Here you will find art news and some of our recent engagements.
Email or call to learn more about how Richan Art can assist with your next Public Art program or acquisition.
October 20, 2023
Art Toronto is Back
It’s already that time of year again! Canada’s international art fair Art Toronto is back, with the opening party fundraiser on Thursday, October 26, and open to the public Friday, October 27 until Sunday, October 29 at the Toronto Metro Convention Centre.
If you would like to schedule a meeting with Principal Art Consultant Emma Landis at the art fair, click here.
August 28, 2023
Artscape in Crisis
For 30 years, Artscape has been the heartbeat of Toronto's grassroots artistic community, providing studios, affordable living spaces, and support to countless artists. But this week, it faces an uncertain future as it is placed into receivership.
Here's why this issue happened:
Rising Costs: As Toronto's cost of living soared, artists relied on Artscape's affordable spaces to create.
Debt Accumulation: Artscape expanded using debt, which piled up during the pandemic when event revenue plummeted.
Property Sale Gone Awry: The plan to sell its flagship property, Artscape Daniels Launchpad, to repay debt didn't materialize as expected.
Financial Lifeline Cut: A vital line of credit extension wasn't secured, leaving Artscape insolvent.
The Toronto arts community relies on organizations and spaces like Artscape. The very rising costs that precipitated its downfall are also the reason Artscape is so crucial to the lives of local artists. Despite an expression of commitment by Artscape to maintain its vision and commitment, its future is uncertain, and hundreds of artists across 14 locations will need to seek relocation of home and work spaces, and many hundreds of creative opportunities could be lost. This is a serious blow to the arts community.
June 03, 2023
ART APPRAISAL HIGHLIGHT - THOMAS HART BENTON
As an advisor and dedicated scholar, I am honoured to have had the opportunity to study Thomas Hart Benton and his contemporaries during my doctoral candidacy. The depth of understanding I gained about Benton’s artistic, vision, techniques, and cultural impact has been invaluable.
I recently had the great pleasure of appraising an artwork by Benton. It allowed me to put my knowledge and passion into practice. I carefully examined the piece, immersed myself in its details, and analyzed its historical context. During my doctoral studies, I delved deep into the artistic movements and influences that shaped Benton’s work. No matter how many great works I come in contact with, I will never cease to be inspired and motivated by the rich tapestry of American art history.
Art appraisals are not merely about assigning a monetary value; they are about unraveling the cultural significance and emotional impact that an artwork carries. By delving into an artist’s world, I can offer a comprehensive assessment that embraces both the artist’s story and the historical context surrounding the creation.
I feel privileged to be in a position where I can combine my academic background and expertise as an art advisor to provide insightful appraisals. My goal is to help collectors and art enthusiasts appreciate the true value and importance of artworks like this one, bridging the gap between artistic appreciation and informed decision-making.
If you’re passionate about American art or are seeking expert guidance in appraising your own treasured artworks, I’m here to assist you. Let’s explore the fascinating stories and hidden gems behind each brushstroke together.
January 05, 2023
New Year, New Plans
At the end of 2022, The City of Toronto enacted some major policy changes in relation to Section 37. As a result, the process for developers to commission public art has changed significantly, and isn’t entirely clear.
If you are in Planning and Development, are a developer, or otherwise invested in Toronto’s urban landscape, please feel welcome to reach out. I would be happy to share with you what the section 37 changes mean for the future of developers and public art.
December 30, 2022
Art Collecting Habits and Goals for 2023
New Year's resolutions can be a great opportunity for art collectors to set goals and make positive changes in their collecting habits. Some potential resolutions for art collectors could include expanding one's knowledge of art history and the art market by attending lectures, workshops, and fairs, and reading books and articles on the subject. Another resolution could be diversifying one's collection by seeking out new and underrepresented artists, media, and styles. Art collectors may also want to resolve to be more proactive in seeking out and acquiring new works of art, rather than waiting for them to come to them. Additionally, collectors may want to be more selective and discerning in the pieces they choose to add to their collection, and take the time to thoroughly research and authenticate works before purchasing. Being more deliberate and intentional in one's collecting, by setting clear goals and priorities for what one wants to achieve with their collection, is another potential resolution. Art collectors may also want to resolve to be more open to new ideas and perspectives, and seek out opportunities to engage with other collectors and the art community. Finally, collectors may want to be more philanthropic and supportive of the arts, by donating works to museums or supporting artists and organizations through charitable giving.
December 2022
Feature in Ontario Home Builder Magazine
In this issue of Ontario Home Builder Magazine, Tracy Hanes writes ‘State of the Art,’ an article highlighting some of the incredible works of public art commissioned by Ontario-based developers.
Richan Art is proud to have provided art consultation and project management for one of the projects featured in this article (page 37).
For this project, internationally celebrated artist Ryan Gander (OBE RA) was commissioned by Lanterra Developments to create Canada’s first permanent work by the artist. The artwork will be installed for the downtown Toronto development Artists’ Alley at 234 Simcoe St.
https://lnkd.in/g4MbUD4x
October 30, 2022
Art in a Time of Inflation
As we approach the fall art auction season, we must consider the effect of 40-year high inflation and rising interest rates.
While art derives much of its value from aesthetics and authorship, we must also view it as an asset class that is subject to the whims of buyer sentiment.
Many investors also appreciate art investments for diversification purposes as it has a low correlation to traditional markets, however this may also be due to the art market being relatively opaque with low transaction volumes and little comparative analysis.
But what might we expect to happen this auction season both around the quality of pieces available and the prices realized?
Anyone who had been planning to deaccession in the near future will likely bring that forward to reduce the economic uncertainty of selling in the next six or twelve months. This means we may expect to see a higher quality slate of offerings all around.
Conversely, many buyers are either hesitant, or want to buy at a ‘discount’, so we may not see the typical protracted auction battles.
My expectation is that we see a ‘flight-to-quality’ that is often associated with periods of uncertainty. That means some of the more desirable lots will go near the high end of the estimate, however I also expect to see a pullback on pricing on some of the lower end works, especially those that have appreciated significantly over the past few years.
If you have any questions on what or how to buy in the upcoming auction season, reach out for a free consultation.
November 7, 2022
public art project managed by richan art featured in Real Estate Management Industry News
https://www.reminetwork.com/articles/ryan-gander-artists-alley-lanterra/
May 30, 2022
The Role of a Public Art Consultant
The role of a public art consultant is to provide guidance and support to clients who are looking to incorporate public art into their projects. This can include a wide range of activities, such as:
Providing advice and recommendations on the types of public art that may be appropriate for a particular project, based on the goals and objectives of the client, the location and context of the project, and the target audience.
