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Balance of Power – Who are Today’s Market Makers and Influencers?
Speaker(s): Amelie Chabannes, Heidi Lee-Komaromi, Lenise Logan, Peter Priede
Recorded at: Art New York 2016

Balance of Power – Who are Today’s Market Makers and Influencers?

The art world has changed significantly over the years where we’ve seen an unprecedented number of art fairs, new technologies and record-breaking auction sales.

Talk Details

As a result, the market has expanded and more artists are taking center stage. Heidi Lee-Komaromi, Manhattan-based Contemporary Art Specialist, Peter Priede, Director of Hazelton Galleries, Amelie Chabannes, an artist who’s work can be seen at Art New York, and Cultural Strategist Lenise Logan, will discuss the forces shaping the art world today, new market factors and how artists have been impacted.

Please take note that this session took place live during the 1AN Symposium at Art New York.

   

Speaker Details

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Amelie Chabannes

Amelie Chabannes is an artist who works in sculpture, installation, Drawing and video. Chabannes was born in Paris, France. She studied Architecture and Fine Arts in French Art School, ENSAD. She worked for several years with Architects and Designers on major projects, including a Cultural Center In Riga, Latvia. She moved to NY in 2005, she currently lives and works in Brooklyn, NY. Her work has been exhibited in international venues that includes: The Aldrich Museum of Contemporary Art (CT, USA), Middle Gate Geel 13’, Gasthuismuseum, Belgium in 2014 (curated by Jan Hoet) Critically acclaimed art festival Crossing the Line in 2009 and 2011 (curated by Lili Chopra and Simon Dove, New York, NY) Kunsthalle am Hamburger Plaz (Berlin, Germany) Museo De Arte Moderna (rio de Janiero, Brazil) Galerie Hussenot (Paris, France), Stephan Stoyanov Gallery (New York, NY) NADA Sculpture exhibition (Miami, Florida).Syracuse University Art Center -The Red House (Syracuse, New York) the 798 Biennale (Beijing, China) Galeria Fernando Zubillaga (Caracas, Venezuela) S.E gallery (Bergen Norway) CB1 Gallery (Los Angeles, US) White Box (new York NY) Galerie Of Marseille (Marseille, France) Museo Frantz Mayer (Mexico City, Mexico) Drawing Now 2014 and 2012(Solo Shows. Louvre, Paris).
She has been awarded by the International Center Award of Excellence for Fine Arts (New York, NY) along with artist Yoshitomo Nara and received The Pollock-Krasner Foundation grant as well as the Joan Mitchell foundation Grant. She has been reviewed in publications such as The New York Times, The Wall Street Journal, Art In America, Flash Art (Us and Italy), White Wall Magazine, City Art, Timeout New York, Liberation, France-Amerique, Flavorpill, M Magazine, Elle (France), Architektur and Wohnen, Verso Arts et lettres, The Visual Art beat Magazine among others. Selected collections include the Progressive Collection, Cleveland, Ohio as well as numerous private collections in the United States, Europe, Russia and Japan. Exploring the limitless notion of Identity, its various derivations and representations within philosophy, psychology and art history has been the main subject fuelling my work over the past years. I first aspired to associate the exploration of the self with geological procedures and gestures. My recent installations embody excavation sites where sculptural objects were submitted to raw destruction as well as meticulous recovery, in which debris and artifacts are observed as remains of our individuality. Deconstruction and iconoclasm became main references and actions in my recent practice, leaving more authority to the process, pushing away the literality of the subject, and enriching the conceptual aspects of my work.

