What is the standard policy of artist framing?

Answer there is no standard policy some artists sell works unframed others sell works with Minimalist frames, and some artists sell works with high quality frames. Jstevenmanolisart sells works unframed

What is a floater frame?

Answer A floater frame is a frame that floats the stretched canvas inside the frame so that all edges of the work are exposed. The interior float can either be left unpainted, or painted flat black producing a black outline around the work. The aesthetic goal of floater frames is to minimize the visual impact of the frame while maximizing the presentation of the work. The Guggenheim Museum in NYC post WWII adapted natural wood floater frames for their Museum, which has led to the nickname: Guggenheim Museum Natural Floater frames as s jargon term. 

What is a Shadow box frame?

Answer When works on paper are framed, one method is to float the work from the back of the inside frame. By having a “volume inside” is how the term “Box” is derived. The effect of this is for the painted work to interrelate with light to cast a shadow around the work on the interior of framed box; this the derivation of the term shadow ox. 

What is the J. Steven Manolis Model for categories of art?

Answer In my opinion thre are four distinct categories: from low to high the four categories are: 1) Hobby Art, 2) Decorative Art, 3) Collectible Art and 4) Investible Art.

What do each of these four purchase categories mean? 

Answer Hobby art is created by either part time artists, or artists (no matter how much time is spent) who are doing the art strictly for the pleasure with no intention to sell. There are huge qualitative ranges within this art sector, from awful to magnificent. The common denominator in this bottom category is that there are no cash or barter sales of this art; once art goes into the for sale category, it becomes Decorative art.

Decorative Art is art that is produced by part time or full time
artists with the intention of selling it upon the conclusion of the created
work. Most artists (90% +) fall into this category. Accomplished part time
hobby artists as well as full time artists who generally sell through galleries
are in this category. As a general rule decorative artists works fall or trade
well below or have even negligible value in the resale market, and typically
fade away into “ nowhere-land” upon the artist’s demise. Pricing of works
becomes a big topic within decorative art. From low to high within the category
is a great range differential. As a general rule, the range of value, bottom to
top of decorative art is from approximately $1000 to $75,000. Most decorative
artists have achieved Gallery representation, and have their own websites and
utilize social media. As a general rule, upon the demise of a decorative artist
the lifetime works go down significantly in value upon their demise, and sell
post humorously at only secondary auction houses. 

Collectible art is that category of art associated with
significant individual professional achievement(s) that decorative artists do
not have. Perhaps only one in a thousand or one in ten thousand artists ever
achieve genuine collectible status. Six examples of achievements (top to
bottom) associated with collectible artists are 1) having had a Lifetime Museum
Retrospective 2) a Solo Museum Exhibition; 3) a Solo Gallery Show, 4) their
works backed and reviewed by written acclaim from prestigious scholars and
critics of art, 5) been actively displayed in both corporate installations and
collections, 6) their works are held and displayed by bona fide Museums of art,
7) have solo art books written or published about them, 8) have had magazine
articles written about them, 7) have had group shows, 8) have had participation
in leadership positions (of all types) within the art industry, and 9) had had
show reviews and magazine articles written about them. Collectible artists are
typically involved in artist organizations, and those who have spent a lifetime
in the arts are admitted to honorary art organizations, as an example the Royal
Academy in England or the National Academy of Art in the USA. THE general (and
all important) differentiator between collectible and decorative artists is
that collectible artists rise in value after their demise, and the academic
historic community researches and publishes the life and position within The
annals of historybof American art. Decorative artists do not achieve these
distinctions. Collectible artists, with few exceptions are living artists.
Increasingly senior collectible artists have catalog Raisonne near the end of
their working lifetimes. Elite collectible artists have selective works sell in
random auction houses. 

Investible artists is the most elite category of artists and
consists of those artists that have active, continuous, assured and extensive
auction records for ALL or any of their bona fide genuine works. 99.99% of all
investible artists are deceased. Investible artists are icons of art history,
typically have extensive research on their lives, and have active and divirsified
Museum exhibitions. Their works are keenly sought and occupy central and active
exhibited status within permanent collections oh Art Museums. 

What are the two most important qualitative aspects of an art purchase?

Answer Putting aside price, the answer is 1) subject matter and 2) size. 

Why is subject matter important?

Answer Because the visual image depicted is the most important element in producing an emotional stimulus to the owner. There are infinite different stimuli, but the important aspect is “does the work stimulate the owner, does the work stimulate guests?” Stimulative art usually contains either explicit or implicit messaging and qualifies as “strong” in its messaging impact. It is NOT important what the style of the work is, rather, what is important is whether its messaging stimuli is effective with the owner’s intent. Often times “strong works” are referred to as “illustrated stories”. Decorative art generally fails the messaging test. 

Why is the appropriate size/scale for a piece of art important?

Answer The answer is that without the proper scale and presentation, the surrounding environment can either diminish or destroy the effective purpose or presentation of the selected piece. 

What is an art commission? The answer is a work that has been
uniquely painted under contract between artist and purchaser. The purpose and
advantage of a commission is that a buyer is able to receive both the desired
image style and scale they desire. Typically such a work is undertaken after
extensive consultation between artist and purchaser, and results when something
very specific is desired that is either difficult or impossible to otherwise
achieve. 

How do art commissions work?

Answer Typically a commission is priced at between a 25 and 50 % premium to the artists generic priced works, and requires a 50% nonrefundable deposit before the work is commenced. 

Is an artist’s productivity or prolific nature an attribute or declination?

Answer There is no general rule! Production of highest quality work in tremendous volume is generally considered the most difficult artist task. The few artists that have achieved this (eg Pablo Picasso produced over 100,000 collectible works in his lifetime) have legendary status. Au contraire, deliberative highly detailed extremely time consuming work, on average, will have higher value than works that do not have these characteristics. These rules have nearly zero correlation to each other after an artist’s demise when other factors become more important. 

What does Museum Scale mean?

Answer Since Museum’s hang work for the public to see, and the physical spaces are much larger than residential spaces, large works are often referred to as Museum Scale. An informal rule is that if any one side of a dimension is 8’ or greater it qualifies as Museum Scale. 

What does “Scaling Up” in art mean?

Answer It means increasing the scale of a painting from near to long focal lengths and is associated with making art larger. For many different reasons most artists have difficulty in reproducing their art, seamlessly from small, to medium to large and super large proportions. This factor has led to disproportionate increased valuations and auction results for large works of sought after artists. 

Sought after “Au currant” modern proportions have changed
dramatically over the last fifteen years. With traditional furniture, placed
art fit over and had less width than it furniture host of today. Today the
modern look is reversed so that the optimal width of a work is wider than
everything under it. This has led to a dramatic increase in demand for large
work. And since few artists have either the space, financial and talents
necessary to “Scale Up” , this led to premium pricing for large or museum scale
works.