The second installment of a two part article.

The first ArtHamptons housed 55 booths in its four modular structures on the grounds of the Bridgehampton Historical Society, from July 10 through July 13, 2008. The galleries at the fair featured late 19th, 20th and 21st Century museum quality art. According to Executive Director Rick Friedman, over $100 million dollars worth of art was available and over $25 million dollars of art was sold through the fair thus far.

The great array of good to great art shown at ArtHamptons made culling the mentions down into one article difficult. When I attend an art fair I prefer to return on a second day, or at least go somewhere away from the booths and take a break. Then the works that stand out in my memory are ones I mention. So after seeing everything, with my mind overflowing glorious images of art, I left to ponder. ArtHamptons Entrance

The next day, my first stop was at the booth of the Mark Borghi Gallery, which has a branch in Bridgehampton. Thus, I am familiar with the fact that they show and sell museum quality art. Although the booth had work by Hamptons artists, a stunning sculpture by John Chamberlain (who lives and works in Shelter Island), and a De Kooning, what had captured my interest was a somewhat atypical but charming work by Chagall of a lady in a sprightly decorated dress. I revisited that work again and again. I would have asked to include the image here, but it was so finely detailed that a small image here would not have fairly shown the work.

Another stunning work that I had to pass showing here as a small image could not do it justice was a large (77 ¾ x 77 inches) work by Jim Dine, entitled Black Robe found at the Verve Gallery. During the fair and then afterwards I enjoyed meeting and conversing with Gregg Sheinbaum, who I look forward to seeing again at a fair or when I am in Fort Lauderdale where the gallery is located.

I am a great fan of Andy Warhol, who is sort of a Hamptons artist as he had a second home in Montauk. Although his work was plentiful, especially many of his iconic silk-screens. Warhol’s works never fail to delight me. My claim that his work has greatly influenced mine is difficult to see from my own initial Genesis: Sunset-Sunrise series but as I move into the Essence series, it will become clearer. So, hearty thanks for the showing wonderful Warhol’s especially to Accorsi Arts, the Contessa Gallery, DJT Fine Art and Gary Bruder Fine Art .

William Meek of the esteemed Harmon-Meek Gallery graciously sent and allowed me to use my favorite image at the fair by Will Barnet, which you can find in last week’s Part 1 of this article and in the newsletter.

One of my intentions prior to attending the fair was to see the booth of the Jerald Melberg Gallery. I had seen ads for the gallery in various art magazines, and from the quality of the art and artists represented was curious about this gallery located in Charlotte , North Carolina. I enjoyed meeting Jerald Melberg and remain impressed by the works at his gallery.

Upon entering the main pavilion to the right was the Mark Borghi Gallery and to the left John Szoke Editions. Here, I especially appreciated works by Louise Bourgeois and Julian Opie plus two very different kinds of works by Chuck Close. Inside the booth were holograms portraits by and of Chuck Close that were fascinating, but what impressed me the most was just outside the booth, a limited edition print that freely used many different colored small lines to create a self portrait. I appreciate that John Szoke kindly took the time to answer my questions about the Opie and the hologram works as the processes were new to me.

ArtHamptons had a dazzling of special fund raising events. It kicked of with a preview and special presentation to Will Barnet of the first ever Hampton ‘s Lifetime Achievement in the Arts. The admission for each day was donated to a different local charity, plus there were auctions and benefit events that raised additional funds for local charities. Other events included book signings and readings.

Of special note were the panels and lectures. Helen A Harrison, director of the Pollack-Krasner House, moderated A Passion for Collecting — Hamptons Collectors on Collecting, with panel members Ron Delsner, Henry Buhl, Larry Dubin and Michael Zenft. Christina Strassfield, curator of Guild Hall spoke on the Importance of Larry Rivers, Prelude to the Guild Hall Show. Successful Art Collecting:Insider Tips on Choice, Strategy and Value, presented by Ray Waterhouse, Chairman of Fine Art Brokers, London, Paris and New York.

The panel , Why You Can’t Live Without Art? was moderated by artist Audrey Flack, (her statue Civitas was situated near the fair’s entrance) included panelists Klaus Kertess (curator and writer), April Gornik (artist), and David Brigham (Director, Pennsylvania Academy of Art). Most artists are collectors and in addition to art and stuff, I collect ideas and meaningful quotes. Here are two from this panel:
L to R: Klaus Kertess, April Gornik, Audrey Flack and David Brigham

Art is the purest expression of the mind’s ability to make a metaphor.” – Klaus Kertess

“The artist proffers onto the viewer an experience unto which they [the viewer] can project” – April Gornik

Another panel, Using the Internet to Build Your Collection , had my attention from the get-go since as an artist I am using the Internet to make my artwork and the Post Conceptual Art theory I am founding known. This panel was moderated by Miriam Tucker, Partner, Rago Arts+Auctions Center and Bill Fine, President, artnet.com Worldwide. Various auction and database sites were mentioned, including the comprehensive one on artnet.com, where collectors can find and research works of art. Since I have already written various articles aimed at the emerging collector, I was busy taking notes for a future blog and article.

