HBO DOCUMENTARY FILMS Presents

HOT & SUNNY PRODUCTIONS and ANTHOS MEDIA in association with
ARTEMIS RISING and FILM MANUFACTURERS, INC. present

THE PRICE OF EVERYTHING

Directed by Nathaniel Kahn
98 min. | USA | 2018

www.thepriceofeverything.com

Publicity Contact: Susan Norget Film Promotion

publicity@norget.com 212-431-0090 c: 917-833-3056

Sales Contact: Submarine
info@submarine.com
212-625-1410


SYNOPSIS
Exploring the labyrinth of the contemporary art world, The Price of Everything examines the role
of art and artistic passion in today’s money-driven, consumer-based society. Featuring
collectors, dealers, auctioneers and a rich range of artists, from current market darlings Jeff
Koons, Gerhard Richter and Njideka Akunyili Crosby, to one-time art star Larry Poons, the film
exposes deep contradictions as it holds a mirror up to contemporary values and times, coaxing
out the dynamics at play in pricing the priceless.


LONG SYNOPSIS
Paintings by Basquiat and Gerhard Richter sell at auction for tens of millions of dollars; a multistory
inflatable ballerina by Jeff Koons dwarfs visitors at Rockefeller Center; a solid gold toilet by
Maurizio Cattelan is installed in the Guggenheim Museum for all to see and use. Today, art is
spectacle, big bucks and front-page news. As a society, we have become less concerned with
the aesthetic and social values of art, and more concerned with brand names and the business
of it all. Many feel that art has become a pawn of the ultra rich—an exclusive investment class
with perks and loopholes out of reach to the average citizen. High-end art fairs are springing up
all over the world and collectors flip works at auction and squirrel away their trophies in high
security warehouses.
Are we in the midst of an art crisis? Can the value of art really be measured in dollars and
cents? How are these values assigned and who assigns them? Does the art market have a
chilling effect on our great museums and the ability of the public to engage in the art of our
time? Most importantly, what does this new consumerist approach to art mean for artists
themselves?
The Price of Everything explores these questions and demystifies the rarefied world of
contemporary art in a dynamic and entertaining way. With unprecedented access to artists,
dealers, collectors and auction houses, the film takes us deep into a hidden world where nothing
is what it seems. In revealing scenes and interviews, we come to understand how the art market
actually works and we confront the challenges of being an artist in the current environment—
where success can come at lightning speed, only to evaporate next season, and where even
the most revered creators must find ways to block out the temptations of the market if they wish
to remain in control of their creative process.
The Price of Everything offers a complex portrait of a late capitalist society confronting itself.
While holding a funhouse mirror up to our consumerist culture, the film ultimately reaffirms the
transcendent power of art itself and the deep need we have for it in our lives.

DIRECTOR’S STATEMENT
Growing up in a family of creative people, I saw firsthand how difficult it is to live life as an artist.
Of course there are great rewards for pursuing one’s artistic passions, but along with those
rewards, come demons. Every artist has them, some from without, some from within, but one
demon all artists seem to share is money: it’s hell when you don’t have it and, ironically, it can
be hell when you do have it. Money explores an artist’s weaknesses—chase it and you can lose
your way, disregard it and you can end up with nothing.
Then there is the opaque and bewildering world of the art market. The market has always been
a capricious beast; favoring, ignoring, loving, withholding, elevating certain artists one moment
only to drop them the next. But in recent years the market has captured the public imagination
as it has soared to dizzying heights, with contemporary works going for a hundred million and
more and a painting, supposedly by Leonardo da Vinci, fetching 450 million at auction in the fall
of 2017. In spite of these newsy items, however, the fact remains that most artists—even great
ones—struggle mightily and most of them never generate much money in their lifetimes, if ever.
Does money corrupt art? Is it a necessary evil? Is there such a thing as intrinsic value that
transcends the world of commerce, or is this just a comforting myth, promulgated by hopeless
romantics and idealists?
The relationship between art and money has always fascinated me and I’ve wanted to make a
film exploring that relationship since making My Architect over 10 years ago. But, “a film about
art and money” is an absurdly broad topic. There could be a million ways of doing it. Where do
you possibly start? In this regard, I was extremely lucky to work with producers who allowed me
to approach the particular demon of “too many options” the only way I know how to deal with it:
start shooting.
It is very much the record of the odyssey we took through the art world over the period of a
couple of years. It evolved organically and it is populated by remarkable characters from all
parts of the art world, and by artists with many different trajectories through it. It is a film
composed not of interviews, but of scenes—encounters—through which we explored a world
vastly more puzzling and contradictory than I ever imagined. In the end, it seems to me the art
world holds a much-needed mirror up to our contemporary society, allowing us to glimpse
ourselves for a moment and to question where we are going as individuals and as a civilization.
If there’s one thing I’d like audiences to take from this film, it’s to open their eyes to seeing art
again on their own terms. The people in the film taught me to do that, each in their own way,
and I am very grateful to them for it. They also taught me, whether they intended to or not, that
in spite of what the market may say, there actually is very little intrinsic connection between
value and price. The idealist and hopeless romantic in me believes, now more than ever, that
there really is something in art that transcends money, that twists free of commerce and that, at
its best, points the way towards some kind of enlightenment. Most artists pay a high personal
price for what they do, but they are bringing things into being that we human beings cannot do
without.
– Nathaniel Kahn

