Rod Barton


Rod Barton owns two eponymous galleries located in London and Brussels.

You opened Rod Barton, London in 2009 and a new Brussels space in 2016. What prompted you to open the second location? What is the relationship between the two galleries?

I started my gallery in 2009 as a manageable project whilst working full time as Studio Manager for Julian Opie. It naturally grew from a one day per week operation in a very small space to our much larger current venue in South London, which is now open on the usual 3 days per week set up. Since late 2013 I have been working full time on the gallery and it is amazing what you can achieve when you can put all your focus onto a project; it can develop rapidly.

Brussels was also a natural development. The gallery took part in Art Brussels last year and through this experience I was fortunate to meet some influential people working in the city. From these connections I learned of a space becoming available at Rue de la Régence, 67, a building that houses multiple galleries. It’s a perfect spot. The location is sandwiched between the antiques district of Sablon and the high end fashion district of Louisa. It is this location and the growing art scene in Brussels that prompted me to go for it. The international high speed rail link between the two cities also helps and the geographical position within Europe makes it interesting for my clients.

The London/Brussels spaces have a direct relationship, as the new space is a continuation of the program and will contain the main exhibition program whilst London will continue to be the programming headquarters. London will also see some privately held exhibitions that run alongside the main shows in Brussels.

Luc Fuller 'Paintings Drawings' at Rod Barton, Brussels

How do you choose the artists you represent? Are there themes or aspects to which you pay special attention?

It is very difficult to explain the aesthetics that I am looking for. I have a certain style or taste that I am particularly interested in, but it’s challenge to articulate. I follow a feeling I get from the work.

I am also interested in the person behind the work. It is important for me to have a good feeling and trust in the artist before I spend time and money in promoting the art. Commitment is important for me. I will be doing this for a long time to come and I hope the artists I support have the same drive and motivation to make their work as I do.

For example, Bas van den Hurk was a recommendation by another artist who thought I would work well with him and would enjoy his work. Upon meeting and viewing his work in 2009, I was instantly interested. You can not beat Bas’ professionalism, his dedication to his practice is what I respond to in equal measure.

Chicken n Waffles Bas van den Hurk with contribution by Thomas Swinkels at Rod Barton, Off-Site Project, Los Angeles

Your second show with Guy Yanai opens at your Brussels location on April 19th. How did you meet Guy? What drew you to his work?

Yes, I am very pleased to be working with Guy and to be hosting his show during an important time of the Belgian art calendar, as the world will be watching.

I came across Guy’s work when a dealer friend introduced me to another dealer in London. He was displaying Guy’s work in his private viewing space in a residential apartment with a few other artists. The work just arrived and still had to be installed and it was leaning up still in the cardboard packaging. The work struck a chord with me the first time I saw it. He has a unique way of painting; the deliberate linear brush strokes that gives the work a modern pixilated quality which brings the medium to the present day that appeals to me. There was one particular work that interested me and I wanted to purchase it but did not have the funds at the time. I took a photo of it instead and shared it on Instagram. It was from this posting Guy reached out to me by sending me some catalogues in the post. From there on we started to communicate and develop our working relationship.

Guy Yanai 'Fox Hill Road - Neighbours House' 2016 oil on linen 51 1/8" x 39 3/8"

Do you live with any artwork?

Yes, I do. When I first moved to London I started to go regularly to openings and exhibitions. I had my own place and I knew I wanted to live with art. I had a job but my budget at the time was low and was only able to afford to buy prints, so I started to buy prints from Chisenhale Gallery, Counter Editions and the Glasgow Print Studio. I still live with them all today.

However, as time has passed I have been able to upscale my budget and buy unique works of art from artists that I have exhibited and from others whom I admire and want to support. I own works by: Ross Iannati, Bas van den Hurk, Dan Shawn-Town, Gabriele De Santis, Alfred Boman, Dominic Samsworth, Ethan Cook, Kenneth Alme, Jean-Baptiste Bernadet, Chris Succo, Emmanuel Rohss, Max Ruf, Sean Kennedy, Michiel Ceulers, Luc Fuller and Grear Patterson.

I recently acquired a work by Erin Lawlor a British artist based in London. Erin is making fabulous work that scream of historic references in a contemporary manner. I am so excited by her work that we have planned a solo in Brussels this coming June. Erin recently had a wonderful exhibition at the Glyptotek Museum in Copenhagen earlier this year – I encourage everyone to go and check her work out.

Erin Lawlor 'Noce' 2015 oil on canvas 70 7/8" x 47 1/4"

Erik Parker


Erik Parker is a New York-based artist whose solo exhibition opens December 9, 2015 at Paul Kasmin Gallery in New York City. Parker recently had solo exhibitions at Honor Fraser in Los Angeles, the Aldrich Contemporary Art Museum in Connecticut, and Pace Prints in New York City.

What prompted your early move from Germany to Texas?

My Dad was a Medevac Pilot in Vietnam and it had something to do with his training in Stuttgart. I am not sure I know the whole story. We moved to Texas when I was really young and I don’t really remember Germany–but I qualified for dual citizenship, so that’s cool!

AndreEthier, PeterSaul, DanaSchutz

Works by Andre Ethier, Peter Saul, and Dana Schutz in Parker's collection.

You studied with Peter Saul at the University of Texas. What can you remember about his teachings on color and painting that was most influential for you?

I studied with Peter from 1992 to 1996. We never really talked about color, from what I can remember. We talked a lot about Diego Velazquez and also the sensuality of a picture. What was cool about Peter’s class is that he left everyone alone. On the first day of class he told everyone they had an A, whether they showed up or not. Also, there was a lot of room in the studio to paint big paintings.

EddieMartinez, HCWestermann, KAWS, BanksViolette, AndyCoolquitt

Cluster with works by Eddie Martinez, HC Westermann, KAWS, Banks Violette, and Andy Coolquitt.

What are your thoughts on figurative painting within the current state of painting now?

It’s cool to seeing more paintings that have stuff in them. You know, like a real picture. I gravitate to a subject in a painting and I like when I see paintings that move past Greenbergian Formalism into like a fractured funk.


A painting by Kenny Scharf in Parker's collection.

What roles do imagination and visualization play in your creative process? Do you have any specific rituals or habits that are integral to your practice?

Imagination plays a pretty big role in my work. It’s like step one. I sometimes start with a word or phrase and try to paint it. If someone said, “Paint a picture of a policeman,” you’d have an idea of what that looked like. But what if they said, “Paint a picture of a tastemaker?” Or, sometimes I will see a picture of a really great river or swamp or beach and try to make it my way.

I really like to work twice a day. I usually get to the studio around 8:00 am and I leave around 5:00 pm. Then I go back around 7- 7: 30 till 10pm pretty much everyday. I wear the same studio clothes for each show. I like to chew Nicorette gum while I paint. I like to listen to Democracy Now before noon. I love WKCR 89.9 FM ‘s Eastern Standard Time radio show on Saturday morning.


Erik Parker "Disconnected," 2015.

Do you live with artwork? If so, by which artists?

We have been really lucky to acquire a lot of really great pieces either by trading or buying. Some of the artists up on the walls now are:

Kenny Scharf, KAWS, H.C. Westermann, Eddie Martinez, Adam Helms, Peter Saul, Raymond Pettibon, Royal Robertson, Ruth Root, Dana Schutz, Andy Warhol, Meredyth Sparks, Gavin Brown, Alexis Smith, Greg Bogin, Agatha Wojciechowsky, Djordje Ozbolt, Tomoo Gokita, Josh Smith, Austin Lee, Justin Lieberman, Scott King, Adam McEwen, Nancy Spero, and Nobuyoshi Araki.

We feel honored to live with them!


A painting by Greg Bogin hung in Parker's living room.

Is your preference for bright, flat color in your paintings something that carries over to the artwork you collect? Or is color a formal means to an end that is restricted to your own work?

No not at all, I like all kinds of stuff.  I think color is just one ingredient in the whole bowl of soup.


Erik Parker, "Millennials’ Dilemma," 2015.

Your third solo exhibition with the Paul Kasmin gallery opened December 9. What you can tell us about this new body of work?

I am super stoked on these paintings. There’s a real mix here. Some shaped-canvases, Heads, and landscapes! I added collaged elements and sprayed areas and all kinds of other stuff! I cant wait to see them in a super clean room.  I hope you get a chance to check it out!

Maria Brito


Maria Brito is an award-winning interior designer, author, curator, and art advisor.

Much of your work provides increased access to art, whether it’s through your product collaborations with artists like Assume Vivid Astro Focus, or by working with clients in industries outside of the art world like Sean Combs, Gwyneth Paltrow and fitness guru Tracey Anderson. What do you think is important about contemporary art gaining a wider audience? How do you see this currently happening?

Contemporary art is our art. It’s the art that reflects our problems, our dramas, our social interactions, our aspirations, and our struggles. We are experiencing a pivotal moment of access for everyone in so many different realms. Art isn’t the exception. I like investing the time in making sure people understand a particular artist, particular work or a specific movement.


I’m lucky to have many amazing clients. I have been building Sean Combs’ collection for five years, and Gwyneth Paltrow recently published my top young artists to watch on Goop. AVAF, Katherine Bernhardt, Natalie Frank, Kenny Scharf, Erik Parker and Dzine have allowed me to turn their work into fashion. I think that what you do at Exhibition A, for example, is quite important. Your prints are amazing, I have a few and some of my clients do too.


Can you tell us more about how your recent accessories collection with artists Katherine Bernhardt, Trudy Benson, and Natalie Frank came to fruition?

I have always had a mission to expand the art world outside of the walls of stagnant institutions–to make it accessible and available; to bridge the gap between the artist and the rest of the world. That’s why I spend a good amount of time blogging, posting pictures on Instagram, and visiting artists in their studios. This was a second accessories collection, since the first capsule with Erik Parker, Kenny Scharf and Carlos Rolon/Dzine was very successful. The products are just an extension of my philosophy.

It’s important to me to work with integrity, to listen to the artists and to manufacture high-quality goods that are fabricated in the United States. It’s also of paramount importance to make products that people want to wear, otherwise we would not be in high-end fashion boutiques like Kirna Zabete in NYC or Joyce in Hong Kong.


You work with established artists, but have a keen eye for emerging talent. Which artists are you excited about right now? What about galleries?

I love Michael Dotson, Trudy Benson, Mira Dancy, Josh Reames, Raul DeNieves, Matthew Palladino, Kelsey Brookes, Jamian Juliano-Villani, Jen Stark and so many more! I also like experimental galleries like The Hole which always have been a favorite of mine or Lisa Cooley who also has such a great curatorial eye. Bitforms is also pretty cool. Nicelle Beauchene also puts together super nice shows.

Maria Brito

How has your personal collection evolved since you started collecting?

I think I have been taking greater risks as I evolve. One thing is a constant, though: I’m still pretty much a figurative lover. I have abstract work, but not as much.

What’s the last piece you acquired? A Jen Stark sculpture with light inside.

Where do you like to discover new art? On Instagram.


José Parlá


José Parlá installing his piece at The Standard in NYC. Photo credit: Chris Mosier

José Parlá is an artist based in Brooklyn, NY.

When did you first become interested in art and how did you learn about it?

I was introduced to art by my parents. My father studied filmmaking in Cuba and my mother can draw very well naturally. She is self-taught and was always showing me how to improve my drawings. I had artistic neighbors growing up, one an architect and the other an engineer, who showed me their drawings and taught me what they knew. By the age of ten I was painting seriously all over Miami. That experience took me on a journey that is still going in ways I never imagined.


José Parlá "ONE: Union of the Senses" at One World Trade Center in NYC.

As an artist, how did you begin collecting work by other artists? What artists’ work do you live with?

The first few pieces I collected by trading with other artist friends. The most recent piece I acquired is by Evan Robarts. I live with art works by Carmen Herrera, Robert Overby, Teresita Fernandez, Mariah Roberts, JR, Tomoo Gokita, Julie Cockburn, Valerie Blass, Kaws, Wangechi Mutu, Julia Chiang, Lucien Smith, Bruce Davidson, Valery Hegarty, David Ellis, Romon Yang, and a few others.


Evan Robarts solo exhibition at The Hole, March 2015. (Photo credit: The Hole.)

Was there something in particular that drew you to Julia Chiang’s work? Can you share which pieces you own by Julia?

I own a beautiful piece by Julia Chiang titled “Keep it Together” which is a ceramic chain link.  It’s a significant piece to me and it was installed in an interesting way at Half Gallery when I purchased it. I’ve always been an admirer of ceramic work and when used in sculptural conceptual art, it translates a very fragile handmade touch that I enjoy spending time with.


Julia Chiang, "Keep It Together" (detail), 2011

Which contemporary artists are you looking at and following? What do you wish you could go back and tell yourself as young artist?

There are so many working artists and I like to see a lot of museum shows and gallery installations so it’s really endless.  But to name a few that I’ve recently been following: Jonathan Trayte based in London, Evan Robarts in New York, Alexandra Kostakis in New York.


José Parlá painting at Barclays Center in Brooklyn, NY.

You recently finished murals at One World Trade Center, Barclays Center, and the Brooklyn Academy of Music, and your two-gallery show at Bryce Wolkowitz Gallery and Mary Boone Gallery closed on October 31. What’s next for you?

Next I am working in a modern-era tree house in Los Angeles and making very intimate work, paintings and sculptures.  After all of the large scale projects I’ve done recently, I am enjoying working in nature and moving very slowly.

