The Importance of Provenance for Artworks

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This "Rothko" was sold by a New York gallery with a long-standing reputation and subsequently revealed as a fake. The absence of a substantive provenance should have been a red flag.

Provenance, or the “life story” of a work of art, plays a crucial role in validating an artwork's authenticity and often can affect its value. A well-documented provenance offers a record of the artwork’s journey through time, tracing its ownership history and detailing where it has been displayed or exhibited. For blue-chip artworks, this background can add significant value by assuring collectors of the piece’s legitimacy and highlighting connections to notable past owners or prestigious collections.

Beyond authenticity, provenance adds a compelling narrative layer to the artwork, allowing collectors to feel a deeper connection to its history. Artworks that have been part of significant exhibitions or owned by renowned collectors often carry a unique prestige that sets them apart in the marketplace. This context not only increases an artwork’s cultural value but can also be a deciding factor for buyers looking to make a lasting investment.

Some challenges can arise when researching provenance, such as omissions (intentional or not) or gaps in the timeline. Of special concern are works which predate the second World War with any gaps during the war years. Another challenge is the fact that some artists’ foundations and estates, primary sources of information, often decline to offer their opinions for fear of legal action. And there is always the question of privacy. How can we establish a complete, verifiable provenance record if some private collectors, understandably, prefer to remain anonymous?

Despite these challenges, and through collaborative efforts, we are often able to establish a comprehensive record using various sources such as Catalogues Raisonnés, and online archives and indices to complete the puzzle. This pursuit sometimes evolves into an intriguing sleuthing mission. And, it’s incredibly rewarding to think that I can make some contribution to the future life of an artwork.

Connoisseurship in Art

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I recently enjoyed a panel discussion during which a group of art advisors and gallerists discussed the idea of connoisseurship in art and its importance for both advisors and collectors.

Connoisseurship in the realm of fine art refers to the deep appreciation, knowledge, and critical judgment of artistic works. A connoisseur is someone who possesses a refined understanding of art history, aesthetics, and the techniques employed by various artists. This expertise allows them to discern the quality, authenticity, and provenance of artworks.

Connoisseurship is crucial for several reasons:

Quality Assessment: Connoisseurs have the skills to evaluate the quality of an artwork, distinguishing masterpieces from lesser works. In other words, recognizing the difference between a “good” painting and a “great” painting.

Historical Context: They provide insights into the historical and cultural significance of artworks, enriching the collector's understanding and appreciation.

Market Knowledge: A connoisseur is well-versed in market trends and valuations, offering important advice on choosing artworks of lasting value.

Navigating the World of Fine Art with a Trusted Advisor

Purchasing fine art is a significant investment that goes beyond financial considerations. It involves aesthetic, emotional, and cultural dimensions. Here's why having a trusted art advisor is paramount:

Expert Guidance: Art advisors bring their connoisseurship to the table, guiding collectors through the complexities of the art world. They help in identifying authentic, high-quality pieces and provide context that enhances the collector's connection to the art.

Access to Exclusive Markets: Trusted advisors often have connections within the art community, giving collectors access to exclusive sales, private collections, and rare pieces that might not be available to the general public.

Negotiation Skills: With their market knowledge, advisors can negotiate favorable prices and terms, ensuring that collectors receive the best value for their investment.

Risk Mitigation: Art advisors conduct due diligence, researching provenance, and legal aspects of the artwork, thereby minimizing the risks associated with art purchases.

Curatorial Assistance: They assist in curating collections that reflect the collector's tastes and interests, creating a cohesive and meaningful assemblage of art.

In the intricate and often opaque world of fine art, connoisseurship plays a vital role in ensuring that collectors make informed, discerning, and fulfilling purchases. By engaging a trusted art advisor, collectors can navigate this landscape with confidence, gaining not only valuable pieces of art but also a deeper appreciation and understanding of the cultural treasures they acquire.

Spring Art Refresh?