APPEARING IN THE FILM
Mary Boone: Owner and director of the Mary Boone Gallery in New York, this game-changing
dealer made her mark in 1977 with a gallery in SoHo. Boone played a pivotal role in turning
artists into stars, launching the careers of Julian Schnabel and David Salle and showing Jean-
Michel Basquiat as his momentum was building. Today she represents Ai Weiwei, Laurie
Simmons, Peter Saul, Will Cotton, Terrence Koh and Barbara Kruger, among others.

Gavin Brown: Avant-garde artist and dealer, Brown entered the New York art scene in the early
1990s with Gavin Brown Enterprise. He launched artist Elizabeth Peyton, organizing her first
solo show at the Chelsea Hotel before opening his SoHo gallery space in 1994. Always ahead
of the curve, Brown moved to Chelsea in 1997, pre-empting the wave of galleries moving there.
Today, in addition to their Chinatown space, Gavin Brown Enterprise is headquartered out of a
19th-century building in Harlem. Thanks to Brown’s charismatic personality and vision, the
gallery attracts a mix of downtown club kids, A-list celebrities, top collectors and a stellar roster
of artists including Urs Fischer, Alex Katz, Bjarne Melgaard and Rirkrit Tiravanija, to name a
few.

Connie Butler: The chief curator at the Hammer Museum in Los Angeles, Butler is known for
championing relatively unknown artists. She made her name organizing the groundbreaking
survey WACK! Art and the Feminist Revolution which opened at MOCA, Los Angeles in 2007.
She’s also held key curatorial posts at MoMA, the Neuberger Museum of Art, Artists Space in
New York and the Des Moines Art Center.

Amy Cappellazzo: Currently Chairman of Global Fine Arts at Sotheby’s, Cappellazzo was
previously at Christie’s for 13 years where she rose to head of contemporary art. In between
posts, she co-founded Art Agency Partners, inventing a new model of full-service art advisory,
which was acquired by Sotheby’s in 2016. Known for her unconventional thinking and dogged
pursuit of critically-acclaimed collections, Cappellazzo has pioneered paradigm-shifting
approaches to selling art in an era when the market has undergone rapid changes.

George Condo: The highly regarded, New York-based Condo emerged in the 1980s East
Village art scene—and, alongside Jean-Michel Basquiat and Keith Haring—is considered
instrumental to the period’s revival of painting. Condo coined the term “Artificial Realism” to
describe his hybrid incorporation of art historical references from European Classicism to
American Pop. With a talent for balancing high and low culture, theory and commercialism,
Condo’s career spans major museum retrospectives and album covers for Kanye West.

Njideka Akunyili Crosby: In 2017, Nigerian-born artist Akunyili Crosby was named a
MacArthur fellow. This stunning accomplishment is the most recent in Akunyili Crosby’s
meteoric rise since receiving her MFA from Yale in 2011. The artist’s collage-paintings, often
featuring domestic interiors with references to history and the African diaspora, are laborintensive
to produce and Akunyili Crosby creates as few as a dozen works a year. Her work has
become highly sought after by both museum curators and important collectors and, in 2016,
Drown (2012), was sold at auction for an astonishing five times its estimate.

