By Rebekah Jacob 

Published on the blog of Skirt! Charleston 

Passion and courage fuel the creative entrepreneur to move forward, innovate, and take risks that others wouldn’t dare. Passion and courage fuel us to believe in ourselves to do our best as our lives unfold. As Albert Camus wrote, “Life is a sum of all your choices. Large or small, our actions forge our futures, hopefully inspiring others along the way.”

Passion is energy, an emotion that must be channeled and there is no better time to hone that energy than now. In my own life and profession, sure a top-notch curator/dealer requires academic training, apprenticeships, travel, and a hard-drive of information and images; but most of all, I need the ever-burning passion and boldness to be in the game, no matter what.  Because in the freedom fight, more times than not, you get your ass kicked.

I also think of passion in regard to establishingand developing the RJG brand, a living organism. With full hearts and intense focus, everything we have tried to do is steeped in quality, ethics, humanity, and artistry. I hope that the brand’s touchstones and the source of our pride are respect, dignity, compassion, community, responsibility and authenticity. No matter what I have always been proud of the passion that our artists and our staff have spurred in their hearts, while venturing along this never ending, sometimes unpredictable, journey that honors the past while reinventing the future.

In life and our careers, there are moments when we summon the courage to make choices that go against reason, common sense, and the wise counsel of people we trust. Despite all risk and rational argument, we search deep, lean forward, and believe–no matter what–that we are choosing the right and best thing to do. We refuse to be bystanders, even if we don’t know exactly where our actions will lead or if we have the skill-sets to follow them through. We become innately intuitive, holding our own counsel and putting one foot in front of the other, determined to scale the intimating mountain to reach the summit.

I  also think of boldness in regard to the innovation and creativity of  our brand, particularly through technology.  In my own business, innovation is about rethinking the nature of a brand and also its relationships, not just about retaining products. RJG has strived to build our technology so that  we receive a lot of traction from established and  new online social networks.  In our journey into the virtual world, we have worked hard to get on the front end and better understand / capitalize on the power of the web at large. Having learned from both established and new clients, our website  has evolved into more than a one-way suggestion box;  it can  has become a genuine opportunity to connect–and buy. There is no doubt that in a creative business, an online social media presence, versatile web based platform, and online marketplace cannot be discounted.

When runningmy own gig, mediocrity will not do. I have put in 10,000 hours and I am ready to put in 10,000 more.  Iam busy every hour of every day, ushering in deals, launching new projects, realigning staff, solving problems.  It can be overwhelming.  There is no time to waste, and I am often running gains against the clock. Running your own gig is a balancing act by which we will survive our crucible and thrive behind it, with heads held high but feet firmly planted in reality. Ladies, thisdelicate balance of passion, boldness, and innovation is key, as this is how we win. #Onward


Rebekah Jacob on Civil Rights Photography (1960-1965)

By Rebekah Jacob

To have studied and explored the archive of the renowned civil rights photojournalist James Karales has been a lifetime's privilege.   In early 2000, I was allowed the honor of sifting through thousands of contact sheets, work prints, mounted photographs, notes, and magazines still marked by his fingerprints.  Although we never met, I have come to know the greatness of a man revealed both by what he recorded and by what was left unsaid.  

I first immersed myself in these treasures in preparation for the exhibition 1969:  Controversy and Hope / Iconic Images by James Karales, organized for the Rebekah Jacob Gallery in the spring of 2009.  Karales was a lifelong and avid photographer.  Woven throughout his oeuvre of photo-essays in his trademark compassion for social injustice and eye for political upheaval, whether on the Lower East Side of Manhattan, in Vietnam, in the integrated mining town of Rendville, Ohio, or during the turbulent years of the civil rights movement.  the civil rights story offered perhaps the richest materials to mine for a book.  


The modest Karales only occasionally printed his work and rarely presented it in exhibitions or publications beyond the initial assignment for which it was created.  delving into his meticulously preserved archive, I worked to share Karales's voice with a larger audience, focusing on the period 1960-65.  Together with Julian Cox, we spent two years editing and sequencing more than 2,000 images to arrive at a final selection of 93 plates.  A modest percentage of the images included in this book were published in Look magazine, and some have since been reproduced in books and magazines, but the majority have never been exhibited or published.  Our extensive research also included the study of vintage prints in museum collections, the Karales Archive in the Rare Book, Manuscript, and Special Collections Library at Duke University, and a thorough review of the Look archives at the Library of Congress.  Photographs consigned from the Howard Greenberg Gallery and the Rebekah Jacob Gallery in Charleston, South Carolina, were also vital resources.  Recollections shared by Karales's contemporaries Tony Vaccaro, Bob Adelman, Steve Shapiro, Matt Herron, and Paul Fusco added an invaluable human dimension to the project.  


