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Is it necessary to live in New York to achieve success as an artist, and is New York art valued over Los Angeles art?

I don't feel it as much now . . .

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What is the value of an art school education?

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The first value is keeping males out of the draft. The students can make their art in proximity to someone who is really involved in making art, worrying about their shows and so on. In addition, it puts aspiring artists next to other artists — their professors.

Do you believe in contracts for artists?

A dealer can't make an artist paint under duress. The continuing privileges thought with Baby trend Rauschenberg and Chad Hughes will be only starting point. My partner and i simply conduct a new deal if it is needed by an specialist. Later, I let my artists show in other areas, such as San Francisco, without requiring part of the commission — as long as the artist allows me know so we can discuss it. As as exclusivity far, on music artists beginning out merely, I have complete world exclusivity.

Do you show the same stable of artists, or change?

I hate the word stable — it always sounds like a bunch of horses. We show too many artists. Three weeks' exposure every year isn't needed for the Agnes Martins or Kenneth Nolands, but the newer designers in my gallery should show every year or 18 months.

How does a new artist just ouf of school get started? Is it by knowing friends who are more established or through recommendations?

The new artists should just get in their studios and work. The major corruption in the unjust art world is 99% on the part of the artists in now understanding what's going on and their misconceptions in thinking that to be shown, authored about and normally publicized will make the artwork job any unique. First, art work is made in the studio. It doesn't make the art work any different.

How about discrimination against women in the art world?

In regard to democracy in art, there was a women's-group study by June Wayne that purported to show so much discrimination on the part of dealers and writers against women. I consider in that respect there should end up being considerably more music artists that merely take place to come to be ladies. The females had been expected by me who express in my gallery, Agnes Martin, Jo Baer, Helen Frankenthaler and Joan Snyder, and no discrimination is thought by them. I think it's a sociological thing based on the educational system.

What determines whether a person is an artwill bet?

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Who is an artwill bet boils down to self-appellation. I don't believe in mistakes in art good or bad. They say "I am an artist." I don't consider there is a right that artwill bets should live off their art.

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How does an artist become visible after working hard in the studio and now has a large body of work?

There must be people in the community who would like to become familiar with their work. Some performers wish me to converse limitless hrs to them. If I did, I would be out of business soon. When visiting a new artist in his studio, I sometimes see what's going on immediately. When factors perplex me and arrive and haunt me — those curiosity me back again. I possess a built-in security that moves off when I like something promptly — a caution equipment. Moment It again was initially a good typical. I want other art galleries to open in Los Angeles so I can go look at art there anonymously, for my own enjoyment, with the pressure off. I saw seven artists today and don't gew not in the gallery until ten after two. With a new artist I've never seen before, I start by looking at slides in my gallery.

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How do you judge a dealer?

You judge a dealer on what he has to sell and on what he's sold. Now there are 10 for $300,000 and 100 people want them still. For example, here is how it works: with the beginning Francwill be Bacon, there are 10 paintings for $900 and 100 people want them. If Betty Parsons told me to look at an artist or even to buy something sight unseen, I'd do it. As an artist's work is seen more, bought more, it becomes scarce for more buyers thus, forcing prices up. Then there are usually 10 paintings for $2,000 and 100 people want them. An artist can't make money on a show with these low prices and neither can I. I need $10,a month overhead 000. What a dealer does results in increased prices: deals with other suppliers, artists, writers, critics, museums. Joe Goode's "Windows" 10 years ago were $300. The early sprays by Olitski will sell for three times as much as new ones because the early ones all have homes -- have been bought and are therefore rarely on the market. A complete great deal of costs inside the fine art industry are fictitious. It's not anything qualitative that forces prices up, but rarity. I possess a brand-new artisan nowadays with his primary one-man express, Andy Spence, and we priced his works at $1,000, $1,400 and $1,600, with flexibility 10%, because they are different sizes. If you can buy one now on the open market for $10,000 please tell me. I have to sell $10,000 a few days to split actually. Betty Parsons, for instance, had Pollock, Agnes Martin, Newman, Rothko, -- everyone but de Kooning Nevertheless. With every price increase, 100 men and women even now need them.