Helping clients to identify and engage with artists who may be suitable to create public art for their project, through a process of artist selection and curation.
Facilitating the development of public art projects, by coordinating meetings and discussions between clients, artists, and other stakeholders, and by providing guidance and support throughout the process.
Ensuring that public art projects are completed on time and within budget, by managing the various logistical and administrative aspects of the project, such as contracts, permits, and timelines.
Providing ongoing support and maintenance for public art projects, by ensuring that the artworks are properly cared for and maintained over time, and by providing support to clients and artists in the event of any issues or concerns.
Overall, the role of a public art consultant is to provide guidance and support to clients throughout the process of developing and implementing public art projects, from initial concept to final installation. By providing this support, public art consultants can help to ensure that public art projects are successful and meet the needs of all involved.
April 30, 2022
Why Should Developers Support Public Art?
As developers, it's easy to get caught up in the technical aspects of building – from design and construction to zoning and financing. But while these things are certainly important, it's also important to consider the human side of development – the way that buildings and spaces impact the people who live, work, and play in them. And one of the best ways to enhance the human experience of a development is through public art.
Here are just a few reasons why developers should support public art:
Public art enhances the beauty and character of a development. Whether it's a mural on the side of a building, a sculpture in a park, or an installation in a public space, public art adds color, interest, and beauty to a development. This can make the development more attractive to potential residents, and can help to create a sense of community and connection.
Public art can increase property values. Studies have shown that public art can increase the value of properties in a development, as it enhances the attractiveness and desirability of the area. This means that investing in public art can be a smart financial decision, as it can lead to higher property values and increased revenue.
Public art can support local artists and the arts community. By supporting public art, developers can help to foster the growth of the local arts community, providing opportunities for artists to create and showcase their work. This can help to create a vibrant and thriving arts scene, which can in turn attract more people to the development, and support the local economy.
Overall, supporting public art is a win-win for developers. Not only does it enhance the beauty and character of a development, but it can also increase property values and support the local arts community. So if you're a developer, consider supporting public art – it's a great way to make your development a more vibrant and dynamic place to live and work.
March 29, 2022
Art Market Report 2022
The 2022 Art Market Report is now here and free to download. https://d2u3kfwd92fzu7.cloudfront.net/The_Art_Market_2022.pdf
At a whopping 300 pages, you’ll find everything you need to know about global art sales, trends, and predictions. Don’t have time to read the full report? Key findings are highlighted throughout.
Additionally, we welcome you to reach out to discuss this report or the market in general.
March 17, 2022
Career Panel at Western University
As a graduate of Western University’s MA of Visual Arts program, it was a special treat for our Principal Emma Landis to speak with Western students about navigating the art world and career opportunities that await them.
Emma thoroughly enjoyed speaking at yesterday’s career panel for students of Western University. The panel was made up of women arts professionals whose work represented a variety of career opportunities available to future graduates. It was a true pleasure to join the discussion with such an impressive group of individuals and engage with future change makers!
March 7, 2022
Feature on Queen’s University Alumni Website
It was a pleasure for Emma to speak with the folks in the Queen's University Department of Art History about what she has been up to since graduating. See our interview up on the alumni web page by following the link below:
January 27, 2022
Ryan Gander Elected Member of The Royal Academy of Arts
Richan Art is proud to share that Ryan Gander has been elected in the category of Sculpture to The Royal Academy of Arts. Ryan is the commissioned artist on Richan Art’s public art project for the mixed-use development at 234 Simcoe St by Lanterra Developments (aptly titled Artists’ Alley).
The Royal Academy of Arts is an institution with a history reaching back more than 250 years and it is a great honour to be elected a member. Congratulations to Ryan!
January 4, 2022
Meaningful Art-Inspired Ways to Combat Your Lockdown Blues
Disheartened by the latest lockdown announcement? We’ve created a short list of art related activities for you to help make this time a bit more enjoyable.
Now is as good a time as any to finally read those beautiful art books waiting on your shelf that you haven’t quite gotten to yet. Though not exactly an ‘art book’, Emma will be revisiting Benedict Anderson’s “Imagined Communities.” To support independent bookshops, Emma recommends Bookshop UK.
Need more to do with your kids? Virtual programming for all ages is available at the McMichael, AGO, Art Gallery of Greater Victoria, The Glenbow, Musée des Baux-arts, and many other museums around the country.
Familiarize yourself with online art collections and museums located in the far away cities you’ve been dreaming of. Museums around the world have been working hard to prioritize digital access to their collections. One of the most successful examples is arguably the Clyfford Still Museum in Denver. Bravo to their team for forging ahead with their digitization projects well in advance of the pandemic.
Support local makers and artists. We can do this in so many ways. If you are not in a position to support through purchasing their work, take the time to share their website or social media accounts, talk about their work with friends, colleagues, and family (around the dinner table, host an informal virtual ‘workshop’, etc), or reach out to makers you admire to directly to ask how best you could support them. It’s been a difficult two years for makers/artists and they’ll likely really appreciate the gesture.
Visit public art around the city. One of Emma’s favourite annual amblings is through Winter Stations at Kew and Woodbine Beaches. This year it opens Feb 21 with the theme “Resilience.” Bring your family for a fun art-and-design centred outing.
December 17, 2021
Modernisms, Inside and Out
The recent Canadian Women Artists History Initiative conference, Modernisms, Inside and Out has uploaded the presentation recordings from the conference onto the CWAHI Concordia YouTube channel.
Enjoy access to all the available videos via YouTube:
https://www.youtube.com/playlist?list=PL3gJMmRK8HYeQCR9Rq8JXJJv01sc4D8YQ
Panel discussion topics include:
WOMEN PAINTING WOMEN: MODERN NUDES AND BODIES
INSIDE AND OUTSIDE MODERN ARCHITECTURE
BETWEEN WORLDS: INDIGENOUS ART IN THE MODERN MOMENT
MODERN WOMEN BEHIND AND IN FRONT OF THE CAMERA
MODERN LANDSCAPES: TOWARDS AND AGAINST TRADITION
MODERN LIVES
THE LAST WORDS: ARTISTS ON THE UNINVITED
MODERN SELF POSITIONING
MODERNITY’S MATERIAL CULTURE
SUSTAINED ENGAGEMENTS: KATHLEEN MUNN AND CANADIAN MODERNISM
MODERN RECEPTIONS: GALLERIES AND GALLERISTS
VIEWING MODERN COMMUNITIES
CLASSIFICATION MODERN?
