Art Print Issues

Art Print Crooks Case Cracked - Will They Ever Learn?

It seems like there is an unending interest in prints by Dali, Picasso, Chagall, Miro and Warhol. So much so, that folks flock like sheep to slaughter to keep buying phony copies of them. And, if they are not buying outright fakes, many are getting duped on cruise ship auctions and overpaying for art that is not collectible. At least not at the inflated prices the auctions charge if you side with those in the $200 million class action suit filed on behalf of art buyers on cruise lines.

New Arrests Shed Light on the Shady Business of Fake Fine Art Prints

In the past week, there has been a slew of news reports of a newly cracked caper of crooks peddling fake prints. I have to ask, did no one learn anything from last year's sensational reports on the $20 million fraud, forgery and income tax evasion case of Kristine Eubanks and Gerald Sullivan?  These now convicted felons managed to sell fakes for years over a cable television program they managed, called Fine Art Treasures. Their source for making the fakes was one of the first full-time and most heavily advertised professional giclee printing studios in the industry; an operation they founded.

Here is part of a typical news item on the latest round of crooks being caught from Bloomberg:

U.S. Indicts Seven for Selling Fake Picassos, Warhols

March 19 (Bloomberg) -- Pablo Picasso, Marc Chagall and Andy Warhol were among artists whose works were counterfeited by seven people indicted for two art-fraud schemes that reaped a combined $5 million.

Those charged include three Europeans and residents of New York, Florida and Illinois, Chicago U.S. Attorney Patrick Fitzgerald said today in a statement. They sold thousands of fake prints in the U.S., Canada, Australia, Japan and Europe, he alleged.

Is it Time to Stop Limiting Giclées?

This latest barrage of news about con men duping honest folks in yet another ongoing art swindle leads me back to a long held premise, i.e., let's stop limiting giclees. I had several posts on this subject last year, including The Double Entendre of the Artist Selling Out and Is Giclée Passé?  There are plenty of other arguments for this decision besides the facts that limited editions can be easily be manipulated by crooks using signed and numbered pieces to jack up prices of fake copies. Read some of the links to get those thoughts. Feel free to chime in with your own on the comments section below.

Shift Happens - Slideshare is Way Cool, Use It Freely!

Recently, I republished a post from the fertile mind of futurist Watts Wacker wrting in his monthly newsletter, First Matter. In his Keep Your Eyes Open I'm Convinced It's About to Happen article, W2, as he playfully signs his emails, explains the enormous impact Peter Max had on the art market in the 20th Century, and how The Beatles played a part in it too.

Watts postulates THE NEXT BIG THING in the art market will come from China. Agreeing with him, I added a comment on his Web site. It notes how things are vastly different from 40 years ago when The Beatles and Peter Max changed the world. I suggest some musical muse might come from the Caribbean or Africa in a collaboration with a Chinese artist that could shake things up in ways we haven't seen since the 60s. It often seems to me the more unlikely a thing one can imagine today makes it more likely to occur. The slideshow below, courtesy of Slideshare, sheds light on Watt's basis for his prediction.

Futurism is not based on crystal ball gazing, but rather distills the future from what is obvious. You just need to know where to look and how to interpret your results. This, being more difficult than it sounds, is why W2 gets the big bucks. The above Shifthappens slideshow illustrates how in the new millennium we are on the precipice of a historic shift where by sheer numbers in our now close knit digital global age, China and India are poised to dominate the way Western Europe and the U.S. respectively did in the early and second half of the 20th Century.

I can't portend exactly what such a monumental shift will mean to your career as a visual artist. But, I can tell you changes you cannot foresee will impact it as the Shifthappens presentation implies. You can judge by your own experiences that technology has changed and shaped how you inform yourself, create, reproduce, market and sell your art today. I encourage you to be open to change, to embrace it, to productively use it however you can.

In 2005, how many thought artists would use blogging for significant learning and marketing experiences? I opened an account with my blogging software, Typepad, in 2005, but didn't quit my PDF style newsletter until a year ago, making me in some ways a poster child for the poignant Kelly Ruger quote below.

