Sculpture Source

Sculpturesite's Booth at LA Art Show

Can you really distinguish yourself when you are but one of 110 galleries in a show of over 15,000 works of art from a myriad of genres including painting, sculpture, works on paper, photography and video?  Is it possible to stand out in a crowd of an estimated 35,000 serious collectors and dedicated art enthusiast all buzzing around a 720,000 sq/ft convention center?  Sculpturesite Gallery answered those questions at the FADA LA Art Show with a resounding – yes, you can!

The event started inauspiciously with rain, rain and more rain.  On average, the sun shines on Los Angeles 338 days a year. Sunny Southern California did not, at first, live up to its promise.  However, while it tended to dampen a few heads and shoulders it could not dampen the enthusiasm of the thousands who attended.  And when the flood of water finally receded on Saturday, the flood of people arrived.  John Denning and Brigitte Micmacker, the owners of Sculpturesite, were more than ready to receive them.

Word spread quickly.  There was a booth near the food court, open at three sides, perfect for foot traffic, which was meticulously planned and presented.  It looked more like a gallery than a booth.  In conversational circles of attendees, Sculpturesite’s space was called “the best booth for sculpture,” and while there, you could see “the best works in the entire show.”  Said another attendee: “your booth is such a breath of fresh air – so lively and light.” It was obviously attracting attention.

“Dark Blue Rain-Curtain”, a massive, yet delicate cast glass piece by Mary Shaffer and “Summer”, a hyper-realistic swimmer resting on an inner-tube (both in meticulously painted resin) by Carole Feuerman were described by many as show stoppers.  The same could be said for the majestic Jeffery Laudenslager kinetic piece, “Hokusai.”  It had a prominent place in the middle of the food court -but will soon relocate to its new permanent home in Malibu.  The rest of the collection was wonderfully varied allowing something for everyone.  Jane Woolverton’s delicate recycled, plastic tapestries played off the monumental material and feel of Benjamin Brown’s steel and glass and Hans Van de Bovenkamp’s bronze.  Brad Howe’s playful mobiles stood in perfect contrast to the elegant pieces of Clement Meadmore.  These sculptures did speak for themselves but for those who wanted more, Mary Shaffer, Carole Feuerman, Jeffery Laudenslager, Brad Howe, Benjamin Brown and John Denning were all present to talk about their work.

All who attended had a memorable experience.  We at Sculpturesite greatly appreciate all who attended. If you would like more information on any of the works or artists you saw, please let us know. If you were unable to see the show, we will be glad to send more photos. And please stop by Sculpturesite Gallery.  Many of the pieces that we displayed at the LA Art Show are now currently on exhibition in San Francisco.  We will see you soon!

You’ve browsed the Internet, visited several gallery websites and have located a piece of sculpture that you absolutely love. Problem is…you know nothing about the gallery selling the piece.

By asking yourself some questions to help gauge the overall quality and professionalism of the gallery, you’ll be more likely to enjoy a positive overall art-buying experience. Following are a few questions a potential online sculpture buyer may want to ponder:

Quality website
Is the gallery’s website well-organized and easy to navigate? Do pages load quickly, without errors? Is the content timely, without typos and out-of-date information? Are works displayed professionally with well-shot, high-quality images, multiple image views, dimensions, descriptive text, and pricing?

These are all signs of a professional gallery that takes its online business seriously. The gallery devotes staff time and resources into making the online experience easy and informative for the buyer.

Staff professionalism
Do gallery staff respond promptly, efficiently, and cheerfully to your emails and calls? This demonstrates the efficiency and organization of the gallery, and is a good indicator of whether the purchasing and shipping or delivery process will be smooth and worry-free.

Helpfulness and hard work
Do gallery staff provide detailed, complete answers to your questions? Are additional photos and information about the piece you’re interested in enthusiastically provided? Are staff willing to contact the artist directly to get clarification or more detailed information for you?

Extensive follow-up and personal assistance indicate a desire to ensure you have all the data required to make a thoughtful, educated purchase instead of an impulse buy that may be regretted later.

Mutual understanding and trust
Can gallery staff clearly articulate your needs and constraints, including your price range, time frame, desired style, and any concerns you have about art placement? Are other options in different price ranges presented for your consideration? Are staff knowledgeable about art, and genuinely enthusiastic about your inquiry? Do staff suggest sculpture offered by other venues which might also be of interest?

