New York | Collectors Day: A day dedicated to the art collector
1 May 2019 | 3pm – 10pm
Moniker Art Fair, which has over 10 years earned a reputation as a vital platform for contemporary art via annual editions in London and NYC, also announces Collectors Day, a unique concept designed to encourage and catalyse art buying from fairs, galleries and artists alike.
The day, which will run as part of the fair’s welcome to VIPs, will feature
• Tours across the multiple floors of 718 Broadway with Moniker Director Tina Ziegler
• Talks led by collectors, gallery directors, curators and artists,
• Panel discussions quizzing art professionals on the questions that matter most to both veteran and would-be collectors.
Themes will cover everything from how and why to collect contemporary art and the best way to approach building a collection, through to blunt discussions concerning investment opportunity and elitism within the art world.
Tickets are required to attend as there is limited capacity for Collectors Day.
Reserve your space here.
Tags: You’re It – A Chat with Angelo Madrigale of Doyle Auction House, NYC
Moniker has a quick chat with Angelo Madrigale, VP/Director of Contemporary Art at Doyle Auctions, NYC, about the increasing popularity of the genre within the auction world and its ongoing crossover potential in the mainstream art market.
MAF: Thanks for talking to us Angelo. Just to help our readers get acquainted could you let us know a little about Doyle and your role within the auction house?
AM: Doyle was founded in 1962, and in 2012 I came on as the Specialist for America’s first Street Art auction.
Because Doyle has a specialty in handling estates, the variety of what we may see can differ greatly, and it requires all of us to be diligent and thorough as we appraise and evaluate a wide assortment of fine art, furniture, decorative items, jewelry, editions and much much more.
[To that end,] the Doyle team has always been incredibly supportive of new projects, Street Art being one of them, and I sincerely appreciate their trusting me to try new things that I feel are exciting and important.
MAF: The urban/contemporary market has fluctuated wildly in terms of its profitability in the last 15 years – has that been notable from your perspective? Has it taken time for the collecting world to trust the investment potential in these art scenes?
AM: One of my major concerns in creating a Street Art auction was to help bring attention to an art movement that was then, and is still now, growing and evolving – my hope was to introduce collectors, private dealers and institutions to artists I felt were important.
As long as Street Art continues to evolve, I think we will see the market evolve with it. While there are now many auction houses both in the US and around the globe that successfully offer Street Art, and there are of course excellent galleries hosting important exhibitions, there’s much more that can be done.
Further positive coverage from the arts press – as well as landmark exhibitions, such as the Museum of the City of New York’s “City as Canvas” show, help push the market forward and continue to cement the credibility of the movement in the mainstream.
MAF: Have the names of interest changed in that respect? Everyone started out looking for the next Banksy and that will I assume have significantly shaped the kinds of artists that were initially prominent. Now that urban art has expanded into much broader spectrums, which names are starting to come to the forefront of the auction world?
AM: I think that since 2012, which was of course just a few years ago, we’ve seen several great artists become far more sought after.
Os Gemeos and Invader are two names, who, while they’re of course obviously well known to fans of Street Art, have since crossed over to be highly desired by major collectors who may be much newer to their work, and to Street Art in general.
I’m sure in the years to come, many more artists will follow suit. I personally think the work of ME NY and Clint Mario could be two of those in particular.
MAF: How much are you seeing people putting items back into auction? I’d wondered whether it’s largely too early for people to be trying to get a bigger return on urban and contemporary work yet…
AM: This is a trend that is not at all unique to Street Art. There are now a lot of collectors that are essentially part-time dealers, and I assume for them, part of the fun of collecting is trading and selling, like they may have done (or still do) with baseball cards and comic books when they were younger.
All markets ebb and flow, and it’s impossible to know how an artist may be perceived in the future, so my advice is to tune out as much of the noise of business and economics and focus on what draws you personally to an artist’s work.
If you’re investing in what personally brings you joy, what the art market may bear on a given day might not be important.
MAF: Finally, could you give us your opinion on who you would personally be buying within these art scenes?
AM: There was a lot at this past Moniker Fair that I was excited to see. Skewville and ASVP are friends, and they actually both showed together at an exhibition I did at Doyle – the first selling exhibition (not auction) in the company’s history. I both personally enjoy their work and believe they have strong futures ahead of them.
