Leland Melvin

LelandMelvin

Official Portrait of Leland Melvin courtesy Robert Markowitz

Leland Melvin is an American engineer, NASA astronaut, and Promoter of STEAM (Science Technology Engineering Art and Math). He flew two missions on the Space Shuttle Atlantis as a mission specialist on STS-122 in 2008, and as mission specialist 1 on STS-129 in 2009.  He received numerous NASA awards and honors during his quarter-century of service.

What drew you to collect Michael Kagan’s work?

There are two things that inspire me about Michael’s paintings. First of all, the amount of paint and the power implicit in his images really convey the energy of his subject matter. I know the business end of this stuff–I’ve felt the 7.5 million pounds of thrust it takes to get you off the planet. I also love the visual contrast of a dark sky background with vibrant colors like white, yellow and orange in say, a painting of a rocket launch. His paintings have such a freshness to them. It’s like they are still wet in places–like they are about to take off.

You just recently purchased a rocket painting from Michael, right? What’s it like to experience a space shuttle blast off?

Yes, it’s a large painting that I hung in between two large windows. He really captures the energy being liberated in the blast during a launch, which I know from first-hand experience. I’ve witnessed two launches inside the vehicle and seven takeoffs from the ground. Before it blasts off, you’re singing the Star -Spangled banner. When you watch it you see the flame, smoke, and fire. There’s a rumble in your stomach and in your chest.

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Leland Melvin’s painting by Michael Kagan

How did you come to know Michael’s work?

I had seen his collaborations with Pharrell Williams’ clothing line, BBC Ice Cream. I introduced myself over Instagram, and when I visited Brooklyn I set up a studio visit with him. The rest is history.

Can you tell us what it’s like to wear a spacesuit?

Well the spacesuit Michael is painting is from the Apollo program–Neil Armstrong’s spacesuit. Those had to protect astronauts while they were walking on the moon. I wore the orange suit that astronauts wear inside the shuttle during launch and landing. It protects you in case you have a bad day and you lose cabin pressure. It’s like your own pressurized cockpit of a suit. There is spare oxygen inside, flares on the shoulder, and water running through the suit to keep you cool. You have to practice pulling the spare oxygen in case you have to eject out of the shuttle.

Image courtesy of NASA Johnson Space Center

What’s it’s like preparing for the possibility of ejection from the shuttle?

Well, if we abort and have to bail out because of an engine failure or something of that nature, the emergency procedure is for the commander to put the shuttle on autopilot, blow the side hatch and extend the pole. Each person would connect themselves to the pole, but you have to clear the wing. Then you parachute down to earth.

Can you describe what it’s like to experience the earth from above? How does it feel to come back?

It’s a blue you can’t describe. You see a sunrise and sunset every 45 minutes. Your 240 miles above the earth and orbiting at 17,500 miles per hour, so you can pass from Florida to Maine in two minutes. When you re-enter the atmosphere the plasma creates purple flames coming over the top of the spacecraft. You’re looking out of the shuttle like, oh my goodness this is changing my life! Everyone should experience it.

When you come home, you’ve been living without gravity for twelve or fourteen days, and in some cases six months to a year. Your heart doesn’t pump as fast–it’s easy street in space. When you get back to earth you feel really heavy, and your brain rejects all the visual cues and input from your inner ear. You have to be careful not to fall over until your body recalibrates everything.

Image courtesy of NASA Johnson Space Center

We heard you just recently retired.  What are you doing now?

Yes, after 24 years of NASA service I’ve retired from my recent position as head of NASA’s education program, STEM. It was my job to deliver science, technology, engineering and mathematics content more effectively to educators and students. I added an “A” for the arts, so it’s really STEAM. I live a STEAM lifestyle. Growing up, kids are taught that you can go one of two ways in the world–you can either be creative, or you can be a scientist. I always ask why can’t you do both? Your brain is actually pre-wired to do both things. We can change our planet through art, music, dance, and math…and advance civilization by learning about our bodies in space. That’s the type of mentality I’m trying to help everyone embrace.

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Leland Melvin with his photographs from space

Chris Byrne

Gallerist Chris Byrne is the co-founder of the Dallas Art Fair, which will host 92 exhibitors from April 10 – 13.

Tell us about the origins of the Dallas Art Fair and your involvement in its evolution.

John Sughrue and I began the first Dallas Art Fair in February 2009 with 35 exhibitors. Our intention was to create an event that would expose the city to galleries from other areas and strengthen the local art community. We were fortunate that we weren’t starting from scratch; the Dallas Art Fair’s venue (f.i.g.) is located in the revitalized downtown Arts District by the Dallas Museum of Art, Nasher Sculpture Center, and also many new developments like the Dallas City Performance Hall, Wyly Theatre,  and Winspear Opera House. It’s impossible not to acknowledge the patrons who—specifically through their museum gifts—have fostered a warm impression of the city both nationally and abroad.

AnkeWeyer

Anke Weyer, Blue Lighter, 2013. Oil and acrylic on canvas 82 x 66 inches Courtesy of the artist and CANADA

When we started conceptualizing the fair we knew what we didn’t want: the big convention center trade show with booths hawking every imaginable medium, which were almost unmanageable due to the crowding and volumes of people. The gallerists we initially approached responded to our ideal of a smaller, more selective gathering.

How has the Dallas Art Fair changed over the years?

The exhibitors who participated during the first five years have referred other galleries and that’s been beneficial to the fair and its growth. The Fair starts to generate an organic life of its own with a visual coherence and cohesion as a byproduct of that independent life.

AnokaFaruqee
Anoka Faruqee, 2013P-38, 2013. Acrylic on linen on panel 11 1/4 x 11 1/4 inches (28.6 x 28.6 centimeters) Courtesy of the artist and Koenig & Clinton

It’s most important that the Dallas Art Fair hosts content and programming which interests its constituents. One of the nicest things has been having members of the community propose events and projects that are concurrent with the Fair. We’re fortunate to have the Power Station reception for Fredrik Vaerslav and we’re honored that proceeds from our preview gala will benefit the Dallas Museum of Art, the Nasher Sculpture Center, and Dallas Contemporary.

What is unique about the Dallas Art Fair and the art scene in there in general?

Dallas has a strong sense of presenting art in a very accessible way. With the advent of the official Dallas Arts Week, the entire city is engaged in the arts. When I meet gallerists from other parts of the world, they often comment on the knowledge and enthusiasm of Dallas collectors.  I don’t think the Texan audience feels complacency or a sense of birthright regarding the visual arts. There seems to be a younger generation coming up and exploring new directions.

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Shannon Finley, Cosmonaut, 2013. Acrylic on canvas 39.2 x 31.2 inches Courtesy of the artist and Jessica Silverman Gallery

What artists do you see collectors buying right now? Which artists do you think will make a big impact this weekend?

I’m excited that Scott and Tyson Reeder will be in town for the Dallas Art Fair. Our goal is bring together a number of top national and international artists and galleries with our local and regional artists and galleries. The hope is that by presenting the local, national, and international galleries on an even playing field, you’re able to weigh and measure aesthetic value for yourself. One of the things I most enjoy is seeing a painting by an unknown young artist next to an acknowledged historical piece. I think that’s great; it undermines certain assumptions about how things are placed and categorized and where everything ultimately belongs.

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Scott Reeder, Untitled (Pasta Painting), 2013. Oil and enamel on canvas 84 x 64 inches Courtesy of the artist and Lisa Cooley, New York

Joanne Leonhardt Cassullo

Joanne Cassullo is on the Board of Trustees at the Whitney Museum of American Art. She’s also on the Executive Board at the Meadows School of the Arts at Southern Methodist University, a board member at Creative Time, and on the Program Advisory Board at the Nasher Sculpture Center.

What can you tell about a person from their collection?

The first thing I notice about someone’s collection is how they live with the objects they have collected and how those objects are displayed. Does the collection feel stagnant or does it feel vibrant and alive? And then I begin to try to figure out if it has been put together by an independent and adventurous eye: are there any unexpected choices or is the collection only filled with bold and recognizably expensive names? I’m pretty curious, and I like learning about and seeing new things. I love both the “high” and the “low” in art, and I love seeing them mixed in inspiring new ways.

What is your approach to collecting?

I tend to collect the work of younger artists, and for the most part my home is filled with works of art made by friends: E.V. Day, Mark Fox, Gregory Crewdson, Leidy Churchman, Liz Magic Laser, Nancy Lorenz and Michael Byron, among others. I bought works by these artists early on in their careers, when they needed the recognition and support. Since then I have followed their careers with a great deal of pride. I also collect furniture designed by artists and architects. I have chairs by Warren McArthur, Michael Graves, and Adrian Persall. I have commissioned bright pink faux bois bedside tables from Ryan Humphrey and I have a stunning drinks cabinet designed by Matthew Larkin—it has hand-forged legs that resemble oversized fishing hooks. I also have Studio Printworks wallpapers designed by my friend, Mark Fox.

What was the first piece you purchased?

The first major piece of art I purchased was just after I moved to NYC in 1983 to participate as a Helena Rubinstein Fellow at the Whitney Museum of American Art’s Independent Study Program (ISP). I was in the Museum Studies portion and we organized three exhibitions that year. The first was called METAMANHATTAN  and focused on unrealized architectural projects for downtown Manhattan from the early 1960s to the early 1980s. I fell in love with an architectural model in that exhibition by Steven Holl. It was an exquisite sculptural object comprised of a bronze elevated railroad track supporting four balsa wood houses clad in thin sheets of oxidized brass which was Holl’s proposal for what he might build on the (then) deserted High Line. After the exhibition closed, I arranged to purchase this model directly from Holl, making monthly payments for the better part of a year, and we have been friends since then. Bridge of Houses has travelled around the world twice and has been included in two exhibitions at MoMA featuring Holl’s architectural work.

