art of creating an ambience conducive to buyingartworldnews.com/pdf/nov2017-awn-web.pdf · 2017....

Art World NewsNOVEMBER 2017

Milan Gallery’s new location in Fort Worth, TX. 6.

With the relentless competition from online entities, brick-and-mortar galleries and frameshops have to make sure that theexperience a customer enjoys when they are in the store is asgood as it can get. From the lighting a gallery uses, to theway in which art and framing is displayed, and the use ofpedestals to add another dimension, there are various strate-gies a gallery and frameshop can use to subtly heighten theatmosphere and the custom-er experience. Lighting is akey element in creating anambience, and Method Lightsoffers one such solution. BartWatkins, CEO, says, “Myfamily has had an art gallery,Liz-Beth & Co. in Knoxville,

TN, for going on 28 years,and that is where MethodLights started from. We sawthe customer demand yearsago, and so designed a bat-tery operated light. From that,we developed the Method

ART OF CREATING AN AMBIENCECONDUCIVE TO BUYING

THE INDEPENDENT NEWS SOURCE

QUOTE OF THE MONTH:“You have to get out and dothings that turn people into customers. Network with otherframeshops and offer somethingthey don’t do themselves butwould work well with their busi-ness.” Andy Langlois, page 22.

THE LURE OF LA AS ACENTER FOR THE ARTS

It would seem Los Angelesis gaining critical moment-um as an arts center, in partbecause of its cultural insti-tutions, but also its manytalented artists. The latestgallery to relocate there isGaris & Hahn. Page 12.

REMEMBRANCES: BILL DREYER AND GARY GOLDMAN

Bill Dreyer, who passedaway on October 31, wasknown industry-wide for curating the Art of Dr. SeussCollection at Chase ArtCompanies. His tribute is onpage 10. Gary Goldman,longtime publisher of Decormagazine, passed away on November 18. He is remembered on page 8.

OUTREACH KEY TOCUSTOM FRAMESHOPS

When custom framers cre-ate informal partnershipswith other entities, such assuppliers of services thatthe frameshop can offer,the business itself can bestrengthened. Article be-gins on page 20. Our focuson framing also features adisplay of New FramingProducts on pages 26–27.

PROFILE: DIAMOND DIE& BEVEL CUTTING

Diamond Die & Bevel Cut-ting is stepping up its initia-tives to the art and framingindustry. They now have artprinting capabilities on avariety of diverse sub-strates for any size order,from one piece to a largevolume. Turn to page 25.

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ART WORLD NEWS

VOLUME XXIIISSUE 8

DEPARTMENTSARTISTS & PUBLISHERS

Page 8

FRAMING Page 20

DDBCCOMPANY PROFILE

Page 25

NEW FRAMINGPRODUCTS

Page 26

OPEN EDITION PRINTSPage 29

WHAT’S HOT IN OPEN EDITIONS

Page 30

CALENDARPage 32

CLASSIFIEDSPage 33

AD INDEXPage 34

“Café Royale des Vins” by Alexei Butirskiy from

Thomas Charles Editions, Phoenix, AZ, is a giclée on canvas in an edition of 195 measuring 26 by 20 inches ($1,700). Visit: www.thomas

charleseditions.com or phone (623) 582-4500.

INSIDE THIS ISSUE

What’s Hot inOpen Editions

This month’s What’s Hot inOpen Editions features a va-riety of the latest best sellingopen edition prints, someavailable as print-on-demandimages, and it includes con-tact information as well.

Page 30

Art Buying and Collecting Patterns

Findings in a 2017 survey of art collecting show that51% of high- and ultra-highnetworth collectors go to galleries to discover art, 43%to art fairs; and 42% to artdealers or brokers.

Page 14

Ford Smith’s NewCollaboration

Ford Smith Fine Art intro-duces “In Concert,” a seriesof sculpted glass paintings byartist Ford Smith, and sculp-tor and painter Eddie Free-land, creating a 3-D inter-pretation of Smith’s paintings.

Page 16

Epson SponsorsPhotography Exhibit

Epson is a sponsor of the2017 Nature’s Best Photog-raphy Windland Smith RiceInternational Awards Exhibi-tion as the exclusive printerand paper partner for the on-going exhibition.

Page 22

New FramingProducts

In our New Framing Productssection, we present new cus-tom framing releases fromvarious companies, includingintroductions of new collec-tions, expansions of existinglines, and framing equipment.

Page 26

Calendar: Industry Events

January is a busy time for artshows in the industry, suchas West Coast Art & FrameExpo, PPFA Annual Conven-tion, Las Vegas World Mar-ket, Artexpo Las Vegas, andmany others.

Page 32

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ART WORLD NEWSPAGE 6

IN OUR OPINION

One of the greatthings about thefrantic holiday shop-

ping season is that it reveals the flash points andweaknesses within everyart gallery and frameshop.Certainly, there are a ton of things that go right, butjust as important are facetsof the business that don’thold up under the weight ofthe year-end bustle. Theserevelations are just as im-portant as learning the driv-ers of sales and profits.When fixed, they becomethe seed for future success.

While the concept of buy-ing online has matured inthe minds of most con-sumers to become a sim-ple, mundane transaction,the void remains within con-sumers who want, and dareI say need, fulfilling shop-ping experiences.

It’s like recognizing thatevery so often it is fine to

hit the drive-thru window at the glitzy place around the corner but in no way,shape, or form does it remove you from the physi-cal and emotional need to eat properly.

Visiting a fine art galleryor a custom frameshopshould fall somewhere be-tween a sit-down dinner athome and a fine dining ex-perience. So often art gal-leries and frameshops losesight of the necessity todayfor brick-and-mortar retail-ers to create a customerexperience that is as mem-orable as it is motivating.From fostering ambiance to attitude each business in our industry has a wealthof products, services, andadvice to help them do better with each customerand prospect, and set themselves apart from on-line retailers. So often, a lit-tle improvement can go along way.

SHINE, SCENTAND SERVICE

John HaffeyPublisher

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, or any information storage and retrieval system, without permission, in writing, from the publisher.

ART WORLD NEWS

Eastern U.S. & InternationalJohn Haffey, PublisherPhone (203) 854-8566Fax (203) [email protected]

Midwest & West CoastBrooks Male, Associate Publisher

Phone (203) 854-8566Fax (203) 900-0225

ADVERTISING SALES INFORMATION

Art World News (Volume XXII, Number 8) ISSN 1525 1772 is published 10 times a year by Wellspring Communications, Inc.: P.O. Box 129, Rowayton, CT 06853. Phone (203) 854-8566 • Fax (203) 900-0225; To order additional copies or back issues e-mail: [email protected] or fax to (203) 900-0225. Please indicate which month and year you are requesting. Single copy price is $10.00.

Editorial Advisory Board

Phillip Gevik, Gallery Phillip, Toronto, CanadaSteven Hartman, The Contessa Gallery, Cleveland, OH

Jeff Jaffe, POP International Galleries, New YorkHeidi Leigh, AFA, SoHo, NY

Ruth-Ann Thorn, Exclusive Collections Gallery, San Diego, CA

Editor in Chief Sarah [email protected]

Managing Editor Koleen [email protected]

Production Manager Sue Bonaventura

Editor at Large Jo Yanow-Schwartz

Columnists Todd [email protected]

Barney [email protected]

Joshua [email protected]

Contributing Writers Greg PerkinsCristi SmithZella Hannum

Publisher John [email protected]

Associate Publisher Brooks Male

Information Technologist Joe Gardella

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ART WORLD NEWS

ARTIST & PUBLISHER

Classy Art LLC, amanufacturer of walldécor, joins the Top100 fastest growingcompanies in Hous-ton where it hasbeen nominated bythe University ofHouston’s alumniprogram to theCougar 100 Pro-gram due to its over40% growth in fourconsecutive years.The family-ownedbusiness was es-tablished 30 yearsago by Biatriz andIsaac Cohen. Today,their sons Gabrieland Jonathan Cohenare co-owners and president and CFO, respectively. Toreach Classy Art: www.classyart.net or call (832) 256-9087.