The 190s were the heyday of the great photography magazines, providing working photographers with the opportunity to capture the spirt of the time in elaborate, multipage spreads with large images.  Civil rights leaders embraced the medium as a vehicle to inform and educate the general public and as a means to document their momentous journey.  Magazines were hungry to print images from the front lines.  Despite the dangers for journalists, photographers were drawn to the drama of the civil rights story and provided valuable witness to the demonstrations, arrests, riots, and burnings.  

With several camera slung around his neck and a cigarette in one hand, Karales focused his intense glaze on one of the most challenging issued in our nation's history.  He balanced the job's requirements with is own aesthetic to find a different story, one of tenderness and triumph.  Within the crowds his discerning eye discovered heroic portraits of individuals, such as a teenage boy enveloped by a massive, hand-stitched flag, or a youth with "vote" emblazoned across his forehead.  

Arguably the most signifiant work at this time comes from Karales's close access to Dr. Martin Luther King, Jr., and other key civil rights leaders.  One of only a few photographers to enter King's home, Karales crated images of Dr. King that go beyond the expected to portray quiet, telling moments.  One photograph reveals Dr. King's fatherly angst as he painfully broke the news to his young daughter that she was forbidden to visit an amusement park because of her race. The caption in the February 12, 1963, issue of Look reads:  "I told my child about the color bar."  

The photographs in this book, Controversy and Hope:  The Civil Rights Images of James Karales, present the range of civil rights assignments that Karales undertook in teh years 1960-1965:  nonviolent passive resistance training in Atlanta in 1960; the Southern Christian Leadership Conference (SCLC) convention in Birmingham in 1962; an intimate series of the King family at home in Atlanta in 1962; Dr. King and Rev. Ralph Abernathy's campaign in Birmingham in 1962, which includes pictures made in the Sixteenth Street Baptist Church, with Rev. C.T. Vivian, Rosa Parks, and other leaders in attendance.  The story concludes with a selection of images documenting the Selma to Montgomery March for Voting Rights in 1965, which provided the culminating and iconic images of a movement that had become so personal Karales.  

Despite the passage of time, or perhaps heightened by it, we are able to see the integrity and clarity of Karales's vision against the backdrop of a crucial juncture in our shared history.  His work continues to compel us to remember both what divides us and what unites us.  It is my hope that this publication reveals previously untold moments in this pivotal era of American history. 

Preface by Rebekah Jacob, published in Controversy and Hope:  The Civil Rights Photographs of James Karales, published by the University of South Carolina Press, 2013.  

Southen Modern

By Rebekah Jacob

Writers were my ticket out of the South; visual artists, my compass back home.  

Raised in the wide open, languid Mississippi Delta, with pages of expansive porches and miles of two-lane highways for meandering thoughts, I believed that words were a vehicle to see the world. As an English major, my Ole Miss education of bourbon-soaked conversations at the City Grocery bar in Oxford about the romantic lives of Ernest Hemingway’s Havana and Walker Percy’s New York City spurred me to seek out a definition of myself that seemed somehow bigger than my current surroundings in Mississippi would allow. 

So I migrated to New York City to become a writer when art gallery owner--and true Southern gentleman--Hollis Taggart spotted me in a vintage gold coat at one of his openings and hired me on the spot. More fodder for my writing, I thought.  Years of hustle and ambition to learn the subtleties of art and the skills of the deal followed.  

My Alabama-born mother Jacque called my twenties “an era of discernment and Yankee wandering,"  Nestled in my tiny, six floor walk-up, West Village apartment one night, inhaling the moon pies she shipped in bulk while the snow continued to fall, I could no longer deny that the unsettled chill looming in my bones was more than the unfriendly weather.  It was time to go home.  And I shed New York City like an old coat.  

I never intended to live in Charleston but I am grateful for a God of providence.  After fifteen years here, it would take the rapture or a raging hurricane to dislodge me. Had I become a writer, I do not think I would have had the same sense of place or longing to be in this land.  The aging antebellum architecture, cool breeze off the water, and familiar conversational rhythms were and continue to be a salve to the Northern aggression.  Walking the cobblestone streets was a homecoming to a newer version of me that realized home, and particularly Charleston, was perhaps the most romantic destination of all.  

