7/31: Letter to the Editor
Today's blog is in response to an editorial in the Toledo Free Press entitled "Art attack raises blood pressure," by Michael S. Miller.
Thanks to Editor in Chief Michael Miller for providing a springboard for a lively conversation about the price and value of art. The reaction on the online artists’ chatrooms has certainly been spirited: largely artists defending their livelihood. Another perspective is that of the collector.
I bought my first original art when I was nineteen. In the big scheme of things it wasn’t much money, but it was all I had at the time, and it was a big deal for me to spend it on something that wasn’t functional. Young as I was, and with limited understanding of economics, I could see that the artist lived to create these paintings, that he had devoted his life to it, and in a small way, my contribution would help him continue. I was buying something significant, so it seemed right that my sacrifice was also significant. I don’t think I’ve been more proud of anything I’ve ever bought. Over the years I’ve spent far more money (and I have never had much) on “practical” “durable” goods like cars and computers, and those things have eventually gone on to the dump, while those paintings are still on my wall. I feel good whenever I look at them. It also made me feel good last year when that artist had a large museum show, and paintings like mine were displayed among his earlier work.
Far more inspiring is the story of Dorothy and Herbert Vogel, a librarian and a postal clerk, now retired, who devoted a small portion of their income toward acquiring art. Starting in the early 1960’s they began collecting minimal and conceptual works by artists, little-known at the time, who later became recognized as pioneers of these new movements. In 1992, the Vogels donated over 2,000 paintings, drawings and works of sculpture to the National Gallery. The Vogels have never been wealthy, but they helped artists who needed encouragement, and enabled the general public to enjoy their collection for little or no money.
I’m guessing that as Editor in Chief, Mr. Miller earns enough money to buy the things he wants: certainly enough to afford a piece of art priced “in the hundreds,” which he stated was the norm at the Ann Arbor Art Fair. I would further speculate that he has spent more on his barbecue grill than he ever has on a piece of art. “In the hundreds,” is a low price for quality original art these days. What else could he possibly expect? How could an artist begin to make a living if the average price were less?
It is unfortunate that Mr. Miller couldn’t find anything that he liked and thought worthy of the price, but my suspicion is that he is a poor judge when it comes to the value of art; he simply doesn’t value art very highly. It’s easy for him to praise the established masterpieces in the museum that he sees for free (because someone else paid for it). The creators of those works were once struggling like those artists at the festival whom Mr. Miller condemns. If someone hadn’t once taken a chance on them, there would be no masterpieces and no museum to visit for free.
Michael Daugherty
Director, Isalos Fine Art
Stonington, Maine
Thanks to Editor in Chief Michael Miller for providing a springboard for a lively conversation about the price and value of art. The reaction on the online artists’ chatrooms has certainly been spirited: largely artists defending their livelihood. Another perspective is that of the collector.
I bought my first original art when I was nineteen. In the big scheme of things it wasn’t much money, but it was all I had at the time, and it was a big deal for me to spend it on something that wasn’t functional. Young as I was, and with limited understanding of economics, I could see that the artist lived to create these paintings, that he had devoted his life to it, and in a small way, my contribution would help him continue. I was buying something significant, so it seemed right that my sacrifice was also significant. I don’t think I’ve been more proud of anything I’ve ever bought. Over the years I’ve spent far more money (and I have never had much) on “practical” “durable” goods like cars and computers, and those things have eventually gone on to the dump, while those paintings are still on my wall. I feel good whenever I look at them. It also made me feel good last year when that artist had a large museum show, and paintings like mine were displayed among his earlier work.
Far more inspiring is the story of Dorothy and Herbert Vogel, a librarian and a postal clerk, now retired, who devoted a small portion of their income toward acquiring art. Starting in the early 1960’s they began collecting minimal and conceptual works by artists, little-known at the time, who later became recognized as pioneers of these new movements. In 1992, the Vogels donated over 2,000 paintings, drawings and works of sculpture to the National Gallery. The Vogels have never been wealthy, but they helped artists who needed encouragement, and enabled the general public to enjoy their collection for little or no money.
I’m guessing that as Editor in Chief, Mr. Miller earns enough money to buy the things he wants: certainly enough to afford a piece of art priced “in the hundreds,” which he stated was the norm at the Ann Arbor Art Fair. I would further speculate that he has spent more on his barbecue grill than he ever has on a piece of art. “In the hundreds,” is a low price for quality original art these days. What else could he possibly expect? How could an artist begin to make a living if the average price were less?
It is unfortunate that Mr. Miller couldn’t find anything that he liked and thought worthy of the price, but my suspicion is that he is a poor judge when it comes to the value of art; he simply doesn’t value art very highly. It’s easy for him to praise the established masterpieces in the museum that he sees for free (because someone else paid for it). The creators of those works were once struggling like those artists at the festival whom Mr. Miller condemns. If someone hadn’t once taken a chance on them, there would be no masterpieces and no museum to visit for free.
Michael Daugherty
Director, Isalos Fine Art
Stonington, Maine
isalos fine art
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