Latest / philly has heART / Works on Paper Gallery feat. Evan Slepian

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Works on Paper Gallery feat. Evan Slepian · philly has heART

0:14
Hey, Lucinda. Hey, Robert. I previously had Robert's
0:18
microphone turned off, guys. Whoops. Yep. Well,
0:22
now I know how you really feel. That's not true.
0:25
That's not true. Well, we got to hang out this
0:28
weekend. And any weekend when I get to see Robert
0:30
is a good one. Yeah. We went to First Friday,
0:34
and this time we went to First Friday in Old
0:37
City. And we got to see some of our favorite
0:40
friends. Friends of the pod. We hit them all
0:43
up. Well, we missed a special one. Well, that's
0:46
true. Our faves, Museum for Art and Wood. We
0:49
had to get to our reservation. That's okay. We'll
0:52
see you next time. Exactly. Yes, we will. Yes,
0:54
we will. Always. Okay, list two we saw. We saw
0:58
Jane Gallery. We saw Muse Gallery. We saw...
1:05
Surely that's not all. We saw the Ministry of
1:09
All. Ministry of All. Oh my gosh. We got to see
1:12
Meg. We got to see Lynn. We got to see Mary.
1:15
The trifecta's all there. Yes. And they had an
1:19
opera singer right outside the Ministry of All.
1:22
I think it was more like... An opera troupe?
1:25
An opera troupe. It was great that that was actually
1:28
going on because it pulled people down that alley.
1:31
Because I don't know if people know this right
1:33
now, like the front... entrance to ministry of
1:36
all is closed due to all the construction so
1:40
you have to go down the back entrance that's
1:44
through an alley to get in to the bank building
1:47
which is also super super cool and here's meg
1:51
making art with her friends and neighbors while
1:56
first friday is going on amazing it's a blast
1:59
of a time last night i went to ballet x a man
2:02
how was it Amazing. During the first act, there
2:08
was a downpour, which really added to the ambiance
2:10
of the performance. As soon as the first act
2:14
concluded, Petit Garçon said, I stayed up during
2:18
the entire thing. And I'm like, that's half of
2:21
it. And the oldest one was being a little naughty.
2:26
So we actually left right before the second act
2:29
started. Gotcha. I'm really regretting that,
2:32
but it was amazing. Can't put words to it. Yeah.
2:36
Oh, I saw Eli's mama. Love that woman. Love that
2:39
Southern woman. Eli, friend of the pod. Yes.
2:42
Hey, we only have this recording studio for 11
2:45
more minutes, so let's get to the conversation.
2:48
To the convo. This is Robert Marsh, and you're
3:04
listening to Philly Has Heart podcast. In this
3:07
podcast, we sit down with artists, gallerists,
3:10
educators, curators, and other creatives who
3:14
comprise the Philadelphia art world to discuss
3:16
upcoming performances, exhibits, and other events
3:20
and initiatives that are not to be missed. The
3:24
art scene in Philadelphia is so rich that it
3:27
can seem daunting. Consider this your weekend
3:30
cultural recommendation. With me always is my
3:34
producer, Lucinda Dyerland. Hello, hello. And
3:37
today we have Evan of Works on Paper Gallery.
3:41
We're so happy to have you. Nice to be here.
3:44
So Evan, can you share your E! True Hollywood
3:47
story with us and tell us a little bit about
3:50
yourself? Trying to figure out whether that was
3:51
real or not. Yeah, I opened up in 1995. I had
3:57
a partner. I was actually working for another
4:00
gallery, and he was a client of theirs. And he
4:04
approached me to open up a gallery. At 24 years
4:07
old, I said yes. Wow. And I bought them out 10
4:10
years later. Wow. Made that deal to move upstairs,
4:14
kind of keep the Rittenhouse Square address.
4:17
And I've been there 30 years. That's incredible.
4:21
That's the quick story. The quick painless story.
4:25
That's perfectly fine. That's perfectly fine.
4:27
It sounds good. Yes. Trust me. Yes. No, I'm sure
4:31
it's had its ups and downs. And breaking points.