Classy Art Joins Top 100 Companies

At Classy Art’s Secret Garden kickoff party at High Point where itlaunched the Greenery Collection,are, second from left, Gabriel Cohen,Classy Art; on his right and left: RobRosenburg and Ed Hendon, PlannedFurniture Promotions; an exoticmodel, and Joesph Ngo, Crown Mark.

Over $365,000was raised in anauction in Novem-ber to benefit thenon-profit Foun-tain House Galleryin New York.More than 400people attendedthe 16th annual“Mad About Art”auction and viewedthe exhibition of100-plus worksof art by FountainHouse Gallery artists. The evening also featured a PaddleRaise, conducted by Sotheby’s auctioneer Hugh Hildesley,that raised $58,000 to support a newly opened studiospace. Fountain House Gallery, with locations in Manhattanand the Bronx, provides an environment for artists living andworking with mental illness to pursue their creative visionsand to challenge the stigma that surrounds mental illness.For information, visit: www.fountainhouse.org.

‘Mad About Art’ Auction & Benefit

From the left, Mad About Art chairFrank Maresca, auctioneer C. HughHildesley, Fountain House Gallery di-rector Ariel Willmott, with honoreesMatthew Higgs and Robert Schifellite.

Words by Barney DaveyThe longtime publisher ofDECOR magazine,and my goodfriend, Gary Gold-man, passed awaypeacefully in hissleep with his fam-ily at his side onNovember 18. Atjust 65 years old,he leaves us fartoo soon after put-ting up a valiantfight against liver cancer.Upon graduating from Mis-souri University with a degreein sports journalism, Garyjoined The Sporting News inSt. Louis where he quickly

worked his way up the ladderto become publisher of its

trade publicationThe SportingGoods Dealer. Tohis last days, Garywas an avid sportsfan. He could talkknowledgeably andpassionately aboutcollege and prosports ranging frombaseball, hockey,basketball, football,

and more. All who knew Garyknew sports were an essen-tial part of his life. He lovedattending Cardinals baseballgames—especially with hisgrandson, Jacob.

Gary and I met in 1990, whenCommerce Publishing Com-pany (CPC), also in St. Louis,hired him to take the reins aspublisher of DECOR maga-zine where I was an accountexecutive. The 125-plus-year-old publication was a leadingbusiness magazine for localart galleries and frameshops.Through his position, and withhis gregarious and inquisitivenature, Gary made countlessfriends and created profes-sional relationships with themagazine and show’s topcustomers. He had a knackfor gaining and demonstratinga deep understanding of thebusiness of our advertisers

and the challenges they werefacing. He used his insightsand knowledge to ask sur-prisingly perceptive questionsthat never failed to draw peo-ple into a conversation abouttheir business. He madethem feel like he cared, be-cause he did.Gary is survived by his wife of43 years, Teri Goldman; hissons Geoffrey (Clara) Gold-man and Eric (Stacy) Gold-man; his cherished grandsonJacob Goldman; his brotherTed (Ellen) Goldman, and sis-ter Laurie Key.A memorial service was heldon December 3 at BergerMemorial Chapel in St. Louis.

IN REMEMBRANCE: Gary Goldman, Longtime Publisher of DECOR Magazine

Gary S. Goldman.

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ART WORLD NEWS

IN MEMORIAM

William (Bill) Dreyer, 57,passed away peacefully onOctober 31, 2017, after abrave two-year battle withALS. He was known through-out the industry for directingand curating the historic Artof Dr. Seuss Collection atChase Art Companies. In thatrole since early in 2000, Billhelped develop touring exhi-bitions for gallery partnersacross this country andabroad, and was the key liai-son for ongoinggallery sales andrepresentation ofthe work, alongwith Chase salesdirector JeffSchuffman. Billwas a contributingauthor and editorof two mono-graphs publishedby Chase on thelife and artwork of Dr. Seuss;he produced and directedChase’s Dr. Seuss museumand public exhibitions interna-tionally, and participated innational and internationalpress on this historic project.

Over the course of hisnearly 18 years at the com-pany, Bill helped produce over200 gallery exhibitions, aswell as blockbuster museumexhibitions at such venues asChicago’s Museum of Sci-ence and Industry, TheWilliam J. Clinton PresidentialLibrary and Museum, TheNew York Public Library, and

The San Diego History Cen-ter. He was also instrumentalin developing the Dr. SeussArtist Tribute Series, commis-sioning sculptor Leo Rijn tocreate maquette, life-size, andmonumental bronze castingsof Seuss’ iconic characters.

Perhaps Bill’s most endur-ing professional legacy washis ongoing effort to open thecollecting public’s mind to Dr.Seuss as a fine artist. He lec-

tured on the topic extensivelyat gallery exhibitions andworked directly with influen-tial collectors to help in hispursuit. He set out to estab-lish Dr. Seuss alongside suchluminary talents as Rockwell,Picasso, and Warhol. He ded-icated his efforts to trans-forming Seuss’ reputationfrom simply a children’s bookauthor to one of the most re-spected and collected artisticicons of the 20th century.

At the memorial service,Bob Chase, president ofChase Art Companies, told apacked sanctuary that “Bill

found his kindred spirit in Dr.Seuss. Like Seuss, he under-stood the value of looking atlife throughthe wrongend of thetelescopeand recog-nizing thatgreatnessc o m e sfrom sucha perspec-tive. Billwas engag-ing, unas-s u m i n g ,q u i e t l ypowerful, quick-witted, cre-ative, and magnetic. He wastailor-made to be Seuss’champion in the fine artworld. Bill set out to makesure that people across thisc o u n t r yand theworld un-ders toodhow impor-tant it wasto find andemb r a c ethe roadless trav-eled, onewhere a‘cat in ahat’ candeliver youto placesof absurd-ity, fun, andthe manyhard truths in life.” In additionto his professional pursuits,

Bill was a musician, song-writer, and passionate fatherof two children, Annelise (10)

and James (8). Heleaves behind his wife,Lisa, whom he marriedin 2005.

Chase and artist,Markus Pierson,launched a fundraisingcampaign for Bill, Lisa,and their children,which is ongoing. Pier-son created “Gener-ous of Spirit” for Billand Chase publishedan edition of 125

prints on canvas. One hun-dred percent of the proceedsgo to funding medical ex-penses for the family and hischildren’s college accounts.To date, $122,000 has been

raised and, at presstime, only 25 printswere left. For infor-mation on acquiring“Generous of Spirit,”contact Caroline Smithat: [email protected], (847) 564-2000,ext. 32.

A 20th Anniver-sary Art of Dr. SeussCollection exhibitionand tour developedby Bill Dreyer isplanned for galleriesin 2018 and will nowbe dedicated to hislegacy. For details,

contact Jeff Schuffman at:[email protected].

TRIBUTE TO BILL DREYER

“Generous of Spirit” byMarkus Pierson. Pro-ceeds of sales fund ex-penses for Bill’s family.

Bill Dreyer at Chicago’s Museum of Sci-ence and Industry for a Dr. Seuss exhibit.

Dr. Seuss’ “The Cat inthe Hat,” monumentalbronze sculpture, at DowGardens, Midland, MI.

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Lights that screw into exist-ing light sockets.” The sys-tem, designed to elevate theway people see art, usescool and warmlights to enhancecolors in artwork.Cool lighting bringsout crisp whitesand blues, while awarm light show-cases reds andyellows. Not onlydoes this providea great look to a gallery, but italso represents anadd-on sale. Whenthe system is ex-plained to a cus-tomer, it creates a “Wow” effect,and engages themin a conversation,says Mr. Watkins.“On top of that,you can sell thelight with the art.”