Simon de Pury: Star auctioneer de Pury brings a swagger and exuberant charisma to the
auction block. The Basel-born de Pury, who once aspired to be an artist himself, spent over two
decades at Sotheby’s where he rose to Chairman of the Europe division, before leaving to form
his own auction house in 1997, which later merged with Phillips. Following his exit in 2012, de
Pury founded de Pury & de Pury and has focused on advising collectors, curating exhibitions
and discovering emerging talent. In addition, de Pury regularly moonlights as a charity
auctioneer, raising millions of dollars for causes and cultural institutions.

Jeffrey Deitch: A hugely influential American art dealer who got his start developing art
advising and lending services at banks, Deitch changed the contemporary canon by supporting
Keith Haring, Jeff Koons, Cecily Brown and Kehinde Wilde early in their careers. For 14 years,
he ran the gallery Deitch Projects in SoHo. In 2010, he was appointed as the director of the
Museum of Contemporary Art, Los Angeles. Today, Deitch is back in the original Deitch Projects
headquarters at 76 Grand Street, as well as 18 Wooster Street. He’s also busy planning a
15,000-foot warehouse space in Los Angeles and collaborating with Larry Gagosian on their
Design District show in Miami each December.

Ed Dolman: Prior to his current post as Chairman and Chief Executive Office of Phillips, which
he joined in 2014, Dolman had been Chairperson of the Qatar Museum Authorities and served
as CEO of Christie’s for 11 years, where he oversaw the company’s shift to a more global
clientele and increasingly contemporary art.

Stefan Edlis: Edlis, who collects with his wife Gael Neeson, is routinely mentioned on lists of
the world’s most influential and important collectors. Born in Austria, Edlis escaped Nazi
Germany and emigrated to America at the age of 15. After serving in the Navy, Edlis became a
successful businessman and, in the 1970s, began buying art. The artists he’s most enthusiastic
about now include Ugo Rondinone, George Condo, Jeff Koons and Maurizio Cattelan. In 2015,
Edlis and Neeson donated 42 contemporary and modern art works, valued at more than $400
million, to the Art Institute of Chicago.

Jeff Koons: Arguably the most successful artist of our time both in terms of financial reward
and the creation of iconic figures and works of art, Koons works out of a former factory in
Chelsea with more than 100 assistants, in a like manner to Andy Warhol’s fabrication process.
Fearless in his approach to art and the market, Koons regularly collaborates with commercial
brands including Chateau Mouton Rothschild, Kiehl’s, Louis Vuitton and SnapChat. His
sculptures routinely sell for tens of millions of dollars to high-profile collectors around the globe.

Margaret Lee: Sculptor, dealer and painter, in 2009, Lee founded the artist-run space 179
Canal, which evolved into the artist-run gallery 47 Canal, which she co-directs with Oliver
Newton in New York City’s Chinatown.

Marilyn Minter: Since her emergence on the New York Art scene in the 1970s, Minter has been
known for her photography and paintings that vividly explore, among other subjects, the
complex and contradictory emotions around beauty and the female body in American culture.
“Pretty/Dirty,” her first major retrospective show, opened at the Museum of Contemporary Art
Houston before arriving at the Brooklyn Museum with great fanfare in 2016.

Sabine Moritz-Richter: A German painter and graphic designer, Moritz-Richter was the last
student accepted to Gerhard Richter’s class before he stopped teaching. The couple married in
1995 and today live in Cologne, Germany.

Gael Neeson: Neeson is deeply engaged in the contemporary art world, both as a buyer and
seller. Along with her husband, Stefan Edlis, the Australian-born Neeson donated 42 works of
art, valued at more than $400 million, to the Art Institute of Chicago. This was one of the biggest
and most transformative gifts in the museum’s history.

Alex Nemerov: A respected scholar of American visual culture, Nemerov is the Department
Chair & Professor in the Arts & Humanities at Stanford University. Previously, he taught Art
History and American Studies at Yale University. He writes and lectures regularly on the history
of painting and photography.