At least several times a week, I use artnet.com, which over the past few years I have found to be an amazing resource for information on the art world. Although Bill Fine had an excellent presentation some of the resources I use were barely mentioned as the panel’s focus was on the online auctions, market trends information and price data base. At the end of the discussion, when the panel asked for questions, I raised my hand and requested that Bill mention the other resources, which I specifically mentioned. He replied he would prefer if I did it, so I took the microphone, turned to face the audience and enthusiastically but quickly told about the excellent online Magazine and articles (some of the best art writers write for artnet.com), the information available under the tabs for Artists and also the one for Galleries.

A few minutes later, after the panel ended, I mentioned to Bill Fine that although I would be mentioning the panel in my upcoming blog on ArtHamptons, I would be using the material in another article specifically aimed at collectors and would send him a link then. If I am going to mention of quote someone, I often tell them, but almost always email a link as a courtesy.

Bill turned to me and asked if I was really covering the fair and if I would like to write about it for the artnet.com newsletter. I would and it did! (Of course, I did assure him that I really do cover fairs and have been a professional entertainment journalist and editor, and did sent links and other substantiating information.) Here is the link to that article: artnet.com July Newsletter.

Since the original idea was to dealt with the ArtHamptons fair and art in the Hamptons, I hurried away to find Gavin Spanierman, at his booth as the Spanierman Gallery in East Hampton includes works by both Contemporary and Modern artists. Commenting on the fair, Gavin spoke of the excellent job by Rick Friedman and his staff. [Read more of Gavin’s comments in the artnet.com newsletter.]

The overwhelming and volunteered approval of the management of the fair first mentioned by Gavin continued strongly and unanimously throughout the next week as I contacted many galleries in relation to the artnet.com article. From that first comment and throughout the contacts to many of the galleries at the fair that then ensued through the following week on behalf on the artnet.com newsletter article. Although I never asked if any gallery would return the following year, most offered they would be back next year. Every gallery I spoke to during the following week had made at least one sale that was finalized or in the works.

Peter Marcelle, and I had agreed to mention his volunteer activities for our local artistic community, especially by giving talks on the art world and curating shows for the East End Arts Council. What I learned from Peter in those informal talks has been invaluable for me, and impacted my art and understanding of the commerce of the art world. I told Peter that I was going to write that he is a mensche. However, as the week developed and sales figures for his booth Hamptons Road Gallery/Peter Marcelle Contemporary came in, Peter had to be mentioned for his impressive sales record at the fair. Although I only give good mentions, which means I only mention good people, I am especially happy for the opportunity to write about Peter’s success for the newsletter and his contributions to the local art community in my blog article.

Months ago, when I learned of ArtHamptons (ironically through a link at artnet.com to a small banner ad), and I saw the roster on then signed galleries, I thought that having a cornucopia of museum quality art residing in the Hamptons seemed like a wonderful addition to my own birthday weekend. The opportunity to write for Bill Fine and artnet.com is the scrumptious birthday cake with ice cream (with no calories or fat!).

ArtHamptons was a resounding success for the galleries and the Hamptons community. Mark Borghi elegantly summed up the Hamptons art scene and this fair, declaring them as, “A vibrant market!”

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Judy Rey Wasserman is an artist and the founder of Post Conceptual Art theory and also the branch known as UnGraven Image Art at ungravenimage.com.

Post Conceptual UnGraven Image Art theory is based at the intersection of ancient spiritual wisdom and cutting-edge contemporary science. It shows us a new and enhanced spiritual and science-based way to see the world. It is a life changing vision that can even become an actual new way of seeing that is a fulfillment of biblical prophecy. Can this be true? See for yourself.

Check out the Fine Art Limited Edition prints, decorative prints, books, and printables that are currently available to you through Judy Rey’s Art of Seeing The Divine Shop. You don’t have to buy to avail yourself of the art and inspiration available there. However, if you select to collect investment quality archival art, or decorate your home with images created with strokes that are original letters from Bible texts, or buy a gift for someone special, there is a secure shopping cart that accepts most credit cards so your purchase is easy to accomplish. https://artofseeingthedivine.com.

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3 Replies to “ArtHamptons – Seeing, Meeting and How I Came to Write for artnet.com”

  1. Hi! I was surfing and found your blog post… nice! I love your blog. 🙂 Cheers! Sandra. R.

  2. As someone who lives in the Springs Historic District and a professional artist actively involved in the contemporary art scene, it never ceases to amaze me how people are so locked into the Hamptons that was. I appreciate your comments and support of Art Hamptons , but those that you talk of are long sice passed….there are many artists out here working away behind the hedgerows who are continually ignored by the curators of our esteemed museums. I would urge you to pay us a visit.

  3. As can be seen from other recent posts on this blog, I also am a contemporary artist who lives and works in Southampton!

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