In 2011 I wrote a trillion words on the subject here and here - I've joined them below as most of it still resonates today...
Part One
If you are a visual artist or art dealer/gallerist in today’s ever changing visual art world, and you’re not aware or know about the Miami art fairs that take place each year-end and are clustered around Miami and Miami Beach, then you have a problem that needs urgent attention.
Almost a decade ago, the founders and organizers of a European art fair called Art Basel (which of course, takes place in Basel, Switzerland), decided to try an American version of their successful European model and started an art fair in the Miami Beach Convention Center and they called it Art Basel Miami Beach or ABMB for short.
This was nothing new in the American art fair scene, as even in Miami art fairs such as Art Miami had been going on for years. But whatever right timing and combination of European flavoring added to Miami's Cubanized international art scene did was spectacular and ABMB took off like Meat Loaf's second album's title.
In the halcyon days of the healthy economy of those days, the art fair proved to be a spectacular success, with millions of dollars of artwork by the blue chip names of the art world exchanging hands at ABMB as collectors from all over the world congregated in Miami’s balmy December to be seen at the sharp point of the spear of the contemporary art world.
ABMB’s success soon spawned other art fairs, which are called “satellite fairs”, since they all revolve around ABMB’s dates and presence on America’s coolest and most international beach city. The evolution of these satellite fairs was fed by the fact that ABMB focused almost exclusively on European galleries and a handful of the top tier American New York galleries.
In those days, even if you were the best gallery in Chicago, or LA or Miami itself, you had zero chance to be invited to ABMB.
And thus satellite art fairs with names like Scope, Red Dot, Bridge, Pulse, NADA and others began to appear around Miami at the same time as ABMB. Soon, someone came up with the novel idea that these art fairs could also take place in hotel rooms, and the “hotel fair” was born. Many of these also began to appear, none better than the Aqua Art Fair, now called “the best hotel art fair in the world.” Having just done Aqua, I can testify brother, that the Aqua organizers have it down, and in my limited opinion, this is indeed the best hotel art fair in the world.
Back to my story... by 2010, even with the economy in the doldrums that refuse to go away, there were 25 art fairs going on around Miami starting roughly around November 28 through the first Sunday of December.
Yes dear readers, 25 art fairs at once! Some developed a tight focus, such as for Asian art or photography, others tried to establish an artist-oriented focus, but in general, all recognized that something special happens each December in Miami.
By now the figures are mind blowing: I am told by Miami journalists from Rumor Control that during that week of the ABMB art fairs, roughly 20% of all the art work sold in the world exchanges hands in Miami.
Furthermore, as the magnitude of the event grew, so did the attendance by both the “need to be seen” crowd and by even more worldwide collectors and, just as importantly, the press.
Thus now the news media not only discusses what’s new or who’s hot in the art world, but also they let us know who Sly Stallone or other Hollywood stars of all magnitude are acquiring. It has become cool for Hollywood stars and wannabes to collect art, which in most Einsteinian dimensions is a good thing.
The concentrated press reporting has also made celebrities out of mega collectors, such as the Miami based Rubell or DeLaCruz families.
Most of the art fairs are gallery-focused; that means that it is art galleries, as opposed to individual artists, who exhibit artwork. The prices for the booths are spectacularly expensive, and generally, a small 200 sq. ft. booth can start at $10,000 or more, and a large booth can run as high as $100,000. And this is before a gallery adds other associated costs such as shipping costs of the artwork, transportation to/from Miami, customs, food, car rental, hotel and salaries.
For most galleries around the world it is a daunting economic investment, which can turn into a financial disaster if sales fail to materialize.
Around the DMV, only a handful of local area galleries took the risk over the last few years. Spaces such as Conner Contemporary, Civilian Art Projects, Hamiltonian Gallery, Fraser Gallery, Irvine Contemporary, and a precious few others, took the venture out to Miami. One local dealer, Art Whino, began its own model and sets up its own ABMB space in Miami during that week.
“I meet more art collectors that week in Miami than the entire year in DC,” related one local art dealer.
“Over the years,” added another, “about 80% of my sales take place at, or because of art fairs in Miami, New York, LA, etc.”
The opportunity to actually sell art is a powerful magnet to tempt art dealers to take the economic plunge. “My openings in Norfolk are always packed, and the shows get good press coverage here,” notes Norfolk’s Mayer Fine Art’s director Sheila Giolitti, who has been also going to Miami for the last few years (disclosure: she represents my work), “And yet, the Norfolk area has a very limited market for contemporary art. If it wasn’t for the art fairs, keeping a gallery in this area would not be a viable option.”
Read: "Because of Miami and other art fairs, I wouldn't be able to have a gallery in Norfolk." Norfolk should be grateful to Miami...
Individual artists have also begun to use the Miami opportunity to showcase their own approaches. None of these have been as cool or successful as Calder Brannock’s Camper Contemporary.
