Professional History: As a corporate Interior Designer for a turnkey architectural firm, my professional experience provides me with a unique professional art consulting background. I have been trained to architecturally consider finishes, furnishings, and lighting when selecting artwork.
Business experience: This includes sales, marketing, contract negotiation, and art acquisition, advisory services for current collections, fine art exhibitions and archival preservation.
Corporate clients: She has led and coordinated fine art projects have included architectural firms Cesar Pelli’s Office, Perkins and Will, Bostwick Associates, among others.
Artist Representation: Ms. DeChant strongly support important local artists as well as nationally and internationally recognized artists.
Cleveland Clinic Fine Arts Program: The art program at the Cleveland Clinic was instituted by Dr. Shattuck Hartwell and his Clinic Aesthetics Committee along with Julie Meyers from Cesar Pelli’s office in 1985. Other notable committee members included Carol Tomer, archivist for the Cleveland Clinic, and Andrew Chakalis from the Cleveland Museum of Art.The program was established as a regionally based art collection.
DeChant Art Consulting’s collaboration with the Cleveland Clinic was under the leadership of Dr. Floyd Loop, President and CEO, and Dr. Joseph Hahn,Chairman Aesthetics Committee.
This partnership was established in the 1990’s. At that time Cleveland Clinic had no artwork in public spaces. Under DeChant’s art curation she instituted the professional art program guidelines for the institution, implemented their first art systems database, established best practices for professional art framing and installation practices, and expanded their collection to include important American artists. DeChant’s curatorial work on the CCF Art program was early evidence-based art planning using research on color theory and artworks that would be appropriate for pediatric care, geriatric care, psychiatric care, and healthcare institutions in general.
As part of her healthcare art management experience DeChant organized or curated approximately 8-10 art exhibitions every year. Some of these exhibitions included the first Kinetic Art exhibit, two CCF/ NASA exhibits ( Unique to a Healthcare Institution), Women in Art exhibit, The 75th Anniversary Exhibition with Jennie Jones photography, annual Calligraphy Shows, annual Quilt Shows (that supported the Diabetes Research Department at the Cleveland Clinic), the Employee Art Show, and an annual Nature a Cure for Stress exhibition. The Nature A Cure for Stress Exhibition DeChant curated for the hospital environment during the dead of winter with paintings, photography, sculpture and prints of the most beautiful scenes of vacation places, botanical gardens, favorite animals, seascapes, etc.
As part of DeChant’s success with the CCF art program, The Society for the Arts in Healthcare asked her to speak at two of their conferences about the history of the Cleveland Clinic art program. The second Society for the Arts in Healthcare conference presentation also included the impact of art and their role in reducing stress among doctors, hospital staff and patients.Dr. Michale McKee, Head of Psychiatry developed a dvd of the Nature A Cure for Stress Art Exhibit with voice over to calm patients and uplift their spirits. It was presented at the Society for the Arts in Healthcare conference, and then broadcast daily on the CCF closed circuit station.
DeChant has since curated art programs for Benesch Law, Majestic Steel, Nuveen Investments, and other institutions.
Teresa M DeChant How Much is That Art Worth ?
When encountering artwork, people often ask some of the following questions. Who
is the artist? When was it made? How was it made? What does it mean? There is, however, one other popular question regarding art that people of all ages and all backgrounds tend to ask: how much is it worth?
This question is not as easy to answer as the preceding ones, because the answer depends on the intersection of three fluctuating elements: art collecting, art history and the art market.
Art collecting is the basic foundation for how values are assigned to artwork. Those
who collect art include individual collectors, corporations and museums. While individual art collectors may pay the same high prices for artwork as corporations and museums, the function of these collections differs greatly. Most simply, individual art collectors collect for themselves, while corporate collectors and museums collect for their institutions and a public audience. Individual collectors may someday deposit their artwork into museums, but collecting categories tend to be more rigid in corporations and museums than for individual collectors.
These collecting categories are directly related to art history. It is art history which defines which artists and artwork are valuable to our society and are deserving of further study.
In some sense, once a work of art becomes famous, its intrinsic value increases, as does its financial value. Art history, however, does not happen overnight. It is a process that involves weighing the impact an artist has had on the art world, based on exhibitions, reviews and influence on other artists.
The market depends on art history and encourages art collecting, the foundation of the art market stems from a basic economic rule: supply and demand. It may seem greatly disrespectful for the value of artwork to increase after an artist is deceased, but again, market value assignments depend on rarity. Once an artist is no longer living, the supply of their artwork becomes limited and their artwork increases in value.
