in other words

Everything you ever wanted to know about the art market but didn't know who to ask

A New Chapter

An Opportunity to Dream

Chris Burden, Beam Drop Inhotim (2008) © 2018 Chris Burden/licensed by The Chris Burden Estate and Artists Rights Society (ARS), New York. Image courtesy Inhotim. Photo credit: Eduardo Eckenfels

BY Allan Schwartzman
co-founder of AAP & chairman of Sotheby's Global Fine Arts

Published
In Allan's Intro

I can’t talk about much of what I do, since discretion is paramount for many of the individuals and cultural initiatives for whom I work. But I am finding it difficult to contain my enthusiasm for a new project that is in the early stages of conception. In addition to sustaining the collection advisory work that has been my principal focus for more than 20 years, one benefit of our growing team is that I am able to take on more projects of ambitious scope.

Here’s what I can say. I believe that many of the most compelling and paradigm-shifting opportunities in art seem to be coming from outside the traditional centers of Europe and the United States. Right now I am working on several international projects whose founders are seeking to take innovative approaches to creating cultural destinations that both speak to their local communities and specific cultural histories while, at the same time, having the capacity for real global impact.

Fifteen years ago I began working on one of the greatest curatorial opportunities imaginable, envisioning a collection-driven museum focused on large-scale works, which are often impossible for museums to collect and display. The creation of Inhotim has been the kind of project that only comes around once in a lifetime: a place where artists could create transformative works of a scale and scope they might never otherwise have had the opportunity to, located in the beautiful and varied landscape of the mineral-rich state of Minas Gerais in Brazil. 

Recently I have begun working on a new project that is affording me another opportunity to dream about which artists could make their best work in a distinct landscape; how to animate their greatest creative ambitions; how to situate their work in order to amplify the experience of it. I cannot say much more than that right now, except that I feel lucky to be able to both work in the heart of the art market and, at the same time, have the opportunity to work with artists in helping them create work that has the potential to be some of the most impactful art produced in our time.

Given that I came to the art market and to advising through curating and writing, I am especially grateful to have the chance to work in this uncommon intersection, where money and art have the opportunity to bring out the best in both.

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