Articles in This Issue
In the first of five videos, we begin high in the Hollywood Hills where Tim Blum (co-founder Blum & Poe) and Charlotte Burns (senior editor, In Other Words) introduce the series.
[The scene opens at Tim Blum’s home in the Hollywood Hills. Host Charlotte Burns talks with Tim over an espresso.]
Charlotte Burns: Hello and welcome to In Other Words. I’m your host Charlotte Burns and joining me today for a special episode from Los Angeles is Tim Blum. Tim, here we are in the Hollywood Hills.
Tim Blum: Here we are indeed.
Charlotte Burns: You know the dominant culture here has always been movies, and so the way that that filters into the art world is really interesting.
Tim Blum: Of course, a lot of our clients and collectors are in the business on both sides of the camera. You know, it used to be sort of [that] there was just a handful of talent, and then much more of the collecting and buying was, say, in the offices, you know.
Charlotte Burns: Behind the scenes.
Tim Blum: But it’s changed so much. Many more than ever before are actively engaged in looking at, thinking about and acquiring art. It’s not like it’s the last two or three years that LA has been an important center.
Charlotte Burns: Right.
Tim Blum: LA has had great art and artists here for quite a while. In this global marketplace, collectors will buy wherever the best work is available.
Charlotte Burns: So, we’re going start our day here in the Hills, and then we’re going see where the day takes us.
Tim Blum: Absolutely.
Charlotte Burns: I’m looking forward to it.
[Tim and Charlotte drive through the winding roads of the Hollywood Hills.]
Charlotte Burns: It’s interesting cause the scene here is so different than New York or London—which, by the way, are so different from each other—Paris, anywhere.
Tim Blum: I mean, it is that way, but I mean keep in mind that both London and New York are sprawl.
Charlotte Burns: Certainly.
Tim Blum: If you’re going see New York art world, really thoroughly, you’re covering a shitload of ground.
Charlotte Burns: Yeah. And you guys have a presence in New York. Are you going to expand that?
Tim Blum: We’re working on that. Yeah, we’re looking at how we want to operate in New York on a little bit more of a permanent manner. We get a lot of work done there just by virtue of being there.
Charlotte Burns: Yeah.
Tim Blum: Having a gallery of any scale, if you’re in the mix. Especially since we have the big footprint in LA, and we also have the gallery in Tokyo. The gallery here in LA is like the mothership, and these two galleries—Tokyo and New York—are really like arms, you know. They extend outward.
Charlotte Burns: Do you think the two artists who have brought the Hollywood Hills to popular culture the most are David Lynch and David Hockney?
Tim Blum: Yeah, perhaps so. Yeah, for sure. Right up here, the blue topped roofline, this is Hockney’s house here and home studio. He’s mostly living and working in this place now.
[Shot of the blue roof of David Hockney’s home studio]
Charlotte Burns: I like that little pop of color, seems quite Hockney.
Tim Blum: So, imagine now being Hockney and leaving, and he would basically leave his house, go down this road, all the way to Nichols Canyon, which we’re going to take down into the city. And then he ended up of course painting much of this, including Nichols Canyon and Great Ways. And his painting studio, which is still there, for decades has been on Santa Monica Boulevard in Little Russia.
We’re now at the bottom of Nichols Canyon, and we are in Hollywood proper. In a block, we’ll hit Hollywood Boulevard here.
“You wonder how much has really changed; how much improvement is there?” In this episode, Blum discusses issues from #MeToo and race in America to “filling in the gaps” of overlooked art histories as he drives around LA with Burns.
[Tim and Charlotte drive through Hollywood, hitting the usual Los Angeles traffic along the way.]
Charlotte Burns: The market has been going through a kind of revisionist mode and so have institutions. Do you think we’re still in that mode? Or are people—
Tim Blum: Yeah, a bit. Sure.
Charlotte Burns:—kind of “correctionist”?
Tim Blum: You mean looking at history?
