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I don’t know whether she had permission or not, but I do believe that when her company found out what she was doing, there were consequences. To this day the wife is still doing the books for the other companies her husband is a shareholder and or director of. Dodgy. Number 3: Last example for today: I will be discussing the matter of company auditors in more detail in another article later this week. However, for the purposes of this article I would like to highlight the following: During our investigations into my business partners, my legal team and I found out that they had approached five different audit firms over a matter of less than 12 months to perform the annual audit on our company. Only two of these firms agreed to audit the financial books of the company. Strangely, the audited draft financial statements which were provided after these two separate audits took place and without obtaining any documentation whatsoever from myself (a 50% shareholder and director of the company), reflected completely different numbers. It was only thanks to my legal team questioning this audit firm that we got these auditors to admit that they were indeed conflicted, considering they were responsible for the so-called independent and impartial audits of my business partners’ other companies. Yes, the same companies, including the Mothership, which were benefiting considerable amounts of money from the forced payments made from my little company by my business partners. I was disgusted that this audit firm had not extricated themselves from the situation sooner. I’m not sure whether these business partners are adopting the same strategy with other entrepreneurs whom they are currently in business with, but it certainly seemed to be their modus operandi at the time. In summary, be very wary of going into business with anyone who is conflicted. Whether they own stakes in multiple companies which might impact their ability to make impartial decisions, or whether they try to pull their family into the fold. Tomorrow I will be sharing the next topic in my Legal 101 series and I will include some further real-life examples from my own experience.

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Longing for New York City, she came to the realization that the dark, urban settings of her previous paintings felt out of place in the tropical light of Miami. Following a fortuitous accident upon which she looked at the back of a grid painting and observed a resulting “bleached-out light” effect—an effect much more in line with her new Miami surroundings—Gelfman began consciously turning the back to the front. For example, her oil and sand series references the curling, linear metal work used in many working-class neighborhoods in Miami to secure windows and gates. Meanwhile, her between paintings transform the grid of chain-link fences, often used to aggressively divide urban spaces into shimmering, transparent patterns that recall the movement of sunlight on the sea. Series that evidence these influences include lines, where invisible horizontal markings interact with applications of dripping paint that move vertically down the surface, creating a patterning that recalls the irregular grids of textiles. The thru series additionally recalls weaving patterns, through its use of repeating triangle and square forms. She began this series in the 1970s but has returned to it in recent years, producing works at varying scales and formats. The artist has described this aspect of her work as referencing the rapid disintegrations and manipulations of values and ethics within our contemporary society. Her first solo show was a prize awarded by Miami’s Metropolitan Museum and Art Center in 1974, then under the leadership of Arnold Lehman. Since then, Gelfman has exhibited nationally and internationally in galleries and museums. Her work is also a part of many public and private collections, including Perez Art Museum Miami. For the last 15 years, she has developed art projects with inner-city children at the Barnyard, Coconut Grove. Following the walk through guests can join in a toast to the artist on the Joy Terrace with complimentary bites and beverages. The work is a classic example of the Modern Master’s highly prized works from 1932, a particularly fruitful and pivotal year for the artist that was marked by his first major retrospective at the Galeries Georges Petit, Paris.

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