Airport, please! heads to Dubai to visit Galerie Perrotin’s opening of another new space in the Middle East

Galerie Perrotin Dubai

Emmanuel Perrotin founded his first gallery in 1990 at the age of twenty-one. He has worked closely with his impressive  roster of international artists, some for more than twenty-five years, to help fulfill their ambitious projects. Perrotin has galleries in Paris, Hong Kong, New York, Seoul, Tokyo, and Shanghai, totaling approximately 7,500 square meters (80,500 square feet) of exhibition space across its ten locations.

Located since 2005 in an eighteenth-century mansion, Perrotin has three gallery spaces totaling approximately 1,600 square meters (17,000 sq. ft.) in the Marais district of Paris. Two years after it opened, the original Paris gallery expanded into its space on Impasse Saint-Claude. In 2014, Perrotin opened a 700-square-meter (7,500 sq. ft.) showroom known as the Salle de Bal, in a former ballroom in the Hôtel d’Ecquevilly, a seventeenth-century hôtel particulier. In June 2020, Perrotin opens a space totaling 70 square meters (750 sq. ft.) on Avenue Matignon in the west of Paris.

In 2021, a new gallery dedicated to secondary market will take a five-storey townhouse, (4,090 square feet, 380 sq. m.) located 8 avenue Matignon nearby Christie’s and Sotheby’s.

https://www.perrotin.com

In all, the Paris gallery spaces amount to 29,600 square feet (2,750 sq. m.).

Emmanuel Perrotin

 

In May of 2012, Perrotin opened its Hong Kong gallery on the seventeenth floor of 50 Connaught Road Central (650 sq. m./approx. 7,000 sq. ft.), overlooking Victoria Harbour. In 2020, the Hong Kong gallery moved across the harbor to K11 ATELIER Victoria Dockside on the Tsim Sha Tsui waterfront.

Galerie Perrotin New York, upper east side

From 2013 to 2016, Perrotin New York was housed in a historic building on the Upper East Side’s iconic Madison Avenue. After three successful years there, the gallery expanded in April of 2017 to a 2,300-square-meter (25,000 sq. ft.) space, relocating to 130 Orchard Street in New York’s most dynamic arts neighborhood, the Lower East Side. Perrotin New York includes a bookshop featuring unique editions and books published by the gallery.

Galerie Perrotin Seoul

In 2016, Perrotin inaugurated a 240-square-meter (2,600 sq. ft.) space in Seoul. Perrotin Seoul is located in the heart of Jongno-gu district, the city’s museum and gallery district, in close proximity to the National Museum of Modern and Contemporary Art and Daelim Museum and just in front of the Blue House, the official residence of the President, and Gyeongbok Palace.

Galerie Perrotin Tokyo

In June of 2017, Perrotin opened a space in Tokyo on the ground floor of the Piramide Building. The gallery is located in the center of the Roppongi area, a vibrant cultural neighborhood that is home to a large number of museums, including the Mori Art Museum, Suntory Museum of Art, and National Art Center, as well as many well-established galleries. In 2019, the gallery expanded to a 230 square meter (2,500 sq. ft.) space. In 2019 the gallery expanded, and it now totals 230 square meters (2,500 sq. ft.) of exhibition space in Tokyo.

Galerie Perrotin Shanghai

In 2018, Perrotin launched a gallery in Shanghai, in the heart of the city’s Bund quarter. Perrotin Shanghai occupies the top floor of a historic three-story brick building known as the Amber Building, a former warehouse built in 1937, used by the Central Bank of China during the Republican period. Totaling 1,300 square meters (14,000 sq. ft.), the gallery space includes a mezzanine and several exhibition rooms. In keeping with the building’s modernist elegance, original 1930s elements have been preserved, including the wooden beam ceiling, which is 6 meters (20 ft.) in height.

Perrotin participates in more than twenty art fairs each year, including Art Basel (Basel, Miami, Hong Kong); Frieze (London, New York, Los Angeles); FIAC (Paris); the Dallas Art Fair; Expo Chicago; ART021 and West Bund Art & Design (Shanghai); the Armory Show and TEFAF (New York); and artgenève (Geneva).

The gallery has expanded its mission in recent years, most notably through the production of thoughtful editorial content, such as podcast and video, as well as developing a programmatic calendar, which includes panel discussions, education workshops for children, and concerts.

The gallery also publishes catalogues, editions, and goodies, available in its bookstores.

Galerie Perrotin Dubai

Perrotin is pleased to announce the opening of a new gallery in Dubai in 2022. It is interesting to mark the geographical locations of his galleries as they are hot spots for new collectors and new pockets of wealth.

Now established in seven cities—Paris, Hong Kong, New York, Seoul, Tokyo, Shanghai, and Dubai—the gallery continues to expand its reach with the opening of this new permanent address in the Middle East.

Perrotin Dubai will be operated by both Perrotin Primary Market and Perrotin Secondary Market, founded by Tom-David Bastok, Dylan Lessel and Emmanuel Perrotin.

The gallery is located in the DIFC, the heart of Dubai, not far from Christie’s, Sotheby’s and other galleries, and close to many of the city’s best restaurants and landmarks.

The new 100-square-meter space will present primary market works by artists represented by the gallery alongside secondary market works, a recently launched and successful business that continues to grow.

As the war in the Ukraine grows, the world morphs into a new political shape, threatened by Putin’s actions and by American sanctions. The LRFA blog wants to explore the new Middle East, courtesy of the vision of Emmanuel Perrotin and his galleries in this very wealthy  part of the world.

