West Coast Artists take a "deep dive" from Art Hamptons.

Eugenia Au Kim, teams up with curators Lisa Cooper and Joan Daidone to host a satellite exhibit to Art Hamptons across the street at The Design Studio, on Main Street in Bridgehampton. “Deep Dive. Journey beyond the Surface” features the work of contemporary women artists from Los Angeles and Hawaii as they explore the power, energy and mystical world of waterscapes, both real and imagined. The exhibit opens this week, and is open daily from 11am to 6pm.

West Coast Artists are taking a “deep dive” into the Hamptons Art Scene with a group show at The Design Studio, the interior design boutique. The exhibit is a collaboration between Interior Designer Eugenia Au Kim (www.designstudio-ny.com) and Elisa Tucci Contemporary Art (www.elisatucciart.com). Curated by Lisa Cooper and Joan Daidone, the exhibit showcases the work of Kaui-based artist Carol Bennett, LA-based “Flow” painters Suzan Woodruff and Kimber Berry, along with waterscapes of several
Hudson Valley artists.




The Art Exhibit entitled “Deep Dive. Journey Beyond the Surface” features new works by contemporary women artists as they explore the mystery, power and transformational qualities of water and waterscapes, both real and imagined. Using traditional, mixed and new media, including video paintings, the artwork transports the viewer on a journey to waterscapes both familiar and otherworldly.The exhibit features West Coast Women Artists in their first show in the Hamptons.

The exhibit includes a series of oil on wood paintings from Kauai-based artist Carol Bennett, mixed media acrylic paintings and an installation of Liquid Environments by LA-based Kimber Berry and sensual waterscapes from “Flow Movement” co-founder Suzan Woodruff. In addition, there are also “Video Paintings” by Hudson Valley artist, Rosalind Schneider.



For those interested in “living with art” that inspires and transform them, the exhibit showcases the work within elegant and balanced home settings, artfully designed by Feng Shui-inspired Interior Designer Eugenia Au Kim, known in the Hamptons and Manhattan for creating balanced and harmonious living spaces inspired by nature using organic materials and sustainable materials whenever possible.



According to Lisa Cooper, “Joan and I chose to collaborate with Eugenia because she has a deep appreciation for contemporary art. She is not the type of designer who looks for “art” as an accent to a piece of furniture. She has an emotional and spiritual connection to the work. She respects the work – and invites us to work as art consultants directly with her clients.”

The exhibit showcases artists and work that is exclusive to Elisa Tucci Contemporary Art, and is being shown for the first time in the Hamptons. The show will run through August 2nd, 2009.

What: Art Exhibit across from Art Hamptons
Deep Dive: Journey Beyond the Surface
Curated by Lisa Cooper and Joan Daidone, Elisa Tucci Contemporary Art
Where: The Design Studio, 2392 Main Street, Bridgehampton, NY

For more information contact: Joan Daidone, Elisa Tucci Contemporary Art, Joan@ElisaTucciArt.com or 212.982.0427

Video as Painting: The Art of Rosalind Schneider

Rosalind Schneider enters nature seeking the unexpected. Changes in light illuminate form. Reflection and shadow all play into the gathering of images. She gravitates to sites that carry a primeval power of nature. Although the images are site specific and relate to the time collected, they must also speak to a greater vision of place. Rosalind places herself in a chosen environment and allows it to direct her eye.


The gathered images are a sketchbook of ideas. Rosalind isolates and translates selected images creating new sequences to enter the mix of elements. Of paramount concern is the subtle flow of imagery, progressing from the
real into abstraction and a fusion of the two. She is interested in making the shift into reality both present and illusive.


Each work becomes a voyage of discovery, resulting in a continuous flow of land and water imagery, transformed by layered transparency and reordered time.



Artistic Vision
The video work continues and expands my vision of landscape. My visual language has developed over years of producing a large body of work that includes experimental film, installation, painting and photography. The elements of each have contributed to video interpretation of imagery and the flow is constant. As I now isolate video frames to develop as Digital Fusion Paintings, the circle becomes complete in its relationship to my original vision as a painter.