I also think that Superchief Gallery is discovering a lot of great young artists including Penelope Gazin and Yu Maeda. I am always excited to see what they’re up to, especially now that they have at least three galleries spread across the county.
In Conversation With: Skewville
Moniker caught up with Ad, one half of Skewville along with twin brother Droo, to talk about the scene and the art of not ‘selling out’, or at least doing it on your own terms.
MAF: When did you guys first start putting stuff up on walls?
Ad: I would say I started in 1982, the day we got Martha Cooper’s book in the mail. Probably the week before, we were practicing tags. I give Martha the credit (and whoever else contributed to that book) as the true inspiration. There’s been lots of ups, downs and in-betweens but that was pretty much the day, yeah.
MAF: And at what point did Skewville become what it is?
Ad: Skewville was an actual place. Started in 1996 in Astoria. Most kids in Queens never move out of their parents’ houses until their mid 30s. Me and Droo were 27, which is late for most of the world but early for fuckin’ most of New York kids who were born-and-raised.
So we copped a crooked house in Queens and called it Skewville. The name of the building was created before the collective started. Everything we’ve done since was made in Skewville, it started there.
MAF: What did you first create?
Ad: The first thing we created under the Skewville brand was Toke and High Again smoking accessories.
MAF: When did that run until?
[Pauses] It’s still going on. You got one in your house, don’t bullshit!
MAF: [Laughing] For the record, yes, I have one in my house.
Ad: I always say that Skewville wasn’t ahead of its time. It was on time, we just missed the bus. We were just too high. But there were always more buses coming.
MAF: So did you always feel the need to put your art out in public?
Ad: I think I always felt the need to put art out, it just happened to be in public, which is a big difference to what’s going on now, because if i started now I would not have a shot in hell putting up next to anybody else.
It was all about expanding, doing new shit, doing shit you haven’t seen before, still inspired by a few cats that were out there: WK, OBEY and so on. If there was one more I probably wouldn’t of did it but it was still minimal at that point.
MAF: And those art projects began when?
Ad: Well, we had stickers and promotional stuff and that was sort of going on in the early 90’s, but the first real defined project was the Sneaker Mission in ’99, [which] was a calculated project where we knew what were doing, why we were doing it and where it was going to go.
MAF: Tell me a bit more about the Mission
Ad: The Sneaker Mission was based on childhood memories of tossing your shit up at the end of the block coz everyone else did it. The urban legends came afterwards – the drug dealing the losing your virginity and all that shit, but the true hardcore thing is that you did it coz you saw someone else do it. And that whole thing is that we didn’t invent tossing up shoes, we reinvented it and made it ours.
MAF: So Skewville, as a concept, is kinda known for the struggle between keeping an authenticity and not just selling out?
Ad: I have to correct that, there was never a struggle, it was always dancing on that line. I always purposely remained slightly under the radar, while still paying the bills. That’s what I’ve always been doing and it’s always just that interest of keeping it slightly underground.
MAF: Did you have any resentment or difficulty watching your companions strike it big?
Ad: No, because those guys made their own calculated decisions to go where they were gonna go. We were running a company that was killing it financially, so we didn’t need to sell out or do anything with the Sneaker Mission.
We turned down tons of offers from Converse, Nike and a couple other brands, and murals and corporate stuff, that we just didn’t need to do. I understand why people go that route but I think we have the luxury of not having to it.
Backtrack to my history: I worked in advertising, I know the corporate sluts that suck you dry for your info and move onto the next person. I wasn’t gonna let that happen. Friends that got famous, well, more props to them. They did what they had to do.
MAF: As your own reputation grew did it feel good, or weird, to have people suddenly know who you were?
Ad: I’ll give the credit to Wooster Collective for at least taking street art off the streets. We all know it was both a good and really bad thing. It blew up the scene, but it shot itself in the foot. It killed the revolution.
But for me it was never about who fuckin knew me at the time, it was more exciting with people finding out later. I don’t want you to know about me, I want to find out you didn’t know about me and be pissed off about me.
MAF: Your work has definitely been going viral more though.
