Latest / Kunst Speak With Brask / Kunst Speak With Brask - Davida Nemeroff

Transcript

Kunst Speak With Brask - Davida Nemeroff · Kunst Speak With Brask

• 0:00
  Speaker 1: Dear friends, thank you so much for listening to count
• 0:02
  Speaker 1: speak with brisk Our. This guest is Davida, founder and
• 0:07
  Speaker 1: CEO of Night Gallery in Los Angeles. I'm looking forward
• 0:12
  Speaker 1: to see Davida talk to her see what goes on
• 0:15
  Speaker 1: the gallery. Thank you again so much for listening to
• 0:19
  Speaker 1: speak with Bresk. Please share it with all your other
• 0:23
  Speaker 1: art lovers. Davida, thank you so much for taking your time.
• 0:26
  Speaker 1: We are in your gallery in Los Angeles. Could you
• 0:31
  Speaker 1: introduce yourself.
• 0:32
  Speaker 2: Yeah, my name is Davida Nemarov, and I'm the owner
• 0:35
  Speaker 2: of Night Gallery, which is in LA and has been
• 0:42
  Speaker 2: around for sixteen years, Sweet sixteen.
• 0:46
  Speaker 1: Sweet sixty Congress.
• 0:48
  Speaker 2: And you know the gallery has had It started off
• 0:53
  Speaker 2: originally as a night gallery, which meant that it was
• 0:57
  Speaker 2: open at ten pm til two am in a strip
• 1:01
  Speaker 2: mall in the neighborhood of Lincoln Heights in Los Angeles
• 1:06
  Speaker 2: from Tuesday through Thursday. It was very unusual. It was
• 1:11
  Speaker 2: kind of an artwork in and of itself, and then
• 1:15
  Speaker 2: over the course of its existence has like transformed into
• 1:20
  Speaker 2: what we call an artist run commercial gallery space. And yeah,
• 1:24
  Speaker 2: it's a really important cultural institution in Los Angeles. And
• 1:31
  Speaker 2: you know beyond it also.
• 1:32
  Speaker 1: And now we have not just one space, you have
• 1:35
  Speaker 1: three different galleries right here at your location.
• 1:39
  Speaker 2: Yeah, we're kind of like lucky enough to be in
• 1:42
  Speaker 2: this beautiful historic warehouse and the courtyard sort of allows
• 1:48
  Speaker 2: for access to other gallery spaces. So we do run
• 1:53
  Speaker 2: anywhere between three and three shows at a time, with
• 1:58
  Speaker 2: some additional viewing rooms and office spaces that have the
• 2:02
  Speaker 2: capacity to hang out in it. Do photography, backup house
• 2:07
  Speaker 2: shipping the whole thing, framing as well. Framing. Yes, we
• 2:11
  Speaker 2: have an amazing wood shop with amazing carpenters that work here.
• 2:15
  Speaker 2: You know, the frame that's behind you on this beautiful
• 2:17
  Speaker 2: painting was made by my team, and all of Mirror's
• 2:22
  Speaker 2: frames were made by my team.
• 2:24
  Speaker 1: They made in house, in house.
• 2:26
  Speaker 2: Yeah wow Yeah.
• 2:27
  Speaker 1: And how often do you have shows here? Like every month?
• 2:30
  Speaker 1: Every second month? How long does the show runs?
• 2:33
  Speaker 2: I think typically we try and go for six weeks okay,
• 2:37
  Speaker 2: and then with like two week innerable changes and so
• 2:43
  Speaker 2: every eight weeks. So we do about like seven slots
• 2:47
  Speaker 2: per year, and.
• 2:48
  Speaker 1: You have three spaces, so around twenty one shows a year.
• 2:51
  Speaker 2: Oh my god, my eye is twitching just like you
• 2:54
  Speaker 2: telling me that. I was like yeah, and you know,
• 2:58
  Speaker 2: that is what the norm has been, and we are
• 3:01
  Speaker 2: trying to find ways of like because twenty one shows
• 3:04
  Speaker 2: at the gallery, plus art fairs, plus you know, sometimes
• 3:08
  Speaker 2: we're given offsite opportunities, like we're doing a show in
• 3:11
  Speaker 2: San Francisco next week, so it's a lot, you know,
• 3:17
  Speaker 2: it's potentially too much.
• 3:19
  Speaker 1: And like you said, all the artfice and what what
• 3:22
  Speaker 1: is the scent from Sea School.
• 3:24
  Speaker 2: We were invited by Christie's to put up an exhibition
• 3:28
  Speaker 2: in their gallery space, so it's not really a collaboration
• 3:31
  Speaker 2: with Christie's, but it is an activation of their space
• 3:34
  Speaker 2: there and we'll have an opportunity to show works from
• 3:38
  Speaker 2: our program in San Francisco, and we do, you know,
• 3:41
  Speaker 2: because we're in Los Angeles, we have kind of developed
• 3:45
  Speaker 2: a nice relationship with the collector community there and we
• 3:48
  Speaker 2: show a number of artists also from the Sfbay area,
• 3:52
  Speaker 2: including Christine Wag who has the show in the large
• 3:55
  Speaker 2: gallery space here at the moment. So yeah, it's just
• 3:59
  Speaker 2: an you know, an opportunity, and we love San Francisco, so.
