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6 Simple Steps For Success in the Martial Arts Business

Thursday, September 20, 2012

In this article I'm going to facilitate one of those "Aha" moments for you! When ever you simplify anything you tend to have one of those moments. A lot of the times you ask yourself- "Why have I been doing things the hard way all this time?" So read on if want to make things a little simpler....

I would think it'd be a safe bet to assume that all professional martial artists want to make more money. If you don't; you are either lying, or, you are already independently wealthy? If the later were true you would not be reading this article! So let's get the money thing out of the way quickly for those reading that have some mental block about making very, very good money as a professional martial artists! Notice I say "professional martial artist" and not "school owner." Yes, I believe that instructors and program directors, who are responsible for results and at the school everyday should make very good money if they produce! Ok, now let's simplify...

Simple step number one of any professional martial-school is to teach high quality, high content, entertaining and educational classes that match exactly what their target market demands and wants! I don't care if you are teaching only kids or you are getting fighters ready for the UFC. You need to give them what they want! But before you do this you need to establish an identity...

Simple step number two is who! Who do you want to teach? The word 'who' is the most important word in marketing. If you don't know who you want to teach or you are too fuzzy about it then your school will have no identity. Who would you rather deal with the generalist or the specialist?

Please decide who you want to teach! Then go after them with all of your resources! Be sure they exist before you commit too many resources to them! This leads us to...

Simple step number three- You need to cost effectively market your school using "direct response marketing." There are two kinds of marketing- Brand building and Direct Response. You can only brand build if your school is bringing in more than one billion dollars per year! Meaning...

You can't fly your school's logo next to the Good Year Blimp hoping that when people think of lessons they think of you. Every activity you do and every piece of marketing you pay for must be measurable very quickly. At the very least it should help you get more information about the person you're marketing to. That is what Direct Response marketing is, that's it! Now here's the good news...

You can easily apply direct response marketing to everything you do (paid or un-paid). Let's quickly define paid as direct mail, space ads, fliers, etc. Let's define un-paid as demos, b-day parties and things like that.

Here's a couple examples from the "un-paid" department...If we do an outreach program and teach somewhere in the community we have a simple way to get the participants back to our school. If there is a birthday party at our school a percentage of the guests will be back at the school the following week because we offer them the opportunity in a way that makes it simple and easy to comeback.

If we send out a mail piece, do a space ad or put a website it's gonna have a strong offer and a deadline to respond! After cost effectively marketing your school you can now move to simple step number 4...

Simple step number four- You've got to have a low pressure, simple way to convert all of the leads you get from your marketing efforts. If you don't, all of your time an money has gone to waste!

Here's the truth...Anyone can enroll students; it does not take a lot of sales skills. It does take some sales skills though, don't ever forget that! But it's really about following a proven script and process! Here's the good news too, a good process will work regardless of how much you charge for you lessons. And real quick, you should be charging at least $149 per month! Ok, we've got two more steps to go...

Simple step number six- Have a simple low pressure way to elevate your students' commitment and tuition levels early on in their training. This is easier than you think and is really predicated on following rule number 1 "Give them what they want!"

If you deliver what you promised and more it is really easy to get someone to commit for the long term. Of course there are a few details that go beyond the scope of this article but you get the idea!

Simple step number six- Build an iron cage around your students then repeat steps 1 - 5! Get to know your people, make sure they know how much you care about them and get involved in their lives. Make them feel special and give them recognition at every opportunity you get. Be sure you are adding an entertainment component to your program! There are numerous ways to systemize and do this too. Follow these steps and your martial arts career will be very rewarding and productive!

Art Paintings From Your Photo

Wednesday, September 19, 2012

The market for Chinese contemporary art has developed at a feverish pace, becoming the single fastest-growing segment of the international art market. Since 2004, prices for works by Chinese contemporary artists have increased by 2,000 percent or more, with paintings that once sold for under $50,000 now bringing sums above $1 million. Nowhere has this boom been felt more appreciably than in China, where it has spawned massive gallery districts, 1,600 auction houses, and the first generation of Chinese contemporary-art collectors.

This craze for Chinese contemporary art has also given rise to a wave of criticism. There are charges that Chinese collectors are using mainland auction houses to boost prices and engage in widespread speculation, just as if they were trading in stocks or real estate. Western collectors are also being accused of speculation, by artists who say they buy works cheap and then sell them for ten times the original prices-and sometimes more.

Those who entered this market in the past three years found Chinese contemporary art to be a surefire bet as prices doubled with each sale. Sotheby's first New York sale of Asian contemporary art, dominated by Chinese artists, brought a total of $13 million in March 2006; the same sale this past March garnered $23 million, and Sotheby's Hong Kong sale of Chinese contemporary art in April totaled nearly $34 million. Christie's Hong Kong has had sales of Asian contemporary art since 2004. Its 2005 sales total of $11 million was dwarfed by the $40.7 million total from a single evening sale in May of this year.

These figures, impressive as they are, do not begin to convey the astounding success at auction of a handful of Chinese artists: Zhang Xiaogang, Yue Minjun, Cai Guo-Qiang, Liu Xiaodong, and Liu Ye. The leader this year was Zeng Fanzhi, whose Mask Series No. 6 (1996) sold for $9.6 million, a record for Chinese contemporary art, at Christie's Hong Kong in May.

Zhang Xiaogang, who paints large, morose faces reminiscent of family photographs taken during the Cultural Revolution, has seen his record rise from $76,000 in 2003, when his oil paintings first appeared at Christie's Hong Kong, to $2.3 million in November 2006, to $6.1 million in April of this year.

