Where do you put a 200-foot long bronze sculpture?

It’s a good question, isn’t it?  Jeff and I have envisioned “The Eye of the Creator” in a number of places.  No matter where it ends up, it will be permanent.  “The Eye of the Creator” will be around for more than a thousand years.

For Jeff, it is about leaving his legacy.  Of course, all of his bronze sculpture will be around for a thousand years but he loves the idea of a monumental sculpture of his surprising and delighting the world centuries after he is gone.  He likes the idea that his ideas and creativity will live on after him.  We envision the permanent home maybe being an Olympic venue, World’s Exposition, a major city or even a theme park.

For me, I love the look on someone’s face when they first look through the sight hole of any of the monuments.  It is a paradigm shift.  Most people have an expectation of what they will see when they look at “The Eye of the Creator.”  They are prepared to politely listen to Jeff’s explanation of these abstract shapes.  They show some interest in all the faces. When they get their first glimpse of the world through the sight hole, there is a reaction that is identical with almost everyone.  First, they look surprised at what they see then they start smiling.  That first glimpse is like Christmas morning, or a new snow or an unexpected present.  It is unexpected and fun.  In addition, I have seen it over and over again with almost everyone so I know that with the monumental version will be even more fun.

Imagine looking up at five or six story monoliths (the final size is dependent on whoever partners with Jeff to build it).  Faces that are 10 feet tall suspended above you and just when you think you have seen them all, an eye of the one you are looking at becomes the eye of another one next to it.  You see one face that reminds you of your dad.  Some of them are reminiscent of figures from history that you know you have seen before.  Some are just new and wonderful.  However, the size is what is amazing.

Have you ever been to see Mt. Rushmore?  The faces are huge but you can only see them from far away.  “The Eye of the Creator” will be right there in front of you.  You will be able to place your hand on the bronze.  It will be an experience to remember.  Then you will climb the stairs to the sight hole.  Most people will know what they are expected to see but when you actually look at the world, made up of the monoliths and faces that you have just intimately explored, it will be a “monumental” experience for everyone.

I’m really looking forward to seeing the children’s reactions.  We don’t get many young visitors to the studio but the ones who have seen it all do kind of the same thing.  They look through the sight hole and see the world.  They don’t always seem to believe their eyes and move back to see the monoliths one more time.  They go back to the sight hole again and reassure themselves that they really did see what they thought they saw.  I notice them wandering back a few more times for just one more look.

We are actively seeking the company, city, state, country or individual who will partner with us to build the monuments.  We have five different designs each designed to be approximately 50 feet tall and 150 to 200 feet long.  It is a revenue, recognition and good will generating proposition for the partner and if you know anyone that should see it, please direct them to our video and proposal at www.jefftritel.com.  You are all invited to the unveiling as soon as the first one is built.

Picture this “The Official Sports Drink of the ……Symphony” by Performance Research

While corporate sponsorship has been the mainstay of growing financial support for many American pastimes, corporate sponsorship of fine and performing arts has somehow been left behind as more and more money is being spent on everything from Pro Football to the Olympic Games.

Audiences and sponsorships are well documented in sports, but until recently, little has been known about Arts audiences. How do they compare?

Over one-half (56%) of those with an interest in the Arts say they would “Almost always” or “Frequently” buy a product sponsoring Arts or Cultural events over one that does not. In contrast, according to previous Performance Research studies, only about a one-third (36%) of NFL fans, one-third (34%) of America’s Cup yachting enthusiasts and less than one-fifth (17%) of the 1996 Olympic Games audience chose products based on their sponsorships. (The highest sponsor loyalty numbers have traditionally been seen in motorsports, where as many as 72% claim to preferentially select sponsors’ products)

Even more revealing was that almost one-half (48%) of Americans with an interest in Art and Cultural events indicated that they hold a “Higher” trust in companies that sponsor these events compared to those who do not, while only 16% of Olympic Games enthusiasts claim a “Higher” trust in their sponsors.

What does all this mean for corporate connoisseurs? For those brands marketing to a more refined audience, there is ample opportunity. According to the nationwide study, this new breed of art and culture consumers sketch themselves as “Family oriented”, “Active”, “Mature”, “Fun loving”, “Traditional”, and “Socially liberal”. They can best be described as married (58%), middle income ($30-$60K), baby boomers (average age 47) with a penchant for traveling. These consumers with an interest in the Arts are brand loyal purchasers that appreciate corporate involvement and are not yet inundated by the advertising and sponsorship clutter so apparent in other pastimes.

So has the picture been painted? ….. Does this study predicate a corporate free-for-all in sponsoring events such as last season’s Philadelphia Cezanne exhibit or Boston’s Opening Night at Pops?

Not necessarily. Although most forms of advertising used to promote corporate art and cultural sponsorships are widely accepted, the audience did have their “beaux des Arts” standards, particularly eschewing affiliations with alcohol, beer, and tobacco companies. Curiously in addition to the above “sins”, in a list of over twelve possible promotions, “Lobby based auto displays” were specifically identified as “Inappropriate” in the world of art and cultural sponsorship.

Performance Research measured the nationwide art and cultural audiences in an independent study of over 600 respondents ranging from occasional (1 per year) to frequent (5 per year) visitors of Museums, Galleries, Performing Arts or Cultural Events.

FAQs about Certificates of Authenticity by Bonnie Tritel

Why is my Certificate of Authenticity important?
A certificate of authenticity is important on a sculpture because it is almost like a certificate of ownership on a car.  It establishes you as the original owner in case you wish to sell your sculpture, loan it for an exhibition, donate it to a museum, etc. The certificate of authenticity should always be kept with the sculpture.

What information is on a Certificate of Authenticity?
Our Certificates of Authenticity state the name of the original owner, the name of the sculpture, the edition size of the sculpture, the specific number in the edition that this certificate is authenticating, purchase date and Jeff’s signature.

How is an artwork authenticated if there is no Certificate of Authenticity?
An artwork can be authenticated by the artist, if the artist is still living, or by a recognized authority on that particular artist if the artist is deceased.  Art authorities are found at auction houses, museums and universities.

I purchased my Tritel Sculpture on the secondary market and I have no Certificate of Authenticity.  How do I have it authenticated?
Jeff is happy to authenticate his sculpture.  The sculpture should be shipped to us in Grass Valley for Jeff to make a positive identification.  He will then issue a Letter of Authentication stating that the sculpture is indeed an original Jeff Tritel.

I am selling my Tritel Sculpture.  What kind of document will transfer ownership most effectively?
A document should be created stating that the original owner is transferring ownership to the new owner.  And the original Certificate of Authenticity should accompany this transfer document.  These documents become part of the provenance of the artwork which is the history, origin, location etc.

When is a sculpture not an original?
As the value of an artwork increases, there are art pirates who will duplicate an artwork and try to pass it off as an original. Molds are made from the original and castings made from those molds.  Often there is very little quality control and almost no thought given to the intent of the artist.