| In 1951, Alexander Calder (1898-1976) was | | | | sources, I visit artist and gallery Web sites. All of |
| bursting onto the international art scene. Two | | | | this legwork is done before I make my first trip |
| years earlier, the Philadelphia native constructed | | | | to the area. |
| his largest mobile, "International Mobile," for the | | | | Q: So when do the artists start fitting into your |
| Philadelphia Museum of Art's Third International | | | | store layout? |
| Exhibition of Sculpture. His works were featured in | | | | A: When I have artists in mind, I look at the |
| the best galleries and a retrospective was | | | | scope of their work. I take that information and |
| mounted at the Museum of Modern Art in New | | | | work hours upon hours on my floor plans, looking |
| York. Shows in Paris followed. | | | | at wall elevations and different options. It is similar |
| But before he began focusing on large-scale | | | | to fitting puzzle pieces together. Adjacencies are |
| commissioned works -- such as ".125" at John F. | | | | extremely important. For example, if the |
| Kennedy Airport in New York and "El Sol Rojo" in | | | | presence of designer shops create several walls |
| Mexico City -- Calder met Stanley Marcus | | | | which are seen in the same view, it is crucial that |
| (1905-2002). At the time, Marcus had just | | | | the art pieces are complimentary. The works of |
| assumed the CEO post at Neiman Marcus, the | | | | art in any given store need to flow. Once I'm |
| department store founded by his father and aunt. | | | | comfortable with the fit, I then approach the |
| Impressed with the artist's work, Marcus | | | | artist and commission him or her to produce a |
| purchased a Calder mobile in 1951. "Today, it's the | | | | piece of a specific size. Approximately 85 percent |
| most prized piece in the Neiman Marcus | | | | of all the artwork purchased is commissioned. |
| Collection," says Julie Kronick, corporate art | | | | Q: Most artists must be happy to work with you |
| curator at the Dallas-based luxury retailer. "We like | | | | to achieve your goals. |
| to say that's when the collection officially started." | | | | A: They are usually quite pleased. Neiman Marcus |
| "Stanley Marcus had impeccable taste," adds Greg | | | | is honored to have their work included in the |
| Rohan, president of Dallas-based Heritage Auction | | | | collection and they, likewise, feel fortunate to |
| Galleries, "and that extended to his art collection." | | | | have their work featured. |
| The Neiman Marcus Collection today includes more | | | | Q: What about artists who don't want to |
| than 2,500 pieces spanning all mediums, including | | | | cooperate? |
| paintings, drawings, sculptures, mobiles and even | | | | A: There have been times, yes. Several artists |
| ancient artifacts and textiles from across the | | | | have declined, most likely, because they would |
| world. Works range from Mexican artist Rufino | | | | rather have their work purchased by a museum |
| Tamayo (1899-1991) to French artist and sculptor | | | | or private collector rather than a retailer. We |
| Jean Dubuffet (1901-1985). Unlike most corporate | | | | respect their wishes and move onward. There are |
| collections, pieces from the Neiman Marcus | | | | so many artists doing interesting, sophisticated |
| Collection are spread across the country, | | | | work in abstraction who are pleased to be a part |
| displayed at the company's 41 full-line Neiman | | | | of who we are and what we do. As for the |
| Marcus stores. "Most of the pieces are not | | | | others, if it's not a right fit, it would not be a |
| housed in a warehouse or in the executive | | | | successful project. |
| offices," Kronick says. "The majority of the work | | | | Q: You must receive unsolicited portfolios from |
| is in our stores, on view for customers and | | | | artists all the time. |
| associates to enjoy." | | | | A: I get hundreds of portfolios. If an artist sends |
| Q: You first came to Neiman Marcus as a private | | | | a package or directs us to his or her Web site |
| consultant in 1990, correct? | | | | and it is not what we are interested in, they are |
| A: I was initially hired on contract to work for | | | | at least owed a response. I typically explain that |
| four months. I had worked at the Whitney | | | | we work with regional artists, local to where we |
| Museum of American Art in New York, and then | | | | are opening a new store. We also focus primarily |
| at one of Leo Castelli's galleries. I came to | | | | on non-representational work. If someone insists |
| Neiman's as a consultant to work on new store | | | | on presenting images of their Western art pieces |
| openings. Mr. Marcus had already left the company | | | | or traditional botanicals, we politely reply that the |
| by then. | | | | work is not in our scope or focus. |
| Q: How has the acquisitions process changed since | | | | Q: So you must get lots of artwork featuring |
| Stanley Marcus left? | | | | pricey bags and shoes? |