4:34
Right. You've seen probably so many artists come
4:38
in and out there throughout the years. I had
4:42
so many different partnerships through that time.
4:45
that you've seen probably artists start from
4:48
nothing to grow to something or artists from
4:51
something grow to nothing because it can go either
4:54
way. Oh, yeah. It's a tough business. And so
4:57
with, you know, works on paper as a 30 -something
5:00
-year -old business, which is older than many
5:03
of that we've had on the pot already, what words
5:08
would you share? for someone who wants to pursue
5:12
a career like yours as a gallerist? Oh, wow.
5:16
Like what I just said, I'm ready to jump into
5:18
the cold pool. Yeah. Just rip that band -aid
5:22
off. Right. Every time there was a breaking point,
5:25
it was a test of my passion for it. It's where
5:30
I stretched my most for the connections I had.
5:33
It's where I was at my weakest. Yeah. Having
5:36
a good support system around it. So every time
5:39
I thought it was going to break, that rubber
5:41
band snapped back. It's three times now, including
5:46
now. What drives you to choose the artists that
5:49
you do? That I've been trying to figure out for
5:51
a long time. The one thing I do know is that
5:53
I think based on survival in this business, meaning
5:57
selling art all the time, I must have a good
6:00
eye. Somebody else has got to tell me that, but
6:04
I could probably. count out the ways of why I
6:07
think I have a good eye. Just because of the
6:09
things I've had access to, the artists that I've
6:12
showcased and done well with, and I've definitely
6:14
had artists that I haven't done well with, where
6:16
my eye didn't work. It's not just the eye, it's
6:20
the access. Whether or not you think your clientele
6:23
will like it. I get approached by tons of artists
6:25
where I like their work, but I'm like, I don't
6:27
think my clientele will buy this, so I kind of
6:29
push that aside. So whatever tastes or whatever...
6:34
I'm looking for, it just comes out of me and
6:37
the connections I have. Instagram's amazing.
6:40
The art schools are amazing. Referrals are amazing.
6:44
I mean, other galleries doing well with artists
6:46
that I can connect with where we can share artists
6:48
is an opportunity. Anytime there's an opportunity
6:52
to put an artist out there. Yeah, and how much
6:55
is the clientele really driving those decisions?
7:01
those, those sways from, from where you thought.
7:04
So I guess it's chicken, chicken or egg, chicken
7:07
or egg. So I started buying, I had to be the
7:10
one that opened up. So I was the one that was
7:12
buying the stuff and I, I got the city's attention
7:15
at the beginning. Yeah. So that I didn't know
7:18
if I had a good eye. I thought at that point
7:20
at that age, I just had good access. You know,
7:23
I didn't really know my eye at that age. And
7:28
did you go to school? I went to the University
7:31
of Maryland. I'm a Terp. I'm a Terp. I'm a Terp.
7:35
No way. Look at these connections. Bachelor of
7:39
Arts. Okay. I went to the Maryland school. Architecture,
7:45
planning, and preservation. That's how I started
7:47
in architecture, and then my teacher told me
7:49
to leave. Wait, which one? I don't remember the
7:52
teacher. It may have been a dinosaur that was
7:54
still there by the time I was there. Oh, I know.
7:55
It was whatever project I submitted that he gracefully
7:58
gave me a D on. He was like, you should be an
8:01
artist. Because I didn't understand. Wow. I went
8:04
in it as an art project. Right. Architecture
8:06
school, and I had no idea, and he was like, pew.
8:08
And the art school is right across the street
8:11
there from the architecture school. Yeah. Yeah.
8:14
Yeah. So I did sculpture, painting, drawing,
8:17
all of it. It did take some art history, but
8:20
that was just prerequisites. Gotcha. We'll catch
8:23
up offline. But yeah. Yeah. So Bachelor of Arts.
