ASK THE GALLERY OWNER 2009
By STEVEN NOSSAN: Director of Front Porch Gallery and Creative Director of Studio Masern
with
BILJANA BERAN: Owner of Galeria JAN and DYLAN JONES: Senior Designer at MiresBall & Co-Owner of Subtext Gallery
Editing and proofing by Lisa Roche

PREMISE:
In this ongoing series, The San Diego Visual Arts Network goes behind the scenes, asking the owners of two San Diego galleries what makes them successful and how collectors can learn from and take advantage of their unique histories, backgrounds and temperaments. Very often the focus is, naturally, on the art and the artist; but the role of Gallery Owner is an integral part of the process of curating, sharing and, ultimately, purchasing art. This article hopes to help the long-term and first-time collector to get more involved, comfortable and familiar with those who make it happen. Below you will see how identical questions are answered in two very unique voices with very different lives and outlooks, but both with a love of art worth sharing. Before the conversation; first, a little background:

BILJANA BERAN: Owner of Galeria JAN
Biljana Beran was born in 1960 in Bosnia and her professor parents traveled her and her family all over the world to educate them. Beran studied at the University of Medicine in Croatia and afterwards returned to Bosnia and married Jan J. Beran, who was a journalist and TV Sarajevo cameraman as well as a painter. She worked for a short period in an emergency hospital and decided to be a mom and stay with her 3 year old baby. Living with an artist and studying art history everyday was an important part of her future.

At age 26, Beran opened Galeria JAN in 1986 in Sarajevo, Bosnia. After several, rough years, the gallery was successful enough to open another location in Sarajevo in 1990, and a third one in 1991. She opened a fourth location in Belgrade the same year. When the war broke out in Yugoslavia, Beran was forced to shut down all her galleries and move to Opatia, Croatia with her family. There, she took over Galeria Zoom and worked until she immigrated to the United States in 1994. In 1996, Galeria JAN was reopened in La Jolla with a big group of European artists. The gallery represents world recognized artists and old European masters. The gallery collection is located both in La Jolla and in Europe.

“Galeria JAN” took its name from her husband and she thanks him for being a patron and artist all these years. Their son BoJAN, is an incredible, young boy and his mother’s computer helper. Biljana put them all together and created Galeria JAN.

After 24 years of being a gallery owner in Europe and in the United States, she says, “… that my final decision was right and I did not make a mistake. My gallery is me, my space is my church and my paintings are my icons”. Joze Ciuha, one of Galeria JAN’s artists, said, "I never tire of making art," and Biljana says," I never tire of being at the gallery with its history and the gorgeous art, telling everyone now, and in the future, that we are existing today."

DYLAN JONES: Senior Designer at MiresBall & Co-Owner of Subtext Gallery
After spending a scorching 13 years and the better part of his childhood growing up in the Las Vegas heat, Dylan Jones left the architecture program at UNLV and headed west to San Diego in 1995 to pursue a career in advertising and design. In his senior year, he launched Red Five Design and began to develop a steady base of freelance clients. In 1998 he graduated valedictorian and joined the creative team at ParkerWhite, a north county based agency specializing in strategic brand communications. After nearly 8 years at ParkerWhite, Dylan moved on to pursue freelance accounts, and eventually landed a spot as senior designer at MiresBall. For the past 10 years Dylan has worked with a variety of clients including Qualcomm, Intel, Shure Microphones, Taylor Guitars, Guitar Center, Titleist, DonJoy, Airwalk Footwear, Star Trac Fitness, Spinning, The Gemological Insitute of America, and Sony Electronics. His work has been showcased in a variety of publications including Brandweek, Communication Arts, HOW, Print, STEP, and Graphis.

In September of 2006, Dylan partnered with Don Hollis of Hollis Brand Culture to form Subtext, a gallery & design bookstore located in North Little Italy that showcases urban contemporary, pop surrealist, and lowbrow artists from around the globe.

THE CONVERSATION:
How does one start an art collection? How does a collector differ from someone who just buys an occasional piece of art?

BERAN: I have different types of collectors. Big collectors are educated and they know their own minds; for example, Russian Art from the underground period, or Cuban Art from 1925-1935, or Henry Moore from 1950-1960. Tonight I had a customer who declared himself a collector. He was not interested in learning anything. He explains to me that he used to collect Impressionism and now has changed to Southwestern art. I do not make a comment because I do not have a Southwestern art education. Young people with available budgets are asking me more and more to do classes at the gallery. They like to learn how they will start to collect art. Eighty percent of the visitors to the gallery want to buy if they like what they see and they do not care who made the art. The artist is not important for them. They come in and ask for a Tuscan picture to match their Tuscan house, or need something for the kitchen or the bathroom.

JONES: It’s like starting anything, really. I find that people who come in and buy an occasional piece don’t really consider themselves “collectors”, but rather art enthusiasts. Once you buy a few occasional pieces, the next thing you know, you have a small personal collection. I think many people have trouble making the jump to buying an original piece because of the price. It’s a commitment for sure, and if you really love the piece, you’ll never regret it. There’s something really satisfying about buying your first original piece.

