dollars, according to Mr. Scag-
lione. Recently, Park West took
its show on the high seas: it be-
gan showing collections on char-
ter cruise lines.
Whereas Mr. Scaglione views
his approach as a way to "make
art accessible," his gallery is fre-
quently criticized for commer-
cializing art. Park. West billboards
along 1-696 and radio advertise-
ments have increased name
recognition for the gallery. But
some suggest that the advertis-
ing campaign gives Park West the
image of a high-end retail center.
That type of overt "selling" of
art is contrary to the more tra-
ditional gallery approach — the
intimate interaction between a
work of art and the viewer, with
the dealer on hand to facilitate
the marriage.
The Lemberg Gallery in Birm-
ingham credits its success to a
face-to-face approach with clients.
"We avoid the perception of
`making a deal,' " said Darlene
Carroll, gallery director. Nearly
a third of Lemberg's revenues
come from corporate clients.
"We make sure that someone
buying art from us can live with
it. So, we'll bring a piece out to
them so they can see it in their
home or office before they buy it,"
she said.
The problem, however, is that
many good works of art never get
seen because few people know

.T2

Galleries can't sell
artwork unless they
get noticed.

where to find them. Most galleries
announce a show by sending a
post card of the featured artist, or
rely on press releases.
Some museums and galleries
have turned to the Internet to
promote their exhibits. The re-
sults, however, are mixed. Down-
loading a "work of art" seems
sterile, especially when "art ap-
preciation" is supposed to inspire
a heightened sense of humani-
ty.
Regardless of marketing meth-
ods, galleries can't sell their art-
work if they can't get noticed.
That dilemma reflects a broader
question about the role of art in a
commodity-obsessed society
where the mainstream seeks en-
tertainment rather than enlight-
enment.
"A gallery is a place to come to
have a 'dialogue' with an artist,"
said Ms. Hilberry, who worked at
the Detroit Institute of Arts mod-
ern art department before open-
ing her gallery. "Although there
seems to be fewer people who
question things, I hope people see
the gallery as a platform of in-
vestigation, a place for discovery."
And, of course, a place where
the apparent contradictions of art
and commerce are on display. ❑

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