REGIONS OF MODERNITY
MODERNIST NORMS AND MODERN MEDIA
HONOURING JOYCE ZEMANS
August 11, 2021
Artist Announcement
Richan Art is thrilled to announce that Ryan Gander, an incredibly talented and world renowned artist based in the UK, will be creating a landmark work of public art at Artists' Alley in downtown Toronto near the Art Gallery of Ontario and OCAD University.
We are proud to be leading the public art process and working closely with Lanterra Developments Ltd., OCAD University, and City of Toronto to bring this project to life.
June 11, 2021
Art as an Alternative Asset Class
Please feel welcome to reach out to our Principal, Emma Landis, to discuss art and NFTs as alternative asset classes.
June 1, 2021
Podcast Interview on In The Frame
Richan Art’s Founder and Principal Emma Landis was recently interviewed by an Australian art podcast called “In The Frame” to discuss art collecting, her doctoral research, and everything in between!
Hear it on your favourite channel:
Spotify: https://open.spotify.com/show/60py94FM5tahH1T3L5u2O3
Apple Podcasts: https://podcasts.apple.com/us/podcast/in-the-frame/id1569341977
I Heart Radio: https://www.iheart.com/podcast/269-in-the-frame-82944791/
Stitcher: https://www.stitcher.com/show/in-the-frame
RSS: https://rss.com/podcasts/intheframe/
Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9tZWRpYS5yc3MuY29tL2ludGhlZnJhbWUvZmVlZC54bWw
Soundcloud https://soundcloud.com/in-the-frame/in-the-frame-emma-landis
Youtube (https://www.youtube.com/channel/UCM5Y8oY9zHS8GiiEYoTTQEQ)
May 20, 2021
Richan Art featured in Spring 2021 issue of ARTbeat
Richan Art is pleased to share that the company has been featured in the Spring 2021 issue of ARTbeat, created by the University of Victoria’s Department of Art History & Visual Studies. Emma Landis attended UVic for her PhD research starting in 2016 under the supervision of Dr. Allan Antliff. The issue is currently available as a .pdf (email us for a copy), and it will become available at the link below soon!
https://finearts.uvic.ca/historyinart/graduateassociation/artbeat/
April 28, 2021
Latest Edition of Desert X Exactly What We Need
This spring, Desert X offers an exceptional in-person art experience that is exactly what we need right now. In its third edition, Desert X proves once again to be a source of thought-provoking artworks by acclaimed international artists that respond to today’s issues. This year, “the exhibition explores the desert as both a place and idea, acknowledging the realities of people who reside here and the political, social, and cultural contexts that shape our stories.”
While all 13 are certainly worth contemplating (via https://desertx.org/dx/desert-x-21 if not in person), the four that stand out most to me are by Alicja Kwade, Eduardo Sarabia, Zahrah Alghamdi, and Serge Attukwei Clottey.
Sites are located across the Coachella Valley, with visiting hours from sunrise to sunset Monday through Sunday until May 16th.
April 9, 2021
Artist Spotlight: Xing Danwen
Xing Danwen is a contemporary artist born in Xi’an in 1967, the second year of the Cultural Revolution in China (1966-76). In the spring of 1989, she obtained her first camera, a second hand purchase by a friend at a street market in Hong Kong. At the time, she was still a student at the Central Academy of Fine Arts, Beijing and, as with many of her peers at this time was swept up in the Tiananmen Square pro-democracy protests. Though the focus of her formal education was oil painting, photography became the vehicle through which she explored themes relating to gender, illusion, consumption, and isolation within Chinese society during a period of profound change. Xing is recognized as one of the earliest artists in China to employ photography as an art form.
In her series “Urban Fiction” (2004-present), Xing’s photographs “juxtapose ideas of urbanization and luxury with a strange emptiness, commenting on the isolation that can accompany growing city environments.” (438, Ferren Gipson). Using architectural models as her mise-en-scène, she creates isolated fictional moments that range from the mundane (sunbathing) to the dramatic (murder) that make a voyeur of the viewer. By watching the life of the character unfold, the viewer re-enacts the experience of a condo dweller in a dense urban environment; intimately aware of their neighbours’ activities without ever actually meeting them ‘in real life.’
March 30, 2021
The Changing Conversation Around Museum Access
The museum world has been in continuous debate over “mandatory”, “suggested”, and “pay-as-you-wish” admission fees for in-person experiences.
Many in the art world had utopic visions of remote access to museums and galleries, but the conversation is shifting to paywalls for access to in-depth virtual content.
What are your thoughts on museums restricting online exhibits and specialized resources?
The Art Newspaper, “Can Museums Really Make Digital Visits Pay?”: https://lnkd.in/gVuAUdt
March 26, 2021
Announcement coming soon
We look forward to sharing some exciting news with you soon!
March 24, 2021
This Week’s Book Recommendation
If you’re looking for a simple no-nonsense read about Canada’s cultural predicament, “No Culture, No Future” is the place to start. In a mere 158 pages, Simon Brault will walk you through the relationship of culture and economics, public policy, our “human experience” with art, and Montréal as a case study for successful public arts and culture programming.
The book was originally published in French as “Le Facteur C” in 2009 and translated to English in 2010 by Jonathan Kaplansky.
March 19, 2021
On Community Regeneration
When Developers and municipalities embrace the opportunity to activate public spaces with public art as part of wider community development initiatives, they admirably embrace a vital “‘holistic’ approach to people-centred development.”
Alan Kay asserts in his article “Art and Community Development”, “the arts are often considered to be at the periphery of the community development process and only a minor player in regenerating areas.” He argues, “It is important that arts projects are an integral part of an overall regeneration policy. If not, they are destined to remain on the periphery of the development process.”
The reality is that public art can carry economic, environmental, cultural, and social benefits.
The value of public art must be understood beyond its aesthetic properties so that these benefits may extend beyond the downtown core, in areas traditionally underserved and throughout the Greater Toronto Area.
March 14, 2021
A year ago, the world changed.
When galleries, museums and other places of gathering closed, I was unable to engage with friends, colleagues, and art that inspired me. This left me feeling deeply isolated, but led to a greater understanding of the need for art in the public realm. While Toronto galleries are now beginning to slowly open back up, it is important to recognize that there are so many people without in-person access to art at any time.