Presentation
The work is presented as a large-scale wall projection and/or on a wall mounted flat screen monitor. The monitor emphasizes the moving painting aspect of the work, whereas the projection incorporates the architecture of the space. I have used video projection on surfaces such as giant balloons, sculpture, and intersecting and curved walls. When installing my pieces, the site will determine the relationship of the piece to the given space resulting in a new vision for each site. As the work is not story driven, viewing can begin at any time. The videos generate a meditative
environment and can be viewed for extensive periods of time. The work lends itself to both private and public space.

Why stimulus spending should go to public art

In their search to find programs upon which to rest the complaint that the stimulus bill is too generous, some conservatives have seized upon one of their favorite whipping boys: the arts. "Even [House Republicans] can't quite believe it... $50 million for that great engine of job creation, the National Endowment for the Arts," declared Rep. Mike Pence (R-Indiana).

Pence intended to be ironic about the NEA's role as an engine of economic activity. But he could have been sincere, since his comments were right on the money. Arts are actually a great form of economic investment, particularly public art, and they should be amply funded in the stimulus package. Every year nonprofit arts organizations generate $166.2 billion in economic activity, support 5.7 million jobs, and send almost $30 billion back to government, according to Americans for the Arts. There is hardly a person more likely to go out and spend her stimulus check than a starving artist.


Unfortunately, $50 million is an awfully small amount: it is 1/600 of the $30 billion allotted for roads and bridges. The House Democratic majority wisely ignored Pence's philistinism and created other revenue streams within the stimulus that can be made available to the arts.

The money for artistic projects is almost by definition ready to be injected into the economy. It may take years to draw up a plan for a highway, obtain the right of way and fend off legal challenges before the bulldozers start rolling. But to buy a canvass and some paintbrushes, or even some metal for a public sculpture, is comparatively straightforward. That puts quick money into the pockets of the companies that build, sell and ship those artistic materials as well.

"The money goes straight into the economy," says Janet Echelman, a sculptor whose giant metallic nets have revitalized public parks and downtowns from Texas to Portugal. "I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers. A very large portion goes into fabrication, which is funding workers at a steel factory." Echelman currently has a commission from Phoenix to build a centerpiece for a new downtown park that may face funding shortfalls. There are "shovel-ready" arts projects like hers throughout the country.

Although federal agencies like the Department of Agriculture could, through the Rural Development Program, spend a bit of their stimulus money on art, it will be largely up to state and local governments to determine what proportion, if any, of the various revenue streams will go to the arts. Community Development Block Grants, for instance, can be used to support art projects and institutions. By far the largest pot potentially available for art would be the $43 billion that the House allotted for transportation funding. State art agencies often work to improve the relationship between, say, a highway or a train station and its surroundings, using a small fraction of the transportation project's money for public art projects.

A well-designed public space can boost real estate values and create opportunities for small local business to thrive. Public art in urban environments can also help physically and socially knit together communities. In Houston, Echelman hung a bright orange sculpture from the bottom of a highway on-ramp that flew over a public park. That area, once desolate, has become a popular destination. Judy Baca, an artist in Los Angeles has hired inner-city youth to help her paint public murals, partly to help improve relations between rival gangs. "It has the additional benefit of crime prevention and enhancing the opportunities of under-privileged kids," explains Robert Lynch, CEO of Americans for the Arts. "The process is as important as the product."

Local and national arts organizations are already beginning to appeal to state governments to invest stimulus infrastructure dollars in art. In Massachusetts local organizations have asked Governor Deval Patrick to direct his administration to spend 1 percent of the federal infrastructure dollars on design excellence and public art, and the governor's office has been receptive. "People like living in well designed, carefully thought out urban environments," says Ricardo D. Barreto, director of the UrbanArts Institute at Massachusetts College of Art and Design. "Public art is about more than putting a statue in a corner. It is linked to urban design."

If one agrees, even just in part, with Richard Florida's "creative class" theory -- that a welcoming environment for creative professionals is the key to helping cities and even countries retain a competitive economic edge, as he compellingly argued in The Rise of the Creative Class and The Flight of the Creative Class -- then supporting the arts in general, and public art in particular, would be the ideal way to spend some of the stimulus dollars। Hopefully the Mike Pences of the Senate will not win that argument next week.

