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Erica Gilbert-Levin
Wirth has developed a keen strategic repertoire in his dealings with artists and collectors. He is highly dedicated to his artists, many of whom he discovered in their emerging years, took financial risks on, and supported throughout their careers. As a result of this attentiveness and fidelity, Wirth "has never lost an artist – not a mean feat in an industry where contracts are rare and mutual love is all that keeps artist and dealer together," writes Miller in the Telegraph. In W Magazine, Wirth explains his strategy this way: "You're very close with the artists and you become a part of the creative process, and that gives you credibility with collectors." Wirth's risk-taking extends to the art and its marketing itself: He possesses a "Rumelstiltskin-like ability to fashion gold from thin air, or rather, ideas," writes Miller. This ability is likely due mainly from his already-established cultural and institutional legitimacy in the art world: His name has become a brand (Thompson, 14), and with the already-established trust and reassurance that name proffers, it hardly matters what kind of art he promotes; it is more important that it is Wirth promoting it. This is why the Tate, MoMa, and Whitney don't appear to blink as they shell out millions of dollars for Wirth art that "you might willingly pay not to be dumped on your doorstep" (Miller). Wirth is "forward-thinking," always looking for areas of the art market that have not yet been trail-blazed. To this end, he has needed "to invent different schemes and use different tools to get attention," W Magazine reports. "Along with a well-trained eye, those tools included deep pockets and plenty of patience." He exploits his connections, targeting markets neglected by other giant dealers like Larry Gagosian. Unlike the "New World moguls Gagosian often deals with, Wirth's clients tend to be seasoned collectors, including families that have been acquiring art for generations" (W Magazine).
References: http://www.wmagazine.com/artdesign/2009/12/iwan_wirth?currentPage=1 |
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Kimberly Ann Phoenix Phoenix In 2007 right before Haunch of Venison was sold to Christie's of London Harry Blain was listed as number 15 in the Power 100 of Art Review. He shared this honor with Gordon Southern who was his partner in owning the Gallery. Blain and Southern continued to run the Gallery until August of 2010, when the duo combined forces to start a new gallery, BlainSouthern. When he moved to the new gallery many of the artists that he represented left Haunch to follow Blain. In 2010 Damien Hirst was one of the first to show in the new space. "A former schoolboy athlete raised in Surrey, his background working at Berkeley Futures (a bullion and futures brokers in Savile Row) enabled him to bring the worlds of art and finance together during a period when the bonus culture took off. 'He came from the City and he sold to the City,' says the London dealer and international curator James Birch. 'No one else had managed to do that. Before, people in the City just bought sporting prints.' Within ten years he was making annual sales of around £14 million, putting him in the top tier of UK contem-porary art dealers." (taken from www.thisislondon.co.uk October 10, 2010) He continues to grown with plans to open a gallery in Berlin. His opening in London attracted many British celebrities to view and buy the art work that was on display. He like other still does not like to discuss price on the gallery floor but money does change hands. He was shut out of some Art fairs after selling to Christie's which explains leaving Haunch and the new gallery openings. His reputation was hurt by the connection to Christie's and he is working hard to repair his image as an Art dealer. |
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