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Detroit art consultant


Big {Art} Announcement

Happy New Year! We hope everyone had a safe and memorable celebration to ring in 2015. 

We are excited to announce that we'll be exhibiting artists starting this March! While showing work in the new space seemed like a natural progression for us, we didn't prioritize it when we found the studio, simply because we weren't sure of how we would formalize what kind of gallery we would be and what type of art we would show. And then we realized, there are so few venues for consuming retail art in the area, we couldn't shy away from something we love doing and are good at. 

Here's the roster of artists for 2015.

We met Jermaine Dickerson as the resident graphic designer for a campus office at Eastern Michigan University. His style is steeped in realism, anatomical accuracy and suspension of reality as he delves into worlds of superhero status. I was immediately drawn to his meticulous linework and it didn't take us long to ask Jermaine to be the first artist to exhibit. As an emerging artist with an infectious laugh, we see unmistakable promise in Jermaine's work ethic and talent. You can see some of his digital design skills on his website and follow more of his projects (and the occasional still life) here on Facebook

Stan Malinowski has been a friend and mentor to Nick ever since we lived in Chicago. They had a collaborative show in 2008 and he's shared a wealth of his experiences in the fashion photography world. Starting in the '50s at Playboy, Stan moved on to fashion magazines in world markets, working with the likes of Anna Wintour, Christie Brinkley, Gia Carangi, Iman and many more. Stan is the preeminent perfectionist (and superb dinner mate), overseeing every process of his prints and negatives. We plan to show a carefully chosen group of photographs from a 20 year span, 1970-1990. This is a show of works exclusive to us and we're very proud of this.

Woon Sein Chin is my dad. He studied fine art in Taiwan during the '70s right before he emigrated to the States. While he and my mother worked odd jobs to make a living, he has never stopped painting. In 2011, he started working at the Museum of Contemporary Art in security and is surrounded by the artists that have inspired him over the years, Bacon, Matisse, Picasso. Last year, he was invited to show his works in the 3rd floor gallery of the MCA. His style is steeped in expressionism, with broad, electric strokes of oil and we'll be showing works on paper and canvas.

I met Megan Williamson when she visited Madron Gallery (where I served as director) on the recommendation of friend. It turns out the artists we had hanging on the wall (American greats such as Reginald Marsh, William Glackens, Frederick Frieseke), were the influences to her influence, Nic Coronas. I had never met anyone that knew so many of the styles and artists so intimately. We've been friends and collaborators since. Megan's canvases are constructed of elements that play upon each other and rely on how our eyes interpret those intersections of color and shape. During our weekly conversations, we talk about possibilities, ideas, dreams (a few shared on her Facebook page). It is our pleasure to show a series of Megan's still lifes and landscapes.

While perusing the various holiday fairs last month, I stumbled across an intriguing piece by Jessica Tenbusch (image above). Made of bone, copper and a method of hand hammering metal called repousse, I was immediately drawn to the perfect execution of her precious, organic pieces. Using only animals and parts found deceased, her pieces are are multi-step processes in experimentation. When I met her during the bustling DIYpsi fair, she was gracious and humble and I had to collaborate with her. We will show a new series of her fine art objects next Fall but you can admire and shop from her Etsy shop, Equilibria in the meanwhile. 

I'll have more information about each exhibition each month before. We can't wait to share our vision of fine art, design and photography with you. Happiness and health to you in 2015. 

Artist Submission Process (accepted January through March 2015)   

Chin-Azzaro is committed to a high standard of marketing, publicity and exhibition practices. With our years of experience in the fine art retail world, we strive to offer a breadth of high quality works to our audience. If you are interested in submitting your work for consideration, please send the following in a zipped folder titled with your name. 

1. CV and/or resume

11. 6-10 images of your work 

111. Artist statement (previous statement acceptable)

1111. Optional: website address, social networking links, references

Please send to: and allow 2-3 weeks for a formal response. 

Incomplete submissions will not be considered. Thank you!



Sold! | Playing Auctioneer at Art Around Town

I just found out that I get to be the auctioneer during the Art Around Town Art Auction on May 3rd! (I've worked the phone lines, calling bidders and intaking their bids, previewed shows and bid on pieces for work). I love auction culture. The competition and buzz of excitement as bids fly back and forth is unnerving, especially when you know a dealer is bidding for someone else. You never know how high something can go for when you present an item. 

For Art Around Town, we want everyone to have a fair chance to buy student pieces. The success of the event not only rests on the dollars raised, but the awareness we bring to the community about this invaluable program. 