This short essay only gives a glimpse as to how value is assigned to artwork. It does, however, offer insight into the systems of art collecting, art history and the art market that together inform individuals, corporations and museums what artwork to buy and how much to pay. However, looking at financial value alone when determining the success of an artist is not always sufficient.
An artist should have their artwork in important exhibitions, as well as in museum and corporate collections. These factors are just as important.
These collecting categories are directly related to art history. It is art history that
Art history and art collecting together influence the art market. Although the art
This short essay does not fully answer the question it posed in the first paragraph
A successful artist should have artwork in important museum and gallery exhibitions.
These are as important to make an artist successful as the actual sales and again, demonstrate that art collecting, art history and the art market collectively and systematically
answer the question….. “How much is that art worth?
These original abstract paintings by Grant Cleveland symbolize meaning by shape, form, color, and stroke.
“I paint what I am trying to understand. I paint what I am trying to make peace with. I paint what I can’t make peace with. I cannot paint anything as it is, in the still shot interpretation. I paint notions, intangibles, abstract concepts, and emotions. I paint passion, compartmentalization, democracy, rage, myself, addiction, situations, events, conflict, sex, dreams, hopes, and vague memories.” – Grant Cleveland
“Hampshire Road Garden ” #6, 2017 63.5’H by 38.5’W
“Detail Hampshire Road Garden” #6 2017
“Hampshire Road Garden” — Installation View 2017 (Curious Case of Color, Cleveland State University Galleries)
“Seed of Life” 2015- medium, acrylic paint, acrylic ink, on mylar. Price upon request.
“Hampshire Road Garden” 2017- medium, acryla, gouache, acrylic paint, alkyd oil paint on mylar. Price upon request.
ARTIST STATEMENT: Hampshire Road Gardens Series 2017, “Curious Case of Color”
After taking a couple years off, away from the studio, I promised myself I would begin again, and make paintings as sensuous and generous as my summer garden 2016.
I thought the climate of my Hampshire Road garden had potential for pleasure and commitment. A pleasure maintained by a soil of mixed chemistry and a harvest of unique taste… texture and color. How better can we celebrate the ‘flower of life’.
When beginning this project, I was sure I wanted to use the DNA double helix as a pattern motif. I have consistently used significant form as an ‘invented and arcane’ iconography. A processing of motifs that symbolize and clearly represents a cognitive ‘push and pull’ that Pieter Cornelis “Piet” Mondriaan described as ‘dynamic equilibrium’.
The drafting and processing of the background imagery is also reinvented through color juxtaposition. The ability of hue and simultaneous contrast to change our perception of form.
The centered ‘ladder’ figuration references the Watson-Crick DNA structure.
I selected and favor this geometric color coded ‘ladder structure’ as a synergistic and expressive metaphor. My drawing and painting remain representations of graphic ‘content’… the substance or matter of cognition… a ‘garden variety paradigm’.
ARTIST BIOGRAPHY:
EDUCATION 1966 Master of Fine Arts, University of Texas, Austin, Texas 1964 Bachelor of Fine Arts, Carnegie Mellon University (Carnegie Institute of Technology), Pittsburgh, Pennsylvania
SOLO EXHIBITIONS 2013 William Busta Gallery, Cleveland, Ohio 2009 William Busta Gallery, Cleveland, Ohio 2007 William Busta Gallery, Cleveland, Ohio 2002 Firelands Association for the Visual Arts, Oberlin, Ohio 1995 William Busta Gallery, Cleveland, Ohio 1993 William Busta Gallery, Cleveland, Ohio 1985 North Carolina Museum of Art, Raleigh, North Carolina (with Louise Fishman)
Gerald Just Galerie, Hanover, West Germany
John Weber Gallery, New York, New York 1984 Morris R. Williams Center for the Arts, Lafayette College, Easton, Pennsylvania
Jack Tilton Gallery, New York, New York 1981 The Clocktower, New York, New York 1979 Droll/Kobert Gallery, New York New York 1978 Galerie Ghislain Mollet-Vieville et J.P. Najar, Paris, France 1976 Paula Cooper Gallery, New York, New York
Wright State University, Dayton, Ohio