Holly Peterson: A television producer, journalist and art collector, Peterson lives in New York
City. Known for satirical novels about the city’s high powered social set, like the New York
Times Bestseller The Manny set in the Hamptons, Peterson is also an avid collector of lesserknown
artists.

Larry Poons: An abstract painter, Poons rose to prominence in the 1960s with his Op-Art dot
paintings, which were widely collected and featured alongside artists such as Robert
Rauschenberg, Jasper Johns, Andy Warhol, Franz Kline and Frank Stella in the game-changing
Scull auction in 1973. Poons was both praised and criticized for moving away from this
signature style towards looser, more expressive paintings in subsequent years. In addition to
painting, Poons is an accomplished vintage motorcycle racer. Today, he divides his time
between New York City, Florida and upstate New York, where he has painted since the late
1970s. Poons’ work is represented in major museums throughout the world.

Paula De Luccia Poons: A painter, who married Larry Poons in 1981, De Luccia Poons first
exhibited in a group show in 1974 at the Nelson Atkins Museum in Kansas City. She maintains
a studio in upstate New York and in New York City.

Gerhard Richter: Celebrated for both his abstract and photorealist paintings, Cologne-based
Richter is one of the most important artists of our time. His work is represented in most major
museum collections in the world. While he is considered a mainstay of the contemporary art
market, holding the auction record for a work of art sold by a living European artist, Richter
prefers that his works are seen in museums where the public can enjoy them.

Barbara Rose: An art historian, art critic and Fulbright Scholar, Rose was a defining voice of
the Minimalist art movement in the 1960s and later one of its sharpest critics. From 1965 to
1991, she held positions at Art in America, Vogue, Artforum, New York magazine, The Partisan
Review, Arts magazine and the Journal of Art. Her books address some of the most important
artistic shifts in the second half of the 20th century.

Inga Rubenstein: Inga Rubenstein is a Russian-born former model who collects cutting-edge
contemporary art with her husband, real estate tycoon Keith Rubenstein. The couple’s first
acquisition was a Damien Hirst butterfly painting at Art Basel Miami Beach.

Jerry Saltz: The Senior Art Critic for New York Magazine, Saltz has cultivated a robust social
media following and irreverent populist persona through reality TV appearances and provocative
Instagram posts. His fundamental message, reinforced in The Price of Everything, is that art
matters, “as much as religion—and Mozart.”

Paul Schimmel: An acclaimed contemporary art curator based in Los Angeles, Schimmel was
the chief curator of The Museum of Contemporary Art, Los Angeles, from 1990-2012. He joined
Hauser & Wirth, in 2013 as a vice president and partner overseeing their new Los Angeles
venue before leaving in February 2017.

Serge Tiroche: An international expert on art investment, Tiroche combines a family
background in art with substantial banking and investment experience. For a decade, He
founded the art incubator START, the advisory firm Serge Tiroche Consultants and is part
owner of the Tiroche DeLeon Collection.

Dennis Yares: A second-generation art dealer, Dennis Yares directs Yares Art, specializing in
Abstract Expressionism and Color Field art with locations in New York City and Santa Fe. In
September 2017, Yares gave Larry Poons a solo show of his latest work at the gallery’s Fifth
Avenue location.

FILMMAKER BIOS

Nathaniel Kahn – Director
Nathaniel Kahn is an award-winning filmmaker. His documentary My Architect, about his father,
Louis I. Kahn, was nominated for an Academy Award in 2003 as well as being nominated for
two Independent Spirit Awards and an Emmy. Kahn also won the 2004 Directors Guild of
America award for outstanding direction of a documentary. His short films include the Oscar and
Emmy nominated Two Hands (2006), about the internationally celebrated pianist Leon Fleisher.
Kahn has also made several films on science including Telescope (2015) and Dark Side of the
Sun (2016) for Discovery. He is currently working on a film about NASA’s new Webb Telescope
and the search for life in the universe, as well as a feature screenplay, which he will direct.

