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I was approached by several artists recently with questions around their bequest planning and whether SNAG would be able to help and receive some of the artwork and money the artists wished to bestow. (Short answer: Yes, SNAG can help with this, please be in touch either with me privately or our Executive Director, Gwynne Rukenbrod Smith (email@example.com) at any time.)
Talking about our own mortality isn't exactly what we enjoy doing, but it's an important topic nevertheless. I came across an article in the OREGON the other day (I believe it was first posted on Critical Craft Forum on fb) which is linked below. Everybody always thinks they have a ton of time and estate planning is pushed aside, the result of which is that relatives and friends are left to decide as they see fit - with varying outcomes.
Looking forward to hearing your views on this. Has anyone had experience with this, good or bad? Any advice?
Crafthaus Founder & Editor
crafthauseditor at live dot com
SOURCE: By Suzi Steffen, OREGON LIVE
The 66-year-old man was enjoying himself dancing at John Henry's tavern in Eugene, so his friend went to have a beer at the bar. Suddenly, the man, clutching a sketchbook, was on the ground, dead of a heart attack.
The man curled up in front of a speaker in September 2000 was folk artist Raymond Komer.
Komer was an orphan who grew up in Boys Town, a man who had some formal art schooling but who lived as a wanderer and earned just enough in disability checks to hold on. He stole art supplies to keep his art going, his friends said, and he lived in attics or basements, anywhere he could put together a studio and store his art.
He left behind a massive archive – prints, acrylic paintings on Masonite, found-art collages, sculptures, and piles of his omnipresent charcoal sketchbooks. Sixteen years later, his friends and accidental collectors are wondering what they should do with the pieces they inherited.
That's a question for any artist or collector who ends up with a trove of work but no plan.
"A lot of it is going to have to depend on the passion of the people who have the work," said Charles Froelick, who owns the Froelick Gallery in Portland. "Just because there's art doesn't mean somebody wants to buy it."