| A: There are two big changes. First, while Mr. | | | | A: Occasionally we do. Generally, we don't mix |
| Marcus was at the helm, he made most of the | | | | fashion with art. The more recent acquisitions |
| decisions regarding art acquisitions. Mr. Marcus had | | | | certainly reflect my taste. If someone else came |
| an appreciation for all types of fine art, from | | | | on board as curator, his or her stamp would be |
| textiles to sculptures to mixed media. He was at | | | | left on this collection, too. But I am not interested |
| liberty to buy what moved him, and he made | | | | in fashion as the subject matter for the art. It is |
| some significant purchases. I could never acquire a | | | | important that the works in our collection stand |
| Jean Dubuffet today or an Alexander Calder. | | | | on their own integrity. They should have the |
| When I first came to Neiman's, I thought it would | | | | same strong presence and validity, whether they |
| be more wise to acquire three to four important | | | | are installed in a retail environment or any other |
| pieces a year and really highlight them within the | | | | environment. |
| company and for our customers. But I soon | | | | Q: Are any other themes off limits when you look |
| recognized that we have so many spaces and so | | | | for art? |
| many stores that it's better to buy more work | | | | A: We focus on abstract, non-representational |
| and cover more ground. The second big change is | | | | work. If someone brought you into our Hawaii |
| that Mr. Marcus bought art without particular | | | | store, and then 15 minutes later blindfolded you |
| spaces in mind. That is why I found a lot of | | | | and took you to our San Antonio store, you |
| artwork housed in a warehouse, awaiting the | | | | would see a consistency. Nothing is cookie-cutter |
| appropriate space to be installed. On the other | | | | in our stores, especially the art. The high level of |
| hand, I buy art for site-specific locations. | | | | taste and sophistication are the consistent factors. |
| Q: What is your annual acquisitions budget? | | | | While we want the work to be interesting and |
| A: I am not at liberty to tell you. The budget does | | | | thought-provoking, we believe it can be beautiful |
| vary, and when we open a new store, the art | | | | and entertaining as well. |
| budget generally is based on the square footage | | | | Q: But that doesn't mean you don't push artists. |
| of the store. | | | | There have been times you've asked artists to |
| Q: What is the most you've spent on one piece | | | | do things they don't normally do, right? |
| of art? | | | | A: I think we sometimes stretch an artist in a |
| A: It would probably be an outdoor piece, | | | | way that he or she may not have been |
| something that is much larger in scale. We do not | | | | stretched before. About eight years ago we |
| always have the space to accommodate these | | | | asked artist Richard Beckman to create a large |
| monumental pieces, but when we do, they make | | | | sculpture for one of our focal spaces. He had |
| quite a statement. | | | | never worked in this large scale before. After |
| Q: How many pieces do you acquire each year? | | | | some hesitancy, he took on the task, conquering |
| A: It depends if we are opening a new store or | | | | several engineering challenges. The finished piece is |
| working on a major remodel. An average per | | | | dynamic and quite breathtaking. Sometimes, as in |
| store is approximately 100 to 150 works. We | | | | this case, we believe that if we can stretch an |
| may acquire several pieces by the same artist, so | | | | artist and open them up to something they |
| we may have 25 to 30 artists represented in a | | | | haven't considered, the end result can be an |
| given store. | | | | exciting step into another phase of their work. If |
| Q: So explain how you go about looking for pieces | | | | we can encourage an artist to reach beyond his |
| to fill a particular store. | | | | or her potential, it's a win-win. |
| A: Generally, about a year before a store opens, I | | | | Q: Who are some of the artists you've acquired |
| begin the process of networking in a particular | | | | whose pieces have now skyrocketed in value? |
| region. I sometimes start with the gallery guide | | | | A: Of course the most noticed price escalations |
| for a given city and call on galleries from those | | | | are seen with our larger sculptures, such as our |
| listings. I also approach art dealers who live in | | | | Alexander Calder, Jean Dubuffet, Alexander |
| various parts of the country. The ones who I | | | | Liberman and Harry Bertoia sculptures. Some of |
| work with understand our parameters, as far as | | | | our limited edition prints have also increased in |
| taste level, style and price point. Sometimes I | | | | value over the years. A lot of our artists have |
| contact the curator at a local museum and inquire | | | | certainly received national and international |
| about some of the younger local artists who are | | | | attention. |
| doing exciting work. In addition to the above | | | | |