Expert Eye
Are Brand Collaborations the Future of Art? A Conversation With New Art Advisors Alliance Co-Founder Teriha Yaegashi
One of the most extraordinary factors in the
growth of the art market over the past decade is the sheer plenitude of
new professions that have emerged to participate in the great financial
machinery that gears up every time an artwork leaves an artist’s studio,
ripe for a potential buyer. A dizzying array of entrepreneurs have
seemed eager to sell pickaxes during this art-world gold rush, and one
field of purveyor that has ballooned and metamorphosed dramatically is
the venerable trade of the art advisor.
For one thing, everyone seems to be an art advisor
nowadays. For another thing, these consultants now often work with
clients that are not your typical art-collecting individuals, but
corporate brands looking to tap into the contemporary-art zeitgeist.
It’s in this climate that a novel organization, the New Art Advisors Alliance, has recently emerged as a way of connecting young players to these new opportunities.
Co-founded by the art advisors Teriha Yaegashi and Juliette Premmereur, a former dealer at Sperone Westwater Gallery,
the NAAA is still in its early stages—its website lists just two
members, and is currently accepting applications. But the thinking
behind its establishment sheds plentiful light on the way that art deals
are being structured these days, and with whom.
To find out more about the inspiration for the alliance,
Artspace editor-in-chief Andrew M. Goldstein spoke to Yaegashi, whose
experience includes such diverse roles as marketer for Shiseido, coordinator for Kim Heirston Art Advisory, and project manager for Takashi Murakami, about the new opportunities that advisors are presented with today.
You bring a very diverse set of experiences to
founding the New Art Advisors Alliance. For one thing, you were the
collection manager for Takashi Murakami through his global art company,
Kaikai Kiki. What does that mean? For his personal art collection?
Yeah. He mostly collects artwork by emerging artists, but
he also has ceramics and vintage pieces, so it has grown into this huge
thing—it’s probably collectively 3,000 pieces by now. I was the person
to go around to all the different fairs on his behalf to report back on
what was exciting, keep tabs on the artists he was interested in, see
what was available, and then negotiate the deals for him. It was really
interesting to do this for an artist as opposed to another kind of
collector, because his collection is very, very intuitive—he picked
pieces I wasn’t expecting.
It was also exciting because even though I had been hired
to do the collection management portion, I was also traveling all around
the world with Takashi, going to galleries, going to auctions, going to
fairs, meeting with gallerists, and meeting with the artists. I also
became his VIP coordinator and the artist liaison at Kaikai Kiki. The
company really functions as a multi-service firm, which was really
interesting, and I enjoyed it because I liked the idea of being able to
do different kinds of things in the art world and having every day be
different and every week be different. I felt like I was staying ahead
of the times. It also made me realize that art isn’t this static
thing—that it functions differently for different people and different
contexts.
It sounds like an amazing job. Why did you leave?
I left Takashi’s mainly because of the earthquake in
Japan. I had a lot of family there and I was actually flying back on the
11th with [Superflat artist] Aya Takano, which was the day of the
earthquake. We were heading to the airport when it happened, and she
said, “I still want to go home.” And I said, “Let’s do this.” After that
experience, I needed to take some time off and volunteer. The whole
thing made me want to try to do something else with art within the
larger context of culture—so, not just art for the art world, but art in
terms of reaching people in new ways. I ended up going to work for the
ACE Hotel at their New York headquarters for a while, and then I left to
pursue being an independent art advisor, because by that point I knew I
was very good at things like doing branded artist partnerships and
negotiating high-end fine works.
What are some of the branded art partnerships that you’ve done?
Well, I worked with an artist in the U.K. named Arran
Gregory on a Johnnie Walker commission, which was originally a sculpture
commission that expanded into a larger global campaign. Arran’s
signature style is that he usually makes large mirrored sculptures, so
for them he made a mirrored sculpture of the Johnnie Walker icon, the
little man with the top hat and cane. So, that’s one example.
