The way you present your work has a lot to do with how people receive and regard it.
The art market is global now, and theres becoming more of an international consensus about what constitutes good art.
I've had people say to me, "Well, how do I start collecting artworks?" Well, you start by buying. Buy what you like, buy what you can afford - and I'm not just saying that because I'm a dealer. You can't be so paralyzed to where you keep saying, "I've got to learn more." The best way to learn is to go home and actually put something on the wall. Then you've got an investment. Then you're living with it. Then you're in the game.
I don't think you can tell somebody how they should collect. I think it's just about being turned on by art.At the end of the day, some people just kind of get it. They don't all get it in the same way or get the same artists, but it's a journey that excites them.
I play hard. So the critical stuff doesn't surprise me or bother me.
I don't know what 'loyal' means.
Working with younger artists kind of tests your judgment. You're not always right, but when you are, it's exciting.
For me, collecting is sort of a natural extension of being an art dealer, because if you don't want to collect the artist, then you probably shouldn't be representing them.
Professionally, what comes first is representing the artist.Whether they're alive or dead.
I never really took a proper art class in college. I just started reading art magazines and going to galleries.
The sun never sets on my gallery.
I think functioning as a business manager can be a hindrance to having a real dialogue with the artist. I do think that artists need good lawyers and accountants, because they're dealing with serious money. But an artist who stands behind a manager? That's a little different. I think that can be a bad buffer.
The so-called "secondary market" has also always been something that I'm comfortable with. I'm not a dealer who turns his nose up at that part of the business. I'm an art dealer - my primary responsibility is to represent the artist.
A lot of artists are involved with fabrication. Artists today are making more objects and many of them need the participation of a dealer in order to facilitate and provide support for projects. So that has changed. But I don't know if what it means to be an artist has really changed. I hope that it hasn't.
When a collector says, "You've got to educate me," or "What's a good investment?" then I don't know what to say. I have no idea. Let's face it, I'm probably going to recommend artists that I represent.
Honestly, I grew up in pretty modest circumstances. We were a middle-class family.