Ben Adler, The Atlantic, reprinted from February 1, 2009 article

The art of "Conscious Collecting"

Everyone can experience the art of collecting.  Contemporary art is not just an experience reserved for the wealthy, elite or art historian.  Today there's a wide selection of original art by talented emerging and mid-career artists from around the world that's available and accessible to anyone who can afford a IPod or Flat Screen TV.  

Collecting contemporary art is a creative experience, a journey of self-discovery and self-expression.  When you buy art by living artists you not only enrich your own life, you actively support the world of living artists.

Buy Art You Love

Be a conscious collector by going to gallery and museum exhibits on a regular basis, checking out the art pubs, reading popular Art Blogs and Magazines, and learning about the artists that engage you and what influences their worl.  Think about how the work makes you feel.  Don't simply think of a work of art as decorating a room or going with a piece of furniture.  Your art purchase should outlive your taste in home decor.  Trust your gut and your instincts.  But avoid what feels too comfortable or overly familiar.  And don't be afraid to mix different styles and genre of art.

Talk to the Gallery Owner

Learn about the artist from the gallery owner.  Ask for a copy of the Artist Statement, a bio or CV. Find out where the artist has exhibited, where he/she went to school or who they studied with.  Ask about the artist's technique, influences, and the inspiration behind the work.  The gallery owner or dealer should be a good source of background information on the artist and the work.  If not, then maybe you should do your own homework and work with another gallery.  Don't give into sales pressure. The gallerist should be well-informed and enthusiastic about discussing the work, but not aggressive.

Living With Your Art

Buying your first or fiftieth work of art can be very exciting.  But don't get caught up in the moment and neglect some necessary precautions that will help safeguard your work.  If handled properly your artwork should last a lifetime and beyond.  Here's a few things to keep in mind to properly care for your artwork.

Document Your Purchase

* Request a Bill of Sale along with a Letter of Authenticity

* Get a copy of the artist's statement, resume and biographical information.

Keep it on the back of the artwork and put a copy in a safe place.

* Find out what type of artist's medium, for example: acrylic, charcoal, pastel,

watercolor, oil, etc.  Make sure you ask how to protect and take care of the

work.

Party with a purpose: the art of collecting and giving back.

The economy may be in a deep freeze, but New Yorkers are never slow to accept an invite to a cool party. With a new guy in the White House, New Yorker’s are looking for any excuse to party --while discovering new ways to entertain at home.

One new “party” venture, started by Lisa Cooper and Joan Daidone of
Elisa Tucci Contemporary Art, stages “Art at Home Events” in the private and intimate setting of young collectors’ homes.

“Think of it as a ‘Trunk Show’ of original art. Instead of designer fashions or jewelry we bring a selection of artwork from emerging and established artists.” says Gallery Owner, Lisa Cooper. “Our party hosts are art enthusiasts who want to share their love of contemporary art with their friends. Our clients provide the wine, cheese, light fare and drinks. We provide the artwork and stage an exhibit in their home.”

The “salon” style gatherings allow the host to introduce their friends to artists, gallerists or curators in a relaxed and comfortable environment. “The parties are a fun way to learn about contemporary art in a casual setting.
It’s like having an art opening in your living room – without the uptight attitude or pretensions,” says ETCA Gallery Partner, Joan Daidone.

Working alongside the host, Lisa and Joan create a private event designed to introduce novice, as well as more seasoned collectors to “The Art of Conscious Collecting.” In addition, ETCA offers advise on not only how to collect art, but how to care for and protect your original artwork.

ETCA Art Parties give party-goers an insider view of the contemporary art scene – as well as a chance to give back to their communities. With a mission to “change the world through art”, ETCA donates 5% of every art sale to charitable organizations that inspire and heal disadvantaged children through art. Donations are made to the host’s favorite cause or one of the charities associated with the gallery. Lisa Cooper is a volunteer with Free Arts NYC www.freeartsnyc.org and Joan Daidone is on the Board of Directors for Ninos del Lago in Guatemala.