Liz-Beth & Co. gallery hasinvested in the whole sys-tem, with 300 track lightsthat can be directed to signature walls and artwork.“We can effecteach one independ-ently, and we regu-larly walk throughthe gallery andchange the colortemperature of thelights to best en-hance the artwork.We invested in thewhole system be-cause we sell a lotof them, and thereare a number of galleries that have donesomething similar.”

Mr. Watkins notes that in all, about 10% of thegallery’s lights are MethodLights, and about 90% ofthem are regular LED lights.

One of the biggest prob-lems, and most galleries experience this, he says, is that they go to an extremewith lighting to set the mood

of the art. “Then, when thecustomer takes the paintinghome, it doesn’t looks sogood (without the enhancedlighting in the gallery). That

customer then wants tomimic the gallery lighting intheir home.” And this theycan do with Method Lights by purchasing in just a few of them, not the sort ofquantity used by an artgallery.

Method Lights will be un-veiling a new type of art lightat the West Coast Art &Frame Expo in Las Vegas inJanuary. The light has a

contemporary de-sign and can bemounted on a wall ora picture frame; ithas all the capabili-ties of battery oper-ated or direct plug-inMethod Lights.

Another facet toattracting an audi-ence that will be pre-disposed to pur-chasing the art is agallery’s display andchoice of artwork,says Marc Fattahi,owner of Frame &Art Gallery in NewCanaan, CT, and anartist in his ownright. But the art agallery displays, hefinds, needs to be insync with what the

market demands. “Whatwas popular 10 years ago, isnot necessarily populartoday. Art he used to sell for$10,000 to $15,000 then,

he can’t sell for afraction of thattoday. “And I can’tdisplay that. Youhave to display whatthe market de-mands. He finds thatabstract landscapepaintings and pho-tography sell welltoday in his area.

That being said,the work also needs

to be displayed to its best ad-vantage and the displaysthemselves changed fre-quently to keep the gallerylooking fresh. To that end,Mr. Fattahi designed Secure

GARIS & HAHN GALLERYLEAVES NEW YORK FOR LOS ANGELES

LOS ANGELES—After a four-year run in New York, Garis &Hahn has moved from TheBowery to Los Angeles’downtown arts district whereit has opened a 1,500-square-foot space. “We felt the artscene in Los Angeles was re-ally evolving and gaining en-ergy,” says Sophie Hahn,co-owner with Mary Garis ofthe contemporary gallery.

Ms. Garis adds, “LA, whichhas a legacy of very talentedartists and strong institutions,is increasingly getting its duecredit as a true center to rivalother major cities like NewYork. We feel the timing isright to be active contributorsto the LA art scene. LA hasmany fantastic commercialgalleries and spaces and alsosome really ambitious and important artist-run spaces. Ithink our gallery bridges thatgap in an interesting way.”

The gallery inaugurated itsnew location with a solo exhi-bition by New York-basedartist Mike Perry featuring aseries of kaleidoscopic ab-stractions, with Pop and sur-realist distillations. And so far,so good. The show received agood turn out. “We love LA,”says Ms. Hahn. For more in-formation on the gallery, visit:www.garisandhahn.com orcall (213) 267-0229.

ONLINE GUIDE TOMIAMI ART WEEK

MIAMI—Approximately 20 artfairs are taking place in Miamiand Miami Beach in early December, featuring an esti-mated 1,200 galleries fromworldwide. An online guide toMiami Art Week is availableat: www.art-collecting.com/miami_art_fairs.htm.


WHEN PRESENTATION IS EVERYTHING

Liz-Beth & Co. gallery in Knoxville, TN, showingthe use of Method Lights in a gallery setting. Forinstance, the painting on the left of a vase offlowers is lit by a cool light to bring out the whiteand blue, yet with some warmth to enhance thered wood tones in the table. The paintings on theback wall are lit by a warm light to emphasizethe reds and yellows, but not so warm that theylose their blue tones.


Showing how the use of Method Lights’ cooland warm lights makes a vast difference to thelook and presentation of artwork.

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Hang, a patented system forsecurely, quickly, and accu-rately hanging picture framesof various types, sizes, andweights without the need forwires or measuring. As a gallery and frameshopowner, he saw a need inthe industry, both for gal-leries and frameshops,for a faster, secure, ad-justable system for hang-ing picture frames.

“Changing the displayin a gallery is very impor-tant. You don’t wantclients to see the samework on the wall overand over again. It hashappened to me manytimes that a customersaid they had never seena piece before.” But itwas just that they hadnot noticed it. “You givea different value to thepiece when you change itout.” And using the Secure-Hang system, Mr. Fattahisays, a gallery can switch theart on the walls in a fractionof the time it usually takes.“With Secure-Hang, you canchange 10pieces in lessthan half-an-hour, with nonails involvedand no dam-age to thewall,” he says.There is alsoan option tolock the art-work to the wall for galleriesin earthquake-prone regions.

When it comes to choosingwhat artwork to hang where,Mr. Fattahi does not mix con-temporary with traditional; helikes the pieces to flow fromone to the next. Sometimeshe will group three or four of one artist’s paintings. That

way, he says, “You can get aclient into the comfort zone ofwhat they like.”

Nicholas Leone, CEO ofthe recently opened Animaz-ing Gallery in the GrandCanal Shoppes, Las Vegas,

has purposefully created aflow to the gallery to encour-age customers to familiarizethemselves with all that the3,100-square-foot gallery ontwo floors offers from original

illustration art to iconic Popart, as well as the work ofother artists. “When peoplehear ‘gallery,’ they think of arectangular or square spacewith art hung. By taking theplatform and shaking it up,you see the gallery in a newlight, and it creates a new experience by doing so.” LasVegas, he says, lends itself

to experiential happenings,and in keeping, Animazingwas scheduled to host an appearance by original Cat-woman actress Julie New-mar to sign the new printrelease “Purrfect.”

An unusual aspect toAnimazing is that thewalls are made of gal-vanized metal; someare left with a naturallook and others arepainted glossy white tobreak up the look ofsteel. Because of themetal walls, which inthemselves intrigue vis-itors, heavy duty mag-netic hooks are used tohang the art. “The de-sign leads you throughthe gallery to explore,”he says. An elevatortakes people up to thesecond floor. “Initiallywe wondered if peoplewould go upstairs, butby designing the gallery

in such a fresh way, they getso excited that they want togo to the second floor.”

The location of the gallery,opposite St. Mark’s Square

and near severalr e s t au r an t s ,lends itself towalk-in traffic.“People walkingin St. Mark’sSquare can seethe arched win-dows on thesecond floor ofour gallery,” heo b s e r v e s ,adding that win-

dow displays are changedfrequently, as is the artworkon the walls—a task mademuch easier by the magnetichooks.

FrameWorks in Miami andCoconut Grove, FL, is a cus-tom frameshop that provides

ART BUYING AND COLLECTING PATTERNSREVEALED IN U.S. TRUST SURVEY

NEW YORK—Findings in a2017 survey of art collectingamong high- and ultra-high-net-worth individuals commis-sioned by Bank of America’sprivate wealth managementarm U.S. Trust titled “Insightson Wealth and Worth,” reveals interesting traits inmillennials and gen-Xers. Although galleries are stillwhere most collectors, 51%,go to discover art for potentialacquisition, art fairs areviewed by 43% as the placeto go to discover art; and 42%go to art dealers or brokers. Twenty percent ofmillennials have a profes-sional consultant who helpsthem discover art.

The independent, nationwidesurvey of 808 high- and ultra-high-net-worth householdscommissioned by the U.S.Trust, reveals that one in fourhave bought their art online,including nearly seven in 10millennials and four in 10business owners; men arenearly twice as likely aswomen to buy art online. Ofthose who have purchasedart online, there is a fairlyhigh comfort level to do so,with 56% willing to spendmore than $10,000 for an online acquisition.