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Now that spring has sprung, many of us think of Spring cleaning and just generally freshening our spaces. This mindset of revitalization presents a good opportunity to ask yourself if your art collection could use a refresh.

Letting Go

Although ideally, every piece you collect continues to resonate for the ages, sometimes we have held works that we’ve simply outgrown or which no longer fit with the direction of the collection. Or perhaps a move has eliminated the appropriate spot in which to best highlight a piece. If any of these apply, it could be that the time has come for a piece to find its next forever home where it will be newly appreciated. There are several options for divestment, such as auction, private sale, or a consignment to a gallery, or design shop, depending on the current market for that specific piece at that point in time.

Mix it Up

However, I find that sometimes just rearranging existing works is all it takes to breathe new life into a collection and change your perspective. I think of a group of works which hang together as being “in conversation” with one another. Sometimes just mixing up these conversations brings out different qualities in the individual works. A certain color comes to the forefront, or some elements become more or less prominent. Try moving pieces around to different walls or even different rooms. Play with hanging things higher or lower than normal. Sometimes the unexpected is a revelation! Here’s a link to a previous blog post about DIY art installation: https://www.arnoultfineart.com/news/2019/3/1/simple-steps-to-hanging-art

Let’s Reframe

And if you have works that were framed many years ago, it might be time to consider reframing.

This is especially important for works on paper and fine art prints framed before the 90s (as a general rule). These days, newer methods in archival framing and high-tech glass and acrylic will protect these more fragile works so they can live on into the future. You’ll want your framer/conservator/advisor to check for foxing, fading, mat burn, and other condition issues, many of which can be repaired. A new mat and frame can provide a fresh presentation for the piece’s future chapters. I find keeping it simple is a good rule of thumb. A clean mat and simple black or metallic-tone frame will let the piece take center stage.

Before and After: Unframing this etching by Eduardo Chillida revealed two areas of mat burn as well as a horizontal area of bleaching caused by part of the previous frame structure (left). After professional restoration the piece was reframed with a new mat and a simple black frame (right).

When reframing a painting on canvas, I recommend a float frame when possible. These types of frames punctuate a piece without interfering with the image. Of course, if you have an older painting on canvas in its original frame, or an artist-made frame, its usually best to keep the two together (theirs is a long-term relationship). Some old, high-quality frames can have significant value. Best to check with an expert before doing away with them.

If you need assistance with a divestment, or framing advice, get in touch!

Winter in Review 2022/2023

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A recap in photos of what we’ve been up to this past winter season. Click for descriptions.

Artwork Spotlight - John Cage

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John Cage, “Not Wanting to Say Anything about Marcel”, 1969

Imagine finding your seat for a concert–you wait patiently with fellow audience members as the orchestra tunes its instruments. You anticipate the first notes as the pianist finally takes his seat, and then . . . nothing! Such was the scene when John Cage’s composition 4’33” was first performed in 1952 in a concert hall in Woodstock, New York. Fed up with the ubiquitous Muzak, which proliferated in public spaces in the post-war years, and with the aim of drawing attention to the silence–or rather, the ambient noise–that becomes perceptible only when you listen for it, Cage created a composition that would exist only in the random sounds of that particular place and time.

Not Wanting to Say Anything About Marcel was Cage’s first work of visual art. Although he is well-known for his avant-garde musical compositions, he was also involved in the evolution of modern dance (with his partner, Merce Cunningham) and was close friends with major figures in the visual art world, including Peggy Guggenheim, Piet Mondrian, Jackson Pollock and Marcel Duchamp, to name a few.

When Duchamp (famous for his “Readymades” and his contributions to Dada and the avant-garde) died in 1968, Cage and his close friend Jasper Johns were approached by a patron of the arts who suggested Duchamp’s passing might be a catalyst for creating new works in homage to the art giant. Johns was so saddened by the loss that he responded, “I don’t want to say anything about Marcel.” But Cage was inspired, and proceeded to create this work and name it for the sentiment of his friend: Not Wanting to Say Anything About Marcel.

