Galleries are recruiting stars from the museum world to promote (and sell) their artists’ work.
THE NEW YORK TIMES
By Hilarie M. Sheets
What were hard and fast boundaries between commercial galleries and museums a decade ago no longer exist. Top galleries eager to woo blue-chip artists, collectors and a more diverse public are increasingly turning to big-name museum professionals to mount exhibitions of depth that would look at home at the Met or the Museum of Modern Art. But in some cases that scholarship may be in the service of business. Dealers and art experts say a museum curator’s involvement has myriad benefits for a gallery, lending legitimacy to their shows. Collectors and institutions are more likely to loan valuable works if Mr. [John] Elderfield or Mr. [Robert] Storr is asking and explaining the seriousness of the project. And the resulting shows can help galleries deepen associations with artists in their roster, and attract artists or estates the gallery is interested in representing. [link]
By Hilarie M. Sheets
What were hard and fast boundaries between commercial galleries and museums a decade ago no longer exist. Top galleries eager to woo blue-chip artists, collectors and a more diverse public are increasingly turning to big-name museum professionals to mount exhibitions of depth that would look at home at the Met or the Museum of Modern Art. But in some cases that scholarship may be in the service of business. Dealers and art experts say a museum curator’s involvement has myriad benefits for a gallery, lending legitimacy to their shows. Collectors and institutions are more likely to loan valuable works if Mr. [John] Elderfield or Mr. [Robert] Storr is asking and explaining the seriousness of the project. And the resulting shows can help galleries deepen associations with artists in their roster, and attract artists or estates the gallery is interested in representing. [link]