With its sun-soaked beaches, lush parks, and sparkling waterfront, San Diego has long been a city that inspires creativity. Beyond the postcard-perfect scenery lies a thriving art scene — one filled with world-class museums, contemporary galleries, and an ever-growing community of artists and collectors.

Amid this vibrant coastal culture stands Lorna York, founder and owner of Madison Gallery, whose vision and dedication have helped shape San Diego’s reputation as a destination for fine art. We had the pleasure of checking in with Lorna to explore what it takes to create — and sustain — a successful gallery in this dynamic city.

ABN: Lorna, for readers who may not yet know you – can you share a bit about your background and how Madison Gallery came to be?

Lorna York: I opened Madison Gallery over 20 years ago with a simple conviction that world-class contemporary art should be accessible beyond the usual cultural capitals. What began as a small coastal gallery in San Diego has grown into a $50 million business and one of Southern California’s leading contemporary art destinations — built entirely from the ground up. I started Madison Gallery with no outside investors, just a deep belief in the artists I represent and a desire to create meaningful cultural dialogue in San Diego.

When I first opened Madison Gallery, people questioned whether a high-end contemporary program could thrive outside of main cultural capitals. Two decades later, we’re seeing collectors fly in from across the country and media comparing our exhibits to those in New York and LA. That evolution affirms what I’ve always believed – that great art transcends geography.

ABN: What was the driving vision behind the gallery, and how has that evolved over time?

LY: From the beginning, Madison Gallery has been guided by the idea that art is an experience – not just an object. Our collectors are drawn to the stories, the emotional resonance, and the cultural relevance behind the work. Today’s generation of collectors is less interested in gatekeeping or elitism; they want to be invited into a narrative. So we create that context – helping them connect intellectually and personally with the artists.

Over the years, our mission has expanded from representing a roster of exceptional contemporary artists to truly shaping the region’s cultural landscape. We’re proud to be among the few galleries in San Diego County introducing international artists of the caliber typically seen in New York or Los Angeles — artists like RETNA and Radenko Milak — to this market.

ABN: What sets Madison Gallery apart from other contemporary art galleries?

LY: We’re a thriving, independent gallery at a time when headlines about major galleries shuttering are increasingly common. I think our longevity stems from two things: our relationships and our perspective. We take an extremely personal, long-view approach to every artist and collector we work with. That means guiding clients through the narrative and emotional layers of the art they live with, while giving our artists the platform and resources to develop museum-level exhibitions. And we’ve remained women-owned and women-lead, which brings a different energy to how we do business: relational, intuitive, but also strategic and resilient. We’ve come a long way in what is considered a male-dominated field — and in a shrinking market, no less.

ABN: How would you describe your curatorial philosophy?

LY: I’m drawn to art that invites people to connect – with themselves, with others, or something bigger. Whether it’s the powerful scriptural abstraction of RETNA’s recent exhibit, Love Letter | Carta De Amor, or the profound watercolors in Radenko Milak’s current exhibit, Four Seasons Interrupted, we’re always looking for work that evokes connection and cultural dialogue. Both artists, along with the range of mid-career artists we represent, embody what I consider Madison Gallery’s essence: they tell stories that transcend language and geography, reminding us that art remains one of our most universal forms of connection.

ABN: How do you see the role of the gallerist evolving, especially in a changing art economy?

LY: Gallerists today must be translators – not just sellers. We’re bridging artists and audiences across continents, platforms, and generations. At Madison Gallery, we think in terms of legacy: how are we future-proofing our artists’ careers, and how are we contributing to a richer, more inclusive art ecosystem here in San Diego? That means strategic partnerships, international art-fair participation, and collector education — but also, creating space for meaningful conversation.

ABN: What’s next for you and Madison Gallery?

LY: We just wrapped up a major exhibit with RETNA and now we’re unveiling Radenko Milak’s Four Seasons Interrupted, on view now through December 15th at our gallery. This will be Milak’s second solo exhibit with us and we’re excited to welcome him back to our gallery to showcase his latest body of work, which grapples with the fragility of nature and time.

Looking ahead, we’re expanding our presence internationally, including our third presentation at Zona Maco in Mexico City next year. I also look forward to showcasing my artists again at Art Dusseldorf and Istanbul Art Fair. For me, it’s about continuing to build bridges between artists, collectors, and cultures.