8:27
That's incredible. Yeah. And then right into
8:30
the gallery from there. I waited tables and then
8:34
got wind of a gallery that had an opening. So
8:39
I took it. I got it. And then like a year, year
8:43
and a half later, my ex -partner was one of his
8:47
clients, called me up, had lunch with him, gave
8:50
me an option to open up the gallery with a deal
8:52
I probably couldn't refuse. Wow. I had an opportunity
8:56
with moving upstairs, kind of a real estate deal,
9:01
where I was able to get out of my lease downstairs
9:04
and get out of my partnership with my ex -partner.
9:08
Wow. By moving upstairs. Yep. And at the time,
9:11
it was a pretty good move, but I had no idea
9:13
it was going to last that long. So I'm always
9:16
looking to, I'm always reinventing myself in
9:18
that place. That's good. And when you're building
9:22
that gallery, just at the start, do you lean
9:27
more towards new and emerging artists, or do
9:31
you try to find a mixture? I didn't know anything
9:34
when I was opening up the gallery. It was my
9:36
ex -partner's thought process and idea. So at
9:40
that moment, and part of the reason we were called
9:42
Works on Paper was we sold mainly blue chip prints,
9:45
prints from the 60s and 70s and 80s. I mean,
9:49
I was literally allowed to call the Roy Lichtenstein
9:51
studio up and say, how many of those prints you
9:54
got left? I'll take two. Wow. I was right at
9:57
the tail end of that market. I got in at a good
9:59
time because 89 was a big crash. By 95, it was
10:04
recovering. 96, 97, I was in business. So timing
10:08
and access and connectability. That's why I praise
10:12
my ex -partner all the time. But yeah, at the
10:14
beginning it was mostly prints, I would say.
10:18
But, you know, I'm a breed. Half artist, half
10:20
business person. That I connected with artists
10:23
really well. So I would do exhibitions with shows,
10:25
with paintings, drawings, photographs. I experimented
10:29
with everything at the beginning to see where
10:30
my market was. I can't sell photography. I know
10:33
that. Gotcha. I don't think a lot of people in
10:36
the city can. I was going to ask, does anybody?
10:38
It's a tough market in this city, but I had to
10:40
try and figure it out myself. And do you think
10:42
that's specific to Philadelphia? I'm still trying
10:46
to figure that out. Okay. Yeah. Yeah. I don't
10:50
know how to answer that. Yeah. It always has
10:54
been a tough market anyway, Philadelphia. Once
10:58
you get in sort of the higher end collecting,
11:00
a lot of people go to New York. It's a much bigger
11:03
business there. I mean, I was going to New York
11:05
there for a while. When you started, was there
11:09
ever a point where you're like, this doesn't
11:14
work for me? One, three, five years. I was told
11:18
that. Yeah. I was told that. Oh, okay, by the
11:21
partner. By the partner. You better get this
11:23
right. My deal, I guess it doesn't matter. My
11:26
deal was if you can keep this up for five years,
11:29
I'll give you 50 % of the business. But you have
11:32
this amount of money to start with. And then
11:33
it's over. It's almost like sweat equity. That's
11:37
what it is. That's what it is, yeah. It was sweat
11:39
equity. So I opened up in October of 95. Really,
11:44
I made the deal with them in May. worked out
11:46
of his office for two months. He was in advertising.
11:48
So I worked out of his office for two months,
11:50
you know, cause he started the business with
11:52
a, with a collection of stuff. And then we had
11:54
to go buy stuff. And it was just like, that was
11:56
my home base. Right. First computer. I mean,
12:01
I know they taught us when we were kids. No,
12:05
no, no, no, no. That wasn't even, yeah. Wasn't
12:08
even on the plate until I had probably like a
12:10
year after I opened, but that's a whole nother
12:13
story. Yeah. That's it. I mean, So that was a
12:16
deal. If you can keep it open for five years.
12:18
January of 96, so that's about six months later,
12:22
I come knocking on his door and saying, I need
12:25
six grand or I'm not going to stay open. And
12:29
he gave it to me. That was that really bad winter.
12:32
So nobody was coming in. I had no money. And
12:34
I didn't understand budgeting or anything. And
12:37
he gave it to me. and I never had to borrow another
12:42
dollar ever since. In fact, I wrote him a nice
12:44
big check when I made that move. Wow. Yeah, so
12:47
he made out on that deal. That's incredible.