An introduction to the legendary Gray Gallery, with gallery director, Laura Lester

 

Laura Lester
Director
Gray Gallery, NY

GRAY GALLERY, FOUNDED IN CHICAGO BY RICHARD GRAY, AND HEADED BY HIS SON, PAUL, THE GALLERY IS MADE UP OF A GLOBALLY RECOGNIZED TEAM OF ART PROFESSIONALS. ALL ARE DEVOTED TO FOSTERING THE DEVELOPMENT OF HISTORICALLY IMPORTANT ARTIST CAREERS AND TO BUILDING OUTSTANDING ART COLLECTIONS FOR THEIR CLIENTS. THEIR FOCUS CONTINUES TO BE ON DEEP AND INSIGHTFUL RELATIONSHIPS WITH BOTH ARTISTS AND COLLECTORS.

FOUNDER MORE THAN FIFTY YEARS AGO, THE GALLERY’S REPUTATION FOR QUALITY AND INTEGRITY HAS SPANNED TWO GENERATIONS, INSPIRED BY THE CREATIVITY OF ARTISTS, THE PASSION OF COLLECTORS AND BY THE TRUST PLACED IN THEM BY BOTH.

Richard Gray
Founder, Richard Gray Gallery

WHEN ITS FOUNDER RICHARD GRAY DIED IN 2018, THIS IS JUST ONE OF TRIBUTES

Richard Gray was a legend in the art world, establishing galleries in Chicago and New York. He received well-deserved international recognition in the art world and was a dedicated patron to Chicago’s cultural institutions. His son, Paul, has carried on his legacy.

Juane Plensa
Richard Gray Gallery

“Richard was a beacon in the art world,” said Jaume Plensa, whose Crown Fountain sits in Millennium Park. “We are orphans without him.”

“Richard Gray was my dealer for 40 years. His humanity and appreciation for the human condition was immense,” Jim Dine said in a statement Thursday. “His deep love of drawing suited my obsession for the medium to a tee. To me he was a great dealer and a great guy.”

Jim Dine
Richard Gray Gallery

CHICAGO TRIBUNE, KT Hawbacker, May 17, 2018

IT IS A PLEASURE AND A PRIVILEGE TO WELCOME THEIR RECENTLY APPOINTED DIRECTOR, LAURA LESTER, TO THE LRFA BLOG. A VETERAN BOTH OF THE FIRST-TIER AUCTION AND GALLERY WORLD, SHE BRINGS HER UNIQUE FOCUS, KNOWLEDGE AND ENERGY TO BEAR AT GRAY GALLERY, NEW YORK.

https://www.richardgraygallery.com/

LAURA, WHERE DID YOU GROW UP AND WERE YOU ALWAYS INTERESTED IN ART?

I was raised in Wilmette, IL, which is just north of downtown Chicago on Lake Michigan. I grew up visiting the city’s great museums with my parents and have always been interested in the history of art but did not take it seriously as a career path until college.

WHERE DID YOU GO TO SCHOOL AND WHAT ACADEMIC PURSUITS DID YOU PURSUE BEFORE FOCUSING ON A CAREER IN THE ART WORLD.

I earned a dual undergraduate degree in English Literature and Art History at Indiana University. I attended IU, initially, because I was interested in music; I was a serious pianist growing up and they have a fantastic music school. After matriculating at such a large university, I quickly realized how big the world is and began exploring its many offerings- that’s when I really fell in love with art history. After college I moved to New York City to get a master’s degree in modern and contemporary art from Christie’s, which positioned me well to enter the commercial art world.

Christie’s Education
Master’s Program, New York

WHAT WAS YOUR FIRST JOB AND HOW DO YOU FEEL THAT EXPERIENCE SERVED YOU IN YOUR PROFESSIONAL PATH?

My first job was a receptionist position at Gagosian uptown. It was a real crash course in who the players are in the industry! I moved from that position to assisting Larry directly and traveling with him, which was an incredible education. He taught me a standard of fastidiousness in all things that has stuck with me to this day.

THAT IS A PHENOMENAL INTRODUCTION! WHAT PROMPTED YOUR DECISION TO LEAVE GAGOSIAN AND ENTER THE AUCTION WORLD?

After nearly four years of really interesting assistant work at Gagosian, I felt I had learned a lot about the ecosystem of collectors, client service and deal making but was lacking object connoisseurship. I knew a cataloging position at an auction house would teach me that inside and out.

McArthur Binion
DNA: Work and the Under: Conscious Drawing
Gray Warehouse, Chicago
Current exhibition

IT IS NO SURPRISE THAT WITH THE  CAREFULLY PLOTTED ACADEMIC AND PROFESSIONAL STEPS  LAURA HAS TAKEN, SHE IS NOW THE DIRECTOR OF GRAY GALLERY.

IN OUR NEXT POST, THE LRFA BLOG LOOKS FORWARD TO LAURA’S INSIGHTS INTO BOTH THE GALLERY AND AUCTION HOUSE WORLDS, THEIR SIMILARITIES AND DIFFERENCES.

PLEASE JOIN US!

The future is now: traditions and innovations at David Zwirner with gallery partner Greg Lulay and director Veronique Ansorge

 

Isa Genzken
Paris New York
Opening at David Zwirner, Paris

OVER THE LAST DECADE, DAVID ZWIRNER HAS UNDERGONE AN UNPRECEDENTED TRANSFORMATION AND STANDS AS A MAJOR DRIVING FORCE IN REDEFINING WHAT A GALLERY PRESENTS AND HOW AUDIENCES INTERACT WITH THE ART AND EXHIBITIONS. A NEW BREED OF EXPANSIVE AND TRANSPORTING SHOWS OFFERS UNIQUE EXPERIENCES TO A WIDER , CULTURALLY ENGAGED PUBLIC WHILE ALWAYS SUPPORTING AND HONORING THEIR ARTISTS’ AMBITIOUS VISIONS.