Part of the reason why I was interested in these kinds of
partnerships was that I had been on both sides of the table. When I was
working with Takashi, his Louis Vuitton project had finished, but there
were still versions of the handbags with his prints in production and a
couple of other projects that I liaised on from the artist’s side. Then,
when I was at ACE, I worked on a number of projects where I would reach
out to artists and commission them or ask them to collaborate on
projects. Since I had both experiences, I decided it was something I was
willing to do. I felt very confident that I could handle the art
business side—but, of course, once you get into it there’s always
something you don’t anticipate happening, or you simply don’t anticipate
how long it will take.
What are some specific hurdles or challenges when it comes to these branded partnerships?
It ends up being very basic stuff, like figuring out how
to draft proper proposals or agreements with going back and forth with
lawyers, getting things in on time, and meeting with a number of
different people. And then, after going through that whole process, not
every single project comes through—and that’s completely normal, as
every entrepreneur knows. It can be easier than working with individual
clients, though. I’ve had people come to me saying they wanted to start a
whole new collection, and then after many discussions it turns out they
maybe just want one piece, and they need to go home and think about it.
Some advisors get used to that rhythm. At these big companies, on the
other hand, usually the projects are pretty solid. It’s not that they
just want to have a chat—it’s that they have a very big thing planned,
and need someone to execute it. It’s like it’s already in motion before
it comes through the door. That was something that was a very big draw
for me.
In all of this, what made you think there was a need for something like the New Art Advisors Alliance?
Going through this process of transition, I noticed that
there were other people within my inner circle—brilliant people who
spoke multiple languages and had advanced degrees—who had also been in
the art world for a really long time and were jumping off to bring their
talents to the world as independent consultants. I wondered if they
were having the same issues that I had before, when I would try to reach
out to others for support, for resources. There are all of these
organizations that support young business-owners with things like grants
or office space, but I would always get turned away because I wasn’t
techie enough. Once I was even turned away because I was too old—and I
was still in my 20s. How was I too old to begin a business?
So I realized there was a real need for this in the art
world. What if I created something like this for other young art
consultants who I think are so brilliant, knowing that they have no
support coming from the gallery world, and that they might not
necessarily have the same technical or business-protocol experience that
I do? I’m no expert, but at least I’ve been around and I can recommend
this or that person for a specific thing.
Juliette was one of those people who had gone independent
around the same time that I did, and she loved the idea—and she has lots
of experience in the gallery world, which is very different from me. I
asked, “Would you like to come aboard as the co-founder?” And she said,
“Absolutely, I had a similar idea. Why don’t we pull together all our
resources and see what we can do to help springboard other young art
people?” There are so many art consultants starting out now who are
trying a new model and are seeking to work with a much broader clientele
that is more closely affiliated with brand marketing. You can have
intellectual conversations about whether or not you think it’s good or
bad, et cetera, but I find it fascinating.
How is being an art advisor like brand marketing? What is the brand that you’re representing?
It depends on who the client is. I’m currently working
with one startup company that is producing technology that will be
geared toward the art world, but the people behind it are not from the
art world—it’s an architect who became an entrepreneur and has hired a
team of engineers. The new technology they’re creating is fantastic, but
since their target market is the art world, they’ve got to figure out
how to approach them. I told them, “Listen, as much as I love the
product and as much as I love this company, the art world is a very
specialized industry and we should rethink how you want to launch,
because you only get to launch once.” So right now I’m helping them with
a launch strategy. Otherwise, you know, brand-and-artist
collaborations, specifically when they have an artist create something,
are all about trying to add another dimension to what their brand
represents.
Are you working with individual collectors at all?
Not so much at the moment. Juliette and I have both been
working with all different types of people, mainly with companies as our
primary clients, with private advising on the side. That hasn’t been
the main priority. Instead, I often get requests from hotels and
hospitality companies because they need art, and, again, that’s very
closely tied to brand marketing because they’re trying to show how
they’re different from whatever other boutique hotel is super hot right
now.
This is a very different definition of an art advisor from the way the term is typically used.
Absolutely.
It’s not really the role of an art advisor, it’s more like a branding consultant.