12:49
I made out, too. We both made out. Yeah. I'm
12:51
still talking to him. Right. Oh, that's perfect.
12:53
That's great. That's a good partnership, then.
12:56
Still doing business. I'm here 30 years. I was
12:58
only partners with him for 10. Right. How do
13:01
you find a balance of the inventory that you
13:05
keep on hand? I don't even know. So you have
13:10
inventory, right? At the beginning, he started
13:13
me with X amount of dollars and X amount of pieces
13:15
in inventory, and then I open up the door and
13:18
I try and sell some stuff. He was... And kind
13:21
of the first couple years, he just loved – he
13:24
had an addiction of buying art at auctions. And
13:27
he would just buy stuff and then force me to
13:29
pay for it. And I'm like, how are you going to
13:31
pay for it? He goes, no, you'll figure it out.
13:33
You'll figure it out. So he was doing a little
13:35
buying at the beginning, which always frustrated
13:37
me because I was always like, no, that's not
13:38
what I – I don't like that. That's how I figured
13:40
out my eye. Like a lot of that inventory, you
13:43
know, I had to dump or I don't have or, you know,
13:46
like I couldn't sell. I never really connected
13:48
with it with the client. And my eyes always went
13:51
towards, you know, the Warhol Marilyn, like right
13:55
to the better looking stuff. And so, yeah, so
13:59
over time I stopped him from doing that and started
14:02
taking more charge. And then by year seven, like
14:06
I knew I needed to buy him out. Right, right.
14:08
And how do you keep that balance now? Well, so
14:12
with art that has secondary market value. Over
14:16
the years, I'm always, like, whenever times get
14:18
bad, I'm always dumping it. You know, my wife,
14:21
she goes, we just got that show on Scully. And
14:24
I'm like, I know, I know, bad month, bad month.
14:26
So, like, I just stopped keeping, like, all the
14:28
stuff in my house now is all personal things
14:30
that I would never want to part with. Right.
14:32
The gallery is what I use for, you know, investing
14:34
or putting money into. Gotcha. Also along the
14:39
years, I end up buying artists' works by artists
14:41
that I work with. I put up a show or I curate
14:45
a show, and I want the best piece if I can afford
14:48
it that day. So I buy a lot of artists' works.
14:52
I deal in the secondary market stuff, and one
14:55
of the other components that I did way from the
14:58
beginning but wasn't very good at it and had
15:00
to learn how to do it was publishing editions
15:03
and multiples. So I was doing that from day one.
15:06
Wow. I have over 50 to 75 editions under my belt,
15:10
like from day one. That's incredible. Subbing
15:12
it out to an expert to hand printing them on
15:16
the floor in the gallery just to get the budget
15:19
right. Wow. So all of those components, so what
15:23
you say about inventory, it's a mixture of all
15:25
that stuff. Right. And the one thing I've found
15:29
as I get further along in this, I'd rather not
15:31
have as much stuff. Yeah, right, right. You want
15:35
to keep it light. Or figure out the supply and
15:38
demand of the project so that you can. continually
15:44
make stuff but always be selling it. And that's,
15:47
you know, I always did it as a passion at the
15:50
forefront. But once I figured out that my business
15:52
sense was better, it was nice to combine the
15:56
two and pick the right things to do it with.
15:59
So we've had some success over the years with
16:01
additions and multiples. At this point in your
16:04
career, have you also found ways to work with
16:08
a collector or a client? know what they're looking
16:14
for, and then be a very quick in -between, right?
16:19
That's my whole life. If you want to ask me one
16:23
thing that's kept me around for 30 years, it
16:25
was being able to do that, recognize it at the
16:29
beginning, have access to things. So the internet,
16:32
bring back the internet. Didn't know it 10 years
16:35
before, but... That kind of changed the game
16:38
a little bit when everybody knows what everything's
16:41
worth. You're not much of a dealer, are you?
16:45
A dealer in what? The same information they can
16:47
access on their phone? Right. So you have to
16:50
have a little more savviness these days to try
16:53
and make money on it when things are so relatively
16:56
clear. There's things when there's only a few
16:59
around in the world, it's a different story.
