Source: Artnet | September 24, 2019

Jackson Hole’s first international art fair brought together 50 dealers who focused on the tastes of local collectors.

Courtesy of the Jackson Hole Fine Art Fair.

If there is a takeaway from the first-ever Jackson Hole Fine Art Fair, it may be that there is still a strong appetite for new fairs—as long as they have a local flavor and a clear raison d’être.

Closing a four-day run on September 15, the event marked the first international art fair in the affluent Western outpost of Jackson Hole, Wyoming. The fair brought together around 50 exhibitors, drew approximately 2,000 visitors, and garnered $2 million in sales, according to organizers.

Courtesy of the Jackson Hole Fine Art Fair.

The focus here was less on big-ticket blockbusters than on works that proved to match the tastes of the local collector base, including Western scene painters like Maynard Dixon, Billy Schenck, and Thomas Hart Benton, as well as contemporary artists with a strong American flavor such as Ed Ruscha and Sam Francis.

“We produced a multi-genre fair, with works within the contemporary, modern, Native American, and wildlife genres, with many of the early- to mid-20th century pieces finding new homes,” said the fair’s director Rick Friedman, who is also behind other regional events including the Philadelphia Fine Art Fair and the forthcoming Denver Fine Art Fair. “It was the wealthiest collectors as a percentage of the attendance of any of my fairs ever, over 10 years,” he added.

Courtesy of the Jackson Hole Fine Art Fair.

Galleries showcasing Western art fared particularly well, with Redfern Gallery, Nieto Fine Art, Medicine Man Gallery, Montana Trails, and Mongerson Gallery reporting sold-out or nearly sold-out booths. The fair also saw notable participation of galleries from the region, especially from the cities of Denver, Santa Fe, Scottsdale, and Tucson.

“It’s been incredibly exciting to see an art fair of this caliber in Jackson Hole,” said local Jackson dealer Mariam Diehl of Diehl Gallery. “It’s been wonderful to have so many like-minded dealers and the camaraderie among them has been amazing and encouraging. It’s been tremendously successful for us and we look forward to the second edition.”

What’s on the horizon for 2020? “We expect to see more high quality early American, California Impressionism, Texas School of Art, Regionalism, and Taos School works as well as accessible and uniquely Western contemporary art pieces,” Friedman said. “The fair far exceeded expectations. In our search for a little gold mine in ‘parts unknown,’ we uncovered an incredibly well-funded and knowledgeable oasis of art lovers…. Just get ready to cowboy and cowgirl up.”

The Art Nashville fair seemed like it had everything going for it. Nashville was ranked the fourth strongest urban economy in the United States, had a promising art market, and better still, there was no significant art fair there. Dealers from all over the world signed on for the fair and made plans to enter this new market.

But the fair’s organizers, Matthew Eck and Pierre Lamoureux, have postponed it twice. Dealers have reported difficulties getting their deposits back, as well as thousands of dollars wasted on airfare, hotel rooms, and other expenses. While Eck promises the fair will happen in 2020, many in the art world remain skeptical about its future success.

But other fairs have made a go of it beyond traditional art-world hub cities, or by exploring innovative models. The Dallas Art Fair, which held its 11th edition in April, has attracted dealers from across the country and around the world who are eager to tap into Texas’s collector class. During Frieze New York in May, Object & Thing had its debut in Brooklyn, attracting over 3,000 visitors to peruse a mix of art and design objects from leading galleries. The contrasting fortunes of these very different fairs beg the question: What factors make an art fair successful?

New markets and models

Unsurprisingly, location is a major factor. Rick Friedman, a longtime art fair organizer who founded ArtHamptons and Jackson Hole Fine Art Fair (the latter of which had its debut in Wyoming last week), said his strategy was to be a “pioneer” in the market. For ArtHamptons, Friedman said his idea was to have “the galleries come to the money,” rather than the other way around. Instead of having collectors travel across the country or even the world, he bet collectors would turn to a fair staged in their collective backyard.