I spent the past year working with a team to create public art in downtown Toronto, where it is my aim to activate the surrounding environment and inspire people in their daily lives. As we begin to see a semblance of normalcy, I hope to continue on this path to create enriching experiences with art part of the everyday.
Looking to the future, I envisage that public art will be increasingly viewed as an essential part of the city’s fabric.
January 13, 2021
AGO Tuned in to Artists making Public Work
The Art Gallery of Ontario kicks off the New Year with an eye to public works of art in the City of Toronto. In the linked article below, they touch base with artists Danilo Deluxo, Ness Lee, Tannis Nielsen and Javid Jah for their perspectives.
November 24, 2020
The Increasing Urgency of Public Art
The City of Toronto’s ‘Year of Public Art’ couldn’t have come at a more pivotal moment.
Only one year ago, when Mayor John Tory made the announcement that 2021 would be a “year-long celebration of art and community,” the world looked like a very different place.
As a tumultuous 2020 comes to a close and people desperately look forward to 2021, the significance of the Year of Public Art, and indeed Public Art in general, has shifted.
This year the world saw political, social, and economic unrest previously unknown to this generation. The world’s traumas are too numerous to recount here, however, the most pressing (or at least visible) issues arguably include the trials and lamentable follies of one of the most divisive Presidents in American history, the rise of the Black Lives Matter movement, and the omnipresence of COVID-19.
It would be naïve to view the Year of Public Art in the same light as it was originally conceived, because its role has become much more urgent. It cannot be viewed as mere celebration, but rather a welcome opportunity for increased engagement between isolated members of the community and the pressing issues of our time.
May 31, 2020
A Free Syllabus on Institutionalized Racism
Founding Editor of JSTORY Daily, Cathleen Halley, wrote a basic syllabus on the history of institutionalized racism in the United States, which is now available for free via JSTOR. The syllabus includes links to free articles and topics such as “Racial (In)Justice: Putting Protest into Perspective,” “Video Documentation & Police Brutality: Ethical Considerations,” and “Racial, Economic, and Educational Disparities Go Hand in Hand.”
Click the following link to read: https://daily.jstor.org/institutionalized-racism-a-syllabus/
November 18, 2019
2021: Toronto’s Year of Public Art
I am thrilled to be working with one of Toronto’s most renowned developers on a public art project for downtown Toronto to coincide with the City’s 2021 public art initiative.
The City acknowledges that “Culture is an important component of Toronto’s economic vitality, social cohesion and livability” and recently announced:
“On November 18, Mayor John Tory proclaimed 2021 as the Year of Public Art, a year-long celebration of art and community. Working in partnership with artists, arts organizations and communities during the Year of Public Art, the City will engage residents and visitors in a city-wide recognition of public art and celebrate the incredible body of work created by local and international artists and supported by arts institutions, developers and the City.”
Link to City of Toronto website: https://www.toronto.ca/home/media-room/backgrounders-other-resources/backgrounder-the-city-of-torontos-year-of-public-art-in-2021/
September 5, 2019
A Difficult Lesson for Art Dealers and Collectors Alike
This week an Ontario Court of Appeal decision ruled in favour of an art collector who had been misled regarding the authenticity of a painting he purchased directly through a Toronto gallery. Unfortunately, the final verdict was delayed when the judge in the original decision felt his own personal research was sufficient to refute the professional opinion of a known art authority.
“Asked about this judge’s error, [defendant’s lawyer Jonathan] Sommer says that people do sometimes underestimate the expertise required to evaluate an artwork. ‘Connoisseurship is something that, like many forms of expertise, is not appreciated by those who are not connoisseurs, because you can’t see what you don’t know. It becomes an unknown unknown to a lot of people. I think that a lot of people—and judges are people too—may sometimes think that they are as in as good a position as someone who has studied a particular artist or art form to judge it, because it’s just this ‘thing’ in front of you on a piece of canvas. And yet the more you know about art, the more you know that it’s an incredibly complex thing.’”
For more on this story, read “Court’s New Morrisseau Forgery Decision a ‘Big Warning to Art Dealers’” by Leah Sandals, Canadian Art:
August 22, 2019
New Public Art Announced for Downtown Toronto
The Art Gallery of Ontario has, at long last, put to rest questions about a replacement work of art at the corner of Dundas St W and McCaul Street since the removal of the Henry Moore sculpture to the Grange Park. An exciting announcement was released today informing the public of a new commission for Brian Jungen, who is wrapping up a successful solo exhibition at the same museum, entitled “Friendship Centre.” Click the link below for the AGO’s press release.
March 23, 2019
Aspirations for Art in Rural America
In the United States, the National Governors Association has released Rural Prosperity through the Arts and Creative Sector: A Rural Action Guide for Governors and States, in partnership with the National Endowment for the Arts and the National Assembly of State Arts Agencies.
In How the Arts Benefit Rural America, Andi Mathis writes that “The report synthesizes a growing body of research showing how the creative economy can help rural communities thrive. Rural communities exist in every state, so it is of great interest to governors who are seeking new ways to help their rural communities tackle high unemployment rates, manufacturing declines, and outmigration.”
Historically speaking, the largest governmental effort to support the arts across America was President Roosevelt’s short-lived relief programs such as the Federal Art Project and the Works Progress Administration of the 1930s. In a 1936 issue of Art Front, art historian Meyer Schapiro commented on the need for collaboration in the case of public art: “It is necessary then, if workers are to lend their strength to the artists in the demand for a government-supported public art, that the artists present a program for a public art which will reach the masses of people…[The artist] must be able to produce an art in which the workers and farmers and middle class will find their own experiences presented intimately, truthfully and powerfully.”
One can hope that the recently released report will encourage dialogue, collaboration, and action for the growth of public art initiatives in rural communities across America (and perhaps even motivate their Canadian neighbours).
Links and More:
How the Arts Benefit Rural America, by Andi Mathis: https://www.arts.gov/article/how-arts-benefit-rural-america
Rural Prosperity through the Arts and Creative Sector: A Rural Action Guide for Governors and States (<—click to access .pdf report)
Meyer Schapiro, “Public Use of Art,” in Art Front (November 1936): 5.