It’s a little bit of everything. But while this is
something I’ve been finding myself doing lately, one of our members,
Emily Higgins, is doing very much what you’d expect a traditional art
advisor to do. She has one client who’s in New Canaan, and she helps
other people acquire pieces. But she’s also very interested in branching
more into brand and artist collaborations. The thing is, up until now,
the art advisor has had a very specific role, and that was to help
collectors or companies build collections. Now, the interest in art has
expanded so widely that brands like Johnnie Walker and Ralph Lauren want
to work on art projects.
To ask an obvious question, why? What is behind
this whole explosion of corporate brands striking partnership in the
contemporary art world?
It’s a number of different things. Art pretty much
exclusively used to be an exercise in connoisseurship, pursued by people
who were really, really passionate about art or artists. If you were a
collector and you didn’t know much about art, you would invest a lot of
time going to see shows and meeting artists, or you’d hire somebody to
invest that level of time for you. It really was a matter of expertise.
That’s all changed since the art market exploded—now that records are
being broken with every auction season and so much money is being spent
on art publicly, the excitement has led many people to enter the market
for new kinds of reasons.
It’s starting to be seen as a more of a luxury item, or an
alternative financial asset. Especially with social media, it’s become
more about a luxury lifestyle. If you have a nice piece of art, you
probably have a nice handbag, and you have a nice apartment, and you
have a cool car, and you have X, Y, and Z, and you have this fabulous
life—art is just a part of it. Or maybe you’re not necessarily
ultra-rich, but you still have exquisite taste and everybody’s following
your Instagram, so then you might declare yourself a tastemaker.
What’s interesting is that it seems there are two
different tracks right now. On one track you’ve got the art
market—people are actually buying and selling the artworks and
participating in the financial aspects of the art world—and that goes up
and down in at least some accordance with the broader economy. Then, on
other track, you have the art audience, which has been expanding
tremendously at an undiminished clip for years. These brands aren’t
really interested in the art market, the province of the art advisor,
are they? I would imagine they are far more interested in the art
audience.
For the most part, these brands like Ralph Lauren and
Johnnie Walker want the audience. Because the audience that’s looking at
art is probably also looking at fashion and is probably also looking at
music and they’re looking at fine liquor and wine. And, again, art has
become such an aspirational thing that it lends itself as a perfect
marketing tool. Their brands are aspirational, and that’s why they want
to work with artists.
It has become the fantasy that they’re selling. “Look how
incredible this piece is—there’s only one of them, we specifically
commissioned it, and it’s part of our extended art collection.” For a
brand to say that, it’s really interesting. It’s like, “Oh, wait, you
guys are doing art now?” It’s the same with celebrities—being associated
with art appears to add extra dimension and depth. “Oh, wow, I didn’t
know that person was so into contemporary art.” It’s so interesting. I
can go on for days about how I feel about it.
Well, how do you feel about it?
I think it’s fantastic that the art market is expanding,
and I think it’s largely due to the expansion of the art audience.
Because everybody is so connected and online now, people who didn’t have
access to seeing artworks—especially when it comes to exquisite works
that go up for auction and then disappear—suddenly can find them easily,
on social media or archived on the internet. People have more of a
voice, and everybody’s a curator now—they’re curating their own life,
and they’re also trying to fill in gaps or add dimension to their story.
They don’t necessarily need to be an expert, they can dive in and call
themselves a curator.
I feel it’s great that there’s increased interest, but the
I think that the increase of the accessibility of art has in fact made
it all the more important to rely on people who still do have the
expertise, because I don’t think connoisseurship will ever be
irrelevant. It will always be relevant to art. Especially when someone
wants to buy something, it’s important that they have help in navigating
this world.
It’s notable in this fuzzy-ing of the definition
of an art advisor that while a traditional advisor is trying to sell an
artwork, flowing money into the art community, an art-world branding
consultant is actually trying to sell an art audience a non-art product,
like a handbag or an alcoholic beverage.