THE LOCKDOWN AND PANDEMIC CRISIS ONLY SERVED TO FURTHER STIMULATE THEIR EFFORTS TO SUPPORT THEIR ARTISTS, THEIR GALLERIES AND OTHER SMALLER STRUGGLING GALLERIES  REACHING OUT IN NEW AND INNOVATIVE WAYS TO THEIR INTERNATIONAL PUBLIC.

William Eggleston
David Zwirner Hong Kong
Opening September 10

TODAY, THE LRFA BLOG WARMLY WELCOME BACK VERONIQUE ANSORGE, GALLERY DIRECTOR AND GREG LULAY, GALLERY PARTNER, TO SHARE THEIR ARTICULATE VISION OF DAVID ZWIRNER NOW AND IN THE FUTURE.

GREG AND VERONIQUE, ART FAIRS HAVE BECOME A DOMINANT VEHICLE TO SHOW ARTISTS. WHEN THE PANDEMIC HIT, HONG KONG ART BASEL WAS THE FIRST FAIR TO CREATE EXCLUSIVELY VIEWING ROOMS FOR ALL THE EXHIBITORS AS AN ALTERNATIVE TO BEING AT THE FAIR.

HOW DID THE GALLERIES IN GENERAL DO AND HOW SUCCESSFUL WERE THE MAJOR INTERNATIONAL GALLERIES?

GL: I think that the dominant form of physically seeing work still happens within the galleries and museums themselves. After that, comes the art fair setting.  

Since the 1970s, with the birth of Art Cologne, and on to the long-standing fairs like Art Basel, we’ve seen the landscape of art commerce change dramatically. The art world and the art fair sector of that art world has grown tremendously into a global industry. Regional art fairs are now held across the globe and are typically intended to serve the collector base of the specific country or region where they take place. Other art fairs have a much wider reach in terms of exhibiting galleries and the international patrons that visit and buy from the fair. The difference between the two types of fairs has to do with the brand behind the fairs, the destination, the time in the yearly calendar, and the longevity of the fair as an institution. As the art fair model of business took off, galleries became more reliant upon them for a large part of their annual business. In one week and in one spot you are able to interact with large numbers of new and existing clients, connect with curators, and make significant sales. Over the years we’ve found that all of that activity for each fair is precluded by digital outreach to our clients. So, there’s been a growing online component of what we do at a fair which occurs digitally even before we set foot in our booth. 

Suzan Frecon
Opening David Zwirner Gallery
September 10 – October 17, 2020

I think one of the big questions is, will the digital art fair exchange begin to replace the need for an actual art fair? 

When Art Basel Hong Kong was cancelled earlier this year due to Covid-19, all galleries had to turn solely to online presentations and interactions supported by Basel’s new online platform. Because our gallery already had developed the technology to support an online viewing room experience, we were able to do something in tandem with Art Basel’s platform. We were able to reach people who were interested in looking at art even if they couldn’t go to the fair, let alone leave their homes.

VA: I’m very happy that it was a success for the gallery. We will all have to see what is happening now based on the health crisis in the long run for the art fairs. But you do miss the interactions with clients in an art fair context, and human interaction will certainly not be able to be replaced completely.

GL: Certainly not. I think that a key component of this industry is that it is experiential and social. People who are interested in building collections and living with art love the personal connections they make with artists, curators, and art dealers. There is a social aspect of gallery openings and art fairs that will never be replaced by a purely online experience. What we have built online is something to run in tandem with what we are already doing in our physical spaces. 

Harold Ancart: Traveling Light
David Zwirner Gallery West 19th Street
Opening September 10th

WHAT ARE SOME OF THE OTHER WAYS IN WHICH YOU ARE NOW COMMUNICATING WITH CLIENTS AND ARTISTS IN LIGHT OF THE CURRENT CRISIS?

GL: I think in a time when people are forced to be at home, we all still have a need to be connected. Even this conversation that we are having now is being done virtually, where we can see each other on the screen and have a conversation. This is something we are doing on a daily basis with our artists, many of which are busy in their studios, but they need a connection and want a connection just like the rest of us.

VA: And obviously all these video conferencing apps that allow you to have meetings and interact with multiple people are very helpful both in terms of internal meetings and meetings with artists. I do feel a lot of clients also appreciate calls and ways of communicating where we see each other.

WHAT ARE YOUR PLANS TO DEVELOP YOUR ONLINE PRESENCE IN THE FUTURE?

GL: While we discussed this earlier,  I think it’s worth noting that while we have focused on this initiative for the past several years, we are only just beginning and will continue to explore what this new online platform can offer to our artists.

VA: Yes and also making it usable in a way where artists can really have control over the experience the visitor has on the site; the artist can put their artistic vision in it. 

Josh Smith
David Zwirner, New York East 69th, London, Grafton Street
Opening September 15th

DO YOU AGREE THAT THIS IS MORE AND MORE THE FUTURE OF THE GALLERY WORLD, AND THAT THE COVID-19 WAS MORE OF A CATALYST TO AN ALREADY ESTABLISHED TREND?

VA: Yes, Covid-19 is somewhat of a catalyst. As the other options are temporarily inactivated it is forcing us to accelerate our performance in the digital space. 

GL: Exactly, I think that this is obviously the way in which the world is moving, and people are becoming more and more accustomed to receiving content of all sorts online. Like we’ve said, these changes are not going to replace the essential in-person exchange or experience. But certainly in this moment when none of us can physically be with each other or walk into a gallery space, the necessity to charge ahead in some fashion has been a catalyst for this digital exchange on a larger scale. 