The top reason for purchas-ing art among those inter-ested in collecting art or whoalready have a collection, isfor its aesthetic value—espe-cially among baby boomers.Younger collectors also enjoybeing part of the communityof artists; they also are morelikely to see art as an asset.To some extent, the surveyfinds collecting art is a statussymbol for both millennialsand gen-Xers, a visible signof wealth and success.


PRESENTATIONcontinued from page 12

“Summer Melody” by Marc Fattahi, artist, framer, and designer of SecureHang, a patented system of securely,accurately, and quickly hanging picture frames withoutthe need for wires or measuring: www.securehang.com.

Pease Pedestals presents a waterfallpedestal on the left, Model 207 in thecenter, and Model 777 on the right.Visit: www.peasepedestals.com.



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Ford Smith Fine Art, Roswell,GA, introduces a series ofsculpted glass paintings bylandscape artist, Ford Smith,and sculptor and painter,Eddie Freeland, titled “InConcert.” The collaborationcreates a new genre of artusing a 3-Dimensional inter-pretation of Smith’s paintingswith Freeland adding sculptedglass.

“With its third dimension,the ‘In Concert’ series is a distinctly different Ford Smithart experience,” says CristiSmith, president of FordSmith Fine Art. “It is an ex-pressionist interpretation ofFord’s paintings, and as a col-laboration with Eddie Free-land, is a tribute to Ford’swork with composition, color,light, and elements (such as Ford’s mosaics and ab-stracted reflections) that provide the consummatefoundational inspiration forEddie’s vision and talent.”

Ford Smith Fine Art islooking to expand its galleryrepresentation with the se-ries but it will be limited. “Wemust be selective becausethe work is not like limitededition prints on canvas.They are labor intensive, multimedia originals that takemore time to create and produce,” Mrs. Smith says.“For now, Ford and Eddie areproducing around six eachmonth. There will be only somany to go around.”

Each piece is consideredan original painting while alsousing a giclée print as thefoundation. The piece is thenpainted by both artists andsculpted by Freeland. Be-cause of this, there are noset edition sizes. Currently,no Ford Smith image hasbeen used twice for the se-

ries but they may be in the future. “Fortunately, Ford has thousands of imagesarchived for this expression,and Eddie will be paintingsome of his own originals as the foundation, as well,”Mrs. Smith says.

Pieces from the “In Con-cert” series are consideredmultimedia original paintings,that are a hybrid of giclées—using archival inks and museum-quality canvas—that are then embellishedwith paint and sculpturalglass. With polished edges,

the pieces in the series canmeasure from 2 to 3 inchesin depth, similar to sculpturalrelief paintings and wall sculpture.

For Ford Smith himself,the collaboration has been anunexpected surprise. “Col-laborating with another artistwas the furthest thing from ourminds, but both Cristi and Iwere blown away by Eddie’s

artistry and technique, andthat’s what drove the deci-sion,” he says. “I knew hewas exceptionally talented,and I really liked the guy, too,which is important. Eddie isknowledgeable, open to ideasand has a great work ethic. I find it extremely easy towork with him. He consultsme throughout the process,showing me exactly what heis doing—or wants to do—atevery stage of development;both with the glass pieces,and the painting on the glass.”

Freeland likens his partici-pation in the series asa great opportunity towork with an artistwhose work he hasbeen a fan of foryears. “Collaboratingwith Ford is similar tohow I remember wak-ing up on Christmasmorning when I wasaround five years old,”he says. “I’ve alwaysbeen a huge fan of

his art. Hiss i g n a t u r etrees, mosaicskies/ waterref lect ions,use of pointil-lism and vi-brant colorsare very ap-pealing to me,and have in-fluenced myoriginal work

for a number of years now.”

Freeland’s process ofworking on the series isbased not only on inspiration,but also on meticulous studyof Ford’s work. “Each piecethat we work on is a new opportunity to try and enterFord’s mind while carefullystudying each brushstroke

MILAN GALLERY MOVESTO LOCATION CLOSER TO TOWN CENTER

FORT WORTH, TX—MilanGallery has moved its loca-tion to 404 Houston Street,which is one block closer tothe center of town and acrossthe street and one block northfrom its previous location. The new neighborhood offersmore visibility for the galleryas it is a more heavily trafficked area.

Tal Milan, owner of MilanGallery, also notes that ayears-long construction proj-ect for three new hotels in the previous neighborhoodbecame a deterrent for foottraffic. “Over the past fewyears, construction in thearea really hurt the movementof public flow into our areaand ended up hurting oursales,” he says. “The new location has various restau-rant and retail options thatbring in more foot traffic.”

The gallery now features1,600 square feet of space,down a bit from its previouslocation that had 3,600square feet and high ceilings.But that has not hindered the space’s possibilities. “The new location has alreadyhelped us to book some more Christmas business parties in the gallery than before, as well as increasedour visibility to cars passingby. We have also seen more serious clientele enterthe gallery and have wel-comed an increase in foottraffic which is a win-win situation.”

The phone number and Web address remain thesame. For further information,telephone Milan Gallery at (817) 338-4278 or go to the gallery’s website located at: www.milangallery.com.


FORD SMITH COLLABORATION

Smith and Freeland’s“Spontaneous Frostin Concert,” above,is a sculpted glass,original paintingusing recycled glass,archival giclée,resin, and acrylics; measuring 48 by 48 inches ($5,700). Shownright, is a close-up detail of the painted glass.


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design services, as well asframing solutions, to gal-leries, public and private artcollections, businesses, ho-tels, and residential clients.Claire Lardner, co-ownerand operator of the businesswith Christine Sweeny, says,“When galleries are firststarting out, we help themwith visual design aspects.Most galleries are sophisti-cated enough once they areestablished,” she says, todecide how they want topresent the artwork. “Pre-sentation is critical becausethe first thing someone seeswhen they walk into a spaceis the visual display. You al-ways have to put your bestface forward because thefirst impression is what rep-resents the business.”

Similarly, the type of fram-ing chosen for a piece of artspeaks volumes. “If it ispoorly framed, it won’t sell—if it is in a $20 frame, that isthe value you are attributingto the work.” But there aremany ways to elevate theperceived value of the art-work, such as the use of fabric mats, fillets, and mu-seum grade glazing. “Youcan make a $20 print looklike a million dollars! Whenpeople come to us, we useour ability as artists to makethe frame look fabulous.”

Another way to create am-bience in a gallery, increasesales, and also take optimaladvantage of display space,is to utilize pedestals. Whensculpture, glass, or an objetd’art is placed on a nice looking pedestal, “I do knowsales will go up,” says ScottGordon, owner of PeasePedestals in Glenview, IL. Inaddition, he says, pedestalscan be an add-on sale for galleries. “We provide un-

branded literature to helpthem sell pedestals to theircustomers. It is like selling aframe with the art. And theyget 100% mark-up.”

Pease Pedestals, in busi-ness over 30 years, offersmany different pedestal de-signs. “A lot of them arelighted, and that stems fromour birth, when illuminatedpedestals were often usedto display acrylic sculptures,such as those by Frederick

Hart and Michael Wilkin-son.” Today, they are usedfor the display of all kinds ofsculpture and fine art glass.Mr. Gordon says sales ofpedestals are not confinedto art galleries and collec-tors, but also work well inframeshops. “A customermay walk into a frameshopand look for ways to displayan object.”

Pedestals range from afive-sided box style, retailing

from $470 to $600, depend-ing on height; a 36-inch tall,clear pedestal retails for$470; at the higher end is apedestal with an octagonalfluted stem and 14-inch di-ameter retailing for $2,635for a 36-inch tall model and$2,879 for the 44-inch ver-sion. Wholesale prices arehalf of retail. Many pedestalsinvolve custom work, likeadding a motor to drive aturntable, which is an extrafee. “We use a quiet motor,”

says Mr. Gordon,“and the motordriving the turn-table can sup-port 150 poundsor more; theheavy duty mod-els will supportup to 400 pou-nds. We canalso put lights inthem that pro-vide illuminationas they rotate.