• 4:03
  Speaker 1: So why not go there?
• 4:04
  Speaker 2: Exactly makes sense? Exactly.
• 4:07
  Speaker 1: We're also living on a big model in Cabo. Is
• 4:11
  Speaker 1: that fall the Chicago Art.
• 4:13
  Speaker 2: Found You know, we do models for every show. We
• 4:16
  Speaker 2: still do that. So we do them, We certainly do.
• 4:18
  Speaker 2: We don't do them necessarily for the galleries shows. We
• 4:21
  Speaker 2: give those models to the artists to have in their
• 4:23
  Speaker 2: studios to work on. But from our team's perspective, we
• 4:28
  Speaker 2: do models for all the art fairs. So right now
• 4:31
  Speaker 2: we have one for Expo Chicago where we're showing a
• 4:34
  Speaker 2: solo presentation of Robert Nava, a homecoming of sorts. You know,
• 4:38
  Speaker 2: Robert like grew up in the Chicago area and he
• 4:41
  Speaker 2: first like kind of got into art and art history
• 4:45
  Speaker 2: by going to the Encyclopedia Museums in Chicago. So it's
• 4:51
  Speaker 2: kind of a big deal that he's that we're going
• 4:54
  Speaker 2: that we get to present a solar presentation of his
• 4:57
  Speaker 2: work there. Yeah, it's some new paintings there.
• 5:03
  Speaker 1: How many paintings will be showing in Chicago of Robert
• 5:07
  Speaker 1: m that's a good question.
• 5:09
  Speaker 2: I mean we're planning on five.
• 5:12
  Speaker 1: Yeah, so it can be saving and it can be one.
• 5:16
  Speaker 2: It'll be five. I think the paintings that you see
• 5:18
  Speaker 2: there in the model, like the new like bunny painting
• 5:21
  Speaker 2: and the lampire painting. There's a beautiful shark painting, and
• 5:27
  Speaker 2: and he's working in the studio currently and there's still
• 5:29
  Speaker 2: like a little bit of time in process. Yeah, but
• 5:33
  Speaker 2: I think I was telling you yesterday that I really
• 5:35
  Speaker 2: want to get his uh those red velvet it sirs
• 5:39
  Speaker 2: and bring that furniture to Chicago. But I have to
• 5:41
  Speaker 2: convince him of that.
• 5:43
  Speaker 1: And maybe if you have not been to Roberts studio,
• 5:46
  Speaker 1: you have to explain about these guys. Well.
• 5:49
  Speaker 2: In in Robert's big beautiful studio is like this like
• 5:54
  Speaker 2: set of furniture that is somewhere between theatrical opulent opulent leaning.
• 6:05
  Speaker 2: But I don't know if it's like fake or real,
• 6:08
  Speaker 2: but like red velvet chairs with gold trim, very ornate,
• 6:13
  Speaker 2: and then you know, surrounded by cans of paint and
• 6:18
  Speaker 2: other sort of studio necessities that are around the table.
• 6:22
  Speaker 2: But when you go there and you get to like
• 6:24
  Speaker 2: hang out with Robert, you definitely are sitting in these
• 6:26
  Speaker 2: chairs and it is like it feels directly related to
• 6:30
  Speaker 2: like the the fantasy that Robert's paintings like allow for
• 6:36
  Speaker 2: the viewer. You know, like they are like of a
• 6:38
  Speaker 2: different world, in a different place, at a different time.
• 6:42
  Speaker 2: They're like the time traveling sofa if you will. But
• 6:47
  Speaker 2: they're they're also like of this beautiful red marking that
• 6:53
  Speaker 2: I feel like is a red lion that Robert has
• 6:57
  Speaker 2: in his paintings. You know, he does use a lot
• 6:59
  Speaker 2: of like read to accent and articulate and build contrasts,
• 7:04
  Speaker 2: so they feel very connected to him and his identity.
• 7:09
  Speaker 1: They're beautiful, and I think we both love the great
• 7:13
  Speaker 1: Robert Nava. But I think we should talk about the gallery.
• 7:16
  Speaker 1: And I was going to house stay at the gallery
• 7:18
  Speaker 1: seat in the Los Angeles right now.
• 7:21
  Speaker 2: Well, the gallery scene in La is ever changing, ever evolving,
• 7:25
  Speaker 2: and sometimes it like you know, it kind of is
• 7:27
  Speaker 2: just in a moment of post boom. I guess you
• 7:33
  Speaker 2: could say, like, you know, there was maybe two years
• 7:36
  Speaker 2: ago when every major gallery was opening a space here,
• 7:40
  Speaker 2: and every mid tier gallery was opening a space here,
• 7:43
  Speaker 2: and every small gallery was opening a space here, and
• 7:46
  Speaker 2: it was like almost confusing because the city itself is
• 7:49
  Speaker 2: actually quite I mean, it's a huge, meandering city of
• 7:54
  Speaker 2: different neighborhoods, but it's also a small city, so it
• 8:00
  Speaker 2: is confusing and somewhat challenging to have so many galleries here.
