Sculpture Sales Remain Solid As Stone

Art Business News, July, 2001 by Jessica Lyons

In spite of the weakening economy; the sculpture community reports continued growth, strong sales

The art world generally reflects the economy at large. So when the economy takes a nosedive, art dealers and galleries usually feel the pinch. Call it positive thinking or perhaps the power of art, but many members of the sculpture community swear that in today's are-we-or-aren't-we-in-a-recession economy, sculpture sales are still solid as stone.

"People are taking a little more time to acquire," said Madeline Kisting, managing director of Chesley LLC/Sculpture Group Limited, which represents late American sculptor Frederick Hart. "It's not that snap decision it was in the late '90s when times were more flush; and some people might be buying a price category down than they were last year, but the truth is, if you have an absolutely beautiful piece of sculpture, people are going to respond to it no matter what the price point. When you have something absolutely beautiful in your shop, it will sell."

However, it is only fairly recently that sculpture has come into its own as a publishable form of art.

"Sculpture in general has become very accepted as a collected medium in the last 20 years or so," said Meisner Galleries' Mitch Meisner. Previously, only the elite could afford to adorn their homes with three-dimensional art. "You were collecting only originals or maybe one of six. But with the changing technology of sculpture, and the advances in mold making, today it is a collectable medium."

Sculptor Howard Jason calls it a "new vein" in art publishing. Publishers no longer only rely on two-dimensional works of art to turn a profit.

"Sculptures, bronze sculptures in particular, can be published in large editions, 250 to 500 sculptures per edition," he added.

As sculpture becomes easier to produce in large editions, it also becomes easier to collect--for the elite and for the masses. However, gallery owners and art publishers agree that the typical collector is still a wealthy, more sophisticated art buyer.

Explained Stricoff Fine Art's Jeff Stricoff, "Sculpture is a luxury, a painting is more of a necessity. If you own a beautiful new home, you need to put something on the wall, whereas a sculpture you can live without if you have to. It's more of a luxury item for wealthier clients who have a little extra money after they have purchased the paintings."

Plus, additional floor space in one's home is necessary, although a striking figurative sculpture in the foyer of a small, New York studio can set the ambiance for the space.

In general, gallery owners and artists themselves agree that sculpture collectors tend to be highly educated business professionals. There is also the monetary demographic; sculpture collectors tend to be wealthy and they are also generally collectors of other fine art. They also are more sophisticated art buyers and are accustomed to having sculpture in the home. Collectors fill up wall space with flat art, and when they have no wall space left, they move on to sculpture, unless they walk into a gallery and immediately fall in love with a piece--which happens as well.

"Sculpture is by nature an inviting art form," Dannemann said. "In this day of advanced technology and decreased human interaction, three-dimensional curves, warm patinas, even moving parts appeal to the collector interested in a more intimate connection with the art. Just as custom lighting and smart technology are being integrated into modern homes, fine art sculpture is becoming more a part of home decor for a large segment of the population."

Added H. Studio Executive Vice President Oded Paz, "Our customers range from 30 year olds, generation x-ers and yuppies to the mature, retired and older customers. The common denominator to all the customers is that they would like to see something different, colorful and playful that will bring ambiance and style into their home."

Similarly, the universal appeal of three-dimensional craftsmanship can be a common denominator across sculpture buyers, added sculptor Bill Mack.

"The nice thing about sculpture is that people understand a certain level of craftsmanship there," Mack said. "No matter how complex the flat art is, their mind will always view that as a machine-made image because it is a replication, even in a very small edition of five, for example. Whereas sculpture, even though done by a mold, the buyers see the artist's imprint, and they immediately sense the craftsmanship there."

As with two-dimensional art, certain themes sell well in various markets--figurative sculptures sell well on either coast, western themes, horses and other animals sell well in the Southwest, and marine life sells well in beach communities.

"Michael Wilkinson's work fits into any decor, whereas other sculptors do better on the East coast and West coast," explained Meisner. "The Midwest likes traditional bronze, Remington-esque pieces, wildlife, rough riders, a lot of bears and deer--and that's not going to sell as well in Manhattan. High-end, figurative does very well in New York, Los Angeles and Chicago, although the Chicago market likes their figure sculpture to be subtler, less risque, more traditional. And that same market is reflected in Texas."