Is there a work that you wish you had purchased, reverse buyer’s remorse?

I saw a large melting ice cream sculpture by Alex Da Corte at Joe Sheftel Gallery in NYC that I thought was pretty incredible, and I wanted to take it with me to Dallas where I was about to move. I hesitated and, of course, when I got back to seriously considering it,  it was sold. Luckily it was purchased by my dear friend, the well known collector Beth Rudin DeWoody. Since I stay with Beth on my frequent trips to NYC, there is an excellent chance that it will reappear in my life again.

A painting by Alexander Seth Cameron of Joanne Cassullo and Ron Clark (Director of Whitney Independent Study Program).

Are there any upcoming exhibitions that you are excited about?

Kara Walker’s first large-scale public project, organized by Creative Time in the Domino Sugar Factory in Brooklyn, is opening to the public on May 10th. It will be a spectacular sculptural installation, one that I can’t really describe in any specific detail because it is supposed to be a surprise. Walker has mysteriously titled it, “A Subtlety…Or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the occasion of the demolition of the Domino Sugar Refining Plant.” Because I am a Board Member of Creative Time, I know what it will be, and without giving anything away, let me say that I plan on bringing a group of adventurous Texans to town to experience it. Texans are known for embracing the notion of  “the bigger, the better”, but I seriously doubt they have ever experienced anything quite like this monumental installation!

I am also excited to see Jeff Koons’ retrospective at the Whitney Museum of American Art (June 17–October 19). Not only will this exhibition be the artist’s first museum presentation in New York, it will also be the first exhibition of a single artist’s work to fill the entirety of the Whitney’s Marcel Breuer building. Most of Koons’ iconic works and significant series will be on display together for the first time. As a longtime board member, I am a bit sentimental about this show because it will be the last exhibition the Whitney holds in the Breuer building prior to its move downtown to the new Renzo Piano building in May 2015. Talk about going out with a bang!

Tomasz Nazarko

TomaszNazarko

Tomasz Nazarko was a former member of the electro pop band Team Robespierre and currently works as art consultant to a private collection in New York City.

How did you get interested in contemporary art?

When I was 11 or 12, I remember picking up a book about Andy Warhol’s Factory at a used bookstore and being completely enthralled by all the freaks and weirdos he surrounded himself with. I made my poor mom buy it for me, not having any idea that it was filled with pages and pages of photographs documenting transvestites, drug addicts, and nude dudes. That book became my Bible and Andy was my Jesus. A few years later I saw a Warhol exhibition in Krakow and I realized that he actually made art too. Shortly thereafter, I saw the Katharina Fritsch sculpture “Rattenkönig” in Venice and nearly passed out; it was the closest thing to a religious experience that I ever had. The Dallas Museum of Art had a smaller piece of hers that I would go see almost everyday while on break from my ticket counter job in the Texas School Book Depository.

What’s the first piece of art you ever bought?

In college I used to wait until the semester was over to raid the dumpsters behind the art department for all the students’ discarded projects, but I guess that’s not really “buying” art. The first piece I bought with real money was a Katherina Fritsch edition of three vinyl records titled “Unken, Mühle, Krankenwagen.” Each record just played the sound of a toad croaking, a windmill spinning, or an ambulance siren over and over. They’re so good!

TeenWolf

What really stood out to you at the Whitney Biennial?

“Teen Wolf 2″ by Gretchen Bender (remade by Philip Vanderhyden) and her giant vinyl installation of tiny glowing film titles, “People in Pain,” were the first things that stood out to me. The curators seemed to make a real conscious effort to eschew the hot, new, young things, which was unexpected but in some ways refreshing. The one market-friendly exception was Sterling Ruby’s ceramic ashtrays for giants. They were cool—no surprise—as were the small, ceramic, dinosaur pots by Shio Kusaka. Her work is always lovely. Keith Mayerson’s walls of bygone Americana made me long to see his work in a more intimate setting; the installation was positively overwhelming. I really want the “Abduction of Ganymede” painting of a baby getting snatched up by an eagle. The Pale King notebooks of David Foster Wallace were nice because, well, it’s David Foster Wallace. I also liked seeing the under appreciated paintings of Laura Owens and Jacqueline Humphries.

Tell us about an exhibition you’re excited to see.

Anything those Still House kids are involved in. I heard Mark Flood is having a new show at Zach Feuer this spring, which I’m very stoked about. Also, David Ostrowski will be showing new paintings at Peres Projects in Berlin this May. That alone is totally worth the airfare. If you haven’t seen the Justin Adian exhibition at The National Exemplar, stop what you’re doing and run over there immediately.

A great art book read?

The Book of Basketball by Bill Simmons. It’s like 5,000 pages on the art of basketball. Go Nets!

Michael Nevin

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Michael Nevin is the founder & editor-in-chief of The Journal, a curated art and culture quarterly, and director of the Journal Gallery in Brooklyn.

Can you tell us a little bit about the Summer Drawings show you did with Joe Bradley?

Joe’s paintings are derived from his drawings in many ways, which I love. The Summer Drawings show incorporated some really tough works, which were somehow important to put out there.

What do you guys have up at the Journal right now?

Our first solo exhibition with the Hungarian painter Kika Karadi.

Kika Karadi at The Journal. Courtesy of The Journal Gallery.

Do you remember what the first piece of art you ever bought was?

I bought a Mark Gonzales drawing from Alleged Gallery sometime in the 90′s for twenty dollars.

How did you first get interested in contemporary art?

I grew up in Park Slope and my parents would take me to the Brooklyn Museum every Sunday. At home we had a poster of a Hopper painting from the museum and it became burned into my memory.

An artwork or two you live with?

We have a Rita Ackerman drawing from her “Fire By Days” series. She is an incredible artist and a great friend. I’m also quite attached to a Chris Martin Bread Painting, which was a gift from Chris.

What show are you most looking forward to seeing this season?

Daniel Hesidence at The Journal Gallery, which will be his first solo exhibition in four years.

Bruce High Quality Foundation

The Bruce High Quality Foundation is an arts collective made up of five to eight rotating and anonymous members.

The Last Brucennial feels so apocalyptic. Is it really the last, or do you anticipate organizing something like this in the future?

Yes, this is the last one. No more! Fin! We did the first one in 2008 with 99 participants and founded our school, BHQFU [Bruce High Quality Foundation University], a year later. Now we have close to 700 artists in the Brucennial, and 800 regular students at BHQFU. We’ve always seen them as related projects, instigations of artistic community. But BHQFU allows for more in depth experiences, dialogue, and collaboration than a biennial exhibition can. So we’re going to focus on that. Through BHQFU we’re putting on a production of West Side Story this spring, and we’ll host a residency program this summer. Along with the full curriculum of critique-based classes now in session, and new ones coming up in the fall, we think this is where our energy needs to be. And who knows? Maybe BHQFU will start an exhibition program in the near future…

Do you perceive this Brucennial signifying or coinciding with the ending of other things, too?

Ukraine. The Winter Olympics. Winter. Privacy. But no, not really. For us, this is only the beginning.

How was the decision made to include female artists only?

We’re not discussing the gender or sex of the artists in the Brucennial.

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How do you see the commercial side of the art industry affecting the way artists work in the studio and in academia?

Talking about art is difficult and interesting. Talking about the market is easy and boring. Our job is to slow the creep of those easy boring conversations whenever possible.

It’s pretty cool that classes are free at BHQF University. Who attends, and how are teachers chosen?

We have around 800 students currently attending classes. They are people from all different sorts of backgrounds and experiences who appreciate a learning situation that seeks to expand their sense of freedom. They aren’t in it for a degree: we don’t give them one. They aren’t in it to get a job: we don’t pretend to prepare students for the market. We think that what we do deepens their experience of themselves through critical interactions with different people.

How does BHQFU define “demanding interactions between art and the world”?

Probably the most demanding interaction is the deceptively simple act of trying to find common language to talk about works of art with each other—not critical theory, but actual, generative, critique.

What’s next in 2014? Any musicals?
We’ve begun work on West Side Story. We’re planning a four night run this Spring.

Harper Levine

Harper Levine is the owner of Harper’s Books, a bookstore and gallery in East Hampton, New York.

Your Elizabeth Huey exhibition just came down Monday. How did you originally get acquainted with her paintings?

I’m indebted to Jess Frost who introduced me to Elizabeth and curated the exhibition. I checked Elizabeth out on Instagram and was immediately struck by her photographs of Hasidic Jews and swimming pools, like Joel Sternfeld for the post-Leica age. When I saw her paintings, I thought they were wild. So much weirdness behind the color, as if the 1950s were superimposed on the 19th century.

What has the response been to her work in East Hampton?

You know, very strong. We sold several paintings and had a huge crowd for the opening. It’s a been a cold winter, so people were happy to be transported to a place of warmth and vibrance, even if a layer of unease lurked behind the sun and the sailboats.

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Work by Elizabeth Huey at Harper's Books

What other exhibitions do you have planned for 2014?

So far, Doug Rickard and Enoc Perez.

What’s your relationship with Fulton Ryder?

We’re friends and co-conspirators—with books as our common language. We’ve had fun hosting small anti-fairs that explore the relationship between books and art. Our next event, B-PAD, with Karma, will be held at the Lowell Hotel during the AIPAD photo fair. We’re planning to resurrect Burl Ives.