Camper Contemporary is a mobile gallery created and curated by Calder Brannock. According to the artist, “It is a fully functional art gallery set up inside an altered 1967 Yellowstone camper. Camper Contemporary gallery poses a solution for many problems a gallery faces in the modern art market. It allows the gallerist to showcase work in a clean controlled gallery environment without being tethered to rents or a geographic location. The mobile gallery model allows the gallerist to maintain a physical space where work can be displayed with all the benefits and gravitas of a traditional gallery while easily reaching collectors at art fairs and other large art markets.”
So how does an artist get to Miami if he/she is not represented by a gallery, or their gallery doesn’t do art fairs or chooses not to bring your work to the party?
Part Two
On Tuesday [Part one above that is] I related how almost a decade ago, the founders and organizer of a European art fair called Art Basel (which of course, takes place in Basel, Switzerland), decided to try an American version of their successful European model and started an art fair in the Miami Beach Convention Center and they called it Art Basel Miami Beach or ABMB for short.
And I told you how that one mega art fair spawned a few satellite art fairs in Miami at the same time and how by now there are over two dozen art fairs going on around the Greater Miami area and art collectors, artists, gallerists, dealers, curators and all the symbiots of the art world descent on America’s coolest hot city in December and art rules the area.
I also pointed out, that if you are a visual artist in 2011 and are not aware of these events, and are not trying to get there (get your artwork there is what I mean), then something really big is missing from your artistic arsenal (unless you’re happy just painting or drawing or photographing or sculpting, etc. and could care less who sees and possibly acquires your work – if that’s the case, then skip the rest of this post and more power to you!).
But, if like some of us, the commodification of your artwork doesn’t bother you, and the fact that when you or your gallery sell one of your pieces, you feel honored and pleased that someone laid out their hard earned cash to simply add one of your creations to their home or collection, then Miami in December should be in your radar.
But how to get there? The fairs are mostly gallery-based – that means that galleries are invited or juried to exhibit; not usually individual artists --- more on that later – but there are some other ways to begin to crack the Miami art fair presence, and today I want to share some of my ideas.
Let’s start with gallery-based artists.
If you are already represented by a gallery, why not discuss Miami with them? The enormous expenses associated with the art fair scene are the main reason that most art galleries do not consider them. And this is a darn good reason, as most galleries are run by the skin of their teeth and the expense associated with doing an art fair are enormous and could wreck an entire financial plan in less than a week.
But, what does it hurt to bring it up to your gallerist? Who knows where that may lead?
I am still shocked at how many art dealers are not even aware of the potential financial and exposure rewards of doing an art fair.
Let me be clear: I don't want to hype this issue as a surefire path to moving artwork. But, this much I know… for roughly the same amount of money that a gallery spends on a full page ad in a national art magazine, you can get a small booth in some of the satellite fairs and the return on their investment has a lot more avenues than taking a chance with an ad.
Gathering information is the key thing… bring the subject up to your dealer, and if they want more info, have them email me… the best thing for art is more art.
How about if you are a cooperative gallery? Why not consider applying to one of the art fairs and spreading the cost of the booth amongst the exhibiting artists? A word of warning: the better fairs are juried and that means that someone gets always rejected. But the same key that allows cooperatives to survive for decades (spread the expenses) should and must be the key to give them a presence at the art fairs!
And many, many co-ops are routinely showing now at art fairs in Miami, NYC, LA, London, Madrid, etc. The fact that they are returning to the fairs means that they’re having a positive experience there.
The look and feel of the fairs is different as well. Many of them are booth fairs – that means that a white cube booth of plain white walls, ready to be drilled and hung with art, is the main model.
Fairs such as the original Art Basel Miami Beach, Pulse, Red Dot, Scope, Art Miami, etc. are on this model. At least one of them (Red Dot) in 2011 allowed individual artists to apply for the first time and had quite a few artists’ booth in their huge tent in Wynwood District, right next to the Scope Art Fair and across the street from Art Miami (these latter two only accept galleries).
There are also hotel fairs. These are fairs that essentially take place in a local hotel, where the room is often emptied out and turned into a temporary gallery by the out of town galleries. The best hotel art fair in the world, according to many, is the Aqua Art Fair, held at the Aqua Hotel in Miami Beach, and having just participated in it, add my name to the list of people who thinks that this is the best hotel art fair on the planet. And at Aqua I saw at least two cooperative galleries…
There are also individual artists-based fairs – after all, with 22-25 art fairs around the area, new models are apt to develop – and they have! The Pool Art Fair is one of these, focusing on unrepresented artists. They had a bit of a drama this year in Miami, as the fair was shut down by Miami police due to "lack of a permit", but this fair has been around for seven years, so I'm sure they'll be back next year with all the right paperwork.
A little Googlin’ of Miami art fairs (or just art fairs in general) will reveal just how many fairs there are and where.
The key thought to leave you with: think art fairs and think Miami, New York, LA, Chicago... and think of a way to get there.