Jennifer Blei Stockman – Producer
Jennifer Blei Stockman is a principal in Hot & Sunny Productions, formed to provide content
about artists and the art world for film and television. She worked as an executive for over 30
years in the business world while avidly collecting contemporary art. She has been President of
the Guggenheim since 2005, with museums in New York, Bilbao, Venice and a project in Abu
Dhabi. She has also served on museum committees at MoMA, the Metropolitan Museum of Art
and the Aspen Art Museum and founded the Bruce Museum Council. Blei Stockman is a
producer of Love, Cecil, a documentary by Lisa Immordino Vreeland that premiered at the
Telluride Film Festival.

Debi Wisch – Producer
Debi Wisch is a principal in Hot & Sunny Productions, formed to provide content about artists
and the art world for film and television. She has more than 25 years of experience in marketing
and public relations and has consulted for international luxury brands, cultural institutions, art
galleries and museums. She currently serves on the Director's Advisory Board at Stanford
University’s Cantor Arts Center and Anderson Collection, the Guggenheim Museum's
International Director's Council, Hunter College's Art Advisory Board, and served on the
executive committee of the Jewish Museum. She is also an active board member of the Film
Society of Lincoln Center and serves on the board of governors of the American Jewish
Committee. Wisch is one of the producers of Lisa Immordino Vreeland’s documentary Love,
Cecil.

Carla Solomon – Producer
Carla Solomon is a documentary film producer and one of the founding principals of Anthos
Media LLC. Her producing credits include Particle Fever, about scientists searching for the
mysteries of the universe; The New Public, which takes on America’s educational opportunity
crisis as experienced by one inner city public school; and Colliding Dreams (executive
producer), about the dream of Zionism and its role in today’s Israeli/Palestinian conflict.
Currently, Solomon is participating in Creative Chaos’ Post-Truth (in production), about the birth
of the “fake news” phenomenon, and developing a film about the college mental health crisis. A
clinical psychologist and psychoanalyst by training, Solomon is on the board of trustees of the
NYU Langone Medical Center and founding chair of KiDS of NYU Langone Medical Center. She
is also on the board of directors of the Hamptons International Film Festival.

Lisa Remington – Co-Producer
Lisa Remington is a documentary producer fortunate to have worked with a number of talented
directors. She produced Jessica Yu’s short ForEveryone.net for the Ford Foundation, Davis
Guggenheim’s short for the Obama campaign, The Road We’ve Traveled, and Rory Kennedy’s
portrait of her mother, Ethel, for HBO. She co-produced Participant Media’s film Countdown to
Zero, directed by Lucy Walker, which premiered at Cannes, and collaborated with Robert
Greenwald on Iraq For Sale: The War Profiteers and the Freedom Files, a 9-part series for PBS.
Remington recently produced Raising Ryland, a digital short for CNN.com and co-produced
Cesar’s Last Fast, which premiered at Sundance.

Kayla Malahiazar – Co-Producer
Kayla Malahiazar is a documentary filmmaker based in New York City. She served as the
associate producer on the Emmy-nominated documentary Kingdom of Shadows, which
examines the human cost of the US-Mexico drug war. Previously, she served as production
coordinator on the two-part bilingual series for PBS about Latino high school students, The
Graduates/Los Graduados, and was the outreach coordinator for the Emmy-nominated
documentary Reportero. Malahiazar graduated from Sarah Lawrence College in 2012 with a BA
in Liberal Arts and a focus on international politics.

Sabine Krayenbühl – Edited By
Sabine Krayenbühl is an award-winning editor with over 20 theatrical documentaries and
narrative features to her credit, many of which have premiered at prestigious festivals around
the world. Her work includes the Oscar and Independent Spirit Award nominated My Architect
(2003) for which she received an ACE Eddie Award nomination. Other credits include Mad Hot
Ballroom, The Bridge, Picasso and Braque Go to the Movies, produced by Martin Scorsese,
Salinger, on which she consulted, and Kiss the Water, co-produced by BBC Films. Most
recently, she finished her directorial debut Letters from Baghdad, which has been released
theatrically in the US and UK to great success. She is an alumni of NYU’s Tisch School of the
Arts and a long-term member of New York Women in Film and Television.