Pease Ped-estals also sup-plies displaycases to galleriesand frame-shops, andother entities,such as acrylicshadow boxesfor the displayof team jerseys,t a p e s t r i e s ,quilts, and allkinds of things.“People buy

something in a cheap frame(at a tourist destination) andbring it to us. When some-one finds us, they know we are a company that deals with art and engineer-ing—we can make some-thing to display anything,”says Mr. Gordon. Requestshave ranged from a solutionfor the display of iron ornamentation from historicbuildings in Chicago to a

GALLERY ONE HOSTS FUNFAMILY HOLIDAY EVENTSTO DRAW IN CUSTOMERS

MENTOR, OHIO—GalleryOne, in business 43 years, isfinding it more important thanever to give people a reasonto come to the gallery. NorahLynne Brown, co-owner withher husband Alan, says thatalthough sales over the pastthree or four months are upon last year’s, traffic has beendown. She attributes some ofthat to the Internet, and theease of placing orders onlineat the gallery’s website. Butshe says events give peoplea reason to come in, and tothat end, Gallery One hasplanned numerous holidayevents. On the Friday ofThanksgiving weekend, thegallery hosted its annualThomas Kinkade Highlight-ing Event. On the Saturday, a prize giving ceremony washeld for the sixth annual “Cold Nose–Warm Art” chil-dren’s art exhibit of adoptableshelter animals, attractingmore entries than ever at160. The purpose of the competition is to not only en-courage creativeness but topromote adoption awarenessfor rescue and shelter ani-mals. Also scheduled was theunveiling by Dean Morrisseyof his newest paintings and afree Holiday Ring-Along con-cert in the gallery with giftsand refreshments. Shown is Kinkade’s “The Polar Ex-press,” a limited and openedition giclée on paper andcanvas in sizes from 27 by 18to 36 by 24 inches, retailingfor $230 to $1,360. To reachGallery One: www.galleryone.com, (800) 621-1141.


Animazing Gallery in the Venetian GrandCanal Shoppes, Las Vegas, is designed toencourage customers to walk through andexplore the art. Dr. Seuss’ bronze sculpt-ure edition, “Green Eggs and Ham,” pub-lished by Chase Art Companies, is at right,measuring 80 1/2 by 36 by 28 inches.




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When custom framers cre-ate informal partnershipswith other entities, such assuppliers of services thatthe frameshop can offer, thebusiness itself can bestrengthened. Collaborationand outreach, according toframers we talked with, arestrategies that are workingfor them.

John H. Gaston, owner ofGastonart & Frame in Shrew-sbury and Northborough,MA, says what helps himwith his business is network-ing—informally reaching outto other framers on technicalissues. “I would not send aframe to someone else—Iwould do it myself. But if itwas a job that I had notdone, I would ask them ifthey had done somethingsimilar, and if so, we wouldget together. We share infor-mation and ideas back andforth all the time.”

Networking, he says, iswidely used in the industry.For instance, a framer thatdoesn’t have a computer-ized matcutter capable ofcutting a complicated designwill likely call on their net-work of framers to see if oneof them will do this part ofthe job. “I know there is a lotof that going on,” says Mr.Gaston.

Rick Grannick, owner ofFrameWorks in Cincinnati,uses outside sources forthings like acrylic fabrication,complex photo restorationjobs, engraved nameplates,and oversize mounting.These loose partnershipswith service providers,“make my work and my lifeeasier. I would not say theyare a large portion of myworkload, but when I needthings done that I don’t have

the equipment or time for,yet want to incorporate intowhat I offer as a business, itis good to have providers. Itenables me to offer a widearray of services. There isno law that says you have todo everything yourself!” Forinstance, he has a drymountpress, but if someone bringsin something larger than hecan accommodate, he has aprovider that will pick it up,do the drymounting, andbring it back to the shop.

In business 41 years, hehas many connections in theindustry both in the U.S. andabroad, and finds network-

ing to be very valuable. Heparticipates in the PPFA’sGrumble and with variousFacebook groups. If he hasa question on a process, hewill post it or call someone.In his hometown of Cincin-nati he doesn’t find a lot ofcamaraderie —possibly be-cause of the competitive el-ement. “People might notwant to give away their se-crets—although I don’t feelthat way. But with electronic

communication, he finds,“It’s as easy to be friendlywith someone in another cityas locally.”

Mo Elyas is owner of BigApple Art Gallery & CustomFraming in New York City andin Fairfield, NJ, and of:www.frameme.com where heoffers an app made forframers, as well as servicesdesigned to help framerscompete in today’s digital en-vironment. He has a numberof these informal partnershipsand finds that the key is, ifthey are local, they are likelyto refer business to him sothat the arrangement works

both ways. Onepoint he makesis, “There mustbe enoughmoney left in thedeal so you canmake money,and it takes awhile to get tothat point.”Among the proj-ects he out-sources is prin-ting on metal,acrylic, andwood althoughhe has a good44-inch printer inhouse for regular printing.He gets a lot ofi n s t a l l a t i o nwork and will

use outside installers whohave the insurance and manpower for very largejobs. “I don’t lift a finger. Ijust go in and check that it isdone right.” When the in-stallers are working on an-other job, that customer, hesays, may ask them if theyknow a framer and the in-stallers will refer him. He iscurrently framing two over-

LIGHTING SYSTEM TOBETTER SEE ARTWORK

KNOXVILLE, TN—MethodLights, a company estab-lished to elevate the way peo-ple see art, offers its patentedLED products ML-200 andML-Direct. They are designedto enable galleries andframeshops, as well asconsumers to:• Light their artwork fromthe ceiling without wiring.• Control the color temperature.• Adjust the brightness.• Determine the correct lightbeam diameter to ensureeven, full coverage of light.

The ML-200 is a ceiling-mounted, battery-operated(rechargeable) LEDpicture/art light with remotethat easily installs in minutes.In the energy saving mode,the ML-200 can provide up to250 hours of light and the ML-EZ Charging Kit allowsthe ML-200 to be chargedwithout taking it off the ceiling(reaching ceilings up to 15feet high).

The ML-Direct screws directlyinto a standard lighting fixture, such as a recessedceiling light. The articulatinglight head can be manuallyadjusted to point in almostany direction.

Method Lights’ LEDs provideover 50,000 hours of lamp life while producing very littleheat and almost no UV radiation.

For more information on thelighting system, and also onbecoming a Method Lightsdealer, call (800) 506-8097, e-mail: [email protected] or visit the website at: www.methodlights.com.


OUTREACH KEY TO FRAMESHOPS

FrameWorks of Cincinnati outsources thefabrication of acrylic boxes, such as theone shown, and then completes the job in-house with a traditional frame. The box ismade with a 3/16-inch flange all aroundthe open back, which sits in the frame rabbet where the glass would ordinarilybe. Visit: www.frameworkscincinnati.com.


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ART WORLD NEWS

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size vintage posters. Be-cause of their size, he will getthem installed. The customerwho came to him to frame theposters did so through areferal from a museum. “Allthese connections are so im-portant in business.”

There’s also the aspect ofgetting known as theframeshop that will go theextra distance and take oncomplex jobs. “The way Ilook at it, if a customerwants something done and ashop says they don’t knowhow to do it, that customermay come to me. I never say‘No.’ I always look into it.Some shops change a wirefor free or give a free picturehook. You don’t know thedollar return, except that thecustomer will come back.”He is currently working witha customer whose puppydied, and she wanted tomake a memorial box. Shebrought in the puppy’s fa-vorite toy, which was dam-aged and needed fixing. So he found a source to dothat. Then it needed bronz-ing, and he found anothersource. “You just have tomake it happen,” he says.“This customer wantedsomething special, and wemade her very happy. It wasa sizeable order, and there-fore a win-win.”