A way cool Web 2.0 program you can employ now is SlideShare. Both presentations embedded in this post are from its Web site. SlideShare is the world's largest community for sharing presentations & slideshows. You can upload your PowerPoint, OpenOffice, Keynote or PDF files, tag them, embed them into your blog or website, browse others' presentations, and comment on individual slides. What's more, the transcripts of your presentation will be indexed by Internet search engines and show up in search results. It's a great way to share your ideas with others, or to learn from other people. And it's completely free and you choose whether to make your presentations public or private.

To further stimulate your creativity, review the terrific presentation below, which is also found on Slideshare: Visual and Creative Thinking: What We Learned from Peter Pan and Willie Wonka. Here is just one quote from the presentation which I hope will encourage you to review it:

Sometimes an idea loses its meaning over time, but isn't abandoned because of the investment in the past. These ideals are often so immune to criticism that those who challenge them are ignored or marginalized.- Kelly Ruger

View the Visual and Creative Thinking Slideshare presentation

I've suggested here a couple of time to use The Personal Brain, which is a wonderful mind mapping brainstorming tool. If you are beginning to see a pattern here of encouraging creative thinking and tools, you'd be right. Enjoy!

Learn About Licensing Art

A valuable goodie hit my Inbox today...one you are going to like too!

It is from Global License! magazine announcing its annual special Art of Licensing issue. The issue comes as a nifty free download in digital magazine format. As with years past, you will find it chock full of great insider information and inspiration about art licensing .

If the tidbit from the Senior Associate Editor Regina Molaro's column doesn't pique your interest, then think twice about licensing for your own art. She tells us the total market for wall decor in 2005 was an astounding $49.6 billion. WOW! Imagine just carving a tiny slice of that for your art publishing business.

You will find a fascinating in-depth article about the licensing of Bob Timberlake's work. He is also prominently mentioned in my book, How to Profit from the Art Print Market, as a leading example of how certain visual artists are able to make an enormous impact well beyond 2D art, and do it with style and integrity.

There are other features including, Ask the Experts, the upcoming Surtex show and on trends. The experts weigh in on using art reps and art consultants with valuable insight. Overall, the information provided will be useful for any artist interested in learning about the licensing market. I commend reading the issue and guarantee you will come away better informed about the licensing market for visual artists.

ArtExpo New York - The Show Must Go On

ArtExpo New York is the industry's most important show

As a marketing vehicle, ArtExpo New York (AENY) show is a blackhole that consumes vast marketing dollars, promotional energy and both artist and publisher hopes. Quite simply, it dominates the industry it defines. If you are a print artist seeking to break a career, or propel an established one to the next level, you ignore AENY at a cost. If you crave national or international recognition and sales whether as a print publisher or self-representing artist, there is no better place to plant your flag.

Despite problems and smaller size AENY delivers

The historic 30th annual ArtExpo New York show concluded March 3, 2008 with approximately 25% fewer exhibitors than last year. Despite a conspicuous absence of many major industry players, reports are the show delivered images both visually exciting and commercially viable to the international gathering of art print dealers and gallerists who rely on it as the singular source for finding and viewing the best array of both established artists and newcomers. In other words, some exhibitors came away with surprising results well beyond their modest expectations, proving AENY can deliver from back on its heels.

AENY transcends ALL constituencies that rely on it

AENY may be down on its fortunes vis-à-vis past shows. However, it remains THE SOURCE for an industry struggling to define itself and its relevance in the dawning of the 21st Century's digital age. Other shows may come and go, but the big show in the Big Apple remains the place to see and be seen if an artist or publisher seeks to expand distribution in one hugely important weekend. Observing AENY survive in hard times for the art print industry in particular and the economy in general, and with a revolving door of investment firm ownership with whom the art group has never been the primary economic engine or focus, testifies the show transcends ALL the constituencies that rely on it.