Brad Fuller, ACE – Editor
Brad Fuller began his career as associate editor on Errol Morris' first film, Gates of Heaven.
They went on to work on six more films together, including A Brief History in Time (editor),
Vernon, Florida (editor), The Thin Blue Line (associate producer/sound), Fog of War (post
production supervisor) and Standard Operating Procedure (co-editor). Fuller's other editing
credits include Gary Oldman's BAFTA Award-winning Nil by Mouth, Neil Burger's Interview with
the Assassin, the Oscar-nominated documentary short Two Hands: The Leon Fleisher Story,
Every Little Step, for which he was shortlisted for the 2010 Oscars, Countdown to Zero, Rebirth
and Davis Guggenheim’s He Named Me Malala.

Phillip Schopper, ACE – Editor
While Phillip Schopper is primarily known for his Emmy-nominated HBO films—Nixon by Nixon:
In His Own Words, San Francisco 2.0, Teddy: In His Own Words, Gloria: In Her Own Words,
and 911: Portraits of Resilience—he has also directed and edited for HBO All About Ann:
Governor Richards of the Lone Star State, as well as two American Masters for PBS: Nichols
and May: Take Two and The Lives of Lillian Hellman. He began his feature film career editing
the classic music film Heartworn Highways and was supervising editor on the recently released
follow-up Heartworn Highways Revisited.

Bob Richman – Director of Photography
Bob Richman began his film career working with vérité pioneers Albert and David Maysles,
quickly transitioning from production assistant to camera assistant then operator. Finally he
made the leap to director of photography on the Maysles’ Umbrellas, which chronicled artist
Christo's installation of three thousand umbrellas north of Los Angeles and Tokyo. Today,
Richman is an Emmy-nominated and Sundance award-winning cinematographer on almost a
hundred documentaries including: Davis Guggenheim’s An Inconvenient Truth and Waiting for
Superman, Nathaniel Kahn’s My Architect, Joe Berlinger and Bruce Sinofsky’s HBO films
Paradise Lost 1, 2 & 3 and Metallica: Some Kinda Monster, RJ Cutler’s The September Issue,
Oprah’s Master Class and Sundance Channel’s Iconoclasts.

Jeff Beal – Music
Jeff Beal is a composer with a genre-defying musical fluidity. His works have been performed by
symphony orchestras and chorales around the world, while his film and television scores have
been singled out with critical acclaim earning him 5 Emmys and 16 nominations. Beal’s dark
operatic and richly orchestrated score for the Netflix series House of Cards recently earned him
an Emmy for best series composition. Documentary scores include Queen of Versailles and
Blackfish. Beal collaborated with director Jessica Yu on several critically acclaimed
documentaries, including In the Realms of the Unreal, Protagonist, Last Call at the Oasis, and
ForEveryone.net. His latest feature documentary work includes Al Gore’s An Inconvenient
Sequel: Truth to Power, Jon Dunham’s Boston about the 2013 Boston Marathon, and The Putin
Interviews, directed by Oliver Stone.

Judy Aley – Archival Producer
Judy Aley is an archival researcher and producer for documentary and feature films. She likes
looking for things. Credits include the Showtime series on climate change, Years of Living
Dangerously, Shola Lynch’s Free Angela & All Political Prisoners, Michael Moore’s Capitalism:
A Love Story and Sicko, Amir Bar Lev’s The Tillman Story, along with many projects with Spike
Lee including When the Levees Broke.

Eddie O’Connor – Sound Recordist
Eddie O’Connor is a sound recordist with more than 20 years of experience in the field. A
regular collaborator with Joe Berlinger and Bruce Sinofsky, O’Connor has also worked with
notable directors such as Davis Guggenheim, Robert Kenner and Oren Jacoby, as well as with
Nathaniel Kahn's Academy Award-nominated films, My Architect (2003) and Two Hands (2006).
Other film credits include Metallica: Some Kind of Monster, An Inconvenient Truth, Crazy Love,
Food Inc., Waiting for Superman, Made In America, and Tony Robbins: I Am Not Your Guru.