Created in 1969, this work is dedicated to the idea of randomness in art. Cage wanted to remove as much of his own artistic influence as possible. The work consists of eight “Plexigrams”, silkscreens printed on acrylic in a wood base. The Plexigrams are printed with partial words, phrases, and images which were selected randomly using a dictionary, coin tosses, and the I Ching. Most of the artistic decisions to be made in the work were left up to these “chance operations”: the position, font and size of the text, which letters would be missing from words, which images would be used, etc. The Plexigrams stand vertically in the base allowing the viewer to look through the clear panels and experience the multi-layered random arrangement of words and images floating in space. By leaving out parts of words and images, Cage wanted to engage the human brain’s tendency to “fill in the blanks.” For example, which word will you think of first when you see an M, an A, and an L in proximity? The response is individual, and therefore, the viewer makes some decisions about how they experience the piece. The Plexigrams can be rearranged as the viewer sees fit, furthering the individual experience. Rearranging the plates should, of course, be done at random!

Similar works appear in the permanent collections of MOMA, Crystal Bridges, Art Gallery of NSW and Norton Simon Museum, among others. Arnoult Fine Art Consulting is pleased to offer this historically significant work at an approachable price point. The sculpture is accompanied by the original booklet with Cage’s notations, a transparency, and the original storage box.

Learn more in this presentation.

Please enquire to schedule a viewing and for pricing information.

video credit: Harwood Taylor

Interview

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15 Minutes with Houston Art Consultant

Elise Arnoult Miller

By UGallery.com November 23, 2021

“I feel extremely fortunate to be doing what I do. I absolutely love being able to experience art every day. ”

Elise Arnoult Miller is personable, engaging and approachable, characteristics which complement her sophisticated style and keen instincts as a respected Houston, Texas art consultant. She established her bona fides early in her career with museum and gallery work, before launching Arnoult Fine Art Consulting.  There she provides expert art advice and appraisals, primarily to private collectors, with clients all over the country. Elise’s love of art and depth of knowledge are evident in her flawless execution of each project, the natural result of someone deeply passionate about their craft.

We were pleased that Elise was able to share her experiences with us, and shed light on what you should look for and expect when hiring an art consultant. 

What is your background and when did you get into the art consultant business?

I studied Art and Anthropology, then worked in various art-related businesses including galleries, a museum, and an auction house. These experiences helped me solidify my path in art. I launched my own consultancy in 2010 with a vision of helping people connect with art and artists. 

Camille Pissarro

What project are you currently working on? 

My focus is on private collections, so I’m continually on the lookout for pieces that may be of interest to a client. When something comes across my desk that I know is a good fit for a certain collector, I’ll share it. These client relationships can last for decades, so in effect, these projects are indefinite. 

Most recently, I was excited to place two wonderful impressionist works sourced from London and Paris, a minimalist sculpture by an Israeli artist working in Los Angeles, and an important work on paper by a well known Texas contemporary artist.

When should someone consider hiring an art consultant? 

There are lots of instances, but two of the most important ones are:

When just starting out. A consultant who listens carefully to a new collector can help them identify and focus on areas that will be most rewarding and enjoyable for them to build on going forward.

When considering any significant purchase. A consultant has the knowledge and experience to vet a piece, checking for quality, condition, and provenance. I analyze how the piece fits into the artist’s overall body of work, and help determine the appropriate price. I offer these services for any piece, whether or not I sourced the work being considered. It’s good to have an expert in your corner when making these decisions.

Reuven Israel Kinetic sculpture

What does an art consultant offer that is different than what can be achieved procuring art on your own?

Expertise: The art world is vast. It’s a huge advantage to have a professional to act as a guide. A good consultant can help a collector make good decisions and avoid costly mistakes.

Variety: Unless you are able to visit dozens of galleries around the country and abroad on a regular basis, a consultant will be able to provide a greater variety of works than you are likely to find on your own.

