RES How do you feel about art fairs? AS While some are better than others, they are both commercial and educational necessities and part of the collecting process. It is a shame however that there are some collectors whom only attend the fairs and literally have never visited our gallery, despite the fact that they own works by many of our artists. I bet some have never seen a gallery show altogether. RES What do you think about the rising interest in work by non-western artists? RES How would you describe your job? ADAM SHEFFER I work closely with gallery artists on a daily basis to manage their careers. I also communicate with museum directors, critics and curators in order to promote the work of these artists and build their careers over time. Sales are indeed a part of this function as they keep the studios in production.
AS This is wonderful- it is a big world we live in. What I find tough is the exorbitant prices achieved by these artists at auction simply based on speculation and not artistic merit. RES What is the first question you ask when someone expresses interest in starting a collection? AS I am always curious to learn where their interest came from.
RES How did you get started in the art world? RES Is there a piece of advice you give to every collector? AS I had studied painting in college and worked as an artist’s assistant. I learned very quickly that I was much better at being an advocate for other artists’ work than making my own so that’s when being a gallerist really clicked. I realized that it was as close to the mark as I was going to get, and I love it.
AS Yes, go for it. Make that first acquisition. Make it within your comfort zone and don’t be afraid of outgrowing this initial selection. It is natural and shows you are a true collector. You’ve got to start somewhere.
RES Could you talk about Cheim & Read’s position? How is the genre of work that is exhibited at your gallery determined? Can you describe your gallery ethos? AS We will only ask an artist to join the gallery when we have watched the work over a long period of time. It’s along the lines of why it makes sense to court one another before making a marriage proposal. We would also like to believe that the artists’ works have a relationship to one another, in that there are currents or themes that run throughout the program. It makes it comfortable for the artists, and the group then is understood in a more cogent manner. I cannot fathom running out and feeling the need to add one sort of artist or another simply because that style is in vogue. We would never function that way, as we take a long term position with our commitments. RES What is the current situation in the art market? AS I am not going to say that a bubble has burst, but let’s just say that a lot of the air has been let out of it. RES What do you take into consideration when you are determining the price of artworks? AS We consider facets of the primary and secondary market, supply and demand, and what we feel the market can bear given current economic conditions. RES What were the trends over the past three to five years in the art market? How are they changing now?
RES MARCH 2010
AS People more than ever are looking for what determines value in contemporary art. I think an artist’s track record speaks for itself and those with historical relevance are certainly being reevaluated in today’s market.
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Installation view of The Female Gaze at Cheim & Read, New York 25 June – 19 September 2009
RES MARCH 2010
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CONVERSATION WITH ADAM SHEFFER