But a fair’s success depends on more than situating it where none previously existed. Friedman said he researches the potential local market, talking to collectors and gallerists to determine if a given region has the potential to sustain a successful art fair. Next year, he’ll launch the Denver Fine Art Fair. He described Denver as “an untapped market” that has a “strong collector base with young professionals who have discovered art collecting in a fast-growing metropolis.” While Friedman takes a pioneering attitude toward fairs, he said that having too many fairs in a city or region can be counterproductive because “it gets watered down.”

But plenty of art fairs have managed to be successful in cities where competition is fierce. Sometimes it’s a matter of establishing the upstart fair within a specific niche or by providing a new experience for collectors and gallerists. Object & Thing founder Abby Bangser, a former artistic director for the Frieze Art Fairs, explained that she wanted to put together a show that exhibited art and design together on equal footing. The fair presented roughly 200 art and design objects without classifying them as one or the other, “leaving that up to the viewer to make their own judgments,” Bangser said. In doing so, Object & Thing found a niche in a week already packed with art fairs like Frieze and TEFAF.

In addition to the conceptual framework for the show, Bangser said she was “interested in creating a new model for art galleries to participate in art fairs.” Unlike larger fairs, where galleries pay a fee based in part on the size and location of their booth—incurring costs that quickly reach five digits—at Object & Thing, the organizers took on the risk. The fair earned money by taking a commission fee on the objects sold. Galleries didn’t have to send staff or set up stands; they just sent the objects and the fair took on the rest.

Sell globally, act locally

Another measure of a fair’s success is its ability to go beyond servicing dealers and collectors, and actually give back to the local art community. FOG: Design+Art in San Francisco has tied its efforts with fundraising for the San Francisco Museum of Modern Art (SFMOMA). Stanlee Gatti, FOG’s co-founder, said that “the idea was to help bring something to San Francisco that would be interesting to the art world and benefit SFMOMA.” In its first year, the show raised $50,000 for the museum, and now brings in around $1 million through its opening night SFMOMA benefit, according to Gatti.

Successful fairs can also benefit from the strength of local cultural institutions. Tony Karman, the president and director of EXPO Chicago, whose eighth edition opens to the public on Thursday, explained that part of Chicago’s appeal to international galleries and collectors is the depth of the city’s cultural scene. He said the fair was building “on what was in place in Chicago—the world-renowned museums and institutions and the stellar list of contemporary artists who live and work here.”

Civic support, both Friedman and Karman added, plays a huge factor in the success of a fair. If the mayor’s office, local departments of cultural affairs, and other civic leaders get behind the fair, that enthusiasm helps drive support.

Taking care of business

However, if it were only about finding the right location or niche, that wouldn’t account for Art Nashville’s struggles. Establishing credibility with gallerists and collectors is also key to the success of a fair. Karman explained that art fairs must remember to take care of the participating galleries. “All of us working for EXPO, we are in service to them,” he said, adding that fair organizers need to create an operationally smooth affair that allows galleries to focus on presenting artworks and meeting collectors.

Fairs also have to be mindful of collectors’ needs. Having a good selection of galleries, setting up invigorating programming, and even creating a pleasant environment will make a fair successful for the people attending. “When you go to the art fair, the experience should have an element of beauty from the beginning to the end,” said Gatti. That’s what brings people in and keeps them coming back, helping galleries make sales and meet new clients.

A successful art fair, then, depends on a healthy mix of factors from its location or area of focus to its structure, reputation, credibility, and amenities. Finding the right mix ensures dealers and collectors both come away satisfied.

 and Press Release | September 13, 2019

September 13, 2019 (Jackson Hole, WY) – The Jackson Hole Fine Art Fair (JHFAF) opened last night with its VIP preview “Sneak Peak” at The Snow King Sports and Events Center (100 E Snow King Ave), hosting some of Jackson Hole’s most distinguished and influential guests. The inaugural edition of the fair showcased 52 national and international exhibitors who presented an array of modern and contemporary works by emerging, mid-career and blue chip artists. Establishing itself in this distinguished mountain town, known for its thriving arts and culture community, the first edition of JHFAF was privileged to take place during the annual Fall Arts Festival, bringing in new galleries, collectors, and artists for visitors to discover.

