the house keeping of dusting? And how big is that Rabbit?)
Life of a collection:
A collectors taste can and does changed over the years, so they trade art, sale, buy, grow, storage, rotation, loans to audience, makes news makes it valuable, bequeathing.
cm*(It seems the collection becomes an living organism with a life of it’s own.)
3. Giving it away
Lifelong collectors Thea Westreich and Ethan Wagner on the eve of bequeathing more than 800 pieces of their 1000-plus collection said, "Our collecting began in 1980's and the inclination is to collect in depth-to understand each artist fully requires more than one work. The only thing that really ever stops us is the limitations of our finances. Not everything is about acquisition and ownership-it is about the journey, about the evolution of ideas, the excitement of discovery. The reality that we are not going to live forever, that our collection was significant enough to go to the public and that there were institutions for whom the actual pieces we owned were really important. In our view, collecting art is gratifying if it's self-motivated.
Specific artist in collection are to be properly represented, and should go to the right institutions like the Whitney (Whitney only takes American art). The Whitney needed to fill out decades '80's & '90's with important examples of artists' works taken as a whole-and works out of their price range. We picked Pompidou, because of the 27 European artist in our collection, we had 23 on the list that the Pompidou wanted to acquire.”
cm*(Here’s a clue: “The Art World” – institutions like the Whitney said it was “really important”. They collect art too and have a wish list and also have limitations on finances. Hey-I see a pattern-the institutions or “The Art World” tell the young professionals what’s important then they collect that art and gift the collection to the institutions! Genius! The public can see everything, even the disturbing imagery. Because it’s not in the bedroom.)
After the gift, they (Thea Westreich and Ethan Wagner) will continue collecting and supporting only younger artist.
cm*(Only younger artist? OK- now we come full circle in the article, which said at the beginning that Young professionals in general start out focusing on establishing themselves and becoming wealthy. Supporting the arts comes later.
And ONLY younger artist too! Dang-I am an old experienced artist. Just throw me under the bus.) Sad face :>(
If you want to read the original article go to www.departures.com page 216 culture Index forgot the month 2014, “The 3 stages of art collecting” article by Sue Hostetler.
Ever wonder how designers & artist stumble onto the same idea all at once? My notes from the article "Everyone got the Memo" by Eric Wilson inStyle/June 2014
My notes from the article "Everyone got the Memo" by Eric Wilson inStyle/June 2014
Ever wonder how multiple designers and artist stumble onto the same idea all at once?
*Zuhair Murad, a designer in his garden not far from Beirut got the idea.
*Kate and Laura Mulleavy designers in Los Angeles, feeling nostalgic for their childhood got the idea.
*Shane Gabier and Christopher Peters designers in New York, were discussing ideas of transcendence and rebirth and got the idea.
*Maria Grazia Chiuri and Pierpaolo Piccioli designers in Rome, were listening to opera music when they got the idea.
*In Texas, I (Cynthia Medanich) got the idea around Dec. 2011 while thinking about my brother (who died by suicide in 2008).
(I had a solo art show called “Transformation Series” in May, 2012 with over 25 works)
Butterflies - that's "the idea" they all came to, but why?
"Perhaps it was just coincidence that these designers and artist, when they had their eureka moments, would arrive at the same destination from different directions.
All featured butterflies in their designs in some small or large, way.
Sometimes designers like to say, ideas are just in the air.
In this case, they actually were.
Butterflies have become such a major fashion trend that you might reasonably wonder if designers and artist all meet in secret to decide what "theme" of the season will be."
Where does inspiration come from in the first place, and how does it seem to be so, well, contagious?
The same wavelength.
Dries Van Noten, designer featured butterflies in exhibit in Paris. A Damien Hirst butterfly painting shown with Elsa Schiaparelli evening gown and Van Noten's menswear collection. Van Noten said the painting was his idea starting point.
"Tracing a common source of ideas in fashion, alas, is rather like chasing butterflies. Each designer has a different explanation."