GL: It’s worth saying that the gallery in its 25+ years has weathered several storms, including the attacks on September 11th and Hurricane Sandy. This is a new experience for all of us, and a challenge we will overcome together, hopefully stronger as a gallery and as a world. During this uncertain time we have come together as a gallery to help those who may be struggling even more than we are. We’ve been able to share our existing technology and Online Viewing Room with galleries in New York and London who don’t have the same capabilities to present and sell artworks online. With an initiative called Platform: New York, and Platform: London, respectively, we’ve invited a group of young gallerists from those cities to select one artist from their program to feature on our online viewing room platform. We’re hosting our friends and neighboring galleries in an effort to connect them with collectors who are interested in buying art during this very challenging moment.

Platform
David Zwirner Gallery

IT HAS BEEN A GREAT PRIVILEGE TO HAVE GREG AND VERONIQUE SHARE THEIR THOUGHTFUL AND DEEPLY KNOWLEDGEABLE PERSPECTIVE ON THE DAVID ZWIRNER GALLERY PLATFORM, PHILOSOPHY AND ARTIST-CENTRIC POINT OF VIEW AND THEIR VISION OF OUR ART WORLD IN GENERAL NOW AND IN THE FUTURE.  SO MANY THANKS TO YOU BOTH!

THE LRFA BLOG WILL RESUME AFTER LABOR DAY. WE ARE LOOKING FORWARD TO A CONVERSATION WITH LAURA LESTER  AND LEARNING ABOUT HER NEW POSITION AS DIRECTOR OF GREY GALLERY, NEW YORK.

Matching talents and tasks at David Zwirner with the gallery partner Greg Lulay and director Veronique Ansorge

Installation view
Mamma Andersson: The Lost Paradise
David Zwirner, NY 2020
Courtesy David Zwirner

DAVID ZWIRNER IS AN INTERNATIONAL GALLERY ARTISTS ASPIRE TO SHOW WITH,  COLLECTORS FLOCK TO FOR WORKS OF THE HIGHEST QUALITY BY BOTH ESTABLISHED CONTEMPORARY ARTISTS AND MODERN MASTERS, CURATORS DEPEND UPON AS A SOURCE FOR ARTISTS WORTHY OF ACQUIRING FOR THEIR MUSEUMS AND ART CAREER PROFESSIONALS VIE TO WORK AT SUCH A PRESTIGIOUS VENUE. THE GALLERY HAS ALWAYS BEEN ALWAYS ARTIST-CENTRIC AND OVER THE COURSE OF ITS TWENTY-SEVEN YEAR HISTORY, ITS PROGRAM  HAS DEVELOPED AND MATURED GLOBALLY, ESTABLISHING LOCATIONS IN SEVERAL DIFFERENT COUNTRIES AND CITIES AND A PRESENCE WORLDWIDE. DAVID ZWIRNER OFFERS ITS ARTISTS AND ARTIST ESTATES AN OPPORTUNITY TO BE A PART OF A GLOBAL NETWORK OF EXHIBITIONS, ART FAIRS, AND  BOTH INSTITUTIONAL AND PRIVATE ART COLLECTIONS.

Greg Lulay
Partner
David Zwirner Gallery

TODAY, THE LRFA BLOG IS VERY PLEASED TO CONTINUE TO POST ITS CONVERSATION, HELD IN APRIL 2020, WITH GALLERY DIRECTOR VERONIQUE ANSORGE, AT THE 19th STREET GALLERY (525 WEST 19th STREET) IN CHELSEA, AND WITH GALLERY PARTNER GREG LULAY, AT THE TWENTIETH STREET GALLERY ( 538 WEST 20th STREET).

RUNNING AN INTERNATIONAL BUSINESS TAKES AN ENORMOUS AMOUNT OF HARD WORK AND DEDICATION, NOT ONLY ON THE PART OF ITS FOUNDER BUT ALSO ON ITS EXTENSIVE STAFF, EVERYONE FROM PARTNERS TO DIRECTORS TO THE SUPPORT STAFF OF REGISTRARS, INSTALLERS, EXHIBITION CATALOGUERS, RESEARCHERS AND A  HIGHLY SOPHISTICATED TECH TEAM.

HERE WE HOPE TO SHED A LITTLE LIGHT ON SUCH AN ENORMOUS UNDERTAKING.

Interior view of library
537 West 20th Street Gallery, 2013

VERONIQUE AND GREG, WELCOME BACK AND THANK YOU BOTH!

DO YOU EACH HAVE RESPONSIBILITIES AS A LIAISON TO SPECIFIC ARTISTS AND ARTISTS’ ESTATES AND IF SO, WHO ARE THE ARTISTS THAT YOU CONCENTRATE ON IT?

Greg Lulay: The overarching gallery structure is one that was built so that it serves all of us together in all locations. There are members of our staff who are specialists in research, conservation, inventory management, finance, installation,  public relations, sales, and artist relations, like myself and Veronique. My artist management responsibilities are split between living Contemporary artists and Estates.

I work closely with Philip-Lorca diCorcia, an incredible photographer; and Lucas Arruda, a very talented young Brazilian painter. I also work with the Fred Sandback Estate, the Al Taylor Estate, the Gordon Matta-Clark Estate, and the Franz West Estate. I’m charged to help foster the careers of those artists, both within the gallery and outwardly in their exhibitions and programs around the globe. In addition to artist management I also have sales responsibilities and oversee all of our art fair participations around the world.

Philip-Lorca diCorcia
Heavenly Bodies
David Zwirner Gallery Viewing Room

Veronique Ansorge:  I think given the nature of how I started at the gallery, and given the fact that I’m from Germany, I was naturally working with David on a lot of his German clients and activities. I began working with German artists and Estates such as the Estate of Sigmar Polke, Thomas Ruff, and Isa Genzken. I also now work with the New York–based photographer James Welling, which I am very excited about. While I have cultivated client relationships across the globe, I feel my focus is within the German-speaking market.