Brian Paul Lamotte


Photo courtesy Bill Gentle.

Brian Paul Lamotte is an independent graphic designer and co-founder of Pau Wau Publications.

Pau Wau’s focus is geared towards showcasing contemporary photography. How would you describe the medium today?

At odds with itself, but I suppose anything worth paying attention to is in some sort of similar state. The proliferation of cameras in almost every device we own today has made everyone image conscious, both personally and professionally.

In a similar way that color film revolutionized the medium, digital has had the same effect or greater. However, I think we’re still in a period that is really questioning what a “photograph” is and what defines “photography”.

Obviously there are a lot of photographers who are actively engaging in that conversation and that’s insightful to see and participate in. Having said that, I think the more interesting trend that seems to be increasingly prevalent is the question of commissioned work within the art world — artists like Roe Ethridge and Wolfgang Tillmans have been straddling this line for quite a while. Tillmans in particular, who in his recent show at David Zwirner has included torn out pages of magazines that he shot next to larger prints of those very images, is nonchalantly presenting this argument.

Which touches on a much greater idea, that both photography and to a certain extent art are coming to terms with; not so much what is the medium but what does it mean to create within that medium today.


Photo courtesy David Brandon Geeting.


Photo courtesy David Brandon Geeting.

You’ve published editions with work by artists Ed Templeton, Andrew Kuo, Richard Kern, Peter Sutherland, and many others. How does Pau Wau choose artists to feature? Can you describe the process from studio visit to publication?

It’s difficult to say how these relationships form, mostly it’s an organic process that involves a lot of serendipity. Typically, there are artists we’re interested in working with or those who are around us via friends and previous collaborators.

In terms of how the process unfolds, typically myself and Andreas Laszlo Konrath, my partner at Pau Wau, have a lengthy, often ongoing, conversation about a project we’ve either been presented or want to present to an artist. From there, we work closely with the artist to realize their vision. This is very important to us — it’s a conversation not a brief and everyone has equal say.

The process normally involves a lot of reference materials and discussions about feelings and intentions. Usually I acquaint myself with the work over a period of time, which is often edited by the two of us. From there, I work out ideas for layouts and any other elements that need to be designed. After more back and forth with the artists we’ll either send that off to print, overseeing the whole process, or print and produce the project in our studio. Once it’s been produced, we also deal with the distribution and sales through a variety of independent bookstores around the world and book fairs we participate in.


Photo courtesy Bill Gentle.


Photo courtesy Maggie Shannon.

What role do art books and independent publishing play in the contemporary art world?

You’re currently seeing an influx of galleries internalizing their publishing programs, which is incredibly encouraging, however I see that as different from independent publishing. Whenever there is a book being produced with a gallery behind it, the intent no matter how pure, will always be to promote or sell. The beauty is that it is not an entirely commercial venture, thus you’re seeing an increase in production value and willingness to take a creative risk, both of which haven’t existed in publishing or the art world recently.

In my option the programs at places like Karma, Zwirner and 303 are examples of breaking down of these structures and labels. They allow their artists to create very high quality books that exist somewhat outside the confines of traditional gallery publications — not yet monographs but far from the idea of catalogues. Such approach is invaluable in a sense that it appeals to not only the collectors but is also accessible to a much wider audience as a form of art.

Personally, I feel there is a strong distinction between art monographs, photo books and artist books. Our intention is to exist in a world between all of these labels.


Photo courtesy Maggie Shannon.

Do you live with any artwork? If so, by which artists?

I do, mainly it’s books however, both our entire archive and an ever-growing collection of publications by artist and publishers I admire. Recently I’ve acquired books by Austin Lee (Spheres), Laia Abril (Dewi Lewis), Noah Breuer (Small Editions) and Jordan Sullivan (Ampersand).

In regards to the walls, it’s mostly from friends or people I’ve had the pleasure to work with including: Andreas Laszlo Konrath, iO Tillett Wright, Malgorzata Stankiewicz, Riley Payne, Lisa Rovner and Lele Saveri.


Photo courtesy Bill Gentle.



Brian Donnelly, professionally known as KAWS, is a New York-based artist and art collector.

What originally drew you to Karl Wirsum’s work? Tell us about the pieces you own by him.

I became aware of Karl’s work after discovering Jim Nutt‘s paintings and wanting to learn more about the Hairy Who artists. Karl’s work immediately stuck out to me, and as I’ve learned more about it over the years it continues to grow on me.

I first started to collect his early drawings from the 60′s and then his more recent paintings, and lately I have been focusing on his sculptures a bit. I like to hop around and look at different pockets of his work at different times. He’s been prolific in these three mediums for so many years that you really have a lot of opportunities for new discoveries.


Karl Wirsum, Untitled (Study for a Hairy Who Comic Panel) , 1968, india ink and color pencil on paper. Collection of KAWS.

KarlWirsum-Standing Figure

Karl Wirsum, Standing Figure, circa 1967 -1971, acrylic on wood. Collection of KAWS.

Were you ever influenced by the Chicago Imagists in your own work?

I like learning about all different artists and artist groups; it gives me a better understanding of what’s happened before and is happening now. The Chicago Imagists are a great example of artists who continued to create the work they wanted to create and let the world around them catch up. I find that inspiring.


Karl Wirsum, Untitled, 1969, ballpoint pen and color pencil on paper. Collection of KAWS.


Karl Wirsum, All Puffed Up, 1970, acrylic on papier mâche laid on wooden table. Collection of KAWS.

Being an artist yourself, how did you begin collecting art by other artists? What is the most recent piece you acquired? What other artists’ work do you live with?

It started pretty simply by trading work with friends and realizing that I enjoyed having other artists’ original works around me in my home. Some of the artists I live with are H.C. Westermann, Peter Saul, Yokoo Tadanori, Todd James, Ed Ruscha, Keiichi Tanaami, Robert Crumb, Mike Kelley, Lee Quinones, Keith Haring, Erik Parker, Jim Nutt, Hajime Sorayama, Jamian Juliano-Villani, George Condo, Tomoo Gokita, Joyce Pensato… It’s a random gathering but somehow makes sense in my head.


Karl Wirsum, Yodel Me Back to Orville Overhaul, 1998, acrylic on canvas. Collection of KAWS.

Which emerging artists are you following right now?

It doesn’t matter to me if an artist is emerging, mid, late career, involved in the art world, outside of the art world. I look at it all regardless.


Karl Wirsum, Boxer/ Mighty Might in the Green Trunks (blue trunks), 1968, acrylic on papier mâche laid acrylic. Collection of KAWS.

Can you tell us about some of your upcoming projects?

The Newcomb Art Museum at the Tulane University now has an exhibition of work by Karl and Tomoo Gokita from my collection as well as some of my work. It will stay on view through January 3rd, 2016.

Next year I’ll have an exhibition at Yorkshire Sculpture Park in the UK and later in the year a survey show at the Modern Art Museum of Fort Worth that will travel to the Yuz Museum in Shanghai in 2017.


Karl Wirsum, Untitled (Study for the painting "Screamin" J. Hawkins")d , 1968, India ink, ballpoint pen, color pencil on paper. Collection of KAWS.

Karley Sciortino


Karley Sciortino photographed by Tyrone Lebon.

Karley Sciortino is the author of Breathless, Vogue’s sex and relationship column, and the creator of

Your writing explores sexuality and relationships in a way that blends seamlessly with references to fashion, art, and film. What role does contemporary art play in your inspirations?

I think I’m more influenced by the people who make art than by the art itself. Sure, I like art, of course, but I don’t know that much about art. I love artists, because it’s such an abstract profession—it just amazes me that anyone does it. Really. It takes such confidence, I think, to create something that is arguably “unnecessary”—that has no objective function or purpose—and then to essentially say, “Hey everyone, look at this thing I made.” That’s not easy. I don’t think I could do that. I’m too practical. So, I love being around artists because I genuinely think they’re bizarre people. I wrote my first movie a couple years ago—hopefully it’s shooting early next year but who really knows—and it’s about a contemporary artist, and he’s basically a composite character of all my artist friends.


Karley featured in Richard Prince, Untitled (Portrait), 2014

Earlier this year, a photograph of you was featured in Richard Prince’s New Portraits series at Gagosian Gallery, Karley by Rebecca Dayan is currently on view at Catherine Ahnell Gallery, and you posed for Matthew Stone in 2006. Can you tell us about those experiences? What is it like to be immortalized in someone’s oeuvre?

I met Matthew Stone when I was 18 and he was really influential to me—both his artwork, and just Matthew as a person. He was just so free—that sounds cheesy, but I can’t really think of a better way to explain it. We became really close and he soon invited me to move into the art-squat/commune-warehouse that he was living in. We lived together for a few years after that, and he would always be talking about art, and the importance of collaboration and being part of an artistic community. Being with him taught me that the most inspiring thing is to surround yourself with creative, interesting, unique people. Of course things like reading, looking at art and being present in the world are all important for inspiration, but for me, personally, I find that people and conversations are my real “muses,” so to speak. I love people who can talk. Good talkers are my favorite people. I only befriend and I only fuck good talkers.

But anyway, yes, I love being art! It makes me feel cool, duh. Some people were really pissed off about Richard Prince’s Instagram portraits, but I was really honored to be in the project. When I was younger I posed nude for Matthew for years, mainly because I didn’t have a job and he would shoot in our house, so I was just always around with nothing to do. And always willing to take my clothes off, which helped. It felt really great to be part of his creative process. He always made the photographs feel far more like a collaboration than an artist/subject divide, so that idea has stayed with me, and I delusionally think that the role of the muse is more significant than it is.


Karley during her Frieze London 2007 performance wherein she washed Richard Prince's Dodge Challenger for 5 days

You collaborate often with other artists whether it’s through interviews, film, or photography. Who is an artist making working that you’re excited about and you would like to work with in the future?

I love Alex Da Corte. He’s a genius. The sexy, surreal dream world that he created inside Luxembourg Dayan was my favorite piece of art I’ve seen in years. I also like Juliana Huxtable—she’s very smart and provocative. And I’m a fan of Jeanette Hayes, Petra Collins, Matthew Stone and Richard Prince.


Karley featured in Matthew Stone, Body Language

Do you live with artwork? If so, by which artists?

Coincidentally, the first artwork I ever bought for myself was a print by Jeanette Hayes from Exhibition A. It’s her piece Come si dice: Webcam Girls, a photorealistic oil painting of the Virgin Mary as the lock-screen wallpaper of an iPhone, from her Botticelli Photobooth series. I’m such a fan of Jeanette’s—she’s a friend, but I’m also definitely her fan. I love that her work is a mash-up of high and low culture. It’s trashy-profound. Also, she’s so technically skilled, and I care about that. Maybe it’s not sophisticated to say, but I’m not the biggest fan of conceptual art; I prefer art that demonstrates skill. And art that’s beautiful, which Jeanette’s art is. Call me old fashioned, but I like beauty.


Jeanette Hayes, Come se dice: Webcam girls, 2014, archival inkjet print

I have a Matthew Stone photograph hanging in my apartment. It’s a black and white image of two entangled bodies—a boy and a girl—in a dark field. The girl in the photo is actually me, but you can’t see my face or tell that it’s me, so I feel like it’s not so creepy to have hanging next to my bed. There’s also a photo by Stacey Mark—it’s a sexy image of a girl standing in a motel in LA. I love Stacey’s work. It’s very erotic and 70s-Playboy-esque, but without being male-gazey or exploitative. And lastly, I have a Richard Prince print of a pulp novel cover, in my bedroom. It’s a woman screaming. It’s darkly funny… like most of his work, I guess. I love that about him.

I also have some framed New Yorker covers from the 50s hanging in my living room. Is that art? I love them.


Matthew Stone, Infructescence

Hilary Schaffner and Ryan Wallace


Hilary Schaffner and Ryan Wallace. Photo courtesy Eric T. White.

Curator Hilary Schaffner and artist Ryan Wallace founded Halsey McKay Gallery in East Hampton, New York in 2011.

What were your formative experiences with contemporary art?

RW: Growing up, I was exposed to art through museums, music culture, and skateboarding. As a result, Caravaggio, Rothko and Raymond Pettibon all get equal shine. I collected baseball cards and made drawings obsessively as a child, so creating and collecting objects and images has been with me for a long time. I received my BFA from RISD.


Work by Adam Marnie, Matt Kenny, and Georgia Dickie in Ryan Wallace's personal collection

HS: Growing up in NYC was very influential. I was at museums all the time as a little girl. Calder’s circus at The Whitney, the Impressionists at the Metropolitan, and the architecture of the Guggenheim all left a solid mark on my early memories. I don’t think I would be doing what I am doing now without those experiences.


Work by Andrew Kuo and Sara Greenberger Rafferty in Hilary's private collection

You founded Halsey McKay in 2011 with the goal of bringing cutting edge contemporary art to East Hampton. How would you define the East End art scene today? Has it evolved with your programming or vice versa?

HS: I am not sure there is a definable scene. Everyone is doing their own thing. We saw the opportunity to fill the emerging/contemporary niche. The history of the area is so rich–there have been interesting exhibition spaces out East for a long time. To contextualize Halsey McKay as a part of that feels great.

In terms of our programming, we don’t really think about the scene or what would work in the Hamptons. Our location is irrelevant to those decisions, though sometimes the artists end up thinking about it when they are making work for a show. It’s always exciting to see how it can be interpreted.


Patrick Brennan and Jennie Jieun Lee at Halsey McKay, installation view, 2015.