17:01
When there's, you know, every city has one. you
17:06
know, what's your market? Who are you playing
17:08
against? And are you finding that your partnerships
17:12
are better with other galleries or better with
17:15
other artists? It's all, every project is different.
17:18
Everything that has the ability to alchemize,
17:23
I like to call it, where two people can go and
17:25
take something and make it into something. Everything's
17:29
different. So I'm doing projects with artists,
17:31
shows with artists, relationships with buildings
17:34
where they want to fill their floors. I'm working
17:37
on a really nice Warhol deal right now. So if
17:41
you want to be in this business, learn how to
17:42
juggle. Yes. You need to find a few things that
17:45
work. Yes. Because they're not all going to work
17:48
at the same time. Right. Ever. Right. And when
17:51
it is, recession's around the corner. Yeah. Every
17:54
time. That's true. I didn't want to believe it
17:58
at the first time. I actually didn't even understand
17:59
it the first time. But the second time, I was
18:01
like, oh, there's some common characteristics
18:03
going on here. By the third one, I was like,
18:05
oh, yeah, it was December of last year. I knew
18:08
how to plan for this. That's when it started.
18:11
I think the kids are saying recession indicators.
18:15
I mean, the art market has not been in good shape,
18:19
and not many people want to talk about it, but
18:21
the art market has not been in good shape for
18:22
a good solid year now. I mean, I remember last
18:25
August feeling stress and being like, hmm, I
18:28
wonder if this is here to stay, thinking it wasn't.
18:31
Right. And it was. And then things started to
18:34
pick up around January. So it was like a good,
18:36
solid year. And I wouldn't even say it's even
18:38
good now. I would say it's better. Like the first
18:42
quarter this year was better than all of last
18:44
year. That's how bad last year was. Just in terms
18:47
of activity, you know, deals are selling. So
18:49
it's a lot more people saying no, a lot more
18:52
people walking away. Starting and stopping is
18:54
what I keep calling it. A lot of starts and stops.
18:56
And sometimes you get to hit a few, sometimes
18:59
you don't. And so for... novice art appreciator
19:04
who might be interested in starting a collection,
19:08
what advice would you be able to give them? You're
19:10
starting like an art collection. Yes. Just to
19:12
buy art. Right. At the beginning. At the beginning.
19:15
And get used to buying what you can afford. Yeah.
19:19
Get comfortable. Get stuff on the walls. Get
19:21
addicted. Yeah, yeah, yeah. Understand values.
19:24
Because, you know, under a certain price point.
19:27
You know, what's this calf worth? What's this
19:29
table worth? It's like, you know, what's a car
19:31
worth? It's going to be worth less than what
19:33
you paid for it. But you get to enjoy it. You
19:36
have an emotional attachment to it, hopefully.
19:38
You're not ever selling it. It's not for that.
19:41
Once you start wanting to spend some money, then
19:43
you start thinking about, you know, how much
19:45
of the value. People that collect watches don't
19:48
buy watches that go down that fast. Sometimes
19:49
people buy watches that do okay. Or cars that
19:53
do okay. Right, right. Or Bitcoin. Then you never
19:58
know where it goes. I speak from experience when
20:03
I say that until relatively recently, I felt
20:07
intimidated to go into a commercial or maybe
20:10
even a co -op gallery. And I get the sense that
20:12
there are others out there that feel the same
20:14
way. So while I can share that most of those...
20:19
who are staffing the galleries have been delightful,
20:22
and most of those who I've met have been delightful
20:25
to meet. Do you have any advice from your end
20:28
to anyone who may be intimidated from visiting
20:32
Works on Paper Gallery or any other gallery?