ABN: Finally, what advice would you give to aspiring gallerists or collectors?

LY: Lead with curiosity and integrity. Build relationships first, the sales will follow. If you lean into your vision and stay open, engaged, and honest, you’ll build something that lasts.

LORNA YORK BIO
Lorna York is the founder and owner of Madison Gallery in Solana Beach, California. Since opening the gallery in 2001, she has built it into a leading destination for contemporary art, introducing globally renowned artists to Southern California audiences through innovative, immersive exhibitions. With a global perspective and a passion for connecting art, culture, and travel, Lorna has positioned Madison Gallery as a destination for personalized one-on-one curatorial and educational experiences in the arts. When she’s not curating exhibitions, Lorna is often exploring the world’s art capitals — always in search of new inspirations to share with her collectors and community.

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Expanding Horizons: International Collaborations 

Motivated to dispel the stereotypes cast by years of conflict and grim headlines, Nour first sought to showcase Syrian artwork. Her mission was to reveal a side of Syria distanced from politics and war. 

Nour’s gallery embraces diversity and fosters creativity through extensive collaborations. Now boasting partnerships with over 30 artists from an array of cultural backgrounds, Nour curates a tapestry of global artistic expressions. Each collaboration highlights unique perspectives and narratives, enriching the contemporary art scene with innovative and thought-provoking creations. 

The gallery offers an eclectic mix that caters to diverse tastes and artistic appetites. Recently, Nour expanded its horizon by forging alliances with several prestigious galleries located in the south of France, a region celebrated for its rich artistic heritage and vibrant cultural scene. This strategic move allows Nour to present a broader spectrum of art styles, ensuring that the gallery meets the nuanced preferences of its discerning clientele. 

The diversity of artists represented by Nour brings a wealth of perspectives, each contributing to a richer, more inclusive art narrative. The gallery’s dedication to showcasing a wide range of cultural voices underscores its mission to be a platform where art transcends cultural divisions and unites people in a shared appreciation of creativity and beauty. 

A Gallery’s Vision Sets the Course 

Chamoun Gallery’s journey is deeply rooted in a passion for art and a commitment to innovation, collaboration, and personalized service. As the gallery grows, Nour’s distinct approach continues to shape it into a prominent name in contemporary art. 

Nour’s involvement in the art world goes beyond professional aspirations; it’s a heartfelt dedication to celebrating beauty, fostering creativity, and leveraging the transformative power of art. This vision underpins every aspect of Chamoun Gallery, driving artist collaborations, gallery partnerships, and tailored art consultations. By transcending boundaries, the gallery aims to create meaningful connections and elevate the art experience for all. 

The Rise of Online Galleries in the Art World 

While some traditionalists may argue that the tactile experience of viewing art in person is irreplaceable, the rise of online galleries is undoubtedly transforming the art world. As digital platforms continue to evolve, they are likely to become an integral part of the art ecosystem, providing new opportunities for artists and collectors while enriching the overall experience of art appreciation. 

It provides artists with unprecedented global exposure. No longer restricted by geographical limitations, emerging and established artists can now reach audiences far beyond the walls of traditional galleries. These platforms serve as a democratizing force in the art world, allowing artists to showcase their work to a diverse and international audience. 

For collectors, the online gallery experience offers unparalleled convenience and accessibility. Collectors can browse, compare, and purchase art from the comfort of their own homes, exploring a vast array of styles and mediums that might not be available locally.

Setting the Standards, Making Connections 

Integrity and Professionalism: At the heart of Chamoun Gallery’s operations is a deep respect for ethical standards and professional conduct. The gallery is committed to transparency in its dealings with artists, clients, and partners. Whether through the fair representation of artists or the responsible management of its exhibitions and collections, Chamoun Gallery upholds the highest levels of integrity in all its endeavors. 

Creating Harmony through Awareness: Chamoun Gallery firmly believes in the power of art to create harmony, fostering a heightened sense of awareness and a deeper appreciation for aesthetics. The gallery believes in its transformative ability to foster harmony in our world. By promoting awareness and understanding through art, they strive to spark meaningful dialogue, bridge cultural and social divides, and nurture a sense of unity among diverse audiences. Chamoun Gallery’s mission is to use art as a catalyst for connection, encouraging empathy and creating a more harmonious and inclusive society. 