Gunpowder drawings by Cai Guo-Qiang, who was recently given a retrospective at the Guggenheim Museum in New York, sold for well below $500,000 in 2006; a suite of 14 works brought $9.5 million last November.

According to the Art Price Index, Chinese artists took 35 of the top 100 prices for living contemporary artists at auction last year, rivaling Jeff Koons, Damien Hirst, and a host of Western artists.

"Everybody is looking to the East and to China, and the art market isn't any different," says Kevin Ching, CEO of Sotheby's Asia. "Notwithstanding the subprime crisis in the U.S. or the fact that some of the other financial markets seem jittery, the overall business community still has great faith in China, bolstered by the Olympics and the World Expo in Shanghai in 2010."

There are indications, however, that the international market for Chinese art is beginning to slow. At Sotheby's Asian contemporary-art sale in March, 20 percent of the lots offered found no buyers, and even works by top record-setters such as Zhang Xiaogang barely made their low estimates. "The market is getting mature, so we can't sell everything anymore," says Xiaoming Zhang, Chinese contemporary-art specialist at Sotheby's New York. "The collectors have become really smart and only concentrate on certain artists, certain periods, certain material."

For their part, Western galleries are eagerly pursuing Chinese artists, many of whom were unknown just a few years ago. Zeng Fanzhi, for example, has been signed by Acquavella Galleries in New York, in a two-year deal that exceeds $20 million, according to a Beijing gallerist close to the negotiations; William Acquavella declined to comment. Zhang Xiaogang and Zhang Huan have joined PaceWildenstein, and Ai Weiwei and Liu Xiaodong showed with Mary Boone last spring. Almost every major New York gallery has recently signed on a Chinese artist: Yan Pei Ming at David Zwirner, Xu Zhen at James Cohan, Huang Yong Ping at Gladstone, Yang Fudong at Marian Goodman, Liu Ye at Sperone Westwater. Their works are entering private and public collections that until now have not shown any particular interest in Asian contemporary art.

"The market hasn't behaved as I anticipated," says New York dealer Max Protetch, who has been representing artists from China since 1996. "We all anticipated that the Chinese artists would go through the same critical process that happens with art anywhere else in the world. I assumed that some artists would fall by the wayside, which has not been true. They all have become elevated. It seems like an uncritical market."

One of the key artists buoyed by this success is Zeng Fanzhi, who is best known for his "Mask" series. Five years ago his works sold for under $50,000. Today he commands prices on the primary market closer to $1 million, with major collectors Charles Saatchi and Jose Mugrabi among his fans. Now preparing for his first solo show at Acquavella in December, he is considered one of the more serious artists on the Beijing scene because he works alone, without the horde of assistants found in most other artists' studios in China. Still, his lifestyle is typical of that of his equally successful peers. When asked if he owns a mammoth black Hummer parked outside his studio, he answers, "No, that's an ugly car. I have a G5 Benz."

This success has blossomed under the watchful eye of the Chinese government. Movies, television, and news organizations are strictly censored, but on the whole, the visual arts are not. Despite sporadic incidents of exhibitions being closed or customs officials seizing artworks, by and large the government has supported the growth of an art market and has not interfered with private activity. In the 798 gallery district in Beijing, a Bauhaus-style former munitions complex that has been transformed into the capital's hottest art center, with more than 150 galleries, one finds works addressing poverty and other social problems, official corruption, and new sexual mores. The icons of the former China-happy workers and peasants and heroic soldiers raising the red banner-are treated with irony, if at all, by the artists whose works are on view in these galleries, which are private venues generally not under the strict control of the Ministry of Culture.

On the eve of the Olympics, however, the government asked one gallery to postpone an exhibition until after the games. Considered unsuitable was "Touch," a show by Ma Baozhong at the Xin Beijing Gallery of 15 paintings depicting important moments in Chinese history, including one based on a photograph showing Mao Zedong with the Dalai Lama and the Panchen Lama in 1954.

The Beijing municipality spent enormous funds to renovate the 798 district before the Olympics, putting in new cobblestone streets and lining its main thoroughfare with cafés. Shanghai, which has benefited less from government support, now boasts at least 100 galleries. Local governments throughout the country are establishing SoHo-style gallery districts to boost tourism.

One person who seems confident about the future of the Chinese market is Arne Glimcher, founder and president of PaceWildenstein, who opened a branch of his gallery in Beijing in August. Located in a 22,000-square-foot cement space with soaring ceilings, redesigned at a cost of $20 million by architect Richard Gluckman, the gallery is in the center of the 798 district. "We are committed to the art, and we wanted to open a gallery where our artists are," says Glimcher. Adding that he normally eschews the "McGallery" trend of setting up satellite spaces around the world, Glimcher insists that it was necessary to establish a branch in Beijing because there is "no local gallery of our caliber" with which Pace could partner. He has, however, recruited Leng Lin, founder of Beijing Commune, another gallery operating in 798, to be his director.

Another Western dealer who has taken the China plunge is Arthur Solway, who recently opened a branch of James Cohan in Shanghai. "I started coming to China five years ago, and I was fascinated by the energy," says Solway, who wanted to introduce gallery artists like Bill Viola, Wim Wenders, and Roxy Paine to Asia but, like Glimcher, could not find a public museum or private gallery that he considered professionally qualified to handle such exhibitions. James Cohan Gallery Shanghai is located on the ground floor of a 1936 Art Deco structure in the French Concession, a particularly picturesque section of the city. The building was once occupied by the military, and red Chinese characters over the front door still exhort, "Let the spirit of Mao Zedong flourish for 10,000 years."

"From 1966 to 1976, during the Cultural Revolution, people had nothing, but now there are spas in Shanghai and people drinking cappuccinos and buying Rolex watches-it's an amazing phenomenon," says Solway, who believes it is only a matter of time before these same newly affluent consumers begin to collect contemporary art.