Ad: We were famous before the internet, right? So, I was big time in grammar school doing airbrushed t-shirts and people would wear my shit down the block and people would call me out. And that whole thing is sort of… not what an artist needs. Because satisfaction is the death of desire: when you get to a certain point you think you made it. But, there’s always someone bigger, so you got to just keep moving on.
I’m not savvy with Instagram, I’m not savvy with all that shit. I know the importance of it, but again, I’d rather be in the history books than on your cellphone.
MAF: So, what would you be doing if you’d started making art today?
Ad: If I started today I’d probably be a stock broker [laughs] or a real estate agent.
I wouldn’t have started today maybe. That’s tough. I guess what inspired me back then was the need to create and the need to fill the void. That void is already filled, over-fuckin-filled even. I’m keeping one foot in the street art realm now and two other feet trying to run the fuck away from it. So I guess I would probably still do that: something that no-one else is doing.
MAF: Do the legal murals feel strange to you? You were doing this when that concept didn’t exist, it was all against the law.
Ad: You can’t hate on it, and that’s because all the whack shit out there that’s going up now, it just makes us look all the more original. Right? That’s all it does.
But also I’m happy for what’s going on because there is an energy here that still feels real. Way back with Endless Love Crew, and now with Bushwick, you feel that love and that energy. The outcome? Okay, that’s subjective. But the energy and the ‘endless love’ is still there. That at least makes you want to keep one foot in the door.
MAF: We’ve talked about keeping it real, so how do you balance that with ‘selling out’ yourself?
Ad: The words ‘selling out’ to us always meant that you were selling your soul to another person that’s gonna make money off of you. We are self-funding our own ‘sell out’ project. Exploiting yourself is different to being exploited by another company.
That’s what this new branding is: slutting it out, sure, but there’s still no corporate sponsor attached to it. You can’t really hate on people that did what they had to do. But for us, we watched Shepard Fairey, and people hate on him for certain stuff and our reaction was ‘Oh, I don’t want people to think that about me’. I already worked in that world and I know how shady it is.
So i guess.. we’re keeping it real by the way we’re selling out. It’s everyone’s own definition.
The [upcoming project] that I’m doing for Soho House, the only one making money off of it is me, and okay, it’s in a different realm I’d rather not have touched in the past, but now I’m excited, because now I know I have a lot to educate people with.
MAF: What’s the future for Skewville?
Ad: Oh, selling out, of course. In every possible way. [laughs]
Seriously though, the future is now. All I can tell you is that you know that if and when I sell out, I’m also going to be keeping it real.
Moniker Culture Presents: RISE & SHINE Breakfast Session at Wellcome Collection, exclusively for our Black Card Members.
Moniker Culture is a year-round programme of exhibitions, networking events, talks and film screenings keeping the spirit of Moniker Art Fair alive between fairs, often in collaboration with artists, galleries, institutions and brands that share our vision.
For our first event, Moniker welcomes Black Card members to join us for our first RISE & SHINE breakfast session, in partnership with the Wellcome Collection.
Explore the museum before doors open to the public and experience a VIP guided tour of exhibition, Can Design Save Your Life? before attending a beautifully-catered breakfast.
The exhibition considers the role of graphic design in constructing and communicating healthcare messages around the world, showing how it has been used to persuade, inform and empower. Can Design Save Your Life? uncovers and explores the widespread and often subliminal nature of graphic design in shaping our environment, our health and our sense of self.
This event is exclusive to Moniker Black Card members, and is taking place on 20th December from 8:30am – 10:00am. Confirmation of your attendance is mandatory, as there are limited spaces available.
Moniker Recommendations: Five Artists to add to your collection
Entering the art market as a young collector can be quite intimidating, many find they do not know which artists to invest in and when is the right time to start your collection. The first rule to collecting is of course, to be make sure you love the artwork you purchase, as no investment can guarantee a positive return. However we have found discovered ways to recognise which artists have a strong chance of increasing in value over a short period of time, while being a great artist to add to your collection. Here is just a selection of five artists we believe are worth the investment.
Meadow, Acrylic on Canvas, 200 x 150 cm, 2015
From miniature window drawings, striking site-specific interventions to elaborate replicas of classic masterpieces, Pejac is rightfully recruiting an army of fans and collectors with every new piece he makes. Taking clever twists on familiar images and skillfully reinventing public spaces, Barcelona-based artist is touching on sensitive social and environmental issues in a smart and poetic manner. The strength of his work and universal language comes from the right combination of admirable painting skills, original and effective concepts, and vast knowledge of classic art and popular culture.