Tell us about the Stuart Sutcliffe exhibition?

Sutcliffe was John Lennon’s closest friend at art school and the original bassist in The Beatles; he thought of the name. When The Beatles went to Hamburg, he left the band to pursue a career in art, his true love, then died at age 21. Sutcliffe’s sister, Pauline, lives in the Hamptons and through a serious of fortuitous events, we decided to have a retrospective at Harper’s Books. We were helped enormously by Richard Prince—who curated the show and wrote a beautiful essay I published in a small catalogue. Sutcliffe’s art has so many contemporary references, people couldn’t believe it was done over 50 years ago.

Can you tell us about that Roe Ethridge show you did in July and the Goldman Sachs commission?

Roe is one of the best photographers working today. He seamlessly mixes fine art photography with advertising and consumerism, a particularly potent combination in a photographic world that’s rapidly evolving. He turned a four-year commission for Goldman Sachs—where he photographed every phase of the construction of their new corporate headquarters—into a subversive artist book that both lionizes and lambastes the company, you really never know which.

What are some of the greatest (art) books you would recommend?

Bye Bye Photography Dear (Shashin Hyoron-sha) by Daido Moriyama; The Black Book by Christopher Wool (Thea Westreich / Galerie Gisella Capitain, 1989); Jokes, Gangs, Hoods by Richard Prince (Jablonka Galerie / Galerie Gisela Capitain, 1990); A New American Picture by Doug Rickard (White Press, 2010).

Noah Garson and Ronald Schwartz

From Left: Noah Garson and Ronald Schwartz in front of Cindy Sherman's "Untitled #424" (Photo by Jay Bierach)

Noah Garson works as a consultant to artists that use plumbing in their work. Ronald Schwartz is a physician, specializing in psychopharmacology.

What is your approach to collecting?

We look for artists who present ideas and insights in ways that we have never seen before. Being able to understand something differently than how we thought we always understood it is stimulating to us. Sometimes it is so unique that the notion of the idea is not even understandable.  Over time, and after more thought and reflection, the disambiguation can be exhilarating.  When we have such an experience, we’ll decide to purchase a piece of art by that artist.  Sometimes they are young and this is early in their career, other times it is when we begin to notice their influence on another generation of artists.  Sometimes it’s too late, meaning no longer affordable to us, and sometimes the artist disappears—but our moment of understanding is learned forever.

What was the last piece of art you acquired for your personal collection?

A photograph by Mike Kelley from his “Day Is Done” project: Extracurricular Activity Projective Reconstructions #5 (Sick Vampire)

From left: "Deadlock" by Olaf Breuning, "Diet Coke" by Mathew Cerletty (Photo by Jay Bierach)

I know you take a special interest in the work of Olaf Breuning. Can you talk about a specific piece or project of his that intrigued you?

Olaf Breuning is a very insightful social observer. His awareness is awkward, absurd, embarrassing, and profound in the same instant. He is able to illustrate this through many different mediums, but we feel this is distinctly constructed by his “Home” series of films.  The observations and comments by the protagonist, his doppelganger, are made with a deliberate sense of recklessness.  Is that a reflection of the world we live in?  We don’t know if Olaf Breuning wants the answer to this, or any of the other perplexing questions he posits, but he wants us to think about it. And yet, the films are also funny, very funny. We are laughing, but should we be?

What else are you passionate about?

Travel. We feel travel presents us with some of the same feelings as art. You are never quite sure what you’re going find when you begin the journey. No matter what you may be envisioning, you also really do hope to be surprised. I think we often make that more likely by not planning much beyond a hotel room in advance.

"Wall Drawing #676" by Sol Lewitt (Photo by Jay Bierach)

Would you close with a favorite quote from an artist, or one that just speaks to creativity, generally?

“Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” —Scott Adams

Kon Trubkovich

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Photo courtesy Jesse Frohman

Kon Trubkovich’s solo show at Marianne Boesky runs from February 20th – March 22, 2014.

Is the show title “Snow” meant to be a riff on the static you used to get from an old fashioned TV when the signal wasn’t strong enough?

Sort of. There is always a plurality in the meaning of a loaded word like snow. It can refer to TV static, of course, but also to my memories of childhood. Having a signal that isn’t strong enough to get clear transmission is a situation that is sort of analagous to a person in the act of forgetting.

In the way that Adam McEwen does his text message drawings using a ’90s Nokia platform, are your paintings dated by the technology you use as a filter?

Adam’s text message works are less about the obsolete technology and more about language within a limited space, and in a similar narrative, my paintings are less about old VHS’s and more about visualizing disappearance. I really like the idea that this is a medium prone to a finite lifespan. I also see these painting specifically existing between the “figurative” and the “abstract”—so I use the TV screen as a kind of portal. It’s not my mother that I am panting, or Reagan, or snow, or brick walls, but the TV screen.

Will there also be portraits in the Boesky exhibition?

Yes, three of my mother, and some of the “Lenny” works on paper, where I use an old mugshot of Lenny Bruce to make self portraits.

I always remember the paintings of your mother which I read some Russian subtext into, since that was her homeland, or am I totally off base there?

No, there is something there. You want to talk about it…

What are you watching on TV right now?

I don’t get a ton of TV time. I going to be a dad any day now and trying to finish the show is a lot. But True Detective is amazing.

Sell You Later

SellYouLater
SellYouLater.com is an analytics firm that uses quantitative data to measure trends in the contemporary art market.

What was your impetus for starting the website?

The SellYouLater™ algorithm has been in private use since 2012. The recent attention to the emerging art market outlined for us a use case which could efficiently prove the accuracy of our forecast models to the public.

Was there another name in the running but you couldn’t get that website domain?

ArtAnal, short for ArtAnalytics, was also on our shortlist. However, several focus groups suggested it was easily confused with an niche adult site. Regardless, SYL™ is also live at artanal.com and our clients are free to utilize the address of their preference.

What was the last artwork you bought personally?

The last artwork we bought was by an artist who will have a major market breakthrough this Fall.

How do you qualify “emerging art” because Adam McEwen, Nate Lowman and Anselm Reyle seem way more established than, say, an Israel Lund?

McEwen, Lowman, Ruby, Auerbach et al are an important aspect of our computation. As our forecasting models depend on a computed trajectory, it would be impossible to assess recent data points without assessing their correlative counterparts. These artists are merely the most recent past emerging artists. Their inclusion ought to underline the importance of market timing.

SellYouLaterA screenshot of the rankings on SellYouLater™

I fundamentally disagree that Josh Smith is trending down. He has broad institutional support and his last Luhring Augustine show was a complete sellout.

While we have no doubt about the value of the work in the long run, investors are not immune to opportunity costs. We are most interested in acquiring (and deaccessioning) the work at the most optimized occasion. For instance, we sold all of our Bitcoin holdings at 700GBP but this is not to mean we will never reinvest in Bitcoin.

How do you not have a Mark Flood or Jeff Elrod position on your chart? Feels like an oversight.

Actually Mark Flood has been #1 on the Buy Now (under $100,000) list since the index went public. Jeff Elrod is in our periphery but lacking two variables we are unable to disclose. As with Google’s ranking algorithm, our ranking index’s integrity is dependent on its secrecy.

Robert Blumenthal

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Robert Blumenthal is an art collector and real estate investor whose eponymous gallery opens on the Upper East Side February 12.

How did you first become interested in contemporary art?

I painted as a kid and grew up in Miami, so I had the chance to see great collections. I bought my first work in college — a Jonah Freeman photograph. I entered the art world as a collector because I love living with art, but I also enjoy supporting the artists I believe in and being a contributor to their success.

What artists do you collect?

I often become interested in an artist and then collect his or her work in depth. My personal collection is very much reflected in the gallery program. My passion is emerging art by my peers.

How did the gallery come about and what type of work will you show?

I was looking for a space for a long time. I looked on the Lower East Side first but was immediately drawn to the location at 1045 Madison.  We are focusing on emerging artists, and I’m mostly interested in showing work that I would want to buy personally. It feels natural to present these artists in the warm environment of a townhouse and it is exciting to introduce the artwork to a neighborhood where their work is not yet shown.

JPW3
JPW3 and Ryan Foerster’s exhibition at David Peterson Gallery

JPW3 and Ryan Steadman are curating the first two group shows. Do you anticipate many solo exhibitions?

JPW3 is a good friend and a great artist so I wanted him to curate the first exhibition. Ryan is also a friend and someone I enjoy working with. We have great group shows with Jonas Wood and Daniel Heidkamp lined up. The gallery won’t be representing artists specifically, but our third show is a solo with Dean Levine. He is a talented young artist and it’ll be his first show in New York.

Is there an artwork or artist you regret not buying?

I had the chance to buy a Kusama sculpture a few years ago and I regret not buying it. I have an outdoor sculpture garden at my house in Miami.

What are your favorite Exhibition A prints?

I like the editions by Daniel Heidkamp and Sam Falls. I collect their work.

Tim Barber

TimBarber
Tim Barber is a New York based photographer, curator and publisher. Barber runs the website www.time-and-space.tv

How did you first get interested in contemporary art?

I grew up with photography and art books around the house, so I’ve always been interested.

Do you live with any art?

Yes, mostly by friends, and mostly acquired by trade.

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Photo by Tim Barber

What projects are you working on now?

I recently launched the website www.time-and-space.tv (formerly known as tinyvices.com). It’s a curated arts community blog, with a collection of portfolios, and a built in global arts calendar. I’m excited to watch it progress.

TimBarber

Photo by Tim Barber

Favorite artist quote or piece of advice?