If you’re curious about Calgary’s ongoing struggles to reach a consensus over public art, see the latest here: https://calgaryherald.com/news/local-news/keep-public-art-program-suspended-through-2019-city-recommends
December 11, 2018
Art for Social and Mental Health
Winter is upon us, which often brings with it a sense of isolation and disconnection from the world around us. Doctors in Canada are now permitted to prescribe visits to the Montreal Museum of Fine Arts (Musee des beaux-art de Montréal), and the Royal Ontario Museum. While this is still a pilot project, it highlights the need for alternatives to traditional medical prescriptions, and reminds the community at large of the significance of art to daily life.
Regardless of whether this project truly takes off, it is worth considering ways to incorporate art into our lives without stepping foot in a museum. The role of public art has never been more important for major cities with an unprecedented number of vertical communities. Despite being technologically and, in the case of condo living, physically closer, mental health issues rooted in loneliness has become a hot-bottom topic. Public art has the potential to bring people out of their dwellings and into a community space where individuals can engage with others face à face, or enjoy a moment of personal reflection. Public art should be an engaging and prominent feature of every community, and the benefits of art should be accessible with or without a doctor’s note.
For more, read “Art By Prescription Trend Grows in Canada” (Link to article in Canadian Art below)
https://canadianart.ca/news/art-by-prescription-trend-grows-in-canada/
December 6, 2018
Make the Short Trip to Kingston. It’s Worth It.
Kingston, Ontario’s very own Agnes Etherington Art Centre has put together a remarkable exhibition of Modern Canadian art. “In The Present: The Zacks Gift of 1962” features beautiful examples of Quebec abstract painters Marcelle Ferron, Lise Gervais, Jean Paul Riopelle, sculptor Armand Vaillancourt, as well as heavy-hitting painters and sculptors of English speaking Canada, such as Jack Bush, Jock Macdonald, Ron Bloore, Roy Kiyooka, Walter Yarwood, among others. It was an absolute pleasure to see these works find their way out of the museum vaults and into the public domain once more.
Contemporary artist Jinny Yu’s “Don’t They Ever Stop Migrating?” (2015) was a staggering mixed-media installation worth the trip to Kingston on its own. Standing in the centre of the painted fabric structure is an all-consuming experience heightened with layers of audio from Alfred Hitchcock’s “The Birds” (1963).
September 6, 2018
"Do Canada's Art Laws Need to Change?"
To answer this question in a word: Yes. Art writer Leah Sandals of Canadian Art magazine reviews Canada's increasingly contentious art export laws and the many voices involved in the debate, including that of the Cultural Property Export Review Board (CPERB), art dealers, auction houses, museums, appraisers, and art history scholars. Many argue that the original 1977 wording of the Cultural Property Export and Import Act (CPEIA) is outdated and inconsistently implemented. But given the Heritage Ministry's unwillingness to get involved in recent high profile art export controversies, it is more likely that they will close their eyes and pray these issues lose traction than they are to open themselves to criticism by attempts at revising the act. All of us working in this multifarious art world must work against ignorance and neglect of the art laws that determine how Canadians collect, sell, donate, and otherwise engage with art, here and abroad.
"Do Canada's Art Laws Need to Change?" Leah Sandals, Canadian Art http://canadianart.ca/features/do-canadas-art-laws-need-to-change/
August 27, 2018
The U.S. Looks to Canada for Guidance
Canada has recently been receiving high praise for its efforts at reconciliation from arts and culture supporters in the United States. Gabriella Angeleti writes "Canada addresses its monumental problem" for the Art Newspaper, a year on from Charlottesville's violent rally over the planned removal of a statue that "glorifies colonialism and the erasure of the nation's indigenous heritage." The New York Times' Ted Loos celebrates the Art Gallery of Ontario's Rebecca Belmore exhibition, and asks his readers "Will a debate over terminology at the Art Gallery of Ontario help the progress of artists who are underrepresented in United States museums?" Links to articles below.
"Canada Addresses its Momumental Problem," Gabriella Angeleti, The Art Newspaper, https://bit.ly/2MEc9fl
"A Canadian Museum Promotes Indigenous Art, But Don't Call it 'Indian'", Ted Loos, The New York Times, https://www.nytimes.com/2018/07/13/arts/design/art-gallery-of-ontario-indigenous-art.html
June 30, 2018
Company of Ideas, Jeffrey Rubinoff Sculpture Park
This month I participated in a fascinating forum on art from 1900-1950, where I met some incredible and inspiring new colleagues from around the world. My fellow modernists spoke on the work of Kazimir Malevich, Piet Mondrian, Barbara Hepworth, Pierre Bonnard, Dmitry Stelletsky, and other, reminding me that Modern art is, above all, complex, transnational, and full of competing and overlapping systems of knowledge.
May 26, 2018
Back to the Future of Contemporary Art
This afternoon I found myself in the Lansdowne area walking along a curving road, past a sign listing "artsy" studios for rent, towards the imposing new home of MOCA Toronto.
I was undeterred by "MUERTE" graffitied on the side of the building in huge black letters, because I was more excited by the prospect of Toronto finally getting a Museum of Contemporary Art (again). As I turned the corner, I joined a crowd who similarly trekked to the west end to peek inside the still unopened museum on one of the first truly hot days of the season.
Once inside, I was immediately met by a steep concrete stairwell that led to the most Instagram-worthy space in the building, which was mercifully air-conditioned (not-so-coincidentally). It was striking in its expansiveness, complete with concrete columns lining the room like a Roman colonnade. Green volunteers scattered throughout were blitzed with questions ranging from the simple to the strange; all answered graciously.
Elevators to the fifth floor were uncomfortably slow, cramped, and jolted nervously as they ascended. Non-gendered bathrooms were curiously absent from a contemporary art museum claiming a progressive vision of inclusivity and community. From entry to exist, the rooms were beautiful and modern, and, considering the limited wall space, seemed best suited for installation art. I left wondering how the museum will fold into Toronto's diverse art community.
Taking care as I walked back down the narrow concrete steps, I thanked the volunteers who greeted me, only to witness a Mercedes ignorantly colliding nose first into the side of a Ford. A fitting metaphor for my afternoon at MOCA.
January 30, 2018
Richan Art presents WORKS ON PAPER: a curated collection of original artworks on paper, valued between $500 - $5,000. With this launch, I aim to connect a wide range of collectors with high quality fine art at affordable prices.
Richan Art’s core pillars of honesty, transparency, and outstanding service mean that you will know exactly what I offer, understand how I select artworks, and have confidence in my reliability, availability, and personal care for you and your art-collecting goals. Curatorial decisions are informed by a combination of my doctoral education and art market experience.
All available artworks come with artist biographies, condition reports, provenance, and documentation. Trusted experts in framing, packing + shipping, and installation will be at your disposal.