Our thoughts: Pejac is an artist who’s value has skyrocketed in a short amount of time, largely due to the context in his work, and limited sales releases. If you spot any available work, we recommend grabbing a deal while you can!
Limited Edition Prints:
2014 – Average print prices were around £100
2016 – Average print prices were around £550-700
2017 – Most resent release, Scattercrow as an Edition of 80, Released for £880 (100o) and sold out in seconds. Secondary Market price on his prints from 2014 onwards are £ 2,500 and climbing
Original Works :
2016 – 2017: Original works are very dependant on size, however common to find works between £5,000 – £20,000, average artworks are around £12,000. Solo show ‘Law of the Weakest’ in London, sold out in 10 days. Secondary Market prices on his originals from 2014 onwards are £ 40,000 and climbing.
Further information: www.pejac.es
Felipe Pantone (Spain-Argentina)
Responsive I Frame 3, Acrylic and Spraypaint on panel, 100 x 100 cm, 2016
Felipe Pantone’s body of work spans from graffiti to kinetic art. With his strong contrasts, vivid colours, dedicated line work, and the use of mixed medium and varied techniques, he has created a whole new aesthetic. As we are living in a time where more images are produced than can possibly be digested, the importance of a unique look and concept in an artists work is highly valued. Well ahead of the rest of us, Pantone has gotten to the future of now. He is proudly born of the Internet—be it evident in the ultramodern evolution of his decade’s worth of graffiti, or his creative kinesis in response to technology, abstraction, and Optical Illusion art. At times, it’s hard to decipher whether Pantone’s work is created by man or machine, but in truth, it is an invention of both. Visually, it is as if he climbs into the pocket of interruption generated by technical glitch and from it, pulls a prism of colour, hyperactivity, and the zigzag of geometry.
“I hear often that my art is futuristic. Well, I think my work belongs to the present. I try to transmit my point of view of the world around me: the travelling, the flow of cultures and information…I’m really happy to be able to witness one of the most important things that happened in the history of information after the invention of writing and printing. Humanity is going further in a shorter time. 10 years ago we had Walkmans, and now, we have phones connected to the entire knowledge of humanity. It’s pretty awesome.” – Felipe Pantone
Our thoughts: Pantone’s style is stand out, new, and exciting; he is a truly a mirror for his generation in the way only an artist can be. We anticipate great things from him as he delves into installation art and alternative methods of producing gallery work. He is still at the affordable end of the market, despite his recognisability, but we don’t think that will be for long. You can check out a few of his mind boggling pieces at Moniker this year!
Limited Edition Print Releases:
2016 – released between £ 45 – £275. Secondary market price on his prints is £1,000 and climbing
Original art works:
2015 – £1,750 for a piece approximately 100 x 100 cm
2017 – £3,000 – £ 7,000 for pieces approximately 120 x 120 cm, dependant on materials.
Further information: www.felipepantone.com
Where to find his works? Station16 Gallery, StolenSpace Gallery and Thinkspace Gallery.
Laurence Valleries: (Canada)
Classically trained fine artist Laurence Vallières has found a gap in the market for easy to display and playful sculptural works that can enhance any setting. After completing an artist residency in Russia, she began to appropriate a street art influence in her work, and has since been warmly welcomed into the community of Urban Contemporary art. Mainly using cardboard, she readily creates large works on the spot and travels internationally to do so. We look forward to welcoming her to Moniker’s 8th edition as part of our installation room. Her smaller works will also be available for sale.
“As an artist, one’s goal must be to express what is common and mundane in a way that makes it interesting and novel. To this end, I use animal imagery to symbolise and represent political issues and social behaviour. My work is greatly inspired by literature from the authors Georges Orwell and Art Spiegelman. Their deft use of metaphor allowed them to critique an issue or philosophy without explicitly stating the target of their anger. This use of metaphor gave their work the feel of a widely-circulated, savage inside joke. Similarly, I create art that maintains both visual appeal and an understated sense of humour.” – Laurence Valleries
Our thoughts: As we have one of her pieces that we picked up last year displayed in our offices, sure we might be a bit biased! However we do anticipate the value of her work to rise and thematically to expand as buyers search for alternatives to flat works. Her audience is varied as she works in a very large and impressive scale for installations, while still creating beautiful gallery pieces for buyers who don’t have a sculpture garden. A definite one to watch!