“People don’t make literature, architecture, and art—the culture makes those things. We make books, buildings, and objects.” -Dave Hickey

David Versteeg and Maria-Pia Schotte

DavidVersteeg

Photo credit: trendbeheer.com

David Versteeg and Maria-Pia Schotte are contemporary art collectors based in the Netherlands.

Tell us about your approach to buying art.

Collecting art is our shared passion, but we were both collecting art before we got to know each other. Funny enough, our individual collections were easily combined—there was a lot of similarity in themes and artist groups. Initially, we focused on Dutch art, primarily from the 60’s and 70’s, but as our collection and tastes developed, we shifted more toward emerging international artists. We visit many galleries and art fairs around the world to discover new artists. One of the advantages of being a private collector is that the purchase decisions do not need to be based on static guidelines, we have the privilege of only buying art that really touches both of us. Aesthetics are of secondary importance; we do not buy gruesome images, but art does not necessarily have to be visually appealing. As our budget is not unlimited, price is obviously a factor as well; however, we don’t buy art as an investment.

What was the first piece of art you ever purchased?

My wife started collecting before I did. Her first acquisition (with the down payment from her first paycheck) was a rather large oil painting by a Dutch painter, Ton Frenken, titled “Red field with green edges”. It still has a prominent place in our dining room.

Right: Nik Christensen, Remain in cave man, 2007. Left: Raquel Maulwurf, Thousand bomber raid, Cologne 1942, 2010. Photo by Jan van Esch

What can you tell about a person from their art collection?

Certainly, for private collections—as opposed to institutional and corporate collections—it is inevitable that the “hand of the collector” is visible in the collection. I’ve noticed that visitors who come to see our collection are able to distinguish patterns and underlying themes among the works. Our proximity to the art—the fact that we live with it every day and know how every piece was added to the collection—stands in the way of taking a step back and looking at the bigger picture ourselves. Having said that, we do recognize ourselves in the remarks we hear about our collection: most of our works have some sort of introverted nature and it takes time to appreciate them. For instance, we have a lot of works in black and white, as well as on paper. If you’re willing to invest the time, the works open themselves up to you and are very powerful in the end.

Sebastiaan Bremer, Diamond Night, 2008

I know you collect the work of Sebastiaan Bremer. What about his art compels you?

Sebastiaan’s work perfectly fits the description above: the drawings are tranquil and appear withdrawn, yet they’re extremely powerful. The first work we bought of Sebastiaan’s is a tiny drawing—4.7” x 3.5”. We have it hanging next to a massive oil painting, but it stands its ground and isn’t overwhelmed at all. This also holds true for his other works we have, for example the pendant that he made—which is literally a jewel. As a matter of fact, we think his work represents our collection so well that we commissioned him to make a drawing for our private business cards.

Sebastiaan Bremer, Miniature #79, Vries' Dune Landscape, 2007

Do you have a favorite quote that’s art-related or speaks to creativity?

Art plays an important role in our lives, and we love to be surrounded by it. It opens new perspectives on the world, which go far beyond the rational approach that we typically have in our daily lives. We would, therefore, like to quote the Austrian philosopher Ludwig Wittgenstein: “Was gezeigt werden kann, kann nicht gesagt werden”, or: “What can be shown, cannot be said.” Art is able to convey (or evoke) emotions that are highly personal, and as such they’re hard to communicate.

Marijn van Kreij, Untitled, 2008; photo by Jan van Esch

David Marshall Grant

DavidMarshallGrant

David Marshall Grant on vintage Eames rocker with Roy Lichtenstein

Tony-nominated David Marshall Grant is an accomplished actor and playwright who was the Executive Producer/show-runner of NBC’s Smash and ABC’s Brothers & Sisters. He’s known for his role opposite Richard Gere in Broadway’s Bent and his work in The Devil Wears Prada and The Stepford Wives.

What projects are you working on now?

Right now I’m working on some pilots for CBS studios and also at AMC with my friend Jessie Nelson. Writing for a studio or network is a different process than playwriting. TV is so collaborative; with playwriting, nobody gives you notes unless you ask. A playwright is more in control of his work. It’s more like flying solo, which has its advantages and disadvantages.

In his role as Joe Pitt in Tony Kushner's Angels in America (photo by Joan Marcus)

Where do you purchase art? Tell us about your collection.

I always try to buy one print a year at the print fair at the Armory. I bought a Hockney print that was made by running the edition through a color copy machine one color at a time, a John Marin etching from a famous edition that featured the iconic Edward Hopper night view. I have work by Claes Oldenburg, Roy Lichtenstein, and Robert Rauschenberg. My most recent purchase was a beautiful Fairfield Porter print of a girl standing in the back of a house.

Hockney

David Hockney

I also have two gorgeous Ian Falconer paintings. He’s been doing the OLIVIA series recently and did opera sets with David Hockney. He doesn’t really show or sell his art, so those paintings are really prized possessions for me. Most of my art collection is displayed in my house in Bridgehampton, where I used to go every weekend. I’m constantly shifting around my collection. As the late, great curator Henry Geldzahler said, “if you don’t move it, you will stop seeing it.”

JohnMarin

John Marin

How did you first get interested in contemporary art?

Through Tom Slaughter, who I met in 7th grade.  Our school had an excellent art program run by John Wheeler, who took us to MoMA and introduced us to the whole world. My passion for art grew from Matisse, Rodin, Hopper, Motherwell and Hockney.

TomSlaughter

Tom Slaughter

Over the years I have accumulated a lot of Tom’s work. I have some charcoal drawings he did of me when we were in high school together. He has this wildly optimistic view of life and childhood — seeing the beauty in simple things. He manages to endow objects with history and personal meaning, like the Ice Cream Sandwich edition he did with Exhibition A, or a baseball glove, a box of matches.

Which artists do you follow? Is there something in particular that draws you to certain work?

I would kill to own a Norman Rockwell painting! But my favorite, favorite artist is Eric Fischl. He sees stories in life. I like when art brings meaning to life—whether it be tragedy, or joy, loss or love. I like to think that comes out in my own work. I am interested in the simpler ways of understanding the moments in our life and how they can mean a great deal.

Rauschenberg

Robert Rauschenberg

Andy Spade

AndySpade

Photo credit: The Selby (http://theselby.com/)

Andy Spade is the co-founder of the agency Partners & Spade. Along with his wife he started the now global brand Kate Spade and subsequently Jack Spade for men. In 2013, he launched a collection of not-quite-ready-to- wear, Sleepy Jones.

You have 29k followers on Instagram. How do you decide to what to post?

Posting images on Instagram is pure enjoyment for me. It’s a creative outlet that’s separate from the other work I do.

How did you first get interested in collecting?

I first became interested in contemporary art through skateboarding. The graphics used on skateboards during the Dogtown days were inspiring. I didn’t know it was contemporary art at the time of course, but a visit to a Jeffrey Deitch show in LA confirmed it.

JonathanMonk

Jonathan Monk, "I Hired a Hit Man to Miss You" at Andy Spade's

Is there an artist or particular piece you regret not purchasing before the value increased?

Christopher Wool. It would be so great to own the piece that says “SELL THE HOUSE, SELL THE CAR, SELL THE KIDS”. I wish I had purchased William Eggleston’s work that has become iconic, like The Red Ceiling with the light bulb. I bought some of his work 15 years ago when those were all much cheaper. I’d love to see what he would do on Instagram.

Do you remember the first artwork you ever bought?

The first real piece of art I purchased was a figurative painting titled King Swing by Lowell Boyers. I met him when he was getting his MFA at Yale. He’s still one of my favorite artists.

If you could ask for any contemporary art for a birthday present and money was no object, what would you ask for?

A David Hammons Basketball Chandelier piece.

EllenBerkenblit

Ellen Berkenblit at Andy Spade's

What are some of the younger artists on your radar right now?

I’m looking at a lot of photographers. Tim Barber especially. The last thing I bought was something of his. Actually I’m really excited by what I’m seeing by select few people on Instagram, like @Thirstynomad and @gangculture. Those who seem to be catching a beautiful moment at the right second, or who are drawn to a trash, or a bush, or something otherwise ordinary seem like true artists to me. You have to get a really good shot, break it down, and compose it into a little one by one inch square. It forces limitations.

A recent show you’ve really liked?

I thought Chris Burden’s show at the New Museum was really special. I also loved David Salle’s show at Skarstedt. Those are the ultimate–I would have liked to own some of those paintings.

SleepyJones

Rene Ricard paintings at Sleepy Jones

What’s in the works at Sleepy Jones?

We have a new series of T-shirts coming out that say “Drips”, “Jokes” an “Scribbles”.

Artist words to live by?

Artist quote by Rene Ricard on a drawing I have. “Andy Warhol died today and took all the fame with her.”

ReneRicard_cardtables

Rene Ricard paintings on card tables at Andy Spade's

WARIS AHLUWALIA

Photo by Vijat Mohindra

In 2009, his eponymous jewelry line, House of Waris, was a CFDA/Vogue Fashion Fund finalist, but Waris Ahluwalia remains best known for his acting in films like I Am Love and The Life Aquatic.

What contemporary art event or exhibitions are you most looking forward to in 2014?

Now, I don’t know if this qualifies as contemporary, but I love the Master’s Exhibit at Frieze. Other than that I’m just slowly working my way into 2014.

Favorite portrait of you?

I may have sat for a portrait or two in my time. My favorite ones are by Sandro Kopp. Our sittings last anywhere from 3 to 6 hours. We’ve done them in NY, Connecticut, Paris, Milan and one on skype where I was in Istanbul and he was in Scotland. He leaves them at my place so it’s slightly embarrassing to have these portraits of myself sprinkled throughout my home. A close second is the one by Nate Lowman done while we were rowing in the lake in Central Park on a beautiful summer day. Don’t ask why we were rowing in central park.

