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See How This Hotel Owner Is Starting A Global Art Swap From Lockdown – Forbes

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Mother-daughter team Vicky Bly and Sydney Sue own and operate The Wayback Cafe and Cottages in Austin, Texas.

Guests can stay in one of eight cottages each with their own unique style and artwork, some of which is made by Sue herself.

However, as hotels remain empty during the COVID-19 shutdown, the owners have embarked upon a fun and creative exchange. Their art swap aims to bring a little beauty and variety back to The Wayback Cafe and Cottages and to other hotels across the world.

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We spoke with Sydney Sue to find out more.

Can you tell us a bit about your background in art and in the hotel business?

Sydney Sue: Art has always been something I have been interested in, but I never had the opportunity to study at an official level.

I did have art lessons with a professor at The University of Texas who lived in my neighborhood back in 2018. She would come over often over a period of three months. I would set out a table and chairs and we would paint together. We would walk my street and she would teach me about perspective, colors, and shadow.

I continued to paint and use what I learned from her in those three months and it’s something I remain very passionate about still today. I always wanted to set up lessons with her again, but with opening up The Wayback, I am often too busy.

I grew up in the hospitality business with my parents. My mom ran one of the first boutique hotels in Austin, Texas called The Bremond House on the historic Bremond Block. It was one of the only hotels in Downtown Austin at the time. There were no skyscrapers in sight, so you could see straight to Lady Bird Lake.

Every year we would host a Fourth of July party on the lawn while neighbors from all over would set up their lawn chairs to watch the fireworks! I remember how much fun everyone had. I loved that it brought so many people together, and I think that’s what really piqued my interest in the hospitality business. 

What do you enjoy painting?

Sydney Sue: I love painting folk art because it doesn’t have to be perfect or in perspective. It’s based on how you see something. It gives me some flexibility if things are a little out of proportion!

I also love painting scenery, mostly of the Texas Hill Country or West Texas, which are two places very close to my heart.

The coolest feeling is getting done with a painting and finding a way to tie it into a bedroom or living room; I think art really makes a room.

I am constantly rearranging my house and redesigning it with fabrics and different vintage pieces I’ve found. I can always move my art around to enjoy it in different places, and put it away when I get tired of it. My art box has a ton of random pieces that I pull out every so often just to mix things up.

Has art been helpful or therapeutic at this time?

Sydney Sue: I am always inclined to try to get through a painting fast (which in oil painting is impossible), so it has taught me to slow down and be more patient.

It has also taught me to focus on the details and figure out what makes something feel really good. Getting back into art has ultimately been therapeutic because it has given me time to think of something other than our hotel being empty for the time being! 

How did you come up with the art swap idea?

Sydney Sue: I really enjoyed looking at Dylan’s (Halcyon House) art on Instagram. I saw that he worked for a hotel in Australia that I love!

He paints some of their rooms, landscapes and furniture. Instead of simply purchasing an art piece, I wanted to be able to look at his piece and tell a story, so I sent him a quick note on Instagram and the rest was history! 

How does it work?

Sydney Sue: Dylan was the first artist I reached out to. I sent him an Instagram message that said “Would you be open to an art swap? I run a hotel and I’m normally so busy, but now with all this free time, I am getting back into painting. I am almost done with a painting, and I could wrap it up and send it to Australia. You could paint one, wrap it up, and send it to Texas. Just a fun thought and something to look forward to during this quarantine. Let me know your thoughts!” 

With no hesitation, Dylan agreed! I told him there were no boundaries on the project, he could paint anything he wanted to! 

We set a deadline, made plans to visit one day, and started painting!

Who is involved?

Sydney Sue: It started with just Dylan and myself, but quickly other hotels were interested and wanted to join in! Beyond that, I had mostly been sending little pieces to my friends, and telling others about it to hopefully inspire them to do the same.

Some of the other hotel owners we’ve connected with are the founders of Hotel Agua Claras, another hotel founded by a mother-daughter duo, and Cayuga Collection properties and Bluefields Bay Villas in Jamaica. 

Can you describe the artwork being shared?

Sydney Sue: Since I have a ton of time to think right now, I’ve been dreaming up my next project. My dream would be to buy an old 1940’s motor court and do a full remodel into another boutique hotel. It’s something I have always wanted to do. It’s slightly different from The Wayback, since we designed and built it from the ground up. I wanted to incorporate that feel into this painting. 

I found my old paintings from my lessons with the art professor, and pulled inspiration from Vintage Ralph Lauren fabrics. I was also inspired by a painting I found on Etsy that someone outbid me for. Since I wasn’t able to buy it, I wanted to recreate something similar. 

I painted a young businessman in his 30’s traveling through the mountains on his way to…somewhere. It has a 1940’s feel just from a man traveling in a suit on a train, and the vintage striped window covering.  He is eating his eggs over easy and drinking his coffee with extra cream. He is looking out the window and planning his next move. He seems calm, collected, sophisticated, but it causes you to wonder what he is thinking about.

What has been the response?

Sydney Sue: “Rock on!” “Thumbs up!” “Let’s do this!” “Thanks for reaching out!”

“How can we get involved?!”

For me, it’s not necessarily about receiving a beautiful piece of art – it’s about the new friendships and connections, the anticipation, the excitement, and most importantly, the story it will tell. Knowing that it is going to someone I have never met in-person makes me want to make it perfect. It’s like a new spin on the idea of pen pals!

These art swaps will remind us all about the “me time” we gave ourselves during COVID-19, and the time we connected and banded together when we didn’t know what would happen to us next. It’s a way to stop stressing about work and constantly trying to figure it all out.

