A FORTHCOMING NOVEL BY LEO KAMEN

The Trouble
with Beauty

Art, ambition, desire—and the difficulty with knowing what matters

The Trouble with Beauty by Leo Kamen — physical book mockup

Meet Samuel Schecter, a New York art dealer, and Catherine Smart, an artist, whose unsettling yet hilarious exhibition blurs the boundary between the disturbing and the beautiful.

A witty, visually inventive novel from a man who spent more than 25 years running his own art gallery in Toronto.

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The Trouble with Beauty by Leo Kamen — physical book mockup
An imagined art dealer and collector at a New York gallery opening in 1988
AI-generated scene inspired by the novel’s setting.

02 / THE ART WORLD

New York 1988

Good taste was big business.

The art market was booming. Prices made headlines. Artists became celebrities, and the people who sold their work became tastemakers. Behind the immaculate walls of New York’s high-end galleries, beauty, money and status were becoming difficult to separate.

It was a world of big egos and even bigger checkbooks. A perfect place for an idealist to lose his bearings.

In The Trouble with Beauty, Samuel Schecter is about to find out what his convictions are worth.

03 / A PRIVATE VIEW

Your Guide to the Gallery Owners

Meet the elitist, the bulldog, the realtor, and the shrewd operator—a glimpse into the gallery world of The Trouble with Beauty.

Fictional dealer sketch for the elitist

01 / THE ELITIST

Should I know you?

A keen instinct for knowing who matters. And a suddenly devastating smile, the moment you do.

Beauty as charm in the service of a fatal attraction.

Fictional dealer sketch for the bulldog

02 / THE BULLDOG

A force of nature

The hero at the center of his own story. He does not merely have an opinion about art. He expects the world to accommodate it.

Beauty as power. What Ayn Rand would expect from the best and the brightest.

Fictional dealer sketch for the realtor

03 / THE REALTOR

Location, location, location

Paintings priced by the square foot. The yummier the better, preferably with an intellectual hook. Looking to reside in the right neighborhood.

Beauty as product. With an eye on prestige.

Fictional dealer sketch for the shrewd operator

04 / THE SHREWD OPERATOR

Nothing left to chance

“No, you cannot buy it.” Saving the artwork for someone more important. A client is not a collector.

Beauty for the privileged. Keeping it all in the family.

04 AND 05 / TWO EXHIBITIONS FROM THE NOVEL

Fictional artwork titled Indigestion
Indigestion

CATHERINE SMART PRESENTS

How I’m Going to Murder My Mother

● NOT YOUR USUAL FAMILY SAGA

An art dealer on the ropes

The work is disturbing. The artist is compelling. Sam would very much like to believe he knows what he’s doing.

Puss n’ Boots, a pair of upside-down fur-covered boots displayed on a gallery plinth
Puss n’ Boots

CATHERINE SMART ALSO PRESENTS

Sole Survivor

● BEAUTY IS BEGUILING

Catherine’s next exhibition takes the relationship a step further.

A pair of shoes is rarely just a pair of shoes. There is the person who buys them, and the person they imagine they become as a result.

Leo Kamen

06 / ABOUT THE AUTHOR

The view from behind the gallery desk

Leo Kamen

Leo Kamen has been a photographer, a sculptor, and an art dealer. He is best known as the former owner of the Leo Kamen Gallery in Toronto from 1985 to 2011.

Years spent working with artists, collectors, and fellow dealers has given him an inside view of the art world’s ambitions, rituals, and contradictions. The Trouble with Beauty brings that world to light.

Many books have been written documenting an artist’s struggles and championing their success. Meanwhile, the struggles that dealers face have gone unrecognized. The Trouble with Beauty seeks to redress the omission by shedding light on a world of excitement and intrigue that needs to secure its own place in our popular imagination.

07 / BOOK NEWS

Be there when the doors open

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AN INVITATION TO READ

THE TROUBLE WITH BEAUTY · CHAPTER ONE

It all started,
or it all ended.

It all started, or it all ended, depending on how you look at it, with Samuel Schecter visiting Catherine Smart’s New York studio in August of 1988. Her show was due to open in just over a month, and he hadn’t seen the work. Either he was getting lazy, or worse, giving up.

Her studio was a narrow room squashed into an old industrial building on Spring Street in Soho. He opened the door to the usual state of disarray, shelves and worktables crammed with bolts of cloth and cotton batting, tools, hardware, paints, stretchers, and canvas. She stood at the far end, hammer in hand, nailing a row of mutilated rag dolls to the only blank wall in the room.

Catherine was a tall, exceptionally beautiful woman in her mid-30s. Slim, with the creamy white complexion of pearls and deep black eyes. Her hair coiled down her back in a long, black twisted braid that swung as she turned to greet him.

“It’s a series,” she announced, smiling cheerfully. She set the hammer onto the step ladder by her side and folded her arms. “I want to call the exhibition How I’m Going to Murder my Mother.”

He stepped into the studio and stared at the row of rag dolls nailed to the wall behind her. Each had a shag of dirty orange hair, like little Orphan Annie if she’d been plucked from a dumpster. Did Catherine’s mother have orange hair? No two dolls were murdered in a similar fashion. The artist seemed to be weighing her options.

An extract from the opening of the forthcoming novel.
© Leo Kamen. All rights reserved.