5 Questions with Art Advisor Laura Solomon

May 16, 2025

We’ve been keeping an eye on renowned art advisor Laura Solomon, a prominent figure in the New York City art scene, and were excited when she agreed to an interview. With years of experience navigating the intricate world of art acquisition and curation, Laura has established herself as a trusted expert for collectors seeking to enhance their art investments. Her keen eye for emerging talent, deep knowledge of art history, and passion for fostering meaningful connections between artists and collectors have earned her a distinguished reputation. Today, we’ll delve into her journey, insights into the role of an advisor in the art market, and advice for both aspiring collectors and seasoned enthusiasts. Read below to explore the dynamic world of art through Laura's perspective.

1AN: You’ve had the rare opportunity to work closely with both artists, like Karel Appel, and collectors at the highest level. How has that dual perspective influenced your approach as a private advisor today?

I definitely have a well-rounded perspective having spent decades working with a handful of significant artists. For the artist and studio, knowing the collection and having a direct relationship with the collector is highly valuable. It harkens back to the days when artists were supported by wealthy patrons. The collectors I work with greatly value forging connections with artists and cheering on their successes and supporting their careers over time. On the other hand, I am keenly aware of supply and demand and how acquiring work from a particularly prolific artist has its own set of concerns. This knowledge has also given me an understanding that an artist’s practice and output is not always even and consistent. I know how to evaluate the various phases of an artist’s oeuvre and prioritize certain pieces/periods. I am confident in my ability to select the strongest work out of an exhibition or series. 

1AN: Well, your confidence is well earned with experience, considering you’ve been immersed in the art world since the early ’90s. In your view, how has the role of the art advisor evolved over the past three decades not just in terms of client expectations, but also in the broader context of market transparency, access to information, and the growing intersection between art, lifestyle and investment? 

The role of the art advisor has changed so dramatically in the past few decades as to render the early role one that barely resembles the art advisor of today. Back then, the amount of time it took to source, present and finalize an acquisition took weeks, if not months. In the early days, I would have professional transparencies taken or duplicated and a lengthy art historical write up accompanied catalogs and press packets – all messengered to client’s residences for consideration. I remember using an annual Art in America guide to track down international sources and relying on faxes. A good library was everything and I would sometimes go to Ursus Books by the Carlyle to find an obscure publication to source collectors of a coveted artist.

Being a good advisor has always required resourcefulness, diligence, thoroughness and professionalism. As the art world evolves, you need to be able to see beyond market and media hype to find quality, value and resonance, a perspective that is both macro and micro.

Today, the speed with which information and images are received and sent out is virtually instantaneous. I am checking on emails all day and night and it is often the sooner you act on an offer, the better the chances for “getting” the best work. With that dynamic, it is imperative that you figure out who your collector is and what motivates and inspires them. Then, you need to educate them on artists of interest so much so that when a work drops into their inbox that I have tentatively secured for them, they are in a position to immediately say yes. I feel extremely well-equipped to get collectors ready so that they can take advantage of the privileges that my reputation affords them. So much about being an art advisor today is about access – it helps to be a veteran and to have so many strong relationships that span decades. 

A fully transparent relationship with collectors is essential. Having a contract that delineates my role, how I am compensated and sets the expectations for our relationship is part of that transparency. My clients know that my fiduciary responsibility is to them and as their advisor and I don’t muddy those waters, ever. It also helps to have the most wonderful collectors who don’t speculate or flip and are grateful for the depth of experience and self-expression that collecting affords. I love being in a role where I can metaphorically hold their hand as they develop and introduce art to their lives.

1AN: So, for those collectors who are aiming to build a collection that holds both emotional resonance and long-term value, what guiding principles would you recommend? What role do you, as an advisor, play in helping them navigate that delicate intersection between heart and market?

An art advisor’s role is to do just that – distill the market and understand value-making while allowing the collectors to focus solely on the deep emotional connection. It goes without saying that you hire an art advisor to help you make “good” decisions because of the significant cost of acquisition. There are notable benchmarks I search for when looking at an artist’s bio that can help me find standouts from the hundreds of emails and offers I sift through in a day. The collectors I work with are thrilled when their collection has increased in value but that is not why they collect. I educate them about the market but give them the freedom and confidence to collect with all heart.

1AN: You've worked on residential projects at the highest level. How do you approach collaborating with interior designers to ensure the art not only complements the space but also maintains its own integrity and impact within a curated environment?

It is all about asking the right questions and with designers, it is easy to speak their language. When I am tapped by a designer to help source work for a particular project or client, I am very specific in my conversations surrounding aesthetics to be sure I know how they want the art to dialogue with the surroundings. Sometimes, designers are looking for a balanced and cohesive combination of art and interiors. Other times, they are looking for art to add another layer to a space, to find pieces with more depth that have a stronger presence than the interior. In any case, at this high level, the art is not “decoration," I work with designers to elevate their vision through the presence of fine art.

If I am working with a collector with a major designer attached to a particular residence, I definitely like to involve the designer but at the end of the day, the collector is the one that will ultimately need to sign off on the acquisitions.  It is usually seamless and the collector has chosen to work with a designer because of their vision and execution.

In one instance, a client and a designer I work with often restored, renovated and decorated a magnificent manor house with incredible, eclectic antique furnishings. Rather than continue the trend of sourcing from the period, the collector amassed an impressive collection of challenging Contemporary Art that was impactful and daring. The result was massively successful and the juxtaposition of historical and contemporary was magical. The designer was thrilled and everyone agreed that the marriage of the two, though widely disparate, was fantastic.  

1AN: OK, but aside from residential projects, your advisory work also spans corporate and hospitality spaces. How does your curatorial strategy shift depending on the type of environment you're sourcing art for?

When it comes to advising for a corporate or hospitality space I curate based on how the space is used. If I am selecting work for a W Hotel, for example, there is a certain level of intrigue and provocativeness that is present in my recommendations, based on the stylish brand and clientele. In contrast, if I am selecting work for a law firm, I may recommend art that is grounded, strong, contained, and current. A recent law office included some ultra-contemporary art to keep in line with their clientele that are often at the forefront of culture; portraying a vibrant firm that is up to date and “in the know”. Of course, that art wasn’t too provocative so as to incite controversy, but it wasn’t dated, for sure! Regardless of the type of environment I am sourcing for, part of being a great art advisor is knowing your client so well as to be able to interpret their personality into aesthetic choices. It is essential to have a deep understanding of the kinds of art that inspire and move them. Considering and interpreting the space where the art will hang and how that space will be used and inhabited is crucial.

Connect with Laura here.

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