How do your respective practices as artists inform your positions as curators?

RW: Being a person who makes things certainly helps to understand what work is well-conceived versus what is just well-packaged. The camaraderie that exists amongst artists is different than the more straightforward dealer/artist relationship. Being artists and peers first has let the gallery progress and our network grow quicker than it may have if we were working from a strictly business approach to studio visits. It also really helps keep expectations realistic which, in turn, I hope allows for more creative freedom for everyone involved.

HS: When I was in graduate school at SVA, I felt a much stronger gravitational pull towards organizing and thinking about other artists work than my own. It just felt better and the gallery grew out of a desire to support the careers of people we believe in. Being an artist at one point connects me with the challenges of making work and how much care is required to bring it out into the world.


Ryan Wallace, LD50, Romer Young Gallery, 2015.

Ellie Rines of the recently closed 55 Gansevoort has joined your team. What can we look forward to as part of this expansion?

RW: We started the gallery because we had a large group of friends whose work we wanted to share.  Ellie brings a broader group into the fold, as she is connected to an audience and groups of artists that we may not have stumbled across otherwise. I think that Ellie, by nature, brings our organic approach to the programming.


Joseph Hart, Diamonds, 2015, acrylic, oil crayon, ink, fabric, paper on linen, 50" x 38"

Can you tell us about the work by Joseph Hart that Halsey McKay recently exhibited at EXPO Chicago?

RW: We exhibited a new series of works on linen by Joseph Hart. Previously, he had primarily painted, drawn and collaged on paper so these are an exciting extension of his work. The linen works exploit the strengths of his paper work, but the added step of mounting one surface to the other contributes some really nice subtle noise to the surfaces and it’s great that the works were not behind glass.


Ian Cooper, Off/Off (Double Barre), 2015, waxed canvas, ballet barres, felt, vinyl, spray primer, bias tape, magnets, thread and hardware, 76" x 115" x 9.5" (36" x 75" x 9.5" - each panel)

Your upcoming fall exhibition roster is a series of duo shows: Ian Cooper & Takeshi Murata opens October 3 and Dylan Bailey & Aaron Bobrow in November. What’s most interesting to you about the interplay between these artists’ bodies of work?

RW: We pair all of the shows according to a shifting but conscious logic. Ian Cooper and Takeshi Murata both hint at the absurd while being masters of craft and presentation. They marry ideas and execution with similarly idiosyncratic attentiveness.

Dylan Bailey and Aaron Bobrow have both been on our radar through Ben Blatt and Matt Kenny, whom Halsey McKay also represents. Ellie is close with both Dylan and Aaron and has worked with them before, so now seems like the appropriate time to show them in our space.

Ian Cooper, Timeline (Centrefold), 2015, birch plywood, poplar dowels, spray primer, latex paint and hardware, 104" x 69" x 4"

Ben Whine

Ben Whine is the Associate Director at SculptureCenter. Previously, Ben held positions at the Solomon R. Guggenheim Museum, New Museum of Contemporary Art, and Tate.

How did you first become involved in contemporary art?

I grew up around art. My grandmother was a painter and my mother studied art history, so museum and gallery visits were a part of family life. My mother, who is from Basel, Switzerland, used to be quizzed by her father on every work in the modern galleries at the Kunstmuseum and that became part of my upbringing as well.

In the early 90s when I was still living in London, I read about what would become Tate Modern and I decided to set a goal of working there when it opened. I got my undergraduate degree in art history and a post-graduate degree in museum studies. After a brief detour into youth work, I became Patrons Manager at Tate in 1999 and was part of the team that opened the new museum. I am only slightly superstitious, but several times I have proven to myself that if you put something out into the universe, it can come to pass!


SculptureCenter exterior as designed by architect Andrew Berman. Photograph by Michael Moran.

With booths at NADA Miami Beach 2014 and Frieze New York 2015, SculptureCenter has an active presence at art fairs, which is unique considering its nonprofit status. How do art fairs function to promote the mission?

I wouldn’t be the first to say that more and more, the business of the art world takes place at fairs. It’s important to see and be seen and, by holding a booth at a fair, SculptureCenter can reach a lot of people. We’re able to raise funds by selling limited editions and works that have been donated to us by artists and we also get to talk about who we are and what we do.

For NADA Miami Beach this year we will be showcasing two new limited editions by Anthea Hamilton, whose solo show will be up at SculptureCenter at the same time. The booth will be a great way of introducing Anthea’s practice to a wider audience.


ScuptureCenter booth at Frieze NY. Photographed by Ben Whine

Tell us more about SculptureCenter’s upcoming exhibitions with Anthea Hamilton and Gabriel Sierra.

They are both great examples of what SculptureCenter does best. It’s Anthea’s first solo exhibition in the US and Gabriel’s first major solo show in New York. Each is creating new, site-specific work and SculptureCenter’s unique spaces and open approach have allowed them to come up with spectacular projects.

The centerpiece of Anthea’s exhibition, Project for Door, is inspired by a model made by Italian designer Gaetano Pesce in 1972. Comprised of a man’s naked bottom, it was originally intended to be a doorway for a Manhattan skyscraper but the work was never realized. SculptureCenter’s space will be an amazing context for Anthea’s large-scale sculptural reinterpretation of the model, as well as her other work.

Gabriel’s installation will modify and restructure our beloved lower level galleries, confusing distinctions between the architecture, the institution, and the works that comprise the exhibition. I think that seasoned and new visitors alike will be challenged and delighted by the combination of alternative and existing floor plans, signage, and objects in the space.


Anthea Hamilton, Venice ~ The Espresso Edit, 2011. Video still. Courtesy the Artist

Do you live with art? If so, by which artists?

It’s interesting that part of my job now is producing and selling benefit editions because they form the bulk of works I have collected. I think it’s the best, most affordable way for an art world worker bee like me to live with art, and it’s nice to have pieces from institutions where I have worked or visited. Since being in New York I have acquired a Rob Pruitt panda from the New Museum and an Anthony Lepore photograph from the Guggenheim.

My partner and I are both into maps and we have a number from places we have visited, but we also have some great artworks based on maps, like Cornelia Parker’s Meteorite Landing on St. Paul’s and Michael Druks’ conceptual self-portrait of the topography of his psyche. Plus a couple of pieces based on maps of the night sky, by William Kentridge and SAM3.

I also have a couple of pieces that remind me of the art I grew up with, including a pen and ink drawing by Scottie Wilson, who was a friend of my grandfather.

What upcoming shows are you most looking forward to this fall?

Anthea Hamilton: Lichen! Libido! Chastity! and Gabriel Sierra: Numbers in a Room at SculptureCenter, of course! Photo-Poetics: An Anthology at the Guggenheim is going to be really good, and I’m also looking forward to their Agnes Martin show. Frank Stella: A Retrospective at the Whitney. Rashid Johnson at the Drawing Center. Rachel Whiteread at Luhring Augustine. Bridget Riley at David Zwirner. And I’ll be excited to see Nari Ward at the Pérez Art Museum while I’m in Miami.


Gabriel Sierra, Untitled (ALLÍ/THERE), 2014. Courtesy the artist

Sophie Sevigny


Sophie Sevigny at home

Sophie Sevigny is an artist living and working in New York City. In 2011, she founded SerpentSea, a company that makes mats and other wares from reclaimed marine rope.

When did you first start making art?

When I was a child, I created hundreds of imaginary portraits of imprisoned women. I painted their imaginary children, parents, and their own portraits in various stages of life. At the risk of sounding cheesy, I think I was the best artist as a prolific and innocent child.


Sevigny's recent paintings in her studio

SerpentSea is defined by its unique medium, which is reclaimed marine rope. What drew you to the material?

I like working with the rope because of its limitations. Each mat I create is completely unique but there is only so much variation between the ropes. I order the rope by weight, so every time I receive a new box the colors are a surprise and I must work with what I am given. I have to constantly find new patterns. When I receive a new rope variation that I haven’t seen before the possibilities are exciting. If I happen to dislike the rope, I still have to make it work. Often in the end, these are the mats I like best.


Serpent Sea mats made from reclaimed marine rope

You interviewed Josh Smith while working at Luhring Augustine in 2007. Was it a coincidence that several years later Paul decided to commission his work for Paul’s Baby Grand?

It was less coincidence and more of a natural fit. I had met Josh through Luhring Augustine and we became friends. Then I introduced him to Paul and they became friends as well. However, it was a coincidence that Josh happened to be making his palm tree paintings while Paul was working on the design for Baby Grand.


Work by Josh Smith in the Sevigny's personal collection

Do you and Paul live with art? If so, by which artists?

Yes! We live with work mainly by our friends or artists with whom I worked at Luhring Augustine like Josh, Reinhard Mucha, and Rirkrit Tiravanija. I also brought a big painting with me from Austria by one of my favorite Austrian artists Peter Sengl.


Work by Peter Sengl in the Sevigny's personal collection

Favorite art book?

Anything by Sophie Calle!


Work by Rirkrit Tiravanija in the Sevigny's personal collection

Phillip Leeds


Phillip Leeds with "Phillip Leeds Big Shot" shot by Jonathan Mannion

Phillip Leeds is a native New Yorker, libra, southpaw and a dad.

Your career has been defined by reinvention, as you have continually found ways to create crossover in music, fashion, lifestyle, and now photography with your portrait book with Rizzoli. What is the fundamental thread between your projects?

Throughout my life, I have been exposed to a lot of amazing subcultures. It’s what I consider a kaleidoscope of influences that myself and my co-workers share.

I grew up in New York in the 1970s and was a teenager here in the 80s. My father, in addition to being a major art collector, was in the music business and took me to shows when I was a kid. He managed Blondie, so my first show/backstage memory was when they opened up for Iggy Pop at the Palladium back when it was a concert venue. As soon as I was old enough, I started going to CBGBs and got into the NYC hardcore scene. It was the wild west in NYC at the time, so from a very young age, I could easily go out to clubs, drink, stay out all night and get into all sorts of interesting and eye-opening experiences. I was also getting into graffiti (I was a toy) but was able to meet other writers at CBGBs and by hanging out in Central Park and Washington Square Park. Then I discovered hip-hop and that really became a major influence in my world.

I began expanding my horizons after high school, which is when I moved out of NYC – first to Boston and then San Francisco for college. After college I worked at Def Jam, which was incredible in terms of gaining experience and making connections that shaped my whole career. Afterwards, I had the amazing opportunity to travel the world as a tour manager. I started with punk and heavy metal bands and later for Kelis, N.E.R.D, and Pharrell.

Through NYC, music, and graffiti, I met a lot of the people who have continued to be the amazing creative forces who taught and influenced my life.


Phillip’s great-grandfather (right in photo) shot by Man Ray, 1926

Can you tell us more about what to expect from your portrait series?

My portrait series is just an amazing, completely unplanned, organic opportunity that I am truly fortunate to stumble into. I have always been into photography, but for whatever reason, it was a hobby and not something I was ever trying to pursue as a profession. I have a bunch of cameras – a Twin Lens Reflex, a Polaroid SX-70, and a bunch of Polaroid land cameras. I would travel with them and shoot for my own personal enjoyment. I loved the instant gratification of the polaroids and the fact that the photograph would be 1-of-1.

In 2004, I went to an opening for Steidl/Edition 7L‘s release of Warhol: Red Books, which was an exhibit of Andy Warhol’s Polaroid portraits in conjunction with the release of the set of books. At the end of the exhibition was Andy’s camera, a Polaroid Big Shot, which is one of the more unusual looking cameras you will ever see. I went home, hopped on eBay bought one, and I started shooting friends who would come to my house.

In the mid-2000s, I started working for Billionaire Boys Club and I kept the Big Shot at the showroom and started taking photos of all the celebrity visitors. I shot Snoop Dogg, Chris Brown, Andre Leon Talley, Tyler the Creator, and DMC (from Run DMC) there. Again, I was just doing this for me, I had zero aspirations for the photos beyond having them for myself. Snoop was actually the first person to ask why I didn’t have a book deal, to which I replied that he should be my book agent. Several years later in 2013, through Mark McNairy, I met Ian Luna from Rizzoli and we started talking about doing something and that is when I really starting thinking about the photos as more than just something for me. At that point I started being more proactive and would take my camera to the subjects instead of only shooting who came to my office.

Phillip Leeds-SnoopDogg

"Snoop Big Shot" by Phillip Leeds


"Andre Leon Talley Big Shot" by Phillip Leeds

The aesthetic that Billionaire Boys Club created really defined the era of streetwear fashion. What were your inspirations during that time?

Most of that aesthetic really stemmed from minds of Pharrell, Nigo, and SK8THG. We were inspired by vintage Americana, outer space, and cartoons. Every idea I had, I passed to SK8THG, who turned it into the magic.


Jeff Koons Puppy (1982 Dried Flowers) and Ruffy, Phillip Leeds Puppy (2006)

You have a collection that includes pieces from Barry McGee, KAWS, and Jeff Koons. What was the first piece?

Wow, that’s tough. I guess it would be pieces my father gave me as a teenager, which were photographs by Andre Kertesz and O. Winston Link, as well as a Peter Max print of Mick Jagger. Subsequently, I was lucky enough to write graffiti with Barry McGee, KAWS, and ESPO. I ended up acquiring pieces of theirs just from being around them.

The largest work I have is actually a piece of Barry’s that I found. He had painted a huge blood red mural on the plywood construction wall for the site where Yerba Buena Center of the Arts was being built in San Francisco. When the construction finished, all of the panels from the mural were put in the trash. We salvaged a few of them and I somehow managed to get them from San Francisco to NYC.