Charlotte Burns: Yeah, like looking at overlooked history specifically.
Tim Blum: Yeah.
Charlotte Burns: Even if that’s well-known artists. Work that they made that maybe wasn’t so appreciated, or entire movements that we didn’t pay attention to before.
Tim Blum: All of that is valid. There are a lot of people that poo-poo it, like: “Oh, let’s work with only what’s happening now. Let’s not get too wrapped up in what’s happened in the past.”
But I think that’s shortsighted; I think that there are a lot of things from the past that, like you said, have either been overlooked or not even looked at, for various reasons. And, you know, it’s interesting to fill in gaps. And important, too.
Charlotte Burns: Mhm.
Tim Blum: And, you know in our case—and in most, I think, cases—you strike a balance. We still work with younger artists, sort of emerging in a way, all the way through to estates. We’ve just taken on the Robert Colescott estate. This is an artist who was extremely well known throughout his lifetime but hasn’t really had much attention for quite a while.
Charlotte Burns: What made you want to work with the estate?
Tim Blum: We’ve been looking, like so many have, at different histories and we’re very involved with… I mean of course we do the Japanese, we do the Post-War Korean, we do Post-War Europe with CoBrA and we’re also quite involved with African-American work here. And we’re socially aware, work that deals with social justice issues and things of this nature.
Charlotte Burns: Has that has that become more important to you recently?
Tim Blum: Absolutely. Yeah, for sure.
Charlotte Burns: Because of the—
Tim Blum: Because it’s like, you know, we’ve been doing this for 25 years, 24 years, and you move through these different… you build something, you move through different movements and evolution in your own life and in a gallery’s life or in a professional life.
And, at this point, I think that if you’re not cognizant or aware of what’s happening in the world and globally, and specifically with America, and politically, socio-politically, culturally. I mean, it’s like: this is it. This is the time. Like this is the key moment. We’ve all been sort of entitled to a certain way of being and—
Charlotte Burns: What do you mean by that?
Tim Blum: Well the last, you know, how many years have we had this… I hate the word, but it’s a sort of bubble with a facade of equal justice in America, you know, where things felt to be more socially and equally just.
Charlotte Burns: Right.
Tim Blum: Whether it’s with gender issues, or sexuality issues, or racial issues or all these things. It I think people actually… at least in in the art world, it seemed like that’s what people felt. We had Obama as president, you know.
Charlotte Burns: Yeah.
Tim Blum: The economy was booming, people were making a ton of money in the art world, it’s like everything felt ever-expansive and ever so utopic.
Charlotte Burns: Yes.
Tim Blum: And then ping! Pop! And that veil’s been pierced, clearly, and the truth of where we are in America and the globe is now revealed. If you go back and watch the Ken Burns documentary on Vietnam and see some of the footage of the ‘60s that’s in that film, you wonder how much has really changed.
Charlotte Burns: Yeah.
Tim Blum: In fact. How much improvement is there, you know? And you look at, you know, pick a topic: whether it’s Me Too; or Time’s Up; or Colin Kaepernick; or Philando Castile; or Trayvon Martin or any of this stuff.
So, a lot of the art that we work with is actually dealing with allot of these issues in a very direct manner, whether it’s Sam Durant and the Lakota tribe up in Minneapolis last year at the Walker Art Center, which had such a tumultuous experience, or showing his sign in Miami that says End White Supremacy, or Henry Taylor at the Whitney Biennial showing paintings of the shootings of Philando Castile.
Charlotte Burns: Right.
Tim Blum: So, yes it’s a very important component.
Charlotte Burns: What’s the aim, or what’s the anticipated outcome of that? Do you think art can change the world?
Tim Blum: Well I mean, yeah sure. Why not? I mean, changing the world can happen in a minute, and that means just your world.
Charlotte Burns: Yeah.
Tim Blum: Right, you can’t change the world in a macro manner, but you can certainly have an impact on it in your own way, which can then ripple out.