Has Sandro ever painted a childhood object of yours?

Indeed he has. Sandro did a portrait of Joe, my teddy bear from when I was a wee lad. Joe will be going to Scotland soon so Sandro can spend some more time with him.

Why are there so few Indian artists with traction in NY art world?

Beats me. Get it together fellas (and ladies).

What was your first experience or awareness of experiencing art?

I think it was Yogi Berra- a Christmas special.

Advice to a new collector?

Collect what you love. That was Don Rubell’s advice to me.

Tell us about art collaboration you’ve done.

I did a project with the artist Andrew Zuckerman. I picked 7 birds from his work and translated them into enamel, silver and gold. The beauty of his photographs in the hands of my craftsmen was magic. They said it was the most challenging work they had ever done.

What are you working on now as far as upcoming projects or collaborations?

Besides the jewelry, a lot of my attention now is spent on HOUSE of WARIS RARE- it’s little boutique in the lobby of the glorious Gritti Palace in Venice Italy. It’s a selection of limited edition objects created either in collaboration with us or made just for us by artisans around the world- currently 14 countries.

Waris in front of photo by Christopher Wray McCann. Photo credit: Ysanya Perez

Misha Milovanovich

Misha Milovanovich is a contemporary artist based in London who works with painting, sculpture and video. She graduated from St Martins School of Art in London in the early nineties.

How did you first get interested in contemporary art?

From very early on in my life I’ve been drawn to the world beyond the everyday, a world bursting with mystery and delight. Painting, sculpture, dance, theatre and film can unlock that reality. Film makers such is Fellini, Truffaut, Fassbinder and Pasolini were a crucial influence, showing me how to observe human nature and society through the prism of art.

Tell us about your recent work, shows, and upcoming projects.

I’m working on a new set of sculptures for my 2014 show in London and a new collection of prints in collaboration with Other Criteria. My most recent paintings are showing at The Artificial Gallery in London.

http://artificialgallery.co.uk/artists/misha-milovanovich/mishima

Misha Milovanovich installation shot

Do you live with any artwork?

Yes, many works. For health reasons–they are very nutritious. I’m surrounded by my own work and that of my friends.

An art book everyone should check out?

The Diaries of Paul Klee, 1898-1918

Artist quote or words to live by?

“Beauty will save the world.” – Dostoevsky

Leo Fitzpatrick

Leo Fitzpatrick is an artist, actor, and curator who can be found DJ-ing most Saturday nights at Lit.

Was it from being in KIDS that you were first introduced to the art world?

Yes and no. I was already aware of art and the role it would play in my day-to-day life. When I made KIDS I was a 16 year-old kid from New Jersey with no influence or encouragement when it came to art…living with Larry [Clark] during the process of making the film introduced me to an older and more established artist sect. His walls were covered with art from the likes of Richard Prince, Christopher Wool and Mike Kelley…I didn’t even know how much Larry had changed the perception of art let alone his peers but I quickly found out.

What’s your earliest memory of experiencing or seeing “art”?

I guess it was through skateboarding…being jealous of someone else’s skateboard for the simple reason that it looked cooler than mine…

First piece you ever bought?

Chris Johanson from Alleged Gallery. (see below) It cost three hundred bucks…best three hundred I ever spent. Still own it and never looked back (also told my girlfriend if I am to die before her to give every artwork I ever bought back to the artist) art is not to be bought and sold but to be cherished and loved or at least hung.

Leo Fitzpatrick's work by Chris Johanson

Last piece you bought? I’m guessing Ray Johnson….

You wish, old man… it was from the Independent Art Fair. A small Josh Smith piece from White Columns. I think Josh and the gallery are really special so why not support the sport…in fact they invoiced me today…fuck.

Josh Smith drawings in Leo's apartment

Any quotes from artists you like?

When a friend of mine was leaving Max Fish with a tranny, Tino Razo said, “Dude, that’s a dude…dude.” Poetry in motion.

As an artist, who have been your greatest influences?

Friends. Nate [Lowman], Dan [Colen] and Dash [Snow]… the only people who ever laughed at my work enough to make me think it was good enough to continue.

Without them I would be a boring nobody…maybe I still am…with an inflated ego.

Dan Colen metal stud painting at Leo's

Tell us about some other pieces in your collection. Is most of it still stored under your bed?

No, I upgraded it to my closet and under bed status…pretty tight for a guy who lives on the L.E.S., huh?

An upcoming show or two you’re looking forward to?

I’m a big fan of “Top Chef All Stars.”

Any pieces in retrospect you wish you’d bought?

My dignity, but that sold out a long time ago…

Leo's Ray Johnson work

Bryan Graybill

BryanGraybill

Bryan Graybill with Cole Sternberg

Bryan Graybill is a property developer and art collector. He founded the ARTed House in 2012, whereby he hosts an artist-in-residence program that allows artists to collaborate with architects and designers on various renovation and new construction property developments.

How did you first get interested in contemporary art?

Growing up in South Carolina, I wasn’t exposed to contemporary art at a young age. In my early 20s, I visited Bogota, Colombia and so many homes were filled with contemporary art and furniture. I fell in love.

GeorgeCondo

George Condo, Convergence, 2011.

Do you collect a certain type of art or certain artists?

My collection includes a bunch of artists, in different stages of their careers, working with a variety of mediums. My favorites include: Cole Sternberg, George Condo, Damien Hirst, Candida Höfer, Los Carpinteros, Vasarely, Luis Caballero, Mickalene Thomas, David Wiseman and Frank Stella.

What project are you most excited about right now?

Definitely the ARTed House at Faena House during Art Basel 2014, involving an environmental takeover of art and design led by Cole Sternberg.

ColeSternberg

Cole Sternberg, A Truly Beautiful Animal, 2013

An art book everyone should check out?

Handwork: Constructing the World by Los Carpinteros.

An artist quote or words to live by?

“Good art should elicit a response of ‘Huh? Wow!’ as opposed to, ‘Wow! Huh?’” —Ed Ruscha

Lawrence Benenson

Lawrence Benenson

Lawrence Benenson is a partner of Benenson Capital and serves on the Board of Trustees at MoMA, the Ad Reinhardt Foundation, and Cooper Union, among others.

How did you first get interested in contemporary art?

My mother and I were always traipsing around Soho in the late 70’s and early 80’s and my father took me to many museums. Around 1998, I went down to Chelsea and walked into as many galleries as I could find. I felt like I was opening the door to a universe I knew nothing about–but was in my blood.

What kind of artworks do you collect?

At least one of each. I’m Jewish, but I’ve been told that my taste is catholic. My favorite kind of artworks are ones in which it is obvious that the artist has tried really hard. I have textile works, works made with unusual materials, and works with words in them. Lately, I’ve been trying to get away from language-based art because I want the painting or drawing or photograph or sculpture or video to speak for itself without the distraction of specific words. I love art that allows viewers multiple interpretations.

Any interesting stories behind the pieces?

Yes– during Frieze a couple of months ago. Wednesday morning, at AMT_Project, I saw a fascinating artwork by Petra Feriancova. It had stalagmites and stalactites made of clay cast from ivories the artist discovered at the Slovak National Galleries of sixteenth century Hungarian and Slovakian kings. The Gallerist encouraged me to touch the clay to feel that it was still wet. It was. He told me he had driven to England the day before from Bratislava.  (How can one drive to England from Europe? Is that why the clay was wet?) After we got over the language barrier, he told me he had put his van on the train. Then, I understood. I said “thank you” and left. Four days later, I was in a taxi to the airport and a lighting bolt smashed into my brain. I had to have that piece!

Petra Feriancova

Petra Feriancova, "The cave /The Intrigues of the Gods are Behind Everything", 2013 Installation view / detail

When I arrived at the airport I searched all my stuff for any information about the gallery. Nothing. I emailed my friend Esther, of Various Small Fires, who had the booth next to AMT_Project. I asked her to call me and hand the phone to the guy in the booth with the fascinating sculpture. I received a text from a friend in New York inquiring about my trip. From her googling, she sent me the Slovakian gallery’s phone number. No answer! Fifteen minutes went by and the phone rang; I couldn’t understand what the guy was saying. We figured it out, I asked if the piece was available, he said it was, and I told him I would buy it. He didn’t remember me until I reminded him of our English Channel/train discussion. Esther emailed writing that she understood that the gallerist and I had spoken and that he was happy and had given her a “HUUUUUUGE bear hug.” Not all of the stories are as interesting as that one, but the thrill of the chase is sometimes very exciting.

What projects do you have coming up in 2014?

I am on the board of the Ad Reinhardt Foundation which just completed an astounding exhibition at Zwirner this month. My main project right now is digitizing my art files. In 2014, I look forward to traveling more, visiting my new Slovakian friend and making new friends through art.

Ad Reinhardt

What upcoming exhibitions are you most excited to see?

Gridiron Greats: Vintage Football Cards at The Met, Robert Heinecken at MoMA and Gustave Dore at the National Gallery of Canada, to which I am lending a painting.

Artist quote and words to live by?

“When I’m finishing a picture, I hold some God-made object up to it – a rock, a flower, the branch of a tree or my hand – as a final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it’s bad art.” – Marc Chagall

“People with more should help people with less.” – Lawrence B. Benenson

Robyn Siegel

RobynSiegel

Robyn Siegel is a life-long art collector and foodie who combined her two passions through a new art initiative, Green House Collection.