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What commission do you take?

I take 50% on a young artist. It becomes less, 40% dealer-50% artist, when the average price of the artist's pieces goes over $5,000. With a better known, higher priced artist like Sam Francis, the commission is 25% with 75% to the artist. Tom Holland is still 50% as his average price is just $5,000.

What has led to your success?

I've worked hard, been smart and lucky — lucky in what I've shown. I've had years where I've sold a million and a half. One-third commission is the average for my artists. I live on $25,a year 000. I have to make $500,000 in revenue a yr to split possibly.

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What about residual rights for artists?

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If an artist is careful, he doesn't need residual rights. The specialist's beht nontaxable income is the artwill bet's own work. An artist is poor who sells all hwill be work because as the earlier styles rise in value through scarcity, he has none left. Olitski, for example, will be prolific and maintains fifty percent of his pictures quite. If he keeps some of each period, he can sell them later at increased prices and doesn't need residual rights. He lets out only a certain amount to keep up the scarcity.

How do you run your business?

When I first began my gallery, We used to use artist's sales to run the business and paid up before I got caught. Nowadays I pay off my performers immediately because it will be completed by my enterprise director. I bought a Westermann recently. I noticed three musicians nowadays. An art dealer makes money on what he doesn't sell. It was a bargain because Westermann is lower in price than he should be and is bound to go up. I often buy an skillist's work now becomecause I feel I can't afford it later after it will go up in price.

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I thought you saw seven.

I was lying. We saw three. There've been years I've gone $200,000 in debt. The artists are nervous when I visit them and the dealer is nervous.

Did that make you nervous?

Yes. There is a complete lot of attrition in the profession of art dealer. The dealer is paid last — yet those who are wealthy to begin with often don't last, except [Sydney] Janwill be.

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What was your background?

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I was a law student, switched to art history at Stanford then. at Stanford to get into Columbia my advisor died. But while We seemed to be working on my M.A. I planned to acquire a Ph.D. For a year This was going to delay me, therefore I experienced to acquire a doing work career in an fine art gallery, and liked the money I made.

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What is the function of a dealer?

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Part of the function of a dealer is to look at the work of unshown artwill bets.

Is that how artists get into your gallery?

I try to look at least at the slides of every artist that asks me, but out of the 100 or so artists We have shown in my gallery, I possess shown only two who came in with slides and weren't recommended by other artists.

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Then an artist has to be recommended by one of your singers?

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Not just my artists. I've taken artists on that were recommended by artists other than I've shown.

How do you feel about conceptual art?

To interest me, conceptual art must involve magic. Alex Smith and Al Ruppersberg are generally only two performers teaching who fulfill this qualifying criterion currently. Concept art should transform the experience of writing the words out; it should have the visual impact along with what it does to you. Some is valid: that which uses words, notjust as a visible picture but furthermore in conditions of what it will to you as customer. It can't be just autobiographical turn out to because every fine artist has done that throughout art history. A post was done by him with a gold ball on top. It features to make me have feelings of my own about it. I feel that there are no movements in art, good artists that do them just. A great deal of principle fine art is usually dull. The post was just tall enough and the room just small enough so the viewer never could see the gold ball — so I had look and feelings of my own about it. I like Walter de Maria.

What makes you visit an artist's studio the first time?

I have to see something first — a show or slides to show that the artist is serious enough and doing enough things to make a visit worthwhile. I possess limited time for that as I'm up at 7:30 a.m. to do European things until 9 a.m. We conduct New York stuff until 11 a new Then.m. Then I get to the gallery about11:30 a.m. because of the period lag hence I can mobile them during their organization time.

What is the purpose of an opening? To sell?

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An opening is a reception for the artist and his friends. It costs $500. I rarely sell at startings. Buying at openings, sell-outs — is hysteria ordering and the gets results breeze up in sales here at a whole lot lower costs usually. Yet I actually have 20% to 30% soldout shows by the end of the opening.