Jessica Laudicina – Associate Editor
Jessica Laudicina’s work in post-production for the last 17 years has been multifaceted.
Embracing both the technological and creative aspects of post, she has experience in editing,
online editing and assisting, as well as six years as a Senior Technician at PostWorks, NY.
Some of her credits include editor on daytime Emmy-winning Discovery Channel series Cash
Cab, online editor at ABC News on 20/20 and What Would You Do? and on Zero Point Zero
Productions’ Anthony Bourdain, No Reservations, and assistant editor on Michael Moore’s
Where to Invade Next and Branden Kramer’s psychological thriller Ratter.

Hot & Sunny Productions LLC
Jennifer Blei Stockman and Debi Wisch established Hot & Sunny Productions LLC in 2014 with
a goal of developing content about the art world for television, film and print. With a combined
total of more than 50 years of experience in art, finance, marketing, publicity and the not-forprofit
world, the company's founders aim to deliver intimate and immersive explorations of the
art world that enable audiences of all ages and socio-economic levels to see why and how art
matters. To this end, The Price of Everything emanated from a shared desire to demystify the
art world by providing unmitigated access to the minds, studios, struggles, triumphs and lives of
its leading players. Their hope is that this film will serve as a platform to promote and inspire
widespread engagement with art. Beyond raising significant production funds and securing
support from some of the country's leading arts foundations, Hot & Sunny developed unique
sponsorship partnerships to expand audiences and create additional revenue streams. In
addition to producing an important film, their goal was to demonstrate how the documentary film
as an art form can be both a powerful tool for communication and a viable business venture.
Other producing credits include Love, Cecil, a film by Lisa Immordino Vreeland about Cecil
Beaton, which premiered at the 2017 Telluride Film Festival. Hot & Sunny currently has several
art productions in development, as well as a book project.

Anthos Media LLC
Anthos Media LLC has been producing feature documentary films since 2007. Co-founded by
Carla Solomon, she is currently the company’s sole principal. Anthos' producing credits include
Particle Fever (producer); The New Public (executive producer); Colliding Dreams (in
association with) Thank You For Your Service (impact producer); and Letters from Baghdad
(consulting producer) about Gertrude Bell—the early 20th century British spy, explorer and
political powerhouse who drew the boundaries of today’s Iraq. In addition to producing films to
engage broadest audiences, a key dimension of the Anthos mission is to raise curiosity and
awareness, broaden public discourse and stimulate other forms of social impact. As a film, The
Price of Everything touches on the challenges today's artists face in finding ways to achieve
creative goals and be self-sustaining in the face of the pressures and temptations today's art
market exerts. Anthos has forged a primary outreach and funding partnership with the Emily
Hall Tremaine Foundation and created a social outreach plan designed to increase awareness
of and access to an extensive set of tools helping artists to thrive. A screening/dialogue program
for MFA programs and working artist organizations is the second component of the outreach
plan. With this plan in place and the support of Tremaine and other lead foundations,The Price
of Everything has the opportunity to make enduring impact for artists and those who work with
them—increasing awareness, dialogue, and access to resources supporting the development of
independent professional pathways towards creative goals. Current Anthos projects include
participation in Creative Chaos’ Post-Truth (in production), about the birth of the “fake news"
phenomenon, and a film about the college mental health crisis.

CREDITS

Directed by
Nathaniel Kahn

Producers
Jennifer Blei Stockman
Debi Wisch
Carla Solomon

Co-Producers
Lisa Remington
Kayla Malahiazar

Executive Producers
Jane & Mark Wilf
Audrey & Zygi Wilf
Regina K. Scully
Katharina Otto-Bernstein
Jeffrey Pechter

Co-Executive Producers
Sarah Arison
Laurie M. Tisch
Emily Blavatnik
Lawrence B. Benenson
Agnes Gund

Edited by
Sabine Krayenbühl

Editors
Brad Fuller, ACE
Phillip Schopper, ACE

Director of Photography
Bob Richman

Music by
Jeff Beal

Archival Producer
Judy Aley

Sound Recordist
Eddie O’Connor

Associate Editor
Jessica Laudicina

Titles
Randy Balsmeyer

Re-Recording Mixer
Matthew Iadarola

Supervising Sound Editor
Joel Dougherty