Further contractions will put the show on a slippery slope

There is no more quick fix to bring ArtExpo New York back to its former glory than there is to correct the current housing market debacle. A concerted effort from all sides is necessary. Putting the good of the industry ahead of bottom line thinking from all participants along with time to heal and adjust are required. Seeing the show contract to its sad 2008 size portends a bleak future on a slippery slope if things don't turn around.

AENY's contraction in size is beyond a show management problem

This is an industry problem that needs universal positive input to effect a change for the better. The reality every show management company faces is big old barn convention centers such as the Jacob Javits Center are specifically built to drive traffic, generate economic activity and increase tax revenue for the city. It's a cold, cold world and convention center operators only welcome shows, especially on favorable dates, so long as they deliver. Past performance will not save the day. When it comes to what shows get in and when convention centers tend to take the famous Henry Ford saying to heart, "History is bunk."

Keeping the Javits and optimal dates is not a sure thing - room nights are the coin of the realm

Getting a first class venue such as the Javits at all, much less the best dates is always purely based on  what have you done for me lately and what will you deliver for me now. For convention center operators, room nights are the coin of the realm. Once a show starts to lose critical mass in its exhibitor base, it makes it more and more difficult to deliver on the promise of room nights and enough exhibitor dollars to pay to produce the show. The trend AENY forecasts is one that could easily see it unceremoniously bounced from the Javits. There is no viable alternative in Manhattan or anywhere else that offers the same impact. Anyone who would debate this is either ill-informed or delusional.

Can you imagine our industry without AENY?

Despite its long term preeminence and good results posted by some exhibitors this year, the show appears to be cracking at the seams from the continuing loss of its constituent base of exhibitors and dealers. It is time to ask the entire industry to shake off whatever problems it has with the show and to come together to turn the tide and make the 2009 into something special. The alternative is bleak. If you think it can't happen consider this year alone AENY's owner has canceled the Spring Decor Expo show in Baltimore and the Art DC show due to lack of exhibitor support.

Show success is not based on management and exhbitor activity

If you are an attendee/buyer and think it is not important for you to participate and come open to buy at shows you like, you're dead wrong. Your support demonstrated through the strength of your pocketbook is the defining factor in any show's success. In other words, if you like the idea of the show, you have to invest in it. Your activity is the gauge exhibitors use to decide to come back and to talk it up to other exhibitors on the fence.

Tradeshows such as ArtExpo live and die on word-of-mouth - Critical mass keeps the WOM buzz going

Word-of-mouth (WOM) is a crucial component to the success of a show. Critical mass is another such component. To paraphrase Edna Ferber, "There has to be enough there there." If the trend in the past few years' decline is disappointing, the critical mass contraction we are seeing today is downright disturbing. The show has to have enough drawing power to bring in buyers and marginal exhibitors. It needs to have enough exhibitors to encourage show management to make the expensive bet to continue to sign lease agreements and take on hotel room blocks.

The industry needs to come together to reinvigorate AENY

As it has throughout its history, the collective importance of ArtExpo New York surpasses the individual needs of those who attend, exhibit, manage and own it. Imagining the industry without an ArtExpo New York show to bring together the best and brightest exhibitors, dealers and galleries is hard to comprehend. It's time for all who have a stake in the future of the art print market as markedly defined by AENY over the past 30 years to come together and make something happen for their own good, for the good of the industry.

Leadership from AENY's corporate owner is paramount

For the sake of the industry, the principals at Summit Business Media LLC, owners of AENY, need to let the industry know its plans and take to a leadership role in beginning a years long process of restoring AENY to its former glory. Should such a gesture be genuinely put forth, it should likewise be rightfully embraced by current, former and future exhibitors who stand to benefit from a renewed effort to turn the show's fortune's around. As the old show biz saying goes: "The show must go on."

Take a personal interest - get involved - it's your show and your future

If you believe and buy into the argument here, comment below, and more importantly forward this email to others who you think would be severely impacted by further decline in the fortunes of AENY. You can quickly forward this post using the Share This link just below.