 _____________________ 

About Chamoun Gallery and its Founder, Nour Chamoun 

Nour Chamoun is the founder of Chamoun gallery. She is originally from Aleppo, Syria, and now calls Montreal home. Nour’s love for art was ignited during her studies in civilization history at St. Basil’s tourism school in Aleppo and further enriched through her pursuit of Art History at the University of Montreal. Her vision for Chamoun Gallery stems from a believing that the power of art can be transformative, creating harmony by elevating awareness and aesthetic appreciation. 

For more information, please visit the Chamoun Gallery website: www.chamoungallery.com 

All photos courtesy of Chamoun Gallery. 

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Markowicz Fine Art Gallery is excited to announce its “Encompass” exhibition in their Dallas Galley location. Partnering with Bel-Air Fine Art, a prestigious fine art gallery with locations in France, Abu Dhabi, Gstaad, Miami, and Italy, their partnership allows the two galleries to help collectors access a wide range of art from all over the world. 

The exhibition is open to the public at their Dallas location and features exquisite new works from Italian artist Annaluigia Boretto, ‘Annalù’, and French artist Lyès-Oliview Sidhoum, ‘Lyes”. 

‘Annalù is an Italian artist creating dreamy sculptures that enchant onlookers with her unique incorporation of hyper-realistic splashes of water and bold brilliant colors. She uses elements of nature that appear to be suspended in time, which she achieves by focusing on texture and illusion. She is best known for her glassy, splashing sculptures. 

Lyès is a graffiti artist who has been creating art since the young age of 11 in the streets of Lyon, France. He developed his work through his experiences with travel and meeting other creatives in the graffiti world. His work evokes an “energy that constitutes reality, which today remains a part of the mystery and almost becomes spirituality in a sense.” Lyès uses high-tech technology of fine art archival printing that stops 99/9% of UV rays, through encapsulation to create his pieces. 

The exhibit runs through July 31, 2021. 

Markowicz Fine Art Gallery 

1700 Oak Lawn Ave. Ste. 200

Dallas, TX 75207

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Digital trends in the art and culture industries

The pandemic forced all ecosystem participants to adapt and resort to digital: museums, galleries, theaters, concerts, and, of course, the viewer. During the months of lockdown, people have been constantly looking for entertainment and educational content. Imagine for a second how many people from all over the world have gone to the Louvre to see their digitized collections, including 3D tours in multiple languages. Or children not only watching cartoons but, for example, operas. Composers have rehearsed and collaborated to create new pieces of musical art. The list is endless of the general digital trends that have become widespread due to the pandemic.

Wide-angle cameras and 360° format

Online viewing rooms (OVR) have become popular with galleries and some art fairs, although they have met with some resistance from collectors. In an OVR, you can see the halls of the gallery and the objects in it. By moving your mouse, it simulates standing in an actual room and allows the viewer to turn in a circle to see the details. From artists in studios to the largest galleries and art fairs like Art Basel or Frieze Art Fair, OVRs have been seen as a solution to the need for a virtual format.

Augmented reality

Open art parks offer to learn more about artworks by pointing your phone camera at QR codes or through special marks. Niche fairs, such as Art Duesseldorf and Artissima, have projects are under development to integrate exhibitions through augmented reality right onto cities’ streets, thus creating a digital quest. Galleries and museums are already using AR to show the verso side of a painting where authenticity marks, signatures, auction stamps, and other usually inaccessible information are located.

Virtual reality

It has been proven that the assimilation of material through virtual reality is accelerated at times. This technology is used in different areas — in medicine and logistics —has been used primarily by the artist with their content. It is becoming more prevalent in multiple venues like museums, art galleries, and educational centers. And is an effective solution for spending leisure time and broadcasting cultural content and a completely successful way to present education formats.

In VR, you can go to a concert, walk along the beach (which seems very attractive after months of lockdown), and even take an astronomy course — not in a year but in 18 hours. New art formats in VR are just around the corner. In the virtual world, it will be possible to learn more from the artist, understand how a creative thought develops, how a work of art is born from sketch, examine the world masterpieces of the old masters and delve into history.

