Pablo Cardoza Gallery, Houston, Texas. Thursday, Sept. 30 – Saturday, Nov. 20, 2021
opening reception Thursday Sept. 30th 7pm-10pm 803 William #2 77002

Cy Twombly, The First Part of the Return from Parnassus, 2013
pigmented print on canvas
52 in x 87.7 in

So there you stare, at a blank wall . . . now what? Here are Paul Kremer’s 13 top tips and tricks to make this laborious process less of a headache.

1. Good news: Anything can be art (no, really). There’s no official committee sitting around a long table determining what is and what is not art—especially not when it comes to making a dramatic statement.

2. You don’t need to be knowledgeable or undertake an art course to decorate your space with paintings. Displaying any type of art not only spruces up your walls, but makes you feel more attractive and shows people that you have a touch of style and personality.

3. High-quality fine art pieces range in price from $8 thousand to $200 million, and many famous artists are willing to produce unique art pieces for decorating your home.

4. A famous artist can come up with a style that reflects each room’s function in your house. Make sure to request that the artist use colors that match your existing decor. Alternatively, correlate patterns in your desired artwork with what you have in your home for a matching look.

5. Although you should display artwork about food in your kitchen, other rooms such as the living room are more flexible and versatile. NOTE: A dining room wall decoration arrangement is best hung slightly lower, to enjoy looking at it most while you are sitting down.

6. Lots of home offices have wood-paneled walls, and they are perfect surfaces for hanging pictures. Other suggestions? A laundry room, bathroom, mudroom, or even your beloved man-cave!

7. “It can be hard to visualize how a combination of art will look on the wall, so it helps to sketch out your plan on graph paper or use a computer program to layout your art,” Kremer says.

8. For larger pieces, try this tried-and-true trick: “Just cut out a photo of the piece and hold it up against the wall and snap a photo with your iPhone,” he advises. “It looks just like it’s on the wall, with the exception of your hand being there!”

9. Simply leaning art on a shelf or mantel works especially well if in gilded frames by taking it down a notch and giving it a more casual feel.

10. “Literally, anything looks wall-worthy with a good frame job. Even on high-budget jobs,” Kremer says, “I like to go up to Hudson and scrounge for priceless paintings that I’ll make look even better with good framing and a mat.”

11. More than for your own personal enjoyment, it is well known that homes staged with fine art sell for an average of 17% more money. In fact, home staging is a form of art itself and could be the tipping point that influences a buyer to make that buying decision.

12. Apart from creating a connection with the buyer and greatly influencing his/her/their purchasing decision, displaying fine art for home staging also has tremendous benefits for artists. It helps to establish brand awareness, both in real life and online. The staged homes we work with typically get published in architecture and interior design magazines and always tag the artist. It offers artists the opportunity to promote their content – through newsletters, social media pages, websites, brochures, etc.

And lucky tip number 13? Shhhhh, don’t tell the art dealers, but you can even make your own art if you’re crafty! After all, a house without art is —dare we say it— a home without heart!

– – – – – – –

A self-taught artist, Paul Kremer was born in Chicago, Illinois, in 1971, and lives and works in Houston, Texas. Before becoming a full-time artist, he owned a graphic design studio for twenty years, where he worked with such clients as Lou Reed, Tom Waits, MTV, PBS, and National Geographic. He was also a founding member of the art collective I Love You Baby, active from 1998 to 2008. Recent solo exhibitions include UV at Berggruen Gallery, San Francisco; Windows at Louis/Buhl & Co., Detroit; Hovering at Maruani Mercier, Knokke, Belgium; Layer Hooks at Alexander Berggruen Gallery, New York.

Paul Kremer / Great Art in Ugly Rooms, September 30 – October 20, 2021.
On view at 803 William #2, Houston, Texas 77002.

Images and previews are available upon request. For all inquiries, please contact the gallery by phone (832) 998-7110 or by email at pablocardozagallery@gmail.com

Press Enquiries Pablo Cardoza
T. 832-998-7110

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Johannes Vermeer, The Concert, 2013
pigmented print on canvas
28½ in × 25½ in (72.5 cm x 64.7 cm)

Stanley Kubrick. The Shining and
Félix Vallotton. La Blanche et la Noire, 2013
pigmented print on canvas
18 in x 25 in (framed)

Kazimir Malevich. Black Square, 2013
latex print on canvas
41¼ x 41¼ in ( 106 x 106 cm)

Francisco de Goya. Still Life with Golden Bream, 2013
latex print on canvas
17⅝ in x 24⅝ in (44.8 cm x 62.5 cm)

Lucio Fontana. Concetto Spaziale, Attesa, 2013
latex print on canvas
45¾ in × 31⅞ in (116 × 81 cm)

Cy Twombly, The First Part of the Return from Parnassus, 2013
pigmented print on canvas
52 in x 87.7 in

Willem de Kooning. Woman, I, 2 panels, 2013
latex print on canvas
75⅞” x 58″ (192.7 x 147.3 cm)

Lucian Freud. Portrait of Frank Auerbach, 2013
latex print on canvas
16 in × 10 in (40.6 cm × 26.7 cm)

Marcel Duchamp. Nude Descending a Staircase, No. 2, 2013
latex print on canvas
57⅞ in x 35⅛ in (147 x 89.2 cm)

Carmen Herrera. Red with White Triangle, 2 panels, 2013
latex print on canvas
Final size: 48 in × 66½ in (122 cm × 168 cm)

After Frank Stella, Fez 2

Installation, 2021

After Piet Mondrian, Composition No. III, with Red, Blue, Yellow, and Black

Installation, 2021

After Morris Louis

Installation, 2021

After Morris Louis
Installation, 2021

After Morris Louis
Installation, 2021

Ellesworth Kelly
Blue White , 1962
7 x 6.5 image
12 x 16 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Jean Michel Basquiat
Flexible, 1984
4 x 3.5 image
8 x 10 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Philip Guston
Ride, 1969
9 x 6 image
11 x 14 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Jules Olitski
Cleopatra Flesh, 1962
4 x 3.5 image
8 x 10 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Cindy Sherman
Untitled #96, 1981
9.25 x 12.5 image
18 x 14 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

John Singer Sargent
Madame X, 1883-84
9 x 6 image
11 x 14 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Henri Matisse
The Sheaf, 1953
7 x 6.5 image
12 x 12 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Helen Frankenthaler
The Flood, 1967
7 x 6.5 image
12 x 12 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Franz Kline
Painting, 1952
9 x 6 image
11 x 14 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.

Chris Ofili
The Raising of Lazarus,2007
16.5 x 12.5 image
18 x 14 (suggested frame size)
Small edition of 5, Epson Claria archival ink on ultra-premium matte photo 230g/m paper. Numbered and signed by the artist.