Original Series / Small works:
2017 – £ 150 for 1/20, approximately 10 x 15cm
2017 – £ 700 to £ 1,500 for her well known animal masks, approximately 20 x 30 cm each.
Kevin Peterson (United States)
Coalition II, 17.5 x 36, oil on panel.
Hyperrealist painter Kevin Peterson paints fairytale-like interactions of children and wolves, birds, and bears in scenes much different than the pastoral worlds of storybooks. Instead Peterson places the unlikely packs in distressed cities filled with decaying buildings and urban detritus. Despite the worn surroundings, the young girls in the paintings maintain a sense of innocence while they bravely explore the streets with their powerful compatriots. A mythological and dreamlike view of the world we are living in, contrasting the new with the old, pairing the innocent with epic cityscapes and the survival in our modern times.
“My work is about the varied journeys that we take through life. It’s about growing up and living in a world that is broken. These paintings are about trauma, fear and loneliness and the strength that it takes to survive and thrive. They each contain the contrast of the untainted, young and innocent against a backdrop of a worn, ragged, and defiled world.” – Kevin Peterson
Our thoughts: We love Kevin Peterson, his talent is apparent, and his subject matter is always beautifully depicted. A true fine artist in a modern world, we could never see his work going out of style. We anticipate a very steady increase over time. Peterson is unveiling a whole new collection at Moniker this year for his first UK solo exhibition and his first solo exhibition since 2015, so keep your eyes peeled and save to invest in this rising star!
2016 – Released for £70.
2017 – Secondary market prices for his prints stand at over £ 800 and climbing.
2013 – £750 for a piece approximately 40 x 70cm
2015 – £1,900 – £3,000 for pieces roughly the same size. Prices continue to rise at around a 15% increase each year.
More information: www.kevinpetersonstudios.com
Cinta Vidal (Spain)
In her latest series of paintings, Barcelona-based artist and illustrator Cinta Vidal Agulló defies gravity and architectural conventions to create encapsulated scenes of intersecting perspectives. Painted with acrylic on wood panels, Vidal refers to the paintings as “un-gravity constructions” and says that each piece examines how a person’s internal perspective of life may not match up with the reality around them. The intersecting planes on many of her paintings are somewhat reminiscent of drawings by M.C. Escher, where every angle and available surface is inhabited by colourful characters going about their daily lives. Her talent and dedication is unparallelled, and shows through in her aesthetic architectural works.
“With these un-gravity constructions, I want to show that we live in one world, but we live in it in very different ways – playing with everyday objects and spaces, placed in impossible ways to express that many times, the inner dimension of each one of us does not match the mental structures of those around us. The architectural spaces and day-to-day objects are part of a metaphor of how difficult it is to fit everything that shapes our daily space: our relationships, work, ambitions, and dreams.”
Our thoughts: Vidal is one to buy early as she is still very affordable, and we can guarantee her prices are on the rise. She’s appreciated in many artistic circles including the design and tech hubs who can often be tricky to crack. We can’t wait to see her new work which will be on display with us at our 8th edition this year.
Limited Edition Print Releases: 2017 – £ 45 – 75 for Giclee prints in a numbered series. Good time to invest in this rising artist.
Original works: 2016 – Starting at £875 for 30 x 30cm, and up to £ 3,500 for 90 x 90cm
More information: www.cintavidal.com
VIP Black Card Membership – Join the CLUB!
By being a part of Moniker’s Black Card Membership club you receive a unique numbered Moniker Black Card in the post. VIP members get the first look at Moniker Art Fair, guided fair tours, collector tours and insights into the artists, galleries and available artworks at the fair. You can also show your Black Card at all our affiliated partners and discover a wealth of exclusive opportunities, discounts and VIP treatments.
Our first 500 members are part of our Lifetime membership to Moniker Art Fair, meaning you are one of our founding members and we value your feedback and insights on how to make our VIP programme work better for you.
Apply now for VIP membership through our VIP Application.