Galerie Ghislain Mollet-Vieville et J.P. Najar, Paris, France
The George Eastman House, International Museum of Photography and Cinematography, Rochester, New York 1975 Galerie Schottle, Munich, Germany
Galerie La Citta, Verona, Italy 1973 Paula Cooper Gallery, New York, New York
Galerie Anonowitsch, Stockholm, Sweden 1972 Paula Cooper Gallery, New York, New York 1970 Whitney Museum Resources Center, New York, New York
Ithaca College Art Museum, Ithaca, New York (with Linda Benglis)
SELECTED GROUP EXHIBITIONS 2017 “Curious Case of Color” Cleveland State University Galleries, Cleveland Ohio 2013 “The Poetry of Pattern”, Ohio Arts Council / Riffe Gallery, Columbus, Ohio 2009 Hildur Jonsson / Douglas Sanderson, William Busta Gallery, Cleveland, Ohio 2005 The Neo Show, The Cleveland Museum of Art, Cleveland, Ohio 2003 Bonfoey Gallery, Cleveland, Ohio
Oberlin College Gallery & Performance Space at Here/Here Gallery, Cleveland, Ohio 1997 Una Col.Leccio Particular: Fragments de 1971/1996, Museu d’Art, Girona, Spain
“Works on Paper”: Fisher Gallery, Cornish College of the Arts, Seattle, Washington 1995 William Busta Gallery, Cleveland, Ohio 1994 Silver to Gold, Cleveland Center for Contemporary Art, Cleveland, Ohio 1992 Off the Wall, Cleveland Center for contemporary Art, Cleveland, Ohio 1990 L’Aventure De L’Abstraction 1960-1990: Collection J.P. Najar, Obregon Foundation avec le concours Du Centre Des Arts Contemporains, d’Orleans, France 1986 Selected Works, John Weber Gallery, New York, New York 1985 John Weber Gallery, New York, New York 1984 Jack Tilton Gallery, New York, New York
Small Abstract Paintings, Lafayette College, Easton, Pennsylvania 1982 Unpunctuated, Gromet Gallery, New York, New York 1981 Painting About Painting, Ben Shahn Gallery, Center for Visual Art, William Paterson College, Paterson, New Jersey 1978 Action and Reaction, P.S. 1, The Institute for Art and Urban Resources, Long Island City, New York
Focus, Centre Culturel du Marais, Paris, France 1975 Opening Exhibition, The Drawing Center, New York, New York
Collection in Progress, Selections from the Collection of Milton Brutten and Helen Herrick,
Moore College of Art Gallery, Philadelphia, Pennsylvania
Travaux sur Papier, Galerie Ghislain Molet-Vieville et J.P. Najar, Paris, France
A Painting Show, P.S. 1. The Institute for Art and Urban Resources, Long Island City, New York
Art on Paper 1977, Weatherspoon Gallery, University of North Carolina,Greensboro, North Carolina 1976 New York/NewYork, California State University, Los Angeles, California 1975 Fourteen Abstract Painters, F. Wright Gallery, University of California, Los Angeles, California
Tendances Actuelles de la Nouvelle Peinture Americaine, Musee d’Art Moderne de la Ville de Paris, Paris, France 1974 Spring Group Show, Paula Cooper Gallery, New York, New York
Fall Group Show, Paula Cooper Gallery, New York, New York
Drawings and Other Work, Paula Cooper Gallery, New York, New York 1973 Reflessioni sulla Pittura, Palazzo Comunale, Acizeale, Sicily, Italy
Six Visions, Institute of Contemporary Art, Philadelphia, Pennsylavania
Drawings and Other Work, Paula Cooper Gallery, New York, New York
New American graphic Art, Fogg Art Museum, Harvard University, Cambridge, Massachusetts
Galeria La Citta, Verona, Italy 1971 Drawing Exhibition, Museum of Modern Art, New York, New York
Twenty-Six by Twenty-Six, Vassar College Art Gallery, Poughkeepsie, New York
22-44 Innovation 71, Cooper Union, New York, New York
Paula Cooper Gallery Group Show, Paula Cooper Gallery, New York, New York
Paula Cooper Gallery Group, Windham College, Putney, Vermont
Drawings by New York Artists, Museum of Fine Arts, University of Utah, Salt Lake City, Utah 1970 Referendum 70 Exhibition, Paula Cooper Gallery, New York, New York
Drawings, Paula Cooper Gallery, New York, New York
BIBLIGRAPHY
Donald Rosenberg: Cleveland Arts Prize: Douglas Sanderson / Art, Sunday Arts, Sec E, The Cleveland Plain Dealer, Sunday, June 24, 2012.
Tranberg, Dan. Douglas Sanderson at William Busta. Cleveland Plain Dealer. 23 December 2009.
Litt, Steven. Optical Infusion. Cleveland Plain Dealer. Sunday Arts. Sec 1. 6 January 2008.
Kumar, Navjotika. Arcane Images Series. Catalogue essay. 2007. William Busta Gallery, Cleveland, Ohio.
Shinn, Dorothy. KSU Art Faculty, Art Review. Akron Beacon Journal. Sec E4. 17 October 2004.