January 1, 2018
Happy New Year!
Watch out for an exciting addition to Richan Art in the coming months!
December 10, 2017
Art Basel Miami Beach
Richan Art had the pleasure of visiting Art Basel Miami Beach, Art Miami, and associated art fairs this year. Attending fairs, speaking with art dealers and collectors, witnessing market trends first-hand, as well as endless art-viewing keep my finger on the market pulse.
November 30, 2017
IN RECOGNITION of Clyfford Still's Birth Day
November 30, 2017 - June 23, 1980
Today marks the birth of Abstract Expressionist artist Clyfford Still! It has been 37 years since his death at age 78.
Still’s life and work has enriched global arts and culture beyond measure.
I have dedicated my graduate research (MA and PhD) to learning more about this artist and sharing my knowledge. Please feel welcome to contact me if you are interested in chatting about Clyfford Still or about American art from 1900-1980 generally.
To get you started, I have linked below the websites to the largest collections of Clyfford Still’s artwork in the US, and to one Canadian institution that also has a painting by him in their permanent collection. You will also find below a select bibliography for your reading pleasure.
I look forward to connecting with you over this incredible artist.
Links:
Collection now available via online database! https://collection.clyffordstillmuseum.org/listing
Clyfford Still Museum, Denver, Colorado: https://clyffordstillmuseum.org/clyfford-still/
Albright Knox Art Gallery, Buffalo, New York: https://www.albrightknox.org/person/clyfford-still
San Francisco Museum of Modern Art, San Francisco, California: https://www.sfmoma.org/artist/Clyfford_Still?gclid=EAIaIQobChMI3NrBzo3l1wIVhjqBCh3hvAakEAAYASAAEgL_nvD_BwE
National Gallery of Canada, Ottawa, Canada - https://www.gallery.ca/collection/search-the-collection?search_api_views_fulltext=clyfford+still&sort_by=search_api_relevance
Select Bibliography:
Anfam, David and Dean Sobel. Clyfford Still: The Artist's Museum. New York: Skira Rizzoli Publications, 2012.
Anfam, David. “Clyfford Still's Art: Between the Quick and the Dead.” In Clyfford Still
Paintings: 1944-1960, edited by James T. Demetrion. New Haven: Yale University Press,
2001.
Anfam, David. “Of the Earth, the Damned, and of the Recreated: Aspects of Clyfford Still’s
Earlier Work.” The Burlington Magazine 135, no. 1081 (Apr., 1993): 260-269.
Creighton, Jeff. Indian Summers: Washington State College and the Nespelem Art Colony,
1937-41. Pullman: WSU Press, 2000.
Hemingway, Andrew. “Cultural Democracy by Default: The Politics of the New Deal Arts Programmes.” Oxford Art Journal 30, no. 2
(2007): 271-287.
Hess, Thomas B. “The Outsider.” Art News, 68, December 1969.
Hughes, Robert. "Prairie Coriolanus." Time Magazine, February 09, 1976.
Hughes, Robert. “The Tempest in the Paint Pot. ” Time Magazine, November 26, 1979. Hunter, Sam. Masters of the Fifties. New York:
Marisa del Re Gallery, 1985.
Hutchinson, Elizabeth. The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915. Durham: Duke
University Press, 2009.
Kellein, Thomas. Clyfford Still: 1904-1980: The Buffalo and San Francisco Collections. Munich: PrestelVerlag, 1992.
Kennedy, Roger. When Art Worked: The New Deal, Art and Democracy. New York: Rizzoli, 2009.
Kuh, Katharine. Clyfford Still, exhibition catalogue, edited by John P. O’Neill. New York: The Metropolitan Museum of Art, 1979.
Polcari, Stephen. Abstract Expressionism and the Modern Experience. New York: Cambridge University Press, 1991.
Still, Clyfford. “An Open Letter to an Art Critic.” ArtForum, Dec 1963.
Thiele, Leslie Paul. Friedrich Nietzsche and the Politics of the Soul: A Study of Heroic Individualism. New Jersey: Princeton University Press,
1990.
November 26, 2017
FALL AUCTION RECAP
top earning artworks + comments on the 4 biggest auctions of the season
BYDealers Auction House
Post War & Contemporary Art
Monday, November 6, 2017, 7:00 pm
Prices Realized: https://bydealers.com/artworks/la-ferme/
Highlights:
Lot 15, Serge Lemoyne, Le masque, 1975, $240,000.00
Lot 28, Marcelle Ferron, Ronqueralles, 1960, $480,000.00
Lot 41, Jack Bush, Blue Slant, 1967, $600,000.00
BYDealers pulled out all the stops for their first auction, offering artworks of outstanding quality sourced from galleries and private dealers across Canada. The auction was unique among its peers this season for holding their live auction in Montreal instead of Toronto. Previews took place in Toronto at the Intercontinental Hotel to coincide with Art Toronto, and then in Montreal at the stunning Théâtre St. James. The top three best-selling paintings went to smart collectors who recognized their great value and took advantage of the fact that less collectors had their eye on this auction (on account of its location in Montreal, and its early date in the season). The auctioneer set a slow pace early on, but the quality of art was undoubtedly there. The bar has been set high for their May live auction.
Waddington’s
Canadian Fine Art
Monday, November 20, 2017, 7:00 pm
Prices Realized: https://waddingtons.ca/pastauctions-704/Canadian-Fine-Art-Auction-Nov-20-2017
Highlights:
Lot 59, Jean Paul Lemieux, Les Enfants de la Paix, $90,000
Lot 103, Cornelius Kreighoff, Above the St Anne Falls, $52,800
This season Waddington’s underperformed compared to their track record. As the oldest auction house in Canada with its roots tracing back to 1850, we can expect them to recover for their May offering in typical Waddington’s fashion. In the same week as their Canadian Fine Art auction, Waddington’s also held their annual live auction for Inuit art (Tuesday) and on Monday, November 27th they will have their Concrete Contemporary art auction. Lot 15, a work on paper by William Perehudoff (estimate $2,500-3,500) was withdrawn, and Lot 41, a canvas by Joseph Drapell was also withdrawn from their contemporary art sale.