Yeah, definitely. But the funny thing about these
artist-brand collaborations is that there is a real budget, especially
when they’re doing commissions, that these companies are investing in
art. Right now they’re paying the artist—and with commissions it can be a
lot more than a single piece sometimes—plus they’re also buying the
rights to a certain piece as well, so that they can move it in the
future for photo ops or whatever that they need, and they’re
additionally paying for the marketing component because usually there’s
the “making of” videos or whatever that might be.
It’s a strange new world, and because there are real
resources being directed toward these initiatives, it should be really
done thoughtfully, and it should be done with artists who are very
genuine about furthering their practice. They might be doing other work
that’s more interesting, they might be doing the collaboration as a
farce, but the fact that they’re doing it thoughtfully is what’s most
interesting to me.
So even if these projects might not necessarily be at the
highest level academically or curatorially, there’s a real budget that
goes into the art world, and I think it can start to be done in a more
elevated way than it has been before if we keep pushing it. My personal
approach to art consulting is that any type of research should be used
very thoughtfully, whether or not you want to buy an art piece as an
investment or for your home or you’re a company that wants to commission
a piece and throw a cool party to launch it with it.
I guess that, in the same way a collector wants to
buy an artwork that will at least maintain its significance and value
over time, corporations want to be associated with artists and projects
that can gain prominence over time—and that won’t become some kind of
joke.
Right.
How is the NAAA positioned to embrace this climate?
The art world is rapidly changing—there are all of these
people who are trying to affect the industry through new technologies,
new ways to cater to wider audiences. I want the alliance to be an
organization where you can find the greatest, most talented, young art
advisors—the ones that you’ll want to know tomorrow, and in 10 years, 20
years. Each of the people who have joined has a different strength
within the contemporary art market, and I want to highlight each
person’s strength, because there will sometimes be a potential client
who comes in and I’ll feel perhaps another person might be better suited
to handle their needs.
For example, there was one absolutely lovely family that I
worked with and they’ve got this incredible art collection, but it’s
mainly contemporary and modern Latin American art, and as much as I love
the pieces, I’m just not quite at all an expert in that field. It made
more sense for me to recommend to them to someone else in the alliance
if they want to pursue further acquisitions or get into sales—and
meanwhile I can still work on collection management with them. It’s
these types of opportunities where instead of having to say, “Sorry,
that’s not what I do,” and letting the conversation die, I’d rather say,
“I do know somebody who’s absolutely fantastic and, from where I stand,
you can trust them professionally.”
That’s why it’s important that our members have diverse
skills. I mentioned Emily, who is very much the traditional art advisor,
and yet she also takes beautiful photos and she has 25,000 followers on
Instagram. She’s a very multi-talented, wonderful, cool individual.
Juliette works more in the lifestyle arena and is consulting companies
on how to work with art-world influencers and artists to do a mix of
different things. Then we have one person who’s working on design and
another person who’s more into real estate projects. Contemporary art is
always at the center of what they’re doing, but they focus on different
areas and different clientele bases.
That’s our goal, and I think that’s the exciting part. If I
were a collector who didn’t know anything about art and I logged onto
our website, I’d want to get a sense of each advisor’s personality and
what their area of expertise is, so we have a photo of each person, a
short bio that describes their background, and then a list of their
areas of expertise with links to their personal websites and contact
information. So, then, if I’m a real estate developer, I could scroll
through and say, “Well, this guy has a lot of expertise in real estate,
so I could try him, but here’s another person who has a bunch of
hospitality experience, and that would be a good fit, too.”
That’s a pretty generous approach, actually. The NAAA recalls NADA, the New Art Dealers Alliance,
which pools resources and produces cutting-edge art fairs. The
difference is that gallerists have a long history of collaborating,
while art advisors have typically been lone wolves who jealously protect
their commissions. There hasn’t been that much incentive to share
business.
That’s definitely been the traditional way, and some
people have built empires for themselves, and I truly admire them
because it’s extremely difficult to do. But, at the same time, because
of my background working with entrepreneurs and creative teams where
everybody brings their own strengths to the table, that kind of
collaboration just makes more sense. The way I think of it, it’s not
just about me, but at the same time it’s not just altruistic. If we get a
commission, then great, everybody wins, but even if we don’t, just
knowing that I’m putting a client that I respect and can work with again
in the future in good hands, that’s a benefit to me as well, and it
certainly benefits other members. I think collaboration is very much the
future. Millennials are all about collaborating, and art doesn’t exist
in a vacuum. You seem more clever now if you can actually get along with
more people, instead of constantly competing.