20:35
So when I opened up, we had a white box, and
20:38
the business was a white box. You went to New
20:41
York, it was a white box, meaning it's just a
20:44
big empty space, nice on the wall, and really
20:46
intimidating. person sitting behind the desk
20:48
and you just felt cold you didn't know really
20:50
how to approach it but i'm telling you after
20:53
being in this business for so long every one
20:55
of those white boxes wants to talk to people
20:57
about the art right they want they they want
21:00
to make a sale that they're in this business
21:01
to sell art i think if you go in with the attitude
21:04
of like they want me in here they want me to
21:06
look at this art you kind of break through that
21:09
barrier a little bit yeah When I moved from downstairs
21:12
to upstairs, that was the big deal to me. I didn't
21:14
want it to feel like a white box. That's why
21:16
I have the couch in the back. That's why I have
21:18
the front space for the gallery to do exhibitions.
21:21
That's why I have the back space for the workspace
21:22
to do my publishing. And you made it very comfortable.
21:27
Yeah, well, it's nice. Sometimes it's comfortable.
21:32
But for everyone else, hopefully it's always
21:33
comfortable. That's the whole point. Yes. Yeah,
21:37
oh my God, I need you to come in. Yes. I want
21:41
you to come in. So speaking of coming in, you
21:44
have an upcoming show opening on May 10th. Can
21:46
you tell us a little bit about that and the featured
21:48
artist? He's a Staten Island -based artist named
21:51
Chris RWK. He is recognized kind of in the street
21:56
art culture, sticker culture. He started a website
21:59
in the late 90s, early 2000s called Robots Will
22:03
Kill, which is a site. really designated for
22:07
artists that don't have recognition to have a
22:10
place to show their stuff. Okay. You know, whether
22:13
it's pieces out in the wild. So it was user -friendly.
22:16
You could just upload your own stuff. So that
22:18
took off for him. Wow. And he has this awesome,
22:22
cute little robot figure that is... just endearing
22:26
and he has a an awesome way of placing something
22:29
so simple and so comic book like kind of to make
22:32
it look really personal and and kind of hit you
22:35
in a way so he touches on themes hearts birds
22:38
emotions the idea that technology is killing
22:42
us but how do we live with it we did a group
22:46
show a couple years ago where he was one of the
22:48
featured artists and we did well with him And
22:50
generally speaking, when I start doing well with
22:52
an artist, I want to approach the idea of a multiple
22:55
or an addition because I feel like that's just
22:57
the extra that we both can get together out of
23:00
it if I'm willing to take the reins and make
23:02
that happen. So I've been thinking about him
23:04
for a long time. And I finally came up with the
23:07
idea. I was like, yo, Chris, I'm doing all these
23:09
cutout metals with Stickman. Can we please maybe
23:13
figure something out where it doesn't interfere?
23:16
And we came up with this idea together, and it's
23:19
going to be great. It's a limited edition. But
23:21
the show will be recent paintings plus the release
23:24
of this multiple that we're doing with them.
23:27
Awesome. Which is the first time I've ever combined
23:28
that, actually. Oh, wow. In 30 years. Yeah, yeah.
23:31
And I've done both. Just never did a show about.
23:35
The edition. That's great. So, yeah, that was
23:38
cool. This will be a first, everyone. So check
23:40
it out. And that will be opening on Saturday,
23:43
May 10th? Saturday, May 10th, 630 to 930. There'll
23:45
be somebody outside to make everybody aware of
23:48
where it is. Speaking of, where can people find
23:50
you both online and in real life? WPR Collection
23:54
is our new recent website. It has everything,
23:57
prices, very transparent. And I'm at 1611 Walnut,
24:00
right in Rittenhouse Square. Right in Rittenhouse.
24:03
In the mezzanine. On the mezzanine. Correct.
24:05
I keep forgetting being in that building so long.
24:07
Yes. So we have a couple rapid fire questions
24:10
to close out today. What is your favorite beverage
24:13
at the moment? Oh, wow. Orange juice. Your favorite
24:18
Philadelphia neighborhood? Logan Square. If you
24:22
could have any piece of art in your home, no
24:25
limitations, what would it be? The Mona Lisa.
24:28
Excellent. Everyone in the world would probably
24:31
say the Mona Lisa. Nobody said it yet. Nobody
24:33
said it yet, so it's great. It's the one. Yes.