Access: If a certain artist of interest is in high demand, having a consultant represent you to the gallery, or estate controlling the market can be a big advantage.

Connections: Consultants have a network of galleries, dealers, conservators, and other art professionals at their fingertips which makes us a great resource for procurement, divestment, or any art-related need.

What is one thing you wish people knew about working with an art consultant?

One need not be a “serious collector” or have an enormous budget to benefit from the services of a consultant. Even if you’re looking for one piece, a consultant will have quick access to great options that it might take weeks to assemble on your own.

 What should people expect from working with an art consultant?

Seasoned expertise in the area of interest, and full-service assistance from selection, to framing, installation, and conservation, etc. 

What has been your favorite project and why?

I habitually fall in love with a piece I’m working on sourcing, or a collection I’m helping to build. I suppose my favorite project is the one I’m working on at any given time. Truly, the greatest pleasure is knowing I’ve had a hand in building a relationship between a client and a work of art. Knowing a work will bring enjoyment to someone for years to come is incredibly rewarding.

Tell me about a project where something surprising happened.

I was researching a piece by a major French Impressionist for a client, when I discovered a discrepancy between the catalogue raisonné description and the actual piece. This resulted in the catalogue raisonné entry being updated. Although this discovery had little bearing on the value or importance of the piece, I was pleased to help contribute something to the record of this artist’s oeuvre for future generations.

Roger Foster Sculpture Installation

Tell me about your most unique installation.

A very challenging one comes to mind. It involved placing a large limestone sculpture at a lake house. It was the middle of August in 100-degree heat. The sight, behind the house, was sloped, and the only path from the street to the pad for the piece was quite narrow, and covered in large river stones. It took a team of stone movers working for most of the day, and a variety of carts, pulleys, and scaffolding to get it into place, but was well worth it in the end. It looks fantastic! 

What is unique about being an art consultant in Houston?  

I’m lucky to have opportunities to work with clients and art professionals all over the world, but I always enjoy working in Houston because it’s such a vibrant, growing city with wonderful breadth and diversity in art and cultural happenings. I love the open-mindedness of Houstonians and their eagerness to learn about works from regional, national and international artists. The art community here is friendly and accessible.

Anything else you would like to share?

I’m also a certified fine art appraiser. This additional training and education makes me a more well-rounded consultant. I’m able to use an analytical eye when assessing a work, which benefits my clients. 

Many thanks to Elise Arnoult Miller and Arnoult Fine Art Consulting.  To learn more about Elise’s work, check out her website.

NFTs - Here to stay?

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You may have read the headline about a Non-Fungible Token (NFT) by artist, Beeple being sold at Christie’s for a record-breaking $69.3 million earlier this year. There are now galleries who specialize in NFTs as well as curators and museums who focus on the medium. Could this be an indication that NFTs are a segment of the art market that’s here to stay?

According to Wikipedia, an NFT is “a unique and non-interchangeable unit of data stored on a digital ledger (blockchain).” An NFT can be anything transmissible as a digital file: a work of digital art, or just an image of a work of art, an animation, GIF, or an audio recording. NFTs have been created from texts, tweets, and even song lyrics. NFTs are attractive because of their uniqueness. The “non-fungibility” means the owner of the file owns something very specific (although the artist may retain copyright and reproduction rights). Because it’s stored on the blockchain, the details of ownership, past present and future are clearly documented.

There can also be an advantage for artists selling NFTs who can potentially earn a commission each time a piece is sold. However, with high fees to post and sell on the various platforms, it can sometimes end up costing the seller more than the sale price.

For the collector, of course, there is no physical “thing” to hang on a wall or share with one’s friends and family. The digital file remains in the ether, and is therefore, susceptible to loss - whether a forgotten password, a crashed website, or failed server.

The main drawback to all of that high-security blockchain technology is the environmental impact. The energy required to power the network of computers needed for blockchain verification is staggering, prompting many artists and potential buyers to opt-out, at least for now.