Barry McGee, 1993, pencil and gesso on paper housed in wood and metal letter press print tray

In addition to your photography book, you’re also now a Partner at Agency for Higher. Can you elaborate on your role there?

I was at Billionaire Boys Club for a long time and felt like I wanted to work on something where I had ownership. For some time, I had followed the rise of medical marijuana and the debate around it. I have been a cannabis enthusiast since I was 13, and have always been pro-legalization. I read an article in Forbes about the type of businesses that would grow and benefit around the emerging cannabis industry and the number one industry was marketing and branding. Then a light bulb went off in my head. I realized I was built for this. It was my Silicon Valley! So, I set my course towards making it happen. I started talking to some peers in the marketing world and then ran into my long time friend “Hawaii” Mike Salman. We had similar interests and goals so we decided to partner up and start Agency For Higher.

Follow Phillip on Instagram.

Scott Friedman

Scott Friedman is an art collector & private jeweler based in New York.

How did you become interested in contemporary art?

I was always intrigued by fine art. I remember my grandmother showing me artist books as a kid. I would look through them for hours, studying everything from Picasso to Warhol. I may have not understood what I was looking at, but I knew I enjoyed it. Now in my adult years, I’ve come to appreciate that special time as it shaped my interest in collecting contemporary art today.

What do you read and pay attention to in order to stay current in the art world? Who are your art world influences?

I start my day with a quick read through of the Observer, Artnet and Artsy news. I find that these publications keep me informed on what is going on in the art world on a daily basis. I enjoy studying art market trends and paying very close attention to the auctions. I find that this keeps me ahead of the curve when it comes to collecting. I find the most influence comes from other collectors who give me feedback on my collecting decisions. Also, I’ve been fortunate to work with great art advisors and gallerists who have provided me with insight and guidance in order to build a meaningful collection.


Angela Bulloch show at Mary Boone Gallery

How did you begin collecting art? Is there anything you would change about the current art market?

I would call myself a ‘born collector’ in that I have a gene which finds passion in acquiring objects. From a very young age I’ve had collections which included coins, old keys, matchbox cars and vintage Absolut Vodka ads. I see how my love of building collections has evolved into my focus of collecting contemporary art today. I find the current art market as exciting as ever. With record breaking sales, young artist’s secondary markets soaring and museums expanding, there is no shortage of excitement. If I could change one thing, it would be to have things slow down a bit. The art world seems like it is speeding 100 mph. As a young collector it kind of makes your head spin.


Kasper Sonne, "TXC77", 2014

When you discover an artist you want to collect how do you make contact with them?

I find the best way to gain access to the artists I want to collect is to go through their galleries or representatives. This helps both the artist establish themselves and also supports the gallery. As a collector you should build relationships for the long run. I believe in the artists who I collect and want them to have long lasting careers, which in today’s market is attainable by being part of a strong gallery program.


Chris Succo "Tattoo Yourself Wherever You Like #3", 2013

Does your collection have a particular theme or interest?

My eye tends to move toward processed based painting. My collection features young emerging artists who employ a lot of texture in their practice. I am trying to tell a story with my collection, so at the moment I am focusing on themes of love, excess and nostalgia. An art collection is very personal and should reflect the collector as much as the time they live in.

How do you use social media as an art consumer? What does Instagram expose about the art market?

I find that social media is a great tool for discovering new art and also gauging how certain artists are gaining momentum within the art world. I look to see who is posting about whom and what gallery shows are most posted about. Instagram is one of my favorite networks. I keep busy maintaining both my personal profile @sfriedz and my art profile@rare_concept where I like to share my art world experiences.

Henry Relph


Works by Lucien Smith, Wes Lang, Nick Darmstaedter, Aurel Schmidt, Brent Wadden and Mark Flood in Henry's collection.

Henry Relph is an international DJ and an art collector based in London.

How does traveling the world as a DJ affect your relationship with contemporary art?

I am very lucky to have traveled the world for work and I always try to drop into shows or museums in the cities that I visit along the way. Sometimes it’s a short layover so I see what I can on the fly. I will always remember spotting an Os Gêmeos street mural in Mumbai from the inside of my cab. New York is my favorite city to visit specifically to see art. The level and variety of content is just incomparable to any other city: one day you’re at blue chip galleries in Chelsea, the next visiting studios in Bushwick. Not to mention the vast network of collectors and artists to meet up with in between.

What was the first piece in your collection? How has your approach to collecting changed over the years?

I think the first serious work in my collection was a gouache on paper by Jo Jackson. It was a commission and the start of my journey into the art world. Jo is part of the Mission School movement and also wife to Chris Johanson. Over time, I’ve definitely learned to be more patient when it comes to building a collection. Generally, I think my approach to collecting has stayed pretty consistent: do your research, trust your gut and above all else, only buy what you love.


Jo Jackson, "Untitled" 2009, gouache on paper (32 x 43 in)

How has collecting fostered unique relationships and experiences in your life?

For me art is a universal language and collecting is a lifelong commitment. Through collecting I’ve met fantastic people, had unforgettable experiences and formed wonderful relationships along the way. As much as I love to visit an artist’s studio, it’s just as exciting to visit other collectors’ homes. There’s a sense of anxiousness before arriving. You’re wondering what they’re going to have and what you’re going to want to take away with you! I’ll never forget the experience of a private tour of the home of collector Dakis Joannou. I was so excited by it all that I don’t think I said anything for the first 30 minutes.


Henry Relph

What are your favorite resources to find out about what’s happening in the art world?

You mean apart from ART YO? : ) Instagram is my go-to source. It’s exposed me to more content than ever before and lets me subscribe to what’s happening right now in the art world. More uniquely, you get to see art from many different perspectives – from curators, collectors, galleries and the artists themselves. It’s as close as you can get without actually flying in to see the art in person. I’d have to say IG definitely helps me make better decisions about which pieces to buy.

I’m also a big fan of the good old fashioned face-to-face meet and greets. Art dinners and openings are a great way of forging relationships and catching up with people. I also try and visit as many studios as possible, because I find that spending time with an artist in the place they work can really help you to understand their thought process.


Eddie Martinez, "Untitled" 2014, oil, enamel, spray paint, tarp transfer, collaged R+F wrapper on canvas (40 x 30 in)

Are there any upcoming shows you’re excited about?

Yes! So many to mention. Some that I am particularly excited about are Katherine Bernhardt at Venus Over Manhattan in NYC, Alex Becerra at Levy.Delval, Neil Raitt at Nicelle Beauchene, Michael Rey at Office Baroque, Torey Thornton at Stuart Shave/Modern Art and Eddie Martinez‘s first show with Mitchell-Innes & Nash.

Follow Henry on Instagram and at Photos by Issy Croker.

Adarsha Benjamin and Eli Consilvio


Artist/curator Adarsha Benjamin and art advisor Eli Consilvio founded MAMA Gallery in Los Angeles in 2014.

Can you talk about the beginnings of MAMA Gallery? Since the opening in 2014, what has evolved?

We are still in the beginnings of MAMA. It has definitely been a roller coaster ride. We are learning how to enjoy it all. So much has evolved in such a short time and everything feels like it is coming together. From relationships to exhibitions, the pieces feel like they are falling into place a bit easier than they were early on.


I read that you considered opening an online gallery instead of a physical space. What did you like about that idea? Why did you decide against it?

MAMA was actually created from an idea of a single exhibition. We both had the initial desire to be as nomadic as possible. The idea was to create exhibitions that would travel the world. We liked the idea that we could be everywhere and not be strapped to a brick and mortar building. There was never the goal to solely be online and sell work, we are very physical people but some of us (Adarsha) are also very nomadic. We enjoy creating and expressing ideas and we enjoy doing that through exhibiting works by artists we love being around. There is no better thing to do. Having a brick and mortar building that we call MAMA is just the beginning. We still intend to travel exhibitions, both physically and virtually.


How did you meet Cole Sternberg? What sort of projects have you worked on together?

EC: I met Cole Sternberg seven years ago the day I moved into the National Biscuit Company building where he was living. Cole and I have been working on projects of some nature ever since we met, including a performance at a private residence during Miami Basel, a film in the Hamptons during a residency and his exhibition at Paris Photo.


Adarsha, can you tell us about your print publication, AUTRE? How has that developed over time?

About 7 years ago I started a publication with my friend Oliver Kupper, called Audio Video Disco and we only put out one issue. Oliver started Pas Un Autre (the online version) and from there we started putting out the print publication together. It’s really a labor of love, as both Oliver and I are analog purists who love film, records, typewriters, newspapers… And not in an ironic “we got them at Urban Outfitters” kind of way. We both were raised in the 90′s, the era before the Internet. I learned to take photos on film, I wrote all my first poems on typewriters, as did Oliver, and we loved magazines and New York Times on Sunday mornings. So, a print publication is something that speaks very close to our heart. I’ve shot all the covers and they have all been on film, and we will continue to put them out… as irregularly as we can.


Can you give us a sneak peak into something you’re both working on or planning at the moment?

We are currently working on a sound performance with Jonathan Bepler as well as a gallery expansion. We are also planning a very exciting fall show with Adam Tullie, Luckey Remington, Chris Vasell and Devendra Banhart.


Do you live with art? If so, by which artists?

EC: I live very much surrounded by art at all times. Hanging at home now is (of course) Cole Sternberg, Garry Winogrand who my father printed for, Henry Wessel Jr., Bert Rodriguez, Peter Beard, Phil Frost, Louis Faurer, James Georgopoulos, Melvin Sokolsky, Henri Cartier-Bresson, and my father Thomas Consilvio.

AB: Art is for sure everywhere. Some of favorite pieces in my house are by Lola Rose Thompson, Adam Tullie, Cole Sternberg, James Georgopoulos and Jena Malone. I also have a lot of amazing drawings by my 2 year old daughter, those are obviously the best.


Walter Robinson


Walter Robinson photographed by Peter Bellamy in 1984

Walter Robinson is a painter who has exhibited his work at Metro Pictures, Haunch of Venison and other galleries. He is an art critic who was founding editor of Artnet Magazine (1996-2012), and who also served as a contributor to Art in America (1980-1996). During 1973-77 he co-published and co-edited Art-Rite magazine. Shop Robinson’s print on Exhibition A here.

You are known first and foremost as a painter, as well as the former editor-in-chief of the online platform Artnet for 16 years. Can you describe your experience of having a role on ‘both sides’ of the art world?

For years my stock answer to this question was that critics get to talk about everything, while artists talk about one thing only — themselves. Now that I have the privilege to go to my studio every day, I wonder why I spent so many hours in front of a computer. Being an artist is simply more fun. It’s true that writing IS thinking — the ideas come into being as a part of the process of producing a text. Art-making is also thinking, but of a more amorphous kind. I’m not sure how to define it — is it more meditative, or less structured, or somehow unhinged from language?


Walter Robinson, "Soup" 2015, acrylic on canvas (16 x 20 in)

How has your style of painting evolved throughout your life? What influences may have contributed to your style?

Origin stories should be simple, and mine begins with pulp paperback covers from the ’40s and ’50s.  I wanted to be able to paint like that. So the style was sexy, commercial, no longer fashionable, illustrative — anything but “avant-garde.”

Theoretically, the style should simply be denotative; it shouldn’t really matter too much how the thing is done. I think David Salle has a very good denotative style; so do Alex Katz and Elizabeth Peyton. But really, all I’m trying to do is make a picture that looks good. My dream finesse starts with Sargent and Manet, and stretches to David Park and Julian Opie.


Walter Robinson, "Thug Cash" 2015, acrylic on paper (12 x 9 in)

You attended the Whitney Independent Study Program with your peers Edit deAk and Joshua Cohn in the early ’70s. Did your journal Art-Rite grow from your theoretical and critical study there? How do you think programs like this have evolved since then?

In 1973, the three of us dared the Whitney ISP to admit art critics (instead of artists and museum interns exclusively) and we launched the magazine there as our project. If it was about theory in those days, I didn’t notice it, though Lawrence Weiner did come in once as a visiting artist and school us thoroughly on the Socratic method. Now, a scant 42 years later, among the three founders of Art-Rite magazine, I’m the only one still in the art world. Is that a good survival rate?

I don’t teach, but it seems to me that contemporary art education is more rationalized, institutionalized and instrumentalized than ever before — “avant-garde” is a degree you get in graduate school. The ultimate goal is to make a place for your self; in that regard, school works like it always did.

I joke that art school should be banned, but I’m biased: I took some studio art classes as electives in college, but didn’t attend art school. I taught myself to paint from a “how-to” book by Jan de Ruth, and just started hanging out and doing stuff.


Walter Robinson, "Random Harvest", 2015, acrylic on paper (12 x 9 in)

Can you talk about your involvement in the history of Printed Matter and Colab? What are your thoughts on the dissemination of art writing and artist books today? What do you read?

Like all non-professional readers in the digital era, I click on links from Facebook, Twitter and all the email art newsletters I’ve signed up for. As for literary and genre fiction, I listen to audiobooks almost exclusively. When I want to write something, I like to go to the Watson Library at the Met to study up. Last week I was all over their Yoko Ono catalogues working up a review of the MoMA show.

As for Colab and Printed Matter, those were slightly different artists’ initiatives that were part of the art world’s 1970′s growth spurt. Printed Matter was launched after Sol LeWitt began selling enough art to find use for a tax write off, and has become an institution.