Chinese collectors-or the hope that there will be Chinese collectors-are the key draw luring these galleries to Beijing. As recently as two years ago, few could name even a single Chinese collector of contemporary art. It was a truism that the Chinese preferred to spend their money acquiring antiquities and classical works. Since then several well-known mainland collectors have emerged on the scene.

Most visible is Guan Yi, the suave, well-dressed heir to a chemical-engineering fortune, who has assembled a museum-quality collection of more than 500 works. A major lender to the Huang Yong Ping retrospective organized by the Walker Art Center in Minneapolis in 2005, he regularly entertains museum trustees from all over the world, who make the pilgrimage to his warehouse on the outskirts of Beijing. Now he is building his own museum.

Another noted figure is Zhang Lan, head of the South Beauty chain of Szechuan-style restaurants throughout China; she also has assembled an enviable collection and displays pieces from it in her chic establishments. The film actress Zhang Ziyi is representative of a new class of collectors from the entertainment industry, while Pan Shiyi and Zhang Xin, chairman and CEO of the mammoth SOHO China real estate empire, have commissioned projects for their upscale residential properties.

Two collectors who are cheerleaders for the Beijing art scene are Yang Bin, an automobile-franchise mogul, and Zhang Rui, a telecommunications executive who is also the backer of Beijing Art Now Gallery, which took part in Art Basel in June, one of the first Beijing galleries to appear at the fair. These two do more than collect art. They have hosted dinners for potential collectors, organized tours to Art Basel Miami Beach, and brought friends with them to sales in London and New York. Zhang Rui, who owns more than 500 works, has lent art to international exhibitions, most notably the installation Tomorrow, which features four "dead Beatles" mannequins floating facedown, created by artists Sun Yuan and Peng Yu for the 2006 Liverpool Biennial, which rejected it.

Zhang is now building an art hotel, featuring specially commissioned works and artist-designed rooms, outside the Workers' Stadium in the center of Beijing. "I am trying to think of ways of changing my private collection into a public collection," Zhang explained to ARTnews through a translator. It isn't financially advantageous to do this in China, as no tax benefits accrue from donations to museums or other nonprofit institutions.

Zhang Rui represents the handful of Chinese collectors who are public about their activities and are building noteworthy collections. Far more typical of buying activity in China is the rampant speculation taking place in the mainland auction houses. There are 1,600 registered auctioneers, and their sales attract hundreds of bidders. Chinese buyers are more comfortable with auction houses, which have been in business since 1994, than with galleries, which weren't licensed to operate by the government until the late 1990s.

These auction houses run by their own rules, generating what sometimes seems like a "wild, wild East" atmosphere. It is, for example, fairly common for a house to get consignments directly from artists, who then use the sales to establish prices for their works on the primary market. More often, now that China has hundreds of galleries, dealers come to a sale with buyers in tow, publicly bidding up works to establish "record prices" and advertise their artists. This kind of bidding ring would be considered illegal in the United States, but in China it is viewed as a savvy business practice. There is little regulation of auction houses and few developed legal norms in the field, so that even when buyers have grievances-with fakes and forgeries, for example-they do not feel they can resort to the law. Bidding is a social as well as a business activity, and buyers are happy to flaunt their status by paying record prices or quickly flipping artworks, not only for profit but so they can boast of their short-term gains.

As the domestic market for contemporary art matures, however, many of these practices are coming into question. "Two years ago it was more necessary for me to bring my artists to auction," says Fang Fang, owner of Star Gallery in Beijing, which specializes in young emerging artists such as Chen Ke and Gao Yu. "Now that the gallery market has increased, I find it is better to keep my artists out of the auction rooms, and there is much less reason to sell there."

Two mainland firms, Beijing Poly International Auction Company, and China Guardian Auctions Company, dominate the field of contemporary Chinese art. Their combined 2007 total of more than $200 million in sales represented nearly two-thirds of all auction sales in this category in mainland China for the year. Last spring Guardian achieved $142 million in sales of classical artworks, furniture, ceramics, silver, and coins, and $40 million in sales of contemporary material. The latter figure included the $8.2 million fetched by Liu Xiaodong's Hotbed No. 1, a record for a painting sold on the mainland. In a similar range of sales last spring, Poly sold $130 million worth of works, including $27 million in a single evening contemporary-art sale. (These figures represent a slight decline for the year because both houses held benefit sales for Szechuan earthquake victims, raising more than $20 million to support relief efforts.)

Poly and Guardian reflect two vastly different perspectives on the domestic market in Chinese contemporary art. Guardian is the oldest and most respected auction house in China, founded in 1993 by Wang Yannan, daughter of Zhao Ziyang, the former Communist Party leader who was placed under house arrest after opposing the government's use of force against demonstrators at Tiananmen Square in 1989. If Poly is known for its vast resources and willingness to make deals to nab consignments, Guardian is known for its respected specialists and long-term client relationships. For example, when the Museum of Fine Arts, Boston, decided to sell 20 pieces of Qing dynasty porcelain in mainland China, it consigned the collection to Guardian.

The atmosphere of a sale at Poly or Guardian is surprisingly similar to that in the salerooms of Christie's or Sotheby's. The catalogues are identical in design, and the bidding proceeds in an orderly, even sedate, fashion, despite the crowds of spectators in the room.

"From our beginning, we studied what the principles of an auction house should be, and we stick to these principles," says Guardian president Wang. She also serves on the board of the new nationwide auctioneers' association, which hopes to enforce regulations on the auction market.

