Steve, would you mind explaining how Arcadia got its start?

"Prior to opening Arcadia, I had been working at another gallery for many years. I left that gallery because I knew it was time to "see what else was out there." I had thought about going to work at another gallery, relocating to Los Angeles to work in the motion picture industry, or who knows what? I just knew it was time to leave where I was. I spent the next few months genuinely not knowing what my next step was going to be and then I realized that I truly loved what I had done professionally and thought, "Well, if I do go to work in a gallery again, it's going to be on my own terms."

The "selling part" of working in a gallery had always come easy to me. I had learned a lot about how to treat collectors and artists, but more importantly, I learned how NOT to treat clients, casual visitors to a gallery and artists as I saw it transpire quite often in my previous place of employment...people like to know they are appreciated, whether it's a client or a painter. You have to let people know when they have done a good job or let them know how they could improve in the future. I have always believed in positive reinforcement and if I were to be "running things," that was going to have to be one of the traits of my business. I also knew that I would never expect more from people that worked for me than I did of myself...I would like to think that the people who work with me at Arcadia feel that I live by that ethic."

Although you have to choose artists that fit what your collectors are looking for as a gallery director, what exactly is your personal taste for painting?

"Yow...that's a TOUGH question as my "personal" taste is incredibly eclectic. I do genuinely love many of the painters' works I represent, but in regards to paintings from other artists, it varies greatly from Waterhouse and the Pre-Raphaelites to some J.C. Leyendecker and Parrish oils, a few pages from Jack Kirby and Joe Sinnott's run of The Fantastic Four to Lucian Freud and Francis Bacon. I guess in terms of time periods, it could be narrowed down from 19th century to contemporary realism, but a great Franz Kline can really get my heart racing. In addition, I am an avid collector of contemporary photography and go ballistic over anything by Avedon, as well as the images created by Cindy Sherman, Bruce Weber, Robert ParkeHarrison and Erwin Olaf."

What do you see for the future of Arcadia Gallery?

"Well, a great deal of that is out of my hands as I, and so many other gallery owners, are really at the mercy of the economy. The last 2 years have been difficult, to say the least, but each month, we seem to "pull it off." If I had a trust fund, I suppose I would be whistling through these last 2 years, but unfortunately, fate did not deal me that hand. So we just work hard, get the works seen, maintain the quality of the artists we represent and make sure that people think of Arcadia first if they are considering making an acquisition of art."

Do you feel that Arcadia Gallery is moving in any specific direction and if yes: Where do you want the gallery to be in the future?

"In the future, I see the gallery constantly distilling down the number of painters we represent to more fully feature those that I think have extraordinary skill and a real, singular "voice" in their works. The only "direction" that I want us to head in is towards better quality"

What do you feel that an artist could do to better prepare her/him self for gallery representation?

"One of the first things that I tell artists is that if they do not already, one needs to think like a business person. They need to think about not only what they want to accomplish with their work, but listen to the gallerist and the feedback from collectors... I'm not saying "do what you're told," what I am saying is "be open" to what he or she has to say and what the feedback has been.

In regards to a portfolio for presentation, FOCUS on what you want to say with the imagery you are submitting...DON'T send imagery for works that are more than 2 years old... I don't care what you did in college (unless, of course, you just graduated) otherwise, if the work is more than 2 years old, it stands to reason that what you are creating now is different or better than the "old stuff." Also, don't send hundreds of images...just send "your Greatest Hits" and don't try to "second guess" what the gallery is looking for...send what YOU think best shows off your talents."

I think all artists consider a gallery as an agent. As an agent for all of the artists you represent, what do you feel artists could do more on their end to make business run smoother for everyone (both artist and gallery)?

"One of the important things that an artist should understand is that if they are having a show at a gallery, that the gallery will be needing a number of images of new works MONTHS before a show opens. Because of the "lead times" for almost every magazine, ads need to be created 2 months PRIOR to the exhibition's opening date. If the gallery is going to be creating a catalog. 6-8 weeks are needed to print them. Framing needs to be done weeks to months in advance as well. In other words, one of the worst things a painter can do is NOT be aware of that schedule. When we participate in art fairs, I cannot tell you how many painters have to overnight paintings to my hotel room before a fair and it is exasperating...be prepared, get the work done PRIOR to the last minute."

Steve, what led you down the path of Fine Arts? Is there a story you might want to share of how personal inspiration in the arts led you to carve this path for yourself?

"When I was a child my mother used to take me to museums all the time. She was a fashion illustrator when she had graduated from college and always had a love of the arts..I guess she instilled that in me. I always had an interest... I used to collect comic books for the art and not necessarily for the stories. In addition to an interest in art, I always enjoyed sales...so here I am now, fortunate enough to combine 2 things that I genuinely enjoy."

Steve, on a few occasions you have mentioned the importance of an artist finding their look. How important is this 'look' to gaining representation at a prestigious gallery such as Arcadia?

"Frankly, "the look" as you call it, is everything....style is not enough....concepts are not enough... you need to be able to combine the two. Think of any artist in history or any photographer and you immediately conjure up "their look" in your mind's eye. Whether you like their work or not is irrelevant to the fact that they have created what we call "a signature style." Take for example, Malcolm Liepke who I have been working with for almost 20 years. From across the gallery, you can look at one one his canvases and KNOW "it's a Liepke." You may or may not be a fan of Liepke's paintings, but that is irrelevant to the fact that he has created his own unique style of painting. And even though there are dozens of painters that have been "heavily influenced" by Liepke's works over the years, you just KNOW a Liepke when you see one and you KNOW when someone has created a poor imitation."

Would you find that collectors are more concerned by the autonomy and originality of artwork or the craft and fabrication of an art piece

"That's making the assumption that the two are mutually exclusive and they are not. In my opinion, the successful artist is the one who can combine both."

)What do you feel is the importance of today's gallery in the art world/ preferably in New York?

"We are not important in the scheme of things. Art is a luxury, not a necessity. That's why we are very appreciative of every collector that comes into the gallery and makes an acquisition. As long as you keep that perspective, you'll not drive yourself crazy. What I feel that we are trying to accomplish at Arcadia is to let people know that there are still many artists, both old and young, that are creating magnificent works of art that are both beautiful to look at AND masterfully executed. It seems that "beauty" and "skill" have become derogatory words over the last 20 years and "we're fighting the good fight.""

What important advice would you give to art students or young aspiring artists at the beginning of their career path in approaching galleries and or sustaining a good relationship with their gallery?

"Paint what you love and develop your skills. Picasso was a brilliant draftsman when he was 12 years old and it was not until AFTER he knew how to draw magnificently, that he went on to explore more abstracted styles. Don't try to be "The Next _______" (fill in the blank with your favorite artist).. just try to be "the best you" there is. If I can tell who you studied with or who your favorite artist is just by looking at the work that you have created, start swimming back to shore, ' cause the sharks are already starting to circle."