• 8:06
  Speaker 2: But at the same time, there's always the new young
• 8:10
  Speaker 2: galleries that are popping up. So like now there are
• 8:12
  Speaker 2: like so many galleries that exist that I don't even know,
• 8:17
  Speaker 2: but that exists, like in studio buildings, in people's homes
• 8:20
  Speaker 2: and apartments, in old retail shops, and people are still
• 8:25
  Speaker 2: finding ways to like have art shows and to build
• 8:27
  Speaker 2: community and have openings and find each other. And so
• 8:32
  Speaker 2: in that way, I feel like LA's gallery scene is
• 8:34
  Speaker 2: like as vibrant as ever, even though it's gone through
• 8:39
  Speaker 2: a sort of wave of I guess what could be
• 8:42
  Speaker 2: considered closures, you know, but you know, when one door closes,
• 8:48
  Speaker 2: another one opens, you know. But they you know, Elie
• 8:52
  Speaker 2: has always had so many artists here and a lot
• 8:55
  Speaker 2: of you know, a lot of young artists, and you know,
• 8:57
  Speaker 2: that's how Night Gallery even started. It was like let's
• 9:00
  Speaker 2: do it ourselves, let's do our own thing. And that
• 9:02
  Speaker 2: spirit is very much alive in La. What the names
• 9:06
  Speaker 2: of those galleries are, I couldn't tell you, but I
• 9:09
  Speaker 2: know they exist, you know.
• 9:11
  Speaker 1: And for me, Ela is like in New York, it's
• 9:14
  Speaker 1: kind of you know, Chelsea, Lower east Side, Chinatown, Brooklyn,
• 9:18
  Speaker 1: whatever you have like certain areas where that's really like
• 9:22
  Speaker 1: intensive gallery for me, I might be wrong. Like galleries,
• 9:27
  Speaker 1: it's kind of hard. You have a really great neighbor
• 9:30
  Speaker 1: here has a gallery, but then it's like, yeah, it's
• 9:34
  Speaker 1: a distance to go to something and then somewhere else.
• 9:37
  Speaker 1: It's it's like everything is really spread around.
• 9:40
  Speaker 2: Yeah, no, I mean la is no joy right, No, no,
• 9:45
  Speaker 2: it is a joy ride, it is. It's just hard.
• 9:47
  Speaker 2: It's like kind of all you have to know where
• 9:53
  Speaker 2: things are. You have to you know, if you're here visiting,
• 9:56
  Speaker 2: you probably best a plan to look at a map
• 9:59
  Speaker 2: to know how long it is to get somewhere, to
• 10:01
  Speaker 2: not do it on Friday afternoon. But we don't have
• 10:04
  Speaker 2: that same Yeah, like walking in walking out there. I
• 10:06
  Speaker 2: guess they're called destination galleries.
• 10:08
  Speaker 1: You know, it's the that's interesting, what I've never heard
• 10:11
  Speaker 1: that before.
• 10:12
  Speaker 2: So like while you know, like you get here, you
• 10:14
  Speaker 2: park and they can't go to France walka valle and
• 10:16
  Speaker 2: you can go to night gallery in one parking. But
• 10:20
  Speaker 2: and when you're here, because we have this squirtyard, you
• 10:22
  Speaker 2: are able to like you know, pack or relax and
• 10:26
  Speaker 2: like have spent some time even sitting contemplating chatting seeing
• 10:30
  Speaker 2: somebody else whereas in Tribeca, like for example, you have
• 10:35
  Speaker 2: to kind of constantly be moving. You know, there's not
• 10:38
  Speaker 2: even a place to like have a break, you know,
• 10:42
  Speaker 2: so it's just a totally different approach.
• 10:46
  Speaker 1: And do feel your kiss in the gallery. Spend more
• 10:48
  Speaker 1: time here because like you say, you can be in
• 10:51
  Speaker 1: the courtyard, you can. You have three spaces, you have
• 10:54
  Speaker 1: way more space, and it's like it's a travel to
• 10:58
  Speaker 1: get here. So when you hear you, we really have
• 11:00
  Speaker 1: to experience things, I hope.
• 11:03
  Speaker 2: So yeah, that's what our hope is, is that we
• 11:06
  Speaker 2: provide an opportunity for people to like, you know, spend
• 11:08
  Speaker 2: more time and engage, engage more deeply with the work.
• 11:14
  Speaker 2: This space itself is larger than you know, even this
• 11:18
  Speaker 2: office is bigger than most Tribeca galleries, so like you
• 11:22
  Speaker 2: have to walk through it to see the work, you know,
• 11:26
  Speaker 2: and of course if you're not interested in that, then
• 11:29
  Speaker 2: you know, you're probably not even here. So if you've
• 11:31
  Speaker 2: come here, you're probably going to spend time looking at.
• 11:34
  Speaker 1: The work to talk to all the galleries about moving
• 11:38
  Speaker 1: together and make a community about having more galleries. So
• 11:42
  Speaker 1: it's it's easier to go and see Okay, now we
• 11:44
  Speaker 1: are there, then we can see like five and what
• 11:46
  Speaker 1: avolve galleries.