GL: One of the strengths both of our sales team and of the larger gallery is that David has really paired our individual talents with the tasks which give the most benefit to our artists and thus to the gallery. This informs our specific duties and responsibilities.

VA: Yes, and I think it is fascinating that the gallery really allows for this talent to be expressed – to identify their strengths and nurture them.

Screen capture
David Zwirner Online
Harold Ancart: Pools

HOW DOES THE MANAGEMENT OF A LIVING ARTIST DIFFER FROM AN ESTATE?

VA: With a living artist, you are in constant dialogue and they are actively producing work. You manage exhibitions of new work, not only in the gallery but in institutional environments. Within this, you are working to cultivate their career. With an Estate, it’s not necessarily new work, but you try to do the same.

GL: Certainly there are some strong parallels between the two approaches. In both cases we operate somewhat like an agent; working collaboratively with artists or estates to promote their careers and strengthen their position within the history of art by presenting their artwork on various platforms to audiences around the world. In the early days of the gallery, David began representing our first estate – the Estate of Gordon Matta-Clark.

Then in 2004 we began working with the Fred Sandback Estate, and today we represent 26 estates. It is in collaboration with these people that you  are charged to further the conversation about their work and encourage new discovery. One of the biggest challenges we face working with a living artist is to support and guide them without interfering with their creative process. This is completely different from working with an Estate. Their voice is more active.

VERONIQUE AND GREG WILL CONTINUE TO SHARE HIGHLIGHTS OF THE WORKINGS OF DAVID ZWIRNER GALLERY IN OUR NEXT LRFA BLOG POST!

THANK YOU SO MUCH FOR FOLLOWING. PLEASE JOIN US!

 

A very warm welcome to David Zwirner Gallery’s Veronique Ansorge and Greg Lulay

David Zwirner and gallery partners by John McCracken’s FAIR (2011)
David Zwirner Gallery, West 20th St, NY

IN JANUARY 2018, DAVID ZWIRNER GALLERY CELEBRATED ITS 25TH ANNIVERSARY. WITH AN IMPECCABLE ROSTER OF LIVING ARTISTS AND ARTISTS’ ESTATES AND A GLOBAL NETWORK OF GALLERIES IN NEW YORK, LONDON, PARIS, AND HONG KONG, DAVID ZWIRNER HAS ALWAYS BEEN A VISIONARY DEALER. INITIALLY, HE OPENED A RELATIVELY SMALL SPACE AT 43 GREENE STREET IN THE SOHO DISTRICT OF NEW YORK.  MANY LOCATIONS LATER, MUCH EXPANSION AND AN INTERNATIONAL PRESENCE AS ONE OF THE VERY TOP LEADING GALLERIES WORLDWIDE, THE ONE CONSISTENT THREAD THROUGHOUT THE NOW TWENTY-SEVEN YEARS IS DAVID ZWIRNER’S COMMITMENT TO SHOWING CHALLENGING, THOUGHTFUL, MEANINGFUL WORKS OF ART WITHOUT COMPROMISE.

David Zwirner
First gallery in SoHo
43 Greene Street, New York

FROM GREENE STREET TO CHELSEA IN NEW YORK TO THE UPPER EAST SIDE OF MANHATTAN, FROM LONDON TO HONG KONG WITH A MUCH-ANTICIPATED EXPANSION IN CHELSEA UNDER THE SUPERVISION OF ARCHITECT EXTRAORDINAIRE, ANNABELLE SELLDORF, ZWIRNER HAS CREATED AN INTERNATIONAL COMMUNITY OF DEDICATED STAFF, COMMITTED COLLECTORS, CURATORS AND SUPPORTERS. THE GALLERY’S COMMITMENT TO ITS ARTISTS AND TO THE INTEGRITY OF THEIR WORK SET A STANDARD WHEN THE GALLERY FIRST OPENED THAT HAS CONTINUED TO THIS DAY. MANY OF THE ARTISTS IN AN EXHIBITION, FIVE YEARS, 1993-1998, COMMEMORATING THE GALLERY’S FIRST FIVE YEARS ON GREENE STREET, CONTINUE TO BE REPRESENTED BY DAVID ZWIRNER GALLERY TODAY.

Veronique Ansorge
Director
David Zwirner Gallery, New York

THE LRFA BLOG IS HONORED TO WELCOME VERONIQUE ANSORGE, DIRECTOR AT DAVID ZWIRNER, 525 WEST 19th STREET, IN CHELSEA, NEW YORK AND GREG LULAY, PARTNER AT DAVID ZWIRNER, 537 WEST 20th STREET, NEW YORK. COLLEAGUES AND FRIENDS, THEY HAVE JOINED FORCES TO CONTRIBUTE TO THE LRFA BLOG. AFTER AN INITIAL INTRODUCTION TO BOTH OF THEM, WE WILL FOCUS ON THE RELEVANCE OF THE CORONAVIRUS PANDEMIC AND ITS IMPACT ON THE WAY IN WHICH ONE OF THE GREAT INTERNATIONAL GALLERIES HAS HAD THE FORESIGHT TO PREPARE FOR THIS UNSEEN CRISIS.

New York: 19th Street

https://www.davidzwirner.com/galleries

VERONIQUE AND GREG, THANK YOU SO MUCH. I KNOW YOU ARE BOTH AS BUSY AS EVER, WORKING FROM HOME, ONLINE AND JUST RECENTLY, BY APPOINTMENT AT THE NEW YORK GALLERIES, TO CONTACT CLIENTS AND CONTINUE TO SUPPORT THE PRESENCE AND COMMERCE OF THE GALLERY DURING THE SHUTDOWN.

FIRST, A BIT ABOUT YOUR PROFESSIONAL BACKGROUNDS.