These are signs that the gallery is listening to what is important to you, and that your best interests and long-term satisfaction are being taken to heart.

To make a purchase you will be happy with over the long term when buying sight-unseen, you need to trust the gallery’s art knowledge, ability to understand and respond to your needs and finesse at “matching” the best piece of art with those needs.

Visit A New Leaf Gallery and Sculpturesite Gallery’s websites, or call and let us know how we can assist you in acquiring the perfect sculpture.

Often, visitors to A New Leaf Gallery are surprised to learn that many sculpture collectors are “window-shoppers,” but not in the traditional sense of the word. Many collectors nowadays locate, evaluate, and even purchase artwork over the Internet.

Sculpture is offered online through a variety of sources: sculpture studios and cooperatives, auction houses and non-profit auctions, art retailers and portal sites, and art galleries. Each virtual venue has its benefits, but eager shoppers also need to be wary of the potential pitfalls of buying sculpture online.

Although buying direct from a sculptor or co-op may seem appealing, your selection will be limited to the work of that particular artist or group of artists. Evaluating different choices will necessitate visiting a number of different artist sites. This can be a time-consuming and frustrating process since many (but not all) of these sites are non-intuitive to use and can be poorly executed.

Buying successfully at an online auction requires some saavy. To avoid overpaying or acquiring a piece you will be unhappy with later, you need some knowledge of the sculpture market, as well as up-to-date information on the valuation of the work that caught your eye. And you may have difficulty locating a piece that interests you, since sculpture offerings at auction are few and far between.

Art retailers and portal sites do sell a vast collection of art. The problem to watch out for here can be quality. Very often, the profit motive far exceeds the quality of the work being offered. If you are looking for gallery or museum-quality work, you may be better off looking elsewhere.

Of course I’m biased, but I believe that the benefits of purchasing online from a gallery are several. For one, a lot of the legwork involved in locating sculpture in a style and medium you enjoy has already been done for you. A gallery acts as curator, selecting only the highest-quality work of leading artists from all over the world. If you see a few works that appeal to you on the homepage, you will often appreciate most of that gallery’s selections.

When purchasing from a reputable gallery, the staff will work hard to represent your interests as well as the artist’s.  You can be assured that the price of your favorite piece is representative of its true value in the marketplace, because gallery staff are both art market experts and shrewd businesspeople. They work with artists to price their pieces in a way that accurately reflects their value and does not take advantage of the customer.

Gallery staff act as go-betweens before, during and after the transaction. By working with a gallery, you will gain an objective, 360-degree picture of the piece you’re interested in purchasing. Staff associates will do research on your behalf on the medium, process and maintenance of the piece you’re considering, and can suggest other works that may be of interest to you. They can broker a commission of a unique sculpture created just for you. And their familiarity with packing, crating and shipping will make sure your selection arrives at your door quickly and intact.

Most of the sculpture offered for sale at A New Leaf Gallery and Sculpturesite Gallery’s websites can still be shipped for Christmas delivery: visit us today!

Sculpturesite Gallery

Brigitte Micmacker: Bella and JP, this is your first joint exhibition, although you have worked together for nine years and have even been called the “odd couple”. How did your relationship begin?

Bella Feldman: In 2000 I had a sequence of three exhibits in different parts of the country.  I needed more help than the assistant I had then, Chris French.  I asked a former student if she knew anybody and she sent JP my way. He was only hired on a temporary basis but, when I returned from a much needed vacation, Chris who had been with me for four or five years decided to leave and so JP fell into the job.  He turned out to be the best assistant I have ever had.

B.M.: Bella, when you began exhibiting as a sculptor thirty-five years ago, as well as when you established yourself in a long career as a professor, and as the chair of the sculpture department at a major art college, beginning in 1965 in a field then mostly entirely dominated by men, what did you have to do to be considered a respected professional, and not a “woman sculptor”?

Bella: I needed to be desperate enough for the job to endure the insults in the then all-male Sculpture Department. When the head of my department tried to get rid of me so he could give my job to a male protégé of his, I had to take the case to the then Board of Equalization which dealt with cases of discrimination.  I won. His successor managed to get rid of the entire department in order to hire his own.  I stood my ground tenaciously. When he resigned in a pique I became Chair.  But for 20 years I had to deal with the man’s hostility in as civilized a fashion as I could muster.  My endurance was fueled by the research which showed there wasn’t a woman teaching sculpture within a 100 mile radius of my home.  It was considered a male profession.  I continued to teach and to exhibit with considerable acclaim and that won me respect as a professional.