In my drawing projects, the primary research focuses on a selection of extreme collaborations, situations of extensive dependency that exhausts the sense of individuality. In the series “Double Portraits and a fourth hand” I used documents depicting paintings from Oskar Kokoschka with his lover, Alma Mahler, photographs of Marina Abramovic and Ulay while they closely perform, pictures of Genesis P orridge with Lady Jay attempting to resemble one another. This body of work follows a strict and systematic process. A map of the original document is built upon numerous layers of tracing paper; the data is endlessly flipped over, transferred and overlapped on a wood panel until the borders of each of the protagonists fade away. The image and its representational aspect is altered by its own repetition. Then, the drawing and the wood Panel it lies on are partially or entirely demolished. Not only I aim to challenge the highly established icons and predominant art history narratives and values; I also hope to face up to my own work, the conventionality and sacralization of its fabrication, the endurance and time, the production involved and its new inner possibilities. On one of the walls of my studio stands a picture of the Erased de Kooning drawing by Robert Rauschenberg. Not only this particular work led fundamentally to my most recent projects, but it also constantly reminds me the necessary quest for the new ways of expression.

Lenise-Logan

Lenise Logan

Lenise Logan is committed to living in a world where all children know their self-worth, adults live their dreams and the water is clean.

Currently a Cultural Strategist and Consultant, Lenise has been immersed in the Auction House world for over 16 years. She has worked with some of the worlds’ most successful auctioneers’ Operations and Logistics departments at companies such as Christie’s, Sotheby’s, Phillip’s, and Accenture and Osian’s.

Lenise’s interest in international business morphed into a well-honed expertise while living in India. This expertise was further realized and developed, when Lenise became a founding member of Christie’s Corporate Responsibility Group. So much so, that in 2010, Lenise spearheaded a relationship between Christie’s and the government of Beijing – bringing 17 Chinese artists works’ to New York for an exhibition, Transrealism.

More recently, after starting her own business – Lenise served on the White House’s Act Art Advisory Board. When she’s not advising artists on their business, collectors on how to manage and brand their collections or Non-Profits on how to interact with both, you can find Lenise speaking to people about what is most important to them. Lenise’s latest venture into supporting the Arts is in collaboration with one of the world’s largest financial firms: the creation of sustainable income and legacy planning.

If you are ready to collaborate, this is where Lenise’s magic emerges. She can transform your ideas into viable projects with measurable results. Lenise sees what is beyond visible and makes it possible.

Heidi Lee-Komaromi

New York-based art advisor, Heidi Lee Komaromi has 16 years of experience in the art world, specializing in Post-War and Contemporary art. She has advised, managed and built collections for individuals, estates and Fortune 500 companies and has acquired and appraised over 3,000 works of art by both emerging and internationally renowned artists. Having worked extensively on both the primary and secondary markets, she has in-depth art knowledge and a keen ability to source and evaluate fine art objects. She was a Director at Artnet, the world’s largest art data and media company and Waterhouse & Dodd Gallery. In 2010, she founded EditionedArt, the first online gallery focused on selling curated limited editions by contemporary artists. Recently, she co-built a multi-million dollar art platform for Twyla, an art e-commerce site funded by Google Ventures, Redpoint and IVP. Heidi holds a masters degree from Christie’s Education in ‘Modern and Contemporary Art and the Market’ and is a USPAP certified art appraiser.

Get to know Heidi, art advisor extraordinaire!

What is it that you love about art?
We all need to be encouraged to think outside the box and question what we think we know. Art has the ability to uplift my day and has truly transformed the way I look at people and the world. Be it through beauty, critique or analysis, I love that art can change lives by elevating our thinking and the way we see the world, literally and otherwise.

How did you come into the art market?
I like to say the art world found me. I was passionate about the downtown New York arts scene for many years and when 9/11 struck, I decided to shift gears completely and commit myself 100% to my biggest passion–contemporary art. I had no idea if I could make a living from it or even be knowledgeable enough, but I started curating shows out of my small apartment for emerging artists and word got out. A couple collectors in Italy and Sweden took a chance on me with their magnificent collections and when I did well with that, it reaffirmed my decision. I received my Masters degree in Art History and I later worked for VIART, the top art advisory at the time, where I learned all about collection management and how to manage large corporate collections. I have been advising ever since!

What is your current position and what does this job entail?
I’m an independent art advisor still help collectors buy, sell and manage their art. Every client is different, so I consult on a range of services from acquiring art to managing entire collections. I also help strategize on a lot of deaccessions.