HOW LONG HAVE YOU BOTH BEEN AT THE GALLERY AND HOW DID YOU COME TO WORK AT ZWIRNER? WAS YOUR BACKGROUND IN THE ARTS, AS AN ACADEMIC, IN THE AUCTION WORLD OR IN ANOTHER GALLERY?

Greg Lulay:

I’ve been at the gallery for 17 years, starting at Zwirner & Wirth, which was the secondary market gallery David opened on the Upper East Side in 2000. Prior to that, I was at university in Seattle, where I studied business, fine arts, and art history, and worked in a gallery in Seattle upon graduation. I worked for a gallery there for a few years, which brought me to New York in 1999. 

Veronique Ansorge:

I’m originally from Germany, and I  started at the gallery in December 2007. I have an MBA, studied Economics in college, and previously worked in business consulting and marketing. I switched careers because of my interest in art. I started as David’s assistant and was lucky enough to grow within the company. I’m now a Director on the gallery’s Sales Team.

GL: That’s amazing. I remember when I started working at the gallery there were only three people at Zwirner & Wirth, including myself, and only a handful of people working at the Chelsea outpost. It’s changed quite a bit in the 17 years I’ve been here. I went from working the front desk and as a gallery manager for years to making my way into sales and artist management.

New York: 20th Street

HOW IS ZWIRNER STRUCTURED?  THE GALLERY HAS VENUES VIRTUALLY ALL OVER THE WORLD, NEW YORK, LONDON, HONG KONG, AND NOW A BEAUTIFUL NEW SPACE IN PARIS.  ARE EACH OF THE GALLERIES AUTONOMOUS IN TERMS OF EXHIBITION SCHEDULES AND CLIENT RELATIONSHIPS OR, IN THIS GLOBAL MARKET, IS THE PLANNING FOR ALL THE ZWIRNER GALLERIES WORLDWIDE HANDLED BY A SPECIAL TEAM?

VA: The way it’s structured, it’s still very much driven by David Zwirner as the owner and main strategist of the gallery. However, he has eight partners that have a lot of influence in making decisions on artist management and exhibition schedules. New York is the hub, but we all connect on a weekly basis. Our decisions are made as a team.

GL: Although each of our galleries around the world have distinct qualities unique to that physical location and city, the larger gallery operates collectively – as one company. For example, certain operational decisions are specific to doing business in London versus Hong Kong, and largely those decisions are made by our teams in those locations. However, the majority of decisions we make are coordinated across all locations, be that client outreach, exhibition planning, research, communications, inventory, shipping.  But, as Veronique noted, one aspect that adds to the success of the gallery is the fact that we operate in a team format. We make decisions as a team, and are stronger because of it.

IN NEW YORK, VERONIQUE AND GREG EXEMPLIFY THAT TEAM SPIRIT, TRAVELING BACK AND FORTH BETWEEN THE 19th AND 20th STREET GALLERIES WITH CLIENTS AND MUSEUM CURATORS  BOTH OFTEN WORKING IN TANDEM TO SHARE THEIR LOVE OF THE ARTISTS’ WORK AND THEIR DEPTH OF KNOWLEDGE ABOUT THEIR PROCESS AND AESTHETIC WITH THE VISITORS TO THE GALLERIES. SOCIAL DISTANCING OR NOT, THE LRFA BLOG PREDICTS LINES AROUND THE BLOCK FOR THE KUSAMA EXHIBITIONS ARE NOT A THING OF THE PAST!

IN OUR NEXT LRFA BLOG POST, THEY WILL CONTINUE TO ADDRESS THE WORKINGS OF THE GALLERIES WITHIN THE UMBRELLA OF DAVID ZWIRNER WORLDWIDE. PLEASE JOIN US!

A warm welcome to Miety Heiden, Deputy Chair and Head of Private Sales at Phillips

Miety Heiden Deputy Chair & Head of Private Sales at Phillips

TODAY, PHILLIPS IS A PREMIER DESTINATION FOR BUYERS AND SELLERS OF MODERN, POST-WAR, CONTEMPORARY, AMERICAN AND LATIN AMERICAN WORKS OF ART IN ADDITION TO WATCHES, JEWELS, PHOTOGRAPHY, WORKS ON PAPER AND EDITIONS. IN 2020, THE NEW YORK AUCTION HOUSE MOVED TO LARGER HEADQUARTERS AT 432 PARK AVENUE EXPANDING ITS FOOTPRINT IN NEW YORK AND ITS GLOBAL PRESENCE IN THE AUCTION WORLD.  FOUNDED IN LONDON IN 1796, PHILLIPS FIRST GAINED INTERNATIONAL RECOGNITION FROM ITS SALE OF THE ESTATE OF QUEEN MARIE ANTOINETTE HELD INSIDE BUCKINGHAM PALACE. ITS FOUNDER, HARRY PHILIPS, WAS AN INNOVATIVE BUSINESSMAN, THE FIRST TO HOST EVENING RECEPTIONS BEFORE AUCTIONS, NOW AN ANTICIPATED AND STANDARD PRACTICE. THE AUCTION HOUSE HAS CHANGED HANDS SEVERAL TIMES INCLUDING ITS OWNERSHIP BY LVMH CHAIR, BERNARD ARNAULT, AND DEALERS SIMON DE PURY AND DANIELA LUXEMBOURG.