Charlotte Burns: And are many art collectors buying work that’s incredibly direct about social justice? Is there is there a market for that?
Tim Blum: Well yeah, there is. I mean, I think that a great Henry Taylor painting is a great Henry Taylor. And if it’s got that meat, that social justice meat in it, it’s certainly not going turn anybody away.
Charlotte Burns: Ok.
Tim Blum: Some of it can be a little bit too much of a reality check, I think, for people.
Charlotte Burns: Well because—
Tim Blum: Some people want to just simply escape, and that’s ok, too. Escaping is fine. But again, I think there should a balance of both, which is why we like, you know—
Charlotte Burns: You like to have balance
Tim Blum: It’s not just from Kanye to institutional critique, it’s from Henry Taylor to Dansaekhwa. I mean, you’re going from a shooting of Philando Castile in Minneapolis, Minnesota, to a highly reductive monochromatic painting from Seoul. So, I’m cool with—
Charlotte Burns: With all of it.
Tim Blum: —having all of it. You know, it’s all fantastic and valid.
Blum and Burns discuss the art market; the pressure to produce work and participate in “the machine”. They visit The Underground Museum, which has quickly emerged as one of LA’s most influential art spaces since its opening in 2012.
[Tim and Charlotte continue their drive through Los Angeles to their first destination, the Underground Museum.]
Charlotte Burns: When you work with artists, do you try and steer them and advise them on bodies of work that you think are good or not good, or on editing things, or on taking a second step back?
Tim Blum: Sure, of course. Absolutely.
Charlotte Burns: How crucial is that in the role of an art dealer?
Tim Blum: I think it’s vital. I think that if you’re not doing that, you’re not doing your job as a dealer.
Charlotte Burns: Do you ever feel pressure for product?
Tim Blum: From whom? The market?
Charlotte Burns: From the market, yeah. From the amount of events that you do and—
Tim Blum: Well, of course. That’s the sort of double-edged… the other side of the double-edged sword, you know. The machine that has been created through this explosion in the art market, which includes all the things we’ve been discussing plus art fairs, which are sort of a necessary evil.
Charlotte Burns: Do you think it’s sustainable? Do you think we’ll see big change?
Tim Blum: I don’t know, that really depends. Unfortunately, I think change for that on that level only comes when there’s an economic dent.
Charlotte Burns: Well, we’re seeing a kind of crisis on the mid-level for galleries.
Tim Blum: Well, we’re seeing a big crisis just on every level today. Now does that affect the art market immediately, or the market in general immediately? I mean, no, not immediately. I mean, immediately it does have an effect because people get distracted by that.
Charlotte Burns: Yeah.
Tim Blum: But, you know, nothing can expand forever. It’s like breath. It’s like, it’s got to breathe. You gotta breathe.
Charlotte Burns: How do you—
Tim Burns: And that’s the fucking problem with the art fair circuit and all that. You know, people get on that merry-go-round and they just simply can’t seem to figure out how to get the fuck off.
Charlotte Burns: How do you do that?
Tim Blum: I mean, I don’t go to all of them. And if I go, I usually… I’ll go for a day or two. You can’t… if you start adding it up, it’s sort of repulsive, especially if you have all of this other stuff you want to do, like organizing exhibitions and selling art and doing studio visits and having a personal life and all that.
Charlotte Burns: Do you think the fairs are working in the sense that they’re still attracting the audiences?
Tim Blum: They do. People still… it’s an easy place for people to get a lot of information and look at a lot of art. I think the only the problems come when people are not doing creative, interesting projects for those fairs. If it’s just another group show of things that aren’t interesting or fresh or new, then that’s a big problem.
Charlotte Burns: So, tell me a little bit about the Underground Museum where we’re heading now.
Tim Blum: Founded by Noah Davis, a great artist here in LA who sadly passed away, but he had a vision of creating a space, a museum called the Underground Museum, and he made it happen before he passed. It’s in a specifically African-American, Latino neighborhood. It’s a precise, kind of interesting look at the art world from that viewpoint.
