Sue Stoffel interview continued.
Carey: That’s the idea. I think Creative Capital was encouraging fiscal sponsorship, because in a way this is what a lot of non-profits know how to do, Creative Time as well.
What they know very well is those wonderful things that Ann told you even about raising money, what needs to be done which means that’s the level of expertise that were artists to be able to use that they’re really conversive. They’re pro’s in how to do that. I haven’t seen this happen a lot and I think it’s very difficult for artists to raise money. Right now the art world seems to be changing so much or perhaps that’s just the whole world is always changing so much.
Stoffel: Well, one of the projects I’m working on going forward which has to remain nameless now is finding exhibition space, living space and production space for visual artists and performance artists.
I think that’s the most pressing need right now, and the fact is that every creative person in New York is being priced out real estate wise. We’ve watched that in Brooklyn, we’ve watched that on the Lower East Side, going to Hoboken and to Philadelphia is not the answer. So I’m working with a non-profit to market empty storefronts, empty buildings, empty spaces on a temporary basis to artists in need so that they can have a studio or even an exhibition.
So it’s working with the real estate industry to make them understand that that social responsibility will come back to them in a big way by working with the creative community here in New York.
So I think that’s a viable alternative to building new studios and new buildings to work with existing structures and to make them suitable for artists to use even at a time temporary basis. So that’s one of the project that I’m working on now.
Carey: You’re working with galleries at the Lower East Side and I assume that’s how you find artists and work with artists – what are you seeing happening in the art world now? Are you excited about what you see coming out? I’ve talked with so many different people, some people say things like, there’s great work coming out, other people complain of the lack of depth in work being produced too fast, artists are thinking too much of the market. What’s your perspective on the new art that exist?
Stoffel: I’m the eternal optimist. I mean, there’s such a disconnect between the art market and the art world and emerging art world, artists are creating extraordinary work with very resourceful materials.
I don’t agree that they’re making work too fast for the market. I think smart dealers and good dealers and long terms dealers allow artists to work at their own pace. It gets a little stressful a couple of weeks before the opening of the show but I think that model still works. The pricing structure is still where it should be. You shouldn’t have to mortgage your children to pay for a work of art. It’s the last priority at the bottom of the totem pole in terms of life’s necessities and it is actually disposable income.
So I’m not discounting art as an asset class and all the art investment funds but it’s not something that I’m interested in professionally or personally. I’ve been buying art for 30 years and the value of the collection has grown astronomically but it’s not why I do what I do. It’s not about the value. It’s about the support and the encouragement and the commitment of believing in these artists who are coming out of art school and have this incredible need to do what they do.
In that interview Sue Stoffel explains how she became a collector and I think it sheds light on how direct and simple the process can be for collectors. It started with one work of art, and from there her interest continued to grow. Like many collectors, she looks for art in galleries and talks to gallery owners about work she likes. That is primarily where she finds artists and new work. To be on her radar, and the radar of most collectors, your work needs to be on exhibit in places where collectors go.
She is a New Yorker, and most collectors in New York are looking at galleries on the Lower East Side of Manhattan where new galleries open all the time. So getting into group shows in that part of Manhattan by going to those galleries and getting familiar with the scene would help you meet collectors like her. If you are not in New York, then go to whatever neighborhood is near you that has galleries that collectors go to.
If you are a seasoned artist or emerging, this is one way to get more exposure in a new scene – by going to those galleries and looking for ways to get into group shows that can lead to sales and opportunities for solo shows.