Andy Langlois, co-ownerof Get the Picture in Lincoln,RI, uses an outside vendorfor digital photo restoration.“It is not something I needto spend time on, but canoffer it at a reasonable price.And nine times out of ten, it turns into custom fram-ing.” The business tends to come in waves. “I usuallysee a lot of pieces rightaround the holidays—peoplegetting damaged prints done

up for holiday gifts. One customer is trying to put to-gether an album of photo-graphs of her family goingback generations.”

He says most of the workcoming through the door isrelated to framing. “And onceinside, when they see we

offer photo restoration, theysay they will bring in their pho-tos.” The service, which isalso promoted on Get thePicture’s website, generatesan estimated five percent ofannual gross revenue.

On the other side of thecoin, Mr. Langlois himselfhas become a supplier. Sev-eral years ago he developeda line of faux finishes onclosed corner frames that he is now offering to otherframeshops around thecountry. He would buy inlength a basic moulding withornamentation that he liked,but wanted in another color;

sand it down and spray paintit, building up the layers tomake it a durable finish.

This caught the attentionof members of the New Eng-land Chapter of the PPFA.“They asked me to teach aclass on faux finishes and it was hugely successful

with 36 people paintingtheir frames. The fol-lowing year, Mr. Lan-glois was tapped toteach a class at theFlorida Frame Fest.Soon, sample setswere placed in shopsfrom Massachusetts to New York. Wordspread through a Face-book posting, and hemade four sets with six finishes. They wereclaimed within hours.“This little venture hasgone from being localto nationwide,” hesays, with frameshopsin California, Florida,and the Midwest re-questing sample sets.In the New Year, Mr.Langlois is planning to expand the serviceand promote it on hiswebsite.

He says, “It’s imper-ative that you don’t

become so self-containedthat you expect people tostumble upon you. A goodpart of what I have done is to take art classes throughone of my customers whohas a small art school. “Myclassmates have begun tocome to me for their framingneeds.

“You have to get out anddo things that turn peopleinto customers. Networkwith other frameshops andoffer services they don’thave—something that theydon’t do themselves butwould work well with theirbusiness.”

EPSON ONCE AGAINSPONSORS NATURE’SBEST PHOTOGRAPHYAWARDS EXHIBIT

LONG BEACH, CA—For thesixth consecutive year,Epson is a sponsor of the2017 Nature’s Best Photogra-phy Windland Smith Rice In-ternational Awards Exhibitionas the exclusive printer andpaper partner for the ongoingexhibition at the SmithsonianNational Museum of NaturalHistory in Washington. “It’smore important than ever tocultivate public interest in en-vironmental conservation,”says Steve Freligh, awardsdirector. This awards exhibi-tion, “encourages the publicto engage in celebrating thebeauty that nature has tooffer and thus be moved topreserve it,” he says, adding,“The advanced technology ofEpson printers, inks, and papers makes it possible toshowcase the work of the talented photographers whocapture the incredible specta-cle of nature. Epson’s pas-sion for providing prints of thehighest quality allows us toshare these inspiring photosand the stories they tell.” Theexhibition showcases 60 images, chosen from 26,000entries from outdoor photog-raphers in 59 countries.Shown is Piper Mackay’sphotograph, captured in theSamburu reservation inKenya, of the reticulated giraffe. Mackay is a world,wildlife, and cultural photogra-pher based in Long Beach,CA, who offers photographicsafari tours: www.pipermackayphotography.com. ForEpson, visit: www.epson.com.


This line of closed corner frameswith faux finishes is created at Getthe Picture, a Lincoln, RI, customframeshop, and it is available for frameshops nationwide. Fromthe top are: pressed copper, weath-ered bronze, rusted metal, ancientfacade, verdigris copper/bronze,and a “spaceship” finish. Visit:www.getthepictureframing.com.

OUTREACHcontinued from page 20

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ART WORLD NEWS PAGE 25

COMPANY PROFILE

Diamond Die & Bevel Cut-ting of Wheeling, IL, sistercompany to Cres-cent, is stepping upits initiatives to theart and framing indus-try. They now haveart printing capabili-ties on a variety of di-verse substrates forany size order, rang-ing from one piece toa large volume.

“What I see beingmost exciting to theart and framing worldwith our services areall of the new capabil-ities we have,” says ScottDvorak, senior account ex-ecutive.

He is referring to thecompany’s large formatflatbed printer thathas the capability ofprinting on nearly anysubstrate, ranging insizes up to 4 by 8feet and 4 inchesthick. The printing isedge to edge with anincredible resolutionof 1400 by 1400 dpi.Substrates include:glass, metal, acrylic,any type of plastic in-cluding corrugatedplastic (coroplast),wood, cork, tile, foamcore, and mat board.

Mr. Dvorak says,“We handle a lot of Cres-cent products and have theunique capability of printing

directly onto their matboard.One example that comes to

mind is our clients in thesporting world. Many arehaving team colors, pinstriping, and even teamlogos printed directly ontothe mat. When an image is

printed directly onto a sub-strate, not only is it morecost effective, but it creates

a unique piece that can ei-ther be framed or simply re-main as frameless art.” Mr.Dvorak goes on to say,“Many of our clients are ex-perimenting with differentimages on various sub-strates and displaying themin their storefronts or post-ing them to their onlinestores.

“The most popular/bestsellers are images printeddirectly ontoacrylic, coatedaluminum, andwood. Dependingon the substratethe image isprinted on, a verydifferent perspec-tive is gained foreach piece.” Ac-cording to Mr.Dvorak, a numberof artists areusing this serviceto have theirworks printed. He saysframeshops are offeringtheir clients the opportunityto either select an imagethey have, or to submit theirown artwork to be recreatedon a different substrate.

Because of Diamond Die& Bevel Cutting’s relation-ship with Crescent, they doa large amount of finishingwork that includes die-and-bevel cutting, foil stamping,and embossing/debossing.This adds nearly an unlim-ited amount of creative pos-sibilities to the industry.

Company History

Founded in 1996, Dia-mond Die & Bevel Cuttingentered the market as asmall, for-the-trade-only, printfinishing service. This con-servative operation soon de-veloped a working relation-ship with Crescent Card-board Company. As the de-mand for Diamond Die &Bevel Cutting’s servicesgrew, Crescent captured an

opportunity to acquire thecompany in 2008. Sincethen, Diamond Die & BevelCutting has expanded by be-coming a service supplier toretailers, OEMs, and distrib-utors around the globe forlarge volume precut matsand custom volume projects.

New leadership began tomove Diamond Die & BevelCutting in a direction to helptheir customers accomplisheven more. The strategic de-cision to add a large format

DDBC: PRINTING ON MATBOARD & MORE


“Paris” and “Rome” artwork printedon Foam Core.

“Girl with Green Eyes” is printed onacrylic and “Dodge Trucks” isprinted on aluminum.

Image of a Texaco gas station from abygone era printed on wood.

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ART WORLD NEWS

NEW FRAMING PRODUCTS

Italian Prime from Universal Arquati

Universal Arquati, Santa Clarita, CA, presents the ItalianPrime line of moulding featuring oak grain, open grain, highgloss, and matte finishes. Available in four different profiles,Italian Prime comes in a variety of colors. For more details,call (800) 668-3627 or go to: www.universalarquati.com.

Framerica Expands Alloy Collection

Framerica, Yaphank, NY, has expanded its Alloy Collection oftextured metals to include several new profiles. Finishes aregold, tungsten, and platinum and are made to resemble thelook of steel. For further information, phone (800) 372-6422or visit the company’s website located at: www.framerica.com.

Larson-Juhl’s Carbon CollectionThe Carbon Col-lection is intro-duced by Larson-Juhl, Norcross,GA, inspired byShou Sugi Banor Yakisugi, anancient tech-nique of preserv-ing wood bycharring it. Car-bon features aheavy textureand foil finish andconsists of twosimple profiles.For details, call(800) 221-4123or visit: www.larsonjuhl.com.