Poly is an enterprise within the China Poly Group Corporation, a $30 billion conglomerate that is the privatized branch of the People's Liberation Army. Established initially to repatriate artworks and antiquities, Poly has spent $100 million buying objects such as the bronze animal heads from a water-clock fountain that were looted from Beijing's Summer Palace by British and French troops in 1860; the pieces later turned up in the West. The repatriated objects are showcased in the Poly Art Museum in the sparkling New Beijing Poly Plaza, a glass-enclosed tower designed by Skidmore, Owings & Merrill.

The more freewheeling Poly is known for practices such as putting up for auction works from its own collection or having consignors guarantee that they will bring buyers to the sale to meet low estimates. Still, even here there are signs that the market is maturing and has become too expensive for casual speculators. "These collectors that you are talking about are actually quite small collectors," explains Zhao Xu, senior consultant at Poly. "They bought for several years at very affordable prices, but now that prices are skyrocketing, the only way they can afford to buy is to sell. The collectors that I know already come from a high social status, and they can afford to buy pieces worth $1 million or $2 million and are looking for the best works, the masterpieces, to add to their collections."

When asked if Poly follows the rules of the Western auction houses, Zhao sharply retorts, "Sometimes even Sotheby's doesn't follow the rules." Or as Gong Jisui, an art-market specialist who is a professor at the Central Academy of Fine Arts in Beijing, says, "The Chinese learned this game of speculation from the Westerners who played it first."

The incident to which both men are referring is the sale of the Estella Collection at Sotheby's Hong Kong on April 9 of this year. The event reaped $18 million for 108 works. (An additional 80 works will be up for sale this month at Sotheby's New York.) The collection was put together from 2003 to 2006 by New York dealer Michael Goedhuis for a group of investors that included Sacha Lainovic, a director of Weight Watchers International, and Raymond Debbane, CEO of the Invus Group, a private equity firm.

Last year the collection of approximately 200 works was sold to William Acquavella, who consigned it to Sotheby's. Auction house officials will not discuss financial details, but Sotheby's had a stake in the collection. After the sale it was widely reported that many of the artists were angered by the auction because, they said, they had sold their works to Goedhuis at discount prices in exchange for promises that the collection would remain together for public display.

"The idea was to keep the collection intact and to see it safely into some institution," says Goedhuis, who denies that any promises were made. "The ideal situation was to see it with an institution in China, because there is no such collection." The collection was published in a book, China Onward, with an essay by leading China expert Britta Erickson, and it was exhibited at the Louisiana Museum of Modern Art in Denmark and the Israel Museum in Jerusalem shortly before the sale. According to Goedhuis, because of the rapid rise in prices, the investors chose to sell the collection with hopes that it would not be broken up.

"Since the museums in China aren't mature enough nor are they rich enough to do an acquisition like this, my hope was that Steve Wynn would do so for his sophisticated casino complex in Macao," Goedhuis says. He turned to Acquavella because, he says, he believed the dealer would bring the collection to Wynn; Acquavella paid a reported $25 million. Acquavella director Michael Findlay laughs at the suggestion that there was any indication that the collection would go to Wynn. "I think this whole thing is surrounded by so much rumor and speculation," he says. "We bought a group of paintings, and we sold a group of paintings, and that's the whole story."

According to Maarten ten Holder, Sotheby's managing director for North and South America, the firm received inquiries before the sale from several artists in the collection, wondering why the works were to be auctioned. There is disagreement about whether Goedhuis made firm promises to keep the collection together or merely made a sales pitch to artists that inclusion in the collection would enhance their reputations. Yue Minjun, who had two works in the sale, says no promises were made. And Goedhuis bought Zeng Fanzhi's Chairman Mao with Us from Hanart T Z Gallery in 2005 for the asking price, $30,000, no discount given. It sold for $1.18 million.

"You have to understand that there was no market for this work when I was buying," says Howard Farber, whose collection brought $20 million at Phillips de Pury & Company in London last October. Farber assembled 100 choice works by assiduously visiting artists' studios in Beijing in the late 1980s, accompanied by the Beijing-based critic Karen Smith, a leading author and curator in this field. A work for which he paid $25,000 in 1996, Wang Guangyi's Great Criticism: Coca-Cola, was sold at Phillips de Pury for $1.6 million. The buyer was Farber's son-in-law, Larry Warsh, who bid on several works at the sale, according to newspaper accounts. "I really didn't actually know I was going to buy the Wang Guangyi until that moment," says Warsh. "Howard has his collection, and it's not my collection, and there were many pieces I wanted from that collection that I would have wanted to buy but couldn't afford."

Many Beijing artists had agreements with Warsh to produce work for his collection and his art advisory business, which began in 2004, inspired by Farber's example in the field. "I was enamored by China, and then I was enamored by the art of China as I learned about important artists," says Warsh. "But what really hit me first was how the pricing did not make sense to me at all-everything was out of whack."

Warsh, who amassed a collection of works by Jean-Michel Basquiat, Keith Haring, and Kenny Scharf in the late 1980s, was the publisher of the now-defunct Museums Magazine, which he sold to LTB Media in 2004. He stated at one point that his collection totaled more than 1,200 works; now, he says, he owns approximately 400 paintings and photographs. Part of his collection is managed by his new business venture, AW Asia, which has a gallery in Chelsea and intends to assemble collections of Chinese contemporary art for museums and major private collectors. The Museum of Modern Art in New York recently acquired 23 photographs from AW Asia.

With Farber and Warsh circulating in Beijing for a variety of purposes, it was easy for Chinese artists to become confused about who was buying for whom and for what purpose. In recent interviews, several artists-most notably Zhang Xiaogang, who had an agreement with Warsh-pointed to him as an example of a speculator.

