Everyone Wins When An Art Advisor is Included Early in a Building Project

As president of Murphy Rabb, Inc, a 25‐year‐old art advisory firm, I’ve had the opportunity and pleasure of working with clients, architects, designers, dealers, artists, and private collectors. An important part of my work is to recommend, commission, and purchase artwork for public and private businesses and residences.  

Sam Gilliam - site specific

My first project was to write the initial Public Art Plan for the City of Evanston for its new library. My job was to work early in the planning process with the architect and recommend locations for the purchase and commission of artwork.  Sometimes, architects overlook these opportunities in their plans, except perhaps for major focal points. Together, though, we came up with numerous locations for artwork, that the architect possibly might not have considered without my prodding. 

I enjoyed the same chance at The Northern Trust Bank, which was building its first bank in a middle class African‐American community. I again worked with their architect to create an environment that was appropriate, and welcoming, with artwork that reflected the bank’s staff and clientele.  

The Lobby Artwork at Stroger Hospital.  Sculpture by Richard Hunt.

Another memorable project was creating the entire Art Program for the 8-story, 3 million-square-foot, Stroger Hospital in Chicago. My goal was to develop a warm, pleasing, and accessible hospital using artwork that reflected and spoke to the diverse populations it served.

A private client wanted me to curate an African‐American art collection in the new home she and her husband had just purchased.  My client was clear that artwork was to be the focal point before they made any lighting, architectural, and furniture purchases.  This was a dream project because we succeeded in making the artwork the focal point.  

Private Client Home

In doing all these projects, I’ll often butt heads with architects and designers because I want to make sure they understand that locations for artwork must be seriously considered. I have to be ever vigilant in studying floor, lighting, signage, and furniture plans, and then being on site to assure that art can be located in the most advantageous way, and that the artwork never appears an afterthought. 

When I can collaborate with the client, architect, interior designer, and artist, early in the planning/design process, the final project is always the beneficiary and everyone wins.

Auctions Can Be A Way To Acquire Art, If You Follow These Guidelines

As a professional art consultant, I’ve often attended auctions as a way of acquiring  work for  my clients’ collections. More and more auction houses are including works by African American artists, so it can be a good way to acquire artwork. Although I can recommend this method for building your own collections, I urge caution.

Here are some tips to help you curb any trepidation you have, and insure you can make an acquisition you’ll be happy with in the long run.

• Sometimes sellers put less desirable works of art up for auction, or pieces that have not been well taken care of. If at all possible, go to the preview and examine the work carefully. You may discover some flaws that didn’t show up in the catalogue. This way, when you attend the auction or if you decide to bid online, you will have seen the work in person.  Just looking at the artwork in the catalogue, can be misleading. I can assure you, this visit may save you heartache.
• If you cannot attend the auction in person, call the auction house and ask questions about the condition, provenance, etc. That’s what they are there for. Get a “condition report” and learn ahead of time if there are problems that may influence the price or resale value. Do some research to determine what similar works of art by this artist have sold for in the past. You do not want to overpay!
• Learn about a “buyer’s premium,” usually 19% in addition to taxes, shipping charges, and other additions. These costs will add significantly to the final price.  Even though you may be excited about your selected item, try to be cool...don’t be the first bidder. Hold off until either the auction house or another buyer makes the opening bid.  Then pace yourself...stay calm and cool. If you have others bidding against you, keep track of how much you have bid. It’s seductive and easy to lose track of how much you are spending!
• Remember that any movement can be interpreted by the auctioneer as a bid. So don’t use your paddle, or wave to a friend unless you are bidding. And speaking of friends... if they are with you for the adventure, don’t allow them to distract you! Stay focused.

Hopefully, your auction experience will be successful and pleasurable. The images I’ve attached to this post are of a painting by John Wesley Hardrick and a sculpture by Richard Hunt which I acquired at auction. And trust me, I got them for great prices!

Mayor Harold Washington’s Legacy To The Arts

This year, 2013, marks the 30th anniversary of the election of Harold Washington, Chicago's first Black mayor. I thought about the significance of that watershed event as I participated in a panel at the DuSable Museum. As a member of Mayor Washington’s  first cabinet, I was asked to talk about importance of Mayor Washington’s legacy to the arts in Chicago. 

I first met Harold Washington in 1982, while working tirelessly in his historic campaign. I was a member of Artists for Washington, and we lobbied to assure the arts would win more respect and greater funding. As a result of our efforts, Washington included in his campaign promises, a pledge to create a new cabinet level Department of Cultural Affairs. 

In December, 1983, he appointed me Executive Director of the Chicago Office of Fine Arts. His charge to me was to make the arts more inclusive. The Department of Cultural Affairs was created a year later, with Fred Fine was its first Commissioner. His first task was to establish the new Department of Cultural Affairs. It joined The Office of Fine Arts, the Mayor’s Office of Special Events and the Film Office under one umbrella.

The Chicago Office of Fine Arts was located in what was then the original Chicago Public Library. While the new Harold Washington library was being built we successfully lobbied to make the former library, The Cultural Center and the official home of the Department of Cultural Affairs.  During those years we held free public programs there and in Daley Plaza, hosted and curated more than 25 art exhibits.  

We expanded grant-making programs for the very largest to smallest arts organizations and individual artists through out the entire city, and increased the percent for the Public Art Program. DCA wrote the city’s first Cultural Plan. The budget grew from 1.2 million dollars to more than 4 million. 

When it became apparent small neighborhood art groups and individual artists rarely got funding, my department upended longstanding procedures for reviewing grant applicants. We created community workshops and diversified the grant review panels.  Our efforts grew and became more accessible, inclusive, and welcoming to artists, the community, and the public. It was no longer business as usual.

I had not thought about those revolutionary and heady years in a long while. Harold Washington was a fair, fearless, inclusive leader, who inspired and empowered those of us who had the priveledge of working for him.

Over the years Department of Cultural Affairs has gone through changes in leadership and  priorities. The result has been devastating budget cuts, painful changes, and huge staffing cuts. Michelle Boone, the new commissioner has huge challenges facing the Department of Cultural Affairs.  All of these memories flooded me as I saw one of the most stunning exhibitions at the Cultrual Center. Called, "Rising Up: Hale Woodruff's Murals at Talladega College," the exhibit “features six monumentally-scaled murals painted in 1939-42 by African American artist Hale Woodruff. Never before seen outside of Alabama's Talladega College, the murals depict the 1839 mutiny by slaves on the Spanish ship La Amistad and its aftermath. Newly restored to their original, vibrant colors, the murals are accompanied by 30 paintings and prints that document Woodruff's work from the 1920s to the 1940s, making this exhibition a rare opportunity to see this important Harlem Renaissance artist's work in depth.”

I believe Mayor Washington would be especially proud of the current exhibit at the Chicago Cultural Center, which and runs through June 16. Why not bring some friends to see the exhibit and tell me what you think.