Garden sculpture poised for growth: as consumer decorating interests turn to the garden, the sky is the limit for outdoor art and sculpture

Art Business News, July, 2003 by Maja Tarateta

"Purchasers of outdoor sculpture," added Morris, "do tend to be more self assured and confident in their own judgment. A large piece of outdoor art is hard to hide if one makes an error in aesthetic judgment."

The Material Issue

Most garden sculpture tends to be created in bronze, although various types of stone, steel and fiberglass also lend themselves to outdoor display. Artist Tom Merrifield, whose dancer-inspired works are appropriate for both indoors and out, enjoys the way his work can be affected by the elements. "The best thing is the space and light," he said. "Sometimes the patinas change with the weather. A bronze can become green, for example." But artists and gallerists agree that any material, properly prepared and maintained, can be appropriate for outdoor use.

"Particularly in the luxury market, the material transmits the luxury message," said Danziger. "If you are designing for the exterior, you should be particularly sensitive to what materials you use."

Merchandising Challenges

The most challenging aspects of selling outdoor art arise from the sheer size of the pieces and the difficulty in envisioning the art in its eventual environment. At Morris & Whiteside, they overcome this by displaying more than two dozen examples of work by various sculptors on two and one-half acres surrounding the gallery. Sometimes, at Mitchell-Innes & Nash, scale models of the work are created and displayed in various scenarios. But ultimately, the collector must trust the opinion of the gallery. "Part of the challenge in selling an outdoor sculpture is seeing the work first-hand. Visualizing the work [at the collector's home] can be an act of faith," said Grosman. "That's why we find seasoned collectors coming to monumental acquisitions. It's not for the faint-hearted. But the rewards are inspiring."

Heinrich said he prefers to sell monumental pieces outside, where they can be appreciated from all angles. When a collector seems seriously interested, he travels to the home to make the sale. And when he sells to a city, he often leaves the work on loan for a number of months so the piece "becomes part of the landscape. It is shared," he said.

The sun that now shines on garden art shows no immediate signs of setting. Morris predicted that new young homeowners will eventually make their way into collecting art for the out-of-doors.

Danziger agreed, classifying garden art as "a new opportunity area." But she cautioned that what she calls the "Millennial" generation, which will be the primary purchasers 10 years from now, may set their sights elsewhere.

Still, the magnificent thing about outdoor art, said Heinrich, is what will likely maintain its popularity. "Outside, no matter how big it is," he said gleefully, "anything is possible."

SOURCES

* The Art Connection, (919) 212-2645

* Merrifield Studios, 44 (0)20 7794 0343

* Mitchell-Innes & Nash, (212) 744-7400

* Morris & Whiteside Galleries, (843) 842-4433

* Unity Marketing, (717) 336-1600

* Woodrow Nash/Rage Gallery, (330) 253-7040