It began when Sol, Lucy Lippard and Pat Steir had this idea to publish artists’ books, which were all the rage back then. My 2 cents was to suggest that what the business really needed was a distributor, not just another press. Then I had a stupid argument with Sol and quit Printed Matter just as it was getting going. Sol was the nicest guy; everyone loved him. So I had a fight with him.

Collaborative Projects turned out to be more transitory. It was a high-minded scheme hatched by a gang of artists– including some veterans of the ISP– to band together and go after some of the government funding that had been earmarked for institutions like PS1 and the New Museum. We did pretty well –we organized “The Real Estate Show” and The Times Square Show in 1980, founded ABC No Rio and helped fund Fashion Moda in the Bronx, ran a long-running public-access cable TV show and opened the New Cinema on St. Mark’s Place, among many other projects.

My personal accomplishment as president was to take $5,000 of our 1982 funding and rent a five-bedroom house at the beach for three months. We called it the Summer Art Institute. It proved to be a great membership incentive.


Walter Robinson, "Kool", 2015, acrylic on paper (12 x 9 in)

On Instagram you sometimes post art prices and auction results. Is this a tendency carrying over from Artnet, commentary on the rising ‘value’ of art, or simply observation?

My old boss at Artnet, Hans Neuendorf, would say, “Everyone wants to know the prices!” He was an art dealer and a digital visionary, the guy who invented the computerized, illustrated auction-price database that all the art-market players use today. I like to include prices because, well, I like to know everything.

Art prices are interesting for a lot of reasons. They’re a measure of value that is separate from esthetics, history and other yardsticks, but somehow tied to them. Prices are arbitrary, but have their own rationale. Most of all, I like the notion that money has no identity until art gives it one. We wouldn’t know what $58.4 million looks like if it weren’t for Jeff Koons’ “Orange Balloon Dog.”

Can you tell us what you are working on right now?

It’s summer, I’ve got a lot of paintings of people in swimwear to make.


Walter Robinson, "H&M Summer Sun with Harem Pants" 2015, acrylic on paper (9 x 12 in)

Jay Gorney


Jay Gorney is an independent advisor, curator and current advisor to the estate of Sarah Charlesworth. Upcoming projects include shows of Deborah Remington at Wallspace and Roger Brown at Maccarone.

Did you have a formative experience that influenced you to become an art advisor and curator?

I have been interested in contemporary art for a long time. I studied art history at Oberlin College with Ellen Johnson and I was in the Whitney Museum Independent study program in 1972, which was one of its first years in existence. When I graduated from Oberlin, I started working in galleries right away. In fact, I was an intern at Leo Castelli when I was a junior in college.

I love art and have always been inspired by it. As my interests change and shift over the years, artists continually surprise me. I feel a great satisfaction in working with an artist for a long time. For instance, I worked with James Welling, Martha Rosler, Sarah Charlesworth, Barbara Bloom and Jessica Stockholder for twenty years at Jay Gorney Modern Art and Gorney Bravin + Lee. More recently, I worked with Chris Martin at Mitchell-Innes & Nash for at least seven years. When you work with an artist for a long period of time it can become very meaningful.

CHRIS MARTIN Homage to Alfred + Bill #5 1982 - 1995 Oil and felt on canvas 18 x 12 inches

Can you tell us about when you owned your own gallery and the progression of your career?

Jay Gorney Modern Art opened in the East Village in 1985. I moved the gallery to SoHo in 1987, and later started a partnership with John Lee and Karin Bravin to create Gorney Bravin and Lee in 2000, based in Chelsea. It seemed like a logical progression in the early 2000s. For many reasons, we decided to close the gallery, and at that point I became interested in working with Lucy Mitchell-Innes and David Nash, so I joined their team as Director of Contemporary Art in 2005. At that time the art world was definitely changing, and some of the things we are feeling now we were beginning to feel then. One began to sense the rise of very large galleries, and drastic change in price structure, which mirrors the economy at large. I think that right now, more money goes to fewer and fewer galleries and sadly to fewer and fewer artists. As a paradigm, it’s a much less interesting.

Do you have any particular memories of your gallery in the East Village or SoHo that you’d like to share?

One example that stands out to me was a mixed-media exhibition we did with Barbara Bloom, “The Reign of Narcissism.” That show turned the entire gallery into a 19th century museum and eventually went to the collection of MOCA in Los Angeles. Another show that stands out was the one featuring Haim Steinbach’s rustic wall, Adirondack Tableau. There are some small group shows that I am very proud of, like Peter Halley’s painting paired with Ettore Sottsass’s furniture and ceramics, Jessica Stockholder’s sculptures with Joan Snyder’s paintings in the early 90’s. Martha Rosler’s first installation of airport photographs , also in the early 90s, was also memorable.

I am very proud of the fact that we sold some major works to museums. Working with curators is very different from working with collectors; it involves the logistics of acquisitions committees, and can be very satisfying but takes a great deal of patience and time.

Installation view, Peter Halley and Ettore Sottsass at Jay Gorney Modern Art

Having had these varied professional experiences, is there any particular insight you’d like to share?

It all comes back to the old cliché: show work you really love and believe in. Of course, one can’t turn a blind eye to the market. However, if you’re being directed by the market, you’re in trouble. You must be directed by your own vision.

Right now the art world has gotten so large that it permits the possibility of doing a lot of things without a bricks and mortar space. I thought very carefully about whether it would be a good idea to open a gallery at this time and, while it is still a possibility for the future, there are a lot of opportunities to organize exhibitions, work with other galleries, and do challenging things without my own space.

SARAH CHARLESWORTH Untitled (Voyeur) 1995 Cibachrome print with mahogany frame

Can you talk about working with Sarah Charlesworth’s estate and your involvement with the upcoming New Museum show?

I am currently the special advisor to the Sarah Charlesworth estate. I worked with Sarah at Jay Gorney Modern Art and Gorney Bravin and Lee. After Sarah passed away, the estate reached out to me. It seemed like a great opportunity to work with art that I love and know well, and to help the estate after Sarah’s death. We were very happy to work with Michele Maccarone last year to create a fantastic show: Objects of Desire: 1983-1988. We are really looking forward to the New Museum show opening June 24th, curated by Massimiliano Gioni and Margot Norton. It’s a selected survey including work from the Stills series, Objects of Desire and the Renaissance series, among others. Not every series is represented in the show, but certain themes about light and the nature of photography shine through.

SARAH CHARLESWORTH Still Life with Camera 1995 Cibachrome prints with mahogany frames Diptych, 51 x 81 inches

What do you hope that people take away from the show?

I hope people will take away a renewed interest in Sarah Charlesworth’s work and that their understanding of her work will deepen. I think Sarah has always been seen as a “Pictures Generation” artist, but she was very much a conceptual artist as well as an artist who worked with pictures. Sarah made photographs that were more than just images; the object quality of Sarah’s photographs is very important as well as the imagery presented in the photograph.

DEBORAH REMINGTON Adelphi Series #13 1967 Pencil and crayon on paper 24 x 18 inches

Can you talk about the upcoming shows you’ve organized independently?

I am working on an exhibition of paintings and drawings made by Deborah Remington from 1963 through 1983, to open at Wallspace Gallery on June 26th. I knew Deborah and was interested in her idiosyncratic work when I was very young in the late 70’s. I subsequently had a wonderful studio visit with her in 2008. She died in 2010 and it left me with a sense of how much I really liked her work. Her work is underappreciated and I hope that this show at Wallspace will be really interesting for today’s viewer.

ROGER BROWN Virtual Still Like #6: Return to Russia Oil on canvas, mixed media 37 1/2 x 37 1/2 x 8 inches

I’m also organizing an exhibition at Maccarone of work by Roger Brown, one of the Chicago Imagists, who is better known by viewers. Shortly before his death in 1997 he made his Virtual Still Life works, which are sculptural paintings with shelves that display ceramics from his collection. They’re dramatic, absolutely engaging, and act as dioramas, or stage sets.

ROGER BROWN Virtual Still Life #8: Vases with a View 1995 Oil on canvas and mixed media 25 x 25 x 7 inches

Can you tell us a little bit about your personal art collection and what your strategy is as an advisor?

I collect with my partner, who is also a gallerist. Sometimes our tastes are divergent and that makes it very exciting. We have a lot of photographs by artists of the pictures generation–works by James Welling, Louise Lawler, Sarah Charlesworth. A few younger artists we’ve collected have included Anicka Yi, Joe Bradley, Michael E. Smith, Charles Mayton and Virginia Overton. I’m also an avid collector of self-taught and outsider artists’ work. We own two Judith Scott pieces, one of which we lent to the Brooklyn Museum show recently. I’ve always been very interested in collections that tell you something about the collectors themselves. Hopefully, my own collection shows that my interests are very diverse.


MICHAEL E. SMITH Untitled, 2010 Coleman cooler, enamel 14 1/4 x 13 1/4 x 24 1/4 inches

I not only collect myself, but also I work as an advisor to collectors. It can be very satisfying to help someone form a great collection. You try to give the best advice you can, find the best examples of an artist’s work and help them secure those works (which these days can be difficult on your own). You want people to think carefully about the nature of their collection and to purchase works that complement and explicate other works in their collection. I try to create concentrations within a collection. Collecting art which will stand the test of time is ultimately fulfilling.


JUDITH SCOTT Untitled, 2005 Fiber and found objects 11 1/2 x 17 x 14 1/2 inches

Nicole Russo


Nicole Russo is the owner and director of Chapter NY.

How did you become involved with contemporary art and open Chapter NY?

When I moved to New York City I worked a few odd jobs and then decided to see what the contemporary art world was like. I ended up interning for Jack Tilton, who then hired me. After working closely with the gallery’s artists on their exhibitions–both gallery and institutional–I realized how much I enjoy working with living artists because of the direct relationships that can be developed. If I’m doing my job right I’m helping artists make their art for the long run.

After working for several years with Tilton I moved on and became the Director of Leo Koenig, and then Mitchell-Innes & Nash. I learned from each gallery’s different approach and realized that I wanted to open my own. While I was at Mitchell-Innes & Nash the old Bureau space (now located on Norfolk St) was offered to me, so I opened Chapter as a weekend-only project. After balancing the responsibilities of both roles I decided to focus solely on Chapter NY in order develop the program. I’ve been open full-time since January and I’m carefully building my stable of artists.


Patrick Berran Installation view at Chapter NY

How did you come to meet Patrick Berran or get to know his work?

Patrick and I have known each other for years—so long that I don’t even remember where we met! I’ve been lucky enough to have seen his progression as an artist over time. It was exciting when he began to use transfer and silk-screens within the paintings, as he’s able to capture his own energy through that process.  When I opened Chapter it made total sense to start working together.


Patrick Berran, "Untitled", 2015

What is your takeaway from NADA New York last week? Patrick was mentioned in The New York Times review, right?

We did get a nice mention in Roberta Smith’s review, which obviously felt great! NADA was great exposure for the gallery and for Patrick. I met a lot of new people and saw those I’ve know for years and whom I’ve worked with in my prior positions. It gave me a chance to re-establish those relationships in this relatively new stage of my career.


"With & Width" installation view at Chapter NY

Can you tell us about the Math Bass, Lauren Davis Fisher, & Gordon Hall show, With & Width, at Chapter NY earlier this year?

I first learned about Math’s work in 2010 when she was included in a Ridykeulous exhibition at Leo Koenig. I really started following her work after I saw the 2012 Made in LA exhibition at the Hammer. Math was one of the first artists I reached out to when I opened Chapter. Math wanted to do a three-person show with Gordon and Lauren, as they had all been talking and collaborating for years. I loved that show and how they each took advantage of Chapter’s small scale and architectural quirks. I really enjoyed getting to know Lauren and Gordon, who are both exciting artists in their own right.


Cara Benedetto "Come Early and Often' installation view at Chapter NY

What’s next at Chapter NY?

Next up is a solo show with Mira Dancy, opening May 28th. In the Fall we’ll have solo shows with Rob Halverson and Milano Chow, both of whom are LA artists. I’m thrilled to be presenting their first solo shows in New York!


Sam Anderson, "Dog Head", 2013

Do you live with artwork? Any words of wisdom for a new collector?

I’m lucky to live with a lot of art, including works by Patrick Berran, Keltie Ferris, Sam Anderson, Andrea Merkx, Nicole Eisenman, William Pope. L, Julia Rommel… too many to list! It’s a cliché to say ‘Buy what you love’, but I really believe it. When you are a new collector you need to realize that you’re going to be living with the work. When you love it, it really does enhance your life.

James Cope


James Cope is a curator of contemporary art and runs the gallery AND NOW in Dallas, Texas.

How did you get into contemporary art? Was there a formative experience which shaped your interest or your eye?

Growing up in England, I skateboarded a lot and was greatly informed by American skateboard culture and British counterculture. While living in Edinburgh, Scotland I started to put on small exhibitions of my friends’ work, and it grew from there. I didn’t want to get a “normal job,” so the art world seemed like a natural place for me to be.

Jeff Zilm installation AND NOW 2014

Jeff Zilm installation at AND NOW in 2014

You were the associate curator at the Goss-Michael Foundation in Dallas and also the director of sales at Marlborough Chelsea for a couple of years. How did those experiences differ?

My time at the Goss-Michael Foundation versus my time at Marlborough Chelsea was like night and day. At the former, I was a curator and exhibition maker, and at the latter, my role was as a salesman. Besides confirming my love for curating, my time in both the non-profit and commercial worlds has allowed me to create a program at AND NOW that incorporates the best of both.

