DAVID ZWIRNER

DAVID ZWIRNER (Founder)

Tell us about your background and how you started the gallery?

I was born and raised in Cologne, where I grew up above my father’s gallery (Galerie Rudolf Zwirner), which was one of the more prominent post-war galleries in Germany. As a teenager, my ambition was to be a jazz musician, and that ambition took me to New York, where I studied music. After a detour through the music business, I decided in the early 90s that my true passion was in the visual arts, and opened my first gallery space in SoHo in New York in February of 1993—almost 25 years ago now. 

What does it take to make a critically acclaimed gallery?

For me, the most important part has been to put the artists first. When I think about ‘clients’, I am not thinking about those that buy the art, but rather about serving the artists that we have the privilege to work with. And for me, being artist-centric has always set the stage for a critical discourse and for a rigorous and engaging program. 

Has your gallery's vision & mission changed since you opened? If yes, how?

Fundamentally, the vision has not changed at all. I am looking for the best art—art that inspires me. I try to create the ideal viewing conditions for that art: conditions that are respectful of the artists that have made the work. I have put a lot of emphasis on building galleries that are easy to find, have good proportions, and natural light. What has changed, however, is that we have started to look simultaneously forwards and backwards. When I opened my gallery, I only worked with living artists who were part of (or close to being part of) my own generation. Now, we also handle a significant number of international estates and are constantly at work on historic exhibitions, like the show of Ad Reinhardt’s blue paintings we opened this September in New York. 

What do you feel sets your gallery apart? What does your gallery offer that is different?

What is unique is the program, and the group of artists and estates that we have the honour of representing. I would also hope that people appreciate the emphasis we place on gallery spaces and architecture. It is really important to me that the architecture really serves the program. 

What is the target audience of your gallery and how do you appeal to them?

Our target audience, of course, should be the most ambitious international collectors and international museums. We are very fortunate to have longstanding relationships with some of the most important collectors and museums around the globe. 

How relevant are art fairs to your business?

Art fairs have become extremely important to our business, as they give us an opportunity to introduce the gallery to regions where we don’t have our own physical spaces. It has been wonderful to do art fairs in Brazil, Mexico, China, and, as of next year, India, in addition to the more established fairs in Europe and the United States. 

Which are your favourite art fairs and why?

I love Art Basel (Switzerland), which is the gold standard for all contemporary art fairs. Year after year, I'm just amazed by the extraordinary quality of the work that the international art dealers and gallerists bring to this fair. I also love the Frieze art fairs, especially what they have done for London. Frieze Week is now the most exciting period in the art market in London, and the one-two punch of Frieze and Frieze Masters is hard to resist for any serious collector. 

Where do you mostly meet your clients? How do you use social media?

We meet our clients in equal parts now, both in our physical galleries and at the many international art fairs that we participate in throughout the year. 

We have an active social media platform, and it has been really exciting to see how a new audience has been engaging with the work we show and the artists we represent. This has been especially interesting in China where we have been building up our WeChat and Weibo following. 

Where do you see your gallery in 10 years?

We have been growing the gallery consistently over the last 15 years, and this year we have added a new space on the Upper East Side in New York that I am especially excited about, and, to coincide with the gallery’s 25th anniversary, we will be opening our first space in Asia in the H Queen’s building in Hong Kong. To say that I am looking forward to having a gallery in Hong Kong is a gross understatement—Hong Kong has such a vibrant art scene that is growing quickly. 

I assume the gallery's physical spaces will continue to grow in the next 10 years, and there are some plans that I am hatching right now, but maybe more importantly, I hope that we will be able to grow our program in the next decade by bringing new and exciting inventive artists to the gallery, in addition to significant 20th Century and contemporary masters and important estates. I am especially proud of the gallery’s program and, as we look ahead, will certainly continue to ensure that it remains vitally engaging and relevant. 

Where do you find your artists?

You find artists by keeping your ears and eyes open. It’s important to get out and look at shows, spend time at art fairs, and take in what artists are doing. Only by staying informed can you find new talent and assess the quality of new work. I have always found it especially gratifying to talk to the artists I respect and find out what they are looking at and interested in, as they are the best ambassadors for new and established talent. 

How do you select artists/works for exhibitions? What is the average time between you finding the artist and having a show with them?

Most of the exhibitions in the gallery are created in conjunction with artists and estates we have known for many years; typically there is a to to three years cycle between shows, and each exhibition is carefully planned. Here, my talented staff and the gallery’s partners, many of whom have been with the gallery for a number of years, take the lead as they are in charge of the individual artist management. It is my experience, as a rule of thumb, that an artist should have a full year to prepare for an exhibition. 

How many people work for your gallery and what are their roles?