Gabier and Peters, who say they first had their idea last August 2013, butterflies were chosen for their symbolism of Transformation.
I too chose butterflies for their symbolism of Transformation. I had my art show “Transformation Series” in May, 2012.
Butterflies again turn up at Jean Paul Gaultier, Valentino Madame Butterfly reference in the collection. He said, "Our goal was to create something light and beautiful."
Great minds think alike.
The article talks about the history of butterflies appearance in fashion.
“Today designers and artist react to climate change, exploring themes related to nature in their works. So it follows that they would be including all variety of animal prints.” The article goes on to more examples of the mix of butterflies wing patterns with big cat spot patterns.
Look for Leopard spots to trend again. (Katy Perry-Hear Me Roar)
"I'm not sure where ideas come from”, Laura Mulleavy says, “But I do believe we are influenced by things happening all around us."
Could it really be that simple?
Most designers and artist would argue that their ideas are their own, even when others have the same ones.
"When those kinds of themes are omnipresent in fashion or art, it becomes about using them in your own way," Gabier says, "It's not like the butterfly was invented in 2014."
Many creative types share common passions, so it's not unusual for them to be inspired by the same movies, people, songs, and periods.
Chicken vs. Egg
Designers set the trends, but their runways are also influenced by the street and other external factors. Who really creates fashion?
As far as ownership goes, butterflies and leopard spots are likely in the public domain.
These are my notes from the article. To read the original article, go to www.instyle.com and or follow Eric Wilson on Twitter @EricWilsonSays
Notes: These are my notes. I made these notes from an article I read in the Departures mag. section called “New Think: The Amazing Ideas that Shape Our World” – edited by Julian Sancton titled “The Culture Conversation”. A conversation with:
Julie Taymor (J.T.) –director of theater, opera, film.
Beau Willimon (B.W.)-House of Cards creator
Deborah Berke (D.B.)-architect professor, Yale School of Architecture
Carter Cleveland (C.CL.)-founder and CEO of online art forum Artsy
James Wolcott (J.W.)-Vanity Fair culture critic
Damian Woetzel (D.W.)-Dancer: director, Aspen Institute Arts Program and Vail International Dance Festival
Claire Chase (C.Ch.)-Flutist: 2012 MacArthur Fellow; founder of International Contemporary Ensemble
James McBride (J.M.)- 2013 National Book Award-winning novelist (The Good Lord Bird); jazz saxophonist
Who is Carter Cleveland and what is Artsy?
Carter Cleveland 27years old Founder and CEO of online art forum Artsy.
(C.CL.) -“Artsy, it's about being a platform for artist self-expression. And that's really challenging because art, almost by definition, is trying to be original. So we're trying to fit something into a framework that inherently doesn't want to be fit into ant framework.”
Artsy's central algorithm is called the Art Genome Project. Like Pandora does with music, it scores artists and artworks along more than 1,000 categories and brings up art that is "genetically" similar to what you've clicked on.
Example of how the algorithm works:
(C.CL.)-“For every page, you start with an artwork and then, if you scroll down, there are other similar works. It might just be other works that are from the same period. But there might also be works that are from hundreds of years in the past in a different geography, but they have other things about them that are very similar. And then you're like, Huh, I never thought of that before.”
Mr. Cleveland, How do you decide what to include?
(C.CL.)-“Today we essentially curate the curators, so we work with major galleries and cultural institutions and museums. We're careful about who we let onto the platform at this point. In the long run, though, where is the line going to be drawn in the sand when it comes to human expression? It doesn't seem like that's going to be possible to do. I wouldn't be surprised if we become more open but include personalization technology that makes sure you get the perfect experience for you. Ultimately, it's a very democratic vision.”
(B.W.)-“Netflix has been working on algorithms for ten years and are incredibly sophisticated. Example: they have found 10 percent of people who love "The Sopranos" also love "Two and a Half Men". No network executive would ever make that connection. Since the data shows that 10% of these people love both shows, they are going to start suggesting "Two and Half Men" to a lot of "Sopranos" fans.”