Elizabeth Jaeger installation at AND NOW in 2015

Elizabeth Jaeger installation at AND NOW in 2015

You’ve worked with artists Damien Hirst, Jonah Freeman and Justin Lowe, Kadar Brock, Jim Lambie, Ryan Foerster, Rose Marcus, Peter Sutherland, and many others. How do you determine who you want to work with and how you want to present their work?

First and foremost, the work has to be visually compelling and contain conceptual content. I also have to like the artist as person and form a solid rapport, preferably over a significant amount of time, since what I do is so personal.

Can you tell us about the “Video Days” exhibition you put together a couple years ago with Larry Clark and Spike Jonze?

It was a video and film show that I had wanted to do for some time, but commercial galleries weren’t interested because video and film are so difficult to sell. Southern Methodist University (SMU) approached me about curating a show and it seemed like the perfect time – shortly after I had landed back in Dallas. The show featured artists Larry Clark, Florian Drexel, Spike Jonze, Nicolas Provost, Christopher Samuels, and Ryan Wolfe. The title, Video Days, is the name of Spike Jonze’s skateboard video. Unfortunately, there was almost no response; the show wasn’t promoted, and even the film professors at the university weren’t aware of the show. Maybe it was to do with the content of Larry Clark’s film, Kids.

Eli Ping at AND NOW during NADA Miami 2014

Eli Ping at AND NOW during NADA Miami 2014

How did your current gallery, AND NOW, develop? What prompted your return to Dallas?

I wanted to get back to organizing exhibitions on my terms and not have to focus only on making sales. I had originally planned to open a space in New York, but it wasn’t financially possible, especially for the way that I wanted to run a space – from a curatorial perspective. My wife is from Dallas and that was a huge reason for coming back, and I have support here from local collectors and museums.

Dan Colen installation at AND NOW in 2015

Dan Colen installation at AND NOW in 2015

You opened Dan Colen’s show during the Dallas Art Fair a couple weeks ago. Can you tell us about that? How do you see the Dallas art scene developing over the next year (or how do you think it should)?

Dan came to the gallery last year to see the Daniel Turner exhibition. We started talking, and he asked if I would be interested in doing a show. We spent the better part of a year working on ideas and formulizing the show.

As far as the Dallas art scene goes, it is exploding right now. Between happenings like Dallas art fair week, collectors from other cities starting to take notice, and new galleries and artists popping up, there is a lot going on. I think directing focus to the education of contemporary art and art history among the new collector class is vital to the continued cultural growth of the Dallas art scene.

What other projects or exhibitions are on the horizon for you?

The next show at the gallery will be Ethan Cook. I am also organizing a show in Brussels that will open next year.

Do you live with any art? If so, can you tell us about how you came by those works of art?

My wife and I have a small collection, which is mostly comprised of artists who have become close friends, some of whom have shown at the gallery.

Jeff Zilm, "Blind Husbands", 2015

Jeff Zilm, "Blind Husbands", 2015

Elena Soboleva


As a contemporary art Specialist at Artsy, Elena Soboleva works with collectors, manages art fair sales, and develops curatorial programming. Follow: @elenasoboleva

As a Specialist at Artsy, you’re exposed to a vast amount of artwork. How does it feel to turn around an article like 9 Emerging Artists You Should Buy at Art Brussels? How do you decide who is relevant or what your preferences are under the public eye?

Sharing my opinion is a process of understanding my own taste. By having to distill ideas and commit to them, it forces me to take a stand and resist the transience of the art world. My decisions are based on my own instincts and intuition while determining how the works fit into a larger art historical narrative. The artists are often young so there is limited writing on their practice. Their vision and personality are key.

Elena Soboleva with work by Lucas Jardin

What are your first impressions of the Art Brussels contemporary art fair? Can you describe your typical day at the fair?

Art Brussels is known as a high quality fair that is great for discovering new talent. Belgium boasts the highest number of art collectors per capita and major galleries like Gladstone and Almine Rech have outposts there. It’s certainly no coincidence the Independent Show is opening an edition there in Spring 2016.

For this year’s fair, I will be curating the #ArtsyTakeover, a project series in which Artsy invites contemporary artists to reimagine onsite spaces at art fairs. The installation will pair Betty Tompkins and Lucas Jardin, two artists whose work I greatly admire. Though from different generations and places (New York and Brussels, respectively), they both create paintings which address themes of appropriation, censorship, and how images induce desire.

Betty Tompkins’ Studio

Besides the fair, which exhibitions are worth visiting in Brussels at the moment?

There is so much great art here! Tonight I am excited about Sofia Leiby‘s European solo debut with Levy.Delval and Alex Perweiler’s (of The Still House Group) opening at Galerie Rodolphe Janssen. Other great exhibitions opening include Sterling Ruby at Xavier Hufkens, Chris Succo at Almine Rech Gallery, and Pierre Bismuth at JAN MOT. Institutionally there is a Gareth Moore exhibition at La Loge (a great experimental art space) and the CAB Art Center has a current exhibition which presents works by artists in and from Chicago–including a huge new Tony Lewis piece and a William Pope L. video.

Tony Lewis at CAB

In the age of the Internet, art is increasingly purchased online. Where do you think that the future of art consumption is headed?

It’s a timely question: just this week the 2015 Hiscox Online Art Trade Report announced that the value of the online art market has risen from $1.57 billion in 2013 to an estimated $2.64 billion in 2014. Online viewing won’t replace seeing art in real life–that’s not the point. Instead, the online market opens up a world for new collectors to learn and discover art. In general, our experience of art is expanding online and offline.

Elena Soboleva as the subject for a Daniel Heidkamp painting

What artists should we be paying more attention to? How do you keep yourself informed?

Many of the artists I’m excited about now are friends of mine, or are people I’ve discovered through Instagram and mutual friends. I am really into Nick Farhi who just had a show at United Artists, Ltd. and Jessica Sanders who has a solo booth with KANSAS at Art Brussels. I have been a big fan of Daniel Heidkamp for a while, though he’s hardly under the radar now. There is also Letha Wilson, Lucas Blalock and Kate Steciw who are all doing awesome things. Chloe Wise is a riot.  I am also very intrigued by the conceptual practices of Elaine Cameron Weir and Carlos Reyes.

Nick Farhi paintings

Do you live with any artwork? If you could add anything to your collection regardless of price, what would you choose?

My collection is still in the very early stages, but I have small pieces by Justin Adian and Larry Clark. I have a couple works by younger artists including Lucas Jardin, the #ArtsyTakeover artist and “one to watch”, and Krista Smith, who just finished her MFA at NYAA. I have fun editioned pieces including a Korakrit photo and the first Exhibition A print that Richard Phillips did, which is a favorite. As for the future, I’d love to own works from the artists who surround me and maybe a Laure Prouvost video and Richard Prince Nurse painting if I get lucky!

David Hollander


David Hollander is Co-Director of CineMarfa. He is a filmmaker, writer, and collector from Los Angeles, California. Along with partner Jennifer Lane, he has produced films for artists including Mathias Poledna, Stephen Prina, and Justin Lowe and Jonah Freeman.

You just announced your line-up for CineMarfa 2015. What was the inspiration for making this year’s focus science fiction?

We see our programming at the CineMarfa film festival not as separate individual programs, but as one continuous program that unfolds over time and expands rhizomatically. An evolving dialogue about the nature of cinema.
So often we revisit certain ideas that we have established earlier in the conversation. Science Fiction, something we know and love dearly, has been explored in material we have previously screened, like Peter Watkins “Punishment Park”, or the films of Jordan Belson.


Painting by Mark Flood and new age objects by David Hollander

CineMarfa focuses on films made by visual artists rather than studios. What do you find unique about the artist-made film?

My partner Jennifer Lane and I have been producing artist-made films for the past 15 years. Part of the initial impetus for doing the festival was to screen in a single channel context films like the ones we produce, which rarely get seen outside of the museum or gallery context.


Collages and a monoprint by Jennifer Lane, with a collection of 19th-20th Century aboriginal digging sticks on the floor

When did you meet Dustin Pevey? Do you own any of his work?

I’ve known Dustin since he moved to Marfa. We do own one beautiful painting of his. He is one of the brightest stars on the Marfa horizon.


A painting by Dustin Pevey

Do you collect anything else?

In addition to collecting art, I do collect 16mm prints of artist-made films, with an emphasis on dada, surrealist, and visual music, and records. I also collect oceanic and aboriginal art, from Papua New Guinea and Australia.


16 mm films in David's collection including some of his collection of ethnographic film, image courtesy Vincent Dillio and Chris Wallace for T Magazine on


Photograph by Ana Medieta

What other projects are you working on at the moment?

The most recent project: Producing (and shooting) Mika Rottenberg‘s new film, which will be included in the 2015 Venice Biennale. I am also working on a book which surveys alternative spirituality in the US from the 60s to the 80s and is essentially a discography of new age music, so I am always listening to that stuff, which runs a gamut from mellow to strange.


An early 20th century Gope board from Papua, aboriginal items from Western Australia circa 1960, and a painting by Jeff Elrod


Drawing by Cameron, ca. 1970s

What’s the art scene like in Marfa? There’s been a lot of hype lately.

Marfa has always attracted creative people. I don’t think its over-hyped – Marfa is as great as people hear it is. Obviously Judd was the groundbreaker but the scene now is more diverse…there are many different types of art and artists, and that’s a good thing.

Nicelle Beauchene


Nicelle Beauchene runs Nicelle Beauchene Gallery in New York City and is the president of the New Art Dealers Alliance.

You had worked in Chelsea galleries for several years before opening your namesake space in 2008. In what ways did your prior experiences inform your new space, and what did you want to do differently?

My first experiences in the New York art world were shaped through my tenure at Marianne Boesky Gallery. At Boesky I learned about the importance of building strong foundations for young artists, strategizing, while at the same time taking risks for them. I continue to incorporate these ideals into my own workings with artists, and feel grateful to have had the experience at Boesky.


Louise Despont, "The Host", 2012

How do you go about choosing the artists you represent? What are you looking for when compiling a solo show?

For me, it’s really important that the artists we show and work with have their own unique vernacular or vocabulary that comes through in their practice. In a market where there is a lot of aesthetic cross over, and so many artists are making work which looks similar and is influenced by each other, it is more rewarding to be working with someone that retains a specific vision/vocabulary within their work. Also in terms of our program at large, it’s important to me to keep it as dynamic as possible, for example, not showing too much of one medium or type of work.


Alexander Tovborg, "Bocca Baciata LXXI", 2014

What’s it like sharing a space with Jack Hanley? Am I right that sometimes the galleries switch floors? Is it a sort of collaboration or are the galleries completely separate entities?

Sharing the building with Jack has been a very collaborative experience for us— we are completely separate galleries, however we switch exhibition spaces and offices every month. There are definitely more pros to the switching than cons, as essentially we’re able to offer artists a choice in exhibition space. So instead of our artists making works specific to the architecture of one space they are able to choose the gallery space that makes more sense in terms of what they will be showing.


Installation view of "A Friend is Only A Human Body" at Nicelle Beauchene

You are also the president of the New Art Dealers Association. Can you tell us about the work you do at NADA? How has the organization evolved over the years?

With the rest of the NADA board, I oversee the various fairs that we put on as well as the different levels of membership that we have. Throughout the past five years, the organization has really broadened internationally with collaborations such as Art Cologne/NADA Cologne as well as expanded membership. Both the Miami fair as well as the NY fair have become more international as well in the past few years, which has certainly been a strong focus for the current board.

This was the sixth year of NADA Miami, right? What should we expect from the fourth edition of NADA NY this May?

This was actually the 11th year of NADA Miami, the first year was 2003 when the fair took place in a vacant space off of Lincoln Road near the Convention Center. The fair then moved to the Ice Palace, and again to the Deauville Hotel, where we’ve been now for six years. The move to the Deauville was a game changer for the fair. For NADA NY 2015, you’ll see us at Basketball City again with a lot of new, international exhibitors and the continuation of our project booths, which has been an important addition to both our Miami and New York fairs.


A drawing from Nicelle's collection of American Indian ledger drawings

Describe your personal collection for us.

My husband (artist Kent Henricksen) and I have been collecting together for almost 15 years. Before making the move to NYC we lived and worked in San Francisco and bought mostly young Bay Area artists- Barry McGee, Margaret Kilgallen, Chris Johanson, etc. We still have all of these works in our collection, and have since expanded it to include a lot of our NYC artist friends as well as artists within the gallery’s program. We also have a great collection of American Indian ledger drawings, mostly from the Plains Indians which we’ve been collecting for about 10 years now.

RJ Supa


"Iron Man" by RJ Supa a part of the 2014 Summer Performance Series

RJ Supa co-owns Louis B. James Gallery with David Fierman in New York City.

How did you become interested in contemporary art?

During my film class the first semester of college, my professor showed an image of Robert Venturi’s Guild House and told us that it was specifically designed to be ugly to fit in with the neighborhood. This was the first post-modern building in the mid-’60s. I was taken by how a concept could manifest itself physically. A few years after that I went to see Sensation at the Brooklyn Museum and my mind was blown. I remember walking through Damien Hirst’s formaldehyde animals and Tracy Emin’s bed and Jake and Dinos Chapman and Jenny Saville and being in awe, all the while David Bowie narrated the experience. It was incredibly transformative. It took me out of my head and into another space.


