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dous amount of affluence out
there among young collectors who
didn't participate in the late boom
of the '80s. They're not
jaded by what hap-
pened."
Since closing his long-
time Birmingham gal-
lery, Donald Morris has
been working more fre-
quently from New York,
where he buys and sells
art internationally. Mr.
Morris, who has been an
art dealer for nearly 40
years, considers a deal-
er foremost an educator.
"You have to learn the
language of art before
you start to make value
judgments about it," he
said. "A dealer learns
how to look at art, and
educates collectors."
While Detroit has a
relatively small art mar-
Part of David Klein's success came through
ket compared to New
"downsizing."
York, Chicago, Los An-
reaction throughout the gallery geles, Paris and London, Mr. Mor-
world. When demand abruptly ris rates local collectors "as good
fell away as short-term investors as you'll find anywhere." During
left the market, the consequences the last several years, Mr. Mor-
were devastating. The result: the ris has noticed a new, aggressive
prices paid for many works of art crop of younger art dealers across
the country.
quickly depreciated.
Clearly, Mr. Klein can be in-
The art market crash of the
early '90s scared away many buy- cluded in that category.
"Not all gallery owners are De-
ers. Mickey Nemer, a Franklin
resident and avid collector of pre- mocrats," quipped Mr. Klein, ex-
Columbian, Egyptian and African plaining that a capital gains tax
artifacts, hasn't bought any art cut could help sales. He's learned
since the crash. A piece he paid how to be lean, build capital re-
$65,000 for in 1989 was recently serves and be prepared. The Klein
Gallery no long holds one-person
sold at Christie's for $30,000.
"I buy because I appreciate shows; instead, it is divided into
art," he said. "But it's harder to three areas where the art exhibits
appreciate a piece of art if it's "offer something different."
Eclecticism is the key to sur
worth less today than what you
vival, according to Ray Fleming,
paid for it."
Today, many galleries take a director of the Robert Kidd
20- to 30-percent commission, Gallery.
"My philosophy is to have a
maintain a varied inventory, look
for artists with solid reviews from large selection so you're covering
critics, a resume of impressive ex- a wide selection of tastes. Even if
hibits and a history of work that the market is down, people will
still come to you because you have
has sustained market value.
Leaving law school to open an a selection," he said.
Yet at times, offering variety
art gallery in 1990, David Klein
faced a rude awakening. Short- isn't enough. Some galleries take
ly after starting his gallery in their art on the road. Arlene Se-
Birmingham, he experienced the lik, co-owner of Sybaris Gallery
type of angst portrayed in Ed- in Royal Oak, will soon load up a
ward Munch's The Scream. After truck of crafts and fine sculptures
a few sales in the first month, he and head to the national arts
went six months without any rev- show at the Navy Pier in Chicago.
Except for its annual Basketry
enue. But since then, Mr. Klein
has found his niche: representa- Invitational, Sybaris attracts
most of its clients from outside the
tional painting.
Last year, he cut overhead and metro area. The gallery advertis-
moved to a smaller space in Birm- es regularly in American Crafts,
ingham. Selling a painting val- Fiber Arts and American Ceram-
ued at around $300,000 didn't ics to connect with its customers,
hurt: His "art downsizing' led to who are typically in their early
50s, said Ms. Selik.
his "best summer ever."
Perhaps Park West has per-
At 30, he's one of the youngest
gallery owners. Mr. Klein views fected "art on wheels." Each week,
his age as an advantage since collections of paintings, prints,
many of his clients are younger watercolors and drawings are
collectors with MTV, computer loaded into 48-foot trailers and
wizardry and career ambitions in driven to sites at museums, ho-
tels, even synagogues, where the
common.
"Buying art is business and so- works are auctioned for prices
cial," he said. "There's a tremen- from $100 to tens of thousands of
es like Sotheby's and Christie's
not only inflated the top end of the
art market but inspired a chain-