Live broadcasts of performances and concerts

Live broadcasts are not an innovation. Although theaters were part of a conservative camp that had to buy tickets and be physically present, many quickly resorted to broadcasts with the pandemic’s onset. Thanks to this, people were able to attend performances without leaving their homes. For example, during quarantine watching favorite performances and operas in favorite halls with favorite soloists became possible. Joshua Bell performed Tchaikovsky’s first concerto for violin and orchestra at the Sydney Opera, The Marriage of Figaro with Anna Netrebko in Salzburg, and Sleeping Beauty at the Bolshoi Theater. Of course, all kinds of cultural institutions will be slowly returning to their usual work style, but will people return in such streams as before? Or will the hybrid consumption of such content continue to be welcome and accessible?

The American response to the pandemic

An interesting international response to the pandemic is VOMA, the world’s first interactive digital museum of contemporary art. The project promises to become, albeit not full-fledged, an alternative to an offline platform. VOMA is supported by the Whitney Museum of American Art, New York MoMA, and other renowned cultural institutions. It will be possible to move around the museum in a hybrid digital space using VR / AR technologies — the virtual world will adapt to reality depending on time, weather conditions, and other factors.

Additional materials with QR codes will be assigned to each art object, which will enable the viewer to truly immerse oneself in the work’s history. Everyone will be able to visit VOMA free of charge, which solves issues of social distancing and cultural availability. It has just launched and has a robust program planned for the remainder of the year and beyond. 

Another interesting case is the creation of a VR library by the Colnaghi Historical Gallery. The works of great masters often leave the viewer wanting to understand more — about the artist, the period of time in which it was created, and the artwork itself. In a museum, visitors do not have time to immerse themselves in a work deeply, and each of these masterpieces warrants a return visit for deeper consideration. What do we most often ask ourselves when looking at a Titian, a Rembrandt, or at Velazquez’s work? What is the meaning of the artist in his work? Why were particular colors used?

Colnaghi Gallery works with professional critics and top art experts to archive VR work. Their VR library will be available to viewers through special installations in museums or specifically designated places, such as in gallery branches. Currently, there is consideration being given for a viewing station right in Hyde Park, in an open space to maintain a safe distancing for viewers. The content will also be available for viewing through home VR-helmets.

Outcome

We can confidently say that in today’s world we cannot imagine culture, personal development, or education without contact with the digital environment. Transferring cultural heritage to the next generation becomes a priority in the digitalization of art. The digitalization of content opens up new directions for the art industry: introducing technology and the emergence of new genres.

About the Author: 

Jane Travis is a professional writer in paper writing service. Jane has a university degree in philology and is currently pursuing a second degree in journalism. She is a specialist in many subjects, but her favorites are painting, culture, history, art, and music. She devotes her time to charity work and psychological conferences.

Photo Credit

Image 1: https://www.frieze.com/

Image 2: https://voma.space/

Image 3: https://londonartweek.co.uk/exhibitors/colnaghi/

The post In What Way Has the Pandemic Influenced the Art World? appeared first on Art Business News.

Art Gallery Inc. does more than sell affordable contemporary art, they provide a platform and opportunity to share the talent of professional female artists. In fact, every piece sold at the gallery provides a channel to give back and 10% of their art sales are donated to a cause. Aside from their charitable donations, the gallery also hosts art contests, which enable women to receive visibility and new opportunities to promote their work.

“…The truth is that women have never been treated equally in the art world, and today they remain dramatically underrepresented and undervalued in museums, galleries, and auction houses. Counting and quantifying won’t solve discrimination, but statistics are useful for understanding the scope of the problem.” says Art Gallery Inc. Director, Julia Ross.

Aside from helping female artists daily, this incredible art gallery has recently donated to women shelters and homeless women during the Texas snowstorm. “We are so grateful that through art sales supporting women artists we were also able to give back and help other women in need”, says Ross.

Art Gallery Inc. also recently partnered with In My Shoes, a non-profit organization in Dallas providing community living with a safe environment that focuses on assisting women who are pregnant and homeless. The organization helps women by providing them with tools to search for jobs and parenting and budgeting tips.

Female artists can apply to become a featured artist at Art Gallery Inc. Currently, the gallery is showcasing the works of Sharon Grimes, Darya Farral, Regina Davis, Kiki Winters, Julia Ross, Kelly Gowan, Victoria Moore, Jessica M Chaix, Rosemary Riddle-Achelpohl, Jill Danahey, Daniela Pasqualini, Leslie Merrill, Lu Pearl, and Kimberly Christopher.