RJ Supa performing "Iron Man" at chashama

When did you decide to open Louis B. James on the Lower East Side? Has the space or the work shown evolve over the years?

We opened LBJ almost four years ago after co-curating shows around the city. It just made sense in terms of a natural progression to open a more formal space. I think that our program has become more formalized during this time. Perhaps because of that I want to take more risks programmatically. I want to incorporate more performance and installation and do things outside of the four white walls of the gallery. If we’re a fair model now I want to evolve with that and make the best booths, the most interesting booths. It’s an evolutionary, very slow process.


Diff’rent Strokes: Small Paintings and Intimate Performances, 2013

What about the vibe of the area?

I think I’ve grown and evolved since opening the space so I imagine that effects the outcome of the shows, the artists we work with, how we work… The area has changed but that’s been the constant. I think we’ve developed a decent reputation and more and more people find us. I guess that’s how I think of the area changing.


Off White Desert installation view: Nora Griffin, Ann Greene Kelly, Matthew Kirk, 2014

What projects are on the horizon for Louis B. James?

We have a great artist, John Miserendino at the ADAA for the Henry Street Settlement. A really stunning work. I’m curating – with Erin Goldberger – a booth at Spring/Break. Two new shows opening: Nikki Katiskas and Mariah Garnett and then after, this spectacular show by Jeremy Couillard, a virtual reality, out-of-body experience. Incredible! NADA New York, more shows, more fairs.


Erin Goldberger and RJ Supa at Material Art Fair

Why did you decide to participate in the Spring Break Art Show?

Erin and I have been friends since NADA Miami Beach in 2011 and we do studio visits together and hang out and know lots of artists and are artists and our friends are artists and we just came up with an idea and started talking about artists, probably at Beverly’s. Then it just happened organically. It’s a great opportunity to work with our friends, non-gallery artists and just another outlet for ideas, manifesting thoughts.


Jeremy Couillard, My Time In the Cult of Melting Ancestors

What’s concept behind the booth?

The concept is Green, for monetary and environmental reasons and also for the color. It’s apparently the least salable color of art. I think Erin had the original idea and then we expanded it, collapsed it, made it perfect. I love working in non-traditional spaces. I think it’s a real challenge to activate space in a meaningful way. I believe in experiences and I want the viewing of art to be engaging. Death to passivity! So I think getting to do a show like this allows for a freedom, for an experimentation.

Kaya Yusi


Kaya Yusi runs Sunday, an exhibition space in Los Angeles.

Tell us about Sunday. What inspired you to start an exhibition space right after finishing your BFA?

Our focus was to have a comfortable environment for young artists to show work and keep the conversation and community alive post-grad. In December 2013, my friend Ada Rajkovic, who I have been collaborating with and living with since we were paired as roommates in the dorms at CalArts, found the space in east Hollywood. It was a sad, old office space on the second story of a commercial building. We saw the space and immediately signed the lease.  Along with Ryan McGuffin and Teryn Brown we ripped up all the carpets, finished the floors, added a kitchen and a shower, tore some walls down, put some walls up and threw some art on them. We had our first show in April 2014–a group show with about 40 artists called No New Friends. Since then we’ve had endless amounts of events. Our last show was a pop up Greek restaurant.


Kaya Yusi getting ready for Yung Jake's Furniture show

What do you think is unique about artist-run spaces?

The fact that we have to live with the show that’s up means we really have to like looking at it. My favorite professor at CalArts always said, “the best art is art that you would be willing to hang over your couch”. We started the space so that our peers could continue to show work after graduating but also to show art that we actually like. I think 90% of the time I go to art shows I leave feeling totally unaffected and depressed.  If the place that we love to see art and music doesn’t already exist, we have to create it.


Sofia Arreguin, My Pet Project

Sofia Arreguin‘s show “My Pet Project” opened at Sunday last November. When did you first meet Sofia? What draws you to her work?

I met Sofia at CalArts when she was curating the group show for the 40th anniversary of Woman House. It was an all female group show that turned out beautifully. She had just moved in to a studio down the street from Sunday and works for Ryan Trecartin. Sofia’s rad and super inspiring and lovely. Her show dealt with the idea of humans projecting their feelings onto animals. One piece in the show was a video of an interview with someone who got a pet snake because it’s supposed to help with lack of sex drive.


Sofia Arreguin, My Pet Project

Do you live with any artwork?

I have two Terry Richardson photos hanging above my bed and the rest of my walls are covered in things that I’ve collected over the years.

What’s coming up for Sunday this year?

Albert Samreth has an art show called Spirit on March 21st and Alexander Uhrich has a photo show called Roadkill on March 26th.


Sofia Arreguin, My Pet Project

Edward Givis


Edward Givis (@givis) is a Graphic Designer out of Southern California.

How do you see graphic design as a part of (or separated from) contemporary art?

This could be answered in so many ways. Graphic design without a doubt draws inspiration from contemporary art. It’s the job of the graphic artist much of the time to “make it feel like…” or “give it a look that resembles…”. It’s the nature of the game. Contemporary art sets many of those visual standards, and they move very rapidly. As a designer you need to adapt and figure out a way to blend these visual standards while selling a product and integrating your personal style.


Brad Phillips at Louis B James

Art is becoming more and more accessible online and through social media, most notably through Instagram. How do you use social media to keep up with what’s going on in the art world? Who do you find to be the most innovative Instagrammers?

What I personally love is the connection aspect. Being a transplant in Southern California from NYC, I miss the communication and involvement aspect of going to openings or visiting a studio. Instagram can’t completely replace that experience but it definitely helps to fill the hole. The way some artists’ posts bring you into their studio and their process of working is very voyeuristic. Many artists announce their prints or books going on sale through social media. As a younger collector with limited funds, engaging in conversation and writing directly can definitely help facilitate being able to afford originals. I’m certain that would not be as easy or even possible without social medias help in my case.

As for Instagrams, @willnyc without a doubt, I’m constantly on his feed. I also follow someone many people don’t love so much, and the Sith-Lord himself @stefansimchowitz. I’ve really enjoyed following @chicojefferson over the last year, his feed really brings you into his studio. @LIZNY3, @elenasoboleva and @mollygottschalk are awesome, and I follow @brad__phillips and @jesse_a_edwards for art and entertainment. I really like how @halfgallery and @harpersbooks use their feeds. There’s too many, and you always end up finding more.


Genieve Figgis, "The Swing after Fragonard", 2014.

You’ve collected several Exhibition A editions, including Kasper Sonne, Genieve Figgis, and Matthew Chambers. Who else would you like to see Exhibition A do an edition with?

Arnold Daniel, Todd Bienvenu, Brad Phillips, David Benjamin Sherry, Mark Delong, Paul Insect, Jim Mangan, Daniel Johnston, Torey Thornton, Michael Staniak, Cleon Peterson, Caramel Bobby, Marilyn Minter, Josh Jefferson, Robert Heinecken, James Ulmer, Raymond Pettibon and a brownie sized small edition by Justin Adian.


Matthew Chambers, "A Silent Rueful Toast", 2014.

You’re based in the Los Angeles area. What are your favorite spots to check out new work?

OHWOW, Steve Turner Contemporary and Cherry and Martin show great artists. I’m still relatively new out here so I’m still getting to know the lay of the land. I find a lot of new work on the Internet and Instagram honestly– when it comes to new work you often see a piece or the process long before a gallery opening. It’s also a lot easier to find new or undiscovered talent that way as well… look at Genieve Figgis who Richard Prince found on Twitter and was recently one of Artsy’s ’15 artist to watch in 2015′.


Torey Thornton at OHWOW gallery

If you could add anything to your collection, regardless of price, what would it be?

I think I’d be more than content with a Cy Twombly painting, the complete works of Dieter Roth and a Bill Traylor drawing. Those would work for me…

Rus Yusupov


Rus Yusupov is a designer and entrepreneur based in NYC. He’s best known as the Co-founder and Creative Director of Vine, a mobile service that enables its users to create and share short looping videos. His passion for the arts is grounded in his education at LaGuardia Arts High School and the School of Visual Arts, from which he holds a BFA in Graphic Design. As a designer, he’s always been passionate about the creative process, and finding ways to improve it for both himself and others.

How did you first become interested in art? Didn’t you study at SVA?

Indeed I did. The world of art is great because you make up your own rules. I was born in the USSR, a place where you had to follow someone else’s prescribed system.


Sophie Calle, North Pole / Pôle nord, 2009

How did you begin collecting art, and what frames your approach as a collector?

Each individual piece makes some kind of statement, and I hope the collection as a whole is able to do the same. I’m not interested in building a collection of video art from the 80s or political work from a specific region – to me that’s just indexing. Ultimately I try to pick individual pieces that tell a larger story when seen together. I’m interested in space themes, beach culture, tech, hyperrealism, appropriation, forgery, and the inherent concept of value.


Picasso (fake), Figures by the Sea (The Kiss), unknown

How did you find out about Michael Kagan’s work? What draws you to it?

Space travel is about thinking big, not playing by earthly rules. Astronauts are escapists – and I respect that. I’m still waiting for Elon Musk to work out the kinks in SpaceX, so until then, I vacation in Michael’s paintings.


Michael Kagan, Contact Light, 2014

What’s your favorite piece in your collection?

I recently got some great pieces by Richard Prince, Robert Longo, Sturtevant, Thomas Demand, Carole Feuerman, and Richard Mosse. That said, I think the point of having a collection is not to have one favorite piece. If I found one, I would just keep that and get rid of everything else – where’s the fun in that? For example, I have a few Picasso fakes, and love the bad ones as much as the good ones. There’s a great quote from Bruce Chatwin’s book Utz: “The collector’s enemy is the museum curator. Ideally, museums should be looted every fifty years, and their collections returned to circulation.” Museums protect art from meaningful critique, because you’ve already been told to think highly of it. I collect to find out how to feel on my own.


Carole Feuerman, Miniature Serena (Yellow Swarovski Cap), 2014

Do you follow any video artists? Or do you view that as a separate form of expression?

I follow 670 people on Vine. Seriously though, I do look a lot at how the post-internet artists are using online video, but my interest goes all the way back to people like Nam June Paik and Pipilotti Rist.

Favorite quote to live by?

“If nobody quotes you, quote yourself.”


Adam Mysock, Powerless Without, 2014

Richard Kern


Photo of Richard Kern by Olivier Zahm.

Richard Kern is a photographer, filmmaker, and regular contributor to Vice and Purple. His work has been exhibited at MOMA, The Whitney Museum and in more than 50 solo shows around the world. Kern lives and works in New York City and collects Duncan Hannah’s work.

Both your work and Duncan Hannah‘s work functions as a sort of time capsule, documenting the world around you (but in very different ways). What draws you to Hannah’s work?

I like that Duncan paints cars, ships, airplanes, women, etc. in a reverential way–the way men look at and think about these things. The first painting I got from Duncan was of a ship run aground next to some cliffs. I was really excited to have a painting of a boat on my wall. I now have more paintings by him: a Penguin book cover, Tarzan and Jane riding an elephant, a train coming out of a tunnel and numerous women. I need to get a car or airplane.


Duncan Hannah, "Art in England", 2008.

What other artwork do you collect?

I like to trade with people I know or hang out with, so over the years I’ve collected paintings by Rita Ackermann, Dan Colen, Walter Robinson, Lucy McKenzie, Bjarne Melgaard, Dan McCarthy, Dana Schutz, Leo Fitzpatrick and a bunch of other people. I’ve got lots of photos, drawings and prints too.


Duncan Hannah, "Chanbrol", 2011.

Do you collect anything besides art?

My old gallery in Paris (Jousse Seguin) had a lot to do with making Jean Prouvé collectable. After my first show there in 1996, I traded for a bunch of Prouvé furniture. Over the years I’ve sold some of it, but I still have a few tables. I was collecting mid-century stuff and watches in the 90′s but quit around the time I had a kid.


Jean Prouve, "Metropole No. 305 Chair", circa 1950.

You’ve lived in the same East Village apartment for almost 27 years, I’m sure you’ve watched the neighborhood change drastically. How has the art scene in New York shifted for you since the late 80′s?

Yes. I like that art is creeping back into the Lower East Side now. I also like how NYC has three distinct art areas to visit for day trips–Chelsea, LES and Uptown. It’s funny how SoHo isn’t really on the charts these days, ’cause it was the main deal when I moved here in the late 70′s.


Richard Kern, "Lung With Lizard", 2012.

What are your thoughts on contemporary portraiture within the current state of photography now?

My thoughts are all over the place. About art in general I will say there is a lot of crap out there now. Tons. More than there’s ever been. And I’m probably contributing to it.

Any upcoming books, projects or films on the horizon?

My book New York Girls is being reissued by Taschen as a “director’s cut” for it’s 20th anniversary next year. It will contain outtakes from the original sessions. I also have a show at Cabinet in London that opens Feb. 12, 2015.

Andrew Black


Andrew Black is the Press Liason at Petzel Gallery.

Petzel represents a stable of prolific artists such as Wade Guyton, Adam McEwen, Sean Landers, and Dana Schutz. What have been some of your favorite exhibitions during your time at Petzel?

Given how closely I work with all of our artists, picking a favorite exhibition at the gallery would be nearly impossible. Each of our artists represents an important place in the narrative of art history and it has been a privilege to work with each to help amplify their message in the press.