Anyone that's ever been interested in attending an auction should definitely not be afraid to. This will be a fun and casual (but hopefully competitive) event. I'll name a starting bid and price increments will go up by $2 to $20 and up depending on the interest in each piece. I'll follow the rhythm of bids and close pieces as soon as we hit a lull of a few seconds. 

For the next two weeks I'll be sharing tips on how to bid and everything auction related. Here's a cheat sheet I created to help you get started. Good luck and I hope to see you on the 3rd!



Bright Lights, Big City: Tips for the Artist Making the Move

Moving to the City has been a popular topic around here lately. I just met with a student a couple days ago pondering whether to move to NYC, Chicago or stay put. And our friend and artist Bernadette Witzak* just moved to Chicago last week. We're really excited for our friends in this position because after finishing a degree, moving to the City seems like the next logical step for any creative person. Nick and I did it ten years ago.

We landed in Chicago with no jobs, a couple personal connections and separate studio apartments in the same building overlooking the Lake. Fast forward seven years and we both had successful careers in the fields we went to school for, we were married, and living in a mid-rise apartment in Wicker Park. It wasn't always a direct route, but our path to finding the jobs we did were ultimately a lot of luck and even more elbow grease. Here are a few basic things to keep in mind as an artist/designer/photographer/curator/creative hopeful when you're making the jump from school and/or smaller town to career and/or big city.


*Bernadette, being the catch that she is, started in Exhibitions at the School of the Art Institute of Chicago. Congrats! 



Finishing the Look: How to Choose Frames for your Art, Part 2

As I mentioned in Friday's post, framing is truly the finishing touch to collecting and displaying art. The embellishment (or lack thereof) in a frame and mat is the window which lends an air of intent, theme and mood to the piece. For art with historical content, a period frame (one original to the same era in which the painting was created and at times the only frame that has accompanied the work), is important to its integrity and scholarship. In this photo you see that the frames are ornate and intricately fashioned. Many of these frames are original to the period (mid to late 19th century) and are also hand-carved, a sign of workmanship that is rare to find today except in exclusive framing and high end art dealing.

Image: Cleveland Art Museum

When we look at contemporary art in the same academic setting the trend has swayed toward minimalism, leaving large canvases to fend for themselves against white walls. What do you think of this contradictory handling between say, Impressionism and Contemporary art? Does scale have anything to do with the lack of a frame?

Image: Metropolitan Museum of Art

There are a few key things that should be consistent when you'r shopping for frames. The larger the piece, the wider the width of the frame should be. This is for safety as well as visual reasons. Imagine a poster sized painting being framed by a 1 inch wide frame. Not only would that be off-balance visually, it would be hard for a piece of glass to be held in place by such a small frame. Conversely, the smaller a piece of art, the thinner the width of the frame. There are always exceptions to this rule, if you're looking to make a large impact but these are general guidelines to keep in mind.

The above reproduction of a Maxfield Parrish painting is an example of a well-fitted frame. Adding about three inches on either side, it lends a nice contrast to the lighter palette of the work and is wide enough to visually balance the large image.

Image: East and Orient

These prints are no larger than 8" x 10" and are handsomely housed in thin width frames, no larger than 1 inch. They also have a matching mat with a beveled edge liner in gold/tan to draw attention to the outer line of matching color. This gives the series an overall motif to match the subject matter.

If you're considering a colored frame, that's an adventurous and effective choice to enhance the painting. Make sure that you choose complementary hues rather than trying to match the painting to its exact palette. For instance, the nature series above would have looked handsome with a dark wood frame or even a marbled wood with various tones to pick up all the different neutral tones in the piece.

Ask the framer or bring a friend along if you're unsure about choosing frames. Ultimately, it should be an engaging and exciting experience. And don't fret about it if you get it back and it doesn't look quite right, framing can always be changed to match the mood of the painting. Good luck!



Event: Art Lecture at Ann Arbor District Library

I had the pleasure of speaking at the Ann Arbor District Library last night about the ins and outs of starting a collection and what to look for when purchasing paintings, prints and drawings.

Collecting should be an art unto itself, pieces thoughtfully chosen for their content rather than for their complementary qualities to the furniture in the room. My main points included looking at genre (style) of art, mediums, value and how to make collecting relevant for you. Attendees had great questions and seemed to have a firm grasp of the direction of the art scene. We also got to speak with a few collectors about the things they were wondering about in their home.

By the end of the evening, I was happy to share my personal collecting mantra:

Thank you, Ann Arbor District Library and Cecile for your partnership and efforts!