To learn more about Art Gallery Inc. visit their website: https://artgalleryinc.com/home

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“EYECATCHER” highlights the photographer perspective on exotic landscapes and wildlife, surreal portraits, and artistic nude fine art photographers are presented on glossy acrylic or mounted on varnished brushed metal, all in limited editions, hand signed by the artists. The exhibition features 30 art photographs by eight local and international photographers. Learn more about the exhibiting photographers below.

Jackson Carvalho

Jackson is a contemporary artist born in 1968 in the Northeast of Brazil, having studied photography in several educational centers, among them the International Center of Photography (ICP), New York, IIF – International Institute of Photography, São Paulo and Future London Academy, In London. He holds more than 160 international awards in his work, Jackson Carvalho unites with balance and creativity works of art centered on fusions and manipulations of traditional images taking the viewer to a universe of dreams, fantasies, dramas beyond his own personal emotive load, resulting in images that are a mixture of beauty, absurdity, and chaos, with refinements of a dark atmosphere and metaphorical intelligence. Jackson’s images are composed of an improved light domain technique and refined post-production. Jackson Carvalho has already exhibited internationally in the USA, Europe and Brazil, having most notably participated in his photography, Jackson Carvalho covers several topics such as Wildlife, Landscapes, Fine Arts and Cityscape, always with a very peculiar perspective and a creative streak in his compositions and chromatic approach and a black and white marked by high levels of contrast. In his conceptual works, Jackson directs his models for strong and dramatic expressions associated with creativity contained in the topics under which deals with his photographic art. Jackson Carvalho lives today in Toronto.

Nicolas Abou 

Nicolas has lived in 6 different countries and traveled around the world. His travels have made him want to capture everything from landscapes to the fleeting moments of life in order to make the memories eternal and shared to others.

Wojtek Jakubiec

Wojtek is a freelance documentary photographer and videographer based in Montreal. Born in Poland, he lived in The Andalusians, Algeria, until the age of seven before settling down in Montreal. It was his trips to West-Africa in his twenties that sparked his interest in photography. He later enrolled in Dawson College Photography program from which his photo-essay “Stories from Behind the Bell” earned him the Patron’s Award. Wojtek is regularly on fashion and commercial assignments.

Nikriva 

Anonymous artist Nikriva explores the unconscious by transforming everyday objects into enigmatic creations where words and images play with the viewer through puzzling titles that are an integral part of the artworks.
Nikriva’s signature hoodies represent a way to hide the identity of the artist, at the same time symbolizing the intrinsic human need to reveal one’s real nature.
The viewer is absorbed into a playful world of transgression and morality, clues and revelations.

David Lozdan 

David’s passion for photography began when he was a teenager growing up in London, England. He continued to pick up his camera throughout his 10 years of working in the music industry, where he had the good fortune to support music legends including Herbie Hancock and Ornette Coleman. Always with a camera in hand, the opportunity of achieving the ‘shot’ motivates him continuously. Today, David spends his time focused on the creative balance between photography, music, and commercial ventures working in the technology sector.

Christian Chapot 

French autodidact photographer (Cannes) traveling the world through many journeys, Christian Chapot has been able to acquire a mindful openness to the diversity of his images. His many encounters fascinate him as well as the places where he goes. Winner of several photo contests (“Chasseurs d’Images”, “Photo”) Christian always tries to capture the atmosphere, the beauty, and the perceptible emotion that is offered to him in the present moment.

Kirsten Meier

Kirsten Meier, the native of Germany, discovered her love for photography after graduating with a Master of Arts in Literature and Cinema from Sorbonne University in Paris.

This soon grew into conceptual photoshoots that now define her work.

Settling in Montreal, she has founded the Art Rocks Design Gallery in 2018 with the international photographers who have left an impression on her.

Visitor information

Exhibition dates: May 29, 2020 – September 1, 2020 

Exhibition location: Mademoiselle Earth, 367 B St Paul East, Montreal, Canada

Hours:

Wednesdays: 11:00 a.m.-5.00 p.m. 

Thursdays and Fridays: 11.00 p.m. – 9 .00 p.m. 

Saturdays and Sundays: 11:00 a.m.-5.00 p.m 

@Artrocksdesign www.artrocksdesign.com

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Globalization

Art and insurance are both global businesses. However, as it is internationalized, art becomes vulnerable to more interruptions and uncertainty.