• 11:48
  Speaker 2: Yeah, we do. We do do that. I mean we
• 11:50
  Speaker 2: try and we have sort of like a plan coming up,
• 11:53
  Speaker 2: which I you know, can't really talk about right now,
• 11:55
  Speaker 2: but there is this plan to do that. People live
• 11:59
  Speaker 2: all over the city, like why a place might be
• 12:02
  Speaker 2: more desirable than another, you know, like once you get
• 12:05
  Speaker 2: used to a big gallery space like this with an
• 12:07
  Speaker 2: outdoor courtyard, it's hard to you know, give that up,
• 12:11
  Speaker 2: I guess, you know, Like I mean, I'm totally I
• 12:14
  Speaker 2: have learned a lot. I never worked at another gallery,
• 12:17
  Speaker 2: so my whole experience of working at galleries has been
• 12:20
  Speaker 2: like on the fly at night gallery and I have
• 12:25
  Speaker 2: built myself, you know, a six thousand square foot exhibition
• 12:30
  Speaker 2: space that maybe isn't necessary, you know, like or maybe
• 12:35
  Speaker 2: isn't the next space I moved to isn't necessary going
• 12:39
  Speaker 2: to have to be so large? And what I do,
• 12:43
  Speaker 2: what I have learned, and what I love about this
• 12:46
  Speaker 2: space and I love about this whole complex is that
• 12:50
  Speaker 2: the work is given is given space, you know, not
• 12:53
  Speaker 2: to be sound redundant, but like artwork is given space
• 12:59
  Speaker 2: to exist, to be experienced, you know, like in for example,
• 13:05
  Speaker 2: in the show in the big space, it's not like
• 13:07
  Speaker 2: there's a tremendous amount of art work in there, but
• 13:11
  Speaker 2: the work itself is.
• 13:14
  Speaker 1: They can breathe. Yeah, they're breathing yeah, because like you said,
• 13:18
  Speaker 1: there's plenty of space. I actually thought about it yesterday
• 13:21
  Speaker 1: was I was going through the gallery, like the sculptures,
• 13:24
  Speaker 1: they had like a lot of space. Who go around.
• 13:26
  Speaker 1: I was like, this is pretty generous that they have
• 13:28
  Speaker 1: all the space and you don't feel like cramped up
• 13:31
  Speaker 1: and you put like three hundred works and that's like
• 13:37
  Speaker 1: and all the small works sitting on the wall. There's
• 13:39
  Speaker 1: like plenty of space, and that makes it even more
• 13:42
  Speaker 1: beautiful because you can really take your time and look
• 13:44
  Speaker 1: at the works and not getting like works all over you.
• 13:47
  Speaker 2: I mean, it's what separates this gallery from other galleries.
• 13:51
  Speaker 2: But it also separates like the sort of experience of
• 13:53
  Speaker 2: going to galleries from you know, seeing work in a
• 13:57
  Speaker 2: home or something like that, where like working home is
• 13:59
  Speaker 2: amazing because it's like you see it in you know,
• 14:03
  Speaker 2: incorporated by someone's individual life. But it's a totally different experience.
• 14:09
  Speaker 2: There can be like many paintings on one wall versus
• 14:12
  Speaker 2: like to be able to like look at her work,
• 14:15
  Speaker 2: examine it, see how it's made and understand why the
• 14:18
  Speaker 2: artists decided to make that piece, you.
• 14:21
  Speaker 1: Know, and what are the plans for the next year
• 14:25
  Speaker 1: with shows? Is that the official can we talk about
• 14:28
  Speaker 1: that would show? You're going to have you?
• 14:31
  Speaker 2: Yeah, I mean I have a show with Michelle Blade,
• 14:38
  Speaker 2: so Los Angeles artists, who's doing this beautiful show based
• 14:42
  Speaker 2: off of one day in her life. So she's like
• 14:46
  Speaker 2: all the paintings are kind of like from like morning
• 14:48
  Speaker 2: till nighttime. And that show is called It's About Time.
• 14:54
  Speaker 2: We are going to do as we mentioned earlier, the
• 14:57
  Speaker 2: solo presentation with Robert Nava and She Cargo, a solo
• 15:01
  Speaker 2: presentation with Haley Barker hit Freeze New York, a very
• 15:05
  Speaker 2: also special presentation of work that she made after visiting
• 15:09
  Speaker 2: Georgia O'Keefe's home in New Mexico. And then we have
• 15:14
  Speaker 2: a show with Jesse Mokren in the fall, Carla Edwards,
• 15:18
  Speaker 2: who's a New York artist sculptor, so she will show
• 15:23
  Speaker 2: at the same time as Jesse kato O Yang, an
• 15:27
  Speaker 2: amazing sculptor from New York who's going to have a
• 15:29
  Speaker 2: show in our large space. That was sidecard but that
• 15:35
  Speaker 2: is now part of Night Gallery. And we're going to
• 15:37
  Speaker 2: do the India Art Fair for the first time, so
• 15:40
  Speaker 2: we're going to go to Mumbai in November. So yeah,
• 15:47
  Speaker 2: I have like two sort of major trips coming up.