(C.CL.)- “I would say that in today's age, art is getting better across every category, because you can actually be more true to yourself and have higher integrity, knowing that, because of more efficient information sharing and the Internet, you will find your audience. For example, there's a series on Netflix that I think is incredible, called "Top of the Lake". It's a series I'd never heard of, none of my friends had seen, but Netflix just kind of knew that this thing was going to be good for me. It surfaced it. And it is so beautiful and has such high integrity.”
(J.T.)-“I get offended by those things (algorithms), I read those "suggestions for you" and I go, what? Are you out of your mind? I don't know what they were thinking!”
(J.M.)-“I think the corporatization of art, and people telling you what you should watch-not only is it offensive, but it's really bad if you're trying to preserve what little innocence you have left.”
Jim, do algorithms like this put the professional critic out of work?
(J.W.) jokes-“Most professional critics have been on autopilot for 20 years.”
Critic: a person who judges the merits of literary, artistic, or musical works, esp. one who does so professionally: a film critic.
Do you pay attention to what's popular these days? Do you find any guidance from Twitter?
(J.M.)-“I pay someone to do Facebook & Twitter for me.”
(D.W.)-“ I'm interested in how completely unrelated things rub up against each other.”
What moral questions are being asked -In visual art?
(J.M.)-What you can't get from Digital: smell, feel, taste -the funk and grit of creative process of creating. Digital takes the sweat and the pus and body odor out of art. But it can offer more opportunities to create.
(C.CL.)-“Think of something like performance art. How do we record that? How do we make that experience accessible to those not lucky enough to be in New York when the performance is happening?”
YouTube is a good example of short performance media that can lead to longer performances. Digital technology is a resource. We have more access to knowledge than ever.
Moore's Law-In 1965, Intel cofounder Gordon Moore predicted that computing power would double about every two years. There's more information being generated everyday than in all of previous human history prior to 1995.
Verbal storytelling around the campfire evolved to the story printed on paper. This made the story available to more people who could read. Then the story on paper evolved to a new medium of film and movies able to reach even more people of different languages. Film on celluloid changed to digital able to tell many stories to even more people around the world.
Here humans are at the beginning. I think we've moved beyond biological evolution.
What is "high culture"?
[Online community] not the same as a [live intellectuals]
(J.W.)-“High culture was defined, as, you know, classical music, museum art... It was a class system, it came out of modernism, the idea that you had to master that level of difficulty to make it and understand it. The Internet and other factors seem to have led to a blurring of the distinction between so-called high culture and low or popular culture.”
High/low-Shakespeare for example is both high and low; he's all of it. He has prose with poetry, clowns and violence. The language of Shakespeare holds him back for extreme popularity.
Examples of how “high culture” class system has lost: Jazz and Rock 'n' Roll won, Blues won. The Impressionists won. Shakespeare won.
(B.W.)-“The reason Michelangelo was able to do what he did is because the Medici’s were willing to pay for it.”
Where is the next great, culture-transforming creative genius going to emerge?
Chinese proverb-"An eye can't see its own eyelashes"
(B.W.)-“The next dominant art form of the 21st century, which suffers from a terrible name, is video games. I think video games are still suffering from this thought that they are incapable of being art.”
What makes it art?
(B.W.)-The thing that brings the most peoples together, also the thing that is the most financially successful. (A video game can make more money in one day than the most successful film of all time has ever made. And a lot of indie games that are being made now are not about winning; they're about world creation.)
They tell a story. Any time human beings can express themselves in a way that transcends a simple, prosaic-commonplace language or find a new way to communicate, in a way that reflects our souls, our feelings and evokes them in others.
I have pull out of this article information that is of interest to me and maybe out of order from original article. I added my own comments to my notes. Please read the original article for context and more information @ www.departures.com