In terms of our artists’ shows outside of the gallery, I think the standout of 2014 for me was the Maria Lassnig retrospective at MoMA PS1.  Sadly Maria passed away soon after the show’s opening in March, however it had always been her dream to show at MoMA, so in many ways this was a happy and very well deserved ending to a long and dedicated career.  Above all, Maria’s perseverance will hopefully inspire other artists to continue plugging away regardless of immediate critical or market validation.  If you’re on to something in the end you will be noticed.


Park McArthur, "Untitled", 2014.

What skills are required as Press Liason?

First and foremost, having great material to work with is crucial – and working with Petzel’s incredible stable of artists gives me plenty of material. In terms of personal skills, working in PR your most valuable assets are your relationships and contacts in the press and your ability to craft a compelling pitch.  This means understanding which details about an upcoming show or an artist’s broader practice will resonate with a particular publication or writer.  Something which might be a great fit for Art Forum might not necessarily be of interest to T Magazine.  Knowing your audience and being able to tweak your pitch accordingly is important!   In regards to being a PR professional working in the art world, or specifically with artists, it’s a huge advantage and I would argue even necessary to have some meaningful background and/or understanding of art history.


Anicka Yi, "Fever and Spear", 2014.

Sean Landers’ North American Mammals was on view at Petzel through December 20th, and was reviewed in publications such as the New York Times and Wall Street Journal. How did the public respond to this exhibition in particular?

During the show I stumbled across a very cute Instagram of a young child lying on the floor of the gallery staring up in wonderment at Sean’s 40 foot wide painting of Moby Dick.   I love this photo because it shows the huge range of people who were able to connect with and enjoy this show.  The seemingly playful, tartan covered animals and the exquisitely executed library and tree paintings pulled visitors into a bewildering and beautiful fantasy world.  At the same time beneath this very lush, visual presentation, for knowledgeable collectors and critics, Sean’s practice offers a very strong conceptual backbone.  In addition to being a formal reference to Magritte’s Vache Period, the tartan motif is rife with other meaning and there is an almost poetic continuity to way the Tree, Library and Animal paintings all tie back to dominant themes in Sean’s practice.


Sean Landers 'North American Mammals' at Petzel Gallery.

How do you keep up with what’s going on in the contemporary art world? What are some of your favorite publications?

I find the best way to keep up with what’s going in is to attend as many gallery and museum shows as possible.  Beyond that, the Internet and social media platforms like Twitter and Instagram are incredibly helpful when you can’t see a show in person.  Of course I also do a lot of reading, both art focused and lifestyle publications that cover art.  It’s very difficult to pick favorites because all of them have their own unique point of view and editorial objectives.  With that caveat I would say Exhibition A is certainly required reading!


Margaret Lee, "Cucumber Phone", 2012.

Do you live with art?

I couldn’t live without it! I tend to collect more conceptual work from artists of my generation like Anicka Yi, Carissa Rodriguez, Merlin Carpenter, Margaret Lee, Israel Lund and Park McArthur among others. I also have a killer Joyce Pensato Batman which I recently installed. Her show with us in February is going to be spectacular. Stay tuned!


Joyce Pensato, "Prince of Gold", 2013.

Paul Bright


Paul Bright owns Bright Lyons, a modern curiosity shop located in downtown Brooklyn.

When did you start collecting contemporary art?

I started collecting art as a teenager in high school. At the time, most of my friends were either illustrators, comic book artists or graffiti artists and I tried to buy their work whenever I could (we’re talking about twenty dollar drawings here). By the late 90’s / early 2000’s I was getting into stuff like Raymond Pettibon, Larry Clark and some of the “Mission School” Artists. I guess the first thing I was really proud of was a pair of paintings by Margaret Kilgallen.


What are some of your favorite pieces in your home?

I have a beautiful painting of a gum ball machine by Eddie Martinez at home, and I have some great work by Andrew Jeffrey Wright– you’d be crazy not to work with him immediately.

What artists would you like to see Exhibition A work with?

Do you guys know Dave Hardy? He’s pretty rad. Actually you know what would be cool, remember that little metal sculpture edition that Karma did with Sam Falls? Y’all should do something like that with Dave Hardy.

An Eero Saarinen Womb settee from Knoll inside Bright Lyons.

Tell us a bit about Bright Lyons. How do you decide what to buy and sell? How do you determine the value?

The shop is somewhat unique in the New York antiques world as it sells almost exclusively Knoll and Herman Miller furniture. It’s pretty much just the original versions of what you would see somewhere like Design Within Reach. Most of the pieces I sell are pretty iconic and have been bought and sold on the secondary market for decades so there is an established market value.

Where do you find the collectibles and furniture that you sell? Is there a specific place you can always count on for interesting objects?

For about ten years before I opened the store, I traveled around the country as a picker looking for things. In that time I met a lot of other dealers and pickers, especially in the midwest, who I still keep in touch with. Other than that, you can find things anywhere from Craigslist to Sothebys.

Inside Bright Lyons.

Any advice for collectors (of fine art or furniture) just starting out?

Buy slowly and diligently. Don’t be afraid of asking for long installment plans. Most galleries are cool with this. Also, if you’re an artist or have some sort of tradable skill, try and barter when you can.

Steve Turner


Steve Turner owns and directs his eponymous gallery in Los Angeles.

What do you find unique about showing work in Los Angeles? How does the contemporary art world in LA differ from the scene in New York?

The Los Angeles contemporary art scene has numerous micro-systems. It’s like the weather in San Francisco. It varies from block to block, gallery to gallery. Success can be elusive. There are far more artists than there are galleries, and not enough collectors for the galleries. As such, each gallery must develop a strategy to attract collectors to support its program. Mine was to develop a strong international program that would appeal to both local and international audiences. With artists Pablo Rasgado (Mexico City); Camilo Restrepo (Medellín); Michael Staniak (Melbourne); Jonas Lund (Amsterdam); Rafaël Rozendaal (New York); Deborah Grant (New York) and Yung Jake (Los Angeles), I have done that. It really has more to do with the artists, and what I do outside Los Angeles, than it does with the local scene.


Michael Staniak, 'Image DNA', Installation view.

You’re opening a new space in Hollywood, right? How did your upcoming group show, Space Program, come about?

Our new space is in a refurbished 1920s warehouse building with 15 foot ceilings. It is just west of the corner of Santa Monica Boulevard and Highland Ave. Our closest neighbor is Regen Projects, and LAXART is opening one block away on the same day that we are—January 10th. Space Program came about as I brainstormed with my staff about the nine artists we were showing (those mentioned above plus Luis Hidalgo (Cuernavaca) and Maria Anwander (Berlin). I wanted to highlight our unusual space (we also have a roof deck that abuts a huge white wall (30 x 80 feet) where we will project videos) and I wanted to show a range of artists from our program. The title summed up my objectives perfectly. The show will introduce our new space and it will give greater meaning to the program that we have carefully developed over the last seven years.


Steve Turner booth at UNTITLED.

How was your experience this year in Miami at UNTITLED compared to other years? What is your favorite part about participating in art fairs?

We did very well at UNTITLED in Miami. We showed works by five artists (Yung Jake, Staniak, Rozendaal, Lund and Hidalgo) and we sold multiple works by each artist and also sold works by other artists in our program. Our experience was comparable to that of other years when we introduced Parker Ito in 2012 and Petra Cortright and Camilo Restrepo in 2013.


Yung Jake, 'New', Installation view.

How did you come to represent Yung Jake? What do you look for when procuring new artists?

I met Yung Jake in May 2013 and I liked him instantly. I had a very good studio visit with him and first thought I would wait a while to see how his practice developed before I offered him an exhibition. Six months later I did a second visit and since I was even more impressed with this meeting, I decided to offer him not one, not two, but three opportunities in 2014. He had a project room show; a main-room show; and then, a solo booth presentation at Art Berlin Contemporary (ABC). All three presentations were different. All three were great. All three were successful.

In finding artists, I look for rare talent; extreme commitment; good character; and general compatibility with me and my staff.


Yung Jake, 'Drawings', Installation view.

What do you have planned for 2015?

Our first solo exhibition in the new space will introduce a new artist to Los Angeles and to our program—Hannah Perry (London). She just arrived in Los Angeles where she will live and work for the next six weeks, both for her show here and her solo project at Art Brussels in April. We also have solo shows planned for Jonas Lund, Pablo Rasgado, Michael Staniak, Camilo Restrepo and Yung Jake, all of whom will also be prominently featured in art fairs in Europe and in Latin America. Two newcomers deserve special mention. Ivan Comas (Buenos Aires) is a brilliant young conceptual painter who will have a solo show with us in June, and a solo booth at a European art fair in September. We are also providing him a studio in Los Angeles for three months starting in mid-January. In October, William Pope L. will have a solo show inspired by the legacy of Joe Gans, an African American world champion boxer who fought and won the longest bout in modern boxing history—42 rounds in Goldfield, Nevada in 1906.


Rafael Rozendaal, 'Almost Nothing Hardly Anything', Installation view.

What trends in collecting should people pay attention to (or avoid)?

I don’t recommend following trends. The best collectors use their eyes, not their ears.

Jessica Silverman


Photo courtesy Margo Mortiz

Jessica Silverman owns and directs her eponymous gallery in San Francisco, CA.

What drew you to Shannon Finley’s work? How did you meet and decide to represent him?

During my undergraduate days at Otis College, I worked on Michael Ovitz’s art collection. I would often give tours of the art in his office. One visitor was a dealer who worked for a European Gallery and later opened his own space in Berlin. He represented Shannon Finley and told me to check him out. I was immediately entranced by the kaleidoscopic nature of his work and the poetry of his geometric forms. In 2010 I offered him an exhibition after seeing images of his paintings online.  When the work arrived, I knew we had made the right decision, and we have represented him ever since.

Amikam Toren, Of The Times and Other Historic Works, installation view, 2013

Your gallery is known for discovering emergent artists. How do you find new talent?

I don’t define emerging by age but by where the artist is in his or her career – their degree of exposure. The gallery’s roster includes artists that range in age from their twenties to their seventies. In November 2013, we presented Amikam Toren’s first solo show in America. He is a British-Israeli artist in his late sixties. We also presented a solo booth of Toren’s work at Frieze New York in May 2014. Since then, there has been tremendous response to his practice. In April 2015, we will present an exciting solo exhibition by the godfather of the Vancouver art scene, Ian Wallace. Other contemporary artists we show are Hugh Scott-Douglas, Dashiell Manley, Hayal Pozanti and Ruairiadh O’Connell, who were all born in the 1980s.

Hugh Scott-Douglas, Untitled, dye sublimation on linen, 2014

Who are some other artists that we should keep an eye on?

Alongside the gallery program, I also curate shows at fused space, an exhibition space at Yves Behar’s fuseproject, which allows me to invite artists that we do not represent to participate in group or solo exhibitions. Upcoming shows include some great artists to keep an eye on: Lucie Stahl, Cooper Jacoby, Erica Mahinay, Egan Frantz and many more!

Tammy Rae Carland, Live from somewhere, installation view, 2014

How is the San Francisco art scene different from the New York art scene?

San Francisco has a rich history of philanthropy and a lot of support for its museums and arts institutions. Unlike New York, San Francisco also has a lot of new collectors who come from the venture capital and technology sectors.

In 2015, the new Berkeley Art Museum will open and in 2016 the new SFMOMA will open, a museum that will be nearly as large as MOMA, New York. Amidst the rent increases, we are still seeing many thriving artist-run and project spaces including: Et Al, Will Brown, Kadist and Kira Koula.

Jose Leon Cerillo, Ejemplo Inestable 15, steel and enamel, 2014

Can you tell us about your current show with Sean Raspet and upcoming projects?

Sean Raspet’s current solo exhibition Residuals has a fragrance formulation of the gallery in the form of a “scratch n’ sniff” that has been sprayed onto our gallery walls. Visitors have been able to scratch the walls to release the scent. During the show, as scents are released, Raspet will use equipment to capture the smells which he will transform into a cleaning product. This cleaning product will eventually be used to clean the “scratch n’ sniff” off of the walls at the end of the show. It is a groundbreaking show for the artist and takes his work to a new and exciting place.

Our upcoming show with Dashiell Manley is titled “Time seems sometimes to stop” and focuses on the daily and meditative practice of reading a newspaper. With a new series of paintings, Manley focuses on the front page as both a significant marker of time as well as an iconographic symbol of information exchange.

Hugh Scott-Douglas, Untitled, dye sublimation on linen, 2014

Do you recommend getting an MFA in Curatorial Practice? How did this affect your process?

With most education, you get out of it what you put into it. I really took advantage of the access that my Curatorial Practice MA gave me at the California College of the Arts (CCA). I met great curators and have stayed in touch with many of them. I opened the gallery while still working on my MA at CCA and found that I really benefited from the dialogue I had with teachers and visiting curators, who helped me understand how to develop my programming during the first year.

Strauss Bourque-Lafrance, Babe, just do it, plexiglas, polyethylene mesh and spray enamel, 2013

Do you live with art? What artists are in your personal collection?

Yes! My girlfriend, Sarah Thornton, and I love to live with art. Right now we have many amazing works in our house by artists such as Hugh Scott-Douglas, Lorna Simpson, Julian Hoeber, Strauss Bourque-Lafrance, John Baldessari, Lucie Stahl, Francesca Woodman, and many more.

If you could acquire any work of art in the world for your own personal collection, what would it be?

A couple of artists I always want to collect are R.H. Quaytman and Gabriel Orozco. Recently at Art Basel Miami Beach, a few things I saw and wanted were a sculpture by Simon Denny, a painting by Jaya Howey and a lot of works by David Hammons.