• 15:49
  Speaker 2: One is a collaboration with Night Gallery and Ghana Art
• 15:52
  Speaker 2: in Seoul in September during the art fair time Kiovans
• 16:00
  Speaker 2: and Freeze, and then in November going to the India
• 16:03
  Speaker 2: Art Fair.
• 16:04
  Speaker 1: Interesting and how that came up to do an art
• 16:07
  Speaker 1: fan India.
• 16:09
  Speaker 2: Well, I guess like the fair itself sort of, you know,
• 16:13
  Speaker 2: I've seen it online and I, you know, got an
• 16:16
  Speaker 2: email that you always get emails from these art fairs
• 16:19
  Speaker 2: to like, you know.
• 16:20
  Speaker 1: Apply give us your money.
• 16:23
  Speaker 2: And I was just talking to a friend and we
• 16:26
  Speaker 2: were thinking about like what, you know, We've gone to
• 16:31
  Speaker 2: a lot of places around the world and where is
• 16:36
  Speaker 2: the where is the potentially next great contemporary art market.
• 16:41
  Speaker 2: And I don't know if I'll be able to like
• 16:44
  Speaker 2: break through, but I do work with a you know,
• 16:47
  Speaker 2: amazing Canadian Indian artist named Didya Mara who will be
• 16:51
  Speaker 2: the anchor of the booth and will show her work
• 16:55
  Speaker 2: there and bring other artists from our program. Yeah, I
• 17:01
  Speaker 2: mean it's definitely like a big leap. But I think
• 17:05
  Speaker 2: it's also we'll get to see a different part of
• 17:08
  Speaker 2: the world.
• 17:09
  Speaker 1: Yeah, really interesting. And I really like that thea that
• 17:11
  Speaker 1: you just say, what should we do in new Let's
• 17:15
  Speaker 1: try to go to India.
• 17:16
  Speaker 2: I mean, that's the thing about like when you work
• 17:18
  Speaker 2: in a gallery, you work all the time. You know,
• 17:20
  Speaker 2: you're working twenty four seven. You don't necessarily get to
• 17:23
  Speaker 2: be and you work during these very like in the
• 17:26
  Speaker 2: art season, you know, but it does take you to
• 17:29
  Speaker 2: amazing places in the world, and it is an amazing
• 17:33
  Speaker 2: industry to work in, you know. So like I have
• 17:37
  Speaker 2: yet to go to India, but hopefully I will go
• 17:40
  Speaker 2: in November, you know. But I have been to like Shanghai,
• 17:43
  Speaker 2: Hong Kong, Seoul, London, Paris, Amsterdam, like all over the
• 17:49
  Speaker 2: world through my job. And I would say that I
• 17:52
  Speaker 2: haven't done a tremendous amount of leisure traveling.
• 17:57
  Speaker 1: And how do you keep you up up date? It
• 18:00
  Speaker 1: would like artists art fast and all that is that
• 18:03
  Speaker 1: still Instagram, Internet, whateva.
• 18:07
  Speaker 2: That's a great question. I think that there was so
• 18:11
  Speaker 2: much pressure over the last few years to constantly have
• 18:16
  Speaker 2: new artists, right, it was just like you couldn't keep
• 18:19
  Speaker 2: up fast enough, you know, you would like meet an
• 18:22
  Speaker 2: artist and then by the time their show is someone's like, oh,
• 18:25
  Speaker 2: you guys showed this artist. You know, it was so
• 18:27
  Speaker 2: much pressure and I think in this moment, so I
• 18:32
  Speaker 2: guess we can call it like a sort of contraction
• 18:35
  Speaker 2: or a downturn to refocus on the artists that have
• 18:38
  Speaker 2: been like with the gallery, you know, that sort of
• 18:42
  Speaker 2: create the identity of the gallery that would be my
• 18:45
  Speaker 2: focus right now. And just not to say that I'm
• 18:49
  Speaker 2: not interested in new artists, and I am, but it's
• 18:52
  Speaker 2: not it's not going to be my main focus. And
• 18:56
  Speaker 2: it's really.
• 18:57
  Speaker 1: Too supporting the just that you have been working for
• 19:02
  Speaker 1: a long aal sh all the time in the catalase.
• 19:04
  Speaker 2: Yeah, thank you for yeah articulating that. Yeah, I feel
• 19:08
  Speaker 2: like that is like re re articulating what the program
• 19:15
  Speaker 2: is and making space for new artists when that moment comes.
• 19:20
  Speaker 2: But the instagram chasing days that even collectors buying images
• 19:28
  Speaker 2: and pinions off of images or artworks off of images,
• 19:32
  Speaker 2: has has reduced. You know, Okay, I feel like people
• 19:37
  Speaker 2: want to see work in person, so doing the art
• 19:39
  Speaker 2: fairs has become important again again, which is exhausting, right
• 19:45
  Speaker 2: You know, and in costly, but you realize how how
• 19:49
  Speaker 2: important it is, you know, to see work in person,
• 19:52
  Speaker 2: and so that gallery is an amazing place, but it
• 19:56
  Speaker 2: definitely is like off the beaten path. That's it's like
• 20:00
  Speaker 2: hard to get to. So we do have to go
• 20:04
  Speaker 2: out there and bring them work to people. And if
• 20:06
  Speaker 2: that's in Mumbai, or if that's in Soul, or if
• 20:08
  Speaker 2: that is in New York, you know, that's what we're
• 20:11
  Speaker 2: doing or Chicago.
