Perfect Placements at Gallery MAR

One of the most rewarding aspects of gallery life is seeing our artists’ paintings in their permanent homes. Our clients have great taste, and we feel very fortunate to be a part of the process by which collectors add art to their lives.

Below are a few of our most recent installation photos, featuring Gallery MAR artists. Enjoy, and please send us photos of your own Gallery MAR artwork, too!


Bridgette Meinhold, “Swift and Sure”


Michael Kessler, "Apsenslate (1)"

Michael Kessler, “Apsenslate (1)”


Rebecca Kinkead, Custom Snowboarder Commission

Rebecca Kinkead, Custom Snowboarder Commission


Jylian Gustlin, Custom Commission in NYC

Jylian Gustlin, Custom Commission in NYC

Public Art Project at The Gateway

We enjoy sharing public art opportunities with our blog readers, and hope that those of you reading this will forward the RFP on to an artist whom you think would be a good fit. This one is based in Salt Lake City, about 30 minutes from the gallery. Read on for more information, and visit the Gateway’s revitalization webpage for more information.

In conjunction with revitalization efforts and under new ownership, The Gateway (a mall in downtown Salt Lake City), is kicking off a property-wide Request For Proposal (RFP). They are seeking a variety of public artworks to transform the longtime downtown shopping destination into what they are calling “the artistic and cultural heart of Salt Lake City.”From the website, it appears that they are mostly seeking graffiti-type work, to emblazon their already formed walls and structures.


City Creek, a shopping mall just a few blocks away, opened in March of 2012 and has had a detrimental effect on the Gateway. Most of the stores moved to the Gateway, and the result is vacant storefronts and lack-luster traffic at the Gateway. I hope that the new owners have plans to lower rents and ultimately bring in independent stores local businesses.


In the RFP only paint work is show in the examples, but it is my hope that sculpture artists apply as well. Locations include the mall’s clock tower, movie theater entryway, underpasses, and artists are also encouraged to bring their own ideas to the space and find new locations in the mall for public art.


From the RFP: “We invite artists to stretch their creativity to interpret various spaces around the property creative unique, memorable experiences through artwork. We want this initiative to ultimately offer a home for a range of unique public artistry to Salt Lake City, as a place to celebrate creativity, community, and urban identity.”

Applications are due September 20th, 2016, installation is in November, and the RFP was just released this week.

Scared to Commission a Painting?


“The Mullins” by Fred Calleri

Written by Eileen Treasure, Fine Art Consultant

It’s a big decision and maybe a little scary, too. Commission a painting?  Buy a painting without actually seeing it?  Our artists at Gallery MAR are true professionals. Often, they enthusiastically accept the invitation to paint something special and personal for a client. The results are very special.

On the practical side, a commissioned painting will be just the desired size and the color palette that you choose. But typically, it’s the subject matter that drives the decision to commission a work. Honoring a special time of life or event or pet, because paintings last for generations, is the perfect  occasion.

Longhorn Lefty 6x6 GMAR

“Longhorn Lefty” by Cristall Harper

There is a higher level of satisfaction in saying, “The artist painted this for me — that’s my own, lovely dog!” In order to create a truly beautiful work, one that is from the artist’s view and inspiration, the artist should be allowed as much freedom as possible. A few particulars and ideas to spark the creativity of an artist is the perfect way to go. Over-direct a commission, and it is sure to be problematic.

Moose Commision (1 Bull) 48x72 oil on gallery wrapped canvas

“Moose Commission” by Ron Russon



Novotney Commission

“Four Skiers Commission” by Rebecca Kinkead



Eisner Installation 1

“Oxide (4) Grouping Commission” by Michael Kessler


Sometimes an additional painting is desired to accompany an existing painting from the gallery. The image above shows a Michael Kessler painting, “Oxide (4)” on the right, with a commissioned painting on the left, making a spectacular statement in this living room.

When you choose to commission a painting, the artist provides a sketch for your approval at the beginning and an image near completion for you to request last-minute adjustments if needed.

There’s no need to fear commissioning a painting, and Gallery MAR will help you every step of the way.

Art is Not a Fluff Industry

"Timely" by KOLLABS artists Luis Garcia-Nerey and Anke Schofield, 2016

“Timely” by KOLLABS artists Luis Garcia-Nerey and Anke Schofield, 2016

By Deanne Gertner, of ninedot arts

Back when I used to serve tables full time, I was always talking about my future “real” job. In my mind and the minds of those around me, being a server seemed not only illegitimate but entirely frivolous. Still after over a decade of serving tables, it often feels the same. In some unspoken agreement, the servers I know all came to the conclusion – part timers, full timers and, yes, even the lifers – that waiting tables falls into the realm of temporary, trivial, essentially false job paths. Is the cash in my pocket at the end of a night somehow less real? Is the stress from a rough shift less valid? Do my aching feet hurt less because this isn’t my “big girl” job? Are the over 2 million servers in the U.S. less important than the other 120 million “real” workers in the U.S.?