How did your passion for contemporary art grow?

I have always been surrounded by contemporary art, so I really don’t know life without it. My parents are collectors and I grew up learning about what they owned. Their collection has always been contemporary, as is the architecture of their home; and in Dallas, that can be very different. My mother has a background in art education, as well as art history, and used the contemporary art landscape in Dallas to teach us about particular periods, mediums, and artists. We spent weekends at the Dallas Museum of Art for art camps and exhibitions. We visited the nearby mall, NorthPark Center, where we passed Borofsky’s “Hammering Man” and Claes Oldenburg’s “Clothespin.” As I became an adult, I sought to contextualize my experiences a little bit more with a Masters in Art History and a thesis that, consequently, focused on art in social space: at NorthPark Center.

Tell us more about Northpark and the art there.

NorthPark may be the number one tourist destination in Dallas, and houses some of the best shopping in the state, but those facts aside, it is a gorgeous monolithic space like no other shopping mall that I know. Think: white brick, polished cement floors, natural light, living plants, clean furniture such as wooden benches inspired by those at the Kimbell Museum. NorthPark Center was developed in the early 1960s by Ray and Patsy Nasher. When they began to collect, first with a Beverly Pepper outdoor sculpture in the early 1970s, they housed their sculpture collection throughout the interior corridors. (These artists include Borofsky, Oldenberg, Shapiro, Stella, Warhol, etc.) Some of the works that were once on display at NorthPark are now housed at the Nasher Sculpture Center in the Arts’ District in Dallas, but the collection continues to grow. For instance, there is now an outdoor Mark di Suvero that is installed inside the mall.

What is the Green House Collection?

The collection has been built alongside Green House Market, a new farm-to-table restaurant opening in Northpark Center this December. The art program is intended to reflect themes around food, community, architecture, design, and pop-culture. It’s a continuation of and homage to the overall program of NorthPark, where clean modern architecture and significant contemporary art provide an opportunity for education as well as simply a backdrop for social activity.

Green House Market

Green House Market rendering

What pieces are you excited about exhibiting?

The collection will feature mixed mediums with a focus on food and form. For instance, a Sean Kennedy hanging work balances cooking pots, a colander, a steel bowl, BBs, in addition to other materials. The collection also features a pie painting by Lucien Smith, Pho (noodle soup) by Darren Bader, a series of lyrical abstract black and white drawings by Ulrich Wulff, a colorful cloud-inspired sculpture by Jason Meadows, a series of black and white photographs of abandoned malls, “American Passages” by Walead Beshty and other works to be confirmed. Art works will rotate every six months to a year.

Sean Kennedy

Sean Kennedy

What’s the purpose of the rotational art program and how do you anticipate it will affect Dallas’s contemporary art scene?

I hope that Green House Market will be a destination where people can learn something new. This falls in line with the overall purpose of the restaurant where nothing is overtly in your face, but if you look a little closer, you will see that everything – from the seasonal menu, the products on the market shelves, the furniture, the design, the music, and of course the art is placed and offered with intention.

How will art play a role in the growth of the city of Dallas? How does the New York market relate or inform art in Dallas?

Dallas is devoted to patronage and art. This model is only getting stronger and taking its own form. It seems that there is a direct relationship between the New York market and a dissemination of information and collection that comes to Dallas. Dallas collectors travel – they look to cities that include New York, Los Angeles, London, and Berlin to learn about art. I want to see more of my peers participate and collect. I want projects to come to Dallas as well as more production that involves Dallas artists. I want artists to stay in Dallas and to be supported. Lastly, I want Dallas to be a continual art destination.

What emerging artists are you following right now? Any that you would like to see make an edition with Exhibition A?

That is like picking a favorite dog. Here are a few artists who I am excited about, some of which you have already worked with: Lucien Smith, Sean Kennedy, Ulrich Wulff, Jon Rafman, Joel Kyack, Patrick Jackson, and Darren Bader.

247365

247365

Jesse Greenberg has exhibited with KANSAS, White Flags Projects, The Queens Museum, among many others. He co-directs the gallery 247365 with MacGregor Harp. MacGregor Harp is also an artist and curator who has recently participated in exhibitions at Eli Ping Gallery, Printed Matter, and Family Business.

How did you first get interested in contemporary art?

JAG: I’ve always been interested in art and design. It’s been a natural evolution for me. I went to the Rhode Island School of Design with the intent of studying industrial design. I quickly realized that sculpture could be a far more open course of practice. I have always lived and worked with other artists, so I think my interest in contemporary art is always growing, whether that’s by my own studio practice or through curating exhibitions at 247365. Every show we organize teaches me more about art and why I love it.

MAC: I studied graphic design at an art school. After graduation the coolest jobs you could get were designing books for artists and art institutions. I looked at and collected a lot of these books. I got really into publications like Dot Dot Dot and F.R. David. I started making my own books and selling them in places like Printed Matter and Hennessy + Ingalls. I was making drawings and paintings to put in these books and after a while it just made sense to start putting them onto canvasses. I continue to teach myself how to paint, mostly by asking my friends questions and watching YouTube tutorials.

What kind of artworks do you collect? By which artists?

JAG:  I tend to collect work that reflect my interests in the intersection of art and design, such as Travis Boyer’s switch plate covers which I have installed on my actual light switches. Or Lukas Geronimas’ Stools, which I use to prop up my plants. I also have a love for painting. Colorful, abstract, expressive, something I agree with, intuitively.  Matthew FischerMarley Freeman, Julia Benjamin.  As an artist it’s always a great opportunity to build a collection through trades and collaborative projects. I have collected props and art from Ryan Trecartin’s video shoots by working alongside him and Lizzie Fitch. I also collect art by helping fabricate pieces, such as a Josh Kline silicone hand I helped develop in exchange for a piece from the edition. I have started buying work recently as well.  I would love a large Brie Ruais wall ceramic or anything by Peter Harkawik. I would also love to buy something intangible, ephemeral or perhaps rotting by Jared Madere or Anicka Yi.

MAC: Mostly paintings and small sculptures. One of my favorites is a Marlon Mullen painting that I bought from White Columns. I buy and trade work with many of the artists we have shown, and sometimes I just work for art. I have a Daniel Heidkamp, an Ajay Kurian, a Julia Benjamin, a Josh Kline, an Al Freeman, a Jamian Juliano-Villani. If I could swing it, I’d buy at least two pieces from everyone we’ve shown at 247. I really want an Avery Singer painting.

Can you tell us about your involvement with 247365, the ideas behind it, and about your upcoming show?

JAG: Our collaboration is very democratic. We don’t do anything unless we both agree or convince one another to do it. I like the idea that we should be ready to morph at any moment. When we first opened it was our intention to simply show work we love, and dig deep to find overlooked affinities between artists. It’s also important to note that the reason we opened 247365 in its current location was to be able to add to something really special that was already happening with the two existing galleries next door: KnowMoreGames and Primetime. Both are artist-run projects that were contributing to the larger conversation about art in NYC right now. Once we joined the self-declared Donut District, it became clear that the power of three in event coordination could lead to a more cooperative way of showing art and building a meaningful community and audience.

The Men and Women of the Donut District. From left: Ryan Waller, Meredith James, Jacques Louis Vidal, Gary Fogelson, Jesse A. Greenberg, Brian Faucette, Miles Huston, MacGregor Harp. Photo Credit: Clément Pascal

MAC: We have a co-everything model. The name of the gallery is the number of hours in a day, the number of days in a week, and the number of days in a year. If you actually say it out loud, by the way it’s spelled, it’s twenty four seven, three sixty five, but some people call it two four seven three six five and that’s OK too. It’s funny to see how many people actually don’t get the name because it’s too dumb for them. They’re understandably expecting something cleverer. My favorite thing about the name is that it can be rearranged to be 234567. That should give you an idea of the level of intellect behind its conception. We are an artist run art gallery that puts all possible effort and resources into supporting artists and ourselves through curating exhibitions and facilitating sales. What’s not interesting about that is that’s what all galleries do. What is interesting about that is we’re doing it next to a gas station underneath the BQE in Carroll Gardens, and it seems to be working out.  Our current exhibition is called The Parsippany Incident with sculptures and photographs by Ernst Fischer and Benjamin Phelan. It’s well worth a visit. Our booth at NADA Miami features Benjamin Horns, Nick Payne, and Jamian Juliano-Villani.

The Parsippany Incident, Ernst Fischer & Benjamin Phelan

What’s the most exciting thing that has happened with the gallery so far?

JAG: Honestly, the most exciting thing is that people keep coming out to our openings. Being located where we are –off the beaten path–makes attendance even more meaningful. Our openings generally go very late into the night. The artists feel celebrated and have a chance to engage with others and, hopefully, create a more meaningful dialogue with their audience, which could perhaps be more difficult to do during a standard 6–8 pm gallery crawl night. In the beginning, I thought our shows would be viewed mostly online, but I’m very pleased that hundreds of eyeballs will see a show over the course of the month.

MAC: It’s all exciting and fun and well worth the effort. It’s exciting to see what we can do together in this weird little room, and that people come out to see it and don’t ask for their money back. It’s also exciting to play a small part in helping a bunch of people earn a living by making, showing, and selling art.

An upcoming exhibition you won’t miss?

JAG: I definitely won’t miss Ajay Kurian’s first solo show at 47 Canal.  He has been one of the most interesting and unexpected artists I’ve come across.  Whenever I think I understand Ajay’s work, he turns a corner and surprises me by pulling in a completely new material or subject into his practice. Its always smart and playful.