24:37
It's the one that every single human soul knows
24:39
is art. Yes, that's so true. Which Philadelphia
24:42
artist is the city sleeping on? Keep checking
24:46
back with me. Okay, perfect, perfect. We will.
24:49
Like it? Yes. Can you describe the Philadelphia
24:52
art scene in one word? Oh, kind of small and
24:55
big at the same time. There's no one word. Okay.
24:57
Philadelphia art scene, God. I mean, that's a
25:00
conversation. That's not a word. Perfect. Yeah.
25:03
Okay. Cheesesteaks, with, with, or without? With.
25:06
And one quality that makes a great gallerist?
25:11
Personality. Well, Evan, thank you so much for
25:14
your time today. It's been great. Awesome to
25:16
have you on. I love talking to you guys. Check
25:18
out Works on Paper Gallery. What a great convo.
25:33
That was... That was great. Yeah. You know, something
25:39
that stuck with us while we were going through
25:41
Old City is how Evan mentioned that photography
25:45
is a really challenging medium to sell. Yeah.
25:48
Yeah. Also, I think something else that stuck
25:51
with us was his three pronged approach to business.
25:55
Yes. The secondary market. Yep. The special editions
26:00
and the shows. Oh, yeah. Do I have that right?
26:03
Yeah, I believe so. Because we saw a brand new
26:07
gallery open their first night on this first
26:10
Friday. And they were also coming to the space
26:15
of... Taking a multi -pronged approach. Exactly.
26:17
And how they even know going into this, you can't
26:21
just get by by trying to sell art. An introductory
26:26
collector? An introductory collector, yes. A
26:30
novice, if you will. A novice. Okay, let's talk
26:33
about what we're doing this weekend. Perfect.
26:35
It's going to be a good one again. There's more
26:38
ballet. You know it's a good one. Tickets for
26:41
La Sylphide and Etudes Philadelphia Ballet double
26:45
bill for this weekend are still available sparingly.
26:50
Cecilia Paredes, by my side or back of me, opened
26:53
about three weeks ago at the Print Center and
26:56
continues to be on view until July 19th. There
26:59
are two exhibitions at the Da Vinci Art Alliance,
27:02
a solo exhibition by Dominique Samarco titled
27:05
Philly Dreamin' and Becomin' on view through
27:08
the 25th, and again on view through the 25th,
27:12
a BYO print portfolio exchange titled What's
27:16
Next. Something you missed. Last first Friday
27:20
is that my husband and I walked all the way to
27:24
the fifth floor at Paradigm Gallery, which is
27:27
the BYO Print Exchanges workshop. So I got to
27:31
meet many of the women behind it. Oh, great.
27:34
A lot of their stuff was embargoed for private
27:37
clients, so I didn't share it. Oh. There are
27:41
tickets for Wall Ball, a mural arts fundraiser
27:44
for this upcoming Friday, May 9th. Those are
27:47
on sale. Also, not to be confused with that,
27:50
tickets for Small Ball, the Philadelphia Theatre
27:54
Company's production for this summer, those are
27:57
on sale. Chris, RWK show is opening at Works
28:00
on Paper Gallery this Saturday. Check that out.
28:04
Hey, Lucinda. Yeah. I heard you might have got
28:09
some Nutcracker tickets. I got front row tickets
28:12
for the Nutcracker, baby. No, you did not. How
28:15
much you pay for those? $33 a pop. What? What?
28:21
Wait, how'd you get that? You know how I got
28:24
that. Yeah, I know. This is just a benefit to
28:28
being a young friend for the Philadelphia Ballet.
28:31
You put the coupon code in, Ensemble Arts authenticates
28:35
it on their end, and boom. I would have otherwise
28:39
paid $500 more to get the same tickets. Wow.
28:43
Don't you want to go to Nutcracker now, Robert?
28:45
No, thank you. Okay, guys, as always, Philly
28:50
has art. And art. I'm ready to jump into the
29:04
cold pool, my friend. Excellent. Perfect. Sometimes
29:07
I make him like me in a different way. Yes. True.
29:12
That's why she's here. Shots.