Phillips Auction

IN 2014, AT A MOMENT OF A SYSTEMIC CHANGE IN THE THREE LEADING INTERNATIONAL AUCTION HOUSES, ED DOLMAN JOINED PHILLIPS AS CEO AND BROUGHT IN AN EXCEPTIONAL TEAM CULLED FROM THE RANKS OF CHRISTIE’S AND SOTHEBY’S. MIETY HEIDEN BECAME AN INVALUABLE PRESENCE AT PHILLIPS, CONTRIBUTING HER ENORMOUS EXPERTISE IN THE PRIVATE SALES SECTOR AT AUCTION, A VERY LUCRATIVE ASPECT OF EACH AUCTION HOUSE. SHE HAD LAUNCHED S/2, THE SELLING GALLERY AT SOTHEBY’S AND WORKED ON THEIR CONTEMPORARY EVENING SALES.

https://www.phillips.com

As reported in Artnet News, March 3, 2016:

In recent years, both Sotheby’s and Christie’s have increasingly focused on private sales, which are generally more lucrative, since they avoid the hefty costs of staging public auctions and publishing auction catalogues.

She contributed to business development and managed client relationships for the New York and Hong Kong contemporary art evening and day sales, as well as focusing on emerging markets and drumming up business on the West Coast. She was also a consultant to the Chinese contemporary art department, and was previously head of the modern and contemporary art department in Amsterdam.

TODAY THE LRFA BLOG IS DELIGHTED TO WELCOME MIETY HEIDEN, DEPUTY CHAIR AND HEAD OF PRIVATE SALES AT PHILIPS AUCTION HOUSE. MIETY IS BOTH A FRIEND AND A COLLEAGUE, MUCH ADMIRED BY EVERYONE WHO KNOWS HER. HER LOVE OF THE ARTS, DEEP KNOWLEDGE OF THE ART MARKET, SENSE OF HUMOR AND COOL COMPOSURE, MAKE HER AN INVALUABLE PROFESSIONAL ALLY AND FRIEND.

https://www.phillips.com/private-sales

MIETY, THANK YOU SO MUCH FOR TAKING THE TIME TO CONTRIBUTE TO THE BLOG!

Where did you grow up and what were your educational pursuits?

I grew up in the Netherlands and I always knew that I was interested in the arts. Once I finished school I studied History of Art at the University of Amsterdam.

How did you develop an interest in art? Were your parents collectors and were you exposed to the museum and gallery world as a child?

No, my parents weren’t collectors or anything like that. When I was 17, I had a conversation with a family friend who explained the auction world to me, and that’s when I knew that this is what I wanted to do with my life.

Who were the first artists that struck a chord? How did you know that you wanted to pursue a career in the art world?

The first artists that caught my attention were the Dutch Old Masters – the likes of Rembrandt, whose works I first saw at the Rijksmuseum as a teenager.

The Rijksmuseum
Amsterdam

How did you gain a foothold in the auction world?

I first started my career as an intern at a Dutch auction house in 1992, before joining Sotheby’s Amsterdam five years later. During my time there I also worked a lot in Singapore and Indonesia. I then moved to Sotheby’s New York in 2005.

What pulled you into the private sales sector first at Sotheby’s and now at Phillips? How would you describe the responsibilities of Head of Private Sales versus those of the auction specialist?

Having worked in auctions for 15 years I wanted to explore something new – I had the idea to set up a selling exhibition program at Sotheby’s and came up with the idea to open a gallery within Sotheby’s which we did in 2011. Our first show focused on Sam Francis and was a sell-out. This set the precedent for many more solo artist selling exhibitions for artists such as Basquiat and Keith Haring. In 2019, Phillips’ private sales were up 34% from the previous year – in part because of the time and resources we’ve devoted to it, and our international exhibition program. As we explore new ways to generate business under the pressures of the market, we are focusing more on the private selling aspect of the business.

What was your career path at Sotheby’s? What were your responsibilities when you started and how did they develop over time?

I was at Sotheby’s for 18 years in total. I was head of Modern and Contemporary Art and Indonesian Art at Sotheby’s Amsterdam, and then when I moved to New York I started as head of their Afternoon Sale, before working on the Evening Sale a year later. It was after that I started the S2 program and ran the two side by side, in the same way that I work in both auction and private sales at Phillips today.

IN THE NEXT LRFA BLOG POST, MIETY WILL SHARE HER EXPERT PERSPECTIVE ON AUCTION HOUSE POLICIES AND PROCEDURES AND ON THE POSITIONING A WORK CORRECTLY TO GIVE IT ITS OPTIMUM EXPOSURE, AN ART IN AND OF ITSELF.

THANK YOU FOR YOUR SUPPORT! KEEP READING!

London, New York, and soon Asia: Venues for the Art Business Conference with director Louise Hamlin

BARELY RECOVERED FROM THE MASSIVE AUDIENCE AND ENTHUSIASM OF THE LONDON ART BUSINESS CONFERENCE ON SEPTEMBER 4th, LOUISE HAMLIN, FOUNDER AND ORGANIZER OF THE ART BUSINESS CONFERENCE, IS PLANNING THE NEW YORK SPEAKER PANELS AND AGENDA. THE NEW YORK CONFERENCE WILL BE HELD AT THE TIME WARNER BUILDING IN MANHATTAN NEXT APRIL 2019.

IN THE MEANTIME, THE LRFA BLOG WILL CONTINUE ITS INTERVIEW WITH LOUISE ABOUT THE CURRENT PROGRAMMING AND HER PLANS FOR THE FUTURE OF THE CONFERENCE. YOU COULD HARDLY IMAGINE THAT A WOMAN OF THE CALIBER AND ENERGY OF LOUISE HAMLIN WOULD STOP AT TWO VENUES.  READ ON!

IN THE CONFERENCE, SPEAKERS EXPLORE WHY PEOPLE BUY OBJECTS, ART WORKS AND ANTIQUES. WHAT DO YOU THINK ARE THE DOMINANT REASONS?  HAVE THEY CHANGED OVER THE YEARS FROM A COLLECTOR ZEAL TO ONE MORE FOCUSED ON ART AS AN ALTERNATIVE INVESTMENT?