So, the NAAA isn’t really an alliance—it’s more like an agency?
It’s not quite—I wouldn’t say it’s an agency, per se. I
guess it’s more like an association with both internal components and
external components. The internal components are that we’ll have regular
meetings, probably every other month, for the members to be able to
meet each other, because I would really be able to love for everybody to
know each other on a personal level and be able to say, “Hey, are you
going to Basel? I’m not, so here are my VIP cards.” Or, “Hey, there’s
this incredible Bulgari event, do you want to go? I have these extra
tickets.” I’m also spearheading partnerships with other companies for
things like discounts on travel or framing or shipping or whatever it
might be, which is much easier to do as an entity than as an individual.
One of the companies we're in talks with Dover Street
Market, which I’m ecstatic about because they’re not necessarily in the
art world, but we’re talking about possibly doing an event that’s very
exciting. I want to do a happy hour with special designers and art
directors and us and have a champagne bar and walk around the store a
bit. They want to do events with us because they see us as being in the
young cultural scene, and in many ways they have the same sort of energy
and outlook in fashion.
It’s interesting—the practice of art consulting is
broadening and changing so much that I’m curious to know what it is
going to mean in the future, in the next three years, five years, 10
years? Who are the real curators going to be? There’s the potential for
dramatic change. At the alliance, we have brilliant minds in terms of
aesthetics with different areas of expertise, and we can take advantage
of this changing climate.
How do the artists you approach actually feel
about the kinds of corporate partnerships that you’re talking about? Is
it really an easy sell to get artists to work with brands? That would be
a very big change from the conception of authenticity and independence
that artists used to hold dear. I mean, this is an extreme example, but
if you went to someone like Joan Jonas in the 1970s and asked her to do a partnership with Mastercard, she might have a rather colorful response.
Like, “Are you kidding?” [Laughs] Sure. Again, I’m biased
because I’ve worked with Takashi Murakami and he’s one of those people
who really opened up the Pandora’s box when it comes to brand
partnerships, but it really just depends on the artist. Personally, I
feel that if it’s the right collaboration or partnership, then it can
great for the brand, and in some ways it can be really great for the
artist, too, particularly if they’ve been under the radar or if they’re
younger and they’re just getting out there. It can be great in terms of
exposure and, depending on the brand, there might be a level of
prestige.
The reason it makes a lot of sense to have a mediator like
an art consultant in between is because these brands don’t have any
experience with working with artists—they’re used to working with people
like graphic designers or illustrators or product designers, and those
people usually have much less of an expectation in terms of their rights
for how the work will be managed. They’re asked to do an assignment,
they deliver, they get paid, and that’s where the conversation usually
ends.
Whereas with artists, it’s not at all like that. There are
many conversations about how the rights work, how the imagery gets
disseminated, et cetera—it’s much more complicated than these companies
realize on the surface. And then, of course, because the artists aren’t
used to working with companies, they sometimes they get wild
expectations about what they think they should get paid. Because I’ve
been on both sides, I can make the artists’ expectations much more
realistic in terms of, “This is what this means for you, this is how
it’s going to work, this is what you’re going to get out of it. Is this
something that you still want to do?”
Some artists are really into it because they want that
level of fame or they want to say that they’ve done that. I don’t
necessarily think that that should be the reason for being in the art
world as a creator—I think it should really be about the craft and
leaving a legacy that’s relevant to the rest of art history, but that’s
my personal opinion. But if the exposure and the fee is significant it
can be very appealing to artists, and if they still want control they
need somebody to advocate on their behalf. It’s not a good idea for the
artist to be negotiating all of these terms themselves, because they
would fare better with a tough negotiator working on their behalf.