Litt, Steven. Abstracts are real success. Cleveland Plain Dealer. Sec E. 16 April 2002.
Tremeau, Tristan. En presencia de líObra, p.17, 18 (reproduction). En Presence de líOeuvre, p.41. Una Col.Leccio Particular: Fragments de 1971 a 1996. Catalogue essay. 1997.
Litt, Steven. Reviews. Cleveland Plain Dealer. 10 March 1995.
Scillia, Diane. Douglas Sanderson Paintings 1992-1993. Catalogue essay. 1993. William Busta Gallery, Cleveland, Ohio.
Litt, Steven. Portrait. Cleveland Plain Dealer. 2H. 21 February 1993.
Litt, Steven. Reviews. Cleveland Plain Dealer. 3H. 14 February 1993.
Cullinan, Helen. Preview. Cleveland Plain Dealer. Arts magazine. 5 February 1993.
Westfall, Steven. Review of Exhibitions: Douglas Sanderson at John Weber. Art in America. January 1986, pp. 133-35.
Plagens, Peter. Catalogue essay, Louise Fishman/Doug Sanderson. 1985. North Carolina Museum of Art, Raleigh, North Carolina.
Romero, Rubel. Call to Innocence. Spectator. 29 August 1985.
Silverthorne, Jeanne. Review: Douglas Sanderson, John Weber Gallery. Artforum. December 1985, pp. 86-87.
Hafif, Marcia. Getting on With Painting. Art in America. April 1981, pp. 132-139.
Einreinhofer, Nancy. Painting about Painting. Catalogue essay, 1981. William Paterson College, Paterson, New Jersey.
Gibson, Eric. New York: Doug Sanderson. Art International. February 1979, p. 44.
Sanderson, Douglas. Travaux sur Papier. Inscriptions. Catalogue essay. 1979, p. 57. Galerie Ghislain Mollet-Vieville et J.P. Najar, Paris, France.
Cavalieri, Barbara. Arts Reviews: Doug Sanderson. Arts Magazine. March 1979, p. 27.
Hafif, Marcia. Beginning Again. Artforum. September 1978, pp. 34-40.
Blistene, Bernard. Information Paris: Nonas, Sanderson, Linda Francis. Flash Art. October 1978, p. 20.
Lubell, Ellen. Reviews. Arts Magazine. March 1976, p. 16.
Pleynet, Marcelin. De la Couleur a la Ligne: Tendancies Actuelles de la Nouvelle Peinture Americaine. Catalogue essay. 1975.
Nordland, Gerald. Fourteen Abstract Painters. Catalogue essay. 1975. F. Wright Gallery, University of California, Los Angeles, California.
TEACHING EXPERIENCE 2012-17 Adjunct Professor. Cleveland Institute of Art, Cleveland, Ohio 2013-16 Adjunct Faculty. Myers School of Art, University of Akron, Akron, Ohio 1999-2012 Adjunct Assistant Professor. Kent State University, Kent, Ohio 2011 Visiting Professor, Fall Semester. Hiram College, Hiram, Ohio. 1999-2004 Visiting Assistant Professor. Oberlin College, Oberlin, Ohio 1999 Visiting Lecturer. Cleveland Institute of Art, Cleveland, Ohio 1996-98 Visiting Artist. Cornish College of the Arts, Seattle, Washington 1997 Visiting Faculty. University of Washington, Seattle, Washington, Spring Quarter
Visiting Faculty. Seattle Pacific University, Seattle, Washington, Winter Quarter 1996 Adjunct Faculty. University of Washington, Seattle, Washington. 1989-96 Adjunct Assistant Professor. Kent State University, Kent, Ohio 1993 Visiting Lecturer. Cleveland Institute of Art, Cleveland, Ohio 1990 Visiting Artist. Cleveland Institute of Art, Cleveland, Ohio. 1986 Adjunct Faculty. New York University, New York, New York 1985 Visiting Fellow in the Visual Arts. Lafayette College, Easton, Pennsylvania
Concurrent with exhibition January – February 1984 Visiting Artist. University of North Carolina, Chapel Hill, North Carolina, Spring Semester 1979-80 Adjunct Faculty. New York Institute of Technology, Old Westbury, Long Island, New York 1977-78 Adjunct Faculty. New York State University, Purchase, New York 1975 Artist in Residence. Wright State University, Dayton, Ohio, Fall Semester 1969-75 Adjunct Faculty. Cooper Union, New York, New York
Adjunct Faculty. New York University, School of Continuing Education, New York, New York 1969-70 Adjunct Faculty. Pratt Institute, Brooklyn, New York 1965-69 Assistant Professor. University of Kansas, Lawrence, Kansas 1965 Teaching Assistant. University of Texas, Austin, Texas.