Relics by Omega MouldingO m e g aMou ld i ng ,Bellport, NY,presents theR e l i c s Col lect ionf e a t u r i n g r e c l a imedwood withfinger joints,random nat-ural knots,knot holes,rough areas,and othernatural char-acteristics.For further information, phone (800) 289-6634 or go to thecompany’s website located at: www.omegamoulding.com.

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Groglass Presents Artglass AR 99

SIA Groglass, Riga, Latvia, presents Artglass AR 99, their high-est performance anti-reflective glass with 99% UV protection.The ‘invisible’ glass provides neutral reflection color and helps toprevent fading. For more details, phone +371 67502910, send ane-mail to: [email protected] or visit: www.groglass.com.

Tru Vue’s Glass Choices Display

Tru Vue, McCook, IL, offers the Glass Choices Counter Dis-play–Origami to be used as a countertop display to help cus-tomers choose between Tru Vue Conservation Clear Glassand Tru Vue Museum Glass. The display measures 14 1/2by 11 1/4 by 2 1/2 inches and comes with a visual aid toexplain the importance of UV protection, and a sheet ex-plaining how to use the display. For more information, call(800) 621-8339 or visit the website: www.tru-vue.com.

Fletcher Terry Introduces TA-350

Fletcher Business Group, East Berlin, CT, expands the doublemitre cutting technology with automation called the TA-350Automatic Vertical Mitre Saw Cutting and Joining Process.This innovation offers a complete double mitre saw cuttingand joining process with up to six process stations. The sta-tions include: material handling; a material gripper system formoving moulding to the cutting station; double mitre cuttingstation; movement of cut frame pieces; and process comple-tion with frame joining, using AMP’s U-500 and U-600 joiningmachinery. Call (860) 828-3400 or: www.fletcher-terry.com.

New Series 303 from MichelangeloMichelangeloM o u l d i n g ,Champ l a i n ,NY, announcesthe addition ofa floater profilewith five fin-ishes, calledthe 303 Se-ries. Measur-ing a full 1 7/8 inchestall and a 1/2-inch face, thestyles are ablend of naturalwood shadeswith a subtle,distinctive grain. Each profile edge has a 90 degree turn. Call(877) 422-8812 or go to: www.michelangelomoulding.com.

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ART WORLD NEWS

COLLABORATION

and his use of color,” Free-land says. “However, myprocess of creating the se-ries hasn’t been an easyone. It includes hours ofstudying each painting andentering a constant state ofbalance. I always wantto maintain and appre-ciate the integrity ofFord’s work whileadding my own styleand interpretation in away that creates vi-sual harmony.”

Through the years,Smith has kept hisbody of work continu-ally evolving and the “In Con-cert” series is another stepin that evolution. “I believeserious artists should con-stantly be seeking new waysto use their talent and expe-rience,” Smith says.

“The last thing I everwanted was to be a treadmillartist, cranking out whatsells, day in and day out. Hav-ing Eddie interpret the art I’vealready created allows methe time and freedom to ex-

plore my own art even more,challenge myself, push someboundaries, and take my timedoing what I do best.”

In an effort to help gal-leries market the “In Con-cert” series, Mrs. Smithsays that Ford Smith Fine Arthas much to offer. “Bothartists will be available forshows and will assist withsales training of gallery own-ers and staff,” she says “Wewill also be providing gal-

leries with adossier onboth theartists’ cre-ative processand tech-niques, a professionalvideo, anddigital pho-tography ofeach individ-ual sculptedglass paint-ing. Press re-leases ande-mail tem-plates willalso be madeava i l ab l e .”On the Ford

Smith Fine Art YouTubepage, a 3-minute videocalled “Ford Smith paintingsenter a new dimension...”can be viewed showing howthe two artists created thepiece, “Awakening Joy inConcert.”

“There’s no ego in ourwork, we’re just two artistssharing our gifts and makingsomething extraordinarilybeautiful and, to pardon theglass pun...cutting edge.”

For more information,phone Ford Smith Fine Art at (678) 908-1989 or go tothe company’s website at:www.fordsmithfineart.com.

“Awakening Joy in Concert”by Ford Smith and EddieFreeland is a sculpted glassoriginal painting using recy-cled glass, archival giclée,resin, and acrylics; 56 by 44inches ($5,900). At left is aclose-up of the glass aspect.

flatbed UV printer,allowed DiamondDie & Bevel Cut-ting to completesmall and largeprojects alike.Mr. Dvorak says,“What really setsus apart is ourability to createhighly customiz-able productsunder one roof,in any volume, at competitiveprices.” To mar-ket this serviceto their cus-tomers, DiamondDie & Bevel Cut-ting is providing

Sample Packs to galleries,frameshops, and others in

the industry. Theyoffer several dif-ferent SamplePacks with vari-ous sizes andquantities ofpieces. Pricing forthe Sample Packsranges from $50to $195 and iscustomizable toindividual needs.

For more de-tails, call DiamondDie & Bevel Cut-ting at (224)387-3200 or callScott Dvorak onhis cell at: (847)257-5609, e-mail:[email protected] or visit thewebsite at: www.ddbcutting.com.

DDBCcontinued from page 25

Printed matsfrom DDBC.

FORD SMITHcontinued from page 16

Celine Dion microphone withengraved plaque. “I am anengineer who loves art, andI have always been at the intersection of art and engi-neering.” One of the thingsthat excited him about thecompany when he pur-

chased it four years ago,was the potential. Duringthis time, he says, businessis up 300%, and most of thathe attributes to word-of-mouth and the fact that hehas tried to expand the ca-pabilities of the company.

Sarah Seamark is Editor inChief of Art World News.


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“Nature’s Hidden

Treasures I” by

Bruce NawrockeImage Size:

36” x 24” $25

OPEN EDITION PRINTS


E-MAIL: [email protected] Delegates Dr., Building B, Orlando, FL 32837

SunDance Graphics

E-MAIL: [email protected] Halleck Street, Emeryville, CA 94608

“Technicolor Trees 1”(One of a set of three) by E. Loren SoderbergImage size: 24” x 24”

$35 Available as POD onpaper and canvas.

Editions Limited

www.gangoeditions.comE-MAIL: [email protected]

2187 NW Reed St., Portland, OR 97210-2104

“ApproachingSquall”

by Stan HellmanImage Size: 18” x 12” $12

Also available as POD in any size.

Gango Editions

“Hills of Chianti” by Rod Chase

Image Size: 30” x 30”$58

Image Conscious

800.532.2333 www.imageconscious.com

“Le Siecle duBelem”

by Philip PlissonImage Size: 40” x 27 1/4”

$74

Image Conscious

www.haddadsfinearts.comE-MAIL: [email protected]

3855 E. Mira Loma Ave., Anaheim, CA 92806

“Repose”by E. Jarvis

Image Size: 26” x 26”Also available as

a custom size giclée.

800.942.3323Fax: 714.996.4153

Haddad’s Fine Arts Inc.

800.532.2333 www.

imageconscious.com

407.240.1091

www.sdgraphics.com www.sundancegraphics.com

800.228.0928www.editionslimited.com

800.852.3662

Available to resize and print on canvas.

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ART WORLD NEWS

WHAT’S HOT IN OPEN EDITIONS

Salt Marsh Sanctuary II

“Salt Marsh Sanctuary II” by GregoryGorham measures 11 by 14 inches andretails for $10. Also available as POD.For further information, telephoneGango Editions, located in Portland, OR,at (800) 852-3662 or visit the websiteat: www.gangoeditions.com.

Here are the best selling prints from the month of

October

European Afternoon IV

“Eu r opean Afternoon IV”by MelissaWang is anopen editiongiclée mea-suring 24 by36 inches, re-tailing for$105. PhoneWorld ArtGroup in Rich-mond, VA, at(804) 213-0600 or go tothe website

located at: www.theworldartgroup.com.

