Goerge Bodine, "Agent: Venice," Oil on Board, 2012

By Mark Ford, courtesy of Joe’s Cigar Bar, the Palm Beach Newsletter.

“The S&P index had a total return of total crap in 2011,” Bill Saporito, writing in Time magazine, said recently.

Saporito invested in every asset class he could think of—small caps, big caps, bond funds, foreign stock indexes, and gold funds.

“I should have invested in art,” he said. According to the Mei Moses World All Art Index (MMAI), which has been tracking art returns since 1820, investment-grade art returned 10.2% in 2011, crushing all of the stock indexes, which returned basically nothing.

Impressionist and modern art outperformed Old World Masters significantly: 14% to 4.8%, respectively. A single painting by Roy Lichtenstein sold at auction for more than $40 million.

In the past ten years, Saporito pointed out, art has “pitched a shutout against the S&P, with a compound annual return (CAR) of 4.6% versus 0%. Over the past twenty-five years, however, the S&P has won, with a CAR of 9.3% versus 6.5% for art. Go to a fifty-year time frame and it’s a draw.”

A good argument can be made for investing in art in the future. And that is because the number of wealthy people in the world is increasing at an unprecedented rate. Every year, China, Brazil, and India are producing millionaires and multimillionaires by the thousands.

Wealthy people buy art. With more wealthy people in the world, we can expect to see more people buying art. Pepe Karmel, a New York University art historian, puts it this way: “If you are a hedge-fund trader or a venture-cap dude or in real estate, you are in the business of thinking about the future, and in a way that’s what art does.”

By the way, there is a relationship between art and stocks that is worth noting. According to the MMAI, there is typically a twelve- to eighteen-month lag between stock market and art market performance. In other words, wealthy investors seem to use some of their stock market profits to buy art.

Why? According to Michael Moses, a retired New York University business professor and co-founder of Beautiful Assets Advisors, the company that created the MMAI, “The wealthy view art as a wealth preserver.”

That is certainly how I see it.

Maura Allen “Branded By the Land”

The Humorous… “My wife loved her “Horse Stuff” painting [by Mary Scrimgeour], which was a better gift than a vacuum cleaner or rhinestone handled mop!”

The Love Fest…  “I wish I could convey how warmly [my husband] and I speak of our experience with you at your gallery, and how often we fantasize about escaping for a weekend to linger in your gallery again and simply enjoy all the beauty and art in Park City.  Skiing brought us there, but your gallery will be what brings us back!”

Thank you for letting us know how your artwork and experience at Gallery MAR has affected you! Cheers and Happy Holidays to you and yours!

Kirk Tatom, “In for the Night,” Oil on Board

I’m always looking for new and interesting resource from which to gleam art collecting advice. And you never know when you’ll discover the next great artist. So I read through several art blogs and magazines each week in the pursuit of inspiration.

Below, you’ll find a few of my favorite blog resources for visual art new and information…

Art Info: http://www.artinfo.com/

Jonathon Jones on Art: http://www.guardian.co.uk/artanddesign/jonathanjonesblog. Highly opinionated, dry British humor.

The Art Newspaper: http://www.theartnewspaper.com/ Well organized and on trend.

Arts Journal Daily News: http://www.artsjournal.com/ No nonsense articles, categorized by each artistic discipline.

The Huffington Post Art News: http://www.huffingtonpost.com/arts/ Your source for more dishy arts news.

You Are the River: http://www.youaretheriver.com/ A clean, modernist design blog; reading this feels like meditating.

What are some of your favorite art blogs or other sources of inspiration? I’d love to hear from you!

Several years ago, I signed up for Gwyneth Parltrow’s Blog updates on her “GOOP” website. She typically opines on topics such as fashion and food (how does she eat so much pasta and stay so thin?!?) but this week there is a wonderful post from Maria Brito on artwork and what it means to collect, value, and appreciate it.

You can see the link to the newsletter here, but I have excerpted a few choice pieces of information.

From Maria Brito: “Contemporary art is the art of our times and the art that reflects who we are individually and as a society. It engages the eye and the mind and can open doors and windows to places as remote as Kyoto or as close as Brooklyn. It should not be difficult to live with such an engaging and interesting form of expression, and yet, as an interior designer and a collector myself, I see that not enough people are enjoying the opportunity to live with art. It’s my mission [as an art adviser] to demystify the world of contemporary art and interior design and marry them both in a way that is attainable (and irresistible).”

There are three other important factors to think about when starting a collection (and don’t be scared by the word “collection;” anybody with more than one piece of artwork has already started a collection):

* Pay attention to the artist’s career…

Obviously emerging artists (not necessarily young but generally in the first five years of his or her career) have artworks with price points that are lower than those who are mid-career or established.

* Consider the medium…

Prints, editions and photography are more accessible than originals. There are cases, for example, where mid-career or established artists who usually work with oil or acrylic or mixed media on canvas decide to release a limited edition of prints that are a fraction of what the originals would cost. I love prints and photography and recommend them to a lot to my clients because you can get large, graphic works without breaking the bank. Note: Whenever possible, buy limited editions rather than open editions.