At latest count, our staff numbers at 160 and we’ll continue to grow when we add the people who will be hired for our Hong Kong gallery. As to what everybody in the gallery does, that is too complicated, but the largest group of employees in the gallery are busy working with artists. 

How has the art landscape changed since you opened the gallery?

It has been extraordinary, to put mildly. In the last 25 years there has been nothing but growth in the art market and the art world itself. Wherever you look there is growth: there are more galleries and every major museum has gone through an expansion or has been planning an expansion. There were only a few art fairs when I started; now, art fairs have cropped up all over the globe. 

The expanding art world has pulled more and more collectors into its orbit and, without a doubt, the pursuit of contemporary art is one of the most gratifying social endeavours for those who participate. It’s not just buying art, of course: it is traveling to interesting places, seeing interesting works of art, in amazing architecture, and meeting people that are open-minded, international, and interesting. 

In the last 5 years, we’ve also seen a marked difference in the art world’s dialogue with digital and social media. I find this extremely exciting, as it gives us the opportunity to reach beyond our physical spaces and be truly global. 

What galleries in London and abroad would you recommend?

When I am in London I always stop by Victoria Miro, Sadie Coles, Hauser & Wirth, Larry Gagosian’s new space on Grosvenor Hill, and Thaddaeus Ropac, who opened just by my gallery in Mayfair. I also really like Nicky Verber and Ash L’ange’s gallery, Herald St, Carlos/Ishikawa, and Stuart Shave’s gallery, Modern Art. In terms of other galleries abroad, there are so many great galleries that it’s hard to list them all. 

What will be the impact of Brexit on both your gallery and the London art scene?

To be honest I do not know the answer, and no one does right now. In London we are operating fully as part of the EU, and as a true European, Brexit seems like a tragedy to me. I very much hope it won't marginalise the London art scene. 

What is the biggest challenge that your gallery faces right now?

My biggest challenge is balancing the intimacy and personal touch that artists and clients have become accustomed to and expect from the gallery with our international growth. It is difficult to make a gallery feel both familiar and warm, with the necessary attention to detail, but also strong and global. That needs constant adjustment and lots of communication, and I hope that, even though the gallery has grown so much in 25 years, those that have followed our progress will feel that the core has remained unchanged when they visit us.

CAMDEN ARTS CeNTRE 

MARTIN CLARK (DIRECTOR)

Tell us about your background and how you became appointed to your current position.

I studied Fine Art at Sheffield Hallam University in the mid-90s and became involved with the newly formed S1 Artspace where I had a studio and began organising exhibitions with my peers. In 1999 I moved to London to study curating at the Royal College of Art. It seems hard to believe now, but at that time Goldsmiths and the RCA were the only places in the UK offering curating courses.

When I graduated I moved to Berlin for a few months, then returned to the UK for the role of curator and tutor at the Kent Institute of Art and Design (now University College of Creative Arts). From there I joined Arnolfini as exhibitions curator in 2005, and in 2007 I was appointed artistic director of Tate St Ives where I stayed for six years, developing and delivering the exhibitions and public programmes, as well as working on the Phase 2 extension project that has recently opened. In 2013, I moved to Norway to take over as director of Bergen Kunsthall, and I guess I would still be there had it not been for Camden Arts Centre. When the previous director, Jenni Lomax, left after 27 years at the helm, I was very lucky to be asked to take over what I believe is the best-loved, and certainly one of the most respected, institutions in London.

What does it take to make a critically acclaimed gallery?

The quality and relevance of the programme must always come first, and it is, in the end, what any institution will be judged on. At Camden Arts Centre (CAC) art and artists remain at the heart of everything we do. Everything else must be in place financially and operationally of course – and this is a huge focus for the ongoing sustainability of the organisation – but you must never lose sight of why we do what we do and what we are doing it for: the production of new art, new ideas and new ways of thinking, and that drive to share this with as many people as possible.

Has your gallery's vision & mission changed since it opened? If yes, how?

CAC has a very rich history. The building opened in 1897 as Hampstead Central Library, a purpose built Victorian premises, designed by Arnold Taylor. After growing in size, the library relocated to a new facility in Swiss Cottage in 1964. The venue became Hampstead Arts Centre in 1965, providing the local community with classes in painting, life drawing, pottery, printing and design. It was renamed Camden Arts Centre two years later. Exhibitions were held in the space almost immediately, with the first show opening in 1968. Since then the exhibitions programme has steadily grown in scale and significance, both nationally and internationally, with many British artists having their first major shows in the space (Mike Nelson, Simon Starling, Emma Hart) and many international artists their first institutional shows in the UK (Marlene Dumas, Mary Heilmann, Hilma af Klint, Kerry James Marshall, Michelangelo Pistoletto, Kara Walker). At the same time, we continue to place an equal emphasis on visual arts education, running courses in drawing, ceramics and art theory, schools and family programmes, as well as residencies and fellowships.