Warsh replies, "While some artists are not so pleased with their decision to have sold quantities of artwork at what was then their current values not so long ago, there are many artists who are not resentful and actually pleased that someone has taken an interest in their work."

New York dealer Jack Tilton, who has worked with Chinese artists since 1999, says, "All of these artists are hoping that their work finds good homes rather than getting churned in the commercial market. But they have also played a part in this market, embracing capitalism more than we have, in funny ways. They are not naive about any of this stuff."

When asked about the artists' reactions to the sale of his collection, Farber was flabbergasted: "So what? Now I am the bad guy. That pisses me off!"

A number of major collectors of Chinese contemporary art who have been in the field for some time are holding on to their collections. Uli Sigg, Swiss ambassador to China, Mongolia, and North Korea from 1995 to 1998, has built a collection of key works that he has toured in the exhibition "Mahjong" to museums throughout Europe and, most recently, the University of California's Berkeley Art Museum (September 10-January 4). Belgian collectors Guy and Myriam Ullens have used their resources to establish the first nonprofit contemporary-art center in Beijing, where they are currently exhibiting their historic collection. So far, collector Charles Saatchi has been hanging on to his purchases in preparation for opening his new gallery in London on the 9th of next month with a show of Chinese contemporary art; he has also launched a Chinese-language Web site on which mainland artists can post their works.

In comparison with Western buying, mainland Chinese participation pales. Though there are many rumors about the power of the new Chinese buyers, their presence has not been felt in the major auction houses, where most of the records are being set. "Hong Kong right now covers the global buyers, especially those from across Asia," says Eric Chang, Christie's international director of Asian contemporary art. "I am not really seeing mainland Chinese buyers-less than 10 percent-a drop from around 12 percent." Dealers in China also have seen few mainland collectors among their regular clients. "I don't know yet about collectors," says New York dealer Christophe Mao of Chambers Fine Art, which recently opened a branch in Beijing.

Despite the current shortage of mainland art collectors, China is emerging as a major art center, having become a hub for buyers from South Korea, Taiwan, Singapore, Indonesia, and Southeast Asia, and for overseas Chinese from all over the world. Reflecting this diversity is the wide range of foreign dealers among the 300 galleries in Beijing, including Continua from Italy, Urs Meile from Switzerland, Arario and PKM from South Korea, Beijing Tokyo Art Projects from Japan, and Tang from Indonesia.

"In Beijing it's getting increasingly difficult to talk about the Chinese market as a separate entity from the broader Asian art market or the international art market," says Meg Maggio, an American who came to China in 1988 and ran one of the first galleries in the country, CourtYard, in Beijing, from 1998 to 2006. Now she has her own gallery, Pékin Fine Arts, where she represents an international stable of artists. "How do you describe the market for a Korean artist showing in China or a Chinese artist living in New York?" she asks, noting that her business can come from South Korean collectors visiting Beijing or European companies doing business in China.

One factor in China's development as a center for contemporary art is the proliferation of art fairs. Beijing has two, the China International Gallery Exposition and Art Beijing; Shanghai has the newly created ShContemporary, now in its second year; and Hong Kong just launched ART HK. CIGE director Wang Yihan says her fair attracted 40,000 visitors this year, while the more high-toned ShContemporary brought in 25,000 and ART HK 08 had 19,000. These numbers may seem small in comparison with the 60,000 who crowd Art Basel, but dealers believe that the fairs in Asia are worthwhile because they attract new buyers and make Asian collectors feel more comfortable about acquiring art from galleries.

"Anywhere else, a fair is just a fair," says Lorenz Helbling of ShanghART, one of the oldest galleries in China and a participant in Art Basel. "But in Shanghai a fair feels like so much more because only there can it make an impact on several million people." He is referring not only to attendance but to the intensive publicity and official recognition given to ShContemporary in its inaugural year.

Just a few years ago it would have been impossible to try to sell contemporary art to Asian buyers, let alone mainland Chinese collectors, in the public forum of an art fair. Now, with the astounding success of Chinese contemporary art, collectors from across the region-and more than a few from the United States and Europe-are targeting China as a destination. According to Nick Simunovic, who has opened an office and showroom for Gagosian Gallery in Hong Kong, it is only a matter of time before these regional buyers turn their attention to Western contemporary art.

"My sense is that wherever you have tremendous wealth creation, the collecting cycle goes through three phases," he says. "First, people collect their cultural patrimony, and then they collect their own contemporary art. I think the final stage is when they gain a more globalized contemporary-art approach."

Gagosian first considered opening an office in Shanghai but encountered obstacles to doing business on the mainland. The most formidable of these is a 34 percent luxury tax on art, which foreign galleries that participated in ShContemporary found difficult to avoid. Hong Kong, by comparison, is a duty-free zone. And Simunovic found that even Jeff Koons was a tough sell in Shanghai, whereas Hong Kong offers more possibilities for Western contemporary art. Just a year ago Hong Kong billionaire Joseph Lau paid $72 million for Andy Warhol's Green Car Crash (Green Burning Car I). In May Christie's brought a Warhol portrait of Mao, valued at $120 million and for sale privately, for viewing in Hong Kong. (At press time it had not yet been sold.)

"Sure, China is hot, but that's just the peak of the iceberg," says Lorenzo Rudolf, former director of Art Basel and cofounder of ShContemporary. "This is not just about a group of Chinese painters. It's about a growing market going on in this continent."

With the sheer abundance of galleries, auction houses, and art fairs in China, the larger art world is recognizing the power of the Asian market. Standing in an auction house in New York or London watching paintings by Chinese artists sell for millions, one can grouse about this boom and hint that it will turn out to be a bubble. But strolling in a bustling gallery district in Beijing, with students and tourists crowding the cafés and boutiques and filling the huge art showrooms, few would predict a downturn in the near future.