JHFAF opened with a sold-out lineup of exhibitors who filled the fair’s space to capacity with stunning works ranging from Blue Chip Contemporary to Modern, Western, Native American and Wildlife. Galleries reported strong initial sales including a John Nieto painting from Nieto Fine Art for $55,000, a William R. Leigh for $110,000 and an Eanger Irving Couse for $65,000 both from Redfern Gallery. Other reported sales included Childs Gallery, Green River Stone Company, James Compton Gallery, Medicine Man Gallery, and Thomas Paul Fine Art.

The 2019 Sculptor of Year Awardee, Bart Walter said, “ I love Jackson Hole, the region, the people. I have two major public sculptures in Jackson Hole, one in the airport and one in front of the Museum of Wildlife Art and having a chance to display my works at JHFAF is wonderful.”

As guests walked in, they were greeted by Bland Hoke’s monumental Otto the Goldfish, a towering, hanging sculpture that was originally exhibited at the JH Center of the Arts. JHFAF is presenting over 500 pieces of art in this year’s fair. Some artist highlights include MC Escher, David Hockney, and Anthony James.

Executive Director Rick Friedman says, “Grand Teton Distillery was serving up their Fine Arts Boulevardier made with their Double Gold Standard bourbon and other essential Italian ingredients, alongside an assortment of mules and creative concoctions all made with local spirits from Driggs, Idaho.”

The “Sneak Peak” also opened up the Bid for a “Claws” Silent Auction, which will benefit the National Museum of Wildlife Art. Works have been donated by select exhibiting galleries and include artists John Nieto, Jeremy Kidd, Jim Klein and Debra Stiedel. Works will be up for bid until Saturday evening at 8pm at the Harvest Moon Art Benefit.

JHFAF opens up to the public starting Friday, September 13th at noon. Guests will be treated to a full list of educational and dynamic programs including panels, book signings, and artist meet and greets.

2019 Galleries:
917 Fine Arts (Miami Beach), Abend Gallery (Denver), Addison Rowe Fine Art (Santa Fe, NM) Andrew Smith Gallery (Tucson), Bill Hester Fine Art (Santa Fe) Bonhams (LA, NYC, London), Calabi Gallery (Santa Rosa) Childs Gallery (Boston), Diehl Gallery (Jackson), The Directed Art Modern Gallery (Miami), Elizabeth Gordon Gallery (Santa Barbara), Endeavor Fine Art (Nashville), Faust II (Santa Fe, Scottsdale), Gail Severn Gallery (Ketchum), Gallery 1261 (Denver), Gary Snyder Fine Art (NYC, Bozeman), GF Contemporary (Santa Fe), Green River Stone Company (Logan), HG Contemporary Art (Flushing), ILIAD (New York), Imago Galleries (Palm Desert), J Klein Gallery (Scottsdale), James Compton Gallery (Santa Fe), K Contemporary (Denver), Kiechel Fine Art (Lincoln), L.A. Design (Missoula), Legend Nano Gallery (Carlsbad), Mai Wyn Fine Art (Denver), Mark Sublette Medicine Man Gallery (Tucson), Matthew Rowe Fine Art (Santa Fe), Maynard Dixon Museum (Tucson), Melissa Morgan Fine Art (Palm Desert) Mike Clark Fine Art (Billings), Nieto Fine Art (Rockwall), Patricia Qualls Contemporary Art (Carmel Valley), Peace Waters Collective (San Diego), Prescott Gallery & Sculpture Garden (Santa Fe), Redfern Gallery (Laguna Beach), Rehs Contemporary Galleries, Inc., (New York), Seagrave Gallery (Santa Cruz), Steidel Contemporary (Lake Worth), Stevens Fine Art (Phoenix), Studio Greytak (Missoula), T.H. Brennen Fine Art (Scottsdale), Tayloe Piggott Gallery (Jackson), Thomas Paul Fine Art (West Hollywood), Timothy Yarger Fine Art (Los Angeles), Waddell Gallery (Scottsdale), Walker Fine Art, LTD (New York), Wilde Meyer Gallery (Scottsdale), Woolff Gallery (London).