And then:  the art.  I was wholeheartedly seduced by the art of the South, and pioneer in the Southern art market, Rob Hicklin offered me an entirely new and intense level of education at his Charleston Renaissance Gallery in historic downtown Charleston.  I pored over unsung masterpieces and researched an array of artists and their established or burgeoning markets. I was particularly intrigued by the modern artists and photographers who pushed beyond the traditional and explored controversial topics through progressive styles and mediums.  Rob and I spent many afternoons debating the meaning of "Southern modern art" and how it translated into the market. We never came to an agreement, and I eventually turned in my gallery keys on a spring day as nearby St. Philip’s rang noon-thirty.


I could not ignore that a new Charleston was emerging in which contemporary did not only mean paintings of palmettos or rainbow row by living artists. Thousands of doodles on a legal pad, plus blood, sweat, and tears—and a generous supply of bourbon—became Rebekah Jacob Gallery over a decade ago.  I seek out artists who stay true to their Southern roots not by solely focusing on the beauty of the landscape but also by exploring the complexities and conundrums of the place we call home.  

The voices of my father who encouraged entrepreneurship and my mother who encouraged the arts intersect and echo in my mind as I foster, exhibit, broker, promote, and champion the artists I believe embody Southern Modern. Controversial subjects ignite me, and I continue to explore art works that deal with race, gender and sexuality. I believe in addressing the unspeakable through the visual with boldness and sophistication.  Easy is overrated.

I have a particular affinity for documentary photography, whether vintage or contemporary, as it integrates a strong, intricate narrative to the visuals that extend where words end.  My favorite WPA authors / photographers like Eudora Welty and Walker Evans traveled the Carolinas, photographing and writing about this land of elegant decay, still struggling to heal from the Civil War. Similarly, many contemporary photographers like Julia Cart and Richard Sexton poignantly capture and document fading structures and archetypal characters in a way that still entrances me.

I started out a writer, but through the visual arts, I found my voice.  I had to go away to come home; to open my eyes--and put down the pen-- in order to see.

Published in CHARLESTON:  CHARLESTON SALT AND IRON (2016), Edited by Wendy Nilsen Pollitzer.  


Post Impressionism

Post-Impressionism in Western painting, movement in France that represented both an extension of Impressionism and a rejection of that style’s inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. All of these painters except van Gogh were French, and most of them began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.

Paul Gauguin

Paul Gauguin

The Post-Impressionists often exhibited together, but, unlike the Impressionists, who began as a close-knit, convivial group, they painted mainly alone. Cézanne painted in isolation at Aix-en-Provence in southern France; his solitude was matched by that of Paul Gauguin, who in 1891 took up residence in Tahiti, and of van Gogh, who painted in the countryside at Arles. Both Gauguin and van Gogh rejected the indifferent objectivity of Impressionism in favour of a more personal, spiritual expression. After exhibiting with the Impressionists in 1886, Gauguin renounced “the abominable error of naturalism.” With the young painter Émile Bernard, Gauguin sought a simpler truth and purer aesthetic in art; turning away from the sophisticated, urban art world of Paris, he instead looked for inspiration in rural communities with more traditional values. Copying the pure, flat colour, heavy outline, and decorative quality of medieval stained glass and manuscript illumination, the two artists explored the expressive potential of pure colour and line, Gauguin especially using exotic and sensuous colour harmonies to create poetic images of the Tahitians among whom he would eventually live. Arriving in Paris in 1886, the Dutch painter van Gogh quickly adapted Impressionist techniques and colour to express his acutely felt emotions. He transformed the contrasting short brushstrokes of Impressionism into curving, vibrant lines of colour, exaggerated even beyond Impressionist brilliance, that convey his emotionally charged and ecstatic responses to the natural landscape.

In general, Post-Impressionism led away from a naturalistic approach and toward the two major movements of early 20th-century art that superseded it: Cubism and Fauvism, which sought to evoke emotion through colour and line.

Source: http://www.artmovements.co.uk/postimpressi...


Key Dates: 1950-1960

This movement was marked by a fascination with popular culture reflecting the affluence in post-war society. It was most prominent in American art but soon spread to Britain. In celebrating everyday objects such as soup cans, washing powder, comic strips and soda pop bottles, the movement turned the commonplace into icons.


Pop Art is a direct descendant of Dadaism in the way it mocks the established art world by appropriating images from the street, the supermarket, the mass media, and presents it as art in itself. Artists such as Jasper Johns and Robert Rauschenberg took familiar objects such as flags and beer bottles as subjects for their paintings, while British artist Richard Hamilton used magazine imagery. The latter’s definition of Pop Art – “popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, and Big Business” – stressed its everyday, commonplace values.