Presenting - Sheila Blinoff and Carole Stimmell From the Beach Metro News - A Centre of Information

Tuesday, September 11, 2012

One of the central organizations in the Beach is Beach Metro Community News, a non-profit, non-partisan community newspaper founded in 1972 that is distributed throughout major portions of East Toronto. The newspaper is available throughout the entire delivery area at various merchants and public access points, and more than 23,000 families receive the newspaper delivered to their front door for free.

My request for an interview was graciously answered by Sheila Blinoff, the General Manager, and Carole Stimmell, the Editor for the Beach Metro News. We sat down around a big table in their premises near the intersection of Gerrard and Main Streets. Sheila explained that the Beach Metro Community News originally started in 1972 when a group of volunteers got together to fight the Scarborough Expressway that was supposed to cut a swath through all of East Toronto. This issue galvanized the entire neighbourhood, and a group of volunteers started publishing a free newspaper from the offices of the East City YMCA at 907 Kingston Road.

The community had come together to rally against the construction of the Scarborough Expressway, and their collective efforts were successful. The dreaded construction of a major highway that would have destroyed over 750 homes between Coxwell and Victoria Park was averted. Today the Beach Metro Community News is a non-partisan paper that does not feature editorials. A copy of the paper goes to almost every business and residence in an area that extends from Lake Ontario to a few streets north of Danforth Avenue, and from Coxwell Avenue in the west to Midland Avenue in the East.

Of the 30,000 papers delivered, 7000 are delivered to libraries, churches and other public institutions while the rest goes out to private homes. An extensive network of about 400 volunteers looks after free delivery, with each volunteer donating their time and effort. Every second Tuesday just after publication a team of about 30 volunteer captains receives dozens of bundles of newspaper which they then distribute among their individual neighbourhood volunteers who in turn take the paper and deliver it street to street, house to house.

The volunteer stories are amazing. Sheila and Carole recounted so many fascinating tales of individuals who dedicate their spare time towards delivering the community news. The oldest of these volunteers is 96 years old and enjoys the opportunity to interact with neighbours and make a connection. Another delivery volunteer had a baby in the morning, and the same afternoon she delivered the Beach Metro Community News, just as she would any other second Tuesday. Another female delivery volunteer requested to get her papers early on Tuesday since she was going to have a Cesarean delivery the very next day on Wednesday. An elderly man once called in and said he would not be able to deliver the paper this time since his wife had just died, but he promised to be there to deliver the next edition of the Beach Metro Community News.

Sheila added that her co-workers and the volunteer carriers not only help with the production and distribution of the paper, they are also her eyes and ears in the community, resulting in a network of hundreds of volunteer news gatherers. Carole summed it up by saying that "not a leaf falls in the Beach without us knowing about it".

I needed to find out more about these two women who are the driving force behind the Beach Metro Community News and asked them to tell me more about their own personal history and connection to the Beach. Carole admitted that she is a relative newcomer to the Beach as well as to the Beach Metro Community News: she has lived and worked here for "only" eleven years. Originally from Wisconsin, Carole Stimmell moved to Toronto in order to complete a Ph.D. in archeology at the University of Toronto. She and her husband had met at the Washington Post where Carole was completing an internship, and they decided to jointly move to Toronto to complete their postgraduate studies. Carole's husband studied communications with Marshall McLuhan, the famous Canadian educator, philosopher and scholar who coined the expressions "the medium is the message" and the "global village".

Carole's first impressions of Canada were that it is vastly different from the United States: Canadians are more accepting, more reticent to judge as compared to the more dogmatic and aggressive stance of people in the United States. She added that Canada's liberal outlook suits her personally very well, and it would be hard for her to move back to her birth country.

After completing her doctorate Carole worked on archeology projects for 20 years; these assignments took her to Japan, the Arctic and the United States. Her archeology projects in Toronto included digs at Trinity Bellwoods Park, in Leslieville and at the Ashbridges House, the original homestead of the Ashbridges family who had come from Pennsylvania and become the first settlers in Toronto's Beach neighbourhood. For several years Carole was also the editor of the Canadian Journal of Archeology.

Her connection with the Beach Metro Community News came about because she was originally a volunteer carrier for the paper. When the long-term editor of the paper retired, a new editor came in and started taking the paper into a tabloid-like direction with a strong focus on crime and negative news. Carole and many others did not like this new slant and felt that the Beach Metro Community News was about positive news stories and an emphasis on the good things that were going on in the community. This editor did not last long, and Carole threw her hat in the ring for this position. In the process she beat out 50 other candidates and succeeded in getting the job because she understood what the paper was all about.

Today Carole still has an interest in history; she was vice chair of the Toronto Historic Board, and she now sits on the board of the Ontario Archeology Society. She also has an extensive collection of historic post cards of the Beach; these photos are sometimes featured under the heading of "Deja Views" in the Beach Metro Community News, juxtaposing historic streetscapes with a current photo of the same location.

Sheila Blinoff came to Toronto from Great Britain in the 1960s and married into a German-Canadian family. She and her husband moved to Balsam Avenue in 1969, making her a bona fide Beach resident for almost 40 years. In 1971 Sheila had her first child, and when the Beach Metro Community News started in 1972 Sheila connected with the paper since they were in need of a volunteer typist. Sheila offered her services and also started helping with the volunteer delivery of the paper. Several months into her assignment, the paper received three local program grants that enabled them to hire three people for six month. Sheila figured she could do the job and beat out 30 people who had applied.