Nevertheless, the idea of using blockchain technology to track an artwork’s provenance will be a great development for art historians, collectors, and art professionals, if it becomes environmentally feasible and common practice for more traditional “IRL” media as well.

Regardless of the current pitfalls, NFTs will certainly remain part of the zeitgeist of this technological era, especially “crypto-collectables” like trading cards and video game accessories. It will be interesting to see how NFTs evolve and what position they will hold in the art market of the future.

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A Plein Air Commission Project

A few months ago, some good friends and clients asked me to help source a painting for their newly renovated dining room. After a few conversations, we realized what they really wanted was the feel of a landscape, but with a contemporary, abstracted approach. I immediately thought of a young artist from Dallas, Erika Huddleston. I was intrigued by Huddleston’s process of “recording” a certain spot in a landscape at a certain time by painting it en plein air. Since available inventory was limited, I proposed a commission.

The clients had recently purchased some property in the Texas Hill Country that would become the site of their future retirement home. What better location for the artist to create a work that would be especially personal and meaningful? Erika took advantage of the beautiful spring weather to capture the scene. A few weeks later, the painting arrived and we all gathered for the “unveiling”.

The painting arrives

The painting arrives

The happy clients with the artist

The happy clients with the artist

The resulting work is not only a beautiful fit for the current space, but also a piece the clients will take with them to their future home and cherish for many years to come.

Preliminary installation

Preliminary installation

Final installation. A simple, wood float frame both compliments the piece and sets it off in the room,

Final installation. A simple, wood float frame both compliments the piece and sets it off in the room,

Painting Log

“Landsccape Recording Static/Dynamic: Guadalupe River I”, 2020

…5:09pm black butterfly, birds, wind, sound of flowing water, low sun, gnats in the grass… 7:40pm a hawk flapping its wings and flying low…8:45pm fireflies, big box turtle, about 1 ft long, lying in the shade on the grass…

(excerpts from the artist’s “landscape recording”)

Updates from the Art World

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Art Fairs – Many major art fairs scheduled for 2020 have either been postponed or cancelled all together. Such was the case with the granddaddy of them all, Art Basel, Switzerland which normally takes place in June. However, over 4,000 of the works on offer were accessible for remote viewing in online "viewing rooms." Reactions from exhibitors and collectors have been quite good.
 
Galleries – Although there have been numerous gallery closings and many continue to struggle, galleries that have been able to scale back and cut expenses seem to be faring well. Taking a cue from the fairs, there has been a rush among galleries to create online viewing rooms to show their inventory, and to present exhibitions virtually. The concept of fine art fairs moving online is a welcome one for galleries who have in the past felt the pressure to participate in numerous fairs each year with all of the work and expense that entails.

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Museums – A large number of museums have reopened with limited capacity and new safety precautions despite major layoffs at institutions worldwide earlier in the year.
 
Auctions – Perhaps best positioned to pivot to the new reality, the major auction houses have been offering online, absentee, and phone bidding for years. Some live sales have been postponed or switched to online only sales for the time being, and viewings are by appointment. In July, Christie's executed a "global" sale of 20th-century art called ONE taking place in Hong Kong, Paris, London and New York in live-streaming consecutive sessions.
 
Collectors – Despite the ongoing pandemic, it seems collectors (often spending more time at home) are continuing to collect. There hasn't been a mad rush to divest collections as some had predicted. In fact, many collectors report that they are willing to purchase a piece sight unseen, especially when already familiar with the artist’s work. And, with galleries and dealers offering generous “on approval” terms, there is little risk.
 
Artists – Of course, without artists, there would be no art fairs, galleries or art auctions. Countless artists have been and will continue to be affected by the global pandemic in some way. Here are some ways to help:
Artist Relief, organized by a group of small to mid-sized national arts grantmakers, is distributing $5,000 grants to artists in need.
Greater Houston Area Arts Relief Fund for artists and arts workers will provide grants to cover basic needs for artists and arts managers who have lost wages during the pandemic.

Looking Forward...

