Well, this has been a bumpy few months

Hello again! It’s been a while, I know.

In March, the city of Columbus was shut down, with stay-at-home orders issued by the Governor. All businesses closed, and were to remain that way for what turned out to be two months. When businesses did start to reopen, it was sporadic. Some weren’t prepared for the sanitation and safety issues that would be required. Some didn’t make it through the two months of being closed. It was a rolling, residual effect — restaurants couldn’t fully reopen and instead reverted to carryout and limited service,, pedestrian traffic slowed for shopping, realtors that deal with commercial real estate were inundated with empty spaces and terminated leases, small and micro-business was made more difficult. It was like watching a train coming, if you were on the tracks and couldn’t get untied (like the old black and white movies).

The locations where I display work were frozen in time. The work of Muse Gallery artists was left in place at Smith Bros., Gallerie Bar & Bistro, G Michaels, but nobody was allowed in those buildings at first, then many that worked or visited those buildings stopped working there, are working from home, or businesses that occupied those buildings went out of business. Luckily, all made it through and are still functioning in a modified form, but the artwork certainly isn’t getting seen as it was before. For example, at Smith Bros. Hardware building, many of the businesses that operated in that building have continued to have their employees work remotely. Juniper Restaurant, which was on the rooftop of Smith Bros., closed permanently. Guest stays at the Hilton and the Gallerie Bar & Bistro in the Hilton dropped dramatically.

Following the shutdown orders, protests and riots broke out in Columbus for the Black Lives Matter movement, and business in the Short North area of Columbus (where Smith Bros. and the Hilton are located) were boarded up and closed again. It was the one-two punch that, for many, was the final straw. We are still, in Columbus, in a state of flux. There’s a rolling effect of more businesses closing because of ongoing safety concerns, lack of foot traffic, emotional exhaustion, etc.

Interestingly, after 25 years in business, I seem to have built a remarkably loyal customer base, and an amazing stable of artists that people across the country continue to collect and support. Muse Gallery is fine, and I thank all of you for that. Thank you to Capitol Equities for reopening Smith Bros. Hardware as safely and quickly as possible. Thank you Hilton Columbus Downtown for continuing to operate through all of this, and for initiating positive services such as curbside pickup, free meals for your employees, etc. And thank you, especially, to those collectors who purchased during the shutdowns. It was important to the viability of Muse Gallery and critical for some of the artists. Thank you, thank you. Based on the customers I had reach out and buy, and the utter joy that provided, I decided to “pay it forward”. I started buying artwork by my artists. Win/win!! I get beautiful artwork, they get the support many of them so desperately need. It hasn’t been monumental, but it’s been something. One piece here, one piece there. Please, if you haven’t purchased artwork lately, consider it. Artists often worked in the “gig economy”, multiple small jobs or self-supporting as artists. There aren’t alternative jobs now — waiting tables, teaching, etc., Please, consider supporting the artists. They need you, and you need art!!

I’ll close by showing some of the smaller, more affordable pieces available by Muse Gallery artists. Hope to hear from you soon.

Christopher X. Bost, Bonsai, 14” oval, $500

Christopher X. Bost, Bonsai, 14” oval, $500

Wendy Franklin, Companionship, 30”x30”, $2,800

Wendy Franklin, Companionship, 30”x30”, $2,800

Sol Halabi, Summer Dream, 12” round, $2,400

Sol Halabi, Summer Dream, 12” round, $2,400

Christina Hall-Strauss, Floating #10, pastel on paper, 16”x20”, $650

Christina Hall-Strauss, Floating #10, pastel on paper, 16”x20”, $650

David Hostetler, Earth Goddesses, Lithograph 7/30, $1,500

David Hostetler, Earth Goddesses, Lithograph 7/30, $1,500

Brandon C. Smith, Pressure, charcoal and pastel on paper, 30”x44”, $2,900 framed

Brandon C. Smith, Pressure, charcoal and pastel on paper, 30”x44”, $2,900 framed

Char Norman, Preserved II, 3”x8”, $650

Char Norman, Preserved II, 3”x8”, $650

Carole Pryharska, Symbiotae Series, 16”x18” acrylic on canvas, $750

Carole Pryharska, Symbiotae Series, 16”x18” acrylic on canvas, $750

Dave Senecal, 08-2017-#7, oil on paper, 14”x17”, $350

Dave Senecal, 08-2017-#7, oil on paper, 14”x17”, $350

Bonnie Teitelbaum, Bayou Garland, acrylic on panel, 15”x15”, $950

Bonnie Teitelbaum, Bayou Garland, acrylic on panel, 15”x15”, $950

Another "take" on gallery representation (by Char Norman)

A Case for Gallery Representation


As a professional artist, a strong case can be made for the key role the gallery and gallerist play in the life and success of a visual artist. An on-going discussion of gallery representation for artists questions the need and reasonableness of the percentage of art sales retained by the gallery at the expense of the artist. This is a short-sighted view of the importance of the role the gallery plays in the career and development of the artist. I have spent time perfecting my artistic voice and techniques, while the gallerist has spent time honing business, marketing, and promotional acumen. 


My job, as a successful artist, is to maintain studio hours in which I develop concepts, perfect my technique and create the work that defines my career. Without the gallery, I would be pulled away from the studio to address the needs of my art business. These duties would include records from sales, inventory, tax records and all other accounting duties. Sales of the work would involve packing, shipping, and or delivery of the work. A major role of the gallery is publicity and marketing of the work through social media, press releases, articles and print materials. This does not even begin to address exhibitions and all that involves; from identifying spaces, transporting work, designing and installing the work, staging receptions and special viewings, and finally striking, packing and returning work to clients or to storage. If I were to do all of these things myself, I would have little time to actually create the work. 


One cannot be an expert in all things. I have no aptitude or inclination to learn, let alone, become an expert in the many duties the gallery performs for me. A good gallerist has connections and a client base, makes contacts, educates the public to the value of art and the voice of each individual artist, and teaches clients how to develop and maintain a collection.  

An eye for good art and the knowledge of the art market and its trends, serves the artist in myriad ways from placement of work, sales, constructive critiques, to the pricing of the work.  


Expenses associated with the development of artist’s career and the promotion of the work is the responsibility of the gallery. These costs include all overhead involved in maintaining a physical space, bills incurred to promote, ship, develop relationships, hold receptions, install shows, and countless other details of running the business. As an artist, I have the cost of creating the work and maintaining my studio. The percentage of sales maintained by the gallery, is in effect, the fee I pay the gallerist much as one would pay any professional who does work for you.  Without the partnership between gallery and artist, many artists would not be able to maintain and thrive in their chosen work and careers. 


Char Norman


From Caren: I’ve asked some of the artists what their thoughts are on galleries and representation, after fielding a few comments from potential collectors, so that the public may better understand an artist/gallery relationship. It’s so important that we make the case for each of us having our own, critical, valuable role to play in this business. I’m proud of what I do for the artists and for the community. I hope only to convey that my ultimate purpose is to expose and introduce great artists to this great city.

Char has shown with Muse Gallery for years. I am passionate about Char’s work; so passionate, in fact, that I own one or two myself.