Around that time Sheila had her second child; the grant meanwhile had run out of money. Sheila continued working on the paper for six months from home without pay. Finally a fundraiser generated $7000 which enabled the paper to pay two staff members - Sheila, and Joan Latimer who was the editor for 22 years. Advertisers came on board, and the Beach Metro Community News finally had a viable economic base. Several more employees were hired over the years.

In the early years the entire production of the paper was a community affair. Several interested neigbours would come together and jointly handle the manual cut and paste layout of the paper. They would also decide which stories should go into the paper, and opinions would often diverge widely. Sheila concedes that trying to reconcile these viewpoints was often tough going.

Several years into the publication the name was changed from the original name "Ward 9 News" to "Beach Metro Community News". The official administrative name of the Beach neighbourhood had changed from Ward 9 to Ward 32, so the original name of the newspaper was no longer applicable. For Sheila and many other "oldtimers", however, this publication will always be the "Ward 9 News".

With years passing by the paper became more professional, and specialized employees were hired to take over advertising sales, accounting, photography, and news and entertainment reporting. Since the 1980s the organization has been doing its own typesetting. Sheila's eyes light up when she says that she has met so many wonderful people through her work with the Beach Metro Community News; she adds that she has truly seen "the good side of human nature".

One of her favourite experiences has been her opportunity to participate in the selection committee of a contest to name five streets in a new housing development that went in on the former Woodbine Race Track premises, just west of Woodbine Avenue and Queen Street. The new street names were to have a local or historical connection with the area. As the secretary of the contest committee, Sheila had the best job of all, inputting all 660 suggestions into the computer and then verifying the accuracy of the historical background of the submitted names. Sheila chose the name "Sarah Ashbridge" in honour of the Quaker widow and United Empire Loyalist from Philadelphia who settled in the Beach in 1793 and obtained a Crown land grant in 1799 for a farm. "Northern Dancer" honoured all the horses that ever raced at the Woodbine Race Track. "Boardwalk Avenue" was chosen for the area's proximity to the famous East Toronto waterfront promenade.

Both Carole and Sheila love their neighbourhood, and they proudly told me that Queen Street East in the Beach was chosen the Best Main Street in Ontario by TV Ontario. One of the judges summarized it like this: "The Beach is an all-round winner. A fantastic inner-city neighbourhood with a great retail market, a great place to visit and a fabulous festival", referring to the Toronto International Beaches Jazz Festival, one of Toronto's largest music and entertainment events.

The importance and influence of the Beach Metro Community News cannot be understated. After all, the individuals running the paper had a major hand in stopping the Scarborough Expressway. Extensive coverage of dredging in Lake Ontario at the foot of Beech Avenue also resulted in an outcry in the community, and the government cancelled the project. Coverage of the Ashbridges Bay Incinerator also mobilized many concerned citizens in the neighbourhood, and their collective action resulted in the closure of the unwanted incineration facility. Stories of important local issues are kept in the public eye, and the community starts rallying around these issues.

What makes this neighbourhood really special are the people and organizations that donate so much of their time to the community. Sheila and Carole recounted a multitude of community initiatives that illustrate that the spirit of charity and neighbourly assistance is strong in the Beach. One example includes a major fire a few years ago at the eastern end of Queen Street where two people died and several others were rendered homeless. Several fundraisers were held for the affected families, and money was raised to help them pay for their first month's rent and furniture in their new apartments.

When the big Indian Ocean Tsunami struck in 2005, Centre 55 immediately set up a fund to collect money for the victims and thousands of dollars were sent to the affected areas. The local Balmy Beach Club raised money for school computer labs when the government cut back its educational budget. Together with strong parent volunteers at each school in the area, initiatives like these make a huge difference in the community.

In the Beach community spirit manifests itself in many different ways. The annual "Carolling in the Park Event'", held at the local Glen Stewart Ravine, attracts more than 2000 people for a holiday sing-along. Flashlights and candles in the ravine create a magical atmosphere and an event that the community loves.

Carole adds that there are so many interesting people in the Beach; a collection of media people, artists, actors, entrepreneurs and other eclectic people provide a lot of fodder for interesting and inspiring stories. Sheila mentions the example of a local man who owns the world's largest typewriter collection. Another young man from the community, a gifted musician, had attended the Julliard Music School in New York City and recently debuted in a big concert at Carnegie Hall. The Beach Guild of Fine Arts is a large group of artists who hold shows twice a year. Musicians, actors, painters and artists of all kinds are well represented throughout the Beach community and provide many story opportunities throughout the year.

The philosophy of the Beach Metro Community News is to provide news of interest to local residents and businesses. All revenue comes from advertising, which is kept affordable so that local merchants and tradespeople remain able to advertise their products and services. Sheila and Carole are selective as to which advertisements they accept, and sometimes advertisers have to wait to get into the paper.

One of the key community initiatives of the Beach Metro Community News is the "Citizen of the Year" award which is a joint initiative with Community Centre 55 and the Beaches Lions Club to honour volunteers who have made a significant difference in the community over a number of years. The Citizen of the Year is honoured with a plaque on the Beach Walk of Fame in the Community Garden in Woodbine Park. They also get a special space in the Beaches Lions' Easter Parade. People such as Gene Domagala, Glenn Cochrane, Arie Nerman and Marie Perrotta have all been honoured with this exclusive distinction.

But not only does the Beach Metro Community News bestow awards upon others; its contribution to the community has also been noticed and gotten recognition. In 2002 Sheila and Carole were themselves honoured with the Queen's Jubilee Medal as part of Queen Elizabeth's 50 year anniversary as the Queen. At this occasion every Canadian riding awarded medals to its top volunteers and community builders, and Sheila and Carole were honoured together with other prominent Beachers.