Hopefully together we can generate a groundswell of interest that will lead to actions to help keep this most important of shows from failing when we can least afford for that to happen. Let any and all know what your concerns are and ask them to get involved to communicate with their contacts at SBMedia, important exhibitors and other leaders within the art print community to bring their influence to bear on the show's future fortunes.

ArtExpo 2008 vs. 2004 - An Artist's Perspective

While ArtExpo New York may not be the big dog of yore, there is still fight in the dog. Despite being smaller in size, the recently concluded ArtExpo New York delivered surprisingly strong sales for those exhibitors who came prepared for the best, yet mindful to expect the worst. In doing so, they might have made bestselling self-help author, Robert Ringer, proud.

In what may come as a surprise to some in my next post, I'll explain why it is paramount to support ArtExpo New York. Today, I turn over the blog to multi-talented artist, Tanya Dashevsky. For your enlightenment, she generously provides this insightful, informative and comparative report from an artist attendee perspective:

ArtExpo 2008. Changes from 2004

This year marked my first time at ArtExpo since 2004. To me it seemed just as large and thriving as the one I attended in that year, but this is an impression, not backed up by fact. Yet some changes, indeed did jump at me as I walked the rows of booths.

SOLO booths - artists renting small booth spaces and selling their art directly: For artists using the show to launch a career using a SOLO booth, I would say, that s/he would have to stand out either in sheer quality and talent, or have some kind of gimmick to be able to grab and sustain attention in that setting. There were a huge amount of SOLO booths, and they were located way out in left field. By the time people got to the last few rows, they were completely saturated. Therefore, I would highly suggest getting a booth as close to the center as possible, even if it means paying extra.

I didn't even make it to the last few rows, because by that time, I couldn't see straight anymore. Not to mention, a lot of artists used various gimmicks such as live music or video presentations which often were very distracting for both viewers and the unfortunate artists renting the booths next door. I'm not saying that artists shouldn't use these kinds of promotion tools, but too much of this can create a really chaotic environment in which it is hard to concentrate on viewing art, or for a prospective shopper to make a purchase. But I'm sure that these approaches generate hype and sales, if not necessarily the good graces of his/her next door neighbors.

Globalization hits Artexpo: there were a LOT of merchants -- both artists and dealers -- from Asia (China, Korea,) Eastern Europe (Romania , Russia,) as well as Latin America all renting mid-sized booths, and selling nice work at low prices. Some of this work was clearly "manufactured" -- quantities of paintings pumped out one after the other to sell in bulk. But others were of very high quality. So American artists, watch out, offshoring is here.

Missing faces: A lot of the regular players were there DelJou, Nan Miller etc. Though I did not see some of the publishers I was hoping to.  Bruce McGaw, Haddad's, Image Conscious, Wild Apple graphics were all missing. [Ed. note - Poster publishers such as this last group mentioned defected first to Decor Expo and when it went away, they never came back to ArtExpo.]

Emerging Trends: I saw a new technique emerging which involves painting on some kind of slick surface such as metal or plexiglass, then pouring a thick coating of resin onto the painting. This creates a glassy, moody yet decorative viewing experience. I saw three or four artists experimenting with this technique quite successfully. Even more interesting was that one gallery was creating giclees, attaching them to masonite, and then treating them with the same technique -- pouring on a think coating of resin -- which made the prints look just like glowing paintings. Here's an example of one artist's approach to resin coated painting.

Juicy original oil paintings: A lot of original art seemed to be moving well. High-quality naturalistic oils seemed to draw trade buyers. I saw one gallery sell six paintings to a collector in 10 minutes. The sales guy looked like he might faint from joy. But these paintings were created by a very talented painter, and from the looks of it, the buyer had some serious cash to spend. Here's a look at the work of this lucky artist.