Somehow we’ve gotten ourselves royally mixed up with regards to our perceptions of work and which jobs matter and which do not. Who decides and how does the criteria for an “important,” “essential”, “honorable,” “respectful” job get determined? If someone is willing to pay for a product or service, isn’t that product or service inherently valuable?

Even though work makes up more than half of the word artwork, it seems that misconceptions about the value of art, both intrinsically and economically, dictate that art is not a “real” career path, one that more often than not is deemed less serious and therefore inconsequential. Working in the arts is seen as fluff by those with “real” jobs. Arts jobs, many appear to believe, are nice but they aren’t essential.

Does $704.2 billion sound like fluff? What about 4.2% of the GDP? Would you believe me if I told you that in 2013 the arts and culture produced more in the U.S. than construction ($619 billion) and more than utilities ($270 billion)? The National Endowment for the Arts’ latest study shows that over a fifteen-year period arts and culture grew by 32.5%, outpacing accommodation and food services (1.4%), retail trade (1.3%) and transportation and warehousing (1.1%). In 2013, the arts and cultural sector employed 4.7 million wage and salary workers earning $339 billion. I’m no economist, but these numbers tell the story of real value and impact.

In the visual arts alone, the global art market (auction houses, galleries, private dealers, art consultants) roughly accounts for $56 billion a year and could be even higher due to underestimated sales by galleries and dealers. Sotheby’s Michael McCollough detailed his critique to BLOUINARTINFO on how the art market gets counted: “…they say the public market (auctions) makes up 48% of the total market and the private market (galleries) comprises 52%. To people who actually work in the market, these number[s] are off wildly; most people estimate the private market to be at least twice as large as the public market. If my estimates are correct — and we know the global public market was at $27 billion last year — then the global private market was around $54 billion, thus the total global market should have been somewhere around $81 billion.” Either way you count it, that’s a lot of dough.

Let’s now examine the art supply chain. Where does the chain start? With the canvas, stretcher bar, paint or brush manufacturers? The artist herself? Wouldn’t you need to go back in time to the very first moment that artist used Play-Doh or crayons or finger paints or Legos or a stick and some dirt to create something from her imagination? Let’s skip over pre-K, elementary, middle and high school and just think about higher education. The whole degree thing is its own industrial complex churning out 100,000 students with arts-oriented BFAs, MFAs and PhDs per year. From there, take into account the thousands of galleries, dealers and art museums, frame shops and art supply stores. Next, think of the art handlers and installers, the shippers, insurers, appraisers and conservators. Let’s not forget the art buyers themselves – individuals, institutions, municipalities, corporations. A 2015 study by Larry’s List on wealthy international art buyers estimates “there are 8,000 – 10,000 collectors worldwide who regularly buy substantially priced works from contemporary galleries and from fairs like Art Basel, Frieze and the Foire International d’Art Contemporain.” Think of the travel costs alone!

All this talk of dollars aside, everyone I know who works in the arts does so for his or her love of art not love of money. They work in the arts because they can’t possibly live any other way. Aren’t the most important jobs the ones with the most passionate people in them, the ones where the worker derives the most meaning from his or her work, the ones where the worker strives for the deepest understanding of what it means to be alive at this moment in time on this planet?

Michael Kessler — Another Perfect Placement

Michael Kessler, "Aspenslate (1)", 48' x 84", Acrylic on Canvas, 2016

Michael Kessler, “Aspenslate (1)”, 48′ x 84″, Acrylic on Canvas, 2016

“Aspenslate” by Michael Kessler found its forever home this week, and we couldn’t be happier with the collector’s selection. This special 48″ x 84″ painting is perfectly suited for their sleek mountain decor and adds sophistication to their entryway. Congratulations to our collectors!

We have been assisting this family with their fine art for nearly eight years, and this space has been waiting for the ideal piece since they moved in. In this case, scale was very important to the couple. They wanted a piece that occupied a great amount of space, but was serene and well suited for their surroundings.

As we often see, this home has grand, photo-perfect views that are tough to compete with. An abstract work of art that harmonizes with the natural landscape (right outside) is the ideal solution, and Michael Kessler‘s work perfectly fits the bill.


Install Macey

Michael Kessler, "Aspenslate (1)", 48' x 84", Acrylic on Canvas, 2016 -- Installation view

Michael Kessler, “Aspenslate (1)”, 48′ x 84″, Acrylic on Canvas, 2016 — Installation views