2019 Sponsors:
American Art Collector, artnet, Art Collector’s Athenaeum, Bonhams Auction House, Family Management Corporation, George B. Stroer Foundation, Grand Teton National
Park, Jackson Hole Community Radio, Jackson Hole Conservation Alliance, Jackson Hole Public Art, Montanya Distillers, Mountain Living, 96.9 The Mountain KMTN Radio, The National Museum of Wildlife Art, Snow King Hotel, Teton Distillery, Wyoming Arts Council, Young’s Market.

Venue: Snow King Sports and Events Center (100 E Snow King Ave)

Source: News and Guide | September 12, 2019

Inaugural Jackson Hole Fine Art Fair Collector of the Year Award goes to Anne Phillips.

When Rick Friedman, executive director of the Jackson Hole Fine Art Fair, was evaluating who would be a good pick for the show’s inaugural Collector of the Year Award, he wasn’t trying to find the richest billionaire with the most recognizable pieces.

He wanted a real collector, someone driven by a passion for art, not by commercial reasons. He found that person in Anne Phillips.

“I know a lot of people who collect for the wrong reasons,” he said. “They do it for the investment, but they’re not really knowledgeable. That’s not what Anne Phillips is like. She epitomizes, in my mind, the true collector.”

But Phillips’ background might not resemble exactly that of the typical art collector.

In college she was an All-American athlete on the University of Washington track and field team. She worked as a track coach at the University of Montana, Montana State University, Pomona College and the Mountain West Track Club.

A few years ago Phillips’ coaching career wound down and she found herself with a lot more time to dedicate to curating her art collection.

She splits her time, as well as her art collection, three ways between her home in Missoula, Montana, and her places in Teton Village and Maui, Hawaii.

Phillips’ interest in art was in some ways determined from birth.

Her great-grandfather, Bert Geer Phillips, was a painter and founding member of both the Taos art colony in New Mexico in the late 19th century and the Taos Society of Artists in 1915.

She has several of his works in her collection, which is mostly made up of oil and watercolor paintings, with a few bronzes, lithographs and etchings in the mix.

When she was in middle school she had the chance to visit the Taos pueblo her great-grandfather called home. She met some of the models he had painted, a moving experience for her that only made her feel more connected to her great-grandfather.

One thing Phillips shares with her ancestor is an interest in the landscapes and themes of the American West.

There is no thorough methodology for how Phillips decides to acquire a piece to add to her collection. In her collection there are certainly recurring motifs, like clouds, horses, mountain landscapes, cowboys and Native Americans.

But first, she just has to like the piece.

“It all comes down to meaning,” she said. “The love, enjoyment, identifying with the art. If you have a piece that you just don’t care for, that takes away from the whole collection.”

There are certain artists whose work she admires and collects, like wildlife artist Nancy Glazier, Chinese-born oil painter Z.S. Liang and Taos art colony member Gene Kloss, to name a few.

But though she admires the work of certain artists, she learned in the early stages of building her art collection that it’s easy to fall prey to the trap of flashy names at the expense of a quality piece.

She typically buys pieces for her collection from well-established Western auctions like the Jackson Hole Art Auction, the Coeur d’Alene Auction in Reno, Nevada, the Scottsdale Art Auction and the Santa Fe Art Auction.