Craftsmen and women: There were some craftspeople / artisans getting attention. One woman was making beautiful work using a quilting technique. Very high craftsmanship, great geometric designs, and subtle colors attracted a gallery to her Solo booth. I'm afraid I don't have her name.

And as usual, there was a ton of really mediocre work, some of it downright garish. But the extremely impressive high-quality and inspiring work more than made up for it.

–Tanya Dashevsky
http://www.dashdesigner.com/architecture/index.html

ArtExpo New York - The Show Must Go On is must reading for all interested in the future of the show

Painter's Keys Ponders Prints vs. Originals

If you haven't checked out the Painter's Keys, you are missing a wonderful resource. The site comes from the creative mind and boundless energy of one of Canada's leading fine artists, the inestimable Robert Genn. Genn could easily be described as a Canadian national treasure for his contributions to the world of art. He is an accomplished painter with an enviable reputation and extraordinary oeuvre. Since 2000, he has generously shared his kind nature, deep thoughts and extensive knowledge of art and painting with thousands upon thousands of other painters and art aficionados from around the globe via his Painter's Keys Web site The site also is the world's largest repository for art quotes. Go there and sign up for the free Twice-Weekly Newsletter. I guarantee you will be charmed, informed and inspired. While you are there, check out Bob's brand new book, Love Letters to Art.

Should Art Guilds/Clubs Allow Prints in Shows?

Given the scope of this blog, it should be no surpise February 22 edition of the Twice Weekly Newsletter titled Prints or Originals caught my eye. It concerned a letter to Robert Genn from a reader asking about his thoughts about her club's disallowing prints in shows it sponsors with the exception of photography. What makes reading the newsletter topics more interesting is the feedback from other readers. In the case of the aforementioned topic, I was compelled by the subject matter to respond. It was selected to be published; to review my comments, read through or scroll down the ones above it on the link.

The Benefits to Print Far Outweigh the Negatives

I would be the first to agree there can be problems with prints from outright forgeries to low quality, non-archival desktop homemade prints marketed as "giclees", but I believe the evidence shows the benefits for having prints in the market far outweigh the problems. At the heart of it, prints made from reproductions of originals give artists the opportunity to create a secondary cash flow from their originals. When a business plan is properly executed around reproductions, it can help artists to build a business and support themselves in ways simply selling originals cannot. That fact alone is enough for me to find prints a suitable medium for most artists to embrace, and collectors too.

Noah G Pop Puts Pizazz in ArtExpo New York 2008

Pop artist Noah G Pop rocked this year's 30th Annual ArtExpo New York show, which took place February 28 - March 3. It is obvious he seeks to put more glide in your stride, more hip in your dip, more zig in your zag and more cut in your strut. In other words, this dude knows how to throw a party and have fun. That he manages to do it around promoting his art makes him just that much cooler.

When it comes to enjoying success in the art business, marketing and promotion are the twin synergistic generators that drive (AIDA) attention, interest, action and desire. Noah gets this in spades and that he effectively executes around making these waves as a SOLO exhibitor makes all he does more impressive.

Putting POP in Promotion, Party and Prints

In Noah's case, you find a confluence of terrific visual art and fun promotion creating a memorable experience for all involved. You can see for yourself, his party and attendant promotion pack as much punch as his art.  Both deliver on the promise of visual treat and stimulating exciting times.

His art is themed with the Pop influences of decades past, but as with any talented artist, he manages to make it current and specific to his artistic vision. It is no surprise he did well with his Jene NYC piece, shown here. It is hot, colorful, sexy, glamorous and fun. All the things one can hope to experience when attending ArtExpo New York.

The Fun Is Back, Let's Hope It Stays

Noah singlehandedly managed put back into ArtExpo a component that has been missing for some time. And, I'm sure he did it on a budget that would put to shame some of the corporate or show producer managed invitation only parties that run on the sedate side. The history of the experience of ArtExpo was there were always happenings. You didn't dare miss the show or the parties around it. The exciting open-to-all party element has been sadly missing in the past few years. As the show declined in size, it lost some of the zest that had made it special. Thanks to Noah G Pop, the fizz is back and the buzz around his art and his next party, which he already planning for next year are already in full swing.