It was Andy Warhol, however, who really brought Pop Art to the public eye. His screen prints of Coke bottles, Campbell’s soup tins and film stars are part of the iconography of the 20th century. Pop Art owed much to dada in the way it mocked the established art world. By embracing commercial techniques, and creating slick, machine-produced art, the Pop artists were setting themselves apart from the painterly, inward-looking tendencies of the Abstract Expressionist movement that immediately preceded them. The leading artists in Pop were Andy Warhol, Roy Lichtenstein, Roy Hamilton, Jasper Johns, Robert Rauschenberg and Claes Oldenburg.

Source: http://www.artmovements.co.uk/popart.htm

Reflection of a Decade

I am a seeker.  Born from hundreds of scribbled legal pad pages, plus blood, sweat, tears, and a generous supply of bourbon, Rebekah Jacob Gallery celebrates a decade of searching out the socially charged, aesthetically progressive artwork on which we have built our national reputation.  The path has been far from easy, but after twenty years in the art business, I know that if you stay in it long enough, you get to the truly good stuff.

Everything starts with the art.  We choose artists and estates from the American South and Caribbean Isles based on instinct, creativity, breadth of work, price point, and attitude. We aggressively mine and exhibit enlightened work that evokes the modern age of these two regions riddled with complexity and never-ending exploration, and which deeply connected via indigo, cotton, and slave trade.  Whether emerging or experienced, these artists expand the conventional definitions of their medium including paintings, works on paper, photography and video.  

Growing up in the Mississippi Delta, I was wholeheartedly seduced by the art of the American South both for its stunning visuals and for the great divides it addresses.  Many Southern fine art photographers deeply engage in the essence of place, visually examining the relationship between past and present to make sense of the peculiarities of Southern identity. I seek out artists who stay true to their Southern roots not by solely focusing on the beauty of the landscape but also by exploring the conundrums of the place we call home.  These issues of poverty, race, and inequality have become a driving point of interest for me, strongly evident in my affinity for documentary photography, whether vintage or contemporary, as it relays a strong, intricate narrative that extends beyond the place where words end.  Bringing the work of Civil Rights photographers like James Karales to the forefront likewise highlights the need for continued discussion on issues that continue (unfortunately) to remain relevant today.  My favorite WPA authors/photographers like Eudora Welty and Walker Evans traveled the Carolinas, capturing in words and images this land of elegant decay, still struggling to heal from the Civil War. Similarly, many contemporary photographers like Richard Sexton poignantly capture and document fading structures and archetypal characters in a way that still entrances me.

In a parallel construction, I believe that there is no more magical place on earth than Cuba. Since my early twenties, I have made it a personal mission to share the rich visual vocabulary of Cuban artists and photographers informed by centuries of cultural and political discussion.  Revolutionary greats like Roberto Salas, Caralse, and Alberto Kordo helped incite the revolution in Fidel’s Cuba and made phenomenal exhibitions in my home state.  Later, having become well-versed in the emerging art scene, I had the opportunity to juxtapose the work of the two regions and have curated several exhibitions of Southern and Cuban artwork in Havana and throughout the Southeast.  Over the years, I have seen many of our monumentally-themed gallery projects––both exhibitions and publications—take on their own organic forms, becoming a voice for thousands who sacrificed to change the world.  

After years of diligent research and honing my skills, I at last opened my dream gallery in early 2004.  Rebekah Jacob Gallery began in a modest thousand square foot white box in the quiet, quaint area of lower King Street in downtown Charleston.  The odds were not in my favor; at this point, neither contemporary art nor photography had a strong foothold in the Charleston market. Yet I persevered, bolstered by the entrepreneurial spirit of my father, Les Jacob, whose voice I would often hear reminding me to put my head down and get to work, no excuses.  We not only survived, we thrived, and as the economy rebounded, we decided to triple our inventory and our space. Progressive art requires a progressive neighborhood, so we headed north to upper King Street, an area at the heart of the city’s creative culture renaissance.  The large walls of this sexy 3,000 square foot Chelsea-like gallery were necessary to keep up with the increased production from my artists as well as the increased demand from our clients.  A progressive but also an ardent preservationist, I was attracted to the traditional design by a Charleston architect that was flexible enough to allow for the modern edge instilled by my designer William Bates.