Though sometimes she goes with certain works in mind, other times she’ll go into an auction and be surprised.

“There’s always surprises when you’re going through an art auction. You’ll come across artists you haven’t heard of before,” she said. “It doesn’t always have to be a big name — a lot of the artists I have are not nationally well known, but they’re really good artists.”

Though she’ll occasionally sell pieces in her collection, she said that it’s usually just to make room for newer pieces. She likes her art, and it’s tough to part with it.

“If I was more into the business aspect, I’d be looking at deals. That’s not really why I’m doing what I’m doing,” she said. “I’m doing it because I like my pieces of art.”

When Phillips heard she’d been chosen for the Collector of the Year award, she was honored that she had a new platform to share her passions for art collecting with others.

“The Fine Art fair is a great chance for any collector, beginning or established, to get a whole variety of different artists under one roof,” she said. “It’s a great place to work on your collection, not only to get inspiration, but also to work on your acquisitions.”

Phillips will speak at the VIP opening “sneak peak” during the Jackson Hole Fine Art Fair at 3 p.m. Thursday in the Snow King Sports and Events Center. Tickets cost $75.

Vittorio Sella, Staircase Peak and end of N.E. Ridge of K2 and the Opening of the Staircase Basin. Courtesy of Andrew Smith Gallery

Jackson Hole, WY — For four days this week, the Snow King Center will be almost unrecognizable. Far from the usual sporting center and even exhibit room, the space will transform into a world-class fine arts museum.

Jackson’s first Fine Arts Fair begins Thursday, September 12 and features more than 50 of the world’s most renowned galleries and hundreds of artists.

“It’s going to be a shocking experience for everyone that comes,” said Rick Friedman, the owner of Show Hamptons and the guy who runs the show. “We’re working to convert the place into a museum.”

Show Hamptons puts on Fine Arts Fairs across the country, but this is Jackson’s first. It coincides with Fall Arts Festival on purpose, Friedman said — the point is to “augment and enhance” what is already happening, and draw more attention to Jackson as an international arts destination.

“I joke that until recently, there were more art galleries in Jackson than there were restaurants,” Friedman said. “There’s no doubt [Jackson] is an arts mecca … and the art world has taken notice.”

Galleries at the Fine Arts Fair will come from all over the world — London, New York, Los Angeles, Santa Fe. There are also some local names on the list: Tayloe Piggott Gallery and Diehl Gallery will exhibit some of their best pieces.

The galleries were selected for their caliber, but each gallery has free reign to curate its booth. The only directive is to exhibit pieces a Jackson buyer might like. Much of the work is “up-and-coming” — a little more contemporary and forward-thinking. But there are also more classic western and even “world-class Native American” pieces. The point, Friedman said, is to bring art that Jackson has never seen before.

“It’s not a little flea market,” Friedman said. “These are pieces that should be in museums. This is the level we’re working on.”

That also means that the Fine Arts Fair isn’t for the casual art collector, and Friedman is the first to admit it. The lowest-priced piece is around $2,000, and there are pieces priced in the millions. Most fall in the seven-digit price range. This is for serious art collectors with seriously deep pockets.

But anyone is invited to appreciate the art, even if they can’t afford to buy it. As Friedman said, it’s like a museum… but “a museum that accepts major credit cards.”

And even if you don’t like the art, Friedman said, “come for the liquor.” It’ll be flowing all weekend, along with free food.

The fair opens with a VIP “Sneak Peak” (get it? Because it’s at the bottom of Snow King Mountain) Thursday from 3-6 p.m. A “Harvest Moon Art Benefit” on Saturday night will benefit the National Museum of Wildlife Art and celebrate 2019’s Sculptor of the Year, Bart Walter.

Tickets to the Fine Arts Fair are $25 per person per day and include liquor and food.