According to the South China Morning Post, the results from a Christie’s auction house’s annual show in 2017 revealed that clients in Asia spent more on non-Asian art and artifacts than Asian pieces. Despite a growing appetite for Western art in China, the trade war and political unrest has taken a toll on consumption. For example, a New York art gallery expanded to Beijing and Hong Kong, but closed due to uncertainty. In the United Kingdom, the world’s second largest art market, Brexit is having a similar impact on the art market.

The unknown will continue to impact the global art market in the new year, affecting both appetite and prices. Failing to find solutions to these overarching issues will lead to negative impacts on art consumption. After all, the art market, like any other financial market, does not thrive on uncertainty.

On the positive side of globalization, art is flourishing in the Persian Gulf, Saudi Arabia, and Russia – markets that helped stabilize prices during the last global financial crisis. The value of Arab states in the art market is reinforced by recent expansion like The Louvre and Guggenheim’s new locations in Abu Dhabi. Russia’s hot market, however, may see some softening in 2020 because of sanctions and fluctuations in the petroleum market.

Climate Change

Collectors, galleries and institutions will continue to grapple with climate change exposure. According to the World Meteorological Organization, over 62 million people around the world were impacted by extreme weather in 2018. The uptick in extreme weather events – from hurricanes and wildfires to subzero cold and drought – all factor into how art needs to be handled, transported, displayed and stored.

There are different exposures to art based on zip codes. In the event of a catastrophic loss, insurers know what the exposure is and how it has been priced. Since 2005, insurance professionals have focused on aggregate issues, or accumulation of exposure, in the wake of Hurricane Katrina and Rita to ensure there is enough reserve to fulfill policyholder’s claims.

The art world will also continue to struggle with rising water levels. The World Meteorological Organization’s report also claimed that over 35 million people were affected by flooding in 2018. Coastal cities that serve as hubs for the industry, like Miami, Venice, Amsterdam, and New York, are a growing area of concern. Conversations about how to best safeguard the art will continue in the upcoming year – with everything from moving facilities to building new systems to protect priceless works. 

The damage that was caused and the significant losses were, to some degree, a surprise to the insurance industry, which had never seen seasons with that degree of intensity. Areas faced with wildfires, as well as surrounding areas, become more susceptible to flooding while recovering. This increased risk is a result of the dramatic change in terrain and the ground’s diminished ability to absorb water. The Federal Emergency Management Agency says that areas affected by wildfires are at increased risk for up to five years to face flash flooding and mudflows, even if they were not typically flood-prone areas in the past. 

Wildfires continue to intensify in both scope and frequency. In 2016 and 2017, California was hit by major brushfire losses. According to the National Interagency Fire Center, there were 65,575 wildfires in 2016 and 71,499 wildfires in 2017. In 2016 5.4 million acres were burned, and in 2017 it increased to 10 million acres, which was higher than the 10-year average.

This is a major concern for the art industry, since fire makes the restoration process of damaged art very difficult, and at times impossible. Fire can completely consume artwork, and smoke and heat damage can lead to significant challenges. All art collectors, especially people in fire-prone areas, need to invest in art insurance or risk losing their pieces for good.

Escalation of Art Values

In 2020 art values will continue their sharp upward trajectory as wealth increases around the world. According to The Art Market 2019, a report written by founder of Arts Economics, Dr. Clare McAndrew, the art market was valued at $67.4 billion in 2018, a six percent increase from the year before.

The spread of wealth around the world has expanded art worldwide, especially in China – now home to the world’s most billionaires, India, and Saudi Arabia; access to disposable incomes to acquire artwork has increased consumption. However, this becomes a matter of supply and demand; there are only so many historic artworks available for purchase.

Overall, there are many changes on the horizon within the art market in the new decade. Similar to other areas of business, the art world will need to prepare for and adapt to challenges presented by societal, economic, and environmental concerns. Looking ahead, it will be interesting to see how these obstacles are overcome, and how it will impact the way art is bought, sold, and protected.

Joe Dunn has served as president & CEO of Huntington T. Block (HTB) for nearly 15 years.  HTB is the leading specialty fine art insurance brokerage firm in the United States and manages exclusive underwriting facilities for Lloyd’s of London. Joe has grown the practice by successfully leading the team by providing risk management and insurance solutions to the fine art industry. Sources: South China Morning Post, World Meteorological Organization, Federal Emergency Management Agency, National Interagency Fire Center, The Art Market 2019, and Arts Economics.

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