What do you say to those who may be thinking of seriously collecting but are intimidated and unsure how to begin? What do you ask a collector when you begin the process? What questions should a collector ask you?

BERAN: My first question to people is, “What museums have you visited and what art do you like?” I always like to explain to a future collector, that they have to first start with education, which, today, is easy with computers. They have to learn about technique. They have to know that every original artwork is ART. Also, it is very important to know that once you start to buy, you will be collector the rest of your life. Buying art is a process. If people tell me that they have a lot of walls and that they have to fill them up, I know that they are not a collector. One good painting a year is a better investment than 20 ordinary ones. I’m happy if collectors ask me questions like: “What art is in your gallery?” “Who are the artists that you represent?” “How many years have you been in business?” “Can you tell me what this painting represents?” “Do you have a list of the galleries or museums where this artist exhibited?”

JONES : At Subtext, we never push our artwork as an investment, so usually we tell people that if they really love the work, they will always be happy they made the purchase. Of course some of our artists’ works have gone up in value, but that is not what we are about. In fact, we pride ourselves in bringing in emerging and established artists at a very approachable price.

How do you build your collector base? What process do you employ to match a collector and an artist?

BERAN: Because of my 25 years in the business, in both Europe and the United States, I have been exposed to a lot of good collections, so my gallery is established and now we receive many recommendations. Also I like to spend a lot of time with young people from high school. I know if they came to the gallery instead of going to the beach, they needed me. We learn together. We read books. I teach them how they have to look at the painting, what is good art, what is bad art, what is quality, and what is not. These kids become my collectors after 5-10 years. I’m building trust first; then a collector. I know that is not easy to spend a lot of money for one piece of art, but if a collector learns about history and the art market and finds the artist he wants is in a museum collection, then it is easier to spend the money because the collector knows that the work is worth it. The price of the painting should be the last thing that collector has to know.

JONES : We’ve only been established for 3 years, so building our collector base is still an ongoing project for us. Generally, we try to refer people to new artists based on their previous purchases. We curate shows based on what artists we enjoy, so a lot of the time, we are exposing people to new work. In essence, we are introducing our collectors to the artists we bring to each of our shows. 

Where and how do you find your artists? Do you nurture artists or what is the relationship? Whose interests do you represent; the collector or the artist, and how do you get paid?

BERAN: I’m always looking to find top names for the gallery. I want recognized artists who have a listed track record. Most of the time it is so hard to have them. A big name artist is going to go with big name gallery. I have spent a lot of time to build my gallery name and trust. If I find good art (on the Internet, at art fairs, exhibitions or by recommendation) and the artist has a good biography/resume, I try to contact the artist directly. Also, if I recognize good, talented, young artists, I’m ready to work with and promote them. I’m paid from the sales of paintings. I never charge the collector except if I’m working for them to sell work of theirs back into the market. I never work with artist representatives, or companies who have art, but no personal contact with the artist. I’ve been with my group of artists for 25 years.

JONES : We find our artists from all over; illustration annuals, art & design blogs, referrals, submissions, etc. Usually we just stumble upon something we like, and we approach the artist if we feel that we have a fitting exhibition for them. The response from the artists has been great. Many of them are really happy to see more contemporary galleries popping up in San Diego.

What are the advantages of collecting known artists versus emerging ones?

BERAN: Known artist appear in well known collections. They are prestigious because of their reputations and they are usually a good investment. Collectors know that their big investment is “safe”, and can be used for a future emergency or to past on to a second generation. The Emerging artist market in the United States is unstable, and like in any other market, the young are very impatient. These artists do not have support from government; city, state or federal. There is no ministry for culture here. Emerging artists in SD have to have a regular day job or a family trust and they have to work hard to promote the quality of their art.

JONES : If you’re looking at it as an investment only, then I would argue that the emerging artists could be a better place to start a collection. I have to admit, though, we don’t push art for investment sake. I think that is a nice bonus if artwork goes up in value, but it isn’t our main motive for building our collector base.

Are there any art bargains or trends you are noticing in 2009 and what are people interested in seeing at your gallery? What art, other than paintings, do people collect that may not be obvious? What role has the economy played in what people are collecting and the prices they are willing to pay?

BERAN : Definitely the prices have dropped down for all art. But I decided to spend this time to promote an incredible talented young artist, Taylor Marie Prendergas. She is fresh, good, talented, only 18 years old and is very affordable for most of the collectors.

JONES: Due to the state of the economy, we’ve found that the more accessible pieces seem to do well. People like walking into a galleryand buying an original piece of art without feeling like they broke the bank. We’ve tried to mix things up by having group shows that feature original works on non-traditional things such as vinyl toys, wooden Kokeshi dolls, and custom sneakers. People seem to enjoy the fact that they don’t know what to expect from our shows until they attend the opening. The element of surprise is intriguing, I think.

A lot of our artists are emerging artists, so we are able to work with them a little bit on the prices. We try not to dictate to the artist how to set their prices, but we definitely steer them in the right direction based on what we have come to expect from the San Diego community. Many of our artists can sell for much more in the LA/San Francisco areas, but by doing shows with us, they are able to extend their following and hopefully, get some good press along the way.