As a non-profit organization, the Beach Metro Community News donates some of its excess revenues right back into the community. In 2006 the organization donated more than $14,000 to a wide range of organizations, including the Arthritis Society, the Beaches Easter Parade, the Churches by the Bluffs Food Bank, the Share-A-Christmas Program run by Community Centre 55, the Glen Rhodes Food Bank, Malvern High School Scholarships, the Pegasus Community Project, Senior Link, the Toronto East General Hospital Foundation, the Woodgreen Red Door Shelter for Women and many more.

The Beach Metro Community News not only covers the local news, it also makes news: as a volunteer organization that acts as the virtual glue of the community, as a champion of important neighbourhood causes, as an organization who identifies and honours volunteers who make the community work, and as a significant donor that contributes much-needed funding to important neighbourhood organizations.

Louis Wain 1860-1939 - Life Story and His Funny Cats and Dogs Art

Thursday, September 6, 2012

With reference to his family he had 5 younger sisters and his father worked as a textile salesman and his mother designed Church fabrics and carpets.

Louis Wain studied and trained at The West London School of Art ( 1877- 1880 ) and remained as an assistant teacher until he left in 1882. The strange thing about Louis Wain was he could draw with his left hand but he signed his pictures with his right hand.

After his Father's death in 1880 he had to support his mother and five younger sisters and soon after, his sick wife Emily Richardson ( His youngest sister's governess ) whom he had married in 1881. Shortly after he married her she contracted Breast cancer. He brought Emily a Kitten which they called Peter and to entertain her he started drawing Peter in humorous situations and poses. To help to support his family he became a freelance artist (initially influenced by Caldecott and May) and in 1882 he joined the staff of The illustrated Sporting and Dramatic News. He began to make his name with Dog drawings at various Dog Shows including the early British National Dog show at Crystal Palace in 1882 ( which later became known as Crufts ). During this time his wife encouraged him to send some of the humorous cat pictures of Peter to various Magazines and Newspapers which started to make his reputation here in Britain and in America and where his humorous cat pictures were seen in Comics, newspapers and magazines.

In 1884 he was commissioned to produce his funny cat pictures in the Christmas edition of the illustrated London news. These pictures were so successful that his life would never be the same again. Alas, this was tinged with sadness as his wife died shortly afterwards, but knowing that Louis Wain had become a great success.

In the period from 1880's up to the start of the first world war he ruled supreme in cat and animal humor especially the 'Louis Wain Cat' which was recognized worldwide. The Louis Wain cats appeared in Art Prints, Comics, Newspapers, Books, Magazines, Post Cards and Annuals. The Wain cats are to be found in every human activity - from playing golf and other sports, digging up roads, Playing music, Ascot fashions, Driving cats plus lots more.

In 1886 he joined the staff of The Illustrated London News. He was the first illustrator to work consistently within the convention of depicting clothed and standing animals. His anthropomorphic vision of the world soon brought him fame and as a result he was elected President of the British National Cat Club in 1891.

In 1904 Louis Wain wrote a book entitled 'In Animal land with Louis Wain' which was a great success. During 1907 he invested all his savings into various Ceramic's with pictures based on his funny cats and sent most of them to America. Alas, while crossing the Atlantic the ship capsized and all Louis Wain ceramics went to the bottom of the sea. Due to this misfortune Louis Wain went bankrupt and decided to a temporary move to the United States. He produced strip cartoons for the New York American ( 1907-1910 ) and many other American comics, newspapers and magazines.

In 1910 he returned to England and over the next few years he continued to produce books and supply pictures to various comics, newspapers and magazines.

He continued drawing fanciful cats for various newspapers and comics near the end of the first world war. During this time in 1917 he was thinking of experimenting in animation and the film was to be called 'Pussyfoot'. Alas, he decided not to pursue this project and so the world lost the chance of a genius of comic cat art moving into animation. This year was a turning point in the history of Louis Wain's cats. His sister Caroline died and he fell off an Omnibus and hit his head.

After he recovered from these set backs his cats became more frenzied, surreal, jagged and pointy. During 1917 he was also diagnosed as a schizophrenic which alas, stayed with him for the rest of his life. During the onset of his disease at 57, Wain continued to Paint, Draw and Sketch cats.

In 1924 due to the economic climate and the slow recovery of GB after WW1 Louis Wain Art became less popular and he fell into poverty when his mental health deteriorated and finally his family had him certified Insane and he was committed to a pauper ward at Springfield Hospital ( Previously Surrey County Asylum ) at Tooting, London. During 1925 he was discovered by a visitor to the hospital painting his funny cat pictures. The visitor exclaimed that the artist pictures reminded him of Louis Wain's famous cats. Imagine his surprise when the Artist turned to the visitor and exclaimed he was indeed Louis Wain. After the visitor told the world of Louis Wain's hospitalization, his admirers started a campaign which included prime minister Ramsey Macdonald, HG Wells and King George who helped set up a foundation which was set up to enable Wain to spend the last few years of his life in comfort in private asylums including Bethlehem Hospital in a private room where his treatment continued. Some time in the late 1920's he was sent to Saint James Fields, Southwark where he continued to paint and draw his cats. In 1930 he was transferred to Napsbury Hospital near Saint Albans where he continued to paint and sketch until the end of his days. Exhibitions of his work were held in London in 1931 and 1937. On 4th. July Louis Wain died at Napsbury hospital. He is buried at Saint Mary's Catholic Cemetery, Harrow Road, London NW10 ( next to Kensal Green Cemetery, London ) in the same burial plot as his 5 sisters and parents.

One of the famous quotes during his lifetime was by HG Wells who said 'He invented a cat style, a cat society and a whole cat world'.