Assistant Design Curator. University Art Museum, Austin, Texas
SELECTED GRANTS AND AWARDS 2012 Cleveland Arts Prize, Lifetime Achievement Award 2009 Ohio Arts Council Individual Excellence Award 2008Featured:WVIZPDS Applause Show Feb 21st 2005 Ohio Arts Council Grant 1990 Pollock-Krasner Foundation Grant 1981 National Endowment for the Arts Grant
New York State Creative Arts Public Service Program Fellowship
SELECTED COLLECTIONS
Albright-Knox Art Gallery, Buffalo, New York.
Allen Memorial Art Museum, Oberlin, Ohio
Carnegie Art Museum, Pittsburgh, Pennsylvania.
Cleveland Clinic Foundation, Cleveland, Ohio
James A. Michener Foundation, Kent State University, Kent, Ohio.
J. P. Najar / Obregon Foundation, Barcelona, Spain.
Museum of Fine Arts, University of Utah, Salt Lake City, Utah.
Nelson-Atkins Museum of Art, Kansas City, Missouri.
Paul Walter Foundation, New York, New York.
Progressive Corporation, Cleveland, Ohio.
San Francisco Museum of Art, San Francisco, California
Stanford University, Palo Alto, California.
Timpkin Foundation, New York, New York.
Wright State University, Dayton, Ohio.
Born in Lincoln NE and raised in Arizona. Amery studied art at the Scottsdale Artists’ School where she now teaches. She has a BFA from the University of Arizona and she also spent a year studying at L’Ecole Marchutz in Southern France. Currently she is a member of OPA, CAC, and BAPA. Amery is also one of the 7 artists in the Grand Canyon 7 group.
Steve Waldeck’s Flight Paths. Located between Terminal A and B at Atlanta Hartsfield Airport. Location: United States
I have bought many commissioned art works from Steven Waldeck over my 25 year art career they have always mesmerized the people visiting the spaces that I placed them in… Many in major healthcare facilities. I received letters and calls inquiring about them from all over the world!
Teresa M DeChant How Much is That Art Worth ?
When encountering artwork, people often ask some of the following questions. Who
is the artist? When was it made? How was it made? What does it mean? There is, however, one other popular question regarding art that people of all ages and all backgrounds tend to ask: how much is it worth?
This question is not as easy to answer as the preceding ones, because the answer depends on the intersection of three fluctuating elements: art collecting, art history and the art market.
Art collecting is the basic foundation for how values are assigned to artwork. Those
who collect art include individual collectors, corporations and museums. While individual art collectors may pay the same high prices for artwork as corporations and museums, the function of these collections differs greatly. Most simply, individual art collectors collect for themselves, while corporate collectors and museums collect for their institutions and a public audience. Individual collectors may someday deposit their artwork into museums, but collecting categories tend to be more rigid in corporations and museums than for individual collectors.
These collecting categories are directly related to art history. It is art history which defines which artists and artwork are valuable to our society and are deserving of further study.
In some sense, once a work of art becomes famous, its intrinsic value increases, as does its financial value. Art history, however, does not happen overnight. It is a process that involves weighing the impact an artist has had on the art world, based on exhibitions, reviews and influence on other artists.
The market depends on art history and encourages art collecting, the foundation of the art market stems from a basic economic rule: supply and demand. It may seem greatly disrespectful for the value of artwork to increase after an artist is deceased, but again, market value assignments depend on rarity. Once an artist is no longer living, the supply of their artwork becomes limited and their artwork increases in value.
This short essay only gives a glimpse as to how value is assigned to artwork. It does, however, offer insight into the systems of art collecting, art history and the art market that together inform individuals, corporations and museums what artwork to buy and how much to pay. However, looking at financial value alone when determining the success of an artist is not always sufficient.
An artist should have their artwork in important exhibitions, as well as in museum and corporate collections. These factors are just as important.
These collecting categories are directly related to art history. It is art history that
Art history and art collecting together influence the art market. Although the art
This short essay does not fully answer the question it posed in the first paragraph
A successful artist should have artwork in important museum and gallery exhibitions.
These are as important to make an artist successful as the actual sales and again, demonstrate that art collecting, art history and the art market collectively and systematically
answer the question….. “How much is that art worth?
Fast Sketch Still Life with Abstract Painting, 1989
Screen print in colors, on Museum Board, signed and dated in pencil, Ed. 100, (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont, with full margins, slight rippling