Do you provide advice on framing, hanging, protection, security and forward planning? If so, please describe.

BERAN : No. I can help with framing for a collector, but this is not my main job. Painting is my priority.  

JONES: Most of the work we show comes ready to hang, but if not, we do provide advice on framing and hanging

Does the Internet play any role in how people educate themselves about art trends and what they are interested in collecting?

BERAN : The Internet can help only if they know where to go. I help my collectors find good web pages. Also I send them interesting articles from art newspapers or “Art News”.

JONES: Absolutely. The Internet is a very powerful tool for artists to promote and get a buzz around upcoming shows. More and more, we’re seeing people come in from something they saw on an art blog or website. The successful artists are the ones who are in tune with the social networking in the art community. Word travels fast about new exhibitions, etc. on the Internet.

Do blogs, chat rooms and texting bring in an audience or client, new to the gallery scene?

BERAN : I do not have any experience. I’m not connected with any blogs or chat rooms. My time is too limited for that type of conversation.

JONES: Yes. Our blog gets a lot of traffic, and we promote our shows as well as many other artists and exhibitions we like. The Subtext audience enjoys the other shows, artists, and events we feature.  

Do corporate collectors play any role in the services you provide and how do they differ from individual collectors?

BERAN : A corporate collection is mostly driven by the owner of the corporation. They are similar to the private collector. If they do not know about art, I have to educate them, but I do not have experience with big corporations like Coca-Cola or Bank of America.

JONES: We don’t have any corporate collectors, but we’d love to meet some!

How do press releases, catalogues and reviews play a role in the trajectory of an artist?

BERAN : The more documentation about the artist, the better. That documentation should include explanations about the style of art, and the artist’s biography. A collector can then feel secure about buying the work. Art critics’ reviews are also a very important part of an artist’s portfolio.

JONES: Any press an artist can get is good press in my mind. As long as they are getting their name out there, something will come of it. Art is so subjective, so it’s not realistic to think you will always have a good review. As long as you stay true to who you are, and you do not let bad press affect your decisions, you’ll be fine. I’ve found that the artists that are relentless in their work ethic are the ones that have the most success. Lazy artists don’t get a lot of attention, but I guess the same can be said for any profession.

Are there opportunities to share a Collector’s collection with a wider audience through public or private venues? Do you make those connections? Can a collector ever be in a position to guest-curate or loan their collection for an exhibition?

BERAN : I have my own large collection ,but I’m not able to share that with the public yet. I will be glad to exhibit it one day in my gallery or in another place, but I would have to work hard to organize that showing.  

JONES: We have had guest curators before, but we don’t do shows with private collections. We’re not opposed to it, but our schedule and space doesn’t allow for it. We do rent the gallery space for special events, but our current show acts as a backdrop.

What are the social aspects of collecting? How does that benefit me and my family? How are you involving the younger generations in the collecting process?

BERAN : Art collecting is prestigious and a very important part of the social scene and standing in Europe. In the United States, I do not find that to be true. Rich with money does not mean a rich person, in my mind. Money is a tool, art is a part of history. Additionally, my family came to San Diego from war and art was our white money for a black time. Art opened all doors. My son never lived with empty walls, and after he moved into his first apartment at the age of 21, he was in panic of white walls. He did not ask me for chairs or a bed. He only said, “ Mom I can’t live with empty walls.” The style of living for the younger generation comes from the parent’s home.

JONES: We have collectors that let their kids make the final decision on which piece to buy. I love that. Getting the family involved is a great thing, because the art becomes much more than a painting or a sculpture. It becomes a sentimental piece that the whole family will enjoy. Hopefully!

What is the most important advice you could give a new collector?

BERAN : Learn and don’t be afraid to ask! Don’t trust the seller’s story. Art is not bread that is sold for one day. Take your time and do research in your home about the artist. Buying art is a process. You cannot rush it in 15 minutes.

JONES: Only buy pieces you absolutely love. I’d also tell them not to worry about it being an investment. It’s like a true baseball fan getting a rookie card of their childhood hero. The card itself may be worth a mint on the collector circuit, but would you really sell it if you loved it that much? Isn’t there more joy in owning the piece, and passing it on to family? I think so.

THE CONCLUSION:
It’s obvious from the care with which Biljana and Dylan have responded that gallery owners can be as creative and unique as the artists and art they represent. Their roles are invaluable in helping artist and collector connect in a positive and comfortable way. For every collector there is a gallery owner that will be a perfect match. The next step for you is to get out there and meet as many as possible until you find the one that will be there to help you fulfill your artistic and creative passions and dreams. But be certain to bring a fresh eye, a sense of wonder and, most importantly, have fun!

STEVEN NOSSAN: Director of Front Porch Gallery and Creative Director of Studio Masern
Editing and proofing by Lisa Roche

See previous interviews of Gallery Owners on SDVAN: Ask the Gallery Owner 2004 and Pierrette Van Cleve