He kicked it off with an exhibition called “Imitation of Wealth”, which was because he couldn’t get loans for certain works. He recreated works of art, like Koons and others that he couldn’t borrow, so they simply recreated them. They wanted a kind of museum in the hood.
Charlotte Burns: Right.
Tim Blum: And they created their own museum and art for the hood, but in a very conscious way because he’s a very—
Charlotte Burns: Very thoughtful.
Tim Blum: Thoughtful study person. Highly educated. And that got a lot of attention.
Noah, before he passed, created a thick book of exhibitions he wanted to do, and they’ve been moving through these exhibitions. So, it’s kind of a profound work of art.
Charlotte Burns: Yeah, and an amazing legacy as well.
Tim Blum: Yeah. It’s pretty extraordinary.
[Tim and Charlotte meet gallery associate Justen LeRoy at the Underground Museum. The camera pans the museum’s gallery space.]
Charlotte Burns: We’re at the Underground Museum now with Justen LeRoy
Justen LeRoy: We sort of want to be a place that is your center of rejuvenation, centering, meditation. So, when you leave home, and then you haven’t been in a really long time, that moment when you come back, and you take your shoes off and your feet are on the carpet. Just that refreshing feeling, every time. [laughs]
Charlotte Burns: I feel that way when I come in.
Justen LeRoy: Yeah? Good. [laughs] So, the exhibition that we do have up now is “Artists of Color”, which is really focused on changing the way that our audience really perceives color in the world and applying color to themes of simple mood or nationalism, too. It’s sort of been a portal for people to kind of create their own world in the museum space.
Tim Blum: Is this called the Community Garden?
Justen LeRoy: The Purple Garden.
Tim Blum: The Purple Garden. Can we take a look?
Justen LeRoy: Of course we can.
Tim Blum: Great.
[The three walk outside. The camera pans the Purple Garden.]
Justen LeRoy: And purple was Noah’s favorite color. He feels as if purple is to black people what Yves Klein’s blue is to white people.
Tim Blum: That’s great.
Justen LeRoy: The color purple being linked to royalty and wanting to make sure that anybody that occupied this space felt that exact same way: royal.
Charlotte Burns: Oh, so gorgeous out here.
Justen LeRoy: And it’s so many different worlds coming together to meet and share this love for whatever that it is that we’re doing. So, I think we’ve been able to really develop some interesting conversations and interactions between people who are well versed in contemporary art and people who are coming here as their first museum experience.
[The camera shows more gallery space inside the museum]
Charlotte Burns: It’s so amazing. I feel like Tim, you’re taking me on a tour of the calmest, most meditative spaces in LA. I feel really relaxed after today.
Tim Blum: This is it. If you’re living here like this, you should embrace… we should… right? Dig into it, man.
Justen LeRoy: Absolutely
Charlotte Burns: I don’t feel like I find this in New York. [laughs]
Tim Blum: It shows the best of a community, and it shows the best of this particular town where some people took it upon themselves to make something happen
Blum talks about artists and spirituality, and discusses running galleries in New York and Los Angeles. He and Burns visit the Schindler House, a small oasis in the middle of the city, characteristic of the best of Californian Modernist architecture.
[Scene begins with Tim and Charlotte sitting at a table on the patio of a charming restaurant on Melrose Place. They have just ended lunch with a delicious cookie.]
Charlotte Burns: And that was the best cookie I’ve ever had in my life. Can you tell me where we are other than Heaven?
Tim Blum: The we’re at a place called Croft Alley, which is just a little nook in a back alley in West Hollywood. It’s a local joint I go to all the time.
Charlotte Burns: Delicious. So, what are we going to do next?
Tim Blum: I think maybe we’ll go to the Schindler house, which is also part of the MAK Center.
Charlotte Burns: Sounds brilliant.