Time will tell what lasting effects the pandemic will have on the art world, if any. So far, market values of works, whether in the primary or secondary market, have not been noticeably affected. We expect the online viewing rooms of galleries and art fairs are here to stay as well as a possible reduction in the number of fine art fairs held each year. We are optimistic that this "reset" of sorts in the art world will lead to a more transparent, pared-down, diverse, artist-focused future.

Pietro Rotari, Girl Looking through a Telescope

Pietro Rotari, Girl Looking through a Telescope

Art in a Time of Social Distancing

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Renee Magritte “The Lovers”, 1928

Renee Magritte “The Lovers”, 1928

As Picasso once said, “Art washes away from the soul the dust of everyday life.”

In stressful times I always find joy in looking at art and beautiful things in general. While museums and galleries are closed and travel is at a standstill, here are some wonderful online resources to help wash away the dust!

Artsandculture.google.com has a wealth of content to explore. One of my favorites is the Art Time Explorer with artworks arranged chronologically by period from antiquity to present day.

Hundreds of museums now have a portion of their collections available virtually. Some of the major ones include The Guggenheim, Tate Modern, The National Gallery of Art, The Louvre, The Met, The Uffizi, and The Vatican.

Or, if you’re feeling creative, download a coloring page and re-imagine some masterworks with your own palette.

And if you’d like to chat about art, I’m now offering virtual art consultations. Send a request here.

Be well!

Consulting Journal - A Fortuitous New Find for a Long-Term Client

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Robert Motherwell, Blue and White on Orange No. 1

Robert Motherwell, Blue and White on Orange No. 1

Recently, I received a notice about a private collection being offered for sale in New York. As I looked over images from the collection, several of the works reminded me of a particular client I had first worked with more than a decade ago. 

When I first met this client she was looking for one or two paintings for specific areas in her high-rise. Later, when she moved to a larger home, I helped her acquire several more pieces to fit her new space. That was a few years ago, but I had gotten to know her tastes and her existing collection quite well, and I identified a few pieces in the New York collection that I believed would be of interest to her, so I got in touch. 

Indeed, she did like the selections, and was particularly drawn to a vibrant Robert Motherwell work. After I performed my research on the piece and negotiated the price, I arranged a viewing in New York so my client and I could see the piece in person and complete the purchase. 

Building long-term relationships with clients is one of the things I love most about my work. In fact, most of my client relationships extend well beyond the initial transaction. As I get to know clients over time, I become acutely aware of their aesthetics, likes and dislikes. Then, even when I’m not actively looking on behalf of a particular client, I will automatically think of them when something that suits their taste crosses my desk. It’s as if I’m their eyes and ears in the art world.

Likewise, clients sometimes contact me again after a period of years. Perhaps they’re in the market for a new piece, or they might be ready to sell works from their collection, or simply need an appraisal. It’s always a pleasure to reconnect with clients, no matter how long it’s been, because developing relationships (consultant-client partnerships, really) is what it’s all about.

Visit to Frederick Meijer Gardens & Sculpture Park

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Meijer Gardens in Grand Rapids, MI features 158 acres of beautiful botanical gardens and one of the most comprehensive collections of modern and contemporary outdoor sculpture in the world. Definitely worth a visit!

MFAH Contemporary Patron Group Art Tour at The Lancaster

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What: The Museum of Fine Arts, Houston toasts The Lancaster Hotel

Where: The Lancaster Hotel

PC Moment: The Contemporary@MFAH patron group works to highlight and expand the role of contemporary art at the MFAH, and the unique synergy between its mission statement and the newly restored and renovated “art palace” The Lancaster hotel in downtown Houston embodied its ideals.

Gathering at the historic Theater District location – The Lancaster is the city’s oldest operating hotel – Contemporary@MFAH members toured the hotel’s expansive and important collection filled with Texas artists. The hotel’s lobby, restaurant, halls, and rooms showcase choice Houston talents such as Mark Flood, Trenton Doyle Hancock, and Terrell James, alongside other Lone Star state faves, including Robert Rauschenberg and Luis Jiménez.