Proleptic, Ajay Kurian

MAC: Ditto on that, Proleptic is stupefying. Knowmoregames has a show up right now where you can rent the gallery on air bnb for $25/night. And Primetime, our brotha’s from anotha muffin, just opened some domestic arc by Lars Van Dooren. Definitely go see Maximillion Schubert at Eli Ping. Wes Lang at Half Gallery. Joe Graham Felsen at Stillhouse Group. Raphael Lyon and Jessie Stead at Malraux Place. Where 1 at Where. Daniel Heidkamp at White Columns. Sam Anderson at Chapter NY. Anything that Brian Belott does. P!. Jackie Klempay. Violets Cafe. Bed Stuy Love Affair. OK, sorry, that’s a lot more than one. A lot of things are happening in NYC. Speaking of which, I also “won’t miss” Mike.

Artist quote or words to live by?

JAG: “Once we get back to the gallery; bean bag”
—Brian Belott

MAC: “I’ll tell ya, art dealing has done wonders for my social life.”
—Jacques Louis Vidal

Adam Fields

Adam Fields

Adam Fields is the Vice President of Artists and Institutions for Artspace and an art collector, patron and enthusiast.

How did you first get interested in contemporary art?

My parents are contemporary art collectors, so I was introduced to and surrounded by art from a young age. It definitely took time to understand and appreciate art, but I did start engaging with art and the art world on a regular basis. I have no formal art education or training, so my interest and knowledge was really picked up through osmosis, developing through experience.

Tell us about a piece or two in your private collection.

As a young collector, particularly one that has parents who collect extensively, it took me a while to develop my own taste and sensibility, as well as be able to afford things, of course. Because of that, I started collecting artists that I know personally and have had a chance to watch develop over time. One of the first pieces I got was a great Rashid Johnson wood piece. It’s small, for his standards, and includes all the classic elements of his practice from the black wax, to the shea butter and branding. It has such a presence, which is enhanced by the smell of the treated and burned wood. Definitely a special piece to me.

RashidJohnson

Rashid Johnson

I’m also really excited about a beautiful Richard Aldrich painting I just got and am fortunate enough to add to my collection. He’s someone I’ve been following for a while since his inclusion in the 2010 Whitney Biennial. Can’t wait to get the piece up on my wall and live with it.

AmandaRoss-Ho

Richard Aldrich

What events or arts programming are you excited to check out in Miami during Art Basel?

I always love checking out the majors collections: Rubell’sCisneros, etc. I think the exhibit on Chinese artists the Rubell’s are putting on will be very interesting, and I love seeing the new acquisitions the Cisneros’s have every year.I’m also a big fan of NADA and look forward to checking out that fair. It’s always strong with great, young galleries and artists.

Coming from Chicago, are there hometown artists you’re partial to?

Definitely! Chicago is a breeding ground for young artists, between the School of the Art Institute and other great art schools in the city. I grew up as guys like Rashid Johnson and Angel Otero were coming on the scene, so am partial to them, along with Nick Cave, Kerry James Marshall, William J O’BrienTheaster Gates, and Amanda Ross-Ho. I’m fortunate to have works by Rashid, Angel, Bill and Amanda in my collection. Of course, there’s also Christopher Wool, who I admittedly have a man-crush on.

RichardAldrich

Amanda Ross-Ho

You mentioned a lesser known artist in the upcoming Whitney Biennial that you’re keen on…

Yes, Tony Lewis. He’s a great young artist who is a graduate of the aforementioned School of the Art Institute in Chicago. I think he’s the youngest artist to be included in the upcoming Whitney, and was also included in Art Basel statements this past summer. He creates these amazing graphite, text pieces that are all derived from a piece of text that he came across as a kid. I’d love to get a piece of his, but the line has just gotten much longer, as you can imagine. Either way, definitely an artist people should be aware of.

If you could have any painter or photographer do your portrait who would it be?

Great question. I’ve been enjoying Lynette Yiadom-Boakye‘s portraits and paintings lately, so would be interesting to see her take on me, but think I would be most excited by a pixelated portrait by Chuck Close.  Whaddya say, Chuck?

Stephen Maguire

Stephen Maguire, Art Collector, Exhibition A

Stephen Maguire is an LA-based art collector who owns work by Cole Sternberg.

How did you get interested in contemporary art?

I grew up in a small town in Maine, in a house where art happened. My mother turned a tiny room into her painting studio. We didn’t have the money to collect original work, but we hung prints, were surrounded by art books, and traveled to Boston to visit museums and galleries. I remember seeing Warhol’s portrait of Mao Zedong for the first time and being drawn to it; and from that point on, I became interested in artists that were dealing with issues that were part of my life.

Do you collect a certain type of art or certain artists?

I collect a wide range of art and artists. Some of the artists in my collection are: Shinique Smith, Andy Warhol, Cole Sternberg, and Carlos Luna. I’m also interested in artists that worked during times of great social upheaval, such as the Japanese artist Hiroshige in the early to mid 1800s.

Any upcoming projects/events you’d like to share?

I’m very excited about LAND’s (Los Angeles Nomadic Divisions) incredibly ambitious project “Manifest Destiny.” It’s a series of artist-produced billboards and activations that will unfold along the Interstate 10 Freeway, from Florida to California, through spring of 2015.

What upcoming exhibition are you most excited to see?

I’m looking forward to Mike Kelley’s “Pay for Your Pleasure” at MOCA this spring in Los Angeles.

An art book everyone should check out.

I enjoyed Seven Days in the Art World by Sarah Thornton.  Since I am a weekend sculptor working with marble and alabaster I also recommend Visual Thinking by Rudolf Arnheim.

Artist quote to live by?

“I don’t like nostalgia, unless it’s mine.” —Lou Reed

Andrew Dermont

Andrew Dermont

Andrew Dermont is partner at the art finance firm ArtAssure Ltd.

How did you first get interested in contemporary art?

I grew up in Bellport, a small town on the South Shore of Long Island. In high school I worked at a local restaurant called The Bellport, owned by a larger-than-life woman named Patricia Trainor. As the doyenne of our town and the face of a popular local restaurant, she was always entertaining designers, artists, gallerists and decorators — and still does. She has the most infectious sense of style and decorated the restaurant herself with paintings and prints by Howard Carr, Gene de Bartolo, and Malcolm Morley among others. After that, being surrounded by art and creatives (and good food) seemed like the only way to live.

Do you live with any artwork?

My girlfriend and I are having a lot of fun finding new pieces to add to our apartment but it’s the works we’ve amassed from family and friends that have the most meaning for us. Namely, our humungous blue abstract canvas by the patron and artist Cynthia Hazen Polsky, a full-length portrait of brothers by the D.C.-based artist Howard Carr, and an illustration we’re told was created for the cover of a 1920s Vogue. Some recent additions to our walls are a Cats and Dogs print on canvas by Lucien Smith and a small abstract canvas by Amy Feldman.

What emerging artists do you have your eye on now?

Robert Neville for his collages, Robert Otto Epstein for his portraits, Amy Feldman for her abstracts, and Oscar Murillo.

What advice would you give collectors just starting out?

Collect pieces you find to be original and captivating. If the price seems steep, propose paying over time.

An art book everyone should check out?

Mistress of Modernism: The Life of Peggy Guggenheim

David Fierman

David Fierman

David Fierman founded Louis B. James Gallery with RJ Supa in 2011 and is an art advisory director at Salon 94.

How did you first get interested in contemporary art?

I first became interested in contemporary art as an undergraduate at Columbia. I had the opportunity to study under some of the greatest art historians of the era, including Buchloh and Krauss, and also would ride my bike down to Chelsea on Saturdays to gallery hop. I remember returning over and over to Cheim and Read to see the same Louise Bourgeois sculpture, The Reticent Child, and also discovering Jack Pierson’s early work in a show at Daniel Reich. At a time in one’s life when one is forming an independent identity as an adult it was emotionally and intellectually powerful to have access to so much amazing art.

Do you live with any artwork?

As a gallery owner I have been lucky to receive beautiful work from artists – I love living with work by Brendan Smith, Deville Cohen, and Nora Griffin, among others. I also love my Wardell Milan tulip – but my mother has custody of that. I’ve also collected a few works from Creative Growth via White Columns, a John Hiltunen and a Dan Miller, that are both amusing and inspiring.

Tell us about your current and upcoming projects.

First and foremost, I am thrilled by the Brad Phillips exhibition currently on view at Louis B James. It is Brad’s first solo show in NY since 2007 and the work is stunning. Rarely have I made such a profound personal connection with an artist. In the spring I am excited to present Brendan Smith’s first solo show in NY. Offsite, my partner and I have been in talks with the Historic House Trust of NYC to bring contemporary art into some of the amazing old houses scattered around the city, as I love to juxtapose the old and new.

LBJ1

Brad Phillips, "Sex, Sex, and Death"

An upcoming exhibition or event you’re excited to attend?

I’m looking forward to the Rituals of Rented Island show at the Whitney. I am very interested in this moment of looking back to 1970s-80s NY, before everything was so clean, shiny, and expensive, and artists could live in NY, particularly as we hopefully are in a moment of change out of Bloomberg NY and into something a bit more livable and workable for artists.

An art book everyone should check out?

The drawings of Edi Rama, as edited by Anri Sala. Rama is now the prime minister of Albania and was the mayor responsible for the painted facades in post-communist Tirana. I am writing a graduate thesis on Rama – he’s a fascinating case study in the intersections of politics and art in an emerging post-communist democracy.

Artist quote or words to live by?

