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I recently received an interesting letter with regard to our posting of an upcoming gallery show at the Russell Bowman Art Advisory space.  The question came from street photographer Robert M. Johnson, www.fullframeimages.com.  Bob posed the question of “profit”?  I thought it was a very good question and concern to have regarding our handling of the project.  Ship captains’ names are only remembered when they sink their vessels, not wanting to go there myself, I wrote a lengthy letter of why I decided at this juncture to do the show and sell work.  In short, my reply stated that I wasn’t looking for a profit but to be compensated for some of the funds that have gone out on the project. This led to a lengthier reply, and Bob and I thought it would be a good thing to share some of the contents of that letter:

My thoughts as far as “art and money” are concerned is that the “money” part of the equation serves as the lubricant that keeps the “art” part moving forward.  To keep progress moving forward, artists, art programs and collections need money, as do galleries and museums.  Patrons and collectors are the ones that supply the “grease” or “money” to the machinery, helping to facilitate art production and in helping to bring art to the public attention.  For the artists and art facilitators, money buys us resources to make art and present it in the best way possible.

There’s a real “nuts and bolts” part of the endeavor of bringing Vivian Maier’s work to the public’s attention.  Presently, both John Maloof (whom I have daily contact with) and I are extremely vested in the project.  Bear in mind that this is not a cry of injustice; we both embrace our decisions and feel fortunate to be involved in what we’re doing.  In fact, we have both had kind financial offers from others but have declined.

What are some of the expenses, you rightfully may ask?  I can’t speak directly for John although I know many of our costs are a duplicate of one another’s.  A brief list includes, incorporating a company, insurance, legal counsel, accountant, fire-proof safes and cabinets, dehumidifiers, sump pump systems, alarms and security, employee(s), electronic equipment, archival and storage materials, and the cost of Vivian Maier’s work.

The last expense listed, the cost Vivian Maier’s work, has been the largest expense of which I have made four purchases with each purchase being progressively higher in cost than the previous.  Interesting to note is that John and I made a recent purchase, of which I have to limit the details, of some thousands of Vivian Maier images that we have been aware of for awhile.  This transaction was not for the feign of heart as it was consummated far away from Chicago in a randomly selected hotel conference room, with a total of seven people involved including  two off-duty law enforcement agents (FOID’s current) to make sure all went “as agreed to.”  John and I both feel that this was the last of any outstanding part of Vivian Maier’s collection and are pleased to bring it (back) into the fold.  Note too, that John and I have entertained the thoughts of conjoining our collections and the possibility of establishing a “brick and mortar” foundation.  Due to the time, cost, and complexities of our initial talks we have both agreed at this juncture to revisit these possible plans at a later time.

Besides spending funds to roll a project like this along, both John and I have willingly placed ourselves in a position of having shut down our usual business enterprises.  It helps to be self-employed to do a project like this because it’s certainly not something that can be done in one’s spare time.  Besides an art background, I’ve been a carpenter (4th generation), and cabinetmaker.  After 30 years I have chosen to close my Carpentry-Artworks business down back in May of last year. In this economy it may never recover.  Again, it was my choice and decision, no tears.  My 1,400 square foot shop sits idle.  To finance this project, John and I have had to rely on lines of credit and working spouses to “keep our boats afloat.”  I don’t know what has taken a heavier toll in my household, eight months of lost wages, or me wanting to take a saw to our sofa as I craftily converted our living room to a Vivian Maier office space.  I thought it was a good idea to match our dining room that was lost long ago to my cabinetry business.
Again, no tears, there’s the numerous hours I have put in on archiving and orchestrating all related aspects to the project.  I’m blessed to be an insomniac.  To date, I have not received any compensation and in order to continue to properly facilitate this project, keeping our best foot forward; it’s time for some “grease.”  We now have a firm handle on my portion of the collection in addition to having a need for funding. Hence, the time is ripe for a show.

I asked Russell Bowman if he was interested in doing a show, largely because he is held in high esteem with both artists (myself included) and gallery owners here in Chicago.  If you visit the Russell Bowman Art Advisory site and click the “About Us” link, you’ll be able to read an impressive description of Mr. Bowman’s accomplishments.  Russell Bowman, having served for over 15 years as the Milwaukee Museum’s Director should bring comfort to all that the show will be handled in a top notch, professional manner.  Bowman’s gallery is a small, warm, intimate space that I have always been fond of, and it seems appropriate for Vivian’s work.

Also on board for the show is the master printer, Ron Gordon, rongordonphoto.com.   Ron is coming out of retirement and postponing his move to New York to do this project.  Ron’s protégé, Sandra Steinbrecher, sandrasteinbrecher.com, who has a wonderful background as well, will assist in the production of silver gelatin prints.  Most fortunate are we.
If you folks want to read a little more about me, Google “Illinois Wesleyan University” and my name, “Jeff Goldstein” to read an article about some of my art experience.  Additionally, I have curated a few shows here in Chicago, including one as recent as this past fall.  Over the years, I too have had a few showings of my work.  I have no website…

As I was telling Robert Johnson, the guy responsible for this essay, besides the process of making art, I love the places art takes you and the people that you meet.  I thank all those mentioned above. I am personally honored for their involvement and fortunate that our paths have crossed.  My continuing thanks to Paul Natkin, natkin.net, who has added his indelible mark and professional touch to this project.  His added touch has kept the project in the realm of respect and honor to the maker, Vivian Maier, of whom we never lose sight of.  Thanks too, to Anne Zakaras on keeping day to day operations moving along in her upbeat way.  Ongoing thanks to Frank Jackowiak and his staff of volunteers at the College of DuPage for their fine herculean effort they are performing on developing and making contact sheets of rolls of undeveloped film.

Thanks also to my wife Lisa Vogel, for her support, computer help and tolerance; tolerance both towards me, the project and the loss of a living room.

-Jeff Goldstein