Where did you work before this?
I have been recruited by larger companies including artnet where I was tasked to manage their largest accounts such as Christie’s and Sotheby’s during a time of transition for the company and increased sales. At Twyla, an Austin-based start-up funded by IVP, GV and Redpoint, I co-built and curated the art platform with over seventy hundred artists.

What are the highlights of your career?
Several years ago, a collector recruited me to build and manage his entire collection. I traveled the world and acquired over 300 works of art from emerging to blue chip artists for five locations around the country and I curated nine sub-collections. I estimate that the collection would be valued over $60 million today. It was an extraordinary experience. Another notable moment was when I sourced and acquired of a large breathtaking oil on canvas by Mark Rothko dated 1957-63 on behalf of a client. It had the kind of impact you would expect from viewing a Rothko–otherworldly and transformative.

Did you have any mentors?
There are many! In the art world, I would start with Bee Medinger from VIART where I had my first art job. I always found her ability to handle corporate and private clients with such professionalism and discretion inspiring. Also, my teachers at Christie’s Education, Julie Reiss and Marisa Kayyem, who oversaw my thesis. They are both remarkable women who were not just always supportive of my academic work but provided me with insightful feedback. I am also grateful for my friend, Marie Samuels who gave me her space to curate my first large-scale show in collaboration with the Philippe Charriol Foundation. She has been and still is a major patron of the arts and her love and passion for art is unparalleled. I am eternally grateful for all my mentors for their guidance and support throughout my life.

What three tips would you offer someone starting a career in the art world?
I would start with knowing what your strengths are first and start from there. If you believe you’re a more creative and artistic person, it might make sense to focus on the process of making or curating art. If you tend to have pretty good business instincts or consider yourself more left-brained, then you might want to pursue the auction houses or market side of the art industry. So long as you are true to yourself and follow what inspires you most you will find the right path. Or it might just find you!

What three things would you say to someone looking to start an art collection?

  1. Have an idea of what kind of art you are drawn to first and would be willing to invest your time and money in. From there you can narrow down your art pursuit and target galleries and fairs that meet your interests. Being focused will help lead to a coherent and cohesive collection.
  2. Art is a long-term investment and has a life, long after you’ve installed it on your wall. Be aware there can be additional costs involved with preserving and maintaining your art and selling it later on, such as capital gains tax if it has appreciated in value.
  3. Before you commit to buying an artwork, it is always advisable to have some kind of budget in mind in advance of your search, as well as conduct proper due diligence on authenticity, condition and maintenance on any art object you are considering. If you’re not sure how to do that exactly, engage an art advisor with relevant experience.

What is a typical work-day for you?
I generally manage about five projects at any given time. I am curating a collection for a hotel in mid-town at the moment and am helping two collectors build their art collections for placement in new homes. I am also advising collectors on deaccessing works of art by evaluating all the possibilities and developing sales strategies.

What do you like most about your job?
I live for the thrill of finding the perfect artwork for my clients to treasure for years to come. I also absolutely love having direct access to artists and being witness to their creative process. It’s awe-inspiring to enter an artist’s studio and see the world through his or her eyes.

What are the challenging aspects of your job?
Lots of problems can arise when buying art but I’m always up for a good challenge. If a particular object is too difficult to find on my own, I’d put my expansive network to good use widen my scope. If a piece cannot fit through the door for example, I’d get creative and hire a crane to carry it through the window!

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Peter Priede

With a career in the fine arts industry that spans more than three decades, Peter Priede has a wealth of knowledge and experience pertaining to the art world. Initially starting out as an art consultant for organisations, Mr. Priede advised on countless corporate art collections in Canada and abroad, procuring rare fine artwork for his clients and working with some of the most notable international contemporary artists. Since then, he has opened up his two galleries to the public and has continued his focus on promoting investment artwork. The galleries specialise in contemporary, modern, and historical artwork and have become recognised in Toronto and on the international art fair circuit for carrying highly sought-after artwork.

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