Once at a Patti Smith show someone yelled out “Free Palestine” and without missing a beat Patti said “Free ‘em all”.

Kathleen Cullen

Kathleen Cullen

Kathleen Cullen owns Kathleen Cullen Fine Arts gallery and works as an art advisor.

How did you first get interested in contemporary art?

I can’t remember when I wasn’t interested in contemporary art. It has been a constant in my life. I would say that it’s more than an interest; it’s a way of living.

Which artists are you following right now?

Alex McQuilkin, Julia Wachtel, Huma BhaBha, Andy Mister, Leo Gabin, Nancy Rubins, Lucien Smith, Thom McDonnell, and Sebastian Black.

Do you live with any artwork?

I have too much art, making it impossible to not live with it.  I have learned to expand my wall space.  I constantly visit galleries, museums and art fairs so I spend time with art that I don’t necessarily have to own as well. The Morgan Library, for instance, has an exhibition of 100 drawings from collectors such as Charles Ryskamp, Eugene V. Thaw, Brooke Astor, and Joseph McCrindle.  The Morgan shows are intimate and don’t usually have the distraction of crowds.  The curator/historian information that they present draws us into their acquisition process. The same holds true for the Drawing Center.  In both cases, you can visit during a weekend and look and study the artwork exhibited there in a more personal setting.

Michael St. John

Michael St. John, "These Days", at Karma

An upcoming exhibition or event you’re excited to attend?

I am excited about a few current shows–Mike Kelley at PS1; Michael St. John at Karma Books and Andrea Rosen Gallery, and Christopher Wool at the Guggenheim. Paul Kasmin always makes interesting shows. His summer group show, “Junkie’s Promises” curated by Ivan Navarro, was delightful. I am looking forward to two shows on the Gilded Age: the one at the New York Historical Society in October and the other at the Museum of the City of New York this November.

An art book everyone should check out?

A conservative but good read is Michael Findlay’s “The Value of Art: Money, Power, Beauty”.  I also found interesting anecdotal information in Wagner and Westreich’s “Collecting Art for Love, Money and More”.  Agnes Martin: Writings is an inspiration for artists and admirers, and finally, art publisher Steidl’s new “RE-MADE : Reading Leonard Freed.”

Artist quote or words to live by?

“Those who dream by day are cognizant of many things that escape those who dream only at night.” -Edgar Allen Poe

Todd Fiscus

Todd Fiscus

Todd Fiscus, head of the highly acclaimed design team at his namesake company, Todd Events, has designed everything from extraordinary weddings to charity galas to rip-roaring ranch parties in locales from Maine to Mexico.

How did you first get interested in contemporary art?

I created Cindy and Howard Rachofsky’s wedding. Howard’s passion for art really opened up a window for me. I fell in love with the vibrancy and story telling in each piece.

Do you collect a certain type of art or certain artists?

I buy what I am attracted to, regardless of pedigree. I actually have a painting by Liz Markus hanging in the entrance of my office. It’s from the same series from which Exhibition A made editions.

ToddPiscus

Any upcoming projects you’d like us to share?

We are expanding our operations into the Houston market for special event decor and design. I am also working on our 10th anniversary celebration. It’s called “Whats Next – a decade of design” and will be held at The Warehouse, home of Howard and Cindy’s art collection.

What upcoming exhibition are you most excited to see?

I really loved the Yayoi Kusama exhibit in New York and the transformation of the Louis Vuitton store. I am looking forward to the upcoming Picasso and Matisse Show at the Kimbell in Fort Worth. I think it will be classic and beautiful.

ToddPiscus

Artist quote or words to live by?

“There’s no retirement for an artist, it’s your way of living so there’s no end to it.” - Henry Moore

Harriet Taub

Harriet Taub

Harriet Taub is the Executive Director of Materials for the Arts (MFTA). MFTA is a program of the NYC Department of Cultural Affairs that works in partnership with the Department of Education and Department of Sanitation by providing materials to public schools and non-profits and keeping them out of landfills.

Can you tell us how Materials for the Arts works and who the organization benefits?

Since 1978, MFTA has been the City’s premiere reuse organization providing hundreds of nonprofit arts organizations with free materials.  In 1997, Susan Glass, MFTA’s then Executive Director, forged a partnership with the NYC Department of Education in order to allow art teachers access to the free materials. Basically, MFTA is a municipally funded creative reuse center.  We have trucks and a 35,000 sq. ft warehouse. We collect materials from businesses and individuals and give them away for free to members of NYC’s cultural community: public schools, nonprofit providers of arts services, and City agencies. All of New York City benefits from MFTA’s services, not just the people who collect the free materials: audience members at theatre productions, students in classrooms and after school programs, businesses who have a clean way of disposing of their excess or unneeded supplies – and most of all, the environment, since we offer an alternative to landfill.

What are some major points of success in last 15 years and what have been the biggest challenges to overcome?

When I started at MFTA in 1998, there was no previous education program. Once art teachers started coming in on a regular basis I heard a lot of complaints since they were looking to find traditional arts materials – crayons, markers, oil and tempera paint – and most of what we carry at MFTA are nontraditional materials.  I saw the need to create some training workshops to effectively show educators how they could use materials found at MFTA in their classrooms.  Joy Suarez, MFTA’s Master Teaching Artist, and I started with a few workshop offerings – hat making and no-sew costumes.   In the beginning, it was only art teachers who were allowed to visit MFTA for supplies. Over the years, we have expanded into all classrooms and reached across the curriculum spectrum to enable teachers of all types to utilize materials in their day to day activities.

As a program of a City Agency, there is always a concern about funding.  In 2002, we started our own 501c3: Friends of Materials for the Arts.  This has allowed us to fundraise for special projects and programs that fall outside of the agency’s mission and budget.  Our Commissioner Kate Levin has been very supportive over the past 12 years, as has Mayor Bloomberg who is a huge arts advocate.

How can people get involved?

I always say that MFTA is like a web with many entry points. Our free materials are only for member organizations.  However, we do offer free workshops on the Third Thursday of every month for the general public; we have an Artist-in-Residency program, our own gallery space, and of course we encourage everyone to get involved by cleaning out their closets and making donations of materials to MFTA. The spectrum of what we take is broad and we encourage people to donate materials that they are no longer using so someone else can.

What do you hope to share with the public about art education?

An educated public means a more informed buyer. The more we work with students, teachers, businesses and the general public, exposing them to the value of materials and the high quality work that can be created in mixed media pieces, we are helping to create informed consumers, critics and customers.

What artists are you following currently?

I love the work of Sara Sze and Vik Muniz and there is an artist who just showed at the Materials for the Arts gallery, Vadis Turner, whose work with fabric and ribbon is sensuous, dramatic and very accessible.  I think she will be a name people will be talking about.

Artist quote or words to live by?

I am a firm believer in the pay it forward school of life.  Keep doing good things, don’t ask for something in return and your life will be enriched somewhere down the line. In the meantime, others may benefit from your deeds.

Favorite artist book?

Diane Arbus Monograph – I have always loved this book. Her eye is the eye we all have but never want to acknowledge. Looking for the flaw is human – it is how we interpret the flaw that is in our power.  How we overcome what may be off putting and embrace what comes our way.

Simmy Swinder

Simmy Swinder

Art adviser, collector, director at Carmichael Gallery, and marketing director at tasj magazine.

How did you first get interested in contemporary art?

Though I studied art history in high school and university, I didn’t meet living, breathing, working artists until I moved to New York in 2008. While in grad school there I managed an artist’s studio, which led me to Art Basel in Miami that year for a massive installation project. I immediately found artists to be exciting and vivacious yet understood how they could be sensitive and fragile. I knew I’d always have a role to play in their lives. Now I curate, deal and work solely with contemporary artists. This makes me feel like I’m helping (albeit in a small way) write the history of art.

What kind of artworks do you collect? By which artists?

I first started collecting when I was 16, and for nearly 10 years it was largely performance art. These included works by Jean-Claude & Christo and Mike and Doug Starn. On my 25th birthday, I bought a “25 year board” from William Brovelli; he paints a ring on my birthday every year and I get the work on my 50th birthday. In the last few years, I’ve broadened my collection to include emerging artists such as Gordon Stevenson, Lola Rose Thompson, Aakash Nihalani, Evan Nesbit, Brendan Fowler, Jeremy Kost, Stinkfish, Aaron Wrinkle, Zio Ziegler and Bumblebee. There are so many works I would like to add to my collection but I mostly aspire to get a Tauba Auerbach and a Rudolf Stingel.

SimmySwinder

"Now Not Never" Installation View, Curated with Elisa and Seth Carmichael, Carmichael Gallery, September 2011

What artists have you enjoyed working with at Carmichael Gallery? Any interested anecdotes there?

When Carmichael Gallery was founded in 2007, it was focused on street art. Now we only show emerging contemporary art in our LA space, which I spearhead, but I will never forget my first show at the gallery. Titled “Martha Cooper: Remix,” it comprised 51 artists who reinterpreted Cooper’s original photographs, some of which were of the artists themselves dating back to the 80s. The show opened around the time as the “Art in the Streets” show at MOCA, and some of the artists overlapped, so a lot of people were in town and I met legends like Futura, Kenny Scharf, Lady Pink, Fab Five Freddy and Os Gemeos.

An upcoming exhibition you are excited about?

Calder at LACMA in November 2013, Sean Kennedy at Thomas Duncan, Tauba Auerbach at Standard Oslo, Sam Falls at Eva Presenhuber, Ryan Sullivan at Sadie Coles, and Dianna Molzan at Overduin and Kite.

Artist quote or words to live by?

“Life is short but art is long.”