* Size is key…

In the world of contemporary art, bigger is usually better. I will always favor buying a larger piece because of the impact it can make, turning a room from ‘blah’ to ‘wow!’”

Although Summer is full of art festivals and events, Fall can be one of the best times of year to see and experience new artwork in our region.

The Fall Arts Festival in Jackson Hole Wyoming, from September 8 to the 18th, is coming to its crescendo this weekend. This is when the quick paint and auction occur, and all of the galleries prepare for this weekend to be one of the best for sales all year. It’s my favorite time of year to visit Jackson Hole, which is at its best in the summer and fall months.

If you visit, Hotel Terra is a beautiful and ecologically conscious hotel that I highly recommend. In addition, the Amangani is another top favorite, with incredible views of the Tetons and even better service. For food, head to Rendezvous Bistro, where budding artists can draw right on the (paper-covered) tables and expect a wide range of seasonal and local specialties.

Amy Ringholz - Wolf Solo

Next year, Gallery MAR artist Amy Ringholz is the Featured Artist of the 2012 Fall Arts Festival, and we can’t wait to see what work she produces for the feature. Congratulations to Ms. Ringholz, whose work can be seen at our solo exhibition for her on Friday, January 13th beginning at 6pm.

Another exciting, upcoming show is the “Park City Collects” exhibition at the Kimball Art Center. This new exhibit asks the question: “why do people collect art?” and presents the stories behind signature pieces in the collections of various art aficionados from the Park City community.  The artwork on view is as diverse and eclectic as the reasons for collecting it. The Members’ Opening Reception on Saturday, December 3 from 6-8 p.m. Mark your calendar!

An Educational Moment: The “Do’s And Don’ts”

of Art Collecting By Roger Hurlburt

From The Palm Beach Investment Newsletter, “At Joe’s Cigar Bar”…

DO some homework. Check out exhibitions, prices, and, most of all, what the artist creates that might interest you. The Internet has changed everything. Most of the time, it is easy to research an artist via a website.

DON’T make a gallery owner your art advisor. Galleries are great places to visit, but remember that gallery owners are in the business of selling.  Avoid the hard sell, the promise of how prices for the artist’s work will surely soar, the “better get one now” pitch… that sort of stuff. No one can predict an artist’s market. Editor’s note: be wary of any gallery that makes you promises that are market conditional– this isn’t someone you want to work with anyway. An art gallery and their staff can certainly advise you on other purchases outside of their gallery. Get to know the gallery and staff.

DO some traveling. There is nothing wrong with living in Kansas and buying art at a local art gallery. But if you strive to put together a collection of beauty, interest, and value, you must go to New York City. Since WWII, Manhattan has been the hub of the art world, and every artist longs to exhibit there. Want to find new and exciting talent? All art roads lead to The Big Apple. Look about the multitude of galleries both old and new, big and small.

DON’T expect the average interior decorator to fill your home with fine art. They are adept at “furnishing” a residence with art objects for a hefty fee. But virtually none will ever be worth anything. Often, for nearly the same budget, the homeowner can become a collector of material of value. So maybe there isn’t the sense of immediate gratification. Patience is a collecting virtue.

DO pay heed to the words of art critics and reviewers. Their observations are born of knowledge, objectivity, and an intimate connection with the art trade. If they say some up-and-comer is worth watching, watch that artist. And, if you like the work, consider buying it.

DON’T buy art at a gallery that runs “sales.” Prices for viable artists—established artists whose work may or may not appreciate—invariably rise, but they NEVER go down. Never. Steer clear of mall galleries and ersatz art emporiums that are really framing stores in disguise. And those weekend hotel-lobby extravaganzas promising “original oil paintings.” If you want to match a painting to the hues in the couch cushions, call your decorator.

DO maintain a sensible art-buying budget. You don’t have to mortgage the house to collect quality art. Collecting does cost money, but it is not how much money you spend—it is what you spend your money on.

DON’T “invest” in copies, facsimiles, or reproductions. They are worth nothing—tangibly or emotionally. All collectors, whether or not they recognize it, desire satisfaction in a work of art. Something outwardly bogus will never deliver.

DO develop and follow your own collecting eye, taste, and spirit. Shy away from trends, who celebrities buy or endorse, and who just caused a sensation at the Venice Biennale. Art collecting is one of the most personally rewarding of endeavors if you stick to your own emotional and visual guns.

Don’t consider becoming an art collector if any of the previous “do’s and don’ts” make little sense. There are always baseball cards, Beanie Babies, and vintage wines to collect.

Contact Info: Roger Hurlburt is an art historian, fine arts critic, and acquisition consultant. If you would like to contact him, you may call him at (561) 251-9860 or email him at rhurlburt2@bellsouth.net.

Artists and art galleries are typically the go-to source when a non-profit is looking to find items for an auction or special event fundraiser. And many artists and art galleries are happy to oblige. My artists are incredibly generous and have had some valuable returns on their donation opportunities. However, when an artist donates a painting, they are only able to deduct (as a tax deduction) the cost of their materials that they used to create the piece.