• 20:13
  Speaker 1: Yeah, because I also feel like what you said, Like
• 20:16
  Speaker 1: like the Instagram, everybody was just looking buy and buying,
• 20:20
  Speaker 1: but like you said, now people want to see it
• 20:21
  Speaker 1: and feel it. And I really like that idea, because
• 20:24
  Speaker 1: you should experience art in real life, not just be
• 20:27
  Speaker 1: beyond your scream or computer email PDA forever looking at
• 20:31
  Speaker 1: works to get the feeling. Of course, if you are
• 20:34
  Speaker 1: in Brussel and you want to see a piece in
• 20:37
  Speaker 1: Los Angeles, you just don't go there.
• 20:39
  Speaker 2: But yeah, I mean that's why advisors are great, and
• 20:42
  Speaker 2: that's why relationships are great, because if you have seen
• 20:45
  Speaker 2: the work in person at one point, maybe that's not
• 20:47
  Speaker 2: the piece you buy, but maybe over the course of
• 20:50
  Speaker 2: building a relationship with the galleries, you do end up
• 20:53
  Speaker 2: trusting them and then you can buy a work over jpeg.
• 20:56
  Speaker 2: But the idea of sort of like I mean, I
• 20:58
  Speaker 2: do think there's a potential for like a buy now
• 21:01
  Speaker 2: marketplace for art, but it's under a certain amount and
• 21:05
  Speaker 2: it needs to also exist with a return policy, which
• 21:08
  Speaker 2: I think people are not necessarily willing to incorporate because
• 21:14
  Speaker 2: the buy now, like online shopping, has a huge return
• 21:20
  Speaker 2: you know, like people who buy high end stuff online,
• 21:22
  Speaker 2: they try it on and if they don't like it,
• 21:24
  Speaker 2: they return it, you know, and that kind of same consideration.
• 21:27
  Speaker 2: I mean, it's not something that's like up to me.
• 21:29
  Speaker 2: It's like the sort of data has it. It's like
• 21:32
  Speaker 2: that's what people are expecting if they're buying online. If
• 21:35
  Speaker 2: you buy, you know, from a gallery in a more
• 21:38
  Speaker 2: traditional way, as in like you saw the working person
• 21:41
  Speaker 2: and you're buying it, and it's it takes you know,
• 21:45
  Speaker 2: moving a painting from point A to point b? Is
• 21:48
  Speaker 2: it an incredibly takes a lot of energy and cost
• 21:52
  Speaker 2: costly thing.
• 21:54
  Speaker 1: Yeah, but it makes those into sense. And you're also
• 21:56
  Speaker 1: a gallery. Like you said, it's like building relationships. If
• 21:59
  Speaker 1: people don't trust, so you want to have the people
• 22:02
  Speaker 1: to gets inside of your gallery and show them, have
• 22:06
  Speaker 1: the talk and tell them, and then of course then
• 22:09
  Speaker 1: they come and see if I see you in a fair, hey,
• 22:11
  Speaker 1: how are you in? Talk and so that's very important,
• 22:14
  Speaker 1: and then you build up and then the art industry
• 22:18
  Speaker 1: of course also gets much better because it's not just
• 22:21
  Speaker 1: about online, but it's it's about getting on.
• 22:23
  Speaker 2: In many ways. I feel like the gallery system is
• 22:25
  Speaker 2: more important than ever and maybe the model itself could
• 22:31
  Speaker 2: use a rethinking.
• 22:32
  Speaker 1: For sure.
• 22:33
  Speaker 2: Yeah, but again but it doesn't mean that. Like, but
• 22:37
  Speaker 2: I think the experience of a company, see the working person,
• 22:39
  Speaker 2: and like, you know, building those the relationships I think
• 22:42
  Speaker 2: are the parts that are working.
• 22:44
  Speaker 1: Yeah, for sure. And also a lot of people ask me,
• 22:48
  Speaker 1: like why is the gallery that. Yeah, you know, they
• 22:50
  Speaker 1: do all the work for the gallery, for the for
• 22:52
  Speaker 1: the artists, not for the galleries. For the artists. Go
• 22:54
  Speaker 1: to the art fair, talk to the museums, get the
• 22:57
  Speaker 1: artist museum shows, place them in the collectors nice collections
• 23:03
  Speaker 1: and you you know, if you have a collector, you
• 23:04
  Speaker 1: can say you have been buying these guys for me.
• 23:07
  Speaker 1: Now I have this guy I really believe in. I
• 23:10
  Speaker 1: think you should be interesting for your collection. So what
• 23:12
  Speaker 1: we talked about building these relationships is so important and
• 23:16
  Speaker 1: that's why the galleries is here and why they are
• 23:19
  Speaker 1: doing a great job and of course doing all the
• 23:21
  Speaker 1: hard work for the artists, and the artists can be
• 23:25
  Speaker 1: in the studio, paint to sculptures, ceramic, whatever.