The intimate crowd took in The Lancaster’s trove of art while enjoying bites from the hotel’s recently re-imagined downtown dining destination, the restaurant Cultivated F+B. Artist and Lancaster visionary – the Dallas-based Jay Shinn, CEO of Magnolia Lodging, which owns and operates the hotel – alongside Alison de Lima Greene, the MFAH’s Isabel Brown Wilson Curator of Modern and Contemporary Art, and artists Margo Sawyer (in from Austin) and UH department of art professor Aaron Parazette (both proudly featured at the hotel) gave greetings and short remarks about the dynamic partnership between Contemporary@MFAH and The Lancaster’s informed curation of Texas works.

After toasts, guests enjoyed browsing The Lancaster’s collection featuring more than 100 Texas artists, which also includes works by Donald Judd, James Surls, Helen Altman, Ed Blackburn, Matt Kleberg, Tommy Fitzpatrick, and Donald Moffett (born in San Antonio).

PC Seen: Curator Clint Willour and Reid Mitchell; top collectors Jereann Chaney, Minnette Robinson, Leigh and Reggie Smith, and Dorene and Frank Herzog; gallerists Betty Moody, and Deborah Colton with husband William Colton; art consultant Elise Arnoult Miller; Polly and David Roth; Ann Jackson; Carol Fleming; Lesley and Gerald Bodzy; patrons Shirley Rose and Bettie Cartwright; and artist Chong-Ok Lee Matthews.

DIY Steps to Hanging Art

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DIY-ers who want to hang artworks on their own at home can achieve professional results by following these steps. The less ambitious can save themselves the trouble by calling on AFAC for help. We can advise on art placement and bring professional installers.

Framing note: When having works framed, ask your framer to install two D-rings on the piece. No wire necessary. Check to be sure the two D-rings are equal distance from the top of the piece.

Tools: Pencil, tape measure, level (either a ruler with a level in it, or a laser level), art hanging hooks, hammer, Magic Rub eraser.

Step 1: Find the center point of the wall where you’d like to hang the piece, or if centering over furniture, the center point of the furniture. Mark this point with a pencil on the wall.

Step 2: Hold the piece in place at the desired height. No hard and fast rule here, but consider how the piece will be viewed—will the viewer be standing right next to it, looking at it from a distance, or mostly from a sitting position? Mark the bottom edge of the piece on the wall.

Step 3: On the back of the piece, measure the distance between the bottom edge and the top of one D-ring (where the hook will be). On the wall, measure up from the bottom edge mark this distance and mark it on the wall.

Step 4: Using a ruler with a level or a laser level. line up this mark with the center mark you made in step one. Move your mark as necessary to line up with the center mark vertically.

Step 5: On the piece, measure the distance between the two D-rings at the tops of the “D”s where the hooks will go, and divide by two. This is the distance you will measure on each side of your new center mark. Mark each distance on the wall. Using the level, adjust these marks as necessary so that the two hook marks line up with the center mark horizontally.

Step 6: Using special art-hanging hooks (see image above), hammer the hooks into place so that the bottom edges of the hooks line up with your marks. Be sure to use a hook in the appropriate size for the weight of the piece. They come in one, two and three-nail sizes.

Step 7: Erase your pencil marks with a Magic Rub eraser. Do not use the eraser on the end of a pencil. Hang your piece and check to be sure it is level.

Because the piece is now hanging from two points, it will never need straightening.

Private Collection Tour

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I had the good fortune of meeting Houston collector Brad Boucher and touring his fascinating collection of contemporary art. Inside a building with a nondescript exterior is a wonderland of art, including installation, video, sculpture, kinetic works, paintings and works on paper—even a James Turrell light piece. Boucher has an admirable, thoughtful approach to collecting, focusing on works that are meaningful to him personally, which is evident in his ability to share a backstory for each piece.