Tim Blum: Let’s do it.
Charlotte Burns: Let’s do it.
[Tim Blum and Charlotte Burns drive through West Hollywood.]
Charlotte Burns: So, before we got out for lunch, were talking to me about your plans for this agnostic spirituality show.
Tim Blum: [laughs] Right.
Charlotte Burns: And I wanted to talk to you a little bit about that, but also about exhibitions in general.
Tim Blum: I have actually been working on a plan for an exhibition. I recently have come to the conclusion that I want to commission a composition—
Charlotte Burns: Oh really?
Tim Blum: —for the show. Yeah, to have that as an aural component to the exhibition. I’m calling it agnostic spiritualism because I’m seeing a thread in the art world, around the world, of artists that are very involved with spirituality, but not related to some sort of—
Charlotte Burns: Organized religion.
Tim Blum: —specific church or organized religion.
Charlotte Burns: Do you think that the art museum as temple, that sort of secular organizing force, then the one thing that’s been missing from that—if you think of any really organized religion—the human voice is… singing or chanting in unison is a big part of what creates that sense of togetherness. So, it’s really interesting to think of how underused that’s actually been in creating the experience in the art world.
Tim Blum: Fully. It’s kind of fascinating, huh?
Charlotte Burns: We’ve been speaking to a lot of dealers who say that they’re not getting so much traffic in the gallery. How do you keep exhibition making at the kind of forefront of what you’re doing?
Tim Blum: Yeah well, I mean it’s just part and parcel of what we do, it’s the main focus. I think that’s what the bulk of our job is: to mount and host exhibitions. Both in the galleries and, of course, in museums and otherwise around the world. That’s the meat of the matter.
Charlotte Burns: Do you get people coming to the gallery?
Tim Blum: Absolutely, more and more and more.
Charlotte Burns: Is there a difference between New York and LA?
Tim Blum: Well, LA gets more traffic because it’s the flagship, it’s museum scaled. It usually has two exhibitions going at any given time
Charlotte Burns: And which exhibitions have you staged that you’re most proud of? Like Mono-ha?
Tim Blum: The Mono-ha is definitely, yeah, the top, if not one of the top, if not the top most memorable exhibition.
Charlotte Burns: Do you find that those shows lead the way for curators to… they interest other curators—
Tim Blum: I think so, maybe.
Charlotte Burns: —that in turn kind of builds a market? Or does it not work like that?
Tim Blum: Well, you know, maybe. I mean, the Mono-ha thing definitely… You know, it depends on what material you’re looking for. It’s all very specific. So, Mono-ha definitely created a market and an awareness for Mono-ha artists.
Charlotte Burns: Mhm.
Tim Blum: Although they are mostly all sculptors, and sculpture markets are much, much more difficult than painting markets.
Charlotte Burns: Yeah.
Tim Blum: Dansaekhwa was one of the most explosive market experience I think that I’ve ever seen.
Charlotte Burns: Really? why?
Tim Blum: Yeah, because it was literally a group of artists who had been working steadily in Korea for 50 years and had not really had any real attention outside of that region. So, you’re having great painters that fit into a global history, and it’s fresh art for the market, and it exploded.
[Tim and Charlotte arrive at the Schindler House.]
Tim Blum: We’re in the heart of West Hollywood on Kings Road. We’re heading to the Schindler House, which is sort of a very important, almost birthing ground for all the best that California architecture has brought. So, look at this. This is another in the middle of the city—
Charlotte Burns: It smells amazing.
Tim Blum: —just this idyllic compound. It sits here as quiet as we hear it now.
Charlotte Burns: I love it. There are these idyllic pockets around LA.
[Camera shows the grounds of the Schindler House.]
Tim Blum: Yeah, for sure. Again, like we said, this is one of those one of many, many examples of LA at its best, like a unique approach to art, architecture, engagement in the city.
Charlotte Burns: So, when was this house built?