Also, with the companies, I try to give them what I think
are the best artist recommendations. They always want to work with the
ones that they think are the most famous, but, a lot of the times,
they’re a little behind in my opinion in terms of who they think are
cool. Sometimes they’re open to my suggestions, sometimes they’re not.
If they’re set on their own short list, oftentimes I’ll say, “I’m happy
to reach out to them, but just so you know, for this project, it may or
may not work.” And then I try to explain why the artist might say
no—like, “At this point in their career, they’re focusing on museum
shows and they’re not focusing on any type of commercial collaboration.”
It can take that level of explanation; to most people in the art world
it would seem like a very obvious thing, but if companies find an artist
they think fits their brand they can have different expectations.
You mentioned that this form of consulting and
collaborating is generational thing, and, in fact, the NAAA has a stated
policy related to that: you only work with advisors who are under 40.
Yeah. It’s not a strict cutoff, actually, but I wanted
there to be an indication that we’re focusing on a young generation of
multitalented, forward-thinking advisors who are in their early stages
of starting their businesses, so they’re still interested in exploring
and broadening their network. This is not an place for people who have
been doing it for 25 years, and that’s what I wanted to make clear. I
don’t care if they’re 42 or 45—it’s more about, “What have you done,
what do you aspire to do, what are you working on, who are you, and how
do you want to participate?”
More established advisors might actually feel threatened
by the idea of the alliance, like, “I don’t want to share my client
list,” and of course they don’t need to share their client list—I would
never expect that—but they should be open to referring their clients to
other members. That might make them say no, and that’s totally fine.
We’re an alliance in that each member is interested in contributing
something, and one of the requirements that we ask for joining is that
everyone adds three-plus contacts to the database. We want to be able to
rely on each other, in the spirit of an incubator.
What has the reaction been so far? How many people have signed up for the NAAA?
Well, there’s been tons of positive, enthusiastic
responses, and we have about 20 people who are in the middle of applying
or have said they’re interested. It’s been somewhat of a slow process
because it’s still a new concept for a lot of people, but I don’t want
this to necessarily be a huge network of people right off the bat. I’m
confident that it will grow because already the brands are really
excited about this idea because, to them, it’s very intuitive to have
one website that you can go to and you see different types of advisors
with different strengths. Galleries have also been excited about this,
because we could potentially increase their sales or their exposure, and
I think artists appreciate the fact that there are some people who just
want to make great things happen.
The NAAA seems to hit the moment in one respect,
which is that it seems there are more and more art advisors these
days—it seems like anyone with a foot in the art field is trying to
arrange a deal of some kind. It used to be a cliché that everybody was a
curator. Are art advisors the new curator?
I think that’s the case. There are a lot of people who go
from being a collector to being an advisor too, so, yeah, it’s the new
curator—but it’s even cooler, because about the market. The art advisors
that we want to bring onboard, however, are people who have been in the
art world for a good amount of time, so they’re insiders in the
industry. It’s not just somebody who’s casually calling themselves an
art advisor because they’ve helped two or three of their friends. It’s
people who have experience, who have relationships, who have a certain
level of art-historical background and can speak eloquently about it.
That’s something Juliette and I have been emphasizing.
What does Murakami think about your venture?
[Laughs] You know, I haven’t told him about it. I think he
would be intrigued. He himself has started an art fair, he’s launched
galleries, he’s curated shows, and he’s always experimenting. He
actually exhibited his art collection this past March in Japan. He likes
to push the limits of what an artist can do and the roles the artist
can play, so I think he’s probably very aware of how the art consultant
world has changed. But I don’t know. I don’t think he would necessarily
need us in any capacity.
Last question: How do you pronounce the NAAA?
It’s funny, because my mom calls it the “NAAAHHH,” and
that sounds so awful. A lot of guys I know think it’s hysterical,
especially artist guys. I’ve been just calling it the Alliance because I
think that’s the spirit of it. It’s an alliance of great people.
Entrepreneurs will always tell you, “You don’t build a product, you
build a value, and then people buy the product.” That’s a very simple
concept in many ways: you build the concept—you build that inspirational
fantasy—and then people buy into the product because they want to
subscribe to that. So let’s see what happens.
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