• 23:30
  Speaker 2: The running a gallery is hard work.
• 23:32
  Speaker 1: Yes, we talked about yesterday. You have eight employees. You know,
• 23:37
  Speaker 1: you have to sell a lot.
• 23:39
  Speaker 2: Yeah, you know.
• 23:40
  Speaker 1: You have to sell a lot of work to pay rent, insurance, affairs, shipping, you.
• 23:48
  Speaker 2: Know what it's like in uh Denmark. But in the
• 23:53
  Speaker 2: state of California, they make it almost imphossible to run
• 23:56
  Speaker 2: a small business. You know. They're just like the larger businesses,
• 24:00
  Speaker 2: the more you have to pay, the more you know.
• 24:03
  Speaker 2: It's just like every day I'm inundated with letters and
• 24:08
  Speaker 2: you know, this insurance and that insurance and workers comp
• 24:11
  Speaker 2: and audits and it's just like it's so and those
• 24:15
  Speaker 2: are all like outside of the actual work I'm supposed
• 24:17
  Speaker 2: to do. And I just find it so confusing because
• 24:21
  Speaker 2: like I thought, like, you know, I'm Canadian, so I
• 24:23
  Speaker 2: thought like America was all about, you know, businesses. I
• 24:27
  Speaker 2: started a business because I came to America to go
• 24:32
  Speaker 2: to school and I realized if I wanted to get
• 24:35
  Speaker 2: health insurance, if I wanted to like, you know, do anything,
• 24:38
  Speaker 2: I'd have to have a stay in the United States.
• 24:40
  Speaker 2: I'd have to like have my own business, you know.
• 24:42
  Speaker 2: But like they basically make it so that they're actually
• 24:45
  Speaker 2: strangling your business until you're like a huge business, you know, corporation.
• 24:51
  Speaker 2: But it's a really weird thing that they have going
• 24:55
  Speaker 2: on here. They're not supportive of small businesses at all.
• 25:00
  Speaker 2: There's no incentives or or they make you I mean,
• 25:06
  Speaker 2: you know, like there's the only loopholes are for like
• 25:09
  Speaker 2: giant corporations and not small businesses. And it's it's really
• 25:14
  Speaker 2: just too bad because it's just a shame.
• 25:19
  Speaker 1: I'm sorry to hear that.
• 25:20
  Speaker 2: It's like, oh, I just yeah, I find it like
• 25:22
  Speaker 2: interesting that like they're you know, I mean, I guess
• 25:27
  Speaker 2: I'm an artist turned business owner, so maybe it's more
• 25:31
  Speaker 2: complicated for my brain to process. Whereas if I had
• 25:34
  Speaker 2: done like an MBA and started a business, maybe I'd
• 25:37
  Speaker 2: be any better better at it.
• 25:40
  Speaker 1: I don't think so. I think a lot of actually,
• 25:42
  Speaker 1: you know, people that don't have the NBA business doing
• 25:44
  Speaker 1: much better because they're like, Okay, take chance let's do it.
• 25:48
  Speaker 1: Don't think so much about it. And you know, when
• 25:50
  Speaker 1: you take the chance, it's something I think for me
• 25:53
  Speaker 1: always good comes up instead of just being like now
• 25:55
  Speaker 1: we have the payball, we have the sheet, we have
• 25:57
  Speaker 1: to that we can't do anything else. Then it's it
• 26:00
  Speaker 1: be really kind of not organic in a way. Does
• 26:04
  Speaker 1: it make sense?
• 26:05
  Speaker 2: Yeah? And I think I also think that like actually,
• 26:07
  Speaker 2: like you know, galleries like they they function. Obviously, they
• 26:13
  Speaker 2: have to exist as businesses. They are, you know, they
• 26:16
  Speaker 2: have to follow the same to a certain extent, end goal.
• 26:21
  Speaker 2: But they don't follow necessarily the same logic as other businesses.
• 26:25
  Speaker 2: You know, you do have you do support artists that
• 26:29
  Speaker 2: you know whose markets may be more institutional or curatorially
• 26:36
  Speaker 2: aligned versus like commercially aligned.
• 26:39
  Speaker 1: You know, makes sense. Thanks so much for your time.
• 26:43
  Speaker 1: It have been a pleasure talking to you and great
• 26:46
  Speaker 1: to catch up again. I'm looking forward to see you
• 26:49
  Speaker 1: in the Los Angeles or on an.
• 26:51
  Speaker 2: Art fail somewhere, maybe in Mumbai.
• 26:53
  Speaker 1: Mumbai, I would love to go November November? How many
• 26:56
  Speaker 1: how many gay galleries will be there?
• 27:00
  Speaker 2: The fair is called India Art Fair, and I believe
• 27:03
  Speaker 2: it's it's kind of a newer art Fair, so I
• 27:06
  Speaker 2: believe it's probably like one hundred and fifty.
