Growing Up With Art

One of the challenges of advising clients who have young children is to persuade them about the great opportunity they have in allowing their kids to grow up with art. For example: I had been pressing a client to purchase a beautiful, huge, drawing by Robert Colescott. The buyers were reluctant because they believed it to be too graphic, controversial, and sexual. They were concerned about the kinds of questions the drawing would prompt. 

I assured my clients they would be surprised to learn that children are more sophisticated and open then they imagine. Fortunately, the parents did buy the Colescott drawing, and later told me they’ve had many meaningful conversations with their daughters about the piece. They especially love overhearing the discussions about the drawing between their children and their own friends.

I was confident all would be well in that household because my own sons grew up surrounded by art. Openings at the DuSable Museum, The South Side Community Art Center, and the Art Institute of Chicago were regular occurrences in my family. Sometimes, the boys acted annoyed and uncooperative, but that didn’t stop them from making smug insights about art to their friends.

Now, as a grandmother and artist, I enjoy introducing my grandchildren to museums.  I’m amazed and gratified by their curiosity and insights. When my oldest grandson was about three, when he entered our apartment, I immediately explained “Gaga's” art collection and reminded him  "art is for looking and not touching." 

Because some art in my home does look like toys, I could understand his disappointment. But, as my grandchildren have gotten older, they’ve all become respectful -- and highly opinionated -- about Gaga's eclectic collection of paintings, drawings, photographs, and sculpture. And, I’ve learned much from their insights.  I especially enjoy the free-ranging conversations their perceptions inspire. Quite a gift to “Gaga.” (Also known as Grandmother Madeline.)

Image: This series always engages my grandchildren. Lorna Simpson's “Combination Platter” addresses the issue of gender, a subject that spurs many comments and questions.

Columbia Multiples Subscription Series Selects Its First Artist

I’m pleased to announce my participation with Columbia Multiples Subscription Series, whose mission is “to advance the work of highly notable artists of color by creating opportunities for these individuals to create limited edition multiples in a professional, studio/workspace environment.”

These prints are available to subscribers on an annual basis, with each member receiving one per year. The program uses its annual membership dues primarily to fund special projects and occasionally for symposia, and publications, and activities related to the creation of multiples.

Columbia Multiples, which is a project of  A + D Columbia College Chicago, supports the Anchor Graphics artist-in-residency program and other educational endeavors related to its mission.  As a trustee of the college for the past 20 years, my involvement is especially meaningful to me.

The first artist in the subscription series is Margo Humphrey, an internationally-renown lithographer whose brilliant, colorful work is political, socially conscious and irreverent.  I’ve been an admirer of Humphrey since the early 90’s and since then have introduced her prints to many of my clients.

I recently saw her work, “The Last Barbecue,” which was part of a powerful show, “Ashe To Amen”  at the Museum of Biblical Art in New York. It was curated by my friend, Leslie King Hammond. Humphrey’s lithograph in the exhibit is her 1989 piece, "The Last Bar-B-Que." The catalog description includes: “a mixture of solemnity and whimsy...translates the biblical narrative of the Last Supper into a background picnic." As for Humphrey, her quote sees it as "a rewriting of history through the eyes of my ancestry, a portrayal of a savior who looks like my people."

The piece that Humphrey has done for the subscription series depicts a Madonna and son (image), and it’s the artist’s rendition of the Trayvon Martin shooting last year in Florida. I anticipate that our subscribers will be as excited and enthralled about Humphrey’s work as I continue to be.

Buy With Your Heart, And Your Head

In my first post on this new blog, I explained the meaning behind my tagline: “Buy the best artwork by an artist that you cannot afford.®” As example, I described how I fell in love with a painting by Kerry James Marshall, and decided on the spot, I had to have it.

That impromptu purchase, which suits my tagline to a “T,” fortunately turned out well as the artist’s work has jumped 10 times my original cost.

I’ve never regretted that decision to buy Marshall because purchasing African-American art and providing consulting services for clients is my business. I knew what I was doing.

But, what if you’re a novice collector? I worry you might purchase with your heart, and not your head. That’s perfectly fine if you just want to acquire beautiful things and aren’t interested in seeing your investment grow. In that case, my advice is: if you have to have it, go ahead and make the purchase.

On the other hand, if seeding your retirement, or building a serious art collection is your goal, I suggest you engage the services of a professional art consultant who can provide the knowledge, background, and experience to guide you to a worthy purchase.

This advice doesn’t rule out shopping with your heart. After all, there’s nothing as enjoyable as falling in love, even with an inanimate object that can’t return your ardor. Just keep the cost within your budget. 

Here’s an example of my theme: In the mid ’70’s, I spent the day in the home and studio of Elizabeth Catlett with her two young sons and husband Francesco Mora.  It was a privilege to meet her and be surrounded by her powerful wood, clay, and stone sculptures.

But, while at Catlett’s studio, I also saw paintings by her husband. Can you guess which artist's work spoke to me? You’re right: It was that of Francesco Mora. In later years, I grew to admire Catlett’s elegant, simple, and powerful sculptures of strong women and have placed many of her works in important private collections. 

Do I regret not purchasing one of Catlett’s works?  Absolutely. Yet, I still love the Mora painting (image at the beginning of this post) I purchased that day in Mexico.  However, if an art advisor had been at my side, or on call, I'm certain you know which artist would’ve gotten my check.