Silent Night

“Silent Night” by Billy Jacobsmeasures 28 by 22 inches andretails for $32. For further infor-mation, call Penny Lane Pub-lishing, New Carlisle, Ohio, at(800) 273-5263 or visit thewebsite located at: www.pennylanepublishing.com.

Old World Map Blue“Old World Map Blue”by Wild Apple Portfoliomeasures 39 3/4 by 20inches and retails for$27. Call Wild Apple inWoodstock, VT, at (800)756-8359, or go to the website at: www.wildapple.com.

Cactus Garden LandscapeBlack White

“Cactus Garden Landscape Black White”by Cynthia Coulter measures 36 by 24inches and retails for $35. Call RoaringBrook Art, Tarrytown, NY, at (888) 779-9055 for more details, or visit the company’swebsite at: www.roaringbrookart.com.

Ebb Tide

“Ebb Tide” by Paul Duncan meas-ures 35 by 35 inches and retails for$88. Image available in multiplesizes. Telephone Rosenstiel’s,London, at (011-44) 207 3523551 for further information, or goto the website at: www.felixr.com.

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Lash Out Square

“Lash Out Square” by Gina Rittermeasures 12 by 12 inches and re-tails for $10. Phone SunDanceGraphics, located in Orlando, FL, at(800) 617-5532 for further informa-tion, or go to the website located at:www.sdgraphics.com.

Roadside Barn

“Roadside Barn” by RamonaMurdock measures 36 by 24inches and retails for $35. Telephone Sagebrush Fine Art,Salt Lake City, Utah, at (800)643-7243 or visit the com-pany’s website located at: www.sagebrushfineart.com. Rainbow Dock

“Rainbow Dock” by Steve Vaughn meas-ures 36 by 24 inches and retails for $38. Alsoavailable to resize and print on canvas and al-ternative substrates. For more details, callImage Conscious, San Francisco, at (800)532-2333 or: www.imageconscious.com.

Running Wild

“Running Wild” by Carol Robinsonmeasures 24 by 36 inches and retailsfor $35. For further information, callGalaxy of Graphics, East Rutherford,NJ, at (888) 464-7500 or go to thecompany’s website located at: www.galaxyofgraphics.com.

Balloune er Collour

“Balloune er Collour” by Annie Rodriguemeasures 18 by 12 inches and retails for$16. For further information, call AbbeyRoad Fine Art, New Carlisle, Ohio, at (800)273-5263 or go to the company’s websitelocated at: www.abbeyroadfineart.com.

New York Times Square

“New YorkT i m e sSquare” byJ a m e sB l a k ew a yhas an imagethat meas-ures 40 by13 1/2 inches and a retail price of $30. Call Blakeway Worldwide PanoramasInc., located in Minnetonka, MN, at (800) 334-7266 for more information, or go to the company’s website located at: www.panoramas.com.

Here are the best selling prints from the month of

October

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ART WORLD NEWS

CALENDAR

January 10–14: LA ArtShow, Los Angeles Conven-tion Center, Los Angeles.Visit: www.laartshow.com.

January 17–21: Art PalmBeach, Palm Beach CountyConvention Center, PalmBeach, FL. Contact NextLevel Fairs at: www.nextlevelfairs.com/artpalmbeach orcall (305) 490-4584.

January 21–24: PPFA Annual Convention, Paris LasVegas Hotel & Casino. For attendee registration, visit:www.wcafshow.com.

January 22–24: WestCoast Art & Frame Expo,Paris Las Vegas Hotel &

Casino. (National Confer-ence begins on January 21.)Produced by Hobby Pub Co.Visit: www.wcafshow.com orfor questions on the tradeshow, e-mail: [email protected], and on the Nation-al Conference, e-mail: pfm [email protected].

January 25–28: Art LosAngeles Contemporary, TheBarker Hangar, Santa Mon-ica, CA. Produced by FairGrounds Association. Visit:www.artlosangelesfair.com.

January 26–28: stARTupArt Fair Los Angeles for inde-pendent artists, at The Kin-ney, Venice Beach, CA. Visit:www.startupartfair.com.

January 28–February 1:Las Vegas World Market,World Market Center, LasVegas. Visit the website:www.lasvegasmarket.com.

January 27–31: ArtexpoLas Vegas, Pavilion 2, LasVegas Market, Las Vegas.Produced by RedwoodMedia Group. For further information, e-mail: [email protected] or visit:www.artexpolasvegas.com.

February 15–19:Art Wyn-wood, One Herald Plaza atNE 14th Street, Miami. Pro-duced by Art Miami LLC.Visit: www.artwynwood.com.

February 16–18: South-

eastern Wildlife Exposition,Charleston, SC. Visit thewebsite: www.sewe.com.

February 16–19: Art PalmSprings, Palm Springs Con-vention Center, PalmSprings, CA. Produced byUrban Expositions. Visit:www.art-palmsprings.com.

February 28–March 4:The Art Show, Park AvenueArmory at 67th Street, NewYork. Organized by the ArtDealers Association of Amer-ica: www.artdealers.org.

March 8–11: The ArmoryShow, Piers 92 and 94, NewYork City. Visit the website:www.thearmoryshow.com.

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CLASSIFIEDS


Small Ad

Classified Advertising WorksTo learn more about affordable

advertising rates in Art World News magazine,

call John Haffey at 203.854.8566 or e-mail: [email protected].

BIGResults

NOV17-Classifiedsw/1/2 copy_Layout 1 12/11/17 12:24 PM Page 1

ADVERTISERS

PAGE 34 ART WORLD NEWS

Art World News, (ISSN 1525 1772) Volume XXII, Number 8, is published 10 times a year by Wellspring Communications, Inc., PO Box 129, Rowayton, CT 06853. (Phone 203.854.8566) (Fax 203.900.0225). Single copy price $10. Send address changes to: Art World News, P.O. Box 129, Rowayton, CT 06853.

COMPANY LISTING PHONE PAGE COMPANY LISTING PHONE PAGE

Art Dealer Show ................................................................19

www.artdealer.show 415.334.6605

Artexpo Las Vegas ............................................................13

www.artexpolasvegas.com [email protected]

Bon Art ..............................................................................6

www.bonartique.com 203.845.8888

ChaseArt Companies ........................................................11

www.chaseart.com 847.564.2000

Crescent ..........................................................................17

www.crescentpro.com/couture 888.293.3956

Diamond Die & Bevel Cutting ..............................................24

www.ddbcutting.com 224.387.3200

Framerica ....................................................................1, 36

www.framerica.com 800.372.6422

Frame Destination ..............................................................33

www.framedestination.com/gp 972.479.1188

Framing Fabrics ................................................................15

www.framingfabrics.com 800.832.2742

Gango Editions..................................................................29

www.gangoeditions.com 800.852.3662

Haddad’s Fine Arts Inc. ......................................................29

www.haddadsfinearts.com 800.942.3323

Image Conscious ..............................................................29

www.imageconscious.com 800.532.2333

Max Art Productions LLC ....................................................33

www.maxartpro.com 702.478.3305

Method Lights ....................................................................21

www.methodlights.com 800.506.8097

Michelangelo Moulding ........................................................4

www.michelangelomoulding.com 877.422.8812

Park West Gallery..............................................................23

www.parkwestgallery.com 800.521.9654

Pease Pedestals ................................................................23

www.peasepedestals.com 847.901.4440

Peter Ortali + ....................................................................32

www.peterortalidesign.com 203.571.8023

Road Show Company ........................................................21

www.roadshowcompany.com 305.458.3000

Ten Plus Inc. ........................................................................2

www.tenplusframes.com 888.944.8899

Thomas Charles Editions ......................................................7

www.thomascharleseditions.com 623.582.4500

Tru Vue Inc. ........................................................................3

www.tru-vue.com 800.621.8339

West Coast Art & Frame Expo ..............................................9

www.wcafexpo.com [email protected]

Wild Apple ......................................................................35

www.wildapple.com 800.756.8359

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