What do you feel sets CAC apart? What does CAC offer that is different?

Education being so deeply embedded in our structure is definitely exceptional in comparison to other London art institutions. Our residencies are an important feature of our programme as they develop artists’ practices with practical support, resulting in new work and public participation. A resident artist’s space is not on display, but they respond to the programmes here, and there is always an open studio element. We currently also offer the Freelands Lomax Ceramics Fellowship, which is a new partnership in support of emerging artists working with clay. We have a large ceramics studio and two kilns on site. From 2017 until 2021, the Fellowship will offer three six-month residencies at CAC with an exhibition the following year.

Another remarkable feature of CAC is its feel of a ‘local gallery’, in the very best way. This is partly due to the space itself – an old Victorian building with a lovely garden – and partly its location within London: central and accessible yet somehow slightly apart. All of this accounts for a very unique and particular experience for both artists working and showing here, as well as our visitors. CAC seems to foster a different kind of speed of engagement and attention. Whilst it is known and respected all over the world, it still feels very grounded in its place and manages to resist the creeping homogenisation that many other institutions can fall prey to.

What is the target audience of your gallery and how do you appeal to them?

We want to engage as many people as possible – part of our mission is to bring together people and ideas. This is reflected in the way we welcome visitors and how we invite them to participate in our various projects and events. We don’t try to meet expectations or appeal to preconceived ideas, instead we provide a supportive, welcoming environment for people to be challenged and take chances, to feel confident and empowered to encounter new art and new ideas on their own terms.

How do you use social media?

We use social media to reach new and existing audiences, showcase our activity and share content from our programme. We often work directly with artists to generate platform-specific content, encouraging them to participate both on-site and online.

How are artists/works selected for exhibitions? Does your personal taste influence the type of artists you show at CAC?

Personal taste is always a factor of course, but more important is a sensitivity to who or what might be timely and relevant to show at a given moment. We plan our programmes across 18 months to 2 years, ensuring that there is a diverse mix of voices, ideas, media, and issues addressed over time. It is one of the nice things about being a curator/director in an institution like this - you build a programme that evolves sequentially, that speaks to previous and subsequent artists and exhibitions, and for audiences that means that it is not just about encountering an individual show or event, but about how the programme grows and develops. Within any given period, we will have a mix of solo exhibitions by emerging and more established British artists; shows by important international artists who have not been seen in the UK before; and group exhibitions, often selected by invited artists or curators.

Where do you find your artists?

By talking to people, visiting exhibitions and biennials here in the UK and all over the world, and by reading, writing and thinking. But for me, artists themselves are the most important source of new ideas and of other new artists. I learn a lot from what artists are interested in and who they are looking at.  

What is the average time between you finding the artist and having a show with them?

The minimum is nine months before the exhibition opens, 12 months is ideal and 18 months is even better. It is great to have as much time as possible but that needs to be balanced with keeping a sense of urgency and being able to respond to new ideas and new artists quickly.

How many people work for CAC and what are their roles?

We have 16 people working in the office, and when you add our bookshop assistants, invigilators and artist-educators, that rises to approximately 40.

How are you funded?

We are a National Portfolio Organisation, which means approximately 55% of our income comes from our Arts Council England grant that is agreed upon every four years. Our other income is raised through the support of trusts, foundations, donations, our Friend and Patron programmes, and by selling artists’ editions and merchandise in the bookshop.

What galleries in London and abroad would you recommend?

In London there are so many wonderful galleries, from big institutions like Tate, to smaller ones like South London Gallery, Chisenhale and Studio Voltaire. There are great commercial galleries too, galleries that are vital to nurturing new art and artists at the earliest moment, places like Rodeo, Hollybush Gardens, Carlos Ishikawa, Kate McGarry and many others.

What will be the impact of Brexit on both your gallery and the London art scene?

I don’t think anybody quite knows yet. But artists are resilient and art is produced out of any and all conditions. Whatever the political, cultural or economic climate, we must find ways to support and make visible new and important work. It might even become more vital than ever.

What are the major challenges CAC faces right now?

Public funding is in decline, and the continued uncertainty around the economy means we are all in challenging times financially. For CAC we must ensure we have a sustainable and robust financial model going forward that allows us to continue to do the kind of work we are celebrated for: risk-taking, challenging, independent and uncompromising. This means protecting our values and resisting the kind of safe, lazy or easy populism which is an increasing danger and a real challenge, particularly given how some funders are measuring success now.

More broadly, against a background of sky-high rents and less and less available space, we need to think about how we can ensure artists are able to keep living and working in London. And not just artists. The economic conditions are such that many small and mid-sized galleries are also finding it difficult to remain. If we lose the artists, and this vital and vibrant commercial gallery network, then London will be a much poorer place.