• 27:08
  Speaker 1: Wow, that's a lot of galleries. Yeah, one hundred fift
• 27:11
  Speaker 1: that's a pretty big fair album.
• 27:13
  Speaker 2: Feel like it's like Freeze New York coming in galleries
• 27:15
  Speaker 2: of Fresney one seventy. Maybe it's more like that, Okay,
• 27:19
  Speaker 2: I don't.
• 27:20
  Speaker 1: Know, but I love the way that you're going to
• 27:22
  Speaker 1: India phone artfare. That's like really interesting. I'm looking forward
• 27:25
  Speaker 1: to here. It's how it's going me too.
• 27:28
  Speaker 2: I hope we get in. We have to apply, but
• 27:30
  Speaker 2: I'm hopeful.
• 27:31
  Speaker 1: I think you will get in.
• 27:33
  Speaker 2: Thank you so much, Thanks so much, JP for coming
• 27:35
  Speaker 2: to you anytime. Then.
• 27:36
  Speaker 1: It was a pleasure to see you again and looking
• 27:39
  Speaker 1: forward to catch up against you.
• 27:40
  Speaker 2: Did you Are you the one that put the sticker
• 27:42
  Speaker 2: in the bathroom?
• 27:43
  Speaker 1: Yes, I did.
• 27:46
  Speaker 2: Wow.
• 27:49
  Speaker 1: You know when you come from a graffiti background then you.
• 27:52
  Speaker 2: I was like, wow, you already put a stick that
• 27:55
  Speaker 2: was let it let it stay.
• 27:58
  Speaker 1: Oh, thanks so much.
• 28:00
  Speaker 2: But it's you know, as soon as that sticker goes out,
• 28:03
  Speaker 2: there's gonna be lots of other stickers.
• 28:04
  Speaker 1: No, I don't think so you have to have a
• 28:06
  Speaker 1: steak on you. I can see thats like a tech on.
• 28:10
  Speaker 1: This would like the mug on that that's is that
• 28:13
  Speaker 1: before we move in and hold it? Yeah, before I
• 28:17
  Speaker 1: love all the small texts all that.
• 28:19
  Speaker 2: Yeah, there's one behind there on the brick wall. Actually
• 28:22
  Speaker 2: when you go outside, last note, but when you go
• 28:25
  Speaker 2: outside kind of above this window, you'll see brick painted
• 28:31
  Speaker 2: and it's like actually like a trump like painting by
• 28:34
  Speaker 2: the artist Anna Rosen that covered up this big tag.
• 28:38
  Speaker 2: Ah okay, that was kind of it was a Simko
• 28:42
  Speaker 2: tag and it was kind of distracting.
• 28:44
  Speaker 1: I have to go out and do it again. I
• 28:46
  Speaker 1: didn't really pay attention to that.
• 28:47
  Speaker 2: You would never see it unless I pointed it out.
• 28:50
  Speaker 1: I'm going out definitely to see it. I another funny story.
• 28:54
  Speaker 1: The day before yesterday, went to the Broad Museum and
• 28:56
  Speaker 1: at the elevator the way up, I put a steak
• 28:59
  Speaker 1: up and we lift this thing that was gone wow.
• 29:02
  Speaker 1: Half an hour, like forty five minutes gone wow.
• 29:05
  Speaker 2: Yeah, I mean I can't imagine. That's so funny. I
• 29:11
  Speaker 2: was actually telling my team yesterday that like one time
• 29:13
  Speaker 2: in grad school, I like in the first day of
• 29:17
  Speaker 2: my photo class, I like carved into the wall like
• 29:21
  Speaker 2: just you know, I would often ride DaVita and I
• 29:24
  Speaker 2: carved into the wall with like a pushpin like onto,
• 29:27
  Speaker 2: like a quirk wall my name, and then I walked
• 29:31
  Speaker 2: out and I got in so much trouble. Wow, okay,
• 29:35
  Speaker 2: and they were like, who the fuck do you think
• 29:38
  Speaker 2: you are? And I was like, I obviously think I'm
• 29:41
  Speaker 2: DaVita exactly.
• 29:42
  Speaker 1: Lets me look at me.
• 29:44
  Speaker 2: But I had to paint it.
• 29:45
  Speaker 1: Okay, and we don't have to let people think you
• 29:49
  Speaker 1: can just go around and put stickers up. I know
• 29:51
  Speaker 1: it's very bad, but we have to talk to my
• 29:54
  Speaker 1: mom and dad about it. But they did for sure
• 29:59
  Speaker 1: said I should not do it. So you know, I'm
• 30:01
  Speaker 1: just really bad behaved that I still do it.
• 30:03
  Speaker 2: I'm sorry, I'm glad I got to talk to you
• 30:06
  Speaker 2: about it.
• 30:07
  Speaker 1: Thank you really nice to see Da Vida and the
• 30:10
  Speaker 1: gallery again. Thank you so much for listening to speak
• 30:15
  Speaker 1: with Rask. Send me a DM email whatever, let me
• 30:19
  Speaker 1: know what you think. Please share it with all your
• 30:23
  Speaker 1: other art lovers friends. See you next Thursday.