Heffel Fine Art
Post-War & Contemporary Art, 4:00 pm
Fine Canadian Art, 7:00 pm
Wednesday, November 22, 2017
Prices Realized: http://www.heffel.com/auction/Results_E.aspx?ID=259
Highlights:
Lot 20, Jack Bush, Winged Totem, $601,250.00
Lot 53, Jack Shadbolt, Woodwards Tower, $109,250.00
Lot 118, Lawren Harris, Mountains East of Maligne Lake, $3,001,250.00
Lot 121, Lawren Harris, Morin Island, Eclipse Sound, North Baffin Island, Arctic Painting XXXVI, $1,261,250.03
Heffel had an impressive auction this season with three large canvases by Jack Bush and a number of Lawren Harris paintings and sketches. One small painting by Jean-Philippe Dallaire was withdrawn in the weeks leading up to the auction. Of the three large Bush paintings, the best one reassuringly sold for the best price. Lot 118, Mountains East of Maligne Lake, sold for over $3 million (including buyer’s premium), however, expectations were set higher than it ultimately achieved. Nervous energy filled the room and auctioneer Robert Heffel shared giddily that he was wearing his lucky Lawren Harris socks purchased from the Art Gallery of Ontario before the bidding began. However, when the lot opened there was an uncomfortable lack of activity. It stalled at 2 million for just a little too long, but seemed to recover by hitting the low end of the estimate and quickly selling. Shortly after this lot came a sketch by the same artist, lot 121, which generated a bidding war and ultimately fetched a surprisingly high price. This set the tone for Consignor’s Lawren Harris sketch (Lot 33) the next day, which dramatically exceeded its $20,000-$30,000 estimate by pulling in over $100,000.
Consignor Canadian Fine Art
Important Canadian Art
November 23, 2017, 7:00 pm
Prices Realized: http://www.consignor.ca/items
Highlights:
Lot 25, Michael Snow, Off Minor, $57,500.00
Lot 33, Lawren Harris, Lake Superior (I.D. 463), $161,000.00 (Estimate $20,000-30,000)
Lot 54, Emily Carr, European Street Scene, $276,000.00
Consignor’s fall auction started at 7:00pm sharp with Rob Cowley’s expert auctioneering. His humour and pace are unparalleled in the Canadian auction industry and makes the last auction of the week notably enjoyable. With 126 lots, their sale offered a large variety of artwork for a range of price points that could make any level of collector comfortable. Waddington’s offered a comparable number of artworks at 127 lots, making it as large as feasibly comfortable without breaking it up into two categories, as Heffel does. The best selling artwork of the night was European Street Scene, by Emily Carr, which easily soared passed its estimate. This was the only auction in which a female artist shone as the highest earner.
August 3, 2017
Blog Series 1: How to Build an Art Collection
part 3 - Where Should I Buy Art?
Now that you have a sense of what kind of art you would like to acquire you will need to decide where you will find it.
The answer to this question is, in some ways, best understood as made of two components. Firstly is the type of art business and secondly is the individual art professionals you feel most comfortable engaging.The art businesses most common to new art collectors include auction houses, art galleries, artist studios, private dealers, and art consulting agencies. The type of professionals within these businesses include auctioneers, art specialists, gallerists, art dealers, gallery attendants, artists, art consultants/advisors, principals, managing directors, technicians, and a whole host of other people involved in providing you with the best art collecting experience possible.
Online art collecting has also grown significantly over the past five or so years and adds a whole new dimension to the collecting process. While artists have been taking advantage of this virtual channel for many more years, galleries and auction houses have been catching on with success. While this approach has generally facilitated a smoother process for collectors from the comfort of their home or office, it is also a bit of a double edged sword. A painting you spoke about to an art dealer the day before may be gone the next day due to a quick online purchase from a collector the dealer did not previously know was interested. This element of the unknown can be an added pressure to rush your decision, presenting an obstacle that was never before present in the history of art collecting.
Every avenue has its benefits and downsides and every single business within these categories is unique. Your decision to invest in one or more of these avenues for building your art collection may depend highly on the relationships you build with individuals within each of these categories.
Ultimately, you must feel comfortable and confident with the art professionals who facilitate your art collecting journey. You may wish to consider their client references, their formal art education, how much time they can dedicate to you and your specific needs, how and what they charge for their services, the exposure they have had to various facets of the art industry, and their ongoing involvement in the art community. Initiating basic conversations can sometimes be the easiest way to get started. Introduce yourself and don’t be shy about sharing your current interest and knowledge levels. That very first conversation with them can tell your gut a lot!
July 27, 2017
Blog Series 1: How to Build an Art Collection
Part 2 - What Kind of Art Should You Consider?
You know you want to start an art collection or buy a few artworks, but what is the next step?
(For a review of the top five things to consider when you begin art collecting, read Part 1, below.)
Not all collections require strategizing, but it helps to consider whether you would like to build a collection of emerging artists or artists who regularly trade at auction and through galleries. Often, there is a price overlap, so you need to weigh the pros and cons of spending X on a small work-on-paper by a well known artist, or spending the same amount on a larger oil on canvas by a contemporary artist. It is not always clear what the better buy is, especially when you love them both. Be smart about your decisions and never buy something because you feel pressured or rushed. The learning curve is exciting and challenging, and one you may wish to investigate over time with a partner or art professional as a sounding board.
Below, you will find five broad categories of art that you may consider when starting an art collection.
I - Paintings
Examples: Oil, acrylic, watercolour, mixed media, encaustic
on canvas, masonite or wood board
This is the traditional go-to medium for art collectors. It is well established within the Western art-historical canon as providing decoration, status and readability. In other words, we generally understand what paintings are about and are therefore able to easily get an enjoyable aesthetic experience that we can share with our friends and colleagues.
II - Works on paper
Examples: watercolour, graphite, pastel, ink
Works on paper can be a category of its own, but some artwork here can also fall into the paintings or prints categories. When I think of works on paper, however, I tend to think of the work by well-known historical painters who occasionally moved their brush from the canvas to a sketching pad or other paper to work out their idea. These artworks can be very rewarding for the collector because they allow access to some of the hard-to-reach artists and give us insight into a mysterious and lost creative process. Of course, works on paper can also be produced by contemporary artists and completed artworks in their own right - the ethereality of these pieces is exciting, and in these cases I like to make sure I understand the artist’s intention for the artwork’s lifespan.
III - Prints
Examples: Lithographs, serigraphs, etchings, single autographic prints, monotypes.
Prints are distinct from posters, but their value and quality can vary significantly depending on the size of the print run, the originality of the image, the printing house and the artist. Canadian artist Harold Town invented his own type of print, called “single autographic prints” which further complicates the very broad category of “print.” Prints tend to be the most confusing art purchase for new collectors, but can be an excellent way to start your collection given its relative affordability.