In 1996 I was awarded an exhibition at the Fresno Museum “California Woman Sculptor of the Year.”  My 8 year old granddaughter when she came to the opening looked at the sign and, without prompting, said “If it was a man artist, they wouldn’t have written ‘Man Artist of the Year.’”  I have received many honors and awards over time.  I am very, very good at what I do, but I believe a man with these honors, etc. would have fared better than I as a woman did.

B.M.: JP, you studied jewelry and metal art at the California College of Art and Crafts in Oakland (now CCA) where Bella taught for 35 years, yet you never took any classes from her. When you first walked into Bella’s studio to work as an assistant in 2000, do you remember what first struck you about Bella?

JP Long: I had long admired Bella’s work and jumped at the opportunity to work for her. What first struck me about Bella was that she was definitely from the East Coast. Strong, direct, and blatantly honest—which I respond to very well, having grown up in New England.

B.M.: (JP) How old were you? Were you looking for a mentor at that point?

JP: I was 21 when Bella hired me. As you mentioned before, I graduated with a degree in Jewelry/Metal Arts, which was excellent training. That department still believed in teaching technical skill. But I always wanted to go big. So when the opportunity to work for Bella arose, it was the perfect situation. All my life I’ve looked for mentors, and I’ve been fortunate in having had a number of wonderful teachers—most of whom were powerful women.

Bella Feldman, "Untitled"

(Interview Continued)

B.M.: Bella, For many years your sculptures have been both rooted in the love of material and craft and the playful, yet often dark interpretation of aspects of the human condition, creating what critic Harold Rosenberg called “anxious objects”. How do these images of objects come to you?

Bella: Regarding Anxious Objects.  I have lived through at least five wars that the U.S. has been engaged in.  As a child I listened to Hitler’s speeches, witnessing my parents’ dread and anxiety for their relatives (Polish Jews).  We seem now to be perpetually at war.  I am pessimistic about mankind’s future, but I diffuse my anxiety with “black” humor. These images arise from my subconscious which has been fueled by the times I’ve lived and continue to live in.

B.M.: (Bella) The juxtaposition of glass elements to the metal in more recent years, and now color, has given a bit more lightness, delicacy to your work. Does this correspond to a place in your life where making art has become smoother, less of a struggle?

Bella: Regarding the use of glass.  Lightness and delicacy is not new to my work.  For a number of years I worked with fiberglass and resin membranes which looked like they could float away despite their size.  I have always used tension as part of my sculpture vocabulary. I turned to using glass with metal because of the contrast and the vocabulary of tension set up using these materials in the same sculpture. The Sculpture Department of CCA is located right next to the Glass Department, so I developed a familiarity with the material.  I was told by the Glass Department that it wouldn’t work to blow glass into metal forms as I did in my Flask series and War Toy series, but I did and it worked and now a lot of people do it.

B.M.: (Bella) You now spend several months per year in Europe, where you have a very small studio space. How has this affected your art?

Bella: My partner lives in Europe and we go back and forth—neither of us willing to pull up stakes. I always have to do art and so I started to work in two dimensions in watercolor, pastel, and collage in a 9×9 foot room. You are what you do and now I am working in a 2D/3D mode in my Oakland studio of which you can see examples in this show.

B.M.: JP, you have participated in some of the decision making about Bella’s work, and have brought into the studio some ideas and techniques that she has integrated into her sculpture. At what point did you feel that Bella was interested in your input? Did this come naturally for both of you?

Bella: JP has contributed to the problem solving which is different from the decision making.  The decisions are mine.

JP: Bella usually says my suggestions were off the mark when I first started working for her—which I totally disagree with. There’s no question that I’ve learned an amazing amount from her. But it did take a couple months for her to start trusting my judgment.

B.M.: (JP) Did this make it easier or harder for you to begin finding your own way in sculpture?

JP: Easier. The hardest part of establishing a career in the arts, I think, is discipline. As the saying goes, practice makes perfect, and Bella gave me the opportunity to be constantly making art, three days a week for her and four days a week for me.

JP Long, "Impression 5"

(Interview continued)

B.M.: (JP) Did you also seek Bella’s input into your work?

JP: As I said before, Bella is an East Coaster. I don’t think it’s possible for her not to state her opinion. But yes, I would purposefully leave new pieces out for critique.