There will always be collectors but there are an increasing number of other groups buying art, including those looking to make alternative investments.  The internet has made the art market accessible to all and more and more businesses are ready to provide services which will help buyers make informed choices. 

Such examples recently highlighted at the NY conference in April, were The Magnus App, which works like Shazam for art, founded by art market economist and entrepreneur Magnus Resch, is a good example of the art world accommodating the consumer.  Jennifer Deason, Executive Vice President, Global Head of Strategy & Corporate Development at Sotheby’s made some fascinating insights on Taste Profiling in the Art Market in her closing address.  Art is evocative and inspiring – there will always be buyers – but understanding their needs and educating them will only help to broaden the buying market and this is key.

WHAT ARE THE CURRENT REGULATIONS THAT GOVERN THE ACQUISITIONS IN THE UK AND THE US AND HOW DO YOU ANTICIPATE THEY MIGHT CHANGE? WILL THEY LOOSEN OR TIGHTEN IN THE NEAR FUTURE?

Wow tough question! And as I am not an expert on this, I consult with the conference legal and tax & accounting sponsors who are best placed to advise on this.  In fact, there was just a session on Anti-Money Laundering at the London conference on Tuesday. I also consult with the heads of the Trade Associations to see how we can best to shape presentations to make them relevant and useful for art businesses.

GLOBALIZATION MAKES IT IMPERATIVE THAT WE CAN TRADE INTERNATIONALLY IN ART AND ANTIQUES. WHAT ARE SOME OF THE ISSUES IN TERMS OF BREXIT AND U.S TARIFFS?

Leslie, I think you might have just offered me a topic for the NY Conference in 2019?  As it’s something I can’t answer….perhaps we should include this next year?

LVR: AND ALSO THE TOPIC OF US AND CHINA TARIFFS AND HOW THEY ARE AFFECTING THE ART MARKET! I’D LOVE A PANEL ON THAT.

THE PRACTICAL ASPECTS OF THE ART MARKET, THE INSURANCE, THE SHIPPING, THE TRANSPORT, ARE CRUCIAL TO THE BUSINESS? HOW DO YOU DETERMINE THE BEST PEOPLE IN EACH OF THESE AREAS OF THE INDUSTRY TO SPEAK AT THE CONFERENCE.

My years at The Art Newspaper certainly helped provide me with a nice list of contacts, but there are also a number of trade associations in the Art Market whose members all have to adhere to strict guidelines of best practice.  Many of our speakers are members of these associations including APAA, PAIAM and CINOA.

IN APRIL 2018, THE ART BUSINESS CONFERENCE IN NEW YORK INCLUDED THE FOLLOWING TOPICS, SUPPORTED BY KNOWLEDGEABLE SPEAKERS IN EACH FIELD.

Art Market Principles and Best Practices

This session opened with a presentation by Noah Horowitz, Director of Art Basel Americas, who defined these sets of principles and their implications for exhibitors. This was followed by a panel discussion exploring the codes of conduct and best practices that already exist in the US art market and looked at what can be done to improve standards in the industry for the future. 

Protecting an Artist’s Legacy

This session offered practical advice for artists’ estates and foundations and explored how technology is working to support artists and their estates. 

Traveling Exhibitions

This session explored the planning process behind travelling exhibitions from the museum perspective, discussed changing trends and how technology is assisting the evolution of travelling exhibitions globally.  The panel also examined best practice when loaning to traveling exhibitions focusing on insurance and contracts.  

The Future of Collecting

How will the next generation collect Art, Antiques and Collectables?  

Cybercriminals in the art world

This interactive workshop offered guidance on proactive measures art businesses can take to protect themselves and covered the following areas: the Human Firewall – training staff to detect and respond appropriately to threats, invoice fraud, password hygiene, shadow IT. Plus GDPR – the largest shake-up in data protection for 20 years, and what it means for US art organisations.

DO YOU FORESEE THE GROWTH OF THE ART BUSINESS CONFERENCE TO INCLUDE HONG KONG, OR SHANGHAI OR ANY OTHER INTERNATIONAL SITES?

Yes absolutely, I am working on developing the conference in the Asia for 2019.

IT IS WONDERFUL WHEN SOMEONE DILIGENT AND COMMITTED HAS THE INSIGHT TO OFFER A WONDERFUL PROGRAM AND THE FORTITUDE TO EXPAND IT FIRST TO NEW YORK AND THEN TO ASIA. HATS OFF, LOUISE! I ADMIRE YOU AND THE ART BUSINESS CONFERENCES ENORMOUSLY AND LOOK FORWARD TO SEEING YOU IN NEW YORK IN APRIL.

SO MANY THANKS FOR YOUR GREAT CONTRIBUTION TO THE LRFA BLOG!

 

IN OUR NEXT POST THE LRFA BLOG IS DELIGHTED TO INTRODUCE DEBRA FORCE, PRESIDENT OF DEBRA FORCE FINE ARTS. DURING A TImE WHEN CONTEMPORARY ART DOMINATES THE MARKET, DEBRA HAS COMMITTED HER PROFESSIONAL LIFE TO THE MASTERWORKS OF EARLY AMERICAN ART. HER EXPERIENCE IN THE ART WORLD IS VAST, RANGING FROM MANAGING A DISTINGUISHED CORPORATE COLLECTION TO HEADING CHRISTIE’S AMERICAN PAINTING DEPARTMENT TO OPENING HER OWN GALLERY. THE CONSTANT IN EACH AND EVERY ONE OF THESE POSITIONS IS HER KNOWLEDGE AND COMMITMENT TO AMERICAN ART AND HER ENTHUSIASM IN SHARING IT WITH US.

I LOOK FORWARD TO SHARING DEBRA’S VAST KNOWLEDGE AND INTELLIGENCE WITH YOU.