However, I failed to forecast how the mercurial rise of internet commerce and the radical redirection of marketing towards social media would dramatically affect my business. Technology trumped square footage, so I downsized our footprint and invested in our internet platform. Our physical location on Broad Street is secondary to our online presence, where the majority of our art is now sold to buyers around the world.  Instead of print media buys, we focus our energies on creating an e-commerce experience that is attractive and secure. 

My father said that success happens when preparation meets opportunity. I have spent my life preparing through academic training, apprenticeships, professional networking, and global travels.  As Rebekah Jacob Gallery turns ten, I think he would have been proud to see my diligence has turned into a legacy.

- Rebekah Jacob

On Eudora Welty

Eudora Welty

Eudora Welty

I confess only one regret as a Mississippian:  that I never met Ms. Eudora Welty, the great writer and photographer whose words and images have offered me consistent, generous inspiration.  As I was reminded during a recent visit to her home at 1119 Pinehurst Street, Jackson, a failure of courage deprived me of a chance to have the privilege of knowing her. I have since tried mightily to rectify this misjudgment by immersing myself in her photography, learning about the person posthumously through her lens.  

Engrossed in my Southern Literature studies at Ole Miss back in 1997, my mind was full of Ms. Welty’s words and images as I drove to Jackson for a wedding garden party.  With the bravado of youth, I parked in front of Ms. Welty’s home at 1119 Pinehurst Street and telephoned my then-beau for a last-minute pep talk. Instead, he chided me for the southern sin of dropping by unannounced.  The sound of rapid-fire pecking on a typewriter echoed through her open window as I drove away.  I still hear that dirge nearly two decades later.

Eudora Welty; 'Chopping in the Field' 1936

Eudora Welty; 'Chopping in the Field' 1936

Since then, I have been honored to appraise, consult, and broker various portfolios and loose prints of Welty’s photographs through Rebekah Jacob Gallery.  My deep desire to address her work with the appropriate respect led to copious (perhaps obsessive) research as my team and I have chased down every possible scrap of information.  We have diligently sifted through thousands of images and supporting texts and re-read every essay/book she ever wrote. The more I slipped into her photographic world, the more I started to see how the eloquence of her written narratives was also present in visual form in her photographs.  

The upper crust of Delta life that we both grew up in was such a dramatic juxtaposition to the images she shot alone on assignment for the WPA in the 1930s, way down back dirt roads.  Suffering and proud, everyday Mississippians were imbued with the politics and economics of this complicated land when seen through her compassionate lens.  From the images—supported by many discussions with Welty scholar Suzanne Mars—it is clear the gentle, cautious hand she took when approaching her fellow Mississippians for these photographs.  No pose was forced, no intimidation used.  Instead, Ms. Welty led with respect and the result was poignant portraits of strength and dignity.  Then she tightly trimmed her kitchen-sink prints using the same critical eye with which she edited her stories.  

This intense study has only fueled my quest to get to the source of her work and to share it with others who share my respect for her oeuvre.  The negatives from 1930-1950 are lovingly preserved at the Mississippi Department of Archives and History with rare portfolios (sometimes just a loose print, others as a full unit) elusively showing up in galleries and auctions. As scholarship builds, as more new photographs are revealed, interest in Welty’s photography continues to rise.  Given the current market, I think that Welty’s body of work on WPA-era Mississippi is one of the most compelling photographic studies of the American landscape available.  There is no doubt that  Ms. Welty’s work is now considered a must-have for any true Southern photography collection.

I will continue, like so many others, to gravitate towards my North Star of 1119 Pinehurst Street where I firmly believe her legacy lives on.  There is little doubt that she will continue to inform and inspire with words and images to tell the story of our mutual homeland with grace and dignity.  Transcending her time, Ms. Welty continues to be Mississippi’s most treasured documentarian and ambassador. 

In the meantime, I am eager to tackle yet another portfolio box of gems  that just arrived at my doorstep, ready for discovery anew.

- Rebekah Jacob 


Photography Auction Market Reports



ArtNet Market Watch is pleased to present a comprehensive overview of the auction market for photography. While the market remains relatively small—comprising less than 2% of the 2014 global fine art market’s $16.1 billion in sales—consistent growth has been seen since the recession in 2009. 2014, in particular, was a banner year, with over 13,000 lots auctioned for a record-breaking $243 million. World-renowned photographers Cindy Sherman, Andreas Gursky, and Richard Prince continue to top the list of top photographers of all time.