Source: Art Vibrancy | August 29, 2019

Jackson Hole, WY – Jackson Hole ranks first on the list of the most arts-vibrant small communities in the United States according to the recently released research by SMU DataArts, the National Center for Arts Research at Southern Methodist University in Dallas. On August 20, SMU DataArts released its fifth annual Arts Vibrancy Index, which ranks more than 900 communities across the country, examining the level of supply, demand and government support for the arts in each city. The report highlights the top 20 most arts-vibrant large communities and the top 10 medium and top 10 small communities.

According to SMU DataArts, the Jackson, WY-ID, Metropolitan Statistic Area (MSA) is a mountain community of great beauty and innovation that includes both Teton County, ID, and Teton County, WY. All art forms are represented here, and at times have been recognized nationally or internationally for excellence.

The area is home to the National Museum of Wildlife Art, which offers a Sculpture Trail in addition to its indoor, permanent collection.

“We are grateful and excited to be part of what makes our Jackson Hole art community so vibrant,” said Steve Seamons, Director of the National Museum of Wildlife Art.

With a 78,000- square-foot campus, Center for the Arts is a community-wide cultural and educational facility that serves to shelter and nurture the artistic core of Jackson Hole. The Center provides a space for 19 independent cultural and educational Resident organizations to flourish. The theater, studios, and classrooms are abuzz with activity nearly every day of the year, thanks to programs offered by Residents, community organizations, and The Center’s own creative initiatives. Some of the Resident organizations include Off Square Theatre Company, the Jackson Hole Community Band, Jackson Community Theater, the Jazz Foundation of Jackson Hole, the Jackson Hole Chorale, and pARTners, an organization that integrates arts into school curriculum.

“Jackson is a small town with a big heart and a deep commitment to creativity. Many people forget that ‘creation’ and ‘recreation’ are branches on the same tree. People live and visit here in large part because our beautiful setting and national parks refresh and restore the spirit, and this is the same reason in the end that people turn to the arts as well. Look for even greater things as we continue to develop this vision,” remarked David J. Rothman, President and CEO of The Center.

The Grand Teton Music Festival is a nationally and internationally recognized organization that presents over 100 events throughout the year, including monthly community concerts featuring regional talent; broadcasts from the Metropolitan Opera’s Live in HD series; a Winter Festival in February; and a flagship Summer Festival that unites 225 of the nation’s top orchestral musicians for seven weeks of chamber and symphonic concerts. The New York Times, the Chicago Tribune, The Wall Street Journal, BBC Music, and The Telegraph have named GTMF as a top summer music festival.

Strong mid-sized and smaller organizations include the Dancers’ Workshop, Jackson Hole Public Art, and the Art Association of Jackson Hole. The Jackson Hole Wildlife Film Festival is an internationally known organization that provides film awards for the wildlife film industry and is a powerhouse in arts education programming. Jackson Hole ranks 9th on independent artists per capita and 6th on overall Arts Providers.

“For 58 years, the Grand Teton Music Festival has had the privilege of serving Jackson Hole and its growing interest and enthusiasm for arts and culture. Although the musicians of the Festival largely hail from major orchestras in North American, the musicians cross-pollinate and collaborate with many of the artists and musicians who call Jackson Hole home. It is our hope that this symbiotic relationship will continue to add vibrancy to the local arts scene for decades to come,” says Andrew Palmer Todd, President and CEO of the Grand Teton Music Festival.

“Arts and cultural organizations exist throughout the nation, serving communities both poor and affluent, rural and urban,” said Dr. Zannie Voss, director of SMU DataArts. “Their widespread distribution testifies to the human need for creativity and artistic expression. They are also engines of community development and community cohesion. In 2018, arts activity in every U.S. Congressional District in the country benefited from federal funding from the National Endowment for the Arts. The current climate of political, socio-cultural and economic polarization makes it more important than ever to recognize and celebrate the essential role that arts and culture play in making communities throughout the country not only more vibrant places to live and visit but also more unified, safe and tolerant.”