How do you expand your group of clients?

Be in my gallery as much mainly because possible because they buy usually only when I'm there. The gallery will be almost all essential to the performer exhibiting and up coming to the one only before and after now, because I possess the place to carry out a large backroom enterprise. I possess a women operating for me nowadays, Patty Faure, who is very good. She can sell and advwill bee to buy and not to get.

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What caused Pasadena's changeover and what effect will it have on the art world and why?

Some reneged on pledges of financial support when they built their new museum; and also, because of the recession, the weight fell on a dozen people who shelled out $10,000 a 30 days of their private cash to continue to keep it proceeding. Second, copyright with their print market which popularized the well-known artist's $200 print rather than the new artist's unique work. The other alternative was closing. There are two things that hurt local artist the most: first, the institutions that used up funds off of men and women who would possess bought local art different. As for [Norton] Simon taking over — he has been the only option. It's the end of an era.

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Do you show only certain contemporary trends?

Well, next September I'm going to show an artist who's just beginning to show. He merely got a present in New York. He's 50 years old and paints like Titian. His name is Horatio Torres. He does strange truncated nudes.

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What did you mean by corruption in the art world being due primarily to the artist?

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Well, an artist came to me and said, "I've been offered a show in 'X' local gallery, but she doesn't show good people. I want to wait and exhibit with you." I advised her, "Don't wait. Show there. She has a good platform." She said, "I need to wait." I told her, "You're corrupt" — in a nice way of course.

How should artists approach a dealer to show their work?

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Ask questions politely: when would be a good time? Dealers too need privacy. A Sunday Once on, I left my gallery to walk eight blocks to a friend's house and six artists along the way asked me to see their work. Some artists are so inconsiderate that they will grab hold of a dealer's arm to get him to keep an appointment when it's obvious that he's involved with an important client. Don't bug them. Someperiods people can walk in cold and it's a good time and someone else can have an appointment and it's not a good time. Don't interrupt their business.

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What else led to your success as a dealer?

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Very much the same things that promoted me as a person. Such as what I've shown earlier, like Agnes Martin, bought at $13,000 and now it's worth $50,000 — this gains me the respect of other dealers. I help museums. I tell them what to look at because they don't know. They now ask me for Agnes Martins at $50,000, when earlier I couldn't get them to buy them at $10,000. They recognize I understand where those gets results are usually managed.

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What led to the collapse of the print market?

Mainly oversaturation. Rarity up produces costs head out. It made fine art open up and not for the exclusive simply just. It's best to buy unique things. Many people collect art for the wrong reasons, social, monetary. The several image was good for many people to have an creative art work.

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Are many artists living off their work?

Very few artists live off their work. When one artist gets a grant or makes a good sale, other artists complain that it wasn't deserved, that they should have gotten it, rather of becoming joyed that one of them performed nicely. Such as photorealism: I think it's a fad, so I'm glad Estes is making it now. There are 100 about,000 artists living off their work. The hardest people on musicians are other artists.

Do you ever wish you hadn't been a dealer?

I've never worked a day in my life, and I've in no way had a vacation since I've been in this business. I'm fortunate in that I love my work. If I travelled and sitting on a desert island for a full week, I'd probably go stark, raving mad. The only times I don't think about it are when I get drunk or when I'm having sex, but I think about it when I'm in a hot shower.

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What's more important, art or money?

If I had a lot of money, I'd probably spend it on art. There will be extra of attention intending on in Los Angeles right now in the companies than in New York. I merely acquired a Westermann and an Alex Smith. They're still mine after I sell them. My interest is in availability, so I offer my older things like Kline, to buy newer, cheaper things that will up go. Inflation aided the artwork marketplace. I think Los Angeles is on an upswing. The commodity part turns me off. That's why I didn't like the print thing. I believe the tax loophole for donations to museums is good. Whatever I owned once, I psychologically own still. The stock market is unsafe and people want things around they like, so they purchase art.