Tim Blum: 1921, 22.
Charlotte Burns: Oh, really?
[Camera pans the interior of the house, showing the contemporary art pieces on display.]
Tim Blum: Rudolph Schindler, Austrian, immigrated to LA, and he along with Frank Lloyd Wright sort of simultaneously kicked off the great Los Angeles architectural renaissance, which continues to this day. But this is a really important pivotal site which has blessedly been kept, maintained, restored and is now operated by the MAK Center which keeps it alive by hosting exhibitions of contemporary art.
Charlotte Burns: And this is sort of a fusion of Japanese and European influences.
Tim Blum: Well yeah, this sort of kicked off the whole notion of indoor… these key components of LA. This is the script. This is it. It’s crystal blue skies. [laughs] You’re living indoor, you’re living outdoor. It’s fluidity. Schindler was also very inspired by Japanese architecture, so he brought in a hybrid of European modernism, Japanese aesthetics, and married it in the in the California landscape.
Charlotte Burns: Yeah. It’s gorgeous. One other thing we were just talking about was LA fiction.
Tim Blum: Yeah. Oh God, yeah.
Charlotte Burns: It was Raymond Carver who wrote this thing that was super chilling about a housewife standing at a sink cleaning the cutlery, and then there was a kitchen knife and then she cleans it just a little bit too slowly—
Tim Blum: Sure, of course.
Charlotte Burns: —and this thing about the Santa Ana winds creeping up your spine. Is that a thing?
Tim Blum: Nathanael West. Yeah sure, that’s The Day of the Locust, I think, that one comes from. Who ended up becoming a screenwriter here. I mean, look, that’s the thing is that it has this aura and mystic of exactly what we’re experiencing right now, which is crystal blue sky, perfect sun, a there’s this actually a slight breeze which is actually slight cool, oddly enough. [laughs] But there’s creepy crazy shit that goes on. Just like anywhere else. It’s that noir side of LA. And that Santa Ana winds is like an indication of that. It’s like the hot wind that comes from the desert, goes up your spine, gets into your head and makes you fucking crazy.
Charlotte Burns: Well, here we are.
Tim Blum: Let’s not go crazy yet.
In this final episode, Blum and Burns talk about the business of running a gallery—and staying relevant—over several decades. On a tour of Blum & Poe, Tim Blum talks about how he likes to stir controversy.
[Tim and Charlotte drive through Los Angeles to arrive at Blum & Poe Gallery. They pass sites along the way, such as the Los Angeles County Museum of Art.]
Charlotte Burns: You and I were talking recently about like if you could reduce a gallery survival these days to a kind of equation, it would be something along the lines of capital plus vision in in terms of being able to look at the right art, and contacts. But without those three, it’s kind of difficult to survive. You can have capital and contacts, but if you don’t have good art it’s not going to work. If you have good art but no capital, it’s going to be hard. Do you think that’s true?
Tim Blum: Yeah for sure, but if you had to choose, you’re always going to want to have good art. Like that’s just… you know, I think people get confused sometimes, and it’s actually the one simple rule is to keep it focused on great art and great artists. That should always be your primary focus.
Charlotte Burns: So, when people talk about galleries, there’s this idea that galleries often have a couple of artists that essentially bankroll the business, and then that allows them the capital to take more risks. Have you ever been in that position? Or have you had a different kind of strategy?
Tim Blum: Well, it was no strategy. I mean, when you’re starting with young artists that have literally no career, you’re not thinking: “Ok, here’s how it’s going to work.”
Charlotte Burns: A lot of galleries don’t last as long as you guys have. How do you keep a gallery going for almost a quarter of a century?
Tim Blum: I mean, look, it’s a lot of very intense hard work. I mean full stop.
Charlotte Burns: Is it getting easier as you are more established?
Tim Blum: When you have 25 years plus in the business, and you have built something that has a real history to it, that’s something you can touch. And I think people can feel that as well. It’s not just us touching it.