Here is the content of his post-show email. Read it and you'll see he hasn't stopped having fun. And, while you are reading it, think about how you can put some fun of your own into your own art promotion:

3 More Important Things I Want You to Know Direct from the Noah G POP Playbook:

1)     First, I would like to thank everyone that attended my opening night bash at the Star Lounge and believe me there were a lot of you.  Our counter finally stopped somewhere north of 400 guests including artists, models, actors and a whole plethora of all-around cool people.  The vibe was definitely one of peace, love and FUN, FUN FUN!  I so much appreciate the support of each and every one of you.  Personal highlights for me included my Mom and Dad, my brother David, my sister Farrah, NYC Fashion Designer Grace Edwards, Iconic NYC Socialite, Philanthropist and Human Rights activist Zelda Kaplan, two of my favorite artists, world-renowned Painters Fabian Perez and Ford Smith and of course, it wouldn't be a party without the Naked Cowboy.  Also, special thanks to Rob Base who showed up and performed his hit single, "it takes two to make a thing go right". 

Now, for those of you that missed it; DON'T PANIC!  I will be hosting an evening of art, music and modern dance at the Grand in April (details to follow) and believe it or not, we have already begun planning our opening night bash for ARTEXPO NY 2009 (seriously).  Cue the cocktail music!  Yes!  This one will be bigger and better (think skylight cruise) and YOU ARE INVITED SO SAVE THE DATE!!!

2)    I would like to thank everyone that stopped by my booth to look at my work.  Thanks to your support and interest in my art, we had another killer show selling at least one of each piece with the big winner being Jené NYC who now has 5 new homes.  Thank you, thank you thank you. 

3)     I just saved a bundle on my car insurance!  I kid again.  I wanted to take a moment to speak to all artists but particularly my fellow SOLO artists.  Sharing your gift with the world can be a wonderful and magical experience.  It can be filled with excitement and joy but can also be stressful at times.  As someone that has personally experienced the broad spectrum of emotions that can accompany an event like artexpo, I applaud you for having the guts and the drive to share your art with the world.  For those of you that had a great show, I congratulate you and for those of you that would have liked to have a better show, encourage you to keep pushing, keep learning from your experiences and keep striving to share yourself and your art.

With this in mind, if I can be of any assistance to you in the future, please do not hesitate to contact me with any questions, comments or simply to bounce some ideas off of each other.  After all, we artists have to stick together.  Be on the lookout for Noah G POP Management in 2008.

I thank you for all of the support that I have received over the past year and of course, most importantly, Enjoy my art!

With much love and respect,

Noah G POP

For more information call 646.413.2366or email me at noahg@noahgpop.com.  Friend requests at www.myspace.com/noahgpop.

www.noahgpop.com

Some other observations about this year's ArtExpo

The final tally on its Website for exhibitors has a count of 467 companies. It's possible there are more, but even with last minute additions, it's hard to believe the exhibitor list came anywhere near the 600 touted by show management for the '07 show. The number of blog posts about the show is down from last year too. Here are a few I found you might find interesting:

Manuela Valenti looks like she is making good on her ArtExpo experience. It looks like she used this video in her booth. Regardless, it's terrific use of video to promote her art. Congrats!

Natasha Wescoat provides insight on her ArtExpo Las Vegas experience

Adan Lerma provides a running commentary on his experiences in 2007 & 2008 here

It's great to see Noah putting forth his energy into ArtExpo. For all the show has suffered from changes in the marketplace, revolving ownership and other circumstances out of its control, it remains the single best place to showcase artists in the print medium. There is still no place like the Big Apple for such a show. The Las Vegas show last fall proved nothing can come close. Let's hope the promise of young energetic talent like Noah G Pop and his contemporaries help revive the show's sagging fortunes.

Is the Next Big Thing About to Happen?