B.M.: Bella, you introduced JP to our gallery, as well as to other dealers. You were very persistent about mentoring JP. This is rather uncommon, as often masters develop feelings of jealousy when one of their protégés becomes successful. Was this ever an issue for you?

Bella: I have to admit I become uncomfortable when some of his work resembles mine too closely.  But jealousy, no.  He is a wonderful, bright, talented young man.  I am glad that is he doing well and I am gratified that I could help him on his way.

B.M.: How about you, JP?

JP: There’s a saying among musicians: there’s no new tune, just how you play it. Artworks are always embedded in a history, a context, and part of what makes art so rich is how it references the past while pointing toward the future—in other words, how a work of art occupies its “now” in the history of art. As I’ve heard Bella say time and again, quoting Picasso, “Good artists borrow, great artists steal.”

B.M.: Bella, what was your favorite aspect of teaching? What was most challenging?

Bella: The favorite part of my teaching was encountering interesting and talented young people and to be able to guide them where my own experience and knowledge could be of use.  I have very good critical and verbal skills and I was able to give easily understood, straightforward critiques of students’ work as well as recommendations for clearer ways of expressing their ideas.  Many teachers do not have that gift.  It helped being a born and bred New Yorker; it’s not the California style to be direct. The most challenging part of my teaching years was dealing with the sexist politics.

B.M.: Bella and JP, what do you think is most unusual about your relationship?

Bella: I think we’re unusually congenial despite the differences in our ages, gender, and life experiences.  Our thinking and temperaments are very similar.

B.M.: Bella and JP, how do you feel that this joint exhibition expresses this relationship?

Bella: This exhibition illustrates the crossover as well as the differentiation of ideas between us.

B.M.: Bella and JP, what other sculptors’ works do you admire most?

Bella: Sculptors I admire. Of contemporary sculptors, I would name Martin Puryear, Louise Bourgeois, Chillida, Max Ernst, Picasso, David Smith, Julio Gonzalez, and many more.

JP: I’m also a fan of Puryear, as well as the other artists Bella mentioned. But I would also add Dan Clayman, Sol Lewitt, Richard Serra, and Heiki Seppa.

B.M.: Thanks to both of you.

What may seem like a simple task can actually be quite daunting. Who would imagine that collecting a painting or a sculpture could be considered an art in itself? But take it from a professional on the other side of the table: buying art is not always easy. Here are some of the main points to keep in mind.

First of all, personal taste is foremost. One has to have a feeling for the piece one is going to acquire. In the beginning, it might be advisable to look at a number of different styles to determine what appeals. Visits to museums, galleries or perusing art history books and magazines can be helpful, as well as doing some research online or in the local library.

Once you have established your personal style, you can start making some headway. Your next step is to establish a relationship with an art professional, either through a gallery or an art consultant. This will be very helpful in your search for the right piece for the right place.

This brings me to the third point, location. Location of a piece can determine so many factors: the scale and medium, or material of the artwork being two of the most important things to consider. For example, one may have a wall space but perhaps it is inset, so could use a three- dimensional wall piece. Or it is a niche that will limit the height or width of a potential piece of art.

We must also look at indoor/outdoor placements. Some pieces just won’t work at all in an outdoor setting but will be stunning inside, and vice versa. A glass sculpture or a painting may be appropriate in a number of settings, but other settings require bronze or steel.

Another consideration is how this artwork is going to compliment its surroundings. It doesn’t necessarily need to “blend in”: sometimes contrast is just as effective. It all depends on what you are trying to achieve in terms of the end result, or the feeling you get while enjoying the piece in its relationship to the environment.

Fourth, let us not forget budget. This is a subject unto itself and must be considered very carefully in most instances. For example, one may be considering several pieces at this time, so it is a good plan to try to determine how much to invest in each individual acquisition.

Of course, there are those moments when one walks into a gallery and just falls in love with a work of art. This is a wonderful feeling. I always suggest that if the feeling is strong enough, a collector should acquire the piece and then find the optimum placement.

Sometimes, one has to try a piece in several locations before the perfect spot becomes obvious. This again is where a professional can be of help. Someone who has been in the field for a long time has certainly helped to place many works successfully. It requires listening to a client’s needs and desires, and getting familiar with the space. I personally find this to be a most rewarding experience.

These are just some of the things one can expect to experience while collecting a work of art. So, you can begin to see just how much actually goes into this artful process and why collecting art is an art unto itself!