Charlotte Burns: What were the what were the hardest years and why?
Tim Blum: Fuck. Jesus, I mean it was quite brutal for quite awhile, I mean it was we were in the small space in Santa Monica from ’94 to 2003, so 9 years we were in a very small space trying to make shit happen, and trying to do it from LA at a time when LA was not a center. It’s just a vision and a and a diligence. Like a blistering, intense focus for a long time.
Charlotte Burns: Did you feel concern about putting down roots in a city that moves around?
Tim Blum: No. No. We’re like the post office now. I don’t like to chase a good time, as they used to say.
Charlotte Burns: Right. [laughs]
Tim Blum: Like, we have our own good time, so we’re here. Things move and come and go, you know. At that point, it was constantly about rolling into the next thing, so you’d make money and you’d put it all back into the business. So, we rolled it into the building. And yeah, look, it was a good thing to do. It’s a 22,000 foot building on an acre of land in the center of LA.
[Tim and Charlotte arrive at Blum & Poe Gallery. The camera pans the exterior of the building and the interior gallery space.]
Tim Blum: So, this is the what we call the PVR, private viewing room. The scale of this gallery is exactly to the millimeter the same size as our first gallery in Santa Monica. We’ve carried it with us.
Charlotte Burns: I like that. Kept it in your pocket.
Tim Blum: Yeah. For sure.
[Tim and Charlotte move into a gallery space where the work of PascALEjandro is on display]
Charlotte Burns: So, tell us about this body of work, this artist
Tim Blum: Yes, so this is called PascALEjandro. It’s a collaboration between Alejandro Jodorowsky and his wife Pascale Montandon Jodorowsky. For those of you who don’t know who Jodorowsky is, shame on you.
So, Alejandro lives in Paris. His wife Pascale is 47; he’s almost 90. They have a very deep true love, and in trying to celebrate that love, they’ve created this project PascALEjandro. Alejandro makes the drawings, and Pascale colors them. And it’s called “Alchemical Love”, and it becomes a kind of baby. It’s like their baby.
All the great directors who are based here have been through.
Charlotte Burns: Yeah, I’m sure.
Tim Blum: From P.T. [Anderson] to [Darren] Aronofsky, Alejandro Iñnáritu, Quentin [Tarantino]. They’re all like this is an important person for them. So, it’s always fun to try to cross pollinate into those worlds, too.
Charlotte Burns: Is that successful thing to do?
Tim Blum: Yeah, it’s successful in as much as it creates energy.
Charlotte Burns: Did you find that when you did the Kanye show that you got a new audience? Did you retain that audience?
Tim Blum: [laughs] No. It was a pop-up project, invite only because of the nature of it. We didn’t get a new audience, we got… It was just a shit-stirrer, which we like to do. I certainly like to do.
Charlotte Burns: Yeah? Why?
Tim Blum: Because I think people get comfortable in their own little worlds, and they need to be disrupted. So, there’s a lot of criticism of me doing that show. There’s no viable argument that’s been propositioned by anyone as to why I shouldn’t have hosted that show because they don’t know the project nor Kanye nor his relevance.
Charlotte Burns: I thought it was fun.
[The camera moves throughout the other gallery spaces.]
[Tim and Charlotte sit at a table in the gallery’s garden, closing the day.]
Charlotte Burns: So, at the end of a uh very busy and productive day, we’re ending where I guess it all began in a way, which is your gallery, Blum & Poe. Thank you so much for giving us a tour of the space and, indeed, your LA.
Tim Blum: Yeah. You’re welcome. Pleasure, anytime.
Charlotte Burns: We’ll probably be back.
Tim Blum: I hope so. I’m sure you will be.
Art Agency, Partners is a bespoke art advisory firm founded in 2014, and built upon decades of combined experience, to provide counsel to many of the world's leading art collectors and institutions on collection assessment and development, estate planning, and innovative approaches to museum giving and growth.