Painting gives me peace, and I am excited to pass that on to other hospitality workers during these uncertain times.

What are your hopes for the cottages in the future?

Sydney Sue: I hope that I have more time to re-decorate and paint more pieces for the cottages. I want each one to take on its own personality.

I have no plans on shutting down. My plan is to grow and create more opportunities for others to enjoy the beauty of the Texas Hill Country here at The Wayback.

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Art and Ephemera Once Owned by Pioneering Artist Mary Beth Edelson Discarded on the Street in SoHo – artnet News

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This afternoon in Manhattan’s SoHo neighborhood, people walking along Mercer Street were surprised to find a trove of materials that once belonged to the late feminist artist Mary Beth Edelson, all free for the taking.

Outside of Edelson’s old studio at 110 Mercer Street, drawings, prints, and cut-out figures were sitting in cardboard boxes alongside posters from her exhibitions, monographs, and other ephemera. One box included cards that the artist’s children had given her for birthdays and mother’s days. Passersby competed with trash collectors who were loading the items into bags and throwing them into a U-Haul. 

“It’s her last show,” joked her son, Nick Edelson, who had arranged for the junk guys to come and pick up what was on the street. He has been living in her former studio since the artist died in 2021 at the age of 88.

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Naturally, neighbors speculated that he was clearing out his mother’s belongings in order to sell her old loft. “As you can see, we’re just clearing the basement” is all he would say.

Cardboard boxes in the street filled with an artist's book.

Photo by Annie Armstrong.

Some in the crowd criticized the disposal of the material. Alessandra Pohlmann, an artist who works next door at the Judd Foundation, pulled out a drawing from the scraps that she plans to frame. “It’s deeply disrespectful,” she said. “This should not be happening.” A colleague from the foundation who was rifling through a nearby pile said, “We have to save them. If I had more space, I’d take more.” 

Edelson’s estate, which is controlled by her son and represented by New York’s David Lewis Gallery, holds a significant portion of her artwork. “I’m shocked and surprised by the sudden discovery,” Lewis said over the phone. “The gallery has, of course, taken great care to preserve and champion Mary Beth’s legacy for nearly a decade now. We immediately sent a team up there to try to locate the work, but it was gone.”

Sources close to the family said that other artwork remains in storage. Museums such as the Guggenheim, Tate Modern, the Museum of Modern Art, the Brooklyn Museum, and the Whitney currently hold her work in their private collections. New York University’s Fales Library has her papers.

Edelson rose to prominence in the 1970s as one of the early voices in the feminist art movement. She is most known for her collaged works, which reimagine famed tableaux to narrate women’s history. For instance, her piece Some Living American Women Artists (1972) appropriates Leonardo da Vinci’s The Last Supper (1494–98) to include the faces of Faith Ringgold, Agnes Martin, Yoko Ono, and Alice Neel, and others as the apostles; Georgia O’Keeffe’s face covers that of Jesus.

Someone on the streets holds paper cut-outs of women.

A lucky passerby collecting a couple of figurative cut-outs by Mary Beth Edelson. Photo by Annie Armstrong.

In all, it took about 45 minutes for the pioneering artist’s material to be removed by the trash collectors and those lucky enough to hear about what was happening.

Dealer Jordan Barse, who runs Theta Gallery, biked by and took a poster from Edelson’s 1977 show at A.I.R. gallery, “Memorials to the 9,000,000 Women Burned as Witches in the Christian Era.” Artist Keely Angel picked up handwritten notes, and said, “They smell like mouse poop. I’m glad someone got these before they did,” gesturing to the men pushing papers into trash bags.

A neighbor told one person who picked up some cut-out pieces, “Those could be worth a fortune. Don’t put it on eBay! Look into her work, and you’ll be into it.”

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Biggest Indigenous art collection – CTV News Barrie

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Biggest Indigenous art collection  CTV News Barrie

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Why Are Art Resale Prices Plummeting? – artnet News

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Welcome to the Art Angle, a podcast from Artnet News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.

The art press is filled with headlines about trophy works trading for huge sums: $195 million for an Andy Warhol, $110 million for a Jean-Michel Basquiat, $91 million for a Jeff Koons. In the popular imagination, pricy art just keeps climbing in value—up, up, and up. The truth is more complicated, as those in the industry know. Tastes change, and demand shifts. The reputations of artists rise and fall, as do their prices. Reselling art for profit is often quite difficult—it’s the exception rather than the norm. This is “the art market’s dirty secret,” Artnet senior reporter Katya Kazakina wrote last month in her weekly Art Detective column.

In her recent columns, Katya has been reporting on that very thorny topic, which has grown even thornier amid what appears to be a severe market correction. As one collector told her: “There’s a bit of a carnage in the market at the moment. Many things are not selling at all or selling for a fraction of what they used to.”

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For instance, a painting by Dan Colen that was purchased fresh from a gallery a decade ago for probably around $450,000 went for only about $15,000 at auction. And Colen is not the only once-hot figure floundering. As Katya wrote: “Right now, you can often find a painting, a drawing, or a sculpture at auction for a fraction of what it would cost at a gallery. Still, art dealers keep asking—and buyers keep paying—steep prices for new works.” In the parlance of the art world, primary prices are outstripping secondary ones.

Why is this happening? And why do seemingly sophisticated collectors continue to pay immense sums for art from galleries, knowing full well that they may never recoup their investment? This week, Katya joins Artnet Pro editor Andrew Russeth on the podcast to make sense of these questions—and to cover a whole lot more.

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