Here at Gallery MAR, we have a few groups that are especially close to our heart, including Recycle Utah, Peace House,  and the MS Society. We donate every year to these organizations and open up the gallery to all non-profits (free of charge) for their events.

When you, as a private individual, are asked to donate to a cause, what are your options? You can send a check, volunteer for a day, or donate supplies and fixtures for them.

Or, you can support an artist while you support your favorite non-profit. Why not donate a painting by a local artist?

I have to give the credit to my father for this idea, which helps to pass around the generosity and promote art at the same time.  It’s not perfect for every non-profit; however, it gives them valuable options.  An organization can choose to auction the painting, raffle for the opportunity to win the piece, hang it in their offices, or a myriad of other creative ideas. And when you donate a piece of artwork, you are able to deduct the fair market value of the sculpture, painting, or mixed media work.

There are also some fun additions that can add to the cache of your donation. For example: Gallery MAR can provide you with a brass plate that states the name and title of the painting, along with the name of the generous person who donated the work. If this is something you are interested in, let us know how we can assist you. We can help you select the perfect artist and piece for your donation, one that connects with the message of your favorite not-for-profit organization.

Something to think of the next time an organization asks you to give generously.

Park City’s Gallery MAR artist Michael Kessler recently sent us this article, describing some of the more powerful effects that his art has had on collectors and appreciators. As always, I recommend that collectors buy what they love– what makes them joyous and connects with their heart. Kessler’s paintings continue to speak in such a way to our audience.

A collector’s “wall”: artworks hanging from the spines of books.

In the Park City gallery, I continually hear the phrase: “We have no more room for art!” And what a lovely problem to have!

I myself have a small home (as is the case with most miner’s homes built in the late 1800s) here in Park City and there never seems to be enough room for our artwork collection. Nonetheless, it keeps growing. This weekend, my husband and I were traveling through California and happened upon some sculptures by Karen Shapiro that we couldn’t live without. It’s a bug. I know I have a(n art collecting) problem. We were both giddy as we arranged for shipping and tried to wrack our brains to decipher were they might go. Didn’t matter… we would make them fit!

Michael Kessler’s latest installation from Gallery MAR, in Boston

There is always a creative spot for paintings and sculpture. Sometimes it just takes a little adjustment here and there. Found a little 20″ x 30″ landscape that perfectly captures how you felt on your Tuscan vacation? Move your (already hung) 30″ x 40″ painting down 2 feet and put the smaller work on top of it. Discovered a new and emerging glass artist whose glass vessel is as blue as your wife’s beautiful eyes? Donate a few of your books to the library and your shelves now have more room for sculpture!

A phrase that we always love to hear:  “Oh, we’ll find a place!” The words of a true collector.

Graffiti artist Banksy’s plan to attend the Oscar ceremony in disguise was vetoed by the Academy for Motion Picture Arts and Sciences.  But that hasn’t stopped the additional hundreds of thousands of dollars which have been added to the value of his work.

The Bristol-born graffitist, whose real name is thought to be Robin Gunningham, has been on a publicity drive since he was nominated for Best Documentary Feature for his film Exit Through the Gift Shop. If you haven’t seen this doc, I highly recommend adding it to your Netflix queue. The movie delved into the often overlooked art of graffiti and the artists who promote themselves in guerrilla fashion. It’s also quite humorous.

Graffiti artworks appeared across Los Angeles, leading up to the Oscars. They included a boy with a machine gun firing crayons into a field of flowers, a drunk Mickey Mouse holding a cocktail and wrapping his arm around a model on a billboard on Sunset Boulevard, and  Charlie Brown with a cigarette hanging from his mouth.

The works impressed the Los Angeles Times, which opined that he was a welcome addition to the usual Oscar buzz. “If Academy officials are worried that Banksy might do something bizarre on Oscar night, our advice is not only to get over that but to invite him back next year as a presenter,” the newspaper declared.

In the month since the nominations were announced, Banksy’s art has already shown signs of a price bump. Analysis provided by the art-price monitor, artnet, of the ten most recent sales of Banksy works shows that prices were on average 25 per cent higher than the highest estimate put on the work by auction houses.

Sotheby’s in London sold Banksy’s “Heavy Weaponry,” an image of an elephant with a rocket on its back, for $123,375. The auction record for any of his works is a much larger piece entitled “Keep it Spotless,” a Damien Hirst spot painting defaced with the image of a chamber maid apparently lifting up the bottom of the canvas, which sold for dollars $ 1.87 million at Sotheby’s New York in February 2008.

The artist had his first brush with Hollywood in 2006 when Brad Pitt and Angelina Jolie expressed an interest in his work, but art experts believe that the Oscar coverage combined with canny control of the supply of his work will cause prices to rise again. There is a catch, however, for owners of Banksy works. They are worth little without a certificate of authenticity, but Pest Control, which describes itself as the “handling agency” for Banksy’s work, has refused to give certificates for works that it says were “not originally intended for resale,”  including street art and gifts.

Read more from the story, courtesy of the Australian Times.