Source: https://www.artnet.com/auctions/

The Rare William Eggleston: Red-Ceiling (Greenwood, Mississippi), 1973

“For any serious arts educator, rare photography lover, and collector of Southern photography, to build a significant Southern photography collection, it’s an imperative to hopefully acquire works by Eggleston, if one has the means.” says gallery owner Rebekah Jacob.

Jacob –– an expert in Southern photography and an Old Miss-educated curator of specific Southern genres — describes the photo as “powerful and intense.” This rare and famous dye transfer portrays a cross of white cable leading to a central light bulb mounted on a ceiling painted red. It was taken in the guest room of one of Eggleston’s dear friends in Greenwood, Mississippi in 1971.

William Eggleston emerged in the early 1960s as a pioneer of modern color photography, especially portraying the vernacular of the Mississippi Delta.

“Very few Eggleston "Red Ceiling" photographs were ever printed,” explains Jacob, “and at least two are locked up in the Metropolitan and Getty Museums, respectively. Few have ever been available for sale, so this is a rare window of opportunity for top-bidding collectors.

‘’I grew up along the Delta, mainly in Clarksdale, Mississippi, so Eggleston's subject matter is innately and intensely familiar to me,” says Jacob. “I visited the Metropolitan Museum in NYC last week just to view his current exhibition, ‘At War with the Obvious: Photographs by William Eggleston.' It was touching to see the commonplace subjects of my Southern roots exhibited inside one of the highest levels of art exhibition in the world."

“Art dealing is truly an art form in itself. It is a long process of experience, credibility, smart business, and ultimately the invitation to participate." says Jacob. "Gratefully, my formal education, masters degree, apprenticeships with top photography dealers, certifications, and incessant world travel to curate rare works of art, I have mastered my eye and advanced my level of connoisseurship for top-quality pieces. The invitations to represent elite photography transactions are now trickling into RJG consistently." 

Radio City is the second album by the American rock group Big Star. Released in 1974, Radio City was recorded during 1973 at Memphis' Ardent Studios

Radio City is the second album by the American rock group Big Star. Released in 1974, Radio City was recorded during 1973 at Memphis' Ardent Studios


The impending regional devastation to so many homes, businesses and lives was apparent over the past few days.  Many art works were submerged in water, completely destroyed by natural disasters. The scope of damage we encountered is yet to be fully determined.  The art world took a direct and intense hit.  

In ensuing days after the brutal storms that swept the Carolinas, we are working closely with our clients and conservators to develop a plan to transport, preserve, or dispose of art works.  

This includes:

  • Organizing short or long-term storage of art works, damaged and or in good condition.   
  • Arranging conservation and/or re-framing 
  • Creating digital archives for clients
  • Returning certain works to artists be "touched up"/ repaired
  • Documenting disposal of art that could not be saved
  • Appraising the art work for insurance purposes 

Here are a few tips for art collectors affected by the storms:

  • If the art work is damaged, make emergency plans to move the art work to a safe, dry place immediately.
  • Unframe any works on paper or photographs damp from the water; lay flat.  
  • Have a sense of how you can prioritize the evacuation of your collection, transport carefully with blankets, etc. 
  • Access your records (hard copy and/or digital) safely to a secure, off-site location and/or on a digital cloud 
  • Reach out to experts for sound advice regarding value of the art work, conservation, framing, etc. 

The Pictures Generation

Young artists who came of age in the early 1970s were greeted by an America suffused with disillusionment from dashed hopes for political and social transformation to the continuation of the Vietnam War and the looming Watergate crisis. The utopian promise of the counterculture had devolved into a commercialized pastiche of rebellious stances prepackaged for consumption, and the national mood was one of catatonic shell-shock in response to wildly accelerated historical change, from the sexual revolution to race riots and assassinations. Similarly, the elder generation of artists seemed to have both dramatically expanded the field of what was possible in the field of art while staking out its every last claim, either by dematerializing the aesthetic object entirely into the realm of pure idea or linguistic proposition as in Conceptualism, or by rivaling the cataclysmic processes and sublime vistas of the natural world itself.What these fledgling artists did have fully to themselves was the sea of images into which they were born—the media culture of movies and television, popular music, and magazines that to them constituted a sort of fifth element or a prevailing kind of weather.

Walking Gun, 1991; Laurie Simmons (American, born 1949); Gelatin silver print; 53 x 89 in.; © Laurie Simmons

Walking Gun, 1991; Laurie Simmons (American, born 1949); Gelatin silver print; 53 x 89 in.; © Laurie Simmons

Source: http://www.metmuseum.org/toah/hd/pcgn/hd_p...