IV - Sculpture
Examples: Wall sculpture, small for the table, installation, free standing
Sculpture has the capacity to be one of the most stimulating art forms. It is an immersive art experience in ways that two-dimensional art simply cannot be by nature of its medium. During the Renaissance, sculptors were considered the most important artists and sculpture to be the highest art form, above painting. The hierarchy of art, as it is commonly referred to now, has shifted partly in response to the prominence of the Abstract Expressionist painters in New York during the 1950s and ‘60s. Sculpture, however, remains one of the most rewarding forms of art and several of the “AbEx” artists, such as Clyfford Still experimented in this medium as well. Naturally, it can be a bit trickier to find a spot for sculpture in your home or office, but it is well worth making the time and space for it.
V - Utilitarian
Examples: Design objects - tables, chairs, light fixtures, dishware, etc.
Modern design has become very popular on a global scale since 1900, and the Museum of Modern Art, New York, opened its Architecture and Design department in 1932.
Artists such as Canadian Joe Fafard is best known for sculptures of farm animals, but he has also created stunning modern glass tables with intricate sculptural scenes under the glass surface. These are the types of artworks that can be considered utilitarian, and serve the dual purpose of providing an artistic experience and being a functional part of your life. Utilitarian art is appreciated by those who want a home or office that immerses them in their love of art, or by those with little wall space left for art, among others.
July 20, 2017
Blog Series 1: How to Build an Art Collection
Part 1: 5 Key Steps to Consider When Starting to Build an Art Collection:
1 – Determine your goals.
Why do you want to collect? To pursue a passion outside of your regular career; to impress clients, colleagues or friends; to invest your money outside the stock market; as a philanthropic endeavour to support young or local artists; why else? If the art collection is for the home, be sure to include your partner and have an open and ongoing dialogue. If the collection is under consideration for the office or a corporate project, be sure to involve the appropriate team members and professional art consultants early on in the process. This will help avoid any confusion later down the road.
2 – Determine your budget.
Once you recognize the motivations behind your interest in art collecting, you can begin to understand a budget that may be required to achieve these goals. Remember that expenses beyond the actual art purchase may be required depending on whether you buy at an auction house, art gallery, a private art dealer, or directly from an artist. These expenses should be considered part of the overall budget for your collection, and may include framing, installation, art conservation, valuations and appraisals, art market and provenance research, and wrapping/shipping services.
3 – Look, Listen, Linger.
Look at art. A lot of it. As often as you can. Start up conversations about art with others and listen to their perspective. You may not always agree, but it is always interesting to hear why they love a particular artist, art movement, or museum exhibit. Based on these early conversations you will begin to understand what kinds of artwork you do and do not like. Don’t forget that one of the joys of art collecting is the process, so don’t rush your next trip to the art fair. Linger at the artworks that catch your eye, question its appeal, and know that it is okay to sleep on major purchases when you are serious about them.
4 – Know your limits.
Are you learning about art for the first time? Perhaps you are familiar with what you like, but are less comfortable navigating the art market? Maybe your budget and your goals are not quite as aligned as you would like? Not sure how to get your partner on board with your new interest in art? You could take an art history class, visit museums, art galleries and auctions, meet as many art professionals in your area as possible, or read about artists of interest and the art market. Collecting Art for Love, Money and More (by Ethan Wagner and Thea Westreich Wagner) is a great place to start, and Fine Art and High Finance (edited by Clare McAndrew) is another foundational read.
5 – Ask for help.
Be patient. Take your time. Refer to websites such as the International Society of Appraisers (ISA) to learn more and discover art consultants in your area. Ask consultants for client testimonials. Good consultants are reliable, respectful of your time and are happy to provide complementary initial consultations.
June 21, 2017
I will be soon be starting a blog series where I answer frequently asked questions about how to build an art collection. This will be the first five-part themed series, posted every Thursday. Email me at emma@richanart.ca, or direct message me on Instagram @emmarichan to have your art related questions featured!
May 20, 2017
The Canadian spring auctions begin next week! and I am happy to announce the completion of my PhD course work earlier this year and my return to Toronto for the busy auction season.
I recently had the pleasure of completing a project for an esteemed corporate client. References available upon inquiry.
January 19, 2017
Emma has kicked off January with a curatorial project called "Invented Spaces," an exhibition of contemporary Canadian artists from across Canada working with the concept of space and how this relates to the Canadian experience. This was a fitting show for the first month of Canada's 150th year anniversary. There are many wonderful exhibitions lined up this year to celebrate and reflect on Canada's history, be sure to check as many out as possible!
The new year also marked the beginning of a research project for Emma at the Art Gallery of Greater Victoria. This project was undertaken as part of the collections review process in preparation for the museum's expansion.
Also this month, Emma is preparing a talk on the art market for the University of Victoria. More to come on this.
December 6, 2016
In Emma's first term as a PhD student at the University of Victoria, she was honoured with the Robert S. and Muriel A. Raguin Graduate Scholarship at the nomination of the Faculty of Fine Arts.
My current research questions:
1) How did Clyfford Still’s first-hand experience with Indigenous peoples on the Colville Reservation influence his painting during the late 1930s and 1940s?
2) Did his political and philosophical outlook (Still was a follower of Frederick Nietzsche and an anarchist) shape his understanding of the social, political and economic conditions of Indigenous peoples?
3) Can we differentiate between the early Abstract Expressionist work of Still and that of Barnett Newman through the lens of their respective understandings of Indigenous cultures?
Check back in January 2017 to hear about an exciting project with the Art Gallery of Greater Victoria!
July 26, 2016
Emma has been invited to the University of Victoria in British Columbia to pursue her PhD in art history commencing September 2016. Her doctoral research will be a continuation of her Master's work on Clyfford Still's art and life circa 1930s. Emma has been awarded full funding for her research and will be traveling more actively throughout North America to meet the needs of her growing clientele. She is currently accepting new clients. Please contact her directly for more information.
June 30, 2016
Emma has completed The International Society of Appraisers' Core Course in Appraisal Studies.
The International Society of Appraisers (ISA) is the largest of the professional personal property appraisal associations representing the most highly trained and rigorously tested independent appraisers in the United States and Canada. They are a not-for-profit, member-driven association, formed to support member needs and to enhance public trust by producing qualified and ethical appraisers who are recognized authorities in personal property appraising.
For more information on the ISA, please visit https://www.isa-appraisers.org/about.