With a portfolio of contemporary art from both local and internationally-acclaimed artists, ETCA is able to offer access to an extensive collection of works by artists currently in the permanent collections of major museums, corporate and private collections.

Joan and Lisa will stage the “Private Art Parties” anywhere within Manhattan, the Hamptons and the New York, New Jersey and Connecticut Tri-State Area, as well as the Berkshires. Other areas may be available on a case-by-case basis.

About Elisa Tucci Contemporary Art (www.elisatucciart.com)

Elisa Tucci Contemporary Art represents both emerging and established artists working in traditional, mixed and new media. Joan and Llisa chose to represent work that they love, art that is timeless and transformational on an emotional, spiritual or intellectual level.

Elisa Tucci Contemporary Art currently represents sixteen artists from around the world, as well as dozens of other artists whose work is offered through ETCA’s art consulting services. Artists are selected for mastery of their technique and craft, singular and unique creative vision, and commitment to their art.

Artists currently represented include: Rosalind Schneider’s video installations and digital fusion paintings; Elaine Galen’s surrealist and mysterious landscapes; Amy Cheng’s magical world view; Miriam Brumer’s animated microcosms of organic environments; Carol Bennett’s waterscapes and aquatic explorations; Jon DePreter’s contemporary wood sculptures and totems, Kimber Berry’s Liquid Landscapes; Michael Barletta’s Live Paintings. The full portfolio can be viewed online at www.elisatucciart.com

Why Invest in Contemporary Art?

At a recent show in Miami, a 30-something well-dressed guy with a hint of NYC prep school in his voice asked me a question that I hear at every show,"Do you think this artist will be a good long-term investment?"

And my answer always comes in the form of series
of questions: "Do you love the artist's work?", "How
does it make you feel", "Could you live with it", "If
you it gave you years of pleasure and wasn't worth
any more than you paid for it, would you consider it a bad investment?"

By now, you probably see where this is going. If you're going to start collecting Contemporary Art by a unknown

artist and your budget is under $100,000, you need to think of investing in art from a different perspective.

If a safe long-term investment is your first priority, then I suggest you consider a CD. If you're an art enthusiastic and want to start collecting but are afraid of making a bad

investment।

Here's a few things you need to consider:

1) First and foremost, does the work engage you, does

it touch you in some way -- emotionally, spiritually, intellectually.

2) Do it seem very familiar, like you've seen it before, or it is unique or distinctive in some way.

3) Is the level of craftmanship or quality of the piece demonstrate mastery of the medium?

4) What does the artist' statement reveal about the artists, his vision and his intent?

5) Where has the artist shown before? Galleries, Museums,
Corporate and Private Collections

6) Who has influenced the artist and who has he/she studied with.

7) Is the artist a "career" artist or a weekend hobbyist?

8) How much can the gallery owner tell you about the artist। And is he/she passionate about art or in just making a sale?

But first and foremost, do you love the work। Can you see yourself living with the work for a long time. Can you see yourself gifting it to a family member or friend. How does it make you feel?

Unless one is collecting a "listed" artist (one that has been sold at auction), or an artist that has been collected and exhibited in major museums by noted curators and reviewed by prominent art critics, and bought and sold at auction or through top galleries over a period of time, it is almost impossible to guage the investment value of a work of art. And with artists such as Damien Hirsh, Julian Schnabel, Andy Warhol or other household art celebrity names, the prices are more volatile than the trading prices on Wall Street.

So if you're looking to invest in art, start with visiting as many galleries and museums as possible to cultivate your aesthetic taste and discover what you like and don't like. The more art you see and learn about, the more discerning your eye will become. You'll find yourself responding to different genres or styles of work -- abstract or figurative, conceptually or expressionistic, landscapes or folk art.

Ultimately, the reason to invest in Contemporary Art is not whether or not it will go up in monetary value over the years, but what it brings to your life, your home and your world view. How it expands your experience of humanity and the world around you.

When you think of how much you "invest" every year in new gadgets and gizmos and entertainment that may be enjoyable but fleeting. Think of owning something that will add something new to your life every day.