I've been a huge fan of futurist Watts Wacker since I first heard him speak to a group of tourism executives circa 1999. His presentation was fascinating and full of compelling information.

He was as riveting a speaker as any I've heard. That he managed to mesmerize his audience of business executives while wearing long hair, shorts, sockless loafers and a rumpled button down shirt made him more interesting. It was a rare encounter where I found myself thinking, "How fun it must be to be that smart, that cool, that self-confident and worthy of having organizations fly a person in and pay them thousands to hear their ideas for a mere 90 minutes?"

At the time, his international bestselling book, co-authored with Jim Taylor, The 500 Year Delta: What Happens After What Happens Next was riding high on the charts. And, his subsequent books, Visionary's Hand, and The Deviant's Advantage plus his latest, What's Your Story?: Storytelling to Move Markets, Audiences, People, and Brands provide more profound and practical insight from this informative oracle.

Finding a Way to Fill the Yearning for Authenticity Can Drive Your Art Career

A key fact I landed on from The 500 Year Delta was in the monumental changes we are living through, there is a societal yearning for authenticity. Today's digital world, including giclees, doesn't allow much for it. If you can figure out how to create true authenticity in your art career and properly promote it, you will reap great rewards.

Wacker's always thought provoking monthly newsletter is penned by him and published by his company, First Matter LLC. The essay most apropos to this blog is from the February 2008 issue. It does not disappoint. With permission, here it is:

Keep Your Eyes Open I’m Convinced it’s About to Happen by Watts Wacker

I can’t help but keep thinking about this being the 40th anniversary of the ’68 Chicago convention and the tragedies of both Bobby Kennedy and Martin Luther King. Especially now that so many have suggested that we are at the same, or at least, similar crossroads today, I just keep thinking about it.

I actually disagree with the assessment of similarity to the two periods of time. In 1968 the social mood was much more “down with authority” ... today? ... it’s much more like “are you prepared? ... and is there such a thing as being an authority?” We want our institutions to be prepared for the future and we’ve not so sure they are so.

There was an artist who captured the ‘60’s, Peter Max. Peter’s an amazing man. Philanthropist, humanitarian, environmentalist and philosopher ... he is the most successful living artist in the world. He truly was the catalyst for connecting art and business. Max was the first person ever to have his work placed upon everything from bed sheets to sneakers. His product was out-licensed to the tune of $1 billion (yes, billion) before 1970.

While he would likely refer to himself as a neo-expressionist today, he has traveled from realist to pop artist (maybe archetype on this one) to his latest definition. His prescience in seeing how “the poster” was on the cusp of unprecedented ranges and intensities of color (all at inexpensive and high quality) allowed him to connect romantic, playful and psychedelic. He created the yellow submarine for the Beatles. Toulouse-Lautrec would have been proud. Peter readily says that his love of the cosmos and childhood expectation of becoming an astronomer was a major source of inspiration for the art of the 60’s. He captured a period of time.

Today, we should be looking for “that look”. What I mean is, what is the look for today? We’re far enough “in” to the 21st century. And, like Peter, I believe it will be somebody born in Europe ... developing years in Asia ... than blossom in the USA. However, in the 2010’s it will be some other order and more than likely an artist who blossoms in Asia. Keep your eyes open ... I’m convinced it’s about to happen.

I'm in agreement with Watt's observations and predictions. If you want to read my TalkBack comments on his site and peruse some very interesting links related to Watts' commentary, go here.

This post comes on the close of the 30th Annual ArtExpo New York show where in its heyday none other than Peter Max used the venue to further his career. Wouldn't it be great if the artist whose talent will rise to grab our collective consciousness as Watts' envisions was exhibiting there this year? That fantasy aside, given the changing dynamics of the art market, I wouldn't bet on such a notion. It's far more likely the art print market and its primary venue will undergo untold major changes before the next big thing comes calling. Just as The Beatles and Peter Max helped revolutionize music and art by being different and not of the status quo, I believe the next big thing will break out of some yet unknown venue or channel.